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Intrada plans to release one new CD next week.


La-La Land has announced their planned schedule of releases for this month. This week they are releasing an expanded version of James Horner's JACK THE BEAR, as well as the previously announced CRISIS ON EARTH-X. On June 19, they will release a two-disc set pairing remastered editions of Jerry Goldsmith's scores for the Westerns 100 RIFLES and RIO CONCHOS, as well as a probable second release to be announced soon.


CDS AVAILABLE THIS WEEK

Crisis on Earth-X - Blake Neely, Nathaniel Blume, Daniel Chan, Sherri Chung - La-La Land

Fellini's Casanova
 - Nino Rota - Music Box
Hereditary - Colin Stetson - Milan
Jack the Bear - James Horner - La-La Land
McQueen - Michael Nyman - Nyman (import)
7 Days in Entebbe - Rodrigo Amarante - Lakeshore
Star Trek: Discovery, Chapter 2 
- Jeff Russo - Lakeshore
The Yakuza Papers
 - Tokiashi Tsuishima - Cinema-Kan (import) 


IN THEATERS TODAY

Alex Strangelove - Nathan Larson
Bernard and Huey - Luis Guerra
Breath - Harry Gregson-Williams
Hearts Beat Loud - Keegan DeWitt - Soundtrack CD on Milan
Hereditary - Colin Stetson - Score CD on Milan
Hotel Artemis - Cliff Martinez
Maineland - Stephen Ulrich
Nancy - Peter Raeburn
Ocean’s 8 - Daniel Pemberton
The Quest of Alain Ducasse - Armand Amar
Saving Brinton - Michael Kramer
2036 Origin Unknown - Michael Stevens
211 - Frederik Wiedmann
Won’t You Be My Neighbor? - Jonathan Kirkscey
Zoo - Mark Thomas

COMING SOON

June 15
Black Mirror: Hang the DJ - Alex Somers, Sigur Ros - Invada (import)
Call the Midwife - Maurizio Malagnini - Dubois (import)
Incredibles 2
 - Michael Giacchino - Disney
Jurassic World: Fallen Kingdom - Michael Giacchino - Backlot
Les Insulaires
 - Georges Delerue - Rosetta
100 Rifles/Rio Conchos - Jerry Goldsmith - Kritzerland
Otros Mundos
 - Carlos M. Jara - Rosetta
The Sisters
 - Thomas Morse - Rosetta
June 22
Annihiliation - Ben Salisbury, Geoff Barrow - Lakeshore
Under the Silver Lake - Disasterpeace - Milan
June 29
Fahrenheit 451 - Matteo Zingales, Antony Partos - Milan
Sicario: Day of the Soldado - Hildur Gudnadottir - Varese Sarabande
July 6
Don't Worry, He Won't Get Far on Foot - Danny Elfman - Sony
July 13
Shock and Awe - Jeff Beal - Varese Sarabande
July 20
1922 - Mike Patton - Ipecac (import)
August 3
Skyscraper - Steve Jablonsky - Milan
Date Unknown
Advise and Consent 
- Jerry Fielding - Kritzerland
Edie
 - Debbie Wiseman - Silva
Gungala
 - Angelo Francesco Lavagnino - Quartet
Keoma/Il Cacciatore di Squali 
- Guido & Maurizio DeAngelis - CSC
Solamente Nero
 - Stelvio Cipriani - CSC
Torpedo Bay
 - Carlo Rustichelli - Quartet


THIS WEEK IN FILM MUSIC HISTORY

June 8 - George Antheil born (1900)
June 8 - Recording sessions begin for Bronislau Kaper's score for The Wild North (1951)
June 8 - John Williams wins the Outstanding Music Composition Emmy for Heidi (1969)
June 8 - Jean Wiener died (1992)
June 8 - Dennis McCarthy records his score for the Star Trek: Deep Space Nine episode “In the Hands of the Prophets” (1993)
June 8 - Caleb Sampson died (1998)
June 8 - Herschel Burke Gilbert died (2003)
June 9 - James Newton Howard born (1951)
June 9 - Geir Bohren born (1951)
June 9 - Louis Gruenberg died (1964)
June 9 - Chris Tilton born (1979)
June 9 - Matthew Margeson born (1980)
June 9 - Ron Jones records his score for the Star Trek: The Next Generation episode "Shades of Grey" (1989)
June 10 - Frederick Loewe born (1901)
June 10 - Don Costa born (1925)
June 10 - Randy Edelman born (1947)
June 10 - Laurent Petitgirard born (1950)
June 10 - Hugo Friedhofer begins recording his score to Above and Beyond (1952)
June 10 - Steve London born (1970)
June 10 - Jerry Goldsmith begins recording his replacement score for Chinatown (1974)
June 10 - Marius Ruhland born (1975)
June 10 - David Shire begins recording his score to Farewell, My Lovely (1975)
June 10 - Dennis McCarthy records his score for the Star Trek: Voyager episode “Basics, Part II” (1996)
June 11 - Carmine Coppola born (1910)
June 11 - Shelly Manne born (1920)
June 11 - Lennie Niehaus born (1929)
June 11 - Alexander Balanescu born (1954)
June 11 - Nicholas Carras records his score for Frankenstein’s Daughter (1958)
June 11 - David Shire begins recording his score for Paternity (1981)
June 11 - E.T. The Extra-Terrestrial opens in New York and Los Angeles (1982)
June 11 - Alan Silvestri begins recording his score for Fandango (1984)
June 12 - Richard M. Sherman born (1928)
June 12 - John Ireland died (1962)
June 12 - Klaus Badelt born (1967)
June 13 - Paul Buckmaster born (1946)
June 13 - J.S. Zamecnik died (1953)
June 13 - Paul Sawtell and Bert Shefter begin recording their score for Jack the Giant Killer (1961)
June 13 - Andre Previn begins recording his score for The Fortune Cookie (1966)
June 13 - Elmer Bernstein begins recording his score for The Great Santini (1979)
June 13 - Bruce Broughton begins recording his score for Last Rites (1988)
June 14 - Stanley Black born (1913)
June 14 - Cy Coleman born (1929)
June 14 - Harold Wheeler born (1943)
June 14 - Marcus Miller born (1959)
June 14 - Doug Timm born (1960)
June 14 - John Williams begins recording his replacement score for The Man Who Loved Cat Dancing (1973)
June 14 - Jerry Goldsmith begins recording his score for Islands in the Stream (1976)
June 14 - Craig Safan begins recording his score, adapted from Tchaikovsky, for The Bad News Bears in Breaking Training (1977)
June 14 - David Newman records his score for Bill and Ted's Bogus Journey (1991)
June 14 - Carlos D’Alessio died (1992)
June 14 - Henry Mancini died (1994)
June 14 - James Horner begins recording his score for Clear and Present Danger (1994)
June 15 - Robert Russell Bennett born (1894)
June 15 - David Rose born (1910)
June 15 - Harry Nilsson born (1941)
June 15 - Dennis Dreith born (1948)
June 15 - Gavin Greenaway born (1964)
June 15 - Robert Drasnin records his score for The Wild Wild West episode “The Night the Wizard Shook the Earth” (1965)
June 15 - Meredith Willson died (1984)
June 15 - Manos Hadjidakis died (1994)

DID THEY MENTION THE MUSIC?

BRIMSTONE - Tom Holkenborg

"This opening segment is probably the strongest, because it is the most ambivalent. While later chapters will necessarily explore and explain the history between her and the Reverend, here the subtext of a more generalized paranoiac distrust and fear of women (and the arcane secrets of their childbearing bodies), has most texture. We are not sure yet if Pearce’s Reverend really does have uncanny mystical powers, or if, indeed, Fanning’s Liz has somehow transgressed against God and is now facing retribution. But the ease with which he can turn the whole parish against her suggests a pre-existing and deeply held suspicion of capable women that the Bible can be seen to condone, if you choose your readings selectively enough. Coupled with a score that admirably eschews traditional Morricone-style western flourishes in favor of a dark-tinged mystery or thriller vibe (the composer is Tom Holkenborg, here going by his more respectable-sounding real name, rather than nom de guerre Junkie XL) and rich, evocative photography from DP Rogier Stoffers, the ambiguity builds up a brooding, doom-laden atmosphere. Then the subtle gothic melodrama cues give way to unsubtle horror, including a man being strangled with his own intestines, and we launch into the catalogue of terror, trauma and torture (often upsettingly graphic) that is Liz’s backstory."
 
Jessica Kiang, The Playlist
 
"There are many ways to describe 'Brimstone,' the latest film from Dutch director Martin Koolhoven. Not one of them is polite. From the clanging hubris of the title card, where the film is officially billed as 'Koolhoven’s Brimstone,' to the overbearing orchestral score, this thing oozes arrogance. It is the embarrassing work of someone convinced they have something to say but falling flat on their face: Calling it 'problematic' seems colossally inadequate.A man strangled with his own intestines; pigs eating corpses; sweaty self-flagellation; a woman hanged during a church service; tongue mutilation; headshots; slit throats; spilled brain matter; catastrophic sexual dysfunction -- a movie with all of these things has no business being so f*cking dull. Which is really the meat of the problem: Koolhoven and journeyman DP Rogier Stoffers (uh…'School of Rock'?) shoot this ultraviolent, lurid, tasteless movie like they’re lobbying for Stephen Daldry’s job churning out middlebrow Oscar bait. It knows it’s disgusting and it can’t own up to it. Instead it dresses its sadism in would-be gravitas -- all portentous Junkie XL string score and rococo dialogue and thudding symbolism. You don’t often get to suggest a Lucio Fulci movie as a less offensive alternative, yet here we are."
 
Zach Budgor, Paste Magazine
 
"Koolhoven is dead serious about employing cheesy symbolism, making damn sure we recognize Pearce’s villain as the devil incarnate. (One priceless example among many: The reverend, stalking his innocent prey, exclaims that false prophets are 'wolves in sheep’s clothing,' then proceeds to literally howl in the night.) To the director’s credit, 'Brimstone' features smart location work, as it successfully passes off an amalgam of arresting European landscapes as the American heartland. But in its over-reliance on the flashy God’s-eye-view, the dissonant bombast of Junkie XL’s score, and the dime-a-dozen ominous push-in, the film thoroughly oversells the portent of its scenery. One such dolly move occurs early on when the reverend, giving sermon to a bored-looking pulpit, warns that 'retribution is coming.' The line, variations of which are uttered elsewhere, is timed to an expanding close-up of Liz’s anxious expression -- an instance of double-underlining that essentially spells out 'Brimstone''s entire raison d’être. If only Koolhoven had left it at that."
 
Carson Lund, Slant Magazine

"Koolhoven has reunited a veritable who’s who of Dutch talent behind the camera, starting with cinematographer Rogier Stoffers ('School of Rock'), a fan of overhead shots and his regular production designer, Floris Vos, who manages to make the locations in Germany, Austria, Hungary and Spain feel like a coherent slice of the nondescript American West, complete with mud, rain and, in chapter four, snow. Unlike the story’s heavily Protestant and female angles, which bring something new to the genre, the score from Tom Holkenborg ('Deadpool,' 'Batman v. Superman: Dawn of Justice') is an old-fashioned orchestral affair, with the strings swelling at all the appropriate moments."
 
Boyd van Hoeij, Hollywood Reporter

BURNING SANDS - Kevin Lax
 
"Still, the occasional heavy-handed or clumsy elements don’t seriously impair a film whose high spirits, talented cast and luridly intriguing subject consistently entertain, even if they seldom truly surprise. The straightforward visual assembly is bright and functional, rather than stylish, in Isiah Donte Lee’s widescreen lensing. Though there are plenty of various tracks deployed, the pic could’ve used a less conventional original score than Kevin Lax provides."
 
Dennis Harvey, Variety

THE DEVIL'S CANDY - Michael Yezerski
 
"That's where the metal comes in. Jesse is a true metalhead, and director Sean Byrne makes that authentic with the right choices of incidental music: Metallica, Slayer, and Texas' own cowboys from Hell, Pantera. The doom and dread comes courtesy of an original score by drone icons Sunn O))) as the embattled father's world starts to unfurl. Byrne uses the music to imply sinful horrors, often keeping gruesome crimes and implied sorcery just offscreen, just where the mind can fill in the most graphic blanks."
 
Richard Whittaker, The Austin Chronicle

HUNT FOR THE WILDERPEOPLE - Lukasz Buda, Samuel Scott, Conrad Wedde

"'Hunt for the Wilderpeople' is not subtle, nor does it aspire to be. The pulsing electro-pop soundtrack, the ‘70s action film camerawork, and the emotionally manipulative script are designed to evoke every emotion it can: sadness, joy, nostalgia, awe. The latter feeling is the most memorable, and nullifies many of the film’s flaws -- at times, 'Hunt for the Wilderpeople' is truly awesome. A flyby of the sprawling New Zealand landscape is lush enough to trigger memories of James Cameron’s 'Avatar.' And the film concludes with the rumbling of tanks and one of the finest action set pieces in recent memory that doesn’t rely on blood and death."
 
Chris Plante, The Verge

"There's a weird lumpiness to 'Wilderpeople''s timeline, though. The story abruptly skips many weeks at what seems like a crucial point in the story, then zips forward by months without warning. It sometimes feels streamlined at the characters' expense, especially as Hec and Ricky go from childish one-upsmanship to competent partners. And the big ending action sequence arrives arbitrarily and abruptly, and on a fairly unlikely large scale. The soundtrack also seems arbitrary, jumping from a haunting choral number over the opening shots to the full-ahead charge of Nina Simone's 'Sinnerman' over a chase sequence, and from Leonard Cohen's mournful 'Song Of The French Partisan' to a strange madrigal-ish keyboard score when Ricky wanders out on his own. Waititi likes practical, grounded gags that jump rapidly from gravity or hilarity, but the soundtrack's leaps are harder to follow than the tonal shifts."
 
Tasha Robinson, The Verge

"Ricky fakes his own death and flees into the bush, and he and Hec, considered fugitives, soon become national news items (complete with Hec slandered as a 'pervert'). Much hunting, chasing, bickering, and bonding ensues, and while Waititi’s tale (based on Barry Crumps’s novel 'Wild Pork and Watercress') is destined for an upbeat ending, the path it charts to that conclusion is uniquely strange, told with crossfades, off-kilter compositions, random fantasy sequences, deadpan edits, and a cheeky Eighties-style synth score. The picturesque material becomes downright dreamlike."
 
Nick Schager, Village Voice
 
"As for the film itself, though Waititi includes aspects that play like genre parody -- a montage scored to Leonard Cohen’s interpretation of the 'Song of the French Partisan' unexpectedly recalling 'McCabe & Mrs. Miller'; a 'Mad Max'-like chase climax; Lukasz Buda, Samuel Scott and Conrad Wedde’s 1980s-style synthesizer-laden score -- 'Hunt for the Wilderpeople' is ultimately disarming in its innocent sincerity."
 
Kenji Fujishima, Paste Magazine
 
"Shot on various North Island locations, 'Wilderpeople' makes full use of the spectacular scenery at hand. Lachlan Milne’s widescreen lensing also heightens the retro feel by indulging in frequent gratuitous zooms, while the original score amusingly incorporates some cheesy '80s sounds. Other packaging elements are first-rate."
 
Dennis Harvey, Variety

MEAN DREAMS - Son Lux [Ryan Lott]
 
"The inevitable chase is textbook horror movie, with Wayne or his cop crony (Colm Feore) somehow appearing whenever the young lovers take a breather. But despite its contrivances and E-Z setup, 'Mean Dreams' turns into a serviceable thriller as Casey and Jonas try both to run and to hide. The distance they allegedly cover isn’t terribly well thought-out, (in one scene, Casey is able to bury a key resource in a familiar spot, yet not much later they’re 50 miles away), but Son Lux’s percussive and atonal score combined with the kids constantly looking over their shoulders lend their escapes a sense of immediacy and danger."
 
Tricia Olszewski, The Wrap
 
"The protracted cat-and-mouse game that ensues is riddled with obstacles, close calls and emotive, gun-toting confrontations, but little tension is rustled up through it all -- save for one sweatily ratcheted chase sequence, scored in rattling percussive fashion by gifted composer Son Lux, that surrenders too soon and too easily to calm. The denouement, while departing from the playbook of 'Badlands' and its ilk, nonetheless feels preordained."
 
Guy Lodge, Variety

"What the film does have going for it is a gorgeous autumnal color palette of rusts and golds and browns in cinematographer Steve Cosens' burnished images of the quietly majestic Northern Ontario locations. Morlando cites the paintings of Andrew Wyeth as an inspiration, and that grounding in rural realism gives 'Mean Dreams' an atmospheric weight that to some degree counters its scripting weaknesses. The dense sonic landscape of Ryan Lott's Son Lux project also adds to the film's texture, ranging from the gentlest acoustic underscoring to propulsive drums in moments of accelerating danger."
 
David Rooney, Hollywood Reporter
 
THE OTTOMAN LIEUTENANT - Geoff Zanelli
 
"'The Ottoman Lieutenant' is deliberately superficial, a handsomely mounted bit of hokum featuring beautiful people in an exotic setting. Yes, there is war and death and romance, but this film is meant to be a modern-day throwback to old-fashioned movies, not some highbrow art-house masterpiece. Case in point: En route to the American mission, Lillie and Ismail have a moment where she literally falls for him on a train car (after giving him a piece of her mind). It’s such a corny, contrived episode, that one can only applaud its absolute lack of subtlety. And if the point escapes any viewer, the music swelling on the soundtrack will be sure to cue the right emotions."
 
Gary M. Kramer, Salon.com

"Love, battles, an abscess that, once lanced, spews like a mustard packet stomped on a sidewalk -- this movie’s got everything except gravity or a sense of emotional coherence. Applaud the vistas as Hera Hilmar’s restless American nurse Lillie caravans across the Anatolian steppe in the years just before the first World War, courageously bringing medical supplies to a remote outpost hospital staffed by the hunkiest and most idealistic American doctor (Josh Hartnett). Let your heart leap as she and Ismail (Michiel Huisman), the lieutenant of the title and that doctor’s rival for her affections, thunder on their horses across golden fields near Mount Ararat. Cover your ears as the score blares in its insistent, tireless, all-caps way that the wondrous scene you’re beholding IS IN FACT WONDROUS INDEED."
 
Alan Scherstuhl, Village Voice
 
"An on-the-nose montage with a newspaper update on the war that all but spins at the screen like a 'Looney Tunes' parody and an unbearably generic score by Geoff Zanelli -- which promotes something that sounds like a minor string movement from 'Titanic' to its main theme, playing at every opportunity to remind you of the gravity that a non-present-day romance obviously necessitates -- take a competently crafted film and douse any potentially unique filmmaking in triteness. A milquetoast damnation of war and pain without delving into anything as deviously thought-provoking as the war’s causes, 'The Ottoman Lieutenant' is a war romance wherein the romance isn’t made more complex by the war, nor is the war made more complex by the romance."
 
Jacob Oller, Paste Magazine

"Forbidden love! Two men fighting over a woman! Panoramic horse rides though golden meadows while danger lurks! The film, written by Jeff Stockwell and directed by Joseph Ruben, has all the elements of a type of female fantasy that has seemed out of step since the 1950s. It aims to be an epic in the 'Doctor Zhivago' mold, but somehow the crashing score and picture-postcard images only diminish the world-shaking events swirling around this romantic triangle."
 
Neil Genzlinger, New York Times

"Filmed in Turkey and the Czech Republic, 'The Ottoman Lieutenant' plays like another silly Western romance that emphasizes the area’s natural beauty and historic landmarks (Mt. Ararat, among other sites) and marginalizes the native actors, who all perform in supporting roles. Variety states that the film is Turkish-funded, and the many Turkish-sounding surnames among the producers seem to back that up. Since the Turkish government remains in denial about the Armenian Genocide which happened concurrently with World War I, it also seems likely that 'The Ottoman Lieutenant' consciously attempts to veil that history as well. Perhaps if the romantic drama were more convincing instead of merely looking like handsome photo ops of pretty people filmed against blazing skies, the film might carry more weight. Director Joseph Ruben ('The Stepfather,' 'Sleeping With the Enemy') relies too much on lingering glances and the generically sweeping soundtrack by Geoff Zanelli, thus the movie never has a genuine impact. Ultimately, this is a movie that’s more about the Ottoman Lieutenant’s Woman than The Ottoman Lieutenant himself -- another example of the film’s epic misdirection."
 
Marjorie Baumgarten, The Austin Chronicle

"Violent tensions between Armenian Christians and Turkish Muslims are already beginning to impact this remote area, soon to be exacerbated by the outbreak of WWI. But in this primarily Turkish-funded production, the historical, political, ethnic and other intricacies -- not to mention that perpetual elephant in the room, the Armenian Genocide, which commenced in 1915 -- are glossed over in favor of a generalized 'Whattaya gonna do… war is bad' aura that implies conscience without actually saying anything. Against this backdrop of vague, sad loss (punctuated by occasional gore), foreground attention is given to the increasingly corny triangle among Lillie, Ismail and Jude, with the guys apparently finding her irresistible. (It helps, no doubt, that there appear to be no other women under 60 and over legal age hereabouts.) Intrigue, make-out sessions, gunfire, invading Russians, and dollops of Geoff Zanelli’s generically “sweeping” score nudge the story toward its inevitable tragic-but-resilient fadeout."
 
Dennis Harvey, Variety

THIS BEAUTIFUL FANTASTIC - Anne Nikitin
 
"Though it has been compared to 'Amelie,' the movie has a leaner sensibility, never lapsing into froufrou. Aboud, whose feature debut was the 2012 crime thriller 'Comes a Bright Day,' elicits an unforced energy, with a touch of the elegiac, in the performances and every other aspect of 'This Beautiful Fantastic.' In Ian Fulcher’s costumes, Alexandra Walker’s interiors and Anne Nikitin’s score, the whimsy of the ephemeral proceedings is undeniable but understated. Alfie’s cherished flowers have an abstract radiance in cinematographer Mike Eley’s out-of-focus close-ups; in more straightforward fashion, the intensifying connections among Bella and her new friends have a radiance, too."
 
Sheri Linden, Hollywood Reporter

THE NEXT TEN DAYS IN L.A.

Screenings of older films, at the following L.A. movie theaters: AMPASAmerican Cinematheque: AeroAmerican Cinematheque: EgyptianArclightLACMALaemmleNew BeverlyNuart and UCLA.

June 8
BULLITT (Lalo Schifrin) [Nuart]
THE RIGHT STUFF (Bill Conti) [Cinematheque: Aero]

June 9
GORILLAS IN THE MIST (Maurice Jarre), INHERIT THE WIND (Ernest Gold) [Cinematheque: Aero]
JANE (Philip Glass) [Cinematheque: Aero]
MONDO HOLLYWOOD [LACMA]
SCENES FROM A MARRIAGE [UCLA]

June 11
BOTTLE ROCKET (Mark Mothersbaugh) [Arclight Hollywood]
SCARFACE (Giorgio Moroder) [Arclight Culver City]
SCARFACE (Giorgio Moroder) [Arclight Sherman Oaks]
2001: A SPACE ODYSSEY [AMPAS]

June 12
CITY LIGHTS [LACMA]
FLETCH (Harold Faltermeyer) [Arclight Sherman Oaks]

June 13
SCARFACE (Giorgio Moroder) [Arclight Santa Monica]
2001: A SPACE ODYSSEY [Cinematheque: Aero]

June 14
TOUCH OF EVIL (Henry Mancini) [Laemmle NoHo]
2001: A SPACE ODYSSEY [Cinematheque: Aero]
VALLEY OF THE DOLLS (Andre Previn, John Williams), WHAT'S THE MATTER WITH HELEN? (David Raksin) [Cinematheque: Egyptian]

June 15
PROM NIGHT (Carl Zittrer, Paul Zaza) [Nuart]
PUMPKINHEAD (Richard Stone), THE STEPFATHER (Patrick Moraz) [Cinematheque: Egyptian]
2001: A SPACE ODYSSEY [Cinematheque: Aero]

June 16
THE CAMERAMAN [Cinematheque: Egyptian]
2001: A SPACE ODYSSEY [Cinematheque: Aero]

June 17
FROM RUSSIA WITH LOVE (John Barry), GOLDFINGER (John Barry) [Cinematheque: Egyptian]
IT'S A MAD, MAD, MAD, MAD WORLD (Ernest Gold) [Laemmle Ahyra Fine Arts]
A LEAGUE OF THEIR OWN (Hans Zimmer) [UCLA]
2001: A SPACE ODYSSEY [Cinematheque: Aero]

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October 22
Bernard Herrmann records his score for The Alfred Hitchcock Hour episode "Body in the Barn" (1963)
Giorgio Gaslini born (1929)
Hans J. Salter begins recording his score for The Far Horizons (1954)
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Marc Shaiman born (1959)
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