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 - Jerry Goldsmith - Music Box
Les Rois Maudits/Lancelot du Lac
 - Georges Delerue - Music Box 


Aulcie - Chris Gubisch
Belfast - Van Morrison
Clifford the Big Red Dog - John Debney
Cusp - T. Griffin
Hive - Julien Painot
Julia - Rachel Portman
Love Is Love Is Love - Laura Karpman
Mayor Pete - Joe Wong
My Fiona - Miles Bergsma
Night Raiders - Moniker
Soulmates - Kevin Lax
Tick, Tick...Boom - Jonathan Larson 


November 19
Call of Duty: Vanguard - Bear McCreary - La-La Land
The French Dispatch - Alexandre Desplat - ABKCO 
It's a Wonderful Life - Dimitri Tiomkin - La-la Land
Without Remorse - Jonsi - Krunk
November 26 
The United Way
 - George Fenton - Gearbox
December 3
The Serpent - Dominick Scherrer - Svart 
December 17
 - Germaine Franco, Lin-Manuel Miranda - Disney
Date Unknown
Byleth il demone dell'incesto
 - Vasco Vassil Kojucharov - Beat
Captain Scarlet and the Mysterons
 - Bary Gray - Silva
Gabriel Yared: Music for Film
 - Gabriel Yared - Silva
Gli occhi freddi della paura
 - Ennio Morricone - Beat 
The Hitcher
 - Mark Isham - Silva
Le Professionnel/Le Marginal
 - Ennio Morricone - Music Box
 - Mario Migliardi - Beat
Mychael Danna: Music for Film
 - Mychael Danna - Silva
The Navigator/Steamboat Bill Jr./Seven Chances
 - Claude Bolling - Music Box
Shigeru Umebayashi: Music for Film
 - Shigeru Umebayashi - Silva 


November 12 - Bob Crewe born (1930)
November 12 - Mort Shuman born (1938)
November 12 - Booker T. Jones born (1944)
November 12 - Neil Young born (1945)
November 12 - Kenyon Hopkins begins recording his score for The Fugitive Kind (1959)
November 12 - Richard Markowitz records his first Mission: Impossible score, for the episode “The Mind of Stefan Miklos” (1968)
November 12 - David Shire records his score for The Godchild (1974)
November 12 - Alan Silvestri begins recording his score for Clean Slate (1993)
November 12 - Velton Ray Bunch records his score for the Star Trek: Enterprise episode “Similitude” (2003)
November 12 - John Tavener died (2013)
November 12 - Karl-Ernst Sasse died (2006)
November 13 - Leonard Rosenman begins recording his score for Hell Is For Heroes (1961)
November 13 - Andre Previn begins recording his score to Dead Ringer (1963)
November 13 - Henry Mancini begins recording his score for The Thief Who Came to Dinner (1972)
November 13 - Maurice Ohana died (1992)
November 13 - David Bell records his score for the Star Trek: Deep Space Nine episode “The Sword of Kahless” (1995)
November 13 - Carlo Rustichelli died (2004)
November 14 - Aaron Copland born (1900)
November 14 - Alden Shuman born (1924)
November 14 - Edmund Meisel died (1930)
November 14 - Wendy Carlos born (1939)
November 14 - Jean-Claude Petit born (1943)
November 14 - Yanni born (1954)
November 14 - Tom Judson born (1960)
November 14 - Stuart Staples born (1965)
November 14 - Alexander Courage records his score for the Voyage to the Bottom of the Sea episode “The Lost Bomb” (1966)
November 14 - Dave Grusin begins recording his score for The Scorpio Letters (1966)
November 14 - Leith Stevens records his score for the Voyage to the Bottom of the Sea episode “A Time to Die” (1967)
November 14 - Basil Poledouris records his score for the Twilight Zone episode “Song of the Younger World” (1986)
November 14 - Dennis McCarthy records his score for the Twilight Zone episode “Voices in the Earth” (1986)
November 14 - Sol Kaplan died (1990)
November 14 - Michel Colombier died (2004)
November 14 - Irving Gertz died (2008)
November 15 - Sune Waldimir born (1907)
November 15 - Jurriaan Andriessen born (1925)
November 15 - Les Baxter records his score for The Comedy of Terrors (1963)
November 15 - John Williams begins recording his score to The Cowboys (1971)
November 15 - Richard Addinsell died (1977)
November 15 - Alexandre Tansman died (1986)
November 15 - Saul Chaplin died (1997)
November 15 - Roberto Pregadio died (2010)
November 15 - Luis Bacalov died (2017)
November 16 - Paul Hindemith born (1895)
November 16 - Roberto Nicolosi born (1914)
November 16 - Gianni Ferrio born (1924)
November 16 - The Lost Weekend is released in theaters (1945)
November 16 - Dennis McCarthy records his scores for the Star Trek: The Next Generation episodes “Home Soil” and “Hide and Q” (1987)
November 16 - Maurice Jarre begins recording his score for The Murder of Mary Phagan (1987)
November 16 - David Bell records his score for the Star Trek: Deep Space Nine episode “Covenant” (1998)
November 17 - Robert Drasnin born (1927)
November 17 - David Amram born (1930)
November 17 - Michael Andrews born (1967)
November 17 - Ron Jones records his score for the Star Trek: The Next Generation episode "Where Silence Has Lease" (1988)
November 17 - Wilfred Josephs died (1997)
November 17 - Jay Chattaway begins recording his score for the Star Trek: Enterprise episode “Awakening” (2004)
November 18 - Carter Burwell born (1955)
November 18 - Ben-Hur premieres in New York (1959)
November 18 - Duncan Sheik born (1969)
November 18 - Lalo Schifrin begins recording his score for The Mean Season (1984)
November 18 - Craig Safan records his scores for the Twilight Zone episodes “Dead Woman’s Shoes” and “Wong’s Lost and Found Emporium” (1985)
November 18 - George Romanis records his score for the Star Trek: The Next Generation episode “Too Short a Sesaon” (1987)
November 18 - Bruce Broughton begins recording his score for Homeward Bound: The Incredible Journey (1992)
November 18 - David Bell records his score for the Star Trek: Deep Space Nine episode “The Ascent” (1996)
November 18 - Paul Bowles died (1999)
November 18 - Michael Kamen died (2003)
November 18 - Cy Coleman died (2004)

DUNE - Hans Zimmer

"He has abundant help from the film’s designers, who make a tapestry out of shades of brown; its sound mixers and editors, who navigate from whispers to roars; and its visual effects artists, who must have found hundreds of new ways to render sand. Like 'Blade Runner 2049,' 'Dune' is a tour de force on every technical level, set to a towering Hans Zimmer score that matches the film’s scale and import from the opening moments." 
Steve Pond, The Wrap 

"Of course, all that searching is more or less by design. Billing itself as 'Part One' in the opening title card, Villeneuve’s 'Dune' ends up feeling like an extended prologue for what one can only hope will be a sequel that will clarify its parables and paradoxes, and really delve into the minds of its characters. And if that film comes to be made, you may also hope that it isn’t practically smothered to death by an ethnographic, drone-like Hans Zimmer score."
Mark Hanson, Slant Magazine 

"If you’ve read the books, you’ll know what all these premonitions signify; if you haven’t, no biggie. Hang in there for the giant worms. And hang in there, too, for some expertly handled action sequences. Unlike a lot of skittishly cut modern-day blockbusters, Villeneuve allows his to breathe with measured editing and VFX that blends into the massive sets and desert locations ('Dune' was partly filmed in Jordan’s famous Wadi Rum). Also cool is the insect-like tech -- spaceships flutter like dragonflies and drones hover like bees -- and a Hans Zimmer score that sits halfway between Maurice Jarre’s work on 'Lawrence of Arabia' and the György Ligeti used on '2001: A Space Odyssey.'"
Phil De Semlyen, Time Out  

"Aesthetically, 'Dune' is pretty damn monumental and enveloping, and for audiences that potentially may find the plot confusing, the film still works on a deeply experiential, visceral level. Composer Hans Zimmer inspires great awe with a booming but atypically Zimmer score, and not one BRAAAM in earshot, thankfully. Greig Fraser’s cinematography is always spectacular, but one has to wonder if the desaturated look the movie features always has to look so drab. To that end, and to bring it back to 'Star Wars,' Fraser also shot 'Rogue One: A Star Wars Story,' and much of the visual appearance of 'Dune,' for shorthand anyhow, could be described as a less colorful, more sinister, less inviting version of Gareth Edwards’ Jedha city milieu (also modeled after Middle Eastern culture). Accordingly, all the appropriation of MENA culture and very few, if any, MENA representation will be sure to upset some (not even to mention the white savior aspect of Paul’s story). Then again, the Fremen story barely begins in 'Dune,' only hinted at and only getting play in the third act."
Rodrigo Perez, The Playlist 

"But Villeneuve’s seismic world-building is all tone and no melody. He spends precious minutes detailing the topography of Arrakis and the suits that allow people to survive its deserts, but devotes nary a moment to Duke Atreides’ private concerns about the intergalactic feudalism that shapes his fate, or Paul’s nebulous inner conflict over leaving his old world behind. That 'Star Wars' and its blockbuster ilk have burned Herbert’s sci-fi tropes into the collective unconscious should be an opportunity for a 21st century film like this, not an excuse. And yet Villeneuve’s only move is to crank up the volume until the distortion makes it sound like you’re experiencing something new, a tactic that has its upsides (e.g. the Bene Gesserit’s voice seems like it’s coming from inside your soul), but also leads Hans Zimmer to fall back on the ethnographic wailing of his 'Gladiator'-era scores. Few composers would have been able to match the Lynch version’s one-two punch of Brian Eno and Toto, but Zimmer just thumps around in the sand as if he wants the worms to eat us all."
David Ehrlich, IndieWire 

"Villeneuve’s craft team has collaborated on creating a spectacle that leaves the viewer in awe. The aircraft that carries our heroes over the dunes resembles a hovering metal dragonfly. The spice-guarding sandworms, as long as a city block and revealed to the viewer only after nearly an hour of suspenseful teasing, are marvels of monster design; I could have done with 20 percent more sandworm time, and would return for a sequel just to see one ridden into battle by a triumphant Timmy. Greig Fraser’s cinematography and Hans Zimmer’s omnipresent score have a stately grandeur that, after the first hour of 'whoa, dude' trippiness, starts to verge on the ponderous. Seen on an IMAX screen, 'Dune' is unquestionably hypnotic -- so much so that I nodded off twice (each time for less than a minute, so I doubt I missed too much by way of plot). This film is a curiously paradoxical achievement: a visual and aural marvel that is also a crashing bore."
Dana Stevens, 
"But Paul’s most important mentor is his mother, Lady Jessica (a superb Rebecca Ferguson), a member of a shadowy, oracular sisterhood known as the Bene Gesserit for whom Paul poses both a problem and a source of fascination. Led by an imperious Reverend Mother (a heavily veiled but unmistakable Charlotte Rampling), the Bene Gesserit are versed in many skills including 'the Voice,' a form of mind control rendered here via menacing aural distortions that -- along with the soundtrack’s low, ominous rumbles and Hans Zimmer’s pulsating score -- make 'Dune' a symphony for the ears as well as a feast for the eyes."
Justin Chang, Los Angeles Times 
"A little while back, complaining about the Warner Media deal that’s going to put 'Dune' on streaming at the same time as it plays theaters, Villeneuve said the movie had been made 'as a tribute to the big-screen experience.' At the time, that struck me as a pretty dumb reason to make a movie. Having seen 'Dune,' I understand better what he meant, and I kind of approve. The movie is rife with cinematic allusions, mostly to pictures in the tradition of High Cinematic Spectacle. There’s 'Lawrence of Arabia,' of course, because desert. But there’s also 'Apocalypse Now' in the scene introducing Stellan Skarsgård’s bald-as-an-egg Baron Harkonnen. There’s '2001: A Space Odyssey.' There are even arguable outliers but undeniable classics such as Hitchcock’s 1957 version of 'The Man Who Knew Too Much' and Antonioni’s 'Red Desert.' Hans Zimmer’s let’s-test-those-subwoofers score evokes Christopher Nolan. (His music also nods to Maurice Jarre’s 'Lawrence' score and György Ligeti’s 'Atmospheres' from '2001.') But there are visual echoes of Nolan and of Ridley Scott as well."
Glenn Kenny, 

"The most daring aspect of 'Dune' is not that it only tells half a narrative, or that it opts to immerse its audience in its richly rendered universe, assuming they can keep up without guide ropes. It’s carried pretty far on the strength of spectacle alone, with its spaceships hanging impossibly still in the air, its thrumming Hans Zimmer score, and its pallid antagonist, Baron Vladimir Harkonnen (Stellan Skarsgård channeling Marlon Brando’s Colonel Kurtz), floating around on anti-gravity boosters like a menacing balloon. No, the most daring aspect of 'Dune' is how much unease it creates around the idea of a chosen one, from the Leni Riefenstahl-inspired military ceremony in which Leto and Paul receive their commission to take care of Arrakis to the fact that Paul is the product of eugenics."
Allison Willmore, New York 

"On a scene-by-scene basis, Dune is occasionally exciting, notably whenever Atreides swordmaster Duncan Idaho (Jason Momoa) is in action, backed by Hans Zimmer’s thundering orchestral score. (Duncan also benefits from being the only guy in this dull old universe with a sense of humor.) But the storytelling lacks the clean lines to make it consistently propulsive. Paradoxically, given its lofty position in the sci-fi canon, much of the narrative’s novelty has also been diluted, rendered stale by decades of imitation. Looking at you, George Lucas."
David Rooney, The Hollywood Reporter 

"Declaring that she’s going to be the next singing sensation to wow the sophisticated Café de Paris crowd, Sandie demonstrates her sinuous moves on the dance floor to a fun, funky electric organ piece by composer Steven Prince [sic], whose score elsewhere gradually builds from ominous suspense into all-out Grand Guignol horror. Sandie is charmed by an influential 'agent,' Jack (Matt Smith, at his most sinisterly seductive), but early warning signs tip off both her and Eloise that her singing career might not be his top priority."
David Rooney, The Hollywood Reporter 
THE MOST BEAUTIFUL BOY IN THE WORLD - Filip Leyman, Anna Von Haussfolff
"'The Most Beautiful Boy in the World' has a slightly fractured arrangement. Driven by Filip Leyman and Anna Von Hausswolff’s hard-charging score, Lindström and Petri's film cycles through the tragedies in Andrésen’s life, which are often more experientially connected than narratively. Rather his recollections often play as siloed investigations, a timbre the unraveling edit tries to piece together."
Robert Daniels, 

THE RESCUE - Daniel Pemberton
"Stanton and Volanthen’s ability to withstand the strong currents and navigate the cave’s serpentine corridors helped them locate four pump workers who’d also gotten stranded and, eventually, the boys and their coach, perched on a rock shelf about 2½ miles from the mouth of the cave. But amid the worldwide rejoicing over this discovery, it soon became clear that finding the boys would be the easy part. Getting them out alive would prove infinitely more difficult, and from here “The Rescue” becomes a gripping chronicle of high-stakes troubleshooting, propelled by diver testimony about the impossible conditions they faced and goosed by the tense notes of Daniel Pemberton’s score."
Justin Chang, Los Angeles Times 


Screenings of older films in Los Angeles-area theaters.

November 12
ALPHAVILLE (Paul Misraki) [Los Feliz 3]
BIG TROUBLE IN LITTLE CHINA (John Carpenter, Alan Howarth) [New Beverly]
ELEPHANT [Brain Dead Studios]
THE GUARDIAN (Jack Hues) [Los Feliz 3]
GUMMO [Brain Dead Studios]
HAROLD AND MAUDE (Cat Stevens) [Aero]
IN THE CUT (Hilmar Orn Hilmarsson) [Academy Museum]
KILL BILL VOL. 2 (Robert Rodriguez, RZA) [New Beverly]
RAIDERS OF THE LOST ARK (John Williams) [Los Feliz 3]
STRAIGHT TIME (David Shire), THIEF (Tangerine Dream) [New Beverly] 
72 HOURS: A BROKLYN LOVE STORY? (Kristine Kruta) [Academy Museum]

November 13
THE CEREMONY (Toru Takemitsu) [Los Feliz 3]
DAZED AND CONFUSED [Brain Dead Studios]
DOUBLE FACE (Nora Orlandi) [Academy Museum]
ERASERHEAD (Peter Ivers) [New Beverly]
THE LEGO MOVIE (Mark Motherbaugh) [New Beverly]
MOANA (Mark Mancina) [Academy Museum]
RAYA AND THE LAST DRAGON (James Newton Howard) [Aero]
QUADROPHENIA [Brain Dead Studios]
STRAIGHT TIME (David Shire), THIEF (Tangerine Dream) [New Beverly]
THX-1138 (Lalo Schifrin) [Los Feliz 3]
TERMINATOR 2: JUDGMENT DAY (Brad Fiedel) [Los Feliz 3]
2001: A SPACE ODYSSEY [Aero]

November 14
BADLANDS (George Aliceson Tipton) [Brain Dead Studios]
DEATHLINE (Wil Malone, Jeremy Rose) [Alamo Drafthouse]
THE HANDMAIDEN (Yeong-wook Jo) [Alamo Drafthouse]
KLUTE (Michael Small) [Los Feliz 3]
THE LEGO MOVIE (Mark Motherbaugh) [New Beverly]
MYSTERIOUS SKIN (Harold Budd, Robin Guthrie) [Brain Dead Studios]
THE PIANO (Michael Nyman) [Academy Museum]
RESIDUE [Academy Museum]
RETURN OF GODZILLA (Reijiro Kokoru), GODZILLA VS. BIOLLANTE (Koichi Sugiyama) [Alamo Drafthouse]
STRAIGHT TIME (David Shire), THIEF (Tangerine Dream) [New Beverly]
STREETWISE [Brain Dead Studios]
TOUCH OF EVIL (Henry Mancini) [Los Feliz 3] 

November 15
BUBBA HO-TEP (Brian Tyler) [Alamo Drafthouse]
THE FAST RUNNER (Chris Crilly) [Academy Museum]
MADMAN (Stephen Horelick), SILENT MADNESS (Barry Salmon) [New Beverly]
McCABE AND MRS. MILLER (Leonard Cohen) [Los Feliz 3]
OUR LITTLE SISTER (Yoko Kanno) [Academy Museum]

November 16
THE PAPER CHASE (John Williams), SEPTEMBER 30, 1955 (Leonard Rosenman) [New Beverly]
ROUND MIDNIGHT (Herbie Hancock) [Los Feliz 3]
UNFORGIVEN (Lennie Niehaus) [Alamo Drafthouse]

November 17
AIR FORCE ONE (Jerry Goldsmith) [Los Feliz 3]
BUBBA HO-TEP (Brian Tyler) [Alamo Drafthouse]
LA DOLCE VITA (Nino Rota) [Laemmle Playhouse] [Laemmle Royal]
THE PAPER CHASE (John Williams), SEPTEMBER 30, 1955 (Leonard Rosenman) [New Beverly]
THE PORTRAIT OF A LADY (Wojciech Kilar) [Academy Museum]
SPETTERS (Ton Scherpenzeel) [Brain Dead Studios]

November 18
BODY AND SOUL [Academy Museum]
THE FUGITIVE (James Newton Howard) [Los Feliz 3]
GODZILLA VS. BIOLLANTE (Koichi Sugiyama) [Alamo Drafthouse]
HANDS ON A HARDBODY (Neil Kassanoff) [New Beverly]
HOLY SMOKE (Angelo Badalamenti) [Academy Museum]
WALKABOUT (John Barry) [Los Feliz 3]

November 19
THE AGE OF INNOCENCE (Elmer Bernstein) [Academy Museum]
ENTER THE DRAGON (Lalo Schifrin) [New Beverly]
GIRLHOOD (Para One) [Brain Dead Studios]
JAYWALKER (Stephen Endelman) [Brain Dead Studios]
KILL BILL VOL. 2 (Robert Rodriguez, RZA) [New Beverly]
THE NEW WORLD (James Horner) [Aero]
RAIDERS OF THE LOST ARK (John Williams) [Los Feliz 3]
REAR WINDOW (Franz Waxman) [Hollywood Legion]
ROUND MIDNIGHT (Herbie Hancock) [Los Feliz 3]
SEVEN SAMURAI (Fumio Hayasaka) [New Beverly]
THE WIND RISES (Joe Hisaishi) [Academy Museum]

November 20
ATLANTICS (Fatima Al Qadiri) [Academy Museum]
LIQUID SKY (Slava Tsukerman, Brenda I. Hutchinson, Clive Smith) [New Beverly]
McCABE AND MRS. MILLER (Leonard Cohen) [Los Feliz 3]
RAIDERS OF THE LOST ARK (John Williams) [Aero]
REPO MAN (Steven Hufsteter, Humberto Larriva) [Los Feliz 3]
RUSHMORE (Mark Mothersbaugh) [Brain Dead Studios]
SEVEN SAMURAI (Fumio Hayasaka) [New Beverly]
THE TOLL OF THE SEA [Academy Museum]
TRAFIC (Charles Dumont) [Los Feliz 3]
WR: MYSTERIES OF THE ORGANISM (Bojana Marijan) [Los Feliz 3]
WILLIAM SHAKESPEARE'S ROMEO + JULIET (Marius De Vries, Nellee Hooper) [Brain Dead Studios]

November 21
DUEL (Billy Goldenberg) [Los Feliz 3]
KIKI'S DELIVERY SERVICE (Joe Hisaishi) [Academy Museum]
NATIONAL LAMPOON'S CHRISTMAS VACATION (Angelo Badalamenti) [Alamo Drafthouse]
ONE TWO THREE (Andre Previn) [Los Feliz 3]
PERSEPOLIS (Olivier Bernet) [Academy Museum]
TRON (Wendy Carlos) [Academy Museum]


Set It Off (Young), The Hurricane (Young), Harriet (Blanchard), Judas and the Black Messiah (Isham/Harris), The Trial of the Chicago 7 (Pemberton), One Night in Miami (Blanchard, various), Queens of the Summer Hotel (Mann), The Far Horizons/Secret of the Incas (Salter/Buttolph), Maya/Horror Rhapsody (Salter)

Read: From Russia, with Love, by Ian Fleming

Seen: Finch, Eternals, An Angel at My Table, Spencer, Mike's Murder, Perfect, The Baby Maker, Bright Lights, Big City

Watched: Penny Dreadful: City of Angels ("Children of the Royal Sun"); The Legend of Lylah Clare; The X-Files ("Ice")

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