I love putting together Variety‘s annual chart examining all the nominees in Emmy’s various music categories, because it gives me a chance to talk with the composers about the musical and dramatic challenges they face. I assembled some of the best quotes from the six nominees in Emmy’s “music composition for a limited series, movie or special” category into a story for this week’s edition. Interviewed: James Newton Howard (All the Way), Martin Phipps (War & Peace), Victor Reyes (The Night Manager), Jeff Beal (Jesse Stone: Lost in Paradise), David Lawrence (Descendants) and Jeff Russo (Fargo) — all super-talented composers who deserve their nominations. And here is a story chronicling all of the Emmy winners (announced Sept. 10).
One of my most enjoyable tasks is the preparation of Variety‘s annual chart looking at all of the nominees in Emmy’s five music categories: original music for series; original music for movies, miniseries or specials; main title themes; music direction (usually for one-shot specials); and original songs for TV. Because it’s a chart, it rarely makes the transition from print to web, so we’ve scanned it and made it available here. The challenge is usually twofold: checking each nominee’s Emmy record (not easy because the Television Academy’s own database is incomplete and sometimes inaccurate) and condensing its musical essence down to a few words.
Thursday night at the Directors Guild of America, four collaborators on the Jesse Stone television movies joined me on stage after a screening of the latest Hallmark Channel movie, Jesse Stone: Lost in Paradise. The occasion was composer Jeff Beal’s Emmy nomination for Music Composition for a Limited Series, Movie or Special, and it was a treat to hear star Tom Selleck, director Robert Harmon and writer-producer Michael Brandman extol Beal’s music as a key component of the storytelling in all nine Jesse Stone movies. I was delighted to act as moderator and to find out, first-hand, that actor-writer-producer Selleck was as interested in the contribution of music as everyone else on that stage.
Every year it’s my privilege to interview many of the composers nominated for Emmys in the key music categories. The occasion is usually the creation of Variety‘s full-page chart devoted to brief descriptions of the music in all five categories. But this year I’m doing more, beginning with a story utilizing what I heard from all six nominees in the category of Music Composition for a Series (Original Dramatic Score) — music from Bates Motel, Chef’s Table, Limitless, Minority Report, Mr. Robot and Penny Dreadful. It’s always fun to hear what these hugely talented composers have to say about their diverse assignments.
The Television Academy likes to spread the wealth, as seen in this year’s crop of nominations in Emmy’s five musical categories: music for series, music for longform TV (miniseries or movies), music direction, title themes, and original songs. Nearly half of all the nominees are first-timers to the party, and that’s always nice to see. (Fans of the music for ultra-popular shows like Game of Thrones, House of Cards, Downton Abbey and others were disappointed when those scores failed to receive a nod, although all have been past nominees or winners.) And the song category has special zing this year: Alan Menken could become an EGOT and Diane Warren has achieved something no previous songwriter has. Here’s a rundown and quick analysis. I’ll be visiting each of these scores later during Emmy season for Variety.
One of my most challenging, but also fascinating, annual Variety assignments is looking at every nominee in all five Emmy music categories and finding something informative to say about each. (For example, Jeff Beal’s Hebraic-flavored theme for The Dovekeepers used a soprano, a duduk and Middle Eastern percussion). We then assemble a chart examining all 30 (including such details as their Emmy record, how many past wins or whether they’re a first-time nominee). And the chart is featured at the Society of Composers & Lyricists’ annual Emmy reception, which is a source of pride for us at Variety. It never looks as good in the online version. Here’s what it looks like in print.