Tuesday, February 17 2015
So long as the Academy clings to a myopic definition of what an "original" score is, too many deserving composers will be left out come Oscar night.
Tuesday, December 16 2014
The year 2014 saw classic composer/director teams hit new highs, as well as a considerable dark streak take over the world of film scoring.
Thursday, July 10 2014
In evaluating what makes a great film score, writers, composers, and listeners must ask themselves if the function of cinematic music limits the form it has to take.
Friday, May 9 2014
From Biblical epics to run-of-the-mill rom-coms, Notes on Celluloid takes a look at (and listen to) some of the strongest film music of 2014 thus far.
Wednesday, March 5 2014
PopMatters speaks with Jóhann Jóhannsson about his latest venture into music for cinema, his moody and melancholy score for the police thriller, McCanick.
Wednesday, December 11 2013
This year saw no shortage of innovative, exciting film scores. Notes on Celluloid counts down the ten soundtracks that lingered the longest in our minds.
Thursday, December 5 2013
Clint Mansell’s score for Darren Aronofsky’s metaphysical science fiction film, The Fountain, is a masterpiece of both film music and contemporary art music.
Monday, October 21 2013
PopMatters speaks with director Nicolas Winding Refn and composer Peter Peter about the long overdue release of Peter's score to Refn's 2010 Middle Ages brooder, Valhalla Rising, and its undulating dark ambient music.
Thursday, September 5 2013
PopMatters speaks with Only God Forgives composer Cliff Martinez about working with Nicolas Winding Refn, writing music for bloody movies, and finding success in film music.
Thursday, August 8 2013
No matter how classically trained (John Williams) or pop-minded (Hans Zimmer) a composer might be, the skill set required for making great movie music is unlike any other form of composition.