SCORE: A FILM MUSIC DOCUMENTARY
2017, Gravitas Ventures, 93 min, USA, Dir: Matt Schrader

What makes a film score unforgettable? Featuring Hans Zimmer, Danny Elfman, John Williams, Quincy Jones, Trent Reznor, Howard Shore, Rachel Portman, Randy Newman and the late James Horner, SCORE: A FILM MUSIC DOCUMENTARY brings Hollywood’s elite composers together to give viewers a privileged look inside the musical challenges and creative secrecy of the world’s most international music genre: the film score. A film composer is a musical scientist of sorts, and the influence they have to complement screen imagery and garner powerful reactions from global audiences can be a daunting task to take on. The documentary contains interviews with dozens of film composers who discuss their craft and the magic of film music while exploring the making of some of the most iconic and beloved scores in history: PSYCHO, TITANIC, THE SOCIAL NETWORK, and the James Bond, Star Wars, Indiana Jones and Pirates of the Caribbean franchises.


SONG TO SONG
2017, Broad Green Pictures, 145 min, USA, Dir: Terrence Malick

The Austin, Texas, music scene is the setting for acclaimed writer-director Terrence Malick’s drama of intersecting love triangles. Ryan Gosling, Rooney Mara, Natalie Portman and Michael Fassbender lead the star-studded ensemble cast, while a “who’s who” of alternative music artists (including Patti Smith, Iggy Pop and Arcade Fire) appear in cameos. Frequent Malick collaborators Emmanuel Lubezki (cinematography), Jack Fisk (production design) and Jacqueline West (costumes) give this exploration of obsession and betrayal a rich visual component.


ZIGGY STARDUST AND THE SPIDERS FROM MARS
1973, Pennebaker Hegedus Films, 90 min, UK, Dir: D.A. Pennebaker

Director D.A. Pennebaker’s filmic record of David Bowie’s brain-frying final concert as his Ziggy Stardust incarnation in July 1973 is key evidence why Bowie was suddenly catapulted to slavish cult adoration. A bridge between cult fetish and massive popular appeal right before the record industry (and the Thin White Duke himself) homogenized the pop star’s image into something less threatening.


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