An unexpected controversy arose over music in the new Shaft movie, starring Samuel L. Jackson, Richard Roundtree and Jessie T. Usher as three generations of the Shaft family. Isaac Hayes III, son of the Oscar- and Grammy-winning soul-music icon, hoped to produce the new film’s soundtrack; but that didn’t happen, and the New Line film contains newly recorded versions of the classic theme but no actual tracks by the composer (who died in 2008). I interviewed both the heir, composer Christopher Lennertz (who scored the new film) and sources close to the studio for this Variety story.
Christopher Lennertz, veteran composer of Supernatural, Revolution and other series, has pulled off his greatest TV assignment to date: the Netflix reboot of the 1960s classic Lost in Space. He not only recorded with an orchestra in London’s Abbey Road studio, he incorporated John Williams’ original TV theme (actually, Williams’ second theme for the series, used in its 1967-68 season) as well. This Variety story explains how he went about writing eight hours of music in 10 weeks.
My friends at Emmy magazine asked me to profile three composers, all potential Emmy nominees for their scores for TV series in the 2012-13 season. Here’s the piece about John Lunn, who scores PBS’s Downton Abbey. I also wrote about Christopher Lennertz of NBC’s Revolution and Ramin Djawadi for HBO’s Game of Thrones. Will try to post those shortly.
One of the most contentious, and complex, issues facing Hollywood studio musicians is the role that the American Federation of Musicians (AFM) plays in their lives. If a movie production company or studio isn’t legally bound to score in Hollywood (only major studios and networks are), then they often choose to go overseas to record their music. A growing number of musicians are unhappy about this, and many are urging the AFM to agree to concessions in order to keep more recording work in L.A. This story reports what many had to say at a meeting in Santa Monica in late 2012. (The headline, incidentally, is misleading; it’s not so much about the composers but rather about the musicians who play the music.) And here’s a followup story from January 2013 on the issue.