Interview: Rob Simonsen on scoring THE SPECTACULAR NOW and THE WAY WAY BACK

By DANIEL SCHWEIGER 09/01/2013
Rob Simonsen | ©2013 Rob Simonsen

Just as guitars and soulful rock-pop melody signaled the youthquake revolution in film scoring with Simon and Garfunkel’s score to THE GRADUATE in 1967, today’s movies about troubled teens on the cusp of a far larger adult world are sounding out with a similar spirit that reflects what the “kids” are listening to, as opposed to their grandparents’ old-school symphonic scores. However, pop-rock is an ever-growing animal as well, having ventured well off the top 40 mainstream since the days when a strumming approach was all that you needed to signal a post-adolescent breaking away from conformity. Now teen dramedies […]Read On »


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Interview: WARM BODIES and A GOOD DAY TO DIE HARD composers Marco Beltrami and Buck Sanders write music to die for

By DANIEL SCHWEIGER 02/22/2013
A GOOD DAY TO DIE HARD soundtrack | ©2013 Sony Music

If Marco Beltrami’s ever-growing resume of work makes him one of the hardest working composers in score business, then consider Buck Sanders as the session man who’s made the prolific number of IMDB entries possible (they currently have their work on display in the recent releases A GOOD DAY TO DIE HARD and WARM BODIES). After assisting Beltrami since the beginning of his career in roles ranging from synthesist to sound design, score producer and additional music writer for such stylistically diverse titles as THE MINUS MAN, I ROBOT and SOUL SURFER, Buck Sanders finally got to step into the […]Read On »


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Interview: SAVAGES composer Adam Peters goes from Echo and the Bunnymen to soundtracks

By DANIEL SCHWEIGER 07/19/2012
SAVAGES / ©2012 Universal Pictures

Oliver Stone may have started out as one of the cinemas great agent provocateurs. However, over nearly the last two decades, the frenzied abandon of Stone’s work has felt more long in the tooth than anything- just plain tired if you will. Yet if we were expecting Stone’s auspicious career to end with a mellow Hollywood wipeout, leave it to SAVAGES‘ border-hopping tsunami of sex, drugs and violence to mark the return of celluloid excessiveness’ Big Kahuna. And playing musical wingman to the wildly entertaining ride is another seasoned rebel named Adam Peters. A major force behind the raucous rhythms […]Read On »


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Interview: BRAVE composer Patrick Doyle bears the highlands

By DANIEL SCHWEIGER 07/01/2012
Patrick Doyle | ©2012 Patrick Doyle

If there’s one picture that Patrick Doyle was fated to be the composer of, then it’s no contest that movie is BRAVE, Pixar’s animated salute to all things Scottish in the form of a feisty lass named Merida. Like all modern, high-born Disney heroines, this red hair rebels against the chauvinist-conformist path set by her well-meaning royal parents, with her archery skills representing the sharply pointed spirit of her determination. Not only does Merida’s shooting skill outrage her highland clansmen and intended suitors, but her unbreakable will also ends up incurring a witch’s ursine curse- the rampaging results of which […]Read On »


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Composer Interview: Conrad Pope spends time with MY WEEK WITH MARILYN

By DANIEL SCHWEIGER 12/10/2011
MY WEEK WITH MARILYN soundtrack | ©2011 Sony Classical

It takes many skilled hands to keep Hollywood running as the stars take their bows- an army that includes personal assistants, makeup artists and publicists, all of whom are sure to step out of the way of the glaring flashbulbs. Then there’s the even less sexy caste of the studio machine called “below the line,” the mostly unrecognized visual effects artists, writers, production designers, editors, costumers and other skilled craftspeople who allow the stars to shine- their own jobs eased on the steam of even more obscure laborers chained to computers and sewing machines. Yet these toiling men and women […]Read On »


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