Tim Greiving
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The sound artist and composer took a deeply unique, and wonderfully successful, approach to the composing of his score for the new Jordan Peele-written horror reboot.
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A Black avant-garde musician has successfully applied his visceral, voice-centered style to the films he has scored lately. His approach eerily suits the newest Candyman movie.
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Recovered from a career-threatening injury, Miloš Karadaglic has his sights set on two goals: finding the next great classical guitar concerto, and erasing the taboo of injuries among musicians.
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Tom Holkenborg, aka Junkie XL, is far from the first score composer to be fired from a Hollywood film. But he might be the first to get his job back.
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Aretha Franklin liked how Kris Bowers played piano at a competition in 2011. It was his big break — a fact that he says was with him while he scored a upcoming biopic about the late Queen of Soul.
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Darren Aronofsky's 2000 film Requiem for a Dream spawned a musical motif that's rippled through media — and jumpstarted a new career for Clint Mansell, the composer of its haunted score.
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The film "63 Up" is the latest in a series of documentaries following a group of British children — filmed every seven years beginning when they were 7 years old. They're now 63.
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The Last Black Man in San Francisco is a whimsical elegy to a fading San Francisco. It features a score by Emile Mosseri that's exuberant and poetic, positioning music front and center in the film.
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Star Wars: Galaxy's Edge, opens at Disneyland Friday. The attraction features sights and sounds of the universe, including a life size Millennium Falcon where the rider gets to fly the hunk of junk.
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Abels was a music teacher who had never scored a film when he was hired for Jordan Peele's Get Out and now Us. Peele hired him after a fruitless search for an African-American film composer.