Cinedigm and its Bloody Disgusting-powered horror platform Screambox announced today that the acclaimed horror documentary Pennywise: The Story of It, an in-depth look at the 1990 miniseries based on Stephen King’s iconic novel, will release November 22 as a Collector’s Edition Blu-ray! You can pre-order on Amazon now!
An in-depth look at the 1990 mini-series based on Stephen King‘s novel, The Pennywise: The Story of It Collector’s Edition Blu-ray will include six bonus features, several of them exclusive to this release.
“The Book Cover” takes viewers back to the original “It” manuscript and cover design with artist Bob Giusti. “A Deeper Look at the Music” includes an extended interview with composer Richard Bellis, discussing what inspired his classic score. “Georgie: A Short Film” is a narrative short featuring cast from the original miniseries. In “Childhood Phobias”, miniseries cast and crew discuss their own childhood fears. The Extras of “It...
An in-depth look at the 1990 mini-series based on Stephen King‘s novel, The Pennywise: The Story of It Collector’s Edition Blu-ray will include six bonus features, several of them exclusive to this release.
“The Book Cover” takes viewers back to the original “It” manuscript and cover design with artist Bob Giusti. “A Deeper Look at the Music” includes an extended interview with composer Richard Bellis, discussing what inspired his classic score. “Georgie: A Short Film” is a narrative short featuring cast from the original miniseries. In “Childhood Phobias”, miniseries cast and crew discuss their own childhood fears. The Extras of “It...
- 10/7/2022
- by Brad Miska
- bloody-disgusting.com
The Newman scoring stage at 20th Century-Fox was overflowing with people – and good will – as Ascap last night celebrated the 30th anniversary of its Film Scoring Workshop with a studio recording session for the 12 lucky young composers chosen to participate.
“This is like a window into the time continuum, where you can look into the future and see those who are going to make a real contribution to film music,” Ascap president and chairman Paul Williams said. “It’s a cultural gift in one sense, but on another level it’s a really smart business investment.”
The performing-rights society sponsors this four-week event for emerging film and TV composers every summer, with Emmy winner Richard Bellis at the helm. Ascap arranges meetings with agents, lawyers, studio executives and experienced composers; this year’s field trips included visits to the studios of Junkie Xl (“Mad Max Fury Road”), Matthew Margeson...
“This is like a window into the time continuum, where you can look into the future and see those who are going to make a real contribution to film music,” Ascap president and chairman Paul Williams said. “It’s a cultural gift in one sense, but on another level it’s a really smart business investment.”
The performing-rights society sponsors this four-week event for emerging film and TV composers every summer, with Emmy winner Richard Bellis at the helm. Ascap arranges meetings with agents, lawyers, studio executives and experienced composers; this year’s field trips included visits to the studios of Junkie Xl (“Mad Max Fury Road”), Matthew Margeson...
- 8/2/2018
- by Jon Burlingame
- Variety Film + TV
Two major performance-rights organizations announced this week the launch of workshops designed to aid up-and-coming film and TV composers: Ascap, for film scoring; and Bmi, for conducting.
Both are multi-week events for which hundreds apply annually, and the two will culminate in live recording sessions at Los Angeles area studios later this month.
Ascap began its 30th annual Film Scoring Workshop today, with Emmy-winning composer Richard Bellis as mentor and Ascap film and TV executives Michael Todd and Jennifer Harmon producing.
It’s a comprehensive, four-week program that has proven a launching pad for many composers in the past, including Jim Dooley (“Pushing Daisies”), Rob Duncan (“Castle”), Matthew Margeson (the “Kingsman” movies), Cliff Martinez (“Drive”), Mateo Messina (“Juno”) and Austin Wintory (“Journey”).
This year’s 12 composers — chosen from nearly 400 applicants — include Shaun Crawford of Cape Town, South Africa; Damien Lane of Cambewarra, Australia; Kyle Laporte of Playa Del Rey, Calif.
Both are multi-week events for which hundreds apply annually, and the two will culminate in live recording sessions at Los Angeles area studios later this month.
Ascap began its 30th annual Film Scoring Workshop today, with Emmy-winning composer Richard Bellis as mentor and Ascap film and TV executives Michael Todd and Jennifer Harmon producing.
It’s a comprehensive, four-week program that has proven a launching pad for many composers in the past, including Jim Dooley (“Pushing Daisies”), Rob Duncan (“Castle”), Matthew Margeson (the “Kingsman” movies), Cliff Martinez (“Drive”), Mateo Messina (“Juno”) and Austin Wintory (“Journey”).
This year’s 12 composers — chosen from nearly 400 applicants — include Shaun Crawford of Cape Town, South Africa; Damien Lane of Cambewarra, Australia; Kyle Laporte of Playa Del Rey, Calif.
- 7/9/2018
- by Jon Burlingame
- Variety Film + TV
Following their recent tease of the remastered triple LP release of composer Richard Bellis' creepy score for Stephen King's It, Waxwork Records has now fully unveiled the vinyl score for the 1990 miniseries, including new artwork (by Matt Ryan Tobin) approved by Stephen King himself:
It Deluxe Vinyl Score: "Waxwork Records is excited to present the deluxe debut vinyl release of Stephen King’S It Original Television Motion Picture Soundtrack. Over a year in the making, Waxwork has worked closely with Warner Bros., author Stephen King, and composer Richard Bellis to deliver a stunning triple LP set featuring the complete soundtrack from the original 1990 TV miniseries.
Stephen King’s It 1990 TV movie is a film adaptation of the 1986 horror novel by the same title. The story follows the experiences of seven children known as “The Losers’ Club” as they are terrorized by an entity that exploits the fears and...
It Deluxe Vinyl Score: "Waxwork Records is excited to present the deluxe debut vinyl release of Stephen King’S It Original Television Motion Picture Soundtrack. Over a year in the making, Waxwork has worked closely with Warner Bros., author Stephen King, and composer Richard Bellis to deliver a stunning triple LP set featuring the complete soundtrack from the original 1990 TV miniseries.
Stephen King’s It 1990 TV movie is a film adaptation of the 1986 horror novel by the same title. The story follows the experiences of seven children known as “The Losers’ Club” as they are terrorized by an entity that exploits the fears and...
- 4/10/2018
- by Derek Anderson
- DailyDead
At times bouncy, peppy, and deceptively jovial, Richard Bellis' score for 1990's Stephen King's It miniseries is also abruptly haunting and nightmarish, creating a creepy carnival-esque atmosphere that is the perfect accompaniment to Tim Curry's iconic performance as Pennywise. Waxwork Records will soon release the score like never before on a deluxe triple LP vinyl package, and to help you float until its April 10th release, they revealed a look at the cover art and details on some of the Derry-based goodies collectors can look forward to:
From Waxwork Records: "Stephen King’s It Original Soundtrack from the 1990 Television Motion Picture. The deluxe triple LP package featuring, for the first time, the complete score by Richard Bellis pressed to 180 gram Red, Blue, and Yellow “Balloon” colored vinyl, new Stephen King approved artwork by Matt Tobin, spot gloss coated tri-fold jackets, and a printed newspaper insert with instructions...
From Waxwork Records: "Stephen King’s It Original Soundtrack from the 1990 Television Motion Picture. The deluxe triple LP package featuring, for the first time, the complete score by Richard Bellis pressed to 180 gram Red, Blue, and Yellow “Balloon” colored vinyl, new Stephen King approved artwork by Matt Tobin, spot gloss coated tri-fold jackets, and a printed newspaper insert with instructions...
- 4/7/2018
- by Derek Anderson
- DailyDead
The official Facebook page for the John Campopiano’s Pennywise: The Story of It has announced more than two dozen people who worked on the mini-series as participants of the upcoming documentary. This includes folks like composer Richard Bellis, make-up artist… Continue Reading →
The post More Cast Confirmed For Stephen King’s It Documentary Pennywise: The Story of It appeared first on Dread Central.
The post More Cast Confirmed For Stephen King’s It Documentary Pennywise: The Story of It appeared first on Dread Central.
- 4/26/2017
- by Jonathan Barkan
- DreadCentral.com
“Let go. Be afraid. You all taste so much better when you’re afraid.” – It.
Winter of 1990 and ABC showed a miniseries that scared the living daylights out of viewers with it images of clowns and balloons. These were the days of Vcr’s and cassette tapes, when DVR’s and Blu-ray weren’t even thought of yet.
The miniseries It was true water-cooler banter for the next morning. Starring Richard Thomas, Tim Reid, Annette O’Toole, Richard Masur, Dennis Christopher, Harry Anderson and Tim Curry, it was based on the novel by Stephen King.
In 1960, seven pre-teen outcasts fight an evil demon who poses as a child-killing clown. Thirty years later, they reunite to stop the demon once and for all when it returns to their hometown.
The 2-parter won awards including an Emmy for it’s super creepy score – Outstanding Achievement in Music Composition for a Miniseries or...
Winter of 1990 and ABC showed a miniseries that scared the living daylights out of viewers with it images of clowns and balloons. These were the days of Vcr’s and cassette tapes, when DVR’s and Blu-ray weren’t even thought of yet.
The miniseries It was true water-cooler banter for the next morning. Starring Richard Thomas, Tim Reid, Annette O’Toole, Richard Masur, Dennis Christopher, Harry Anderson and Tim Curry, it was based on the novel by Stephen King.
In 1960, seven pre-teen outcasts fight an evil demon who poses as a child-killing clown. Thirty years later, they reunite to stop the demon once and for all when it returns to their hometown.
The 2-parter won awards including an Emmy for it’s super creepy score – Outstanding Achievement in Music Composition for a Miniseries or...
- 3/28/2017
- by Michelle McCue
- WeAreMovieGeeks.com
“Providing a fine feather in his cap, Bellis’ score was first TV horror film score to nab a coveted Emmy for Best Dramatic Underscore for Miniseries or Special. Rich, multi-layered, and ambitious, the score was certainly worthy of the award.”… Continue Reading →
The post Get With It, Part 2: Emmy Winning Composer Richard Bellis Talks Stephen King’s It appeared first on Dread Central.
The post Get With It, Part 2: Emmy Winning Composer Richard Bellis Talks Stephen King’s It appeared first on Dread Central.
- 11/14/2016
- by John Campopiano
- DreadCentral.com
Synchron Stage Vienna, a brand-new scoring stage and post-production facility, reopened in the City of Music merging the historic building with cutting-edge technology, making it a unique and one-of-a-kind recording studio.
Early March, Remote Control Productions chose Synchron Stage Vienna to record music for the upcoming Ron Howard directed feature “Inferno” (score by Hans Zimmer) and for the new Netflix series “The Crown” (score by Hans Zimmer and Rupert Gregson- Williams), created by Peter Morgan (“The Queen”). The Synchron Stage Orchestra was conducted by Johannes Vogel.
Rupert Gregson-Williams, Peter Morgan, Julian Jarrold c Heinz Zeggl
One of the world’s leading virtual instrument and sample library companies, Vienna Symphonic Library, took the initiative to renovate the landmark and upgraded the interior, providing a world class recording facility. Located in the Austrian capital, the complex offers state-of-the-art recording technology, superior acoustics, and a unique integration of Vsl’s award-winning software applications such as Vienna Mir Pro.
Early March, Remote Control Productions chose Synchron Stage Vienna to record music for the upcoming Ron Howard directed feature “Inferno” (score by Hans Zimmer) and for the new Netflix series “The Crown” (score by Hans Zimmer and Rupert Gregson- Williams), created by Peter Morgan (“The Queen”). The Synchron Stage Orchestra was conducted by Johannes Vogel.
Rupert Gregson-Williams, Peter Morgan, Julian Jarrold c Heinz Zeggl
One of the world’s leading virtual instrument and sample library companies, Vienna Symphonic Library, took the initiative to renovate the landmark and upgraded the interior, providing a world class recording facility. Located in the Austrian capital, the complex offers state-of-the-art recording technology, superior acoustics, and a unique integration of Vsl’s award-winning software applications such as Vienna Mir Pro.
- 3/22/2016
- by Michelle McCue
- WeAreMovieGeeks.com
None of us are the same.
You’ll never have to worry about competing with John Williams. I know what you are thinking: “No kidding, dude!”
No, I mean it. John Williams will never sound like you can. He’ll never sound like me. He’s not able. You might say, “Um, Deane, excuse me, but John Williams is arguably the single greatest composer living today. He can do anything.” To which I would respond, “Yes he is… and no he cannot.”
John Williams can never be Deane Ogden, or James Newton Howard, , or John Debney, or Brian Ralston, or Alexandre Desplat, or Sharon Farber, or Chris Young, or Adrian Ellis, or Hans Zimmer, or Brian Satterwhite, or Richard Bellis, or Tim Montijo, or Alan Silvestri. As long as he has written for the screen, as hard as he might try, as much as he may study, he’ll never get there.
You’ll never have to worry about competing with John Williams. I know what you are thinking: “No kidding, dude!”
No, I mean it. John Williams will never sound like you can. He’ll never sound like me. He’s not able. You might say, “Um, Deane, excuse me, but John Williams is arguably the single greatest composer living today. He can do anything.” To which I would respond, “Yes he is… and no he cannot.”
John Williams can never be Deane Ogden, or James Newton Howard, , or John Debney, or Brian Ralston, or Alexandre Desplat, or Sharon Farber, or Chris Young, or Adrian Ellis, or Hans Zimmer, or Brian Satterwhite, or Richard Bellis, or Tim Montijo, or Alan Silvestri. As long as he has written for the screen, as hard as he might try, as much as he may study, he’ll never get there.
- 6/9/2014
- by Deane Ogden
- SCOREcastOnline.com
SCOREcast No. 28
Podcast Shownotes
Original Air Date: January 11, 2011 Co-hosts: Deane Ogden and Brian Ralston
Guest Host: Richard Bellis
SCOREcast theme composed by: Jeroen “Kejero” Rogier
iTunes RSS Link Program Description: We’re ringing in the New Year with our 28th episode, and we’re mixing up the format… yet again! In this edition of the SCOREcast Podcast, Deane and Brian welcome Emmy-winning composer Richard Bellis along for the ride to talk about the state of the industry, how the Academy decides eligibility for the Best Score Oscar®, and what emerging technologies will carry forth into 2011 for media composers. Also, pay special attention for an “Easter Egg” in the final 1/3 of the show: A special shout-out to those of you attending the Namm Show this week in Anaheim, California. We are just full of surprises today on this show, so sit back, relax, smoke a cigar, and enjoy. (Okay, don’t really smoke a cigar!
Podcast Shownotes
Original Air Date: January 11, 2011 Co-hosts: Deane Ogden and Brian Ralston
Guest Host: Richard Bellis
SCOREcast theme composed by: Jeroen “Kejero” Rogier
iTunes RSS Link Program Description: We’re ringing in the New Year with our 28th episode, and we’re mixing up the format… yet again! In this edition of the SCOREcast Podcast, Deane and Brian welcome Emmy-winning composer Richard Bellis along for the ride to talk about the state of the industry, how the Academy decides eligibility for the Best Score Oscar®, and what emerging technologies will carry forth into 2011 for media composers. Also, pay special attention for an “Easter Egg” in the final 1/3 of the show: A special shout-out to those of you attending the Namm Show this week in Anaheim, California. We are just full of surprises today on this show, so sit back, relax, smoke a cigar, and enjoy. (Okay, don’t really smoke a cigar!
- 1/11/2011
- by SCO Staff
- SCOREcastOnline.com
First off, happy New Year from all of us here at SCOREcast! I truly hope that you were able to chill out a little this week, spend some quality time with people who are important to you, and steal a few quiet moments for yourself to reflect on the year that was and the year that’s headed this way in just a couple more days.
Secondly, you might notice we’ve done a little bit of year-end sprucing up around here a bit at SCOREcastOnline.com. I’ve challenged our contributor team this year to really focus on one thing with as much intent as they can: Community.
Community Chapters
Community is really the driving force behind everything that we do at SCOREcast, and it is community that will unite us across all borders and help to keep our profession of putting notes on paper thriving through the next season of filmmaking evolution.
Secondly, you might notice we’ve done a little bit of year-end sprucing up around here a bit at SCOREcastOnline.com. I’ve challenged our contributor team this year to really focus on one thing with as much intent as they can: Community.
Community Chapters
Community is really the driving force behind everything that we do at SCOREcast, and it is community that will unite us across all borders and help to keep our profession of putting notes on paper thriving through the next season of filmmaking evolution.
- 12/30/2010
- by Deane Ogden
- SCOREcastOnline.com
It took them a year, but the Society of Composers and Lyricists has come out in support of the proposed Composers Union, spearheaded by the Association of Music Composers and Lyricists (Amcl) and the Teamsters Union Local 399.
As Jon Burlingame first reported in Variety, the decision came down when the Scl board recently voted to endorse the effort.
The Amcl is expected to formally announce the Scl’s endorsement at their next organizing meeting at 7 p.m. Monday, Nov. 15, at the Writers Guild Theater.
Since last April’s addition of several Amcl steering committee members (including composers Mike Post, Sean Callery, Rick Marvin, Richard Gibbs, and others), the Scl is the most recent organization to come out in support of the Amcl’s retooled campaign for a “benefits only” union for composers. Earlier this year, organizations including WGA, SAG, AFTRA, Afm, and the Recording Musicians Assn. (Rma) formally endorsed the effort by the Amcl.
As Jon Burlingame first reported in Variety, the decision came down when the Scl board recently voted to endorse the effort.
The Amcl is expected to formally announce the Scl’s endorsement at their next organizing meeting at 7 p.m. Monday, Nov. 15, at the Writers Guild Theater.
Since last April’s addition of several Amcl steering committee members (including composers Mike Post, Sean Callery, Rick Marvin, Richard Gibbs, and others), the Scl is the most recent organization to come out in support of the Amcl’s retooled campaign for a “benefits only” union for composers. Earlier this year, organizations including WGA, SAG, AFTRA, Afm, and the Recording Musicians Assn. (Rma) formally endorsed the effort by the Amcl.
- 10/29/2010
- by SCO Staff
- SCOREcastOnline.com
No, I’m not referring to Deane’s post from yesterday about Notational Velocity (although it was pretty cool!).
I have been given the rare opportunity to hijack the Open Forum Friday for today, so I figured since nobody else in town seems to be talking about it, I’d try to drag the topic of the proposed “union” back from the dead and see if there was still any blood to leech from it. (Speaking of leeching blood, who else is eagerly awaiting The Walking Dead on Halloween night?)
In all seriousness, there are interesting arguments both for and against a Composers Union in La. But is one even feasible? Is it worth it? Is it too late? Is it necessary? Are we longing for the past when we should be facing the reality of the future? These are all questions that are, frankly, still unanswered. God bless the guys on the dais,...
I have been given the rare opportunity to hijack the Open Forum Friday for today, so I figured since nobody else in town seems to be talking about it, I’d try to drag the topic of the proposed “union” back from the dead and see if there was still any blood to leech from it. (Speaking of leeching blood, who else is eagerly awaiting The Walking Dead on Halloween night?)
In all seriousness, there are interesting arguments both for and against a Composers Union in La. But is one even feasible? Is it worth it? Is it too late? Is it necessary? Are we longing for the past when we should be facing the reality of the future? These are all questions that are, frankly, still unanswered. God bless the guys on the dais,...
- 10/22/2010
- by Jai Meghan
- SCOREcastOnline.com
First, let me say that unionization will not solve all the challenges facing our community. The events which have led to our current state are many and varied. Collectively they might be appropriately referred to as the “perfect storm”. Some, but certainly not all, might be:
1. A veritable glut of young people desiring to become working media composers.
Why? Maybe it has to do with the availability of electronics. Maybe due to Star Wars. Writing music to picture makes lesser music more important and effective, not to mention having a film to use as inspiration.
2. Filmmakers graduating from film school without any training in the use of music as a post production tool.
How, then, can they be expected to adjudicate which composer or what music will best service their film?
3. Reduced cost of both film making and music making.
The digital age allows films to be made on a...
1. A veritable glut of young people desiring to become working media composers.
Why? Maybe it has to do with the availability of electronics. Maybe due to Star Wars. Writing music to picture makes lesser music more important and effective, not to mention having a film to use as inspiration.
2. Filmmakers graduating from film school without any training in the use of music as a post production tool.
How, then, can they be expected to adjudicate which composer or what music will best service their film?
3. Reduced cost of both film making and music making.
The digital age allows films to be made on a...
- 5/19/2010
- by SCOREcast Online
- SCOREcastOnline.com
There are all kinds of things besides spotting that make a spotting session important. After the jump, some discussion: what they are, why they're important, and how to turn them to your advantage. (And yes, I did make a special green logo for St. Patrick's Day. You're worth it.)The spotting session is usually the first time you're actually working together with the filmmakers on the project. Up to this point you've probably talked a bit about how your score might function with the picture. You have at least the broad strokes of the music budget in place, so you know what kind of forces you'll be able to bring to bear on the scoring enterprise.
But now you're all together in the room, looking at the picture… deciding on the precise frames where music will enter and exit… and what that music will attempt to accomplish within the scene.
But now you're all together in the room, looking at the picture… deciding on the precise frames where music will enter and exit… and what that music will attempt to accomplish within the scene.
- 3/17/2010
- by noreply@blogger.com (Lee Sanders)
- SCOREcastOnline.com
Before we get too far into this month's topic of "Getting the Gig," I just want to ask you, as this weekend's Provocation, a simple question:
Are you ready to get the gig?
When I talk to film scoring students, everything we discuss is framed around facilitating their ability to say yes… because just about the toughest thing you can have happen in your career is to land a gig before you're ready for it. Facilitating your ability to say yes means that you're identifying areas in which you need to improve so that you're ready for anything.
Creatively, technologically, mentally, physically, emotionally and in all kinds of other ways, you have to be in a position to be better than the work deserves. Not that the project is necessarily bad—but, as Richard Bellis is fond of saying, "in order to move up, you have to be better than the material you're scoring.
Are you ready to get the gig?
When I talk to film scoring students, everything we discuss is framed around facilitating their ability to say yes… because just about the toughest thing you can have happen in your career is to land a gig before you're ready for it. Facilitating your ability to say yes means that you're identifying areas in which you need to improve so that you're ready for anything.
Creatively, technologically, mentally, physically, emotionally and in all kinds of other ways, you have to be in a position to be better than the work deserves. Not that the project is necessarily bad—but, as Richard Bellis is fond of saying, "in order to move up, you have to be better than the material you're scoring.
- 1/8/2010
- by noreply@blogger.com (Lee Sanders)
- SCOREcastOnline.com
Here's something that goes somewhat against the grain of all the whiz-bang gadgetry we're focusing on at the moment.
Regardless of what Santa leaves beneath your technological tree this season, you'll eventually find yourself facing that blank canvas… once again, just like always. While a new array of sounds may inspire you to work just a little differently or try something just a little bit new, keep in mind: The gear is just a tool.
Here I'm building on the contents of a couple of recent Weekend Provocations, where I've wondered out loud about what it would be like to write music without the gear. If you noticed that these two articles (November 13 and December 11) were essentially the same, with slightly different premises, you get a big gold star.
Truly getting the most out of your gear involves more than just purchasing Shiny New Things. And, as Richard Bellis put...
Regardless of what Santa leaves beneath your technological tree this season, you'll eventually find yourself facing that blank canvas… once again, just like always. While a new array of sounds may inspire you to work just a little differently or try something just a little bit new, keep in mind: The gear is just a tool.
Here I'm building on the contents of a couple of recent Weekend Provocations, where I've wondered out loud about what it would be like to write music without the gear. If you noticed that these two articles (November 13 and December 11) were essentially the same, with slightly different premises, you get a big gold star.
Truly getting the most out of your gear involves more than just purchasing Shiny New Things. And, as Richard Bellis put...
- 12/16/2009
- by noreply@blogger.com (Lee Sanders)
- SCOREcastOnline.com
Evolution
There are few if any “constants” in our world. The only one Iʼm sure about is evolution. Change. This, then, may be the epitome of an oxymoronic phrase: “The only constant is change.”
This personal wisdom (if indeed it is either personal or wisdom) comes to me at sixty-three years of age. Many things are falling away at this age, but retrospect and derivative knowledge are the offsets. No young person, unless he or she is clairvoyant, can claim this perspective.
Evolution moves at a glacial pace. It moves like the growth of a tree, like the appearance of facial hair on a prepubescent male. It seems to move slower as our attention spans shorten. Often evolution is imperceptible due to this slow pace until it reaches critical mass. When it hits critical mass, mankind clusters in an effort to speed up evolution. Global warming will be solved, but...
There are few if any “constants” in our world. The only one Iʼm sure about is evolution. Change. This, then, may be the epitome of an oxymoronic phrase: “The only constant is change.”
This personal wisdom (if indeed it is either personal or wisdom) comes to me at sixty-three years of age. Many things are falling away at this age, but retrospect and derivative knowledge are the offsets. No young person, unless he or she is clairvoyant, can claim this perspective.
Evolution moves at a glacial pace. It moves like the growth of a tree, like the appearance of facial hair on a prepubescent male. It seems to move slower as our attention spans shorten. Often evolution is imperceptible due to this slow pace until it reaches critical mass. When it hits critical mass, mankind clusters in an effort to speed up evolution. Global warming will be solved, but...
- 11/27/2009
- by noreply@blogger.com (SCOREcast Admin)
- SCOREcastOnline.com
Last night in Burbank, approximately 435 people from the film composing community turned out for the Composers Unionization information meeting that was hosted by the Teamsters Local 399, and moderated by composers Jim Dipasquale, Bruce Broughton, Alf Clausen, and Alan Elliott. Teamsters union rep Steve Dayan was also on hand to answer questions about the proposed Teamsters/Composers relationship.
Online, in print, and in the private circles of our community, there is no shortage of opinions on this issue, and in some cases the battle lines have already been drawn. Up to now, I have personally held off on making my own ruminations public or offering my own opinions on this issue of composer unionization. In addition, the values that were the impetus for me creating SCOREcast in the first place have also motivated me to stay temporarily neutral in an effort to help to facilitate a complete and all-encompasing conversation amongst this community.
Online, in print, and in the private circles of our community, there is no shortage of opinions on this issue, and in some cases the battle lines have already been drawn. Up to now, I have personally held off on making my own ruminations public or offering my own opinions on this issue of composer unionization. In addition, the values that were the impetus for me creating SCOREcast in the first place have also motivated me to stay temporarily neutral in an effort to help to facilitate a complete and all-encompasing conversation amongst this community.
- 11/17/2009
- by noreply@blogger.com (Deane Ogden)
- SCOREcastOnline.com
There have been lots of great articles so far this month on collaboration, with more to come… so I thought I'd use this space to tackle the subject from a more oblique angle.Here are a few collaboration-related paradoxes I guarantee you'll encounter in this business—as your film composing career progresses, you'll have to wrap your brain around these sooner or later.I don't claim to have answers—we're in a subjective realm here. But I do think it's important for us all to be aware of them, and to give some head space to how we plan to answer the challenges they present. And it feels better knowing we're all running into these same strange and inscrutable aspects of the biz, right?Paradox #1: Filmmakers hire you for your uniqueness, but they're often terrified of anything new. As much as you may think you're coming on board as a collaborator,...
- 10/21/2009
- by noreply@blogger.com (Lee Sanders)
- SCOREcastOnline.com
As we come to the end of our month-long focus on workflow, I thought I'd share a few of my favorite quotations on the subject. They're not all from composers, but I think they're all relevant. Enjoy, and hit me up with some of your favorites in the comments…
"Half of composing is staring out the window." —Jack Smalley"I told my personal trainer I wanted a workout designed for the Olympic sport of sitting on my butt for 12 hours a day." —Ron Jones"There's a thin line between hard-ass and dumb-ass." —Eric Haney, Inside Delta Force"Clockpanik [definition]: Not enough time to a) finish the score, b) record the score, c) become a star in this lifetime." —Charles Bernstein, Film Music and Everything Else! Music, Creativity and Culture as Seen by a Hollywood Film Composer"It would appear that the Muse is a recycler." —Richard Bellis, The Emerging Film...
"Half of composing is staring out the window." —Jack Smalley"I told my personal trainer I wanted a workout designed for the Olympic sport of sitting on my butt for 12 hours a day." —Ron Jones"There's a thin line between hard-ass and dumb-ass." —Eric Haney, Inside Delta Force"Clockpanik [definition]: Not enough time to a) finish the score, b) record the score, c) become a star in this lifetime." —Charles Bernstein, Film Music and Everything Else! Music, Creativity and Culture as Seen by a Hollywood Film Composer"It would appear that the Muse is a recycler." —Richard Bellis, The Emerging Film...
- 7/30/2009
- by noreply@blogger.com (Lee Sanders)
- SCOREcastOnline.com
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