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:



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.


P.S. Mansell turned down the Madonna film. 

Filmic February Playlist



Also available on Mixcloud & iTunes

Maximum Effort/Junkie XL/Deadpool
Eighty Words A Minute/Theodore Shapiro/Trumbo
Ego Vivo/Jack Wall/Call of Duty Black Ops 3
Dai Bread Turkish & Tango Pugh/Under Milk Wood/Mark Thomas
Main Title & Prelude/Roman Holiday/Georges Auric
Morza Motorsport/Kaveh Cohen & Michael Nileson/Forza Motordport 6
Auf Wiedersehen Mr Hitler & The Platoon Jungle/Charlie Mole/Dad’s Army
Prologue/Steve Willaert/Kidnap-Bo’s Most Exciting Holiday Ever
Ascension/Angelo Badalamenti & Lasse Martinussen/Gold Coast
The Flower Girl/Charles Chaplin/City Lights
Dirty Weekend/Joel Goodman/Dirty Weekend
Lewis Ranieri & Vegas & Gully/Nicholas Britell/The Big Short
Final Salute/Rachel Portman/Hart’s War
Ellis Starts Work/Michael Broook/Brooklyn
That Next Place/Thomas Newman/Meet Joes Black

Am always open to playing Requests!

Filmic Playlist – January 2016

Listen here to my first show of the new year: Filmic January 2016
Also available on Mixcloud and iTunes


Essex Leaving Harbour/Roque Banos/In The Heart of the Sea

Snoke/John Williams//StarWars: The Force Awakens

Out of Horse/Ryuichi Sakamoto/The Revenant

 The 12 Mile Reef/Bernard Herrmman/Beaneath The 12 Mile Reef

Rearranging the Furniture/Gabriel Jared/By the Sea/

Narratore Letterario/Ennio Morricone/The Hateful Eight

Skin Fever/Philip Green/All Night Long

Putting Out The Fire/Giorgio Moroder/David Bowie/Cat People

Gone Day/Stephen Rennicks/Room

Rocky Is Sick/Lodwick Goransson/Creed

Ziarno Prawdy/Abel Korzeniowski/Ziarno Prawdy

The Danish Girl//Alexandre DesplatThe Danish Girl

Main Title/Tom Scott/Conquest of the Planet of the Apes

Sunday In New York//Peter NeroSunday In New York

Opening/Timo Chen/Advantageous

Car Chase/Night Chase//John BarryBeat Girl

Delaney’s Arrival and Memories/Michel Legrand/Le Mans

Ballata Per Un Pistolero/Roberto Pregadio/Forgotten Pistolero

Snape and the Unbreakable Vow/Nicholas Hooper/Harry Potter & the Half Blood

Prince Overture & Prisoner of the Crusades/Michael Kamen/Robin Hood Prince of Thieves



Doesn’t it sound so tantalising …. Pride and Prejudice and Zombies. Sounds so 2016 but in fact Seth Grahame Smith’s novel of the same name [and with one of the best book covers ever] was published in 2009. Natalie Portman was originally cast as Elizabeth Bennet and also as a producer but schedules conflicted and whilst she still is one of the producers the female lead went to Downton Abbey’s rising star Lily James. It’s a parody of the 1813 Jane Austen novel and it does makes you wonder if it’s going to spawn a whole host of classic book zombie versions – could be fun!

Spanish composer and acclaimed cello player Fernando Velázquez who composed the much underrated 2015 score Crimson Peak, has delivered a terrific score full of dark strings with an undercurrent of gothic with some traditional tracks thrown in. The opening track Darcy has such a strong Hammer horror sound to it with it’s deliciously twisting notes and trembling violins. The Regency age is fully explored in Dressing For The Dance, a breezy track which is all too short.

The traditional tracks,  The Man from Uribe and  Dance of the Ponderous Distaff fit well with the whole musical presentation of the score. In fact parts of the soundtrack sound like a classical period score. Flirt Lovers Fight is a playful, comedic cue and tragedy can be felt in the beautifully orchestrated The Letter/Siege of London. There is also romance in the soaring strings of Happy Ending?

What a relief that this score was so carefully thought about and offers musical highlights keeping in company of the period it’s set rather than an all out horror, action score. Nicely done Mr Velázquez!

1. Darcy (4:00)
2. An Illustrated History Of England 1700-1800 (2:20)
3. Dressing For The Dance (0:36)
4. The Man From Uribe (2:11)
5. Dance Of The Ponderous Distaff (1:29)
6. We Are Under Attack!! (2:27)
7. Carriage Ride (1:05)
8. Orphans (1:47)
9. The Soldiers Of Meryton (1:10)
10. Menuet Des Mortes Vivants (1:35)
11. Orphan Attack (3:34)
12. Don’t Go Into The Woods Alone (1:29)
13. St Lazarus (2:43)
14. Rosings Park (1:15)
15. Midnight Walk (1:08)
16. Flirt Lovers Fight (2:45)
17. The Letter / Siege Of London (4:09)
18. The In-Between (5:36)
19. Darcy Is Saved (1:59)
20. Back To St Lazarus (2:13)
21. Zombies Are Fed / Attack / Showdown (5:13)
22. After The Explosion (2:40)
23. Happy Ending? (4:42)

Label: Varese Sarabande





As a member of the International Film Music Critics Association I am delighted to publish the associations nominations for 2015.



FEBRUARY 4, 2016. The International Film Music Critics Association (IFMCA) announces its list of nominees for excellence in musical scoring in 2015, for the 12th annual IFMCA Awards. The most nominated composers are industry veterans John Williams and Ennio Morricone, as well as Michael Giacchino, and the late James Horner.

83-year old John Williams receives four nominations, all for his score for the smash hit sci-fi adventure “Star Wars: The Force Awakens” directed by J. J. Abrams, which is nominated for Score of the Year, Best Fantasy/Science Fiction/Horror score, and Film Music Composition of the Year. Williams also receives a personal nomination as Composer of the Year. Williams has previously been nominated for 31 IFMCA Awards, winning on 12 occasions, including Score of the Year for “Memoirs of a Geisha” in 2005 and “War Horse” in 2011.

87-year old Italian legend Ennio Morricone receives four nominations; three for his score from director Quentin Tarantino’s dark western “The Hateful Eight,” which is recognized in the Score of the Year, Best Drama score, and Film Music Composition of the Year categories, and one for himself as Composer of the Year. Morricone has been nominated for IFMCA Awards on seven previous occasions; his last Score of the Year nomination was in 1999, for “La Leggenda del Pianista sull’Oceano [The Legend of 1900]”.

Michael Giacchino’s nominations are split between three works: the moving Disney-Pixar animated film “Inside Out,” which is nominated for Best Animation score; the ambitious science fiction epic “Jupiter Ascending,” which is nominated for Score of the Year and Best Fantasy/Science Fiction/Horror score; and the fantasy adventure “Tomorrowland,” which is nominated in the Film Music Composition of the Year category. Giacchino has previously been nominated for a total of 31 IFMCA Awards, winning twelve of them. He won the Best Score award in 2004 for “The Incredibles,” in 2009 for “Up,” and was named Composer of the Year in both those years.

James Horner, who was tragically killed in a plane crash this past June, receives three nominations for his score for the Chinese-language drama “Wolf Totem” directed by Jean-Jacques Annaud, which is recognized in the Score of the Year, Best Drama score, and Film Music Composition of the Year categories. Horner is also nominated as Composer of the Year, and in so doing becomes the first composer to be nominated in this category posthumously. Prior to this year, Horner’s lifetime IFMCA tally stood at 14 nominations, with one win, for “The Mask of Zorro,” in 1998.

The other nominee for Score of the Year is Patrick Doyle’s score for the romantic Disney fantasy “Cinderella,” while the other composer vying for the title of Composer of the Year is Daniel Pemberton, who wrote several outstanding scores in 2015, including the big-screen reboot of the 1960s spy thriller franchise “The Man from U.N.C.L.E.,” and “Steve Jobs,” a dramatic look at the inner workings of the Apple corporation across several decades.

Each year the IFMCA goes out of its way to recognize emerging talent in the film music world, and this year is no exception. The nominees in the Breakthrough Composer of the Year category include the alternative pop group Cat’s Eyes – comprising English musician Faris Badwan and Italian-Canadian soprano/composer/instrumentalist Rachel Zeffira – who wrote a dream-like score for the experimental British erotic film “The Duke of Burgundy”; British composer Gareth Coker, for his immensely popular score for the video game “Ori and the Blind Forest”; Swedish composer Ludwig Göransson, who brought the spirit of Rocky Balboa back to life with his score for the boxing drama “Creed”; Italian composer Maurizio Malagnini, whose scores for the British fantasy film “Peter and Wendy,” as well as the popular TV series “Call the Midwife,” caught the attention of the group; and Spanish composer Diego Navarro, whose score for the animated film “Atrapa la Bandera [Capture the Flag]” was a rousing celebration of the heroism of space exploration.

As it has in previous years, the IFMCA takes pride in honoring composers from across the film music world; this year’s international nominees include French composer Armand Amar for his score from the expansive documentary feature “Human,” Hungarian composer Robert Gulya for his charming music for the adventurous Mark Twain adaptation “Tom Sawyer and Huckleberry Finn,” Argentine composer Federico Jusid for his superb work on the Spanish TV series “Carlos, Rey Emperador” (the sequel to the multi-IFMCA Award-winning “Isabel”), veteran French composer Michel Legrand for his delightful score for the comedy “La Rançon de la Gloire [The Price of Fame],” Spanish composer Fernando Velázquez for his chilling work on the beautiful gothic horror film “Crimson Peak,” and French-Lebanese composer Gabriel Yared for his score for the poetic and philosophical animated film “Kahlil Gibran’s The Prophet”.

Several other composers are receiving their first ever IFMCA Award nominations this year, including Jessica Curry (“Everybody’s Gone to the Rapture,” Video Game), Bryce Dessner (“The Revenant,” Action/Adventure/Thriller), Darren Fung (“The Great Human Odyssey,” Documentary), Tom Holkenborg (“Mad Max: Fury Road,” Fantasy/Sci-Fi/Horror), Joshua Johnson (“I Am Big Bird: The Carroll Spinney Story,” Documentary), Joe Kraemer (“Mission: Impossible – Rogue Nation,” Action/Adventure/Thriller), Matthew Margeson (“Kingsman: The Secret Service,” Action/Adventure/Thriller), Alva Noto (“The Revenant,” Action/Adventure/Thriller), and Ryuichi Sakamoto (“The Revenant,” Action/Adventure/Thriller).

The International Film Music Critics Association will announce the winners of the 12th IFMCA Awards on February 18, 2016.



  • Cinderella, music by Patrick Doyle
  • The Hateful Eight, music by Ennio Morricone
  • Jupiter Ascending, music by Michael Giacchino
  • Star Wars: The Force Awakens, music by John Williams
  • Wolf Totem, music by James Horner


  • Michael Giacchino
  • James Horner
  • Ennio Morricone
  • Daniel Pemberton
  • John Williams


  • Cat’s Eyes (Faris Badwan and Rachel Zeffira)
  • Gareth Coker
  • Ludwig Göransson
  • Maurizio Malagnini
  • Diego Navarro


  • “L’Ultima Diligenza di Red Rock” from The Hateful Eight, music by Ennio Morricone
  • “Brothers in Arms” from Mad Max: Fury Road, music by Tom Holkenborg
  • “The Jedi Steps and Finale” from Star Wars: The Force Awakens, music by John Williams
  • “Pin-Ultimate Experience” from Tomorrowland, music by Michael Giacchino
  • “Return to the Wild” from Wolf Totem, music by James Horner


  • Carol, music by Carter Burwell
  • Creed, music by Ludwig Göransson
  • Far From the Madding Crowd, music by Craig Armstrong
  • The Hateful Eight, music by Ennio Morricone
  • Wolf Totem, music by James Horner


  • Krampus, music by Douglas Pipes
  • The Lady in the Van, music by George Fenton
  • La Rançon de la Gloire [The Price of Fame], music by Michel Legrand
  • The Second Best Exotic Marigold Hotel, music by Thomas Newman
  • Spy, music by Theodore Shapiro


  • Kingsman: The Secret Service, music by Henry Jackman and Matthew Margeson
  • The Man from U.N.C.L.E., music by Daniel Pemberton
  • Mission: Impossible – Rogue Nation, music by Joe Kraemer
  • The Revenant, music by Ryuichi Sakamoto, Alva Noto, and Bryce Dessner
  • Tom Sawyer and Huckleberry Finn, music by Robert Gulya


  • Cinderella, music by Patrick Doyle
  • Crimson Peak, music by Fernando Velázquez
  • Jupiter Ascending, music by Michael Giacchino
  • Mad Max: Fury Road, music by Tom Holkenborg
  • Star Wars: The Force Awakens, music by John Williams


  • Atrapa la Bandera [Capture the Flag], music by Diego Navarro
  • Gamba, music by Benjamin Wallfisch
  • The Good Dinosaur, music by Mychael Danna and Jeff Danna
  • Inside Out, music by Michael Giacchino
  • Kahlil Gibran’s The Prophet, music by Gabriel Yared


  • The Great Human Odyssey, music by Darren Fung
  • He Named Me Malala, music by Thomas Newman
  • Human, music by Armand Amar
  • The Hunt, music by Steven Price
  • I Am Big Bird: The Carroll Spinney Story, music by Joshua Johnson


  • Carlos, Rey Emperador, music by Federico Jusid
  • Fargo, music by Jeff Russo
  • Outlander, music by Bear McCreary
  • Texas Rising, music by Bruce Broughton and John Debney
  • Wolf Hall, music by Debbie Wiseman


  • Assassin’s Creed: Syndicate, music by Austin Wintory
  • Everybody’s Gone to the Rapture, music by Jessica Curry
  • Ori and the Blind Forest, music by Gareth Coker
  • Revelation, music by Neal Acree
  • Sid Meier’s Civilization: Beyond Earth – Rising Tide, music by Geoff Knorr, Griffin Cohen, and Grant Kirkhope


  • A.I.: Artificial Intelligence; music by John Williams, album produced by Mike Matessino, liner notes by Jeff Bond, album art direction by Jim Titus (La-La Land)
  • Braveheart; music by James Horner, album produced by Dan Goldwasser and Mike Matessino, liner notes by Jeff Bond, album art direction by Jim Titus (La-La Land)
  • Dances With Wolves; music by John Barry, album produced by Didier C. Deutsch, Mark G. Wilder, and Ford A. Thaxton, liner notes by Randall D. Larson, album art direction by Mark Banning (La-La Land)
  • Jaws; music by John Williams, album produced by Mike Matessino, liner notes by Scott Bettencourt, album art direction by Joe Sikoryak (Intrada)
  • Obsession; music by Bernard Herrmann, album produced by George Litto, Laurent Lafarge, and Cyril Durand-Roger, liner notes by Daniel Schweiger, album art direction by David Marques (Music Box)


  • Back in Time: 1985 at the Movies; music by Various Artists, performed by the Varèse Sarabande Symphony Orchestra cond. David Newman, album produced by Robert Townson, liner notes by Robert Townson, album art direction by Robert Townson, Bill Pitzonka, and Matthew Joseph Peak (Varèse Sarabande)
  • Concert Suites/Music For Films; music by Fernando Velázquez, performed by the Euskadi Symphony Orchestra and Landarbaso Chorus cond. Fernando Velázquez, album produced by Fernando Velázquez and José M. Benitez, liner notes by Fernando Velázquez, Koldo Serra, Juan Antonio Bayona, and Oskar Santos, album art direction by Nacho B. Govantes (Quartet)
  • Obsession; music by Bernard Herrmann, performed by the City of Prague Philharmonic Orchestra cond. Nic Raine, album produced by James Fitzpatrick, liner notes by Christopher Husted, album art direction by Matthew Wright and Damien Doherty (Tadlow)
  • Sodom and Gomorrah; music by Miklós Rózsa, performed by the City of Prague Philharmonic Orchestra cond. Nic Raine, album produced by James Fitzpatrick, liner notes by Frank K. DeWald, album art direction by Matthew Wright, James Fitzpatrick and Ginko Digi (Tadlow/Prometheus)
  • The Music of Patrick Doyle for Solo Piano; music by Patrick Doyle, performed by Patrick Doyle, album produced by Patrick Doyle and Robert Townson, liner notes by Patrick Doyle, album art direction by Robert Townson and Bill Pitzonka (Varèse Sarabande)


  • Alan Silvestri: World Soundtrack Awards; music by Alan Silvestri, album produced by Sian Bolland and Reynold d’Silva, liner notes by Raf Butstraen, album art direction by Stuart Ford (Film Fest Gent/Silva Screen)
  • Double Indemnity: Film Noir at Paramount; music by Various Artists, album produced by Lukas Kendall, liner notes by Scott Bettencourt, album art direction by Joe Sikoryak (Intrada)
  • Lost in Space: 50th Anniversary Soundtrack Collection; music by Various Artists, album produced by Jeff Bond and Neil S. Bulk, liner notes by Jeff Bond, album art direction by Joe Sikoryak (La-La Land)
  • Mission: Impossible – The Television Scores; music by Various Artists, album produced by Jon Burlingame, liner notes by Jon Burlingame, album art direction by Joe Sikoryak (La-La Land)
  • Walt Disney Records: The Legacy Collection; music by Various Artists, album produced by Randy Thornton, liner notes by Various, album art direction by Lorelay Bové (Disney)


  • Intrada Records, Douglass Fake, Roger Feigelson
  • La-La Land Records, MV Gerhard, Matt Verboys
  • Quartet Records, José M. Benitez
  • Tadlow Music, James Fitzpatrick
  • Varése Sarabande, Robert Townson


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, 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 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 http://www.filmmusiccritics.org , visit our Facebook page, follow us on Twitter @ifmca, or contact us at press@filmmusiccritics.org.



Last show of last year which includes some ‘Best Scores of the Year’
Available via the Radio Nowhere website or here on mixcloud:

https://www.mixcloud.com/radionowherecl … ember2015/

It’s A Hell Of A Chase/Michael Giacchino/Jupiter Ascending
Arriving At The Temple/Dario Marinanelli/Everest
Twisted Nerve – Title Track/Bernard Hermmann/Twisted Nerve
Hall of Trade Unions – Moscow/Thomas Newman/ Bridge of Spies
Rain/Thomas Newman/Bridge of Spies
Christmas Story Doris Day/P Walsh/Moonlight Bay
Theme To Puppet On A Chain/Piero Piccioni/Puppet On a Chain
The Prophet/Gabriel Jared/The Prophet
The Egg Godfather/Zacarius M De La Riva/Gallo Con Muchas Huevos
Melancholia/Johann Johannsson /Sicario
Operation Christmas/Harry Gregson Williams/Arthur Christmas
Before It’s Too Late/Piero Piccioni/From The Orient With Fury
Dartmoor 1912/John Williams/War Horse
Return To the Wild/James Hormer/Wolf Totem
Mission Rome/Daniel Pemberton/The Man From Uncle
Main Tile – Texas Adios/Anton Garcia Abril/Don Powell/Texas Adios
The Shadow Chase/Michael Giacchino/Jupiter Ascending
The Trouble With Angels – Main Title/Jerry Goldsmith The/Trouble With Angels
Opening/Craig Armstrong/Far From The Madding Crowd
The Jedi Steps and the Finale/John Williams/Star Wars: The Force Awakens