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Aisle Seat 7-31: Twilight Time, Arrow Round-Up
Posted By Andy Dursin 7/30/2018 - 9:00 PM
Leading off Twilight Time’s summer roster of limited-edition Blu-Rays is Mark Rydell’s CINDERELLA LIBERTY (***, 1973, 116 mins., R), a flavorful character study of a sailor (James Caan) who falls for a troubled call girl (Marsha Mason) while on an extended “Liberty” pass.
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Film Score Friday 7/27/18
Posted By Scott Bettencourt 7/26/2018 - 9:00 PM
Next week, La-La Land will release a two-disc set of music from the 1988 TV revival of MISSION: IMPOSSIBLE, featuring music from episodes scored by Lalo Schifrin and Ron Jones. The label plans to release Lorne Balfe's score for the just-released sixth feature in the movie franchise, MISSION: IMPOSSIBLE - FALLOUT, on August 14th.


CDS AVAILABLE THIS WEEK

Dagora the Space Monster
 - Akira Ifukube - Toho (import)
The Equalizer 2 - Harry Gregson-Williams - Sony [CD-R]
Flowers II - Arthur Sharpe - Silva (import)
The Imperial Navy
 - Katsuhisa Hattori - Cinema-Kan (import)
The Lord of the Rings: The Two Towers: Complete Recording [re-release]
 - Howard Shore - Rhino
Mosaic - David Holmes - Touch Sensitive (import)
Puzzle - Dustin O'Halloran - Sony 
Varan the Unbelievable
 - Akira Ifukube - Toho (import)

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Aisle Seat 7-24: Shout Summer Showdown Edition
Posted By Andy Dursin 7/23/2018 - 9:00 PM
James Cameron likely wishes that his inaugural directorial outing was somewhat more distinguished than PIRANHA II: THE SPAWNING (**, 94 mins., R), the in-name-only 1981 sequel to Joe Dante’s 1978 cult classic. While nothing to write home about, there are far worse cheapjack horror movies from the early ’80s available on video, and Shout! Factory has delivered a superb Blu-Ray of the film with one of its most satisfying catalog transfers in recent memory.
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July FSM ONLINE Is Now Live!
Posted By Tim Curran 7/21/2018 - 3:00 AM

The July edition of FSM ONLINE is now live. In this month’s cover story, CHRISTOPHE BECK ups the ante for his score to Marvel’s ANT-MAN AND THE WASP. Also in this issue, STEVE JABLONSKY scores the towering SKYSCRAPER; part two of Erik Heine’s JAMES NEWTON HOWARD BUYER’S GUIDE looks at the late ‘90s and early 2000s; an interview with the one and only LISA GERRARD about her seminal work on GLADIATOR; a concert review of

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Arthur B. Rubinstein 1938 - 2018
Posted By Scott Bettencourt 7/20/2018 - 9:00 PM
The principal research source for this obituary, particularly the Rubinstein quotes, is “A Conversation with Arthur B. Rubinstein,” by Randall D. Larson, originally published in CinemaScore #13/14, 1985.
 
Arthur B. Rubinstein was born in Brooklyn, New York on March 31, 1938. Rubinstein cited as his greatest youthful influences composer-conductor Leonard Bernstein, Klezmer clarinetist Naftule Brandwein (Rubinstein’s own grandfather), and baseball shortstop Phil Rizzuto (whom Rubinstein hoped to someday replace on the New York Yankees).  After attending the High School of Music & Art, he earned a Bachelor of Music degree at Yale University, where his friends included John Badham, the older brother of To Kill a Mockingbird’s young star Mary Badham.
 
For the early part of his musical career, Rubinstein worked largely for the stage, providing incidental music for such acclaimed theater organizations as San Francisco’s American Conservatory Theater, the Williamstown Theater Festival, and the Stratford Shakespeare Festival. He served as musical director for two Broadway shows -- Gantry, a musical version of Elmer Gantry starring Robert Shaw and Rita Moreno, which closed immediately after its opening night performance in 1970; and 1975’s Goodtime Charley, an original musical with Joel Grey as the Dauphin of France and Ann Reinking of Joan of Arc. He performed similar duties for stage musicals in Los Angeles, earning an L.A. Drama Critics Circle Award for his work on a production of Stephen Sondheim’s A Little Night Music.
 
Rubinstein felt his theater scoring experience was the perfect groundwork for his later career: "It’s the kind of training ground that not many film composers have had. It starts you with certain kinds of constrictions, to begin with, because music in the theatre is not approached in the same way as music in films. First of all, because of the kind of instrumentation that you’re limited to, and also because you’re not dealing as much with the technical end of making music, you’re dealing simply with dramatics, with character delineation in music. You don’t have to provide that kind of musical glue around a screen that you often do in writing film music. It’s really down to essentials. That was, really, my beginnings as a film composer." 
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Film Score Friday 7/20/18
Posted By Scott Bettencourt 7/19/2018 - 9:00 PM
Intrada announced two new 2-disc soundtrack releases for this week, both featuring large-scale orchestral adventure scores by beloved composers, from the turn of the new century.

THE MUMMY, directed by Stephen Sommers, was a 1999 loose remake of the Universal horror classic that combined Raiders of the Lost Ark-style action-adventure with state-of-the-art visual effects to make one of the biggest hits of the summer movie season. The scoring assignment went to Jerry Goldsmith, who had been originally attached to score Sommers' Jungle Book remake and who had just scored Deep Rising for the director. The end result was one of Goldsmith's biggest box-office hits (spawning a sequel, a prequel-spinoff to the sequel, an additional sequel, and a recent semi-remake), and one of his last great adventure scores (though, surprisingly, Goldsmith was highly dissatisfied with the film, the scoring experience or both, and declined to work on the inevitable sequel). The Intrada release features his full original score as well as alternate cues, plus the original soundtrack CD sequencing.

THE MUMMY RETURNS, that inevitable sequel, was an even bigger box-office hit, reuniting Sommers with stars Brendan Fraser and Rachel Weisz and adding Dwayne Johnson in a small role as The Scorpion King to set up its own spinoff. This time the scoring duties fell to Alan Silvestri, who was in the middle of a hit streak including such smashes as What Lies Beneath and Cast Away, and his epic score was a rousing, traditionally symphonic work featuring all-new thematic material. As with such past scores as Thunderball and Tomorrow Never Dies, the soundtrack had to be finished before the score had completed recording, so major material was left off the commercial release. The Intrada release features the full score -- nearly two hours of music - plus extras (Silvestri went on to score Van Helsing and G.I. Joe: The Rise of Cobra for Sommers).

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Film Score Friday 7/13/18
Posted By Scott Bettencourt 7/12/2018 - 9:00 PM
The latest release from La-La Land presents Harry Manfredini's scores for FRIDAY THE 13TH: THE FINAL CHAPTER and FRIDAY THE 13TH: A NEW BEGINNING on a two-disc set, featuring the same sequencing as their earlier boxed-set of Manfredini's first six Friday scores.


Intrada has postponed their latest soundtrack release to next week, when they will also be releasing another new soundtrack CD previously scheduled for the week after.


The Academy of Television Arts and Sciences has announced the nominations for this year's Primetime Emmys, including the following music categories:

OUTSTANDING MUSIC COMPOSITION FOR A LIMITED SERIES, MOVIE OR SPECIAL (ORIGINAL DRAMATIC SCORE)
 
Alias Grace: Part 1 - Mychael Danna, Jeff Danna 
The Commuter (Philip K. Dick's Electric Dreams) - Harry Gregson-Williams 
Crazy Diamond (Philip K. Dick’s Electric Dreams) - Cristobal Tapia De Veer 
Godless: Homecoming - Carlos Rafael Rivera 
March Of The Penguins 2: The Next Step - Cyril Aufort 
USS Callister (Black Mirror) - Daniel Pemberton
 
OUTSTANDING MUSIC COMPOSITION FOR A SERIES (ORIGINAL DRAMATIC SCORE)
 
Marvel's Jessica Jones:  AKA Playland - Sean Callery 
Once Upon A Time: Leaving Storybrooke - Mark Isham, Cindy O'Connor, Michael Simon
SEAL Team: Pattern Of Life - W.G. Snuffy Walden, A. Patrick Rose 
Star Wars Rebels: Family Reunion - And Farewell - Kevin Kiner 
Westworld: Akane No Mai - Ramin Djawadi 

OUTSTANDING ORIGINAL MAIN TITLE THEME MUSIC
 
Godless - Carlos Rafael Rivera 
The Last Tycoon - Mychael Danna 
Marvel's The Defenders - John Paesano 
The Putin Interviews - Jeff Beal 
Somebody Feed Phil - Mike S. Olson, Bridget Ellen Kearney, Michael Calabrese,  Rachael Price 
The Tick - Chris Bacon 
 
OUTSTANDING ORIGINAL MUSIC AND LYRICS
 
Big Mouth: Am I Gay? - "Totally Gay" - Music and Lyrics by Mark Rivers
A Christmas Story Live! - "In The Market For A Miracle" - Music and Lyrics by Benj Pasek, Justin Paul 
The Good Fight: Day 450 - "High Crimes And Misdemeanors" -  Music & Lyrics by Jonathan Coulton
If You're Not In The Obit, Eat Breakfast - "Just Getting Started" - Music by Dave Grusin, Lyrics by Alan Bergman, Marilyn Bergman 
Saturday Night Live: Host: Chance The Rapper - "Come Back Barack" - Music and Lyrics by Eli Brueggemann 
Steve Martin & Martin Short: An Evening You Will Forget For The Rest Of Your Life - "The Buddy Song" - Music and Lyrics by Steve Martin
 
OUTSTANDING MUSIC DIRECTION
 
Bruno Mars: 24K Magic Live At The Apollo - Bruno Mars 
Elton John: I'm Still Standing - A Grammy Salute - Davey Johnstone 
The Oscars - Harold Wheeler 
Super Bowl LII Halftime Show Starring Justin Timberlake - Adam Wayne Blackstone
Tony Bennett: The Library Of Congress Gershwin Prize For Popular Song - Gregg Field

OUTSTANDING MUSIC SUPERVISION
 
Atlanta: Alligator Man -Jen Malone, Fam Udeorji 
The Marvelous Mrs. Maisel: Pilot -Robin Urdang, Amy Sherman-Palladino, Daniel Palladino
Stranger Things: Trick Or Treat, Freak - Nora Felder 
This Is Us: That'll Be The Day - Jennifer Pyken 
Westworld: Akane No Mai - Sean O'Meara  
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Aisle Seat 7-10: July Sizzler Edition
Posted By Andy Dursin 7/9/2018 - 9:00 PM
It seems as if cinemas are filled with two kinds of studio films these days: bloated franchises based on pre-fab brands, and modestly budgeted horror outings like last year’s hit “Get Out” where directors seemingly have more freedom to tell their stories. This year has brought another unexpected commercial success, John Krasinski’s A QUIET PLACE (***½, 95 mins., PG-13; Paramount), and this one is even better than Jordan Peele’s intriguing if overrated film, dabbling in some familiar genre elements but doing so in such a unique and effective manner that it’s one of the most exciting film-going experiences I’ve had in years.
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Film Score Friday 7/6/18
Posted By Scott Bettencourt 7/5/2018 - 9:00 PM
I have only just returned from vacation, so if I missed any important news from the last week or so in this column, I will rely on that as my excuse.


CDS AVAILABLE THIS WEEK

Gotti - Pitbull, Jorge Gomez - Sony (import)
Hotel Transylvania: Score for the Motion Pictures - Mark Mothersbaugh - Sony (import)
Humans: Seasons 2 & 3 - Susan Warner - Silva 

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CineRadio Top 20 for May 2018
Posted By Kristen Romanelli 7/1/2018 - 4:00 PM
The CineRadio Top 20 has been released for May 2018, highlighting music played on soundtrack music radio specialty shows, online radio stations and podcasts.
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Today in Film Score History:
December 19
Elmer Bernstein begins recording his score for Going Ape (1980)
Fred Karlin begins recording his score to The Autobiography of Miss Jane Pittman (1973)
Galt MacDermot born (1928)
Herbert Stothart begins recording his score for Northwest Passage (1939)
Michel Magne died (1984)
Paul Dessau born (1894)
Recording sessions begin for Frederick Hollander’s score for The Bride Wore Boots (1946)
Robert B. Sherman born (1925)
Roger Webb died (2002)
The Thief of Bagdad premieres in London (1940)
Walter Murphy born (1952)
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