It's an honor to chat with the fun and great composer "Rolfe Kent", want to really thank him for the time... really thank you!
HWR:OLM: Tell us about your current project "Bad Words" and how did you become involved in it?
ROLFE KENT: I met Jason Bateman at the Toronto premiere of UP IN THE AIR, we noticed we had the same tattoo, and we got on really well. He's an actor that I have long admired, and a year later suddenly I hear that he's about to make a film and would like to meet to discuss it. So we met at his office at Universal Studios and talked about what he might like to do, and he was keen on clarinet as a sound of the film as it has such character, whereas I argued that the sackbut or quorm had more flavour, and it became a screaming match, and there were tears. So that's how it began, and he got me thinking about woodwind for the basis of a score.
HWR:OLM: With a mix of projects that have a light-hearted theme,how do you find to switch gears with ones that are strong serious overtones?
ROLFE KENT: Actually serious films are much simpler; god I envy those that just get moody dramas the whole time. The hard part is switching gears to the lighter work as it tends to be much more sophisticated, and the music has to trace a very fine line- much finer than in serious drama. Serious and dramatic music comes very easily, an intuitive and emotional response often leads the way- you feel the emotion and find the music that accompanies it; while comedy is always puzzle solving, very, very mental.
HWR:OLM: What is a typical day for you, how does it start?
ROLFE KENT: After my jumping meditation I go to my workshop deep in a dormant volcano; the room is tuned to reverberate at a pitch that makes your knees wobble. The room is lined with a perplexing array of instruments, most of which probably don't exist. I then throw a squash ball as hard as I can, and whatever is the 3rd instrument it hits is the one I start with that day. This is always a bad idea, as it's almost always the quorm, but it gets me in the mood to do something else.
Please donate or share! Michael Kyne
and Bianca Allaine Barnett originally produced the short film Web of
Deceit (formerly M is for Marriage) as an entry into the ABCs of Death 2
Search for the 26th Director competition. In that vote-based
competition, Web of Deceit placed 20th out of over 250 entries from all
over the world. Now, Michael and Bianca are raising funds to produce a
limited run (100) of festival edition DVDs and take their short to
independent film festivals. This limited festival edition will also
contain bonus materials, including behind the scenes interviews and
Currently, Web of Deceit is entered into The Indie Gathering
International Film Festival in Hudson, Ohio. We need funds to secure a
vendors table as well as room and board at the festival.
(April 23, 2014– Los Angeles, CA) – Lakeshore Records will release the WOLF CREEK II – Original Motion Picture Soundtrack, featuring original music by John Klimek (CLOUD ATLAS, KILLER ELITE), digitally beginning May 6, 2014. The album features songs by The Tokens, Steppenwolf, Nellie Melba, and Patsy Cline.
“The score is purely electronic, meaning I used a lot of ‘organic' orchestra recordings and treated them electronically,” said Klimek.
Johnny Klimek is a fourth generation film composer, equally comfortable in the electronic studio and on the recording stage with Simon Rattle and the Berlin Philharmonic. His style is a hybrid of the ambient soundscapes and propulsive grooves he mastered during his formative years in the Berlin underground and the classic film scoring tradition associated with Hollywood. Klimek, is set to score Kriv Stender’s KILL ME THREE TIMES, and the Netflix original series SENSE 8. He recent projects include HBO’s THE NEWSROOM and FOX’s MIND GAMES.
In addition to his work as a solo composer, Klimek has enjoyed a working relationship with Reinhold Heil, and a lasting association with Tom Tykwer spanning several films, most notably CLOUD ATLAS, PERFUME: THE STORY OF A MURDERER, and THE INTERNATIONAL. Klimek has collaborated on dozens of film and television scores with Heil, including ONE HOUR PHOTO, two series and a film for HBO (DEADWOOD, JOHN FROM CINCINNATI, and Golden Globe-nominated IRON JAWED ANGELS), cult horror film director George Romero’s LAND OF THE DEAD, the Academy Award-nominated SOPHIE SCHOLL: THE FINAL DAYS, action thriller KILLER ELITE, and the NBC crime drama series AWAKE. They also wrote the theme and scored multiple episodes of WITHOUT A TRACE, for which they won seven ASCAP Awards.
Klimek says of his collaboration with writer/director Greg McLean, “Greg told me that he wanted a very disturbing sounding score, something that makes the audience feel uncomfortable. He was going for a more atonal vibe, almost like sound design, not a typical horror score.”
While seeking an authentic Australian adventure, one unlucky backpacker learns the deepest, darkest secrets of the Outback’s most infamous serial killer.
Lured by the promise of an Australian holiday, backpackers Rutger, Katarina, and Paul visit the notorious Wolf Creek Crater. Their dream Outback adventure soon becomes a horrific reality when they encounter the site’s most infamous local, the last man any traveler to the region ever wants to meet; Mick Taylor (John Jarratt). As the backpackers flee, Mick pursues them on an epic white knuckled rampage across hostile wasteland. Only one will remain to be dragged back to his lair to witness the true magnitude of his monstrosity. And if the last man standing is to have any hope of surviving where no one else has survived before, he’ll have to use every ounce of cunning to outwit the man behind the monster and become every bit as ruthless as the monster inside the man.
Image Entertainment presents WOLF CREEK II, released in theaters and on VOD April 17th. Lakeshore Records will release the WOLF CREEK II – Original Motion Picture soundtrack, featuring original music by John Klimek, digitally beginning May 6, 2014.
COMPOSER FREDERIK WIEDMANN TO COMPOSE MUSIC FOR UPCOMING DC UNIVERSE ANIMATED ORIGINAL MOVIE SON OF BATMAN
FIELD OF LOST SHOES, Also Featuring Original Music By Wiedmann, Is Screening In Select Markets
(April 24, 2013– Los Angeles, CA) – Composer Frederik Wiedmann (BEWARE THE BATMAN, JUSTICE LEAGUE: THE FLASHPOINT PARADOX) is proud to announce that has composed the music for the upcoming DC Universe Animated Original Movie SON OF BATMAN. Additionally, the film FIELD OF LOST SHOES, featuring music by Wiedmann, is showing in select markets.
“This installment of Batman was an interesting one, musically speaking,” said Wiedmann. “In addition to the action-packed epic score, there are a large number of very emotional moments, filled with darkness. We recorded a wonderful 30-piece orchestra in Los Angeles, conducted by Hyesu Yang, as well as a few very unique soloists and exotic percussion. It is a very thematic score.”
The world is turned upside down when Batman – one of the world’s greatest Super Heroes – discovers he is a father in the newest DC Universe Original Animated Movie, SON OF BATMAN. Batman learns he has a son, Damian – and to further complicate matters, the mother is Talia al Ghul, daughter of one of his most dreaded enemies, Ra’s Al Ghul. When the odds quickly turn against Batman and Damian, Batman must become both father and mentor to the aggressive, agile new Robin. Together they form an uneasy alliance to try and thwart the criminal enterprise of Deathstroke and his army of ninja man-bats before there are international consequences.
Born in Stuttgart, Germany, Frederik Wiedmann came to Los Angeles in 2004 to become a film composer. After three years working as an assistant to veteran composer John Frizzell, Wiedmann scored his first feature Return to House on Haunted Hill for Dark Castle Entertainment (Warner Bros.) in 2007.
Since then, Wiedmann has written the music for a wide variety of feature film and TV productions including Hostel: Part III (Sony Pictures), Mirrors II (20th Century Fox), Hellraiser: Revelations (Weinstein Company, Dimension Films), and The Hills Run Red (Dark Castle Entertainment, Warner Bros.). He composed music for the Warner Bros. Animation television series Green Lantern: The Animated Series, for which he earned two Annie Award nominations, and Beware The Batman.
Wiedmann’s latest film project is the Civil War drama FIELD OF LOST SHOES, directed by Sean McNamara (SOUL SURFER, BRATZ). The film is about the Battle of New Market fought in 1964 in Virginia.
“I think it must the dream of every composer to score a film like this. An epic, sweeping, thematic orchestral period drama,” Wiedmann described. “What a fun and challenging assignment! This is by far the most thematic score I have composed so far, it’s delicate, epic, grand and dark at times. We recorded a wonderful orchestra and a 20-piece choir, as well as solo fiddle and solo vocals. Writing this score was a nice throwback to traditional scoring techniques, something we as composers don’t get to do every day. The big task of the score in this film was to slowly build the themes of the young cadets from an innocent bunch of guys, to a group of extraordinarily courageous soldiers, that defined the outcome of the battle of New Market.”
SON OF BATMAN will be available on May 6, 2014, on Blu-ray Combo Pack, DVD and Digital HD. FIELD OF LOST SHOES recently premiered in Richmond, VA.
All good news... friend of our place, we wish him a world of more success!
(April 22, 2014) Portland, OR - Hollywood Music in Media Award winning and three-time HMMA nominated composer Jeff Broadbent (PlanetSide 2) has written and produced an ethereal, magical fantasy score for the new Multiplayer Online Battle Arena (MOBA) video game DAWNGATE developed by Waystone Games and published by Electronic Arts. An experienced and versatile composer for a variety of media, Broadbent blends soaring melodies, evocative harmony, and a rich tapestry of exotic colors to create an emotional and captivating musical experience. Hear the main theme music at: https://soundcloud.com/waystone-games/dawngate-main-theme.
"From the early stages of meeting with the development team, observing concept art and reading the backstory, I knew that DAWNGATE was a special game that had immense potential for unique and magical creativity," said composer Jeff Broadbent. "The beauty of the game world and depth of the characters allowed for a great deal of sonic exploration and thematic composition."
DAWNGATE immerses players in a world of fantasy, intrigue, and mystery. In this character-driven experience, players command unique 'Shaper' characters and engage in team-based combat to capture spirit vitality and destroy the enemy 'Guardians'. Join the DAWNGATE open beta at http://www.dawngate.com.
"To create the unique sound of this fantasy realm we blended the emotional expression and melodies of the orchestra with exotic and evocative colors such as ethnic winds, glass percussion, harps, and modern hybrid synthetic tones," explains Broadbent.
Broadbent's classical training with the orchestra (Master's in Composition) and film scoring (UCLA program) combined with technical expertise and cutting-edge technology, allow him to compose with cinematic quality for a variety of diverse genres. In addition to scoring video games, Broadbent's music features on prime-time television networks such as CBS, MSNBC, Discovery Channel, National Geographic and VH1. His latest projects include the hybrid trailer music album "Enemy Below", featured in blockbuster movie trailers such as Jack Ryan: Shadow Recruit, as well as original scores for upcoming video games LEGO Legends of Chima Online and Tom Clancy's EndWar Online.
MovieScore Media releases Rob Simonsen’s music for the taboo-breaking documentary The Final Member by Jonah Bekhor and Zach Math. The filmmakers guide you to Husavik, Iceland, home of the world’s only museum devoted to painstakingly preserved male genitalia. Founded and curated by Sigurður Hjartarson, the Icelandic Phallological Museum houses four decades worth of mammalian members, from a petite field mouse to the colossal sperm whale, and every “thing” in between. But, lamentably, Siggi’s collection lacks the holy grail of phallic phantasmagoria: a human specimen. Siggi’s world changes dramatically when he receives generous offers from an elderly Icelandic Casanova and an eccentric American...
The delightfully eccentric musical score for The Final Member is provided by Rob Simonsen, a regular collaborator of Mychael Danna on such high-profile films as Little Miss Sunshine (2006), Moneyball (2011) or the Oscar-winning Life of Pi (2012). As a composer, Rob’s filmography also includes such impressive titles as his debut score for the Medieval fantasy Westender (2003), the Steve Carell / Keira Knightley end-of-the-world dramedy Seeking a Friend for the End of the World (2012) or the two coming-of-age comedy sensations The Spectacular Now and (2013) and The Way Way Back (2013) - both of which made the composer a nominee for that year’s Discovery of the Year at the World Soundtrack Awards.
“The Final Member was simply a great collaboration with directors Jonah and Zach” recalls the composer. “While we were zeroing in on just the right emotional tone for every scene, the unique and unusual subject matter let us experiment with the instrumentation.“ The music carefully balances between comedy and drama to help the audience get the right emotional response from a film whose tone shifts from the ludicrous to the poignantly eleagic in a matter of minutes. You can hear the wide variety of musical ground covered in cues like the light but propulsive “The Final Member”, the epic “Arason the Pioneer”, the melancholic “Tom’s Confession” or the elegantly eccentric “Pall’s Waltz” - all of which bring you closer to the impossible world of phallic curator ”Siggi” Hjartarson.
(April 22, 2014– Los Angeles, CA) – Lakeshore Records will release the PERFECT SISTERS – Original Motion Picture Soundtrack digitally and through Amazon-On-Demand on May 6, 2014. The album features two exclusive songs, a cover of the Carl Perkins classic “Honey Don't” by Johnzo West, and “The Worst Part/Auld Lang Syne,” performed by the film’s Abigail Breslin and Cassidy Reiff, and original music by Carmen Rizzo.
The 1956 rockabilly classic is featured in one of the more pivotal scenes in the film. "Once we had the song - which has a very subversive lyric when juxtaposed against the dark story unfolding on screen while it's playing - it was important to find an artist who could recreate it with a contemporary, but reverent, feel,” said director Stan Brooks, who also directed the music video. “Johnzo West, an LA rock scene heartthrob, was a perfect choice.”
"I was thrilled when I was asked to cover Carl Perkins' 'Honey Don't' for the film PERFECT SISTERS,” said Johnzo West. "It's amazing how many great songs Carl Perkins wrote, and how many huge artists he influenced, from Elvis and The Beatles to Hendrix and Cash. It's an honor to have the opportunity to pay tribute to Carl Perkins and to have my cover of 'Honey Don't' featured in the film."
The film also features original music by Carmen Rizzo. Producer, artist, electronic musician, composer, DJ, remixer, and two-time Grammy nominee Carmen Rizzo has had a very eclectic career, from writing, engineering and programming on Seal’s classic album Seal 2 to producing and writing for Paul Oakenfold’s Bunka album, and from collaborating with Tuvan throat singers Huun Huur Tu to co-founding the groundbreaking world music/electronic act Niyaz (whose three albums all debuted at #1 on the iTunes world music chart).
As a solo artist, Rizzo received mass critical acclaim when USA Today picked his debut album as number one in their fall music guide. Afavorite of radio station KCRW, his music has been heard in many film and TV shows, from CSI Miami to the HBO series True Blood, and in many Buddha Bar compilations. He also contributed original music to the David Lynch Foundation album alongside Moby and Peter Gabriel.
A pair of abused and neglected teenage girls almost get away with murder in PERFECT SISTERS, a riveting true-crime thriller based on the notorious “Bathtub Girls” case. Sisters Sandra (Abigail Breslin) and Beth (Georgie Henley) learned early in life that they had no one to depend on but each other. But when their addict mother Linda (Mira Sorvino) makes plans to move the girls in with her lecherous and abusive lover, the girls’ situation becomes unbearable. Seeing no other way out, Sandra and Beth recruit their classmates to help them plan their mother’s murder. When the girls’ guilt spins out of control and they compulsively confess their involvement to friends, rumors that they are cold-blooded killers reach the ears of the authorities. PERFECT SISTERS is a harrowing and heartbreaking look at the teen subculture that nurtured the girls’ murderous fantasies and covered up for them after they committed an unthinkable crime in an effort to create a normal life for themselves.
Gravitas Ventures presents PERFECT SISTERS, currently available on VOD and in theaters. The PERFECT SISTERS – Original Motion Picture Soundtrack will be available digitally and via Amazon on Demand on May 6, 2014.
One Of The Undisputed Chinese Masters Of Comedy, Stephen Chow Returns With Hugely Entertaining New Adventure, Arriving On Blu-ray And DVD May 27 From Magnolia Home Entertainment
In a world plagued by demons who cause great human suffering, young demon hunter Xuan Zang risks his all to conquer a water demon, a pig demon and the demon of all demons, Sun Wukong. Adhering to his firm belief in giving of one’s self for the greater cause, he embraces the demons as his disciples. However, in order to atone for their own sins and save the common people, the four of them must embark on a journey to the West that’s full of challenges.
Bonus Features: • Stunts & Special Effects • Cast & Characters • Director Stephen Chow • The Laughs • Production Design • Choreography • Theatrical Trailer
MUSIC BY TIMOTHY WILLIAMS SCREENING IN SELECT THEATERS
Recorded at Famed Abbey Road Studios With a 90-Piece Orchestra
(April 28, 2014– Los Angeles, CA) – Composer Timothy Williams (RED SKY, ABERRATION) is proud to announce the release of WALKING WITH THE ENEMY in theaters. The film was named the best film at the 2013 Ft. Lauderdale International Film Festival.
“Scoring WALKING WITH THE ENEMY was one of the most incredible and most challenging experiences of my career,” said Williams. “Because of the subject matter, watching some of the scenes again and again was very difficult and I had to dig deep to try to even begin to express what I was seeing. Ultimately, though, it is always the challenging scores that are the most rewarding.”
The film awarded Williams the opportunity to record at the famed Abbey Road Studios. He explained, “it was a dream come true to record my score at the famed Abbey Road Studios, with some of the finest musicians in the world. They brought such passion and depth to the music. It was recorded by the legendary Andrew Dudman and Sam Okell, and mixed by the talented John Rodd.”
Timothy Williams is a multi-award winning composer and orchestrator for film, television, video games and theater. His films have earned over 58 awards. Born in England and raised in Canada, Williams is a trained pianist. He studied music at the Toronto Conservatory of Music and the Victoria Conservatory of Music. In 1986, Williams relocated to England to work at the BBC as a copyist and orchestrator. He would return to Canada a few years later to write the musical NAPOLEON, which opened at the Elgin Theatre in Toronto in 1994, and in London’s West End in 2000.
Eventually Williams’ work would take him to Los Angeles. He has written music for award-winning films including THE MULBERRY TREE, THE BUTTERFLY CIRCUS, HISTORY OF FUTURE FOLK and LUTEFISK WARS. He scored the Tom Hanks produced documentary BEYOND ALL BOUNDARIES and has written additional music for 300, SUCKER PUNCH, WATCHMEN, CONAN THE BARBARIAN, THE BLACK FREIGHTER, SHARK NIGHT 3D and DOOMSDAY. As an orchestrator, Tim has orchestrated over 63 films, over 40 episodes of TV and 8 Video Games for composers including Alan Menken, Stephen Schwartz, Tyler Bates, Trent Reznor, Robert Duncan, David Sardy and John Kavanagh.
Williams’ television work includes SYM BIONIC TITAN, Disney’s MADISON HIGH and additional music for the Emmy Nominated score for ABC’s MISSING. Video games music includes GOD OF WAR: ASCENSION and RISE OF THE ARGONAUTS. He has written and/or arranged over 30 shows for Disney, Universal Studios, Seaworld and numerous other independent attractions, earning 4 Thea Awards and a Brass Ring Award for his work.
Williams’ 2014 film releases include RED SKY, starring Rachel Lee Cook and Bill Pullman, directed by Mario Van Peebles, and DEBUG, starring Jason Momoa, directed by David Hewlett.
Inspired by a true story, WALKING WITH THE ENEMY is an unforgettable film of love, courage, and sacrifice. Set in Hungary during the final months of World War II, a young man sets out to find his displaced family by using a stolen Nazi uniform to pose as an officer. Filled with suspense and danger, he undertakes extraordinary measures to reroute his family and others to safety by disrupting the activities of the German occupiers.
“Because, the film is based on a true story of incredible heroism and daring amid the atrocities committed against the Jews in Hungary during WWII,” described Williams, “I wanted a score that tried to capture the pain and anguish of the time, as well as the bravery and hope of Elek Cohen (based on the true story of Pinchas Rosenbaum), who disguised himself as a German officer and Arrow Cross member to help thousands of Jews escape.”
Liberty Studios presents WALKING WITH THE ENEMY in theaters in 30 markets on April 25. A soundtrack, featuring the original music by Timothy Williams, will be announced soon.
LE PROFESSIONNEL Music Composed, Orchestrated and Conducted by Ennio MORRICONE
52 minutes of music. Remastered edition supervised by Claudio Fuiano. 8-page CD booklet with French and English liner notes by Laurent Perret. Limited Edition of 500
Music Box Records is pleased to reissue the classic Ennio Morricone soundtrack for Le Professionnel, one of the Maestro’s best known scores and themes that attained fame all over the world. Supervised and mastered by Claudio Fuiano, the soundtrack has the same program as the limited edition GDM CD released in 2002 that had been going for unreasonable prices on the secondary market.
For a long time, Le Professionnel has been notable for being one of the best-known Morricone scores even though very little of the composer’s music actually written for the film survived in the final cut. Instead of using the cues Morricone actually penned, director Georges Lautner and more importantly star Jean-Paul Belmondo decided to use a recording of "Chi Mai" a very famous Morricone composition that has been used and recorded in a number of different projects. The first appearance of the famous "Chi Mai" melody was in Maddalena (1971) and was later recorded as a pop song (in several languages) and a so-called disco instrumental was done in 1978. It was this recording that was used in Le Professionnel and is known as the theme from the film (even though it wasn’t specifically written for it).
Music Composed, Orchestrated and Conducted by Ennio MORRICONE
74 minutes of music. Remastered edition supervised by Claudio Fuiano. 8-page CD booklet with French and English liner notes by Patrick Bouster. Limited Edition of 500
Music Box Records is pleased to reissue the complete (slightly expanded) soundtrack of Le Marginal (The Outsider) composed, orchestrated and conducted by Ennio Morricone.
Le Marginal was a 1983 film directed by Jacques Deray (La Piscine, Borsalino, Trois hommes à abattre) and starring Jean-Paul Belmondo, Henry Silva, Carlos Sotto Mayor and Pierre Vernier. The story is about Commissioner Jordan (Jean-Paul Belmondo) who arrives in Marseille to combat drug trafficking activities in his own unique way. After scuffles with local mafia godfather Mecacci’s men, as well as with his own superiors, he is transferred to Paris. Soon at loggerheads with various criminal elements, he turns to a resumption of the pursuit of drug kingpin Sauveur Mecacci (Henry Silva).
The composer, in an unusual move, used a rock theme which would resurface in Copkiller that same year of 1983, and in Frantic in 1988. This urban score features numerous variations both similar and far off, from the most melodic (a catchy theme on oboe, which is both simple and elegant) to the harshest (tensed and percussive pieces).
The soundtrack of Le Marginal has been issued numerous times. The soundtrack LP was first issued by General Music in France in 1983 with a 10-track program. In 2002, GDM released an expanded edition with a 23-track program with a rich and varied presentation far superior to the original disc. It has been sold-out for so many years.
First time on CD. More than 70 minutes of music. 8-page CD booklet with French/English liner notes by Nicolas Magenham. Limited Edition of 500
Music Box Records is pleased to present on the same CD two original motion picture soundtracks composed by Pierre Bachelet: Le Dernier Amant romantique (The Last Romantic Lover, 1978) directed by Just Jaeckin (Emmanuelle, The Story of O, The Perils of Gwendoline in the Land of the Yik Yak) and French TV mini-series Capitaine X... (1983) directed by Bruno Gantillon.
Four years after Emmanuelle (1974), Just Jaeckin worked again with Pierre Bachelet for a film which is an homage to the world of circus and a satire on medias. The film, produced by Bernard Lenteric for Warner-Columbia Films, was written by the director himself and Ennio de Concini (who won an Oscar in 1963 for the screenplay to Divorce Italian Style directed by Pietro Germi). It tells the story of a female editor-in-chief of a large newspaper who falls in love with the lion tamer of a circus going bankrupt. She thus organizes a beauty contest for men, seeing to it that he wins.
With this film, Jaeckin goes slightly off the beaten path of sophisticated eroticism, in an altogether more delicate, but also ironic, direction. The film preached a sort of return to roots, a tradition incarnated at one and the same time by a certain idea of the romantic and by the world of the circus – in contrast with another kind of circus, of a more deleterious sort, that of the media and of beauty competitions. Bachelet’s music plays on this opposition: it is both situated well within the times, with its disco tempos and synths typical of the 1970s (especially for the title song Romantic Lover). The scenes where the relationship between the image and the music has without doubt the most force are those that depict the world of the circus and in which Bachelet often utilizes anxiety-provoking synthesizers contrasting with these images from another age, which at the same time, curiously, adhere perfectly with them. For other scenes, Bachelet composes nostalgic themes that are more melodious, while preserving throughout a disconcerting and almost limping aspect, which recall certain pieces by Francis Lai done for Claude Lelouch.
This edition also presents for the first time on CD the original soundtrack to the spy series Bruno Gantillon's Capitaine X…, aired on the French television in 1983. The score showcases in large part original jazz music and romantic tracks.
Co-inciding with the US theatrical release of the film on 18 April 2014, Screamworks Records releases the music for Proxy, a chilling Hitchcockian thriller co-written and directed by Zack Parker. The story follows Esther Woodhouse (Alexia Rasmussen), a pregnant mother who is attacked by a hooded man in a needless fight. When she joins a support group where everyone seems kind and helpful at first, Esther soon learns that her new friends, including the eager Melanie Michaels (Alexa Havins) are not what they really seem. Nominated for a New Visions Award for Best Picture, Proxy is a stylish, well-acted chiller with a suitable Hitchcock-flavored score by The Newton Brothers.
The score for Proxy doesn’t shy away from its obvious Bernard Herrmann influences, creating what may be the best tribute to the composer’s work since Richard Band’s Re-Animator. The string-heavy underscore creates suspense from the first moment to the last, underscoring Esther’s growing distrust in the sudden new friends around her. The music celebrates the Hitchcock/Herrmann and de Palma/Donaggio collaborations without aping them, adding its own spin to the formula. Imagine what would happen if the Psycho orchestra performed the score to Vertigo and you’ll get a clear idea of what kind of music to expect.
The Newton Brothers (aka Andrew Grush and Taylor Stewart) are a duo of musicians who have been creating music together since their childhood days. On their scores, Taylor and Andy play piano, guitars, basses, clarinet, flute, accordion, sax, harmonica, percussion, various organs, kazoo, cello and wine glasses – an eclectic bunch of instruments to create unusual sounds for unusual films. Their recent credits include Dan Schechter’s Life of Crime (from the book, “The Switch” by Elmore Leonard), Mike Flanagan’s Oculus and Elizabeth Allen’s Careful What You Wish For (which was Co-scored with John and Josh Debney).
SWR14007 • PROXY (Original Motion Picture Soundtrack) Music Composed by THE NEWTON BROTHERS Release date (digital): April 15, 2014
Coinciding with the film’s US premiere on 18 April 2014, ScreamWorks Records releases the score for 13 Sins by composer Michael Wandmacher. The story follows Elliot Brindle (Mark Webber) who is drowning in debt before his wedding day when an anonymous phone call informs him that a hidden camera game show offers millions of dollars in exchange for completing 13 tasks. Elliot plays along and collects a few thousand bucks after the first tasks, but then he must realize that the bigger money is linked to more perverted challenges and he can’t quit any time he wants. Also starring Ron Perlman and Pruitt Taylor Vince, the film is directed by Daniel Stamm, the man behind the highly-acclaimed The Last Exorcism (2010).
Wandmacher’s score for 13 Sins is driven by a strong theme racing headfirst into madness much like how the protagonist Elliot is driven to more extreme measures by his tormentors. The music can be best-described as a more action-packed take on the musical world of the Saw franchise with special additions of typical Wandmacher solutions, including insane sound fragments that were achieved with unlikely couplings of different ideas. Add in the few moments of redemption for Elliot’s memories of why he started his journey in the first place, 13 Sins marks another great effort from Wandmacher whose fans will be greatly satisfied with another chilling, perhaps more action-oriented effort from the composer.
Over the last couple of years, composer Michael Wandmacher has established himself to be one of the most reliable and original voices of contemporary horror scoring. His musical contributions can be heard in such diverse members of the genre as the in the 3-D revitalizing gimmick horrors like My Bloody Valentine (2009) and Piranha 3D (2010), the supernatural The Haunting in Connecticut 2: Ghosts of Georgia (2013) or the Nicolas Cage action thriller Drive Angry (2010) – not to mention the two scores previously released by MSM/ScreamWorks Records: The Killing Floor (2007) and The Last Exorcism: Part 2 (2013).
SWR14007 • 13 SINS (Original Motion Picture Soundtrack) Music Composed by MICHAEL WANDMACHER Release date (digital): April 15, 2014
La-La Land Records and Paramount Pictures proudly present the world premiere release of composer David Arnold's (GODZILLA, TOMORROW NEVER DIES, SHAFT, CASINO ROYALE) original motion picture score to the 2004 Paramount Pictures feature film THE STEPFORD WIVES, starring Nicole Kidman, Matthew Broderick and Bette Midler, and directed by Frank Oz. Finally, Mr. Arnold's long-sought-after score debuts with a deluxe presentation that unleashes all its big and brassy orchestral glory! Brimming with melody and swirled with dark, comedic motifs, this expertly complex score is the perfect compliment to the film's satiric heart and a knockout stand-alone listen! Produced by Dan Goldwasser and mastered by James Nelson, this limited edition release of 1500 Units features exclusive, in-depth liners by writer Tim Greiving and sharp art direction by Goldwasser.
La-La Land Records, WEA and Warner Bros. present the latest in our expanded archival collection, Jerry Goldsmith's original motion picture score to the 1993 feature film DENNIS THE MENACE, starring Walter Matthau, Joan Plowright and Mason Gamble, and directed by Nick Castle. Expanded with more than 20 minutes of previously unreleased music, plus bonus tracks, Goldsmith's (PATTON, ALIEN, POLTERGEIST, FIRST KNIGHT) heartwarming and whimsical score, considered to be one of his most entertaining 90's works, is a sheer delight - and the undeniable heartbeat of this sweet John Hughes-produced, live-action telling of Hank Ketcham's beloved comic strip character. Produced by Neil S. Bulk and Bruce Botnick (the score's original recording engineer), this special limited edition release of 3000 units has been mastered by Botnick from the original, first generation three-track digital mixes. Exclusive, in-depth liners from film music writer Jeff Bond, (with comments from with Goldsmith's agent, Richard Kraft), and David Fein's playful art design wrap it all up in wondrous style.
I have a great story of this film, when they were making this film near the town I lived in, I watched it being made sitting on the roof of a building.
Haunting Storm Some secrets can't remain buried forever.
A young woman moves into an old house on the river. The house has been in disrepair for over 50 years, and no one has dared to buy it, until now. Little does she know there is a secret buried beneath it, but there is one big problem, the true owner, Harry, is still there. This maniacal spirit will do anything to protect this secret. As a hurricane develops just as it did 50 years ago. She and her sister, a famous talk show host, must work with a psychic to resolve the crisis and most importantly, stay alive. Beware, Harry is back!
Starring: Jessica Clifton, Lori Wilford, Kerry Knight, Hunter Faulkner, Alan Knight, and Cheryl Mayo
The investigators were questionable. The facts were wrong. The testimony was vague. Based on a true Texas case.
A sad, but funny, courtroom drama that actually took place in the great state of Texas. The facts are wrong, the investigators questionable, and the case is full of sleaze and corruption. Local law nearly sends the wrong woman to jail after a vice squad breaks up a dance club offering little more than $10 table dances. One by one, the arresting officers make fools of themselves as the truth begins to come out. Testimonies fall apart and the courtroom turns into a pit of decepetion. By the end, it should be the law who is on trial!
Starring: Bo Hopkins, Maxine Bahns, Jeffrey Meek, Bellary Darden-Davis, Randall "Tex" Cobb, Dennis Burkley, Irv Gorman, Mickey Jones, William Smith & Sydney Lassick
MovieScore Media releases the heart-pounding action score from The Human Race, the new survival action thriller written and directed by Paul Hough, produced by John Hough (Escape to Witch Mountain). The story takes place in a dystopian world where 80 random people are ripped from their average life and are entered into a Battle Royale / Hunger Games style race where the rules are very simple. If you are lapped twice, you will die. Do not step on the grass, or you will die. Race or die… Shot over a period of four years, Hough’s The Human Race has been gaining a small cult following since its early premieres at various film festivals and MovieScore Media is honored to join the race with the soundtrack release of the score.
Born in Sao Paolo, Brazil in 1964, composer Marinho Nobre moved to New York in 1984 to study composition at The Juilliard School with Conrad Cummings and orchestral conducting with Vincent La Selva (founder of the New York City Grand Opera). He studied film and television scoring with Jeff MacDonald (CSI:NY, Entourage) and orchestration with Steven Scott Smalley (Batman, Mission: Impossible). His recent scoring credits include the Afghani-American coming of age tale Al Qarem (2006), the Latino ghost story Sacred Game (2009) and the Canadian slasher Left for Dead (2007). Apart from scoring, Marinho also released an album of his solo works entitled World Traveler which was inspired by his trip to other countries and the musical influences he encountered there.
MovieScore Media releases the rocking, heavy metal-inspired soundtrack album for Puncture Wounds, an intense action drama about racial discrimination starring Cung Le, Dolph Lundgren and Vinnie Jones. Helmed by Belgian filmmaker Giorgio Serafini, the film is about PTSD-suffering Iraq veteran John Nguyen who finds his extensive military and martial arts training incredibly useful when he saves a call girl from members of the Aryan Brotherhood. The ruthless group takes it upon itself to avenge John’s intervention which had resulted in the death of several key members of the organization… Also known as A Certain Justice in several overseas markets, Puncture Wounds spans a powerful, eclectic soundtrack with an awesome, headbanging score in its musical center.
Over the last couple of years, the composer trio of Brian Jackson Harris, Justin Raines and Michael Wickstrom have proven themselves to be a versatile group who can provide exciting action cues in several different styles and genres. Their music for Giorgio Serafini’s Ambushed (which also starred Dolph Lundgren and Vinnie Jones) was a welcome surprise to fans of retro-flavored action scoring harkening back to the sound of the 1980s. Their music for Puncture Wounds has more contemporary influences, including powerful heavy metal riffs and guitar solos, but also a folksier country atmosphere for moments of reflection.
Produced by composers Brian Jackson Harris and Michael Wickstrom, the album offers a rich selection of music composed by the trio in addition to contributions from other artists to the soundtrack. The full list of composers and artists include Shay Mehrdad, Jeffrey Hayat, Steel Vengeance, Jay Woodcock, Darius Lux, Julian Angel, Electroillusion, Stephan Lindsjo and Benoit Martin. The music by these guest artists alternates with the score cues by Harris, Ranes and Wickstrom, yet the two halves form such a strong union that you’d be hard-pressed to guess where the songs end and the score begins.
Coinciding with the film’s American premiere on April 25, MovieScore Media releases the BAFTA Cymru-winning music for The Machine, the exciting action/thriller written and directed by Caradog W. James (Little White Lies). The story is is set in a dystopian future where Britain's Ministry of Defense (MoD) wages a never-ending war with China. Scientists Vincent (Toby Stephens) and Ava (Caity Lotz) are tasked with developing the world's first artificially intelligent robotic soldier which sounds and looks like a human, but has amazing strength, speed, and agility. When the new robot is taken over by the ministry for training purposes, the child-like AI gets traumatized by the brutal training and uses its incredible abilities for self-preservation by taking over the MoD’s research facility.
The futuristic underscore for The Machine is provided by Tom Raybould who makes his feature film debut with this score. Previously working on documentaries and short films, the Welsh composer shows himself to be a master of creating intense moodscapes and energetic action sequences with a sound palette limited to clear, almost puritanistic synth sounds. It’s no wonder that Raybould’s music won the BAFTA Cymru Award in 2013 - handed out by the British Academy for Film and Television, this honor celebrates the best of Welsh film-making and The Machine is certainly a worthy winner of the accolade.
Featuring a clear and distinct voice focused on electronica, Raybould’s contributions to The Machine simply burst with retro energy as the composer paints a detailed picture of a terrifying society steeped in militaristic empowerment and literal war games to boost their cause. Ranging from the moody ”Opening” to the heroically revolting ”The Machine” which also contains some vocals to illustrate the humanistic awakening of the AI, the score offers a wide variety of snapshots from the future with a voice strongly linked with the past. Recalling the slick, nostalgic sound of Tangerine Dream or the TRON soundtracks, The Machine may offer the most faithful tribute to classic 80s sci-fi soundtracks coming out in recent years.
Featuring Songs by Dave Audé (featuring AKON & Luciana), Lux Lovelle, Wang Chung, Eli “Paperboy” Reed and Stuart Davis’ “Walk Of Shame”
(April 21, 2014– Los Angeles, CA) – Lakeshore Records will release the WALK OF SHAME – Original Motion Picture Soundtrack digitally and through Amazon-On-Demand on April 29, 2014. The album features songs performed by Dave Audé (featuring AKON & Luciana), Marcus Latief Scott (featuring John Costello), Lux Lovelle, and Scott Spock and Corky James’ cover of “Walking in L.A.” and “Walk of Shame” performed by Stuart Davis.
The outrageous comedy WALK OF SHAME stars Elizabeth Banks (THE HUNGER GAMES, PITCH PERFECT) as a resourceful reporter whose one-night stand with a handsome stranger (James Marsden of ANCHORMAN 2) leaves her stranded the next morning in downtown Los Angeles without a phone, car, ID, or money – and only 8 hours before the most important job interview of her career.
Track Listing 01. The Summer Of Los Angeles – Brenna Bishop 02. How U Girlz Git Down (Walk Of Shame Mix) - Marcus Latief Scott feat. John Costello 03. Dance Rock Shake Pop – Jump Smokers feat. Alex Peace 04. WooHoo – Eli “Paperboy” Reed 05. Electricity & Drums (Bad Boy) – Dave Audé featuring AKON & Luciana 06. Walking On – Ashleigh Haney 07. Everybody Have Fun Tonight – Wang Chung 08. Let’s Go Home – Best Coast 09. Walk On – Kirsten Proffit and Manda Mosher 10. Tonight Is The Night – Outasight 11. Drama On The Dancefloor – Lux Lovelle 12. Walk Of Shame – Stuart Davis 13. Walking In L.A. – Scott Spock and Corky James
Focus World, Lakeshore Entertainment and Sidney Kimmel Entertainment present WALK OF SHAME in theaters and on VOD on May 2, 2014. The WALK OF SHAME – Original Motion Picture Soundtrack will be available digitally and via Amazon on Demand on April 29, 2014.
Who Is Killing The Great Chefs Of Europe? Varese Sarabande Limited Edition, Now Shipping!
Henry Mancini’s score for 1978’s WHO IS KILLING THE GREAT CHEFS OF EUROPE? occupies a fertile territory in the composer’s working career. Situated between a diverse mix of action, comedy, and dramatic movies – a trio of PINK PANTHER films, SILVER STREAK, 10, and Peter Sellers’ THE PRISONER OF ZENDA – GREAT CHEFS serves up a melodic musical menu of zesty flavors and satisfying tastes.
Track List: 1 Theme From Who Is Killing The Great Chefs Of Europe? (Main Title) 2 Well Done Louis 3 Pesce! 4 Bombe Richelieu (Natasha’s Theme) 5 Italian Soup 2 6 They Hang Chefs, Don't They? 7 Bombes Away/Natasha In Venice (Natasha’s Theme) 8 Natasha's Theme (Piano Solo-Henry Mancini) 9 The Movable Feast 10 Late Night Call/The Gathering (Theme from Who Is Killing The Great Chefs of Europe?) 11 Fiery Finale (Theme from Who Is Killing The Great Chefs of Europe?) 12 The Final Feast/The Confession 13 Natasha's Theme (End Title)
The Chicago Comic & Entertainment Expo - also known as C2E2 - is a convention spanning the latest and greatest from the worlds of comics, movies, television, toys, anime, manga and video games. Bringing the best of popular culture to Downtown Chicago, C2E2’s show floor is packed with hundreds of exhibitors, panels and autograph sessions giving fans a chance to interact with their favorite creators and screening rooms featuring sneak peeks at films and television shows months before they hit either the big or small screen!
Sadly I was not able to go due to an unforeseen issues and I am not aloud to drive until the end of the month. If you had gone I hope you had a great time and that time was well spent.... maybe next year. I wanted to thank the C2E2 staff for all their help this year, I most likely won't have the chance to cover this again... thank you guys for understanding.
Been very fortunate to have had the some great interviews and this is no different... may I introduce you to my friend and composer "Freddy Sheinfeld"
HW:OLM: When did you decide to become a film composer? Was there a seminal film score that made you take this step?
FREDDY SHEINFELD: I think I always wanted to become a film composer, but didn’t realize it until high school. My early compositions tended to be very visual and I sometimes would write suites that didn’t conform to any classical form, but instead would progress like a story in my mind. I always wanted people imagining a fantastic tale when hearing my music. I was a big science fiction fan and I remember how much I loved the main title of Star Trek’s The Next Generation. I couldn’t imagine how cool it would be to compose something like that and so I started collecting more soundtracks. It was not until my third year of computer engineering studies, that I decided to quit that and give music a serious try. For me, it was obvious at that point that I wanted to write film scores.
HW:OLM: You worked on La Hora Cero, which is one of the most expensive – and also most financially successful – films from Venezuela. How was it working on a film like this?
FREDDY SHEINFELD: Yes, La Hora Cero was a very ambitious film and it featured some of the biggest action sequences filmed in Venezuela. This meant that the movie had to feel bigger than the usual local films and more attention was paid to the music as well. We had to find the balance between some of the bigger moments and the scope of the film and also keep the Indie feel by avoiding sounding bigger than what we needed. In order to retain some of our Venezuelan folk sounds, I mixed traditional Venezuelan instruments and an L.A. string ensemble to capture some of that Hollywood feel. I co-wrote this score with Gabriel Velasco, who is a great percussion player and was able to infuse some of the Venezuelan percussive vibe to keep the music very authentic.
HW:OLM: You worked on the David Attenborough documentaries Galapagos 3D and Kingdom of Plants 3D. How does working on an Imax 3D documentary differ from a fictional feature film?
FREDDY SHEINFELD: There are a lot of differences and some depend on the type of documentary. When the film’s main focus is to report and inform about a subject matter by presenting information, evidence, interviews, etc. the music should be more neutral since you have to be careful to avoid manipulating the viewer by playing with musical emotions. For documentaries on nature like Galapagos and Kingdom of Plants you have more freedom since a big part of the scoring goes into animating and giving some personality to the animals or plants. There you can play more with your imagination, since is a more subjective matter. For example: what kind of music do you give a water lily? What's the theme of red-back spider? What kind of instrumentation do you use for a frog?
FREDDY SHEINFELD: I was approached by the director after he watched La Hora Cero. The Seal of Confession is a much obscure film, so they wanted to hear some of my darker music. After I sent then a few examples we started working together.
HW:OLM: How did the filmmakers communicate their musical ideas?
FREDDY SHEINFELD: Well, something that I really enjoyed about this film was that we didn't have a temp track, so the director and I were able to experiment with different approaches to score each scene. However, there was one exception because one scene was temped with what would be originally a song, but later we decided to score it instead. This one was hard to tackle because we needed to keep some of the song feel, score it and keep it within the style and palette we established.
HW:OLM: The story of the film is running on different threads that focus on a killer, a politician, a policeman and a journalist. How do you approach a film with so many different elements?
FREDDY SHEINFELD: I have a theme for each character (leitmotif) as well as a unique sound texture that defines them. Depending on how much we know about that character the theme will reveal more of its personally. For example, we don't know much about the killer and his background, so his music is very textural. The themes will also play together just as the stories merge during the film. There's also a very important theme I created which is the main theme of the movie. All other themes derive from this one and I used it as a third person narration device. Every time you hear this theme you know that something important is happening and you should pay attention.
HW:OLM: Your score uses a very interesting blend of electronic and orchestral . Could you talk a bit about doing this balancing act the right way?
A big priority for me was to try to keep everything working together without sounding forced, so I needed to integrate the music and sound as much as I could. For example, there's one recurrent scene where you see the protagonist spinning a glass after finishing his drink. This is a very important moment where the director paid close attention to the sound design, so I asked the film sound designers to send me that sound isolated from the movie, so I could use it. Once I got it I processed it and created a collection of organic synth pads that became the main background sound you hear every time Humberto's theme plays. You can actually hear this transformation at the begging of the track The Mission, which starts with the glass sound morphing into one of the pads.
HW:OLM: Does working on a Latin American films differ from the "Hollywood way" you've grown accustomed to? Are there special challenges?
FREDDY SHEINFELD: It's hard to generalize since each country might be different, but one of the noticeable aspects of working with Venezuela is that the country suffers of a big economic inflation, so budgets tend to be small even for bigger movies and you need to get creative if you want a good sounding score. On the other hand, the directors I've worked with have a great understanding of the importance of the music, so we have been able to avoid cutting corners and some of these limitations can sometimes lead you to very interesting directions that you might have missed otherwise.
HW:OLM: Apart from film scores, your work can be heard under multimedia presentations and exhibits How does working on an exhibit like this differ from film scoring?
FREDDY SHEINFELD: Each exhibit might be different from each other, so this might vary depending on the type of presentation. For example, one of the presentations I was involved with was In Our Times, which worked as a multi-screen 10min documentary about genocides in our generation. I think the main difference here was the fact that the music drove the story since the narration was done with only subtitles. You also need to keep the viewer engaged from the beginning. Once you walk into a museum you have a variety of exhibitions that you want to see, so people don't want to "commit" to a long presentation unless it really grabs you, so you need to maintain the audience attention while telling a story about a very delicate subject matter. This was also a permanent exhibition, so the museum might be showing this for many years. This means you need to try to compose music that has a better chance of standing the test of time. For this you also need to consider your palette very carefully and I would tend to avoid using synthesized sounds that might sound obsolete in a few years.
HW:OLM: What are you currently working on?
FREDDY SHEINFELD: I'm currently finishing the new thriller Trigger starring Scott Galen (The Bourne Legacy, Silence of the Lambs) and Chris Coy (True Blood, Hostel). After this I might be working in a new horror movie by Henry Rivero which I'm really looking forward because we have some crazy ideas about how to approach the score….
Immersed In Ink Tattoo Arts & Horror Festival will be making our next stop on the 2014 Tour in Chicago IL, on April 18-20 at the Tinley Park Convention Center.. This show is a celebration of pop culture in tattoo arts and films and features some of the hottest tattoo artists from all over the US. Live tattooing, gut wrenching sideshows, costume contests, Ms. Tattoo Pageant, human suspension, insane body modification, tattoo contests, guest appearances by some of your favorite horror celebrities and so much more! Click here to see Our entertainment line-up. The Huntsville Tattoo & Horror Expo is OPEN TO THE PUBLIC!
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