It’s only a matter of weeks after Oscar season ends that Emmy season begins. I know, it’s hard to believe, but within the industry — especially the many publicists we deal with on a daily basis — the calendar year has become one long awards season. Still, Emmy season is a great way to catch up on the many fine shows that now grace the small screen, and in this first of a series of stories about Emmy-worthy work in music for television, we look at a handful of potential nominees in the series- and limited-series-scoring categories.
Composers John Powell and Germaine Franco took top honors at this week’s ASCAP Screen Music Awards. Powell won the Henry Mancini award for lifetime achievement as a film composer (for such scores as How to Train Your Dragon, The Bourne Identity and Solo: A Star Wars Story), while Franco (songwriter for Coco, currently scoring TV’s Vida) received the Shirley Walker award for contributing to “the diversity of film and television music.” Other honorees included Gordy Haab and Dave Porter; a full rundown of the evening is in my Variety story here.
Composer John Powell, the much-respected Oscar nominee for How to Train Your Dragon (and such other delightful animated scores as Happy Feet, Rio and Ferdinand), reviewed the entire Solo: A Star Wars Story experience with me for this Variety story, which ran the day before the film opened. It’s a fascinating odyssey that involves collaboration with John Williams (who penned “The Adventures of Han” theme used throughout Powell’s score), the creation of several new themes, and an unusual trip to Bulgaria to record a women’s choir for the score.
According to the Sony Classical label which released it, the soundtrack album for Deadpool 2 is the first score soundtrack in history to be released with a “parental advisory” warning on its front cover. That alone was reason enough to check out the movie, the score and the album, and composer Tyler Bates was kind enough to spend a few minutes talking, and laughing, about it for this story in Variety. Bates, perhaps best known for his Guardians of the Galaxy scores, invited director David Leitch to pen a few profane lyrics — entirely appropriate for the endlessly irreverent comic-book hero — for a Hollywood choir to sing.
It’s always an honor to spend time with the legendary John Williams. I had a few moments with the maestro before he received BMI’s latest honor, named after him, and added a few tidbits about his current schedule in the Variety story I wrote the next morning. He was especially excited about the piece he’s written for cello and harp to celebrate the Leonard Bernstein centennial later this year at his beloved Tanglewood.
Composer John Williams has won practically every award possible in his long and distinguished career — Oscars, Emmys, Grammys, even the Kennedy Center Honor and the American Film Institute’s Life Achievement Award. So Broadcast Music Inc. (BMI), one of the nation’s leading performing-rights societies — which had already given him its top honor in 1999 — gave him an even higher honor by naming a new award after him. It was a particularly star-studded evening, as I tried to convey in this Variety story about the society’s annual Film, TV and Visual Media Awards in Beverly Hills.
The Academy never stops tinkering with the music rules. The latest addition is actually a throwback to an earlier era: There will now be an Oscar “shortlist” for best song and best score of the year, a 15-film list for each category from which the final five nominees will be chosen. It’s a process the Academy music-branch used to follow, back in the ’60s and ’70s, but long ago abandoned. Academy governors refused to discuss the reinstatement of the concept, but I obtained an in-house document and talked to Academy insiders about what it means and how it will be accomplished for this Variety story.
This year, many cities in Europe will be treated to “The World of Hans Zimmer,” a concert featuring orchestra, choir and soloists performing some of the famous composer’s greatest works for film (everything from Gladiator and Inception to The Lion King and The Dark Knight). For the program, was pleased to be asked to write an essay putting the German-born, London-trained and now L.A.-based composer’s career into perspective. It wasn’t easy — but it was fun. Around the same time, I managed to break the story about Zimmer receiving the Max Steiner Award this fall at Hollywood in Vienna; that Variety piece is here.
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.
I’ve been fascinated by the backstory of Superman’s home world as long as I’ve been reading DC Comics (which I did, a lot, back in the 1960s). So I was understandably curious about the new series Krypton, which debuted last night on the SyFy channel — and about what kind of music might accompany it. Turkish composer Pinar Toprak is scoring the series (entirely in her home studio, for a largely synthesized sound) and even providing all the background music for the pubs that Superman’s grandfather Seg-El frequents. Here is the Variety story I wrote about Toprak, who producer Cameron Welsh considers “a rising star” among Hollywood composers.