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 An interview series with leading Motion Picture & Television Industry Composers 
Film & Television Composers score music to accompany a motion picture for film or television. This could include dramatic underscore as well as popular songwriting. The traditional role of a film composer is to provide the orchestral dramatic underscore, and only more recently has the popular soundtrack begun to stand on its own.
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Pictured (Under): "The Wrecking Crew"

John Corigliano | Composer

Mastering The Red Violin - Interview with John Corigliano

The Red Violin was only the third film score you've written - you are primarily a concert composer. What drew you to this particular film?

"I had a disappointing experience on Revolution. It wasn't Hugh Hudson's fault; but neither the production nor the music came out the way I thought it would, and the film wasn't a success. I'd still had many offers, but I was just going to leave the film music scene and not come back until Peter Gelb from Sony came to me with the script for The Red Violin.

Clef Notes
Wed, 02/22/2017 - 04:58
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Don Davis | Composer

Don Davis: Jurrasic Park III Interview

The last time we talked was just before "The Matrix" came out - and it turned out to be quite a hit. With the success of "The Matrix", do you think that has impacted your career thus far, two years later?

quote-leftOh yeah! Anything that has impact like that is going to change somebody's perception by others. "The Matrix" was such a surprise hit, but it's still hard to get projects because now I find myself competing with much higher properties. But I don't think I would have been considered for "Jurassic Park III" if I hadn't done "The Matrix".

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Wed, 04/12/2017 - 04:13
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John Altman | Composer

All's Welles, that Ends Welles An interview with John Altman

How did you get involved with RKO 281?

I had just done Vendetta for HBO, which is about the worst mob lynching in American history. It's a really interesting story that takes place in New Orleans in the 1890's, and it didn't involve blacks, which surprised me. I had also worked with (RKO producer) Ridley Scott a lot on commercials - I have done virtually all of his big commercials over the past few years. Additionally, I do a lot of 1940s style big band stuff, so my name was coming from five different directions, and it just gelled. I came aboard at the script stage, since there was a lot of music that needed to be pre-recorded - the radio music, newsreel music, and of course the Bernard Herrmann stuff.

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Fri, 02/24/2017 - 07:02
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John Barry | Composer

John Barry: The Gstaad Memorandum

Why was this film [Moviola, a documentary on Barry, which was screened moments before] made, and why does it not deal with the diversity and versatility of your music?

There's a very simple answer. This was made by Sony. I'm with Epic Records, and I made an album called Moviola. That album was a compilation of all the romantic themes, or many of the romantic themes, that I've written. And when you listen to an album, I think it's nice to have a transcendent mood rather than a romantic one. So it had a similar tone throughout. It was made by Sony, then it was picked up by Channel 13 in America, and put on a series they had called Great Performances. So that is why it is of this nature. I've also done another album for Sony called Moviola II, which takes care of all the James Bond music, Zulu, all the action films that I've done.

Clef Notes
Mon, 04/17/2017 - 06:58
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