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ENTERTAINMENT
January 29, 1995 | Bill Whitaker
Walk down the dark, crumbling corridors of Mosfilm Studios and, for a moment, you might think you've entered Frankenstein's castle. The music filling the air would certainly underscore that feeling. Behind heavily guarded studio doors, the Moscow Symphony Orchestra has been recording music from the 1944 Boris Karloff horror film "House of Frankenstein."
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CALIFORNIA | LOCAL
November 7, 2000 | CHRIS PASLES, TIMES STAFF WRITER
Aaron Copland stands near if not at the top of most lists of great American composers. Just about everyone has heard his "Fanfare for the Common Man," "El Salon Mexico," "Appalachian Spring" and "Billy the Kid." But some important Copland music is more obscure--his film scores. Pacific Symphony will be honoring this music as part of its Copland Centenary Festival, Sunday through Nov. 19.
ENTERTAINMENT
April 10, 2014 | By Susan King
Quincy Jones knew even at a young age that he wanted to compose film scores. "I used to go to movies for 11 cents," Jones said at his mansion nestled in the Bel-Air hills. "I used to play hooky in Seattle every day. I could tell if a movie was scored at 20th Century Fox with Alfred Newman or at Paramount with Victor Young. I could just feel it. " Jones, who studied with composers Nadia Boulanger and Olivier Messiaen in Paris in 1957, would become one of the top film composers in Hollywood by the 1960s.
NEWS
May 16, 2000 | PATT DIROLL, SPECIAL TO THE TIMES
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."
ENTERTAINMENT
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.
ENTERTAINMENT
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.
ENTERTAINMENT
December 27, 1997 | JON BURLINGAME, SPECIAL TO THE TIMES
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.
ENTERTAINMENT
March 19, 1998 | ELAINE DUTKA, TIMES STAFF WRITER
"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.
NATIONAL
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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