Erik Woods

NEW EPISODE SCORED TO DEATH RADIO: PROFONDO GOBLIN: A HISTORY, PART 1 – THE SOUNDTRACKS 1975-1977 http://www.cinematicsound.net/scored-to-death-radio-profondo-goblin-a-history-part-1-the-soundtracks-1975-1977/ In 1975, one of Italy’s biggest and most innovative filmmakers asked a group of unknown young musicians to record the score for his latest film and forever altered the course of film music. The filmmaker was Dario Argento, the film was DEEP RED [a.k.a. PROFONDO ROSSO], and the musicians were a progressive rock band named Goblin. Now, SCORED TO DEATH RADIO host & author J. Blake Fichera takes listeners on a detailed sonic journey through the music and history of one of Italy’s and film music’s most influential bands, with an epic multi-part podcast series about Goblin. This debut episode explores the band’s humble beginnings—how they formed, how they got their name, how they came to work on film scores, etc.—and dives deep into their film and television soundtracks from 1975 through 1977—including DEEP RED and SUSPIRIA. So, pull up a seat, and get comfy with a glass of J&B because SCORED TO DEATH RADIO is setting sail on a fantastic voyage into 1970s Italy with the band Goblin. Don’t forget to purchase your very own copies of J. Blake Fichera’s SCORED TO DEATH books by visiting http://www.scoredtodeath.com ----- LISTEN: http://www.cinematicsound.net/links-page/ PATREON: https://bit.ly/2QWDGeO MERCH STORE https://www.teepublic.com/stores/cinematic-sound-radio

Congratulations to all of the 2021 IFMCA Award Winners! http://filmmusiccritics.org/2022/02/ifmca-award-winners-2021/ INTERNATIONAL FILM MUSIC CRITICS ASSOCIATION ANNOUNCES WINNERS OF 2021 IFMCA AWARDS MAURIZIO MALAGNINI WINS SCORE OF THE YEAR FOR THE FANTASY BALLET FILM COPPELIA; JAMES NEWTON HOWARD WINS THREE AWARDS, INCLUDING COMPOSER OF THE YEAR; NICK REDMAN HONORED WITH INAUGURAL ROBERTO ASCHIERI SPECIAL AWARD FOR CONTRIBUTION TO FILM MUSIC; SCORES FROM CHINA, FINLAND, SPAIN, WIN IN OTHER CATEGORIES. FEBRUARY 17, 2021 — The International Film Music Critics Association (IFMCA) announces its list of winners for excellence in musical scoring in 2021, in the 2021 IFMCA Awards. The award for Score of the Year goes to composer Maurizio Malagnini, for his score for the unique fantasy-science fiction-ballet film “Coppelia.” The film stars members of the Dutch National Ballet and is an updated version of the original stage work by Léo Delibes, in which a pair of young lovers from a small European town must save their home from an evil interloper intending to use the townspeople’s ‘essence’ to give life to a robotic creation. IFMCA member Jon Broxton described “Coppelia” as “a sweeping orchestral masterpiece of staggering beauty, combining half a dozen leitmotif themes into a narrative structure that carries the entire emotional weight of the film. This is then augmented by some impressive electronic textures which accompany the villain of the piece, and it all builds to a stunning climax of thematic, romantic wonder,” and concluded by saying that “…in a time when the theatrical movie schedule is dominated by Marvel and Disney, prequels and sequels and multiverses, there has to be room for art projects like Coppelia, and for the ravishing music like that composed here by Maurizio Malagnini.” The score is also named Best Original Score for a Fantasy/Sci-Fi/Horror Film. These are the second and third IFMCA Awards of Malagnini’s career, him having previously won the Breakthrough Film Composer of the Year award in 2015. James Newton Howard is named Composer of the Year, having written acclaimed music for two films in 2021. “Jungle Cruise” is an old-fashioned action-adventure starring Dwayne Johnson and Emily Blunt, and is based on the popular Disney theme park ride. IFMCA member Christian Clemmensen said that “Jungle Cruise” is a combination of “skittish comedy, sincere drama, breakneck adventure, romantic teasing, and flowing fantasy, all inhabiting one whirlwind of a score” and concluded that it “represents most of what his collectors love about Howard’s writing.” “Raya and the Last Dragon” is an animated film that follows the adventures of a young girl in an alternate universe version of South East Asia, as she tries to save her family by hunting for a mythical dragon. IFMCA member John Mansell described “Raya and the Last Dragon” as “a fully symphonic work … mysterious, with rich and lush musical moments that are filled with the romantic and the comedic, a varied and vibrant work that is bursting to capacity with haunting themes and edged with emotive and poignant tone poems.” “Jungle Cruise” was also named Best Score for an Action/Adventure/Thriller film, while “Raya and the Last Dragon” was named Best Score for an Animated film. These are Howard’s eleventh, twelfth, and thirteenth career IFMCA wins. He previously won the Score of the Year award for “Lady in the Water” in 2006, and was named Composer of the Year in 2018. Composer Oscar Martín Leanizbarrutia is named Breakthrough Composer of the Year for his sensationally beautiful score for “Claret,” a Spanish-language biopic of the 19th century Catholic archbishop and missionary Antonio María Claret; IFMCA member John Mansell wrote that Leanizbarrutia is “a composer who possesses a rare quality and a talent for conveying emotions musically. He has a gift for melody and is a purveyor of so many senses within his compositions; his music gets to the listener’s core, invading not only their brain but their hearts, becoming mesmerizing and captivating … Claret is a perfect example of pure musical emotion”. As previously announced, the IFMCA introduced a new award in 2021: the Roberto Aschieri Special Award, which is awarded to an individual who has made an important and long-lasting contribution to the art and preservation of film music over a career, but who is not usually awarded as part of our regular awards process. Unlike the previous special award, there will be a guaranteed winner in this category each year going forward. The award is named in honour of Roberto Aschieri, the film music journalist and author from Argentina who was a member of the IFMCA until his death in 2017. The inaugural winner of the award is Nick Redman. Redman was an Oscar-nominated documentary filmmaker and the co-founder of the Twilight Time video label, but it was as an award-winning soundtrack producer that he was best known to the film music industry. Redman worked as a consultant at Fox from 1990s onwards, where he supervised one of Hollywood’s first and most comprehensive film music restoration programs. Redman subsequently produced several hundred albums featuring the music of dozens of major Hollywood composers, including Alfred Newman, Bernard Herrmann, Jerry Goldsmith, John Williams, Alex North, Hans Zimmer, James Horner, Michael Kamen, and many others. Redman received a total of eight IFMCA Award nominations, winning in 2007 for his album of Jerry Goldsmith’s score for “Alien,” and again posthumously this year, for “The Diary of Anne Frank”. Nick sadly died in January 2019, but the IFMCA hopes that this tribute will go some way to further acknowledging the legacy of this giant of film music preservation. The existing special award category has been re-named the Kyle Renick Special Award, and will continue to be awarded to a title not eligible for a standard IFMCA Award, but which has a film music component – for example, a screen musical which contains no original material but is still especially musically excellent, or a song score which contains no score material but contains a number of original songs which are of a significant high quality. This award is not guaranteed to be presented annually and is only presented to a project worthy of separate special acknowledgement. The award is newly named in honour of Kyle Renick, the film music journalist and theatre producer from New York who was a member of the IFMCA until his death in 2019. This year, the IFMCA has decided to bestow this award to the music team behind director Steven Spielberg’s new version of “West Side Story,” namely conductor Gustavo Dudamel, arranger David Newman, song and vocal producer Jeanine Tesori, and music consultant John Williams, whose work with Leonard Bernstein’s original music and Stephen Sondheim’s original lyrics brought a 60-year old story roaring back to contemporary relevance. The various other genre awards are won by: Simon Franglen for the Chinese-language historical drama “The Curse of Turandot,” Nicholas Britell for his score examining the comedic origins of the popular Disney villain “Cruella,” and Panu Aaltio for the spellbinding Finnish nature documentary “Tunturin Tarina,” or “Tale of the Sleeping Giants.” With this win Aaltio completes an unprecedented trio of awards for this one series of films, having won the same category in 2012 with “Metsän Tarina/Tale of a Forest,” and again in 2016 with “Järven Tarina/Tale of a Lake”. In the non-film categories Bear McCreary is honored for his score for the dynamite animated television series “Masters of the Universe: Revelation,” Kevin Smith’s direct sequel to the beloved 1980s He-Man cartoon show; and Mark Mothersbaugh and Wataru Hokoyama win the video game score award for “Ratchet & Clank: Rift Apart,” Insomniac Games’s sixteenth instalment in the massively popular Ratchet & Clank series of games. Producers Michael Matessino, Nick Redman, and Neil S. Bulk receive the Archival Award for their new release of Alfred Newman’s score for the 1959 drama “The Diary of Anne Frank,” which features the original soundtrack album, along with the world premiere presentation of the film score, and additional bonus music cues. The music was restored, mixed and mastered by Chris Malone in a limited edition release that features in-depth liner notes by writer Julie Kirgo and classic art direction by Jim Titus. In the Compilation category, the award goes to “The Film Scores of Bernard Herrmann,” a compilation of classic Bernard Herrmann scores including Psycho, Vertigo, North by Northwest, Marnie, Citizen Kane, and Jane Eyre, digitally re-mastered from the original analogue master tapes and released as part of a handsome collector’s package by Decca. California-based La-La Land Records, and their executive owners MV Gerhard and Matt Verboys, is named Film Music Record Label of the Year for the 8th time, in recognition of their outstanding series of expanded re-releases and re-recordings which in 2021 included titles such as the aforementioned “The Diary of Anne Frank,” James Horner’s “Glory,” John Williams’s “Always,” and Dimitri Tiomkin’s “It’s a Wonderful Life.” The winners are: FILM SCORE OF THE YEAR COPPELIA, music by Maurizio Malagnini FILM COMPOSER OF THE YEAR JAMES NEWTON HOWARD BREAKTHROUGH COMPOSER OF THE YEAR OSCAR MARTÍN LEANIZBARRUTIA FILM MUSIC COMPOSITION OF THE YEAR “Arachnoverture” from SPIDER-MAN: NO WAY HOME, music by Michael Giacchino ROBERTO ASCHIERI SPECIAL AWARD NICK REDMAN KYLE RENICK SPECIAL AWARD WEST SIDE STORY BEST ORIGINAL SCORE FOR A DRAMA FILM THE CURSE OF TURANDOT, music by Simon Franglen BEST ORIGINAL SCORE FOR A COMEDY FILM CRUELLA, music by Nicholas Britell BEST ORIGINAL SCORE FOR AN ACTION/ADVENTURE/THRILLER FILM JUNGLE CRUISE, music by James Newton Howard BEST ORIGINAL SCORE FOR A FANTASY/SCIENCE FICTION/HORROR FILM COPPELIA, music by Maurizio Malagnini BEST ORIGINAL SCORE FOR AN ANIMATED FEATURE RAYA AND THE LAST DRAGON, music by James Newton Howard BEST ORIGINAL SCORE FOR A DOCUMENTARY TALE OF THE SLEEPING GIANTS [TUNTURIN TARINA], music by Panu Aaltio BEST ORIGINAL SCORE FOR TELEVISION MASTERS OF THE UNIVERSE: REVELATION, music by Bear McCreary BEST ORIGINAL SCORE FOR A VIDEO GAME OR INTERACTIVE MEDIA RATCHET & CLANK: RIFT APART, music by Mark Mothersbaugh and Wataru Hokoyama BEST NEW ARCHIVAL RELEASE – RE-RELEASE OR RE-RECORDING THE DIARY OF ANNE FRANK, music by Alfred Newman; album produced by Nick Redman, Mike Matessino, and Neil S. Bulk; liner notes by Julie Kirgo; album art direction by Jim Titus (La-La Land) BEST NEW ARCHIVAL RELEASE – COMPILATION THE FILM SCORES OF BERNARD HERRMANN, music by Bernard Herrmann; album produced by Tony d’Amato, Gavin Barratt, Raymond Few, and Tim McDonald; liner notes by Tom Schneller; album art direction by Matt Read (Decca) FILM MUSIC RECORD LABEL OF THE YEAR LA-LA LAND RECORDS, MV Gerhard and Matt Verboys

NEW EPISODE JOHN WILLIAMS 90TH BIRTHDAY SPECIAL – PART SIX http://www.cinematicsound.net/john-williams-90th-birthday-special-part-six/ On February 8, 2022, composer John Williams turns 90 years old. To honour one of the greatest film composers of all time THE CINEMATIC SOUND RADIO PODCAST is proud to present a mammoth six-part podcast series dedicated to the five-time Academy Award winner. In part one we looked at John Williams career starting in 1961 through to 1969. In part two we presented an overview of Williams work spanning 1970-1976. Part three focused on his golden era from 1977-to 1986. Part four was a look at the Maestro’s career spanning 1987-1996. Part five featured music from 1997-2004. In the final episode of this six-part special, you’ll hear selections from John Williams career spanning 2005-2019 including such films and television shows, as REVENGE OF THE SITH, WAR OF THE WORLDS, INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL, MEMOIRS OF A GEISHA, PBS’ GREAT PERFORMANCES, THE BOOK THIEF, THE FORCE AWAKENS, THE LAST JEDI, THE POST, THE RISE OF SKYWALKER and many more. ----- LISTEN: http://www.cinematicsound.net/links-page/ PATREON: https://bit.ly/2QWDGeO MERCH STORE https://www.teepublic.com/stores/cinematic-sound-radio

NEW EPISODE JOHN WILLIAMS 90TH BIRTHDAY SPECIAL – PART FIVE http://www.cinematicsound.net/john-williams-90th-birthday-special-part-five/ On February 8, 2022, composer John Williams turns 90 years old. To honour one of the greatest film composers of all time THE CINEMATIC SOUND RADIO PODCAST is proud to present a mammoth six-part podcast series dedicated to the five-time Academy Award winner. In part one we looked at John Williams career starting in 1961 through to 1969. In part two we presented an overview of Williams work spanning 1970-1976. Part three focused on his golden era from 1977-to 1986. Part four was a look at the Maestro’s career spanning 1987-1996. In part five of this six-part special, you’ll hear selections from John Williams career spanning 1997-2004 including such films, and television shows as THE LOST WORLD JURASSIC PARK, ROSEWOOD, SEVEN YEAR IN TIBET, SAVING PRIVATE RYAN, THE PHANTOM MENACE, HARRY POTTER AND THE PHILOSOPHER’S STONE, THE PATRIOT, MASTERPIECE THEATRE, MINORITY REPORT and many more. ----- LISTEN: http://www.cinematicsound.net/links-page/ PATREON: https://bit.ly/2QWDGeO MERCH STORE https://www.teepublic.com/stores/cinematic-sound-radio

NEW EPISODE JOHN WILLIAMS 90TH BIRTHDAY SPECIAL – PART FOUR http://www.cinematicsound.net/john-williams-90th-birthday-special-part-four/ On February 8, 2022, composer John Williams turns 90 years old. To honour one of the greatest film composers of all time THE CINEMATIC SOUND RADIO PODCAST is proud to present a mammoth six-part podcast series dedicated to the five-time Academy Award winner. In part one we looked at John Williams career starting in 1961 to 1969. In part two we presented an overview of John Williams work spanning 1970 to 1976. Part three focused on John Williams' golden era from 1977 to 1986. In part four of this six-part special, you'll hear selections from John Williams career spanning 1987-1996 including such films, television shows and sporting events as EMPIRE OF THE SUN, INDIANA JONES AND THE LAST CRUSADE, BORN ON THE FOURTH OF JULY, 1992 BARCELONA SUMMER OLYMPIC GAMES, HOME ALONE, FAR AND AWAY, JURASSIC PARK, SCHINDLER'S LIST and much more. ----- LISTEN: http://www.cinematicsound.net/links-page/ PATREON: https://bit.ly/2QWDGeO MERCH STORE https://www.teepublic.com/stores/cinematic-sound-radio

INTERNATIONAL FILM MUSIC CRITICS ASSOCIATION AWARDS NOMINATIONS ANNOUNCED http://filmmusiccritics.org/2022/02/ifmca-award-nominations-2021/ - JAMES NEWTON HOWARD AND HANS ZIMMER RECEIVE FOUR NOMINATIONS EACH - THREE WOMEN NOMINATED FOR BREAKTHROUGH COMPOSER AWARD - SCORES FROM AUSTRALIA, CHINA, FINLAND, FRANCE, SPAIN, VYING FOR MAJOR AWARDS FEBRUARY 3, 2022. The International Film Music Critics Association (IFMCA) announces its list of nominees for excellence in musical scoring in 2021, for the 18th annual IFMCA Awards. Composers James Newton Howard and Hans Zimmer lead a very open field with the most number of nominations, both receiving a total of four. Composers Panu Aaltio, Nicholas Britell, Jonny Greenwood, Maurizio Malagnini, and Bear McCreary all received three nominations. American composer Howard’s nominations are for his work on two films: the globe-trotting action-adventure “Jungle Cruise” starring Dwayne Johnson and Emily Blunt, which is based on the popular Disney theme park ride; and the animated fantasy “Raya and the Last Dragon,” which follows the adventures of a young girl in an alternate universe version of South East Asia, as she tries to save her family by hunting for a mythical dragon. “Jungle Cruise” is nominated for Score of the Year and Best Action/Adventure/Thriller Score, “Raya and the Last Dragon” is nominated for Best Animation Score, and Howard is nominated for Composer of the Year. IFMCA member Christian Clemmensen said that “Jungle Cruise” is a combination of “skittish comedy, sincere drama, breakneck adventure, romantic teasing, and flowing fantasy, all inhabiting one whirlwind of a score” and concluded that it “represents most of what his collectors love about Howard’s writing.” IFMCA member John Mansell described “Raya and the Last Dragon” as “a fully symphonic work … mysterious, with rich and lush musical moments that are filled with the romantic and the comedic, a varied and vibrant work that is bursting to capacity with haunting themes and edged with emotive and poignant tone poems.” German composer Zimmer’s nominations are for his work on two of 2021’s most popular and acclaimed films: director Denis Villeneuve’s “Dune,” based on the groundbreaking science fiction novel by Frank Herbert, and the action-packed 25th James Bond film “No Time to Die,” which marks the end of actor Daniel Craig’s term playing the legendary British spy. “Dune” is nominated for Score of the Year and Best Fantasy/Sci-Fi/Horror Score, “No Time to Die” is nominated for Best Action/Adventure/Thriller Score, and Zimmer is nominated for Composer of the Year. IFMCA member Jon Broxton wrote that there was “something timeless, ancient, epic, but also futuristic and progressive” about the music from “Dune,” and concluded that “when it works, and Zimmer really gets to the heart and soul of Frank Herbert’s story and Denis Villeneuve’s vision, it’s some of the most effective film music of 2021”. IFMCA member James Southall said that “No Time to Die” is “essentially the score that lots of Bond fans have wanted for a while, combining all the traditional musical elements you’d expect, and giving them a modern twist, along with the oft-requested deep interpolation of the song into the score,” and called it “entertaining from start to finish.” The other nominees for Score of the Year are “Coppelia” by Italian composer Maurizio Malagnini, “The Green Knight” by American composer Daniel Hart, and “The Last Duel” by British composer Harry Gregson-Williams. “Coppelia” is a lavish fantasy ballet film, an updated version of the original stage work by Léo Delibes, in which a pair of young lovers from a small European town must save their home from an evil interloper intending to use the townspeople’s ‘essence’ to give life to a robotic creation. Malagnini’s lush and thematic ‘maximalist’ orchestral score carries the emotional weight of the entire film, and uses rich arrangements to tell the story. “The Green Knight” is a fantasy based on the medieval story of Sir Gawain and the Green Knight, in which King Arthur’s nephew must contend with notions of chivalry and honor while facing the prospect of being beheaded after an encounter with a monstrous warrior; Hart’s score combines English folk music, religious plainsong, medieval orchestrations, modern string textures, and aggressively dissonant electronica, in a wondrous kaleidoscope of influences that bring this ancient story roaring into modern relevance. Ridley Scott’s “The Last Duel” looks at the circumstances leading up to, and the aftermath of, one of the last legally-sanctioned trial-by-combat duels, while also offering an exploration of female agency in medieval Europe; like Hart, Gregson-Williams blends early church music with contemporary orchestral writing, and frames it all around three recurring themes that represent the three conflicting points of view at the heart of the story. The other nominees for Composer of the Year are Finnish composer Panu Aaltio, American composer Nicholas Britell, and British composer Jonny Greenwood. Aaltio’s work in 2021 was confined to his native Finland but was of outstanding quality and consistency, and included the children’s adventure Pertsa & Kilu [Finders of the Lost Yacht], the medieval comedy Peruna [The Potato Venture], and the magnificent nature documentary Tunturin Tarina [Tale of the Sleeping Giants]. Both The Potato Venture and Tale of the Sleeping Giants are nominated in their respective genre categories. Britell scored two of 2021’s most popular comedies – “Cruella,” which stars Emma Stone and tells the origin story of the villain from the Disney animated classic “101 Dalmatians,” and the prescient satire “Don’t Look Up,” which parodies societal apathy towards COVID-19 and climate change through a story about an impending meteor strike on Earth – as well as the third season of the biting TV drama “Succession”. Meanwhile, Greenwood scored two of 2021’s most acclaimed dramas – the dark revisionist western “The Power of the Dog,” and “Spencer,” which looks at a period in the life of the late Diana, Princess of Wales, as her marriage and her life collapses under pressure from the royal family and scrutiny from the media. Each year the IFMCA goes out of its way to recognize emerging talent in the film music world, and this year is no exception. The nominees in the Breakthrough Composer of the Year category are a diverse group, and the IFMCA is especially excited to reveal that three of the five nominees are women. Irish composer Amie Doherty is recognized for her work scoring the animated family adventure “Spirit Untamed” with a lyrical western scope. American composer Stephanie Economou is nominated for her breakout scores for the sci-fi TV series “Jupiter’s Legacy,” the Assassin’s Creed: Valhalla DLC “The Siege of Paris,” and the academia-set comedy TV series “The Chair”. French composer Raphaelle Thibaut is acknowledged for her music for the beautiful nature documentary “Secrets of the Whales”. The other two composers nominated for Breakthrough Composer are Spanish composer Oscar Martín Leanizbarrutia and British composer Arthur Sharpe. Martín wrote a sensationally beautiful score for “Claret,” a Spanish-language biopic of the 19th century Catholic archbishop and missionary Antonio María Claret; his main theme from the score is also nominated in the Film Music Composition of the Year category. Finally, Sharpe impressed enormously with two breakthrough works in 2021: “The Electrical Life of Louis Wain,” a biopic of the Victorian-era artist of the same name starring Benedict Cumberbatch, and “Landscapers,” a British true crime TV mini-series about a middle aged couple who killed their parents and buried them in their garden. As it has in previous years, the IFMCA takes pride in honoring composers from across the film music world. In addition to the ones already mentioned, this year’s international nominees include American composer Chad Cannon for the expansive Chinese nature documentary “Qinghai: Our National Park,” French composer Alexandre Desplat for director Wes Anderson’s stylish comedy “The French Dispatch,” British composer Simon Franglen for his score for the lavish Chinese romantic action drama “The Curse of Turandot,” Australian composer Christopher Gordon who has two nominations for the survival drama “Buckley’s Chance,” Thai composer Bill Hemstapat for co-composing the video game “Ghost of Tsushima: Iki Island & Legends” with Chad Cannon, Japanese composer Wataru Hokoyama for co-composing the video game “Ratchet & Clank: Rift Apart” with Mark Mothersbaugh, Israeli composer Frank Ilfman for the raucous action thriller “Gunpowder Milkshake,” French composer Christophe Julien for the culinary comedy “Délicieux,” and American composer Philip Klein for the colorful Chinese animated film “Wish Dragon”. Several composers are receiving their first ever IFMCA Award nominations this year in addition to the aforementioned newcomers; these are Leo Birenberg (“Cobra Kai,” Television), Germaine Franco (“Encanto,” Animation), Natalie Holt (“Loki,” Television), Dominic Lewis (“The King’s Man,” Action/Adventure/Thriller), and Zach Robinson (“Cobra Kai,” Television). The International Film Music Critics Association will announce the winners of the 18th IFMCA Awards LIVE on the IFMCA YouTube channel on February 17, 2022. ####################################### The nominees are: FILM SCORE OF THE YEAR • COPPELIA, music by Maurizio Malagnini • DUNE, music by Hans Zimmer • THE GREEN KNIGHT, music by Daniel Hart • JUNGLE CRUISE, music by James Newton Howard • THE LAST DUEL, music by Harry Gregson-Williams FILM COMPOSER OF THE YEAR • PANU AALTIO • NICHOLAS BRITELL • JONNY GREENWOOD • JAMES NEWTON HOWARD • HANS ZIMMER BREAKTHROUGH COMPOSER OF THE YEAR • AMIE DOHERTY • STEPHANIE ECONOMOU • OSCAR MARTÍN LEANIZBARRUTIA • ARTHUR SHARPE • RAPHAELLE THIBAUT FILM MUSIC COMPOSITION OF THE YEAR • “Arachnoverture” from SPIDER-MAN: NO WAY HOME, music by Michael Giacchino • “Claret, Tema Principal” from CLARET, music by Oscar Martín Leanizbarrutia • “The Final Battle” from MY COUNTRY, MY PARENTS [WO HE WO DE FUBEI], music by Gordy Haab • “Grand Finale” from COPPELIA, music by Maurizio Malagnini • “Riddles” from BUCKLEY'S CHANCE, music by Christopher Gordon BEST ORIGINAL SCORE FOR A DRAMA FILM • BUCKLEY'S CHANCE, music by Christopher Gordon • THE CURSE OF TURANDOT [TULANDUO: MOZHOU YUANQI], music by Simon Franglen • THE LAST DUEL, music by Harry Gregson-Williams • THE POWER OF THE DOG, music by Jonny Greenwood • SPENCER, music by Jonny Greenwood BEST ORIGINAL SCORE FOR A COMEDY FILM • CRUELLA, music by Nicholas Britell • DÉLICIEUX, music by Christophe Julien • DON'T LOOK UP, music by Nicholas Britell • THE FRENCH DISPATCH, music by Alexandre Desplat • THE POTATO VENTURE [PERUNA], music by Panu Aaltio BEST ORIGINAL SCORE FOR AN ACTION/ADVENTURE/THRILLER FILM • GUNPOWDER MILKSHAKE, music by Frank Ilfman • JUNGLE CRUISE, music by James Newton Howard • THE KING'S MAN, music by Matthew Margeson and Dominic Lewis • LAST NIGHT IN SOHO, music by Steven Price • NO TIME TO DIE, music by Hans Zimmer BEST ORIGINAL SCORE FOR A FANTASY/SCIENCE FICTION/HORROR FILM • COPPELIA, music by Maurizio Malagnini • DUNE, music by Hans Zimmer • GHOSTBUSTERS: AFTERLIFE, music by Rob Simonsen • THE GREEN KNIGHT, music by Daniel Hart • SPIDER-MAN: NO WAY HOME, music by Michael Giacchino BEST ORIGINAL SCORE FOR AN ANIMATED FEATURE • ENCANTO, music by Germaine Franco • LUCA, music by Dan Romer • RAYA AND THE LAST DRAGON, music by James Newton Howard • SPIRIT UNTAMED, music by Amie Doherty • WISH DRAGON, music by Philip Klein BEST ORIGINAL SCORE FOR A DOCUMENTARY • THE ARCTIC: OUR LAST GREAT WILDERNESS, music by Alex Heffes • JULIA, music by Rachel Portman • A PERFECT PLANET, music by Ilan Eshkeri • QINGHAI: OUR NATIONAL PARK [QINGHAI: WOMEN DE GUOJIA GONGYUAN], music by Chad Cannon • TALE OF THE SLEEPING GIANTS [TUNTURIN TARINA], music by Panu Aaltio BEST ORIGINAL SCORE FOR TELEVISION • COBRA KAI, music by Leo Birenberg and Zach Robinson • FOUNDATION, music by Bear McCreary • LOKI, music by Natalie Holt • LOST IN SPACE, music by Christopher Lennertz • MASTERS OF THE UNIVERSE: REVELATION, music by Bear McCreary BEST ORIGINAL SCORE FOR A VIDEO GAME OR INTERACTIVE MEDIA • ARK: GENESIS PART II, music by Gareth Coker • CALL OF DUTY: VANGUARD, music by Bear McCreary • GHOST OF TSUSHIMA: IKI ISLAND & LEGENDS, music by Chad Cannon and Bill Hemstapat, theme by Ilan Eshkeri • MARVEL’S GUARDIANS OF THE GALAXY, music by Richard Jacques • RATCHET & CLANK: RIFT APART, music by Mark Mothersbaugh and Wataru Hokoyama BEST NEW ARCHIVAL RELEASE - RE-RELEASE OR RE-RECORDING • THE DIARY OF ANNE FRANK, music by Alfred Newman; album produced by Nick Redman, Mike Matessino, and Neil S. Bulk; liner notes by Julie Kirgo; album art direction by Jim Titus (La-La Land) • THE EIGER SANCTION, music by John Williams; album produced by Mike Matessino; liner notes by Jon Burlingame; album art direction by Kay Marshall (Intrada) • LEGEND, music by Jerry Goldsmith; album produced by Cyril Durand-Roger, Laurent Lafarge, Reynold d'Silva, and David Stoner; liner notes by Jeff Bond; album art direction by David Marques (Music Box/Silva Screen) • LIONHEART, music by Jerry Goldsmith; album produced by Cary Mansfield; liner notes by Tim Grieving; album art direction by Bill Pitzonka (Varèse Sarabande) • THE TAMARIND SEED, music by John Barry; album produced by Geoff Leonard, Pete Walker, Ruud Rozemeijer, David Stoner, and Reynold d'Silva; liner notes by Geoff Leonard and Pete Walker; album art direction by Stuart Ford (Silva Screen) BEST NEW ARCHIVAL RELEASE – COMPILATION • THE FILM SCORES OF BERNARD HERRMANN, music by Bernard Herrmann; album produced by Tony d’Amato, Gavin Barratt, Raymond Few, and Tim McDonald; liner notes by Tom Schneller; album art direction by Matt Read (Phase 4/Deutsche Grammophon) • GABRIEL YARED: MUSIC FOR FILM, music by Gabriel Yared; the Brussels Philharmonic Orchestra and Vlaams Radiokoor. conducted by Dirk Brossé; album produced by Thomas Van Parys and Marijke Vandeburie; liner notes by Thomas Van Parys; album art direction by Stuart Ford (Silva Screen/Film Fest Gent) • PEDRO ALMODÓVAR & ALBERTO IGLESIAS FILM MUSIC COLLECTION, music by Alberto Iglesias; album produced by José M. Benitez and Alberto Iglesias; liner notes by Pedro Almodóvar, Alberto Iglesias, and Manuel J. Lombardo; album art direction by Nacho B. Govantes and Luca Barcellona (Quartet/El Deseo) • THE PINK PANTHER FINAL CHAPTERS COLLECTION (TRAIL OF THE PINK PANTHER/CURSE OF THE PINK PANTHER/SON OF THE PINK PANTHER), music by Henry Mancini; album produced by Chris Malone; liner notes by John Takis; album art direction by Nacho B. Govantes. (Quartet) • SPOTLIGHT ON JOHN WILLIAMS, music by John Williams; the City Light Symphony Orchestra, conducted by Kevin Griffiths; album produced by Pirmin Zängerle and Martin Korn; liner notes by Basil Böhni; album art direction by Roger Krütli (Prospero Classical) FILM MUSIC RECORD LABEL OF THE YEAR • INTRADA, Douglass Fake and Roger Feigelson • LA-LA LAND RECORDS, MV Gerhard and Matt Verboys • MOVIESCORE MEDIA, Mikael Carlsson • MUSIC BOX RECORDS, Cyril Durand-Roger and Laurent Lafarge • QUARTET RECORDS, José M. Benitez ####################################### The International Film Music Critics Association (IFMCA) is an association of online, print and radio journalists who specialize in writing and broadcasting about original film, television and game music. Since its inception the IFMCA has grown to comprise over 75 members from countries such as Australia, Belgium, Canada, China, Denmark, France, Germany, Greece, Iran, Ireland, Italy, the Netherlands, Norway, Poland, Spain, Sweden, Switzerland, the United Kingdom, and the United States of America. Previous IFMCA Score of the Year Awards have been awarded to Christopher Willis’s “The Personal History of David Copperfield” in 2020, John Williams’s “Star Wars: The Rise of Skywalker” in 2019, John Powell’s “Solo” in 2018, Jonny Greenwood’s “Phantom Thread” in 2017, Jóhann Jóhannsson’s “Arrival” in 2016, John Williams’s “Star Wars: The Force Awakens” in 2015, Hans Zimmer’s “Interstellar” in 2014, Abel Korzeniowski’s “Romeo & Juliet” in 2013, Mychael Danna’s “Life of Pi” in 2012, John Williams’s “War Horse” in 2011, and John Powell’s “How to Train Your Dragon” in 2010.

NEW EPISODE JOHN WILLIAMS 90TH BIRTHDAY SPECIAL – PART THREE http://www.cinematicsound.net/john-williams-90th-birthday-special-part-three/ On February 8, 2022, composer John Williams turns 90 years old. To honour one of the greatest film composers of all time THE CINEMATIC SOUND RADIO PODCAST is proud to present a mammoth six-part podcast series dedicated to the five-time Academy Award winner. In part one we looked at John Williams career starting in 1961 all the way through to 1969. In part two we presented an overview of John Williams work spanning 1970-1976. In part three of this six-part special, you’ll hear selections from the golden era of John Williams career from 1977-1986 including such films and television shows as STAR WARS, JAWS II, THE FURY, THE EMPIRE STRIKES BACK, RAIDERS OF THE LOST ARK, E.T. THE EXTRA-TERRESTRIAL, RETURN OF THE JEDI, INDIANA JONES AND THE TEMPLE OF DOOM, AMAZING STORIES, SPACE CAMP and much more. ----- LISTEN: http://www.cinematicsound.net/links-page/ PATREON: https://bit.ly/2QWDGeO MERCH STORE https://www.teepublic.com/stores/cinematic-sound-radio

NEW EPISODE JOHN WILLIAMS 90TH BIRTHDAY SPECIAL – PART TWO http://www.cinematicsound.net/john-williams-90th-birthday-special-part-two/ On February 8, 2022, composer John Williams turns 90 years old. To honour one of the greatest film composers of all time THE CINEMATIC SOUND RADIO PODCAST is proud to present a mammoth six-part podcast series dedicated to the five-time Academy Award winner. In part one we looked at John Williams career starting in 1961 all the way through to 1969. In part two of this six-part special, we will be presenting an overview of John Williams’ work spanning 1970-1976 including such films as JANE EYRE, THE COWBOYS, IMAGES, THE TOWERING INFERNO, JAWS, THE MISSOURI BREAKS, FAMILY PLOT and much more. ----- LISTEN: http://www.cinematicsound.net/links-page/ PATREON: https://bit.ly/2QWDGeO MERCH STORE https://www.teepublic.com/stores/cinematic-sound-radio

But clickable timestamps don't work with all players. Personally, I'd rather a listener listen to the entire episode I produce instead of skipping around. -Erik-

I don't think it's a new tread and I've done it before. Nothing really wrong with welcoming a listener back to the program. -Erik-

NEW EPISODE JOHN WILLIAMS 90TH BIRTHDAY SPECIAL – PART ONE http://www.cinematicsound.net/john-williams-90th-birthday-special-part-one/ On February 8, 2022, composer John Williams turns 90 years old. To honour one of the greatest film composers of all time THE CINEMATIC SOUND RADIO PODCAST is proud to present a mammoth six-part podcast series dedicated to the five-time Academy Award winner. You might actually be familiar with this series already. I produced a similar series back in 2012 to celebrate Williams’ 80th birthday. While that show was successful, I felt that it could be approved upon and updated. So, I’ve used John Williams’ birthday as an excuse to completely revamp the series by re-editing the scripts, re-recording all the dialogue and completely re-editing the shows. In addition, I will be producing a brand new sixth part to cover the years 2013-2021, which will launch on John Williams birthday, February 8, 2022. A lot of effort and time went into producing this new version of the series and I hope you enjoy the results. In part one of this special, we will be presenting an overview of “Johnny” Williams’ work spanning 1961-1969 including such television shows as CHECKMATE, LOST IN SPACE, THE TIME TUNNEL, LAND OF THE GIANTS and THE GHOSTBREAKER. We will also be presenting music from some of Williams’ earliest film work including DIAMOND HEAD, HOW TO STEAL A MILLION, NONE BUT THE BRAVE, HEIDI, GOODBYE MR. CHIPS, THE REIVERS and much more. ----- LISTEN: http://www.cinematicsound.net/links-page/ PATREON: https://bit.ly/2QWDGeO MERCH STORE https://www.teepublic.com/stores/cinematic-sound-radio

Ugh! Jesus Christ. What an ass and what a daft "review". This guy might know his stuff but is this seriously a review or just a guy reading track names on albums that clearly he hasn't listened to? I mean, all he is doing is criticizing the timings of pieces and has no additional arguments based on listening to support his claim that Williams isn't a charismatic conductor. BTW, picking on The Planets alone doesn't support the argument. Every conductor has their off days... every single one! And then after each album, he has to either undermine pops recordings or film music as a whole. Oh, and don't you just love it when he thinks he's singing "The Mission Theme" but sings "Meet The Press" instead? This clown hasn't listened to any of these recordings. How can you review a set and criticize a conductor WITHOUT listening? Yes, what an ass! -Erik-

Here's the entire track. https://streamable.com/pyhm15 -Erik-

NEW EPISODE 2021 CHRISTMAS SPECIAL http://www.cinematicsound.net/2021-christmas-special/ On today’s program, six CINEMATIC SOUND RADIO PODCAST hosts join me again to celebrate the holiday season by playing Christmas themed music from a wide variety of film, TV and video game scores. Join Robert Daniels from OBSCURE SCORES, Jason Drury from THE ARCHIVE & TALKING SOUNDTRACKS, Ley Bricknell from FILMIC, J. Blake Fichera from SCORED TO DEATH RADIO, Randy Andrew’s from THE ANIME SPECTACULAR & SOUNDTRACK ALLEY, the voice of CINEMATIC SOUND RADIO, Tim Burden and me, Erik Woods, for our annual Yuletide spectacular. On the show today, you are going to hear a wide variety of Christmas / Holiday / Winter themed music including A BOY CALLED CHRISTMAS (Marianelli), MIRACLE OF 34th STREET (Broughton), 8-BIT CHRISTMAS (Trapanese), TOKYO GODFATHERS (Suzuki / Moonriders) THE CHRISTMAS MIRACLE OF JONATHAN TOOMEY (Farley), A VISIT FROM SAINT NICHOLAS (“‘TWAS THE NIGHT BEFORE CHRISTMAS”) (Moore / vocal: Robin Williams) and 3615 CODE PÈRE NOËL (Lalanne) ----- LISTEN: http://www.cinematicsound.net/links-page/ PATREON: https://bit.ly/2QWDGeO MERCH STORE https://www.teepublic.com/stores/cinematic-sound-radio

NEW EPISODE THE FLAGSHIP SHOW: A CHAT WITH PATREON MEMBER JOE WILES – SPORTS SCORES PART 1 http://www.cinematicsound.net/the-flag-ship-show-a-chat-with-patreon-member-joe-wiles-sports-scores-part-1/ Today we present a chat between host Erik Woods and Patreon member, Joe Wiles, on THE FLAGSHIP SHOW on the CINEMATIC SOUND RADIO PODCAST. Joe Wiles is one of two CINEMATIC SOUND RADIO PODCAST patrons who signed up for the exclusive top COMPOSER TIER at the CINEMATIC SOUND RADIO PODCAST Patreon. Joe took advantage of the tier’s exclusive perk to co-host a program with Erik Woods and play whatever music he wanted. Joe and Erik talked for a considerable time so the show has been split into two parts. Today you will hear part one of the chat where you will hear Joe talk about his life, career, his interest in film music and how he discovered CINEMATIC SOUND RADIO. He also brought some music along with him… all of the tracks were from Sports Themed Films. You’ll hear selections from HOOSIERS (Goldsmith), DAYS OF THUNDER (Zimmer), ROCKY (Conti), FOR LOVE OF THE GAME (Poledouris), FIELD OF DREAMS (Horner), and THE ROOKIE (Burwell). I hope you enjoy the show. The second part of the program will be uploaded soon. ----- LISTEN: http://www.cinematicsound.net/links-page/ PATREON: https://bit.ly/2QWDGeO MERCH STORE https://www.teepublic.com/stores/cinematic-sound-radio

Spielberg tracked in other music because he really liked the new Lost World theme Williams came up with and thought it would work better in the scene than the original cue Williams wrote. -Erik-

Interesting... I'd like to hear why it's "bad film music" Here's my brief take on TASM2 Personally, I think it's a fun, smart, intellectual score. Usually, I find Hans' overthinking or doing new for new sake is mostly over the top nonsense, however, with TASM2, IMO, he really nailed it. He not only perfectly captured the free-spirited character of Spider-Man with his Coplandesque trumpet call but as he did with The Joker in The Dark Knight, he really got to the core of not only the psychotic, schizophrenic nature of the Electro character but also of the obsessive Max Dillon and his internal struggles. The duality of the theme is extremely well crafted. The Electro suite is simply sublime, smart film music. What's a truly appreciate about the Electro music is that the main melody is performed in two different ways. The first in a quirky, organic performance to convey the silly, clumsy side of Max Dillion‚ which then transformed into a heavy, electronic dub step style with underlining vocals (rap) that represents Electro's inner turmoil. The rap is literally the voices in Max/Electro's head. Love it! Harry Osborn even gets a terrifying motif. The rest of the score is a fantastic mix of electronic and organic orchestral sounds with a gigantic choral backing. I love the battle of the organic (Spidey's theme) with the electronic (Electro's) themes that plays throughout the scores playing time. IMO, Zimmer and co's score is extremely well thought out score with purpose that, for me, is an absolute pleasure to listen to. This is Hans Zimmer at his very best, IMO. You might not agree but at least I gave you multiple reasons why I like it. -Erik-

Agreed! I actually think Zimmer’s score for TASM2 is rather brilliant. And I absolutely love the Electro material… and Spidey’s theme is sensational as well. Zimmer and co. Score > Horner’s score, IMO.

A few weeks ago I was interviewed by Frank R Wilson for his soundtrack podcast, WHAT'S THE SCORE. Frank gave me the opportunity to talk about my life, my work, my podcast, and tell some deeply personal stories. I was also allowed to bring a few personal tracks along to play on the program. I hope you enjoy the show, as well as the music and the stories behind why I brought them to the show. This interview was very different from most of the others I've been a part of and I just want to thank Frank for inviting me to be a guest on his show and for allowing me to be so open and candid. Frank truly made me feel welcome on his program and I hope I can return the favour soon. Until then, enjoy the show! https://whatsthescore1.podbean.com/e/guest-podcaster-eric-woods/ -Erik-

They absolutely ruin an otherwise BRILLIANT album!

Correct!

PREMIERE EPISODE OF TALKING SOUNDTRACKS ON THE CINEMATIC SOUND RADIO PODCAST INTERVIEW WITH BRUCE BROUGHTON PART 1 http://www.cinematicsound.net/talking-soundtracks-interview-with-bruce-broughton-part-1/ In April 2021 for TALKING SOUNDTRACKS, Jason talked to Bruce Broughton via Zoom at his home in Los Angeles, California. In part one of this two-part interview, amongst other things, Broughton talks about his way into television scoring, his first film projects and his work on Silverado, Tombstone and Young Sherlock Holmes. And of course, throughout both episodes, you will hear samples of music from one of the finest composers ever to work in film, TV, video games and the concert hall. Enjoy! ----- LISTEN: http://www.cinematicsound.net/links-page/ PATREON: https://bit.ly/2QWDGeO MERCH STORE https://www.teepublic.com/stores/cinematic-sound-radio

BRAND NEW HALLOWEEN EPISODES OF THE CINEMATIC SOUND RADIO PODCAST SCORED TO DEATH RADIO WITH J. BLAKE FICHERA: THE SOUNDS OF STEPHEN KING – CHAPTER THREE http://www.cinematicsound.net/scored-to-death-radio-the-music-of-stephen-king-3/ In this third installment of The Sounds of Stephen King limited series, host J. Blake Fichera continues his exploration into the vast, beautiful and terrifying cinematic soundscapes inspired by the texts of one of horror’s greatest and most celebrated authors. You’ll hear selections from MISERY, GRAVEYARD SHIFT, IT: CHAPTER ONE & TWO, NEEDFUL THINGS, CHRISTINE, and many more. OBSCURE SCORES: EPISODE SEVEN – 2021 HALLOWEEN SPECIAL http://www.cinematicsound.net/obscure-scores-episode-seven/ On this program Robert Daniels digs up some unusual Halloween treats with selections from TORMENTED by Albert Glasser, MANOS: THE HANDS OF FATE by Robert Smith, Jr. & Russ Huddleston and EEGAH by Arch Hall, Jr. THE FLAGSHIP SHOW: 2021 HALLOWEEN SPECIAL – RE-RECORDING HORROR http://www.cinematicsound.net/the-flag-ship-show-2021-halloween-special-rerecording-horror/ In this episode of THE FLAGSHIP SHOW on the CINEMATIC SOUND RADIO PODCAST, we celebrate the Halloween season once again by highlighting horror score re-recordings including selections from THE NIGHTMARE BEFORE CHRISTMAS (Elfman), BRAM STOKER’S DRACULA (Kilar), CREATURE FROM THE BLACK LAGOON (Mancini), HOUSE OF FRANKENSTEIN (Salter), ED WOOD (Shore), WORLD WAR Z (Beltrami) and many more. Enjoy! ----- LISTEN: http://www.cinematicsound.net/links-page/ PATREON: https://bit.ly/2QWDGeO MERCH STORE https://www.teepublic.com/stores/cinematic-sound-radio

I had my first listen to Zimmer's DUNE last night. I rarely hear a score in context first but I had this feeling that I needed to do just that with this film. I won't go into too much detail (I probably will) because I'm still processing what I saw and I think I need a second viewing to truly appreciate it for all that it's worth but it's a stunning motion picture that just sucks you into its vast universe and doesn't let go for two and half hours. I wish there was part 2 because I want to immediately dive right back into that world Villeneuve created. On a technical level, it's perfect. Never once was I pulled out of the picture by a dodgy special effect shot. And Rebecca Ferguson stole the show... she is the emotional centre of this film and I would love to see her win some awards for her work. As for the score... it's mesmerising. With this being my first experience with it, it's felt monothematic, which is fine with me. That central main theme really sticks with you, especially when performed with such vigour by the film's solo vocalist. I couldn't pick up on any other themes other than the bagpipe theme for House Atreides but I'm not sure if it ever shows up again after its flourishing introduction. There's this eight-note motif that keeps repeating in "Ripples in the Sand". I'm assuming that's the theme for Arrakis. I could be wrong. As I said, I need a few more views to completely understand everything I saw last night. The rest of the score felt like a tone poem. Strange, otherworldly sounds are mixed with big beefy chords, staccato drums, electronic pulses, twinkling synths, whispers, ethereal chorus and tortured vocals. You never knew when one cue ended and the other began... it just flowed effortlessly over the picture creating this perfect synergy of sound and visuals. As the film wraps up, "My Road Leads Into The Desert" ends with something a bit more modern with rolling power chords and the final performance of the score's main theme by Loire Cotler which sent shivers up and down my body! You can clearly hear and feel that this was a passion project for Zimmer, something he was destined to score. Would a more traditional orchestral score be easier to digest and appreciate... sure... but when you see the name Hans Zimmer on any film, you really have to throw out all of your expectations because for better or for worse, he's not going to do the traditional. Even though I don't like the man personally, his creativity and always trying to push the boundaries of his music is something is do admire. Dune is an exceptional score... and I'm even surprised to see me write that since I was greatly annoyed by the material I heard in the sketchbook album, which I never finished. I'm currently spinning the DUNE soundtrack as I write this and it might be an album I play on repeat for the next few days. IMO, it's one of the best scores I've experienced in 2021. -Erik-