I don’t usually write about Film Music. With very few exceptions, I don’t really have a great deal of time for the musical travesties perpetrated on the unsuspecting public by Hollywood executives and their ridiculous penchant for ‘sound design’ scores. This is, however, not a diatribe against some of the most gifted composers I know; some of whom, also happen to make their living from working in the so-called ‘Hollywood Film Music’ business. My Week with Marilyn is one such case. Continue Reading →
I’ve decided to re-write my initial comments on Ben Cameron’s presentation for TED in 2010. Upon further reflection having previously referred to Cameron’s short lecture as a ‘doomsday bonhomie’ approach to the subject matter, the basic premise behind his super-charged rhetoric is both sound and, remains, very disturbing. Keep in mind that this presentation is nearly two years old (Calgary, Feb. 2010) and the situation in respect to the viability of the performing arts is now more dire than ever.
I have several posts in draft status at the moment both on this web site and for The Mapmaker’s Opera project. Stay tuned for my analysis of thoughts given in a radio interview recently by Edelman’s own Steve Rubel and his glimpse into the future of Transmedia and Digital Storytelling. Fascinating.
Reading an article in the Fall 2011 edition of Opera America, written by John Conklin: the eminent American Stage Designer and recipient of the NEA Opera Honour in 2011, I was struck by a comment made by Mr. Conklin that initially I thought was rather dubious in the face of generally far-reaching insight. Continue Reading →