Stephen Barton: Last News

Lord Of The Rings composer Howard Shore and will run in association with the BFI next year from March 19-26.The event will feature a conversation with Shore and legendary filmmaker David Cronenberg about their collaborative work, as well as live performances, panel discussions, in-conversation screenings, composer Q&As and masterclasses with some of the biggest names in film, TV and games music.Cronenberg and Shore have worked together for over 45 years on films including Videodrome, The Fly, Dead Ringers, Crash, M Butterfly, Eastern Promises, A History of Violence, Naked Lunch and The Shrouds – their most recent collaboration and their 17th overall.A retrospective of the work of Shore will run alongside events events celebrating the work of Hildur Guðnadóttir (Tar, Joker), Anna Meredith (Eighth Grade), Anne Dudley (Poldark, The Full Monty), Harry Gregson-Williams (The Martian), Stephen Barton (Star Trek: Picard, Star Wars: Jedi – Fallen Order, Apex Legends), Natalie Holt (Loki, Obi-Wan Kenobi and Paddington) and Paul Farrer (The Chase, Weakest Link).

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.”

Deadline has launched the streaming site for Sound & Screen: Television, it’s live-music showcase featuring the musicians and their scores behind this year’s buzziest small-screen series and movies.

Season 3 of Star Trek: Picard not only reunited all of the Next Generation crew, but also gave them a fitting sendoff for which fans have been waiting since the 2002 film Star Trek: Nemesis. It wasn’t easy for anyone, including composer Stephen Barton.

Jon Burlingame editor The Grammys’ new video game score category appears to be a success in its first year, as more than 70 original scores have been entered. First-round voting is underway now, and Recording Academy members have plenty to choose from. But will they vote based on popularity of the game or on quality of the music? Grammy voters tell Variety the ballot includes currently popular games such as the dark fantasy “Elden Ring” (music by Yuka Kitamura, Yoshimi Kudo, Shoi Miyazawa, Tsukasa Saitoh and Tai Tomisawa), the action-adventure “Tunic” (music by Janice Kwan and Terence Lee), the post-apocalyptic “Horizon Forbidden West” (music by “various artists,” the only game on the ballot that doesn’t specify a composer) and the horror-filled “The Quarry” (music by Ian Livingstone).