CinemaScore · Soundtrack · Archives

1. Alf Clausen on Scoring THE SIMPSONS

I was given a directive when I started the series that THE SIMPSONS is not a cartoon, but a drama where the characters are drawn, and that the emotional content of the score should...

Monday, 28 July 2008 | 1335 hits | Print | PDF |  E-mail | Report

2. Basil Poledouris on FLESH & BLOOD

Basil Poledouris believes that film composers “collide” with films on certain occasions. CONAN THE BARBARIAN is an example he cites as this kind of career collision: it was the right film for him to score at that particular moment, it gave him the right kind of inspiration and the result was a highly rewarding experience both for the composer and for the film.

Thursday, 27 March 2008 | 941 hits | Print | PDF |  E-mail | Report

3. Basil Poledouris on Scoring LONESOME DOVE

Simon Wincer’s eloquent, character-driven western saga, LONESOME DOVE, remains one of the best television mini-series ever broadcast. The brilliant dialog and characterizations from Larry McMurtry’s grand, sweeping novel were translated faithfully and brought to life by a cadre of outstanding performances. Wincer and his producers made the most of their slim budget...

Monday, 03 November 2008 | 855 hits | Print | PDF |  E-mail | Report

4. Bill Whelan on Scoring DANCING AT LUGHNASA

With the international success of RIVERDANCE behind him, Irish composer Bill Whelan’s future in theater music seems assured. With successful film scores such as SOME MOTHER’S SON and DANCING AT LUGHNASA, Whelan is also carving out a notable sideline as a composer for films.

Saturday, 01 November 2008 | 877 hits | Print | PDF |  E-mail | Report

5. Bob Cobert on THE WINDS OF WAR

Bob Cobert’s association with producer-director Dan Curtis began in 1966 when the composer was hired to score Curtis’ new Gothic horror soap opera, DARK SHADOWS. Cobert went on to Score all of Curtis’ subsequent TV movies and features, including genre favorites such as THE NIGHT STALKER (1972).

Friday, 25 April 2008 | 548 hits | Print | PDF |  E-mail | Report

6. Bruce Broughton on Scoring LOST IN SPACE

When New Line Cinema determined to make a big screen version of the popular ‘60s TV show, LOST IN SPACE, they originally looked to John Williams as a likely candidate to score it.

Saturday, 16 May 2009 | 484 hits | Print | PDF |  E-mail | Report

7. Carl Davis on CHAMPIONS

Although born in the United States, Carl Davis has become a notable figure in the world of British film music, having scored an impressive variety of television plays which have benefited from his delicate and careful scoring, so unlike the pop commercialism of much American television.

Thursday, 17 April 2008 | 544 hits | Print | PDF |  E-mail | Report

8. Carl Davis’ CITY LIGHTS

It all began when I opened my mailbox to discover some junk mail addressed to the last occupant of my apartment. Normally, I would have thrown it out. Curiosity, however, got the better of me and I began to scan the list. La and behold, there was a listing for Charlie Chaplin’s CITY LIGHTS

Monday, 31 August 2009 | 391 hits | Print | PDF |  E-mail | Report

9. Christopher Gunning on WHEN THE WHALES CAME

One of the nicest British film scores of recent years was that of the poignant drama, WHEN THE WHALES CAME, composed by Christopher Gunning. The composer has worked in British film and television music since 1971

Tuesday, 08 April 2008 | 525 hits | Print | PDF |  E-mail | Report

10. Christopher Lennertz on Scoring SAINT SINNER

At only 30 years old, Christopher Lennertz has scored 17 features including the film festival favorite Art House, network television series BRIMSTONE, TOUGH ENOUGH, and THE STRIP, and contributed as an orchestrator or electronic sequencer

Tuesday, 21 October 2008 | 787 hits | Print | PDF |  E-mail | Report