YOU ARE HERE: LAT HomeCollectionsFilm Scores

Film Scores

January 1, 2012 | James C. Taylor
Extremely soft and incredibly far away. This was the scene as film composer Alexandre Desplat presided over one of the scoring sessions for the film "Extremely Loud & Incredibly Close. " The film's premiere was just a month away and Desplat was trying to get the sound of the piano to be even lighter than pianissimo. Cut to: pianist Jean-Yves Thibaudet, watching and listening to Desplat's direction via a video screen. The French virtuoso had been in Vienna two days before, now he was isolated in a Manhattan recording studio two floors below Desplat and the full orchestra.
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.
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!"
"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.
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.
Los Angeles Times Articles