Post Magazine

August 2012

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Bits & Pieces S Geoff Zanelli (www. was chal- lenged with composing the score for The Odd Life of Timothy Green, which opened in theaters on August 15. Zanelli, who has worked from com- poser Hans Zimmer's Remote Control facility since 1994, described the soundtrack as organic — no surprise considering the film's storyline. He created nearly an hour of original music for Jeff Zanelli created almost one hour of original music for the film. The Odd Life's soundtrack ANTA MONICA — Disney's latest live action film The Odd Life of Timothy Green centers on a young couple struggling with infertility. In frustration, they bury a box in their backyard, listing all of the traits they could hope for in a child. To their surprise, their dreams are answered when a young boy arrives the next day, covered in mud having sprouted up from the soil. allows for writing and recording, making use of Logic for sequencing and the facility's exclusive sample library and triggering system, dubbed SAM. "When I first started, I thought it was a very human and organic story," Zanelli recalls. "I wanted to feel the fingers of the musicians — like on the guitars, where fingers were creating a sound." International News Keith Massey named GTC chair G WYNEDD, UK — The Guild of Tele- vision Cameramen ( uk) has elected Keith Massey as its chair. A recipient of the Royal Television Society Lifetime Achievement Award in 2010, Massey is an experienced cameraman based in Yorkshire. He has accepted the post for a two-year tenure, succeeding Graeme McAlpine, who has led the GTC during an active period of expansion. Co- vice chairs Dudley Darby and James Fulcher were also appointed. Massey's career as a director of photog- raphy and lighting cameraman dates back to the 1960s, and since 1970, he has worked on a freelance basis in news, docu- mentary and drama, receiving RTS awards in all of these fields. His goal in his new positions is "to encourage excellence in all fields. "Mediocrity is not an option for people operating as the eyes and ears of large television audiences. I would like to see the GTC being more assertive in pro- tecting quality. I will endeavor to bring strong positive leadership to the GTC along with my colleagues on council." the film, represented in 30 cues. Most run one to two minutes in length. A few span five to seven minutes. Just one is shorter than :30. "Every note is me," he says of the writing. In the beginning, he had just a script for reference, which allowed him to create abstract themes to present to director Peter Hedges. While most of the approved themes would have to be re-written to match the timing of the edit, one piece made its way into the film virtually untouched. The second piece that Zanelli wrote plays almost intact at the open of the movie. He had to add an elegant ending to complete the original piece. Zanelli describes three specific themes that can be heard throughout the film. The young boy, Timothy, played by CJ Adams, has his own theme. The second theme he describes as "The Light Goes On," which reflects the moods of the parents, played by Jennifer Garner and Joel Edgerton. The third main theme Zanelli calls, "A Girl Called Joanie," which supports the young girl who takes an interest in Timothy. Zanelli did much of the writing at home using a pencil and his piano. His space at Remote Control 4 Post • August 2012 For the guitars, he used Millennia mics and pre- amps, and explored different mic'ing techniques to capture the instrument in a flattering manner that highlighted the human element without making it sound too harsh. All of his mock-up tracks were ultimately re-record- ed with live musicians. "This film was so much about keeping the human element in score," he notes. The recording sessions took place over three sev- en-hour days at the Warner scoring stage and Remote Control. Approximately one-third of the score was recorded using a large orchestra. The other two-thirds made use of a smaller octet, comprised of violins, a viola, a cello and a bass. "It was a bit luxurious for what we had to record," he says of the timeframe. "We would not have bene- fited from a fourth day." Zanelli even contributed some light vocals, as did a female vocalist. At press time, he was finalizing work on his own home studio in Woodland Hills, CA, which will have identical technology to his space at Remote Con- trol, minus that SAM access.. By Marc Loftus FotoKem's Keep Me Post- ed (www.kmp- has named veteran VFX supervisor Peter Vazquez to spearhead the expansion of the company's visual effects services. Vazquez's experi- ence in VFX cinematography and supervision includes work for television, commercials, fea- tures, main titles and themed entertainment. In his new role, he will oversee the effects pipeline and deliverables, extending KMP's one-stop shop services. CORRECTION The London aerial image that appeared in the July issue's "Using Stock" feature should be credited to ©Sky Eye Aerial Photography Ltd.

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