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Varese Sarabande's latest Deluxe Edition CD Club releases present expanded releases of two scores by members of Hollywood's First Family of Film Music, the Newmans - Randy Newman's Oscar-nominated score for the 1998 fantasy comedy PLEASANTVILLE, starring Reese Witherspoon, Tobey Maguire, Jeff Daniels, William H. Macy and Joan Allen; and a two-disc edition of David Newman's score for SERENITY, writer-director Joss Whedon's feature film sequel to his cult classic sci-fi Western TV series Firefly.


RUNAWAY: THE EARLY WORKS OF DAVID SHIRE, the latest release from Caldera, features previously unreleased music by the Oscar-winning composer, including his music for the premiere episode of CBS Playhouse.


The latest releases from Kronos are Ronald Stein's score for the 1961 sword-and-sandals adventure ATLAS; Paul Sawtell & Bert Shefter's score for the 1971 Mexican Western LOS MERCADOS; and Francesco De Masi's score for the 1959 documentary UOMINI E MARI (Men and Sea


The latest releases from Buysoundtrax are a fifth volume of Joe Harnell's music for THE BIONIC WOMAN, and the tracks from the 1972 album LEE HOLDRIDGE AND HIS ORCHESTRA


CDS AVAILABLE THIS WEEK

Doctor Who: Revenge of the Cybermen
 - Carey Blyton, Peter Howell - Silva
Doctor Who: Time and the Rani
 - Keff McCulloch - Silva 
Fairytopia
 - Eric Colvin - Buysoundrax [CD-R] 
Guido & Maurizio De Angelis: Television Soundtracks Collection
 - Guido & Maurizio De Angelis - Beat 
I predatori di Atlantide
 - Guido & Maurizio De Angelis - Beat  
Killers of the Flower Moon - Robbie Robertson - Sony 
La polizia incrimina la legge assolve
 - Guido & Maurizio De Angelis - Beat  
The Sound of Music - Richard Rodgers, Irwin Kostal - Concord Music Group
The Sound of Music: Super Deluxe Edition - Richard Rodgers, Irwin Kostal - Condord Music Group


IN THEATERS TODAY

The Cello - Joseph Bishara
Concrete Utopia - Kim Hae-won
The End We Start From - Anna Meredith
La Syndicaliste - Bruno Coulais 
The Oath - Trevor Morris
Origin - Kris Bowers
Our Son - Ola Flottum
Poor Things - Jerskin Fendrix


COMING SOON

December 15
La Donna Invisible - Ennio Morricone - Beat
Pleasantville: The Deluxe Edition
-
Randy Newman - Varese Sarabande CD Club
Serenity: The Deluxe Edition
- David Newman - Varese Sarabande CD Club
Terrahawks
 - Richard Harvey - Silva
January 12
Atlas
- Ronald Stein - Kronos
Los Mercados
- Paul Sawtell, Bert Shefter - Kronos
Uomini e mari
- Francesco De Masi - Kronos
Date Unknown

The Bionic Woman: Vol. 5
- Joe Harnell - Buysoundtrax [CD-R]
Blastfighter
 - Fabio Frizzi - Beat
The Daniel Licht Collection Vol. 2
 - Daniel Licht - Dragon's Domain [CD-R]
El Cuco
 - Diego Navarro - MovieScore Media
Gli Italiani e l'industria
 - Piero Umiliani - Kronos 
Guido & Maurizio De Angelis - Colonne Sonore Delle Serie TV Dal 1985 Al 1998
 - Guido & Maurizio De Angelis - Beat 
The House Where Evil Dwells
 - Ken Thorne - Dragon's Domain
The Joe Harnell Collection Vol. 3 
- Joe Harnell - Five Jays [CD-R]
Lee Holdridge and His Orchestra
- Lee Holdridge, various - Buysoundtrax
Piedone d'egitto
 - Guido & Maurizio De Angelis - Beat 
Plane - Marco Beltrami, Marcus Trumpp - Rambling (import)
Runaway: The Early Works of David Shire
- David Shire - Caldera
Squadra Antimafia
 - Goblin - Beat
Tess
 - Philippe Sarde - Music Box 


THIS WEEK IN FILM MUSIC HISTORY

December 8 - Leo Shuken born (1906)
December 8 - Moisey Vainberg born (1919)
December 8 - John Rubinstein born (1946)
December 8 - Bruce Kimmel born (1947)
December 8 - Miklos Rozsa begins recording his score to The World, the Flesh and the Devil (1958)
December 8 - Russell Garcia begins recording his score for The Time Machine (1959)
December 8 - Dominic Frontiere records his score for The Invaders episode “The Mutation” (1966)
December 8 - Junkie XL born as Tom Holkenberg (1967)
December 8 - Leonard Rosenman begins recording his score for Beneath the Planet of the Apes (1969)
December 8 - Antonio Carlos Jobim died (1994)
December 8 - Richard Thompson begins recording his score for Grizzly Man (2004)
December 8 - Edward Williams died (2013)
December 9 - Von Dexter born (1912)
December 9 - Chris Wilson born (1958)
December 9 - Sune Waldimir died (1967)
December 9 - Geoff Barrow born (1971)
December 9 - William Goldstein records his score for the Twilight Zone episode “Her Pilgrim Soul” (1985)
December 9 - Alessandro Cicognini died (1995)
December 10 - Morton Gould born (1913)
December 10 - Alexander Courage born (1919)
December 10 - Chad Stuart born (1941)
December 10 - Milan Svoboda born (1951)
December 10 - Jack Hues born (1954)
December 10 - Jerry Goldsmith begins recording his score for Shock Treatment (1963)
December 10 - Leigh Harline died (1969)
December 10 - Recording sessions begin for Claude Bolling’s score for The Awakening (1979)
December 10 - Roy Webb died (1982)
December 10 - Gershon Kingsley died (2019)
December 11 - Rogier Van Otterloo born (1941)
December 11 - Rachel Portman born (1960)
December 11 - Paul Haslinger born (1962)
December 11 - Anthony Collins died (1963)
December 11 - Jon Brion born (1963)
December 11 - Benny Carter records his score for the Alfred Hitchcock Hour episode “Crimson Witness” (1964)
December 11 - Benny Golson records his score for the Mission: Impossible episode “Incarnate,” the final score composed for the original series (1972)
December 11 - Johnny Mandel begins recording his score for Escape to Witch Mountain (1974)
December 11 - Velton Ray Bunch records his score for the Enterprise episode “Silent Enemy” (2001)
December 11 - Jay Chattaway records his score for the Enterprise episode “Catwalk” (2002)
December 11 - Malcolm Clarke died (2003)
December 11 - Ravi Shankar died (2012)
December 12 - Carlo Martelli born (1935)
December 12 - Michael Kamen begins recording his score for Road House (1988)
December 12 - Karl-Heinz Schafer died (1996)
December 12 - Marcello Giombini died (2003)
December 13 - Teo Usuelli born (1920)
December 13 - Reijiro Koroku born (1949)
December 13 - David Raksin begins recording his score to The Reformer and the Redhead (1949) 
December 13 - Dimitri Tiomkin begins recording his score for Land of the Pharaohs (1954)
December 13 - Harry Gregson-Williams born (1961)
December 13 - Adam Fields born (1965)
December 13 - Alexander Courage records his score for the Lost in Space episode "The Girl from the Green Dimension" (1966)
December 13 - Jerry Goldsmith begins recording his score for Psycho II (1982)
December 13 - Dennis McCarthy records his score for the Star Trek: Deep Space Nine episode “Past Tense - Part 1” (1994)
December 13 - Rene Cloerec died (1995)
December 13 - Miles Goodman begins recording his score for Dunston Checks In (1995)
December 13 - Emil Richards died (2019)
December 14 - John Du Prez born (1946)
December 14 - John Lurie born (1952)
December 14 - Alfred Newman begins recording his score for Hell and High Water (1953)
December 14 - Jon Ekstrand born (1976)
December 14 - Fred Karlin begins recording his score for Ravagers (1978)
December 14 - Ron Jones records his score for the Star Trek: The Next Generation episode "The Defector" (1989)
December 14 - Jay Chattaway records his score for the Star Trek: Voyager episode “Shattered” (2000)

DID THEY MENTION THE MUSIC?

MAY DECEMBER - Marcelo Zarvos, adapted from Michel Legrand's The Go-Between

"The film’s surfaces are pleasant and gentle, the performances quiet. But early on, after Gracie checks the fridge ahead of a cookout and realizes that they don’t have enough hot dogs, dramatic piano music kicks in, announcing the ridiculous tonal shifts this seemingly placid film will take. (The score, by Marcelo Zarvos, is actually an adaptation and reorchestration of Michel Legrand’s music for Joseph Losey’s 1971 forbidden-romance drama 'The Go-Between.') Haynes punctuates other seemingly mundane scenes in similarly grandiose fashion. He uses the trappings of camp to draw attention to the disconnect between what’s happening onscreen and our response to it."
 
Bilge Ebiri, New York 
 
"'May December' starts with a flurry of confusing activity in two different locations. A glamorous woman (Natalie Portman) checks into a boutique hotel, murmuring into her Bluetooth. Another woman (Julianne Moore) is in the final stages of planning a get-together at her waterfront home. She opens the fridge and stares into it. The camera then pushes in on her face as the music surges alarmingly. The effect is so dramatic you would not be surprised if a severed head was inside the refrigerator. This is the first real announcement of what the movie will be doing and how it will be doing it. To no one in particular, the woman says flatly, 'I don't think we have enough hot dogs.' The aforementioned score, melodramatic to the point of hysteria, is Marcelo Zarvos’ adaptation of Michel Legrand’s score for Joseph Losey's 1971 film 'The Go-Between,' where a breezy beautiful Julie Christie befriends a lonely schoolboy, using him to get to her secret lover, another film about a May December 'friendship' with long-lasting consequences. Cinematographer Christopher Blauvelt, a frequent collaborator with Kelly Reichardt, films Savannah and its soft light almost like it's not a real place, with real textures and surfaces. The light is bright but not warm. The scenery is beautiful, but the beauty is somehow irrelevant."
 
Sheila O'Malley, RogerEbert.com 
 
"From its very first shot Todd Haynes’ 'May December' announces itself as a wildly intoxicating, intentionally strident provocation. Close-up images of Monarch butterflies and their surrounding manicured flower gardens are scored by the theme from Joseph Losey’s 1971 film 'The Go-Between.' The archly dramatic music lends a discomfiting feeling to the scenes of domesticity (a cookout for friends and family in Savannah, Georgia) that soon follow. Such a jarring juxtaposition, best encapsulated by said music leading into a character complaining about not having enough hot dogs, sets up a film that wants to suture the lurid and the mundane, creating in the process a masterful meditation on performance and predation. And as the two women dance around one another, with equal parts suspicion and seduction, Joe is driven toward the kind of self-examination that risks upending everything he’s known and thought about himself. Here the music cues from 'The Go-Between' help place us squarely in yet another story about stolen innocence and torrid affairs: in Melton’s commanding performance, Joe soon reveals himself to us as both too old and too young for his age. He’s a father who can’t quite connect with the youthful abandon of his son and a husband who’s forced to baby a wife prone to fits of hysterical tears in bed. No surprise Elizabeth would, in a canny bit of method acting, insinuate herself into his world with increasingly dangerous results."
 
Manuel Betancourt, The Onion AV Club 

"Moore’s Gracie is all smiles and welcoming words for Elizabeth when she arrives, a Very Nice Lady who toils away at her pineapple upside-down cakes and keeps to the business of motherhood. Then, Haynes will zoom in on her face staring into the fridge as melodramatic strings sear across the soundscape like a giallo film (the score, by Marcelo Zavros, rearranges and reorchestrates a Michel Legrand score from 1971’s 'The Go-Between') and she mutters, 'I don’t think we have enough hot dogs.'"
 
Clint Worthington, Consequence 

"Haynes signals his playfulness when he punctuates an early, funny moment with an overwrought musical flourish, as if he were satirizing the tepid soap opera that Elizabeth’s film project is destined to become. (Elsewhere, the stabbing, histrionic flurries of Marcelo Zarvos’ music offer a lush reworking of Michel Legrand’s score from the 1971 romantic drama 'The Go-Between.') It’s a disarming touch and a generous invitation to laugh, but it’s also wholly devoid of scorn, which isn’t surprising from a filmmaker who has always seemed temperamentally incapable of condescension. Haynes may habitually build a wry intellectual distance into his movies, but here he bridges that distance with gusts of comedy, torrents of feeling and a love of movies that is by turns encyclopedic, voracious, infectious and egalitarian. Again and again, his cinephile allusions collapse easy distinctions between high and low, trash and art."
 
Justin Chang, Los Angeles Times 
 
"Written by Samy Burch, whose script Haynes seems to have tweaked into a catty-as-f**k dark comedy that deepens his longstanding obsession with performance while poking fun at the kind of actresses he clearly loves so much, 'May December' introduces itself as a piece of minimalism pitched somewhere between 'All About Eve' and 'Persona.' The average scene might unfold over the course of a sterile wide shot in Gracie’s kitchen that -- hilariously -- ends with her looking inside the fridge and declaring 'I don’t have enough hot dogs!' as Michel Legrand’s dramatic theme from 'The Go-Between' pounds over the soundtrack with the force of 1,000 soap operas. Or it could be set in the whisper-quiet restaurant bathroom where Gracie and Elizabeth stand side-by-side in front of the sink and stare directly into Christopher Blauvelt’s camera as they contemplate everything but their own reflections. For every skewering laughline, there’s a carefully posed shot of Natalie Portman obscured by a mannequin or flanked by two copies of her co-star in a trifold mirror."
 
David Ehrlich, IndieWire 

"For her part, Moore brings fascinating, dissonant depths to Gracie. There’s a touch of the Stepford wife to her: She runs a twee bakery from her and Joe’s pristine suburban home, negs her teenage daughter about her weight, and gives off an air of simmering derangement. Gracie is both blind to the damage she’s caused -- sighing that Joe 'grew up very quickly,' as if entirely oblivious to the fact that she’s the reason why—and disconcertingly self-aware about the psychological mechanisms that allow her to be so delusional, telling Elizabeth, 'I am naive. I always have been. In a way, it’s been a gift.' Gracie is terrifyingly sociopathic, but Moore brings a relieving touch of camp to the role with a farcically exaggerated lisp and melodramatic line readings, a comic undertone that is amplified by Blauvelt’s soap-operatic zooms and composer Marcelo Zarvos’ histrionic score."
 
Farah Cheded, Paste Magazine 
 
"In 'May December,' there’s trouble in the paradise of Savannah, Georgia, where the skeins of Spanish moss draped over corridors of trees wave in the gentle coastal zephyrs with each night’s picture-perfect sunset. Spouses Gracie (Julianne Moore) and Joe (Charles Melton) have opened their palatial home for a backyard BBQ; he’s manning the grill, and she’s darting about trying to make everything just right, each well aware of their role to play. We first get the inkling of something off as the guest of honor, A-lister Elizabeth Berry (Natalie Portman), paces about her temporary lodgings in town and describes the beautiful hotel as 'quaint' before complaining about a driver with the temerity to speak to her. She may very well be the haughty Tinseltown type Gracie’s anticipating, but we know for sure that something’s amiss when the hostess peeks in her fridge and declares, 'I don’t think we have enough hot dogs' to an ominous musical sting and a zoom-in right out of Moore’s tenure on 'As the World Turns' one lifetime ago."
 
Charles Bramesco, The Playlist 

"The feeling of suspense is goosed by the prickling score, which Haynes borrows from another movie altogether – Michel Legrand’s theme from Joseph Losey’s 1971 film, 'The Go-Between.' The two films hinge on furtive affairs, but more significantly, both films are about a person too unformed to understand how they are being manipulated. In 'May Decembe' that person is Joe, Gracie’s husband, played as an adult by Charles Melton (a former CW heartthrob, he was Reggie on 'Riverdale'). Melton gives Joe a gut, a gentle hunch, a gentle soul. It’s a crushing performance, his softness something you want to protect from the spiky women around him. When the focus shifts to him, 'May December' loses some of its hypnotic weirdness -- but it becomes a more emotionally rewarding film for it."
 
Kimberley Jones, The Austin Chronicle 

"One of 'May December''s biggest laughs comes from an early scene where a dramatic zoom into Moore’s profile and a swell of Marcelo Zarvos’s score (an adaptation and re-orchestration of Michel Legrand’s music for Joseph Losey’s 'The Go-Between') culminates in her blankly noting that 'we’re not gonna have enough hot dogs' for their garden party. The integration of other media into the story -- Portman’s real-life beauty product ads, a tawdry 'movie of the week' about Gracie and Joe, and, finally, a snippet from the film in which Elizabeth portrays Gracie -- also mark the film as being of a piece with Haynes’s postmodern project."
 
Brad Hanford, Slant Magazine 

"A heady director whose entire oeuvre feels ripe for film-studies dissertations, Haynes makes movies not merely to be watched, but to be analyzed and deconstructed after the fact. From the rich Douglas Sirkian pastiche of 'Far From Heaven' to the queer twist on classical 'woman’s pictures' provided by 'Carol,' his style can be chilly and distancing. Not so 'May December.' As layered and infinitely open-to-interpretation as any of his films, it’s also the most generous and direct, beginning not with Ingmar Bergman references (those come later), but with ripe hothouse footage of monarch butterflies, underscored by a lush reworking of Michel Legrand’s piano theme from 'The Go-Between.' The potential for passion, transformation and subversion hangs heavy in the air."
 
Peter Debruge, Variety 

"From the start, Haynes toys with the way stories like that of Gracie and Joe are received and interpreted by the public at large, in particular with his use of music. He punctuates scenes -- at times in humorously subversive ways that flirt with melodrama or soap -- with the portentous opening motif of Michel Legrand’s baroque-inspired score for Joseph Losey’s 'The Go-Between.'"
 
David Rooney, The Hollywood Reporter 
 
TAURUS - Machine Gun Kelly (Colson Baker)
 
"Across six previous features, writer/director Tim Sutton has excelled at crafting moody, ephemeral character studies that have prioritized feeling over plot, sometimes for the best (see 'Donnybrook') and sometimes to a film’s complete detriment (see last year’s languid 'The Last Son'). He reunites with his “Son” star for his newest, the Colson Baker (aka Machine Gun Kelly) meta-fiction 'Taurus.' An odd mash-up of biofiction and celebrity cautionary tale, 'Taurus' is heavy on mood -- utilizing woozy, overexposed cinematography and a dread-inducing score by Baker -- to showcase a burgeoning rapper’s self-implosion over the course of a week or so."
 
Christian Gallichio, The Playlist 

THE NEXT TEN DAYS IN L.A.

Screenings of older films in Los Angeles-area theaters.

December 8
AMORES PERROS (Gustavo Santaolalla) [Aero]
DAYS OF HEAVEN (Ennio Morricone) [Egyptian]
THE GIRL WITH THE DRAGON TATTOO (Trent Reznor, Atticus Ross) [New Beverly]
KILL BILL - VOL. 2 (RZA, Robert Rodriguez) [New Beverly]
LA DOLCE VITA (Nino Rota) [Aero]
LADY VENGEANCE (Cho-young Wuk) [Vidiots]
SILENT NIGHT, DEADLY NIGHT PART 2 (Michael Armstrong) [Alamo Drafthouse]
STOKER (Clint Mansell) [Vidiots]
SYMPATHY FOR MR. VENGEANCE (Pae Hyun Jin) [Academy Museum]
THE TERMINATOR (Brad Fiedel) [Egyptian]
UNDER THE SKIN (Mica Levi) [Los Feliz 3]
THE WARRIORS (Barry DeVorzon) [Vidiots]

December 9
ALL THAT JAZZ (Ralph Burns) [BrainDead Studios]

AMERICAN HISTORY X (Anne Dudley) [Los Feliz 3]
A BUCKET OF BLOOD (Fred Katz) [Los Feliz 3]
THE FRENCH CONNECTION (Don Ellis) [Egyptian]
FROZEN (Christophe Beck) [Academy Museum]
GO (BT) [New Beverly]
MARY POPPINS (Richard M. Sherman, Robert B. Sherman, Irwin Kostal) [New Beverly]
MEMORIES OF MURDER (Taro Iwashiro) [Academy Museum]
METROPOLIS (Gottfried Huppertz) [Aero]
RIDE THE HIGH COUNTRY (George Bassman) [Los Feliz 3]
SLEEPWALKERS (Nicholas Pike) [Egyptian]
SUNSET BLVD. (Franz Waxman) [Egyptian]
WHITE CHRISTMAS (Irving Berlin, Joseph J. Lilley) [Alamo Drafthouse]

December 10
AMERICA AMERICA (Manos Hadjidakis) [Academy Museum]
BIRTH (Alexandre Desplat) [Los Feliz 3]
BLUE VELVET (Angelo Badalamenti) [Egyptian]
CRIA CUERVOS [BrainDead Studios]
DON'T LOOK NOW (Pino Donaggio) [Egyptian]
DOUBLE INDEMNITY (Miklos Rozsa) [Los Feliz 3]
ELF (John Debney) [Alamo Drafthouse]
IMITATION OF LIFE (Frank Skinner) [Egyptian]
INTERSTELLAR (Hans Zimmer) [Aero]
MARY POPPINS (Richard M. Sherman, Robert B. Sherman, Irwin Kostal) [New Beverly] 
THE MUMMY (Jerry Goldsmith) [Vidiots
RAGING BULL, CREED III (Joseph Shirley) [Aero]
READY PLAYER ONE (Alan Silvestri) [Fine Arts]
SECRET SUNSHINE (Christian Basso) [Academy Museum]
SHANE (Victor Young) [Academy Museum]
SOME LIKE IT HOT (Adolph Deutsch) [Vidiots]
STAR TREK II: THE WRATH OF KHAN (James Horner) [UCLA/Hammer] 

December 11
BATMAN RETURNS (Danny Elfman) [Alamo Drafthouse]
BLACK CHRISTMAS (Carl Zittrer), SILENT NIGHT, DEADLY NIGHT (Perry Botkin Jr.) [New Beverly]
THE DEAD ZONE (Michael Kamen) [Los Feliz 3]
DUNKIRK (Hans Zimmer) [Aero]
45 YEARS, WEEKEND [Egyptian]
GREMLINS (Jerry Goldsmith) [Vidiots]

December 12
BLACK CHRISTMAS (Carl Zittrer), SILENT NIGHT, DEADLY NIGHT (Perry Botkin Jr.) [New Beverly] 
EIGHT CRAZY NIGHTS (Marc Ellis) [Los Feliz 3]
GREMLINS (Jerry Goldsmith) [Alamo Drafthouse]
L'AMOUR FOU (Jean-Claude Eloy) [Egyptian]
TENET (Ludwig Goransson) [Aero]
YOU HURT MY FEELINGS (Michael Andrews) [UCLA/Hammer]

December 13
APOCALYPSE NOW (Carmine Coppola, Francis Coppola) [BrainDead Studios]
AUNTIE MAME (Bronislau Kaper) [Egyptian]
CAROL (Carter Burwell) [New Beverly]
GREMLINS (Jerry Goldsmith) [Alamo Drafthouse] 
GULITY BY SUSPICION (James Newton Howard) [Los Feliz 3]
LIFE OF PI (Mychael Danna) [Academy Museum]
PAST LIVES (Christopher Bear, Daniel Rossen) [UCLA/Hammer]
SILENT NIGHT, DEADLY NIGHT PART 2 (Michael Armstrong) [Alamo Drafthouse]
TOMMY (Pete Townsend) [Vidiots]

December 14
CAROL (Carter Burwell) [New Beverly]
THE FRENCH DISPATCH (Alexandre Desplat) [Los Feliz 3]
JOHN WICK (Tyler Bates, Joel J. Richard), JOHN WICK: CHAPTER 2 (Tyler Bates, Joel J. Richard), JOHN WICK: CHAPTER 3 - PARABELLUM (Tyler Bates, Joel J. Richard), JOHN WICK: CHAPTER 4 (Tyler Bates, Joel J. Richard) [Aero]
LONE STAR (Mason Daring) [Egyptian]
THE NICE GUYS (John Ottman, David Buckley) [Los Feliz 3]
ZOOT SUIT (Daniel Valdes) [Aacdemy Museum]

December 15
BABEL (Gustavo Santaolalla) [Los Feliz 3]
BRAZIL (Michael Kamen) [Alamo Drafthouse]
CAROL (Carter Burwell) [New Beverly]
THE DEVIL'S ADVOCATE (James Newton Howard) [Vidiots]
THE GOOD, THE BAD, THE WEIRD (Dalpalan, Young-gyu Jang) [Academy Museum]
JACKIE BROWN [New Beverly]
THE NIGHT OF THE HUNTER (Walter Schumann) [Alamo Drafthouse]
PHANTOM OF THE PARADISE (Paul Williams, George Aliceson Tipton) [Vidiots]
RUN LOLA RUN (Tom Wykwer, Johnny Klimek, Reinhold Heil) [UCLA/Hammer]
SKINAMARINK [Alamo Drafthouse]
SIDEWAYS (Rofe Kent) [Aero]
2046 (Shigeru Umebayashi) [Alamo Drafthouse]
2046 (Shigeru Umebayashi) [New Beverly]
WERCKMEISTER HARMONIES (Mihaly Vig) [BrainDead Studios]

December 16
THE FOUL KING (Young-gyu Jang), BROKER (Jung Jae-il) [Academy Museum]
THE GAME (Howard Shore) [Los Feliz 3]
A GHOST STORY (Daniel Hart) [BrainDead Studios]
HOME ALONE (John Williams) [Vidiots]
IT'S A WONDERFUL LIFE (Dimitri Tiomkin), GREMLINS (Jerry Goldsmith) [New Beverly]
LA LA LAND (Justin Hurwitz) [Aero]
MOONSTRUCK (Dick Hyman) [Vidiots]
THE MUPPET CHRISTMAS CAROL (Paul Williams, Miles Goodman) [New Beverly]
MYSTIC RIVER (Clint Eastwood) [Los Feliz 3]
PAPER MOON [Los Feliz 3]
THE PASSIONS OF CAROL [New Beverly]
POLICE STORY (Siu-Tin Lai) [Vidiots]
THIRST (Cho Young-wuk)  [Academy Museum]
UP (Michael Giacchino) [Academy Museum]
VERONIKA VOSS (Peer Raben) [BrainDead Studios]
WHEN THE WIND BLOWS (Roger Waters) [BrainDead Studios]

December 17
BASQUIAT (John Cale) [Aero]
BLAST OF SILENCE (Meyer Kupferman) [Los Feliz 3]
CHARADE (Henry Mancini) [Academy Museum]
DEEP IMPACT (James Horner) [BrainDead Studios]
ELF (John Debney) [Alamo Drafthouse]
IT'S A WONDERFUL LIFE (Dimitri Tiomkin) [Alamo Drafthouse]
IT'S A WONDERFUL LIFE (Dimitri Tiomkin), GREMLINS (Jerry Goldsmith) [New Beverly]
THE MUPPET CHRISTMAS CAROL (Paul Williams, Miles Goodman) [New Beverly]
NINE DAYS (Antonio Pinto), AFTER LIFE (Yasuhiro Kasamatsu) [UCLA/Hammer]
SCROOGED (Danny Elfman) [Vidiots]
SUNSET BLVD. (Franz Waxman) [BrainDead Studios]
A TIME FOR BURNING [Academy Museum]
WOYZECK [BrainDead Studios]


THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY

Heard:
The Tempest (Goldenthal); Coriolanus (Eshkeri); The White Buffalo (Shire); Romeo and Juliet (Korzeniowski); Da 5 Bloods (Blanchard); A Midsummer Night's Dream (Goldenthal); Hollywood's Magical Island - Catalina (Lennertz, various); Macbeth (Kurzel); The Tragedy of Macbeth (Burwell); Agatha (Blake); Symphony for Richard (Morricone); 

Read: The Art of Dramatic Writing, by Lajos Egri

Seen: Smoke Signals; I, the Jury [1953]; The Hunger Games: The Ballad of Songbirds & Snakes; Silent Night; Eileen; Godzilla Minus One; Wish; The Boy and the Heron; Napoleon [2023]; Attenberg; Three Days of the Condor; The Parallax View; Maestro; Leo; Leave the World Behind

Watched: Five Shaolin Masters; Star Trek: Strange New Worlds ("Children of the Comet"); Alfred Hitchcock Presents ("The Older Sister")

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Jerry Goldsmith records his score for Crosscurrent (1971)
Ludwig Goransson wins his first Oscar, for the Black Panther score (2019)
Manuel De Sica born (1949)
Michel Legrand born (1932)
Mychael Danna wins the Original Score Oscar for Life of Pi (2013)
Paul Sawtell and Bert Shefter record their score for It! The Terror from Beyond Space (1958)
Roy Budd begins recording his score to The Carey Treatment (1972)
Rupert Holmes born (1947)
Svatopluk Havelka died (2009)
Walter Scharf died (2003)
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