Film & TV

Spanish composer Roque Baños (SGAE) had his work "cut out" for him when he got the job scoring Evil Dead, the sequel to the classic horror trilogy. Baños explains how he got the gig, and how he ended up freaking himself out during the scoring process.

The Hangout came two weeks before Trapanese’s scheduled appearance at the 8th annual ASCAP “I Create Music” EXPO. Select questions tweeted to @ASCAP using the hashtag #AskOblivion were addressed by Hangout participants.

ASCAP composers took to the stage over and over again during the 11th Annual Game Audio Network Guild Awards, honoring outstanding audio achievement in the world of interactive entertainment. Austin Wintory was the night's big winner, with five awards for his hallowed music to Journey.

Today’s ASCAP EXPO additions feature an exciting new panel about the sci-fi epic Oblivion, whose score has the layered electronica of French art-rock act M83 and orchestral soundscapes by composer Joseph Trapanese.

For the score to the Australian comedy Mental, APRA composer Michael Yezerski had to integrate - and react to - the classic songs from The Sound of Music. This ASCAP TV & Film Scoring Workshop grad tells us how he managed to underpin all of the film's bright colors and deep emotional currents with his music.

David Carbonara is an accomplished film/TV composer who created the score for the hit television series Mad Men, the documentary film Glickman and many more. He writes with a subtlety for creating moods and a flair for larger-than-life characters. Hear Carbonara discuss his creative process in this ASCAP audio profile.

ASCAP Day is designed to provide both Film Scoring and Songwriting students with information on current trends in their fields. Larkin will discuss her own career in classes with Songwriting students, and ASCAP staff will meet with students in the Film Scoring classes.

Every film score brings with it a unique set of creative challenges. ASCAP composer Trevor Morris reflects on how he and director Antoine Fuqua worked together to create a custom musical language for the political thriller Olympus Has Fallen, out in theaters on March 22nd.

For his score to Admission, the new comedy starring Tina Fey and Paul Rudd, ASCAP composer Stephen Trask wrote and recorded largely at his home studio. The result was a score that sounds polished but still feels like an expression of Trask's personality. Trask told us what it's like composing with your dog and cup of coffee close at hand.

In addition to being a Grammy-nominated composer, Ryan Shore is also a certified pilot. So he was the perfect choice to score All Around the World, the new documentary and concert film about pop-R&B boy band Mindless Behavior. We chatted with Shore about his dance-centric music for the movie.

The ASCAP Film & TV department hosted a composer dinner to celebrate the music in film at the 2013 SXSW Film Festival. The festival featured panels, interviews and workshops over the course of nine days, in addition to hundreds of film screenings, many of which were scored by ASCAP composers. Click through for photo coverage.

SXSW isn’t just about marathon band showcases, industry parties and BBQ. The world-class SXSW Film Festival also takes over Austin in March, and this year, it’s overflowing with films scored by ASCAP members and international affiliates. Here’s a rundown of some of the highlights.

ASCAP composer Elvin Ross recently hosted an Atlanta symposium and screening devoted to his new documentary, Kunta Kinteh Island: Coming Home Without Shackles. Ross made the film to complete a dynamic picture of the legendary Mandinka Warrior Kunta, who gained worldwide recognition in the 1977 TV series Roots.

All ASCAP members are invited to attend ASCAP's General Annual Membership Meeting at the Loews Hollywood Hotel in Los Angeles. The meeting is free to attend and will update members on the "state of the union" of ASCAP.

Talk about submerging yourself in your work: ASCAP composer Jeff Rona banged on the inside of a decommissioned Russian submarine for his intense score for Phantom, a thriller set aboard a sub during the height of the Cold War. We asked Rona to dive deep into the scoring process for Phantom.

Emily Wells performed at this year’s Sundance ASCAP Music Café, where she debuted “Becomes the Color,” a song she wrote for the newly released dark thriller Stoker, directed by Park Chan-Wook (Old Boy) and starring Nicole Kidman. We chatted with her backstage about her music for the film.