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Intrada's new recording of two rare Jerry Goldsmith scores, BLACK PATCH and THE MAN, is now available to order.

Varese Sarabande is scheduled to announce their latest batch of limited edition CD Club releases today.

Music Box has announced two new releases - a remastered edition of Georges Delerue's score for Philippe de Broca's classic comic adventure film THAT MAN FROM RIO, and Philippe Rombi's score for the brand-new Marcel Pagnol adaptation LE TEMPS DES SECRETS


Atomic Train
 - Lee Holdridge - Dragon's Domain
Black Patch/The Man
 [re-recording] - Jerry Goldsmith - Intrada 
The Ernest Gold Collection Vol. 1 
- Ernest Gold - Dragon's Domain
Exterminator 2
 - David Spear - Dragon's Domain
Fire in the Sky 
- Mark Isham - La-La Land
Redes/The City 
[re-recording] - Silvestre Revueltas, Aaron Copland - Naxos
Top Secret!
 - Maurice Jarre - La-La Land
Turning Red
 - Ludwig Goransson - Disney  


All My Friends Hate Me - Will Lowes, Joe Robbins
Gold - Antony Partos
Great Freedom - Peter Brotzman, Nils Petter Molvaer
I Am Here - Edward George King
Offseason - Shayfer James

Turning Red
 - Ludwig Goransson - Score CD on Disney


April 1
The Big Gundown 
- Ennio Morricone - Beat
Braveheart [re-release] - James Horner - La-La Land
Il Serpente
 - Ennio Morricone - Beat
The Lost City - Pinar Toprak - La-La Land
Milano Trema: La Polizia Vuole Giustizia - Guido & Maurizio De Ajngelis - Beat 
April 8 
The Outfit - Alexandre Desplat - Backlot
Spencer - Jonny Greenwood - Mercury
April 15 
Outlander: Season 6 - Bear McCreary - Sony
April 22
Operation Mincemeat - Thomas Newman - Lakeshore
May 6
Invasion: Season 1 - Max Richter - Decca
Date Unknown
Alfred the Great
 - Raymond Leppard - Kritzerland
Le temps de secrets
- Philippe Rombi - Music Box
That Man from Rio - Georges Delerue - Music Box
The Thief of Bagdad 
[1925] - Mortimer Wilson - Naxos   


March 11 - Gottfried Huppertz born (1887)
March 11 - Astor Piazzolla born (1921)
March 11 - Recording sessions begin for Bronislau Kaper's score to Lili (1952)
March 11 - David Newman born (1954)
March 11 - Don Ellis begins recording his score for French Connection II (1975)
March 11 - Rob Simonsen born (1978)
March 11 - Ron Jones records his score for the Star Trek: The Next Generation episode "Heart of Glory" (1988)
March 11 - Paul Dunlap died (2010)
March 11 - Francois-Eudes Chanfrault died (2016)
March 11 - Keith Emerson died (2016)
March 12 - Georges Delerue born (1925)
March 12 - Aldemaro Romero born (1928)
March 12 - Leonard Rosenman begins recording his score for Prophecy (1979)
March 12 - David Shire begins recording his score for Short Circuit (1986)
March 13 - Hugo Friedhofer wins his only Oscar, for The Best Years of Our Lives score (1947)
March 13 - Lionel Newman, Cyril Mockridge and Leigh Harline begin recording their score for River of No Return (1954)
March 13 - Terence Blanchard born (1962)
March 13 - Lalo Schifrin begins recording his score for Joe Kidd (1972)
March 13 - Anthony Gonzalez born (1980)
March 13 - Carl Davis begins recording his score to The French Lieutenant's Woman (1981)
March 13 - Bruce Broughton records his score for the Buck Rogers in the 25th Century episode “Shgoratchx!” (1981)
March 13 - Ustad Vilayat Khan died (2004)
March 14 - Les Baxter born (1922)
March 14 - Quincy Jones born (1933)
March 14 - Roy Budd born (1947)
March 14 - The Godfather premieres in New York (1972)
March 14 - Steve Bramson records his score for the JAG episode “Cowboys and Cossacks” (1997)
March 14 - Peter Maxwell Davies died (2016)
March 15 - Jurgen Knieper born (1941)
March 15 - Max Steiner wins the Oscar for Since You Went Away score (1945)
March 15 - Ry Cooder born (1947)
March 15 - Stomu Yamashta born (1947)
March 15 - Harry Bromley Davenport born (1950)
March 15 - Recording sessions begin for Jerry Goldsmith’s score for Morituri (1965)
March 15 - Jerry Fielding records his score for the TV pilot Shirts/Skins (1974)
March 15 - Jerry Fielding begins recording his score for Beyond the Poseidon Adventure (1979)
March 15 - Jay Chattaway records his score for the Star Trek: The Next Generation episode “Starship Mine” (1993)
March 15 - Thomas Newman begins recording his score for The Shawshank Redemption (1994)
March 15 - Recording sessions begin for Mark Mancina’s score to Twister (1996)
March 15 - Arnold Schwarzwald died (1997)
March 15 - Jay Chattaway begins recording his score for the Star Trek: Enterprise episode “Bound” (2005)
March 15 - Recording sessions begin for Danny Elfman’s score for Restless (2010)
March 16 - Harry Rabinowitz born (1916)
March 16 - John Addison born (1920)
March 16 - Zdenek Liska born (1922)
March 16 - Alesandro Alessandroni born (1925)
March 16 - Aaron Copland begins recording his score to The Red Pony (1948)
March 16 - Recording sessions begin for Hugo Friehdofer’s score to Captain Carey, U.S.A. (1949)
March 16 - Nancy Wilson born (1954)
March 16 - Michiru Oshima born (1961)
March 16 - Henry Mancini begins recording his score for Breakfast at Tiffany’s (1961)
March 16 - Mario Castelnuovo-Tedesco died (1968)
March 16 - Marcus Trumpp born (1974)
March 16 - Recording sessions begin for Leonard Rosenman's score to Cross Creek (1983)
March 16 - Dennis McCarthy records his score for the Star Trek: The Next Generation episode “Cause and Effect” (1992)
March 17 - Alfred Newman born (1901)
March 17 - Tadashi Hattori born (1908)
March 17 - Karl-Heinz Schafer born (1932)
March 17 - John Sebastian born (1944)
March 17 - Benjamin Bartlett born (1965)
March 17 - Billy Corgan born (1967)
March 17 - Chris Bacon born (1977)
March 17 - Georges Delerue begins recording his score for Memories of Me (1988)
March 17 - John Williams begins recording his score for Far and Away (1992)
March 17 - Ernest Gold died (1999)
March 17 - Jerry Goldsmith begins recording his score for The Mummy (1999)
March 17 - Dennis McCarthy and Kevin Kiner record their score for the Star Trek: Enterprise episode “Damage” (2004)
March 17 - Jean Prodromides died (2016)


AFTER YANG - Aska Matsumiya; theme by Ryuichi Sakamoto
"Much of 'After Yang' feels like a dream. It’s in the way the images of Yang’s memories tumble into one another to the gorgeous music by ASKA and Ryuichi Sakamoto. It’s in this vision of a world that’s not our own but not too far removed, a common backdrop to dreamscapes. Kogonada's film is constantly asking incredibly deep questions, culminating in a flashback scene in which Kyra and Yang talk about what’s next. Yang hasn’t been programmed to believe in anything, even saying 'There’s no something without nothing.' Is life the something, following by the nothing? However, he seems to be shifting even in this scene, using a quote that's been attributed to Lao Tzu: 'What the caterpillar calls the end, the rest of the world calls a butterfly.' His visions of existence are shifting and growing, moving away from the precise details of his coding to the imprecision of humanity, steeping like a good tea. We all are."
Brian Tallerico, 

"Kogonada brings much poetry to the depiction of Jake coming to identify with Yang. Montages that play with asynchrony and repetition capture the unnatural, mysterious process of coming to inhabit a different position in the world via technology. But after a certain point, the direction of 'After Yang''s sympathies starts to feel, well, misdirected. As so many of the moments that Jake relives through Yang’s eyes are interactions with Jake himself, it becomes evident that Jake is discovering, belatedly, something that was staring him in the face the whole time. That Yang was, in fact, something like a complete person is a foregone conclusion as soon as Jake’s private investigation begins, but Kogonada draws out Jake’s realization, delivering each stage of the reveal with earnest, sappy strings on the soundtrack."
Pat Brown, Slant Magazine 

"Much of the film is punctuated by Mitski’s cover of the song 'Glide,' a song which first appeared in the 2001 film All About Lily Chou-Chou as performed by the titular fictional band. Mitski’s rendition is particularly haunting, only rivaled by Tjandrawidjaja’s gorgeous, girlish croon when she sings what she only knows as 'Yang’s favorite song' to her mother and father. Japanese electronic music composer Ryuichi Sakamoto contributed to the film’s score alongside Aska Matsumiya, conjuring a dreamlike sound that feels distinctly futuristic. Everything executed in 'After Yang' is done with utmost appreciation for the entire craft of cinema, particularly due to Kogonada’s intense involvement at various conceptual levels. Much like with his previous film 'Columbus,' the filmmaker also served as the editor, already having extensive experience through crafting video essays. However, this insular cinematic preciousness also leads to an over-polished slickness -- occasionally sabotaging the visceral emotional throughline of the film."
Natlia Keogan, Paste Magazine 

"One word for that alchemy is 'memory.' Some of the movie’s most affecting moments -- ushered along by the music of Aska Matsumiya and Ryuichi Sakamoto -- find Jake sifting through Yang’s memory bank, a trove of short video clips that provide a window into what may be independent thoughts. What does a robot consider memorable? A towering tree? A dancing child? A new friend (played by 'Columbus'' Haley Lu Richardson)? In these moments, 'After Yang' could be paying homage to the similarly titled 'After Life,' Hirokazu Kore-eda’s 1999 film about the quest to locate and preserve a single, perfect memory. And it’s not just a common name that reminded me of the late Taiwanese auteur Edward Yang, whose great family drama 'Yi Yi' -- another story about marital strain, gradual loss, a father’s journey, a child’s reckoning -- finds conscious and unconscious echoes here."
Justin Chang, Los Angeles Times 

"As in 'Columbus,' the awareness of spaces and symmetries is significant in the visual scheme of DP Benjamin Loeb, working in a very different vein from his virtuoso single-take sequences and agitated energy in 'Pieces of a Woman.' The measured movement shapes our emotional responses to the scenes and the way the characters interact. The same goes for the mix of composer Aska Matsumiya’s melancholy score, used with an original theme by Ryuichi Sakamoto and a dreamy cover of 'Glide,' a song from the Japanese cult movie 'All About Lily Chou-Chou,' about teenagers searching for meaning in an alienating tech-obsessed culture.
David Rooney, The Hollywood Reporter
THE BATMAN - Michael Giacchino
"As a work of multiplex visual art, of blockbuster eye candy, the film can be breathtaking. Reeves understands the graphic power of this graphic-novel material; he has an illustrator’s eye for exaggerated angles, previously demonstrated in the locked-vantage action sequences of his 'Let Me In' and 'Dawn Of The Planet Of The Apes.' Here, he flexes that talent during a chaotic car chase that ends with an upside-down POV shot of Pattinson’s hero emerging triumphantly and terrifyingly from an inferno. Earlier, Reeves firms up Batman’s intimidating bona fides through a montage that keeps cutting to criminals glancing nervously into pockets of darkness, until the towering hero finally steps slowly and ominously out of one of them. And the film sounds even better, thanks to a remarkable Michael Giacchino score that alternates minimalist strums and imperial marches; it’s somehow in the same league as the operatic themes Danny Elfman once lent the franchise."
A.A. Dowd, The Onion AV Club 

"Meanwhile, though the music owes at least a subconscious debt to the unsettling ambience of Howard Shore’s work in 'Seven,' Michael Giacchino’s theme for the title character cooks John Williams’ 'Imperial March' down to its most menacing elements and then cranks up the volume to ear-splitting, cavernous levels, making the audience feel like they’re watching the film from inside a stand-up bass whose strings are being manipulated with a large, blunt instrument."
Todd Gilchrist, The Wrap 

"That it doesn’t come off as a parody of a parody is a testament to both the holistic nature of Reeves’ vision and the eagerness with which Pattinson buys into it. Bruce is pure id ('I am vengeance' is a common refrain), but the actor behind the eyeliner is earnest enough to balance out his anger, and 'The Batman' survives its eventual transition into more familiar superhero movie territory because of the slow-thawing self-awareness that Pattinson brings to the title role -- his realizations galvanized by a career-best Michael Giacchino score that pounds into your head as if Batman were sitting at the piano and playing it himself. If Bruce already knows that fear is an effective weapon, he’s about to learn that you can’t build anything with it."
David Ehrlich, IndieWire 

"Reeves brings a sharp perspective to these characters. Particularly through the fight choreography. Heavy chiaroscuro lighting envelops every scene, styling the vast dilapidated urban landscape as grim yet alluringly beautiful. Michael Giacchino’s operatic score lives on the edge of unsettling. The blocking, or the differing spatial dynamics between Catwoman and Batman, defines the action with open fluidity and pure blunt force trauma (each of Batman’s punches sounds like a concussive blast). Reeves and DP Greig Fraser ('Dune: Part One') love holding the majority of the action in full shots, as nearly pitch-black figures, in one scene, are flung across a train platform. But it’s the sensual scenes begat by the action that are most memorable: In one scene, Batman pulls Catwoman behind a wall to hide from a few baddies. She nestles within his body, and they seem to breathe, sumptuously, in unison, as if governed by the same heartbeat."
Robert Daniels, The Playlist 

"This is a film in which humour is strictly forbidden. There's so little colour that it might as well be in black and white. And in place of Neal Hefti's singalong 'Batman' jingle, the music consists of Nirvana's 'Something in The Way,' Schubert's Ave Maria, and a funereal four-note riff, by composer Michael Giacchino, which is reminiscent of both 'Jaws' and Darth Vader."
Nicholas Barber, 
"This is not to say that 'The Batman' is a downer; far from it. Despite the overlong running time of nearly three hours, this is a film that’s consistently viscerally gripping. The coolest Batmobile yet -- a muscular vehicle that’s straight out of 'Mad Max: Fury Road' -- figures prominently in one of the movie’s most heart-pounding sequences. It’s an elaborate car chase and chain-reaction crash ending with an upside-down shot of fiery fury that literally had me applauding during my screening. During a fight at a thumping night club, punctuated by pulsating red lights, you can feel every punch and kick. (That’s one of the more compelling elements of seeing this superhero in his early days: He isn’t invincible.) And a shootout in a pitch-black hallway, illuminated only by the blasts of shotgun fire, is both harrowing and dazzling. Greatly magnifying the power of scenes like these is the score from veteran composer Michael Giacchino. Best known for his Pixar movie music, he does something totally different with 'The Batman': percussive and horn-heavy, it is massive and demanding, and you will feel it deep in your core."
Christy Lemire,

"Though 'The Batman''s vision of Gotham as a run-down, amoral dystopia borrows some imagery from Christopher Nolan’s 'Dark Knight' series, Reeves also brings his own visual flair to the material. Especially in a few enigmatic early sequences, the rain-glazed streetscapes and neon-lit diners recall the lonely universe of an Edward Hopper painting. The simple but effective soundtrack depends heavily on two recurring musical themes: Franz Schubert’s 'Ave Maria,' often transformed by composer Michael Giacchino into a minor-key dirge, and Nirvana’s plaintive ballad 'Something in the Way,' used as a kind of leitmotif for Pattinson’s Kurt Cobain-esque hero. If this all sounds too angsty to tolerate, 'The Batman' is not without flashes of intentional and often effective humor, usually relegated to the villains: In one otherwise tense confrontation, Farrell’s Penguin delivers a non-sequitur putdown about Batman’s grasp of foreign-language grammar that had the audience on the floor."
Dana Stevens, 
"Except for hidden-camera contact lenses, his technology is mostly realistic, and unless one counts a rooftop BASE jump, he can’t fly. Unlike so many DC comic book heroes, Batman is neither a god nor an alien; he has no fantastical abilities. Bruce Wayne’s superpower is his billion-dollar fortune, but the guy behind the mask breaks and bleeds just like anybody else -- a point Reeves reminds us of with a shot of Pattinson’s bare back, covered in scars. Rather than leaning on a theme, Michael Giacchino’s score surprises, ranging from tense tribal drums to Nirvana to opera, while editors William Hoy and Tyler Nelson avoid obvious angles, leaving quiet spaces for audiences to process (and question) what’s happening."
Peter Debruge, Variety 

"Visceral use of sound is key to the film’s immersive effect, but even more so an absolute banger of a score by Michael Giacchino. The symphonic underlay might have seemed excessive in less confident hands, but the graceful incorporation of specific themes for Batman and Selina, as well as pre-existing music ranging from classical pieces to Nirvana, provides tonal variation to ensure that 'The Batman' never becomes a punishing downer."
David Rooney, The Hollywood Reporter 

FABIAN: GOING TO THE DOGS - Sven Rossenbach, Florian van Volxem
"Graf, whose long career in Germany includes a lot of television, has a serialist’s energy when it comes to Kästner’s winding narrative (which Graf co-adapted with Constantin Lieb). Following 'Fabian' is like keeping up with someone on a jazzy, heady bender. Stylistically, it’s rough too and willfully chaotic in the early going, marked by jarring music cues, snatches of Super 8mm, blips of archival footage, omniscient voice-over (male and female) and even split screen, as if Graf were out to cinematically evoke the intoxicating bluntness of the merciless Weimar painters like George Grosz and Otto Dix."
Robert Abele, Los Angeles Times 


Screenings of older films in Los Angeles-area theaters.

March 11
ALIEN (Jerry Goldsmith) [Landmark Westwood]

AMERICAN FACTORY (Chad Cannon) [Academy Museum]
ARABIAN NIGHTS (Ennio Morricone) [Academy Museum]
THE CROW (Graeme Revell) [Brain Dead Studios]
HARRY POTTER AND THE ORDER OF THE PHOENIX (Nicholas Hooper) [Alamo Drafthouse]
JACKIE BROWN [New Beverly]
NAKED (Andrew Dickson) [Brain Dead Studios]
THE NEST (Rick Conrad) [Los Feliz 3]
SHADOW OF A DOUBT (Dimitri Tiomkin) [New Beverly]
TAI CHI MASTER (Steve Edwards, Wai Lap Wu), WING CHUN (Siu-Lam Tang, Sai-Cheong Wong) [New Beverly]

March 12
AKIRA (Yamashiro Shoji), METROPOLIS (Toshiyuki Honda) [Aero]
ALL ABOUT EVE (Alfred Newman) [New Beverly]

ALMOST FAMOUS (Nancy Wilson) [Alamo Drafthouse]
THE CONVERSATION (David Shire) [Los Feliz 3]
CRIMSON PEAK (Fernando Velazquez) [Los Feliz 3]
DAISIES (Jiri Sust) [New Beverly]
FUN IN ACAPULCO (Joseph J. Lilley) [New Beverly]
HARRY POTTER AND THE ORDER OF THE PHOENIX (Nicholas Hooper) [Alamo Drafthouse]
MS. 45 (Joe Delia) [Brain Dead Studios]
SALO, OR THE 120 DAYS OF SODOM (Ennio Morricone) [Academy Museum]
WOLFWALKERS (Bruno Coulais) [Academy Museum]
THE WORLD IN SHOTS (Admir Shkurtas) [Academy Museum]

March 13
ALL ABOUT EVE (Alfred Newman) [New Beverly]
ALMOST FAMOUS (Nancy Wilson) [Alamo Drafthouse]
BLOOD SIMPLE (Carter Burwell) [Brain Dead Studios]
CASABLANCA (Max Steiner) [IPIC Westwood]
COMING APART (Francis Xavier) [Los Feliz 3]
COWBOY BEBOP: THE MOVIE (Yoko Kanno) [Brain Dead Studios]
FUN IN ACAPULCO (Joseph J. Lilley) [New Beverly]
HARRY POTTER AND THE ORDER OF THE PHOENIX (Nicholas Hooper) [Alamo Drafthouse] 
MULHOLLAND DRIVE (Angelo Badalamenti), SUNSET BLVD. (Franz Waxman) [Aero]
THE MUPPET MOVIE (Paul Williams, Kenny Ascher) [Los Feliz 3]
MY TRAVELS WITH CECILIA (Teho Teardo) [Academy Museum]
NOSFERATU [Alamo Drafthouse]
RIFIFI (Georges Auric) [Brain Dead Studios]
SMOG (Piero Umiliani) [UCLA/Hammer]
WHEN HARRY MET SALLY... (Marc Shaiman) [Academy Museum] 
THE WILD ONE (Leith Stevens) [Los Feliz 3]
THE WIZARD OF OZ (Harold Arlen, Herbert Stothart) [Hollywood Legion]

March 14
THE EVIL DEAD (Joseph LoDuca) [Alamo Drafthouse]
METROPOLIS (Toshiyuki Honda) [Los Feliz 3]
PHANTASM II (Fred Myrow, Christopher L. Stone) [Los Feliz 3]

March 15
DOCTOR ZHIVAGO (Maurice Jarre) [Academy Museum]
THE EVIL DEAD (Joseph LoDuca) [Alamo Drafthouse]
A HARD DAY'S NIGHT (The Beatles, George Martin) [Los Feliz 3]
HARRY POTTER AND THE ORDER OF THE PHOENIX (Nicholas Hooper) [Alamo Drafthouse] 
LABYRINTH (Trevor Jones) [Alamo Drafthouse]
LE NAVIRE NIGHT (Carlos D'Alessio) [Los Feliz 3]
SON OF THE WHITE MARE [Alamo Drafthouse]
TAMMY AND THE T-REX (Jack Conrad, Tony Riparetti) [Alamo Drafthouse]

March 16
CASABLANCA (Max Steiner) [IPIC Westwood] 
LE SAMOURAI (Francois De Roubaix) [Brain Dead Studios]
MILLION DOLLAR BABY (Clint Eastwood) [Los Feliz 3]
SON OF THE WHITE MARE [Alamo Drafthouse]
TAMMY AND THE T-REX (Jack Conrad, Tony Riparetti) [Alamo Drafthouse]

March 17
THE CONVERSATION (David Shire) [Los Feliz 3]
GHOST (Maurice Jarre), DIRTY DANCING (John Morris) [Aero]
A PLACE IN THE SUN (Franz Waxman), THE HEIRESS (Aaron Copland) [New Beverly]

March 18
ALL THAT HEAVEN ALLOWS (Frank Skinner) [Los Feliz 3]
CLOCKWATCHERS (Mader) [Academy Museum]
HOWL'S MOVING CASTLE (Joe Hisaishi) [Landmark Westwood]
I SAW THE DEVIL (Mowg) [Brain Dead Studios]
I'VE HEARD THE MERMAIDS SINGING (Mark Korven) [Alamo Drafthouse]
JACKIE BROWN [New Beverly]
MAN BITES DOG (Jean-Marc Chenut, Laurence Dufrene, Philippe Malempre) [Brain Dead Studios]
THELMA & LOUISE (Hans Zimmer) [New Beverly]
VAGABOND (Joanna Bruzdowicz) [Los Feliz 3]

March 19
THE CONVERSATION (David Shire) [Los Feliz 3]
ESCAPE FROM NEW YORK (John Carpenter, Alan Howarth) [Brain Dead Studios]
THE EYES OF TAMMY FAYE (Theodore Shapiro), THE TREE OF LIFE (Alexandre Desplat) [Aero]
HARRY POTTER AND THE HALF-BLOOD PRINCE (Nicholas Hooper) [Alamo Drafthouse]
HOWL'S MOVING CASTLE (Joe Hisaishi) [Landmark Westwood]
I'VE HEARD THE MERMAIDS SINGING (Mark Korven) [Alamo Drafthouse] 
JENNIFER'S BODY (Theodore Shapiro, Stephen Barton) [New Beverly]
JOAN OF ARC OF MONGOLIA (Wilhelm Dieter Siebert) [Los Feliz 3]
THE KILLING (Gerald Fried) [Academy Museum]
MARY POPPINS (Richard M. Sherman, Robert B. Sherman, Irwin Kostal) [Academy Museum]
POLICE STORY [Brain Dead Studios]
POPSTAR: NEVER STOP NEVER STOPPING (Matthew Compton) [Alamo Drafthouse]
SEXY BEAST (Roque Banos) [Brain Dead Studios]
STRANGERS ON A TRAIN (Dimitri Tiomkin) [New Beverly]
TAKE SHELTER (David Wingo) [Los Feliz 3]
THE TWILGHT SAGA: NEW MOON (Alexandre Desplat) [Alamo Drafthouse]

March 20
AELITA: QUEEN OF MARS [Alamo Drafthouse]
CLIFFORD (Richard Gibbs) [Brain Dead Studios]
HAPPY HOUR (Umitaro Abe) [Aero]
I'VE HEARD THE MERMAIDS SINGING (Mark Korven) [Alamo Drafthouse] 
THE KILLING (Gerald Fried) [Brain Dead Studios]
NIGHTS OF CABIRIA (Nino Rota) [Los Feliz 3]
NORTH BY NORTHWEST (Bernard Herrmann) [Alamo Drafthouse]
STRANGERS ON A TRAIN (Dimitri Tiomkin) [New Beverly]
THELMA & LOUISE (Hans Zimmer) [Academy Museum]
TO ARMS! WE ARE FACISTS (Egisto Macchi) [Academy Museum]
WEEKEND (Antoine Duhamel) [Brain Dead Studios]
THE WOMEN (Edward Ward, David Snell) [Los Feliz 3]


Bad Education (Iglesias); The Secret World of Arrietty (Corbel); Talk to Her (Iglesias); 2010 (Shire); All About My Mother (Iglesias); Marathon Man/The Parallax View (Small); Broken Embraces (Iglesias); All the President's Men (Shire); The Skin I Live In (Iglesias); Presumed Innocent (Williams); I'm So Excited (Iglesias); Consenting Adults (Small)

Read: The Looters, by John Reese

Seen: Four Good Days; The Decameron; The Canterbury Tales; The Batman; After Yang; White Heat; Fabian: Going to the Dogs; Ascension; Attica

Watched: Star Trek ("The Immunity Syndrome"); Rome ("Deus Ipeditio Esuritori Nullus (No God Can Stop a Hungry Man)," "De Patre Vostro (About Your Father)"); Kiss Kiss Bang Bang [2005]; Stranger Things ("The Disappearance of Will Byers")

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May 24
Bob Dylan born (1941)
David Ferguson born (1953)
Duke Ellington died (1974)
Franz Waxman begins recording his score for Sorry, Wrong Number (1948)
Jay Chattaway records his score for the Star Trek: The Next Generation episode “In Theory” (1991)
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