Alan Silvestri on Scoring What Lies Beneath

It’s Friday June 2nd 10 a.m. on the Sony Scoring Stage in Culver, Calif. as composer Alan Silvestri begins rehearsal on his first cue of the day ‘The Chase’. Silvestri is currently engaged scoring WHAT LIES BENEATH, his tenth collaboration with director Robert Zemeckis. From ROMANCING THE STONE to the new Dreamworks motion picture WHAT…

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Alf Clausen on Scoring The Simpsons

What was the musical philosophy behind THE SIMPSONS when you began working on the series? Matt Groening is a big supporter of acoustic music. He feels that using an acoustic orchestra to score the show smoothes out the animation, which can be occasionally rough due to the short amount of turnaround time. He also feels…

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Andy Garfield’s Ice Cold Music for Frozen

Stepping aside from the graphic excesses of the horror thrillers HATCHET and HATCHET 2 for the more subtle psychological terrors of FROZEN, director Adam Green has made an excellent what-would-you-do-if thriller about the worst ski-trip ever. Recently released on DVD and Blu Ray by Anchor Bay, FROZEN is kind of an OPEN WATER on a…

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Bartosz Chajdecki on Scorng Days of Honour

Bartosz Chajdecki started composing at the age of 12, inspired and motivated by Zbigniew Preisner, whose advice helped him to master the art of composition. At sixteen he joined Krakow’s Camelot Dungeon cabaret as accompanying pianist and has since written music for plays such as ‘A Little Requiem for Kantor’, which was performed at the…

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Basil Poledouris on Scoring Crocodile Dundee

CROCODILE DUNDEE IN L.A. reunited composer Basil Poledouris with director Simon Wincer, for whom Poledouris wrote one of his most profound and eloquent scores, 1988’s LONESOME DOVE. The director and composer collaborated on another Western, the Tom Selleck vehicle, QUIGLEY DOWN UNDER, as well as HARLEY DAVIDSON AND THE MARLBORO MAN and FREE WILLY. The…

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Basil Poledouris on Scoring 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…

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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, enveloping the mini-series…

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Bill Conti on James Bond and Thomas Crown

A man walks into a major New York City museum and walks out with a Monet as casually as if he were leaving an ice cream parlor with a cone topped with two scoops of double-fudge chocolate. Of course, the trick is that one doesn’t just take a painting like that off the wall and…

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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. DANCING AT LUGHNASA tells the story of five sisters who barely…

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