film

Music in Media / Teenage Fanclub in “Young Adult”

By Amanda DK

It’s not a secret that Jason Reitman loves music. His first major breakout film success also yielded a hit soundtrack that reached number #1 on the Billboard Top 200 Chart. He is a big supporter of Los Angeles public radio station, KRCW. Not to take away from any of the amazing music supervisors who have worked on his films – Margaret Yen and Peter Afterman for Juno and Thank You For Smoking, Randall Poster for Up in the Air, and now Linda Cohen for Young Adult – but the fact that all of his films have the same musical personality is a testament to his influence on each soundtrack. Conversely however, composer Rolfe Kent has been with him for all of the above referenced films except for Juno. In all of them, the musical choices feel deliberate, even at first viewing. Songs are not jammed in where they shouldn’t be; the score enhances certain moments, but allows others to bask in the (calculated) awkward or tender silence. As a result, each song or score cue feels that much more important to the story being told.

That said, I knew to have a pen and paper on the ready as I watched Young Adult. I was both surprised and unphased by the fact that there was no musical support for the first five minutes or more of the film. It was only after Mavis decides to go back to her small, Minnesota, hometown and begins packing her bags, when a few mischeivously quirky score cues snuck in.
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Film / Your Music in Media Guide to the 69th Annual Golden Globe Awards

By Amanda DK

I’m not sure why, but awards season snuck up on me this year. I can’t believe the 69th Annual Golden Globes are this Sunday! Did a whole twelve months really pass by since last year?

To be perfectly honest though, I’m I suppose I’m not that surprised. There is a reason that does come to mind.

Of all the nominees for Best Original Score, The Girl With The Dragon Tattoo probably had the largest amount of buzz, but caters to a very specific audience. The Artist was likely the most critically loved of the bunch, but is still widely considered more of an “art house” film.  War Horse and Hugo were both praised as quality family fare, but nothing transcendent.  And all of the films in consideration for best original song were received by audiences as pretty good at best.

There were plenty of solid films this year, just none that wowed audiences on a large scale.

I mean, the only movie that received a nod for both original score and song is W.E., which was written and directed by Madonna. Nothing against Madge, but really?

Below take a look and listen to some of the scores and songs in consideration this year.  Who do you think should win?

Check out the full list of nominees here.

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Got It Covered / Introduction and the Rules of a Great Cover Song

A look at the art of the perfect cover and some impactful pairings with visual mediums

By Bekah Touma

 

 

 

 

 

 

The first few notes sound oh so familiar…you may start to hum or sing along but soon realize something seems to be slightly off.  Ah yes, this must be a cover.  After racking your brain for the original the cover starts sinks in.  Here is where I decide if I love it or hate it.

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Music in Media / Great Songs Written for Children’s Movies

By Amanda DK

Photo Credit: Dreamworks

It’s been said, but I’ll say it again: the hardest songs to place in a film are for the main titles and end titles.  Respectively they need to set up and sum up the film, but in a way that isn’t too “on the nose.”  The end title song especially is where artists and writers are often brought in to create something original; it’s usually the only time viewers will get to hear a song in it’s entirety. While an excellent opportunity for exposure, writing an original piece specifically for a project can’t be an easy task – especially for a movie geared to kids.
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