Revenge composer iZLER shares his process to scoring story and character Revenge composer iZLER discusses the creative process behind his work on the show. iZLER conducted a 50-piece orchestra each week for the musically driven show, and his dedication to finding the right melody for "Revenge" hasn't been ignored. Variety described his music as “"smoky, elaborate film noir-inspired compositions," while Beatweek Magazine praised iZLER for making “beautiful music” that "almost acts as another character further enveloping the audience in its grasp.” Danny Elfman on Tim Burton, The Simpsons and his return to singing live While Tim Burton and Johnny Depp are widely considered to be joined at the hairdo – an emo-hipster version of Scorsese and De Niro – it's composer Danny Elfman who has been the director's most loyal and enduring collaborator. Think of any of Burton's deranged goth-com fantasies, from Beetlejuice and Batman to Sleepy Hollow and Frankenweenie, and it will be Elfman's barbed and bouncy compositions that spring to mind as readily as man-child misfit heroes or morbid, arachnophile art design. Elfman, now 60, was the frontman of performance art outfit turned rock band Oingo Boingo when Burton asked him to score his 1985 debut film, the comic road movie Pee Wee's Big Adventure.
How the Game of Thrones Composer Scored the Massively Epic Music of Pac Rim Photo: Max S. Gerber Ramin Djawadi’s got a knack for sonic boom. As the composer for movies like Iron Man and Blade: Trinity and TV shows like Game of Thrones, he’s created a songbook filled with everything from ominous doom-and-gloom tones to fist-pumping musical adrenaline. Now he’s brought his brand of utter badassery to the kaiju-on-mecha saga Pacific Rim. Interview with Thomas Newman Tuxedoed penguins, dancing chimney sweeps, a housekeeper floating in on an umbrella to tame a household of errant children – all accompanied by some of the most memorable songs to grace a Disney movie, let alone any family film in Hollywood via England history. These confections make for the enduring magic that is “Mary Poppins,” a movie that’s melodiously synonymous with family warmth. However, the real story behind this heartwarming classic was anything but harmonious, especially when “Poppins” decidedly Scrooge-like creator arrived in LA’s magic kingdom like a serving of castor oil – haunted by a childhood that was anything but a fairy tale. Such is the pre-production from hell fable that makes for the ultimate wonderment of “Saving Mr. Banks,” not that the songwriting-scoring team of Richard and Robert Sherman ever thought they’d survive it. “Saving Mr.
'Philomena' Composer Alexandre Desplat Probably Wrote One Of Your Favorite Film Scores Composer Alexandre Desplat may not have the same name recognition to mainstream audiences as Hans Zimmer, but his body of work speaks for itself. The French born Desplat, a five-time Oscar nominee, has contributed scores to dozens of movies over the last decade, including "Harry Potter and the Deathly Hallows," "The Twilight Saga: New Moon," "The King's Speech," "The Queen," "Zero Dark Thirty," "Moonrise Kingdom," "Fantastic Mr. Fox," "Argo," "The Curious Case of Benjamin Button," "The Tree of Life," "Julie & Julia" and many more. Alexandre Desplat Talks Embracing Humor Through Music in 'Philomena' Score Judi Dench and Steve Coogan in 'Philomena' Composer Alexandre Desplat has never scored a comedy before and, although one wouldn't call "Philomena" a comedy, he nonetheless found the witty repartee between Judi Dench and Steve Coogan a lighter change of pace for his fifth collaboration with director Stephen Frears. "The movie has this duality, which is often the case with Stephen's movies, where the tragedy is very strong but there's also this distant wit," Desplat suggests. "There's this balance between drama and comedy. It's always a better way of delivering a message, whether it's political or social.
Bernard Herrmann: The Ghost & Mrs. Muir - Film Score Guide - Alexander Publishing Regarded as one of the greatest film composers of all time, Bernard Herrmann was responsible for some of the most memorable music in film. His work with Alfred Hitchcock produced a slew of classics including Vertigo (1958), North by Northwest (1959), and Psycho (1960). Several years before collaborating with Hitchcock, however, Herrmann composed the brilliant score for The Ghost and Mrs. Muir (1947), which remained a personal favorite of the composer's. Herrmann's score reinforces the film's romantic theme, and much of the music has an appropriately elegiac quality.
'Game of Thrones' Composer Ramin Djawadi: 'I'm Just Trying to Create Something Magical' (Q&A) Courtesy of Ramin Djawadi Ramin Djawadi HBO's Game of Thrones composer Ramin Djawadi was recruited for Hollywood by composer Hans Zimmer, with whom he shared an ASCAP Award for Batman Begins. Grammy-nominated for Iron Man and Emmy-nominated for Prison Break and FlashForward, he's set to score Guillermo del Toro's upcoming sci-fi epic Pacific Rim. Djawadi tells The Hollywood Reporter’s Victoria Ellison how he makes Thrones sound magical and why Daenerys (Emilia Clarke) is his favorite character.
Alien - Scorepedia Alien is the Jerry Goldsmith score for the 1979 science fiction horror film directed by Ridley Scott about a deep-space tugboat crew who face a hostile alien life form that boards their ship and destroys them. The film marked the first collaboration between Scott and Goldsmith—a turbulent partnership that resulted in most of the music being revised, rescored, relocated, or dropped altogether in favor of temp tracks. Though the score did not survive as a whole in the finished film, it gained widespread familiarity and popularity through the release of its soundtrack album following the success of the movie, and has since become one of the most admired of Goldsmith's science fiction scores.
Elliot Goldenthal People + Opinion : Artists / Engineers / Producers / Programmers One of Hollywood's most intelligent composers, Elliot Goldenthal is equally adept at writing for the big screen as the concert hall or theatre. We talk to him about his background and approach to composition, technology and orchestration. Mark Wherry From Music Editor to Oscar Winning Composer: The Surprising Story Behind the Music of 'Gravity' When Steven Price came on to "Gravity," it was for a short two-week music editing gig; when he left, he'd spent a year on the project as the film's composer. At first, Price was brought on to help with an internal studio screening for Alfonso Cuarón's technologically-stunning space epic and the two got to talking about how music could work in the film. Two weeks became six weeks, and then Cuarón asked Price to write the score. "When I spoke to Alfonso, it was clear that he was looking to do something different," Price told me in a phone interview from London. "He was looking to investigate how the music could work."