Podcasts about outstanding music composition

Amanda Jones has had quite a career, as evident in this really insightful conversation about her journey as a film and television composer. One of her latest projects, Number One on the Call Sheet, is a prolific, eye-opening two-part Apple TV+ documentary featuring candid conversations with some of the entertainment industry's biggest stars, like Angela Bassett, Halle Berry, Jamie Foxx, Idris Elba, Whoopi Goldberg, Viola Davis, Denzel Washington and Dwayne “The Rock” Johnson, to name just a few.Amanda's career includes BET's Twenties from Lena Waithe, OWN's Cherish the Day, produced by Ava DuVernay and A Black Lady Sketch Show, produced by Robin Thede and Issa Rae. We learn about the empowerment she received from this powerful group of Black women so early in her journey.Amanda earned her first Emmy nomination for Home, an Apple TV+ series and became the first Black woman nominated for an Outstanding Music Composition for a Documentary Series or Special (Original Dramatic Score) Emmy. Later, Amanda was awarded a Daytime Emmy Award for Home.The idea of following one's passion resonates heavily throughout this conversation. Amanda shares that her love of sounds, more specifically music, started around the age of 3. After graduating from Vassar College and later, studying film scoring and orchestration at Berklee College of Music, she landed an internship with Hans Zimmer and it was an opportunity at Lionsgate that helped give her a more 360-degree sense of the business side of things.Other takeaways from this multifaceted chat hone in on creating a sonic language for films and TV, the importance of asking questions, communication and collaboration during the creative process, having a strong creative voice, knowing when to delegate as well as fighting off stigmas reserved for women of color and mothers.A co-founder of Composers Diversity Collective, Amanda's other credits include Somebody Somewhere, Good Trouble, Naomi, Young Love, 7 Days, Dreamland: The Rise and Fall of Black Wall Street, Definition Please, Moving On, The Perfect Find, Mea Culpa, Jodie and the new Apple TV+ series, Murderbot.  

Phil Lesh: A Tribute to a Musical IconIn this episode of the Deadhead Cannabis Show, Larry Mishkin discusses the significance of the Grateful Dead's concert on November 4, 1977, at Colgate University, along with various music news updates, tributes to Phil Lesh, and reflections on Quincy Jones's legacy. The conversation highlights the dynamics of the band during the concert, the impact of newer jam bands like Goose, and the importance of preserving musical legacies through releases like Dave's Picks. In this episode, Larry discusses the latest music news, particularly focusing on the Grateful Dead's legacy and their recent box set releases. He reflects on the band's unique performances and the significance of their music. The conversation then shifts to marijuana legalization efforts, particularly in Florida, where a recent ballot measure was rejected despite public support. Larry expresses disappointment in the political landscape surrounding marijuana and emphasizes the benefits of legalization. The episode concludes with a deep dive into a specific Grateful Dead performance, highlighting the band's improvisational style and the joy their music brings to fans.TakeawaysThis episode was recorded on Election Day, November 5th.The Grateful Dead's show on November 4, 1977, is a highlight.The Jones Gang incident showcased the band's playful dynamics.Goose represents the new generation of jam bands.Phil Lesh's influence on music and improvisation is profound.Quincy Jones's legacy in music is celebrated.Dave's Picks Volume 52 features a remarkable concert.The importance of preserving musical history through recordings.Larry reflects on his personal experiences with the Grateful Dead.The episode blends cannabis culture with music appreciation. Music brings joy and relaxation after a long day.The Grateful Dead's legacy continues to inspire new generations.Unique performances can redefine classic songs.Marijuana legalization faces political challenges despite public support.The benefits of marijuana legalization are well-documented.Music and cannabis culture often intersect in meaningful ways.The improvisational nature of the Grateful Dead's music is a hallmark of their performances.Public sentiment can sometimes clash with political decisions.The Grateful Dead's music remains timeless and relevant.Engaging with music and cannabis responsibly enhances the experience.Sound Bites"This is a special episode being taped on Election Day.""It's just a big love fest with all these guys.""Phil has changed my life.""Quincy was the man I won my first Grammy with.""It's a wonderful, wonderful show.""You just don't know what you're missing out on.""It's just cool to hear it.""This is a pretty amazing second set.""It's a very cool segue from one into the other.""It's a must hear.""It's a wonderful part of the show.""It's a very unfortunate thing that this happened.""People in Florida are gonna smoke marijuana anyway.""It's a great way to end this wonderful show."Chapters00:00Introduction and Context of the Episode03:45Exploring the Grateful Dead's November 4, 1977 Show11:34The Jones Gang Incident and Band Dynamics16:49Music News: Goose and Gen 3 Jam Bands20:51Tributes to Phil Lesh and Reflections on Legacy25:30Remembering Quincy Jones: A Musical Legend30:06Dave's Picks Volume 52: A Review36:30Celebrating Music and New Releases38:53Exploring the Grateful Dead's Legacy44:17Marijuana News and Legalization Efforts01:01:01Deep Dive into Grateful Dead Performances01:09:55Closing Thoughts and Reflections LARRY'S NOTES:Grateful Dead November 11, 1977 (47 years ago)Cotterrell GymnasiumColgate UniversityHamilton, NYGrateful Dead Live at Cotterrell Gym, Colgate U on 1977-11-04 : Free Download, Borrow, and Streaming : Internet Archive Dave's Picks #12 This show literally “popped up out of nowhere” during the very famous fall tour of the very famous 1977 year of touring.  On November 1st they played in Detroit's legendary Cobo Hall.  The next night up in Toronto.  They had Nov. 3 set for Utica, NY but the show fell through a few weeks before.  They were still set for Rochester on Nov. 5th (which was released as Dick's Picks #34) and Binghamton on Nov. 7th.  So less than 4 weeks before this show, while already hitting the road, negotiations began for this show which were only finalized the night before.  Cotterrell gym on the Colgate campus is a small venue.  Think large high school gym with pull out bleachers.  There were only 3,000 folks at the show.  But 2300 of them were held for Colgate students so only 700 were sold to the public or really the Deadheads.  A tough ticket as the Heads used to say.  But those who made it in had a ball and saw one of the best shows of the year. One of those shows that lots of Deadheads wished they had seen. This version of the show from Archive, is an audience tape and a great contrast to other episodes where we have featured Dead show clips from audience tapes.  This one was taped by Jerry Moore who was set up directly behind the soundboard.  Go to Archive and check  out the entire show. On a personal note, glad to see that Archive is back up and running after its hacking episode a few weeks ago.  INTRO:                     Dupree's Diamond Blues                                    Track #8                                    2:50 – 4:52 "Dupree's Diamond Blues" is based on an American folk song titled "Frankie Dupree," which was based on a real historical figure named Frank Dupree.According to In The Pine: Selected Kentucky Folksongs, Dupree tried robbing a diamond wedding ring from a jewelry store in Atlanta, Georgia, in 1921. He intended to give the ring to his girlfriend Betty. When a police officer showed up, Dupree shot him dead. He then fled to Chicago where he killed another officer and wounded others.Authorities eventually apprehended Dupree while he was getting his mail. They shipped him back to Atlanta where he was executed on September 1, 1922.The song is the second track on the Grateful Dead's third album, Aoxomoxoa (1969). As with most of the songs on the album, Dead lyricist Robert Hunter wrote the words and Dead frontman Jerry Garcia wrote the music.Well when I get those jelly roll bluesThe term "jelly roll" was once common African American slang for a woman's genitalia. The great ragtime pianist Jelly Roll Morton took his name from that very meaning. In 1924, Morton recorded an influential jazz song titled "Jelly Roll Blues," which is most likely what Hunter is referencing here. Debuted in January, 1969 and played a total of 17 times that year. Then dropped until Oct 2, 1977 at the Paramount Theater in Portland, OR, played 4 times that year, this version being the last one of the year. Played twice in 1978, then put back on the shelf until Aug. 28, 1982 at the Oregon County Fair in Veneta, OR (home to the famous show from August 27, 1972 to support the Creamery). From '82 to '90 played at least once a year, '85 was the outlier with 16 performances Only played two more times, both in 1994. This is a great version with Jerry's lyrics and playing both very strong. The 8th song of the first set following:  GO TO ARCHIVE LINK A beautiful Bertha opening but I have featured that song so much, and it is such a common opener, that I needed to go with something else today.  I love it from the 1969 Fillmore West shows where two of the nights the second set would start with DuPree's into Mountains of the Moon before jumping into the fabulous Dark Star/St. Stephen/11/Lovelight suite (in my humble opinion, the best suite of songs ever played by the Dead and certainly the one that best defines the band and the basic foundation that supports so much of their music. Played:         82 timesFirst:              January 24, 1969 at Avalon Ballroom, San Francisco, CA, USALast:              October 13, 1994 at Madison Square Garden, New York, NY, USA   SHOW No. 1:         Tuning (start of second set, stage banter re Jones Gang)                                    Track #10                                    :15 – End Why did Phil do this?  To kill time, he was dosed, adding a bit of levity to the evening's proceedings.  Or there is this:Two nights before the Dead played in Toronto at Seneca College's Field House.  The night before was at Cobo Hall in Detroit.  So they took the 3d off while traveling from Toronto to Hamilton, NY to play this show.  Apparently, the band could not or did not want to try to take their stash into Canada.  Keith Richards of the Stones had just been busted in Canada for possession and no one wanted to take any chances.  SO . . . . it seems they were “jonesing” from something, weed, acid, or whatever. Many of the Deadhead reports of the show in Archive and at the Dead Setlist Program note that the guys seemed very stoned or, more likely, dosed.  They were wearing sunglasses indoors in the evening. Good friend Henry was a student at Colgate in 1977 and attended the show.  In telling me about it, he basically began with the Jones Gang episode.  So it was cool to finally hear the show and hear Phil do his thing.  A great way to keep everybody entertained while waiting for some technical issues to be resolved.  And something that was sadly missing in their later years when basically none of them said anything while on stage, Bobby sporadically with a comment and Jerry I saw speak from the stage maybe 5 times out of 110 shows.  This is the kind of stuff that normalized them and separated them from the button down rock acts that showed up, played the same set list that they had played all tour and would keep playing  When they spoke it was all pre planned, “Thank you (insert name of city where they are playing). And then launched into a killer Samson (even though it was a Friday).  Just part of another great Dead experience and the kind of thing that makes it easy to remember the show even years later.  Everyone talks about the Jones Gang show, maybe more than they think of it as a Colgate show or Hamilton, NY show.  Sure took Henry back.  MUSIC NEWS:      Music Intro:                                    Cold Rain & Snow                                    Goose                                    10.25.2024                                    LJVM Coliseum                                    Winston-Salem, N.C.                                    Goose - “Cold Rain and Snow” (10/25/24 - LJVM Coliseum - Winston-Salem, NC) (youtube.com)                                    0:10 – 1:05 Another Phil tribute by one of the most promising Gen3 (Gen1 = Dead; Gen2=Phish) jam bands on the scene.  Not the first time they have covered the Dead, but it's a damn good cover of a tune that traces its Dead roots to their very first album and even before that.  Jerry loved it.  Phil made it happen and restarted his singing career on the closing chorus in 1982 at MSG.  And Goose nails it here.  They really bring it every time they play.  The jam band that I figure will outlast me! Mickey and Mike Gordon statements on Phil's passing: Quincy Jones dies: Quincy Delight Jones Jr. (March 14, 1933 – November 3, 2024 at 91) was an American record producer, songwriter, composer, arranger, and film and television producer.[1] Over his course of his career he received several accolades including 28 Grammy Awards, a Primetime Emmy Award and a Tony Award as well as nominations for seven Academy Awards and four Golden Globe Awards.[2] Jones came to prominence in the 1950s as a jazz arranger and conductor before producing pop hit records for Lesley Gore in the early 1960s (including "It's My Party") and serving as an arranger and conductor for several collaborations between the jazz artists Frank Sinatra and Count Basie. Jones produced three of the most successful albums by pop star Michael Jackson: Off the Wall (1979), Thriller (1982), and Bad (1987). In 1985, Jones produced and conducted the charity song "We Are the World", which raised funds for victims of famine in Ethiopia.[3] Jones composed numerous films scores including for The Pawnbroker (1965), In the Heat of the Night (1967), In Cold Blood (1967), The Italian Job (1969), The Wiz (1978), and The Color Purple (1985). He won the Primetime Emmy Award for Outstanding Music Composition for a Series for the miniseries Roots (1977). He received a Tony Award for Best Revival of a Musical as a producer for the revival of The Color Purple (2016). Throughout career he was the recipient of numerous honorary awards including the Grammy Legend Award in 1992, the Jean Hersholt Humanitarian Award in 1995, the Kennedy Center Honors in 2001, the National Medal of the Arts in 2011, the Ordre des Arts et des Lettres in 2014, and the Academy Honorary Award in 2024. He was named one of the most influential jazz musicians of the 20th century by Time.[1] "I woke up today to the Terrible news that we lost Quincy Jones.. Genius is a description loosely used but Rarely deserved. Point blank, Quincy was the MAN. I won my 1st Grammy with Quincy and I live with his Wisdom daily," Ice-T on X. Dave's Picks, Volume 52 (The Downs At Santa Fe, Santa Fe, NM • 9/11/83)Time to order Dave's Picks 2025 subscription.  I say it every year.  SHOW No. 2:         Eyes of the World                                    Track #15                                    11:10 – END                                     INTO                                     Estimated Prophet                                    Track #16                                    Start - :20 The unique thing in this segment is that it is the first, and one of the only times, that the band played Eyes into Estimated as it was almost always played as Estimated>Eyes.  This is the end of Eyes jam and segue into Estimated.  Very cool to hear it played “backwards”.  This entire Eyes (all 13 minutes of it), is magnificent and a must hear if you are looking for some great Dead jamming to rock to.  On this night, the boys were apparently in a state of mind that let them do a bit of exploring away from the norm for them, if there even is a “Dead norm”.  It sure worked out well for the rest of us.  SHOW No. 3:         The Other One                                    Track #17                                    :52 – 3:00             We've featured this song so many times, discussed the whole That's It For The Other One suite and all of its subparts. This one is the opposite, a 4 minutes 20 seconds version, with the first 3+ minutes just a hard jam.  They only sing the first verse of the standard Other One and then head straight into Drums.  This clip just features the jam with Jerry leading the way.  So clean and powerful, if 1977 is the best year ever for the band, then this has to be one of its peaks.  Maybe not the best of '77 because Barton Hall, but still way up there for nights when the band was truly smoking hot and holding nothing back.  Some of the best post-1970 psychedelic Dead that you will ever hear.  Everyone in sync and making the magic that kept us all coming back for more until there was no more to come back to.  Just buckle in and enjoy the ride. Played:         550 timesFirst:  October 31, 1967 at Winterland Arena, San Francisco, CA, USALast:  July 9, 1995 at Soldier Field, Chicago MJ NEWS:    SHOW No. 4:         Playin Reprise                                    Track #21                                    3:00 – 6:34 "Playing in the Band" is a song by the Grateful Dead. The lyrics were written by Robert Hunter and rhythm guitaristBob Weir composed the music, with some assistance from percussionist Mickey Hart.[1] The song first emerged in embryonic form on the self-titled 1971 live albumGrateful Dead. It then appeared in a more polished form on Ace, Bob Weir's first solo album (which included every Grateful Dead member except Ron "Pigpen" McKernan). During a Bob Weir and Wolf Bros concert livestream on February 12, 2021, Weir credited David Crosby with the composition of the main riff. Weir stated, "David Crosby came up with the seminal lick... and then he left. We were out at Mickey's barn. So Mickey said, 'Make a song out of that'. Next day, I had it".[ It has since become one of the best-known Grateful Dead numbers and a standard part of their repertoire. According to Deadbase X, it ranks fourth on the list of songs played most often in concert by the band with 581 performances. In the Grateful Dead's live repertoire, all songs featured musical improvisation and many featured extended instrumental solos; but certain key songs were used as starting points for serious collective musical improvisation—the entire band creating spontaneously all at once. In this regard "Playing in the Band" was of major importance, second only to "Dark Star". During "Playing in the Band" the Grateful Dead would play the planned verses and choruses of the song itself; then they would improvise and explore brand new musical territory, sometimes for twenty minutes or more; and then the chorus would usually be reprised, to bring the song to its end. Sometimes during these extended "jams", the band would even perform other entire songs, before at last coming back around to the final chorus aka the “Reprise”. On some occasions, more early on than later, the band would play the main song, jam for some amount of time and slide back in for the reprise.  Its performance in this style on 21 May 1974 at the Hec Edmundson Pavilion in Seattle has been cited as the longest uninterrupted performance of a single song in the Grateful Dead's history, clocking in at 46 minutes and 32 seconds.[3][4] It was released in 2018 on the boxset Pacific Northwest '73–'74: The Complete Recordings and as its own LP.  Very cool – an entire album just for one song.  Like Phish' Ruby Waves at Alpine Valley in 2019 got its own album. Then later they might add a song or two in between the main portion and the reprise. Then later they might hold it for the encore the same night the main song had been performed. Then later, they might hold it until the night after the main song had been performed and then two nights later and sometimes 3.  Not uncommon for play the main song the first night of a multi-night run and then the reprise the last night.  Usually during the show, but as stated, sometimes in the encore. Then they might forget to ever get back to it, play the main song again and the whole process would repeat as everyone would wait to see if and when they would finally play the reprise. David Dodd:  To me, the unpredictability of a “Playin” jam was always a highlight of a show. It could get incredibly far out there—completely away from anything—and then, just like that, snap back in, quietly and cautiously or slam-bang, or later, after they'd played most of another song, or a whole set, into the “Playin Reprise.” Sometimes the reprise would never occur. While it usually ran 3 or 4 minutes, this show's reprise went almost 7 minutes with an extended jam before they every got to the reprise lyrics. For Phish fans, think Twe-pri.  For non Phish fans that's the song Tweezer and its “reprise” and that band takes all sorts of liberties with it.  Not so unlike the Dead's style as previously discussed but most famously, at least as far as I know as a still neophyte Phish head, during their 13 show Baker's Dozen run at MSG, Phish played Tweezer the very first night on July 21st to open the second set and then the Twi-Pri finally showed up on August 6th as the second song of the encore after On The Road Again to close out the entire 13 night run. Reprises are great! Played:  648 times (no separate breakdown for how may Reprises were played but I'm sure there were times they never got back to a reprise although one year April Fools 1985 at Cumberland County Civic Center in Portland MA – actually March 31st but called it their April Fools joke even though they did play again the next night, April 1, at the same venue - they played the reprise first and then the main song)First:  February 18, 1971 at Capitol Theatre, Port Chester, NY, USALast:  July 5, 1995 at the Riverport Amphitheater in Maryland Heights (St. Louis), MO  OUTRO                     Johnny B. Goode (Bob – “Happy Homecoming”)                                    Track #22                                    0:12 – 2:08 We've also featured this song quite a bit, a Chuck Berry classic covered by almost every rock n roll band that ever played a set of music and even some that never did.  Its guitar intro is as famous a song opening as any in the genre.  I love this version because of Bobby's greetings to the students wishing them a happy homecoming!  Imagine going to your high school or college homecoming dance and the band is the Grateful Dead.  Now that's a story to tell.  Not sure and I don't think it really matters whether that weekend was or was not Colgate's homecoming.  It just showed that stoned and all, Bobby knew he was on a college campus. Almost always played as an encore or show closer if no encore.  Unlike another Chuck Berry classic covered by the Dead, The Promised Land, which could be played as a show opener, set closer, second set opener, encore, it would pop up just about anywhere. Great way to end a great show.  The boys just blow the walls down on this one.  Or, as commenter RFKROX posted back in 2008 about this version, “Oh, and the Johnny B. Goode is the most incredible rockin' version I've ever heard this band play!! It's the fucking SHIT!!”  I couldn't have said it any better myself! Played:   283 timesFirst:  September 7, 1969 at Family Dog on the Great Highway, San Francisco, CA, USALast:  April 5, 1995 at Birmingham-Jefferson Civic Center Coliseum, Birmingham, AL, USA  - very interesting, not played at all on the final summer tour.  .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

pWotD Episode 2743: Quincy Jones Welcome to Popular Wiki of the Day, spotlighting Wikipedia's most visited pages, giving you a peek into what the world is curious about today.With 1,063,332 views on Monday, 4 November 2024 our article of the day is Quincy Jones.Quincy Delight Jones Jr. (March 14, 1933 – November 3, 2024) was an American record producer, songwriter, composer, arranger, and film and television producer. Over the course of his career he received several accolades including 28 Grammy Awards, a Primetime Emmy Award and a Tony Award as well as nominations for seven Academy Awards and four Golden Globe Awards. Jones came to prominence in the 1950s as a jazz arranger and conductor before producing pop hit records for Lesley Gore in the early 1960s (including "It's My Party") and serving as an arranger and conductor for several collaborations between the jazz artists Frank Sinatra and Count Basie. Jones produced three of the most successful albums by pop star Michael Jackson: Off the Wall (1979), Thriller (1982), and Bad (1987). In 1985, Jones produced and conducted the charity song "We Are the World", which raised funds for victims of famine in Ethiopia.Jones composed numerous films scores including for The Pawnbroker (1965), In the Heat of the Night (1967), In Cold Blood (1967), The Italian Job (1969), The Wiz (1978), and The Color Purple (1985). He won the Primetime Emmy Award for Outstanding Music Composition for a Series for the miniseries Roots (1977). He received a Tony Award for Best Revival of a Musical as a producer for the revival of The Color Purple (2016).Throughout career he was the recipient of numerous honorary awards including the Grammy Legend Award in 1992, the Jean Hersholt Humanitarian Award in 1995, the Kennedy Center Honors in 2001, the National Medal of the Arts in 2011, the Ordre des Arts et des Lettres in 2014, and the Academy Honorary Award in 2024. He was named one of the most influential jazz musicians of the 20th century by Time.This recording reflects the Wikipedia text as of 06:51 UTC on Tuesday, 5 November 2024.For the full current version of the article, see Quincy Jones on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm generative Amy.

My guest today is Nainita Desai, the British composer for film, television and video games. Born and raised in London by her Indian parents, she earned a degree in mathematics, then studied sound design at the National Film and Television School. She started her career as a sound designer on the films Little Buddha, Lessons of Darkness and Death Machine, before branching into composition for television, including, among hundreds of others, the Oscar-nominated For Sama, the hit Netflix series American Murder and the BBC drama series Unprecedented. In 2022 she won the Emmy for ‘Outstanding Music Composition' for her work on The Reason I Jump, a film that explores the experiences of non-speaking autistic people around the world. More recently she has entered the world of video games, composing the scores for Telling Lies, Immortality, Call of Duty: Modern Warfare 2, and, most recently, Tales of Kenzera: Zau for which she has been nominated for a World Soundtrack Award.  Be attitude for gains. https://plus.acast.com/s/my-perfect-console. Hosted on Acast. See acast.com/privacy for more information.

On this episode, I spoke to composer James S. Levine and music supervisor Mark Wike about their work on The New Look.  James Levine's notable credits include FX Networks' American Horror Story, for which he received an Emmy Award-nomination for “Outstanding Music Composition for a Miniseries, Movie or a Special (Original Dramatic Score)” in 2014; Nip/Tuck; and Damages.  Mark Wike's music supervision credits include Hulu's Emmy Award-winning series by Steven Spielberg, Animaniacs; Twentieth Century Fox's The Greatest Showman, directed by Michael Gracey; and The Sitter, directed by David Gordon Green; FX Networks' Damages; and Netflix's Bloodline.  The series stars Ben Mendelsohn, Juliette Binoche, Maisie Williams and John Malkovich.

Nainita Desai is an award-winning composer whose work has spanned creative formats, from documentaries like The Reason I Jump where she won an Emmy for Outstanding Music Composition, to TV series like Funny Women, to video games like Telling Lies and Immortality. With over 150 credits to her name, Nainita is nothing short of prolific.In the following interview, Nainita talks about her journey into becoming a composer and how Peter Gabriel impacted her career. While we don't touch on her education in mathematics, it plays a vital role in her career as a composer, guiding her interest in sound design as well as composition. From here, our discussion leads into talking about the role of nature in her work, as heard in films like The Deepest Breath, and the 2024 Sundance award-winning film Nocturnes. In both of these films, the role of the ocean and the mountains is as important as the world of the people we are following, and Nainita talks about the way that she reflects those characters journeys in her compositions.Equally important is the role that silence plays in her work. Nainita talks about the role that silence plays as the unspoken instrument for a composer, and how important it is to relinquish the score to amplify the drama of a scene. As a flow on of this discussion point, Nainita talks about the difficulty of knowing that not all aspects of her score will end up in the final film.This wonderfully insightful conversation flows between creativity and personal journeys, with Nainita giving us an in depth look at the mind of a composer. This conversation was recorded ahead of Nainita's upcoming appearance at the Australian International Documentary Conference, which opens in Melbourne on 3 March 2024. Nainita will be presenting a discussion called The Art of Composing for Documentary with Nainita Desai, alongside moderator Emma Bortignon. As we close out this interview, I asked Nainita about the importance of being accessible for interviews and panel discussions, which leads Nainita to reflect on the role of being a mentor for emerging composers, particularly women composers. To find out more about AIDC, visit AIDC.com.au.If you enjoy this discussion, I urge you to seek out other interviews with Nainita as they have regularly been in depth and valuable insights into her art as a composer. Also visit her website nainitadesai.com for more information. Hosted on Acast. See acast.com/privacy for more information.

Nainita Desai is an award-winning composer whose work has spanned creative formats, from documentaries like The Reason I Jump where she won an Emmy for Outstanding Music Composition, to TV series like Funny Women, to video games like Telling Lies and Immortality. With over 150 credits to her name, Nainita is nothing short of prolific.In the following interview, Nainita talks about her journey into becoming a composer and how Peter Gabriel impacted her career. While we don't touch on her education in mathematics, it plays a vital role in her career as a composer, guiding her interest in sound design as well as composition. From here, our discussion leads into talking about the role of nature in her work, as heard in films like The Deepest Breath, and the 2024 Sundance award-winning film Nocturnes. In both of these films, the role of the ocean and the mountains is as important as the world of the people we are following, and Nainita talks about the way that she reflects those characters journeys in her compositions.Equally important is the role that silence plays in her work. Nainita talks about the role that silence plays as the unspoken instrument for a composer, and how important it is to relinquish the score to amplify the drama of a scene. As a flow on of this discussion point, Nainita talks about the difficulty of knowing that not all aspects of her score will end up in the final film.This wonderfully insightful conversation flows between creativity and personal journeys, with Nainita giving us an in depth look at the mind of a composer. This conversation was recorded ahead of Nainita's upcoming appearance at the Australian International Documentary Conference, which opens in Melbourne on 3 March 2024. Nainita will be presenting a discussion called The Art of Composing for Documentary with Nainita Desai, alongside moderator Emma Bortignon. As we close out this interview, I asked Nainita about the importance of being accessible for interviews and panel discussions, which leads Nainita to reflect on the role of being a mentor for emerging composers, particularly women composers. To find out more about AIDC, visit AIDC.com.au.If you enjoy this discussion, I urge you to seek out other interviews with Nainita as they have regularly been in depth and valuable insights into her art as a composer. Also visit her website nainitadesai.com for more information. Hosted on Acast. See acast.com/privacy for more information.

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. ARIEL MARX An Emmy- nominated composer and multi-instrumentalist, Ariel Marx draws from many genres and often combines orchestral and rare instruments with electronics to create unique worlds of sound. Her scores have premiered in films at Sundance, TIFF, SXSW, Tribeca, Woodstock, Criterion Channel, as well as films and shows on Amazon, Netflix, Hulu, Peacock, FX, HBO, Mubi, Discovery+ and more. She is a member of the music branch of the Academy of Motion Picture Arts and Sciences, the Television Academy, and is a Sundance Film Music and Sound Design Lab alumn. Some of Ariel's most recent projects include Disney+/ABC series A Small Light , Neon's Sanctuary, UCP/Peacock's A Friend of the Family, UCP/Hulu's Candy (ranked number 3 in Indiewire's Best TV scores of 2022), and FX/Hulu's American Horror Stories. Her other works for film and television also include Utopia's Shiva Baby, HBO's The Tale, Shudder's Birth/Rebirth, Magnolia's Next Exit, Discovery+'s Rebel Hearts, Amazon's Ted Bundy: Falling For A Killer, FX/Hulu's Children of the Underground, and Good Deed Entertainments To Dust, among others. As a solo artist, Ariel recently released her solo album Luthier with Node Records. TONY MORALES EMMY-nominated composer Tony Morales is known for his sweeping symphonic scores and textural cinematic sound for feature films and television. His orchestral compositions range from dramas and crime thrillers to documentaries, comedies, and animation. His work includes countless hours of music for television on shows such as Amazon Prime's Reacher, Eva Longoria: Searching For Mexico on CNN and the NBC heist thriller The Endgame. His latest project is Netflix's Fubar, a spy action comedy series starring Arnold Schwarzenegger in his live-action television debut. Morales has composed music for several documentaries including the Eva Longoria directed feature documentary La Guerra Civil which premiered at the 2022 Sundance Film Festival which he was EMMY-nominated for “Outstanding Music Composition for a Documentary Series or Special (Original Dramatic Score)” this year. He also wrote the music for 30 For 30's The Dominican Dream which premiered at the Tribeca Film Festival and tells the story of young immigrant Felipe Lopez, the “Dominican Michael Jordan”. Morales earned a Primetime EMMY nomination for the mini-series Hatfields & McCoys (co-composed with John Debney). He is also known for his score on all three seasons of Disney's Elena Of Avalor for which he received multiple Daytime EMMY nominations as well as an Annie Award nomination. For the music of Elena he mixed various Latin music genres, as well as instrumentation, with the traditional Disney orchestral sound. Tony has collaborated on several projects writing additional music for titles such as Iron Man 3, Fast Five, The Change-Up and Now You See Me. Born in Southern California, Morales grew up all over the US and now resides in Los Angeles with his wife and two daughters.

Join us for an inspiring conversation with Denise Santos, the talented Filipina composer who won the 2021 News & Documentary Emmy Award for Outstanding Music Composition. Beyond the accolades, Denise opens up about her journey, from embracing her passion for music to realizing its potential as a career. We delve into the highs and lows, the importance of mentorship, and the power of connecting people through music. Tune in to hear Denise's heartfelt reflections on winning the Emmy, the value of rest, and her journey of self-discovery. Timestamps: (0:00) Intro (1:31) Who is Denise Really? (4:07) Passion VS Opportunity (6:49) Realizing there's a future in composing (8:38) Was Denise's passion for music always high? (13:10) How it felt to receive an Emmy Award (18:40) Importance of Pahinga (23:14) Connecting through music (25:08) Importance of having a mentor (28:27) Learning VS Doing (33:48) Going to the US to learn (41:28) Message to her teenage self (45:55) Message to the world Website: www.denise-santos.com Instagram: denthantoth Facebook: denisesantosmusic Spotify: https://tinyurl.com/DeniseSantosPlaylist Message us on SOCIAL for feedbacks and suggestions:Facebook: https://www.facebook.com/FilipinoMillennialMindsetInstagram: https://www.instagram.com/filipinomillennialmindset/Twitter: https://twitter.com/FMMPodcast_Gmail: filipinomillennialmindset@gmail.com PODCAST INFO:Podcast Website: https://www.podpage.com/filipino-millennial-mindset-podcast/Spotify: https://open.spotify.com/show/2BZUGxQD9Ur4F5Yp8UHsiF?si=0a58e4dcca3f42d7Apple Podcast: https://podcasts.apple.com/us/podcast/filipino-millennial-mindset/id1526022697RSS: https://anchor.fm/s/2e3dee8c/podcast/rss

In this episode of the pod Melanee and Jim unpack the Emmy award winning documentary Lucy and Desi - Amy Poehler's love letter to the legendary couple. Carol Burnett, Normal Lear, Bette Midler and Charo are among those who contribute to the conversations about these two groundbreaking television creators.Check out what we're up to at Podumentary.co & find us and follow us on:Twitter + Facebook + Instagram___________________________________________________________LUCY AND DESIWATCH IT ON AMAZON PRIMENOMINATIONS:2022 Emmy | Outstanding Documentary or Nonfiction SpecialAWARDS2022 Creative Arts Emmy | Outstanding Writing for a Nonfiction Program and Outstanding Music Composition for a Documentary Series/Special.RATINGS:Rotten Tomatoes | 94%IMDB | 7.8/10Google Reviews | 66%CREDITS:Exec Produced and Directed: Amy PoehlerProduced: Jeanne Elfant Festa, Mark Monroe, Michael Rosenberg, Nigel Sinclair, Justin Wilkes, Amy PoehlerWriter:Mark MonroeRelease Date (Streaming):Mar 4, 2022Runtime:1h 42mProduction Companies: Paper Kite Productions___________________________________________________________William Frawley on My Three Sons

The music of "Succession" has become one of the most iconic in modern television. Having already won an Emmy for Outstanding Original Main Title Theme Music for the first season, composer Nicholas Britell is nominated this year for Outstanding Music Composition for a Series (Original Dramatic Score) for the third season (he was also previously nominated for season two). Having exploded in popularity in recent years due to his frequent collaborations with Barry Jenkins, Adam McKay, and now with the success of "Succession" (which has been nominated for and already won a ton of Emmys), Britell is one of the most sought after composers working in television and film today. He was kind enough to take a few moments from his busy schedule to discuss his work on his nominated episode "Chiantishire," what his thought process is behind the show's most iconic themes and how he develops them, what he plans for the show's fourth season and much more! Please take a listen down below and enjoy! Thank you. Check out more on NextBestPicture.com Please subscribe on... SoundCloud - https://soundcloud.com/nextbestpicturepodcast iTunes Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture

iTunes          Spotify          Youtube           Patreon Emmy-winning composer Sean Callery has received 17 Emmy nominations and 4 wins, making him one of the most nominated composers of all time. Callery scores Fox's upcoming series Next, starring John Slattery, which is set to premiere on October 6, 2020; Robert Lorenz's action/thriller feature The Marksman, starring Liam Neeson, which will come out in early 2021; and CBS All Access' Bull, starring Michael Weatherly. Callery recently completed the eighth and final season of Showtime's Emmy and Golden Globe Award-winning drama Homeland, starring Claire Danes and Mandy Patinkin, as well as the third and final season of Netflix's Peabody  Award-winning series Jessica Jones, starring Krysten Ritter. His music for Season 2 of the show was nominated for Outstanding Music Composition for a Series, earning Callery his 17th Emmy nomination. Callery won the Emmy Award for Outstanding Original Main Title Theme Music for Jessica Jones. He also received a nomination for his score on Fox's Steven Spielberg-produced TV series, Minority Report. With 10 Emmy nominations for Fox's 24, Callery is the only composer nominated every year for a series that ran more than three seasons. Callery won 3 Emmys for Outstanding Music Composition for his work on 24. He was also nominated for Outstanding Original Main Title Theme Music for CBS's Sherlock Holmes-inspired drama series, Elementary, starring Johnny Lee Miller and Lucy Liu, and was recognized in the same category for both Homeland and Reelz miniseries The Kennedys. Callery's music has also been heard on National Geographic's mini-series The Hot Zone, starring Julianna Margulies, ABC's Designated Survivor, starring Kiefer Sutherland, CBS's paranormal drama Medium, starring Patricia Arquette, Fox's longest running drama Bones, ABC's Marvel's Inhumans, and the feature film Small Time, starring Christopher Meloni and Dean Norris. Callery conducted his own works at the MOSMA Festival in Malaga, the Fimucite International Film Music Festival in the Canary Islands, Spain and the Krakow Film Music Festival. He also has three soundtrack albums featuring music from the 24 series, and two soundtrack albums featuring his score for Marvel's Jessica Jones. Sean resides in Los Angeles with his wife, Debbie. Special Mentions: RFR 021: Mark Snow, RC Garthe BOA GoFund Me, Becky Pell - Yoga Journey: A Contemporary Guide to a Timeless Tradition, Steve Walsh Gofund Me, Roadie Free Radio Merch, RFR Podcast Bundle, Follow Your Drishti Yoga Podcast, roadiecare.com, musicares.org, Roswell Pro Audio Mini K87

(TSAP S04E14) Sam is once again joined by renowned composer, Gareth Coker. They discuss his work on Immortals: Fenyx Rising and it's recent DLC Myths of the Eastern Realm, his philosophies on music for games and the future of the industry, his recent work on Ark: The Animated Series as well as Ark Survival Evolved 2 and so much more! "Gareth Coker is a British composer and producer working out of Los Angeles. He is known for his melodically driven scores, unique soundscapes, and attention to detail and execution in the application of how music emotionally relates to the gamer as they are playing. His critically acclaimed scores have garnered numerous awards, including the Ivor Novello Award for Best Original Video Game Score, Academy of Interactive Arts & Sciences Award for Outstanding Music Composition, the SXSW Award for Excellence in Musical Score (twice), and multiple Game Audio Network Guild awards. He has received multiple nominations from BAFTA, GDC, and the IFMCA, amongst others. His recent works include Ori and the Will of the Wisps (2020), Immortals Fenyx Rising (2020-2021), Darksiders Genesis (2019). He has also written multiple soundtrack albums for various Minecraft expansions (2016-2019), and contributed to Insomniac Games' VR title The Unspoken (2017). He is co-scoring the highly anticipated Halo Infinite, as well as continuing work on the ARK IP, with a sequel and animated TV series on the way. He is represented by the Gorfaine/Schwartz Agency." Why not drop us a quick review on Podchaser? https://www.podchaser.com/TheSoundArchitectPodcast Big thanks to Toivo Kallio for editing and mastering! LINKS Official Merch: https://shop.spreadshirt.net/the-sound-architect/ YouTube: https://www.youtube.com/c/TheSoundArchitect Patreon: https://www.patreon.com/SoundDesignUK Official: https://www.thesoundarchitect.co.uk Twitter: https://twitter.com/SoundDesignUK Facebook: https://facebook.com/thesoundarchitect.co.uk Instagram: https://instagram.com/thesoundarchitectofficial Stay up to date via our Monthly Newsletter as well: https://www.thesoundarchitect.co.uk/newsletter Want to sponsor an episode? e-mail Sam at sam@thesoundarchitect.co.uk for your sponsorship to be read out on the podcast --- Send in a voice message: https://anchor.fm/thesoundarchitect/message

The Legends Of S.H.I.E.L.D. Agent Lauren, Consultant Chris, Producer of the show Director SP discuss the Disney+ What If…? season one finale episode “What If…The Watcher Broke His Oath?” the weekly Marvel news and listener feedback. The Team debriefs you National LED Day,the EPIC What If…? season finale, that final screen voice appearance by Chadwick Boseman, the Watcher Watch report, the amazing fights, the Hydra Stomper surprise, how accessible A.C. Bradley has been, how What If…? stacks up in Disney+, all the episode notable voice acting, the cats of Legends Of S.H.I.E.L.D. with their reactions to the episode, Bernard the Flamingo Accountant, Strange's strange toast, Multiverse food options, Scocones of the multiverse, how to take a Christmas Tree to the eye, the deal with the Infinity Stones in the multiverse, Scarlett Johansson's lawsuit settlement with Disney, Agent Lauren's big prediction on the new Guardians Of The Galaxy character in the 2022 holiday special, and Kathyn Hahn's big score. Stay tuned after the credits for a few minutes of Legends Of S.H.I.E.L.D. bonus audio.   THIS TIME ON LEGENDS OF S.H.I.E.L.D.:   What If…The Watcher Broke His Oath? From the Disney+ Marvel series What If (S1E9) Weekly Marvel News The end to the crazy Scarlett Johansson lawsuit More information about 2022's Guardians Of The Galaxy Holiday Special Hints at what we'll see in What If Season 2 Your Feedback Voicemail from Mr Paracletes   WHAT IF…? “WHAT IF … THE WATCHER BROKE HIS OATH?” [5:51]   S1E9 “What If … The Watcher Broke His Oath?”   “What If … The Watcher Broke His Oath?” premiered on Disney+ on Wednesday October 6th, 2021.   Series Directed By: Bryan Andrews https://www.imdb.com/name/nm1635535/?ref_=ttfc_fc_dr1 3 directing credits starting 1999 3x Men In Black: The Series 5x Jackie Chan Adventures 9x What If Also a Storyboard Artist with 41 credit And a Writer with 9 total credits   Story Editor: Mathew Chauncy https://www.imdb.com/name/nm10508309/?ref_=ttfc_fc_wr3#writer 2 Writer Credits starting in 2018 16x 3Below: Tales Of Arcadia 9x What If…? (Story Editor for all episodes but Written by for 5)   Executive Producer: A.C. Bradley (Creator, Head Writer and Showrunner) https://www.imdb.com/name/nm5642271/?ref_=tt_cl_wr_1  5 writing credits starting 2005 1x Arrow 28x Trollhunters: Tales of Arcadia 38x 3Below: Tales of Arcadia 9x What If   Music  Laura Karpman https://www.imdb.com/name/nm0440017/?ref_=fn_al_nm_1 139 Composing Credits starting in 1989 Winner of Primetime Emmy for Outstanding Music Composition for a Documentary Series or Special (Original Dramatic Score) - Why We Hate (2019) Episode: "Why We Hate: Tools & Tactics (2019) HBO series Lovecraft Country (TV Series) 2020 Craft in America (TV Series documentary) (18 episodes) 2013 L.A.'s Finest (TV Series) (13 episodes) 2019   Jeffrey Wright                       ... The Watcher (voice) 9 episodes Westworld The Hunger Games Casino Royale Quantum Of Solace Samuel L. Jackson ...         Nick Fury (voice) Jungle Fever Pulp Fiction Coming To America Jurassic Park Die Hard with a Vengeance A Time to Kill Long Kiss Goodnight Eve's Bayou Star Wars: Episode I - The Phantom Menace Star Wars: Episode II - Attack of the Clones The Incredibles Coach Carter Star Wars: Episode III - Revenge of the Sith Snakes on a Plane Star Wars: The Clone Wars Mother and Child Django Unchained Hayley Atwell ...         Peggy Carter / Captain Carter (voice) Doctor Who Cinderella (2015) 3Below: Tales of Arcadia Mission Impossible Lake Bell ...         Natasha Romanoff / Black Widow Boston Legal It's Complicated No Strings Attached Harley Quinn (TV Series) Poison Ivy In a Word… No Escape Spider-Man: Into the Spider-Verse (Vanesssa Fisk) The Secret Life of Pets 2 Frank Grillo ...         Brock Rumlow  Minority Report Blind Justice (TV Series) Prison Break (TV Series) Zero Dark Thirty Hitman's Wife's Bodyguard Georges St-Pierre                         ...         Batroc (voice) Kickboxer: Vengeance Chadwick Boseman                         ...         Black Panther (4 episodes) Lincoln Heights 42 Marshall Get On Up Brian T. Delaney ...         Peter Quill (voice) Jersey Girl Total Recall (2012) Star Trek Into Darkness (Additional Voices) Minions (additional voices) Batman Unlimited (TV Series) - Scarecrow The Secret Life of Pets (Additional Voices) Resident Evil: Vendetta The Grinch (Additional Voices) Voltron: Legendary Defender (TV Series) The Secret Life of Pets 2 A bunch of video game voice over credits Mick Wingert                                     ...         Tony Stark / Iron Man The Avengers: Earth's Mightiest Heroes (TV Series) Kung Fu Panda 3 Kung Fu Panda: Legends of Awesomeness (TV Series) Kung Fu Panda (TV Series) Voltron: Legendary Defender (TV Series) Attack on Titan (TV Series) Kung Fu Panda: The Paws of Destiny (TV Series) Cynthia Kaye McWilliams             ...         Gamora (voice) Prison Break (TV Series) Valorant League of Legends Michael B. Jordan ...         Killmonger The Wire (TV Series) Friday Night Lights (TV Series) Parenthood (TV Series) Chronicle Fantastic Four (2015) Creed Creed II Space Jam: A New Legacy Ozioma Akagha ...         Shuri  2 Broke Girls (TV Series) Teen Titans Go! (TV Series) - Bumblebee Runaways (TV Series) - Tamar Darius Davis widow Chris Hemsworth ...         Thor Star Trek Snow White and the Huntsman Red Dawn (2012) Star Trek Into Darkness Ghostbusters (2016) 12 Strong Benedict Cumberbatch             ...         Doctor Stephen Strange Hawking War Horse The Hobbit: An Unexpected Journey Star Trek Into Darkness The Hobbit: The Desolation of Smaug The Imitation Game The Hobbit: The Battle of the Five Armies Zoolander 2 Sherlock  The Grinch 1917 Ross Marquand …          Ultron (Played Johann Schmidt in Captain Carter episode) Mad Men (Paul Newman) Phineas and Ferb: Star Wars (2014) ... Han Solo (voice) The Walking Dead (Aaron) Family Guy (TV Series) Blockbuster (TV Series) American Dad! (TV Series) Robot Chicken (TV Series short) Invincible (TV Series) As an aside: Avengers: Infinity War - Red Skull (Stonekeeper) Avengers: Endgame - Red Skull (Stonekeeper) Avengers: Damage Control (Video Game) - Ultron (voice) Toby Jones ...         Arnim Zola (voice) Harry Potter and the Chamber of Secrets Harry Potter and the Deathly Hallows: Part 1 Your Highness The Adventures of Tintin The Hunger Games The Hunger Games: Catching Fire The Hunger Games: Mockingjay - Part 2 Atomic Blonde The Dark Crystal: Age of Resistance (TV Series) Tom Hiddleston ...         Loki War Horse Midnight in Paris The Deep Blue Sea Crimson Peak Kurt Russell ...         Ego (1 episode) Used Cars Escape From New York The Fox And The Hound (voice) The Thing Big Trouble In Little China Overboard Tango & Cash Backdraft Tombstone Forrest Gump (Elvis Voice) Stargate Executive Decision Escape From LA Soldier 3000 Miles to Graceland Vanilla Sky Miracle Sky high Poseidon Deepwater Horizon Furious 7 The Fate of the Furious F9: The Fast Saga     https://www.reddit.com/r/marvelstudios/comments/q1ykwj/what_if_season_finale_title_what_if_the_watcher/hfi1440/ aManPerson in the comics they explain that there's something beyond marvel comics. i dont know what they call it. lets call it omni-universe. in another multiverse is all of the DC comics. all of the multiverses are contained in omni-universe. so i guess in this thinking, yes. there is another marvel MCU multiverse where the watcher doesn't do a bad touch.   NEWS [1:01:46]   TOP NEWS STORY OF THE WEEK   Shang Chi and the Legend of the Ten Rings is scheduled to premiere on September 3rd, 2021. Eternals is scheduled to premiere on November 5th, 2021. Disney+ Day on November 12th, 2021 including streaming premiere for Shang-Chi Hawkeye is scheduled to premiere on November 24th, 2021. There will be 6 episodes … I think.  Spider-Man: No Way Home is scheduled to premiere on December 17th, 2021. Ms Marvel is supposed to premiere late in 2021 on Disney+ but no date has been announced.  Moon Knight is supposed to premiere late in 2022 on Disney+ but no date has been announced.  She-Hulk is supposed to premiere late in 2022 on Disney+ but no date has been announced.    Doctor Strange in the Multiverse of Madness (Mar 25th 2022?) Secret Invasion is in development for release on Disney+ but no date has been announced.  Ironheart is in development for release on Disney+ but no date has been announced.    Thor: Love and Thunder (May 6th, 2022) Armor Wars  is in development for release on Disney+ but no date has been announced.    Black Panther: Wakanda Forever (July 8th, 2022) https://comicbook.com/marvel/amp/news/black-panther-riri-williams-ironheart-mcu-debut-dominique-thorne/ Echo is in development for release on Disney+ but no date has been announced.  An untitled Wakanda series is in development for release on Disney+ but no date has been announced.    The Marvels (November 11th, 2022) Also, we know there will be a Loki season two at some point.   Ant-Man and the Wasp: Quantumania (February 17th, 2023)   Guardians of the Galaxy Vol. 3 (May 5th, 2023)   Fantastic Four  (???) I Am Groot is in development for release on Disney+ but no date has been announced. I've heard this will be a holiday special. Untitled (February 16th, 2024) Untitled (May 3rd, 2024) Untitled (July 26th, 2024) Untitled (November 8th, 2024) List of MCU films in production without premiere dates Fantastic Four Deadpool 3 Blade Avengers-Level Team up to end the phase (not confirmed in development) Could be linked to Russo Brothers story from last week Captain America Sequel Possible X-Men Projects that have NOT been announced yet Young Avengers   MCU – MARVEL STUDIOS   Scarlett Johansson, Disney Settle Explosive ‘Black Widow' Lawsuit https://www.hollywoodreporter.com/business/business-news/scarlett-johansson-disney-settle-black-widow-lawsuit-1235022598/ https://deadline.com/2021/09/disney-black-widow-lawsuit-scarlett-johansson-rsettlement-1234847437/ https://youtu.be/XaJ5zfxWDv0 Scarlett Johansson and Disney have settled a breach of contract lawsuit over the star's Black Widow payday, The Hollywood Reporter has learned. Terms of the deal were not disclosed.   Disney Studios chairman Alan Bergman added: “I'm very pleased that we have been able to come to a mutual agreement with Scarlett Johansson regarding Black Widow. We appreciate her contributions to the Marvel Cinematic Universe and look forward to working together on a number of upcoming projects, including Disney's Tower of Terror.”   “I am happy to have resolved our differences with Disney,” said Johansson in a statement released Thursday. “I'm incredibly proud of the work we've done together over the years and have greatly enjoyed my creative relationship with the team. I look forward to continuing our collaboration in years to come.”   Disney+   The Guardians of the Galaxy Holiday Special Involves a Major New MCU Character James Gunn @JamesGunn In my incredibly subjective & admittedly often odd opinion, we'll be introducing one of the greatest MCU characters of all time. #GotGHolidaySpecial   https://twitter.com/JamesGunn/status/1444366802411270159   https://www.cbr.com/guardians-of-the-galaxy-holiday-special-new-mcu-character/ The Guardians of the Galaxy Holiday Special is a new in-canon adventure that shows the Guardians during the holiday season. Director James Gunn, who helmed the first two Guardians of the Galaxy films, will be returning for the roughly 40-minute short, which he says will be required viewing for fans of the franchise. Now, Gunn has expanded on his promotion for the special to reveal that it will also be "introducing one of the greatest MCU characters of all time."   Before the Guardians of the Galaxy take back the spotlight in their special, they'll be tagging along in Taika Waititi's Thor: Love and Thunder. The film is expected to come out on May 6, 2022 and features the remaining Guardians as supporting characters, with Gunn communicating with Waititi to ensure that the characters were handled consistently ahead of their next big screen outing.   The Guardians of the Galaxy Holiday Special arrives on Disney+ in 2022, while Guardians of the Galaxy Vol. 3 arrives in theaters May 23, 2023.     Inside Marvel's ‘What If…?' Finale, Season 2 Plans and the T'Challa Spinoff That Never Was https://variety.com/2021/tv/news/marvel-what-if-season-1-finale-tchalla-spin-off-chadwick-boseman-1235082366/ “There was planning to have Star Lord T'Challa spin off into his own show,” [Driector Bryan] Andrews tells Variety. “We were all very excited. We know [Chadwick] would have loved it, too.”   There's also a brief moment in the finale where we meet an alternate version of Gamora with a sort of space Tony Stark. Will we get to see more of that universe in Season 2?   Bradley: That's a definite yes. Basically what happened was we originally had an episode planned for earlier in the season that was a fun, light-hearted, living, breathing Tony Stark-centric episode with Gamora. However, due to the COVID pandemic, one of our animation houses was hit incredibly hard, and the episode needed to be pushed into Season 2, because it would not be finished in time. Given everything that we've all went through over the past two years, pushing an episode of television is absolutely nothing in comparison. And we understood. We hope fans enjoy the ride next year.   (2 Part Story) Marvel's What If...? team promises 'resolution' in season finale and teases season 2 https://ew.com/tv/marvels-what-if-season-1-finale-ac-bradley-bryan-andrews/ ...At least we know season 2 is coming since Bradley says that all the episodes of next season have already been written. "Going into the second season, we're sticking with anthology form, and it's going to be all-new stories, lots of fun, new heroes, and pulling more from Phase Four than we were obviously able to this season," she says. "Hopefully, we'll see hints of Eternals and Shang-Chi and the Black Widow characters. The fun of What If...? is that we get to explore the entire infinite multiverse, so we try and bounce around as much as we can. I want to play with all these characters, and as much as I love Captain Carter, we've got to share the love. I'm very excited to show new worlds, new heroes."   Bradley also hints that while many of season 1's episodes featured "big, let's end the world, let's kill everyone" arcs, season 2 episodes will "focus a lot more on the character stories and these heroes and showing a different side of them that people don't expect and hopefully they can relate to."   "We're not a show that's designed to set up Avengers 5," she adds. "It's supposed to be just about entertainment and what these heroes mean to us. When I took the job, one of my rules was let's be free. We're in the multiverse — we should be as free as can be and go and run into the wild, into the stories the movies will never do, into the stories the TV shows will never do, and show both Disney and the fans all the possibilities of these characters." What If...? Head Writer Teases Gamora "Prequel" Episode in Season 2 https://comicbook.com/marvel/news/what-if-gamora-episode-season-2-prequel-spoilers/ As Bradley explained in an exclusive interview with ComicBook.com, the episode recounting those versions of Tony and Gamora ended up being delayed due to production problems tied to the COVID-19 pandemic. But as Bradley reassured, that story is coming at some point in the series' second season, as a sort of "prequel" for her appearance in the finale.   "We definitely will," Bradley said, when asked if we'll see more of Gamora. "What happened with the Gamora episode, there was originally supposed to be — early on in the season — a Tony and Gamora-centric episode. However, due to COVID and production delays, one of our amazing, amazing animation houses around the globe got hit pretty hard by the pandemic. And we were left with two choices: push the entire season to later this year, or push this one episode to Season 2. We made the choice to push that episode to Season 2, and hoped that seeing Gamora in the finale serves as a teaser for what is to come. In season two, it'll almost be like a little bit of a prequel, we'll see how Tony and Gamora became friends, because those two don't even interact in the main MCU universe."   "Given all the upheaval that we've been through in the past two years, pushing an episode is nothing, and we completely understand," Bradley continued. "Our animation houses have been absolute rock stars in pulling off this show." ‘WandaVision' Spinoff Starring Kathryn Hahn in the Works at Disney Plus (EXCLUSIVE) https://variety.com/2021/tv/news/wandavision-spinoff-kathryn-hahn-1235082445/ A “WandaVision” spinoff starring Kathryn Hahn is in development at Disney Plus from Marvel Studios, Variety has learned exclusively from sources.   Hahn would reprise the role of Agatha Harkness in the series, which is described by sources as a dark comedy, though exact plot details remain under wraps. “WandaVision” head writer Jac Schaeffer would serve as the writer and executive producer on the project. Should the spinoff go forward, it would be the first project Schaeffer has set up with Marvel since she signed an overall deal with them and 20th Television in May.   FEEDBACK [1:13:38]   TWITTER   https://twitter.com/LegendsofSHIELD/status/1445896570143117312?s=20 Legends S.H.I.E.L.D. @LegendsofSHIELD Describe this week's @whatifofficial episode "What If...The Watcher Broke His Oath?" in one word. Go!   @Marvel @disneyplus @TheAshBradley  #WhatIf  #Ultron  #TheWatcher #CaptainCarter #SupremeStrange #killmonger #WhatIfZola #TChallaStarlord #TChalla #PartyThor #BlackWidow   Stargate "SP" Pioneer @StargatePioneer Cosmic-tacular   Derrick Crow was mentioned in Gizmodo once. @KazekunForever Incredible   Dr. Gnome to you @MrParacletes VEGAS!   Greta the Cat's BFF @adanagirl Gif: “Whoa!”   VOICEMAIL   Voicemail from @Mr Paracletes Dr. Gnome to you @MrParacletes So, this relates to one of the questions I had about the episode, and I have a TL;DR explanation that may make sense if you guys want me to elaborate. https://twitter.com/MrParacletes/status/1443981325636182057     PRIVATE MESSAGE:   @BEJT (MCU Wiki)   In terms of defining MCU canon - it's not something I had thought to do in the letter, again in large part due to this being written directly to Marvel Studios. But by this I mean what I would believe is the general understood definition: An official part of MCU continuity. Meaning, an official part of the continuity of the fictional universes which officially comprise the MCU: Earth-199999 and its adjacent universes confirmed as parts of the franchise. (In the case of the shows, the letter is specifically pleading for them to remain as Earth-199999, with the issue of shunting them to another universe addressed.)   OUTRO [1:19:15]   We would love to hear back from you! Call the voicemail line at 1-844-THE-BUS1 or 844-843-2871.                    Join Legends Of S.H.I.E.L.D. next time as the hosts discuss an all Marvel news podcast. You can listen in live when we record Thursday Evenings at 8:00 PM Eastern time at Geeks.live. Contact Info: Please see http://www.legendsofshield.com for all of our contact information or call our voicemail line at 1-844-THE-BUS1 or 844-843-2871   Legends Of S.H.I.E.L.D. Is a Proud Member Of The GonnaGeek Network (gonnageek.com).   This podcast was recorded on Thursday October 7th, 2021.   Standby for your S.H.I.E.L.D. debriefing ---   Audio and Video Production by Stargate Pioneer of GonnaGeek.com.

I'm so excited to welcome this incredible composer duo from Bleeding Fingers who recently won an Emmy award for "Outstanding Music Composition" in this year's 42nd Annual News and Documentary Emmy Awards for their work on the BBC documentary series 'Primates'. We talk composing, work/life balance, and more in this episode, and hope you enjoy it! And the composers are... Denise Santos + Adam Lukas Special thanks to Judith Moy for editing this episode! --- Support this podcast: https://anchor.fm/composertalk/support

The Legends Of S.H.I.E.L.D. Agent Lauren, Consultant Chris, Producer of the show Director SP discuss the Disney+ What If…? season one episode “What If…Ultron Won?” the weekly Marvel news and listener feedback. The Team debriefs you International Podcasting Day, that EPIC multiverse beat down fight, a diversion into the series music composer, The Watcher's prominent role in the episode, the Clint and Natasha glow in the dark post-apocalyptic glow in the dark adventure, why exactly was Zola effective against Zola in theory, we ask you to tell us who was Steve Roger's Vice Presidential running mate, the unique nature of the Ultron voice actor, Supreme Strange's demand, if Tony Stark's death is a Nexus point in the multiverse, why Vision didn't take care of Thanos like he did in the Ultron did, at least SOME of the Russian Language Easter Eggs, Black Widow's family heirloom, a HUGE Disney family multiverse Easter Egg, what the What If MCU continuity had limited the series to, speculation on how the What If moment came to pass, some comments on the Disney character copyright lawsuits, and Chris talks Marvel versus Capcom 2. Stay tuned after the credits for a few minutes of Legends Of S.H.I.E.L.D. bonus audio.   THIS TIME ON LEGENDS OF S.H.I.E.L.D.:   What If…Ultron Won? From the Disney+ Marvel series What If (S1E8) Weekly Marvel News Admissions about What If from the series showrunner A.C. Bradley herself The new plan for Disney+'s Ms Marvel series The Hit or Miss philosophy of future Marvel Studios related  projects And Disney's is suing people again over Marvel issues Plus an update on that Agent Carter Your Feedback   WHAT IF…? “WHAT IF … ULTRON WON?” [3:51]   S1E8 “What If … Ultron Won?”   “What If … Ultron Won?” premiered on Disney+ on Wednesday September 29th, 2021.   Series Directed By: Bryan Andrews https://www.imdb.com/name/nm1635535/?ref_=ttfc_fc_dr1 3 directing credits starting 1999 3x Men In Black: The Series 5x Jackie Chan Adventures 8x What If Also a Storyboard Artist with 41 credit And a Writer with 9 total credits   Story Editor: Mathew Chauncy https://www.imdb.com/name/nm10508309/?ref_=ttfc_fc_wr3#writer 2 Writer Credits starting in 2018 16x 3Below: Tales Of Arcadia 9x What If…? (Story Editor for all episodes but Written by for 5)   Executive Producer: A.C. Bradley (Creator, Head Writer and Showrunner) https://www.imdb.com/name/nm5642271/?ref_=tt_cl_wr_1  5 writing credits starting 2005 1x Arrow 28x Trollhunters: Tales of Arcadia 38x 3Below: Tales of Arcadia 9x What If   Music  Laura Karpman https://www.imdb.com/name/nm0440017/?ref_=fn_al_nm_1 139 Composing Credits starting in 1989 Winner of Primetime Emmy for Outstanding Music Composition for a Documentary Series or Special (Original Dramatic Score) - Why We Hate (2019) Episode: "Why We Hate: Tools & Tactics (2019) HBO series Lovecraft Country (TV Series) 2020 Craft in America (TV Series documentary) (18 episodes) 2013 L.A.'s Finest (TV Series) (13 episodes) 2019   Jeffrey Wright                        ... The Watcher (voice) 9 episodes Westworld The Hunger Games Casino Royale Quantum Of Solace Jeremy Renner                          ...         Clint Barton / Hawkeye (voice) 28 Weeks Later The Hurt Locker Lake Bell                                               ...         Natasha Romanoff / Black Widow Boston Legal It's Complicated No Strings Attached Harley Quinn (TV Series) Poison Ivy In a Word… No Escape Spider-Man: Into the Spider-Verse (Vanesssa Fisk) The Secret Life of Pets 2 Toby Jones                                ...         Arnim Zola (voice) Harry Potter and the Chamber of Secrets Harry Potter and the Deathly Hallows: Part 1 Your Highness The Adventures of Tintin The Hunger Games The Hunger Games: Catching Fire The Hunger Games: Mockingjay - Part 2 Atomic Blonde The Dark Crystal: Age of Resistance (TV Series) Ross Marquand                          …          Ultron (Played Johann Schmidt in Captain Carter episode) Mad Men (Paul Newman) Phineas and Ferb: Star Wars (2014) ... Han Solo (voice) The Walking Dead (Aaron) Family Guy (TV Series) Blockbuster (TV Series) American Dad! (TV Series) Robot Chicken (TV Series short) Invincible (TV Series) As an aside: Avengers: Infinity War - Red Skull (Stonekeeper) Avengers: Endgame - Red Skull (Stonekeeper) Avengers: Damage Control (Video Game) - Ultron (voice) Josh Keaton                                           ...         Steve Rogers / Captain America Dr. Quinn, Medicine Woman (TV Series) Boy Meets World (TV Series) Hercules (1997) Young Hercules (voice) Green Lantern: The Animated Series (TV Series) Voltron: Legendary Defender (TV Series) Enough Video Game and Animation Voice Over titles to cover the state of Texas Mick Wingert                                          ...         Tony Stark / Iron Man The Avengers: Earth's Mightiest Heroes (TV Series) Kung Fu Panda 3 Kung Fu Panda: Legends of Awesomeness (TV Series) Kung Fu Panda (TV Series) Voltron: Legendary Defender (TV Series) Attack on Titan (TV Series) Kung Fu Panda: The Paws of Destiny (TV Series) Alexandra Daniels                                  ...         Carol Danvers / Captain Marvel  Mothers and Daughters Benedict Cumberbatch                ...         Doctor Stephen Strange Hawking War Horse The Hobbit: An Unexpected Journey Star Trek Into Darkness The Hobbit: The Desolation of Smaug The Imitation Game The Hobbit: The Battle of the Five Armies Zoolander 2 Sherlock  The Grinch 1917   NEWS [50:30]   TOP NEWS STORY OF THE WEEK   Shang Chi and the Legend of the Ten Rings is scheduled to premiere on September 3rd, 2021. Eternals is scheduled to premiere on November 5th, 2021. Disney+ Day on November 12th, 2021 including streaming premiere for Shang-Chi Hawkeye is scheduled to premiere on November 24th, 2021. There will be 6 episodes … I think.  Spider-Man: No Way Home is scheduled to premiere on December 17th, 2021. Ms Marvel is supposed to premiere late in 2021 on Disney+ but no date has been announced.  Moon Knight is supposed to premiere late in 2022 on Disney+ but no date has been announced.  She-Hulk is supposed to premiere late in 2022 on Disney+ but no date has been announced.    Doctor Strange in the Multiverse of Madness (Mar 25th 2022?) Secret Invasion is in development for release on Disney+ but no date has been announced.  Ironheart is in development for release on Disney+ but no date has been announced.    Thor: Love and Thunder (May 6th, 2022) Armor Wars  is in development for release on Disney+ but no date has been announced.    Black Panther: Wakanda Forever (July 8th, 2022) https://comicbook.com/marvel/amp/news/black-panther-riri-williams-ironheart-mcu-debut-dominique-thorne/ Echo is in development for release on Disney+ but no date has been announced.  An untitled Wakanda series is in development for release on Disney+ but no date has been announced.    The Marvels (November 11th, 2022) Also, we know there will be a Loki season two at some point.   Ant-Man and the Wasp: Quantumania (February 17th, 2023)   Guardians of the Galaxy Vol. 3 (May 5th, 2023)   Fantastic Four  (???) I Am Groot is in development for release on Disney+ but no date has been announced. I've heard this will be a holiday special. Untitled (February 16th, 2024) Untitled (May 3rd, 2024) Untitled (July 26th, 2024) Untitled (November 8th, 2024) List of MCU films in production without premiere dates Fantastic Four Deadpool 3 Blade Avengers-Level Team up to end the phase (not confirmed in development) Could be linked to Russo Brothers story from last week Captain America Sequel Possible X-Men Projects that have NOT been announced yet Young Avengers   MCU – MARVEL STUDIOS   Marvel Suing to Keep Rights to ‘Avengers' Characters From Copyright Termination https://www.theverge.com/platform/amp/2021/9/24/22691842/disney-marvel-sues-comic-artist-iron-man-avengers https://www.hollywoodreporter.com/business/business-news/marvel-suing-avengers-copyright-termination-1235020110/ Disney's Marvel unit is suing to hold on to full control of Avengers characters including Iron Man, Spider-Man, Dr. Strange, Ant-Man, Hawkeye, Black Widow, Falcon, Thor and others.   The complaints, which The Hollywood Reporter has obtained, come against the heirs of some late comic book geniuses including Stan Lee, Steve Ditko and Gene Colan. The suits seek declaratory relief that these blockbuster characters are ineligible for copyright termination as works made for hire. If Marvel loses, Disney would have to share ownership of characters worth billions.   Marvel Studios Has Over 30 Projects in Active Development https://www.cbr.com/marvel-studios-30-plus-projects-in-development/ When veteran Marvel Studios producer Victoria Alonso was asked by 221radio if the company had 35 projects in the works, Alonso laughingly replied, "We are currently working on 31 projects, don't add 4 more, please." If that sounds like a lot to take on at once, Alonso agrees. Yet, the producer went on to assure fans that the studio is prepared for some hit-or-miss projects so long as they stay true to the human characters and interconnectedness of the MCU.   "It is a question about how are we handling multiple plates in the air at the same time," Alonso continued, "and the biggest thing is that sometimes the plates fall, and, you know, what are you going to do then? We want people to understand that the idea that we have, to tell these connected stories, it is important that the world knows that the characters we create, their stories have to do with how humans interact with each other."   Disney+   Marvel's What If…? team reveals season 1 finale intel: There's 'a bigger plan' AC Bradley Admits … We kill Tony a LOT https://ew.com/tv/marvel-what-if-ac-bradley-bryan-andrews-episode-8/ Season 1 was originally meant to be 10 episodes, but because of the COVID-19 pandemic one of those episodes had to be pushed to season 2, and Bradley says the delayed episode helped balance the other, darker stories. "Our 10th episode was a more light, upbeat Tony Stark episode," she says. "I noticed on Twitter we're getting a lot of crap for killing Tony a lot. He has become the Kenny of the What If…? universe by accident."   The episodes have mirrored the comics by ending on cliffhangers that each tease a larger story. And it seems that all of those threads may actually come together in the season's final episode. It's also possible that the already announced second season could follow up on certain stories, while new methods of remotely making animated series may help the show to avoid the issues the pandemic has posed and craft longer episodes. For now, however, the show does still have one limit: the MCU.   What If...? Episodes Are Shorter than Planned Because of COVID https://deadline.com/2021/09/what-if-marvel-series-a-c-bradley-podcast-interview-1234843778/ https://www.cbr.com/marvel-what-if-short-runtime-covid/ "What If...? comics ended abruptly and really dark to prove that the main timeline is the better timeline," Bradley said. "We've used that as our reason to cut stories off a little bit shorter. All these episodes could have been 45 minutes. Some of the animatics were 35 minutes, but due to animation and Covid, we cut them a little bit shorter than we would have liked."   Disney+ Pushes Ms. Marvel to 2022 https://variety.com/lists/marvel-studios-release-schedule/ https://www.cbr.com/disney-plus-ms-marvel-2022/ https://twitter.com/adambvary/status/1440844586016927744 Variety Senior Entertainment Writer Adam B. Vary recently posted an update regarding the Marvel Cinematic Universe's release schedule. "I've confirmed what was obvious to most Marvel Studios observers: [Ms. Marvel] has moved from a late 2021 release on Disney Plus to 2022," Vary tweeted.   This is not the first report indicating Ms. Marvel's debut shift. TVLine's Matt Webb Mitovich previously suggested the series had been delayed until early a 2022 delay. Film insider Amit Chaudhari recently stated that the series was set to hit Disney+ in February.     Disney+ Removes Hayley Atwell's Agent Carter Short Film https://thedirect.com/article/disney-plus-removal-hayley-atwell-agent-carter-short-film Marvel Studios' Agent Carter One-Shot was completely removed from Disney+, seemingly across all territories.   In mid-September 2021, Marvel Studios' Agent Carter One-Shot was added to Disney+ within its own special section/page . Beforehand, the short could only be found in Iron Man 3 's EXTRAS section; Agent Carter has been removed there as well.   There doesn't seem to be any clear indication as to why Disney+ would remove a section solely dedicated to the Agent Carter One-Shot.   The One-Shot originally appeared on the 2013 DVD and digital release of Iron Man 3 and gave some brief insight into how Peggy eventually started up what viewers knew as SHIELD. From there, the Agent Carter ABC show was also born, spanning two seasons on the television network .   On its own, the One-Shot exemplifies the brilliance of Atwell's character; it reminds viewers of why she is now a returning force to the franchise and re-emphasizes her importance to MCU lore as a whole .   It's possible that its removal could have been nothing more than in preparation for bigger and better things to come for Peggy; maybe the streaming service pulled the gun and wants to highlight her more so down the line, possibly aligning with the Season 1 finale of What If...? .   Video Games   https://gamerant.com/marvel-vs-capcom-2-disney-capcom-revival-discussion-report/ This campaign to bring back Marvel Vs. Capcom 2 was started by Maximilian Dood, a YouTuber whose content revolves around fighting games. He started the campaign earlier this year under "#FREEMVC2" in order to gather support to hopefully re-release the crossover game onto modern systems. This caught the attention of Digital Eclipse, a studio that has worked with both Disney and Capcom to remaster some of its old games. Studio head Mike Mika showed his support for re-releasing the game, along with giving the game a proper remaster treatment. In a recent interview with Shacknews, Mika brings further thoughts to the table regarding how this re-release could be possible.   PlayComics Episode 91: Marvel vs Capcom 2 New Age of Heroes with Trent Seely (Continuity Nod) https://playcomics.com/marvel-vs-capcom-2-new-age-of-heroes-with-trent-seely-continuity-nod/     FEEDBACK [1:08:24]   TWITTER   https://twitter.com/LegendsofSHIELD/status/1441009180190642177 Legends S.H.I.E.L.D. @LegendsofSHIELD Describe this week's @whatifofficial episode "What If...Thor Were An Only Child?" in one word. Go.   @Marvel @disneyplus @TheAshBradley https://twitter.com/MrParacletes/status/1441017538297610243 Dr. Gnome to you @MrParacletes Bueller?   https://twitter.com/MrParacletes/status/1439638970619547648 Dr. Gnome to you @MrParacletes @LegendsofSHIELD   Dr. Gnome to you @MrParacletes Sep 27 @LegendsofSHIELD  Just now learned these existed.   https://twitter.com/MrParacletes/status/1442576804351414274 https://cakebites.com/marvel-cakebites/   Dr. Gnome to you @MrParacletes @LegendsofSHIELD   https://twitter.com/MrParacletes/status/1442420926952448001   Andiminga @andiminga Yay or Nay??  @LegendsofSHIELD Quote Tweet Eric Goldman @TheEricGoldman More hype for Thor: The Dark World (Taylor's Version) twitter.com/GeekTyrant/sta… https://twitter.com/andiminga/status/1443669020868321288 https://geektyrant.com/news/thor-the-dark-world-director-would-love-to-make-a-snyder-cut-style-redo-of-the-marvel-film DISCORD Beard Watch 2021 — 09/24/2021 Okay, this week's What If... I think I'm officially over this series.   Beard Watch 2021 — 09/25/2021 Space-god frat boy holds intergalactic kegger does not make for a good story to me.   StargatePioneer — 09/25/2021 Overall the series is a light hearted campy ride that hits some weeks and misses in other episodes. Not to mention a few tragic stories along the way too. But I certainly would not take any of it too seriously. This week's episode especially was meant more as a fun dalliance than any other with events that could only be told via a cartoon IMO.   But all this is from a guy who like The Phantom Menace, dislikes Empire Strikes Back and is often wrong. So I might just be drinking the cool aid.   Erasure (Too Lazy !!) — 09/26/2021 That's on this was one of my favorite episodes too along with T'Challa Star Lord. And wow someone else who likes the Phantom Menace and Empire not so much Others do exist   TPM is one of my highest ranked SW films while ESB is one of my lowest.   Beard Watch 2021 — Today at 5:34 PM Interesting finale. Probably the best ep of the series. Though it raises some questions about how.things should have gone during infinity war...     OUTRO [1:16:53]   We would love to hear back from you! Call the voicemail line at 1-844-THE-BUS1 or 844-843-2871.                    Join Legends Of S.H.I.E.L.D. next time as the hosts discuss the finale episode of What If…? You can listen in live when we record Thursday Evenings at 8:00 PM Eastern time at Geeks.live. Contact Info: Please see http://www.legendsofshield.com for all of our contact information or call our voicemail line at 1-844-THE-BUS1 or 844-843-2871   Legends Of S.H.I.E.L.D. Is a Proud Member Of The GonnaGeek Network (gonnageek.com).   This podcast was recorded on Thursday September 30th, 2021.   Standby for your S.H.I.E.L.D. debriefing ---   Audio and Video Production by Stargate Pioneer of GonnaGeek.com.

As we continue our coverage of the 2021 Emmy Awards, we recently sat down with the Emmy-nominated editor and sound team for the fantastic nature program / retrospective biography / urgent and dire warning for humanity, "David Attenborough: A Life on Our Planet." The film pulled material from over 50 years of Sir David's career to create what many believed to be his final big documentary. And working on the film was an understandably emotional experience. "The way David likes to do his narration records is — we'll do a complete run through. So that first run through is like watching the film, sometimes. And I have to say, there were several points — and I'm sitting there just recording it, pressing record and sort of watching it through — that I was really choked up, as it's David telling his story. And it was lovely.  Afterwards, I came out into the room and he just said, 'thank you.' You know he was obviously moved and touched by the film and just basically said, thank you for making such a great film, which told what he wanted to say, so eloquently. And he was obviously moved by it as, as we all were." — Graham Wild, Dubbing Mixer, "David Attenborough: A Life on Our Planet" We're very pleased to share with you this interview with Editor Martin Elsbury, Supervising Sound Editor (and previous Emmy winner) Tim Owens, and Dubbing Mixer Graham Wild about their process of pulling together such a marvelous film using so much original and archival footage, and making such a moving portrait of a career and a planet on the brink, all in a running time of just under 2 hours. The film has https://www.emmys.com/shows/david-attenborough-life-our-planet (5 Emmy nominations), including Outstanding Cinematography, Outstanding Picture Editing, Outstanding Sound Editing, Outstanding Sound Mixing, and Outstanding Music Composition. Be sure to https://www.netflix.com/title/80216393 (check out "David Attenborough: A Life on Our Planet" on Netflix). Please subscribe to Sound + Vision Lab: The Dolby Institute Podcast https://linktr.ee/dolbyinstitute (wherever you get your podcasts). You can also check out the https://youtube.com/dolby (video) for this episode. Learn more about the https://www.dolby.com/institute/ (Dolby Institute) and check out https://www.dolby.com/ (Dolby.com). Connect with Dolby on https://www.instagram.com/dolbylabs/ (Instagram), https://twitter.com/Dolby (Twitter), https://www.facebook.com/Dolby/ (Facebook), or https://www.linkedin.com/company/6229/ (LinkedIn). 

I met our next guest at an ASCAP event the year I moved to LA right after she did the music for Epic Games' Fortnite. Since then she has become the musical voice of superhero projects ranging from summer blockbuster Captain Marvel to shows including DC's Stargirl and Superman prequel Krypton. She's also been nominated for an Emmy for Outstanding Music Composition for a documentary for her score to HBO's McMillions. The composer is... Pinar Toprak --- Support this podcast: https://anchor.fm/composertalk/support

Our guest today is music composer Amanda Jones, the first African-American woman to be nominated in the Outstanding Music Composition for a Documentary Series or Special for Original Dramatic Score for the episode "Maine" from Apple TV+'s documentary series Home. Black female composers are rarely ever nominated for Emmys and are less than 1% of the industry, which is why Jones's nomination is so significant. In this episode, we ask her the magnitude of her selection, what the "color" of her music is, her thoughts on pop music today, and whether she believes we should enter the era of gender-free award categories. Mike and Jack also explore the damning assertions from former MSNBC producer Ariana Pekary's blunt blog entry about why she left TV news and why she is transitioning over to independent journalism, and they also discuss why Joe Biden's newly handpicked Vice-President, Kamala Harris, is about to face a serious revolt from Trump's base and right-wing media. Can she withstand the onslaught of bad press coming her way and how will she counter it? Listen, subscribe, and review our podcast on the following platforms: iTunes: https://apple.co/32hShVT Spotify: https://spoti.fi/2ZwbAZz iHeart Radio: https://ihr.fm/32kX6h1 Pandora: https://pdora.co/2DDeWS7 TuneIn: https://bit.ly/2WpoKG2 Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

(TSAP S03E12) Sam speaks to composer Vivek Maddala, about his journey into music, scoring for the iconic TV series The Tom & Jerry Show and more! "Vivek Maddala is a two-time Emmy® award-winning composer and multi-instrumental performer. He has scored dozens of feature films, theater & dance productions, and TV programs. His music, which combines melodic symphony writing with modern textures from around the world, has been described as "an emotive frenzy of guitar, percussion, brass, woodwinds, and strings." Vivek is a Sundance Institute Lab Fellow for film composition, and has had work premiere at the Cannes, Toronto, Berlin, Venice, and Sundance film festivals. In 2018 and 2019, Vivek won consecutive Daytime Emmy Awards in the category of "Outstanding Music Composition" for his animation scoring work. In addition to scoring films, Vivek has produced music for a number of rock, jazz, and world music CD releases -- and his live performances collaborating with celebrated artists have enchanted audiences from around the globe. As a performer, Vivek journeys fluidly through diverse musical styles, and effortlessly between many instruments -- including drums, piano, guitar, and bass. He has also served as a guest conductor with renowned orchestras and chamber groups, performing work he has written for ballets and films." Big thanks to Toivo Kallio for editing. Want to sponsor an episode? E-mail Sam at sam@thesoundarchitect.co.uk for your sponsorship to be read out on the podcast. This episode and so much more at: www.thesoundarchitect.co.uk Twitter: @SoundDesignUK Facebook: facebook.com/thesoundarchitect.co.uk Instagram: thesoundarchitectofficial Stay up to date via our Monthly Newsletter as well: www.thesoundarchitect.co.uk/newsletter --- Send in a voice message: https://anchor.fm/thesoundarchitect/message

One of the many crafts that are crucial to creating the drama and emotion of a television program is the score. The composers of “Barkskins,” Colin Stetson, and “Sea of Shadows,” H. Scott Salinas, join host Stacey Wilson Hunt to talk about how they custom-created music for these ambitious projects; how they collaborate with showrunners; and the inspiration behind some of their favorite musical cues in each piece. For more information on “Barkskins,” “Sea of Shadows” and all of National Geographic’s 2020 Emmy® eligible programs, visit www.natgeotv.com/fyc. For Your Emmy® Consideration for: Outstanding Music Composition for a Limited Series, Movie or Special (Original Dramatic Score) — Colin Stetson, “Barkskins” Outstanding Music Composition for a Documentary Series or Special (Original Dramatic Score) — H. Scott Salinas, “Sea of Shadows” NOTE: This podcast was pre-recorded before the civil unrest and social justice reform movement taking place now in our country. See omnystudio.com/listener for privacy information.

(TSAP S03E08) Sam once again chats with Gareth Coker about Ori and the Will of the Wisps, his routines and inspirations, the current situation and more! Listen now on whatever platform you prefer. "Gareth Coker is a British composer and producer working out of Los Angeles. He is known for his melodically driven scores, unique soundscapes, and attention to detail and execution in the application of how music emotionally relates to the gamer as they are playing. His scores have garnered numerous awards, including the Academy of Interactive Arts & Sciences Award for Outstanding Music Composition, the SXSW Award for Excellence in Musical Score, multiple Game Audio Network Guild awards. He has received nominations from BAFTA, GDC, and IFMCA, amongst others. ​His recent works include Ori and the Will of the Wisps (2020), Darksiders Genesis (2019), ongoing work on ARK Survival Evolved (2017-). He has also written multiple soundtrack albums for various Minecraft expansions (2016-2019), and contributed to Insomniac Games' VR title The Unspoken (2017)." Special thanks to Callum Tennick for editing. Want to sponsor an episode? E-mail Sam at sam@thesoundarchitect.co.uk for your sponsorship to be read out on the podcast. This episode and so much more at: www.thesoundarchitect.co.uk Twitter: @SoundDesignUK Facebook: facebook.com/thesoundarchitect.co.uk Instagram: thesoundarchitectofficial Stay up to date via our Monthly Newsletter as well: www.thesoundarchitect.co.uk/newsletter --- Send in a voice message: https://anchor.fm/thesoundarchitect/message

From the creators of Ori and the Blind Forest - the acclaimed adventure game with more than 50 awards and nominations - comes the highly-anticipated sequel, Ori and the Will of the Wisps. Embark on an all-new adventure in a vast and exotic world where you’ll encounter towering enemies and challenging puzzles on your quest to unravel Ori’s true destiny. Gareth Coker is a British composer for film, games, and commercials. Since moving from Japan to Los Angeles in 2009, Gareth has developed a compositional style focusing on memorable, melodically-driven themes and motifs, combined with unique, and unconventional soundscapes. This approach, and his ability to apply it in a way that always serves to enhance the story earned him the attention of Moon Studios, which led to a highly successful collaboration on the acclaimed game Ori and the Blind Forest, released in March 2015 and reviewed as one of the highest rated games on Xbox One. The universally critically acclaimed soundtrack has won several prestigious awards, including an Academy of Interactive Arts & Sciences award for Outstanding Music Composition, a SXSW Gaming Award for Excellence in Musical Score, and the Game Audio Network Guild’s Audio of the Year. www.gareth-coker.net www.garethcoker.bandcamp.com www.soundcloud.com/garethcoker

From left: 'Jessica Jones' creator Melissa Rosenberg, Netflix's Ted Sarandos with Sean Callery with Emmy win for Outstanding Original Main Title Theme Music for Netflix's Jessica Jones (photo: Image24 PR) It doesn't get more Emmy-tastic in the Music Composition categories than Sean Callery. Callery has received 17 Emmy nominations and 4 wins, making him one of the most nominated composers of all time. 10 of his Emmy nominations are for the hit Fox drama 24, starring Kiefer Sutherland, where Callery composed all nine seasons and is the only composer to have been nominated every year for a series that ran more than three seasons. Altogether, Callery won three Emmys for Outstanding Music Composition for his work on 24.  His fourth, and most recent win, came in 2016 for Outstanding Original Main Title Theme Music for Netflix's Jessica Jones, starring Krysten Ritter. He also composes the music for hit series such as Showtime’s Emmy and Golden Globe award-winning drama Homeland, starring Claire Danes and Mandy Patinkin, ABC’s Designated Survivor, starring Kiefer Sutherland, and CBS’s Sherlock Holmes-inspired drama series Elementary, starring Lucy Liu and Jonny Lee Miller. I had the pleasure to chat with Sean about his prolific composing career, the intricacies of being a Television Academy judge in the Limited Series music sections, and how music is a primal form of human communication. In our conversation, Sean talks about his first major moviegoing experiences that helped shape his own likes and inspirations with composing, including 2001: A Space Odyssey and Jaws.  Describing creating the Emmy-winning theme for Jessica Jones, Sean found the voice of Jones through film noir but with an original spin, playing with the playful and hardened elements of the character.   Sean also reveals the golden piece of advice that every composer wants to hear before creating a score.  Sean resides in Los Angeles with his wife, Debbie. This interview opens with his Emmy-winning main title theme from Jessica Jones and closes with music from Homeland's 7th season and sixth episode, "Species Jump."

Gareth Coker is a British composer for film, games, and commercials. Gareth has developed a compositional style focusing on memorable, melodically-driven themes and motifs, combined with unique, and unconventional soundscapes. He collaborated with Moon Studios on the acclaimed game Ori and the Blind Forest, released in March 2015. His original score for Ori has won several prestigious awards, including an Academy of Interactive Arts & Sciences award for Outstanding Music Composition, a SXSW Gaming Award for Excellence in Musical Score, and the Game Audio Network Guild's Audio of the Year.​Gareth Coker has since written scores for Minecraft, has also contributed music to the independent games Primal Carnage, The Mean Greens, and inMomentum and in the realm of Virtual Reality has written the score for veteran developer Insomniac Games' new title The Unspoken. One of Coker's other recent video game projects has been for the open-world video game, ARK Survival Evolved.Ark: Survival Evolved (stylized as ARK) is action-adventure survival video game developed by Studio Wildcard in collaboration with Instinct Games, Efecto Studios, and Virtual Basement. In the game, players must survive being stranded on an island filled with roaming dinosaurs and other prehistoric animals, natural hazards, and potentially hostile human players.In this episode, Gareth Coker talks about the history of his ARK SURVIVAL EVOLVED main theme and the track from the final boss fight in the game, entitled “Overseer.”ANNOTATED TRACKS03:44 - Track - “Main Theme (Original)”04:36 - Track - “Main Theme (Live)”05:23 - Track - “Recap of the Main Theme (Original)"06:11 - Track - “Recap of the Main Theme (Live)"07:03 - Track - “The Overseer”OTHER TRACKS00:05 - Track - "Ascension”01:39 - Track - “Creation”THE ARK: SURVIVAL EVOLVED SOUNDTRACKThe original soundtrack for ARK: SURVIVAL EVOLVED releases on August 29 via digital and streaming outlets worldwide through Sumthing Else Music Works.MORE ABOUT THE COMPOSERYou can find out and hear more music by GARETH COKER at his official website GARETH-COKER.NETFollow Gareth Coker on Twitter @garethcokerABOUT 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

In this exclusive SoundWorks Collection sound profile Jon Burlingame talks with Composer Carter Burwell about his work on the film: Carol, Mr. Holmes, Anomalisa, Legend and Hail, Caesar! Carter Burwell has composed the music for more than 80 feature films, including Blood Simple, Raising Arizona, Miller's Crossing, Barton Fink, The Hudsucker Proxy, Rob Roy, Fargo, The Spanish Prisoner, Gods and Monsters, Velvet Goldmine, The General’s Daughter, Three Kings, Being John Malkovich, O Brother, Where Art Thou? (BAFTA Nominee for Film Music), Before Night Falls, A Knight’s Tale, The Rookie, Adaptation, Intolerable Cruelty, The Ladykillers, No Country for Old Men, In Bruges, Burn After Reading, Twilight, Where the Wild Things Are (Golden Globe Nominee for Best Original Score), A Serious Man, The Blind Side, The Kids Are All Right, True Grit, Twilight: Breaking Dawn – Part 1 & 2, and The Fifth Estate. Burwell most recently wrote the music for the mystery drama MR. HOLMES starring Ian McKellen directed by Bill Condon, the true crime thriller Legend directed by Brian Helgeland opening October 2. Carol marks Burwell’s third collaboration with Todd Haynes having previously worked together on VELVET GOLDMINE and HBO’s mini-series MILDRED PIERCE starring Kate Winslet in which Burwell was nominated for two Emmy Awards, winning for his work in the category of Outstanding Music Composition for a Miniseries, Movie or Special (Original Dramatic Score). Other upcoming film projects for Burwell include Charlie Kaufman’s first-stop motion film Anomalisa, the ocean thriller The Finest Hours starring Chris Pine and Casey Affleck directed by Craig Gillespie, the Nicole Kidman-Jason Bateman drama The Family Fang, and Hail, Caesar! written and directed by Ethan and Joel Coen. His theater work includes the chamber opera The Celestial Alphabet Event and the Mabou Mines productions Mother and Lucia’s Chapters of Coming Forth by Day. In 2005 he developed a concert work for text and music titled Theater of the New Ear, presented in New York, London and Los Angeles. The text, by Joel and Ethan Coen and Charlie Kaufman, was performed by a dozen actors including Meryl Streep, Steve Buscemi, Philip Seymour Hoffman, Hope Davis, Peter Dinklage, and Jennifer Jason Leigh. The music was performed by the 8-member Parabola Ensemble, conducted by Mr. Burwell. Burwell’s dance compositions include the pieces The Return of Lot's Wife, choreographed by Sara Pearson and Patrik Widrig, and RABL, choreographed by Patrice Regnier. He has performed around the world with his own ensembles as well as others, such as The Harmonic Choir. His writing includes the essay "Music at Six: Scoring the News Then and Now," published in the inaugural issue of Esopus magazine in 2003 and reprinted in Harper's Magazine in 2004, and the essay “No Country For Old Music” in the 2013 Oxford Handbook of New Audiovisual Aesthetics. Burwell has taught and lectured at The Sundance Institute, New York University, Columbia University, and Harvard University.

John Altman (December 5, 1949, London) is a British film composer, music arranger, orchestrator and conductor, and currently serves on the ASMAC Board. He won a Primetime Emmy Award for Outstanding Music Composition for a Limited Series, Movie or a Special (Original Dramatic Score) and was nominated for BAFTA Award for Best Film Music. His credits include music for Monty Python, James Bond movies and he served as music director for Van Morrison and Prince's Trust Concerts. Introduced by Ray Charles. (47:52)

Composer Jeff Beal deconstructs the main title theme music to the Netflix original series House of Cards. The show has been nominated for multiple Emmy Awards, including Outstanding Original Main Title Theme and Outstanding Music Composition. The show was adapted from a British series of the same name by writer Beau Willimon, and director and executive producer David Fincher. Jeff talks about his collaborative process with Fincher, and how they found the mood and musical palette for the show and its theme, and how it changed from season one to season two. A word of warning: if you haven’t watched the first season, there are spoilers about how that season ends.