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Kritzerland is proud to present the world premiere CD release from the hit documentary film:
BETTING ON ZERO
Composed and Conducted by Pete Anthony
Betting on Zero, a 2017 documentary directed by Ted Braun and an official selection of the Tribeca Film Festival, pits two strong-willed antagonists against each other – a hedge fund manager on a moral crusade, and a nutrition company accused of being a massive international pyramid scheme. The film is hard-hitting, suspenseful, touching, frustrating, maddening, and powerful.
The Los Angeles Times raved, “… a timely, provocative and absorbing tale of money, power, and a search for the truth.” Indiewire said, “There should be a subgenre of documentaries solely defined by their capacity to incite righteous anger in the audience. Betting on Zero fits neatly in this category, causing the viewers’ blood pressure to rise ever higher as it makes its case in less than 100 minutes.” The film holds a 100% Fresh rating on Rotten Tomatoes and is currently showing on Netflix, after a theatrical run earlier in the year.
Some of the best film music today is being written for documentaries, where the pressures of temp tracks and studio heads isn’t an issue. For Betting on Zero, the director turned to Pete Anthony, which turned out to be a completely inspired choice. Pete Anthony has orchestrated and conducted for some of the biggest composers in Hollywood, including Danny Elfman, James Newton Howard, Marc Shaiman, John Debney, John Powell, and many others, for such blockbusters as The Hunger Games, Maleficent, The Wolverine, King Kong, Elf, and a whole slew of other well known movies. His score for Betting on Zero shows him to be someone who completely understands film and what a score should do. His music underscores all the tension, heartbreak, and drama in a completely masterful way, with subtlety, emotion, and power. It’s simply a terrific score. It was recorded at Capitol Records with the Hollywood Symphony Orchestra.
This is the CD premiere for Betting on Zero.
Betting on Zero is limited to 500 copies only and is priced at $19.98, plus shipping. NOTE: The first 100 copies ordered will be signed by composer Pete Anthony.
CDs will ship by the second week of September, but we’ve actually been averaging three to five weeks early in terms of shipping ahead of the official ship date. To place an order, see the cover, or hear audio samples, just visit www.kritzerland.com.
ATTENTION INDIEGOGO CONTRIBUTORS: FOR THIS RELEASE – IF YOU WANT TO OPT-OUT OF RECEIVING IT YOU WILL NEED TO SEND US AN E-MAIL OPTING OUT PRIOR TO THE DATE IT SHIPS – SEND TO kritzerland@gmail.com. IF YOU WISH TO RECEIVE IT, YOU DON”T NEED TO DO ANYTHING. IF YOU ARE NOT AN INDIEGOGO CONTRIBUTOR, ORDER AS YOU NORMALLY WOULD. THANK YOU.
Because the image-hosting site we use is basically unusable now, to see cover here's the direct link to the product: http://kritzerland.com/boz.htm
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I thought it was interesting and, more importantly, a terrific FILM SCORE. I honest to Betsy do not understand film music fans - Varese announced a wonderful documentary score on Monday - it has less views than this thread. Let me tell you something - some of the best film music today is being written for documentaries. Yet you can't even get people to look at the thread, let alone open the samples. Amusingly, Sharkansas has 5,000 more views than this page. It is to laugh. Or not. But you know what - thankfully there are enough folks to make doing these things worthwhile. Not a lot of profit, but Pete Anthony is terrific and frankly deserves support. I'm trying to get another documentary score I'm fond of and I'm sure the same non-reaction will greet that one. But if the composer of this very documentary had been Jerry Goldsmith - well, then a documentary score would be the berries.
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Just listened to the samples, which are very nice! My CD purchases are on a pause for the moment for personal reasons, but I would like to pick this up at some point, I hope.
Still, it's not really a surprise that a Jerry Goldsmith score would sell better than a Pete Anthony score, is it? I mean, if the composer can't be a valid criterion for purchasing a CD, what can be?
I think you miss my point: People here won't even look at this thread, let alone listen to samples. Which I think is weird and a bit wacko. But if it was this same film but the composer was one of the anointed few, they'd be all over this, even if it was the same exact score that Pete wrote. I just am eternally baffled by film music fans. They'll go out and get any terrible score from a current film, but won't even look at these threads. Why? This is a current film, and I'd stack this score up against anything I've heard recently from current films. But that's just me. But if you can't even get people to look at a thread or listen to samples then it's just, as I said, wacko to me.
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I thought it was interesting and, more importantly, a terrific FILM SCORE. I honest to Betsy do not understand film music fans - Varese announced a wonderful documentary score on Monday - it has less views than this thread. Let me tell you something - some of the best film music today is being written for documentaries. Yet you can't even get people to look at the thread, let alone open the samples. Amusingly, Sharkansas has 5,000 more views than this page. It is to laugh. Or not. But you know what - thankfully there are enough folks to make doing these things worthwhile. Not a lot of profit, but Pete Anthony is terrific and frankly deserves support. I'm trying to get another documentary score I'm fond of and I'm sure the same non-reaction will greet that one. But if the composer of this very documentary had been Jerry Goldsmith - well, then a documentary score would be the berries.
People buy what appeals to them. I'll wait for The Cisco Kid release.
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I thought it was interesting and, more importantly, a terrific FILM SCORE. I honest to Betsy do not understand film music fans - Varese announced a wonderful documentary score on Monday - it has less views than this thread. Let me tell you something - some of the best film music today is being written for documentaries. Yet you can't even get people to look at the thread, let alone open the samples. Amusingly, Sharkansas has 5,000 more views than this page. It is to laugh. Or not. But you know what - thankfully there are enough folks to make doing these things worthwhile. Not a lot of profit, but Pete Anthony is terrific and frankly deserves support. I'm trying to get another documentary score I'm fond of and I'm sure the same non-reaction will greet that one. But if the composer of this very documentary had been Jerry Goldsmith - well, then a documentary score would be the berries.
People buy what appeals to them. I'll wait for The Cisco Kid release.
I completely understand that. The point is how do they know if this will appeal to them or not if they don't even open the thread and then listen to the samples? And of course I don't have to tell you that it will be the same thing for The Cisco Kid - that thread won't have many views either.
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The first sample gives me a vague "Signs" vibe (the low key material, that is).
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It wouldn't hurt, Bruce,if you concentrated on well-known titles composed by well-known composers. I am sure TWO FOR THE ROAD was a good seller for the Kritzerland label. In the meantime, I will be very pleased to purchase THE CISCO KID and THE LONG DUEL . By the way, I definitely consider John Scott a major well-known composer.
Well, you see that's the folly my friend - you would think from reading your posts and the others about Mr. Scott, that his delightful score for Rocket to the Moon would be a great seller - two words for you: It isn't. Neither will The Cisco Kid sell well. Some things sell well, some don't - but people ought to at least read about the titles and listen to the samples, which was and is my only point.
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Posted: |
Jul 28, 2017 - 4:27 PM
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By: |
SchiffyM
(Member)
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It wouldn't hurt, Bruce,if you concentrated on well-known titles composed by well-known composers. I am sure TWO FOR THE ROAD was a good seller for the Kritzerland label. In the meantime, I will be very pleased to purchase THE CISCO KID and THE LONG DUEL . By the way, I definitely consider John Scott a major well-known composer.
Well, you see that's the folly my friend - you would think from reading your posts and the others about Mr. Scott, that his delightful score for Rocket to the Moon would be a great seller - two words for you: It isn't. Neither will The Cisco Kid sell well. Some things sell well, some don't - but people ought to at least read about the titles and listen to the samples, which was and is my only point.
It wouldn't hurt, Bruce, if you concentrated on big-selling titles that sell well and everybody wants but that don't cost you a lot to produce. That's my business advice.
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It wouldn't hurt, Bruce,if you concentrated on well-known titles composed by well-known composers. I am sure TWO FOR THE ROAD was a good seller for the Kritzerland label. In the meantime, I will be very pleased to purchase THE CISCO KID and THE LONG DUEL . By the way, I definitely consider John Scott a major well-known composer.
Well, you see that's the folly my friend - you would think from reading your posts and the others about Mr. Scott, that his delightful score for Rocket to the Moon would be a great seller - two words for you: It isn't. Neither will The Cisco Kid sell well. Some things sell well, some don't - but people ought to at least read about the titles and listen to the samples, which was and is my only point.
It wouldn't hurt, Bruce, if you concentrated on big-selling titles that sell well and everybody wants but that don't cost you a lot to produce. That's my business advice.
Well, that's lovely advice. Can you perhaps point me to these big-selling titles that don't cost a lot to produce. Because the big-selling titles cost a LOT to produce and there are a lot of people vying for them. However, my responses in this thread have been about people not even caring to know what certain releases are. Same with the Varese title announced on Monday - excellent score that one has, and no one will even look at the thread. If this same score to this same documentary had the name Danny Elfman on it, well, I think you get it, I really do. People would be saying, "Elfman! I LOVE the samples, one of his best."
Anyway, we have lots of interesting things coming up - for me, that's the ticket - interesting things, surprising things, and things that are what Kritzerland has always been about.
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Anyway, we have lots of interesting things coming up - for me, that's the ticket - interesting things, surprising things, and things that are what Kritzerland has always been about.
Please don't ever "concentrate on well-known titles composed by well-known composers." It's the diversity and surprise of new titles that keeps me buying every single release. Keep 'em coming!
NK
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Posted: |
Jul 28, 2017 - 8:57 PM
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By: |
PFK
(Member)
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It wouldn't hurt, Bruce,if you concentrated on well-known titles composed by well-known composers. I am sure TWO FOR THE ROAD was a good seller for the Kritzerland label. In the meantime, I will be very pleased to purchase THE CISCO KID and THE LONG DUEL . By the way, I definitely consider John Scott a major well-known composer.
Well, you see that's the folly my friend - you would think from reading your posts and the others about Mr. Scott, that his delightful score for Rocket to the Moon would be a great seller - two words for you: It isn't. Neither will The Cisco Kid sell well. Some things sell well, some don't - but people ought to at least read about the titles and listen to the samples, which was and is my only point.
So please allow me to ask you this. Are there any scores in the Kritzerland pipeline that have same marketability as a title like TWO FOR THE ROAD ? Are there any non-musical golden age scores that you and Nick Redman think might be successful and you are willing to take a chance on ?
This looks like a fine CD Bruce. Back in the 60s, 70s, and 80s etc. I was able to buy a lot of scores I decided to take a chance on. Now I'm retired and on a fixed income. So I have to be very selective. I'm sure some others are in the same boat. Kritzerland does issue a big range of CDs for all tastes.
Like Cody, I'd like to see a few Fox and Paramount Golden Age scores. I always felt Golden Age westerns sell the best.
Please keep up the great work Bruce. 
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I hope you know I was kidding, Bruce.
Wasn't sure, but nice to know you were. You and I both are what the wags used to call droll, and heaven knows droll doesn't translate to message boards - I myself have been oh so very droll only to be screamed at, which is why I use those ridiculous smiley faces
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