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The latest release from Intrada is a two-disc expanded edition of James Horner's popular score for the lavish 1988 fantasy WILLOW, a collaboration between George Lucas and director Ron Howard, featuring 108 minutes of Horner's symphonic music.


After 13 Oscar nominations but no wins, songwriter Diane Warren has been named one of this year's winners of an Honorary Oscar, part of this year's group of "Governors Awards" to be presented on November 19th (Thomas Newman, call your publicist!). A list of her nominated songs is at the bottom of this column.* The other winners are directors Euzhan Palcy and Peter Weir, with Michael J. Fox winning the Jean Hersholt Humanitarian Award.

The Academy has also invited 397 actors, filmmakers and publicists as new members, including the following Music Branch invitees: composers Amie Doherty, Lili Yaydn, Leo Heiblum, Natalie Holt, Nathan Johnson, Jacobo Lieberman, Areial Rose Marx, Hesham Nazih, Dan Romer and Nerida Tyson-Chew, and songwriters Billie Eilish Baird O'Connell and Finneas O'Connell


CDS AVAILABLE THIS WEEK

Mayrig/588 Rue Paradis
 - Jean-Claude Petit - Music Box
Mort d'un pourri 
- Philippe Sarde - Music Box   
Willow - James Horner - Intrada Special Collection


IN THEATERS TODAY

Accepted - Nathan Matthew David
All the Lord's Men - Room8
Attack on Finland - Lasse Enerson
Code Name Banshee - Benjamin Weinman
The Forgiven - Lorne Balfe
Minions: The Rise of Gru - Heitor Pereira - Song CD with 1 score suite on Decca
Mr. Malcom's List - Amelia Warner 


COMING SOON

July 8
Jurassic World: Dominion
 - Michael Giacchino - Backlot   
July 15
La casa strega/Mia moglie e' una strega
- Detto Mariano - Beat 
July 22
Clark - Mikael Akerfeldt - Inside Out
The Northman - Robin Carolan, Sebastian Gainsborough - Sacred Bones 


THIS WEEK IN FILM MUSIC HISTORY

July 1 - Sigmund Krumgold born (1896)
July 1 - Hans Werner Henze born (1926)
July 1 - Andrae Crouch born (1942)
July 1 - Francois Dompierre born (1943)
July 1 - Alfred Newman begins recording his score for The Robe (1953)
July 1 - Roddy Bottum born (1963)
July 1 - Seamus Egan born (1969)
July 2 - Jeff Alexander born (1910)
July 2 - Fabio Frizzi born (1951)
July 2 - Nicholas Carras records his score for High School Caesar (1959)
July 2 - Miklos Rozsa begins recording his score to Plymouth Adventure (1952)
July 2 - Frederic Talgorn born (1961)
July 2 - Kristian Eidnes Andersen born (1966)
July 2 - Nathan Van Cleave died (1970)
July 2 - John Paesano born (1977) 
July 2 - Richard Band begins recording his score for From Beyond (1986)
July 3 - George Bruns born (1914)
July 3 - Jean Prodromides born (1927)
July 3 - Robert O. Ragland born (1931)
July 3 - David Shire born (1937)
July 3 - Peer Raben born (1940)
July 3 - Michel Polnareff born (1944)
July 3 - The Great Escape opens in Los Angeles (1963)
July 3 - Pim Jacobs died (1996)
July 3 - Delia Derbyshire died (2001)
July 4 - Fred Wesley born (1943)
July 4 - Larry Herbstritt born (1950)
July 4 - Nathan Furst born (1978)
July 4 - Astor Piazzolla died (1992)
July 4 - Benedetto Ghiglia died (2012)
July 5 - Paul Ben Haim born (1897)
July 5 - Robbie Robertson born (1943)
July 5 - Robert J. Kral born (1967)
July 5 - Jerry Fielding's score for the Star Trek episode "Spectre of the Gun" is recorded (1968)
July 5 - RZA born as Robert Fitzgerald Diggs (1969)
July 5 - Vaclan Trojan died (1983) 
July 5 - David Ferguson died (2009)
July 5 - David Fanshawe died (2010)
July 5 - Fonce Mizell died (2011)
July 6 - Hanns Eisler born (1898)
July 6 - Bernardo Bonezzi born (1964)
July 6 - John Ottman born (1964)
July 6 - Ron Goodwin begins recording his score to Force 10 from Navarone (1978)
July 6 - John Williams begins recording his score for Superman (1978)
July 6 - Frank Cordell died (1980)
July 6 - Bruce Broughton begins recording his score for Stay Tuned (1992)
July 6 - Ennio Morricone died (2020)
July 7 - Anton Karas born (1906)
July 7 - Ron Jones born (1954)
July 7 - Recording sessions begin for Frederick Hollander’s score for We’re No Angels (1954)
July 7 - Johnny Mandel begins recording his score for Point Blank (1967)
July 7 - Gerald Fried's score for the Star Trek episode "Friday's Child" is recorded (1967)
July 7 - Atli Orvarsson born (1970)
July 7 - Richard Hazard records his final Mission: Impossible score, for the episode “The Bride” (1971)
July 7 - Sylvester Levay records his additional music for Howard the Duck (1986)
July 7 - Recording sessions begin on James Newton Howard's score for The Fugitive (1993)
July 7 - Recording sessions begin for Christopher Young’s score to Virtuosity (1995)

DID THEY MENTION THE MUSIC?

A CHIARA - Dan Romer, Benh Zeitlin
 
"Dan Romer provides an ambient, insistent score to the proceedings, which blends with the American pop music that blares in the gym, at the birthday party, and on the car radio. At times the score drops out, numbing Chiara’s experience, or sounds like ringing in the ears as she dissociates."
 
Katie Walsh, The Wrap

"The hits just keep on coming from there, as Chiara -- clenched and furious where a typical coming-of-age story character might default to a state of wide-eyed naïveté -- starts following the breadcrumbs to find her absent father. That search can be as plodding and static as the sound of Chiara’s shoes on a treadmill (or the numb tones of Dan Romer and Benh Zeitlin’s score, which is often reduced to gauzy ambiance), but it’s seldom been so riveting to see a self-aware teen realize they’ve been living a lie."
 
David Ehrlich, IndieWire

"Disquieting notes of tension creep in after the party, enhanced by the ambient hum paired with Benh Zeitlin and Dan Romer’s atmospheric score, as Chiara overhears fragments of conversation among her parents and uncles, indicating that something’s wrong. That suspicion is confirmed when she witnesses her father’s parked car explode in the street outside and her mother is evasive about his whereabouts and the reasons for his sudden disappearance."
 
David Rooney, The Hollywood Reporter 

JURASSIC WORLD: DOMINION
- Michael Giacchino
 
"While Trevorrow’s films have little to add to the behemoth cultural touchstone forged by Spielberg nearly three decades ago, they manage to satisfy as solid imitations. It’s almost refreshing to see 'Jurassic World Dominion' abandon the pretense that it’s anything other than reheated leftovers. Whether cynically or shrewdly, Trevorrow recognizes that the audience for this threequel does not have the appetite for new material. They want him to shut up and play the hits so they get a hit of the rush they remember from ages past no matter how diluted the dosage. At least he’s straightforward with his intentions to give them exactly what they want: direct rip-offs of images and sequences from the original film with composer Michael Giacchino doing his best recreation of the swelling John Williams score."
 
Marshall Shaffer, The Playlist 
 
"Otherwise, when 'Dominion' isn’t suffocating itself with world-building, much of it frustratingly untapped, it’s wholly given over to corny fan service. Jeff Goldblum, Laura Dern, and Sam Neill, the all-star trio of 'Jurassic Park,' put on a frivolous nostalgia show, with Ian Malcom (Goldblum) serving up some old-school derring-do by throwing a torch into a Tyrannosaurus rex’s mouth and Ellie Sattler (Dern) and Alan Grant (Neill) awkwardly falling over each other as they try to swipe a locust from Dodgson’s clutches. And sprinkled throughout is Michael Giacchino’s recycling of John Williams’s famous 'Jurassic Park' theme, barely working up a sweat and suggesting nothing so much as elevator music."
 
Ed Gonzalez, Slant Magazine 

"Editor Mark Sanger and composer Michael Giacchino keep the story hurtling along, possibly hoping that if it moves fast enough no one will mind the colossally dumb plotting. At least there’s delicate distraction when John Williams’ original theme music is piped in over Ellie and Alan’s halting romantic reconnection, serving as a reminder of a real movie. As for this one, extinction beckons."
 
David Rooney, The Hollywood Reporter 

STRAWBERRY MANSION - Dan Deacon

"Anthropomorphic animals in the form of actors in suits and masks, including a cameo of the title character of the duo’s previous film 'Sylvio,' populate a vivid universe with humbly sumptuous production design. Tyler Davis’ cinematography, notable throughout for its richness of color and texture, transports the viewer to a kingdom of possibility best seen in a montage of an idyllic island set to the soaring sounds of Dan Deacon’s electronic score."
 
Carlos Aguilar, Los Angeles Times
 
"Featuring a trippy, gauzy score by Dan Deacon, for all of its cultural relevancy and political texture about capitalistic systems looking to exploit the working man, the film’s whimsy and low-key absurdist charms are easily its best features. That said, its interdimensional/intergenerational love story is affecting too, the usually-wryly-comedic Audley convincing at creating a character that suffers from an acute loneliness in life everyone can truly relate to in the age of quarantine. Beneath the layers of fuzzy frequencies, feverish absurdism, and kaleidoscopic tints lives an inconspicuously poignant movie about existentialist dread, the very human need to reduce the noise, and the genuine longing for connection in a chaotic, jumbled up world."
 
Rodrigo Perez, The Playlist

"Still, there’s a lot to appreciate about Strawberry Mansion as an aesthetic object, a flight of imagination, and a sci-fi vision. Its message is political, but it’s not interested in conking viewers over the head with its themes. The music, by composer Dan Deacon, knows when to shimmer and when to swell. The filmmakers combine celluloid grain and green screen to original effect, and the use of color is inspired. (How many brainwashing chambers have you seen that are painted the shade of strawberry gelato?) With eccentricity like that guiding the filmmaking, perhaps it’s to be expected -- and easily forgiven -- that 'Strawberry Mansion' wanders off to chase butterflies."
 
Katie Rife, The Onion AV Club 
 
"The premise of 'Strawberry Mansion' is both too clever by half and somewhat half-baked: Its dream vistas offer profound, inspired concepts that soar above a rather lightweight plot about star-crossed lovers in an unknown realm. Accept that simplicity and the movie is in fact a delicate wonder, with one of the most innovative depictions of dream logic since Michel Gondry’s 'The Science of Sleep.' With Dan Deacon’s cosmic synth carrying the strange twists along, 'Strawberry Mansion' works its way through an absurdist romance with palpable depth."
 
Eric Kohn, IndieWire 
 
TOP GUN: MAVERICK - Harold Faltermeyer, Lady Gaga, Hans Zimmer; Score produced by Lorne Balfe

"On one level, it’s strange that Cruise has held out against a 'Top Gun' sequel so determinedly and for so long. He’s an aviation enthusiast and a skilled pilot. This world clearly gives him life. He’s always maintained he was waiting for the right story, but perhaps he was also waiting until he came into his own as an action-movie impresario, and had the clout and the vision as a producer to stage the show he wanted. That show is an absolute barnstormer. The aerial action sequences, shot practically with real aircraft, are astounding. Kosinski lacks Tony Scott’s stylistic eye (though he can crib Scott’s sultry look well enough when he needs to), but he’s a formidable technician and a careful architect. The sheer veracity of the footage, much of it captured by the cast in-cockpit as they physically strain through high-G maneuvers, will -- sorry, there’s no other way to put it -- take your breath away. The compositions are sharp, the editing propulsive. The sound design and music (credited to the unimaginable power trio of Hans Zimmer, Harold Faltermeyer, and Lady Gaga, with Lorne Balfe on production) are huge. It’s overwhelming, immersive, thrilling action filmmaking."
 
Oli Welsh, Polygon 

"'Maverick' occasionally leans into melodrama -- its soaring score by Hans Zimmer, Lorne Balfe, and Harold Faltermeyer is persistently over the top -- but it works for the elevated material here. 'Maverick,' is not a film, it’s a summer popcorn capital M, movie, but it understands itself, still treats itself with respect, and never insults the intelligence of its audience. Even when machinations in the third act get a little preposterous, its nearly breathtaking at how its fierce thrust just flattens any moments of your buckling suspension of disbelief."
 
Rodrigo Perez, The Playlist
 
"Still, the action sequences -- all the low-altitude flights, airborne dogfights as well as Cruise on a motorcycle donned in his original 'Top Gun' leather jacket -- are likewise the breathtaking stars of 'Maverick,' often accompanied by Harold Faltermeyer’s celebratory original score (aided by cues from Hans Zimmer and Lorne Balfe). Reportedly, all the flying scenes -- a pair of which are pure hell-yes moments for Cruise -- were shot in actual U.S. Navy F/A-18s, for which the cast had to be trained for during a mind-boggling process. The authentic work that went into every frame generously shows. As the jets cut through the atmosphere and brush their target soils in close-shave movements -- all coherently edited by Eddie Hamilton -- the sensation they generate feels miraculous and worthy of the biggest screen one can possibly find. Equally worthy of that big screen is the emotional strokes of 'Maverick' that pack an unexpected punch. Sure, you might be prepared for a second sky-dance with 'Maverick,' but perhaps not one that might require a tissue or two in its final stretch."
 
Tomris Laffly, RogerEbert.com 
 
"Ehren Kruger, Christopher McQuarrie, and Eric Warren Singer’s well-engineered script doesn’t reinvent the wheel, but 'Maverick' is all about old-school thrills in defiance of a new world order, and the joy of watching it is anchored in a certain degree of predictability. Much like the original, 'Maverick' is a drama steam-baked in so much testosterone and repressed male emotion that it sweats into an action movie. Unlike the original -- which, in an historic moment of dumb screenwriting, drops its climactic mission on its hotshots while they were literally still at the Top Gun graduation ceremony -- 'Maverick' builds up to a particular mission from the start, and drills every detail about it into our heads as if we’ll have to fly it ourselves (those details will have to make room next to the melody of Lady Gaga’s end credits anthem 'Hold My Hand,' which is used as score throughout the film to wonderful effect)."
 
David Ehrlich, IndieWire 

"Like so many sequels, particularly the kind decades removed from the original, 'Top Gun: Maverick' plays upon nostalgia, starting with the very opening moments, in which a very 1986 synth beat underscores producer Jerry Bruckheimer’s logo card, once again bearing the name of his late partner Don Simpson. That beat then takes us to old snapshots of Goose, and then right into Kenny Loggins’ 'Danger Zone.' (Later on, the score -- credited to Harold Faltermeyer, Lady Gaga, and Hans Zimmer -- will periodically bring back Faltermeyer’s 'bonnnnng' sound from the original; all this time later, it’s a sound as connected to Taco Bell TV commercials as it is to 'Top Gun.')"
 
Alonso Duralde, The Wrap 
 
"'Maverick' begins as 'Top Gun' did, with the title card briefing the audience on the 'Top Gun' flight school, followed breathlessly by Harold Faltermeyer’s near-spiritual theme and then crisp, consuming shots of fighter jets fueling, taking off, landing, the importance of each incomprehensibly expensive piece of machinery dictated by how many faceless expressions in aviators are focused on it -- then fade to black. More than striking the right tone, this opening pays its last respects to everything the original film was that’s now gone. It’s an obligatory gesture as much as it feels subtle, even graceful, compared to the bombast to come."
 
Dom Sinacola, Paste Magazine 

"'Top Gun: Maverick' is a longer, costlier and appreciably weightier affair, and its expanded emotional scope and heightened production values (including a score by the original film’s composer, Harold Faltermeyer) give it a classy, elegiac sheen; it’s like a hot summer diversion in prestige-dinosaur drag, or vice versa. As a rare big-budget Hollywood movie about men and women who fly without capes, it has a lot riding on it. Once set for a summer 2020 release but delayed almost two years by the pandemic, it arrives bearing the hopes and dreams of a tentatively resurgent industry that could use a non-Marvel theatrical hit. And as such, everything about its story -- from the intergenerational conflict to the high stakes of Maverick’s mission to the rusted-out F-14s collecting dust at the periphery of the action -- carries an unmistakable subtext. Is this movie one of the last gasps of a dying Hollywood empire? Or is its emotionally stirring, viscerally gripping and proudly old-fashioned storytelling the latest adrenaline shot that the industry so desperately needs?"
 
Justin Chang, Los Angeles Times 

"This unabashed nostalgia informs much of 'Maverick''s first half, from the narrative that mirrors that of the original film to the reused themes of Harold Faltermeyer’s old score. Callbacks to quotable lines and memorable moments from the original film are abundant here, with Maverick even finding himself back at the same elite fight training school from which he graduated, this time as an instructor. The man has been obligatorily tasked by his old comrade Iceman (Val Kilmer), now an admiral, to prepare a squadron for a high-risk mission to destroy a heavily fortified uranium refining facility being built in an enemy nation that, as was the case in the first 'Top Gun,' is left unnamed yet strongly coded as Russia."
 
Jake Cole, Slant Magazine 

"These days, videogame-styled blockbusters rely so heavily on CGI that it’s thrilling to see the impact of gravity on actual human beings, pancaked to their chairs by multiple G-forces. Sophisticated movie magic makes their performances seamless with the exterior airborne shots, while the commitment to filming practically everything practically feels like the cutting-edge equivalent of Howard Hughes’ history-making 'Hell’s Angels.' The result is the most immersive flight simulator audiences will have ever experienced, right down to the great Dolby roar of engines vibrating through their seats (while the score teases cues for Lady Gaga’s end-credits anthem 'Hold My Hand')."
 
Peter Debruge, Variety 

"This is definitely a film that benefits from the Imax experience and the big-ass soundscape that comes with it. The muscular score by Harold Faltermeyer, Lady Gaga and Hans Zimmer also pulls its weight, with Gaga’s song, 'Hold My Hand,' getting prime romantic placement. Musical choices elsewhere tend to lean into a retro vibe -- Bowie, T. Rex, Foghat, The Who -- while Teller gets to hammer the piano keys and lead a Jerry Lee Lewis sing-along that pays direct homage to his screen dad."
 
David Rooney, The Hollywood Reporter

THE NEXT TEN DAYS IN L.A.

Screenings of older films in Los Angeles-area theaters.

July 1
BEFORE SUNRISE (Fred Frith) [Academy Museum]

GANGS OF NEW YORK (Howard Shore) [New Beverly]
THE HANDMAIDEN (Yeong-wook Jo) [Alamo Drafthouse]
THE HATEFUL EIGHT (Ennio Morricone) [New Beverly]
THE MUMMY (Jerry Goldsmith) [New Beverly]
POLICE STORY 2 (Siu-Tin Lai, Siu-Lam Tang) [Los Feliz 3]
SID AND NANCY (Pray For Rain) [BrainDead Studios]
TAXI DRIVER (Bernard Herrmann) [BrainDead Studios]
TO CATCH A THIEF (Lyn Murray) [Los Feliz 3]
2001: A SPACE ODYSSEY [Aero]
VENGEANCE IS MINE [Los Feliz 3]

July 2
BEVERLY HILLS COP (Harold Faltermeyer) [Los Feliz 3]

BLOW OUT (Pino Donaggio) [Los Feliz 3]
BROKEBACK MOUNTAIN (Gustavo Santaolalla) [Los Feliz 3]
DICK (John Debney) [Alamo Drafthouse]
DIRTY HARRY (Lalo Schifrin) [Los Feliz 3]
GANGS OF NEW YORK (Howard Shore) [New Beverly]
GREEN ROOM (Brooke Blair, Will Blair) [BrainDead Studios]
THE HANDMAIDEN (Yeong-wook Jo) [Alamo Drafthouse]
I KNOW WHAT YOU DID LAST SUMMER (John Debney) [New Beverly]
INDIANA JONES AND THE LAST CRUSADE (John Williams) [New Beverly]
THE LIVING END (Cole Coonce) [BrainDead Studios]
PERMANENT VACATION (Jim Jarmusch, John Lurie) [BrainDead Studios]
THE PRINCESS BRIDE (Mark Knopfler) [Academy Museum]
2001: A SPACE ODYSSEY [Aero] 

July 3
BACK TO THE FUTURE PART II (Alan Silvestri) [BrainDead Studios]
BARAKA (Michael Stearns) [Aero]

BATMAN (Danny Elfman) [Academy Museum]
GANGS OF NEW YORK (Howard Shore) [New Beverly]
HANA-BI (Joe Hisaishi) [Los Feliz 3]
THE HANDMAIDEN (Yeong-wook Jo) [Alamo Drafthouse] 
INDIANA JONES AND THE LAST CRUSADE (John Williams) [New Beverly]
MY BEST FIEND (Popol Vuh) [Los Feliz 3]
ROBOCOP 2 (Leonard Rosenman) [BrainDead Studios]
RUGGLES OF RED GAP [Los Feliz 3]
THE SANDLOT (David Newman) [Los Feliz 3]
SLC PUNK [BrainDead Studios]

July 4
ESCAPE FROM L.A. (Shirley Walker, John Carpenter) [Alamo Drafthouse]
ESCAPE FROM NEW YORK (John Carpenter, Alan Howarth) [Alamo Drafthouse]
NATIONAL TREASURE (Trevor Rabin) [Los Feliz 3]
PEE-WEE'S BIG ADVENTURE (Danny Elfman) [Alamo Drafthouse]
RED DAWN (Basil Poledouris), INVASION USA (Jay Chattaway) [New Beverly]
ROLLERCOASTER (Lalo Schifrin) [Los Feliz 3]

July 5
AMERICAN GRAFFITI, DAZED AND CONFUSED [New Beverly]
CAPE FEAR (Bernard Herrmann, Elmer Bernstein) [Los Feliz 3]
THE ELEPHANT MAN (John Morris) [Academy Museum]
ESCAPE FROM L.A. (Shirley Walker, John Carpenter) [Alamo Drafthouse]
ESCAPE FROM NEW YORK (John Carpenter, Alan Howarth) [Alamo Drafthouse]
PEE-WEE'S BIG ADVENTURE (Danny Elfman) [Alamo Drafthouse]
SANTA SANGRE (Simon Boswell) [Alamo Drafthouse]

July 6
AMERICAN GRAFFITI, DAZED AND CONFUSED [New Beverly] 
ESCAPE FROM L.A. (Shirley Walker, John Carpenter) [Alamo Drafthouse]
EVEN DWARFS STARTED SMALL (Florian Fricke) [Los Feliz 3]
OUT OF THE BLUE (Tom Lavin) [BrainDead Studios]
SANTA SANGRE (Simon Boswell) [Alamo Drafthouse]

July 7
AMERICAN GRAFFITI, DAZED AND CONFUSED [New Beverly]  
DIARY FOR MY MOTHER AND FATHER (Zsolt Dome) [Academy Museum]
THE MASTER (Jonny Greenwood) [Aero]
PATHER PANCHALI (Ravi Shankar) [Los Feliz 3]

July 8
BATMAN FOREVER (Elliot Goldenthal) [New Beverly]
BLOOD FOR DRACULA (Claudio Gizzi), FLESH FOR FRANKENSTEIN (Claudio Gizzi) [BrainDead Studios]
DJANGO UNCHAINED [New Beverly]
MAGIC MIKE XXL [Alamo Drafthouse]
MALCOLM X (Terence Blanchard) [Aero]
THE MOON HAS RISEN (Takanobu Saito), LOVE LETTER (Ichiro Saito) [UCLA/Hammer] 
NATIONAL LAMPOON'S VACATION (Ralph Burns), CADDYSHACK (Johnny Mandel) [New Beverly]
SLEEPLESS IN SEATTLE (Marc Shaiman) [Academy Museum]

July 9
BACK TO THE FUTURE (Alan Silvestri) [New Beverly]
BETTER OFF DEAD (Rupert Hine) [BrainDead Studios]
DICK TRACY (Danny Elfman) [Academy Museum]
DOUBLE HAPPINESS (Shadowy Men on a Shadowy Planet), BEAU TRAVAIL (Charles Henri de Pierrefeu, Eran Zur) [Academy Museum]
THE EVIL DEAD (Joseph LoDuca) [New Beverly]
FLOATING LIFE (Davood Tabrizi) [UCLA/Hammer]
HAVE A NICE DAY [BrainDead Studios]
NAKED (Andrew Dickson) [Los Feliz 3]
NATIONAL LAMPOON'S VACATION (Ralph Burns), CADDYSHACK (Johnny Mandel) [New Beverly]
RETURN OF THE LIVING DEAD [BrainDead Studios]
SHORT CUTS (Mark Isham) [Aero]
TROOP BEVERLY HILLS (Randy Edelman) [Los Feliz 3]

July 10
BORDER RADIO (Dave Alvin) [BrainDead Studios]
BURST CITY [BrainDead Studios]
DUNKIRK (Hans Zimmer) [Aero]
LAND OF SILENCE AND DARKNESS [Los Feliz 3]
LIFE IS SWEET (Rachel Portman) [Los Feliz 3]
NATIONAL LAMPOON'S VACATION (Ralph Burns), CADDYSHACK (Johnny Mandel) [New Beverly] 
STRAIGHT TO HELL (The Pogues, Pray for Rain) [BrainDead Studios]
TOTAL RECALL (Jerry Goldsmith) [Academy Museum]


THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY

Heard:
Sense and Sensibility (Doyle); Darkman (Elfman); The Thomas Crown Affair (Conti); Hulk (Elfman); The Day of the Triffids (Goodwin); Mad Max (May); Avengers: Age of Ultron (Tyler/Elfman)

Read: Vampire's Honeymoon, by Cornel Woolrich

Seen: Judas and the Black Messiah; Cha Cha Real Smooth; All That Jazz

Watched: Incubus [1966]; Black Sails ("III."); Star Trek ("The Tholian Web"); Archer ("A Warrior in Costume")


*Oscar-nominated songs by Diane Warren: 

1987 - "Nothing's Gonna Stop Us Now" - Mannequin (with Albert Hammond)
1996 - "Because You Loved Me" - Up Close and Personal
1997 - "How Do I Live" - Con Air
1998 - "I Don't Want to Miss A Thing" - Armageddon
1999 - "Music Of My Heart" - Music of the Heart
2001 - "There You'll Be" - Pearl Harbor
2014 - "Grateful" - Beyond the Lights
2015 - "Till It Happens To You" - The Hunting Ground (with Lady Gaga)
2017 - "Stand Up For Something - Marshall (with Lonnie R. Lynn [aka Common])
2018 - "I'll Fight" - RGB
2019 - "I'm Standing With You" - Breakthrough
2020 - "Io Si (Seen)" - The Life Beyond [La Vita Davanti a Se] (with Laura Pausini)
2021 - "Somehow You Do" - Four Good Days

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