After experiencing the epic movie LAWRENCE OF ARABIA and having my first brush with film music, I was taken to see 55 DAYS AT PEKING. I have to admit I never really noticed the music in this movie – I think I was too busy enjoying all the explosions, the battle scenes, the costumes, the array of uniforms on display and the gripping storyline. I loved the film and a few years later came across the soundtrack LP on CBS Records in a second hand store for the princely sum of 24 shillings and 6 pence, which in today’s currency is about £1.25. Alongside the LP in the rack were THE FALL OF THE ROMAN EMPIRE and EL CID, both at the same price. I looked carefully at all three and decided 55 DAYS had the better cover so I got it (I hasten to add I did return and got the other three with my saved pocket money). What I loved about the old LP record Continue reading 55 Days at Peking
Lucas Vidal is a versatile and expressive composer who recently scored the feature films THE RAVEN with John Cusack and THE COLD LIGHT OF DAY starring Bruce Willis and Sigourney Weaver. A native of Spain, Vidal made history at the Berklee College of Music where he was the youngest student to ever compose and record the score for a feature film with an 80-piece orchestra. He then moved to New York to continue his studies under the guidance of Richard Danielpour while attending the Julliard School of Music. Vidal was exposed to the intricacies of music composition at a very young age, allowing him to develop his distinct style of composition and a unique use of longhand writing skills.
In addition to numerous feature films, his impressive resume includes writing a piece for the opening gala of the Boston Ballet, conducing at the Boston Symphony Hall, commercial advertising and video game soundtracks. He has recorded over 100 sessions in most of the major studios throughout the United States and Europe. Lucas Vidal currently splits his time between Madrid and Los Angeles. Continue reading Lucas Vidal
When this movie first hit the cinemas, it was slated and put down by critics, it was seen as a vehicle for Hammer films to try and become hip with the younger generation, which in fact it was, sadly at the time it failed miserably and was to be honest a laugh a minute, with all its so called trendy and groovy talk from the younger members of the cast, if one had lived during the 1970s one would know this. But it has in recent years become something of a cult film, and on viewing it a couple of times more recently I too have warmed to it, OK its certainly no classic hammer horror but it contains some interesting and suitably horrific moments. The score by Mike Vickers does its job and supports and enhances where it needs to, the former Manfred Mann group member provided the film with a funky sounding pop orientated score Continue reading Dracula A.D. 1972
Jody Jenkins is an established composer for film and television, based in Soho, London. His credits include numerous original scores, commissioned for a broad range of productions, as well as collaborations with some of the world’s most renowned film composers as a programmer and orchestrator.
Q: You studied at the Royal Academy of Music and I think concentrated upon percussion and composition whilst there. Had you always had it in mind to write for film and television?
Well, I always wanted to be a performer. Both my parents were composers and it always seemed quite a lonely existence when I was a much younger. I loved being around orchestras and that sense of being in a big team. Most of my early observations of writing music were that it was quite tedious. Then as I went through Music College I started writing more and more and grew to love it. I also became aware that the life of a performing musician might not be for me. I’m glad I was a performer for so long now, because it was invaluable spending so much time with other instrumentalists, watching and learning. Continue reading Jody Jenkins
Arnau Bataller was born in Alzira, Valencia, in 1977. Thanks to the influence of his parents, he had an early interest in music, theater and reading. At the age of seven he began studying music theory and violin at the Alzira Musical Society. After getting a professional degree in violin in 1998, Arnau decided to concentrate his efforts in the world of composition. He had always been attracted to the union of music and image, so he decided to specialize in music for film. For this reason he decided to pursue his studies in composition at the University of Southern California, Los Angeles. His three years here helped him grow as a composer and as a person – and also to hate fast food! Arnau finished his studies at the University of Southern California in late 2002. Since then, Arnau has been composing music for several feature films, including 14 DAYS WITH VICTOR, HÉROES, OUIJA and LA HERENCIA VALDEMAR. He has also written concert music, including the chamber piece ‘Tre movimenti alla Rossini’ Continue reading Arnau Bataller