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The latest soundtrack from Intrada is a 2-CD set of Marco Beltrami's score for director Robert Rodriguez' Body-Snatchers-in-a-high-school sci-fi horror comedy THE FACULTY, written by Kevin Williamson from an original screenplay by David Wechter and cinematic Guy-of-all-trades Bruce Kimmel.
The latest Deluxe Edition from the Varese Sarabande CD Club is an expanded edition Klaus Badelt's score for the 2002 remake of THE TIME MACHINE, starring Guy Pearce, which was Oscar-nominated for its makeup.
The latest releases from Dragon's Domain are Ernest Gold's score for the 1985 TV movie WALLENBERG: A HERO'S STORY; THE HUMMIE MANN COLLECTION VOL. 2, featuring the composer's unused music for the 1999 drama Brokedown Palace and the score for Joe Dante's TV movie The Second Civil War; and Kevin Kiner's score for the 1995 TV movie BLACK SCORPION.

Black Scorpion
- Kevin Kiner - Dragon's Domain
The Faculty - Marco Beltrami - Intrada Special Collection
Interview with the Vampire - Daniel Hart - Milan 
Nino Rota: War and Peace et al
 - Nino Rota - Capriccio 
Shogun Assassin
 - W. Michael Lewis, Mark Lindsay - Buysoundtrax  
The Time Machine: Deluxe Edition
- Klaus Badelt - Varese Sarabande CD Club 
Violin Concerto
- Danny Elfman - Naxos

Blueback - Nigel Westlake - Score CD on ABC (import)
Children of the Corn - Jacob Shea, Tim Count
Creed III - Joseph Shirley
The Donor Party - Mondo Boys
Gray Matter - Haim Mazar
The Headmistress - Tasos Eliopoulos 
Hunt Her, Kill Her - David Risdahl
Operation Fortune: Ruse de Guerre - Christopher Benstead
Pacifiction - Marc Verdaguer, Joe Robinson

March 10
Beyond the Screen: Film Works on Piano - Rachel Portman - Sony (import)
March 17
Blonde - Nick Cave, Warren Ellis - Invada
The Conversation
 - David Shire - Silva
March 31
This England - David Holmes - Universal (import)
What's Love Got To Do With It? - Nitin Sawhney - Mercury
April 14
Babylon - Justin Hurwitz - Interscope
May 5 
God of War: Ragnarok - Bear McCreary - Sony
May 19
A Man Called Otto - Thomas Newman - Mercury 
Date Unknown
...Dopo di che, uccide il maschio e lo divora
- Piero Piccioni - CSC 
The Hummie Mann Collection, Vol. 2
- Hummie Mann - Dragon's Domain
I tre spietati/Requiescant/O'cangaceiro
 - Riz Ortolani - Beat 
Il Mercenario - Ennio Morricone - Beat
Le ultime ore di una vergine
- Daniele Patucchi - CSC 
Piedone a Hong Kong
- Guido & Maurizio De Angelis - CSC 
Wallenberg: A Hero's Story
- Ernest Gold - Dragon's Domain 


March 3 - Kazimierz Serocki born (1922)
March 3 - Lee Holdridge born (1944)
March 3 - Jeff Rona born (1957)
March 3 - John Williams begins recording his score for Jaws (1975)
March 3 - Leonard Rosenman begins recording his unused score for The Last Hard Men (1976)
March 3 - Peter Ivers died (1983)
March 3 - Jerry Goldsmith records his score to the Twilight Zone: The Movie segment "Time Out" (1983)
March 3 - Basil Poledouris records his score for the Twilight Zone episode “Profile in Silver” (1986)
March 3 - Arthur Kempel died (2004)
March 4 - Erich Wolfgang Korngold's score for Anthony Adverse wins the Oscar; however, as per Academy policy, the score is awarded to the head of the studio's music department, Leo Forbstein (1937)
March 4 - Lucio Dalla born (1943)
March 4 - Max Steiner wins score Oscar for Now, Voyager (1943)
March 4 - Johnny Mandel records his score for Harper (1966)
March 4 - Leonard Rosenman died (2008)
March 4 - Alexandre Desplat wins his second Oscar, for The Shape of Water (2018)
March 5 - Heitor Villa-Lobos born (1887)
March 5 - Harry Lubin born (1906)
March 5 - Max Steiner's score for The Informer wins the Oscar; Academy policy at the time awards to the score to the head of the studio's music branch -- who, in this case, is Max Steiner (1936)
March 5 - Bruce Smeaton born (1938)
March 5 - Robert Folk born (1949)
March 5 - Michael Gore born (1951)
March 5 - Sergei Prokofiev died (1953)
March 5 - Graham Reynolds born (1971)
March 5 - John Williams begins recording his score to Star Wars (1977)
March 5 - Bruce Broughton records his Emmy-winning score for the Buck Rogers in the 25th Century episode “The Satyr” (1981)
March 5 - Maurice Jarre begins recording his score for A Walk in the Clouds (1995)
March 5 - Theodore Shapiro begins recording his score for Idiocracy (2005)
March 5 - Gustavo Santaolalla wins his first Oscar, for the Brokeback Mountain score (2006)
March 5 - Jacques Loussier died (2019)
March 6 - Stephen Schwartz born (1948)
March 6 - Leonard Rosenman records his score for the Alfred Hitchcock Hour episode “Beast in View” (1964)
March 6 - Richard Hageman died (1966)
March 6 - Erik Nordgren died (1992)
March 6 - Robert B. Sherman died (2012)
March 7 - King Kong premieres in New York (1933)
March 7 - Miklos Rozsa wins his first Oscar for Spellbound score (1946)
March 7 - Sidney Cutner’s score for The Invaders episode “The Condemned” is recorded (1967)
March 7 - Alex Somers born (1984)
March 7 - Ron Jones records his score for the Star Trek: The Next Generation episode "Allegiance" (1990)
March 7 - Recording sessions begin for John Ottman’s score for X2 (2003)
March 7 - Gordon Parks died (2006)
March 7 - Michael Giacchino wins his first Oscar for Up (2010)
March 8 - Dick Hyman born (1927)
March 8 - Franz Waxman begins recording his score for Dr. Jekyll and Mr. Hyde (1941)
March 8 - Bruce Broughton born (1945)
March 8 - Jerry Goldsmith records his score for the pilot to Dr. Kildare (1961)
March 8 - Alex North begins recording his unused score for Sounder (1972)
March 8 - Jerry Goldsmith begins recording orchestral cues for Logan's Run score (1976)
March 8 - Dave Grusin begins recording his score for Murder by Death (1976)
March 8 - Paul Chihara begins recording his score, adapted from Gilbert & Sullivan, for The Bad News Bears Go to Japan (1978)
March 8 - William Walton died (1983)
March 8 - James Newton Howard begins recording his score for Dave (1993)
March 8 - John Williams begins recording his score for Harry Potter and the Prisoner of Azkaban (2004)
March 8 - George Martin died (2016)
March 9 - John Cale born (1940)
March 9 - Arlon Ober born (1943)
March 9 - Mark Mancina born (1957)
March 9 - Bernard Herrmann begins recording his score for Psycho (1960)
March 9 - Deborah Lurie born (1974)
March 9 - Jane Antonia Cornish born (1975)
March 9 - Bill Conti begins recording his score for Wrongfully Accused (1998)
March 9 - Richard Stone died (2001)
March 9 - Coleridge-Taylor Perkinson died (2004)


"She turns out to be Maurice and co.’s one human ally in the next target they set their sights on: a grand-looking market town that appears, upon closer inspection, to have already been hit by a genuine plague of some variety, since there’s not a scrap of food to be found in the place. The truth behind this famine, and the sinister faceless despot (David Thewlis) who has the town under his thumb, serve as the basis for a mystery that in turn is merely a framework for a succession of knockabout setpieces, egged on by Tom Howe’s appropriately hyperactive score."
Guy Lodge, Variety

THE DEER KING - Harumi Fuuki 

"It makes sense that 'The Deer King,' in theaters today after a successful international run in Japan and parts of Europe, is reminiscent of some of the best work of Studio Ghibli. After all, one of the directors, Masashi Ando, worked in the animation department there on classics like 'Princess Mononoke,' and 'When Marnie Was There,' while the other director was credited as assistant director on 'Spirited Away.' They learned a thing or two about gorgeous visuals that meld fantasy storytelling with images of the natural world. Well, they should have. Because they forgot the magic. Where they fail in 'The Deer King' is in the storytelling, almost as if they’re copying a playbook they made at Ghibli, without the same heart behind the undeniably strong technique. 'The Deer King' looks great (and has a lovely score) but it’s repetitive, predictable, and downright dull -- three things that can almost never be said about the animation house that so clearly inspired it."
Brian Tallerico, 
"Yet emotionally, what cuts through the gritty fable’s oft-overwrought mythology is the hero’s paternal bond with young Yuna, a chance for him to experience tenderness once again amid the onslaught from multiple fronts. The score by Harumi Fuuki also infuses the grand narrative canvas with a rousing dramatism that matches the stakes."
Carlos Aguilar, Los Angeles Times 
"Lewen, editor Joe Landauer and cinematographer Bryce Fortner find a well-paced rhythm and tonally appealing aesthetic, evoking a sense of buoyancy and grounded realism at the same time. Music supervisors Lindsay Wolfington and Laura Webb’s soundtrack selections also help float emotions without being intrusive, while complementing Mike Tuccillo’s score."
Courtney Howard, Variety 
A LOT OF NOTHING - David Sardy

"McRae's film is nothing if not audacious. To make a debut with such sensitivity at its center certainly requires a confident hand, and the film's stylistic aspects complement this to a tee, even when the film's content does not. Creative cinematography and a thumping jazzy score accentuate the no-holds-barred approach of the film and its characters. McRae's direction is bold, with the more actiony sequences lending themselves to comedy, reminiscent of the soapy early aughts detectives on television."
Peyton Robinson, 
"It’s only the first of several reversals contained in this richly theatrical prologue, that is set to riffling, restless improv jazz of David Sardy’s score. Even more thornily, a gun that might as well have Chekhov’s name engraved on it is introduced and a weird role-play ensues during which James’ alpha-male posturing explicitly turns Vanessa on. When the scene finally cuts to the next day and they both prepare for work -- in a crisply edited montage of closeups that feels like it’s slapping the hangover of the long-take away -- it seems like the whole previous night might be the “lot of nothing” to which the title refers. Maybe they are just this shallow: another couple of complacent keyboard warriors whose activism is all talk, who are only truly dangerous in fantasy and whose moneyed lifestyle insulates them from the messier manifestations of social injustice."
Jessica Kiang, Variety 

LUCK - John Debney

"Tony nominee Noblezada is terrific as the voice of Sam. She brings just the right mix of levity, curiosity and gravitas to the role. Twice she gets to sing Madonna’s 'Lucky Star' and it’s so fun you will almost wonder if Luck should have been a musical. The soaring, uplifting score by composer John Debney is one of the movie’s biggest assets."
Amy Amatangelo, Paste Magazine 
"Sam remains optimistic despite the first-day flubs, which are accompanied by John Debney’s upbeat score. In fact, she doesn’t wish for luck until she goes back to see Hazel, whose weekend visit with a potential family was cancelled. Hazel’s despondent mood upsets Sam, and she promises Hazel (a collector of charms) to find her a lucky penny so the next couple scheduled to see her might adopt her."
Lovia Gyarkye, The Hollywood Reporter 
NAVALNY - Marius de Vries, Matt Robertson
"Working with editors Langdon Page and Maya Daisy Hawke and assisted by the propulsive score by Marius de Vries and Matt Robertson, Roher contracts several exceptional set-pieces that could just as easily have involved Jack Ryan or George Smiley in supporting roles. A scene with Navalny calling his suspected poisoners and attempting to improv his way into getting a confession plays out with jaw-dropping suspense. His flight back to Russia, with the prospect of immediate arrest -- Roher ignores the trumped-up charges Navalny knew he was facing -- is a breath-holding slow burn. Even stuff that Roher wasn’t there to film first-hand, like airplane cell phone footage of a near-death Navalny moaning in agony, gets a tightly constructed presentation."
Daniel Fienberg, The Hollywood Reporter 

NOT OKAY - Pierre-Philippe Côté
"Shephard jabs well-placed elbows at modern day media celebrity, where the public’s attention veers in an instant from tutting about death to applauding as Danni does goat yoga. The film’s portrait of a serious journalist -- a queer androgyne named Harper (Nadia Alexander) -- hungers to take Danni down to reassert her own primacy as the outlet’s foremost churner of Ruth Bader Ginsburg hagiography. Meanwhile, as the tension ratchets, Pierre-Philippe Côté’s score leans on disquieting choral music that sounds like a hymnal for the damned."
Amy Nicholson, Variety 
PERSUASION - Stuart Earl
"Other modern touches, including color-conscious casting (see: Henry Golding as her foppish cousin, Nikki Amuka-Bird as her smart godmother, and Ben Bailey Smith as her stalwart brother-in-law) are still more exciting. And while 'Persuasion' is one of Austen’s more serious novels, comedic performances from Lydia Rose Pewley (as the dimly scheming Lady Penelope) and Mia McKenna-Bruce (as Anne’s outrageously immature sister) add spice to the feature. (The film’s lush settings and Stuart Earl’s sweeping score are all classic Austen adaptation, and just lovely.)"
Kate Erbland, IndieWire 
"Tackling her first feature, seasoned London stage director Cracknell draws solid work from the ensemble, showing a firm handle on the tricky Regency/contemporary balancing act and a pleasing grasp of pacing, enhanced by Stuart Earl’s delicate score."
David Rooney, The Hollywood Reporter
PREY - Sarah Schachner
"The excellent lead performances, grand cinematography and sharp screenplay are matched by a particularly memorable and thrilling score from Sarah Shachner ('The Lazarus Effect'), whose work skillfully adapts, depending on the scene. It’s a classical frontier orchestration, it’s a creepy monster riff, it’s a tender dramatic piece, it’s everything in between."
William Bibbiani, The Wrap

"Endless drone shots, perspective switches and too many CGI animals undercut any grit or claustrophobia that Trachtenberg -- director of the brilliant '10 Cloverfield Lane' -- might otherwise have crafted. Meanwhile, the interminable score refuses to quiet down and let the images or emotions speak for themselves. While it is certainly more coherent and enjoyable than Black’s 2018 'The Predator,' 'Prey' is a middling, lightweight effort. Nevertheless, the critical and audience reception have to date been overwhelmingly positive, so no doubt this won’t be the last time we’ll be seeing cinema’s ugliest m**********r."
Christopher Machell, CineVue 

"So, it’s a testament to Trachtenberg’s suspense artistry that 'Prey' is as engaging and entertaining as it is, regardless. Featuring a great score by Sarah Schachner (especially the bookended, more elegiac music), terrific cinematography by Jeff Cutter, and tight editing by Claudia Castello and Angela M. Catanzaro, 'Prey' is very well constructed on a cinematic level."
Rodrigo Perez, The Playlist 

"'Prey' is worth spending the money to see on the biggest screen possible. The wide open spaces of Alberta look fantastic, there’s plenty of monster mayhem and action, and the striking score by Sarah Schachner deserves to be blasted from the largest speakers available. So, why is Disney dumping an entry in the popular 'Predator' series on Hulu in the middle of the summer? The original 'Predator' starring Arnold Schwarzenegger turns 35 this year; what better way to celebrate than with a prequel that’s better than any of its sequels? The marketing team could have had a field day promoting this connection. So why is this film, like Disney+'s 'Turning Red' before it, going straight to streaming with no simultaneous theatrical presence?"
Odie Henderson, 
SHE WILL - Clint Mansell

"It would be interesting to crack out the stopwatch to see just how much of 'She Will''s running time consists of dialogue-free, non-narrative montages, fades, and superimpositions of extreme skin close-ups, ripped earth, worms, snails, eyeballs, oily liquid, galaxies, and more eyeballs. Clint Mansell’s original score matches the heady visuals (echoing, at times, some of Philip Glass’ operas with “ahh ahh” choruses) and cinematographer Jamie D. Ramsay bathes the picture in a rich blue sheen."
Jordan Hoffman, The Onion AV Club 
"'She Will,' produced by horror master Dario Argento, is a very striking film, and won the best First Feature award at the Locarno International Film Festival. 'She Will' isn't exactly a horror movie. It has its creepy moments, particularly in the visual collages and Clint Mansell's unnerving score, but it's more thought-provoking than scary. It's not too difficult to believe that the past sins against women -- i.e. witch burning -- would make it to future generations as a distant echo, creating solidarity with those who came before."
Sheila O'Malley, 

"Colbert doesn’t over-explain what the ghosts -- and, by extension, Veronica -- can and can’t do. Most of the story’s pertinent information is suggested silently, via the dreamy images (made luminous and slightly abstract by cinematographer Jamie D. Ramsay), just as much of the hypnotic mood is carried by Clint Mansell’s richly textured score. The movie’s action, meanwhile, is driven by the news that a legendary director (played by Malcolm McDowell) is making a new version of the film that launched Veronica’s career, back when she was a teenager. As she reflects on that time, she remembers the abuse more than the triumph; and she starts wondering whether she can use her new powers to get some closure."
Noel Murray, Los Angeles Times 
"Jamie D. Ramsay’s photography is glowering, damp and sinister, with rich crimson accents, and if there’s a slight overuse of drone shots that drift eerily over the darkened landscapes (an element that feels on the verge of becoming an 'elevated horror' cliché), really these pauses give a moment for Clint Mansell’s appropriately deranged score to take the lead. The music, in turn, blends seamlessly into an uncannily precise soundscape in which tiny noises, like the beating of birds’ wings or the oily slicking of mascara onto eyelashes or a night breeze full of whispers, are amplified. And the whole is assembled into a heady but economical 95 minutes by editor Yorgos Mavropsaridis, who as frequent collaborator of Yorgos Lanthimos knows a thing or two about cutting along an atmospheric, dissociative bias rather than one of traditional storytelling logic."
Jessica Kiang, Variety 


Screenings of older films in Los Angeles-area theaters.

March 3
HISTORY OF THE WORLD PART 1 (John Morris) [Alamo Drafthouse]
HISTORY OF THE WORLD PART 1 (John Morris)  [El Capitan]
IN BRUGES (Carter Burwell) [Nuart]
KILL BILL. VOL. 1 (RZA) [New Beverly]
LA DOLCE VITA (Nino Rota) [BrainDead Studios]
NEAR DARK (Tangerine Dream), RAVENOUS (Michael Nyman, Damon Albarn) [New Beverly]
NO COUNTRY FOR OLD MEN (Carter Burwell) [New Beverly]
THE PROWLER (Lyn Murray), LA BESTIA DEBE MORIR (Silvio Vernazza) [UCLA/Hammer]
THE SUMMIT (Alberto Iglesias) [Los Feliz 3]

March 4
BUCK AND THE PREACHER (Benny Carter) [Los Feliz 3]
THE ELEPHANT MAN (John Morris) [BrainDead Studios]
FREAKY FRIDAY (Rolfe Kent) [BrainDead Studios]
HISTORY OF THE WORLD PART 1 (John Morris) [Alamo Drafthouse] 
L.A. STORY (Peter Rodgers Melnick) [Los Feliz 3]
LOVE AND ANARCHY (Nino Rota, Carlo Savina) [Academy Museum]
MARY POPPINS (Richard M. Sherman, Robert B. Sherman, Irwin Kostal) [New Beverly]
THE MATRIX (Don Davis) [Alamo Drafthouse]
NEAR DARK (Tangerine Dream), RAVENOUS (Michael Nyman, Damon Albarn) [New Beverly]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
THE ROOM (Mladen Milicevic) [Landmark Westwood]
SPEED RACER (Michael Giacchino) [New Beverly]
UPTOWN SATURDAY NIGHT (Tom Scott) [Los Feliz 3]
VIVRE SA VIE (Michel Legrand) [BrainDead Studios]

March 5
CASABLANCA (Max Steiner) [Fine Arts]
THE HANDS OF ORLAC [BrainDead Studios]
HOLLOW MAN (Jerry Goldsmith) [BrainDead Studios]
LUCY (Eric Serra) [BrainDead Studios]
MARY POPPINS (Richard M. Sherman, Robert B. Sherman, Irwin Kostal) [New Beverly] 
THE MATRIX (Don Davis) [Alamo Drafthouse]
THE MATRIX RELOADED (Don Davis), THE MATRIX REVOLUTIONS (Don Davis) [Alamo Drafthouse]
THE MIRACLE WORKER (Laurence Rosenthal) [Fine Arts]
NEAR DARK (Tangerine Dream), RAVENOUS (Michael Nyman, Damon Albarn) [New Beverly]
THE PRODUCERS (John Morris) [Academy Museum]
SAMURAI WOLF (Toshiaki Tsushima) [Los Feliz 3]
SHILOH (Joel Goldsmith) [UCLA/Hammer]
THE VIRGIN SUICIDES (Air) [Alamo Drafthouse]

March 6
AMOUR [BrainDead Studios]
MATINEE (Jerry Goldsmith) [Los Feliz 3]
ONE WAY OR ANOTHER (Sergio Vitier) [Academy Museum]
PEOPLE'S HERO (Lowell Lo), A KILLER'S BLUES (Richard Lo, Tayu Lo) [New Beverly]

March 7
THE ANGEL LEVINE (Zdenek Liska, William Eaton) [Los Feliz 3]
THE CHOIRBOYS (Frank DeVol), HENNESSY (John Scott) [New Beverly]
MON ONCLE (Franck Barcellini, Alain Romans) [Academy Museum]
ROCK 'N' ROLL HIGH SCHOOL [Alamo Drafthouse]

March 8
THE CHOIRBOYS (Frank DeVol), HENNESSY (John Scott) [New Beverly]
THE PIANO (Michael Nyman) [BrainDead Studios]
ROCK 'N' ROLL HIGH SCHOOL [Alamo Drafthouse]

March 9
SUNSHINE STATE (Mason Daring), SILVER CITY (Mason Daring) [Aero]

March 10
CONSTANTINE (Brian Tyler, Klaus Badelt) [Alamo Drafthouse]
GREASER'S PALACE (Jack Nitzsche) [BrainDead Studios]
HANSEL & GRETEL: WITCH HUNTERS (Atli ORvarsson) [Los Feliz 3[
KILL BILL, VOL. 1 (RZA) [New Beverly]
MORVERN CALLAR [BrainDead Studios]
SLEEPAWAY CAMP (Edward Bilous) [Alamo Drafthouse]
STAR WARS (John Williams) [Nuart]

March 11
BRAM STOKER'S DRACULA (Wojciech Kilar) [Alamo Drafthouse]
BREAKING IN (Michael Gibbs) [Los Feliz 3]
BROTHER FROM ANOTHER PLANET (Mason Daring) [Los Feliz 3]
CONSTANTINE (Brian Tyler, Klaus Badelt) [Alamo Drafthouse]
DARBY O'GILL AND THE LITTLE PEOPLE (Oliver Wallace) [New Beverly]
DIABOLIQUE (Georges Van Parys) [BrainDead Studios]
HONDO (Emil Newman, Hugo Friedhofer) [Los Feliz 3]
PREDATOR (Alan Silvestri) [BrainDead Studios]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
SHOWGIRLS (David A. Stewart) [Landmark Westwood]
SHREK (John Powell, Harry Gregson-Williams) [Academy Museum]
SUPER MARIO BROS. (Alan Silvestri) [New Beverly]
SWINGERS (Justin Reinhardt) [Los Feliz 3]
TITANIC (James Horner) [New Beverly]
US (Michael Abels) [BrainDead Studios]

March 12
ASHES AND DIAMONDS (Filip Nowak) [Los Feliz 3]
BIG (Howard Shore) [BrainDead Studios]
DARBY O'GILL AND THE LITTLE PEOPLE (Oliver Wallace) [New Beverly]
DAUGHTERS OF THE DUST (John Barnes) [Alamo Drafthouse]
KNOCKED UP (Loudon Wainwright) [BrainDead Studios]
PRIVILEGE (Mike Leander) [Los Feliz 3]
SAMURAI WOLF 2: HELL CUT (Toshiaki Tsushima) [Los Feliz 3]
SLEEPAWAY CAMP (Edward Bilous) [Alamo Drafthouse]
SPECIES (Christopher Young) [BrainDead Studios]
TITANIC (James Horner) [New Beverly]
WHAT'S EATING GILBERT GRAPE (Bjorn Isfalt, Alan Parker) [Fine Arts]

Blazing Saddles (Morris); Pan (Powell); Spaceballs (Morris); Robin Hood: Men in Tights (Mann); Dracula: Dead and Loving It (Mann); Breathless (Solal); Shrek 2 (Gregson-Williams); Contempt et al (Delerue); Shrek the Third (Gregson-Williams); Pierrot le fou/Weekend (Duhamel); Shrek Forever After (Gregson-Williams)

Read: The Burglar Who Traded Ted Williams, by Lawrence Block

Seen: Sepia Cinderella; Babylon; Avatar: The Way of Water; Ant-Man and the Wasp: Quantumania; Star Wars: The Force Awakens; No. 1 of the Secret Service; OSS 117: Murder for Sale; Curse of the Voodoo; The Million Eyes of Sumuru; Knock at the Cabin; Emily; 80 for Brady; Cocaine Bear

Watched: The Venture Bros. ("A Party for Tarzan"); Westworld ("Generation Loss"); You're the Worst ("The Only Thing That Helps"); Baron Blood
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Today in Film Score History:
October 2
Bernard Herrmann marries his first wife, writer Lucille Fletcher (1939)
Bruce Montgomery born (1921)
Damon Gough born (1969)
Dennis McCarthy records his score for the Star Trek: Deep Space Nine episode “The Visitor” (1995)
Eric Demarsan born (1938)
Leroy Shield born (1893)
Recording sessions begin for Richard Rodney Bennett’s score for Gormenghast (1999)
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Tom Petty died (2017)
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