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Beyond the Screen: Film Works on Piano - Rachel Portman - Sony (import) 


Champions - Michael Franti
The Magic Flute - Martin Stock - Soundtrack CD on Deutsche Grammophon
The Magician's Elephant - Mark Mothersbaugh
Righteous Thieves - Pancho Burgos-Goizueta 
Scream VI - Brian Tyler, Sven Faulconer
65 - Chris Bacon
Southern Gospel - Tim Williams 
Unicorn Wars - Joseba Beristain
Unwelcome - Christian Henson


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 10 - Arthur Honegger born (1892)
March 10 - Angela Morley/Wally Stott born (1924)
March 10 - Charles Previn, head of the Universal Music Department, wins the Score Oscar for One Hundred Men and a Girl, for which no composer is credited (1938)
March 10 - Brad Fiedel born (1951)
March 10 - Marc Donahue born (1953)
March 10 - Uwe Fahrenkrog-Petersen born (1960)
March 10 - Michel Legrand records his score for Summer of ’42 (1971)
March 10 - Jerry Goldsmith begins recording his score for The Swarm (1978)
March 10 - Bruce Broughton begins recording his score for Honey, I Blew Up the Kid (1992)
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)


COCAINE BEAR - Mark Mothersbaugh
"For that reason and so many more, you’ll probably also find yourself rooting for the bear to succeed. She’s just so gleeful as she tears into brick after brick and gets a big whiff of the white stuff up her snoot. The ways in which she ingests cocaine are often quite clever, including doing a line off a leg she’s just severed. And one sequence, in particular, involving the marauding bear, a fleeing ambulance, and Depeche Mode’s catchy 'Just Can’t Get Enough' is a tour de force of pacing and tone. Speaking of music, Mark Mothersbaugh’s score adds the perfect synth touch to these antics; similarly, the period-specific needle drops, costume, and production design are on point without being obvious parodies. The posters that adorn the teenage Prince’s walls are especially inspired."
Christy Lemire, 
"The Reagan-era period details, from the needle-drops to costume designer Tiziana Corvisieri’s wardrobe selections (Eddie’s robin’s-egg-blue Members Only jacket, Sari’s pink jumpsuit), feel appropriate without being overbearing, much like Mark Mothersbaugh’s witty but strategically-placed score."
Alonso Duralde, The Wrap 
"As mentioned above, 'Cocaine Bear' opens with Jefferson Starship’s 'Jane,' a song whose riffs practically drip down the back of your throat. Scandal’s 'The Warrior,' featuring Patty Smyth, rides a similar treble high, while the Commodores’ 'Too Hot Ta Trot' relies more on its rhythm section to keep the energy up. Berlin and Depeche Mode are both ’80s dance party staples, with synths to match Mark Mothersbaugh’s similarly keyboard-driven score. 'On the Wings of Love' makes more sense in context, while Grandmaster Melle Mel’s 'White Lines' speaks for itself."
Katie Rife, Polygon 
"Banks approaches 'Cocaine Bear' without hiding her gory-goofy intentions. Characters exist to be pursued, maimed and dismembered by a drug-trippin’ mammal not restricted by typical bear behaviors. You’re here to vibe with cheeky Jefferson Starship needle drops and a synth-poppy score underneath chaos primed for communal watches, as filler material between death scenes matters much less than the murderous rampages. When 'Cocaine Bear' beats its chest -- as furry paws tear away human flesh or sever appendages -- Bank’s [sic] command holds strong. The assignment is understood, leaning into the B-movie nature of Warden’s concocted narrative that bounces around an ensemble cast."
Matt Donato, Paste Magazine
"The suspense derives in part from the pulse-pounding exertions of Mark Mothersbaugh’s score, and also from the characters’ assumption that black bears are (a) less dangerous than brown bears and (b) always sober. But it also stems from some amateur mammalogy on the part of Banks and Warden, who advance some funny, fanciful ideas how Teddy Drugspin might respond to treats, threats and other stimuli. Would she pounce on every person who crosses her path, or just the ones who themselves happen to reek of coke? Will her latest high make her hungry, or sleepy? Will the kids survive her killing spree? Have we seen the last of Prince’s character when halfway through the movie she exits, pursued by a cocaine bear?"
Justin Chang, Los Angeles Times 
FULL TIME - Irène Drésel 
"'Full Time' is canny enough to understand that many people’s make-do existences are ready-made for compassionate thriller-ization. Gravel, in the heart-stopping vein of Belgium’s social-realism-minded Dardennes brothers, invests his protagonist’s one-challenge-at-a-time needs with the kind of visual intimacy and racing rhythm that makes us feel intensely close to Julie, from first sprint in her dehumanizing day to the exhaling bathtub soak she takes each night. French techno artist Irène Drésel’s percolating electronic score, like Giorgio Moroder sweating through a bender, certainly does its part, as does cinematographer Victor Seguin’s documentary-like viscerality and editor Mathilde Van de Moortel’s versatility with both adrenaline-charged sequences and quieter human moments."
Robert Abele, Los Angeles Times 
"'Full Time,' written and directed by Eric Gravel, depicts the never-ending sprint that is Julie’s life as a struggling single mom, rendering this social-realist drama as a gritty, heart-pounding thriller, with breathless, naturalistic handheld cinematography by Victor Seguin and an adrenaline-pounding electronic score by Irène Drésel."
Katie Walsh, The Wrap 
"The notion of applying an action film feel to someone going about their daily routine may seem a bit precious, perhaps even contrived, but it is a conceit that Gravel is able to pay off effectively. From a technical standpoint, the construction of the film is very impressive as both Mathilde Van de Moortel’s editing and Irene Dresel’s score (both of whom received Cesar nominations for their efforts) give the film a sense of real tension right from the get-go and sustains it until the end -- even the rare moments when Julie can steal a minute for herself are hardly a respite as we can sense how guilty she feels for even those all-too-brief bits of calm. And while it may sound like a gimmick, anyone who has ever raced to catch the bus to work as it's about to pull away from the stop or has waited on the platform for a late train will easily recognize Julie's pulse-pounding feelings."
Peter Sobcynzski,

"She’s dependent on a tattered network of support in everything from her transit to childcare that stretches both her money and her energy. (Having a deadbeat ex-husband certainly complicates matters.) And during the time period observed in 'Full Time,' those all fray to their rawest nerves. Even as the film ratches up in intensity and velocity at the feverish pitch of Irène Drésel’s propulsive electronic score, it never moves so fast that it loses sight of Julie’s tenacity amidst society’s antipathy."
Marshall Shaffer, The Playlist 

"The frenetic editing of scenes that see Julie sprinting from terminal to terminal through seething crowds and traffic jams, barely keeping her cool as further delays and cancellations of service are announced, never relents, and her work routine is shot at the same level of intensity. The pulsing Minimal soundtrack by Irène Drésel matches the rhythm of rapid-fire close-ups showing Julie changing into her uniform, making beds, fluffing pillows, scrubbing toilets, and so on. All of which provides a palpable contrast to the rare scenes in which she gets a breather."
William Repass, Slant Magazine 

KNOCK AT THE CABIN - Herdís Stefánsdóttir 
"In his first R-rated movie since 'The Happening,' Shyamalan incredibly uses shock and awe in highly creative and effective ways. At times it is genuinely breathtaking, and it never feels like a cop-out or gimmick. The filmmaker’s direction, Jarin Blaschke’s atmospheric cinematography, and Herdís Stefánsdóttir’s intense score create a heady, intoxicating, and often disorientating environment that envelopes the viewer. A challenging and confident vision, it is the director’s most engaging and authentic work in years." 
Simon Thompson, The Playlist 

"You could say something similar about the confidence that Shyamalan displays in Tremblay’s material, as well as in his own formal powers of persuasion. While there are a few snippets of outsized spectacle -- visions of falling planes and crashing tidal waves, most of them filtered through a TV news camera darkly -- 'Knock at the Cabin' is first and foremost an exercise in confinement, one that derives its claustrophobic power from the fluid interplay of Jarin Blaschke and Lowell A. Meyer’s meticulously composed widescreen images, Noëmi Preiswerk’s taut, fluid editing and the menacing notes of Herdís Stefánsdóttir’s score."
Justin Chang, Los Angeles Times 

"The ticking-clock thriller attempts to pump up the ominous mood from the outset with Icelandic composer Herdis Stefánsdóttir’s high-dudgeon score and lots of unsettlingly off-kilter angles from DPs Lowell A. Meyer and Jarin Blaschke. The movie is certainly not lacking in tension or visual style."
David Rooney, The Hollywood Reporter 
MARLOWE - David Holmes
"Thing is, 'Marlowe' doesn’t do much percolating. William Monahan and Neil Jordan's script keeps a near-elegiac pace and tone (bolstered and sometimes mildly overthrown by David Holmes’ multi-varied score) as they pepper the dialogue with allusions to Christopher Marlowe, James Joyce, William Strunk, Jr., and Greek myth. He imbues all his characters with a self-consciousness, an awareness that they’re players in a pool of rot, a place some want to wallow in and others want to get out of at least a little clean. Early on, Kruger’s character says to Neeson, 'You’re a very perceptive and sensitive man, Mr. Marlowe. I imagine it gets you into trouble.' The remainder of the film is an elaboration of that declaration."
Glenn Kenny, 
"Jordan also makes the odd decision to shoot Barcelona for 1930s LA, which should ostensibly give the film an old-world vibe but, instead, makes everything look a little off. This feeling isn’t helped by Xavi Giménez’s soft cinematography, which features the stock images associated with noir -- watch out for a neon sign reflected in a pool of water. The same goes for David Holmes’s forgettable score."
Christian Gallichio, The Playlist
"The one clever running gag 'Marlowe' has to offer is that so many Southern Californians are played by Irish, Scottish or British actors (in addition to Neeson and Cumming, Ian Hart and Colm Meaney pop up as a couple of local cops), while the film’s one Irish character is played by Jessica Lange. The movie has production value for days, from the smoky jazz of David Holmes’ score to the warm tones (and occasional lurid neon) of Xavi Giménez’s cinematography to the period-appropriate costume, hair and interior design, but the storytelling is shockingly perfunctory, hitting every expected P.I. plot point as through 'The Maltese Falcon' were the Passion Play."
Alonso Duralde, The Wrap 
"Multiple mirror images of characters, as well as sharp diagonal lines, are also prime components of Jordan’s old-school aesthetics, as is David Holmes’ horn-heavy score. As far as replications go, it’s a superficial success, yet there’s nonetheless something so meticulous and studied about the director’s approach that it renders the action a self-conscious and airless facsimile."
Nick Schager, The Daily Beast 
ME TIME - Jeff Cardoni
"The film feels as though it was put together the way a tumbleweed snatches up stray leaves and feathers. It bounces from location to location, gag to gag, adding side character and cameos (including the pop singer Seal) with next to no narrative momentum. In one scene, Hart and Wahlberg are tasked to give mouth-to-mouth to a tortoise. Later, a child who is thoroughly unrelated to the story halts the plot to perform Leonard Cohen’s 'Hallelujah.' (At least the singer, Kayden Alexander Koshelev, is good.) No story beat lingers for longer than a few minutes, even the ones centered around fun performers like Shira Gross as a finger-breaking goon, Luis Gerardo Méndez as a wealthy toothbrush influencer who wants to lure Maya to a private island hideaway, or Diane Delano as a volunteer crossing guard introduced as a warning of what Sonny might become -- his Ghost of Schoolyard Future -- and whose backstory is accompanied by a pathetic tinkling of piano, composer Jeff Cardoni’s cleverest flourish."
Amy Nicholson, Variety 

"Zombie and director of photography Zoran Popovic use every trick in the book, both guilelessly iconoclastic (stab zooms for punchlines, shaky, handheld dutch tilts during scenes of chaos) and tightly assured (the camera practically floats around corridors and down stairs). It’s a preposterously pretty movie, laying its every impulse on the table like a hand of cards. The score by Zeuss is right out of the sitcom library, making sure every comic beat gets the proper horn sting. It’s like some magnificent cross between the must-see-TV line-up and a softcore Euro horror-comedy circa-1977."
Scout Tafoya, 
PINOCCHIO - Alan Silvestri
"As always, the moral of the story is the importance of being honest. Pinocchio learns this through the whole nose-growing fiasco, a crucial element of his journey that strangely plays like a rushed afterthought in this version. In the title role, Ainsworth brings an old-fashioned earnestness that’s almost heightened to the point of self-aware parody. But he’s also stuck overexplaining everything in shrill, frantic fashion by the film’s climactic conclusion, which by then seems totally divorced from the notion of live action. It's just pixels. The score from veteran composer and longtime Zemeckis collaborator Alan Silvestri swells in all the expected, feel-good ways. It’s all very familiar and cozy."
Christy Lemire, 
"In less glaring moments of Zemeckis still trying to get through some 'Welcome to Marwen' irreverent doll humor out of his system, he treats the journey of Pinocchio as a set of thrill rides, so at least the pacing is commendable. There are numerous scenes of characters being zipped away, riding through something like the confectionary terrain of Sugar Mountain on Pleasure Island, or later when our heroes are racing to the end of the sea beast’s closing mouth. There are a couple of peppy original music numbers from Alan Silvestri and Glen Ballard, which prove to be the best place for Kyanne Lamaya’s endearing new character Fabiana to charm Pinocchio with her own marionette and dreams. (And for those Silvestri heads out there, his score is maybe sending some type of call for help by borrowing notes from his theme to 'Mac and Me.')"
Nick Allen, The Playlist 

"Some of the songs were pulled from Disney’s 1940 animated masterpiece (back then, Walt understood the assignment perfectly). Others were written by Alan Silvestri and Glen Ballard and are more thoughtfully integrated into the movie. But the originals, including 'When You Wish Upon a Star' and 'Hi-Diddle-Dee-Dee,' will spark recognition in most children and a bit of comforting nostalgia among their elders."
Elizabeth Weitzman, The Wrap
"This 'Pinocchio' isn’t quite a shot-for-shot remake of the 1940 film, though its scant few additions are so baffling in part because they feel so insubstantial. Songs such as 'Give a Little Whistle' and 'Little Wooden Head' have been jettisoned in favor of four lifeless new songs by Alan Silvestri and Glen Ballard. Each one stops the story’s pacing in its tracks. Hanks is tasked with two new numbers in the early going, where he speak-sings his way through painful lyrics that rhyme 'Pinocchio' with 'Holy smokey-o.'"
Josh Spiegel, Polygon 

"Live-action Disney remakes are best seen as the equivalent of Broadway musical versions: they add a few new songs, toss in some contemporary jokes, and throw a ton of money at special effects. Expecting the same kind of timelessness a second time is mostly a futile exercise: the state fair might book a talented cover band, but we’re listening to the original artist in our car or at home. This 'Pinocchio' needed extra money or time, because the animation either looks unfinished or deliberately cartoonish, and the title character’s voice drastically changes from one scene to the next. Meanwhile, new songs by Alan Silvestri and Glen Ballard lack the snappiness and easy-rhyming wordplay of classics like 'I’ve Got No Strings' or 'When You Wish Upon A Star.'"
Luke Y. Thompson, The Onion AV Club 
"Swelling the running time from the original’s lean 88 minutes to a slightly sodden 111, Zemeckis’ 'Pinocchio' does add a few novel wrinkles to this well-worn tapestry. There’s a new anthropomorphic character: a sassy seagull named Sofia, voiced by Lorraine Bracco. Lyricist Glen Ballard and composer Alan Silvestri have composed several largely middling new songs, although most of the original’s key tunes survive in some form. Newcomer Kyanne Lamaya is the best addition, playing a dancer-turned-puppeteer who forges a bond with Pinocchio. And perhaps most notably, Geppetto has been given an expanded backstory involving a dead son and a wife, an unnecessary crutch for an actor who can elicit pathos as effortlessly as Hanks."
Andrew Barker, Variety 
"The film benefits from an impressive minimalist score by the young Dutch composer Wilko Sterke and excellent sound design by Mark Glynne that makes it seem as if voiceovers of Bonham-Carter and the other interviewees are in dialogue."
Alissa Simon, Variety 


Screenings of older films in Los Angeles-area theaters.

March 10
THE CONFORMIST (Georges Delerue) [Los Feliz 3]
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]
THE TRIAL (Jean Ledrut) [Los Feliz 3]

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]
THE TRIAL (Jean Ledrut) [Los Feliz 3]
WHAT'S EATING GILBERT GRAPE (Bjorn Isfalt, Alan Parker) [Fine Arts]

March 13
HENRY, PORTRAIT OF A SERIAL KILLER (Robert McNaughton, Ken Hale, Steven A. Jones), MONSTER (BT) [New Beverly]
JOHNNY MNEMONIC (Brad Fiedel) [Alamo Drafthouse]
POPCORN (Paul Zaza) [Los Feliz 3]
THE TRIAL (Jean Ledrut) [Los Feliz 3]
March 14
AMERICAN POP (Lee Holdridge - in person!) [BrainDead Studios]
BREATHLESS (Martial Solal) [Academy Museum]
CHINATOWN (Jerry Goldsmith) [Los Feliz 3]
HENRY, PORTRAIT OF A SERIAL KILLER (Robert McNaughton, Ken Hale, Steven A. Jones), MONSTER (BT) [New Beverly]

March 15
BILL AND TED'S EXCELLENT ADVENTURE (David Newman) [Alamo Drafthouse]
FUNERAL PARADE OF ROSES (Joji Yuasa) [BrainDead Studios]
MR. MALCOM'S LIST (Amelia Warner) [Los Feliz 3]
SPRING BREAKERS (Cliff Martinez, Skrillex) [Alamo Drafthouse]

March 16
CROSSFIRE (Roy Webb), A WOMAN'S SECRET (Frederick Hollander) [Academy Museum]
DEATH WATCH (Antoine Duhamel) [Los Feliz 3]
THE WATERDANCE (Michael Convertino), RIVER'S EDGE (Jurgen Kneiper) [Aero]

March 17
CHINATOWN (Jerry Goldsmith) [Los Feliz 3]
EASTERN PROMISES (Howard Shore) [BrainDead Studios]
FASTER, PUSSYCAT! KILL! KILL! (Paul Sawtell, Bert Shefter), SWITCHBLADE SISTERS [New Beverly]
FIREWALKER (Gary Chang) [Los Feliz 3]
MILLENIUM MAMBO (Giong Lim) [Los Feliz 3]
JAMON JAMON (Nicola Piovani) [Aero]
KILL BILL, VOL. 1 (RZA) [New Beverly]
THE SHINING (Wendy Carlos, Rachel Elkind) [Academy Museum]
THE SILENCE OF THE LAMBS (Howard Shore) [New Beverly]
SOCIETY (Phil Davies, Mark Ryder) [BrainDead Studios]
SOYLENT GREEN (Fred Myrow) [Los Feliz 3]
THE TRIAL (Jean Ledrut) [Los Feliz 3]

March 18
THE BIG HEAT, HUMAN DESIRE (Daniele Amfitheatrof) [Academy Museum]
BOOKSMART (Dan the Automator) [Alamo Drafthouse]
CHINATOWN (Jerry Goldsmith) [Los Feliz 3] 
ERNEST & CELESTINE (Vincent Courtois) [Academy Museum]
FASTER, PUSSYCAT! KILL! KILL! (Paul Sawtell, Bert Shefter), SWITCHBLADE SISTERS [New Beverly] 
GOLDEN BALLS (Nicola Piovani), THE TIT AND THE MOON (Nicola Piovani) [Aero]
IN A LONELY PLACE (George Antheil) [Academy Museum]
JOSIE AND THE PUSSYCATS (John Frizzell) [New Beverly]
ONCE WERE WARRIORS (Murray Grindlay, Murray McNab) [BrainDead Studios]
ONG BAK (Romaric Laurence, Richard Wells) [BrainDead Studios]
SOMETHING'S GOTTA GIVE (Hans Zimmer) [Alamo Drafthouse]
SPIDER-MAN 2 (Danny Elfman) [New Beverly]
THE TRAIN ROBBERS (Dominic Frontiere) [Los Feliz 3]
THE TRIAL (Jean Ledrut) [Los Feliz 3] 
UNBREAKABLE (James Newton Howard) [BrainDead Studios]

March 19
BRINGING OUT THE DEAD (Elmer Bernstein) [BrainDead Studios]
CANICHE [Los Feliz 3]
DUNKIRK (Hans Zimmer) [Fine Arts]
FASTER, PUSSYCAT! KILL! KILL! (Paul Sawtell, Bert Shefter), SWITCHBLADE SISTERS [New Beverly]
FIVE GRAVES TO CAIRO (Miklos Rozsa) [Los Feliz 3]
MASK [Fine Arts]
MILLENNIUM MAMBO (Giong Lim) [Alamo Drafthouse]
THE MISFITS (Alex North) [UCLA/Hammer]
NAKED ALIBI [Academy Museum]
A SCANNER DARKLY (Graham Reynolds) [Alamo Drafthouse]
SOLARIS (Edward Artemyev) [BrainDead Studios]
SPIDER-MAN 2 (Danny Elfman) [New Beverly]
VIOLENT STREETS (Masaru Sato) [Los Feliz 3]
WRECK-IT-RALPH (Henry Jackman) [BrainDead Studios]
YOUNG FRANKENSTEIN (John Morris) [Academy Museum]


Melodies with Orchestra and Chamber Music (Ravel); It's a Wonderful Life (Tiomkin); The Outlaw Josey Wales (Fielding); The Bad and the Beautiful (Raksin); The Grapes of Wrath (Eisler); Edge of the City/The Cobweb (Rosenman); Robin and the 7 Hoods (Riddle, various); Stravinsky Conducts Stravinsky: Symphony of Psalms et al (Stravinsky); Self/Less (Pinto/Aram); Demon (Cordell); Rite of Spring/4 Norwegian Moods (Stravinsky); Oklahoma! (Rodgers/Bennett/Blackton/Deutsch)

Read: Quiller KGB, by Adam Hall (aka Elleston Trevor)

Seen: Hook; Operation Fortune: Ruse de guerre; The Producers [1968]; The Choirboys; Hennessy

Watched: The Newsroom ("News Night 2.0"); Scream of Fear; The New Adventures of Old Christine ("Teach Your Children Well"); The Way of the Dragon; Star Trek: Enterprise ("The Aenar")

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Amelia and the Sea
The Idea of Cue
Unfrosted and Unmiked
Holkenborg Unchained: The Incredible Holk Returns!
An Ungentlemanly Gentleman
Dead Boy Composers
The Sound of Silent Horror
The Ark of Coker
Echoes of the Day of Wrath
A Chorale for Coral
Ear of the Month Contest: Andrew Lockington
Today in Film Score History:
June 19
Bruce Broughton records his score for the Amazing Stories episode "Mr. Magic" (1985)
Elmer Bernstein begins recording his score for The Great Santini (1979)
Johnny Douglas born (1920)
Joseph Mullendore died (1990)
Leon Klatzkin born (1914)
Marjan Kozina died (1966)
Maurice Jaubert died (1940)
Recording sessions begin for James Newton Howard’s score for Waterworld (1995)
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