Film
Brian Wilson Shares Trailer for Long Promised Road (Pitchfork)
A new trailer and poster has been shared for the forthcoming documentary Brian Wilson: Long Promised Road. Check them both out below.
The film was directed by Brent Wilson (no relation) and is set for simultaneous release in theaters and video-on-demand on November 19. It features extended interviews between the Beach Boys co-founder and Rolling Stone editor Jason Fine, as well as appearances by Al Jardine, Bruce Springsteen, Elton John, Nick Jonas, My Morning Jacket’s Jim James, Jakob Dylan, Foo Fighter’s Taylor Hawkins, and more.
The premiere coincides with Brian Wilson’s new solo piano album At My Piano, a collection of stripped-back classics from his catalog, also due out November 19.
Read full article here
Oscars 2022: Best Original Score (IndieWire)
The race for Best Original Score is marked by experimentation and invention, highlighted by the innovative frontrunner “Dune,” “The Power of the Dog,” “Spencer,” “Cyrano,” “King Richard,” “The Tragedy of Macbeth,” “Nightmare Alley,” and “Candyman.” Plus, two animated musicals — both graced by the songwriting chops of the very hot Lin-Manuel Miranda — experiment with the cultural sounds of Colombia and Cuba: Disney’s magical “Encanto” (from Germaine Franco, the studio’s first woman composer to score an animated feature), and Sony/Netflix’s “Vivo” (scored by Alex Lacamoire).
Jonny Greenwood achieves his own masterful musical invention for Jane Campion’s psychological western, “The Power of the Dog” (Netflix). Inspired by the repression and savagery of Montana rancher Phil (Benedict Cumberbatch), Greenwood twists orchestral instruments into unique sounds to convey his loneliness, isolation, and yearning set against the beautiful landscape and his prison-like ranch house. A cello becomes a banjo for a unique sophistication, an atonal piano evokes pain, and French horns and strings have an aching quality. Greenwood essentially turns his score into a nightmare. (Greenwood also contends for “Spencer,” Pablo Larraín’s fable about the painful Christmas holiday of ’91 for Kristen Stewart’s Princess Diana. His score is about the colorful chaos of jazz set against the traditional orchestra that represents the Royal family. It starts with a baroque orchestra that mutates into free jazz by substituting instruments, one at a time, with the jazz performers.)….
In a season blessed by experimentation and invention, Hans Zimmer's "Dune" frontrunner goes up against Jonny Greenwood's "The Power of the Dog."
Frontrunners
“Cyrano”
“Dune”
“King Richard”
“The Power of the Dog”
“The Tragedy of Macbeth”
Rachel Portman Discusses the Julia Soundtrack (The Film Music Institute)
There’s always been a delicious zest to Rachel Portman’s way with outsized characters, a talent for hearing life as a sympathetically loopy, waltzing circus as capable of laughter as it is heartbreak. From the clowning Johnny Depp that put the English composer on the Hollywood map with 1993’s “Benny and Joon” to a gallery of aristocrats high and low born, American eccentrics from the city and trailer hoods and any number of dottily magical characters, Portman’s tell-tale melodic voice is no more joyous than when celebrating individuals who capture the public’s imagination, no more so than when mixing the ingredients to embody the larger-than-life, French-trained, Pasadena-born bon vivant Julia Child, the woman who brought nascent food porn to tastefully break America out of its jello and hotdog-bound kitchen rut into the land of anyone-can-cook-it gourmet courses.
“Emma” Oscar winner Rachel Portman whisks together a magical concoction whose ingredients are immediately recognizable at first bite.
Taste wistful strings, romping rhythms, accordion waltzes and emotion as gossamer as it can be aching, all finished on the symphonic stove with memorable themes and melody, and you’ve got the musical cooking of Rachel Portman when given the kind of boisterous character canvases she excels at. Indeed, the musician who showed that women could make a film composing mark has never more stylistically scrumptious than serving up the persona of a fellow groundbreaker in a respectively wondrous field.
Read the full article from the Film Music Institute here.
Joshua Moshier's "The Shrink Next Door" Soundtrack (Deadline)
Moshier, who composed the main title music for Documentary Now! (IFC), also previously working on such series as Baskets (FX) and Special (Netflix), looked to be nimble with his latest score, reflecting the varying tones of a series that could turn on a dime from warm and lighthearted to disturbing and dark. He’d ultimately pen not only its full score, but also its main title theme.
“When I first began imagining the musical interior world of Marty and Ike, I created seven short musical vignettes to evoke the arc of their relationship,” says the composer. “Georgia Pritchett, Michael Showalter and the entire team were incredibly supportive of these ideas, and of using the score boldly to tell this story.
“Their trust was creatively liberating, and I felt free to let the music find its own sound,” Moshier adds, “one as lyrical and heartfelt but also as dark and tangled as the relationships portrayed. I’m grateful to them for bringing me along to be a part of this beautiful series.”
The first exclusive track from Joshua Moshier’s score for The Shrink Next Door, which is set for digital release via Lakeshore Records on November 12, as the first three episodes of the limited series become available for streaming on Apple TV+.
Lakeshore Records is the soundtrack arm of the Cutting Edge Group. The four-time Grammy-nominated record label has previously released the soundtracks for such acclaimed titles as Bridgerton, Drive, Stranger Things, The Old Guard, Cyberpunk 2077, When They See Us, The Handmaid’s Tale, Black Mirror, Star Trek: Picard, Bojack Horseman, Les Misérables, Mandy, Narcos, Logan, The Walking Dead, Napoleon Dynamite, Bill & Ted Face the Music, Red Dead Redemption 2, Legion, Lady Bird, Moonlight, Little Miss Sunshine, American Factory, If Beale Street Could Talk and The Hurt Locker, among many others.
Read the full article here.
Ryan Gosling, Russell Crowe’s Comedy ‘Nice Guys’ Gets Investment From Cutting Edge (Variety)
Music publishing rights specialist Cutting Edge Group and its financial arm, Conduct, have made an investment in the Ryan Gosling-Russell Crowe comedy “The Nice Guys,” Variety has learned exclusively.
Warner Bros. opens “The Nice Guys,” directed by Shane Black, on May 20.
CEG has also announced new investments in “The Infiltrator,” starring Bryan Cranston and being released theatrically by Broad Green; “Limehouse Golem” from Number 9 Films, toplined by Olivia Cooke and Douglas Booth; and “In Their Finest Hour and a Half,” Lone Scherfig’s WWII comedy with Sam Claflin, Gemma Arterton, Jack Huston and Bill Nighy.
Seven-year-old CEG has invested in “Carol,” “Sicario,” “Whiplash,” “Fury,” “The King’s Speech,” “Drive,” “Looper” and “End of Watch” in exchange for music publishing rights. It handles scoring, clearances and music supervision in films, then recoups from soundtrack and sheet-music sales; licensing and royalties from international ticket sales and TV deals; and rights in TV commercials.
“Both are brilliant,” said CEG’s CEO Philip Moross. “Both deserve the Oscar! These two films scores are a fantastic addition to our high quality catalogue of music rights.”
CEG is the executive music producer of “Sicario” and “Carol.” The scores from Johann Johannsson for “Sicario” and Carter Burwell for “Carol” have both been nominated for Academy Awards.
Cutting Edge Group recently renewed their slate deal with Basil Iwanyk’s Thunder Road Pictures and closed an overall deal with Cross Creek Pictures. The company is looking to invest into a handful of A-list producers on development deals and around 25 single pictures a year against the use of music rights.
Read full Variety article here
Cutting Edge Invests in Tom Cruise’s ‘Mena,’ ‘Hunter’s Prayer’
Music publishing rights specialist Cutting Edge Group and its investment arm Conduct have come on board four upcoming movies, including Tom Cruise thriller “Mena,” directed by Doug Liman.
The deals, unveiled at the Toronto Film Festival, also include Sam Worthington’s “The Hunter’s Prayer,” directed by Jonathan Mostow; “Ninth Life of Louis Drax,” the Alexandre Aja thriller from Miramax: and “Yoga Hosers,” the Kevin Smith comedy which co-stars Johnny Depp.
“We’re excited to be involved with films of such high quality,” said James Gibb, Conduct managing director. “Its been was a very productive TIFF for us so far, we have the check book out and we’re looking for more!”
Cutting Edge has investments in “Remember” and “Sicario,” which are both screening at Toronto. The company recently renewed its slate deal with Basil Iwanyk’s Thunder Road Pictures and closed a 12-picture deal with Brian Oliver’s Cross Creek Pictures and a five-picture deal with QED.
Seven-year-old CEG has invested in “Everest,” “Whiplash,” “Fury,” “John Wick,” “The King’s Speech,” “Drive,” “Looper” and “End of Watch” in exchange for music publishing rights. It handles scoring, clearances and music supervision in films, then recoups from soundtrack and sheet-music sales; licensing and royalties from international ticket sales and TV deals; and rights in TV commercials.
Read full Variety article here
Cutting Edge Invests in ‘Everest,’ ‘Dirty Grandpa’
Music publishing rights specialist Cutting Edge Group and its investment arm Conduct have come on board six upcoming movies — “Everest,” “Message From the King,” “Dirty Grandpa,” “November Criminals,” “Unlocked” and “Army of One.”
“Everest,” due out September 18 from Universal, recaps the 1996 multi-expedition assault on Everest that left eight climbers dead. Jake Gyllenhaal, Jason Clarke, Josh Brolin and John Hawkes star.
“Dirty Grandpa,” due out February 26 from Lionsgate, stars Robert De Niro and Zac Efron.
Seven-year-old CEG has invested in “Whiplash,” “Fury,” “John Wick,” “The King’s Speech,” “Drive,” “Looper” and “End of Watch” in exchange for music publishing rights. It handles scoring, clearances and music supervision in films, then recoups from soundtrack and sheet-music sales; licensing and royalties from international ticket sales and TV deals; and rights in TV commercials.
“It was a very productive Cannes for us this year and we’re excited about the quality and talent associated with these films,” Conduct managing director James Gibb said. “We’re also not done with at least another six deals in the works and more beyond that.”
Cutting Edge recently renewed its slate deal with Basil Iwanyk’s Thunder Road Pictures.
Read full Variety article here