Get the latest score from Howlin' Wolf Records “DON'T GO IN THE HOUSE”, “HOLIDAY HELL” and “GOOD TID
Despicable Me [2010] - Desktop
Okay, this is really the desktop i am using... i have not been this happy about a animated film since the great Disney's: The Incredibles"Despicable Me [2010] - Very Interested!
Despicable Me - Release date: July 9, 2010In a happy suburban neighborhood surrounded by white picket fences and flowering rose bushes sits a black house with a dead lawn. Unbeknownst to the neighbors, hidden deep beneath this home is a vast secret hideout. Surrounded by an army of mischievous yellow minions, we discover Gru (Steve Carell) planning the biggest heist in the history of the world. He is going to steal the moon (Yes, the moon!) in Universal's new 3-D CGI feature, Despicable Me.
Gru delights in all things wicked. Armed with his arsenal of shrink rays, freeze rays and battle-ready vehicles for land and air, he vanquishes all who stand in his way. That is, until the day he encounters the immense will of three little orphaned girls who look at him and see something that no one else has ever seen: a potential Dad.
One of the world's greatest super-villains has just met his greatest challenge: three little girls named Margo, Edith and Agnes. http://www.despicable.me
THE PARANOIDS...
Gabriel Medinaʼs wonderfully crafted debut feature is a fresh, visually innovative, and often hilarious glimpse into the lives of some very offbeat, yet human, characters. Thirty-something Luciano Gauna is odd. A failing screenwriter in Buenos Aires, Luciano lives in an almost intense state of paranoia, afraid of everything from STDs to even his doorman. When his childhood friend Manuel, a very successful TV producer, returns from Madrid with his stunning new girlfriend Sofia, his world is thrown into a near desperate funk. He discovers that Manuel has unflatteringly modeled him as the lead character on a successful Spanish TV show called THE PARANOIDS, which Manuel is now bringing to Argentina. When Manuel leaves on a business trip to Chile, Lucianoʼs remaining grip on reality unravels when heʼs left alone with Sofia and her alluring charm.The Vampire Diaries - Nina Dobrev
Why can't all teenage-vampire-book-related-or-inspired ladies be as beautiful as her...http://www.myspace.com/ninadobrevofficialmyspace
Yes, I am sort of bashing the upcoming "Twilight" movie
Insanitarium [2008] - DVD
InsanitariumJesse Metcalfe (TV's "Desperate Housewives") stars in this horrifying thriller about a man who cons himself into a mental hospital in order to break out his beloved sister. Once inside, he discovers that a doctor (Peter Stormare, Fargo) is mercilessly using his patients as lab rats and is turning them into bloodthirsty killers. Trapped inside an inescapable labyrinth, will they find a way out before the relentless cannibals hunt them down?
Interview - Penka Kouneva - Part I
2vs8: When did you know you had a love for music in any form, and how this led to composing or orchestrated music?
Penka Kouneva: I was very young when I remember being moved to tears while listening to Grieg Piano Concerto. Classical music always moved me. Then I became a huge fan of rock. My parents were busy university professors who were also politically repressed in my native country, Bulgaria. We were also poor. Listening to music became my outlet and the piano became my friend. Symphony concerts were cheap to attend, and my mom, being a music teacher, dragged me with her to concerts all the time, a few times a week all throughout my childhood. I began composing music for children's theater at the age of 12 - just little pieces for piano, flute and glockenspiel. Much later, already in graduate school at Duke University I first composed for the orchestra. In 1990, I was accepted at Duke to pursue a Master's in composition and my teachers, Stephen Jaffe and Scott Lindroth, greatly inspired me to study orchestral music closely. This experience prepared me to cultivate a career as an orchestrator in Hollywood.
2vs8: How has the experience to work alongside of some of the top names in the industry feel and how have they help achieve your goals?
Penka Kouneva: I've been in Hollywood for 11 years now, and have been lucky to connect early on with some top names who then became my mentors. One of my first gigs was with Conrad Pope - proofreading his orchestrations (Conrad is the orchestrator for John Williams and every other A-list composer). My very first gig for him was proofreading SLEEPY HOLLOW scored by Danny Elfman (orchestrated by Conrad). That relationship lead to working on the MATRIX films. Knowing deeply difficult music software (Logic and Finale), on another hand, lead to working with orchestrator/composer Bruce Fowler who is the principal orchestrator for Hans Zimmer. So that lead to working for Steve Jablonsky on the TRANSFORMERS films and many of Zimmer's films (SHERLOCK HOLMES, ANGELS AND DEMONS, PIRATES 3, etc). I was exposed to top professionals who inspire me greatly both as creative minds and also with their approach to technology, collaboration and to our craft. I've always been driven by an insatiable desire to learn and grow.
2vs8: Is the score to "Midnight Movie" your first full release and prior to this, what is your most memorable project?
Penka Kouneva: Yes, it is my first soundtrack CD release. I am exceptionally excited and grateful. "MIDNIGHT MOVIE" was a terrific collaboration with the director Jack Messitt, and a scoring assignment that pushed me to stretch and grow as a composer. This is the most gratifying aspect of being a film composer - always trying new ideas, always stepping outside of one's comfort zone and discovering new grounds.
2vs8: Do you prefer synthesized or a orchestra... and what did you use for "Midnight Movie"?
Penka Kouneva: "MIDNIGHT MOVIE" had a very small budget for music but had a good budget for sound design and film mixing. Being an independent genre film I think they made the perfect strategic decision to elevate the film to a studio level by investing into a top-notch sound mix and sound design. But naturally there was no budget for live orchestra. That's very expensive. The score is entirely with samplers and synthesizer-emulated orchestral instruments. For a live component, I used my "secret weapons" - live eerie vocals and also my own custom libraries of live orchestral effects that I've recorded with various orchestras in Europe. You still hear shivery string effects and eerie textures which are with live orchestra.
2vs8: Could you tell us how you came to score for the film "Midnight Movie" and were you allowed to your own creative ideas?
Penka Kouneva: I was recommended to Jack by my business partners Danny and Ariana Getz who knew the producer of the film. I submitted my compilation of past genre scores, and Jack invited me to watch his film. I really loved it. First, the premise of a "movie character" coming alive and tormenting people is similar to one of my most favorite books from childhood. Then I really liked the whole supernatural aspect: alternate reality where the characters soon find themselves. The film looked great, was fast-paced and I just loved it from the first viewing.
Since it was a film-within-a-film, I had to "score" the "old" film with a cheesy early 70's score that also had to sound detuned and warble (like an old crinkled celluloid) and also had to score the "actual" film with a modern score. That was a pre-requisite. Otherwise, I came up with all themes and material on my own, in close collaboration with Jack.
2vs8: What process do you use in scoring for a horror film, how do you find your inspiration?
Penka Kouneva: The most important task each time is to find the unique tone, sound, "voice" of the film. That special musical imprint that will identify the film and become its unique sonic identity. Just think for a moment of the original HALLOWEEN and Carpenter's theme - how distinctive that is. In horror films I think both in terms of musical themes but also in terms of style, orchestration and sound. I knew I would use orchestral instruments, but also opened up my palette to using modern orchestral effects, lots of electronic textures, noises, sounds. My inspiration comes from watching the film and asking myself the question "what is the sonic world I need to create that would be a perfect match for this film, and what is the musical style that the film will inhabit most organically"
2vs8: How was working with the directors and producers of "Midnight Movie" in order to complete the score?
Penka Kouneva: It was fantastic. Jack Messitt came to weekly playback meetings and gave me good feedback. He revealed thematic ideas and subtext in the film that inspired me and stirred my imagination. He opened up with his ideas which allowed me to understand more deeply his characters, situations, and hero's motivations. He was a straight shooter - really easy to work with, really committed to the collaboration and always open to exploring my ideas too. The producers were also very supportive and enthusiastic. They all gave me great feedback and ideas. It was a happy collaboration and I enjoyed every moment of it.
Penka Kouneva: I was very young when I remember being moved to tears while listening to Grieg Piano Concerto. Classical music always moved me. Then I became a huge fan of rock. My parents were busy university professors who were also politically repressed in my native country, Bulgaria. We were also poor. Listening to music became my outlet and the piano became my friend. Symphony concerts were cheap to attend, and my mom, being a music teacher, dragged me with her to concerts all the time, a few times a week all throughout my childhood. I began composing music for children's theater at the age of 12 - just little pieces for piano, flute and glockenspiel. Much later, already in graduate school at Duke University I first composed for the orchestra. In 1990, I was accepted at Duke to pursue a Master's in composition and my teachers, Stephen Jaffe and Scott Lindroth, greatly inspired me to study orchestral music closely. This experience prepared me to cultivate a career as an orchestrator in Hollywood.
2vs8: How has the experience to work alongside of some of the top names in the industry feel and how have they help achieve your goals?
Penka Kouneva: I've been in Hollywood for 11 years now, and have been lucky to connect early on with some top names who then became my mentors. One of my first gigs was with Conrad Pope - proofreading his orchestrations (Conrad is the orchestrator for John Williams and every other A-list composer). My very first gig for him was proofreading SLEEPY HOLLOW scored by Danny Elfman (orchestrated by Conrad). That relationship lead to working on the MATRIX films. Knowing deeply difficult music software (Logic and Finale), on another hand, lead to working with orchestrator/composer Bruce Fowler who is the principal orchestrator for Hans Zimmer. So that lead to working for Steve Jablonsky on the TRANSFORMERS films and many of Zimmer's films (SHERLOCK HOLMES, ANGELS AND DEMONS, PIRATES 3, etc). I was exposed to top professionals who inspire me greatly both as creative minds and also with their approach to technology, collaboration and to our craft. I've always been driven by an insatiable desire to learn and grow.
2vs8: Is the score to "Midnight Movie" your first full release and prior to this, what is your most memorable project?Penka Kouneva: Yes, it is my first soundtrack CD release. I am exceptionally excited and grateful. "MIDNIGHT MOVIE" was a terrific collaboration with the director Jack Messitt, and a scoring assignment that pushed me to stretch and grow as a composer. This is the most gratifying aspect of being a film composer - always trying new ideas, always stepping outside of one's comfort zone and discovering new grounds.
2vs8: Do you prefer synthesized or a orchestra... and what did you use for "Midnight Movie"?
Penka Kouneva: "MIDNIGHT MOVIE" had a very small budget for music but had a good budget for sound design and film mixing. Being an independent genre film I think they made the perfect strategic decision to elevate the film to a studio level by investing into a top-notch sound mix and sound design. But naturally there was no budget for live orchestra. That's very expensive. The score is entirely with samplers and synthesizer-emulated orchestral instruments. For a live component, I used my "secret weapons" - live eerie vocals and also my own custom libraries of live orchestral effects that I've recorded with various orchestras in Europe. You still hear shivery string effects and eerie textures which are with live orchestra.
2vs8: Could you tell us how you came to score for the film "Midnight Movie" and were you allowed to your own creative ideas?
Penka Kouneva: I was recommended to Jack by my business partners Danny and Ariana Getz who knew the producer of the film. I submitted my compilation of past genre scores, and Jack invited me to watch his film. I really loved it. First, the premise of a "movie character" coming alive and tormenting people is similar to one of my most favorite books from childhood. Then I really liked the whole supernatural aspect: alternate reality where the characters soon find themselves. The film looked great, was fast-paced and I just loved it from the first viewing.
Since it was a film-within-a-film, I had to "score" the "old" film with a cheesy early 70's score that also had to sound detuned and warble (like an old crinkled celluloid) and also had to score the "actual" film with a modern score. That was a pre-requisite. Otherwise, I came up with all themes and material on my own, in close collaboration with Jack.
2vs8: What process do you use in scoring for a horror film, how do you find your inspiration?
Penka Kouneva: The most important task each time is to find the unique tone, sound, "voice" of the film. That special musical imprint that will identify the film and become its unique sonic identity. Just think for a moment of the original HALLOWEEN and Carpenter's theme - how distinctive that is. In horror films I think both in terms of musical themes but also in terms of style, orchestration and sound. I knew I would use orchestral instruments, but also opened up my palette to using modern orchestral effects, lots of electronic textures, noises, sounds. My inspiration comes from watching the film and asking myself the question "what is the sonic world I need to create that would be a perfect match for this film, and what is the musical style that the film will inhabit most organically"
2vs8: How was working with the directors and producers of "Midnight Movie" in order to complete the score?
Penka Kouneva: It was fantastic. Jack Messitt came to weekly playback meetings and gave me good feedback. He revealed thematic ideas and subtext in the film that inspired me and stirred my imagination. He opened up with his ideas which allowed me to understand more deeply his characters, situations, and hero's motivations. He was a straight shooter - really easy to work with, really committed to the collaboration and always open to exploring my ideas too. The producers were also very supportive and enthusiastic. They all gave me great feedback and ideas. It was a happy collaboration and I enjoyed every moment of it.
Marmaduke [2010] - I Can't Resist It...
Marmaduke, the world's most lovable Great Dane, leaps from comic strip fame (appearing in 600 newspapers in over 20 countries) to big screen stardom. In this family comedy, the super-sized dog who never fit in, finally finds a place where it's okay to stand out. Now living large in Orange County, California, Marmaduke is helping his family make the big transition from the Midwest to The O.C. But he's also discovering that fitting in with his new four-legged friends isn't always easy for a 200-pound teenage dog.PontyPool [2008] - DVD
Shock jock Grant Mazzy has, once again, been kicked-off the Big City airwaves and now the only job he can get is the early morning show at CLSY Radio in Pontypool Ontario, which broadcasts from the basement of the small town’s only church.What begins as another boring day of school bus cancellations, due to yet another massive snow storm, quickly turns deadly when reports start piling in of people developing strange speech patterns and evoking horrendous acts of violence start piling in. Bu there’s nothing coming in on the news wires. Is this really happening?
Before long, Grant and the small staff at CLSY find themselves trapped in the radio station as they discover that this insane behaviour taking over the town is actually a deadly virus being spread through the English language itself.
Do they stay on the air in the hopes of being rescued or, are they in fact providing the virus with its ultimate leap over the airwaves and into the world?
THE LAST EXORCISM...
THE LAST EXORCISMBuckling under the weight of his conscience after years of parting desperate believers with their money, Cotton and his crew plan to film a concessionary documentary of this, his last exorcism. But upon arriving at the already blood drenched family farm, it is soon clear that nothing could have prepared him for the true evil he encounters there. Now, too late to turn back, Reverend Marcus’ own beliefs are shaken to the core when he and his crew must find a way to save Nell – and themselves – before it is too late.
THE LAST EXORCISM is written by Huck Botko & Andrew Gurland and directed by Daniel Stamm. Strike Entertainment and STUDIOCANAL present an Arcade Pictures production.
NBC's - The Cape - i am interested
thanks to brother Calvin over in the Cool Cave, i am able to bring you this trailer... this because "heroes" is now canceled... and did i mention "summer glau"...
Interview2 - Wall Crumpler "HWR" - Part 01
2v8: What advice has been given to you from friends, family, strangers since you began "Howlin' Wolf Records"?Wall Crumpler: The soundest advice given me is to establish a solid business plan – being a long-time collector and film score enthusiast, first and foremost my interest is in having the opportunity to present great film scores and package them in a way that I as a collector would appreciate and enjoy. The determination to present the best possible audio and provide packaging befitting great film scores remain the most important driving forces, but I likewise understand the importance of wise management of resources to ensure the success of Howlin’ Wolf Records.
2v8: What is different since your first production/projects, and what have you learned from any possible mistakes?
Wall Crumpler: I love visuals and graphic design and spent tireless hours, days, and weeks working to produce the art inserts for MALEVOLENCE, the label’s first release. I feel I utilized the full breadth of my talents to create the inserts for MALEVOLENCE and feel very proud of the end result. That said, I also realize that there are professionals who have trained in graphic design who will generate more interesting and inspired designs. I feel so strongly about this that I am planning on having a redesign of the MALEVOLENCE inserts. I will not reprint the inserts but I will provide press quality pdf files that individuals will be able to download for free and have printed on quality paper using a color laser printer to have nice alternative inserts to go with their release of MALEVOLENCE.
2v8: Do you find yourself getting more noticed the more projects you do, any autographs yet?Wall Crumpler: Howlin’ Wolf Records is certainly more recognized with two titles in release than prior to the second project. Our third project is an exciting release from a very talented orchestrator and composer. The label also has a new creative partner, Zach Tow whom I have known for several years as a fellow film score enthusiast, but we have just recently united forces on this label. Zach possesses an incredible knowledge of film scores and composers and provides a lot of direction and energy for the label.
2v8: What is the best part of your job, from the start of the day to the end of it?
Wall Crumpler: The best part of this job is unquestionably listening to and enjoying film scores. I have film scores that I listen to complementing every mood I experience and most every activity I participate in. Having the opportunity to interact with other film score enthusiasts, composers, and interesting individuals such as yourself is definitely the icing on the cake. It may sound very cliché but I am definitely pursuing a lifelong dream through HWR.
2v8: What is your latest project, and how did that come about?
Wall Crumpler: MIDNIGHT MOVIE, a film score composed by Penka Kouneva for a film directed by Jack Messitt is the wolf’s latest project. This opportunity is one we pursued due to a great appreciation for both the film Jack directed and the score Penka composed. MIDNIGHT MOVIE is an interesting film and score since the story-line involves a vintage horror film being screened at a midnight showing. Whereas the film is set as a movie within a movie, likewise the score is constructed as a blending of scores for both. Very cool! One really interesting story about the composer Penka Kouneva – After watching MIDNIGHT MOVIE and really digging her score, I contacted her on the west coast where she currently resides having no idea that she had once been a close neighbor of mine here on the east coast in North Carolina. Penka lived here for several years back in the 90’s while she was completing her PhD in music composition at Duke University, just a mere 20 minute drive from where I live. I was already very actively engaged in working to acquire licensing for her score for MIDNIGHT MOVIE before I was aware of this.
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