IFMCA is an association of online, print and radio journalists who specialize in writing about original film and television music.
 

Complete list of 2009 winners

Film Score Of The Year
UP, music by Michael Giacchino

Film Composer Of The Year
MICHAEL GIACCHINO

Breakout Composer Of The Year
JAMES PETERSON

Best Original Score For A Drama Film
A SINGLE MAN, music by Abel Korzeniowski

Best Original Score For A Comedy Film
THE INFORMANT!, music by Marvin Hamlisch

Best Original Score For An Action/Adventure Film
THE RED CANVAS, music by James Peterson

Best Original Score For A Fantasy/Science Fiction Film
STAR TREK, music by Michael Giacchino

Best Original Score For A Horror/Thriller Film
DRAG ME TO HELL, music by Christopher Young

Best Original Score For An Animated Feature
UP, music by Michael Giacchino

Best Original Score For A Documentary Feature
HOME, music by Armand Amar

Film Music Composition Of The Year
DRAG ME TO HELL – “Concerto to Hell,” music by Christopher Young

Best Original Score For Television
BATTLESTAR GALACTICA [SEASON 4.5], music by Bear McCreary

Best Original Score For A Video Game Or Interactive Media
HARRY POTTER AND THE HALF-BLOOD PRINCE, music by James Hannigan

Best New Release/Re-Release Of An Existing Score
BACK TO THE FUTURE, music by Alan Silvestri; Douglass Fake, producer (Intrada)

Best Re-Recording Of An Existing Score
EXODUS, music by Ernest Gold, conductor Nic Raine; James Fitzpatrick, producer (Tadlow)

Best Film Music Compilation Album Or Box Set
DAVID RAKSIN AT M-G-M, music by David Raksin; Lukas Kendall, producer (Film Score Monthly)

Film Music Record Label Of The Year
INTRADA

The International Cinephile Society is an online group made up of 60 accredited journalists, film scholars, historians and other industry professionals who cover film festivals and events on five continents. Each year the ICS honors the finest in American and international cinema.

 

PICTURE
01. A Serious Man
02. The White Ribbon
03. Fantastic Mr. Fox
04. Inglourious Basterds
05. Tokyo Sonata
06. 35 Shots of Rum
07. The Hurt Locker
08. District 9
09. Bright Star
10. Up In The Air

DIRECTOR
Ethan & Joel Coen – A Serious Man
runner-up: Michael Haneke – The White Ribbon

FILM NOT IN THE ENGLISH LANGUAGE
01. The White Ribbon
02. Tokyo Sonata
03. 35 Shots of Rum
04. Summer Hours
05. Broken Embraces
06. Still Walking
07. Lorna’s Silence
08. The Beaches of Agnès
09. Ponyo
10. O’Horten
11. The Headless Woman

ACTOR
Colin Firth – A Single Man
runner- up: Michael Stuhlbarg – A Serious Man

ACTRESS
Tilda Swinton – Julia
runner-up: Abbie Cornish – Bright Star

SUPPORTING ACTOR
Christoph Waltz – Inglourious Basterds
runner-up: Peter Capaldi – In the Loop

SUPPORTING ACTRESS
Vera Farmiga – Up In The Air
runners-up: Mo’Nique – Precious and Penélope Cruz – Broken Embraces

ORIGINAL SCREENPLAY
A Serious Man – Ethan & Joel Coen
runner-up: Inglourious Basterds – Quentin Tarantino

ADAPTED SCREENPLAY
Fantastic Mr. Fox – Wes Anderson & Noah Baumbach
runner-up: In the Loop – Jesse Armstrong, Simon Blackwell, Armando Iannucci & Tony Roche

CINEMATOGRAPHY
The White Ribbon – Christian Berger
runner-up: Inglourious Basterds – Robert Richardson

EDITING
The Hurt Locker – Chris Innis & Bob Murawski
runner-up: Broken Embraces – José Salcedo

PRODUCTION DESIGN
Fantastic Mr. Fox – Nelson Lowry
runner-up: A Serious Man – Jess Gonchor

ORIGINAL SCORE
A Single Man – Abel Korzeniowski
runner-up: Fantastic Mr. Fox – Alexandre Desplat

ENSEMBLE
In the Loop
runner-up: The White Ribbon

ANIMATED FILM
Fantastic Mr. Fox
runner-up: Ponyo

DOCUMENTARY
The Beaches of Agnès
runner-up: Anvil! The Story of Anvil

The Excellence in Scoring Nominations by the IFMCA, which has members from around the world, reflect the Association’s global perspective. The International Film Music Critics will announce the winners of its 6th Annual Awards on February 26, 2010.

FILM SCORE OF THE YEAR

AVATAR, music by James Horner
DRAG ME TO HELL, music by Christopher Young
STAR TREK, music by Michael Giacchino
THE TWILIGHT SAGA: NEW MOON, music by Alexandre Desplat
UP, music by Michael Giacchino

FILM COMPOSER OF THE YEAR

Alexandre Desplat
Michael Giacchino
James Horner
Brian Tyler
Christopher Young

BREAKOUT COMPOSER OF THE YEAR

Henry Jackman
Abel Korzeniowski
James Peterson
Clinton Shorter
Austin Wintory

BEST ORIGINAL SCORE FOR A DRAMA FILM

AGORA, music by Dario Marianelli
BAARÌA, music by Ennio Morricone
CREATION, music by Christopher Young
MAO’S LAST DANCER, music by Christopher Gordon
A SINGLE MAN, music by Abel Korzeniowski

BEST ORIGINAL SCORE FOR A COMEDY FILM

COUPLES RETREAT, music by A.R. Rahman
DUPLICITY, music by James Newton Howard
THE INFORMANT!, music by Marvin Hamlisch
JULIE & JULIA, music by Alexandre Desplat
LESBIAN VAMPIRE KILLERS, music by Debbie Wiseman

BEST ORIGINAL SCORE FOR AN ACTION/ADVENTURE FILM

G.I. JOE: THE RISE OF COBRA, music by Alan Silvestri
LUCKY LUKE, music by Bruno Coulais
THE RED CANVAS, music by James Peterson
SHERLOCK HOLMES, music by Hans Zimmer
UNDER THE MOUNTAIN, music by Victoria Kelly

BEST ORIGINAL SCORE FOR A FANTASY/SCIENCE FICTION FILM

AVATAR, music by James Horner
THE IMAGINARIUM OF DOCTOR PARNASSUS, music by Mychael Danna and Jeff Danna
KNOWING, music by Marco Beltrami
STAR TREK, music by Michael Giacchino
THE TWILIGHT SAGA: NEW MOON, music by Alexandre Desplat

BEST ORIGINAL SCORE FOR A HORROR/THRILLER FILM

DRAG ME TO HELL, music by Christopher Young
IMAGO MORTIS, music by Zacarías M. de la Riva
IN THE ELECTRIC MIST, music by Marco Beltrami
THE KILLING ROOM, music by Brian Tyler
TRICK ‘R TREAT, music by Douglas Pipes

BEST ORIGINAL SCORE FOR AN ANIMATED FEATURE

A CHRISTMAS CAROL, music by Alan Silvestri
CORALINE, music by Bruno Coulais
FANTASTIC MR. FOX, music by Alexandre Desplat
THE PRINCESS AND THE FROG, music by Randy Newman
UP, music by Michael Giacchino

BEST ORIGINAL SCORE FOR A DOCUMENTARY FEATURE

BROTHERS AT WAR, music by Lee Holdridge
EARTH DAYS, music by Michael Giacchino
GARBO: EL ESPÍA, music by Fernando Velázquez
HOME, music by Armand Amar
UNDER THE SEA 3D, music by Micky Erbe and Maribeth Solomon

FILM MUSIC COMPOSITION OF THE YEAR

AVATAR – “War,” music by James Horner
DRAG ME TO HELL – “Concerto to Hell,” music by Christopher Young
THE RED CANVAS – “Ballet for Brawlers,” music by James Peterson
STAR TREK – “Enterprising Young Men,” music by Michael Giacchino
UP – “Married Life,” music by Michael Giacchino

BEST ORIGINAL SCORE FOR TELEVISION

BATTLESTAR GALACTICA [SEASON 4.5], music by Bear McCreary
CAPRICA, music by Bear McCreary
LIFE, music by George Fenton
LOST [SEASON 5], music by Michael Giacchino
YELLOWSTONE, music by Edmund Butt

BEST ORIGINAL SCORE FOR A VIDEO GAME OR INTERACTIVE MEDIA

ASSASSIN’S CREED II, music by Jesper Kyd
CALL OF DUTY: MODERN WARFARE 2, music by Lorne Balfe and Hans Zimmer
HARRY POTTER AND THE HALF-BLOOD PRINCE, music by James Hannigan
NIGHT AT THE MUSEUM: BATTLE OF THE SMITHSONIAN, music by Chris Tilton
SPORE HERO, music by Winifred Phillips

BEST NEW RELEASE/RE-RELEASE OF AN EXISTING SCORE

BACK TO THE FUTURE, music by Alan Silvestri; Douglass Fake, producer (Intrada)
INNERSPACE, music by Jerry Goldsmith; M.V. Gerhard and Mike Matessino, producers (La-La Land)
THE JOURNEY OF NATTY GANN, music by James Horner; James Horner, Simon Rhodes and Douglass Fake, producers (Intrada)
STAR TREK II: THE WRATH OF KHAN, music by James Horner; Lukas Kendall, producer (Film Score Monthly)
TWILIGHT ZONE: THE MOVIE, music by Jerry Goldsmith; Bruce Botnick, Lukas Kendall and Mike Matessino, producers (Film Score Monthly)

BEST RE-RECORDING OF AN EXISTING SCORE

THE CHARGE OF THE LIGHT BRIGADE, music by Max Steiner, cond. William Stromberg; Anna Bonn, John Morgan and William Stromberg, producers (Tribute Film Classics)
EXODUS, music by Ernest Gold, cond. Nic Raine; James Fitzpatrick, producer (Tadlow)
THE PRINCE AND THE PAUPER, music by Erich Wolfgang Korngold, cond. William Stromberg; Anna Bonn, John Morgan and William Stromberg, producers (Tribute Film Classics)

BEST FILM MUSIC COMPILATION ALBUM OR BOX SET

40 BANDES ORIGINALES POUR 40 FILMS, music by Vladimir Cosma; Vladimir Cosma, producer (Larghetto Music)
DAVID RAKSIN AT M-G-M, music by David Raksin; Lukas Kendall, producer (Film Score Monthly)
THE FILM MUSIC OF MISCHA SPOLIANSKY, music by Mischa Spoliansky; Philip Lane, Ralph Couzens and Neil Varley, producers (Chandos)
HOWARD SHORE: COLLECTOR’S EDITION Vol. 1, music by Howard Shore; Jonathan Schultz, producer (Howe)
NORTHWEST PASSAGE: CLASSIC WESTERN SCORES FROM M-G-M Vol. 2 (1940-1974), music by various composers; Lukas Kendall, producer (Film Score Monthly)

FILM MUSIC RECORD LABEL OF THE YEAR

Film Score Monthly
Intrada
La-La Land Records
MovieScore Media
Varèse Sarabande

BEST PICTURE

35 Shots of Rum
Bright Star
District 9
Fantastic Mr. Fox
The Hurt Locker
Inglourious Basterds
A Serious Man
Tokyo Sonata
Up In The Air
The White Ribbon

BEST DIRECTOR

Ethan Coen & Joel Coen – A Serious Man
Kathryn Bigelow – The Hurt Locker
Neill Blomkamp – District 9
Michael Haneke – The White Ribbon
Quentin Tarantino – Inglourious Basterds

BEST FILM NOT IN THE ENGLISH LANGUAGE

35 Shots of Rum
The Beaches of Agnès
Broken Embraces
The Headless Woman
Lorna’s Silence
O’Horten
Ponyo
Still Walking
Summer Hours
Tokyo Sonata
The White Ribbon

BEST ACTOR

Sharlto Copley – District 9
Colin Firth – A Single Man
Joaquin Phoenix – Two Lovers
Jeremy Renner – The Hurt Locker
Michael Stuhlbarg – A Serious Man

BEST ACTRESS

Abbie Cornish – Bright Star
Catalina Saavedra – The Maid
Gabourey Sidibe – Precious
Meryl Streep – Julie and Julia
Tilda Swinton – Julia

BEST SUPPORTING ACTOR

Peter Capaldi – In the Loop
Anthony Mackie – The Hurt Locker
Christian McKay – Me and Orson Welles
Jérémie Renier – Lorna’s Silence
Christoph Waltz – Inglourious Basterds

BEST SUPPORTING ACTRESS

Penélope Cruz – Broken Embraces
Vera Farmiga – Up In The Air
Diane Kruger – Inglourious Basterds
Melanie Laurent – Inglourious Basterds
Mo’Nique – Precious

BEST ORIGINAL SCREENPLAY

35 Shots of Rum – Claire Denis & Jean-Pol Fargeau
The Hurt Locker – Mark Boal
Inglourious Basterds – Quentin Tarantino
A Serious Man – Ethan & Joel Coen
Summer Hours – Olivier Assayas
The White Ribbon – Michael Haneke

BEST ADAPTED SCREENPLAY

District 9 – Neill Blomkamp & Terri Tatchell
Fantastic Mr. Fox – Wes Anderson & Noah Baumbach
In the Loop – Jesse Armstrong, Simon Blackwell, Armando Iannucci & Tony Roche
A Single Man – Tom Ford & David Scearce
Up in the Air – Jason Reitman & Sheldon Turner
Where the Wild Things Are – Spike Jonze & Dave Eggers

BEST CINEMATOGRAPHY

Antichrist – Anthony Dod Mantle
Bright Star – Greig Fraser
Inglourious Basterds – Robert Richardson
A Serious Man – Roger Deakins
The White Ribbon – Christian Berger

BEST EDITING

Broken Embraces – José Salcedo
District 9 – Julian Clarker
The Hurt Locker – Chris Innis & Bob Murawski
Inglourious Basterds – Sally Menke
A Serious Man – Roderick Jaynes

BEST PRODUCTION DESIGN

Avatar – Rick Carter & Robert Stromberg
Fantastic Mr. Fox – Nelson Lowry
Inglourious Basterds – David Wasco
A Serious Man – Jess Gonchor
A Single Man – Dan Bishop

BEST ORIGINAL SCORE

Fantastic Mr. Fox – Alexandre Desplat
Ponyo – Joe Hisaishi
A Single Man – Abel Korzeniowski
Star Trek – Michael Giacchino
Up – Michael Giacchino

BEST ENSEMBLE

In the Loop
Inglourious Basterds
A Serious Man
Summer Hours
The White Ribbon

BEST ANIMATED FILM

Coraline
Fantastic Mr. Fox
Mary and Max
Ponyo
Up

BEST DOCUMENTARY

Anvil! The Story of Anvil
The Beaches of Agnès
The Cove
Of Time and the City
The September Issue

The winner

A Single Man (Abel Korzeniowski) made even the most seemingly mundane sequence of shots essential and heightened the dramatic meaning of every moment.

Other nominees

A Serious Man (Carter Burwell)
Duplicity (James Newton Howard)
Bright Star (Mark Bradshaw)
Coco Before Chanel (Alexandre Desplat)

10 Best Original Scores

Elmer Bernstein: Far from Heaven (2002)
Jon Brion: Eternal Sunshine of the Spotless Mind (2004)
Alexandre Desplat: The Curious Case of Benjamin Button (2008)
Philip Glass: The Hours (2002)
Eliot Goldenthal: Frida (2002)
Abel Korzeniowski: A Single Man (2009)
Thomas Newman: Finding Nemo (2003)
Gustavo Santaolalla: Brokeback Mountain (2005)
Shigeru Umebayashi with Michael Galasso: In the Mood for Love (2000)
John Williams: Harry Potter and the Prisoner of Azkaban (2004)

Reviews

My true holiday music selection this year is turning out to be Polish composer Abel Korzeniowski’s score for A Single Man. (…)
Abel Korzeniowski’s score celebrates strings to a dreamily nostalgic degree as the film tracks a day in George Falconer’s (Colin Firth) life eight months after the sudden death of his partner Jim (Matthew Goode). It’s classical, but tie-loosened and unstuffy, filled full with moments of sweeping sorrow and triumph. (…)
No Christmas music here—this is what I’ll be listening to.

– Matthew Allard
 

Gay ennui takes on a suspenseful, dramatic power worthy of Bernard Herrmann for this achingly gorgeous score by Polish composer Abel Korzeniowski (with an assist by Japan’s Shigeru Umebayashi). But then, you could say Eastern European composers have always had a thing for despondent characters, and Korzeniowski rises to the best of his compatriots’ emotionally raw, string-heavy sound with a score whose infinite beauty seems tailor-made for the impeccable sensibility of MAN’s fashionista writer-director Tom Ford. For even if his hero has a love that dare not speak its name, Korzeniowski’s strikingly poetic work isn’t afraid to shout that passion to the heavens. Between this composer’s SINGLE MAN and his terrific sci-fi score to BATTLE FOR TERRA, I’m looking forward to hearing more of Korzeniowski’s bold shouting.

– Film Music Magazine
 

(…) I’m quite happy to say his score is quite an achievement and isn’t one that will soon recede from the memory banks.

Abel strikes a unique tone for this film, which can best be described as bittersweet yet elegant and offers a strong emotional connection to the listener. There is a sense of loss within the score but there is also hopefulness in it as well, a duality that lends a memorable characteristic to it. Overall, there is simply a unique beauty to it that transcends the film and enables the music to succeed fully on its own.
(…)
There is such a polished sound and flow to it that I think you will find yourself fully absorbed with the music. You’ll also find that it’s the type of score that is difficult to stop listening to; I was intent on listening to it uninterrupted from start to finish both times I cued up the disc. Truly engaging and quite refreshing fare!

As award season nears, Abel Korzeniowski should be in serious contention for a Best Score bid for A Single Man. This score functions at too high a level to ignore and I think the voters should pick up on that.

Final Score 9.5 out of 10: A Single Man is an accomplished piece of work that should appeal to even the most casual of soundtrack listeners. It’s a captivating score that has a beauty about it that is difficult to dismiss once you start listening to it. Don’t be surprised by the nominations that it may earn.

– Score Notes
 

Full list of winners

Best Film: Inglourious Basterds
Best Foreign Language Film: Il Divo
Best Documentary: The Cove
Best Animated Film: Up
Best Director: Quentin Tarantino for Inglourious Basterds
Best Actress: Michelle Monaghan for Trucker
Best Actor: Colin Firth for A Single Man
Best Supporting Actress: Samantha Morton for The Messenger
Best Supporting Actor: Christoph Waltz for Inglourious Basterds
Best Ensemble Performance: Inglourious Basterds
Best Original Screenplay: Quentin Tarantino for Inglourious Basterds
Best Adapted Screenplay: Wes Anderson and Noah Baumbach for Fantastic Mr. Fox
Best Cinematography: Javier Aguirresarobe for The Road
Best Editing: Alan Edward Bell for (500) Days of Summer
Best Score: Abel Korzeniowski for A Single Man
Best Production Design: David Wasco for Inglourious Basterds
Body of Work Award: Woody Harrelson for The Messenger, Zombieland and 2012

BEST MOTION PICTURE, DRAMA

Avatar
The Hurt Locker
Inglorious Basterds
Precious: Based on the Novel ‘Push’ by Sapphire
Up in the Air

BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE, DRAMA

Jeff Bridges – Crazy Heart
George Clooney – Up in the Air
Colin Firth – A Single Man
Morgan Freeman – Invictus
Tobey Maguire – Brothers

BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE, DRAMA

Emily Blunt – The Young Victoria
Sandra Bullock – The Blind Side
Helen Mirren – The Last Station
Carey Mulligan – An Education
Gabourey Sidibe – Precious: Based on the Novel ‘Push’ by Sapphire

BEST DIRECTOR

Kathryn Bigelow – The Hurt Locker
James Cameron – Avatar
Clint Eastwood – Invictus
Jason Reitman – Up in the Air
Quentin Tarantino – Inglorious Basterds

BEST MOTION PICTURE, MUSICAL OR COMEDY

(500) Days of Summer
The Hangover
It’s Complicated
Julie & Julia
Nine

BEST PERFORMANCE BY AN ACTOR IN A MUSICAL OR COMEDY

Matt Damon – The Informant!
Daniel Day-Lewis – Nine
Robert Downey Jr – Sherlock Holmes
Joseph Gordon-Levitt – (500) Days of Summer
Michael Stuhlbarg – A Serious Man

BEST PERFORMANCE BY AN ACTRESS IN A MUSICAL OR COMEDY

Sandra Bullock – The Proposal
Marion Cotillard – Nine
Julia Roberts – Duplicity
Meryl Streep – It’s Complicated
Meryl Streep – Julie & Julia

BEST SUPPORTING ACTOR

Matt Damon – Invictus
Woody Harrelson – The Messenger
Christopher Plummer – The Last Station
Stanley Tucci – The Lovely Bones
Christoph Waltz – Inglorious Basterds

BEST SUPPORTING ACTRESS

Penelope Cruz – Nine
Vera Farmiga – Up in the Air
Anna Kendrick – Up in the Air
Mo’Nique – Precious: Based on the Novel ‘Push’ by Sapphire”
Julianne Moore – A Single Man

BEST FOREIGN LANGUAGE MOTION PICTURES

Baaria
Broken Embraces
The Maid (La Nana)
A Prophet
The White Ribbon

BEST ANIMATED FILM
Cloudy With a Chance of Meatballs
Coraline
Fantastic Mr. Fox
The Princess and the Frog
Up

BEST SCREENPLAY

Neill Blomkamp – District 9
Mark Boal – The Hurt Locker
Nancy Meyers – It’s Complicated
Jason Reitman – Up in the Air
Quentin Tarantino – Inglorious Basterds

BEST ORIGINAL SCORE

Michael Giacchino – Up
Marvin Hamlisch – The Informant!
James Horner – Avatar
Abel Korzeniowski – A Single Man
Karen O, Carter Burwell – Where the Wild Things Are.

BEST ORIGINAL SONG

“Cinema Italiano” (written by Maury Yeston) – Nine
“I Want to Come Home” (written by Paul McCartney) – Everybody’s Fine
“I Will See You” (written by James Horner, Simon Franglen, Kuk Harrell) – Avatar
“The Weary Kind (Theme from Crazy Heart)” (written by Ryan Bingham, T Bone Burnett) – Crazy Heart
“Winter” (written by U2) – Brothers

The Hollywood Reporter mentions Abel Korzeniowski’s score as a possible contender for the upcoming awards season.

(in the photo: Harvey Weinstein)
 

Whoever wins the rights to “A Single Man” picks up Oscar noms for at least Best Actor, Supporting Actress, Adapted Screenplay, Score, Set Design, Costumes, and Make Up. Best Director is not outside the realm of possibilities.

– The Hollywood Reporter
 

With “A Single Man,” TWC also gets a very strong musical score, a fantastic adapted screenplay. and several tech nominations.

– The Hollywood Reporter
 

Set in Los Angeles in 1962, A Single Man is the story of George Falconer, a British college professor (Colin Firth) who is struggling to find meaning in his life after the death of his long-time partner, Jim (Matthew Goode). We follow George through a single day, where a series of encounters, ultimately leads him to decide if there is a meaning to life after Jim. George is consoled by his closest friend, Charley (Julianne Moore), a 48-year-old beauty, and is stalked by one of his students, Kenny (Nicholas Hoult).
 

Abel Korzeniowski about the score

A Single Man, A Single Theme

The score for “A Single Man” revolves around a single melodic theme. It slowly grows with the story, and eventually, in the last sequence of the movie, we are presented with its complete, final form. I named the theme “Stillness of the Mind”, after George’s moment of the final transformation. From the cocoon of despair and self-destruction, emerges a butterfly, living and understanding his life to the fullest, if only surviving for one day.
 

Strings and Scotch

I wanted something simple and pure, relying on melody rather than excessive orchestration, so I did it the old-fashioned way — with solo violin and strings. Their warmth and intimacy always moves me. Later on, I added a couple more colors to support the dramatic narration. There is a scene with George emptying a 20 year old bottle of North Port Scotch. For some reason this image stuck in my head and I ended up using a bottle of Scotch as a percussion instrument in the score.
 

Earthquake

Sir Alfred Hitchcock once said that “a good film should start with an earthquake and be followed by rising tension”. Tom wanted exactly that, only with a thrill of passion and beauty instead of fear. So the movie starts with this incredible underwater image of a naked man, who, we can’t be sure, is either drowning or dancing or locked up in a dream. For this scene, Tom asked for music to be of exceptional beauty and strength, something that would overload our senses with the complexity of its emotion reach. The piece I wrote has a lush, extremely romantic melodic line, stylistically suspended between the past and the present. After that, we only proceed to get deeper and deeper into the mind of Professor Falconer.
 

Critics about the score

simply genius

– Minimum Advice
 

[The] score from composer Abel Korzeniowski is a highly worthy piece of art in its own right.

– No Ordinary Fool
 

Korzeniowski’s new score for Tom Ford’s A Single Man is destined to become a film music classic. The Polish composer combines pulsing post-minimalism and elegant neo- romanticism with bright melodies, lush orchestration and warm colours (notably harp, piano and solo violin) to create a dazzling and dramatic score of extraordinary power and beauty.

– The Irish Times
 

But by far, the BEST score of the year is Abel Korzeniowski’s for A Single Man. It is a brilliant score that reminds you of classic cinema yet has that modern twist to it at the same time. The score is a part of the story and it speaks the mind of Firth’s character in the film. It is one of the most beautiful scores in film history and truthfully deserves to win. I believe it is a lock for a nomination and it even has a Golden Globe nod to support it too. If you haven’t listened to this score yet then you must really soon!

– Movies And Other Things
 

This is the type of score that can make you fall in love with film music.

– Soundtrack Geek
 

The score was a character of its own. A mix between opera and classical, Abel Korzeniowski made a score that climaxes right when the movie does and seems to have a running commentary throughout the film.

– Booker Critics
 

A breathtaking piece of music, one that sticks in your head throughout the film, and stays in it long after. It feels like a piece of yearning, as if it’s the emotions in George’s head playing out in music rather than bodily expression.

– The King Bulletin
 

Abel Korzeniowski’s unbelievable gorgeous, string-laden score, so beautifully complimenting Ford’s images and emotions it seems to flow off of the screen and slide across you like a sheet of velvet.

– Not all Texans ride horses to school
 

The biggest highlight of the film is the score by Abel Korzeniowski. The way the music swells and interweaves in and out of the scenes were so good.

– Foolish Blatherings
 

Abel Korzeniowski designed a magnificent orchestral accompaniment to this emotionally gripping film. The final minutes of the movie nearly brought me to tears. In fact, I actually had a physical knot in my stomach for a while outside the theater. And I owe a lot of that to the music.

– Eisentower30
 

Abel Korzeniowski’s hypnotic score soars around us like a turbulant sea in a dream occasionally drowned out by a pounding heart.

– Dave Waters, Critical Mass
 

The film’s brilliant use of sound and magical string score (by the Oscar-worthy Abel Korzeniowski) help propel the film’s stirring images.

– And So It Begins…
 

Music = stunning.
(…) I also absolutely loved the score by Abel Korzeniowski – flawless and haunting.

– The Glass House
 

Stunning!!! Amazing!! *****
This score brings back the golden age of music for cinema (…)
I haven’t found a film score in the last 10 years that echos the feelings that this does!

– iTunes review by filmmuzikcritic
 

The music, woven seamlessly throughout the film by Polish composer Abel Korzeniowski, was a character all its own. The classical sounds were classy, yet not stuffy.

– Warren & Derrick
 

it [the movie] has two secret weapons: original music by Abel Korzeniowski, and British actor Colin Firth.

– Star Tribune
 

Abel Korzeniowski’s score celebrates strings to a dreamily nostalgic degree as the film tracks a day in George Falconer’s (Colin Firth) life eight months after the sudden death of his partner Jim (Matthew Goode). It’s classical, but tie-loosened and unstuffy, filled full with moments of sweeping sorrow and triumph.

– Matthew Allard
 

Ford’s appeal to the senses includes a stunning soundtrack by Polish composer Abel Korzeniowski, and the way the visuals and the music work together to prime you for the emotional core of the film reminds me of Wong Kar Wai’s In the Mood for Love. (…)
In fact, the film is a paean to lost love, with Korzeniowski’s music tugging at the heartstrings.

– The Independent
 

… a suspenseful, dramatic power worthy of Bernard Herrmann for this achingly gorgeous score by Polish composer Abel Korzeniowski.
… emotionally raw, string-heavy sound with a score whose infinite beauty seems tailor-made for the impeccable sensibility of MAN’s fashionista writer-director Tom Ford. For even if his hero has a love that dare not speak its name, Korzeniowski’s strikingly poetic work isn’t afraid to shout that passion to the heavens.

– Film Music Magazine
 

Gorgeous music score, the year’s best.

– Windy City Times
 

There is such a polished sound and flow to it that I think you will find yourself fully absorbed with the music. You’ll also find that it’s the type of score that is difficult to stop listening to; I was intent on listening to it uninterrupted from start to finish both times I cued up the disc. Truly engaging and quite refreshing fare!
As award season nears, Abel Korzeniowski should be in serious contention for a Best Score bid for A Single Man. This score functions at too high a level to ignore and I think the voters should pick up on that.

Final Score 9.5 out of 10: A Single Man is an accomplished piece of work that should appeal to even the most casual of soundtrack listeners. It’s a captivating score that has a beauty about it that is difficult to dismiss once you start listening to it. Don’t be surprised by the nominations that it may earn.

– Score Notes
 

Accompanying these moments of slowed-down contemplation is the magnificent score by composer Abel Korzeniowski, which makes even the most seemingly mundane sequence of shots essential and heightens the dramatic meaning of every moment. It is certainly one of the best scores of the year, and without a doubt the most unique and original composition.

– Movies with Abe
 

Every now and then I hear a score so beautiful or memorable that I can’t contain myself. The score I’m talking about this time is to Tom Ford’s lyrical feature film debut, “A Single Man,” which I caught last night at MoMA. Resonant strings by Polish composer Abel Korzeniowski added layers of depth to this intensely graceful character study–an adaptation of a Christopher Isherwood novel.

– Boombox Serenade
 

Abel Korzeniowski’s score brilliantly adds to the film with a simplicity and heaviness that matches with a Philip Glass-like minimalism, keeping the film in constant motion and still interesting even for the music geeks.

– North by Northwestern
 

Mention must be made of the sensuous, evocative music of Abel Korzeniowski that keeps the audience afloat but drowning in emotion…

– Twitch Film
 

The music was magnificent and powerful, you feel every heartbeat, every crackle in the fire place and even in the silence you are tuned in with suspense.

– STARWORKS
 

The beauty Ford finds is endless, and it’s perfectly coupled with a flawless score by Abel Korzeniowski.

– Boy Culture
 

Whoever wins the rights to “A Single Man” picks up Oscar noms for at least Best Actor, Supporting Actress, Adapted Screenplay, Score, Set Design, Costumes, and Make Up. Best Director is not outside the realm of possibilities.

– The Hollywood Reporter
 

With “A Single Man,” TWC (The Weinstein Co.) also gets a very strong musical score, a fantastic adapted screenplay. and several tech nominations.

– The Hollywood Reporter
 

Polish composer Abel Korzeniowski’s score must also be given high plaudits. It’s gorgeous, heartrending and hopefully already has easily given him a surefire Oscar nomination for Best Score.

– The Playlist
 

Abel Korzeniowski’s (score) is the best of the year so far.

– In Contention
 

Nobody in their right mind, meanwhile, should have a problem with Abel Korzeniowski’s exquisite score.

– In Contention
 

Everything about this film — the look, colors, pacing, shots, composition, cinematography, costumes, soundtrack — says that an extraordinary amount of love and care went into it. (…) Abel Korzeniowski’s score is haunting and moving.

– PROnetworks
 

Congratulations Colin!

Nobody in their right mind, meanwhile, should have a problem with Abel Korzeniowski’s exquisite score.

– In Contention
 

The director has clearly been inspired by the Hollywood melodramas of Douglas Sirk, an influence also reflected in the swooping score.

– The Independent
 

Just Colin Firth´s presence and Abel Korzeniowski´s original soundtrack would be enough warranty so as not to miss the film…

– Jon Kortajarena news
 

Reviewers about the score

Tsirbas is helped mightily in this endeavor by composer Abel Korzeniowski, whose orchestral score is wondrously atmospheric.

– The Denver Post
 

The film’s climactic battle sequences, full of gleam and swish, feature some of its best animation — as do earlier, pastoral images of soaring whales and Da Vinci-style flying machines that dip and weave over Abel Korzeniowski’s gorgeous romantic-minimalist score.

– The Hearst Newspapers
 

The music is great, in fact it’s my favorite aspect of the film. The score by Abel Korzeniowski keeps me emotionally connected to the story. It flows well and isn’t overbearing. After the film I walked out with the music in my head (and not in an annoying way).

– The Scorecard Review
 

Despite it being made on a low cost budget, what carries this film are the characters, the musical score which was epic.

– Cinema Without Borders

 

The musical score enhanced the experience without distracting, perfectly complimenting the action.

– Science Fiction Musings

 

… what low-budget wonder Battle for Terra does have going for it in spades is solid storytelling, a pretty musical score and a wealth of vocal talent so good that you forget they’re popular actors.

– Crosswalk.com

 

The movie’s strengths include a high-profile vocal cast, top-notch architectural designs, colorful animated creations and an ear-pleasing orchestral score.

– Entertainment Spectrum

 

… the music score by Abel Korzeniowski is especially effective. Using classically themed music, the composer offers elegance to the story.

– The Phantom Tollbooth

 

The film features a really lovely score by Abel Korzeniowski.

– Reeling Reviews

 

Companies acquire rights to 3-D animated pic
By DAVE MCNARY

Lionsgate and Roadside Attractions have acquired U.S. rights to Snoot Entertainment’s animated 3-D feature “Battle for Terra” and plan to release it on May 1st. Pic will open in both 2-D and 3-D formats. It will go up against Warner Bros./New Line romantic comedy “The Ghosts of Girlfriends Past” and Fox’s franchiser “X-Men Origins: Wolverine.”

“Terra” includes voices by Evan Rachel Wood, Luke Wilson, Justin Long, Amanda Peet, Chris Evans and Dennis Quaid. Project’s the feature directorial debut of short filmmaker Aristomenis Tsirbas (“The Freak”).

Story is told from the perspective of the aliens whose planet is invaded by humans fleeing a dying Earth.

“Terra” preemed at the Toronto fest and won awards last year at Heartland, Giffoni and the Ottawa Intl. Animation Festival.

Read the full article in Variety.

According to Cokemachineglow

Using the well-paced picture to make his debut for English-language cinema is composer Abel Korzeniowski, whose music, like its on-screen source material, is little short of shit-hot. Recorded and mixed at the Warner Brothers’ Scoring Stage by Steve Kempster and Joel Iwataki, the sonic nuances and scientific insight that drip from the screen are unlike any I’ve seen from Hollywood.

If anyone can play a man on the edge it’s Considine (tap up Dead Man’s Shoes on YouTube to see how petrifying he can become), and composer Korzeniowski supplies the character with cues worthy of the film’s stirring narrative. “Opening” begins like something from a savings commercial, the Soviet strings and Geiger counters quickly promising us characters and agony, and “Field” fleshes out the film’s recurring imagery of blue periwinkles with bobbing synths and plaintive violins. But it’s when the protagonist crosses paths with affable hood Shiv that things pick up on both screen and headphone.

Like Timofey, Shiv’s battling with turbulent elements, but the difference here is the absence of his counterpart’s integrity in the face of widespread rot. His goonish mischief is matched by Korzeniowski’s cheeky instrumentals; we’re shown the old side of New Russia that the gangsters would have you is gone. “Mobsters” is typical communist slapstick, all polka accordions and Tetris dancing, perfectly representing the brainless ineptitude of the film’s doltishly-dense bad guys.

The pads and glyphs of “Fireworks” soften the obligatory cold night with photons and “Harness”‘s stern fiddles inject Considine’s character with resolve as his body decays in the face of poison with a 24,110 year half-life. If you don’t want to spoil the inevitable end to the story then skip tracks fifteen and sixteen, but “Ending”, which airs over the movie’s breathtaking denouement, has the necessary warmth and feedback picks to preserve the fates of those fortunate to survive. All that pain at last dissolves into angelic shoegaze, sweet to the point it’d make Sofia Coppola swivel with jealousy. The perfect close to a film as beautiful and ugly as the behaviour of all its disturbed particles.

George Bass

Read the whole article below or see it on THR.

Inside music composer agents

By Kevin Cassidy and Stephen Galloway
Aug 14, 2008, 03:55 PM ET

(ICM’s Tad Lumpkin)

A producer had asked Kraft’s composer client to write a “very Hitchcockian, Bernard Herrmann-type score” for his production, but the composer was leaning toward something sparser. The producer was adamant: “I want wall-to-wall music,” he said, “just like in ‘The Birds.’”

And there lay a snag. “He managed to pick the one Hitchcock film that had no music in it,” says Kraft.

By the time the agent had finessed the matter, it was too late: The producer realized music was the least of his problems and had to reshoot a good chunk of the picture.

Welcome to the world of the film music agent, a world that involves an unusual blend of knowledge and art, of cajoling and diplomacy.

It is work that differs subtly from that of other agents. Music agents tend to know far more about their clients’ art, they have operational skills that often resemble a producer’s, and they frequently develop intense relationships with their clients, much like managers.

While a number of gargantuan agencies are at the heart of the entertainment business as a whole, “the representation of film composers is dominated by smaller agencies who don’t represent a lot of other creative talent,” says Seth Kaplan of Evolution Music Partners. “The larger agencies may have a composer or two, but the dominant force in our little niche is the specialized agencies.”

Those specialized agencies include Kraft-Engel Management, First Artists Management, the Gorfaine/Schwartz Agency, Greenspan Kohan and Soundtrack Music Associates, among others. Their history is full of intertwined relationships, rivalries and conflicts — exacerbated by the narrow world in which they operate.

One agent dismisses two rivals by saying, “They’re both nuts”; he notes of a competing company, “They could be selling widgets.” Another agent is known to have sabotaged a former colleague by badmouthing him to all his clients. These agents may be friendly on the surface, but the competition between them is intense.

That’s partly because so many have worked together at different times. Take Kraft: Recognized as the most knowledgeable about music among his peers, he taught film music and worked for a soundtrack label before joining ICM in the 1980s. When ICM decided to exit the film composer business in the early 1990s, Kraft went out on his own.

Later, he was teamed in Blue Focus Management with veteran agent Vasi Vangelos, who then formed his own company, First Artists, in 2003.

You can’t make it as a flake or an egomaniac. There are enough flakes and egomaniacs in the business in general, and nobody’s going to let the composer or his agent be one of them. You want to be a narcissistic jerk? Take a number.”
– Richard Kraft, with Laura Engel, of Kraft- Engel Management

While these are the major players in film music, the big agencies still have plenty of clout. ICM is back in the game, and agent Tad Lumpkin — who represents a roster of writers, producers and directors, as well as such composers as Paul Cantelon (“The Diving Bell and the Butterfly”) and Mateo Messina (“Juno”) — says there are advantages to being with a powerhouse.

“At a full-service agency that represents all kinds of talent and filmmakers, you see projects move from idea to the finished phase,” he argues. “Being involved in a project that long really gives you (the chance) to get a composer an opportunity.”

If ICM and CAA are kingpins in the larger world, Gorfaine/Schwartz is the most prominent composers agency. But the company, which once stood unrivaled (rather like CAA in the ’90s), is facing greater competition today.

“There is more of a balance of power than there has been for a while,” one competitor notes. “Today they are the largest, but they’re not alone.”

Gorfaine/Schwartz’s strength has been bolstered by the fact that it represents Hans Zimmer, “the most important person in this business, without question,” according to one rival agent. “That is how Gorfaine/Schwartz maintains most of its power, because Zimmer uses a group of other composers to collaborate on the scores that he is doing and has a whole team of people that work for him,” and that in turn leads to a higher volume of business for the agency. (The agency’s Sam Schwartz declined to comment.)

Zimmer has not yet been “poached.” But agents are increasingly aware of how easy it is for their clients to be stolen.

“Any time one of my clients gets a major job, I can depend on the fact that (another agent) will be calling. Luckily our clients value our hard work and stay loyal,” Kaplan notes.

Kaplan’s partner, Christine Russell, says months of work can go into securing a big job.

“I worked for seven months to get Mark Kilian the job as composer on (Overture’s upcoming release) ‘Traitor,’” she says. “When he got it, I thought, ‘F***in’ A!’ When you know somebody’s really right for something, you do push harder, and sometimes you have an instinct that a certain client would work well with a particular director, even if there’s not a specific project at hand. In those cases, I will try to create an opportunity for those two people to meet. It always pays off.”

It also pays off these days to stand out as a composer, and the best way to do that, according to the Agency Group’s Linda Kordek, is to be willing — and able — to work in a broad range of styles.

When you know somebody’s really right for something, you do push harder, and sometimes you have an instinct that a certain client would work well with a particular director. In those cases, I will try to create an opportunity for those two people to meet. It always pays off.”
– Christine Russell, Evolution Music Partners

“It’s really critical right now that a composer have a signature sound,” says Kordek, whose roster includes Jonathan Goldsmith (“Away From Her”), Susan Marder (TNT’s “Saving Grace”) and songwriter Joe Jackson. “A film composer needs to be able to compose music in all genres and all styles — that’s part of the job description.”

Anita Greenspan of Greenspan Kohan Management adds that while talent and versatility are certainly vital, a strong head for business doesn’t hurt.

“The most successful composers in our business — and I’m not saying the most talented, I’m saying the most successful — are the ones who are good businessmen first,” she says. “That said, I love the tortured artist. I’ve got one guy who is outgoing, but the rest of them shy away from rooms full of people or act so bizarre they need their behavior explained. Sometimes I have to ask, ‘What the hell did you do that for?’ The one that’s the most unpredictable and the one you don’t want to let loose on a crowd of people is probably my husband (Mark Mothersbaugh)! But they all have to have at least some business acumen and not get their egos bruised. They have to remember it’s not personal.”

As for the economics of the boutique agencies, unlike the majors, which take a standard 10% of their clients’ income, music agents’ fees are individually negotiated and tend to range from 10%-15%, akin to managers’ fees. That is in part because their work covers an array of tasks not handled by regular agents.

Composers can be paid either a “package” fee or a simple “creative” fee for composing. The package fee covers the hiring of musicians and other producing aspects that agents often become involved with.

“We are very involved in the process of assisting composers in the booking of everything they need, so that the composer can concentrate on writing the music,” says Maggie Rodford, managing director of Air-Edel Associates. “With an actor’s agent, everything is taken care of by the production.”

“We’re full-service problem solvers, involved in every phase of the game,” adds Kraft’s partner Laura Engel. “You don’t just book a film for somebody and move on.”

That’s apparent from a glance at agent John Tempereau’s schedule this year. Tempereau, a senior partner with Soundtrack Music, has already been to Beijing — not because of the Olympics, but because three of his clients have been working there. “I was there to support (them),” he says.

The most successful composers in our business — and I’m not saying the most talented, I’m saying the most successful — are the ones who are good businessmen first. They all have to have at least some business acumen and not get their egos bruised.”
– Anita Greenspan, with Neil Kohan, of Greenspan Kohan Management

Evolution’s Kaplan showed the same kind of international reach when he first heard about composer Abel Korzeniowski.

Korzeniowski, while living in his native Poland, had heard about Kaplan and sent him a CD. When the agent listened to his music, he was stunned by its quality — but going from that to handling Korzeniowski as a client was a whole other matter.

“We had to get him a visa,” Kaplan recalls. “One of our clients was good enough to say he would give him work. But it took us eight months to get him out here.” Within weeks of his arrival in Los Angeles, Korzeniowski had his first American project, HBO’s “PU-239.”

If Kaplan and Tempereau are turning their attention overseas, that is no coincidence. Both are dealing with a business that is facing serious economic challenges as studios make fewer films and work for their clients becomes more scarce. Stagnating music budgets have radically changed the dealmaking dynamic.

“More than ever, it’s a battle,” says Robert Messinger of First Artists Management, whose clients include Michael Brook (“Into the Wild”), Philip Glass (“Notes on a Scandal”) and Gustavo Santaolalla (“Babel”). “It’s very tough right now to get fee increases. On some films it’s still possible. But on many the producer or the studio will just come to you and say, ‘This is what we have. Who will do it for this fee?’”

“There’s just not the negotiating that there has been in the past,” adds Greenspan. “It used to be that a studio would call and say, ‘We’re interested in so and so — what is his fee?’ You’d quote the fee, and hopefully you’d settle somewhere around there, a little higher than the last time the composer worked. Now we get the calls that say, ‘This is how much we have.’”

“There has been a 15%-20% downward turn (in fee amounts) over a five-year period,” notes Rodford, “and given that normally most things go up, that becomes quite an interesting conundrum.”

Rodford cites one recent indie film in the $15 million-$20 million budget zone as an example.

“In an ideal world, we would have wanted an overall (music) budget of $600,000,” she explains, “but the budget allocated was in the realm of $75,000. The producers sadly had been told they could get the music for that.”

If the difficulty of financing independent films has a direct impact on salaries, so does the reduced number of major studio films. In the not-too-distant past, it was standard for A-list talent on a blockbuster film to earn a creative fee of $1 million-$1.5 million, while the fee for a midrange major release might fall between $500,000 and $700,000. Not anymore.

More than ever, it’s a battle. It’s very tough right now to get fee increases. On some films it’s still possible. But on many the producer will just come to you and say, ‘This is what we have. Will you do it for this fee?’”
– Robert Messinger, First Artists Management

While top-echelon composers like Zimmer and James Newton Howard can still earn fees of up to $2 million for these pictures, many of the non-superstars are accepting pay cuts to keep working. That, in turn, is impacting the lesser-known composers on the tier below.

“It is more competitive,” says Kaplan. “A composer who has done his first or second studio movie and who is making $250,000-$500,000 on a picture is seeing all of these composers who were at a higher income level coming down and taking those films because there are fewer films available in the higher bracket.”

He adds, “People in the upper strata don’t have enough upper-strata movies to keep them busy, and that puts pressure on and limits the opportunities for up-and-coming composers.”

The pressure increased this year with the WGA strike, and it could get worse if the SAG also strikes. All this will not just impact composers: “It is hurting the music editors and postproduction people, too,” says Tempereau.

Fewer opportunities have led some agents to shed clients who are not working — though there is more work in certain areas, even if there is less in film.

“Television has remained healthy, and the rise of other markets such as video games has helped,” Tempereau says. “When the film business does come back, the good news is these other areas are still going to be there.”

Until then, the pressure on the agents is only going to increase. It is, as one agent says, a buyer’s market.

For any composer who thinks his agent can protect him — as Kraft did with the Hitchcock-loving producer — that may be wishful thinking. Now, for any prospective client, he has advice that is tougher than it might have been just a few years ago.

“You can’t make it as a flake or an egomaniac,” he says. “There are enough flakes and egomaniacs in the business in general, and nobody’s going to let the composer or his agent be one of them. You want to be a narcissistic jerk? Take a number.”

Chuck Crisafulli contributed to this report.

Jane McCoy, a recent college graduate, much to her parent’s dismay, decides to scrap her plans for law school to pursue an acting career full-time. Struggling to make ends meet, she meets a confident and persuasive friend who shows her the way to make extra money go-go dancing. What starts as just an “easy money” job, however, rapidly becomes an all-consuming activity that slowly pulls Jane from her acting classes, her relationships with her boyfriend and family, and, most importantly, from her true self.

Song Listing

Due to popular request, here’s a list of songs from this movie:

Marcus Brown: “Promises Promises”
Blazed Out Music: “Talk About It”
Silver Money: “Back Seat Taxi”
People People: “Do You Feel Love”
Pailboy: “Struttin’ ”
Fully Loaded: “Victim”
Dee: “Shooting Stars”
Casey McPherson: “Everytime You Turn”
Psideralic: “Something”
Premier Tracks: “Sold Again”
Kiss The Girl: “Alien Skin”
Kiss The Girl: “Sugar”
Jerome Dillon: “Straight to Nowhere”
Byrd Project: “Your Bitch”
Michal: “Perfect”
Late Tuesday: “Anyone But You”

On March 3, 1957, Rudolph Kasztner, a Hungarian Zionist, was assassinated on the streets of Tel Aviv for the choices he made while negotiating the rescue of 1,685 people on the notorious “Kasztner Train”. Fifty years later in the Catskills, one of those survivors and his fractured family are forced to unravel the mystery behind their own choices in relation to this historical event.

Mala (Evan Rachel Wood) is a precocious girl living on the beautiful planet Terra, a place where peace and tolerance are celebrated. Unbeknownst to Mala and her fellow Terrians, the last inhabitants of Earth have exhausted the resources of their planet and those of three others, and are now searching for a new home. This Earthforce has discovered that the use of a Terraformer will make Terra habitable for humans but poisonous for Terrians. When the Earthlings embark on a hostile invasion of Terra, Mala’s father, Roven (Dennis Quaid), is kidnapped. Hoping to save her father, Mala captures and hides a crashed human pilot named Jim (Luke Wilson). While Mala nurses Jim back to health, the two forge a friendship and a plan that could save both the human race and the planet of Terra. Soon, however, they realize that peace will not be secured unless they can combat both the Terraformer and dark political forces that will stop at nothing in their drive to achieve power for power’s sake.

While Terra’s message that peace is a question of free will and choice is a potent one, the exuberance of Mala and her young friends carries the film. Director Aristomenis Tsirbas paints a landscape of pastoral pleasure, and our admiration for Terra’s idyllic vistas is only heightened when they are invaded.
 

Critics about the score

Tsirbas is helped mightily in this endeavor by composer Abel Korzeniowski, whose orchestral score is wondrously atmospheric.

– The Denver Post
 

The film’s climactic battle sequences, full of gleam and swish, feature some of its best animation — as do earlier, pastoral images of soaring whales and Da Vinci-style flying machines that dip and weave over Abel Korzeniowski’s gorgeous romantic-minimalist score.

– The Hearst Newspapers
 

The music is great, in fact it’s my favorite aspect of the film. The score by Abel Korzeniowski keeps me emotionally connected to the story. It flows well and isn’t overbearing. After the film I walked out with the music in my head (and not in an annoying way).

– The Scorecard Review
 

Despite it being made on a low cost budget, what carries this film are the characters, the musical score which was epic.

– Cinema Without Borders

 

The musical score enhanced the experience without distracting, perfectly complimenting the action.

– Science Fiction Musings

 

… what low-budget wonder Battle for Terra does have going for it in spades is solid storytelling, a pretty musical score and a wealth of vocal talent so good that you forget they’re popular actors.

– Crosswalk.com

 

The movie’s strengths include a high-profile vocal cast, top-notch architectural designs, colorful animated creations and an ear-pleasing orchestral score.

– Entertainment Spectrum

 

… the music score by Abel Korzeniowski is especially effective. Using classically themed music, the composer offers elegance to the story.

– The Phantom Tollbooth

 

The film features a really lovely score by Abel Korzeniowski.

– Reeling Reviews

 

As spectacular as the animation is otherwise, the beauty of the work is brought out best by the film’s soundtrack. The score Abel Korzeniowski created for the film is engaging, just as creatively active as the science fiction narrative.

– Real Movie News

 

Synopsis

When a monthlong darkness sets in on the tiny Alaskan town of Barrow, the locals are visited by a flock of bloodthirsty vampires eager to take advantage of the no-sun zone. The town sheriff Eben Olemaun (Josh Hartnett) and his deputy and wife, Stella (Melissa George), must act fast to save the dark day. Based on a popular horror comic by Steve Niles, the film also stars Ben Foster and Danny Huston.

While staving off a power plant disaster, Russian worker Timofey (Paddy Considine) is exposed to radiation and blamed for the accident. With days to live, he steals some plutonium and tries to sell it on Moscow’s black market in an effort to provide for his family. Along the way, he gets help from a low-level thug, with whom he forges an unlikely connection. Radha Mitchell co-stars in this gripping HBO adaptation of Ken Kalfus’s short story.

One could make a banal observation that the Metropolis, which Lang built in his film, is our contemporary world. From the point of view of the interwar Europe, the vision was certainly attractive and tempting. From today’s perspective, with the idealist fascination of living in the tower of Babel already behind us, we are surprised to notice that the walls we built, with the intention of separating us from the foreign, the different, the poor and the immigrants, grew into our minds unnoticed and formed a labyrinth we cannot escape from. We cannot recognize the paths we already traveled, our memory stopped serving us the information we need. The world degenerated into a series of images the meaning of which we cannot understand, and which we cannot put together in one comprehensible whole. We lost the key to our mind. Metropolis is a trip into the mind of a contemporary man — deep down, there is only fear.

Description

The direct impulse for making Metropolis — a 1927 black pearl of German silent cinema — came from Fritz Lang’s trip to New York. He created the epitome of the city of the future, breath taking in its modernity and scope, while at the same time showing the pathologies of the society trapped in the labyrinth of technical progress. After nearly 80 years, when New York turned into the grievous icon of the new century, suddenly Metropolis became more realistic than ever before. Today its message is: “We live in fear, our minds, houses and cities became our prisons. Evil done to others turns against us”. The reason for composing new music for Metropolis was the intention of showing the demons of the world transforming before our very eyes. The monumental, 147-minute composition for a symphony orchestra, choir and soloists is a masterful embodiment of the vision. Its author is an outstanding young Polish composer, Abel Korzeniowski.

The location for the concert and the projection is an important part of the project. The place should be associated with Lang’s images, either externally — through industrial character, making the viewer feel separated in a huge area cut off from the external world — or through the social subtext of the event. The venue should hold at least 2000 people, so that it would be possible to develop the atmosphere of a major gathering or near-religious reverence. Open-air performances are possible, provided that the area will be enclosed in some way, giving the impression of space separated from the surroundings. A classic concert hall is not appropriate for the project, as it separates the scene from the audience too directly, which results in the viewer watching only, instead of participating in the event.

The music is played live by a 90-piece orchestra, a choir of 60 voices and two soloists. Some sections are additionally enhanced with sound layers provided by loudspeakers. Due to the size of the area where the concert takes place, the soloists and the choir require sound reinforcement. Both soloists participate in a symbolic duel between two different cultures, contrasted aesthetically and morally. The first one reflects the cultural roots — unprocessed, unspoiled by commercialism. The other one stems from pop culture, urban atmosphere of large cities and is written for a female singer of “star” status, recognizable for the audience. Should the venue allow, the choir is located in the back, behind the audience. In such case the second conductor is necessary, with live video monitor feeding the image of the main conductor, who remains in the front, with the orchestra.

Everything is composed precisely to the picture, therefore besides the score, the main conductor needs also two monitors – one with the movie, the other with the time code, enabling the synchronization with the image shown to the audience on the large screen above the orchestra. The projected version of the film is the 2001 restored German copy, 3341 meters and 147 minutes long when played back at 20 frames per second. This is the original speed in which Metropolis was made, required to avoid the accelerated movement resulting from playback at the modern standard of 24 f/sec. As a result, the dynamic scenes lose the unintended comical effect, and the dramatic ones regain their weight and meaning. Installations and scenery design can accompany the project, provided that they will not distract the audience during the projection.

Metropolis is an evolving project. The first performance took place at the Era Nowe Horyzonty Film Festival in Poland. The concert in July 2004 was a great success, praised by the public, professionals and the press alike.

After spending 17 years in the seclusion of a monastery, Jozef Koziol (writer-director Jerzy Stuhr) returns to Polish society to visit the family he abandoned long ago. What he finds is a world that’s much changed and a family he barely even recognizes: One daughter (Barbara Kaluzna) is starring in a pornographic reality show, another (Roma Gasiorowska) is doing drugs, and his wife (Malgorzata Zajaczkowska) is married to another man.

Director Artur Wiecek’s otherworldly comedy centers on irresponsible, Elvis-loving angel Giordano (Krzysztof Globisz), who’s sent back to Earth by his frustrated superiors and ordered to perform a good deed every day. In Krakow, Giordano faces an uphill battle as he struggles to do all the right things in order to return to heaven and reclaim his angel wings. Grzegorz Dyduch and Kamil Bera also star.

When Zygmunt Sawicki (Jerzy Stuhr) and his wife take in a stray circus camel, his larger-than-life presence transforms their tiny Polish town — until the citizens begin to turn against the couple and their unusual pet. Penned by Krzysztof Kieslowski during the height of Communist political oppression in the 1970s, this whimsical allegorical tale slyly makes a case for individuality within an intolerant, conformist society.