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26 episodes with annotator
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Audio-only version of the YouTube video. Author & annotator James Mottram is joined with consultant Derrick Davis to discuss their work on 'JURASSIC PARK: THE OFFICIAL SCRIPT BOOK'! This engaging conversation explains the process in crafting additional materials to make the book jam-packed with detailed content alongside David Koepp's script! Hardcover Book: http://amzn.to/3qFM9VY Digital Book: https://amzn.to/3Q0T5Ha --- Support this podcast: https://podcasters.spotify.com/pod/show/jurassictime/support
Leslie S. Klinger is the multi-award-winning New York Times best-selling editor of more than 75 books, focusing primarily on the history of crime and supernatural fiction. In addition to heavily-annotated editions of classics like the stories of Sherlock Holmes, Dracula, Frankenstein, the work of H. P. Lovecraft, and most recently, Robert Louis Stevenson's The Strange Case of Dr. Jekyll and Mr. Hyde, he's edited numerous anthologies of classic and contemporary fiction. Les served as co-editor of the 8-volume Haunted Library of Horror Classics series sponsored by the Horror Writers Association and published by Poisoned Pen Press. He's also the current editor of the Library of Congress Crime Classics series (now spanning more than 15 titles), co-published by the Library of Congress and Poisoned Pen Press. Les is currently Secretary of the Southern California Chapter of Mystery Writers of America and is actively involved in the Baker Street Irregulars, the international literary society. He also served as Treasurer of the Horror Writers Association for 10 years. When not practicing law (which is his “day job”), Les is a frequent lecturer at colleges and libraries.
Join me as talk about what type of readers there are. Which one are you? The Annotator, the Spine-Breaker, or the Flash? This show was broadcast on OAR 105.4FM Dunedin - oar.org.nz
Character Collective - Writing Words and Character Conversations
S3 Episode 39: Book trauma and book branding - because that's a mix !Mild coarse language - like numerous droppings of the F-bomb. In this episode: Kai shares their book trauma - that time they burned their own books Kristy talks branding herself as, THE ANNOTATOR! We crap on, crap away. Subscribe/like/follow/favorite... do the thing because we two writers and our characters need to know you like us. Please like us! Haha. Share too, because sharing is caring... or something like that. Send your questions, words of encouragement, fan-fic, and fan art (come on, make our day!) to character.collective.podcast@gmail.com. Kai on Medium: Subscribe for notifications! If you use my affiliate link to JOIN MEDIUM HERE you get all the benefits and I get therapy. Cheers! Kristy on Medium: Subscribe for notifications! If you use my affiliate link to JOIN MEDIUM HERE, you get all the benefits and I gets my med. Thank YOU! ** Listen to Kai's fictional podcast pilot episode - Treading Water Podcast ** AVAILABLE NOW on Amazon: - (PRE-ORDER) Defiant Blade: Allure of Darkness (The Blades of Tesharen Book 1) by K.L. Nightshade (Kristy Westaway) - (PRE-ORDER) Forged Blade: Shadow's Seduction (The Blades of Tesharen Book 2) by K.L. Nightshade (Kristy Westaway) - Sit Happens: a one-bed romance short story (Kai Parker) - #DearMoon (NUSA book 0.5) by PJ Silva (Kai Parker) - NUSA Earth: Natural Unhuman Space Academy by PJ Silva (Kai Parker) - Sugar Twink by Kai Parker - Story Bored by Kai Parker - ADHD Ask by Kristy Westaway - Cupid's Guide Series (3 books) by Kai Parker - Write Now Book Writing Series (4 Books) from Writers World - Living on Purpose Book Series (4 Books) from Writers World * Visit Kristy at www.kristywestaway.com and Kai at www.kaiparker.com. Or our Facebook group: https://www.facebook.com/groups/thecharactercollective (we mostly forget we have one) * Merch store (will happen eventually, but for now, if you want some queer shit or share Kai's AFTG obsession, head to their Red Bubble shop: Rainbow-Pride * Acknowledgements: - Podcast logo art by @jayiisnthome - Music by Shane Ivers from www.silvermansound.com --- Send in a voice message: https://podcasters.spotify.com/pod/show/charactercollective/message
A lot of the day's popular shows like Lovecraft Country and Watchmen have their roots in Black newspapers. Brooks Hefner says these stories imagined futuristic solutions to issues of Jim Crow and racism. And: Literature influences a lot of how we interpret history. Jonathan Crimmons says the short lived genre of comedic theater, harlequins, opens the door for new historical interpretations. Later on the show: When Northam's yearbook photos went public, Stephen Poulson and his students began looking through digital archives of Virginia yearbooks. What they found shocked him. Plus: For centuries, William & Mary has held a copy of Isaac Newton's Philosphiae -- his document expanding on his theories of space and time. And they couldn't figure out who wrote the Latin notes. Caitlin Dolt is an undergraduate student. She found out who wrote the notes within a week. Now, she's looking to uncover why.
With the COVID status escalating back up in our district, we're back to staying at home and teaching through Zoom meetings. This episode discusses the tools that we've learned work best when we are put into this situation.Visit our website at http://www.substituteteacherslounge.comYou can email me at mailto: gregcollinssubstitute@gmail.com .Join our several hundred member Facebook page at https://www.facebook.com/Substitute-Teachers-Lounge-108593060520316/?modal=admin_todo_tourBuy the book "The Substitute Teachers Lounge Chronicles" (Kindle or paperback) at https://amzn.to/2P8s709It’s a perfect time to start your own podcast. I highly recommend Buzzspout as your publisher. They are the best at customer service, instructional videos, and statistics. And, after you pay your second monthly invoice (no annual contract required), Buzzsprout will send you a $20 Amazon gift card. You can see all that Buzzsprout has to offer at https://www.buzzsprout.com/?referrer_id=344950
In our second of two episodes focusing on the music of Borderlands 3, we follow up the last episode (104) with Borderland 3's musical director (and co-composer) for the game's score, Raison Varner.Finishing Move Inc. is an award winning production duo composing music and sound design for games, television, film and ad campaigns. Principal composers Brian Trifon and Brian Lee White craft emotionally connected sonics for the world's finest brands and media. They've written music for games such as: Halo Wars 2: Awaking the Nightmare, Fractured Lands, and Crackdown 3, which they talked about in episode 69 of The Annotator. Their sound design work can be found in many popular film and television trailers such as: Terminator: Dark Fate, HBO's Watchmen, Mission: Impossible Fallout, Spider-Man: Homecoming and Mad Max Fury Road. Along with Jesper Kyd and Michael McCann, Finishing Move also worked on the original score for the video game BORDERLANDS 3. Borderlands 3 is an action role-playing first-person shooter video game developed by Gearbox Software and published by 2K Games. The game was released on September 13, 2019 for the PlayStation 4, Xbox One, Google Stadia, Microsoft Windows, and Macintosh operating systems. It is the sequel to 2012's Borderlands 2, and the fourth main entry in the Borderlands series. In this episode FINISHING MOVE, composers Brian Lee White and Brian Trifon share their approach to writing music for a few select environments and boss battles from Borderlands 3. They talk about how employed a cello in a very unconventional way, how they wrote music that would allow it to scale up and change tone easily and the challenge they faced in writing compelling small elements for the game's interactive music system. Finally, they talk about working with and getting direction from music director, Raison Varner.ANNOTATED TRACKS / SEGMENTS02:47 - Conrad's Hold: Arrival07:26 - Proving Grounds: Mystery12:12 - Proving Grounds: Boss BattleNOTESRainson Varner - Borderlands 3 (Ep. 104)Finishing Move - Crackdown 3 (Ep. 69)SOUNDTRACKThe original score for Borderlands 3 was released by Laced Records on November 11, 2019, on digital and vinyl and can be purchased at Amazon.com, iTunes, or streaming on Spotify and Apple Music MORE ABOUT THE COMPOSERYou can find out more about and hear more music by Finishing Move at their official site https://www.finishingmoveinc.com/ or follow them on Twitter: @BrianLeeWhite, @Trifonic, @Fnshing_MoveABOUT THE ANNOTATORThis podcast is produced by Christopher Coleman (@ccoleman) and you can Find more episodes at THEANNOTATOR.NET or you can subscribe via iTunes, Stitcher Radio or wherever you find quality podcasts.SUBSCRIBEiTunesSpotifyStitcher RadioRadioPublicGoogle PodcastsRSS Feed
The modern deep learning approaches to natural language processing are voracious in their demands for large corpora to train on. Folk wisdom estimates used to be around 100k documents were required for effective training. The availability of broadly trained, general-purpose models like BERT has made it possible to do transfer learning to achieve novel results on much smaller corpora. Thanks to these advancements, an NLP researcher might get value out of fewer examples since they can use the transfer learning to get a head start and focus on learning the nuances of the language specifically relevant to the task at hand. Thus, small specialized corpora are both useful and practical to create. In this episode, Kyle speaks with Mor Geva, lead author on the recent paper Are We Modeling the Task or the Annotator? An Investigation of Annotator Bias in Natural Language Understanding Datasets, which explores some unintended consequences of the typical procedure followed for generating corpora. Source code for the paper available here: https://github.com/mega002/annotator_bias
Florian Specht ist Lehrbeauftrager für Legal Tech an der Leibniz Universität Hannover, Annotator bei QNC GmbH und Autor des Buches „Jura geht auch anders!“. Im Podcast geht es um seine Tätigkeiten und seinen Blick auf den Legal Tech Markt.
BEN FOSTER is a four-times BAFTA-nominated composer with extensive credits in major productions across a variety of genres. He has composed over 200 episodes of scripted television. Ben worked with David Arnold on Amazon/ BBC One's hugely acclaimed Good Omens, providing additional music for the series, and arranged the songs of Elton John for Dexter Fletcher's film Rocketman. As an arranger and conductor he has worked with composers such as John Williams, Jóhann Jóhannson, Will Gregory, Mica Levi and Marc Streitenfeld. He also arranged and conducted the music for 110 episodes of Doctor Who.NICK FOSTER is a multiple BAFTA-winning composer, arranger and producer of music for television, commercials and film. Working both solo and in collaboration from Air Studios, London, Nick has made his name composing scores for television shows in the UK and US including: Timewasters, Bounty Hunters, the Derren Brown specials (including the recent Netflix specials, Sacrifice and The Push), The A List, Cuckoo, the Emmy-winning Hank Zipzer for the BBC. Ben and Nick Foster have collaborated on the original music for 78 episodes of the animated series, THUNDERBIRDS ARE GO (ITV) for which they have been nominated for BAFTA, Music and Sound and British Academy Awards.Thunderbirds Are Go is a British animated science fiction television programme produced by ITV Studios and Pukeko Pictures. It is a remake of the Supermarionation series Thunderbirds created by Gerry and Sylvia Anderson that follows the exploits of International Rescue (IR), a life-saving organization equipped with technologically-advanced land, sea, air and space rescue crafts; these are headed by a fleet of five vehicles named the Thunderbirds that are launched from IR's secret island base in the Pacific Ocean. The main characters are the five Tracy brothers, who pilot the Thunderbird machines. Thunderbirds Are Go premiered on 4 April 2015 and is currently in its third series.In this episode of the Annotator, the brothers Foster open up their original score for series 2 of THUNDERBIRDS ARE GO. They discuss their unique treatment of Barry Gray's original theme as a part of their audition for the project. Not only do they reveal how they incorporated some of Barry Gray's original instrumentation and style but also how and when they departed from it. Lastly, the two share how they specifically chose to utilize a large symphonic orchestra for this score with the idea of exposing young children to such music and hopefully introducing the idea of being involved with music in some way.ANNOTATED TRACKS / SEGMENTS03:22 - TV-2105:09 - Thunderbirds March05:54 - Surveyor Located07:45 - Ray Mechas09:52 - The Mechanic11:21 - International Rescue vs The Mechanic14:30 - The Jeff Tracy Fix16:37 - I Am The Mechanic17:51 - Thunderbirds March (Minor Version)OTHER TRACKS18:47 - Lovely Day for a Massive Drone MalfunctionSOUNDTRACKThe soundtrack was released on August 30, 2019 by Silva Screen Records and can be purchased on Amazon.com , iTunes, and streamed Apple Music. MORE ABOUT THE COMPOSERSYou can find out more and hear more music by Ben Foster at Cool Music Limited and Nick Foster at his official site https://www.nickfostermusic.com/. You can follow them on Twitter @benfostermusic and @nickfostermusic ABOUT THE ANNOTATORProduced by Christopher Coleman (@ccoleman) and you can Find more episodes at THEANNOTATOR.NET or you can subscribe via iTunes, Stitcher Radio or wherever you find quality podcasts.FOLLOW USTwitter @audioannotatorFacebook @TheAnnotatorInstagram @TheAnnotatorEmail theannotatorpodcast@gmail.com
CHRISTOPHER LENNERTZ has written music for some of the world's greatest storytellers. Whether for Seth Rogen as a hot dog saving the world in Sausage Party, the lush orchestral melodies of Steven Spielberg's Medal of Honor series or futuristic dystopian Americana for J.J. Abrams' Revolution, this classic eclectic ability has now become his signature. Lennertz has teamed up with legendary artists like Grammy winners Arturo Sandoval and Dave Grusin, The RZA, and Sheila E. as well as members of Pearl Jam, No Doubt, The Beastie Boys, Dave Matthews Band, Jurassic 5, and Jane's Addiction. Collaborations with directors Tim Story, John Favreau, and Ben Stiller as well as producers Doug Liman, Ed Norton, McG, and Joel Silver, and many others have led to a stream of box office successes.This is Lennertz's third time on the podcast, having previously shared his musical story behind his work on SMURFS: THE LOST CITY and Netflix's LOST IN SPACE. He returns to The Annotator to open up one of his most recent projects - his original score for the Amazon Prime series: THE BOYS.THE BOYS is an irreverent take on what happens when superheroes, who are as popular as celebrities, as influential as politicians and as revered as Gods, abuse their superpowers rather than use them for good. It's the powerless against the super powerful as The Boys embark on a heroic quest to expose the truth about “The Seven,” and their formidable Vought backing. All 8 episodes were released on Amazon Prime on July 26, 2019.In this episode, Christopher Lennertz dissects the many exotic components that he's combined to create the distinctive sound for THE BOYS including: wratchets, breathing, rubbing hands, indian singing bowls and knitting needles. He details how he developed this gritty, garage-rock feel as well as invoking other musical-styles to convey significant moments in the series and to represent some of the key characters in THEY BOYS.ANNOTATED TRACKS / SEGMENTS02:33 - Translucent Alive03:47 - Butcher06:23 - Starlight07:36 - Hijacking09:47 - Translucent Explodes12:10 - Hughie Trashes Room13:38 - Homelanders Speech15:15 - Frenchies First Kill16:50 - Robin's Memory 18:47 - Homelander and StillwellSOUNDTRACKThe soundtrack was released on July 26, 2019 by Madison Gate Records and can be purchased digitally on Amazon.com, iTunes, and streamed on Spotify and Apple Music. MORE ABOUT THE COMPOSERYou can find out more and hear more music by Christopher Lennertz at his official site http://christopherlennertz.com/ and you can follow her on Twitter @clennertz.ABOUT THE ANNOTATORProduced by Christopher Coleman (@ccoleman) and you can Find more episodes at THEANNOTATOR.NET or you can subscribe via iTunes, Stitcher Radio or wherever you find quality podcasts.FOLLOW USTwitter @audioannotatorFacebook @TheAnnotatorInstagram @TheAnnotatorEmail theannotatorpodcast@gmail.com
Ronit Kirchman is a composer, music producer, songwriter, singer, and multi-instrumentalist. She composes music for film and television, theater and dance, multimedia installations, and the concert stage. Ronit's widely varied film scores include the feature films Zen and the Art of Dying, Finding Neighbors, The Skin I'm In, The Golden Age of Fish, Say You Love Me, and Brooklyn. Ronit is the composer for the riveting Golden Globe-nominated dramatic series The Sinner. In response to its hit ratings and critical acclaim, The Sinner was renewed for a second season. USA Network's drama THE SINNER returned for it's second limited season in Summer 2018. The eight-episode season once again lures Detective Harry Ambrose (Bill Pullman) back to his hometown in rural New York to assess an unsettling and heart wrenching crime -- parents murdered by their 11-year-old son, with no apparent motive. As Ambrose realizes there's nothing ordinary about the boy or where he came from, the investigation pulls him into the hidden darkness of his hometown. In this episode, Ronit Kirchman returns to the Annotator to share the story behind her original music for season 2 of THE SINNER. She shares about the opportunities and challenges that working on an anthology series provides, while elaborating on the need for new themes and tone that are specific for this season's story. At the same time, she reveals how she finds opportunities for subtle connections to the previous season.ANNOTATED TRACKS / SEGMENTS03:03 - Two Deaths06:03 - Juvie07:44 - Sacrificial Calf10:22 - Hooded Marin14:01 - The Falls18:46 - End CreditsBe sure to check out episode 33 of The Annotator where Ronit Kirchman first introduced us to her work for work for the Sinner in season one.SOUNDTRACKNo information regarding an official release of the original score is currently available. MORE ABOUT THE COMPOSERSYou can find out more and hear more music by Ronit Kirchman at his official site https://ronitkirchman.com/ and you can follow her on Twitter @ronittweets. ABOUT THE ANNOTATORProduced by Christopher Coleman (@ccoleman) and you can Find more episodes at THEANNOTATOR.NET or you can subscribe via iTunes, Stitcher Radio or wherever you find quality podcasts.FOLLOW USTwitter @audioannotatorFacebook @TheAnnotatorInstagram @TheAnnotatorEmail theannotatorpodcast@gmail.comSUBSCRIBEiTunesSpotifyStitcher RadioRadioPublicGoogle Play PodcastsRSS Feed
Henri-Pierre Pellegrin, aka H-Pi, is a french composer/producer and sound designer. From 2005 to 2009, He was an in-house Composer/Sound Designer at Gameloft. He then he joined Game Audio Factory team in 2010, and eventually became a freelancer in 2015. He is best known for his work in Video Games and television including: video games Trackmania and Brave Frontier: The Last Summoner for which he made his first appearance on The Annotator in ep. 52. H-Pi has written two original scores for the Styx franchise: STYX: MASTER OF SHADOWS in 2015 and Styx: Shards of Darkness in 2017.Styx: Master of Shadows is an infiltration game with RPG elements developed by Cyanide Studio for PC and was released on October 7, 2014. Styx is a Goblin two centuries old... the very first of all the Goblins, he's a master in the arts of stealth, theft, and murder. In the depths of the Tower of Akenash, where Humans and Elves hide and protect the sacred Tree, which is the source of a very precious Amber, is the best chance Styx has of quickly amassing a small fortune and, perhaps, discover more about his true origins along the way. In this episode, H-Pi reveals details from his original score for the STYX: MASTERS OF SHADOWS including some of his diverse inspirations such as: fellow French video game composer, Olivier Deriviere, the Finnish symphonic metal band, Apocalyptica, Shostakovich and singer/song-writer Amy Winehouse. He also reveals how he came to work with Sinfonia of Pop Orchestra on this project and how playing his main theme for STYX on his in-laws grand piano ended up inspiring a bonus track for the game. ANNOTATED TRACKS / SEGMENTS02:19 - Prelude03:10 - Styx Master of Shadows (Title Theme)05:28 - Hideout06:41 - The Atrium - Part I1)34 - Heights of Akenash - Part II13:17 - Exit MusicSOUNDTRACKThe official soundtrack was released on March 23, 2015 by the Game Audio Factory. It can be purchased on Bandcamp, Amazon.com or on iTunes and can be streamed on Spotify or Apple Music.MORE ABOUT THE COMPOSERYou can find out more about and hear more music by H-Pi at his official site http://hpisound.com or follow him on twitter @hpisoundABOUT THE ANNOTATORProduced by Christopher Coleman (@ccoleman) and you can Find more episodes at THEANNOTATOR.NET or you can subscribe via iTunes, Stitcher Radio or wherever you find quality podcasts.FOLLOW USTwitter @audioannotatorFacebook @TheAnnotatorEmail theannotatorpodcast@gmail.comSUBSCRIBEiTunesSpotifyStitcher RadioRadioPublicGoogle Play PodcastsRSS Feed
In 2010, John Murphy, composer of memorable film scores such as 28 Days Later, Kick-Ass, and Sunshine, stepped away from the film music world for an 8-year hiatus. The British film composer is a self-taught multi-instrumental musician who began in the 1980s, working notably with The Lotus Eaters, Thomas Lang, and Claudia Brücken. He then went on to collaborate numerous times with directors such as: Danny Boyle, Guy Ritchie, Michael Mann, Matthew Vaughn, and Stephen Frears. John Murphy returned to the world of scoring to picture with Andrew Davies' non-musical adaptation of LES MISERABLES. Screenwriter, Andrew Davies, would bring the Victor Hugo masterpiece to television in a six-part adaptation, premiering on BBC in 2018 and then on PBS in the USA on April 18, 2019. Dominic West stars as fugitive Jean Valjean, with David Oyelowo as his pursuer Inspector Javert and Lily Collins as the luckless single mother Fantine. Love, death, and the struggle for social justice in early 19th-century France feature in this beautifully faithful retelling of one of the world's most beloved stories.In this episode of the Annotator, John Murphy shares how this adaptation of the book, not being a musical immediately affected the tone of his score. He vividly describes how he chose to approach several key themes and character moments from the series, how he he played cello for the very first time on this score, and how his composing process for this project made him feel like organizer and minimalist extraordinaire Marie Kondo.ANNOTATED TRACKS / SEGMENTS02:34- Tension05:11 - Les Miserables06:26 - Fantine's Descent08:06 - Relentless09:48 - The Morning After11:34 - Javert on the BridgeSOUNDTRACKThe soundtrack was released digitally May 3, 2019 by Lakeshare Records and can be purchased from Amazon.com and iTunes and streamed on Spotify and Apple Music.MORE ABOUT THE COMPOSERYou can find out more about and hear more music by John Murphy at his official site http://www.johnmurphyofficial.com/ or follow him on Twitter @john__murphyABOUT THE ANNOTATORProduced by Christopher Coleman (@ccoleman) and you can Find more episodes at THEANNOTATOR.NET or you can subscribe via iTunes, Stitcher Radio or wherever you find quality podcasts.FOLLOW USTwitter @audioannotatorFacebook @TheAnnotatorEmail theannotatorpodcast@gmail.comSUBSCRIBEiTunesSpotifyStitcher RadioRadioPublicGoogle Play PodcastsRSS Feed
Canadian composer, Andrew Lockington, has composed original scores for feature films such as Percy Jackson: Sea of Monsters, Journey to the Center of the Earth and Journey to the Mysterious Island. Additionally, he has scored “City of Ember,” “The Space Between Us” and “Rampage” which he discussed on The Annotator episode 34. One of his most recent projects has been scoring the original television series FRONTIER.FRONTIER is a Canadian historical period drama television series co-created by Brad Peyton, Rob Blackie, and Peter Blackie. The series chronicles the North American fur trade in late 1700s Canada, and follows Declan Harp (Jason Momoa), a part-Irish, part-Cree outlaw who is campaigning to breach the Hudson's Bay Company's monopoly on the fur trade in Canada, which has become corrupt and engages in illegal activities to enrich itself.In this episode, Andrew Lockington breaks down his main title, several key musical pieces from the series and the thematic development over the course of Frontier. He reveals how he chose to specifically and delicately handle the numerous cultural and historical elements of the score; employing them to produce a more modern-contemporary score than one might have anticipated. In contrast, Lockington also talks about how he found spots in the series for larger, orchestral moments.ANNOTATED TRACKS / SEGMENTS02:18 - Main Titles03:19 - Selection 204:35 - Selection 308:15 - Selection 412:25 - Selection 514:15 - Selection 616:27 - Selection 7SOUNDTRACKThe original soundtrack for FRONTIER was released by Lakeshore Records on January 25, 2019 and is available from Amazon.com and itunes. You can also stream the score on Spotify and Apple Music.MORE ABOUT THE COMPOSERYou can find out more about and hear more music by Andrew Lockington at their official site http://www.andrewlockington.com/ ABOUT THE ANNOTATORProduced by Christopher Coleman (@ccoleman) and you can Find more episodes at THEANNOTATOR.NET or you can subscribe via iTunes, Stitcher Radio or wherever you find quality podcasts.FOLLOW USTwitter @audioannotatorFacebook @TheAnnotatorEmail theannotatorpodcast@gmail.comSUBSCRIBEiTunesSpotifyStitcher RadioRadioPublicGoogle Play PodcastsRSS Feed
Stefano Lentini is a music composer based in Rome, Italy. He has produced music extensively for film, television and documentary. As a multi-instrumentalist, Lentini is known for blending classical music with folk and electronic influences through the use of multitrack recording. Vents Magazine has called Lentini "a new star" while Il Manifesto and Rolling Stone have called his music "Extraordinary" and "A journey into the dark side of the human mind" respectively.His debut classical album, FURY, released on November 16, 2018 on Coloora Record and is an indie-classic project with symphonic and progressive influences. It's a mostly instrumental concept album which has roots in the exploration of anger as a neglected feeling and the search of its meaning. In this bonus episode, Stefano Lentini talks about the motivation and message behind the music contained on the album 'FURY' and he shares how his music was written to not only to reflect on how humans deal with the emotion of fury, but also on it's impact upon politics and the world at large. Lentini shares about some key collaborations on the album musically, but also visually. Returning to his work for La Porta Rossa, Lentini concludes by opening up about one last collaboration - working with English songwriter, Charlie Winston, on the song “It's Not Impossible,” which was used as the main title of the Italian TV series.Listen to Stefano Lentini's early Annotator episode (ep. 60), where he talks further about his music used in La Porta Rossa and also in Wong Kar Wai's “THE GRANDMASTER”ANNOTATED TRACKS AND SEGMENTS02:23 - "R73" (Fury) by Stefano Lentini03:25 - "Fury" (Fury) by Stefano Lentini05:37 - "Suite After the Furies" (Fury) by Stefano Lentini09:48 - "It's Not Impossible" (La Porta Rossa) by Stefano Lentini feat. Charlie WinstonSOUNDTRACKHis latest album “Fury” was released November 16, 2018. You can find it on Amazon.com, iTunes, Spotify and Apple Music.MORE ABOUT THE COMPOSERYou can find out more about and hear more music by Stefano Lentini at his official site http://stefanlentini.net.ABOUT THE ANNOTATORProduced by Christopher Coleman (@ccoleman) and you can Find more episodes at THEANNOTATOR.NET or you can subscribe via iTunes, Stitcher Radio or wherever you find quality podcasts.FOLLOW USTwitter @audioannotatorFacebook @TheAnnotatorEmail theannotatorpodcast@gmail.comSUBSCRIBEiTunesSpotifyStitcher RadioRadioPublicGoogle Play PodcastsRSS Feed
Stefano Lentini is a music composer based in Rome, Italy. He has produced music extensively for film, television and documentary. As a multi-instrumentalist, Lentini is known for blending classical music with folk and electronic influences through the use of multi-track recording. His main combinations include acoustic guitars in a John Renbourn's fingerpicking style with electric bass, piano and string orchestrations. He additionally mixes sampler and synth sonorities with electric guitars. Some of his other film work include music for “The Nest of the Turtledove, The Ballerina, Shooting Silvio, and Grazing the Wall.In this episode, Stefano Lentini talks about his unusual path to writing music for film and television starting with a piece he wrote for the Italian television series, LA PORTA ROSSA (which was nominated for Best Soundtrack at the Fimucite Film Festival. He then reveals how he was able to get the Stabat Mater he composed to be used in Wong Kar Wai's 2013 feature film THE GRANDMASTER. And coming in a BONUS EPISODE of The Annotator, you will hear Lentini talk about several pieces of his 2018 release, “Fury.”ANNOTATED TRACKS AND SEGMENTS01:37 - "La Porta Rossa"04:48 - "Stabat Mater" - The Grandmaster07:38 - "Stabat Mater" for Violin and String OrchestraOTHER TRACKS09:56 - "R73" - FurySOUNDTRACKHis latest album “Fury” was released November 6, 2018. You can find it on Amazon.com, iTunes, Spotify and Apple Music. MORE ABOUT THE COMPOSERYou can find out more about and hear more music by Stefano Lentini at his official site http://stefanlentini.net.ABOUT THE ANNOTATORProduced by Christopher Coleman (@ccoleman) and you can Find more episodes at THEANNOTATOR.NET or you can subscribe via iTunes, Stitcher Radio or wherever you find quality podcasts.FOLLOW USTwitter @audioannotatorFacebook @TheAnnotatorEmail theannotatorpodcast@gmail.comSUBSCRIBEiTunesSpotifyStitcher RadioRadioPublicGoogle Play PodcastsRSS Feed
Award-winning composer Winifred Phillips has more than 13 years of experience in the game industry and a long list of video game credits that include titles from five of the biggest franchises in gaming: Assassin's Creed, LittleBigPlanet, Total War, God of War, and The Sims. In addition, she has written scores for Homefront: The Revolution, the virtual reality game Dragon Front, The Da Vinci Code, Charlie and the Chocolate Factory, Speed Racer, Shrek the Third, and Spore Hero. One of her recent game projects has been for the VR game SCRAPER: FIRST STRIKE.Scraper: First Strike is the first episode of a planned five-part VR sci-tech shooter with RPG and exploration elements. It will take the player on a journey through a new IP with fully developed characters, story arcs, and a world filled with unique and exciting environments. In SCRAPER: First Strike, the player takes on the role of Casey Maxwell, a Modified Hover Pod pilot, and a member of the Human Resistance Force (HRF). Your mission is to help the HRF take back Reactor Building 3, restore power to the secret military base, and drive back the Humech robots that have seized New Austin.In this episode of The Annotator, Winifred Phillips talks about her journey to and through her original score for SCRAPER: FIRST STRIKE. She explains how she represents both the human side and artificial side of the conflict through her choices in instrumentation and provides a detailed, musical exploration for each of the five tracks from the game's original soundtrack presented here.ANNOTATED TRACKS AND SEGMENTS02:00 - Joining the project02:16 - "First Strike"04:36 - "Human Resistance-Force"06:25 - "Underground Network"08:21 - "Humechs Attack"10:59 - "The Humechs"SOUNDTRACKThe original score was released by Labrodex Inc on STEAM. MORE ABOUT THE COMPOSERYou can find out more about and hear more music by Winifred Phillips at her official site http://www.winifredphillips.com/ or follow him on twitter @winphillipsABOUT THE ANNOTATORProduced by Christopher Coleman (@ccoleman) and you can Find more episodes at THEANNOTATOR.NET or you can subscribe via iTunes, Stitcher Radio or wherever you find quality podcasts.FOLLOW USTwitter @audioannotatorFacebook @TheAnnotatorEmail theannotatorpodcast@gmail.comSUBSCRIBEiTunesSpotifyStitcher RadioRadioPublicGoogle Play PodcastsRSS Feed
Daniel Pemberton is an Ivor Novello winning and multi-BAFTA nominated composer who has credits include: Danny Boyle's (Steve Jobs), Ridley Scott's (All The Money In The World, The Counsellor), Aaron Sorkin's (Molly's Game), Darren Aronofsky's (One Strange Rock), Ocean's 8, Guy Ritchie's (The Man From UNCLE) and, in episode 1 of The Annotator he opened up his score for Ritche's “King Arthur: Legend of the Sword”. Pemberton's most recent score is for the feature film SPIDER-MAN: INTO THE SPIDER-VERSE.Phil Lord and Christopher Miller, the creative minds behind The Lego Movie and 21 Jump Street, bring their unique talents to a fresh vision of a different Spider-Man Universe, with a groundbreaking visual style. Spider-Man™: Into the Spider-Verse introduces Brooklyn teen Miles Morales, and the limitless possibilities of the Spider-Verse, where more than one can wear the mask. The film features the voices of Shameik Moore, Jake Johnson, Hailee Steinfeld, Mahershala Ali, Brian Tyree Henry, Lily Tomlin, Luna Lauren Velez, Zoë Kravitz, John Mulaney, Kimiko Glenn with Nicolas Cage, Kathryn Hahn and Liev Schreiber.In this episode, Daniel Pemberton unties his musical web of themes; instruments and "Technics" he used for Into the Spider-Verse. He dives deep into his unique utilization of the hip-hop staple of record-scratching, where HE employs Londoner DJ Blakey and his multifaceted scratching abilities in a multi-layered recording process that may also be a first. He also talks about writing this score both in London but also, due to the ongoing collaborative nature of the project, in Los Angeles. There, he found himself in a small bit of space in the Sony Animation studio, from where he would complete the score as the production period of the film wound to a close.ANNOTATED TRACKS AND SEGMENTS02:04 - "Into the Spider-verse"05:08 - "Only One Spider-Man"10:01 - "Visions Brooklyn"12:00 - "Catch the S Train"14:25 - "Aunt May and Spider Shed"18:33 - "Spider-Man Loves You"SOUNDTRACKThe original score was released by Sony Music on 12/17/18 both digitally and on CD. You can find it on Amazon.com, iTunes, and streaming on Spotify and Apple Music.MORE ABOUT THE COMPOSERYou can find out more about and hear more music by Daniel Pemberton at his official site http://danielpemberton.com or follow him on Twitter @DanielPembertonABOUT THE ANNOTATORProduced by Christopher Coleman (@ccoleman) and you can Find more episodes at THEANNOTATOR.NET or you can subscribe via iTunes, Stitcher Radio or wherever you find quality podcasts.FOLLOW USTwitter @audioannotatorFacebook @TheAnnotatorEmail theannotatorpodcast@gmail.comSUBSCRIBEiTunesSpotifyStitcher RadioRadioPublicGoogle Play PodcastsRSS Feed
Toby Chu is a Chinese American film composer and over the last 20 years, he has composed music for over 50 films and television programs. His works include “Legends of Oz: Dorothy's Return,” “Surf's Up 2: WaveMania” He is also scoring NBC's “The Brave,” and the Freeform original series “Beyond.” Toby collaborated with Daft Punk, arranging and orchestrating “Adagio for Tron” on the “Tron: Legacy” soundtrack. His credits also include musical contributions to "Man on Fire," “Déjà Vu,” “The Chronicles of Narnia: The Lion, the Witch and the Wardrobe,” “Domino,” and “Team America: World Police.” Toby recently wrote the score to Pixar's animated short "Bao." In “Bao,” an aging Chinese mom suffering from empty nest syndrome gets another chance at motherhood when one of her dumplings springs to life as a lively, giggly dumpling boy. Mom excitedly welcomes this new bundle of joy into her life, but Dumpling starts growing up fast, and Mom must come to the bittersweet revelation that nothing stays cute and small forever. This short film from Pixar Animation Studios and director Domee Shi explores the ups and downs of the parent-child relationship through the colorful, rich, and tasty lens of the Chinese immigrant community in Canada.In this episode of The Annotator, Toby Chu walks us through his entire score for the six-minute-thirty-three-second-short giving us insight into how his score largely represents the story arc of the Mom. He shares about how he made use of both Western and Eastern orchestration and how his choices not only reflect the push and pull between two cultures but also the ups and downs of some mother-son relationships.ANNOTATED TRACKS AND SEGMENTS02:47- "Bao"SOUNDTRACKThe original soundtrack was release on June 15, 2018 by Walt Disney Records. The score is available on Amazon.com, itunes, and streaming on Spotify and Apple Music.MORE ABOUT THE COMPOSERYou can find out more about and hear more music by Toby Chu at his official site http://www.tobychumusic.com/ABOUT THE ANNOTATORProduced by Christopher Coleman (@ccoleman) and you can Find more episodes at THEANNOTATOR.NET or you can subscribe via iTunes, Stitcher Radio or wherever you find quality podcasts.FOLLOW USTwitter @audioannotatorFacebook @TheAnnotatorEmail theannotatorpodcast@gmail.comSUBSCRIBEiTunesSpotifyStitcher RadioRadioPublicGoogle Play PodcastsRSS Feed
Dominic Lewis, composer on: Goosebumps 2: Haunted Halloween, Disney XD's upcoming “Duck Tales," and on the first two seasons of Amazon's THE MAN IN THE HIGH CASTLE returns to score season 3 of the popular streaming series. The Man in the High Castle is based on Philip K. Dick's award-winning novel and explores what it would be like if the Allied Powers had lost WWII, and Japan and Germany ruled the United States. Season three of the Emmy award-winning series finds Juliana Crain (Alexa Davalos) grappling with her destiny after seeking safety in the Neutral Zone. Realizing that their fates are intertwined, she works with Trade Minister Tagomi (Cary-Hiroyuki Tagawa) to interpret the mystery of the last remaining films. Season 3 of The Man in the High Castle debuted on October 5, 2018 exclusively on Amazon's Prime Video platform.In the last episode of The Annotator, Lewis opened up his work for seasons 1 and 2, but here he reveals how his score for season 3 has continued to evolve while still making subtle references to thematic material introduced in the earlier seasons. Dominic Lewis talks through three pieces he wrote for season 3. He opens up on how he continues to develop thematic material introduced in previous seasons and finally, in his climactic piece of the season 3 finale, he details a number of components and processes he utilized to evoke a sense of mystery and danger.ANNOTATED TRACKS AND SEGMENTS01:45- "Trudy Suite"03:40- "Scrap Metal"05:23 - "Frank and Inspector Kido"09:20 - "The Bunker"SOUNDTRACKThe soundtrack was released by Varese Sarabande on February 9, 2019. It is available at Amazon.com, iTunes, Spotify, and Apple Music.MORE ABOUT THE COMPOSERYou can follow Dominic Lewis on Twitter @DomlewismxABOUT THE ANNOTATORProduced by Christopher Coleman (@ccoleman) and you can Find more episodes at THEANNOTATOR.NET or you can subscribe via iTunes, Stitcher Radio or wherever you find quality podcasts.FOLLOW USTwitter @audioannotatorFacebook @TheAnnotatorEmail theannotatorpodcast@gmail.comSUBSCRIBEiTunesSpotifyStitcher RadioRadioPublicGoogle Play PodcastsRSS Feed
Olivier Derivière is an award-winning composer who has scored music for animation, films and video games and is widely acclaimed for both his composition and innovative approaches to connecting music with the game experience. Some of his groundbreaking titles, Remember Me, Supernova, Obscure, Assassin's Creed IV Freedom Cry and his previously annotated score for GET EVEN. One of his most recent video game scores is for the DONTNOD video game, VAMPYR.In Vampyr you play as Dr. Jonathan Reid, a famous surgeon and blood transfusion specialist freshly turned into a vampire after arriving back in his home city of London following the Great War. A man of logic and science, Reid's firm beliefs are turned inside-out upon awakening to a once-hidden world of secret societies, ungodly creatures and ancient orders set upon ending his existence. All the while, London's population crumbles under the pressure of a terrible disease – and Dr. Reid may be the city's last hope to stop it.Olivier Deriviere returns to THE ANNOTATOR and shares about his main theme from the game and how he heavily employs the cello, throughout the score, to capture the loneliness and struggle of the game's main character. He details Eric-Marier Couturier's cello performance which makes use of the double string technique to express the core struggle between the doctor and the vampyr. Deriviere also tells us how he found working on this game a unique privilege despite Vampyr's main theme centering on the theme of death and how he wrote some of the darkest and most emotional music while dealing with the loss of his own grandmother. ANNOTATED TRACKS02:59 - The Struggle05:06 - Making a Vampyr06:45 - The Funerals11:09 - Insane Family14:51 - The Cross17:13 - A Night at HomeSOUNDTRACKThe original soundtrack for VAMPYR is available on bandcamp. You can also stream the soundtrack on Spotify.MORE ABOUT THE COMPOSERYou can also hear more music and find out more about Olivier Deriviere at his official site (http://olivierderiviere.com/) or follow the composer on twitter @oderiviereListen to Olivier Deriviere previous episode for the video game GET EVEN.ABOUT THE ANNOTATORProduced by Christopher Coleman (@ccoleman) and you can Find more episodes at THEANNOTATOR.NET or you can subscribe via iTunes, Stitcher Radio or wherever you find quality podcasts.FOLLOW USTwitter @audioannotatorFacebook @TheAnnotatorEmail theannotatorpodcast@gmail.comSUBSCRIBEiTunesSpotifyStitcher RadioGoogle Play PodcastsRSS Feed
Nima Fakhrara is a composer, ethnomusicologist and the founder of Zoo Creatives. His film credits include “The Girl in the Photographs”, “Consumed,” “The Signal,” and “Gatchman” (Battle of the Planets), while within video game genre, his credits he has “Resident Evil: Revelations 2 and the 2016 release “1970 Revolution.” One of his most recent projects for a video game is DETROIT: BECOME HUMAN, where is joined by composers Philip Sheppard and Joe Paesano in creating this highly anticipated game's original score.DETROIT: BECOME HUMAN is an adventure game developed by Quantic Dream and published by Sony Interactive Entertainment for the PlayStation 4, released worldwide on 25 May 2018. The plot revolves around three androids: Kara, who escapes the owner she was serving to explore her newfound sentience and protect a young girl; Connor, whose job it is to hunt down sentient androids; and Markus, who devotes himself to releasing other androids from servitude. They may survive or perish depending on dialogue choices that shape the story as customized by the player.In this episode of THE ANNOTATOR, Nima Fakhrara, over 8 tracks of his work, opens up about his main challenge of writing music for one of the games main characters, CONNOR. He talks about how, while creating something cold and robotic, he also needed his music for this android investigator to evoke emotion. That challenge was increased by choosing to use only synths and electronics to accomplish this. Nima Fakhara also talks about how Connor's music is the type of music he believes an android might create for themself.ANNOTATED TRACKS03:22 - Hostage05:19 - Your Choice09:27 - Now11:41 -They All Look the Same15:17 - I Trust You15:31 - Meet Markus18:08 - Wake Up19:32 - Connor SuiteSOUNDTRACKThe original score has not been released.MORE ABOUT THE COMPOSERYou can also hear more music and find out more about Nima Fakhrara at his official site (https://nimafilmmusic.com/) or follow the composer on twitter @ostadnimaABOUT THE ANNOTATORProduced by Christopher Coleman (@ccoleman) and you can Find more episodes at THEANNOTATOR.NET or you can subscribe via iTunes, Stitcher Radio or wherever you find quality podcasts.FOLLOW USTwitter @audioannotatorFacebook @TheAnnotatorEmail theannotatorpodcast@gmail.comSUBSCRIBEiTunesSpotifyStitcher RadioGoogle Play PodcastsRSS Feed
Philip Sheppard is a composer, producer, virtuoso cellist, professor at the Royal Academy of Music and a creative innovator who has worked with some of the biggest names in music, tech, sport and film.He has composed more than 60 film, gaming, television and theatrical scores including the Star Wars Force Awakens behind the scenes Comic Con trailer which has over 11 million YouTube plays. His other major film works include The Final Year, which premiered at the Toronto Film Festival, In the Shadow of the Moon (which received an International Film Critics Award nomination for Best Original Score for a Documentary.One of Sheppard's most recent projects has been for the highly acclaimed video game, DETROIT: BECOME HUMAN. The game, which debuted on May 25, 2018 for the Sony Playstation 4 is an neo-noir thriller, where the plot revolves around three androids: Kara, who escapes the factory she was made in to explore her newfound sentience; Connor, whose job it is to hunt down deviant androids like Kara; and Markus, who devotes himself to releasing the androids from servitude. The characters may survive or perish depending on the choices that are made, which serve to shape the story as customized by the player.In this episode of THE ANNOTATOR, Philip Sheppard reveals his process in writing and recording his very humanizing and emotional music representing KARA, one of the game's key characters. He also talks about why and how he used three different pianos simultaneously to help craft the key components of the theme in its simplest form. Sheppard details how Kara's theme was partially birthed from a fireplace in a snow covered cabin in Montana, where he retreated to to write his music for the game. Lastly, he reveals how he was able to take KARA's theme throughout all of the highs and lows of the game's complex story.ANNOTATED TRACKS03:22 - Little One06:28 - Kara Main Theme13:12 - Carousel14:00 - All This Will Pass15:31 - By the RiverOTHER TRACKS00:00 - "Not Just a Machine"SOUNDTRACKThe original score has not been released.MORE ABOUT THE COMPOSERYou can also hear more music and find out more about Philip Sheppard at his official site (https://philipsheppard.com/) or follow the composer on twitter @philipsheppardABOUT THE ANNOTATORProduced by Christopher Coleman (@ccoleman) and you can Find more episodes at THEANNOTATOR.NET or you can subscribe via iTunes, Stitcher Radio or wherever you find quality podcasts.FOLLOW USTwitter @audioannotatorFacebook @TheAnnotatorEmail theannotatorpodcast@gmail.comSUBSCRIBEiTunesSpotifyStitcher RadioGoogle Play PodcastsRSS Feed
Jim Dooley is an Emmy Award-winning composer/songwriter with a diverse repertoire spanning the film, television, video gaming and live theatrical industries. Among his many compositions in Television, Dooley has written original music for ABC's critically acclaimed series, “Pushing Daisies,” for which he earned a 2008 Primetime Emmy Award for “Best Original Music Composition for a Series.” He's also written a number of original scores for Dreamworks features including: “Spirit: Stallion of the Cimarron,” “Madagascar” the Academy Award-winning “Wallace & Gromit: The Curse of the Were-Rabbit,” and in video games: “Epic Mickey,” “Infamous” “Jak and Daxter: The Lost Frontier,” “SOCOM 3: U.S. Navy SealsOne of his recent endeavours was for a Netflix series. Based on the internationally best selling series of books by Lemony Snicket (aka Daniel Handler), season two of the Netflix original series plunges further into the epic world of this darkly comedic mystery. Executive produced by Emmy Award-winner Barry Sonnenfeld and Daniel Handler - the new season of A Series of Unfortunate Events consists of ten cinematic one-hour episodes, and premiered worldwide in the spring 2018, exclusively on Netflix. A Series of Unfortunate Events recounts the tragic tale of the Baudelaire orphans – Violet, Klaus, and Sunny – and their extraordinary encounters with the devious Count Olaf who will stop at nothing to get his hands on their inheritance. In this episode of THE ANNOTATOR, Jim Dooley discusses balancing some of the more menacing and psychological Bernard Herrmann influences with the whimsical nature of the books and series. He shares about writing themes for the three Squalor children which were defined by their actions rather than by their characters. And he also opens up how he had to write a Mambo which embellished with the sounds of children's toys.ANNOTATED TRACKS02:35 - Lemony in Sewer04:01 - Introducing Esme04:57 - Violet Searching the Penthouse05:32 - Olivia Runs After Taxi06:29 - Sunny's Mambo08:37 - The Kids Emerge from the Tunnel10:09 - Entering the Village11:46 - The Village Elders13:04 - Hector's Balloon15:07 - VFD PartySOUNDTRACKThe original score has not been released.MORE ABOUT THE COMPOSERYou can also hear more music and find out more about Daniel Ran at his official site (https://www.jimdooley.com/) or follow the composer on twitter @jimdooleymusicABOUT THE ANNOTATORProduced by Christopher Coleman (@ccoleman) and you can Find more episodes at THEANNOTATOR.NET or you can subscribe via iTunes, Stitcher Radio or wherever you find quality podcasts.FOLLOW USTwitter @audioannotatorFacebook @TheAnnotatorEmail theannotatorpodcast@gmail.comSUBSCRIBEiTunesSpotifyStitcher RadioGoogle Play PodcastsRSS Feed
Christopher Lennertz is a composer and producer for film, television, records, and video Games. His vast portfolio includes television programs such as: Marvel's Agent Carter, Galavant and Supernatural and among his many video game credits are titles within the Medal of Honor and Mass Effect franchises. He has also composed scores for numerous, animated, family features such as: Alvin and the Chipmunks, Hop and Smurfs: The Lost Village which was featured in episode 4 of The Annotator. One of his most recent, high-profile projects is his original score for LOST IN SPACE.Produced by Legendary Television, LOST IN SPACE is a Netflix Original dramatic and modern reimagining of the classic 1960's science fiction series. Set 30 years in the future, colonization in space is now a reality, and the Robinson family is among those tested and selected to make a new life for themselves in a better world. But when the new colonists find themselves abruptly torn off course en route to their new home they must forge new alliances and work together to survive in a dangerous alien environment, light-years from their original destination.In this episode of THE ANNOTATOR, Christopher Lennertz, out of the 500 minutes of score he composed, tells the story behind three crucial cues from his score for season one. Here, he shares how he made use of John Williams' season 3 theme from the original Lost in Space TV series. The composer reveals what pivotal moment in the pilot episode he felt he had to understand and score exactly right. Finally, Lennertz shares how he allowed the more dramatic moments of season one to inform his choices for instrumentation making the score more intimate at times and at others more scientific.ANNOTATED TRACKS02:19 - Maker of Worlds10:06 - Danger Will Robinson13:54 - IlluminationsOTHER TRACKS00:03 - Main Titles01:11 - End Credits18:28 - Flowers, Father and Son20:35 - End CreditsSOUNDTRACKThe original score can be found on Amazon.com, itunes or streaming on Spotify and Apple Music.MORE ABOUT THE COMPOSERYou can also hear more music and find out more about Daniel Ran at his official site (https://www.christopherlennertz.com/) or follow the composer on twitter @clennertzABOUT THE ANNOTATORProduced by Christopher Coleman (@ccoleman) and you can Find more episodes at THEANNOTATOR.NET or you can subscribe via iTunes, Stitcher Radio or wherever you find quality podcasts.FOLLOW USTwitter @audioannotatorFacebook @TheAnnotatorEmail theannotatorpodcast@gmail.comSUBSCRIBEiTunesSpotifyStitcher RadioGoogle Play PodcastsRSS Feed
Composer Mark Yaeger has composed original music, written songs, played solo instruments, and produced the score on over 30 Hollywood and independent films. Additionally, he is a long-time composer collaborator with Klaus Badelt. Just a couple of those collaborative efforts include feature films such as QUEEN OF THE DESERT and SHANGHAIL CALLING, while his work for television can be heard in the 2014 series HALO: NIGHTFALL. FAR CRY 5 - INSIDE EDEN'S GATE is one of Yaeger's most recent projects. Released on March 5, 2018 -and is a short-film released directly to Amazon Prime Video. The short was designed as back-story to the video game FAR CRY 5 which released a few weeks after on March 27, 2018. When rumors of a fanatical cult in Hope County, Montana begin to swirl, three vloggers take it upon themselves to investigate what's really going on. As they track down missing locals and probe into other strange events, they eventually encounter Joseph Seed, the leader of The Project of Eden's Gate cult and the man behind all the unusual activities in Hope County. In this episode of The Annotator, Mark Yaeger talks about writing an original score for the short-film that would paint the antagonist of the video game, FAR CRY 5, in a different light. He elaborates on his choice of instrumentation and stylistic choices to emphasize emotion over darker elements that would thoroughly be covered musically in the game that would follow.ANNOTATED TRACKS02:02 - Seed03:35 - Bliss08:10 - Enchantment Ostinato08:49 - RevivalSOUNDTRACKThe original score can be found on Amazon.com, itunes or streaming on Spotify and Apple Music.MORE ABOUT THE COMPOSERYou can also hear more music and find out more about Mark Yaeger at his official site (https://www.markyaeger.com/) or follow the composer on twitter @markyaegerABOUT THE ANNOTATORProduced by Christopher Coleman (@ccoleman) and you can Find more episodes at THEANNOTATOR.NET or you can subscribe via iTunes, Stitcher Radio or wherever you find quality podcasts.FOLLOW USTwitter @audioannotatorFacebook @TheAnnotatorEmail theannotatorpodcast@gmail.comSUBSCRIBEiTunesSpotifyStitcher RadioGoogle Play PodcastsRSS Feed
Michael Kramer is an Emmy nominated composer and multi-instrumentalist for film, television, and video games. His recent TV credits include the Cartoon Network series LEGO Ninjago: Masters of Spinjitsu, the original HULU series Complete Works, CBS Sports' Ball Up, and Sons of Tuscon on FOX. Michael's music can heard in Furious 7, Thor: The Dark World, and Teenage Mutant Ninja Turtles, on which he collaborated with Brian Tyler. His video game credits include Need For Speed: The Run, Assassin's Creed: Black Flag, and Assassin's Creed: Unity. Michael Kramer is currently scoring the hit Disney XD TV series LEGO STAR WARS: The Freemaker Adventures, for which he received a 2017 Emmy Award nomination. His score is recorded with a live 80-piece orchestra and carries the universal message of Star Wars to a new generation. In this episode of The Annotator, Michael Kramer talks about how he dances along the lines of the familiar musical building blocks forged by John Williams, while still introducing something unique in the the Star Wars musical universe. In order for listeners to hear how new themes are introduced and developed over the course of an episode, here, Kramer specifically covers the musical arc of the first episode in Season 2.ANNOTATED TRACKS01:58 - Main Titles - The Freemaker Family Theme02:37 - Training M-OC03:47 - Rowan and Quarrie05:40 - The Emperor, Vader and M-OC06:45 - Rowan Captured13:37 - The ArrowheadOTHER TRACKS00:44 - Force Theme Redux01:29 - We're Home15:02 - Rowan's ThemeSOUNDTRACKThere has been no announcement about an official soundtrack release.MORE ABOUT THE COMPOSERYou can also hear more music and find out more about Michael Kramer at his official site (https://www.michaelkramermusic.com/) or follow the composer on twitter @kramercomposerABOUT THE ANNOTATORProduced by Christopher Coleman (@ccoleman) and you can Find more episodes at THEANNOTATOR.NET or you can subscribe via iTunes, Stitcher Radio or wherever you find quality podcasts.FOLLOW USTwitter @audioannotatorFacebook @TheAnnotatorEmail theannotatorpodcast@gmail.comSUBSCRIBEiTunesSpotifyStitcher RadioGoogle Play PodcastsRSS Feed
Cinematic Sound Radio - Soundtracks, Film, TV and Video Game Music
| TRANSCRIPTION OF EPISODE | Hello everyone, Erik here, and I’m just kind of in the middle of something. It is related to the radio show and I have a little time on my own this weekend and just kind of reflecting on my message that I put on Twitter and Facebook about this hiatus that I’m on. I thought that you, my listeners, deserved an explanation and I’m a terrible, terrible writer and usually, in these cases, people will write a note. And I’ve done that in the past. It’s just that I’m not a very good writer and it takes way too long and I can usually say the things that I’m thinking faster into a microphone, of course, then I can typing on a keyboard. And I’ve been thinking about this for quite some time and that is whether I say something or do something. And there have been tweets from followers and Facebook messages and emails and they’re wondering you know how I’m doing and things of that sort and it’s easy for me to just say I’m fine but I’m not. I have first world problems and that’s basically what this is and it feels so silly for me to do this and kind of complain about things and whine about things when really I have pretty good. I’m living in a four-bedroom house. I mean, it’s not mine, I rented but still, it’s a really nice home. I live in a great neighborhood. I got two pretty good kids. Got a great wife and you know I am still working on doing the things that I want to do. Not as much as I thought I would. Now looking back over the past year coming up to the one year anniversary of me getting laid off from a job that I loved and I mean really loved and was ripped away from colleagues… who I never called colleagues… ripped away from a great bunch of people who I loved to go to work for and that sort of stuff really haunts me to this day. And the reason that it continues to pop up in my head is that I never did find another full-time job and that was because a month after I was laid off I started working for this fantastic guy out in Elora – about a half hour from where I live – and he’s not in a position to hire me full time but he’s trying to throw as much work at me as possible. My hope is that eventually, that will lead to either regular hours that I’m working throughout the week or that he eventually hires me on as a full-time member of his team. I don’t know if either or are going to happen but I kinda hope that it does. So, work has always been on my mind and it’s always something that I think about every day and the fact that there is a point where work dries up for him then I’m not going to be able to pay my bills and do things of that sort and then that directly affects me, my mood, my brain, the way I react to things and it really doesn’t take much for me to slip into a depression where I pretty much just want to give up. How does this all reflect back on the show and Cinematic Sound and me doing this today? Well, when I get to that point I then feel like if I’m doing a radio program, and I’m not sure how many of you know the process or what goes through to make this show that I do, that I love and am proud of. You know it takes hours. Many hours! There’s a lot of writing. There’s a lot of research. Many people have said that I have an encyclopedic knowledge of film music and film scores and movies, well, I really don’t. I’ve seen a lot of movies but I haven’t seen A LOT of movies. I listened to a lot of scores but there was a lot that I have that I’ve missed. I have six thousand scores and a good chunk of that number I haven’t listened to. I mean am still discovering music to this day even though I’ve been doing this show for almost 22 years. Anyway going back to the amount of work that has put into this program that I do. I don’t make any money off of it and I don’t think I was ever expecting that I would make money doing this show. It would be great if a radio station picked me up. I’m not saying that I’m not going to work toward something like that – although that’s something that I’m thinking that I might do – but I live in Ontario or near the Greater Toronto Area, there’s really only one classical station that I would pick up something like this but I’ve never tried syndication. I don’t know how much that pays. I don’t know what that does and I never really thought that I should ask people for money for the show and that just brings up a whole other set of problems and the issues concerning my show, which I really don’t want to go into here today. I always felt that over the years my reward was the free music and I’ve been getting free music for 20 some odd years now. I’ve got a lot of music and I’m grateful for that. And my goal of this show was never to make money but it was to promote film music. Then my job was to take the music that these record labels were sending my way and I would promote the album as a thank you for supplying the music. So I’m getting all this free music that had to pay for. But on the flipside, I’m hoping that somebody listens to the show and listens to an album and they hear it, like it and then go and buy an album. That’s how I have been running Cinematic Sound Radio since the beginning. Even when I was on Mohawk College Radio, that was the whole point, I just wanted people listening to this and to enjoy it. I might be naive. Maybe I’m not digging deeper and being more ruthless and cutthroat in trying to actually make something out of this and that’s quite a possibility. We could probably go and do that sometime later. But, anyway, back to the amount of work that it takes. It takes maybe 10 or 12 hours to produce a show. A lot of that is done after hours, late at night. Sometimes right up to the last minute. I usually have to submit shows to WROCK Radio weekly and sometimes I don’t get to show them until early Saturday morning. That’s not when I want to give them the show because my show is scheduled on Sunday and the last thing I want to do is have people do work over the weekend trying to get my show up on their station. But that’s just the way it works and there are some days where I’m not motivated to do it. I love doing this show. I really do. But again going back to the show being free and me spending so much time on it when maybe I should take those hours and look for something that’s going to bring in cash, that’s going to help provide for my family and that’s where last week when I came to the realization that I’m spending a lot of time working on something that is essential for me and it’s free. And if I can go a little bit deeper into this and the reason why I’m also thinking of just kind of giving this up for now. The numbers. When I’m talking about numbers again. Numbers… don’t take this the wrong way… don’t necessarily mean a lot to me because again I’m not bringing any income and I’m not monetizing the show, so numbers… I don’t care if I get 5 listeners or 5000 listeners BUT I actually DO care. Let’s just go back a little bit further where my show isn’t on a podcasting service so I’m not 100 percent sure whether the analytics that I’m getting, the stats that I’m receiving from my hosting server, which is where the entire shows is hosted, are accurate to the amount of listens and downloads that I’m getting. It’s really cryptic and I’m trying to use their stats software and I honestly don’t think it’s giving me the right numbers. So then I moved on to something called Podtrac and if I insert Podtrac’s little tag at the beginning of my MP3 file and then what I’ll do is that every time that that track is played with that tag it will then send out the information back to Podtrac and it will tell them you know whether someone listened to it as a stream or downloaded it. I am hoping that this software is a bit more accurate than what I was getting from my hosting provider. So I started this maybe three months ago and I’ve started adding this little tag to all the shows that are part of the podcast that is on the RSS feed on iTunes and Stitcher and everywhere else that the podcast can be found and these files were also added on to the streaming files at cinematicsound.net. So I thought this might give me some more accurate numbers as to how my shows do. And then there’s a lot of promotion on my part that goes into these programs. And if I don’t do that the show suffers most definitely. And what I’m seeing right now, and I’m not 100 percent certain when I started with Podtrac (I think it was back at the beginning of March) and so if I look back at the shows that I have uploaded since March, which starts with Jason Drury’s fantastic interview with Mike Ross-Trever and that brought in about fourteen hundred listeners. I added my Favourite Scores of 2017 which, I thought would do really really well, and since March 14th I am getting two thousand downloads. I thought maybe it was going to do a bit better. My Favorite Western Tracks, which seemed to be very popular show through social media; the response I got from it, the interaction that I had – fifteen hundred listens. Jason Drury’s show; episode 8 got eleven hundred listens. I then uploaded Lost in Space, Ready Player One. Max & Me show… that was sixteen hundred. And Jason’s episode 9 of The Archive, which was uploaded on April 23rd… it’s now May 5th… that’s just past one thousand. I don’t know whether those are good numbers or not? I mean right now it says that my 90-day downloads are 15000. Look I’m not complaining that people are listening to the show. I am so happy for every single person that decided to take the time to click on those links and listen to the show. I appreciate all you people. I’m just thinking that the time associated with this, the amount of work that I do and that goes into this show and the amount of promotion that I do… Again, I’m not monetizing the show or anything but I can look at this as somebody who’s like looking for money and patron supporters and whatever and say, “Hey, how come I’m not getting more downloads?” But I don’t know whether these are good numbers or these are great numbers? I don’t know what the numbers are like for other shows and I’m looking at a lot of new programs that are coming out and they’re just killing it and I’m super, super happy for those for those programs. Trust me. I am. I couldn’t be happier. As you know or may not know I am a huge supporter of film music radio. I have a giant curated list of podcasts and other radio shows on my own site. I love promoting other people’s shows. I don’t know what these are good numbers. I don’t know whether it is worth doing this show for you know maybe a thousand listens? And that might seem petty. It probably is but it’s a bit disheartening and I mean again I only have to blame myself because maybe I’m not giving other people who are listening to the show or people who want to listen to film music or people want to listen to the podcast what they want to listen to. My type of programming… a music podcasts… are, I think, a few and far between. You know podcasts are mostly talk-shows or information based. I think a lot of the more popular ones are not standard radio shows like I do. I understand that. And some of the more popular soundtrack shows are the interview based ones. However, I am still shocked and blown away and flabbergasted and befuddled that a show like The Annotator isn’t doing as well as it should be. Christopher Coleman, I think, has a great idea and I think him trying to jump off of Song Exploder’s popularity and format and bringing that to film music I honestly thought that would be the film music show that I would have seen first breaking it into New and Noteworthy and being one of those podcasts that these bigger outlets write about and how interesting it is and nobody seems to have picked it up and I’m not sure what these other shows are doing that are uber popular… I don’t know what they’re doing and what they’re doing right. And then I start thinking about my show and maybe it’s time to change the format and what I’m doing. Well, first of all, the one issue that I think might be hurting the program is its length. And I did put out a poll a few months ago as to whether people would rather listen to the two-hour show where they want something shorter. Correct me if I’m wrong but I think the shorter option was the most popular one. People would be more happy with something that was along the lines of 60 minutes or 90 minutes. And trust me I’d be happy with that too because that’s less work. But I still have to do a two-hour show for WROCK Radio and that’s the dilemma. I always thought that presenting longer suites was far more interesting than just playing one or two tracks. Right now, I play roughly 10, 12, 15-minute suites from the album and I always figured that was a perfect number for me to play. I won’t be playing the whole album but enough to give the listeners a good idea of what the score sounded like and based on 15 minutes they would be able to make a decision as to whether they like it or not. With a 60 minute show I’d have to rejig things might have to maybe play few albums, which I don’t think is a bad idea. And I think that there are so many podcasts out there that with the 2-hour time limit…. well, maybe I just can’t get on to the iPod’s or the digital devices that I want to get on to because people see the two hour time limit and they’re like, “I don’t have time for that.” They’ll listen to a 20-minute show here or 40-minute show here or there’s an interesting interview then they’ll stick around for an hour or so instead of listening to a two-hour traditional radio show as a podcast. I’m just thinking aloud here. The other thing that I might plan on doing, and I’ve been thinking about this over the past week, is to just completely rejig the way that I do the show. You know when I started with WROCK Radio I thought it was a great way for me to have something that was strictly formatted. That I would play maybe three or four new releases a show. Play a John Williams album because I like him so much and highlight his great work. Play a re-recording, an archival album, a video game album within two hours and that’s a good way of showcasing the best of film, TV and video game music on the show. However, I started getting to these top 10 shows, which I think are just so much fun to produce, and then I had other ideas. I like the re-recording shows. I like the theme shows as well. But then I am bombarded, absolutely bombarded each week… and people that are in the industry or have reviewed film music know that once you know you get on these mailing lists you’re just bombarded with albums. It’s not a bad thing it’s just that there’s no way for me to cover all of that. And then I thought with the WROCK Rock shows that playing four or five new releases would allow me to try and cover as many as possible. I don’t think I’m getting much satisfaction out of that and maybe it’s also that I’m not getting a lot of satisfaction out of the new stuff that’s coming out. I mean, there’s a lot of stuff that I download from these record labels. And again, I appreciate everything that they do and I don’t think they expect me to play everything that they send me but there is stuff that I just I’m just completely not interested in. I’m thinking that in order for me to get back into the show maybe it’s time for me to be a little bit selfish and start playing the stuff that I truly love or that I think that you might love. And only do a new releases show once a month or so. But even during those new releases shows just playing the six, seven or eight scores that I really, really like that I think that you might like. And that’s not really fair to the other ones that I’m going to say, “Nope, I’m not going to play it.” But I think I also have to enjoy the music that I’m playing in order to feel motivated and feel inspired to continue with the show. I’m also thinking maybe I should do these Heart to Heart’s once in awhile. I mean for those that even got this far into this broadcast did you enjoy this? Do you like me just rambling and complaining that I have a podcast? I think I said this at the beginning of this little rant that this is just so petty and so first world. But this is the world I’m living in and this is the reason why after 22 years my interest in this show is kind of waning; it’s not as interesting as it used to be. And I also think that the cool thing that I used to do many, many years ago was that I would get the jump on everybody and I’d be able to play that album for the very first time for you people. And that’s when the show explodes. So it’s really neat. I remember The Phantom Menace days when I shut down the server at Mohawk College. I remember premiering Skyfall and that is still to this day the most popular day in the history of Cinematic Sound and I’ve never been able to replicate that. I mean the place just went crazy during that day. Everybody really wanted to hear the brand new James Bond soundtrack. Nowadays, everybody can hear on Spotify, YouTube or whatever streaming device or streaming service you subscribe to. And I rarely get the jump on exclusives. There are a few things that I do get before you get a chance to hear it through those services but I guess again it’s few and far between. I used to love playing a whole bunch of new stuff. So that’s kind of why I want to go deeper into my own collection right now and even play some of the older stuff that might either be rare or obscure or maybe you haven’t heard before. There are a couple of other ideas that I want to try out and I’m not sure how this is going to work but I was thinking of doing some live shows. All request shows for the listeners so you can have an opportunity to request a track. Interviews are just something that I never really got into. I love talking to composers but if I was going to do an interview or interviews I would love to be the one that really stirs the pot a bit. Asks questions that don’t normally get asked. Things that maybe these guys haven’t said before. Again here I am criticizing other shows and things of that sort as if I’m the guy who knows it all. I mean, I don’t. It’s clear that I don’t. But yeah. So what’s the point of all this? I guess I had to air my dirty laundry and I just tell you where I am and what’s been affecting me and why I feel this way. And if I lose listeners I apologize that this is what made you turn me off. But I’m going to be back. At some point, I will be back. I have to be back. I think about the show every day. I really do. But I also got to find a way to bring more people on board that want to hear this show. I’m really a hundred percent sure how to do that. And that’s my problem. But again I appreciate the 1663 people that downloaded my latest show, which came out almost a month ago, and I really appreciate every single one of you for giving it a listen. I also appreciate every single one of you that got through this entire broadcast. This might be something I eventually delete somewhere down the road but thank you very much for listening. Thanks for your ear. Thank you for coming back every week or whenever a new show was uploaded. And I just want to thank again Jason Drury, Tim Burton, David Coscina and anybody else that has contributed to Cinematic Sound Radio over the years. I truly do appreciate all the time and effort that you put into this program and hopefully sooner than later I get my mojo back and I’ll be back behind the mic. And instead of bitching and complaining, we’ll be talking about film, television and video game scores and playing more great music for you. So, until next time, thank you very much for listening and take care and happy listening! Cinematic Sound Radio Web: http://www.cinematicsound.net Twitter: http://www.twitter.com/cinsoundradio Facebook: http://www.facebook.com/cinematicsound WROCK Radio http://www.wrockradio.com Movie Scores and More Radio http://www.moviescoreradio.com Cinematic Sound Radio Fanfare and Theme by David Coscina https://soundcloud.com/user-970634922 Bumper voice artist: Tim Burden http://www.timburden.com
Gordy Haab is a multi award-winning film, video game and television composer who has written music for many well-known titles, including Microsoft's “Halo Wars 2, and EA's “Star Wars Battlefront I”, which won Music of the Year, Best Interactive Score, and Best Instrumental Score at the 2016 GDC G.A.N.G. Awards, and was nominated for a BAFTA for Excellence in Audio Achievement. Additionally, Haab scored Activision/AMC's "The Walking Dead", based on the #1 hit TV series and Microsoft's "Kinect: Star Wars", which won "Best Music" at the Hollywood Music In Media Awards. Haab continues to compose the music for EA and Bioware's "Star Wars: The Old Republic," for which he was awarded "Best Original Soundtrack" and "Best Instrumental Music" at the 10th Annual GDC G.A.N.G. Awards.Building upon the foundation of groundbreaking visuals and authenticity of EA's original Star Wars Battlefront, DICE, Motive and Criterion teamed up to deliver an expansive follow up to the popular Star Wars game. Star Wars Battlefront II allows players to experience the untold story of an Imperial elite special forces soldier in an all-new single player campaign. In epic multiplayer battles also return, as players are able to pilot a First Order TIE fighter through intense dogfights in space, and play as ground troopers or iconic heroes and villains, such as Yoda and Darth Maul, across all three Star Wars eras.In this episode of The Annotator, Gordy Haab gives us a detailed talk through a special, combat suite from his original score for Star Wars Battlefront 2. The suite features many of the most prominent themes from the video game including: the Battlefront Imperial and Republic themes, specific themes for two important locations in the game and a theme for the single player campaign's central character, Iden Versio.ANNOTATED TRACKS02:20 - Combat SuiteSOUNDTRACKThere has been no announcement about an official soundtrack release.MORE ABOUT THE COMPOSERYou can also hear more music and find out more about Gordy Haab at his official site (https://gordyhaab.com/) or follow the composer on twitter @gordyhaabABOUT THE ANNOTATORProduced by Christopher Coleman (@ccoleman) and you can Find more episodes at THEANNOTATOR.NET or you can subscribe via iTunes, Stitcher Radio or wherever you find quality podcasts.FOLLOW USTwitter @audioannotatorFacebook @TheAnnotatorEmail theannotatorpodcast@gmail.comSUBSCRIBEiTunesSpotifyStitcher RadioGoogle Play PodcastsRSS Feed
Kevin Riepl is an award-winning composer writing for multiple entertainment genres. His engaging orchestral, hybrid and atmospheric scores have enhanced films such as BATMAN: UNLIMITED and CABIN FEVER (2016 reboot). Additionally, he's scored film festival winners and genre cult films such as the emotional sci-fi short HENRI and Oddball Animation Studios' stunning concept film, RUIN. KEVIN RIEP is also renowned for composing the epic, signature scores for blockbuster video games including GEARS OF WAR, the UNREAL series, and ALIENS: COLONIAL MARINESThe mini-series, ATROPA, is one of Kevin Riepl's most recent projects and for it he delivers a bold original score, sometimes grand and at other times eerily beautiful and at still others, pulse-pounding.ATROPA, the new Canal+ streaming series, is a 7-part adventure consisting of 11-13 minute-long episodes. The series tells the story of a troubled Off-World Officer, running from his past, but finding himself slammed directly into it when he boards the mysterious spaceship ATROPA. In this episode of The Annotator, KEVIN RIEPL is joined by the director of the mini-series, Eli Sasich, and together they talk about why where the heavy Alien franchise influences originated in this score. Riepl describes how the difficult choices he had to make regarding when to record live instruments and when to use sample libraries and how working collaboratively with the director of the mini-series helped shape crucial moments of the score.ANNOTATED TRACKS02:17 - The Morinda08:11 - Bringing Him In10:36 - Regret16:00 - To the Escape PodOTHER TRACKS00:13 - Atropa (End Credits)18:10 - Cole Patrol Part 119:05 - Cole Patrol Part 2SOUNDTRACKThe original score for ATROPA by Kevin Riepl was released on March 23, 2018 by Moviescore Media. You can find it on Amazon.com, iTunes, and streaming on Spotify and Apple Music.MORE ABOUT THE COMPOSERYou can also hear more music and find out more about Kevin Riepl' at his official site (https://www.kevinriepl.com/) or follow the composer on twitter @kevinrieplmusicABOUT THE ANNOTATORProduced by Christopher Coleman (@ccoleman) and you can Find more episodes at THEANNOTATOR.NET or you can subscribe via iTunes, Stitcher Radio or wherever you find quality podcasts.FOLLOW USTwitter @audioannotatorFacebook @TheAnnotatorEmail theannotatorpodcast@gmail.comSUBSCRIBEiTunesSpotifyStitcher RadioGoogle Play PodcastsRSS Feed
Panu Aaltio is a composer based in Helsinki and Los Angeles. He has composed music to over 20 feature films, multiple TV series and video games, as well as a full-length ballet for the Finnish National Opera.For his first solo feature work, The Home of Dark Butterflies, Panu Aaltio received a Jussi Award (Finnish Film Award) nomination in 2008. His next feature, the horror film Sauna in 2008, premiered at the Toronto Film Festival and was picked up for distribution by IFC Films. Since then he has been one of Finland's most prolific film composers.Panu Aaltio has received the Best Documentary Score award twice from The International Film Music Critics Association, first in 2013 for the nature documentary Tale of a Forest, and in 2017 for the follow-up Tale of a Lake, for which he also won a Jussi Award. One of his most recent scores was for the late 2017 film, 95.95 is a Finish drama about ice hockey and national pride. It's a multi-faceted telling of how Finland came to win the Ice Hockey World Championship for the first time, and how it affected Finnish society to its very core.In this episode of The Annotator, Panu Aaltio unpacks his original score for the 2017 film and tells how he addressed tackling this under-dog story that ended up enrapturing an entire country. Aaltio shares about writing music that helps elevate or change the idea of hockey as a mere sport to the that of an intense battle or an even greater spectacle. The composer opens up about writing a score that covers a wide range of emotions and contexts from epic to intimate and from tragic to triumphant.ANNOTATED TRACKS02:14 - The End of a National Nightmare04:58 - A New Start07:21 - The Final Match08:27 - The Goalie is Choking09:56 - Panic Attack12:23 - The Royal Castle14:31 - You Can Be Anything You WantSOUNDTRACKThe original score for "95" will be released later in 2018 by Moviescore Media.MORE ABOUT THE COMPOSERYou can hear more music from Panu Aaltio at his official site (panuaaltio.com) Follow Panu Aaltio on Twitter @panuaaltioABOUT THE ANNOTATORProduced by Christopher Coleman (@ccoleman) and you can Find more episodes at THEANNOTATOR.NET or you can subscribe via iTunes, Stitcher Radio or wherever you find quality podcasts.FOLLOW USTwitter @audioannotatorFacebook @TheAnnotatorEmail theannotatorpodcast@gmail.comSUBSCRIBEiTunesSpotifyStitcher RadioGoogle Play PodcastsRSS Feed
Jaime introduces you to Christopher Coleman of Orlando, FL. He has TWO shows in the Florida Podcast Directory: The Soundcast and The Annotator--both centering around music, film, and and composition. Listen in... Florida Podcast Network Join the FPN Insiders on Facebook! Check out the other shows on the Florida Podcast Network. Copyright Flint Stone Media LLC, 2018.
After 50 episodes, the Battle Bards have made the brave decision to revisit the hallowed lands of Blade and Soul to look at two of the soundtrack expansions. The team combs through The World and Silverfrost Mountain albums to see what bounty can be harvested. It's another lively episode with plenty of upbeat music, so what are you waiting for? Episode 107 show notes Intro (feat. "Hammer of the Dog Sorcerer," "The Dreamdrift," and "Hogshead Hamlet") "The Road/Lycandi Foothills" "The Pot Fighter" "Pine Stone Island" "The Stranger" "Forest of Illusions" "Blood Battle" "Pig's Ranch" Which one did we like best? Jukebox picks: The Annotator podcast, "The Old Republic Theme" from Knights of the Old Republic, and "Gremori Dungeon Ver. 1" from Closers Online Outro ("Snowy North") Talk to the Battle Bards on Twitter! Follow Battle Bards on iTunes, Stitcher, Player.FM , Google Play, and Pocket Casts! Find more podcasts at The Gaming and Entertainment Network!
Joel P West is a songwriter, film composer and front man of The Tree Ring and Flood Coats. Joel is known for his scores for SHORT TERM 12, GRANDMA, and I AM NOT A HIPSTER. Joel's work is heavily inspired by the wilderness and the wide open spaces of North America.His career spans over 10 years, with his original style being lent to the upcoming highly anticipated Destin Daniel Cretton film THE GLASS CASTLE including an original song titled ‘Summer Storm', written and performed by Joel himself. This score, with Americana roots, is an exercise in storytelling through music..Chronicling the adventures of an eccentric, resilient and tight-knit family, THE GLASS CASTLE is a remarkable story of unconditional love. Oscar® winner Brie Larson brings Jeannette Walls's best-selling memoir to life as a young woman who, influenced by the joyfully wild nature of her deeply dysfunctional father (Woody Harrelson), found the fiery determination to carve out a successful life on her own terms.In this episode of the THE ANNOTATOR, Joel P. West shares about the musical language he needed to create to cover a timespan of over 30 years in THE GLASS CASTLE. He also talks about his use of themes reflecting the different aspects of key relationships in the film instead of the characters themselves. He also shares why no electronics were employed in the instrumentation or effects processing. Finally he talks about how they employed his score to bridge several jumps in time within the film.ANNOTATED TRACKS01:44 - Track 1 - “Rich City Folk”05:23 - Track 4 - “Real School”07:01 - Track 6 - “It'll be an Adventure”08:54 - Track 8 - “You Promised”11:06 - Track 9 - “Maroon Wave”13:46 - Track 11 - “Funeral”15:26 - Track 14 - “Mountain Goat”OTHER TRACKS00:05 - Track 4 - "Real School”17:43 - Track 9 - “Maroon Wave”THE GLASS CASTLE SOUNDTRACKNo release information is currently available.MORE ABOUT THE COMPOSERYou can find out and hear more music by JOEL P. WEST at his official website JOELPWEST.COMABOUT THE ANNOTATORProduced by Christopher Coleman (@ccoleman) and you can Find more episodes at THEANNOTATOR.NET or you can subscribe via iTunes, Stitcher Radio or wherever you find quality podcasts.FOLLOW USTwitter @audioannotatorFacebook @TheAnnotatorEmail theannotatorpodcast@gmail.comSUBSCRIBEiTunesStitcher RadioGoogle Play PodcastsRSS Feed
American composer and multi-instrumentalist, JEREMY TURNER, is known for creating innovative and diverse music for the moving image and the stage. From composing award winning scores for films to a career as the Assistant Principal Cello of the Met Orchestra, he has established a unique regard for understanding and performing varying musical languages and styles. As a composer, his music has been nominated for an EMMY® Award, has won the International Documentary Association Award (Narco Cultura), the AICP Award for Google's first television commercial (Parisian Love), and has been named in NPR Music's Favorite Songs of the Year. One of Jeremy Turner's most recent projects has been composing and conducting the score to the Netflix original series Five Came Back, produced by Steven Spielberg and Scott Rudin.Adapted from Mark Harris' best-selling book, “Five Came Back: A Story of Hollywood and the Second World War,” and directed by Laurent Bouzereau, the three-part docuseries tells the extraordinary story of how Hollywood changed World War II – and how World War II changed Hollywood, through the interwoven experiences of five filmmakers who interrupted their successful careers to serve their country, risk their lives and bring the truth back to the American people: John Ford, William Wyler, John Huston, Frank Capra, and George Stevens. To guide viewers through the different personalities, interweaving chronologies and globe-trotting locales, the Five Came Back team turned to the voices of five modern cinematic masters: Steven Spielberg, Francis Ford Coppola, Guillermo Del Toro, Paul Greengrass and Lawrence Kasdan. Three-time Oscar-winner Meryl Streep provides the narration for Five Came Back.On this episode of THE ANNOTATOR, Jeremy Turner talks about: the five motifs he wrote for each of the 5 central figures, how they evolve and change along with the experiences of the 5 directors and lastly how he used silence to give the moments of score even greater impact.ANNOTATED TRACKS03:32 - Track - “Prelude”08:53 - Track - “Willie and Lester”11:26 - Track - “Anne Frank”13:00 - Track - “Wonderful”OTHER TRACKS00:00 - Track - "Forgotten Man” 01:04 - Track - "Capra Goes to Washington”01:48 - Track - “Euro Stevens"17:18 - Track - "Isolationism"FIVE CAME BACK SOUNDTRACKNo release information is currently available.MORE ABOUT THE COMPOSERYou can find out and hear more music by JEREMY TURNER at his official website HEARJT.COM ABOUT THE ANNOTATORProduced by Christopher Coleman (@ccoleman) and you can Find more episodes at THEANNOTATOR.NET or you can subscribe via iTunes, Stitcher Radio or wherever you find quality podcasts.FOLLOW USTwitter @audioannotatorFacebook @TheAnnotatorEmail theannotatorpodcast@gmail.comSUBSCRIBEiTunesStitcher RadioGoogle Play PodcastsRSS Feed
CHRISTOPHER LENNERTZ is a composer and producer for film, television, records, and Video Games. films credits include Box office hit comedies including The Boss, Horrible Bosses (1 &2), Think Like A Man (1 &2),, and Identity Thief, popular family comedies including Alvin and the Chipmunks and Hop. He's scored television series including Supernatural, Galavant and Marvel's Agent Carter and video games such as Mass Effect 3, Starhawk, Medal of Honor, and the James Bond: 007 series, Lennertz has also collaborated with music giants including Dave Grusin, RZA, members of Pearl Jam, Jane's Addiction and THE Dave Matthews Band. One of his most recent scoring projects is for Sony Pictures Animated film, SMURFS: THE LOST VILLAGE. This new take on the Smurfs film marks the first collaboration between Lennertz and the film's director, Kelly Asbury. In addition to writing the score for the film, Lennertz co-wrote a song with Award-winning singer-songwriter KT Tunstall. Smurfs: The Lost Village tells the story of Smurfette and her best friends Brainy, Clumsy and Hefty and their race through the Forbidden Forest; the gang must find a mysterious lost village before the evil wizard Gargamel. Embarking on a journey full of action and danger, the Smurfs are on a course that leads to the discovery of the biggest secret in Smurf history! In this episode of THE ANNOTATOR, Christopher Lennertz talks about how he worked with director Kelly Asbury to set the tone for this new Smurf creation, how he created “smurf flower horn” now 80's Amblin movies influenced this film and score, and just what the purpose of his original song, “You will Always Find Me In Your Heart” , was in the film.ANNOTATED TRACKS02:05 - Track 1 - “Meet the Smurfs”04:50 - Track 2 - “To the Village”07:12 - Track 4 - “Gargamel's Lair”09:00 - Track 13 - “Raft Chase”11:54 - Track 23 - “The Truest Smurf of All”17:27 - Track 25 - “Smurf Eating Flowers (Bonus Track)”OTHER TRACKS00:00 - Track 7 - “Get Those Smurfs” 18:22 - Track 24 - "End Credits Suite”20:32 - Track 1 - “Paris Can Wait″ (Paris Can Wait)SMURFS: THE LOST VILLAGE SOUNDTRACKReleased by MADISON GATE RECORDSDigital and CD - 25-track soundtrack was released on March 31, 2017You can find the soundtrack at Amazon.com, iTunes or streaming on Spotify.MORE ABOUT THE COMPOSERYou can find out and hear more music by CHRISTOPHER LENNERTZ at his official website CHRISTOPHERLENNERTZ.COM or follow him on twitter @clennertzABOUT THE ANNOTATORProduced by Christopher Coleman (@ccoleman) and you can Find more episodes at THEANNOTATOR.NET or you can subscribe via iTunes, Stitcher Radio or wherever you find quality podcasts.FOLLOW USTwitter @audioannotatorFacebook @TheAnnotatorEmail theannotatorpodcast@gmail.comSUBSCRIBEiTunesStitcher RadioGoogle Play PodcastsRSS Feed
Volvieron los cinco de los cinco esta semana. Hoy hablamos de herramientas para leer artículos y subrayar, como por ejemplo: LINER - Web Highlighter & Annotator and Bookmarker por Liner https://appsto.re/ar/-XI84.i Seguimos en @bairesmac Y escucha todos los podcast de Laliga.FM
Guido hat seit 1 Monat einen 3D Drucker von Tchibo im Büro stehen. Was das mit Bildung zu tun hat und warum die Maker-Bewegung eine wichtige Rolle beim Leitmedienwechsel spielen wird, thematisieren wir als Hauptthema der Neujahrssendung. Aber natürlich spielen auch diesmal wieder die Apps, die das Pädagogen-Leben leichter machen eine wichtige Rolle. Shownotes: - 3D Drucker im Mainstream: Tchibo und die Nerds - http://www.tchibo.de/3d-drucker-up-mini-pp3dp-p400067878.html - http://www.yeggi.com/ - http://www.thingiverse.com/thing:60292/#files - Projektlernen - Steve Jobs: Secret of Life http://youtu.be/kYfNvmF0Bqw - WLAN-Problemen auf die Spur kommen - SpeedSpot https://itunes.apple.com/de/app/speed-test-wifi-finder-mobile/id616145031?mt=8 - „iNetTools – Netzwerkdiagnose-Tools“ von ComcSoft https://appsto.re/de/hbKEH.i - Schöne Apps - „Workflow: Powerful Automation Made Simple“ von DeskConnect https://appsto.re/de/2IzJ2.i - Annotator https://itunes.apple.com/us/app/diigo-annotator-for-safari/id933773981?mt=8 - Netatmo https://www.netatmo.com/de-DE/produkt/wetterstation - „WeatherPro for iPad“ von MeteoGroup Deutschland GmbH https://appsto.re/de/9p2qw.i - „Evernote Food“ von Evernote https://appsto.re/de/8VrUC.i - „EverCrane for iPad - FileCrane for Evernote“ von ablecomputer Inc. https://appsto.re/de/9bZ6G.i - „Weblock - AdBlock for iOS“ von FutureMind https://appsto.re/de/ovUtH.i - Passwort-Apps - „1Password“ von AgileBits Inc. https://appsto.re/de/NAm6H.i - „LastPass for Premium Customers“ von LastPass https://appsto.re/de/hvtwt.i - MailTags http://www.indev.ca/MailTags.html
Philip Leigh, Annotator and Editor of Sam Watkins classic memoir "Company Aytch, or a Side Show of the Big Show."
Philip Leigh, Annotator and Editor of Sam Watkins classic memoir "Company Aytch, or a Side Show of the Big Show."
Philip Leigh, Annotator and Editor of Sam Watkins classic memoir "Company Aytch, or a Side Show of the Big Show."
Philip Leigh, Annotator and Editor of Sam Watkins classic memoir "Company Aytch, or a Side Show of the Big Show."
Philip Leigh, Annotator and Editor of Sam Watkins classic memoir Company Aytch, or a Side Show of the Big Show.
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