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Looking back on “Arcade” and a start at Full Moon Entertainment
I’m thrilled to join Cinema Degeneration’s Albert Pyun Appreciation Month at around the 2:11 mark as I talk about putting in quarters to create the release version of the prolific and much-missed filmmaker’s “Arcade” (its Alan Howarth score now out from Dragon’s Domain Records) as I also reminisce about my start with Charles Band’s DTV…
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Nitin Sawhney answers the scoring question of “What’s Love Got to Do with It?”
When it comes to modern rom-coms, tales of culturally-crossed, destined-to-be soulmates are tales as old as time. Whether it be “Mississippi Masala,” “My Big Fat Greek Wedding” or “The Wedding Banquet,” sons and daughters has defied their hopelessly old school but well-meaning parents and their motherland cultural baggage, often to find happiness with people from…
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Picard Season 3 Videocast with Stephen Barton and Frederik Wiedmann!
Engage with a new Film Music Live videocast as PICARD SEASON 3 composers STEPHEN BARTON (Star Wars Jedi: Survivor) and FREDERIK WIEDMANN (Justice League: The Flashpoint Paradox) talk about beaming board a re-energized Enterprise 1701-D to weave their spectacular scoring with the likes of Jerry Golsmith, James Horner and Ron Jones for the acclaimed series…
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Tim Williams shoots and scores with “Gringa’s” grrl power
Born in England and ensconced in Los Angeles, composer / orchestrator Tim Williams has certainly heard his inner feminine spirit scarily roar with she-demons, satanic metalheads and a deranged, cleaver-wielding farm girl with a lush Hollywood orchestra in her head. Yet Williams is just as capable of hearing tenderness, no more so than in turning…
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Marco Beltrami Film Music Live on Renfield
“Scream’s” Marco Beltrami talks about going for the humorous jugular with Dracula’s hapless familiar
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Internal Affairs now erotically sleuths on LP!
“Internal Affairs” was a landmark noir score and film, creating a sinister, erotic ambience and alternative score as “Stormy Monday’s” Mike Figgis, teamed with “Young Guns” composers Anthony Marianelli and Brian Banks for a film noir fusion of voice, ethnic rhythm and mesmerizing electronics that took the musical genre into a new alternative realm. Doing…
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Alex Heffes plays the gangster comedy hits for the “Mafia Mamma”
From chronicling the PLO’s Olympic attack with “One Day in September” to a perilous escape from Idi Amin in “The Last King of Scotland” to the trauma of slavery in the miniseries reboot of “Roots” and be-gone’ing Satan in “The Rite,” it can’t be said that composer Alex Heffes’ prolific career hasn’t been a barrel…
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Lyle Workman once again uses musical “Paint” by the not-so usual numbers
Few composers rock with the stylistic eccentricity of Lyle Workman. With Wrecking Crew worthy guitar chops that saw him play alongside the likes of Todd Rundgren, Beck, Frank Black and fellow composer Chad Fischer’s band Lazlo Bane, Workman would translate his sense of rhythm to the instrumental pictures accompanying Jon Favreau’s 2001 feature debut mob…
