John Powell, one of today’s most talented film composers, is the subject of a special section in Variety this week (Rio 2 is now in release and How to Train Your Dragon 2 is upcoming). In my main story, I discuss his status as today’s leading animation composer but also talk to directors Doug Liman, Carlos Saldanha, Paul Greengrass and Dean DeBlois as well as composers Hans Zimmer and Gavin Greenaway about what makes Powell so special.
For Variety‘s latest Music for Screens issue, I was asked to profile Amos Newman and take an inside look at one of the industry’s newer composer-representation agencies (his clients include Hans Zimmer, Trent Reznor and Junkie XL). A fascinating day inside the WME offices.
I love writing about the non-film work of composers better known for their movie scores. Elliot Goldenthal has been commissioned to write his first symphony, and the Pacific Symphony — in addition to debuting the Goldenthal work — will also showcase pieces by James Horner and Howard Shore. Here’s a piece I wrote for Variety previewing them.
The AFM has become increasingly critical of studios who make movies in the U.S. but go overseas to score them because it’s cheaper. Today they launched a new campaign to call wider public attention to the issue.