Navigating the sprawling metropolis of Los Angeles, congested with both cars and billboards everywhere you look, staring up Jack Black’s crotch or being forced to accept that Khloe and Lamar are indeed “famously” in love, it’s often hard to remember that being a celebrity used to look quite different.
It’s not that the old Hollywood is gone, you just have to pay attention. Just glance past the flashing lights at the Hollywood sign, drive by Culver Studios, grab a bite at the Formosa Cafe, and even if it’s cheesy, go to the Walk of Fame and see if your hands are as small as Gloria Swanson’s. I might work at a film studio, but sitting in a cubicle under fluorescent lights day in and day out, I often feel as close to “Hollywood” as Ron Livingston in Office Space.
So when composer/orchestrator/arranger/all-around-great-guy, Joe Trapanese asked that I meet him on one of the great old studio lots for our interview (I would tell you which, but I’m sworn to secrecy), it was painfully hard to act cool about it. While I probably said something to the effect of, “Great. Please send over parking instructions. Looking forward to it.” In my mind, I was squealing like a tween.
By Ezra Remer
With the end of March Madness comes the beginning of the NBA playoffs. What does this have to do with music you ask? Let me explain.
When it comes to sports I tend to watch a little too much basketball. Over the last month it has been non-stop basketball. Whether it was my bracket getting crushed by VCU and Butler, or my Lakers killing it on the way to a top seed in the playoffs, I’ve probably been watching. And over the last month and a half I’ve come to notice something about the commercials shown during sports broadcasts. Through it all there haven’t been many memorable ads that have stood out among the rest, except one.
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.