CW3PR and ASCAP SCORE AGAIN AT COMIC-CON

TALENTED FILM, TV and VIDEO GAME MUSICIANS and SINGERS SHARE INSIGHT WITH EAGER FANS ON CREATING THE PERFECT SOUND

San Diego, CA (July 17, 2012) – Los Angeles PR firm CW3PR, partnered with the American Society of Composers, Authors & Publishers (ASCAP) treated music fans to a behind-the-music look at fan favorite video games, film and TV for a fourth consecutive year at mega pop-culture-convention Comic-Con. This time the team offered two panels, responding to fan demand from the previous years, and to acknowledge the ever-evolving music industry.

“We’re honored that our Music panels have become an annual staple at both WonderCon and Comic-Con, and each year we focus on a different aspect celebrating the art of composition, to keep it fresh and exciting,” said Charley Walters, founder and CEO of CW3PR. “This year we wanted to celebrate the successful trend of projects involving singer/composer collaborations, as well as the important growth of the video game music industry.  Many of our award-winning clients have made great strides working in interactive media, and it’s time their work was also recognized as part of the fan-popular gaming experience.”

The first panel on Thursday, July 12, Fan Favorite Projects Go Interactive focused on top franchises turned video games, and the music that helps carry their themes and players.  The panel was moderated with geeky wit by “Electric Playground’s” Jose Sanchez, and featured panelists Gordy Haab (“Star Wars: The Old Republic”); David Ari Leon (“Contre Jour”); Gerard Marino (“The Amazing Spiderman”); Kyle Newmaster (“Kinect: Star Wars”); and Jeremy Soule (“The Elder Scrolls V: Skyrim”).

The panelists discussed how Video Games have anywhere from two to four times the amount of music as feature films, which presents a unique challenge to composers.

“Films have an established timeline. Games’ timelines adjust to user play, and the music needs to respond and develop in the same way,” said Gordy Haab, who frequently collaborates with LucasArts.

“Video game music can be just as epic as in films,” said Kyle Newmaster, who recently collaborated with Haab on ‘Kinect: Star Wars’, and recorded that music with the London Symphony Orchestra. “You can bring that quality [of music] to games, too.”

Over 300 fans attended Thursday’s panel, and were left with anticipation over what’s next to come, musically and otherwise.

“The more energy you can give a game, and feed to the [player] the better off you are,” said David Ari Leon, who writes music for many popular mobile games. “This platform is here to stay… We have a wide open pallet, and it’s exciting,”

On Sunday, July 15, Behind the Music with CW3PR brought together film and TV’s most celebrated composers and singers from animation, period drama, comedy and drama. In front of a large, enthusiastic crowd, the Emmy-applauded “Phineas and Ferb” duo Dan Povenmire and Jeff “Swampy” Marsh played host, focusing on exploring the dynamic collaborations between composers and singers. The packed panel featured singer Laura Dickinson (“Phineas and Ferb”); Robert Duncan (“Castle”); iZLER (“Revenge”); Danny Jacob (“Phineas and Ferb”); Trevor Morris (“The Borgias”);  Michael Penn (“Girls”); singer Lisbeth Scott (“True Blood”) and industry veteran Marc Shaiman (“Smash”), who made his Comic-Con musical debut.

The composers also spoke about their favorite instruments to use when composing a scene.

Robert Duncan, who has collected a vast array of musical instruments, both old and new, talked about using them to create the perfect sound. “I have quite a large collection, and when people ask me if I know how to play all these instruments, I say ‘I like to forget that I don’t know how to play them.’”

“When it comes to underscore, it’s kind of cool, even when it’s classical music, to have a guitar in your hand,” said Danny Jacob. “But I also always love big background vocals. I’m always big on singers.”

But the recurring theme was the importance of collaboration with top-notch musicians to fully realize the composers’ vision.

Danny Jacob explained that he has long relied on musicians and singers to add that special kick “Phineas and Ferb” requires. To that end, Jacob collaborated with “Queen of Funk” and 10-time Grammy Award-winner Chaka Kahn, “American Idol’s” Clay Aiken, and legendary guitarist Slash, as well as Bette Midler, who has also collaborated with fellow panelist Marc Shaiman.

Trevor Morris, who recently returned from The Cordoba International Film Music Festival in Spain where he conducted his music live in-concert said, “I’m a big fan of what the human voice does. I always try to use a voice whenever I can in a score.”

Both panels concluded with Q&As where enraptured fans got straight to the point by asking, “So, how do I get your job?”

ABOUT CW3PR

CW3PR is a mold-breaking company founded in response to the growing and constantly evolving needs for Public Relations in our modern, connected world.  Embracing a wide variety of creative and corporate individuals and companies, the firm specializes in achieving positive results for their clients in places, events and demographics that expand well beyond their industry’s automatic focus.  The firm was founded in 2007 and recently named by Daily Variety as one of the top emerging PR firms in Los Angeles.  For more info please visit www.cw3pr.com

ABOUT ASCAP

The American Society of Composers, Authors and Publishers (ASCAP) is a membership association of more than 435,000 U.S. composers, songwriters, lyricists, and music publishers of every kind of music. Through agreements with affiliated international societies, ASCAP also represents hundreds of thousands of music creators worldwide. ASCAP is the only U.S. performing rights organization created and controlled by composers, songwriters and music publishers, with a Board of Directors elected by and from the membership.

ASCAP protects the rights of its members by licensing and distributing royalties for the non-dramatic public performances of their copyrighted works. ASCAP's licensees encompass all who want to perform copyrighted music publicly. ASCAP makes giving and obtaining permission to perform music simple for both creators and users of music.

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TV AND FILM’S TOP COMPOSERS AND SINGERS TO SPEAK AT “BEHIND THE MUSIC WITH CW3PR: PERFECT SOUND FOR TV& FILM” COMIC CON PANEL

WHAT: “Behind the Music with CW3PR: Perfect Sound for TV & Film” panel will highlight singer and composer collaborations essential to creating poignant and memorable music in TV and film. Panelists will discuss how these dynamic partnerships work, and how a singer’s voice can amplify an original score.

Attendees will receive exclusive giveaways and be the first to view (and hear) some surprise sneak peeks from upcoming projects. A fan-led Q&A will follow.

PANELISTS: Composers Robert Duncan (ABC’s “Castle,” "Last Resort” and“Missing”); Danny Jacob (Disney Channel’s“Phineas and Ferb,” Disney’s “Phineas and Ferb the Movie: Across the 2^nd Dimension” and Disney Channel’s “Lilo and Stitch”); Trevor Morris(Showtime’s“The Borgias,” “The Tudors,” and Relativity’s“Immortals”); singers Lisbeth Scott (HBO’s“True Blood,” 20^th Century Fox’s“Avatar” and Paramount Pictures’ “Iron Man 2”);and Laura Dickinson (Disney Channel’s “Phineas and Ferb,” “The Emperor’s New School” and Universal Pictures upcoming “Pitch Perfect”).

MODERATORS: Dan Povenmire and Jeff “Swampy” Marsh, creators of Disney’s “Phineas and Ferb.”

WHERE & WHEN: SUNDAY, JULY 15

Panel in the San Diego Convention Center Room 7AB from 3:00-4:00pm

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TOP COMPOSERS FROM TELEVISION’S HOTTEST SHOWS ENTHRALLED FANS AT “BEHIND THE MUSIC: COMPOSING FOR WONDERCON’S FAVORITE PROJECTS”

Award-winning music talents Nathan Barr, Jim Dooley, Robert Duncan, Mark Isham, Danny Jacob, David Ari Leon and Blake Neely Gave Large Audience Sneak Peaks Into Their Careers, Lives and Projects

Anaheim, CA (March 20, 2012) – In front of an enthusiastic crowd of television and music fans, actress Ellen Greene (“Pushing Daisies”, "Heroes" and Audrey in “Little Shop of Horrors”) dug into her job as moderator and happily grilled seven of Hollywood’s most esteemed film and television composers on Sunday at the  “Behind the Music: Composing for WonderCon’s Favorite Projects” panel at the Anaheim Convention Center.  The panel was well attended by more than 400 eagerCon-goers.

The panel kicked off with a reel of each of the composer's most memorable recently scored scenes, along with a nice surprise for all the panelists: each of their respective showrunners had recorded a special message of thanks to them each.  The musicians were thrilled to hear from “Missing” Executive Producer Gina Matthews; “Wilfred” Executive Producer David Zuckerman; “Phineas and Ferb” Executive Producers Dan Povenmire and Jeff ‘Swampy’ Marsh; “The Avengers: Earth’s Mightiest Heroes” Executive Producer Eric Rollman; “True Blood” Creator and Executive Producer Alan Ball; and “Once Upon a Time” Creators Edward Kitsis and Adam Horowitz. Kitsis said of composer Mark Isham’s work: If you’re a fan of ‘Once Upon a Time’ then you definitely have to be a fan of Mark because his music is definitely the heart of the show.”

Likewise, Greene showed her admiration for the composers who sat beside her in her introduction: “There are three original artists – the composer, the writer and the painter. They deserve their due, and people like me only interpret. They are the brave ones for nothing will happen until they begin to create.”

Tinged with humor, Greene quickly zeroed in on the composers' current projects and their day-to-day work schedules, about which Isham quipped: “My wife insists my recording studio be on our property. There are a lot of 2 a.m. days.”

David Ari Leon, composer of “The Avengers: Earth’s Mightiest Heroes” passionately described that his craft and his abilities to enhance a show through music gives him great pride. “Bringing the triumph of the will of a character is an honor,” he said.

When Greene asked when was the first time the panelists "handled their instruments," there was a pause and she hastily replied, “Oops, I phrased that wrong” inviting hoots and hollers from the audience. To save the situation, Danny Jacob said he picked up the guitar around the age of 12 and “fell in love with it.” Since then, he’s been on the musical path of live music, and composing, arranging, producing and performing much of the songs from “Phineas and Ferb.” Meanwhile, for “True Blood’s” Nathan Barr, he plays the cello, but also strives to learn new instruments to keep the music fresh. “As a musician, to keep things fresh as a composer, I like picking up different instruments. When I pick up an instrument I don’t know how to play and try to write a melody that’s going to take me down unexpected places.”

During the more serious rounds of questions, panelists went intotheir creative process when scoring for a scene. Robert Duncan of “Castle” and “Missing,” which premiered last Thursday on ABC, said on his best days, it simply flows. “Composing is like writing poetry.” Blake Neely, of “The Mentalist” noted, “All of us like to find what’s missing in a scene when scoring.” Composer Jim Dooley, who currently scores for “Wilfred” and wrote original music for “Pushing Daisies” added: "There's two different kinds of days I have, there's the experimental day where we're making instruments, collecting things, editing sounds, and trying to find them...And then there's the actual work day when I have to get stuff done because it's due in 2 days. I do it really regimentally because that's the only way I can keep focused.”

Perhaps the most anticipated part of the panel was finding out the composers’ next projects. “True Blood’s” Barr is scoring “The Wedding,” starring Robert De Niro, Amanda Seyfried, Katherine Heigl, Robin Williams, Susan Sarandon and Topher Grace. Dooley of “Wilfred,” said he was excited to be working on “Best Friends Forever” and Bryan Fuller’s “Hannibal,” while Neely announced he is scoring The CW’s “Arrow,” starring Stephen Amell of “Vampire Diaries” fame.

After the successful session, panelists and Greene met with fans.   CW3PR, COSTA COMMUNICATIONS and ASCAP hosted the panel. 

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Have you ever plugged your ears during a scary movie? Have you ever cried just before the break up scene? More times than not, it was the music that lead you there. If you have ever been lucky (or unlucky) enough to watch a movie, television, or cartoon scene without music, then you’ve noticed just how important a musical score is. No eye squints before the class jerk jumps out from behind a door. No idea that a shark is about to attack three men on a boat. No clue a green-faced witch is about to attack with her flying monkeys.

Musical scores set the emotional tone, and overall mood of a scene. As Robert Duncan commented, it allows you to “feel the story.” Some can even bring back the memory of a movie. Does anyone not recognize the themes to Halloween and Jaws? I was lucky enough to sit down with several leading composers of today’s movies and television, Christopher Young (Spider-Man 3, Ghost Rider), Danny Jacob (Phineas and Ferb), Helene Muddiman (Happy Feet 2), James Levine (Glee, The Closer, Damages), Robert Duncan (Castle, The Entitled), Edward Rogers (Warehouse 13), and Nathan Barr (True Blood).

I discovered the most common instruments the composers started on were guitar and keyboards, but Nathan Barr also played cello. Edward Rogers is most comfortable with “keys,” but finds if he stays on just keys, he keeps writing similar things. He said he has many instruments that he doesn’t play well, but will bang enough on them, from time to time, to figure out who he might hire to play the composition.

The stories of how they all started in the business ranged from attending school, booking gigs as a guitar player, spending as much time possible with other composers, and internships (working for free) just to gain experience. But no matter how you start, your passion, willing to learn, and giving up your ego are your best assets.

Danny Jacob recalled when he first heard from Disney. “Once I got even a little nibble from Disney, I made it my mission in life to just want them to never call anyone else.” He did whatever he had to do, going without sleep, anything to make the boss happy. “You gotta make your boss happy.” Robert Duncan continued, “I think composing survival 101, is putting your own vision aside to begin with.” He then quoted a mentor of his, Richard Bellis, as saying, “The last thing a director wants is a composer expressing himself all over his movie.”

I asked Nathan Barr if the music that carries through the seasons on True Blood was planned that way, or if it was an afterthought. He replied, “When True Blood was developed, the musical was developed in the first episode, the pilot, because that’s what Alan [Ball] wanted. So [seasons] 1, 2, and 3 are very similar. And now, season four is like very different because Alan wanted to do this big opening. Ever since we went to orchestra, that kinda sent the score heading in a different direction this season, a little bit. But its still got its unique sound.”



A colleague asked, “What is the hardest instrument to write for?” James Levine replied, “The human voice.” He continued, “You write for the music, then find the best guy to play it.” Hélène Muddiman hears the sound in her head, then figures out how to make an instrument make that sound. “What my job is, is to figure out how to make that sound into the strings. I don’t write a piece of music necessarily around what a harp is capable of. Which is what you’re always trying to push…trying to push the boundaries all the time.”

Pushing the boundaries is what gives us a multitude of soundtracks. Listen to three movies of the same genre and you will hear three very different compositions. They may all even be from the same composer. That’s what these people strive for in every project, a composition different from their last that doesn’t stand out from the movie or TV show, but enhances it.

When asked, “What puts you in your creative space?” Hélène quickly stated, “Fear…of a deadline. Knowing that I have to get it done by Friday and I’ll be procrastinating right up until the last minute…until the shit hits the fan. If you don’t give me a deadline, nothing will happen.”

At the beginning of this article, I asked if you’ve ever listened to a movie or show without the music playing, just the actors’ voices and a few sound effects. Now I want you to listen to that movie without watching it. I’m sure you will be just like me. Even though you don’t see the creature lurking under the bed, you will know exactly when it reaches out and grabs its victim. I bet you even jumped too. At that moment, thank the composer.

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