Podcasts about moviescore media

I interview Tim Williams, composer of the soundtrack for the movie Pearl. (Oct 11, 2022) Here's the press release from his publicist: (September 15, 2022 – Los Angeles, CA) – Today, A24 Music released the single “Pearl Main Titles” from the Pearl Original Motion Picture Soundtrack with music by Tyler Bates & Timothy Williams, listen here. The full 19-track album will be available September 23 on major digital platforms. With only six weeks to assemble a 68-person orchestra, Bates brought in frequent collaborator Timothy Williams, who worked with the composer on Guardians of the Galaxy, to help him audition musicians, build the orchestra, rehearse over four days in Nashville, and record the score. “In the style of mid-century melodramas,” says West, “Tyler Bates fashioned a sweeping, shrieking, strings-based score that lets the viewer know from the opening credits that Pearl will not be a subdued or quiet film. I said to him, ‘let's do a romantic, melodramatic, old-school score for this movie.'” He continues, “This wasn't the first time I've used live instruments on a movie—but it was the first time I had a full orchestra. It was awesome. Tyler and Tim really hit it out of the park. The score is very much one of the film's central characters, and that was important." “Ti expressed the musical approach to this film with us before filming,” says Bates & Williams. “We knew that the music would be based in an "Old Hollywood" approach, which stylistically is something we both love to do. This was a rare opportunity to write a lyrical score where the main theme permeates the music throughout the myriad emotional and psychological dynamics from beginning to end.” ABOUT TIM Timothy Williams is a multi-award-winning composer best known for his work on Pearl, Finding You, Brightburn, and Get Out! Williams' films includes A24's Pearl, co-scored with Tyler Bates, Gravitas' The Swearing Jar, Roadside Attractions' Finding You, Screen Gems' Brightburn, directed by David Yarovesky, We Summon The Darkness, directed by Marc Meyers, which won best score award at ScreamfestLA; Wild Horses, directed by Robert Duvall; I.T., directed by John Moore, and Red Sky, for which Tim Williams was nominated Best Composer by Motion Picture Sound Editors and best score at the Hollywood Music in Media Awards. Williams has written additional music for the Academy Award® and Golden Globe® winner Get Out!, Guardians of the Galaxy Vol. 1 and Vol. 2, Hobbs and Shaw, Deadpool 2, 300, Watchmen, Super, Sucker Punch, and The Spy Who Dumped Me. Television work includes co-scoring AMC/Shudder Creepshow with Tyler Bates, Disney Junior's Piney, the Fox pilot Richard Lovely, and additional music on Fox's The Exorcist (S2), ABC's Missing and Comedy Network's Sym-Bionic Titan. A graduate of the National Film and Television School, Williams has received two Motion Picture SE Golden Reel Award nominations (Red Sky), four Thea Award wins, 10 ASCAP Plus Awards and won best score at the 24FPS Festival (Butterfly Circus), best score at ScreamfestLA 2019 (We Summon The Darkness) and best soundtrack nomination at the HMMA Awards (Red Sky). Tim has had multiple soundtracks released by Milan Records, Lakeshore Records, Varèse Sarabande and MovieScore Media.

Studio Soundtracks takes listeners behind the scenes of how music is crafted for film and television by hearing directly from composers, songwriters and music professionals in the Entertainment Industry. Listen to inspiring conversations about composition and hear works from Emmy, Grammy, and Oscar-winning film scores on the show. COLIN STETSON Colin Stetson was born and raised in Ann Arbor, spent a decade in San Francisco and Brooklyn honing his formidable talents as a horn player, eventually settling in Montreal in 2007. Over the years he has worked extensively, live and in studio, with a wide range of bands and musicians including Tom Waits, Arcade Fire, Bon Iver, TV On The Radio, Feist, Laurie Anderson, Lou Reed, Bill Laswell, Evan Parker, The Chemical Brothers, Animal Collective, Hamid Drake, LCD Soundsystem, The National, Angelique Kidjo, Fink, and David Gilmore. Meanwhile he has developed an utterly unique voice as a soloist, principally on saxophones and clarinets, his intense technical prowess matched by his exhilarating and emotionally gripping skills as a songwriter. Stetson's astounding physical engagement with his instruments (chiefly bass and alto saxophones) produces emotionally rich and polyphonic compositions that transcend expectations of what solo horn playing can sound like. Stemming from that approach and aesthetic, he has been contributing regularly to the world of film, TV, and game scoring over the past decade with such titles as Hereditary (2018), The First (2018), Red Dead Redemption 2 (2018), Color Out of Space (2019), Barkskins (2020), Mayday (2021), Among The Stars (2021), Texas Chainsaw Massacre (2022), The Menu (2022), and Uzumaki (2023). TIMOTHY WILLIAMS Timothy Williams is a multi-award-winning composer best known for his work on Pearl, Finding You, Brightburn, and Get Out! Williams' films includes A24's Pearl, co-scored with Tyler Bates, Gravitas' The Swearing Jar, Roadside Attractions' Finding You, Screen Gems' Brightburn, directed by David Yarovesky, We Summon The Darkness, directed by Marc Meyers, which won best score award at ScreamfestLA; Wild Horses, directed by Robert Duvall; I.T., directed by John Moore, and Red Sky, for which Tim Williams was nominated Best Composer by Motion Picture Sound Editors and best score at the Hollywood Music in Media Awards. Williams has written additional music for the Academy Award® and Golden Globe® winner Get Out!, Guardians of the Galaxy Vol. 1 and Vol. 2, Hobbs and Shaw, Deadpool 2, 300, Watchmen, Super, Sucker Punch, and The Spy Who Dumped Me. Television work includes co-scoring AMC/Shudder Creepshow with Tyler Bates, Disney Junior's Piney, the Fox pilot Richard Lovely, and additional music on Fox's The Exorcist (S2), ABC's Missing and Comedy Network's Sym-Bionic Titan. A graduate of the National Film and Television School, Williams has received two Motion Picture SE Golden Reel Award nominations (Red Sky), four Thea Award wins, 10 ASCAP Plus Awards and won best score at the 24FPS Festival (Butterfly Circus), best score at ScreamfestLA 2019 (We Summon The Darkness) and best soundtrack nomination at the HMMA Awards (Red Sky). Tim has had multiple soundtracks released by Milan Records, Lakeshore Records, Varèse Sarabande and MovieScore Media.

Swedish record label Moviescore Media has just released the original score for a short documentary about endangered elephants called Kimana Tuskers. The score was composed and produced by film and music legend - and Peter Jackson's go-to music editor - Stephen Gallagher. Stephen's worked on everything from blockbusters like The Hobbit trilogy, Lovely Bones and District Nine to - well, little films about the last remaining large tusker elephants as they pass through a wildlife corridor in Kenya. Among his many fans are Eno - "such sensitive ears", said Brian - and Hollywood composer Conrad Pope - "one of the most humble yet tremendously gifted composers... to call him a colleague honours me, not him"! Stephen Gallagher talks about his life and times with Yadana Saw.

Tim Wynn is a California based composer for feature films, television series, documentaries and video games. He studied at the USC School of Music under Elmer Bernstein, Christopher Young, Buddy Baker and Jerry Goldsmith. Some of his career highlights include feature films: To Save A Life , Starving Games, and Descendant. He's composed for video games: XCOM 2, Darkness II, Command and Conquer: Red Alert 3, Madden NFL 25, and for TV shows: Mech-X4, Supernatural, and The Deep End.Directors Zach Lipovsky and Adam Stein's FREAKS portrays the story of 7-year-old Chloe, who lives in both fear under her father's (Emile Hirsch) protective and paranoid control, and fascination of the outside world, where Abnormals create a constant threat - or so she believes. When a mysterious stranger (Bruce Dern) offers her a glimpse of what's really happening outside, Chloe soon finds that while the truth isn't so simple, the danger is very real. The film was released on September 13, 2019.In this episode, composer Tim Wynn opens up six tracks from his original score. He reveals his musical ideas behind several of the main character themes and even how one theme, originally written for one character was eventually used for another. Tim shares which piece convinced him that a live orchestra was going to be needed for this score and lastly how having two directors on a film can lead to unique musical challenges for the composer.ANNOTATED TRACKS / SEGMENTS02:13 - Freaks04:07 - To the Park05:41 - Time Bubble07:08 - She Looks Like An Angel08:16 - Eleanor Reed10:48 - Hell FireSOUNDTRACKThe original score for Freaks was released on September 6, 2019, by Moviescore Media and can be purchased at Amazon.com, iTunes or streamed on Spotify and Apple Music. MORE ABOUT THE COMPOSERYou can find out more and hear more music by Tim Wynn at his official site, http://timwynn.net/ and you can follow him on Twitter @timwynn_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

David Stone Hamilton is a classically trained film composer based in Los Angeles, known for his emotionally-charged scores and his unique approach to film music, integrating a wide range of musical styles, from rock to electronic to orchestral, throughout his work. Hamilton's projects include music for Dateline NBC, Ancient Aliens, Last Call with Carson Daly, and films such as 88, and The Jurassic Games. He recently scored the the sci-fi-horror film DARK ENCOUNTER which premiered at FrightFest in August 2019. Another recent project was his original score for the sci-fi, feature film SOLIS from writer/ director Carl Strathie.SOLIS is the emotional story of human survival, where engineer, Dr. Troy Holloway wakes up to find himself trapped aboard an escape pod which is drifting towards the sun. With an ever depleting supply of oxygen and doomed trajectory towards the Sun, a rescue party sets out to save Holloway before it is too late.In this episode, composer David Stone Hamilton talks about how he looked to match the classic, analog sci-fi aesthetic of the film through his live orchestral score, how Jerry Goldsmith, John Williams and Don Davis influenced him on the project and how the original sketch he wrote was used on set by the director to assist the actors.ANNOTATED TRACKS / SEGMENTS02:23 - Main Title04:21 - Coolant Chamber07:30 - Death10:00 - Sketch11:54 - Best Odds I've Had All DaySOUNDTRACKThe original soundtrack for Solis was released by Moviescore Media on June 14, 2019 and is available digitally on Amazon.com and iTunes. You can purchase the score on compact disc at MoviescoreMedia.com and you can stream the soundtrack on Spotify and Apple Music.MORE ABOUT THE COMPOSERSYou can find out more and hear more music by David Stone Hamilton at his official site http://davidstonehamilton.com/ and you can follow her on Twitter @dstonehamiltonABOUT 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

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

I den femte episoden av podcasten Musik i Film och den första för 2018 möter vi Mikael Carlsson som är en av Nordens i särklass mest initierade och kunniga personer inom filmmusik. Han driver musikbolaget MovieScore Media och Screamworks Records,  har över 300 releaser bakom sig, en grammy nominering och en hel radda med nomineringar till "Soundtrack Label of the year". Bland annat har han gett ut musiken till Låt den rätte komma in, Merlin, Pandorum, Age of Heroes och listan kan göras lång. Kompositörer som Basil Poledouris, Dario Marianelli, Johan Söderkvist, Patrick Doyle, Angelo Badalamenti och Jeff Beal har alla gemensamt att de blivit utgivna av Mikael som också gett ut ett soundtrack komponerat av den världsberömde orkestreraren Matt Dunkley. Mikael frilansar också inom branschen och är en skicklig kompositör själv där han skriver för bland annat TV och även konsertmusik i regel för kör. Och som att det inte var nog driver han också Soundtracks Live vilket är ett företag som arrangerar konserter där filmmusik står i fokus. I podcasten pratar Michael om sin bakgrund, låter oss ta del av flera spännande möten med kompositörer och mycket mer. Podcasten Musik i film är producerad av Simon Kölle – www.simonkolle.com (med hjälp av Joel Forssell). Vinjetten och de olika musiksnuttarna i podcasten är från Interludium I (även kallad Kattis Strof) som är skriven av Simon Kölle (orkestrerad av F. Högberg) och framförd live på Skansen av Sveriges Radios Symfoniorkester. För mer information om bransch och intresseorganisationen Musik i Film se www.musikifilm.se som också finns på Facebook och på flera andra sociala plattformar. Mer om Isabelle hittas på www.isabellengman.com/

On this week’s episode of CINEMATIC SOUND RADIO we’ll be featuring music from three brand new film scores. We open the program with music from Theodore Shapiro’s score to the rebooted version of GHOSTBUSTERS. You’ll also hear selections from Rupert Gregson-Williams’ THE LEGEND OF TARZAN and music from one of the scores of the year, SWISS ARMY MEN by Andy Hull and Robert McDowell. Our John Williams album of the week is music from Steven Spielberg’s 1997 film AMISTAD. Our re-recording of the week comes from MovieScore Media new album ELIA CMIRAL: THE CHAMBER SUITES featuring music from RONIN, APARTMENT ZERO and ATLAS SHRUGGED PART ONE. Our video game score of the week is from the cancelled video game FABLE LEGENDS with original music by Russell Shaw. And our film music vault selection is Quincy Jones and Gerald Friend Emmy award winning music from the 1977 television mini-series ROOTS. And we’ll celebrate the 25th anniversary of three films with music from TERMINATOR 2: JUDGMENT DAY by Brad Fiedel, CITY SLICKERS by Marc Shaiman and Michael Kamen’s classic score to ROBIN HOOD: PRINCE OF THIEVES. Cinematic Sound Radio http://www.cinematicsound.net WROCK Radio http://www.wrockradio.com Cinematic Sound Radio Fanfare and Theme by David Coscina https://soundcloud.com/user-970634922 Bumper voice artist: Tim Burden http://www.timburden.com Also available through Podtyrant http://www.podtyrant.com

Film composer / orchestrator Ceiri Torjussen talks about orchestrating for composer Marco Beltrami (Snowpiercer), and his latest soundtrack release from MovieScore Media, Test (2014), which captures the electronic soundscapes of eighties Brit pop in this unique AIDS drama.   If you enjoyed this podcast, connect with us on Facebook and follow us on Twitter. Visit KQEK.com for additional film reviews, soundtrack reviews, interviews, and read the Editor's Blog by Mark R. Hasan for additional info and related links. All podcast editing, mixing, and audio restoration produced in-house. For inquiries and demo reels, please visit Mondomark.com.

Welcome to Cinematic Sound Radio’s third straight Halloween Special. On the program today we will be playing music exclusively from the MovieScore Media/Kronos Records catalogue. MovieScore Media and Kronos Records joined forces in August of 2013 to “collaborate in the fields of producing and distributing quality film score albums to both wider audiences and targeting the special soundtrack collectors market.” Kronos Records has been releasing quality film music since 2009 while MovieScore Media and its -label Screamworks Records have released over 200 soundtrack albums since the launch of the company in 2006. Included among those 200 albums are some excellent horror themed soundtracks, some of which we will featuring for you on todays program.

Welcome to Cinematic Sound Radio’s third straight Halloween Special. On the program today we will be playing music exclusively from the MovieScore Media/Kronos Records catalogue. MovieScore Media and Kronos Records joined forces in August of 2013 to “collaborate in the fields of producing and distributing quality film score albums to both wider audiences and targeting the special soundtrack collectors market.” Kronos Records has been releasing quality film music since 2009 while MovieScore Media and its -label Screamworks Records have released over 200 soundtrack albums since the launch of the company in 2006. Included among those 200 albums are some excellent horror themed soundtracks, some of which we will featuring for you on todays program.

Welcome to Cinematic Sound Radio’s third straight Halloween Special. On the program today we will be playing music exclusively from the MovieScore Media/Kronos Records catalogue. MovieScore Media and Kronos Records joined forces in August of 2013 to “collaborate in the fields of producing and distributing quality film score albums to both wider audiences and targeting the special soundtrack collectors market.” Kronos Records has been releasing quality film music since 2009 while MovieScore Media and its -label Screamworks Records have released over 200 soundtrack albums since the launch of the company in 2006. Included among those 200 albums are some excellent horror themed soundtracks, some of which we will featuring for you on todays program.