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JAMES HORNER FILM MUSIC | July 27, 2017 |

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TODD-AO SCORING STAGE

Todd-AO (post production company) was established in 1953 for developing a big format presentation system associated to a wide and curved screen with multi-channel sound. It also provides services which are related to sound for motion pictures, and also television market  purpose… and in later years, the company focused mainly on providing sound services.
It povided full services in post-production sound for films and also television markets. The name ‘Todd-AO’ came from the widescreen film of their own company format that was originally founded to create and distribute. As this company changed into a post production sound company, mainly, it felt like home to a number of industry giants such as Robert “Buzz” Knudson in the 1970s and 1980s,  who worked at Todd-AO and had done award-winning work on projects which included ‘Empire of the Sun’, ‘Who Framed Roger Rabbit’, ‘E.T. The Extra-Terrestrial’, ‘1941’, ‘Close Encounters of the Third Kind’ and ‘The Exorcist’.

The Todd-AO Scoring Stage closed in 2007.

Source : Variety.com

image credit: © www.dankury.com

 

THE TODD-AO YEARS

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

JON KULL: "HONOR THE COMPOSER'S INTENT - MAKE SURE HIS MUSIC SOUNDS FABULOUS!"

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


 

 

 

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