0

Soundtrack Reviews & News

Just uploaded are a series of soundtrack reviews for a diverse quartet of titles.

Lakeshore Records offers up two striking soundtracks for a pair of documentaries: Peter Golub’s inventive Countdown to Zero, and Christophe Beck’s Waiting for Superman – the latter title is the latest doc from award-winning director David Guggenheim (An Inconvenient Truth). Beck is perhaps best-known for his Buffy the Vampire Slayer scores, whereas Golub has built up a solid reputation scoring diverse documentaries and fiction films.

Silva Screen rides the Stieg Larsson wave with a compilation of themes from the first two film in his nasty Millennium Trilogy, The Girl with the Dragon Tattoo, and The Girl Who Played with Fire. The disc features different material than the Milan CD of the first film, and I’ll have a review of that disc shortly. Silva’s album emphasizes themes with more electronic components, and it’s a good sampler of Jacob Groth’s great writing for such a dour crime trilogy.

Lastly, there’s the pairing of themes and cues from The Lone Gunman (2001) and Harsh Realm (1999), two shows created by Chris Carter during his X Files glory years. Mark Snow scored all of Carter’s shows, and while the series died quick and fast at the hands of impatient Fox, the music lives on with this CD. (Those wanting to check out the series can do so via DVD, as both shows are still apparently in print.)

In brief soundtrack news, Intrada revealed their latest limited edition disc, James Horner’s Uncommon Valor (1983), and Varese Sarabande’s latest Soundtrack Club editions are Jerry Goldsmith’s A Gathering of Eagles (1963), Alfred Newman’s The Snake Pit (1948) coupled with Robert Emmett Dolan’s underrated The Three Faces of Eve (1957), and reissue/CD premieres of Bill Conti’s superb The Formula (1980) and Doug Timm’s Nightflyers (1987). There’s also the DVD/CD combo Fimucite 2: Closing Night Gala 2008, featuring popular film themes and suites conducted by Diego Navarro and Joel McNeely.

And Emmy Award-winning composer D. Brent Nelson has a new website which features MP3 samples of his excellent music for Days of Our Lives. Those wanting a bit more backstory to Nelson’s work should check out my interview with the composer, and review of his 2-disc CD of famous Days music.

Lastly, while I’m getting through FSM’s 5-disc set of TV Omnibus: Volume 1, I can say at this point jazz fans should snap this one up. The dominant composer in this beautifully mastered set is Dave Grusin, featuring score and lengthy theme versions of the 1972 series Assignment: Vienna. There’s also Don Ellis’ dissonant & unsettling score for the serial killer TV movie The Deadly Tower, a 1975 production that Kurt Russell used to quash his image as a lovable Disney teen actor.




Mark R. Hasan, Editor
KQEK.com
0

More 3D Comin’ at Ya!

George Lucas has already spoken in the past of re-releasing all of the Star Wars films in 3D, and apparently 2012 will be the year when enough theatres will be equipped to display Episode 1: The Phantom Menace

If the reception is favourable, the rest of the series will debut in 3D, but the real question isn't whether people will be willing to pay a premium for a ticket to have 'Mannequin Anakin' and Jar Jar Binks invading your private space bubble; it's whether anyone will care about the franchise.

George isn't testing the waters; that's all smoke and mirrors. He's releasing Episode 1 to get everyone siked for the rest of the films that are also being converted to 3D.

2012 is also far ahead that he'll snag a generation too young to know anything else but the 3 awful prequels that made older and wiser fans queasy (and bored). The generation who grew up on the original first 3 films from the 70s and 80s are economically irrelevant because they're not the ones who will make George more money; they'll buy the original trilogy on Blu-ray and maybe BR 3D when the full 3D setup doesn't cost $4000. They'll likely catch the originals on the big screen as well, but it's the younger consumer base who'll keep the franchise alive, as George regurgitates mediocre material in three dimensions in cinemas, and in your home.

Not that the following singular post and series of reader comments reflect the fan base at large, but there will be people who just won't care anymore, and the only benefit will be George's pickiness for perfect effects yielding an improved cinematic delivery system, if not a standard that won't mandate multiple mixes and formats and prints for international release, as was done for James Cameron's Avatar. Further thoughts and media links are also available at the Digital Bits.

Sticking to 3D news, the Toronto Star reports that CBC will broadcast 2 hockey games in 3D on the following nights: Dec. 11, and Feb. 20, 2011. Unlike the recent airing of Queen Elizabeth in 3D, the hockey games will require a proper 3D set and glasses.

Incidentally, there are still some local postal outlets that have stock of the ColorCode 3D glasses needed for the Queen 3D broadcast. Not sure whether the glasses will get junked or shoved into storage for a repeat airing sometime in the future, but I managed to get a pair from the small outlet in the Loblaws at Queen's Quay and Leslie via a friend (thanks, Hauke!), making it possible to review the CBC and Channel 4 edits of the special in 3D. Watch for the reviews around the middle of next week.

Lastly, there's more 3D gear making the news at Atlanta's CEDIA Expo, such as JVC's HD-3D projection system, with models whose price ranges span $4,495 to $11,995 USD.

Hey, I remember when Sony's industrial 1.33:1 projection system cost $56,000 CAD back in the mid-90s, so things have improved for early adopters with big wallets.

I think.






Mark R. Hasan, Editor
KQEK.com
0

Is DVD the next Dodo?

Netflix made the national news this past Wednesday when it announced its entrance into the Canadian market. The p.r. launch included taking over a section of a Toronto street, and peppering it with actors pretending to be thrilled customers, as the CBC and a few sites reported. (Ahem.)

The basics of this “supplemental” home entertainment service, costing $7.99/month, and delivered via streaming to a PC, Apple gizmos, PlayStation 3, Xbox 360 or Nintendo Wii, gets you unlimited access to its mostly older film + TV series. (Netflix will not be offering mail rentals, leaving that market to local firms like Zip.ca.)

Torontoist reported the company’s offerings aren’t tied to any CanCon regulations, but Netflix is restricted to showing whatever program rights it can acquire, and some consumers that have signed up or browsed the company’s first wave of offerings aren’t wholly impressed, as evidenced by the comments at the company’s official blog.

In an interview last week with the Financial Post, Netflix chief executive Reed Hastings provided some straight replies to detailed questions of exactly what Netflix plans to do, now that its first venture outside of the U.S. is underway.

Hastings said the older content will get upgraded with newer material over time (Mad Men will among the first catches of ‘new’ material), but one void Canadians would love to see filled is the airing of indigenous programs and productions. That, however, doesn’t seem likely, according to Hastings: “From a competitive strategy, it’s unrealistic for us to out-Canada a local Canadian distributor. So we’re going to focus on what people end up watching. “

If the interest were to develop, and Netflix’ roster included programs like The Littlest Hobo, we’d all be seeing a retread of the mediocre programming that saturated the first wave of specialty pay channels like Showcase, and that wouldn’t be good.

If, on the other hand, Netflix were to go after neglected, overlooked, abandoned, marginalized titles where there’s pent-up demand or a cult following (or make themselves open to buying streaming rights), they’d actually be doing a service by saving stuff from oblivion.

The only caveat at this stage: as Torontoist pointed out last week, the real test isn’t whether people will warm up to an alternative, low-cost venue like Netflix for further media, but whether Bell and Rogers will throttle the hell out of the service as people stream all that unlimited content.

These monopolistic monsters were allowed to establish total vertical integration over the years courtesy of the CRTC, which means there’s no reason why Bell nor Rogers wouldn’t induce protective measures.

In the Financial Times Q&A, Hastings comments on the odd, coincidental move in which Rogers reduced bandwidth allowances soon after Netflix’ announcement of their Canadian launch. He brands it as “unfortunate timing,” but I think that’s a very diplomatic description for Rogers’ first move in a chess game to dominate the digital realm. The timing is perfect, and any effort to limit bandwidth when more content is becoming exclusive to online venues might make all that streaming more costly than a subscription is worth.

The CBC’s own interview with Hastings gets into more bandwidth-specific scenarios, and it’ll be amusing if Netflix becomes an unexpected supporter of an anti-throttling, anti-monopoly body a year from now.

Now, the news media is playing up Netflix’ announcement as ‘the final nail in home video’s coffin,’ which is sexy but shallow talk.

The aforementioned CBC news piece queried one owner who held up DVDs and said ‘they’re already dead matter,’ and that may be the case for top 100 title rental shops that don’t maintain a large inventory of hard-to-find or out-of-print titles, such as the sale/rental businesses profiled in this 2008 BlogTO piece, as well as Eyesore Cinema, and 7-24 Movies & More.

My prediction?

DVDs will tread into the waters of dying VHS, where mostly A-list titles by major studios are released on a physical medium. From their back catalogue, older films on DVD and Blu-ray will consist of top 100 classic films everyone knows, popular series tested out on TCM or tied to that brand name to boost a set’s recognition factor in Walmart and other mainstream outlets.

You will see the same films re-issued in single, anniversary, remastered, and themed sets, and some titles may only be available as long as the first pressings remain in stock, after which they’ll move over to digital delivery, or as bare bones on-demand discs with a premium price tag.

The obscure stuff will be available as downloads or on demand discs. The $18-20 pricing of those classics, either via Warner Archives, Universal via TCM/Warner Archives, or Columbia’s new setup (aka Screen Classics By Request) will be of interest only to those willing to shell out considerable cash for titles that really should be priced at $9.99 or less.

Foreigners unhappy that these titles are not available outside of the U.S. will pool their money into TCM and PVR recordings, unless the on demand scheme is downgraded in price, and broadened to a global delivery to ensure the widest international penetration possible.

Indie filmmakers and labels will still provide product on DVD and BR because they may have the advantage (for a while) by filling in shelf space previously saturated by studio product, but they’ll also exploit digital venues because more communities will have access to subscription and on demand services.

The indies will also benefit somewhat by offering more diverse titles compared to the same A-list titles in heavy rotation on major services like Rogers and Bell. Indies also specialize in collector-oriented titles, and collectors like physical product, not a thing that’s restricted to limited plays or storage devices with access codes.

BR will only start eclipsing DVD if DVD is phased out, and the price point drops another $5-10, timed as the last stragglers with tubes snap up HD sets on Boxing Day sales.

BR, however, will never attain the meteoric success of DVD, because the need-to-own factor has been blown away by too many reissues, repackaging, re-buying of gear, and a greater reliance on plugging in, streaming or downloading media that’s subsequently erased or dragged and dropped into a folder on a 2 TB hard drive.

We have too much stuff, even digitally, and there’s less time to watch things, which makes media more ephemeral than ever. We may want to own certain TV series, but the bulk of TV will only be watched once, because there’s so much other stuff out there. (Note the massive interest on this side of the pond for BBC fodder.)

Home video may well become a boutique product, much like vinyl, and be appreciated and collected by a devoted, sizeable niche market, but it’ll be available only via specialty merchants.

So, will video stores die?

I think it depends on a few key factors:

1) If the major studios radically reduced the amount of new product on DVD and BR (something that’s already underway with Fox), there will be nothing to rent/own beyond the same old/same old. Merchants and rental shops can’t survive without a steady wave of new titles; that’s what advanced the business, and the lack of diversity will kill it. The slow demise of Blockbuster, which was characterized by one subject in a recent article for Home Media Magazine as a company ‘wasting away,’ leaves small indie chains to carry studio product, but it’s doubtful the revenue will be as lucrative to the major studios as the big box chains.

2) The lack of diversity with on demand services from Rogers may push some to use rental shops now and then, but what’ll likely happen is this: rental stores will only exist in locales where the clientele remains nostalgic for the rental experience, be it in small communities, suburban quarters, or urban city centers. That may keep these ‘boutique’ outlets alive for a while, but most will disappear because the effort to maintain them simply won’t be profitable. Most boutiques are owned & operated by an aging demographic who at some point will either relinquish management or sell the business to a keen, younger generation willing to give it a go; or, close operations altogether, selling off a valuable inventory to collectors, and making a last profit boost before retiring, or moving into new ownership/management ventures.

One can see the remaining rental stores evolving into what used to be ‘nabes or neighbourhood cinemas, distinguished by a large archive of titles no one carries or can no longer acquire on home video. For a period they may survive through the rental of what’s essentially an archive of movies, but the lack of new titles will prove taxing in the long term.

The emergence of cheap public domain material may supplement new monthly releases, but there’s also Hollywood’s determination to extend the copyright of films as far into the future as possible. Whether it’s currently 75 or 50 years, that still leaves out a lot of commercially attractive material that will remain exclusive to the big studios.

For the average merchant, the struggle will be more than meeting rental and tax obligations: it’ll be enticing a dwindling, aging fan base with older films in their inventory, and testing the purchasing power of younger connoisseurs weaned on the immediacy of streaming and downloads.

Maybe the studios will offer new titles in DVD-BR combo packs, but the cost of making multi-format, multi-disc packs mandates their exclusive usage to A-list titles, and maybe a handful of nostalgia/AFI Top 100 classics.

The cost of renting a video may go lower, forced by competition from Netflix and on demand services, much in the way Cineplex knocked down the pricing in their aging locales like the Eaton Centre to a few bucks when their aging setup couldn’t compete with big screen/big sound setups.

At some point, whoever is left will have to question whether the effort of buying & prepping product, devoting shelf space to esoteric and chancy titles, hiring a knowledgeable staff, the limits minimum wages, and a slimming profit margin is worth the nostalgic experience of running a video store, and why it’s worthwhile for film fans to trek out when a substitute may exist online.

Nostalgia and the collector mentality can only go so far, and the survival odds of rental shops and a popular form of cheap entertainment are already diminishing.

The X factor is when such things would happen. It may be that in the next 2 years on-demand, streaming or download-to-own programs will be the chief source of programming, leaving DVD in the dust, if not a format exclusive to the film collector market.

The death of a format takes time, but there are striking patterns between DVD and VHS, as the old is being marginalized each year.

By 2012, maybe the family DVD players will be the next unwanted gear pushed to the curb – the next Dodo in home entertainment.




Mark R. Hasan, Editor
KQEK.com
0

Nunsploitation, Part I: Borowczyk + Suzuki

Exploitation. Sexploitation. Blaxploitation. Mexploitation.



And nunsploitation, which is a narrower genre in spite of being open to any country or language or culture feeling a need to satirize or take rude shots at nuns doing things they shouldn't but are compelled to do by themselves, by divine push, by evil possession, by drugs, or whatever weird stressors the writer and director feels would give them an excuse to show nuns in various forms of undress and / or lewd behaviour.


The genre may in fact have died out simply because pokes at Catholicism and its offshoots just aren't popular anymore on the screen, and perhaps recent church scandals have been so horrific, seeing a naked nun just doesn't cause a ripple anymore.


Moreover, nudity is taboo on U.S. screens, and the MPAA does not like seeing nuns in distress, as was the case with Abel Ferrara putting a nun in grievous sexual harm in that thing called The Bad Lieutenant (1992), which isn't a nunsploitation film (and for that matter, neither is 2010's Machete), but illustrates the disdain the MPAA has for nuns not involved in their normal routine, or not singing under the tutelage of Whoopi Goldberg.


Cult Epics' 2-disc set, The Nunsploitation Convent, gathers Walerian Borowczyk's Behind Convent Walls / Intérieur d'un couvent / Interno di un convento (1978), and Norifumi Suzuki’s outrageous anti-Catholic assault School of the Holy Beast / Seijû gakuen (1974).


Suzuki's film is briliantly vulgar in the way hallowed concepts of faith, fidelity, and western morality are attacked, whereas Borowczyk's film is more like an elaborate series of witty, naughty gags with delayed punchlines and visuals no one would dare put on film today (and make them funny, no less).


Borowczyk's sense of the absurd and the ridiculous are rampant in Behind Convent Walls, and I'd suggest starting with that review, before moving on to School of the Holy Beast. I've also cross-linked all the Borowczyk titles in the KQEK.com archives, which hopefully will provide an overall wide glimpse into the lunacy of this forgotten madman who began as striking animator in his native Poland.





Mark R. Hasan, Editor
KQEK.com
0

Is She Amused?

The CBC is repeating their special doc Queen Elizabeth in 3D this week on CBC Newsworld (Channel 26) this Saturday at 10pm, and Sunday at 1am.

3D glasses were available at select Canada Post outlets (as listed in the PDF file) but supplies may have run out by this point. The glasses were gone by Monday at my local outlet, so the initial review of the show will likely reflect the doc’s content rather than 3D effects.

First caveat: the Queen doc uses the ColorCode 3D system which isn’t compatible with the old red-blue glasses some of you may have lying around. ColorCode uses blue-amber filters, so you’ll need glasses that have blue for the right eyeball, and amber for the left; anything else will cause your brain to convulse, porridge to emerge from your nose, and strange blinky-blinky lights to glow from the tips of your pinkies.

Second caveat: the CBC doc is actually an edited-down version of the original 2-part (!) series that ran last November on England’s Channel 4, as part of their own 3D special series. Each part runs under 48 mins., whereas the CBC edit is far less, and includes the interpolation of news and thespian figures from the corp’s talent pool. I’ll have reviews of both the original 2-part and CBC versions early next week, since the handling of the content is a bit different.

Third Caveat: both docs apparently aren’t contrived reprocessed 3D footage from 2D sources. The docs contain a mix of newly shot 3D footage of the Queen’s recent trip to Canada, and (amazingly) newly discovered 3D film of her coronation back in 1953. The CBC’s efforts to air their doc began with on-air tests to see if the 3D system could be implemented nationally, and actually work, as this August 11th blurb briefly explains.

I’m indifferent to the Queen, the Monarchy is outdated, but hey, it’s a test to see how well the format on the Idiot Box performs as networks test 3D material while more 3D content is slooooowly making its way to 3D Blu-ray so your $4000 setup is put to actual three-dimensional use.

Future Shop is selling various combo packages with player + set + glasses + transmitter, and more 3D BR titles were announced last week that everyone can buy, as opposed to the exclusive one title-per specific manufacturer deal that may be the dumbest ploy to convince you and me to buy yet another new TV.

Avatar, for example, will be available as a 3D BR title Dec. 1st, but only if you buy the Panasonic gear. Other exclusive deals with no end-date for the rest of consumer society include Alice in Wonderland 3D exclusive to Sony 3D sets; and Monsters vs. Aliens 3D, all four Shrek films in 3D, and How to Train Your Dragon 3D exclusive to Samsung buyers.

If this scheme was initially applied to the first year of Blu-ray’s existence, the format would’ve died within a year. The industry’s short-term memory tends to forget historical boo-boos from which it could learn a great deal.

In any event, I’ll have more thoughts on the CBC and Channel 4 docs, and the fascinating backstory of how Queen Elizabeth II happened to be filmed in 3D. It’s pretty amazing this stuff sat forgotten for 50+ years, and I frankly hope the current 3D resurgence will cause other rarities to be dusted off, restored, properly preserved, and commercially released, because headaches and seeing misaligned colours are part of our collective anaglyph photograph and cinema history, right?

Seriously. Porridge from the nostrils like you wouldn’t believe.




Mark R. Hasan, Editor
KQEK.com
0

VOWLS scores Mizoguchi

Composing scores for silent films isn’t new, but creating a score using contemporary and exotic instruments with a unique melting pot of sounds is unique, even though it shouldn’t be, because silents have proven their resilience to changing styles and fickle audiences by giving composers raw elements – stark images, potent emotions, classic themes – to create music that evokes and affects audiences rather then enhancing the obvious filmic elements.

Probably the best examples of a movie inspiring diverse composers is G.W. Pabst’s Pandora’s Box (1929), featuring four scores, and Borderline (1930), featuring a great score by jazzman Courtney Pine.

When Kenji Mizoguchi’s The Water Magician / Taki no shiraito (1933) was screened at the 2nd annual Sinsedai Cinema Festival in North York, Toronto, it marked a special occasion where an original score for a rare surviving work from Japan’s silent film era was performed live for an audience.

I’ve uploaded an interview with composer Brandon Hocura, who performed the score with his group VOWLS in July. Also integrated into the Q&A are some links to music samples, and a few post-performance reviews from other sources worth checking out.



Mark R. Hasan, Editor
KQEK.com
0

Jackie Burroughs, 71

Actress Jackie Burroughs passed away Wednesday Sept. 21 from stomach cancer at the age of 71.

Most will probably recognize the multi-talented actress from her years as Hetty King on the Road to Avonlea series with Sarah Polley from 1989-1996, but I remember her as this slightly eccentric, extremely nice lady I’d meet once in a while through work. She was always jovial, completely down to Earth, and very genial with everyone, and she managed to quickly put a co-worker/big Avonlea fan at ease with her warm personality.

My only exposure to Burroughs’ work is rather odd: she provided the narration for Neon, an Electric Memoir (1984), a doc I saw in first year film school. From what I recall, she was the voice of the neon gas, reflecting on life, her relationship with light, darkness, and people.

Years later she once asked about getting a copy of A Winter Tan (1987), a movie she starred in and co-directed. The film played on pay TV and was released on VHS, but she needed a copy because the film print was either hard to come by, or a video master was somewhere with someone in the U.S.

For their Wednesday obits, the CBC and CTV ran a clip from Tan, along with a snippet from The Grey Fox (1982), another film where she had an important role. Neither of these films has ever appeared on DVD, and it again reflects on the absurdity of indigenous films either unavailable domestically, or films we have to import because other countries felt a Canadian film was worth releasing.

Tan, I understand, received mixed reviews, and I know somewhere I have a VHS EP copy in storage, taped off First Choice when dinosaurs still roamed Toronto. I think Burroughs said she co-produced the film (or put some money into the project), but it seems to be another movie that’s become an orphan because no one knows who owns the thing, and where the elements are.

Grey Fox also received TV airings, a grubby VHS release, and from one account, a laserdisc release.
My old screenwriting prof, David Brady, was the film’s executive producer, and he had a good enough relationship with director Philip Borsos that he appeared as a befuddled character in a TV ad for a courier company that ran during the late eighties/early nineties, which Borsos directed because Bethune: The Making of a Hero (1992) either sucked the life from him, or no one remembered who Borsos was after Bethune, reportedly the costliest Canadian film ever, fizzled at the box office, and was banished into oblivion after an expanded CBC TV airing.

Brady may be one of the few people who knows why no one’s been able thus far to release Grey Fox on DVD, but the fact Burroughs wasn’t able to get hold of Tan, a film she was quite proud of directing, is absurd, and wrong.

So while I’d like to recommend hunting down some of her work as a leading lady outside of the Avonlea world, I can’t because with her early work, they’re unavailable, but she did have small roles in a few cult films, include The Kidnapping of the President (1980), The Dead Zone (1983), Gnaw: Food of the Gods II (partially shot at York University in 1989), Willard (2003), Rhinoceros Eyes (2003), and Into the Labyrinth (2008). Her last film, Small Town Murder Songs (2010) will premiere Sept. 27th at the Calgary Film Festival.

Burroughs was able to personify neon gas using her voice, which may not be art, but that small piece of work illustrates her skill and sense of humour – probably two things most will easily glean from her lengthy and prolific career.



Mark R. Hasan, Editor
KQEK.com
0

New & Imminent Soundtrack Releases

The latest tally of international soundtracks includes a few labels I’ve never heard of – RKYoung, France’s Largo Music, Japan’s Verita Note, and Germany’s Königskinder Music.


As always, I’ve tried to find direct links to the record labels’ own sites, but if you have a link for the ones I’ve missed, please post them in the Comments section (and if you’d like to have your soundtrack reviewed at KQEK.com or your horror score covered in Rue Morgue Magazine, please see the About Me sidebar for further info).


Incidentally, Königskinder Music, like a number of labels, has their own Facebook page, and they’ve included some brief video footage of David Newman conducting the Berlin Score Orchestra.


Coming soon shortly will be a review of Kenji Mizoguchi’s The Water Magician / Taki no shiraito (1933), and an interview with Brandon Hocura, whose group VOWLS recently performed their original score live for an audience at the Shinsedai Cinema Festival in Toronto.


The Soundtrack List (updated, as of Wednesday Sept. 22/2010):


.


.


Chandos Records (UK)


Erich Wolfgang Korngold: The String Quartets --- Sept. 28


.


.


.


.


Chris’ Soundtrack Corner (Germany)


Papaya dei caraibi / Papaya: Love Goddess of the Cannibals (Stelvio Cipriani) --- early Sept.

Vai gorilla / The Hired Gun (Fabio Frzzi, Franco Bixio, Vince Tempera) --- early Sept.


.


.


.


.


Colosseum (Germany)


Hochzeitspolka (Jacob Ilja) --- Sept. 24

L’arbre / The Tree (Grégoire Hetzel)


.


.


.


.


Cometa (Italy)


10 bianchi uccisi da un piccolo indiano / Blood River (Piero Umiliani) --- ltd. 500 copies

Si salvi chi vuole (Ennio Morricone) --- ltd. 500 copies, mid-Sept.


.


.


.


.


DigitMovies (Italy)


Black Box Affair / Il mondo trema (Gianni Ferrio) --- late Sept.

Eat It / Mangiala (Ennio Morricone) --- late Sept.

Sergente Klems (Carlo Rustichelli) --- late Sept.

Un'anguilla da 300 milioni / Million Dollar Eel (Fiorenzo Carpi) --- late Sept


.


.


.


.


Film Score Monthly (FSM) (USA)


CHiPs: Vol. 3 (John Parker, Alan Silvestri) --- ltd. 3000 copies

Dragon Seed (Herbet Stothart) --- 2 CDs, ltd. 1000 copies

Hawaii Five-O (Morton Stevens)

Hunters are for Killing (Jerry Fielding) --- ltd. 2000 copies

Star Trek: The Next Generation - The Ron Jones Project 1987-1999) --- 14 CDs, ltd. to 5000 copies, late Sept.

TV Omnibus: Volume One (1992-1976) (various) --- 5 CDs, ltd. 2000 copies


.


.


.


.


GDM (Italy)


Anastasia mio fratello / My Brother Anastasia (Piero Piccioni) --- early Sept.

Ci risiamo, vero provvidenza? (Bruno Nicolai, Ennio Morricone) --- ltd. 750 copies, early Oct.

Come imparai ad amare le donne (Ennio Morricone) --- expanded CD, early Oct.

Di tresette ce n’e’ uno tutti gli altri son nessuno / The Crazy Bunch (Alessandro Alessandroni) --- early Oct.

Drammi Gotici / Gothic Dramas (Ennio Morricone) --- early Sept.

Johnny Oro (Carlo Savina) --- ltd. 500 copies, early Oct.

Per il gusto di uccidere / Bounty Killer (Nico Fidenco) --- early Oct.

Un tranquillo posto di campagna / A Quiet Place in the Country (Ennio Morricone)


.


.


.


.


Image Entertainment (USA)


Thriller: Complete Series (DVD, featuring select isolated music & effects tracks of music by Jerry Goldsmith & Morton Stevens)


.


.


.


.


Intrada (USA)


Brotherhood of the Bell, The / Step Out of Line, A (Jerry Goldsmith) --- ltd. 2500 copies

Cohen & Tate (Bill Conti) --- ltd. to 1200 copies

Deep, The (John Barry) --- 2 CDs, ltd. 3000 copies

Organization, The (Gil Melle) --- ltd. 1000 copies


.


.


.


.


Königskinder Music (Germany)


Konferenz Der Tiere / Animals United (David Newman) --- Coming soon

.


.


.


.


Kritzerland Records (USA)


Billy Barnes’ L.A. (Billy Barnes) --- ltd. 1000 copies.

Boy and the Pirates, The + Attack of the Puppet People suite (Albert Glasser)

One-Eyed Jacks (Hugo Friedhofer) --- 2 CDs, ltd .1000 copies --- mid-Sept.

Saint Joan (Mischa Spoliansky) --- ltd. 1000 copies

Sugar (Jule Styne, Bob Merrill) --- 2 CDs, ltd. to 1000 copies, mid-Sept.

Unforgiven, The + The Way West (Dimitri Tiomkin + Bronislau Kaper) --- reissue & remaster, ltd. to 1000 copies, early Oct.


.


.


.


.


Lakeshore Records (USA)


Jack Goes Boating (Evan Lurie)

Least Among You, The (Mark Killian)

Waiting for Superman (Christopher Beck) --- Oct. 19

Vampires Suck (Christopher Lennertz)


.


.


.


.


La-La Land Records (USA)


Beach Blanket Bingo (Les Baxter)

Dunston Checks In (Miles Goodman) --- Sept. 14

Greystoke: Tarzan Lord of the Apes (John Scott) --- expanded,
ltd. 3000 copies, Sept. 21

Hell’s Bells (Les Baxter) --- ltd. 1200 copies, Sept. 14

Lone Gunman, The / Harsh Realm (Mark Snow) --- ltd. 2000 copies


.


.


.


.


Largo Music (France)


47 bandes originales pour 47 films (Vladimir Cosma) --- 17 CDs, coming soon


.


.


.


.


Milan Records (USA/Europe)


Resident Evil: Afterlife (Tomandandy) --- Sept. 28


.


.


.


.


MovieScore Media (Sweden)


Deadline (Carlos Jose Alvarez)

Deux mondes, Les (Richard Harvey)

Horde, The (Christopher Lennertz)

Legend of Silkboy, The (Alain Mayrand)

Within (Jeff Toyne)


.


.


.


.


Perseverance Records (USA)


Jason and the Argonauts (Simon Boswell) --- early Oct.

Red Sonja (Ennio Morricone) – coming soon

Unforgettable (Christopher Young) --- ltd. 1200 copies --- coming soon


.


.


.


.


Quartet Records (Spain)


Cinema Tivoli (Alfonso Santisteban) --- ltd. 500 copies, late Sept.

Curse of the Pink Panther (Henry Mancini) --- ltd. 1000, late Sept.

Living Dead at the Manchester Morgue / Horror Express --- ltd. 500 copies, late Sept.


.


.


.


.


RKYoung (?)


Shane: A Tribute to Victor Young --- reissue of 1996 KOCH digital recording, ltd. to 500 copies


.


.


.


.


Silva Screen (USA / UK)


100 Greatest Western Themes (various) --- 6 CDs

Classic Greek Film Music (various) --- Oct. 16

Expendables, The (Brian Tyler)

Get Carter (Roy Budd)

Stieg Larsson’s Millenium Trilogy (Jacob Groth)

Terminator 2: Judgment Day (Brad Fiedel)

Town, The (Harry Gregson-Williams) --- Sept. 14

Wicker Man, The (Pauk Giovanni) --- reissue, Oct.5


.


.


.


.


Sumthing Else (USA)


Halo: Reach (Martin O’Donnell, Michael Salvatori) --- Sept. 28


.


.


.


.


Varese Sarabande (USA)


Angelo Badalamenti: Music for Film and Television --- Oct. 12

Charlie Cloud (Rolfe Kent)

Hachi: A Dog’s Tale (Jan P. Kaczmarek) --- Oct. 12

Let Me In (Michael Giacchino) --- Oct.5

Lost: The Final Season (Michael Giacchino) ---Sept. 14

Never Let me Go (Rachel Portman)

Pillars of the Earth, The (Trevor Morris) --- Sept. 21

Spartacus (Joseph LoDuca) --- Sept. 21

Tru Blood: Season 2 (Nathan Barr) --- Sept. 14

Tudors: Season 4 (Trevor Morris) --- Oct. 12


.


.


.


.


Verita Note (Japan)


Ti ho sposato per allegria (Piero Piccioni) --- coming soon


.


.


.


.


Water Tower Music (Warner Bros.) (USA)


Batman: Under the Red Hood (Christopher Drake) – Amazon on-demand

Supernatural: Seasons 1-5 (Christopher Lennertz, Jay Gruska)


.


.


.


This handy-dandy list was compiled from various sources, including catalogue announcements at Screen Archives Entertainment, Soundtrackcollector.com, Chris’ Soundtrack Corner, and Intrada.




Mark R. Hasan, Editor
KQEK.com

0

Sci-Fi '56: The Year of Style, Substance, and Silliness

Forbidden Planet marks a highpoint in science-fiction cinema, and while the filmmakers’ clever riff on Shakespeare’s “The Tempest” balances classic elements of escapism with striking special effects, writers and directors with lesser budgets sometimes used the genre to debate social issues.


The makers of Satellite in the Sky wanted to use sci-fi to inform people that War Is Bad, although it's a bit muddy as to whether we should use the same options as the characters - build the ultimate doomsday bomb and inform the world it must mend its ways or else- or find non-violent, less extreme measures within the framework of international political organizations and treaties (non of which come into play in this intriguing but rather precious film).


That film is notable for co-starring a young, pre-Bond Lois Maxwell, a wooden Kieron Moore (The Day of the Triffids), and a wiry Bryan Forbes, and features some great footage of vintage Cold Way aircrafts.



The characters in World Without End are sent way forward in time to a post-apocalyptic world where the sole humans on the surface and one-eyed blinkies, and those underground and smart yet paranoid nerds. The finale is about rekindling the gene pool, although one can also touch and feel the filmmakers’ overt message about cooperation and tolerance.


World co-stars Rod Taylor and his chest, and features the best quasi-Method performance ever, if not the most misplaced quasi-Method performance in a movie written and directed by the astute maker of Queen of Outer Space (1958).


All three titles were made in 1956 in a pre-Sputnik era, but certainly in the case of Satellites, the filmmakers sensed things were brewing around Europe, making that film a fascinating snapshot of nuclear paranoia, circa 1956.


Satellites and World are available from WHV as part of a double-bill, and TCM's Greatest Classic Films: Sci-Fi Adventures 4-pack, which also includes Forbidden.


I’ve reviewed all three films, as well as WHV’s new Blu-ray of Forbidden Planet, which brings back into circulation a sparkling high-def version of the film, with all of the extras in the 2006 50th anniversary release, including the 1957 Robby the Robot (mis)adventure The Invisible Boy.




Mark R. Hasan, Editor
KQEK.com

0

Library Music, Part 4

In Part 3, I looked at the CD release of the Capitol Hi-Q tracks used by George Romero in Night of the Living Dead (1968), and interviewed the CD’s producer, Jim Cirronella.


Just uploaded are CD reviews of Trunk Records’ Dawn of the Dead: The Unreleased Incidental Music, drawing from the DeWolfe Music Library which Romero used to partially score Dawn of the Dead (1978), and Cinevox’ 20th anniversary CD of Goblin’s Dawn score, which was largely replaced by the DeWolfe cues for the U.S. version.


In his liner notes for the NOTLD CD, Cirronella mentions a pair of films scored with music from the Hi-Q library, so I’ve uploaded reviews of Teenagers from Outer Space (1959) and The Incredible Petrified World (1957).


A future installment will cover some of the DeWolfe cues available on CD, but coming shortly is a tally of current and imminent soundtrack releases.




Mark R. Hasan, Editor
KQEK.com

0

Soundtrack Reviews

The Star ran a piece on Bono and The Edge collaborating on a musical version of Spider-Man.


Spidey doesn’t sing, and neither does Peter Parker. Must the webbed wonder boogie to U2?


Musicals based on movies have supplanted the creation of original musicals which subsequently became movies, and there’s an essay to be written on this change, unique to the last 10 years, although one could perhaps distill the basic theories down to corporations wanting to spin a popular commodity in a new market, which helps re-sell the DVD, the original soundtrack album, and related merchandise.


Doesn’t sound very creative, does it?


I’ll have a list of the latest and imminent soundtrack releases shortly, but I’ve uploaded new soundtrack reviews:


Silva Screen reissued Roy Budd’s sublime Get Carter score, and alongside a review of that 1971 classic is Tyler Bates superb score for the 2000 remake.


Also uploaded are four notable scores by Ennio Morricone.


Silva Screen releases Baaria, which should give fans of director Giuseppe Tornatore something to chew on until the movie emerges from oblivion in North America; Italy’s Cometa reissues Tre nel mille with bonus cuts in this limited (500 copies) CD; DigitMovies of Italy has released the full score plus alternates to The Prisoner / Il prigioniero; and Italy’s Beat Records also releases an expanded disc of End of the Game / aka Der Richter und sein Henker / aka Il giudice e il suo boia / aka Assassino sul ponte, a 1975 krimi /detective thriller with a wild cast.


To deepen the score’s review and uniqueness, I’ve added a film review of the German release version, which does do the rounds on German TV and enjoyed a brief Region 2 DVD release, but has once again disappeared from view.


Donald Sutherland plays a cadaver. It should be seen just for those precious, goofy minutes, because he’s that good.


Ahem.




Mark R. Hasan, Editor
KQEK.com

0

The Bell Lightbox is Illuminated

As most film festival fans know by this point, the Toronto International Film Festival (TIFF) is well underway, and Sunday marked the opening and public unveiling of the new Bell Lightbox – a multi-purpose building that will function as a movie theatre (there are five theatres, with different seating capacities), a learning centre, film resource centre, and headquarters for the TIFF group.


I’ll have more thoughts on the building, its’ post-TIFF activities, and such, but for now the focus is on the aims of its stewards, and its’ unveiling this past Sunday. Naturally, I had a commitment I was snookered into maintaining, so in place of the photos and material I would’ve taken & written, here are some selected images and thoughts.


Those wanting a more personable background on the building’s development pre-unveiling Sept. 12th should read this lengthy piece at The Walrus.


The opening of the Bell Lightbox was covered in Torontoist (with pictures), and the street party / concert with K’naan was highlighted at BlogTO. The Star’s coverage was tepid but they also offer a link to a video montage by the Canadian Press.


I’ve heard nothing but rave reviews of the new theatres – particularly the 500-seat theatre which can exhibit everything (70mm, digital, 3D, and movies with live musical accompaniment) – so I’m very keen on checking out the theatrical roster when TIFF launches its Essential Cinema series September 23.


Film music fans should take note of the series, which will include Caligari in Concert (live score performance headed by Andrew Downing), DJ Spooky’s Rebirth of a Nation, Greed with Do Make Say Think, Metropolis with a new score for the uncut version by Gabriel Thibaudeau, Man with a Movie Camera scored by the Michael Nyman Band, The Passion of Joan of Arc and Richard Einhorn’s Voices of Light, and Sherlock Jr. with the Fern Lindzon Sextet.


Further details and scheduling info can be found at TIFF’s In Concert section.


And since we’re on the subject of classic movies given a new spin with contemporary scores, I’ll have an interview next week with Brandon Hocura, who band VOWLS performed an original score to Kenji Mizoguchi’s The Water Magician (1933) this past summer at the Shinsedai Cinema Festival.





Mark R. Hasan, Editor
KQEK.com

0

Big Screen Hamlet


There are only a handful of films I kick myself for having missed on the big screen, and near the top is the 4 hour version of Hamlet, starring and directed by Kenneth Branagh in 1996.

The shorter version was doing the rounds, but there was a special 70mm engagement at the York Cinemas, a place beloved by film connoisseurs for the big screen and superb sound system that was always top-notch. Most epics played at the York (Gandhi being a favourite), and it was a natural place to catch a movie that, due to its length and dialogue-heavy content, probably wouldn’t come back to the screen for a while.

I’m not sure exactly how or why I failed to catch it, but I did; this in spite of the trailer constantly teasing the viewer with that spectacular shot of confetti reigned down on the royal court while an immobile figure of Hamlet stood somberly in the foreground.

The film did get a VHS and laserdisc release, each showcasing the fabulous widescreen cinematography by Alex Thomson – a personal favourite for lensing Alien 3 (1992), The Krays (1990), Legend (1985), and The Keep (1983). With the exception of The Krays, not all great films (ahem), but worth watching (perhaps with stimulants) for the cinematography and respective music scores.

Apparently legal issues kept the film off home video for a while – Columbia / Sony owned the distribution rights for a while – but around 2000 the film was back in circulation via Warner Home Video. Its absence on DVD may have been due to distributor concerns over its length, in terms of which version – 242 mins, or the ‘safety’ 150 mins. cut? – to release, and whether its 70mm elements made it worth putting in the queue for a proper HD transfer than a stop-gap to keep fans quiet for a while.

Fans are certainly happy the 2007 DVD and 2010 Blu-ray are widely available, but I gather teachers now have a more powerful tool to use in their literature classes, because the only version available now is the one originally intended by Branagh and original production company Castle Rock: the uncut monster, known affectionately as the Eternity version.

The version show in my high school was the 1948 Olivier version, which was gloomy, mopey, engrossing, and blessed with William Walton’s most depressing score – an assault that left an indelible impression, making that version quite special to me. The only flaw that I could never get passed was Ophelia’s death, floating down the river in song with her flowers like an extract from a comedy sketch. It was bathos, and thankfully the scene (and its preceding dramatic strains) was given a more sobering translation by Branagh.

Shakespeare’s Hamlet is a work of art, but it’s also been a popular target for satirists because everyone knows the basic story, if not quotes used, re-quoted, or appropriated in other mediums.

No other parody stands out better than that episode (“The Producer”) of Gilligan’s Island in which the idiot castaways mount a musical version of Hamlet for a stranded producer. Three songs managed to worm their way into brains of young viewers (like me), which is why there are probably other adults besides myself who chuckle when phrases like “Hamlet, my dear, your problem is clear,” “Get thee to a nunnary, a nunnary, a nunnary” or “To be or not to be” are said in some variance or approximation.

It may sound silly to say Branagh’s version locked up those echoing parodies, but it did. More importantly, the uncut text is so involving that one may well quietly mourn the end of the saga, because for 4 hours, one was plunged into their tragic world.

For teachers, the film will likely intensify the play’s impact (and bore others), but it’ll also give them more material with which to discuss the work, the politics, and the nuances of grief that drove a prince into a fatal state of madness.




Mark R. Hasan, Editor
KQEK.com

0

Library Music, Part 3

August 3rd I ran a lengthy interview with director Jeff Carney and producer Jim Cirronella regarding the making of their Night of the Living Dead [NOTLD] documentary, Autopsy of the Dead, and in addition to the doc, Cirronella and I also discussed the related CD, subtitled ‘They Won’t Stay Dead,’ which features the complete stock music cues used in NOTLD.


During the course of producing the album, Cirronella learned details about the Capitol Hi-Q library from which director George Romero drew his cues. As is often the case with long-gone stock music libraries of yesteryear, little is known or has been written down in great detail, which made the quest to identify and legally release the NOTLD cues so challenging.


In Part 1 of this series, we covered the 3-disc release of The Prisoner: The Complete Chappelle Recorded Music Library Cues, and in Part 2 the magnifying glass was aimed at the Valentino library. This time the library stems from the United States, and as Cirronella explains, the cues are very much a part of American culture, given material was featured in TV shows, cartoons, B-films, and cult movies.


At the end of Part 3, I’ve pasted links to archived discussions on a few message boards so readers will get an idea of the fan base that’s out there – articulate and passionate admirers of music that’s more than esoteric nostalgia.


I’m still waiting for the release of those Rocket Robin Hood and The Amazing Spider-Man cues… I can’t be the only one….





Mark R. Hasan, Editor
KQEK.com

0

2010 Gemini Award Nominees on Home Video

Announced earlier this week are the Gemini Award nominees (Gemini = TV, not film, not music, right?).


The awards show will be broadcast on Global and Showcase Nov. 13. The full list is available as a PDF file at the organization’s website, and I’ve snipped and pasted the main categories, plus the best music nominees. Note: titles available on home video are hyperlinked to Amazon.ca for further info.

.

.

.

.

.

Best Comedy Program or Series


Dan For Mayor

(Sad Glasses Productions Inc., QVF Inc.)

Kevin White, Mark Farrell, Paul Mather, Susan Murdoch


Less Than Kind

(Breakthrough Entertainment, Buffalo Gal Pictures)

Ira Levy, Phyllis Laing, Peter Williamson, Mark McKinney, Marvin Kaye, Chris Sheasgreen, Paula Smith, Garry Campbell


Little Mosque on the Prairie

(WestWind Pictures Ltd.)

Clark Donnelly, Colin Brunton, Mary Darling, Michael Snook


Pure Pwnage

(TV For Noobs Productions Inc., ROFLMAO Productions Inc., Sphinx Productions, Duopoly)

Geoff Lapaire, Jarett Cale, Derek Harvie


Rick Mercer Report

(Island Edge Inc.)

Gerald Lunz, Rick Mercer

.

.

.


Best Dramatic Mini-Series


Alice

(Alice Productions Inc, Studio 8 Films (UK))

Matthew O'Connor, Alex Brown, Jamie Brown, Robert Halmi Sr., Robert Halmi, Jr., Michael O'Connor,

Lisa Richardson


The Phantom

(Muse Entertainment Ent. Inc.)

Michael Prupas, Robert Halmi Jr., Robert Halmi Sr., Irene Litinsky


The Summit

(Shaftesbury Films Inc., Media Headquarters)

Christina Jennings, Justin Bodle, Robert Cohen, Shari Cohen, Scott Garvie, Adam Haight, Robin Neinstein,

Ewa Radwanska

.

.

.

Best Dramatic Series


Durham County

(Back Alley Film Productions Ltd. /Muse Entertainment Ent. Inc., Muse Entertainment Enterprise)

Adrienne Mitchell, Laurie Finstad Knizhnik, Janis Lundman, Michael Prupas


Flashpoint

(Flashpoint Season 2, Pink Sky Inc., Avamar Ent)

Anne Marie La Traverse, Bill Mustos


Republic of Doyle

(Republic Season II Inc., Malachy Season 1, Inc.)

Allan Hawco, Rob Blackie, John Vatcher


Stargate Universe

(Stargate Universe I Inc.)

Brad Wright, Carl Binder, Robert Cooper, John Lenic, N. John Smith


The Tudors

(Peace Arch Entertainment, PA Tudors III Inc., TM Productions)

John Weber, Sheila Hockin, Morgan O'Sullivan

.

.

.

Best Performance by an Actor in a Continuing Leading Dramatic Role


Robert Carlyle - Stargate Universe - Human

Louis Ferreira - Stargate Universe - Justice

Allan Hawco - Republic of Doyle - The Fall of the Republic

Luke Kirby - Cra$h & Burn - Closure

Michael Riley - Being Erica - Being Dr. Tom

.

.

.

Best Performance by an Actor in a Leading Role in a Dramatic Program or Mini-Series


K.C. Collins - Guns

Bruce Greenwood - The Summit

Jared Keeso - Keep Your Head Up Kid: The Don Cherry Story

Andrew Lee Potts - Alice

Peter Outerbridge - Deadliest Sea

.

.

.

Best Performance by an Actress in a Continuing Leading Dramatic Role


Lynda Boyd - Republic of Doyle - He Sleeps With the Chips

Caroline Cave - Cra$h & Burn - Forget to Remember

Hélène Joy - Durham County - Little Lost Children

Grace Park - The Border - Hate Metal

Victoria Snow - Paradise Falls - Following Orders

.

.

.

Best Performance by an Actress in a Leading Role in a Dramatic Program or Mini-Series


Liane Balaban - Abroad

Sun Li - Iron Road

Caterina Scorsone – Alice

.

.

.

Best Original Music Score for a Documentary Program or Series


Ramachandra Borcar - Karsh Is History

Claude Castonguay, Mona Laviolette - Reel Injun

Jim McGrath - Empire of the Word - The Magic of Reading

Shawn Pierce - The Secret World of Shoplifting

Philip Strong - Cat Ladies

.

.

.

Best Original Music Score for a Dramatic Program, Mini-Series or TV Movie


Christopher Dedrick - The Good Times Are Killing Me

Kenny Neal Jr., Misha Chillack - Guns

Lawrence Shragge - Iron Road

Tom Third - The Summit

.

.

.

Best Original Music Score for a Program or Series


Amin Bhatia, Ari Posner - Flashpoint - One Wrong Move

Robert Carli - Bloodletting And Miraculous Cures - Isolation

Robert Carli - Murdoch Mysteries - Me, Myself, & Murdoch

Joel Goldsmith - Stargate Universe - Light

James Jandrisch - The Guard - At Sea

Trevor Morris - The Tudors - Episode 304

.

.

.

Best Original Music Score for an Animated Program or Series


Brian Carson - Hot Wheels Battle Force 5 - Mag Wheels

John Evans - Guess With Jess - How Can We Decorate the Christmas Tree?

Ross Nykiforuk - Wapos Bay - The Hardest Lesson

.

.

.

Best Writing in a Comedy or Variety Program or Series


Jarett Cale, Geoff Lapaire - Pure Pwnage - The Day the Lan Centre Stood Still

Jenn Engels - Less Than Kind - Fatso Loves Lesbo

Rick Green, Duncan McKenzie - History Bites - The Filthy Stinking Rich

Marvin Kaye, Chris Sheasgreen - Less Than Kind - Third Death's The Charm

Bruce McCulloch, Dave Foley - Kids In The Hall: Death Comes To Town - Dead Man Walking

.

.

.

Best Writing in a Dramatic Program or Mini-Series


Tim Cherry - Keep Your Head Up Kid: The Don Cherry Story

Jennifer Holness, Sudz Sutherland - Guns

John Krizanc - The Summit

Leah McLaren - Abroad

Moze Mossanen - Nureyev

Nick Willing – Alice

.

.

.

Best Writing in a Dramatic Series


Philip Bedard, Larry Lalonde - Murdoch Mysteries - Hangman

Jeremy Boxen - Cra$h & Burn - Sunday Bloody Sunday

Mark Haroun - Heartland - The Haunting of Hanley Barn

Alex Levine - The Border - Missing In Action

Ian Weir - Flashpoint - The Fortress



--- 30 ---


Mark R. Hasan, Editor
KQEK.com

0

2010 Emmy Winners on Home Video

The Prime Time Emmy Awards were broadcast on ABC (US) and CTV (Canada) this past Sunday night, and here's a quick tally of the winners.

Hyperlinked titles are or have been slated for home video release, and those wanting the full list of winners can download the PDF list of the main categories at the official Emmy site HERE

.

.

Academy of Television Arts & Sciences - 62nd Primetime Emmy Award Nominations

.

.

Outstanding Comedy Series

-Modern FamilyABC • Twentieth Century Fox Television --- Sept. 21

.

.

Outstanding Drama Series

-Mad Men • AMC • Lionsgate Television

.

.

Outstanding Miniseries

-The Pacific • HBO • Playtone and Dreamworks in association with HBO --- Nov. 2

Miniseries

.

.

Outstanding Made For Television Movie

-Temple Grandin • HBO • A Ruby Films, Gerson Saines Production in association with HBO Films

.

.

Outstanding Variety, Music Or Comedy Series

-The Daily Show With Jon Stewart • Comedy Central • Central Productions, LLC

.

.

Outstanding Animated Program

- Disney Prep & Landing • ABC • Walt Disney Animation Studios

.

.

Outstanding Lead Actor In A Comedy Series

-The Big Bang Theory • CBS • Chuck Lorre Productions, Inc. in association with Warner Bros. Television - Jim Parsons as Sheldon Cooper --- Season 3 arrives Sept. 14

.

.

Outstanding Lead Actor In A Drama Series

-Breaking Bad • AMC • Sony Pictures Television - Bryan Cranston as Walter White

.

.

Outstanding Lead Actor In A Miniseries Or A Movie

-You Don't Know Jack • HBO • Bee Holder, Cine Mosaic and Levinson/Fontana Productions in association with HBO Films - Al Pacino as Dr. Jack Kevorkian --- Oct. 26

.

.

Outstanding Lead Actress In A Comedy Series

-Nurse Jackie • Showtime • Showtime Presents, Lionsgate Television, Jackson Group Entertainment, Madison Grain Elevator, Inc. & Delong Lumber; A Caryn Mandabach Production - Edie Falco as Jackie Peyton

.

.

Outstanding Lead Actress In A Drama Series

-The Closer • TNT • The Shephard/Robin Company, in association with Warner Bros. Television - Kyra Sedgwick as Deputy Chief Brenda Johnson

.

.

Outstanding Lead Actress In A Miniseries Or A Movie

-Temple Grandin • HBO • A Ruby Films, Gerson Saines Production in association with HBO Films - Claire Danes as Temple Grandin

.

.

Outstanding Supporting Actor In A Comedy Series

-Modern Family • ABC • Twentieth Century Fox Television - Eric Stonestreet as Cameron Tucker

.

.

Outstanding Supporting Actor In A Drama Series

-Breaking Bad • AMC • Sony Pictures Television - Aaron Paul as Jesse Pinkman

.

.

Outstanding Supporting Actor In A Miniseries Or A Movie

-Temple Grandin • HBO • A Ruby Films, Gerson Saines Production in association with HBO Films - David Strathairn as Dr. Carlock

.

.

Outstanding Supporting Actress In A Comedy Series

-Glee• FOX • A Ryan Murphy TV Production in association with 20th Century Fox TV - Jane Lynch as Sue Sylvester --- Season 2 arrives Sept. 14

.

.

Outstanding Supporting Actress In A Drama Series

-The Good Wife • CBS • CBS Productions - Archie Panjabi as Kalinda Sharma --- Sept. 14

.

.

Outstanding Supporting Actress in a Miniseries or Movie

-Temple Grandin • HBO • A Ruby Films, Gerson Saines Production in association with HBO Films - Julia Ormond as Eustacia (Temple's Mom)

.

.

Outstanding Writing for a Comedy Series

- Modern Family • Pilot • ABC • Twentieth Century Fox Television

.

.

Outstanding Writing for a Drama Series

-Mad Men • Shut The Door. Have A Seat. • AMC • Lionsgate Television

.

.

Outstanding Writing for a Miniseries, Movie or a Dramatic Special

-You Don't Know Jack • HBO • Bee Holder, Cine Mosaic and Levinson/Fontana Productions in association with HBO Films

.

.

Outstanding Music Composition For A Series (Original Dramatic Score)

-24 • 3:00 PM - 4:00 PM • FOX • Imagine Television and 20th Century Fox TV in association w/Teakwood Lane Productions - Sean P. Callery, Music by

.

.

Outstanding Music Composition For A Miniseries, Movie Or A Special



(Original Dramatic Score)

-Temple Grandin • HBO • A Ruby Films, Gerson Saines Production in association with HBO Films - Alex Wurman, Music by

.

.

Outstanding Original Main Title Theme Music

-Nurse Jackie • Showtime • Showtime Presents, Lionsgate Television, Jackson Group Entertainment, Madison Grain Elevator, Inc. & Delong Lumber; A Caryn Mandabach Production - Wendy Melvoin, Music By Lisa Coleman


--30--





Mark R. Hasan, Editor
KQEK.com
 
Copyright © mondomark