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What's a nice Jewish girl like Judith Krantz doing in a place like Chanel? Buying, bubbeleh . . . and with all those bestsellers to her name, not on sale either. Krantz always wears Chanel . . . probably to bed, for all I know. Krantz's 10 novels have kept her in Coco's logo, starting with her No. 1 bestseller "Scruples," which came out in 1978. Now the Material Girl of the nip-and-tuck set is telling all in her autobiography, "Sex and Shopping: The Confessions of a Nice Jewish Girl."
January 15, 2006 | Adam Baer, Special to The Times
TRADITIONALLY, going Hollywood has meant repudiating one's past in favor of a glitzier future. But for Jan A.P. Kaczmarek, winner of an Academy Award last February for his score for "Finding Neverland," it's become a way to go home again -- on his terms. Friday at Royce Hall, a concert titled "Journey to Light" will explore the post-Romantic concert and film music of the Polish-born Kaczmarek, 52.
January 5, 1986 | STEVEN SMITH, Smith, a Times intern from USC, is currently writing a biography of Bernard Herrmann. and
Item: After disappointing previews, director Ridley Scott and Universal Studios drastically cut an hour out of his $30-million fantasy-epic "Legend" to suit American audience tastes. Universal also commissions a new score by synthesizer-pop band Tangerine Dream to replace "Legend's" original symphonic score by Oscar-winning composer Jerry Goldsmith.
The credits for "Scream 2" say "music by Marco Beltrami." But every time David Arquette's character, Dewey Riley, shows up, the music on the soundtrack is from the John Travolta thriller "Broken Arrow," composed by Hans Zimmer. What gives? The answer involves two words that have become the bane of many composers' existence: "temp track." The term refers to the temporary music soundtrack that accompanies rough cuts of movies for early screenings for studio executives, preview audiences or both.
December 30, 2012 | Times Staff and Wire Reports, This post has been corrected. See note below for details.
Sir Richard Rodney Bennett, a prolific British composer, arranger and pianist whose film scores were nominated three times for Academy Awards, has died in New York City. He was 76. Bennett died Dec. 24 after a brief illness, his publisher Novello & Co said in a statement. [For the Record, 2:50 p.m. PST, Dec. 30: A previous version of this post cited the title of the film "Far From the Madding Crowd" as "Far From the Maddening Crowd. " ] In 1967, Bennett was nominated for his first Oscar for the score of " Far From the Madding Crowd.
"Are you coming home tonight?" Arabella Holzbog asks her fiance, Daniel Ezralow, whom she's visiting on the Sony lot. It's a valid question in light of the pace he's keeping, preparing for this week's "Mandala"--his full-evening dance solo at UCLA's Freud Playhouse--and debuting as choreographer of the Oscars Monday night. On Stage 24, the 41-year-old Angeleno rehearses seven male dancers for the Academy Awards bash.
January 26, 2003 | DAVID WOLLOCK
You might not know his name, but his music--experimental, impressionistic, sparse--haunts TV's "Six Feet Under," for which he has been nominated for a Grammy in composing and arranging, and films such as "Road To Perdition," "In the Bedroom," "American Beauty," "The Green Mile" and the upcoming kid flick "Finding Nemo." Composer Thomas Newman, 47, is scion of a movie score dynasty that includes dad Alfred Newman (nine Oscars, 45 nominations), uncle Lionel Newman ("Hello, Dolly!"
July 5, 2012 | By Scott Timberg, Special to the Los Angeles Times
British composer George Fenton, 61, is several decades into a career writing for film, theater and television. His film scores alone cover a great deal of ground, ranging from high-toned period pieces to smart comedies and much in between - "Dangerous Liaisons," "The Fisher King," "The History Boys,""Groundhog Day" and dozens of others. He's been nominated for five Academy Awards, including for the score of "Gandhi" with collaborator Ravi Shankar. Fenton's early days involved acting, including an important part in "Forty Years On," a play by Alan Bennett and some English television.
June 8, 2011 | By Richard Verrier, Los Angeles Times
It has been a slow tempo for Hollywood's session musicians. Work has grown more scarce in the last two decades as studios have slashed music budgets and composers have relied more on synthesizers and digital samplers to produce scores for their movies and TV shows. Local musicians have been further squeezed by competition from other cities where scores can be performed at a fraction of the cost, thanks to film tax credits or the use of nonunion musicians in such countries as Slovakia and Poland.
December 16, 2004 | Josh Getlin, Times Staff Writer
When most people drive on the Golden State Freeway, just north of Los Angeles, they worry about traffic. Michael Feinstein worries about George Gershwin, Cole Porter and a priceless musical legacy buried near the onrushing cars. He knows that MGM officials, in a 1970 housecleaning, dumped film scores, musical manuscripts and recordings by some of America's greatest songwriters into a landfill by the freeway near Valencia.
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