Music links the four pieces of news found after the jump in this article. There you’ll read about:
- Philip Glass will contribute music to Park Chan-wook’s Stoker.
- James Newton Howard is doing the scores for Maleficent and The Hunger Games: Catching Fire.
- Hans Zimmer‘s Inception score is remixed to show the scope of the universe.
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Hunger Games fans expecting a sweeping, quirky score to their film from a living legend are going to have to settle for a melodic, theme-driven musical accompaniment from one of the best in the business. Tomato to-mot-o. Amazing composer Danny Elfman was originally scheduled to score Gary Ross‘ adaptation The Hunger Games but, due to scheduling conflicts, he’s been forced to take his four Oscar-nominations and move on. He’ll be replaced by the eight Oscar-nominations of James Newton Howard, which could actually be a good thing. Read more after the jump. Read More »
UPDATE: We have now confirmed that James Newton Howard is in fact taking over for Elfman. Original article follows.
Add another item to the ever-growing list of setbacks plaguing The Green Hornet. The film has been having problems since day one, and between the tacked-on 3D post-conversion and the delayed January (aka “dump month”) release date, it appears that not even the addition of director Michel Gondry (following Stephen Chow‘s departure) may have been enough to salvage the project from its production woes.
The bright side here is that this particular setback may inadvertently work to the film’s advantage. Danny Elfman was originally set to work the score for The Green Hornet, but now he’s out, and James Newton Howard is in talks to take over as composer. Learn more after the break. Read More »
Here are a few quick bits of news involving the completion of Iron Man 2, when will we see the next trailer and hear James Newton Howard‘s score for The Last Airbender and new casting/production details of xXx 3D: The Return of Xander Cage.
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Posted on Friday, February 27th, 2009 by David Chen
In this special episode of the /Filmcast, Dan Trachtenberg from The Totally Rad Show joins David Chen to geek out about their favorite soundtracks. To listen to all of the songs that Dan mentioned during this episode in their entirety, click here to go to Grooveshark. To listen to all of the songs that Dave Chen mentioned during this episode, click here.
Like what you hear? Want to hear similar episodes in the future? Send feedback to slashfilmcast(AT)gmail(DOT)com or call and leave a voicemail at 781-583-1993. One correction to note: the last track that is played, “Fantasia on a Theme By Thomas Tallis” was composed by Ralph Vaughn Williams. Eugene Ormany, who we mention, conducts the orchestral performance.
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Update: Some people have reported experiencing audio problems with this sound file. Please try downloading the file to your computer, rather than playing it in your browser. That should fix the problem (If it does not, shoot me an e-mail or leave a comment below). Thanks!
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The 51st Annual Grammy Awards are in progress, and the movie awards were front loaded.
The soundtrack for Fox Searchlight’s Juno won a Grammy for Best Compilation Soundtrack, beating out American Gangster, August Rush, Mamma Mia and Sweeney Todd.
James Newton Howard and Hans Zimmer took home a trophy for Best Score for The Dark Knight, beating out Indiana Jones and the Kingdom of the Crystal Skull, Iron Man, There Will Be Blood and Wall-E.
And the Grammy for Best Motion Picture Song went to Thomas Newman and Peter Gabriel for “Down to Earth” from Pixar’s WALL-E, beating out Carrie Underwood’s Ever Ever After from Enchanted, John Mayer’s Say from The Bucket List, Amy Adams’ That’s How You Know from Enchanted and John C Reilly’s Walk Hard from Walk Hard: The Dewey Cox Story. As much as I loved WALL-E, I still think the Newman/Gabriel song is overrated, and would have liked to see Amy Adams of John C Reilly walk away with a Grammy, but alas, I don’t get to vote in the Grammys.
Posted on Thursday, January 8th, 2009 by David Chen
I’ll be honest: I wasn’t too crazy about the scores to Christopher Nolan’s Batman films at first. I probably own more of composer Hans Zimmer’s albums (in CD form) than anyone else I know, and I’ve always admired Zimmer’s ability to weave in soaring themes in the midst of intense action happening on screen. When I first watched Batman Begins I was looking forward to a kickass Batman theme on par with Elfman’s immortal score for Tim Burton’s 1989 Batman. Of course, Zimmer and fellow rock star composer and collaborator James Newton Howard had other plans.
At first, I was disappointed. But I’ve come around.
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M Night Shyamalan has found himself under attack for the casting choices in the upcoming big screen live action adaptation of Avatar, titled The Last Airbender (almost 500 angry comments on our previous news story). I have a big of good news for Avatar fans: The Gorfaine-Schwartz Agency has confirmed that seven-time Academy Award-nominated composer James Newton Howard has signed on to compose the film’s score. Airbender will be the seventh collaboration between Howard and Shyamalan. Howard most recently received acclaim for his work with Hans Zimmer on The Dark Knight.
Yes, another Dark Knight news posting — but this time it’s not just another crazy third film rumor or “Christopher Nolan is still considering a Dark Knight sequel” update.
In November, the Executive Committee of the Academy of Motion Pictures music branch ruled that the score for The Dark Knight was disqualified due to a technicality — five names were listed as composers on the music cue sheet for royalty reasons (Hans Zimmer and James Newton Howard and three other individuals — music editor Alex Gibson, ambient music designer Mel Wesson and composer Lorne Balfe).
But now the Los Angeles Times is reporting (and Variety has since confirmed) that the Motion Picture Academy may have reversed its decision, and Hans Zimmer and James Newton Howard will now be allowed to compete in the Best Original Score category. The Academy’s executive director Bruce Davis was quoted last week defending his decision saying that he “sees this as an award, like cinematography or directing, where you want to award a single creator.” But it appears the music branch had another vote on Friday about the decision, and concluded that the score should be eligible for an award nomination.
The Dark Knight Soundtrack is still available for $12.99 on Amazon, but Warner Bros music is also releasing a two-CD special edition (now available for preorder for $45.49 on Amazon), which includes four bonus remix tracks and an 40 page hardbound book.
Thanks to /Film reader Zinc for the tip.