Randy Kerber (born September 25, 1958 in Encino, California) is a composer, orchestrator and keyboardist leading a prolific career in the world of cinema. In 1983 he also played on the album Morgane de toi by the French singer Renaud.
He was nominated for an Oscar in 1986 with Quincy Jones for the soundtrack to The Color Purple, and for the Grammy for his arrangement of the song Over The Rainbow by Barbara Streisand.
However, he has mostly played the keyboards on over 800 films, including Titanic, Forrest Gump and the first three Harry Potter films. He orchestrated more than forty films.
During his career, Randy Kerber worked with Michael Jackson, Julio Iglesias, Ricky Martin, Diana Ross, Marta Sanchez and Frank Sinatra.
To celebrate the release of Troy in 2 CD edition by Intrada (see our exclusive review here) we publish a archival interview in English of James Horner published in 2004 in the French magazine Cinéfonia. These are actually two interviews that we merged for this publication. Dive into the creation of Troy! Recall: The Words of James Horner is a series of articles intended to republish some twenty interviews Didier Leprêtre and Jean-Christophe Arlon conducted between 1997 and 2006 and published only in French in the magazines Dreams To Dream and its successor Cinéfonia. Unfortunately, the English-language audio tapes of the interviews
Todd-AO Scoring Stage, CBS Radford, Studio City. If you happen to carefully read the liner notes in your Horner albums, you must have noticed the name of this recording studio several times. The composer has indeed recorded more than forty scores there, or almost half his discography, from Swing Kids (1992) to Deep Impact (1998) and finally The Spiderwick Chronicles (2007). Let's go back to this historical place where the maestro's brilliant notes sounded in thousands. In the 1920s, producer Mack Sennett, owner of Keystone Studios, master of silent films and the man who famously launched Charlie Chaplin's career, moved his production
To coincide with the opening of our collaboration section, we wanted to focus on a profession that is rarely promoted: orchestrator. We had therefore the great pleasure of interviewing Jon Kull, who worked with James Horner on scores including Avatar and The Amazing Spider-Man. The delicacy of his answers sheds light on the creation of orchestrations in film music. How did you become an orchestrator in Hollywood? What is your background? After earning Bachelor's degrees in Composition and Piano Performance at the University of Colorado, I got into the Film Scoring Program at the University of Southern California. Along with being a
This post is also available in: French