When it comes to film, “character actors” and “leading men” are usually two very distinct and disparate roles. It is only the scant few thespians who can consistently work in both worlds and dance between them seamlessly. To that end, you might call Thomas Jane unique or, better, a unicorn. Actually, he’s so good at diving into a character that when he’s on, it’s like watching a unicorn run through a field of four-leaf clovers heading for a pot of gold under a rainbow. Part of what adds to TJ’s charisma and career longevity is that he has plenty of interests outside of acting. One of them is comics and…
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Interview…Composer Benjamin Wallfisch on Predators, Aliens and Clowns
It’s a good bet that if a film sticks with you, it’s because of the score. While it doesn’t do all the heavy lifting, a theme can pump a narrative full of so much intangible energy that it is basically a character in the story. So when a composer taps into the feature at hand, they can deliver some of the most impacting sounds you’ll ever hear. And those notes don’t just hit you in the feels, they echo in eternity. Benjamin Wallfisch is one such artist whose sonic blankets literally bring films and television to life. We chatted with him years ago to discuss A Cure For Wellness as…
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Interview…Dave Porter Gets Into Mysterious Musical Headspace with ‘Pluribus’
Composer Dave Porter brings his orchestral, rhythmically intricate, and emotionally resonant sound to Vince Gilligan‘s mysterious new series on Apple TV+. Porter, Gilligan’s longtime collaborator, crafted a score that mirrors the moral ambiguity, psychological tension, and humanity at the heart of the story. With a career spanning landmark television, feature films, and innovative orchestral projects, he continues to redefine the possibilities of scoring for the screen. The score for Pluribus (which premiered on November 7) emphasizes the stakes and shifting dynamics of the shows characters. The score blends orchestral textures with a small-scale choir to highlight the series’ unpredictable narrative. Porter’s work is incredibly essential to the nuance of Gilligan‘s…
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Exclusive First Listen: Brian Tyler Works Magic with ‘Now You See Me: Now You Don’t’
They say the third time’s the charm for anything. Yet when it comes to Brian Tyler, esteemed composer of plenty of blockbuster films in the last ten years, he knocks it out of the park on his first at bat. Having said that, any time that he gets to dip back into a franchise, Brian offers up something new and fresh that still retains the magic he conjured the first time around. So that brings us here today as Tyler re-joins the “Four Horsemen” on their third outing and Brian, per usual, goes all out. Lakeshore Records is set to release the score to Now You See Me: Now You Don’t digitally…
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Interview…Nina Bergman on Acting, Dancing and Rocking Out with ‘Deathstalker’
One of the treats we found at this year’s Fantastic Fest is writer-director Steven Kostanski‘s remake of Deathstalker. The fantasy film is one of a handful of efforts reviving beloved and/or obscure films from the last forty years. Kostanski has a knack and fondness for practical effects and he makes nearly everything himself – talk about putting yourself in your work. He inspires others whether it’s the cast or composers and it’s because his films come down to one thing: fun. It is evident Steven is a fan of Army of Darkness, Willow, Ghostbusters and plenty more films with standout monsters of that era. With Deathstalker, he’s outdone himself in…
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Interview…Laura Karpman on Maximalism, Making Her Own Brand of Music, and Letting the World Catch Up
If you’re a film score fan, you are sure to have your favorite composers as well as a collection of soundtracks that mean a lot to you. Over time, if you listen to any musician’s output you’ll notice grooves and rhythms that some refer to as a calling card. Whether it is the repeat use of an instrument, a style of music they play or the “Horner snarl”, a Goldsmith score is a Goldsmith score, a Williams score is a Williams score, and so on. Now what perks up our ears is when the music we hear is not easily discernible. Is that Doyle or Jackman, is that Shapiro or…
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Interview…Richard Kaufman Conducts ‘Pops Through Time’ for the Dallas Symphony
They say you can never go back, and most times that’s true. Buuut not when it comes to music. This year, the world-renowned Dallas Symphony Orchestra is celebrating its 125th anniversary. This season, they are really pulling out the stops and having some fun. As we approach the holidays, what better way to put a little pep in your step than revisiting the most popular music that the DSO’s Pops fans have enjoyed over the years. We are thrilled to welcome back former Principal Pops Conductor Richard Kaufman, who served the DSO in that role for 14 years. He’ll dig into the vast treasure trove of beloved pops hits —…
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Exclusive First Listen: Ariel Marx’s Striking Sounds for ‘Murdaugh: Death in the Family’
This month we look at and appreciate the things we’re thankful for…and top of that list is music. So here’s to all the artists and composers who have made our hearts swell, helped our emotions soar and, sometimes, put our nerves on notice. So enter the ever fabulous Ariel Marx who has lent her deft hand to Hulu’s Murdaugh: A Death in the Family. In this original series soundtrack, Marx’s distinctive use of dissonant sounds and striking atmospherics immediately creates an unsettling tone for the horrific true story of the Murdaugh murders case. It’s dripping with so much tension and deep-friend drama that you can practically smell the butter. Well ahead of…
