Film

Film / Music in Media / Edith Piaf in Inception

I wrote this post when Inception first came out in theatres for now defunct blog collective, Strangers in Stereo.  Since it no longer has a home there, never had a home on Tadpole Audio, and Hans Zimmer’s work on the score has been lauded all over the place this awards season (including an Academy Award nomination) – I thought I would share it once more!

Photo Credit: Warner Brothers

Who hasn’t been talking about Inception for weeks now?  It’s an epic mind scramble that everyone has a different opinion about.  You can’t help but want to dissect each seemingly insignificant detail and read every possible theory.  And there’s been just as much buzz about the Hans Zimmer / Johnny Marr score collaboration – Marr is featured on 8 of the 12 tracks on the soundtrack and you can even stream their performance at the premiere here.  Even the actors gushed brilliant words about Zimmer.  But what I’m interested in is Edith Piaf.

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Film + TV / Your Music in Media Guide to the 53rd Annual Grammy Awards

Often times with all the Rihannas, Biebers, Gagas and Taylor Swifts running around on Grammy night, it’s easy for the indie artists to get lost in the shuffle.  Fortunately with the help of Stephen Colbert, the Best Alternative Music Album category got some love on mainstream television (though let’s face it, as indie artists go Vampire Weekend, The Black Keys, and Arcade Fire are pretty well known).

Where is the love, though for the soundtracks, scores and songs written for films or television?  Right here, my friends, right here….
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Film / Your Music in Media Guide to the 68th Annual Golden Globes

Now that the holidays are over, and with them all that “peace on earth and goodwill towards men” nonsense, it’s that magical time of year again when judging people is not only acceptable – it’s glorified.  That’s right folks, it’s awards season.  Which means for the next few months we all turn into Statler & Waldorf and every website/blog/TV show/magazine will feature the current crop of Hollywood darlings, leaping on every word and unflattering dress (or suit), debating how worthy they are for each and every nomination.

Often times at these shindigs, the music segment is overlooked – not everyone immediately thinks, “Ooh, that cue was so complex!” or stays for the more than five seconds of the end credit song – so here’s a little spotlight on what’s being voted on this weekend at the 68th Annual Golden Globes:

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Film / Soundtrack Review / The Social Network

First, apologies for how belated this is.  Second, I probably shouldn’t admit this, but I don’t usually enjoy listening to film and TV scores.

Its not that I don’t find them interesting, or that I groan every time I have to review a composer reel for work (though I will if I have to listen to 12 composer reels in a day) – I just don’t think to put on a score for pleasure listening.  With the Golden Globe nominations announced yesterday, I just had to give it up to Atticus Ross and Trent Reznor – their music for The Social Network might be the first film score I’ve actually had on repeat outside of the office.

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Film / 5 Things You May Not Know about the TRON: Legacy Score

Last Saturday November 20, I was privileged enough to attend a conversation between TRON: Legacy director, Joseph Kosinski, and music supervisor, Jason Bentley, hosted by Los Angeles public radio station, KCRW, at Apogee Studios in Santa Monica.  Bentley, also the KCRW Music Director, and Kosinski discussed key role of music in the film, what it was like to work with with legendary electronic artists (and robots) Daft Punk on the score, and even shared FIVE previously unheard tracks.

Now you can stream the entire event (tunes included) on the KCRW website.  I’ll be honest, I was definitely surprised by much of what I heard – both about the process and the actual score cues.  Here are some tidbits you may not have known about the TRON: Legacy score….

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