If you left Guardians of the Galaxy Vol. 2 unexpectedly moved by the finale, you can thank composer Tyler Bates, whose symphonic and choral work was perhaps his most accomplished yet in films. Bates, a former rock guitarist who still goes out on the road with Marilyn Manson from time to time, has not only… Read More
As Emmy Awards season begins, we take an overall look at the nominations in all of the music categories, including the ones for original composition (for a series, for a movie or miniseries, for theme, and original song), for music direction, and the new sixth category, for music supervision. Music supervisors are hailing this decision… Read More
Let’s face it, there is no more famous Spider-Man music than the cartoon theme everybody remembers from the 1960s. (“Is he strong? Listen, bud: he’s got radioactive blood!”) Composer Michael Giacchino, commissioned to score the new Spider-Man: Homecoming film for Marvel/Sony, knew this and decided to replace his own Marvel logo music at the start… Read More
It isn’t often that I go after a “scoop” — what we print journalists used to call getting to a hot story first. But when I heard that John Williams would not be scoring both of the Steven Spielberg films currently in production (The Papers and Ready Player One), I thought it was worth the… Read More
As you know, I tend to wax nostalgic about classic TV music of the ’60s and ’70s. But there’s a lot of really exciting work being done now in television, too, and much of it was showcased in a Television Academy concert called “Words & Music” Thursday night, June 29, at the Academy’s Saban Media… Read More
It’s always a pleasure to interview composer Randy Newman, and even more fun to attend a recording session for one of his movie scores. Newman loves the orchestra — and they love him, as you’ll read in a story for this week’s Variety — and for Cars 3, he used no fewer than 107 musicians…. Read More
Composer Brian Tyler (The Fate of the Furious, Avengers: Age of Ultron) penned more than two hours of music for Universal’s remake of The Mummy, including a massive orchestra and choir recorded earlier this year at London’s Abbey Road. I interviewed Brian for Variety, which asked me to place the new Mummy score in the… Read More
To launch this season’s Variety coverage of the Emmy race in the music categories, I talked with a TV Academy governor and five music supervisors who may be possible nominees (for such diverse series as Halt & Catch Fire, Outsiders, Empire, Star, 13 Reasons Why and Ray Donovan) in the new category of Outstanding Music… Read More
Stephen Schwartz was honored last week with the Founders Award of the American Society of Composers, Authors and Publishers (ASCAP). In addition to covering the annual ASCAP Screen Music Awards for Variety — which featured not only the Schwartz honor but a number of other awards doled out to film, TV and video game composers… Read More
Oscar-nominated, Grammy- and Emmy-winning composer Alan Silvestri received BMI’s Icon Award Wednesday night at the Beverly Wilshire Hotel. His was the top honor among dozens distributed by the performing-rights society. The evening was a who’s-who of composers, songwriters and music supervisors active in films and TV. Variety asked me to cover the event, so I… Read More
On Monday night, it was my pleasure to lead a Q&A with composer Michael Giacchino after a Society of Composers & Lyricists screening of his latest film, War for the Planet of the Apes, on the 20th Century-Fox lot. It is Giacchino’s second film in the Apes series (after Dawn, in 2014) and his fourth film with director Matt Reeves (the Apes movies, Let Me In and Cloverfield). The composer reported that 90% of the score — played by a massive orchestra and choir on the Fox scoring stage — was original, and he even came with props: the mixing bowl used by percussionist Emil Richards on Jerry Goldsmith’s original 1968 Planet of the Apes, and a ram’s horn that he played himself on both of his Apes scores.
It was a genuine thrill to visit George Lucas’ Skywalker Ranch to address the Fellows of this year’s Sundance Institute “Music and Sound Design Lab” for feature films. I talked about the possibilities of music and image with the directors and composers who were collaborating on their first films. The Marin County setting is stunning and I was one of several “creative advisors” on board (some of the others were composers Thomas Newman, George S. Clinton, Harry Gregson-Williams and Christophe Beck, director Miguel Arteta and sound designer Randy Thom). Film Music director Peter Golub, Feature Film director Michelle Satter and BMI executive Doreen Ringer Ross were immensely supportive.
For my first Variety Artisans video, I interviewed veteran musical-theater songwriter Stephen Schwartz, the recent recipient of ASCAP’s Founders Award, at the renowned Nightbird Studios in Hollywood. He talked about the ASCAP honor, discussed the status of the Wicked movie (due, we hope, in 2019), and previews a new song that he has written for the stage version of Prince of Egypt, which will debut in Palo Alto, Calif., later this fall.
A new film on the craft of creating music for movies, Score: A Film Music Documentary, opens this weekend in New York (and next weekend in Los Angeles). It features new interviews with composers including Hans Zimmer, John Powell, Quincy Jones, Brian Tyler, John Debney, David Arnold, Rachel Portman and others; footage from earlier films featuring John Williams and Thomas Newman; and commentary from critic Leonard Maltin, agent Richard Kraft, Disney executive Mitchell Leib, record producer Robert Townson, director James Cameron, and many more. I am on camera from time to time to offer historical perspective. Filmmaker Matt Schrader filmed numerous scoring sessions in Los Angeles and London, and the result is a fast-moving, illuminating look at the art and business of movie music. You’ll see me in the trailer, which is here along with the New York Times‘ rave review.
On Thursday I was pleased to be part of the advance showing of the season-ending cliffhanger of Hulu’s acclaimed The Handmaid’s Tale. It was a special screening that included a live-to-picture performance of the score by Adam Taylor (22 musicians from the Hollywood Studio Symphony conducted by Peter Rotter). Afterwards, I conducted a Q&A with the composer about his unusual musical choices and dark soundscape for the chilling dystopian drama. Here is an overview of the event and my interview with Taylor. The Montalban Theatre was packed with nearly 1,000 Handmaid’s Tale fans; star-producer Elisabeth Moss and several of her co-stars were also on hand.
It was a pleasure to moderate a panel at Friday’s ASCAP “I Create Music” Expo at the Loews Hollywood Hotel. The topic was “Women in Film Music” and the panelists included composers Lesley Barber (Manchester by the Sea), Stephanie Economou (The Zookeeper’s Wife), Carly Paradis (Line of Duty) and Pinar Toprak (The Lightkeepers). ASCAP’s Rachel Perkins also introduced Lolita Ritmanis of the Alliance for Women Film Composers and Tracy McKnight of Women in Film, who kicked off the discussion about the expanding profile of female composers for film, TV and games. It was a stimulating hour with these thoughtful, remarkable women and I was honored to be on stage with them.