Showing posts with label Nathan Barr. Show all posts

Sleepy Hollow S2E7 - "Deliverance" Recap


Katrina dreams of being in bed with Ichabod until it turns to a nightmare and she wakes in pain, still feverish after Henry infected her with that spider.

Ichabod complains to Abbie about the midterm elections and how things were better before. She calls him out for the fact that she wouldn't have been able to vote in ye olden colonial times and throws in a sly reminder that she is paying for all of his expenses. Ichabod further gets in trouble for trying to sway Abbie's votes.

Abraham is concerned for Katrina's health and assures her that he is not the cause of it. Henry arrives with some henchmen to take Katrina away. Henry tells Abraham that he is there at Moloch's command and Moloch has a new purpose for her. They move to take Katrina away and Abraham pleads to speak to Moloch himself. Katrina pleads for Abraham's help but when he tries to help her, Henry slows him down by opening a window and exposing him to the sun. He gets back and tries to help again by throwing an axe at one of the henchmen but Henry stops him again. Katrina is able to fight off a henchman and get away, heading to a gas station where a man asks if she is alright.

Abbie gives Ichabod an I Voted sticker, which makes him feel a bit better. Reyes shows up and Ichabod notes that Abbie has been excluded from her plans as of late. Some other officers arrive and tell Ichabod and Abbie that a red-headed Jane Doe was brought to a hospital. They head there and find her in a bed with a fever and an infection. Katrina wakes and tells them what has happened and begins screaming in pain. They examine her stomach and find black veins spreading fast across her skin.

The nurses have taken Katrina's clothes so they steal some skinny jeans and a corset and the show sexualises the absolute hell out of Katrina. Ichabod and Katrina head back to the lair while Abbie says she will tail the henchmen that have just arrived at the hospital.

Katrina talks about seeing something with the head of a goat. Ichabod realises this is the symbol of the Hellfire Club, a batch of evil scientists that were routing for evil in the Revolutionary War. Ichabod becomes alarmed to learn of Headless being "Abraham" and Katrina's conversing with him. Ichabod still doubts Katrina because of all her secrets, though she says she isn't keeping anything else from him. Right.

Abbie has followed the henchmen to a warehouse and sneaks inside after them, snapping some photos of the inside, a tablet, and almost getting caught when she bumps into a cadaver. She snaps some more photos before sneaking out and relays her findings to Ichabod and Katrina. The markings on the cadaver matched Katrina's markings now. Ichabod reads about this condition and finds that Katrina is pregnant and has 10-12 hours to live from the time she was first infected.

Ichabod figures out that the poison Henry obtained is the source of this pregnancy and hypothesise that a demon is growing inside Katrina. The warning hex Katrina had performed flares up, indicating that Henry and his men are on their way. The group escapes into the tunnels and end up in St Henry's Parrish. Katrina thinks they should get in touch with Henry, believing he can and could be the one the remove the demon. She blames Moloch for this evil and is insistent that they can save Henry. Ichabod admits he hasn't lost all faith and Abbie tells them they're making the wrong decision and they shouldn't let their feelings get involved. Ichabod admits the odds are stacked against them and that Henry is their only option.

Ichabod has Irving call Henry so the two of them can talk at the hospital. Abbie is still with Katrina, who screams out in pain as her belly begins to grow to a swollen pregnant size. In both places, the parties figure out that it's no mere demon growing inside of Henry but Moloch himself. Katrina proposes killing herself, since Moloch will not be able to rise if his vessel is dead. Abbie tells her they will find another way. Ichabod tries to appeal to Henry and offers him the opportunity to come back to them but Henry chooses Moloch. As Henry is leaving, Ichabod touches him and gets a vision of Henry as a child, running through the woods and screaming for help.

Ichabod returns to the church where Katrina tells him to have faith and not give up on their son. Abbie looks over a photo of the tablet the Hellfire Club had and Ichabod notes how the distortion resemble the northern lights. He recalls a paper in which Benjamin Franklin proposed that the lights could banish demons. Further research and a cracked code reveals that there is a stone inside the tablet that if held up to the sun and beamed onto Katrina could banish Moloch.

Abbie and Ichabod realise they need an army to get back into that warehouse so Abbie comes up with the idea to go to Reyes with their information and spin it as a doomsday cult. Ichabod provided "consultation" because of its historical origins. Since the cult are in possession of illegal firearms and perform horrific torture, they will be worth apprehending. The team goes in and a shootout ensues while Abbie and Ichabod head back to steal the tablet. Ichabod needs to crack a passcode while Abbie unleashes her inner badass to cover his back. He can't crack it until Abbie tells him to try "666." Ichabod and Abbie are about to leave but first Reyes tells Abbie that she sees why Corbin always spoke so highly of her. She also tells Ichabod to be in touch.

Katrina communicates to Ichabod over the walkie-talkie he left her to say that Moloch is coming. Abbie is left to play Mammy and it's ghastly to watch, while Ichabod at the last minute gets to play hero by smashing the tablet, getting the stone, cracking a window, and shining the light onto Katrina, thus preventing Moloch from being born into this world. Katrina isn't breathing so Ichabod performs CPR and Katrina comes back to life. Abbie heads outside to give them some time alone.

Ichabod comes out to see Abbie after Katrina falls asleep. He says that he feels joy he hasn't felt in an age but Abbie and him both agree that this was too close of a call. Abraham will stop at nothing to get Katrina back. Ichabod still thinks he can reach Henry, after having that vision of Henry as a child, and Abbie doesn't think this is a good idea but for now, can't seem to convince him otherwise. She offers up a fist-bump, which Ichabod blows up. He's learning, people!

A storm is brewing and lighting strikes a chord connected to a jar, causing a red light and black smoke to form inside it. Henry watches and smiles.

Sleepy Hollow airs on Mondays on FOX at 9PM.

Wonder Con Composer Panel‏

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. 


COMIC CON 2011: Behind the Music with CW3PR: Composing Horror to Animation and Everything in Between Panel




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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