NEW FILMIC SHOW October 2017

Sadly after 9 years with Radio Nowhere, the station that launched my Filmic movie music show, they have closed. I am so grateful to them, especially Christopher Laird, who let me run riot. It was a great ride.

So, after a few months off air I am back on Mixcloud. There is the link and the playlist..I’m always open to taking requests!!

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PLAYLIST

Roland of Eld/Junkie XL/The Dark Tower
The Lost City of Z/Christopher Spellman/The Lost City of Z
Kincaid’s Gold/Atli Ovarsson/the Hitman’s Bodyguard
Archer’s Processional/George Bruns/Robin Hood
All’s Well That Ends Well/George Bruns/Robin Hood
Apples/Volker Bertelman/In Dubious Battle
The Streets & The Streets 2/Danny Elfmann/Tulip Fever
Vai Gorilla/Franco Bixio-Fabio Frizzi/Vince Tempera/Vai Gorilla
The Tale of Viktor Navorski/John Williams/The Terminal
The Navy Gets the Gravy But the Army Gets the Beans/Jerry Livingston & Mack David/At War With The Army
Nothing Out There/Ry Cooder/Nothing Out There
Victoria & Abdul, The Peacock Throne/Thomas Newman/Victoria & Abdul
Gibbon Take/Monkey To the City/Ain’t That A Stinger
Another Puzzle/Christpher Young/Hellraiser
He’s A Pirate/Hans Zimmer & Kalus Badelt/Pirates of the Carribean Dead Men tell No Tales

 

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World Soundtrack Academy announces first wave of nominees for the 17th WSAwards

Published on 21/08/2017

This first wave of the 2017 World Soundtrack Award Nominees includes multiple Academy Award® winners and nominees, a past Discovery of the Year nominee, and the best of contemporary film and television music.

The nominees for Best Film Composer are 2017 Academy Award® winner Justin Hurwitz, AcademyAward® nominees Mica LeviNicholas BritellDustin O’Halloran and Jóhann Jóhannsson. The Television Composer of the Year nominees include upcoming & popular composers such as duo Kyle Dixon & Michael SteinRamin DjawadiRupert Gregson-WilliamsDave Porter and Mac Quayle.

As previously announced, The Lifetime Achievement Award will be presented to David Shire (‘The Conversation’, ‘All the President’s Men’) as part of the #WSAwards celebration of jazz this year. Following the award ceremony, a selection of Terence Blanchard’s work (‘Mo’ Better Blues’, ‘Malcolm X’, ‘25th Hour’) will be performed by Brussels Philharmonic and additional jazz soloists, conducted by Film Fest Gent’s music director Dirk Brossé. Film Fest Gent will release an exclusive album with Blanchard’s work the same week. Discovery of 2016 Joe Kraemer (‘The Way of the Gun’, ‘Jack Reacher’, ‘Mission: Impossible- Rogue Nation’) will also be performing that evening.

Film Fest Gent’s artistic director Patrick Duynslaegher about the selection: “This year’s nominations reflect the incredible wide range of style and talent in contemporary scoring for film and television, with a great line-up of new and established composers to celebrate the art and craft of film & television music.”
THE NOMINEES ARE: 

Best Film Composer of the Year
Nicholas Britell: ‘Moonlight’
Justin Hurwitz: ‘La La Land’
Jóhann Jóhannsson: ‘Arrival’
Mica Levi: ‘Jackie’, ‘Marjorie Prime’
Dustin O’Halloran: ‘Lion’ (co-composed by Hauschka), ‘In the Shadow of Iris’ (co-composed by Adam Wiltzie)

Best TV Composer of the Year
Kyle Dixon & Michael Stein: ‘Stranger Things’
Ramin Djawadi: ‘Westworld’, ‘Prison Break: Resurrection’, ‘The Strain’
Rupert Gregson-Williams: ‘The Crown’
Dave Porter: ‘Better Call Saul’, ‘The Blacklist’, ‘The Blacklist: Redemption’
Mac Quayle: ‘Feud: Bette & Joan’, ‘Mr. Robot’, ‘Scream Queens’

Best Original Song written directly for a Film
Can’t Stop the Feeling
from ‘Trolls’
music & Llyrics by Justin Timberlake, Max Martin and Shellback
performers include o.a. Justin Timberlake, Anna Kendrick, Gwen Stefani, James Corden and Zooey Deschanel

City of Stars
from ‘La La Land’
music by Justin Hurwitz
lyrics by Benj Pasek and Justin Paul
performed by Ryan Gosling and Emma Stone

How Far I’ll Go
from ‘Moana’
music & lyrics by Lin-Manuel Miranda
performed by Auli’i Cravalho

Never Give Up
from ‘Lion’
music & lyrics by Sia Furler and Greg Kurstin
performed by Sia

Runnin’
from ‘Hidden Figures’
music & lyrics by Pharrell Williams
performed by Pharrell Williams

The World Soundtrack Academy aims at supporting film and television music, sound design, composers and its worldwide promotion. In 17 year’s time, the membership of the WSAcademy has grown into a group of 370 international film music professionals deciding on the nominees through several rounds of voting. The Academy will announce the nominees for Discovery of the Year, Best Original Score for a Belgian Production and the Sabam Award for Best Young International Composer mid-September. The audience can also nominate their favorite score by voting for the Public Choice Award on the WSAwards website until September 9th 2017.

17th World Soundtrack Awards 
18 October 2017 – WSAwards Gala & Concert: Tickets
19 October 2017 – Symphonic Jazz Concert: Tickets

SOUNDTRACK COLOGNE 2017

Filmic Radio Show Playlist February 2017

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Listen on Mixcloud https://www.mixcloud.com/radionowherecloud

Also available on iTunes

The Trail/the Witcher3:Wild Hunt/Marcin Przybytowicz

The Middle of the World/Moonlight/ Nicholas Britell/

City of Stars/La La Land/Justin Hurwitz 

Training/The Magnificent Seven/Elmer Bernstein

Love Theme/Elmer Bernstein/Airplane

Memories & Train/Dustin O’Halloran & Volker Bertelmann/Lion

The Beach Reunion/Max Steiner/A Summer Place

The Starship Avalon [Main Theme]/Thomas Newman/Passengers

Overture – Lore/Takeshi Furukawa/The Last Guardian

Main Titles & Little Psycho/Anne Dudly/Elle

Easy Lovers/Pier Picciono/Camille 2000The Elephant Man Theme/John Morris/The Elephant Man

Instanbul Opening/Vangelis/Midnight Express

Bankentest/Four Against the Bench/Enis Rotthoff

Autopsy/Mica Levi/Jackie

Sully [Suite]/Christian Jacob & The Tierney Sutton Band & Clint Eastwood/Sully

Title Song/Johnny Mercer & Elmer Bernstein & Jack Jones/Love With The Proper Stranger

Swede’s Story & Riots/Alexandre Desplat/American Pastoral

Main Theme/Chris Tilton/Divide

No Seat Belts Required/Lorne Balfe/The Lego Batman Movie

Contact Details:

 

International Film Music Critics Association Soundtrack Awards 2016

As a member of the IFMCA I am delighted to share with you the 2016 Soundtrack Awards as voted for by all it’s members.

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INTERNATIONAL FILM MUSIC CRITICS ASSOCIATION ANNOUNCES WINNERS OF 2016 IFMCA AWARDS; “ARRIVAL” TAKES SCORE OF THE YEAR, JUSTIN HURWITZ AND “LA LA LAND” WINS THREE OTHERS

FEBRUARY 23, 2017 — The International Film Music Critics Association (IFMCA) announces its list of winners for excellence in musical scoring in 2016, in the 2016 IFMCA Awards.

The award for Score of the Year goes to Icelandic composer Jóhann Jóhannsson for his work on the critically acclaimed science fiction drama “Arrival,” directed by Denis Villeneuve, starring Amy Adams and Jeremy Renner. IFMCA member Jon Broxton said that “Jóhannsson’s approach to solving the film’s musical problems [is] absolutely fascinating, and the way he was able to musically convey some of the film’s more challenging cerebral ideas involving language and communication is astonishingly accomplished,” while IFMCA member Daniel Schweiger said that Jóhannsson “brilliantly captures both a sense of wonder and fear with beholding the mind-boggling, verbally-scrambled unknown, as whale cry motifs join with alternately moaning and chattering voices, backed by a strong orchestral sound that serves as a powerful universal musical translator in a way that’s both harmonically understandable, and profoundly strange.” This is the first IFMCA Award win of Jóhannsson’s career, him having previously been nominated for Best Original Score for a Drama Film for “The Theory of Everything” in 2014.

Composer Michael Giacchino is named Composer of the Year for the second year in a row, having written four outstanding works spanning multiple genres in the past year. His work in 2016 included the action-packed Marvel comic book fantasy film “Doctor Strange,” the socially aware Disney animated film “Zootopia,” the third installment of the rebooted Star Trek franchise “Star Trek Beyond,” and the score for the first of the Star Wars spinoff films, “Rogue One”. IFMCA member James Southall called “Rogue One” “a very impressive achievement indeed,” while IFMCA member Christian Clemmensen described “Doctor Strange” as “a mystical, optimistic, and smart superhero score with an alluring primary identity and generally excellent combination of electronic and ethnic accents with standard orchestral and choral elements.” This marks the fourth time Giacchino has been named Composer of the Year, following his previous wins in 2004, 2009, and 2015.

Composer Justin Hurwitz won three awards – Breakthrough Composer of the Year, Best Original Score for a Comedy Film, and Film Music Composition of the Year – all for his work on the massively popular and critically acclaimed musical comedy-drama “La La Land” directed by Damian Chazelle, starring Ryan Gosling and Emma Stone. “La La Land” is only the second full theatrical score of Hurwitz’s career, and for it he wrote a jazz-inspired orchestral score, and half a dozen original songs (with songwriters Benj Pasek and Justin Paul), the melodies of which flow through the majority of the underscore. IFMCA member Mihnea Manduteanu called “La La Land” “delightful and playful” and claimed that it captures “what it means to fall in love, to play, to dream,” while IFMCA member Jon Broxton heralded the score as “a masterpiece”.

The various other genre awards are won by Abel Korzeniowski for his music for the darkly stylish revenge drama “Nocturnal Animals”; Christopher Young for his wildly exciting action score for the Chinese historical adventure “Xi You Ji Zhi: Sun Wukong San Da Baigu Jing [The Monkey King 2]”; James Newton Howard for his score for lush and whimsical fantasy score for the Harry Potter prequel “Fantastic Beasts and Where to Find Them”; Laurent Perez del Mar for his evocative, emotional music for the French animated film “La Tortue Rouge [The Red Turtle]”; and Panu Aaltio for his wonderful music for the Finnish nature documentary “Järven Tarina [Tale of a Lake]”.

In the non-film categories, composer Ramin Djawadi wins the award for Best Original Score for a Television Series for his magnificent work on the sixth series of the critically acclaimed HBO fantasy drama “Game of Thrones,” while composer Austin Wintory wins the award for Best Original Score for a Video Game or Interactive Media for the second year in a row, this time for his work on the meditative, dream-like undersea adventure game “Abzû”.

Oakland, California-based Intrada Records is named Film Music Record Label of the Year in recognition of their ongoing excellence in restoring and releasing the most beloved film scores of the past. They were also honored with the award for Best New Archival Release – Re-Release or Re-Recording of an Existing Score for their lavish expanded release of Elmer Bernstein’s classic 1956 score “The Ten Commandments,” which IFMCA member Craig Lysy described as “one of the finest [scores] ever written and a glorious example of Golden Age film scores”. Finally, Burbank, California-based La La Land Records and producer Mike Matessino wins the award for Best New Archival Release – Compilation for their superb re-mastered release of “The John Williams Jurassic Park Collection”, a compilation of the timeless 1990s dinosaur adventure scores “Jurassic Park” and “The Lost World”.

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COMPLETE LIST OF WINNERS

FILM SCORE OF THE YEAR
• Arrival, music by Jóhann Jóhannsson

COMPOSER OF THE YEAR
• Michael Giacchino

BREAKTHROUGH COMPOSER OF THE YEAR
• Justin Hurwitz

FILM MUSIC COMPOSITION OF THE YEAR
• “Epilogue” from La La Land, music by Justin Hurwitz

BEST ORIGINAL SCORE FOR A DRAMA FILM
• Nocturnal Animals, music by Abel Korzeniowski

BEST ORIGINAL SCORE FOR A COMEDY FILM
• La La Land, music by Justin Hurwitz

BEST ORIGINAL SCORE FOR AN ACTION/ADVENTURE/THRILLER FILM
• Xi You Ji Zhi: Sun Wukong San Da Baigu Jing [The Monkey King 2], music by Christopher Young

BEST ORIGINAL SCORE FOR A FANTASY/SCIENCE FICTION/HORROR FILM
• Fantastic Beasts and Where to Find Them, music by James Newton Howard

BEST ORIGINAL SCORE FOR AN ANIMATED FEATURE
• La Tortue Rouge [The Red Turtle], music by Laurent Perez del Mar

BEST ORIGINAL SCORE FOR A DOCUMENTARY
• Järven Tarina [Tale of a Lake], music by Panu Aaltio

BEST ORIGINAL SCORE FOR A TELEVISION SERIES
• Game of Thrones, music by Ramin Djawadi

BEST ORIGINAL SCORE FOR A VIDEO GAME OR INTERACTIVE MEDIA
• Abzû, music by Austin Wintory

BEST NEW ARCHIVAL RELEASE – RE-RELEASE OR RE-RECORDING OF AN EXISTING SCORE
• The Ten Commandments, music by Elmer Bernstein; album produced by Douglass Fake and Roger Feigelson; liner notes by Frank K. De Wald; album art direction by Joe Sikoryak (Intrada)

BEST NEW ARCHIVAL RELEASE – COMPILATION
• The John Williams Jurassic Park Collection, music by John Williams; album produced by Mike Matessino; liner notes by Mike Matessino; album art direction by Jim Titus (La-La Land)

FILM MUSIC RECORD LABEL OF THE YEAR
• Intrada Records, Douglass Fake, Roger Feigelson

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The International Film Music Critics Association (IFMCA) is an association of online, print and radio journalists who specialize in writing and broadcasting about original film, television and game music.

Since its inception the IFMCA has grown to comprise over 65 members from countries such as Australia, Belgium, Canada, Chile, China, France, Germany, Greece, Ireland, Italy, the Netherlands, Norway, Poland, Romania, Spain, Sweden, Switzerland, the United Kingdom, and the United States of America.

Previous IFMCA Score of the Year Awards have been awarded to John Williams’s “Star Wars: The Force Awakens” in 2015, Hans Zimmer’s “Interstellar” in 2014, Abel Korzeniowski’s “Romeo & Juliet” in 2013, Mychael Danna’s “Life of Pi” in 2012, John Williams’s “War Horse” in 2011, John Powell’s “How to Train Your Dragon” in 2010, Michael Giacchino’s “Up” in 2009, Alexandre Desplat’s “The Curious Case of Benjamin Button” in 2008, Dario Marianelli’s “Atonement” in 2007, James Newton Howard’s “Lady in the Water” in 2006, John Williams’s “Memoirs of a Geisha” in 2005 and Michael Giacchino’s “The Incredibles” in 2004.

For more information about the International Film Music Critics Association go to www.filmmusiccritics.org, visit our Facebook page, follow us on Twitter @ifmca, or contact us at press@filmmusiccritics.org.

SPOOKY SPECTACULAR FILMIC PLAYLIST October 2016

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Goosebumps/Danny Elfman/Goosebumps
Let the Children Play/Nascuy Linares/Embrace The Serpment
Mounatin Lion Blue/Nick Cave & Warren Ellis/Hell and High Water
El Olivo Part 5/Pascal Gaigne/El Olivo
The Sand Volcano/Jerry Goldsmith/The Mummy
Bullet/Rober Kudare/Made In France
Bellerofonte Main Theme/Alexander Cimini/Dar Waves
Chaos and Confusion/Edy Lan/The Similars
Title Theme & Projecting Dreams/Mike Higham & Matthew Margeson/Miss Peregines Home For PeculiarChildren
La Via Della Drago Pt 3/Goblin/La Via Della Droga
Das Boot/Klaus Doldinger/Das Boot
End Titles/Rachel Portman/Still Life
One Condition/Guy Farley/Modigliani
Storytime & Kubo Goes To Town/Dario Marianelli/Kubo and the Two Strings
Inside The Mirror Dimension/Michael Giachinno/Dr Strange
Something Not Right/Danny Elfman/The Girl on the Train
Main Title & She Creatire Departs/Ronald Sten/The She Creature
Tren de Invierno 1985/Alberto inglasias/Julieta
Boobie Trap/Gregory James Jenkins/The Final Girls

You can contact me at:
https://www.facebook.com/FilmicRadio

https://filmictracks.com/

UNEASY LISTENING:AN EVENING WITH CLINT MANSELL

Mansell Birmingham Symphony Hall
March 23rd 2016

This was a low key affair, intimate like a night club gig yet held in one of the best symphony halls in the UK. The start time was pushed back by 30 minutes, no intermission and it will end at 9.30pm. A small set piece was laid out: fullest of drum kits, numerous keyboards, 4 chairs for violins and cello ready for the The Kronos Quartet, 2 guitars, piano and the obligatory Apple laptops. High up was a not too large screen but big enough for the 3 quarter filled hall.

Short, to the point introduction by the cellist and with lack of fanfare, a black jeaned, t-shirted and bespectacled Clint Mansell strode onto centre stage. After rapturous welcome applause Mansell said it had been 11 years since he had been home in Birmingham. Even though he now lives in L.A. it was comforting to find he had not lost any of his home accent.  Without any ado he said this is ‘Noah’ which kick started huge speakers into action. It was exciting and I immediately vowed to revisit this score when I got home.

It was accompanied by random scenes on the screen that were designed to displace – a stag in the night. A child’s eyes. Fox in a den, a watery eye. Mansell talked about how scoring had change his life and told us all ‘don’t be afraid of change’ and then introduced the next piece of music which not only launched his film music career but was also the directorial debut of Darren Aronofsky – the 1998 film Pi. The video images became stronger including ants and snakes. Mansell played the synth, rocking back and forth gently. He later went on to play electric guitar.

Mansell was very friendly and shared his journey towards scoring recalling an hilarious story about when ‘he got a call from Madonna’ to score a movie she had just made. He genuinely seemed to be in awe of meeting her and how his career was moving. He then introduced his music to Moon [2009] likening it to the isolation you could feel in sprawling Los Angeles. Visuals here were vast land and skyscapes.
I should note that he simply introduced each piece by the title of the film and not specific tracks the next one being the recently released High-Rise, a score I am already in love with so it was very cool to listen to some of it live. More chat and this time it was about a film which had a pre-release at the Mac [Birmingham] which went on to change the course of his life – another  Aronofsky film, Requiem For Dream. This produced some whoops and cheers from the audience, Lux Aeterna being somewhat of a Mansell anthem. Live it was fierce and edgy, bursting out of the speakers.

Further evidence if him not loosing his roots was his reference to all the places he had played when in the groups Eden and Pop Will Eat Itself, including the Villa Leisure Centre. It was clear by the audience reaction that he had some die-hard fans from those days in the hall. Next was Black Swan with it’s serene beginning spiraling into electronic confusion, loved it!
All too quickly he was thanking us all for coming and with that he played out with Death Is The Road To Awe from The Fountain [2006]. During the course of the concert he mentioned twice that people may not’get his’ music. To me if you push aside the traditional routes of film soundtrack scoring, let go and totally immerse yourself in the Mansell sound you will not be disappointed. Live and loud it was truly a thrilling experience.

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P.S. Mansell turned down the Madonna film.