Albums, Oscars and A Single Man

Ahh, there are only so many hours in the day. Fact. If I were to sit and listen to all the music on my desk in one go, I’d probably have grown a considerable amount of facial hair by the time I was done (and then I’d turn around and there would be even more CDs on the doormat).

It isn’t easy, deciding what to give optimum reviewing time to, particularly when you’re the only regular reviewer for a website that needs constant updates and attention in other areas – news, articles, artwork… It’s all about time management you see, which is even more difficult when you remember that you don’t get paid for a single thing you do. There’s a ‘real’ job to consider, not to mention a life away from ‘the desk’. It brings me, often, to wonder why I do this. The answer? I love film music. Fact.

It occurred to me this morning – in fact it occurred to me last week when I was able to do absolutely nothing about it – that with all my spare time and focus going on Music from the Movies.com, I haven’t given anywhere near enough time to this blog. That makes me sad, because I really rather enjoy hacking away at this thing and sharing my thoughts across a variety of scores, events and moments. So today, this glorious Tuesday in March, seems like the best time to do so. I had expected to be working on a triple feature on multiple Oscar-winning film The Hurt Locker, but as is often the case Rudy’s enthusiasm for his subject has seen him delving ever so much deeper into the film, the music, the people and their collective hidden depths. With that in mind I am left with time to ponder the pile in front (and behind) me.

There are CDs in a line to my left in my in-tray… These are ear-marked for my ‘full attention’ and include Christopher Young’s Creation, Shirley Walker’s The Flash and a recent British re-recording of Bernard Herrmann’s Citizen Kane and Hangover Square. I’m excited about the latter, for I love Bernard Herrmann.

Beneath the desk are more piles, one is a pile of discs I have already reviewed (phew!) and the others are titles that haven’t made ‘the cut’. That seems a bit harsh I guess, but there are only so many hours in the day and I can’t review everything. But perhaps this is as good a time as any to give at least some of them the attention they deserve?

There’s a rather nice album of music by Ryuichi Sakamoto, released at the end of 2009 by Decca, called ‘Playing The Piano’. This particular copy is a Deluxe Edition and includes the album ‘Out of Noise’ as a bonus. I’m rather partial to a bit of piano music, particularly solo, experimental stuff… I adore the Einaudi’s and Nyman’s of this world (though I suppose there are only one of each, ha) and I think Sakamoto can sit comfortably alongside. Anyway, ‘Playing The Piano’ finds the composer at the keyboard performing solo piano versions of his film works. The obvious ones are accounted for, and stand out, i.e. Merry Christmas Mr. Lawrence and The Last Emperor. The latter is a favourite of mine and the piano rendering is rather special… I have to say I did hope for something from his gorgeous contribution to the Babel soundtrack, but it isn’t here and we’ll have to live with it. ‘Bibo no Aozora’? I think.

Nuzzled next to that is Chris Young’s effervescent Drag Me To Hell, which I frankly can’t get enough of. As soon as I saw the track ‘Concerto To Hell’ I knew it would be a bit special. Such a title usually means the composer was inspired enough by their own creation to have a play around with it and create something fun and exciting. Elfman is good at doing that as well – as his rather listenable album for The Wolfman shows. I don’t have a hard copy of the latter score… but I imagine I would have given it my ‘full attention’ if I had. (An insight: It’s hard enough to keep on top of actual physical CDs, let alone albums that I can’t see or touch… So if it’s on my hard drive it is not going to get a review. Fact.)

MovieScore Media are ever so prolific, which makes my job harder than ever and I find I have to be ultra picky. Daniel Pemberton’s Attila The Hun is marvellous, really, and Jeff Grace’s I Sell The Dead is rather infectious and brilliant – how could it not be, the man is fantastic. Suffice to say I hope to give Jeff’s The House Of The Devil my fuller attention in the not too distant future. I’m a big fan of Alfons Conde as well, and Guy Farley, so it pained me to have to demote both The Beckoning and Knife Edge to the lower pile. Both are dark and brooding and beautiful in places – the former, by Conde, features some super choral work. MovieScore really do love a good horror/thriller it seems, and I’m always up for that.

I have a pile of German albums to get through, courtesy of our friends at Cinema Musica… Richard G. Mitchell’s Der Seewolf remains in the upper pile for now – it’s rather good. The others, including Annette Focks’ Romy and Karim Sebastian Elias’ delightfully Zimmer-esque Das Geheimnis der Wale, have bags of charm and are hugely listenable. Such discoveries make me happy and remind me – which needs to happen – that there is more to film music than what comes out of Hollywood and London. Again, only so many hours etc. blah blah; you know the score.

La La Land Records are another prolific label and I very much enjoyed their double album of music from The Fugitive by James Newton Howard. I can’t say it’s one of his most inspiring scores for me personally, but it’s good to have such a generous presentation of a major title. Their release of John Frizzell’s Legion was also welcome. Once again Frizzell has created an immediate sound for the score.

This week saw the 82nd Academy Awards… The Oscars used to be a highlight of the year for me; there was a time when I would stay up until the wee small hours, with a flask of coffee to keep me awake. That was before Sky Movies took over the broadcast and I don’t have it, so my experience of the last few years’ ceremonies has been after the fact. With the announcement of no song performances this year, I felt as though I wouldn’t be missing out on much. Then, when a little bird informed me that the nominated scores would be presented through interpretive dance, I knew it was best left alone. I immediately recalled the last time they did ‘Dance The Score’; horrific memories of a man stomping and slapping about on the stage to John Williams’ ‘Hymn to the Fallen’ make me shudder even today. Why, AMPAS? WHY?

Still I was pleased with the result this year. Michael Giacchino is a great composer – certainly busy – and I’m chuffed that his beautiful score for Up stole the show. Sure it wasn’t edgy, or even cutting edge like the other nominees (save for Fantastic Mr. Fox, which was similarly charming and simplistic). Up is a classic, emotional orchestral score in the old tradition and I’m glad the Academy were won over by its charm. I'm hoping that Walt Disney Records will finally see fit to release the darn thing on CD now; come on Disney, a Golden Globe, two Grammys, a BAFTA and an Academy Award and we can't even put the album on the shelf?!

I was surprised not to see Abel Korzeniowski’s A Single Man in the list this year. His score – which featured additional music by the great Shigeru Umebayashi – was nominated for a BAFTA. I saw the film this week and was blown away by the music… Everything about the film was beautifully considered, every frame, every colour tone (and change of tone), while the music was part and parcel of the film’s design. At times it would bend out of shape, distorting along with George’s world view and sense of self, then it would flourish with the most incandescent beauty. Ultimately a simple score, with emphasis on strings, it added so much to the film experience. There’s a moment in the score where the score takes on the soul of Bernard Herrmann, as George’s world is coloured and warmed by the appearance of a sweet, innocent, pretty girl. It was a real Vertigo moment and it made the hair on the back of my neck rise. Genius. The album is available from Relativity Records it seems… I need it.

There’s plenty more to say, more discs lurking beneath the desk and more besides lurking in my mind; but I will leave it there for now. Anyway, I think it’s time for a cup of tea – what can I say? I’m British. Fact.

On The Desk V

Just when I think I’m beginning to get on top of things, the in-tray fills with another handful of albums. There are some cracking ones in need of attention, and I will get to those next week I hope. This week though I want to focus on a variety of titles in both my in-tray and on my hard drive. As I’ve said, very often I get sent links to albums, or files to download, from composers both up and coming, and well established.

Recently I received one such album from composer Edwin Wendler, a young and indeed talented composer who, though born in Vienna, now resides in Los Angeles. His most recent film score, The Interior – a film follow up to the 2007 television series – was released on CD by Perseverance Records a little while ago and while I’m yet to hear that, one of his early scores displays a colourful creative flair that I hope runs into the later works of recent years. Home: The Horror Story was a 2000 film directed by Venezuelan director Temístocles López and saw an all American family man find his life turned into a nightmare after undergoing invasive brain surgery. While it’s not a film that will likely be making it to your local multiplex anytime soon, the mix of bizarre surrealism and pseudo comedy horror antics has made it one not to be missed on late night television. Edwin’s score is as rambunctious as they come, with the composer unleashing a barrage of synthetic party tricks and unyielding ditties that cavort and swagger along with the comic capers in the surreal on-screen nightmare. I particularly enjoyed the opening cue ‘Meet The Family’ with its Elfmanesque hue, while the stomp and stagger of ‘Returning Home’ is a lot of fun. Ticking more of the horror boxes is ‘Getting Hot’ with its eerie voices, reverse effects and pizzicato effects. The overall carnival atmosphere of the larger score is a real winner though; much fun indeed. Hopefully we’ll hear more from Edwin Wendler in the future.


One composer I’m very pleased to be hearing more from is Benjamin Wallfisch. While Ben remains a big player in the classical field – his family name precedes him – his continuing work in film music is nothing short of brilliant. I was blown away by elements of Dear Wendy, which I reviewed for Music from the Movies a couple of years ago and when I learned that the young composer was working on The Escapist I was excited. Fast forward what seems like an eternity and MovieScore Media (who also made Dear Wendy available) have released the score on CD. The film is one of the unsung gems of recent years, with a stellar cast of British actors (including Brian Cox, Joseph Fiennes, Liam Cunningham, Seu Jorge and Steven Mackintosh) and gritty scenes of prison life and daring escape beneath the streets of London. The score is itself something of a breathtaking effort, with Ben scoring for both traditional orchestra and well conceived programming. With ‘Theme from The Escapist’ we’re thrown into an unrelenting, bassy refrain which drives the idea of the escape. The thumping piano and bass strings grab you by the throat and drag you along with its intensity. It’s an absolutely terrific, primal sound and quite a simple idea really, but nonetheless hugely effective. The escape itself – which runs through the film counter to the scenes of its inception within the prison walls – is underscored very creatively with rhythmic clangs and clatters, as programming, piano and bow strikes join forces to propel the band of escapees through the grimy sewers beneath the Capital. These are best heard in the likes of ‘Underground Escape’, ‘Into the Dryer’ and ‘Sump Chase’, while the brilliant main theme is deconstructed throughout as the plan comes together, with hints of it building in ‘Confessional’ and ‘Elegie for Brodie’. There’s an emotive side to the score also, as the music touches on the reason for the escape, Frank Perry’s daughter, who is gravely ill and with whom the life-prisoner wants to make peace. Solo vocal is utilised largely for these elements, with piano, strings and woods here and there (as in ‘Escaltor’) – these moments serve as a suitable antidote to the otherwise pivotal cues found elsewhere. Once again I am left in no doubt that Benjamin Wallfisch is one of the most exciting voices to enter the film music arena in recent years and while he continues to work as an orchestrator and conductor on other people’s scores, let’s hope he finds time to put pencil to paper himself and create more of this entirely listenable and hugely effective film music.

“Stand by for Action!” The Music of Barry Gray is a little gem of an album, though it may only have appeal for those who grew up with the ‘Supermarionaton’ and, later, live-action classic series’ of Gerry Anderson. I for one am too young to fully appreciate the hysteria surrounding the original runs of the likes of Stingray, Fireball XL5, Joe 90 and Thunderbirds, however when I was a child in the early 1990s a number of these shows had something of a renaissance and was certainly hooked on the latter. Going back further into my childhood, I can remember being very afraid of the opening prologue sequence for Capain Scarlet and the Mysterons. The inclusion of the music and sound effects for that scene – including the terrifying footsteps and final gunshot – still manage to make me shiver just a little, ha. This album then takes in snippets, themes and cues from all of Barry Gray’s collaborations with Anderson and takes us from their earliest work (Four Feather Falls) right through the major classics of the mid 1960s, right up to the more ‘modern’ sci-fi adventures with real actors in the form of UFO and Space: 1999. A lot of it is kitsch, with some wonderfully twee sixties-soaked songs and ‘Twists’ offering an amusing and strangely infectious glimpse into the past, while the big guns blaze here and there with wonderful dramatic cues found in the selections from Thunderbirds, Captain Scarlet and alike. The French-flavoured ‘Perils of Penelope’ in the former, not to mention Joe 90’s ‘International Concerto Suite’, are evidence enough and a prime example of just how multi-talented Gray truly was. The album, from Silva Screen, features informative notes by Ralph Titterton and along with the multi-faceted scores represented, they make for a wonderful tribute to an oft-overlooked master of film and television music.

Finally a couple more titles from MovieScore Media that are in need of a mention, namely Sharon Farber’s touching score for When Nietzsche Wept and Panu Aaltio’s The Home of Dark Butterflies. Both offer music from relative unknowns, which the Swedish label should constantly be commended for. Farber’s score for Pinchas Perry’s emotional drama – based on the novel by Irvin Yalom – is a poignant affair, played out largely with piano and strings, while more orchestral flurries can be found in the romantic and stately ‘Save Nietzsche/I’ll Help Your Friend’. Traditional melody is found in ‘Shabbath Dinner’, while Nietzsche himself is credited with composing ‘Hymnus an das leben’. Performed by soprano Ayama Haviv, accompanied by Farber on piano, it’s a strikingly emotional aria that manages to capture – along with Farber’s larger score – the ultimate fragility and sadness of this complicated emotional man. Equally emotive is Aaltio’s score for Dome Karukoski’s drama about about a teenager who is sent to a boy’s home called ‘The Island’, where he comes to terms with the ghosts of his past. Recorded in London, it’s a fine sound that is created here and through a mixture of minimalist devices, and swathes of strings, Aaltio manages to nail the emotional complexity and spirit of the young protagonist.


Coming soon: A look at Nicholas Hooper’s second Harry Potter score, a couple of premiere albums from James Horner’s past and music from the fourth season of Battlestar Galactica.

With thanks to Mikael Carlsson, David Stoner, Jelena Jancic and Edwin Wendler.

On The Desk III

My desk is almost tipping over under the weight of CDs at one end, so the toy TARDIS has had to move to the other end to keep things on an even keel… Of course I jest (though, not about the TARDIS). The in-tray is somewhat heaving though at the moment and so I feel it’s time to give some time to more albums that are ‘On The Desk’…

First up and well overdue for a mention is La La Land’s release of Lisa Coleman and Wendy Melvoin’s music for the hit NBC drama Heroes. Now I am about to commit a cardinal sin and admit that the entire phenomenon has passed me by (yes, terrible I know). I understand it’s rather good… (understatement of the decade perhaps) It’s certainly popular and the series has made stars of its, well, stars, spawned a committed fan following, and a top selling soundtrack album to boot. While the hip ‘n trendy tracks add much (to the record companies wallets no doubt), it’s the contemporary licks of Coleman and Melvoin that give Heroes its real voice and musical identity. The album from La La Land appears at first to be somewhat thin on the ground – with just ten tracks – but the majority of the selections go way past the five and six minute mark. Yes it’s something of a suite frenzy, arranged by the composers to reflect each of the series’ main characters and ending with a couple of set piece moments – including ‘Kirby Plaza’ from the finale of Season One. So, as the composers’ state in their nicely personal sleeve notes, each character is given their own ‘overture’ of sorts. But don’t get me wrong, there are no grand gestures here, no big themes; instead a sort of chillout set which re-creates the atmosphere of the show. ‘Claire’ offers a glimpse of a main thematic on piano – and a good one at that – echoed in parts of ‘Sylar’, while both he and ‘Mohinder’ are painted with Satie-esque piano hues. The selection is of course awash with synthetic textures, some airy, some industrial and all very listenable in their own ways. Not a groundbreaking, ear-shattering, pulse-racing selection by any stretch of the imagination, though fans of the show are sure to lap it up.



Up next – and staying with La La Land Records – is John Murphy’s take on The Last House on the Left, the latest Hollywood Horror makeover from Rogue Pictures. Wes Craven’s 1972 original – indeed his directorial debut – paved the way for countless films that followed with its gritty ‘realism’. The impact, however, is somewhat diluted all these years later and the film represents probably one of the titles most in need of a re-hash. And so fast forward to 2009 and Dennis Iliadis takes the reigns on this suped-up, sexier version of the story, which sees a family holiday home invaded by a violent gang who find themselves suffering at the hands of the angry parents of their victims. It’s all rather unpleasant of course, but the score manages to rise above mere shock and spatter, instead offering a mature take on the emotions running high throughout. ‘Saving Mari’ and ‘Going to the Guest House’ offer typical horror tones and general unease, while the likes of ‘After the Assault’ and ‘The End’ see more tonal ideas, achieved with solo piano – particularly in the latter. Murphy is no stranger to the darker side of film, thanks to brilliant turns in 28 Days Later and its follow up 28 Weeks Later and with The Last House on the Left he applies subtle atmospherics to a largely orchestral score, creating a bristling balance of light and shadow offering far more than your average horror score.

As I’ve touched on before, composers often feel inclined to send me promotional material of their latest work and I was delighted to receive a couple of discs from British composer Jennie Muskett. Jennie is one of the UK’s little known shining lights, having provided highly imaginative scores for small documentaries, prime-time television series’ and glossy Hollywood films alike. She is well on the heels of current trends and strives to keep on top of technological developments – with that in mind you can always count on Jennie for an immediate sound, straddling the genres of contemporary digital music and traditional classical approaches. Most recently the composer delivered Compulsion, for the ITV film drama starring Ray Winstone and Parminda Nagra. It’s an atmospheric and at times darkly sensual score, featuring deliciously exotic colours and a well-honed contemporary edginess. I’m always impressed by Jennie’s music and am always left wanting more – I think there’s still a lot remaining for her to achieve and she has well and truly set herself up to become on of the UK’s major voices on screen.


Finally to one of MovieScore Media’s most colourful releases in a while, Darren Fung’s Just Buried. The film is a darkly comic look at funeral homes, as a young man inherits one such establishment only to find the young female mortician he falls in love with is doing away with the locals to keep the ailing business afloat. Taking its lead of course in many respects from the likes of Six Feet Under and Pushing Daisies - the lighter side of death has certainly been in vogue of late – the film is given life (ahem) thanks to a delightfully perky score by Darren Fung. Eclectic is something of a buzz word when it comes to this type of score, but it truly fits Just Buried as Fung has arranged a frisky melange of instrumentation to create a bustling musical accompaniment. Headed by piano, we’re well and truly in Thomas Newman territory in many respects, but more playfully so I feel. The scampering pizzicato, glockenspiel, strings and cimbalom that skip through the likes of ‘Vehicular Manslaughter’ are immediately likeable, and indeed infectious, while the pseudo-gothic classicism found in ‘Pickles Has The Stick’ are both tongue-in-cheek and brilliantly applied. The track titles alone here are enough to raise a smile – and an eyebrow perhaps – each perfectly exhibiting the type of film this is. Personal favourites are ‘I Dropped a Mini-Van On Him’ and ‘You Screwed My Dad!?!?’ – need I say more. Joking aside, both cues offer some of the more dramatic brassy moments on the disc - the latter seeing an amusing shift on the wedding march. This is a delightful score and no mistake – a real breath of fresh air for the ears.

Heroes (LLLCD1091) and The Last House on the Left (LLLCD1092) are both available from www.lalalandrecords.com, while Just Buried (MMS-09003) is available on CD via www.screenarchives.com and as a download from the usual platforms. For more information visit www.moviescoremedia.com.

If you’d like to know more about Jennie Muskett then take a look at her newly launched website where you can see and hear what she’s all about – www.jenniemuskett.com.

With thanks to Beth Krakower at Cinemedia, Mikael Carlsson at MovieScore Media and Jennie Muskett.

On The Desk

As a film music journalist and critic I do find all sorts of albums coming through the letterbox. With the prolonged – and indeed unforeseen - absence of Music from the Movies.com, my in-tray is somewhat full of discs I would normally set to work on reviewing for the MftM review column. With that in mind I have decided do devote the occasional blog to those delights – or otherwise – which I find ‘On the desk…’

This week I would like to shine a light on a handful of offerings which have been lingering a bit too long and which certainly need a mention. Ryan Shore is one of the last year’s most exciting discoveries and whilst his family credentials need no more introduction, he has proven himself to be a most versatile and exciting talent. We of course have MovieScore Media to thank for bringing his work to our ears; from the label’s digital release of Headspace sometime ago, through the likes of Numb, Jack Brooks: Monster Slayer and Shadows, the Swedish label – headed by former Music from the Movies Chief Correspondent Mikael Carlsson – has championed the young composer well and truly. It is the latter two titles that have sat in my tray for a number of weeks and each is a credit to Shore, both displaying his fine talents with an orchestra. And they couldn’t be more different in tone; Jack Brooks is a carnivorous symphonic work which sees the Slovak Symphony Orchestra chop away at a ballsy set of cues, each working to enhance the gung-ho and ever so slightly comic visuals. At times Shore the younger has the feel of his Uncle, albeit a little wilder, a little more crazed – evidenced in ‘Tentacles’ and ‘Kicking Ass’ (which he does, and well). With ‘Eve’s Situation’ – a standout cue – he brings about a sense of pure 80s orchestral pleasure, reminiscent of early Horner in many respects and mainly thanks to the bold brass, trigger-happy anvil percussion and undulating snare. It’s a wonderfully robust piece of work all in all, and is a shoo-in for the Best Score award at the forthcoming Fangoria Chainsaw Awards.

A pole apart is Shadows, which Shore scored for Macedonian director Milcho Manchevski last year. The film itself, about a man whose near-death experience sees him having to confront the meaning of his own life, was considered for nomination at this year’s Academy Awards in the ‘Best Foreign Film’ category. Musically it’s a mature, dramatic work featuring some beautiful vocal solos by Janita and wonderfully lyrical lines. The opening title cue sees a gorgeous, lilting woodwind solo over strings, while the score proper is full of mystery, some angst and a lot of beauty. The motional quality of ‘Appearances’ found me thinking of Desplat, with those harmonies running throughout and captivating entirely.

When you realise that Shore is first and foremost a dedicated Jazz musician and composer - with great talents at both – you get the sense that he is just an absolute all rounder and will be able to turn his hand to anything. These two scores alone say so much, with the more intimate vibes of Numb, Kettle of Fish and Coney Island Baby, not to mention his presence in the Streep/Thurman rom-com Prime (released by Varese Sarabande) only increasing the scope and variety of the early part of what is likely to be a very fruitful career in film music.

Composer Neal Acree has been plying away in Hollywood for a few years now, providing music for a handful of primetime fantasy series’ including the Joel Goldsmith vehicles Witchblade and the long-running Stargate adventures. Movie-wise, Neal has impressed with a variety of under-the-radar shockers and thrillers and is due a high-profile break on the big screen. His scores for Juncture, 7 Seconds and Method are prime examples of his talents and while they haven’t been made available on CD officially, I was very pleased to receive a selection of Neal’s own promotional discs to listen to. With Method, he is given a classic murder mystery to play with and provides music that supports not just the bloody aspects of the story (brilliantly displayed in ‘Murder for String Quartet and Orchestra’), but also the faint romance of the central character – an actress, played by Liz Hurley, who gets into her current role as a famous Murderess a little too exactly. With a familiar piano-led vibe, Acree creates a sense of romance and threat – reminiscent of Mark Snow, John Ottman and alike – but very listenable indeed. Juncture sees another strong female character at the forefront, and this time the composer adopts solo female vocals, alongside sampled piano to create an altogether unusual atmosphere, which is definitely the name of the game. Finally 7 Seconds finds a heightened rhythmic sense, samples, loops and guitar work – not entirely my cup of tea, but well achieved and exacting a definite contemporary hue with just a touch of sass.

Finally this week is Enlightenment Records release for Shamim Sharif’s romantic comedy drama I Can’t Think Straight. The film, which sees a young – soon-to-be-wed – Palestinian woman falling in love with a British Indian woman, did the rounds at this year’s London Lesbian & Gay Film Festival and has proven quite a popular title. The soundtrack is an eclectic set of tunes which touches on the vibes and cultures found in the film’s busy plot. Singer/songwriter Nadine Khouri features throughout the line-up, with the freespirited and very listenable sound offering the disc’s highlights. Composer Raiomond Mirza is responsible for the film’s original music and the majority of his cues (mostly songs in fact) feature solo artists, including Khouri, as well as Mena and Leonie Casanova. Casanova’s own track ‘Holy Daughter’ is another treat, with strong vocals and guitar, while Mirza’s only instrumental score offering (‘Love Theme’) fits in rather nicely with it’s sweetly mellow vibe. It’s very much a set-list of strong female vocalists though that make up the album, topped off perhaps by World Music star Natacha Atlas, who adds ‘Kidda’ and ‘Ghanwa Bossanova’ to the mix. A well chosen selection and certainly not your average soundtrack playlist; it ought to do well with fans of the film, of which there are an increasing number.


More ‘On The Desk’ coming soon...


For more information about MovieScore Media releases go to www.moviescoremedia.com, while you can find out more about Ryan Shore and Neal Acree at www.ryanshore.com and www.nealacree.com, respectively.

I Can’t Think Straight is available on DVD from May 4th, while the soundtrack album is available on CD from the usual places. Take a look at www.icantthinkstraight-themovie.com

With thanks to MovieScore Media, Republic Media and Neal Acree.