The long-awaited adaptation of Stephen King’s Salem’s Lot from director Gary Dauberman (Annabelle Comes Home) is still without a release date, but we’ve learned from The Hollywood Reporter this afternoon that the film will Not be releasing in theaters at all.
As we suspected, Salem’s Lot will be a straight-to-streaming release for the Max streaming service. THR notes, “No date was given, but sources believe a fourth quarter release is likely.”
Originally set for theatrical release on September 9, 2022, the new Stephen King adaptation was recently bumped to April 21, 2023, before getting ejected from the theatrical slate.
For what it’s worth, Stephen King has recently tweeted praise for the film.
King wrote earlier this year, “I’ve seen the new Salem’S Lot and it’s quite good. Old-school horror filmmaking: slow build, big payoff. Not sure why WB is holding it back; not like it’s embarrassing, or anything.
As we suspected, Salem’s Lot will be a straight-to-streaming release for the Max streaming service. THR notes, “No date was given, but sources believe a fourth quarter release is likely.”
Originally set for theatrical release on September 9, 2022, the new Stephen King adaptation was recently bumped to April 21, 2023, before getting ejected from the theatrical slate.
For what it’s worth, Stephen King has recently tweeted praise for the film.
King wrote earlier this year, “I’ve seen the new Salem’S Lot and it’s quite good. Old-school horror filmmaking: slow build, big payoff. Not sure why WB is holding it back; not like it’s embarrassing, or anything.
- 3/12/2024
- by John Squires
- bloody-disgusting.com
The long-awaited adaptation of Stephen King’s Salem’s Lot from director Gary Dauberman (Annabelle Comes Home) is still without a release date here in 2024, and Stephen King has once more taken to Twitter this week to ask the big question: What’S The Deal?!
Originally set for theatrical release on September 9, 2022, the new Stephen King adaptation was recently bumped to April 21, 2023, before getting ejected from the theatrical slate altogether. As of now, Salem’s Lot still doesn’t have a release date.
King tweets tonight, “Between you and me, Twitter, I’ve seen the new Salem’S Lot and it’s quite good. Old-school horror filmmaking: slow build, big payoff. Not sure why WB is holding it back; not like it’s embarrassing, or anything. Who knows. I just write the fucking things.”
The concern from horror fans is that Dauberman’s Salem’s Lot will be trashed completely by Warner Bros., a...
Originally set for theatrical release on September 9, 2022, the new Stephen King adaptation was recently bumped to April 21, 2023, before getting ejected from the theatrical slate altogether. As of now, Salem’s Lot still doesn’t have a release date.
King tweets tonight, “Between you and me, Twitter, I’ve seen the new Salem’S Lot and it’s quite good. Old-school horror filmmaking: slow build, big payoff. Not sure why WB is holding it back; not like it’s embarrassing, or anything. Who knows. I just write the fucking things.”
The concern from horror fans is that Dauberman’s Salem’s Lot will be trashed completely by Warner Bros., a...
- 2/20/2024
- by John Squires
- bloody-disgusting.com
The Beanie Bubble is about the Beanie Baby craze of the 1990s and the drama behind the scenes. Zach Galifianakis plays Ty Warner, the founder of the toy line. Elizabeth Banks, Sarah Snook and Geraldine Viswanathan play the three women in Warner’s life who found each other, and success, in the company. Ok Go singer Damian Kulash directed with his wife, screenwriter Kristin Gore.
Kulash said he hoped people couldn’t tell where the movie’s “needle drops” of archival music ended and his original score, with Nathan Barr, began. The film includes songs by The Cure, Inxs, The Cranberries, Queen and more.
“The job of the score was not to offset that stuff but rather to make it unclear when you’re in a pop song and when you’re not,” Kulash said.
Kulash said they even fooled the Apple legal team with the selection they performed for...
Kulash said he hoped people couldn’t tell where the movie’s “needle drops” of archival music ended and his original score, with Nathan Barr, began. The film includes songs by The Cure, Inxs, The Cranberries, Queen and more.
“The job of the score was not to offset that stuff but rather to make it unclear when you’re in a pop song and when you’re not,” Kulash said.
Kulash said they even fooled the Apple legal team with the selection they performed for...
- 11/10/2023
- by Fred Topel
- Deadline Film + TV
Deadline’s Sound & Screen, our awards-season composer showcase of original music for some of this year’s most acclaimed films, gets underway tonight at UCLA’s Royce Hall, with a 60-piece orchestra tuning up to make it all sing.
The event for industry voters begins with a pre-reception at 5:30 p.m. Pt, with performances starting at 6:45 p.m. Follow along on social media all evening on Deadline’s social channels via #DeadlineSoundAndScreen, and stay with Deadline for full panel coverage.
This year’s lineup features Mark Ronson and Andrew Wyatt, co-composers and songwriters for Warner Bros. Pictures’ smash Barbie, who will walk the audience through how they approached that film’s music and wrote the catchy tune “I’m Just Ken.” Additionally, we’ve got Scottish musician Gary Clark here to talk us through his most recent collaboration with John Carney: the musical drama Flora and Son from Apple Original Films.
The event for industry voters begins with a pre-reception at 5:30 p.m. Pt, with performances starting at 6:45 p.m. Follow along on social media all evening on Deadline’s social channels via #DeadlineSoundAndScreen, and stay with Deadline for full panel coverage.
This year’s lineup features Mark Ronson and Andrew Wyatt, co-composers and songwriters for Warner Bros. Pictures’ smash Barbie, who will walk the audience through how they approached that film’s music and wrote the catchy tune “I’m Just Ken.” Additionally, we’ve got Scottish musician Gary Clark here to talk us through his most recent collaboration with John Carney: the musical drama Flora and Son from Apple Original Films.
- 11/9/2023
- by Diana Lodderhose
- Deadline Film + TV
The long-awaited adaptation of Stephen King’s Salem’s Lot from director Gary Dauberman (Annabelle Comes Home) is still without a release date, but we did get a bit of an update on Halloween night earlier this week. According to the latest reports, Warner Bros. is toying with the idea of bringing Salem’s Lot straight-to-streaming sometime in 2024.
Originally set for theatrical release on September 9, 2022, the new Stephen King adaptation was recently bumped to April 21, 2023, before getting ejected from the theatrical slate altogether. As of now, Salem’s Lot still doesn’t have a release date. If this week’s latest update is accurate, the film will be debuting on the Max streaming service in the coming months.
Taking to Twitter this week, Stephen King himself has shared his honest thoughts on Gary Dauberman’s adaptation of his classic novel. And it sounds like he’s (mostly) a fan.
King tweets, “The Warner Bros remake of Salem’s Lot,...
Originally set for theatrical release on September 9, 2022, the new Stephen King adaptation was recently bumped to April 21, 2023, before getting ejected from the theatrical slate altogether. As of now, Salem’s Lot still doesn’t have a release date. If this week’s latest update is accurate, the film will be debuting on the Max streaming service in the coming months.
Taking to Twitter this week, Stephen King himself has shared his honest thoughts on Gary Dauberman’s adaptation of his classic novel. And it sounds like he’s (mostly) a fan.
King tweets, “The Warner Bros remake of Salem’s Lot,...
- 11/2/2023
- by John Squires
- bloody-disgusting.com
One of the biggest questions this year in terms of horror releases remains: Where’s the Salem’s Lot remake? According to Variety, the Gary Dauberman-directed Stephen King adaptation may be heading to Max, the Warner Bros. Discovery streaming platform.
Originally set for theatrical release on September 9, 2022, the new Stephen King adaptation was recently bumped to April 21, 2023, before getting ejected from the theatrical slate altogether. As of now, Salem’s Lot still doesn’t have a release date.
While a Warner Bros. spokesperson told Variety, “No decision has been made about the film’s future distribution plans,” the outlet cites that “the ongoing SAG-AFTRA strike has created a growing need for Max content.” That makes Salem’s Lot a prime candidate, considering how long the adaptation has been shelved.
Perhaps, with vocal support from fans, Salem’s Lot may yet head to theaters as Evil Dead Rise did earlier this year.
Originally set for theatrical release on September 9, 2022, the new Stephen King adaptation was recently bumped to April 21, 2023, before getting ejected from the theatrical slate altogether. As of now, Salem’s Lot still doesn’t have a release date.
While a Warner Bros. spokesperson told Variety, “No decision has been made about the film’s future distribution plans,” the outlet cites that “the ongoing SAG-AFTRA strike has created a growing need for Max content.” That makes Salem’s Lot a prime candidate, considering how long the adaptation has been shelved.
Perhaps, with vocal support from fans, Salem’s Lot may yet head to theaters as Evil Dead Rise did earlier this year.
- 10/31/2023
- by Meagan Navarro
- bloody-disgusting.com
Producers: Brian Grazer, Ron Howard, Karen Lunder
Executive Producers: Zach Galifianakis, Douglas S. Jones
Directors: Kristin Gore and Damian Kulash, Jr.
Writer: Kristin Gore.
Director of Photography: Steven Meizler
Production Designer: Molly Hughes
Costume Designer: Reńee Ehrlich Kalfus
Editor: Jane Rizzo
Composers: Nathan Barr
Cast: Zach Galifianakis, Elizabeth Banks, Sarah Snook, Geraldine Viswanathan, Tracey Bonner, Carl Clemons-Hopkins
An AppleTV+ release, The Beanie Bubble examines a phenomenon of a certain era when the world suddenly treat stuffed animals like gold. Ty Warner was a frustrated toy salesman until his collaboration with three women grew his masterstroke of an idea into the biggest toy craze in history.…...
Executive Producers: Zach Galifianakis, Douglas S. Jones
Directors: Kristin Gore and Damian Kulash, Jr.
Writer: Kristin Gore.
Director of Photography: Steven Meizler
Production Designer: Molly Hughes
Costume Designer: Reńee Ehrlich Kalfus
Editor: Jane Rizzo
Composers: Nathan Barr
Cast: Zach Galifianakis, Elizabeth Banks, Sarah Snook, Geraldine Viswanathan, Tracey Bonner, Carl Clemons-Hopkins
An AppleTV+ release, The Beanie Bubble examines a phenomenon of a certain era when the world suddenly treat stuffed animals like gold. Ty Warner was a frustrated toy salesman until his collaboration with three women grew his masterstroke of an idea into the biggest toy craze in history.…...
- 7/20/2023
- by Nicholas Bell
- IONCINEMA.com
The new adaptation of Salem’s Lot from director Gary Dauberman is currently missing in action, originally set for release in September 2022 before more recently being bumped to April 2023. As we learned over the summer, the WB/New Line movie is now without a release date entirely, and we’re waiting to hear more on that.
In the meantime, star Lewis Pullman (The Strangers: Prey at Night) has offered up some thoughts on Salem’s Lot in a chat with ComicBook.com, teasing the faithfulness to Stephen King‘s novel. How faithful is the new adaptation? According to Pullman, quite faithful.
Pullman tells the site, “Gary Dauberman, the director, is really keen on doing justice to the book. But also, the previous adaptation was a two-parter, because it’s such a hefty book and there are so many different moving parts and so many characters. So there are some parts where Gary had...
In the meantime, star Lewis Pullman (The Strangers: Prey at Night) has offered up some thoughts on Salem’s Lot in a chat with ComicBook.com, teasing the faithfulness to Stephen King‘s novel. How faithful is the new adaptation? According to Pullman, quite faithful.
Pullman tells the site, “Gary Dauberman, the director, is really keen on doing justice to the book. But also, the previous adaptation was a two-parter, because it’s such a hefty book and there are so many different moving parts and so many characters. So there are some parts where Gary had...
- 11/3/2022
- by John Squires
- bloody-disgusting.com
Since the TV academy began regularly honoring original music scores in the 1960s, there has essentially always been a clear distinction between compositions for continuing and limited series. The Best Music for Limited Series Emmy category was established early on in order to adequately recognize the music behind single-season or one-off scripted programs apart from traditional comedy and drama series. This year’s five contenders are about as eclectic as can be, with plots that collectively span multiple centuries and continents.
The current Best Music for Limited Series nominees are “1883” (Paramount+), “Moon Knight” (Disney+), “Station Eleven” (HBO Max), “A Very British Scandal” (Prime Video) and “The White Lotus” (HBO). To determine which one is most likely to take the gold, let’s take a look at each score individually. Be sure to make your Emmy predictions in this and 26 other Creative Arts categories by September 3.
“1883” — Music by Brian Tyler...
The current Best Music for Limited Series nominees are “1883” (Paramount+), “Moon Knight” (Disney+), “Station Eleven” (HBO Max), “A Very British Scandal” (Prime Video) and “The White Lotus” (HBO). To determine which one is most likely to take the gold, let’s take a look at each score individually. Be sure to make your Emmy predictions in this and 26 other Creative Arts categories by September 3.
“1883” — Music by Brian Tyler...
- 8/30/2022
- by Matthew Stewart
- Gold Derby
In the midst of many big time changes over at Warner Bros., we’ve learned tonight that the Salem’s Lot remake from WB/New Line has been bumped from release yet again.
Originally set for theatrical release on September 9, 2022, the new Stephen King adaptation was recently bumped to April 21, 2023, and now the film has been undated altogether.
It’s likely that Warner Bros. is trying to figure out what to do with the movie, and whether to bring it to theaters or to streaming on HBO Max. We’ll report more as we learn it.
James Wan produced for Warner Bros. and New Line, with Gary Dauberman (It, The Nun, Annabelle Comes Home) writing the script and also directing the new movie.
Salem’s Lot 2023 is set “circa 1975 (when King’s book was first published).”
In Salem’s Lot 2023, “Haunted by an incident from his childhood, author Ben Mears returns...
Originally set for theatrical release on September 9, 2022, the new Stephen King adaptation was recently bumped to April 21, 2023, and now the film has been undated altogether.
It’s likely that Warner Bros. is trying to figure out what to do with the movie, and whether to bring it to theaters or to streaming on HBO Max. We’ll report more as we learn it.
James Wan produced for Warner Bros. and New Line, with Gary Dauberman (It, The Nun, Annabelle Comes Home) writing the script and also directing the new movie.
Salem’s Lot 2023 is set “circa 1975 (when King’s book was first published).”
In Salem’s Lot 2023, “Haunted by an incident from his childhood, author Ben Mears returns...
- 8/24/2022
- by John Squires
- bloody-disgusting.com
“It’s about two characters who are reaching for something,” reveals composer Nathan Barr about the limited series “A Very British Scandal.” The three-episode drama recounts the marriage and bitter divorce between Ian and Margaret Campbell, the Duke and Duchess of Argyll, played by Paul Bettany and Claire Foy. Barr’s score has been nominated for an Emmy, his fifth career nomination. He previously won for composing the main title music of the Netflix limited series “Hollywood.” Check out our exclusive video interview with Barr above.
The composer’s inspiration came from his belief that both Ian and Margaret were looking for things that were completely separate from any kind of love. For Ian, it was the desire for Margaret’s money, while Margaret was attracted to the idea of being the wife of a duke. Barr says that those elements informed the melodies he crafted. “The score was really...
The composer’s inspiration came from his belief that both Ian and Margaret were looking for things that were completely separate from any kind of love. For Ian, it was the desire for Margaret’s money, while Margaret was attracted to the idea of being the wife of a duke. Barr says that those elements informed the melodies he crafted. “The score was really...
- 7/26/2022
- by Tony Ruiz
- Gold Derby
“That is the role that music should play in a scene,” declares acclaimed Korean composer Jung Jae-il (“Parasite”) about the role of a composer on a series like the Netflix blockbuster “Squid Game,” on which he juxtaposes the mood of each scene with a variety of musical styles, from bombastic percussion, to distorted synth-rock, to mellifluous orchestral pieces. For our recent webchat, he adds that “the music should not be in the foreground of the scene, but at the same time, music can show something completely different to the scene.” Watch our exclusive video interview above.
“Squid Game” was conceived by acclaimed feature writer/director Hwang Dong-hyuk, who not only created and produced “Squid Game” but also wrote and directed all nine episodes. The series stars leading man Lee Jung-jae as central hero Gi-hun, Jung Ho-yeon as the mysterious North Korean refugee Sae-byeok, Park Hae-soo as the calculating Sang-woo, Wi Ha-jun as undercover cop Jun-ho,...
“Squid Game” was conceived by acclaimed feature writer/director Hwang Dong-hyuk, who not only created and produced “Squid Game” but also wrote and directed all nine episodes. The series stars leading man Lee Jung-jae as central hero Gi-hun, Jung Ho-yeon as the mysterious North Korean refugee Sae-byeok, Park Hae-soo as the calculating Sang-woo, Wi Ha-jun as undercover cop Jun-ho,...
- 5/27/2022
- by Rob Licuria
- Gold Derby
Writing the perfect main title theme for a television show is easier said than done, say some of the industry’s top composers during the Gold Derby Meet the Experts: Composers roundtable panel. Watch the exclusive video interview above.
“It’s like trying to squeeze the last bit of toothpaste in a container. It takes ages,” says Breton Vivian, a composer who worked with Brian Tyler on the score for “1883” and its parent series, “Yellowstone.” “Sometimes it’s just some sort of hook that you can kind of expand into a bigger thing. But for me, it’s always just spending a really long time with it, measure by measure.… But then sometimes you just do it in like, a couple of minutes. For me, there’s no real formula for it.”
In our exclusive video interview roundtable, Vivian was joined by Nathan Barr (an Emmy Award winner who...
“It’s like trying to squeeze the last bit of toothpaste in a container. It takes ages,” says Breton Vivian, a composer who worked with Brian Tyler on the score for “1883” and its parent series, “Yellowstone.” “Sometimes it’s just some sort of hook that you can kind of expand into a bigger thing. But for me, it’s always just spending a really long time with it, measure by measure.… But then sometimes you just do it in like, a couple of minutes. For me, there’s no real formula for it.”
In our exclusive video interview roundtable, Vivian was joined by Nathan Barr (an Emmy Award winner who...
- 5/26/2022
- by Christopher Rosen
- Gold Derby
When Emmy Award-winning composer Nathan Barr returned to write the music for Season 2 of “The Great,” creator Tony McNamara and executive producer Marian Mcgowan said they had wanted to add a main title track to his plate. It was a great opportunity for the prolific composer, but there was just one problem.
“I was like, ‘Fantastic, what are we looking at? Sixty seconds, 90 seconds?’” Barr tells Gold Derby in our exclusive video interview. “They’re like, ‘We’re looking at nine seconds.’ Like nine seconds! That’s definitely the shortest main title I’ve written – and I’ve written some short ones before. But it’s a challenge, right?”
Barr was up for the task and seized on the themes of the subversive Hulu historical comedy. “I wrote something pretty crazy busy and insane. Which was, I think, exactly right for the show, given the crazy energy of the characters this season.
“I was like, ‘Fantastic, what are we looking at? Sixty seconds, 90 seconds?’” Barr tells Gold Derby in our exclusive video interview. “They’re like, ‘We’re looking at nine seconds.’ Like nine seconds! That’s definitely the shortest main title I’ve written – and I’ve written some short ones before. But it’s a challenge, right?”
Barr was up for the task and seized on the themes of the subversive Hulu historical comedy. “I wrote something pretty crazy busy and insane. Which was, I think, exactly right for the show, given the crazy energy of the characters this season.
- 5/26/2022
- by Christopher Rosen
- Gold Derby
Four top TV composers will reveal secrets behind their projects when they join Gold Derby’s special “Meet the Experts” Q&a event with 2022 Emmy Awards contenders. They will participate in two video discussions to premiere on Tuesday, May 24, at 4:00 p.m. Pt; 7:00 p.m. Et. We’ll have a one-on-one with our senior editor Christopher Rosen and a roundtable chat with all of the group together.
RSVP today to our entire ongoing Emmy contenders panel series by clicking here to book your free reservation. We’ll send you a reminder a few minutes before the start of the show.
This “Meet the Experts” panel welcomes the following 2022 contenders:
1883 (Paramount+)
Synopsis: Follows the Dutton family on a journey west through the Great Plains toward the last bastion of uncolonized America.
Bio: The career of Breton Vivian has included “Galavant,” “Agent Carter,” “Sausage Party,” “The Fate of the Furious,...
RSVP today to our entire ongoing Emmy contenders panel series by clicking here to book your free reservation. We’ll send you a reminder a few minutes before the start of the show.
This “Meet the Experts” panel welcomes the following 2022 contenders:
1883 (Paramount+)
Synopsis: Follows the Dutton family on a journey west through the Great Plains toward the last bastion of uncolonized America.
Bio: The career of Breton Vivian has included “Galavant,” “Agent Carter,” “Sausage Party,” “The Fate of the Furious,...
- 5/18/2022
- by Chris Beachum and Christopher Rosen
- Gold Derby
Has the “skip” option made main title theme songs redundant? Hardly if you consider how some of the top-shelf shows of the streaming era have married music so effectively with the tone of the accompanying series.
It’s not a new phenomenon. Hearing Alabama 3’s “Woke Up This Morning” is so evocative of its parent series, “The Sopranos,” that you feel as though you’re riding shotgun with Tony Soprano as he winds his way down the New Jersey Turnpike. Same goes for the eerie and multi-layered theme of “Six Feet Under” from Thomas Newman, an instrumental that seems to never get old, no matter how many times you hear it, nor does it even sound dated. This also applies to Ramin Djawadi, whose score work for “Game of Thrones” is not only award-winning, but essential to the opening credits of the series, which mapped out the areas of...
It’s not a new phenomenon. Hearing Alabama 3’s “Woke Up This Morning” is so evocative of its parent series, “The Sopranos,” that you feel as though you’re riding shotgun with Tony Soprano as he winds his way down the New Jersey Turnpike. Same goes for the eerie and multi-layered theme of “Six Feet Under” from Thomas Newman, an instrumental that seems to never get old, no matter how many times you hear it, nor does it even sound dated. This also applies to Ramin Djawadi, whose score work for “Game of Thrones” is not only award-winning, but essential to the opening credits of the series, which mapped out the areas of...
- 12/21/2021
- by Lily Moayeri
- Variety Film + TV
There’s always a trick when picking out the best scores. Is the measure of great music for film and TV that it can survive on its own merits? Or is the real trick to create something that seems so inextricable from its visual accompaniment that you can almost replay the story from just a handful of notes?
In the spirit of year-end celebration, our task was to find the scores that somehow manage to do both. As with any other category overview, we strove to find a healthy mix of the familiar masters of the craft with some emerging stars who hopefully have plenty more musical magic to share in the years to come. Fortunately, we didn’t have to search far to hear a rich tapestry of sounds to go with some of our favorite films and series of 2021.
Some have the orchestral sweep of years past. Many...
In the spirit of year-end celebration, our task was to find the scores that somehow manage to do both. As with any other category overview, we strove to find a healthy mix of the familiar masters of the craft with some emerging stars who hopefully have plenty more musical magic to share in the years to come. Fortunately, we didn’t have to search far to hear a rich tapestry of sounds to go with some of our favorite films and series of 2021.
Some have the orchestral sweep of years past. Many...
- 12/15/2021
- by Steve Greene and David Ehrlich
- Indiewire
Curated by the IndieWire Crafts team, Craft Considerations is a platform for filmmakers to talk about recent work we believe is worthy of awards consideration. In partnership with Hulu, for this edition we look at how composer Nathan Barr, costume designer Sharon Long, and production designer Francesca Di Mottola created a foundation to hold up the singular tone of “The Great.”
The second season of “The Great” starts at a crossroads. The Hulu series, loosely based on the real life of Russian Empress Catherine the Great, ended its first season with a pregnant Catherine (Elle Fanning) staging a coup against her husband Peter III (Nicholas Hoult). In real life, Peter was dead less than a month later. But “The Great” bills itself as only “occasionally true,” and so Hoult’s cheerful psychopath sticks around, a perfect embodiment of the show’s twin axes of humor and darkness, which can shift...
The second season of “The Great” starts at a crossroads. The Hulu series, loosely based on the real life of Russian Empress Catherine the Great, ended its first season with a pregnant Catherine (Elle Fanning) staging a coup against her husband Peter III (Nicholas Hoult). In real life, Peter was dead less than a month later. But “The Great” bills itself as only “occasionally true,” and so Hoult’s cheerful psychopath sticks around, a perfect embodiment of the show’s twin axes of humor and darkness, which can shift...
- 12/9/2021
- by Sarah Shachat
- Indiewire
Kate Trailer — Cedric Nicolas-Troyan‘s Kate (2021) movie trailer has been released by Netflix. The Kate trailer stars Mary Elizabeth Winstead, Woody Harrelson, Miku Martineau, Tadanobu Asano, Jun Kunimura, Miyavi, Kazuya Tanabe, and Michiel Huisman. Crew Umair Aleem wrote the screenplay for Kate. Nathan Barr created the music for the film. Lyle Vincent crafted [...]
Continue reading: Kate (2021) Movie Trailer: Poisoned Assassin Mary Elizabeth Winstead searches for Revenge in her Last 24 Hours...
Continue reading: Kate (2021) Movie Trailer: Poisoned Assassin Mary Elizabeth Winstead searches for Revenge in her Last 24 Hours...
- 8/5/2021
- by Rollo Tomasi
- Film-Book
When composer and songwriter Lisbeth Scott was working on the end music for Marc Meyers’ romantic film, “All My Life” (now streaming on Netflix), she found herself so immersed in the world of the characters that she ended up writing an end title song.
The film is based on a true story and stars Jessica Rothe and Harry Shum Jr. in this story about a couple who go on a date, fall in love, but it’s not all fun as games and sweet romance as Solomon (Chum) is diagnosed with a terminal illness. With that in mind, Scott wrote the lyrics to “Just You and I” with ease, touched by the poignancy of it all.
She breaks down how the song came together and looks at her favorite cue in the film.
Thanks to Netflix, romances are having a revival. How did “Just for You and I” come about?...
The film is based on a true story and stars Jessica Rothe and Harry Shum Jr. in this story about a couple who go on a date, fall in love, but it’s not all fun as games and sweet romance as Solomon (Chum) is diagnosed with a terminal illness. With that in mind, Scott wrote the lyrics to “Just You and I” with ease, touched by the poignancy of it all.
She breaks down how the song came together and looks at her favorite cue in the film.
Thanks to Netflix, romances are having a revival. How did “Just for You and I” come about?...
- 2/8/2021
- by Jazz Tangcay
- Variety Film + TV
Songs or scores from “Soul,” “Minari,” “Tenet,” “News of the World,” “”Euphoria” and “The Queen’s Gambit” were among the winners Wednesday night at the 11th annual (and first virtual) Hollywood Music in Media Awards.
Breaking down categories by genre affords the HMMAs the opportunity to cast a wide net in its awards. Film-related trophies went to James Newton Howard for “News of the World,” for outstanding score in a feature film; Emile Mosseri for “Minari” in the independent film category; Trent Reznor, Atticus Ross and Jon Batiste for “Soul” as the outstanding animated film score; Ludwig Göransson’s work on “Tenet” for sci-fi/fantasy score; Benjamin Wallfisch’s “The Invisible Man” score in the horror division; and Steven Price for documentary score for Netflix’s “David Attenborough: A Life on Our Planet.”
(Although it’s not yet certain how the Oscars will handle the different musical contributions of Batiste and Reznor/Ross for “Soul,...
Breaking down categories by genre affords the HMMAs the opportunity to cast a wide net in its awards. Film-related trophies went to James Newton Howard for “News of the World,” for outstanding score in a feature film; Emile Mosseri for “Minari” in the independent film category; Trent Reznor, Atticus Ross and Jon Batiste for “Soul” as the outstanding animated film score; Ludwig Göransson’s work on “Tenet” for sci-fi/fantasy score; Benjamin Wallfisch’s “The Invisible Man” score in the horror division; and Steven Price for documentary score for Netflix’s “David Attenborough: A Life on Our Planet.”
(Although it’s not yet certain how the Oscars will handle the different musical contributions of Batiste and Reznor/Ross for “Soul,...
- 1/28/2021
- by Chris Willman
- Variety Film + TV
Where do you even begin with a year brimming with as much exciting music as 2020 had to offer? Even if you limit it to what made it to TV screens, it’s still a daunting collection of possibilities.
To start, there were the undeniable musical charms of “Central Park,” “The Eddy,” and “P-Valley,” all of which drew heavily on original songs to help tether their stories to a distinct time and place.
Phillip Glass, Harold Budd (“I Know This Much is True”), Alan Silvestri (“Cosmos: Possible Worlds”) and Atticus Ross all added to their robust, ever-growing bodies of work.
Musicians who have helped define the atmospheres of their respective series — like Ramin Djawadi for “Westworld” or Jesse Novak for “BoJack Horseman” — continued to do so as the characters in focus faced monumental changes. In the middle of it all, Jeff Russo held onto his title of the busiest musician in...
To start, there were the undeniable musical charms of “Central Park,” “The Eddy,” and “P-Valley,” all of which drew heavily on original songs to help tether their stories to a distinct time and place.
Phillip Glass, Harold Budd (“I Know This Much is True”), Alan Silvestri (“Cosmos: Possible Worlds”) and Atticus Ross all added to their robust, ever-growing bodies of work.
Musicians who have helped define the atmospheres of their respective series — like Ramin Djawadi for “Westworld” or Jesse Novak for “BoJack Horseman” — continued to do so as the characters in focus faced monumental changes. In the middle of it all, Jeff Russo held onto his title of the busiest musician in...
- 12/3/2020
- by Steve Greene
- Indiewire
Meet the artisans behind the best looks, VFX, lenses and designs in film and TV in the last year, from sci-fi to contemporary productions, these behind the scenes craftspeople add dimensions and layers to the directors’ vision.
Mandy Moore
Showrunner Austin Winsberg found in Moore a choreographer who took his concept of a woman who can hear people’s innermost thoughts in song and give it kinetic life and depth. One particularly powerful segment involved the Deaf West Theater, which signed “Fight Song” while dancing in a university library. “The biggest challenge for me was determining how cinematic dance and movement would be used as a vehicle for storytelling. Dance would not just be a visual spectacle on ‘Zoey’s,’ we would use dance to evoke emotion and further explain what a character is feeling,” says Moore, who earned an Emmy this year for her work on “Zoey’s Extraordinary Playlist.
Mandy Moore
Showrunner Austin Winsberg found in Moore a choreographer who took his concept of a woman who can hear people’s innermost thoughts in song and give it kinetic life and depth. One particularly powerful segment involved the Deaf West Theater, which signed “Fight Song” while dancing in a university library. “The biggest challenge for me was determining how cinematic dance and movement would be used as a vehicle for storytelling. Dance would not just be a visual spectacle on ‘Zoey’s,’ we would use dance to evoke emotion and further explain what a character is feeling,” says Moore, who earned an Emmy this year for her work on “Zoey’s Extraordinary Playlist.
- 11/5/2020
- by Carole Horst, Andrew Barker, Shalini Dore, Eli Countryman, Tomris Laffly, Janet W. Lee, Danielle Turchiano, Jazz Tangcay and Natalie Oganesyan
- Variety Film + TV
Trent Reznor and Atticus Ross now have an Emmy to add to their Oscar and Grammy awards, having won Thursday night for their score for HBO’s “Watchmen.”
The Reznor-Ross team were previously honored with an Academy Award for “The Social Network” and a Grammy for their score for “The Girl With the Dragon Tattoo.”
Accepting remotely — as did all of this week’s Emmy winners — Reznor said: “We’re very proud to be involved with a show that’s relevant, smart and daring. We were changed and affected by working on this, and it’s great to see it resonate with the world at large.” He thanked creator Damon Lindelof for “providing us such a broad canvas to paint on.”
Six of the seven Emmy music categories were awarded over the first four Creative Arts Emmy installments this week. Also winning Thursday night was British singer-songwriter Labrinth, who was...
The Reznor-Ross team were previously honored with an Academy Award for “The Social Network” and a Grammy for their score for “The Girl With the Dragon Tattoo.”
Accepting remotely — as did all of this week’s Emmy winners — Reznor said: “We’re very proud to be involved with a show that’s relevant, smart and daring. We were changed and affected by working on this, and it’s great to see it resonate with the world at large.” He thanked creator Damon Lindelof for “providing us such a broad canvas to paint on.”
Six of the seven Emmy music categories were awarded over the first four Creative Arts Emmy installments this week. Also winning Thursday night was British singer-songwriter Labrinth, who was...
- 9/18/2020
- by Jon Burlingame
- Variety Film + TV
The composers of ‘Little Women’, ‘Joker’ and ‘It Chapter Two’ scores also nominated.
The World Soundtrack Awards has unveiled the nominations for its 20th edition, which is set is to go ahead as a physical event as well as being streamed live and online for the first time.
Scroll down for full list of nominees
The nominees for the coveted Film Composer of the Year award include Alexandre Desplat (Little Women), Hildur Guðnadóttir (Joker), Thomas Newman (1917), Benjamin Wallfisch (It Chapter Two) and John Williams (Star Wars: The Rise of Skywalker).
The contenders were all Oscar-nominated earlier this year, with the...
The World Soundtrack Awards has unveiled the nominations for its 20th edition, which is set is to go ahead as a physical event as well as being streamed live and online for the first time.
Scroll down for full list of nominees
The nominees for the coveted Film Composer of the Year award include Alexandre Desplat (Little Women), Hildur Guðnadóttir (Joker), Thomas Newman (1917), Benjamin Wallfisch (It Chapter Two) and John Williams (Star Wars: The Rise of Skywalker).
The contenders were all Oscar-nominated earlier this year, with the...
- 9/12/2020
- by Michael Rosser
- ScreenDaily
A main title sequence is often the only part of a show in which music can take center stage, and usually for just a minute. But it can also be the biggest challenge for a composer, who must somehow encapsulate the ideas, the story, the characters and the milieu of a series. This year, the Television Academy nominated six main title themes by five different composers. They range from big-band jazz to serious symphonic composition, from theater organ to analog synth sounds and even classic hip-hop.
Carnival Row
(Amazon)
A few years ago, composer Nathan Barr found, bought and lovingly restored a 1928 Wurlitzer pipe organ that had once occupied the 20th Century Fox scoring stage. With “Carnival Row,” the Victorian-era fantasy about mythical creatures fleeing war and prejudice, Barr found the perfect vehicle to showcase the instrument. “The filmmakers were constantly telling me to add more organ because they loved its grand and unusual sound,...
Carnival Row
(Amazon)
A few years ago, composer Nathan Barr found, bought and lovingly restored a 1928 Wurlitzer pipe organ that had once occupied the 20th Century Fox scoring stage. With “Carnival Row,” the Victorian-era fantasy about mythical creatures fleeing war and prejudice, Barr found the perfect vehicle to showcase the instrument. “The filmmakers were constantly telling me to add more organ because they loved its grand and unusual sound,...
- 8/27/2020
- by Jon Burlingame
- Variety Film + TV
As Emmy voting draws to a close, the 2020 music nominations span rookies to regulars. Martin Phipps landed his sixth nomination overall for the dramatic score to Netflix’s “The Crown.” Nine Inch Nails’ Trent Reznor and his scoring partner Atticus Ross nabbed a nomination for their first series, HBO’s “Watchmen.” Emmy fave “The Marvelous Mrs. Maisel” grabbed another music supervision nom, while composers Thomas Mizer and Curtis Moore landed their first for music and lyrics.
There is a wealth of music nominated across different sounds and genres. Variety breaks it all down in the annual Emmy chart.
Music Composition for a Series
"The Crown" (Netflix)
Composer: Martin Phipps
Pedigree: Six previous nominations
“Aberfan”
Vibe: Solo horn for a grieving Elizabeth; choir for mourning Welsh village
"Euphoria" (HBO)
Composer: Labrinth
Pedigree: First nomination (two this year)
“’03 Bonnie and Clyde”
Vibe: Contemporary sounds complement teen sex-and-drugs drama
"The Mandalorian" (Disney Plus...
There is a wealth of music nominated across different sounds and genres. Variety breaks it all down in the annual Emmy chart.
Music Composition for a Series
"The Crown" (Netflix)
Composer: Martin Phipps
Pedigree: Six previous nominations
“Aberfan”
Vibe: Solo horn for a grieving Elizabeth; choir for mourning Welsh village
"Euphoria" (HBO)
Composer: Labrinth
Pedigree: First nomination (two this year)
“’03 Bonnie and Clyde”
Vibe: Contemporary sounds complement teen sex-and-drugs drama
"The Mandalorian" (Disney Plus...
- 8/26/2020
- by Jon Burlingame
- Variety Film + TV
Pharrell Willliams, Labrinth (pictured) and Isabella Summers of Florence & The Machine could all wind up with Emmys this year. So, for that matter, could Ingrid Michaelson, Nine Inch Nails founder Trent Reznor and veteran pop producers Jimmy Jam and Terry Lewis.
All were among nominees in the music categories as the Television Academy announced the nominations for the 72nd annual Primetime Emmy Awards for work in TV during the 2019-20 season.
This year’s crop was the most diverse in memory. More than one-fourth of all the music nominees are people of color, and more than half are first-time nominees for television’s highest honor.
Said Academy governor Rickey Minor, who’s nominated twice this year for his music direction of “The Oscars” and “The Kennedy Center Honors”: “Living through this time in our history, has made us all awaken to the truth that we — as a humanity — are all the same.
All were among nominees in the music categories as the Television Academy announced the nominations for the 72nd annual Primetime Emmy Awards for work in TV during the 2019-20 season.
This year’s crop was the most diverse in memory. More than one-fourth of all the music nominees are people of color, and more than half are first-time nominees for television’s highest honor.
Said Academy governor Rickey Minor, who’s nominated twice this year for his music direction of “The Oscars” and “The Kennedy Center Honors”: “Living through this time in our history, has made us all awaken to the truth that we — as a humanity — are all the same.
- 7/28/2020
- by Jon Burlingame
- Variety Film + TV
This year’s Emmy nominees in the seven music categories include such familiar scoring names as Ludwig Göransson, Pinar Toprak, Nicholas Britell, Mark Isham and Trent Reznor & Atticus Ross as well as figures from the pop world like Pharrell Williams, Dawes’ Taylor Goldsmith, Ingrid Michaelson, Sheila E and the RZA.
Labrinth joined Reznor and Ross in being nominated in both song and score categories. The latter Nine Inch Nails members (and Oscar winners for “The Social Network”) are up for scoring “Watchmen” as well as contributing an original 1940s-themed song (“The Way It Used to Be”) to the HBO limited series. Labrinth’s two noms are for Showtime’s “Euphoria,” which earned him both a series dramatic score nomination and a song nod (“All for Us”).
Nathan Barr has the most nominations in the music categories, with three. He’s up against himself in the main title theme category,...
Labrinth joined Reznor and Ross in being nominated in both song and score categories. The latter Nine Inch Nails members (and Oscar winners for “The Social Network”) are up for scoring “Watchmen” as well as contributing an original 1940s-themed song (“The Way It Used to Be”) to the HBO limited series. Labrinth’s two noms are for Showtime’s “Euphoria,” which earned him both a series dramatic score nomination and a song nod (“All for Us”).
Nathan Barr has the most nominations in the music categories, with three. He’s up against himself in the main title theme category,...
- 7/28/2020
- by Chris Willman
- Variety Film + TV
Viewers were treated to two different takes on an 18th century Russian empress this season: HBO’s four-part “Catherine the Great,” starring Helen Mirren, and Hulu’s 10-part satirical “The Great,” starring Elle Fanning.
The aims were very different, and so were the musical approaches by English composer Rupert Gregson-Williams, who undertook HBO’s serious dramatic adaptation, and American composer Nathan Barr, who tackled Hulu’s comedic flight of fancy.
Gregson-Williams — reunited with director Philip Martin, with whom he had done two seasons of “The Crown” –– started early, writing a song that Catherine’s lover Potemkin (Jason Clarke) would sing on screen. “I’m a great fan of Russian music,” the composer says, “but when I looked at that period, the classical music felt to me that it didn’t have that Russian passion that one recognizes in later eras.”
Turning to church and folk music from the region for inspiration,...
The aims were very different, and so were the musical approaches by English composer Rupert Gregson-Williams, who undertook HBO’s serious dramatic adaptation, and American composer Nathan Barr, who tackled Hulu’s comedic flight of fancy.
Gregson-Williams — reunited with director Philip Martin, with whom he had done two seasons of “The Crown” –– started early, writing a song that Catherine’s lover Potemkin (Jason Clarke) would sing on screen. “I’m a great fan of Russian music,” the composer says, “but when I looked at that period, the classical music felt to me that it didn’t have that Russian passion that one recognizes in later eras.”
Turning to church and folk music from the region for inspiration,...
- 7/7/2020
- by Jon Burlingame
- Variety Film + TV
Baby Yoda. Jean-Luc Picard. A medieval witcher. A world where fairies have sex with humans. Steve Carrell aiming for the moon. A science-fiction anthology. The fantasy and sci-fi realms prospered on TV during the past season, particularly with the help of several gifted composers.
The anthology “Tales From the Loop” (Amazon) boasted the most high-profile theme, by famed minimalist Philip Glass, in partnership with Scottish composer Paul Leonard-Morgan. The two ended up scoring all eight episodes together.
As they were beginning, sitting at pianos in Glass’s New York studio, Glass remarked to Leonard-Morgan, “your melodies are beautiful but your harmonies need work!” But, as Leonard-Morgan related, “by episodes 2 and 3, we were so much on each other’s wavelength that people didn’t know what was coming from Philip or from me.”
In classically Glassian fashion, piano and strings became the primary voice for the miniseries. “He was playing some harmonies,...
The anthology “Tales From the Loop” (Amazon) boasted the most high-profile theme, by famed minimalist Philip Glass, in partnership with Scottish composer Paul Leonard-Morgan. The two ended up scoring all eight episodes together.
As they were beginning, sitting at pianos in Glass’s New York studio, Glass remarked to Leonard-Morgan, “your melodies are beautiful but your harmonies need work!” But, as Leonard-Morgan related, “by episodes 2 and 3, we were so much on each other’s wavelength that people didn’t know what was coming from Philip or from me.”
In classically Glassian fashion, piano and strings became the primary voice for the miniseries. “He was playing some harmonies,...
- 7/2/2020
- by Jon Burlingame
- Variety Film + TV
The Netflix limited series “Hollywood” premiered on May 1. Created by Ryan Murphy and Ian Brennan, the seven-episode drama imagines the golden age of show business if the era really had been golden for the marginalized groups who were ignored or oppressed by society at large. Now the silver screen fable could have a happy ending at the Emmys. Scroll down for our exclusive video interviews with top Emmy contenders from the show.
David Corenswet stars as an up-and-coming actor trying to become a movie star, but he’s not the only one striving for recognition. So are a gay Black screenwriter (Jeremy Pope), a half-Filipino director (Darren Criss), a Black actress (Laura Harrier) and closeted actor Rock Hudson (Jake Picking), who in real life hid his sexuality from the public throughout his career. How might the world have changed if only the industry’s mostly straight, white, male gatekeepers had...
David Corenswet stars as an up-and-coming actor trying to become a movie star, but he’s not the only one striving for recognition. So are a gay Black screenwriter (Jeremy Pope), a half-Filipino director (Darren Criss), a Black actress (Laura Harrier) and closeted actor Rock Hudson (Jake Picking), who in real life hid his sexuality from the public throughout his career. How might the world have changed if only the industry’s mostly straight, white, male gatekeepers had...
- 7/2/2020
- by Daniel Montgomery
- Gold Derby
Composers Emile Mosseri (“Homecoming” Season 2), Ariel Marx (“Ted Bundy: Falling for a Killer”), Faith Soloway (“Transparent: Musicale Finale”), Thomas Mizer and Curtis Moore (“The Marvelous Mrs. Maisel” Season 3), Paul Leonard-Morgan (“Tales From the Loop”), and Nathan Barr (“Carnival Row”) will participate in a Q&a on June 29 at 5 p.m. Pt/8 p.m. Et in the “Variety Streaming Room” presented by Amazon.
The virtual conversation will highlight clips from each of the composer’s respective series and spotlight how they created scores to match the show’s story.
The “Variety Streaming Room” is dedicated to presenting virtual conversations that span private screenings of upcoming projects in film and TV, exclusive Q&As with creators and talent, and relevant B2B discussions with industry thought leaders.
Secure your spot for the free virtual conversation here: https://variety.com/amazonroundtable.
The virtual conversation will highlight clips from each of the composer’s respective series and spotlight how they created scores to match the show’s story.
The “Variety Streaming Room” is dedicated to presenting virtual conversations that span private screenings of upcoming projects in film and TV, exclusive Q&As with creators and talent, and relevant B2B discussions with industry thought leaders.
Secure your spot for the free virtual conversation here: https://variety.com/amazonroundtable.
- 6/16/2020
- by Variety Staff
- Variety Film + TV
Bmi announced the winners of the performing rights organization’s annual Film, TV and Visual Media Awards on Monday, with an online unveiling of the recipients substituting for the ceremony that would have been taking place in Beverly Hills under non-quarantine conditions.
The most awards, five, went to Icelandic composer Atli Örvarsson, who won for his contributions to “Chicago P.D.,” “Chicago Med,” “Chicago Fire,” “FBI” and “FBI Most Wanted.” Örvarsson’s overall Bmi awards tally is up to 23.
Winning three trophies apiece were Tyler Bates, Brian Tyler and Mac Quayle.
Quayle won for “American Horror Story,” “9-1-1 ” and the spinoff “9-1-1: Lone Star.” Brian Tyler got his honors for “Hawaii Five-0,” “Magnum P.I.” and “Yellowstone.” With these three, he now has 33 awards from Bmi. Tyler Bates’ trophies came for the theatrical films “Fast & Furious Presents: Hobbs & Shaw” and “John Wick: Chapter 3 – Parabellum” along with Netflix’s “The Punisher.
The most awards, five, went to Icelandic composer Atli Örvarsson, who won for his contributions to “Chicago P.D.,” “Chicago Med,” “Chicago Fire,” “FBI” and “FBI Most Wanted.” Örvarsson’s overall Bmi awards tally is up to 23.
Winning three trophies apiece were Tyler Bates, Brian Tyler and Mac Quayle.
Quayle won for “American Horror Story,” “9-1-1 ” and the spinoff “9-1-1: Lone Star.” Brian Tyler got his honors for “Hawaii Five-0,” “Magnum P.I.” and “Yellowstone.” With these three, he now has 33 awards from Bmi. Tyler Bates’ trophies came for the theatrical films “Fast & Furious Presents: Hobbs & Shaw” and “John Wick: Chapter 3 – Parabellum” along with Netflix’s “The Punisher.
- 6/15/2020
- by Chris Willman
- Variety Film + TV
‘The Great’ Emmy interviews: Elle Fanning, Nicholas Hoult, showrunner Tony McNamara and more [Watch]
Hulu‘s “The Great” premiered its entire 10-episode season on May 15, 2020, recounting the early years of Russia’s Catherine the Great (played by Elle Fanning) when she married the brutish Peter III (Nicholas Hoult) and plotted to bring revolutionary change to the country. It’s an unconventional take on world history described by the show itself as an “occasionally true story.” Will the Emmys appreciate its comedic skew? Scroll down for our exclusive video interviews with top Emmy contenders from the show.
SEEEmmys 2020 exclusive: Hulu categories for ‘The Handmaid’s Tale,’ ‘Little Fires Everywhere,’ ‘Ramy’ and more
The series was created by Tony McNamara, who knows a thing or two about the absurdity of monarchs. He was one of the Oscar-nominated co-writers of “The Favourite,” which told a similarly offbeat story of Queen Anne of Great Britain (Olivia Colman) as two women in her life (Emma Stone and Rachel Weisz) vied...
SEEEmmys 2020 exclusive: Hulu categories for ‘The Handmaid’s Tale,’ ‘Little Fires Everywhere,’ ‘Ramy’ and more
The series was created by Tony McNamara, who knows a thing or two about the absurdity of monarchs. He was one of the Oscar-nominated co-writers of “The Favourite,” which told a similarly offbeat story of Queen Anne of Great Britain (Olivia Colman) as two women in her life (Emma Stone and Rachel Weisz) vied...
- 6/10/2020
- by Daniel Montgomery
- Gold Derby
Emmy-nominated composer Nathan Barr has been busy this TV season, composing the score and main title theme music for three projects in three distinctly different genres. He provides the playful, melodic score for Hulu’s uproarious period comedy “The Great,” the dense, emotional cues for Amazon Prime’s “Carnival Row” and the charming, nostalgic music for Netflix’s limited series “Hollywood.” Watch our exclusive video interview with Barr above.
See Elle Fanning Interview: ‘The Great’
“The Great” is an edgier, more contemporary take on the rise of Catherine the Great, featuring razor-sharp dialogue, hilarious performances by leads Elle Fanning and Nicholas Hoult and lavish production and costume design befitting the period genre. “It’s super edgy, super irreverent,” Barr explains about how he approached the music for the genre-bending series. “We wanted it to be really contemporary and not strictly period because of the comedy sensibility of the show. It...
See Elle Fanning Interview: ‘The Great’
“The Great” is an edgier, more contemporary take on the rise of Catherine the Great, featuring razor-sharp dialogue, hilarious performances by leads Elle Fanning and Nicholas Hoult and lavish production and costume design befitting the period genre. “It’s super edgy, super irreverent,” Barr explains about how he approached the music for the genre-bending series. “We wanted it to be really contemporary and not strictly period because of the comedy sensibility of the show. It...
- 5/22/2020
- by Rob Licuria
- Gold Derby
The Great arrives on Hulu today, which gives us an excuse to share with you an exclusive track from Nathan Barr‘s score. Barr has composed music for Carnival Row, The Americans, and Hollywood, and the music he’s created for The Great is full of lush orchestrations with a hint of comical playfulness, which is perfect for the show. The […]
The post Hear an Exclusive Track from ‘The Great’ Score by Nathan Barr appeared first on /Film.
The post Hear an Exclusive Track from ‘The Great’ Score by Nathan Barr appeared first on /Film.
- 5/15/2020
- by Chris Evangelista
- Slash Film
To believe the controversy last year, The Hunt was going to be the most vile film ever to be releases. Of course, those railing against it hadn’t seen it, and arguably hadn’t even seen the previews. However, I have seen the movie, and can tell you that, unsurprisingly, the conservative pundits had it all wrong. No, this is not just 90 minutes of liberals killing “deplorables.” In actuality, this leans into satire, parodying the most liberal and “woke” of individuals. Yes, the bones of what you’ve heard about are there, but this goes in a way different direction than you’d expect. In fact, it’s better for it, emerging as a shockingly good time from Jason Blum, Blumhouse, and the mind of Damon Lindelof (among others). The film imagines a rumored scandal called Manorgate, where wealthy elites bring salt of the earth folk to hunt for sport.
- 3/11/2020
- by Joey Magidson
- Hollywoodnews.com
Oscar Winner A.R. Rahman this past week teamed with a variety of musicians and artists for the first of several recording sessions planned around the world in the next month for an amazing new song called “Hands Around the World” in the spirit of the global hit “We Are the World.”
The song lyrics were written by Stephen Schwartz and the “Hands Around the World” music team. The piece began recording this past week at composer Nathan Barr’s Bandrika Studios in Los Angeles. The song is to be the anthem for the www.hands.world project – a yearlong campaign to inspire 1 Billion+ people hold hands in a virtual selfie chain around the world for climate change. All funds raised will go to critical climate change projects to make real impact.
Featured vocalists and participants in the first session included Cody Simpson, Natasha Bedingfield, Major, Mary Mary and Tay Da Prince.
The song lyrics were written by Stephen Schwartz and the “Hands Around the World” music team. The piece began recording this past week at composer Nathan Barr’s Bandrika Studios in Los Angeles. The song is to be the anthem for the www.hands.world project – a yearlong campaign to inspire 1 Billion+ people hold hands in a virtual selfie chain around the world for climate change. All funds raised will go to critical climate change projects to make real impact.
Featured vocalists and participants in the first session included Cody Simpson, Natasha Bedingfield, Major, Mary Mary and Tay Da Prince.
- 2/19/2020
- Look to the Stars
Discovery Networks, which last month unveiled a new business model that would have all but assured series composers a drastic income drop, has scuttled that plan in response to outrage expressed by the media music community.
This means that the shows on Discovery, Animal Planet, Hgtv, Food Network and other Discovery-owned platforms, will continue to feature their familiar themes and underscores, and the composers who wrote that music will continue to be paid the royalties that they have always enjoyed.
The Production Music Association, which represents many of the composers whose work adorns these shows, Thursday afternoon issued a statement that said, in part, “Discovery has decided that their U.S. channels will remain operating ‘as is’ under the traditional performing-rights model.”
A Discovery spokesman confirmed to Variety that the networks will no longer demand that composers give up all performance royalties paid for U.S. airings and sign away...
This means that the shows on Discovery, Animal Planet, Hgtv, Food Network and other Discovery-owned platforms, will continue to feature their familiar themes and underscores, and the composers who wrote that music will continue to be paid the royalties that they have always enjoyed.
The Production Music Association, which represents many of the composers whose work adorns these shows, Thursday afternoon issued a statement that said, in part, “Discovery has decided that their U.S. channels will remain operating ‘as is’ under the traditional performing-rights model.”
A Discovery spokesman confirmed to Variety that the networks will no longer demand that composers give up all performance royalties paid for U.S. airings and sign away...
- 1/24/2020
- by Jon Burlingame
- Variety Film + TV
Floria Sigismondi’s The Turning, based on Henry James’ novella The Turn Of The Screw, is the exact spookless blunder that gives “January Horror” a pitiful reputation. Chad and Carey Hayes seem utterly lost without James Wan’s partnership since their screenplay barely reflects basic three-act structures. Scares are beyond stale, Mackenzie Davis is walled within a dusty structure of haunted tropes, and to top it all off, there’s no finishing punch. Really no third act at all given how Sigismondi’s “exit, stage left” into the credits crawl is laugh-out-loud incompetent. I deeply, sincerely, hate this movie, and “hate” is a word this critic rarely allows into play.
Spoilers to follow, because I have some major thoughts on the film’s ending. It’s impossible to gloss over or ignore. You’ve been warned.
Ms. Davis plays Kate, a hired governess who becomes live-in caretaker to siblings Flora...
Spoilers to follow, because I have some major thoughts on the film’s ending. It’s impossible to gloss over or ignore. You’ve been warned.
Ms. Davis plays Kate, a hired governess who becomes live-in caretaker to siblings Flora...
- 1/23/2020
- by Matt Donato
- We Got This Covered
Ever since #MeToo opened the world’s eyes to the horrors of toxic masculinity, horror filmmakers — particularly female ones — have been finding increasingly creative ways to imbue their work with fears unique to women. This past year alone, both Jennifer Kent’s “The Nightingale” and Sophia Takal’s “Black Christmas” used rape-revenge tropes as plot points, though to vastly different degrees of success.
In her stylish if not entirely bone-chilling new movie “The Turning,” director Floria Sigismondi shrewdly updates Henry James’ “The Turn of the Screw” to haunt her young protagonist with unwanted male attention and obsession. Updating the story that inspired Jack Clayton’s 1961 classic “The Innocents,” which followed the text more closely,
The film’s opening hews closely enough to the original novella, as the fresh-faced Kate (Mackenzie Davis) accepts an unusual position as governess for absurdly wealthy orphan Flora (Brooklynn Prince), who lives in an extravagant manor home.
In her stylish if not entirely bone-chilling new movie “The Turning,” director Floria Sigismondi shrewdly updates Henry James’ “The Turn of the Screw” to haunt her young protagonist with unwanted male attention and obsession. Updating the story that inspired Jack Clayton’s 1961 classic “The Innocents,” which followed the text more closely,
The film’s opening hews closely enough to the original novella, as the fresh-faced Kate (Mackenzie Davis) accepts an unusual position as governess for absurdly wealthy orphan Flora (Brooklynn Prince), who lives in an extravagant manor home.
- 1/23/2020
- by Jude Dry
- Indiewire
Bmi is announcing its annual programs at the Sundance Film Festival, with a substantially packed composer/director panel set for the afternoon of Sunday, January 26 and a “Snowball” headlined by singer Lisa Loeb two nights later.
The Sunday “Music & Film: The Creative Process” roundtable will include nine filmmaker/scorer pairs with movies at the festival, with moderating duties handled by Sundance Institute Film Music Program director Peter Golub and Bmi’s primary liaison to the film world, VP of creative relations Doreen Ringer-Ross.
Happening at Sundance for the 22nd year, the panel will bring together composers and directors from these festival entries: “Uncle Frank” (composer Nathan Barr and director Alan Ball; “Four Good Days” (Ed Shearmur and Rodrigo García; “The Night House” (Ben Lovett and David Bruckner); “Shirley” (Tamar-kali and Josephine Decker); “Promising Young Woman” ( Anthony Willis and Emerald Fennell); “Boys State” (T. Griffin and Amanda McBaine; “Us Kids” (composer...
The Sunday “Music & Film: The Creative Process” roundtable will include nine filmmaker/scorer pairs with movies at the festival, with moderating duties handled by Sundance Institute Film Music Program director Peter Golub and Bmi’s primary liaison to the film world, VP of creative relations Doreen Ringer-Ross.
Happening at Sundance for the 22nd year, the panel will bring together composers and directors from these festival entries: “Uncle Frank” (composer Nathan Barr and director Alan Ball; “Four Good Days” (Ed Shearmur and Rodrigo García; “The Night House” (Ben Lovett and David Bruckner); “Shirley” (Tamar-kali and Josephine Decker); “Promising Young Woman” ( Anthony Willis and Emerald Fennell); “Boys State” (T. Griffin and Amanda McBaine; “Us Kids” (composer...
- 1/9/2020
- by Chris Willman
- Variety Film + TV
Amazon Studios and Legendary Television Studios announced the release of the Carnival Row (Original Soundtrack) with score by Emmy Award nominee Nathan Barr (True Blood, The Americans, The House with a Clock in its Walls) and two original songs by German musician Patty Gurdy, now available in digital stores and on streaming platforms. The soundtrack features music from Season One of the hit neo-Victorian fantasy television series starring Orlando Bloom (Pirates of the Caribbean) and Cara Delevingne (Suicide Squad), now streaming on Amazon Prime Video. “Getting to explore the world of Carnival Row as a composer is among my most exciting musical adventures to date,” said Barr. “At its core, the score is heavily thematic and explores themes of identity, love, loss, and magic in a fantastical world from the past. Sometimes choral, sometimes orchestral, the music also plugs into the steampunk world so beautifully realized on screen with a...
- 11/12/2019
- by Kristyn Clarke
- Age of the Nerd
A blend of Victorian elegance, forbidden romance, and otherworldly fantasy, the Amazon series Carnival Row taps into multiple genres and could be a daunting task for a composer creating the show's musical tone, but for a musician who owns a bone trumpet and a historic organ that's nearly 100 years old, it's just another day at the office. With experience working on multiple Eli Roth movies and comedic Broken Lizard projects, Barr is no stranger to creating music for a wide range of genres, and with the first season of Carnival Row now on Amazon in its entirety, we caught up with Barr to discuss working on the ambitious series, his previous projects with Roth, and preserving movie studio history by restoring and using the Fox studios Wurlitzer theatre organ.
Congratulations on Carnival Row. That's probably keeping you pretty busy these days.
Nathan Barr: Yeah, thanks, it's actually off my...
Congratulations on Carnival Row. That's probably keeping you pretty busy these days.
Nathan Barr: Yeah, thanks, it's actually off my...
- 9/27/2019
- by Derek Anderson
- DailyDead
Orlando Bloom and Cara Delevingne play star-crossed lovers in a Victorian fantasy world in the new trailer for Carnival Row. The eight-episode series will premiere August 30th on Amazon Prime Video.
In the universe of the show, Delevingne plays a human-sized faerie, Vignette Stonemoss, who’s part of an influx of mythological refugees seeking safe harbor after humans invade their homelands. While living under an increasingly intolerant society where faeries suffer the prejudices of humans, Vignette begins a forbidden love affair with a human detective, Rycroft Philostrate, played by Bloom.
In the universe of the show, Delevingne plays a human-sized faerie, Vignette Stonemoss, who’s part of an influx of mythological refugees seeking safe harbor after humans invade their homelands. While living under an increasingly intolerant society where faeries suffer the prejudices of humans, Vignette begins a forbidden love affair with a human detective, Rycroft Philostrate, played by Bloom.
- 8/6/2019
- by Claire Shaffer
- Rollingstone.com
Oscar winners Lady Gaga, Annie Lennox and Adele are among the 28 composers, songwriters and music editors invited to join the Academy of Motion Picture Arts and Sciences this year.
The three multiplatinum pop stars are probably the best-known of this year’s crop. Gaga won for “A Star Is Born,” Adele for “Skyfall,” and Lennox for her “Into the West” from the final “Lord of the Rings” movie “The Return of the King.”
Three other Oscar winners are on this year’s list: “Black Panther” composer Ludwig Goransson and Gaga’s “Shallow” co-writers Mark Ronson and Andrew Wyatt. Two other nominees from last year’s movies were added to the roster: “Mary Poppins Returns” songwriter Scott Wittman and “Star Is Born” music editor Jason Ruder.
Other composers include Michael Abels (“Get Out”), Nathan Barr (“The House With a Clock in Its Walls”), Kris Bowers (“Green Card”), Jane Antonia Cornish (“Citizen...
The three multiplatinum pop stars are probably the best-known of this year’s crop. Gaga won for “A Star Is Born,” Adele for “Skyfall,” and Lennox for her “Into the West” from the final “Lord of the Rings” movie “The Return of the King.”
Three other Oscar winners are on this year’s list: “Black Panther” composer Ludwig Goransson and Gaga’s “Shallow” co-writers Mark Ronson and Andrew Wyatt. Two other nominees from last year’s movies were added to the roster: “Mary Poppins Returns” songwriter Scott Wittman and “Star Is Born” music editor Jason Ruder.
Other composers include Michael Abels (“Get Out”), Nathan Barr (“The House With a Clock in Its Walls”), Kris Bowers (“Green Card”), Jane Antonia Cornish (“Citizen...
- 7/1/2019
- by Jon Burlingame
- Variety Film + TV
Jazz artist and film composer Terence Blanchard was presented with the Bmi Icon award at Wednesday night’s Film, TV and Visual Media Awards of performing-rights society Broadcast Music Inc. in Beverly Hills.
Blanchard, composer for many of Spike Lee’s films, was honored for his “unique and indelible influence on generations of music makers,” said Bmi president-ceo Mike O’Neill. “His music makes powerful statements about American tragedies that must not be forgotten, while also encouraging all of us to heal.”
Said Blanchard, “We just want to express ourselves in an artistic way. We have a burning desire to say something that’s in us, and sometimes we don’t even know what it is that we’re trying to say. These projects give us room to do that.
“You are my heroes,” he told the black-tie crowd of film and TV composers. “Everything that I’ve written for the screen,...
Blanchard, composer for many of Spike Lee’s films, was honored for his “unique and indelible influence on generations of music makers,” said Bmi president-ceo Mike O’Neill. “His music makes powerful statements about American tragedies that must not be forgotten, while also encouraging all of us to heal.”
Said Blanchard, “We just want to express ourselves in an artistic way. We have a burning desire to say something that’s in us, and sometimes we don’t even know what it is that we’re trying to say. These projects give us room to do that.
“You are my heroes,” he told the black-tie crowd of film and TV composers. “Everything that I’ve written for the screen,...
- 5/16/2019
- by Jon Burlingame
- Variety Film + TV
By Raymond Benson
The Criterion Collection has released its fourth entry in a group of Harold Lloyd silent classics, titles considered to be his very best work—and The Kid Brother could very well be at the top of the heap as the definitive Lloyd feature film. While Safety Last! (1923) contains the iconic sequence of Lloyd ascending a skyscraper and hanging on to the arm of a giant clock, there is much to be said about The Kid Brother’s storytelling, the depth of its characters, and Lloyd’s ability to make us laugh at peril. This time, instead of great heights or speeding cars, the threat comes from villains who want nothing more than to break poor Harold’s neck.
The setting is a rural town at the cusp of the changeover between “western times” and the modern age. Cars exist, but most people are still riding horses. Sheriff...
The Criterion Collection has released its fourth entry in a group of Harold Lloyd silent classics, titles considered to be his very best work—and The Kid Brother could very well be at the top of the heap as the definitive Lloyd feature film. While Safety Last! (1923) contains the iconic sequence of Lloyd ascending a skyscraper and hanging on to the arm of a giant clock, there is much to be said about The Kid Brother’s storytelling, the depth of its characters, and Lloyd’s ability to make us laugh at peril. This time, instead of great heights or speeding cars, the threat comes from villains who want nothing more than to break poor Harold’s neck.
The setting is a rural town at the cusp of the changeover between “western times” and the modern age. Cars exist, but most people are still riding horses. Sheriff...
- 3/14/2019
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
“True Blood” creator Alan Ball appeared Sunday at a 10th-anniversary screening of the pilot episode at L.A.’s Vulture Festival and, while delivering a live commentary, he dropped a few details regarding a “True Blood” live musical, which has been in the works since being announced back in 2014. Composer Nathan Barr is behind the project and, according to Ball, the music he’s heard has been “pretty good.”
As for the play’s story, Ball said, “It tells the story of vampires coming out of the closet, and [Sookie and Bill’s] love story. Ultimately, it really departs from the books and follows vampires not being good for this society, so they end up going back in the closet.” With such a downer ending, Ball described the musical’s storyline as more of an opera than anything else.
It’s been a decade since “True Blood” premiered to audiences, and while a lot...
As for the play’s story, Ball said, “It tells the story of vampires coming out of the closet, and [Sookie and Bill’s] love story. Ultimately, it really departs from the books and follows vampires not being good for this society, so they end up going back in the closet.” With such a downer ending, Ball described the musical’s storyline as more of an opera than anything else.
It’s been a decade since “True Blood” premiered to audiences, and while a lot...
- 11/19/2018
- by Aaron Pruner
- Indiewire
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