Times may change, but this all still feels relevant:
A studio rarely makes a film that it doesn’t expect will succeed with at least two quadrants, and a film’s budget is usually directly related to the number of quadrants it is anticipated to reach. The most expensive tent-pole movies, such as the “Pirates of the Caribbean” franchise, are aimed at all four quadrants.
The collective wisdom is that young males like explosions, blood, cars flying through the air, pratfalls, poop jokes, “you’re so gay” banter, and sex—but not romance. Young women like friendship, pop music, fashion, sarcasm, sensitive boys who think with their hearts, and romance—but not sex (though they like to hear the naughty girl telling her friends about it). They go to horror films as much as young men, but they hate gore; you lure them by having the ingénue take her time walking down the dark hall.
Older women like feel-good films and Nicholas Sparks-style weepies: they are the core audience for stories of doomed love and triumphs of the human spirit. They enjoy seeing an older woman having her pick of men; they hate seeing a child in danger. Particularly once they reach thirty, these women are the most “review-sensitive”: a chorus of critical praise for a movie aimed at older women can increase the opening weekend’s gross by five million dollars. In other words, older women are discriminating, which is why so few films are made for them.
Older men like darker films, classic genres such as Westerns and war movies, men protecting their homes, and men behaving like idiots. Older men are easy to please, particularly if a film stars Clint Eastwood and is about guys just like them, but they’re hard to motivate. “Guys only get off their couches twice a year, to go to ‘Wild Hogs’ or ‘3:10 to Yuma,’ ” the marketing consultant Terry Press says. “If all you have is older males, it’s time to take a pill.”
It’s blockbusters all the way down:
Of the more than 1 million acts the company tracks, about 80% accumulated less than 1 “like” on Facebook per day. By comparison, Shakira racked up an average 50,000 likes on Facebook each day last year.
Still, the dominance of a relative handful of acts doesn’t diminish the fact that the web has given musicians infinite shelf space and carte blanche to market themselves in creative ways. “That’s the silver lining in the very dismal cloud that often hangs over the music industry.”
The web has opened up opportunities for acts to break in. But break in, they must. Read more at WSJ.
John Piscitello’s score is a masterpiece and for this to come from a composer who is practically getting started is just awe inspiring….This is a score that has true meaning and a real exploration of the human condition behind it. It’s a must listen and an exemplary score that represents the power and meaning of film music.
The score is by relative newcomer John Piscitello, who crafts a gorgeous work for strings supported by flutes, horns, harp and piano….The surprising No Place on Earth is a fine score with engaging thematic writing, and the use of a real orchestra lends this documentary feature the kind of depth not often present in this genre.
John Piscitello’s first soundtrack release is an auspicious showcase of his skills in writing themes and dramatic variations for the sensitive docu-drama No Place on Earth…The score was crafted with an appropriate level of sensitivity, avoiding the pitfalls of melodrama and overstating the dire emotions of the film’s subjects, and there are a handful of cues where Piscitello allows for a little lightness.
It’s almost disarming how pleasant John Piscitello’s documentary score is when you think that it’s for a Holocaust movie about Ukrainian Jews who find shelter, and safety from the Holocaust in the bowels of a giant, utterly dark cave. While Piscitello evokes the string-shivering danger of the depths these survivors are reduced to, the main feeling that “Earth” evokes is a hauntingly beautiful nostalgia for a past
The main use of the surround channels is to give “air” to the restrained, poignant and classical score by John Piscitello.
John Piscitello’s graceful score hits all the right notes, showcasing more melody and timbre than most documentary scores allow for.
Steiner composed 11 other film scores the same year he worked on Gone with the Wind.
James Horner said of his work for Titanic: “I probably wrote all the material in about three hours. The themes literally came to me in 20 minutes.”
On the other hand, John Williams went through 300 versions of the five-note alien greeting from Close Encounters of the Third King before Spielberg was happy.
Those five tones from Close Encounters are embedded in the score, they are heard in the lead-up to the communications sequence. Back up this video a bit to hear them. (By the way, isn’t it lucky the aliens happened to have a tuba player aboard?):
Here’s “Coming Out” from the soundtrack:
A year ago, I thought it a brilliant purchase. Especially since a charming, creek-side writer’s cottage was grandfathered into the property…resplendent with trees, meadows and wildflowers.
But then came the insidious waves of hikers and mountain bikers and their incessant, loud chitchat augmented by shouts of encouragement, bike bells and . . . singing.
It started to grate on me. I could not write. Apparently, my next-door neighbor was having a similar problem. The same cadres of von-Trapp-family hikers clomping on the periphery of his lot were also driving him and his dog nuts. Since the hiking trails were not technically on our properties, it seemed there was nothing we could do to stem the tide of annoyingly happy campers.
We should all try and be low talkers.