One of the year’s most anticipated sci-fi extravaganzas, A Wrinkle in Time, features both a new song by Sade (her first for a film in over 30 years) and a score by Game of Thrones favorite Ramin Djawadi. Variety asked me to examine the music of the film, so I visited the scoring stage to watch Djawadi conduct and then interviewed director Ava DuVernay about her musical choices. (It turns out she’s a Game of Thrones addict and couldn’t wait to hire its musical architect for her adaptation of Madeleine L’Engle’s novel.)
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 ; Ramin Djawadi, whose Game of Thrones tour was so successful he’s planning another; and Hans Zimmer, whose European and American tours transformed the traditional “film music” show into more of a rock concert); and three producers, including Steve Linder and Jamie Richardson from Film Concerts Live! and Richard Kraft, who has produced a number of concerts of Danny Elfman and Disney films.
The obsession that some Game of Thrones fans have with Ramin Djawadi’s music took even the composer by surprise. (The numbers associated with the various YouTube versions of the theme — from serious ones on violin or cello to wacky ones for cat, floppy disc, wine glasses and more — are simply astounding.) Now, however, fans of the HBO series who must wait another year for new episodes can get their fix with a live concert version that will tour North America in early 2017. I attended the press conference at which Live Nation announced the plans, and composer Djawadi talked about the phenomenon.
For this season’s Emmy contenders issue, the editors at Variety posed an interesting question: When TV series run two, three, four or more seasons, how do the composers treat their characters and story arcs? Is it best to ground them in familiar musical territory, or should the scores reflect the changing, often expanding, storylines? I interviewed a wide range of composers to find out how they handled the challenge: Bear McCreary (Outlander), Blake Neely (The Flash), Joey Newman (The Middle), Jeff Beal (House of Cards), Ramin Djawadi (Game of Thrones), John Lunn (Downton Abbey) and Sean Callery (Homeland).
I’ve participated in many concerts over the years, but few can compare with the extraordinary evening of television music we did at UCLA’s Royce Hall Wednesday night. I was honored to host, and to conduct on-stage interviews with the likes of John Lunn (Downton Abbey), Alf Clausen (The Simpsons), Sean Callery (Elementary), James S. Levine (American Horror Story) and Walter Murphy (Family Guy).
A sold-out audience got to hear music by all these composers, plus Jeff Beal (House of Cards), Bear McCreary (DaVinci’s Demons), Trevor Morris (The Borgias) and Ramin Djawadi (Game of Thrones). One of my favorite moments was introducing Wendy Melvoin and Lisa Coleman (Nurse Jackie) and declaring that they are “leading the way for the next generation of women composers in Hollywood.“ Here is a rundown of the evening; here’s Variety’s story; and here’s another one from the TV Academy itself with more fun photos.
It’s been in the works for a year, but the pieces are now coming together and the Television Academy is going to stage its own concert of great music from current TV shows. (A few weeks after I broke this story, the Academy asked me to host the concert. I did.)
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.