On Sunday, the American Youth Symphony — widely considered the finest young, pre-professional orchestra in the country — played John Williams’ complete score for E.T., the Extra-Terrestrial, live to picture at UCLA’s Royce Hall. It was only the third time ever in Los Angeles (Williams himself conducted it at the Shrine Auditorium in 2002, David… Read More
This piece, the lead Artisans story in this week’s Variety, was both complicated and a joy to write. Disney/Pixar always goes to great lengths to find the right score (and often songs) for each of its films, but on Coco they went to extremes. Coco, which opens next week, is set during Mexico’s “Day of… Read More
Movie music in the concert hall seems to be, as they say, “trending” — it’s more popular than ever, and in many different forms. For the lead story in this week’s Variety “Music for Screens” section, I interviewed three composers (David Newman, who recently conducted the New York Philharmonic in sold-out Star Wars shows ;… Read More
For Variety‘s first Contenders issue of the year, I profiled four early scores that could be vying for “original score” honors as the 2017 awards season gets underway: Dario Marianelli’s music for Darkest Hour; Thomas Newman’s music for Victoria & Abdul; Carter Burwell’s music for Wonderstruck; and Rupert Gregson-Williams’ music for Wonder Woman. This is… Read More
Renowned film and TV composer Lalo Schifrin turned 85 this year, and the occasion was commemorated Saturday night with a concert featuring many of his memorable themes — everything from Mission: Impossible and Mannix to Bullitt and Dirty Harry. It was a co-production of Musicians at Play Foundation and Varese Live, with proceeds benefiting the… Read More
With Blade Runner 2049 opening this weekend, and the colossal box-office success of It, I thought it was the perfect moment to talk at length with composer Benjamin Wallfisch about both scores — which, incidentally, couldn’t be farther apart in terms of style and execution. Wallfisch collaborated with Hans Zimmer on the all-electronic score for… Read More
It was a genuine thrill to be the first journalist allowed to hear the songs that Oscar- and Tony-winning tunesmiths Benj Pasek and Justin Paul have penned for the upcoming Hugh Jackman film The Greatest Showman (debuting at Christmas), a musical biopic of the legendary P.T. Barnum. It’s the lead music story in this week’s… Read More
In his first interview about scoring the new Star Trek: Discovery series, composer Jeff Russo talks about how he came up with the theme, the use of full orchestras (now a rarity in weekly TV scoring), and about the idea of a more nuanced approach to scoring the Klingon Empire. Variety published this today, just… Read More
Writer-director-actor-singer Seth MacFarlane loves the orchestra — not just as backing for his albums and live musical appearances, but for his movies and TV shows too. He is a fan of classic movie scores and understands the value of real musicians helping to support the emotional needs of both drama and comedy. So for his… Read More
The annual John Williams concerts at the Hollywood Bowl are always cause for celebration, and they remain as popular as ever, generally selling out three consecutive nights on a late-summer weekend. But this year offered a surprise: Williams conducted, live-to-picture, his score for the animated short Dear Basketball, based on Los Angeles Lakers legend Kobe… Read More
- November 11, 2017 at 3:05 pm
The Disney-Pixar film Coco is going to be a big hit during the post-Thanksgiving period, and critics are already calling it one of the best animated films of the year. It was an honor to be asked to interview the entire Coco music team Thursday night after a Society of Composers & Lyricists screening at the Pacific Design Center. L to R in the photo: co-director, co-songwriter and writer Adrian Molina; songwriter and orchestrator Germaine Franco, whose Mexican-American heritage became a big factor in achieving an authentic sound for this “Day of the Dead”-themed story; composer Michael Giacchino, whose previous five Pixar films include Ratatouille (an Oscar nominee) and Up (an Oscar winner); songwriters Bobby Lopez and Kristen Anderson-Lopez, whose “Remember Me” is certain to be short-listed for awards this season; and yours truly. A memorable evening.
- November 9, 2017 at 2:50 pm
It was a distinct pleasure to interview composer Alexandre Desplat about his music for The Shape of Water after a Society of Composers & Lyricists screening of the film Wednesday night at the Arclight in Culver City. Desplat, an eight-time Oscar nominee (who won for The Grand Budapest Hotel), is always thoughtful, articulate and witty, and that evening was no exception. He discussed his collaboration with director Guillermo del Toro (their first) and his comments about how the look, feel and sound of water influenced his writing were fascinating. I will write a story for Variety about this in the coming weeks.
- November 8, 2017 at 2:43 pm
A busy week of live audience Q&As after new movie screenings began on Tuesday at the beautiful Zanuck Theatre on the 20th Century-Fox lot. After a showing of the new Kenneth Branagh film Murder on the Orient Express, I interviewed Scottish composer — and longtime Branagh collaborator — Patrick Doyle about his score, and original song, for the film. Doyle is a delightful raconteur and the Society of Composers & Lyricists audience left informed and entertained. Composer John Powell, an old friend and colleague from late 1980s London, was also there and brought down the house with a few well-chosen quips.
- October 14, 2017 at 7:10 pm
I just want to say this from the outset: I love this guy. I first met Paul Williams a few years ago when we were in Santa Barbara talking about mutual friend Elmer Bernstein. But I’ve been a fan since the 1970s, when I discovered his songwriting abilities, first for the Carpenters (“We’ve Only Just Begun”), then in movies (“Evergreen,” “The Rainbow Connection”) and even TV (“The Love Boat”). I leapt at the chance to do an on-camera interview for the Film Music Foundation about his movie and TV career. You’ll find it here, among several other interviews (several by me) with craftspeople in the film and TV music arena. It’s less than 90 minutes — please watch!
- October 7, 2017 at 8:23 am
I interviewed Mychael Danna, the Oscar-winning composer of Life of Pi, on Friday at the Production Music Association conference in Hollywood. It was a delightful hour, as Danna regaled the crowd of approximately 500 composers with stories of his 30-year career in media music. Perhaps the foremost proponent of the use of world music and musical multiculturalism in films, he discussed his drive to record authentic, often exotic instruments with top musicians in their home countries. He also gave the room an early preview of his music for an upcoming animated film, The Breadwinner, and talked about remotely recording Afghan singers and musicians for the score.
- October 4, 2017 at 12:40 pm
One of the most-anticipated movies of the fall season is Blade Runner 2049, and I was offered the opportunity to interview composers Hans Zimmer and Benjamin Wallfisch for a half-hour Facebook Live previewing not only the film but also the soundtrack album being released Thursday via Epic Records. Zimmer and Wallfisch talked about their collaboration with director Denis Villeneuve, about their admiration for the iconic Vangelis score for the 1982 Blade Runner, and how they managed to evoke that sonic world for the new film while also extending it into new musical realms as appropriate. Joining us later in the conversation was singer-songwriter Lauren Daigle, who contributed a song, “Almost Human,” to the soundtrack. Scroll down to the Oct. 3 videos on the Facebook Blade Runner page for the 28-minute conversation.