In this episode of the podcast, film & TV editor Marshall Harvey takes time to talk with me about the role of music in his editing process, his favorite film music and composers as well as editing the films of director Joe Dante, specifically THE BURBS, MATINEE, SMALL SOLDIERS and LOONEY TUNES: BACK IN ACTION. We also discuss discernible shifts in movie music styles in recent years and Marshall shares some stories involving the late, great composer Jerry Goldsmith when working on the aforementioned Dante films.

Connect with the podcast on Facebook and Twitter:

www.facebook.com/ascoretosettle

https://twitter.com/score2settlepod

Email the show at [email protected]

In this episode of the podcast, film & TV editor Marshall Harvey takes time to talk with me about the role of music in his editing process, his favorite film music and composers as well as editing the films of director Joe Dante, specifically THE BURBS, MATINEE, SMALL SOLDIERS and LOONEY TUNES: BACK IN ACTION. We also discuss discernible shifts in movie music styles in recent years and Marshall shares some stories involving the late, great composer Jerry Goldsmith when working on the aforementioned Dante films.

In this episode, I turn my "Listening To..." focus towards the inimitable composer Jerry Goldsmith and specifically, his music for films released in 1982. In that year alone there were five theatrical releases which featured his eloquent accompaniment - POLTERGEIST, NIGHT CROSSING, THE SECRET OF N.I.M.H., THE CHALLENGE and FIRST BLOOD. It was a typically busy year for Goldsmith and he produced several of his strongest, most celebrated scores, resulting in an Academy Award nomination for POLTERGEIST. I examine the aural connections between these efforts, a bit of the concert classical influences and their place in Goldsmith's overall canon.

Connect with the podcast on Facebook and Twitter:

www.facebook.com/ascoretosettle

https://twitter.com/score2settlepod

Email the show at [email protected]

In this episode, I turn my "Listening To..." focus towards the inimitable composer Jerry Goldsmith and specifically, his music for films released in 1982. In that year alone there were five theatrical releases which featured his eloquent accompaniment - POLTERGEIST, NIGHT CROSSING, THE SECRET OF N.I.M.H., THE CHALLENGE and FIRST BLOOD. It was a typically busy year for Goldsmith and he produced several of his strongest, most celebrated scores, resulting in an Academy Award nomination for POLTERGEIST. I examine the aural connections between these efforts, a bit of the concert classical influences and their place in Goldsmith's overall canon.

In this episode, my guest is composer and musician Ben Wise. Ben writes, records and performs both with the indie/folk band TINY Goliath and as a solo artist. In the early 2000's, he began a career scoring commercials (i.e. "jingle writer"), a move which then grew to include web series, animated shorts and short films, including winning awards for the latter. We talk about his musical background, pop music, commercial jingles and film music. Contact Ben on Twitter and Instagram at @benwise and on Facebook at facebook.com/benwisemusic. The folk band TINY Goliath can be found at tinygoliath.bandcamp.com.

Connect with the podcast on Facebook and Twitter:

www.facebook.com/ascoretosettle

https://twitter.com/score2settlepod

Email the show at [email protected]

In this episode, I talk about and present examples of the marvelous music of Elmer Bernstein, specifically his jazz-oriented scores, like THE MAN WITH THE GOLDEN ARM, and those in the "Westerns" genre, THE MAGNIFICENT SEVEN for example. Bernstein was part of the unofficial "second generation" of film composers, along with Alex North, Franz Waxman and others, following on from the "godfathers" of Max Steiner, Alfred Newman and Erich Wolfgang Korngold. He tackled pretty much every genre but there were distinct periods of his career when he was considered the "go-to" guy for jazz scores, then Westerns, then comedies, amid others. This is part of my ongoing "Listening To..." series of the show in which I examine various composers, whether presenting attributes of their overall style, focusing on particular genres or even a certain year of their career. This is not a comprehensive biography of Elmer Bernstein or his entire career, but more of a brief introduction for anyone who might be curious to learn about what to listen for.

Connect with the podcast on Facebook and Twitter:

www.facebook.com/ascoretosettle

https://twitter.com/score2settlepod

Email the show at [email protected]

In this episode, I talk about and present examples of the marvelous music of Elmer Bernstein, specifically his jazz-oriented scores and those in the "Westerns" genre. Bernstein was part of the unofficial "second generation" of film composers, along with Alex North, Franz Waxman and others, following on from the "godfathers" of Max Steiner, Alfred Newman and Erich Wolfgang Korngold. He tackled pretty much every genre but there were distinct periods of his career when he was considered the "go-to" guy for jazz scores, then Westerns, then comedies, amid others. This is part of my ongoing "Listening To..." series of the show in which I examine various composers, whether presenting attributes of their overall style, focusing on particular genres or even a certain year of their career. This is not a comprehensive biography of Elmer Bernstein or his entire career, but more of a brief introduction for anyone who might be curious to learn about what to listen for.

In this episode, I am talking with soundtrack album producer and film music journalist, Dan Goldwasser. We focus on his work for both archival score releases, such as THE FIRM and AIRPLANE!, and for recent scores, in this case KINGSMAN: THE SECRET SERVICE and FERDINAND. I ask him about how these projects are begun, who's involved and roadblocks encountered. We also talk about being a movie music fan and whether this affects shepherding these albums and collaborating with composers. Check out Dan's photography and notes from scoring sessions around Los Angeles at his website, www.scoringsessions.com.

Connect with the podcast on Facebook and Twitter:

www.facebook.com/ascoretosettle

https://twitter.com/score2settlepod

Email the show at [email protected]

In this episode, I devote the first segment to Michael Kamen's score for the 1988 fantasy film, THE ADVENTURES OF BARON MUNCHAUSEN, directed by Terry Gilliam. It's been a long-time favorite, both of Kamen's output as a composer and also overall among my entire collection. For the second segment, I invited my friend and fellow soundtrack fan, George S. Nader, to discuss one of his favorites, that being Alan Silvestri's score for WHO FRAMED ROGER RABBIT, directed by Robert Zemeckis and also released in 1988. We then get into the topic of being a fan of movie music and play a game I called "Movie Music Mix Tape".

Connect with the podcast on Facebook and Twitter:

www.facebook.com/ascoretosettle

https://twitter.com/score2settlepod

Email the show at [email protected]

In this episode, I devote the first segment to Michael Kamen's score for the 1988 fantasy film, THE ADVENTURES OF BARON MUNCHAUSEN, directed by Terry Gilliam. It's been a long-time favorite, both of Kamen's output as a composer and also overall among my entire collection. For the second segment, I invited my friend and fellow soundtrack fan, George S. Nader, to discuss one of his favorites, that being Alan Silvestri's score for WHO FRAMED ROGER RABBIT, directed by Robert Zemeckis and also released in 1988. We then get into the topic of being a fan of movie music and play a game I called "Movie Music Mix Tape".