Grimm Episode 2.18 “Ring of Fire”
Written by: Jim Kouf & David Greenwalt
Directed by: David Grossman
Airs Friday 9.00pm Est on NBC
Grimm gets a promotion this week, moving from its Friday night ‘death slot’ to 10pm on Tuesday, after the cancellation of ‘Ready for Love’. The show has performed consistently well, hitting 5 million viewers, or thereabouts, every epsiode this season. With a strong fan base, NBC must be gambling that the move will open up the show to a new set of viewers, cunningly timing it as the pace picks up towards the season finale. This means that something pretty special is planned, something the creators want to dangle in front of a fresh crowd, to whet appetites for season 3.
Or so we can hope. Adelind’s Happy Event is one suitable candidate for this type of big finish. Now that the royal blood of her baby is confirmed, the...
Written by: Jim Kouf & David Greenwalt
Directed by: David Grossman
Airs Friday 9.00pm Est on NBC
Grimm gets a promotion this week, moving from its Friday night ‘death slot’ to 10pm on Tuesday, after the cancellation of ‘Ready for Love’. The show has performed consistently well, hitting 5 million viewers, or thereabouts, every epsiode this season. With a strong fan base, NBC must be gambling that the move will open up the show to a new set of viewers, cunningly timing it as the pace picks up towards the season finale. This means that something pretty special is planned, something the creators want to dangle in front of a fresh crowd, to whet appetites for season 3.
Or so we can hope. Adelind’s Happy Event is one suitable candidate for this type of big finish. Now that the royal blood of her baby is confirmed, the...
- 4/20/2013
- by Cath Murphy
- SoundOnSight
Richard Marvin is scoring the new NBC fantasy crime drama Grimm. The show created by David Greenwalt (Angel) and Jim Kouf (Rush Hour, National Treasure) is inspired by the Grimm’s fairy tales and revolves around a homicide detective learns that he is a descendent of a group of hunters known as “Grimms”, who fight to keep humanity safe from the supernatural creatures of the world. The series stars Russell Hornsby, David Giuntoli, Bitsie Tulloch, Silas Weir Mitchell, Sasha Roiz and Reggie Lee. Sean Hayes (Will & Grace) and Todd Milliner (Hot in Cleveland) are executive producing alongside Greenwalt amd Kouf. Marc Buckland (Murder One, My Name is Earl) directed the pilot. Marvin is best known for his collaborations with director Jonathan Mostow (U-571, Surrogates) in the feature world and his music for the critically acclaimed HBO shows Six Feet Under and In Treatment. Grimm will be premiering on October 21, 2011 and...
- 8/30/2011
- by filmmusicreporter
- Film Music Reporter
La-La Land Records has released a new limited edition of the soundtrack for the 1997 thriller Breakdown. The film’s music by Basil Poledouris comes in 3-cd set. Disc One features the Final Revised Film Score, Disc Two contains the Alternate Early Film Score and Disc Three contains additional Alternates. Additional music is by Richard Marvin, Eric Colvin, Steve Forman and Judd Miller. The set is limited to 3000 copies and is available to order on La-La Land Records website. Also check out audio clips from the album on the page. Breakdown is directed by Jonathan Mostow (U-571, Terminator 3: Rise of the Machines, Surrogates) and stars Kurt Russell, Kathleen Quinlan and J.T. Walsh.
Here’s the track list of the 3-cd set:
Disc One: (Final Revised Film Score)
1 Main Titles 2:54
2 Gas Station / Leaving Belle’s 2:05
3 Earl’s Truck By / Photos / No Help 4:13
4 Route 7-North 7:44
Composed by Richard Marvin...
Here’s the track list of the 3-cd set:
Disc One: (Final Revised Film Score)
1 Main Titles 2:54
2 Gas Station / Leaving Belle’s 2:05
3 Earl’s Truck By / Photos / No Help 4:13
4 Route 7-North 7:44
Composed by Richard Marvin...
- 6/13/2011
- by filmmusicreporter
- Film Music Reporter
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
Here's some advance news of tonight's 2nd informational meeting of the Association of Media Composers and Lyricists, hosted by Teamsters Local 399 and located in the Writers Guild Theater. This composers' movement towards unionization with the Teamsters for better benefits is gathering momentum and tonight there'll be a progress report on efforts since the 1st get-together last November. Presently, the Amcl Organizing Committee consists of: Bruce Broughton, Sean Callery, Alf Clausen, Ray Colcord, James Dipasquale, Richard Gibbs, Christopher Klatman, Vivek Maddala, Richard Marvin, Mike Post, and Snuffy Walden. And I'm told that, at tonight's meeting, big names like James Newton-Howard, Hans Zimmer, Tom Newman will be [...]...
- 4/20/2010
- by Nikki Finke
- Deadline Hollywood
Yes yes yes..I know..we entertained this subject last month. However, in the tradition of Post, I am following up last in the process!
This subject has been of particular interest to me, and has sparked a lot of interest among my colleagues in Post Production. Discussing spotting is a subject unto itself as we have seen with all the fascinating articles and comments these past weeks. The focus this time will be on the advantages, disadvantages, pluses and minuses of spotting a project with the Composer And the Sound Designer present with the Director. Sitting down in a room, all together, with the same goal in mind... helping the Director tell the story. On the surface, it seems like a no-brainer---why Not do this? Save time and energy; reduce the classic 'conflicts' during the final mix; The left hand knows what the right hand is going to do...
This subject has been of particular interest to me, and has sparked a lot of interest among my colleagues in Post Production. Discussing spotting is a subject unto itself as we have seen with all the fascinating articles and comments these past weeks. The focus this time will be on the advantages, disadvantages, pluses and minuses of spotting a project with the Composer And the Sound Designer present with the Director. Sitting down in a room, all together, with the same goal in mind... helping the Director tell the story. On the surface, it seems like a no-brainer---why Not do this? Save time and energy; reduce the classic 'conflicts' during the final mix; The left hand knows what the right hand is going to do...
- 4/12/2010
- by noreply@blogger.com (SCOREcast Admin)
- SCOREcastOnline.com
The Association of Media Composers and Lyricists (Amcl) has announced its next organizing meeting on April 19, 2010, to update composers and lyricists on its progress in regards to unionizing the group under the Teamsters 399 banner. The message, sent via email to its mailing list members, also reflects last week's resignation of the group's founder, Alan Elliott (his name is now absent from the list of participating committee members), and indicates that three new members have joined the committee—composers Richard Marvin, Sean Callery, and Snuffy Walden.
The announcement reads as follows:
You are invited to attend an important event: an organizing meeting of the Association of Media Composers and Lyricists, hosted by Teamsters Local 399 on April 19, 2010 to be held at the Writers Guild Theater.
On November 16, 2009, an informational meeting was attended by 350 composers and lyricists, half of whom signed cards indicating they wished to be represented by Teamsters 399 in negotiating a...
The announcement reads as follows:
You are invited to attend an important event: an organizing meeting of the Association of Media Composers and Lyricists, hosted by Teamsters Local 399 on April 19, 2010 to be held at the Writers Guild Theater.
On November 16, 2009, an informational meeting was attended by 350 composers and lyricists, half of whom signed cards indicating they wished to be represented by Teamsters 399 in negotiating a...
- 4/8/2010
- by noreply@blogger.com (Deane Ogden)
- 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
Rick Marvin’s big orchestral score for the Bruce Willis sci-fi thriller Surrogates will be released on CD and as a download by Lakeshore Records next month. This is an unusual case where Walt Disney Pictures (or rather Touchstone Pictures) has licenced the soundtrack rights to an external company. Rick Marvin’s score for the film is an energetic and exciting action score influenced by Hollywood legends such as Jerry Goldsmith and ...
- 10/22/2009
- by Mikael Carlsson
- MovieScore Magazine
This is one Terrific Sf film, a motion picture of both action and ideas. And it’s also a surprising one—advance word was “iffy,” the misleading advertising campaign seemed to hijack poster images from Terminator: The Sarah Connor Chronicles, there wasn’t much of a publicity effort evident to me. Did Disney know how to market this Touchstone Films release? I’m not sure. I found their ads off-putting. Did they think they had a flop? Maybe. Is it a great movie? Yep, I think so. This year (thus far), I have only liked Up and Star Trek more (dreadful sorry, Coraline and Harry Potter And The Half-blood Prince), but then again I should note that I purposely don’t see everything. Life’s too short to spend any of it in Land Of The Lost.
But Surrogates? This I want to see Again! It’s based on a...
But Surrogates? This I want to see Again! It’s based on a...
- 9/26/2009
- by no-reply@starlog.com (David McDonnell)
- Starlog
Surrogates is the newest addition to the “true” genre of science-fiction, which is something we see less often anymore. More likely we’re led to believe a film is sci=fi when it really turns out to be an action or horror flick marketed as science-fiction. The film is based on the 2005-06 comic book series (now a graphic novel) called The Surrogates, written by Robert Venditti and illustrated by Brett Weldele.
One of the very first things I noticed about Surrogates is that it immediately pulled me into the story, creating the mystery and intrigue often necessary to tell a good sci-fi story of this nature. The film blends a sci-fi story with mystery, action and a bit of film noir (although its certainly not visually a film noir) as the main character is sort of an anti-hero law enforcer working outside the box, bending the rules to solve a crime.
One of the very first things I noticed about Surrogates is that it immediately pulled me into the story, creating the mystery and intrigue often necessary to tell a good sci-fi story of this nature. The film blends a sci-fi story with mystery, action and a bit of film noir (although its certainly not visually a film noir) as the main character is sort of an anti-hero law enforcer working outside the box, bending the rules to solve a crime.
- 9/25/2009
- by Travis
- WeAreMovieGeeks.com
We were scoring a film on Newman Scoring Stage last Friday. At take 282 Rick Marvin, our composer, wondered how many takes we would accumulate by the time we finished our fifth session on the day this article posts. Vinny “Smart Water” Cirilli, our Protools Recordist, and software virtuoso of CueChronicle said, “I wonder how many takes "The Simpsons" are up to?” We found out that “The Simpsons”, which had scored mostly at Fox, was at the take thirty thousand mark.
Funny thing is, up until a couple of months ago I had no idea most T.V. shows were scored in the box - that’s how long it’s been since I worked in TV. In my day everything was scored with an orchestra of about thirty players. I started in T.V. and we scored five shows a week, every week. I’m aware of what a composer...
Funny thing is, up until a couple of months ago I had no idea most T.V. shows were scored in the box - that’s how long it’s been since I worked in TV. In my day everything was scored with an orchestra of about thirty players. I started in T.V. and we scored five shows a week, every week. I’m aware of what a composer...
- 8/4/2009
- by noreply@blogger.com (Scott Stambler)
- SCOREcastOnline.com
Jonathan Mostow and composer Richard Marvin are set to work together again, on the upcoming science fiction thriller The Surrogates, starring Bruce Willis, Radha Mitchell, Rosamund Pike and Ving Rhames. Marvin previously scored Mostow's submarine epic U-571. The Surrogates is based on Robert Venditti's graphic novel about a futuristic world where robots are used to interact between people as humans now live in total isolation. Richard Marvin is also currently scoring TV series Without a Trace and In Treatment. The Surrogates is scheduled to premiere in September next year. Touchstone Pictures produce.
- 10/16/2008
- by noreply@blogger.com (Mikael Carlsson)
- MovieScore Magazine
Opens
Friday, Aug. 22
New York and Los Angeles
Anyone who has been watching the HBO series "Project Greenlight" already has a good idea of the faults of this debut feature because they have been extensively detailed by the producers, screenwriter, directors and just about everybody else connected with the production. The second feature to have its creation documented by the popular reality series, "The Battle of Shaker Heights" is rather superior to the first effort, "Stolen Summer", but not by much.
Like the earlier film, it is another heartfelt coming-of-age story that plays much more like a television movie than a theatrical feature and is likely to achieve similarly dismal boxoffice results. It makes one wonder if the creators of "Project Greenlight" are deliberately trying to create bad films in order to make for better television.
As well commented upon in the series, the most distinctive element of the film is the excellent lead performance by Shia LaBeouf ("Holes"), who plays the central role of Kelly Ernswiler, a troubled 17-year-old high school student. Kelly's main passion in life is participating in re-enactments of famous military battles, though his natural rebelliousness prevents him from playing by the rules.
Kelly is going through an awkward adolescent stage: He's dissatisfied at school, where he often knows more than his teachers, he's being harassed by a schoolyard bully
and he harbors deep resentment toward his father, a former addict who now devotes himself to social work.
Kelly finds a new friend in Bart (Elden Henson), a fellow war re-enactor whose upper-class upbringing contrasts sharply with his own modest lifestyle. When Kelly becomes romantically smitten with Bart's beautiful, about-to-be-married older sister, Tabby (Amy Smart), it leads to complications that confuse him even more.
As the series well depicts, there's an obvious disconnect between the sensitive if inconsistent screenplay by Erica Beeney and the conflicted treatment it has received at the hands of first-time directors Kyle Rankin and Efram Potelle. Most notably, the film veers sharply back and forth between broad comedy and heartfelt drama, ultimately succeeding on neither level.
The dramatic scenes, which have apparently been minimized at the directive of the Miramax overseers, feel truncated and undeveloped and generally don't play very well. The comedic segments fare better, though several sequences are far too overdone, most notably the opening fake-battle scene and an episode in which Kelly gets elaborate revenge on his teenage tormentor. With a running time of 80 minutes, the film feels choppy and unfocused, clearly the result of the limited budget and shooting schedule, the inexperience of the principal creators and the conflicting goals of the filmmakers and the studio.
This is not to say that the enterprise doesn't display a degree of talent. The directors do impressive work on some individual scenes, even if their sensibilities ultimately don't match the material. Beeney's screenplay, while not terribly original or cohesive, at least reveals a personal approach that bodes well for future efforts, and her main character, Kelly, is a distinctive and original creation. The character is superbly realized by LaBeouf, who well balances the role's comedic and emotional demands and whose screen presence always commands attention.
The supporting cast members are generally effective in their often under-realized roles, with particularly sterling work by Henson as Kelly's bemused buddy, Smart as the confused object of Kelly's desire and Anson Mount as her smooth fiance.
Kathleen Quinlan and William Sadler are solid as Kelly's well-meaning parents, even if they are afforded limited screen time.
The film's technical aspects, while clearly reflecting the production's budgetary limitations, reflect the competent professionalism of everyone involved.
The Battle of Shaker Heights
Miramax Films
LivePlanet
Credits: Directors: Kyle Rankin, Efram Potelle
Screenwriter: Erica Beeney
Producers: Chris Moore, Jeff Balis
Executive producers: Rick Schwartz, Joel Hatch, Ben Affleck, Matt Damon
Associate producers: Alex Keledjian, Larry Tanz, Marc Joubert
Director of photography: Thomas E. Ackerman
Production designer: Lisa K. Sessions
Film editor: Richard Nord
Music: Richard Marvin. Cast: Kelly Ernswiler: Shia LaBeouf
Bart Bowland: Elden Henson
Tabby Bowland: Amy Smart
Lance: Billy Kay
Eve Ernswiler: Kathleen Quinlan
Sarah: Shiri Appleby
Abe Ernswiler: William Sadler
Harrison Bowland: Ray Wise
Miner Weber: Anson Mount
Running time -- 80 minutes
MPAA rating: PG-13...
Friday, Aug. 22
New York and Los Angeles
Anyone who has been watching the HBO series "Project Greenlight" already has a good idea of the faults of this debut feature because they have been extensively detailed by the producers, screenwriter, directors and just about everybody else connected with the production. The second feature to have its creation documented by the popular reality series, "The Battle of Shaker Heights" is rather superior to the first effort, "Stolen Summer", but not by much.
Like the earlier film, it is another heartfelt coming-of-age story that plays much more like a television movie than a theatrical feature and is likely to achieve similarly dismal boxoffice results. It makes one wonder if the creators of "Project Greenlight" are deliberately trying to create bad films in order to make for better television.
As well commented upon in the series, the most distinctive element of the film is the excellent lead performance by Shia LaBeouf ("Holes"), who plays the central role of Kelly Ernswiler, a troubled 17-year-old high school student. Kelly's main passion in life is participating in re-enactments of famous military battles, though his natural rebelliousness prevents him from playing by the rules.
Kelly is going through an awkward adolescent stage: He's dissatisfied at school, where he often knows more than his teachers, he's being harassed by a schoolyard bully
and he harbors deep resentment toward his father, a former addict who now devotes himself to social work.
Kelly finds a new friend in Bart (Elden Henson), a fellow war re-enactor whose upper-class upbringing contrasts sharply with his own modest lifestyle. When Kelly becomes romantically smitten with Bart's beautiful, about-to-be-married older sister, Tabby (Amy Smart), it leads to complications that confuse him even more.
As the series well depicts, there's an obvious disconnect between the sensitive if inconsistent screenplay by Erica Beeney and the conflicted treatment it has received at the hands of first-time directors Kyle Rankin and Efram Potelle. Most notably, the film veers sharply back and forth between broad comedy and heartfelt drama, ultimately succeeding on neither level.
The dramatic scenes, which have apparently been minimized at the directive of the Miramax overseers, feel truncated and undeveloped and generally don't play very well. The comedic segments fare better, though several sequences are far too overdone, most notably the opening fake-battle scene and an episode in which Kelly gets elaborate revenge on his teenage tormentor. With a running time of 80 minutes, the film feels choppy and unfocused, clearly the result of the limited budget and shooting schedule, the inexperience of the principal creators and the conflicting goals of the filmmakers and the studio.
This is not to say that the enterprise doesn't display a degree of talent. The directors do impressive work on some individual scenes, even if their sensibilities ultimately don't match the material. Beeney's screenplay, while not terribly original or cohesive, at least reveals a personal approach that bodes well for future efforts, and her main character, Kelly, is a distinctive and original creation. The character is superbly realized by LaBeouf, who well balances the role's comedic and emotional demands and whose screen presence always commands attention.
The supporting cast members are generally effective in their often under-realized roles, with particularly sterling work by Henson as Kelly's bemused buddy, Smart as the confused object of Kelly's desire and Anson Mount as her smooth fiance.
Kathleen Quinlan and William Sadler are solid as Kelly's well-meaning parents, even if they are afforded limited screen time.
The film's technical aspects, while clearly reflecting the production's budgetary limitations, reflect the competent professionalism of everyone involved.
The Battle of Shaker Heights
Miramax Films
LivePlanet
Credits: Directors: Kyle Rankin, Efram Potelle
Screenwriter: Erica Beeney
Producers: Chris Moore, Jeff Balis
Executive producers: Rick Schwartz, Joel Hatch, Ben Affleck, Matt Damon
Associate producers: Alex Keledjian, Larry Tanz, Marc Joubert
Director of photography: Thomas E. Ackerman
Production designer: Lisa K. Sessions
Film editor: Richard Nord
Music: Richard Marvin. Cast: Kelly Ernswiler: Shia LaBeouf
Bart Bowland: Elden Henson
Tabby Bowland: Amy Smart
Lance: Billy Kay
Eve Ernswiler: Kathleen Quinlan
Sarah: Shiri Appleby
Abe Ernswiler: William Sadler
Harrison Bowland: Ray Wise
Miner Weber: Anson Mount
Running time -- 80 minutes
MPAA rating: PG-13...
- 8/22/2003
- The Hollywood Reporter - Movie News
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