Thursday, 9 January It’s 4:20 a.m. as I start this journal entry. Usually around this time of the morning, I like to be starting my workday. But in fact I’ve just finished up a song. It’s all due to the previously mentioned logistics forced upon my schedule by vacationing in this place. This morning, I…
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Tuesday, 7 January, Part 2 After re-scoring the Keating yesterday, I sent the whole thing along with the Tubular Bells score to my MD, and got a good response back. That’s what matters, really. A thumbs-up at this point in my career is more about the relief of saving me from rewrites than it is…
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Tuesday, 7 January, Part 1 I’ve been slack about my journal for the past two days, and finally catching up today. Well, I did finish the Ronan Keating song “When You Say Nothing At All” in one day on Sunday the 5th, but strangely it was a lot more of an effort than the awesome…
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Saturday, 4 January 2013 A very exciting day. It’s hard to complain about a day that starts good, flows well, and ends great. Today I decided to orchestrate Tubular Bells, and I made it all the way through 128 bars and 3.5 minutes. I was helped enormously in this by the semi-orchestral nature of the…
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Friday, 3 January 2013 – Collingwood, New Zealand Day 1 of work on the Mission Estate orchestration job. It’s good to be back to it again, though the circumstances are a little strange. It’s 4:50pm as I start this journal entry, leaning back from my little workdesk in a little cabin on the South Island…
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By early 1970, director Ken Russell had everything going for him. His third commercial feature film, “Women In Love,” was nominated for 6 Oscars, including a nod to him as Best Director, and scored Glenda Jackson her first Oscar for Best Actress. Meanwhile, “Song of Summer,” his biopic of the last years of composer Frederick…
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It’s all about perspective. The true telling of a life story is always from the outside looking in, even for an autobiography. The person telling his life story is the prime source for memories of what was once a different human being, seeing things through a telescope smudged with age and out-of-focus through distance. In…
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Recently I reviewed Ken Russell’s Elgar and The Debussy Film, which represent his first directorial efforts for BBC arts programming slots Monitor and Omnibus. Russell’s interests weren’t exclusive to composer biography. He followed up these early films with noteworthy retellings of the lives of artists in other disciplines, such as modern dance pioneer Isadora Duncan…
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This film is like a very very expensive home movie: directed by actor-turned director René Féret, and inhabited by his many children, including his daughter Marie in the title role. The focus is not on the prodigy of Wolfgang Mozart, whose music and personality appears as a mere side issue to the thrust of the…
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Hello, and welcome to my notebook! This review and those that follow are essentially a detailed set of notes to myself for the upcoming 5-part Radio New Zealand series: Composers on Camera. For 250 delicious minutes, I plan to discuss and dissect the narratives of films about composers – from golden-age cinema like “Song of…
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