COMPOSERS (Film, Jazz)

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IMRAN AHMAD (composer)  Imran Ahmad adds a rich new sound to the zombie genre with his score for the Ford Brothers’ The Dead (2010), and in our Q&A he describes selecting the key instruments of his breakthrough score.

 


LORNE BALFE (composer)  Podcast with composer Lorne Balfe (Megamind, Assassin’s Creed III) regarding his recent scoring of the BBC documentary Harry Welcomes Arctic Heroes (2011) in which four British war vets ski to the North Pole under the sponsorship of Prince Harry for the Walking with the Wounded charity.

 


 

ELIA CMIRAL (composer) – 2009 – Elia Cmiral talks about his latest film scores – the historical WWII film Habermann, and the horror thriller Forget Me Not – as well as working in the digital and classical realms.

ELIA CMIRAL (composer) – 2007 – Elia Cmiral (Pulse) discusses his latest film scores for two movies in the latest After Dark Horrorfest film festival, Dario Piana’s The Deaths of Ian Stone, and Mark Young’s Tooth & Nail.

ELIA CMIRAL (composer) – 2006 – Composer Elia Cmiral talks about his latest horror score, Pulse, which fuses electronic and modern orchestral writing. Though best-known for his popular scores for Apartment Zero and Ronin, Cmiral’s horror and suspense work includes Bones, Stigmata, They, and Wrong Turn.

 

 


PETER CHAPMAN (composer)  Peter Chapman discusses his plum assignment, scoring Seasons 2 and 3 of  Durham County.

 


 

LISA COLEMAN and WENDY MELVOIN (composer) With a CD of music from Season 1 just released, fans can finally enjoy some of the most refreshing music in TV, and in our conversation with Lisa Coleman, you’ll get some insight into how the sound of Heroes was created.

 


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JOHN DEBNEY (composer) Podcast with composer John Debney, regarding his music for The Call, and the recent CD releases of The Relic and Hatfields & McCoys.

 


 

JAMES MICHAEL DOOLEY (composer) Best-known for co-composing the mini-classic horror score for the American remake of The Ring, James Michael Dooley discusses his affinity for minimalism, and three unique films in his ever-growing C.V. of diverse projects as solo composer: the recent remake of When a Stranger Calls, the unique documentary The Mars Underground, and Urmel aus dem Eis (a German production later to be released to English audiences as Impy’s Island).

 


 

JOHN FRIZZEL (composer) – 2010 – Intrigued by the sound of Legion (2010)? Then check out our conversation with composer John Frizzell, who discusses the music as well as scoring aesthetics, and the potential shift in returning to the organic roots of fillm scoring after a good twenty years of sound samples and pre-programmed keyboards.

JOHN FRIZZEL (composer) – 2007, Part B – John Frizzell discusses writing for the horror genre, the use of experimental concepts, and fusing electronic and symphonic elements in works like Thirt3en Ghosts, Ghost Ship, and Stay Alive. Also highlighted is the score for Lucky McKee’s long-delayed The Woods, and Frizzell’s latest work, Primeval.

JOHN FRIZZELL (composer) – 2007, Part A – Unlike John Frizzell’s prior horror scores for Dark Castle’s graphic Thirte3n Ghosts and Ghost Ship, The Reaping is a major shift in pacing and style, and is less overtly infused with experimental concepts and harsh, bristling cues. In our third discussion, we touch upon aspects and conventions of the theological thriller, and the qualities that make the music for The Reaping a noteworthy entry in this oft-visited genre.

JOHN FRIZZELL (composer) – 2006 – Following the completion of the horror film Stay Alive, John Frizzell shifted from that score’s more experimental, aleatoric style to a fusion of more accessible action-suspense music for Primeval. Like his prior scores, however, nothing’s conventional in John Frizzell’s latest score, which incorporates traditional African music supervised & recorded on location by the composer.

 

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