Film & TV

Drew will be responsible for overseeing the ASCAP Membership Creative Services staff in all musical genres and will also oversee the operations of the LA, New York and Nashville membership offices. The promotion was announced on May 21st by ASCAP CEO John LoFrumento.

ASCAP composer Michael Giacchino could have relied on Trekkie nostalgia for his score to Star Trek: Into Darkness. Instead, he did what he's always done: he wrote the right music for the story. Before the film's release, Giacchino told us how he did it.

The Great Gatsby enjoyed one of the year's biggest opening weekends at the box office so far. The Monday after Gatsby debuted in theaters, the Recording Academy and Warner Bros. Pictures co-presented a screening and panel discussion with ASCAP writer-producer Rick Nowels and music executives Darren Higman and Tony Seyler, all of whom contributed to the film's ambitious soundtrack.

On April 29th, Los Angeles Women in Music presented a panel on film and television music, featuring ASCAP composer Sharon Farber and ASCAP singer-songwriter Kari Kimmel, among others. The panel covered the difference between underscore and source music, the composer/director relationship, the music supervisor/director relationship and much more.

When director Baz Luhrmann decided to bring about his screen adaptation of F. Scott Fitzgerald's novel, The Great Gatsby, he turned to his longtime collaborator, ASCAP composer Craig Armstrong. ASCAP's Jeff Jernigan spoke with Armstrong about his involvement with the ambitious project.

For yet another year, our composers and songwriters dominated the nominations field for daytime TV’s highest honor. ASCAP members Jack Allocco, David Kurtz, Joey Mazzarino and Bill Sherman lead the pack with three nods each.

ASCAP's 2013 General Annual Membership Meeting was held on Thursday, April 18th at the Loews Hollywood Hotel in Los Angeles, CA. The meeting kicked off the 2013 ASCAP "I Create Music" EXPO, the annual three-day conference for music creators featuring educational and inspiring panels, networking opportunities and exhibits.

ASCAP composer Atli Örvarsson highlighted the all-star Evolution of Film & TV Music panel at this year's Newport Beach Film Festival. The award-winning composer of Hansel & Gretel: Witch Hunters and NBC's Chicago Fire is a graduate of the ASCAP TV & Film Scoring Workshop with Richard Bellis.

This past year, prolific STIM composer Johan Söderqvist continued his partnership with Danish director Susanne Bier on Love Is All You Need (out May 3rd) and soundtracked the Oscar-nominated adaptation of the high-seas adventure classic Kon-Tiki. Söderqvist phoned in from Sweden to tell us about them both.

The New York Foundation for the Arts (NYFA) inducted Oscar and Golden Globe-winning ASCAP composer Elliot Goldenthal into the NYFA Hall of Fame on Tuesday, April 23rd. Goldenthal is a prolific writer of music for orchestra, theater, opera, ballet and film.

While the afterglow of this year’s eighth annual ASCAP “I Create Music” EXPO still burns, here’s a look back at some of the highlights, from lessons learned to great photo and video moments from the heart of it all in Hollywood.

Terence Nance directed, produced, acted in and scored the genre-bending film An Oversimplification of Her Beauty, which opened April 26th in New York. We caught up with him about the movie and its score after the film's premiere at Sundance.

The Sundance Film Festival visited London for its second consecutive year, featuring a Music Café presented by ASCAP. Hosted at The Hub at The O2, the Sundance ASCAP Music Café included three days of programming from April 25th - 28th, featuring performances from Wolf Alice, Mary Epworth, Josef Salvat and more.

Hanan Townshend (APRA) is the New Zealand-born, Austin-based film composer behind the score to the new Terrence Malick film To the Wonder. Townshend reports on the unique creative process he went through to create the film's pensive musical backdrop.

Spanish composer Roque Baños (SGAE) had his work "cut out" for him when he got the job scoring Evil Dead, the sequel to the classic horror trilogy. Baños explains how he got the gig, and how he ended up freaking himself out during the scoring process.

The Hangout came two weeks before Trapanese’s scheduled appearance at the 8th annual ASCAP “I Create Music” EXPO. Select questions tweeted to @ASCAP using the hashtag #AskOblivion were addressed by Hangout participants.