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Academy Award-winning composer Rachel Portman will be feted with BMI’s Richard Kirk Award for career achievement at the performance rights organization’s Film & Television Awards on May 19.
Portman will be the first woman to be honored with the award since the org started giving it out 25 years ago. In 1996, Portman established another precedent as the first woman to win an Oscar for original score for Emma. She also was nominated by the Academy for her music in The Cider House Rules (1999) and Chocolat (2000). Her other credits include Nicholas Nickleby, The Joy Luck Club and The Manchurian Candidate plus such TV pics as HBO’s Grey Gardens.
Portman joins such previous Kirk Award honorees as John Williams, John Barry, Lalo Schifrin, Danny Elfman, Alan Menken and Mike Post.
Additionally, New Orleans musician-composer Terence Blanchard will receive BMI’s Classic Contribution Award for his efforts in music education.
Event, hosted by BMI president/chief operating officer Del Bryant and VP of film/TV relations Doreen Ringer Ross, will be held at the Beverly Wilshire Hotel in Beverly Hills. – Christopher Morris
Via TheWrap.com on Emmy Awards rule changes:
…in a crushing blow to theme song geeks, the Academy is getting rid of the main title them category. Somewhere, Danny Elfman is pissed.
Effective for the 2010-2011 awards year, the Main Title Theme category will be eliminated and replaced with a new category, “Music Composition for a Nonfiction Program.” Details about the placement of main title theme achievements are still being discussed by the Music PGEC.
This one loomed over the collective film music nerdom like a humming behemoth from space, but La-La Land has finally announced they are releasing a whopping 5,000 copies of David Arnold’s sci-fi action score for (am-I-the-only-person-who-notices-how-shitty-this-movie-is?) Independence Day as a 2-CD set, effectively more than doubling the original album (hurriedly issued by RCA Victor back in 1996, when I still had hope for the future). The cat was essentially out of the bag thanks to Mr. Arnold, who in the middle of sending out a barrage of nonsensical messages into the Twitterverse, revealed La-La’s master plan. Faster than a virus can be uploaded from a Mac to an alien spaceship, word spread and mouths foamed.
As if releasing one calamitous blockbuster score on the same day wasn’t enough, the La-La-lers have also announced they are re-issuing in complete stereo John Williams’ The Poseidon Adventure. You may remember that Film Score Monthly first issued this title (thought not entirely in stereo sound) which quickly sold out. If you were angling for one on eBay, put a stop on that PayPal transfer and order up what is promised to be a glossed up edition. Read on for the blurbage…
In association with Twentieth Century Fox and Sony Music’s Custom Marketing Group, La-La Land Records presents the world premiere release of David Arnold’s complete score from the 1996 Twentieth Century Fox sci-fi blockbuster motion picture Independence Day, starring Will Smith, Jeff Goldblum, Mary McDonnell, Bill Pullman and Randy Quaid, directed by Roland Emmerich. Arnold’s epic, sweeping orchestral score sends the listener, along with the film’s large scale sci-fi action and broad human drama, into the cinematic stratosphere. Produced by Nick Redman & Mike Matessino and Didier C. Deutsch, edited and assembled by Mike Matessino, and mastered by Mark G. Wilder and Maria Triana, this 2 CD Limited Edition set features over two full hours of astounding film music, (with more than 70 minutes of previously unreleased material) including the complete score, along with a generous helping of Bonus Tracks. In-depth liner notes by Dan Goldwasser features comments from the composer, co-writer/producer Dean Devlin and others. This is a limited edition of 5000 Units.
First time entire score is presented in STEREO! Presenting the premiere stereo release of John Williams’ classic score to the legendary 1972 Twentieth Century Fox adventure film The Poseidon Adventure, starring Gene Hackman, Ernest Borgnine, Shelly Winters and Red Buttons, produced by Irwin Allen and directed by Ronald Neame. Williams’ epic orchestral score expertly intertwines the film’s examination of heroism and tragedy. Produced by Nick Redman and Mike Matessino, mastered by Daniel Hersch, and remixed and sequenced by Mike Matessino, this superb-sounding special limited edition release features never-before-released Bonus Tracks, including the film versions of “The Morning After”, source cues and alternate versions of the main title. In-depth liner notes by Jeff Bond take you behind the scenes of the film and its music. This is a limited edition of 3000 Units.
For this release, the 2″ 24-track tape containing the original 35mm 6-track mag was transferred into Pro Tools, and restored and mixed with the advantages of another decade’s advance in sound processing technology.
For ordering info: lalalandrecords.com.
Composer Christopher Lennertz forwarded me this note about an exciting project for a worthy cause. Head over to Facebook and join the Hollywood Helping Haiti group for further details.
A Symphony of Hope: The Haiti Project
Many of the worlds top composers are coming together to write and record a new symphonic work that will be available on both CD and DVD to music lovers around the world. All proceeds from this project will go to Hands Together in order to help the people of Haiti. The recording will take place in May of 2010 in Los Angeles and will be available this summer.
Composers lending their talents include:
George S. Clinton
Timothy Michael Wynn
New York Magazine wonders where the trailers and promos for Warner Bros. upcoming comic-book adaptation Jonah Hex are. Detailing the troubled production, they focus almost entirely on the situation surrounding the music. Director Jimmy Hayward ported his Horton Hears a Who! composer John Powell over to Hex, to collaborate with heavy metallers Mastodon.
“The band had been brought in by Hayward to collaborate on the score with Horton’s composer John Powell back in September 2009. However, the re-shoots and subsequent reediting meant Powell, who was already booked for Tom Cruise’s Knight and Day and Doug Liman’s Valerie Plame pic Fair Game, had to leave. “There was no animosity,” says Hinds. “He was just like, ‘If you haven’t figured out what you’re doing cinematically, I gotta go.’”
Enter Marco Beltrami, says Mastodon’s Brent Hinds:
“All of a sudden, there’s this new guy, who went in a different direction,” continues Hinds, who by that point was on a world tour with the band. “And there was no way he could connect with me: They brought all the new scenes to us, but I was on tour this entire time, so I had no time to preconceive what I wanted the movie to sound like. Being so busy … it’s hard to be creative when you’re going through the same motions every day [onstage].”
And a bit of caution to filmmakers looking to hire non-traditional composers, who, you know, can’t cater to a year’s worth of post-production fixes:
“Hinds says that Beltrami wanted a more restrained, subtle approach than the vigorous shredding Mastodon recorded for Hex in L.A. last fall. “I totally had to go back and start over again,” says Hinds, reached in Atlanta as he prepped for the band’s 37-date spring tour of North America, which begins in Charleston, South Carolina, tonight. “We’re still working on it. We wrapped a little of it today; we’re doing a little more tomorrow. Tomorrow is enough for me. I was finished months ago. We had such short notice to work on the thing.”
“Though constant last-minute change isn’t a new phenomenon in Hollywood, Hinds, a first-time movie composer, has found the process frustrating. “I blew my wad over there,” he says of the time Mastodon spent recording and composing in L.A. last fall. “It was some of the best shit I’ve ever written in my life. Now I’m just trying to finish with as much patience as possible.”
Jonah Hex is due in theaters June 18th. (Obviously) there is no date set for a soundtrack album at this time.