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Jon Burlingame editor Faced with the biggest, craziest Keanu Reeves kill-fest yet in “John Wick 4,” composer Tyler Bates upped the musical ante the only way possible: He added an orchestra to the essential “John Wick” palette of raw, headbanging guitars, drums and synths. Bates – also known for his “Guardian of the Galaxy” scores – has collaborated with fellow composer Joel J. Richard on all of the “John Wick” music since the first film opened in 2014. “We share some very similar taste, and as friends, we’re just already on a subconscious wavelength,” says Bates. “If you listen to the four scores, they’ve definitely grown as the scope of the films has. Not in the way that it’s now an orchestra and it’s larger; it’s just that the color palette has continued to develop throughout, still maintaining the fun, hybrid-rock foundation to the score.”

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Oscar-Eligible Songs Hit a Creative High Note: From Selena Gomez to Elton John

Jon Burlingame It’s been a rough year for Oscar-eligible songs. First, Robbie Williams’ entry from “Better Man” was disqualified, then some of the best tunes on the shortlist (including those from “Wild Robot,” “Moana 2” and “Twisters”) failed to make the cut. Now, producers have nixed song performances from the March 2 telecast.

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David Foster Is Heading to Broadway With the Musical-Comedy Adaptation of the 1930s Cartoon Character Betty Boop

Jon Burlingame David Foster, composer-producer-songwriter extraordinaire, never stops. “I am a workaholic,” he confesses, “and I move around a lot.” Foster and his wife, singer-actress Katharine McPhee, will tour during December and January, with multiple dates scheduled for California, New York, New Jersey and Massachusetts. “Kat and I started touring together four or five years ago,” he says.

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Original Songs By Pharrell, Robbie Williams and More Take Center Stage in Oscar Race

Jon Burlingame This year’s original-song competition features something for everyone: tunes from live-action musicals, animated features, dramas and documentaries, plus the annual entry from 15-time nominee Diane Warren. The big-screen adaptation of “Wicked” unfortunately, contains no new songs (songwriter Stephen Schwartz will have two in next year’s conclusion of the Broadway-to-film “Wizard of Oz” prequel, however).

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Vic Flick, guitarist on James Bond theme song, dies aged 87

James Bond theme, has died aged 87.The British session musician passed away last Thursday (November 14) after suffering with Alzheimer’s disease according to his son, Kevin Flick.The Bond theme tune was originally recorded in 1962 for the first movie Dr. No, with Flick playing the famous riff on a 1939 English Clifford Essex Paragon Deluxe guitar plugged into a Fender Vibrolux amplifier.

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‘Genius: MLK / X’: How Score and Songs Illuminate the Work of 1960s Civil Rights Leaders

Jon Burlingame “I felt not only that it was important, but that I had an obligation to be a part of it,” says composer Terence Blanchard about writing the score for National Geographic’s “Genius: MLK / X,” the eight-part series about the lives of Dr. Martin Luther King Jr. and Malcolm X.

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Polish Composer Jan A.P. Kaczmarek, Oscar Winner for ‘Finding Neverland,’ Dies at 71

Jon Burlingame Polish composer Jan A.P. Kaczmarek, who won a 2004 Oscar for “Finding Neverland,” died Tuesday in Krakow, the Polish Music Foundation announced. He was 71 and had suffered from Multiple System Atrophy (MSA) in recent years.

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Dan Wallin, Oscar-Nominated and Emmy-Winning Music Mixer, Dies at 97

Jon Burlingame Dan Wallin, the music scoring engineer who recorded such classic film scores as “Spartacus,” “Bullitt,” “The Wild Bunch” and “Out of Africa,” died early Wednesday in Hawaii. He was 97.

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‘Shōgun’ Composers Spent More Than Two Years Composing Four Hours of Music

Jon Burlingame FX’s acclaimed miniseries “Shōgun,” now nearing its halfway point, sports a score quite unlike Maurice Jarre’s music for the 1980 original adaptation. While utilizing authentic Japanese instruments, the music takes a very modern approach that applies today’s technology and advanced sonic manipulation in ways that were impossible four decades ago.

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Composers for ‘The Zone of Interest,’ ‘Poor Things’ and ‘The Killer’ Detail Crafting Strange But Memorable Scores

Jon Burlingame Sometimes directors don’t want you humming the music as you leave their film. More than ever, filmmakers are seeking fresh musical approaches, especially when the subject matter is dark or fantastic. Three late-2023 releases demonstrate this with music that catches the ear in unusual ways.

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From ‘When You Wish Upon a Star’ to ‘Let It Go,’ Disney Has a History of Making Pop Culture Hits

Jon Burlingame When directors Dan Abraham and Trent Corey were preparing “Once Upon a Studio,” their animated tribute to 100 years of Disney animation, they knew they wanted two musical elements: Cliff Edwards, as Jiminy Cricket, singing “When You Wish Upon a Star,” and songwriter Richard Sherman playing piano for “Feed the Birds.” Those two songs are emblematic of Walt Disney’s commitment to memorable, meaningful tunes as part of every Disney project dating back to the early Mickey Mouse days and the “Silly Symphonies” cartoon series. “When You Wish Upon a Star,” the Oscar-winning song from 1940’s “Pinocchio,” has become the studio’s unofficial musical signature, and “Feed the Birds,” from 1964’s “Mary Poppins,” was Disney’s personal favorite.

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How Ed Sheeran, Metallica and ‘The Godfather’ Songs Created Memorable Scenes for ‘Ted Lasso,’ ‘Stranger Things’ and ‘The White Lotus’

Jon Burlingame A music supervisor has a big job, as defined by the TV Academy: She or he “creatively contributes to the story, character development and overall narrative of the program by engaging in song selection, guiding original song creation and production, overseeing on-camera music performances… contributing to the creation of a unique music aesthetic.” This year’s five nominees reflect those ideals: Frankie Pine, music supervisor for “Daisy Jones & The Six,” was hired five years ago; she was even part of the casting process for the rise-and-fall story of a ’70s rock band. “It was all-encompassing,” she says, “being able to do every aspect of music to help create that authenticity.” Pine submitted episode 8, which depicts the band touring the U.S.

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Emmy-Nominated Music Directors Pull Off Live Performances at ‘The Oscars’ and ‘Super Bowl’

Jon Burlingame “Music direction” is the most mysterious of the seven music categories at the Emmys, and eligibility rules have changed over the years. The current definition is: “arranging and orchestrating, composition, supervising of rehearsals and recordings, and conducting both live and prerecorded material.” Explains Adam Blackstone, who won last year as music director of the Super Bowl Halftime Show: “It’s not just about the music. My job is also referee, to make sure things go smoothly.” He is a dual nominee this year, for Fox’s Super Bowl LVII Halftime Show starring Rihanna and HBO Max’s 2022 Rock and Roll Hall of Fame Induction Ceremony.

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‘Queen Charlotte’: Kris Bowers on How Chevalier Inspired His ‘Bridgerton’ Universe Score

Jon Burlingame “Queen Charlotte: A Bridgerton Story” has one of the most complicated, and yet stylistically unified, scores of any series this year — Kris Bowers‘ original score, the 18th-century period music, and a surprising number of string-quartet covers of 21st-century hits. The Netflix series, a prequel to the 2021 hit “Bridgerton,” imagines a Black bride for England’s King George III in 1761, chronicling their initially rocky marriage and her gradual understanding of the monarch’s mental illness; flash-forwards to 1817 feature an older and wiser queen. Bowers, who earned two Emmy nominations for his work, returned for the prequel but took a different approach. “This show needed a level of intimacy that the score for ‘Bridgerton’ doesn’t necessarily have,” he says. “My initial instinct was to write for a smaller ensemble, and to mic and mix the music in a way that was more intimate and tactile, a sense of closeness to the instruments.”

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How Final Season of ‘Star Trek: Picard’ Honored Franchise With Musical Easter Eggs

Jon Burlingame “Star Trek” fans are still buzzing about the music of the final season of “Picard.” That’s because the lavish symphonic score by Stephen Barton and Frederik Wiedmann references multiple themes from throughout the 57-year history of “Trek” movies and TV shows. Barton, who scored seven of the 10 episodes and collaborated with Wiedmann on the finale, says that the idea belonged to showrunner Terry Matalas. “From the very beginning, we chatted a lot about the ‘Star Trek’ we grew up with. This was a moment in the franchise to take a step back, look at the whole picture, and say, how can we honor this?” Matalas has “an amazing, vast knowledge” of “Trek” music, Wiedmann says. “He’s as enthusiastic about film scores as we are – which, in the end, was extremely helpful for us because Terry had such a clear idea on where to go with the music.”

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SESAC Honors TV, Film Composers Including Christophe Beck, Nathalie Bonin and ‘Late Late Show’ Band

Jon Burlingame Christophe Beck, Nathalie Bonin, Danny Lux and Gabriel Mann were among the composers honored by SESAC at its annual Film and Television Composer Awards Thursday night in Santa Monica, California. SESAC, one of three leading performing-rights organizations in the U.S., cited dozens of composers and publishers for their music in high-rated shows on network, cable, streaming and local TV, as well as widely seen theatrical features, at the invitation-only event. Beck (“Ant-Man and the Wasp: Quantumania,” “Shazam! Fury of the Gods”) was on hand to pick up awards in the cable and streaming categories, while Bonin accepted for co-composing the Grammy-winning soundtrack for “Women Warriors: The Voices of Change.” Ego Plum was cited for his Annie-winning music for “The Cuphead Show.”

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Christopher Lennertz Receives Top Composing Honor at 2023 BMI Film, TV, Visual Media Awards

Jon Burlingame Composer Christopher Lennertz was declared a BMI Icon at Broadcast Music Inc.’s 39th annual Film, TV and Visual Media Awards Wednesday night (May 10) in Beverly Hills. Lennertz, a two-time Emmy nominee (“The Boys,” “Supernatural”), veteran film composer (“Alvin and the Chipmunks,” “Horrible Bosses,” “Bad Moms”) and game-music creator (“Medal of Honor,” “Mass Effect,” “The Simpsons”), was honored for his 30-year career in media music-making. BMI president and CEO Mike O’Neill presented the award, noting that Lennertz was “legendary for his diverse and distinct impact across the worlds of film, television and gaming” and telling the 51-year-old composer, “your captivating scores have taken us on a thrilling ride.”

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How ‘White House Plumbers’ Composer Gave ’70s Drama a ‘Caper Movie’ Sound Using a Jazz Ensemble

Jon Burlingame Composer Jeff Cardoni found precisely the right sound for “White House Plumbers,” the five-hour miniseries about the Watergate burglars that debuted Monday on HBO: He revisited the 1970s musically, and it’s both effective and ultra-cool. Cardoni, whose credits range from “CSI: Miami” to “The Kominsky Method,” scored “White House Plumbers” like a caper film, using both a small jazz combo and a larger, string-based orchestra depending on the scene. He likened the approach to a David Shire score from the ’70s, along the lines of “The Conversation” and (no surprise) “All the President’s Men.” Woody Harrelson and Justin Theroux play E. Howard Hunt and G. Gordon Liddy, the ex-CIA and FBI agents recruited by President Nixon’s re-election committee to dig up dirt on his Democratic opponents, bungled the job so badly that they wound up bringing down the entire Nixon administration. Director David Mandel plays it for both laughs and tragedy as their plans constantly go awry.

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How the ‘Friends’ Theme Song Helped Save TV’s Main-Title Tunes From Going Extinct

Jon Burlingame editor Variety writer Jon Burlingame’s new book, “Music for Prime Time: A History of American Television Themes and Scoring,” is published today. The product of 35 years of research and more than 450 interviews, it tells the backstory of every great TV theme dating back to 1949. What follows is an excerpt from the sitcom chapter.

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‘All Quiet on the Western Front’ Composer Volker Bertelmann Wins Original Score Oscar

Jon Burlingame editor German composer Volker Bertelmann won the original score Oscar Sunday night for his music for the World War I epic “All Quiet on the Western Front.” “By working on a film like that, you are always touched,” Bertelmann said in accepting the honor, referring to the harrowing nature of the film. “Sometimes you have to make the screen very small because there are so many explosions happening.” It is Bertelmann’s first Academy Award. He was previously nominated, under his stage name Hauschka, for his music for the 2016 film “Lion” (co-composed with Dustin O’Halloran). He won the BAFTA for “All Quiet” on Feb. 19.

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In a Close Oscar Score Race, Sentimental Fave John Williams Faces Potential First-Time Winners, Including Carter Burwell

Jon Burlingame editor In what may be the most difficult-to-predict score competition in years, the original-music Oscar could go to a sentimental favorite, a past nominee or the newcomer to the race. Academy members begin voting today. Legendary composer John Williams broke records again by becoming the most nominated living person (53 nominations, winning five), earning the highest number of nominations ever in the music categories, and (it is believed, per the Academy) becoming the oldest nominee ever for a competitive award. He is 91. His nomination for “The Fabelmans” surprised some outsiders, as his fairly spare score is often overshadowed by the several classical pieces performed by Mitzi (Michelle Williams), the character based on director Steven Spielberg’s piano-playing mom. But it passed the 35% rule — that is, more than a third of the total musical content must be original dramatic score — or it would have been disqualified by the Academy’s strict music-branch executive committee.

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