by Emily Weber
The depiction of comic book superheroes in cartoons, TV shows, films and video games dates back to I don’t even know when, but I can assure you that the trend is not fading anytime soon. Hollywood’s production schedule of films based on characters from Marvel and DC Comics will continue on a path towards infinity and beyond until they run out of characters, at which point they will continue with sequels and remakes. [cough-bat-man-cough].
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.
I’ve had the bits and pieces of this post rattling around in my brain for quite some time now, so when Tsuru alerted the Paper Crane Collective that he may not be able to post today due to an alleged “road trip” for a so-called “fashion show,” I figured now might be the right time to unleash it (in all seriousness though, he and Tsurubride are both rockstars, I’m happy to help). It was posted on PCC on Friday, and now I’m bringing it to TA.
When I’m not blogging, I spend most of my time in a cubicle where I work in TV music at a studio. I also music supervise the occasional project on the side when people want me. A good part of my job is keeping track of the flood of music submissions that come to my boss and I from all over – independent artists, major labels, indie labels, publishers, agents, managers, pitching agencies and the occasional publicist. Having been in this role for a solid two and half years now, I’ve spoken to a lot of folks on the phone who don’t know that it’s unprofessional to send a handwritten letter with a chicken scratch title written on the CD in sharpie, or have no idea what yousendit is. Based on my experiences there are a few things I believe every artist should be aware of in order to come off educated, to protect their own music, and give their tunes the best shot of getting licensed.
This past weekend the Guild of Music Supervisors hosted their very first awards brunch, honoring music supervisors from film, television, video games and movies of the week.
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….