Composer Lorne Balfe Creates Hybrid Action Score for Terminator Genisys

 By Albert Tello

 Grammy winning composer Lorne Balfe creates an action-packed, emotive score for Paramount Pictures’ and Skydance Productions’Terminator Genisys, starring Arnold Schwarzenegger, Jason Clarke, Emilia Clarke, and Jai Courtney. Oscar® winning composer Hans Zimmer is the Executive Music Producer. Directed by Alan Taylor, “Genisys” returns to the Oscar® winning Terminator franchise to take familiar characters in a new direction.

When John Connor (Jason Clarke), leader of the human resistance, sends Sgt. Kyle Reese (Jai Courtney) back to 1984 to protect Sarah Connor (Emilia Clarke) and safeguard the future, an unexpected turn of events creates a fractured timeline.

Now, Sgt. Reese finds himself in a new and unfamiliar version of the past, where he is faced with unlikely allies, including the Guardian (Arnold Schwarzenegger), dangerous new enemies, and an unexpected new mission: to reset the future. The film opens in theaters nationwide on July 1, 2015.

With the movie building from 1991’s Terminator 2: Judgement Day, including shot-for-shot recreations, Lorne Balfe’s score needed to honor the tradition of the past Terminator films while adding bold, new music to fit the action and emotions of Genisys.

Producer David Ellison says, “This is the largest scale Terminator movie that’s ever been made. There are bigger action sequences in Genisys than any prior Terminator film.”

In addition to propelling the action, Balfe’s score needed to tap into the film’s emotional core as it explores themes of freedom and guardianship. “The score contains everything but the kitchen sink. It’s a hybrid score, and although there are these massive action cues, there is a hell of a lot of emotion.”

“The score needed to be much more personal to match the progression of the movie’s character development and convey the relationship between Sarah Connor and the Terminator,” stated Balfe.

Lorne Balfe is a Grammy Award winning, Emmy and BAFTA nominated film composer from Inverness, Scotland. His recent credits include Dreamworks Animation’s “Home” starring Rihanna, Jim Parsons and Steve Martin, Dreamworks Animation’s “The Penguins of Madagascar,” and “Manny,” a documentary about the life of boxer Manny Pacquiao which premiered at SXSW. Other composing credits include the animated film “Megamind,” and Ubisoft’s acclaimed game, “Assassin’s Creed III.” Balfe is currently scoring the Paramount Pictures thriller “Captive” starring David Oyelowo and Kate Mara, releasing September 18, 2015. He also currently co-scores the hit NBC mini-series “A.D.: The Bible Continues” with Oscar® winning composer Hans Zimmer.

Balfe began his career in Hollywood providing additional music on several major motion pictures including the second and third installments of the “Pirates of the Caribbean” series, “Iron Man,” and “Transformers: Revenge of the Fallen.” He provided additional music and was the score producer on 2008′s “The Dark Knight,” which earned him a Grammy Award for Best Score Soundtrack Album for a Motion Picture.

In addition to being named Discovery of the Year at the World Soundtrack Awards in 2009, he was also the score producer for Guy Ritchie’s “Sherlock Holmes,” which earned a 2010 Oscar nomination for Best Original Score. In 2011, he produced the score for Christopher Nolan’s “Inception,” which also earned an Oscar nomination for Best Original Score.

His music is featured in the BBC and Sundance Channel TV mini-series, “Restless,” starring Hayley Atwell and Rufus Sewell, for which Balfe received the 2013 Emmy nomination for Outstanding Music Composition. Balfe’s a BAFTA nominated video game composer with credits including “Call of Duty: Modern Warfare 2,” “Assassin’s Creed: Revelations,” “Assassin’s Creed III,” and “Beyond: Two Souls,” which features performances by Ellen Page and Willem Dafoe.




A Tiny Superhero, A Massive Score:
Composer Christophe Beck the Musical Mastermind of Marvel’s Ant-Man

 From Albert Tello and Costa Communications

In Theaters Nationwide July 17th, 2015


(Hollywood, CA) – June 15, 2015 —Iconic composer Christophe Beck leads the musical force with his massive score for Marvel’s next blockbusterAnt-Man, in theatres nationwide on July 17th, 2015.  The next evolution of the Marvel Cinematic Universe brings a founding member of The Avengers to the big screen for the first time. With the ability to shrink in size but grow in strength, a con man (Paul Rudd) must help his mentor (Michael Douglas) protect the secret of the Ant-Man suit and pull off a heist to save the world.  Ant-Man tallies another Marvel Enterprises project for Beck; he collaborated with Marvel in 2014 writing the song “Blind Man” for The Amazing Spider Man 2, and scored Elektra in 2005.

For the Ant-Man score, Christophe Beck combined action-oriented, grand-sounding superhero themes with fun and comical elements to evoke both anticipation and a sense of humor.  Beck states: “For Ant-Man, I wanted to write a score in the grand symphonic tradition of my favorite superhero movies, with a sweeping scope and a big, catchy main theme.  What makes this score stand out among other Marvel movies, though, is a sneaky sense of fun since it is, after all, not only a superhero movie, but also a heist comedy.”  Beck’s score contributes to Ant-Man’s overall impact, emotionally engaging audience members and heightening all the thrills in this action-packed adventure.

Christophe Beck’s prolific composing career bridges genres and garners well-deserved acclaim.  Beck scored the Golden Globe®- and Oscar®-winning animated film Frozen (the Frozen soundtrack album has sold over 3 million copies and was Grammy® nominated).  Christophe Beck is also the musical voice of iconic comedies of the last decade including: The Hangover (one of the highest grossing R-rated comedies of all time), American Pie,Hot Tub Time Machine, and Pitch Perfect.  Beck’s diversity as a composer is evident in his body of work ranging from documentaries (Red Army,Waiting for Superman, and the poignant true-life-based film We Are Marshall) to rom-coms including Under the Tuscan Sun, The Muppets, andCrazy, Stupid, Love. Beck’s breakthrough success came via composing music for the TV series Buffy the Vampire Slayer, for which he earned an Emmy®. At this year’s annual “Songs of Hope” charity event, Beck was presented with the Electronic Arts Composer Award.

Beck is unique in his versatile ability to develop the tone in any genre.  His music combines a masterful use of complex dynamics to create tension and convey a vast spectrum of emotion.  Beck’s scores add depth, intrigue, humor, and sentiment, and his music contributes powerfully to the aesthetic of each film he scores.  Christophe Beck is currently scoring the highly anticipated film adaptation of Charles Shultz’s beloved comic stripPeanuts.



By Alice O’Neill With thanks to Albert Tello at Costa Communications

Composer Andrew Lockington Captures the Sound of Destruction for San Andreas


The composer incorporates real-time waveform data collected from U.S. Geological Survey

The San Andreas Original Motion Picture Soundtrack Available Now on WaterTower Music


(Hollywood, CA) May 26, 2015 — Composer Andrew Lockington scores Warner Bros.’ epic disaster thrillerSan Andreas, in theaters May 26, 2015. Directed by Brad Peyton, the film follows a search and rescue pilot (Dwayne Johnson) and his estranged wife (Carla Gugino) as they make their way from Los Angeles to San Francisco to save their only daughter after the infamous San Andreas Fault gives, triggering a magnitude 9-plus earthquake in California.  Director Brad Peyton turned to Lockington, his frequent collaborator, at the earliest possible point in the film’s production. Peyton explains, “The way I like to build the world is to look at the tone and the music.  For ‘San Andreas,’ the question was how to create an original, epic and very emotional score, so we just dove in and started playing around to find the themes and the vibe of this movie.”

Always open to unique influences, Lockington incorporated sounds derived from actual waveform data collected from the San Andreas Fault to capture the intensity of the destruction. “Using real-time seismic event data collected from the U.S. Geological Survey, we found seismic elements that could be manipulated to create these incredible sounds,” explains Lockington.  To capture a sense of discord inspired by the collapsing Golden Gate Bridge, Lockington relates, “I got an old piano and spent two days destroying it with sledge hammers and wire cutters.  We had only planned to record hitting it with the hammers, and those sounds are blended in with the orchestral elements in the film. After that, I sat down to play this broken instrument that was hanging on by a thread, and I could play notes, but they didn’t sound like they were supposed to, and it no longer even sounded like a piano.  So suddenly we had this whole new instrument – and some of those sounds figure prominently in certain scenes as well. It’s an interesting rhythmic element.”

Lockington then worked with a programmer to synthesize portions of the damaged piano notes into a raw, terrifying noise that he describes as feeling like “fist dropping down on the rest of the score.” Transitioning from fear and destruction to perseverance and hope, Lockington also introduced portions of a boys’ choir “to cut through everything else that’s going on and get into the depths of emotion of these characters and their will to overcome.  We also have a very beautiful theme that transcends the disaster, with a lot of strings.” Director Brad Peyton echoed that sentiment explaining, “When we talk in terms of locking into a character’s experience with the music, we’re trying to see what they see. Beyond the epic action, buildings coming down and waves crashing through a city, there are love stories, emotional connections and the idea of a family putting itself back together.”

Andrew Lockington’s score for 2008’s Journey to the Center of the Earth received critical acclaim worldwide and earned both BMI and SOCAN Film Music Awards. He also composed the score for City of Ember, produced by Tom Hanks and starring Tim Robbins, Bill Murray and Saoirse Ronan. Lockington’s recent projects include Thor Freudenthal’s blockbuster hit adventure Percy Jackson: Sea of Monsters, as well as two films for director Ritchie Mehta: the sci-fi mystery I’ll Follow You Down and the drama Siddharth.

His scoring assignment for director Brad Peyton’s Journey 2: The Mysterious Island saw him backpacking through the remote jungles of Papua, New Guinea, to research and record ancient tribal drumming, and earned Lockington his second BMI and SOCAN Awards. He re-teamed with Peyton again, on the upcoming thriller Incarnate.  Lockington also wrote and performed the song “Stalking Stars” for Ben Affleck’s acclaimed 2012 drama Argo. Previously, he composed the eclectic score for the Golden Globe Award-nominated Frankie and Alice, starring Halle Berry and Stellan Skarsgaard, and Rob Adetuyi’s Inner City parkour dance film Beat the World.  It was his ground-breaking orchestral score to director James Isaac’s dramatic thriller Skinwalkers in 2006 that opened the door to several big-budget studio films. In 2008, Lockington was named Breakthrough Composer of the Year at the International Film Music Critics Awards. He was also nominated for Discovery of the Year at the World Soundtrack Awards.



By Alice O”Neill, With Thanks To Albert Tello at Costa Communications

British Composer Patrick Doyle to Receive World Soundtrack Awards’ Lifetime Achievement Award

The Lifetime Achievement Award will be presented to Patrick Doyle at the 15th World Soundtrack Awards in Ghent, following the festival’s focus on British Cinema


(Hollywood, CA) June 3, 2015 — Academy® Award nominated composer Patrick Doyle will be presented with the World Soundtrack Lifetime Achievement Award at the 15th World Soundtrack Awards in Ghent, Belgium. Artistic director of Film Fest Gent Patrick Duynslaegher on choosing the composer: “This year’s focus of the 42nd Film Fest Gent will be on British Cinema, so Patrick Doyle was the ideal candidate to grant the Lifetime Achievement Award to, during the 15th World Soundtrack Awards. Anyone who can still recount hearing Doyle’s score for Kenneth Branagh’s debut film ‘Henry V’ in 1989 for the first time, knows that back then a great composer was born. Ever since, Patrick Doyle has been a close collaborator with Mr.Branagh and always gave a deeper musical layer to all of his films including the Shakespeare adaptations. The immensely versatile Doyle enriched the films by Robert Altman, Ang Lee, Chen Kaige, Alfonso Cuarónand Brian DePalma with his alternating tragic, noble, triumphant and romantic compositions. With his work on blockbusters such as ‘Rise of the Planet of the Apes’ and ‘Harry Potter and the Goblet of Fire’ he certainly proved his talent working on spectacular Hollywood action and adventure films.”

Patrick Doyle, who recently scored Disney’s international box office hit ‘Cinderella’, will receive the Lifetime Achievement Award during the WSAwards Concert for his outstanding career in film music. His collaborations with Kenneth Branagh include the Shakespeare adaptations ‘Henry V’, ‘Hamlet’, ‘Much Ado About Nothing’, ‘As You Like It’ and ‘Love’s Labour’s Lost.’ A selection of Doyle’s work will be performed by Brussels Philharmonic and conducted by Dirk Brossé. The American composer Alan Silvestri (‘Back to the Future’, ‘Forrest Gump’) and the 2014 WSAwards Discovery winner Daniel Pemberton (The Counselor, Steve Jobs) have also been confirmed as the central guest and performer of the evening.

World Soundtrack Awards
24 October 2015 ‘t Kuipke Ghent


By Alice O’Neill

Press Contact: Ray Costa | Albert Tello |
Costa Communications, Inc.
Office: 323-650-3588

Deadline: July 10, 2015
WHAT: For the first time, the 15th World Soundtrack Awards (WSA) has opened their Composition Contest for Young Composers to young composers across the world. The WSAs will present the SABAM Award for Best Young International Composer to one of three selected finalists. The three finalists will be invited for a three-day visit in Ghent where they will have their compositions performed by the Brussels Philharmonic and conducted by maestro Dirk Brossé during the 15th World Soundtrack Award’s official closing ceremony of the 42nd Film Fest Gent on October 24, 2015. They will also have opportunity to meet with international film music professionals and compete for a € 2,500 prize.
Featured guests at this year’s World Soundtrack Awards will include Alan Silvestri (Back to the Future, Forrest Gump) and Daniel Pemberton (The Man from UNCLE, The Counselor) winner of 2014’s Discovery Award.
Composers under the age of 36

Registration deadline: July 10, 2015
Composition submission deadline: August 10, 2015

‘t Kuipke
Leeuwstraat 40b
9000 Gent, Belgium

Young composers will have the chance to have their music played in front of some of Hollywood’s most prominent film composers at The World Soundtrack Awards (WSA) in Ghent, Belgium.
Registration: Here
Official Rules: Here
More Information:


By Alice O’Neill, Submitted by Albert Tello, Costa Communications

(Hollywood, CA) April 21, 2015— Grammy nominated producer and composer Junkie XL provides the score for Warner Bros. Pictures and Village Roadshow Pictures’ post-apocalyptic action-thriller “Mad Max: Fury Road,” starring Tom Hardy, Charlize Theron, and Nicholas Hoult. Directed by Oscar® winner George Miller, the mastermind behind the legendary “Mad Max” franchise, “Fury Road” is a return to the world of Road Warrior, Max Rockatansky (Hardy). Haunted by his turbulent past, Max teams up with a mysterious woman, Furiosa (Theron), to try and survive a high-octane Road War. The film opens in theaters worldwide May 15, 2015, and will premiere at the Cannes Film Festival on May 14, 2015. The “Mad Max: Fury Road” original motion picture soundtrack will be available onWaterTower Music on May 12, 2015, and is now available for preorder on Amazon andiTunes.

For the franchise’s first installment in 30 years, director George Miller took the madness to a new extreme. Junkie XL explains, “When you’re watching the film, you’re in a world that has gone completely mad. Everything we know about society is out of the window. It’s so out of this world crazy that it felt like the sum of the previous three movies. To capture this, the music couldn’t be a standard action score. It needed to be incredibly over the top to fit the imagery, almost as if it were a modern rock opera.”

The movie’s vast landscape provided ample opportunity for the composer to explore a diverse range of musical territory, from beating drums to sweeping strings and electric guitar-driven operatic themes, utilizing nearly 200 instruments. “The score includes almost everything in a composer’s arsenal. The instrumentation ranges from big, brutal percussion and an 80-voice choir, with string sections and musical sound design, and everything in between. I used anything I could get my hands on.”

For the film’s lighter moments, Junkie XL studied the classic film scores of Hollywood’s Golden Age, particularly those of Bernard Herman. “In the moments you leave the super mad world and get back to the humanity of the characters, the music gets stripped down. For these scenes, I incorporate woodwinds and use the string section as the driving force. I wanted to channel the great film scores of the ‘40s and ‘50s and studied the era. Those scores had a complex classical quality to them that I wanted to capture,” explains Junkie XL.

Junkie XL (Tom Holkenborg) has built a reputation on musical experimentation. The Grammy-nominated multi-platinum selling producer and composer’s versatility puts him on the cutting edge of contemporary music, as well as at the vanguard of film composition. Junkie is able to draw on his extensive knowledge of classical forms and structures while maintaining a connection with popular music. His recent film credits include Divergent, 300: Rise of an Empire, and Run All Night. Junkie XL’s upcoming projects include Batman v. Superman: Dawn of Justice and Warner Bros. Point Break, inspired by the classic 1991 hit film of the same name, releasing December 25, 2015. He is teaming with Oscar® winning composer Hans Zimmer for Batman v. Superman, providing the music for Batman with Zimmer composing the score for Superman in the film. Junkie XL has collaborated with Zimmer on several projects including The Amazing Spiderman 2, Man of Steel, Shark Tale,and one of the highest-grossing films of all-time, Christopher Nolan’s The Dark Knight Rises. He is also currently creating new themes for EA Sports’ prestigious NFL video game franchise Madden ’16.

Holkenborg’s artist career began in 1993 when he founded the industrial band NERVE, while producing hardcore and metal bands like Sepultura and Fear Factory. Drawn by electronic breakbeats he became Junkie XL in 1997 debuting with the album “SaturdayTeenage Kick.” Holkenborg went on to produce five more albums under the moniker while headlining shows worldwide. In 2002 the producer/remixer scored a number 1 hit in 24 countries with his rework of Elvis Presley’s “A Little Less Conversation”. Following the success, Holkenborg collaborated with celebrated artists including Dave Gahan, Robert Smith, Chuck D, and remixed artists such as Coldplay, Depeche Mode, Britney Spears, and Justin Timberlake.

George Miller directed “Mad Max: Fury Road” from a screenplay he wrote with Brendan McCarthy and Nico Lathouris. Miller also produced the film, along with longtime producing partner, Doug Mitchell, and P.J. Voeten. Iain Smith, Graham Burke and Bruce Berman serve as executive producers. The film stars Tom Hardy, Charlize Theron, Nicholas Hoult, Hugh Keays-Byrne, Nathan Jones, Josh Helman, Rosie Huntington-Whiteley, Riley Keough, Zoë Kravitz, Abbey Lee and Courtney Eaton.

The behind-the-scenes creative team included Oscar-winning director of photography John Seale (“The English Patient”), production designer Colin Gibson (“Babe”), editor Margaret Sixel (“Happy Feet”), Oscar-winning costume designer Jenny Beavan (“A Room with a View”), second unit director/supervising stunt coordinator Guy Norris (“Australia”), and makeup designer Lesley Vanderwalt (“Knowing”).

Warner Bros. Pictures presents, in association with Village Roadshow Pictures, a Kennedy Miller Mitchell production, a George Miller film, “Mad Max: Fury Road.” The film is scheduled for release on May 15, 2015, and will be distributed by Warner Bros. Pictures, a Warner Bros. Entertainment Company, and in select territories by Village Roadshow Pictures. The film has been rated R for intense sequences of violence throughout and for disturbing images.


“To Kill A Mockingbird” Continues

By Alice O’Neill

Harper Lee’s old novel being turned into a new best seller is getting
a lot of press. Everyone I know has a memory of reading the book or seeing the movie.

I taught “Mockingbird” to junior high students in the
1970s. Great book about a real civil rights and social problem as seen
through the eyes of a precocious girl. And it made a terrific movie.
Mary Badham played Scout. She’s the sister of John Badham, who
directed “Saturday Night Fever.”  She had never acted before and
little was known of her.

I once chatted with Veronique Peck, Gregory Peck’s last wife, at the after
party for the Broadway production of “Death of a Salesman.” Elegant
woman. Her daughter with Peck, Cecelia, echoes qualities of her mother.

Here’s an interview you might find

Compassion and tolerance are the lessons learned from “To Kill A
Mockingbird.” It’ll be interesting to see what the new book offers.
I’ll bet money that a movie deal has already been contracted.

Have to wait and see who plays the grown up Scout. Looking at the
photos on Mary Badham’s Facebook page it seems the adult Mary Badham
has the same quirky looks as she had at nine. Will she get the role?
In my view it’s not likely. My money is on a trained actress with
star power, somebody like Amy Adams.
Mary never took an acting class and says she won’t either. She’ll
probably have a minor role which might help publicize the new film. She’ll always be known as the child actress who played Scout. That association is uppermost in her mind all these years after the making of that marvelous film.