A national association of professional music composers and producers for film, television and media

Cue Notes

Vol.6 No.1 Winter 2018

by Adrian Ellis

Copyright is a myth.

Performing Rights Organizations are a myth.

Human rights and justice are a myth.

Getting hot under the collar yet? Why am I making these seemingly outrageous statements?

The word myth originates from the Greek word mythos, and to them it had several meanings, including “narrative, speech, story, tale, and word” For centuries it actually referred to things which were regarded as “true”, and only recently took on the pejorative meaning of being a thing which is false or fictitious.

In his book Sapiens, author Yuval Noah Harari provides us with a different perspective on myths and how they shaped our world:

“Sapiens rule the world, because we are the only animal that can cooperate flexibly in large numbers. […] We cooperate effectively with strangers because we believe in things like gods, nations, money and human rights. Yet none of these things exists outside the stories that people invent and tell one another. “

According to Harari, not only do stories of creation and higher beings fall under the category of myth, but also entities like democracy, corporations, and Performing Rights Organizations. These things are not naturally occurring. They are products of our imagination, and exist only as long as we agree on the terms of their existence. If everyone were to stop believing in gravity, it would continue to function. But what if everyone stopped believing in an economic system? A crash, and eventual dissolution would be the inevitable result. It would cease to exist. Money has no inherent value; a $20 bill is simply a piece of paper or plastic with symbols printed on it. The only thing that gives it value is an agreement, a belief, or a story we tell about it. This illustrates the incredible power of narrative and storytelling in the world.

As media composers, we aren’t only contributing to fantastic fictions or helping breathe life into human dramas; stories literally are the stuff of our cultures and daily lives. We help to tell stories as a means of entertaining and informing, and in some cases, these stories can have a tremendous effect on the world, by providing perspectives and fostering new thoughts and inspiring action in the real world, from social justice issues to environmental protection.

This speaks to the part we play in creating or sustaining the systems we live and work in. Some people might be outraged at the suggestion that, for example, our justice and education systems, or our idea of Author’s Rights being a tenuous fiction. Personally, I find it incredibly liberating, because it suggests that we hold much more power than we believed to alter our world. It means that storytelling is of critical importance in shaping reality. But, as a certain web-slinging superhero’s uncle once said, “with great power comes great responsibility”. What happens if we fail to uphold and strengthen the myth of fair remuneration to authors for exploitation of their work? This is not a naturally occurring, unbreakable law. There’s nothing to say that any rights we currently enjoy cannot be stripped away from us.

There are powerful agents that weave compelling narratives, “counter-myths” if you will, about how copyright is anti-democratic, for example. Lobbying is nothing more than sitting around the campfire of the chiefs and telling tales in order to capture the imagination: “Content wants to be free! Protect the consumer! They will reward you with votes!”. So, where are our voices? Who tells our stories, and brings life to the myths which literally sustain us, and make our creative business possible?

The answer is simple: it is up to us. As Harari says, “We cooperate effectively with strangers because we believe in things…”. This idea of belief giving rise to cooperation, which in turn shapes the world around us, is critical. The SCGC is also a myth – a fiction that arose when a group of composers got together and said “We believe these things to be true”, and then acted in accordance with those beliefs. Your board and its executive, as well as the committees which do much of the heavy lifting, is strong but limited. We run on volunteer power, and are working composers like yourself who make the time to do what is necessary to protect and elevate the work and rights of media composers both in Canada and internationally. I urge you all to consider what your place in this is, and both as an individual, and in cooperation, continue to spread “the word”. What is our value, what are our values? What is sacred to us? What are the mythical battles we must face?

If you’d like to get more involved, we welcome you!

One way is to join a committee, and there are many that might suit your interests and strengths. Not only are they are great way to “give back”, but also connect you more deeply with your community.

If you’d like to know more, please reach out to our Managing Director, Tonya Dedrick at: tkdedrick@screencomposers.ca


by Ari Posner

“If I don’t introduce you,” I tell her as we enter the room, “it’s because I’m desperately trying to remember their name.” A task that’s become more challenging than I’d like as I approach the half century mark in age. Fortunately, bless her, my wife is ready to jump in at a moment’s notice.

It’s a Wednesday night, and we’re sitting at one of four tables reserved for CBC’s popular new drama “Anne”. Wait a second, how come I’m not at R.H. Thompson’s table??? Oh right, that’s where the producers sit. I’m a composer. (Fun fact: it was later in the evening explained to me that the R.H. stands for Richmond Hill.)

What are those three strange looking dips over there? I have no clue, but I’m starving so please pass all of them. The evening begins with a bang as R.H. takes home the gold for best supporting actor in a dramatic series. Now I really wish I were at his table … but either way, what a night this is going to be! Working with all the great people on “Anne” has been a remarkable experience and at this year’s Canadian Screen Awards, the show is being recognized with 13 nominations, hence the four tables.

Schmoozing was never one of my best subjects, but I’ve come to accept that over the years and have grown reasonably accustomed to making polite small talk over dinner. It becomes more difficult, mind you, as our four hopefully charged tables proceed to get knocked out in every other category. There’s no shame in this of course as the competition is fierce with shows like Alias Grace and Cardinal in the mix. This truly is the golden age of television. Fifty years from now people will look back at our time and say, “Wow, the world really lost its mind back then … but man the TV was good!”

Our fearless leaders Miranda de Pencier and Moira Walley-Beckett come around to visit our table, kind of like at a wedding, to thank the guests for coming. They are both excellent examples of poise under the dire circumstances and truly manage to raise our dashed spirits. I’m reminded that it’s an honour to be here … and that their table is quite a bit more glamorous than ours. (Had I been better at schmoozing, I too might have been a producer.) But the production paid for my seat, so I have no business complaining.

My favourite part of the evening is when Mark Ellis presents a posthumous award to Dennis McGrath, a wonderfully gifted writer that our community sadly lost last year. An actor and writer himself, Mark speaks beautifully about Dennis’ life and prolific body of work. Notably the most quiet point of the evening, it’s the unmistakable sound of everyone paying attention. Truly a moment. It’s also a humbling reminder of why we do what we do. We help tell stories, and without great words to deliver them, what do we have really?

Then, like most things in life, it ends just as quickly as it began in an unceremonious sort of way. On the way home, my wife asks me if I’m dissappointed. Of course I am just little bit, not so much for myself, but for the team. (OK, maybe it’s about 60/40 in favour of the team).

A week later, while on vacation, my brother-in-law texts me from back home to say that “Anne” just won best dramatic series at the televised CSAs. “Well how ‘bout dem apples” I text back. It would seem that the Academy voting process is also, much like life, quite unpredictable. I celebrate with a mojito and think about our four tables that fateful Wednesday night. Here’s to you team!



Mychael & Jeff Danna
SCGC member Mychael Danna has been awarded the 2018 Canadian Screen Award alongside co-composer Jeff Danna in the film category of Achievement in Music: Original Score for
“The Breadwinner”!

Jeff/ Mychael Danna (R)

“The Breadwinner is a film that makes the world a smaller place, a world where we have more in common than our differences. A personalized story of a family with the same small recognizable details to we in our families here that makes the specific challenges and struggles of being a young girl in Afghanistan something we can feel a strong sense of empathy for. We were honoured to be able to work with and feature the music of Afghan musicians, including a choir of young girls from the Afghanistan National Institute of Music, girls about the same age as Parwana, the young girl in the story. And we are honoured that our music has been nominated for a Canadian Screen Award!” ~ Jeff Danna and Mychael Danna

The writing duo also received a Canadian Screen Awards nomination in the television category of Best Original Music, Fiction for “Alias Grace”.

Phil Strong

Phil Strong (L), Thomas Hoy

SCGC member Phil Strong has been nominated for a 2018 Canadian Screen Award in the television category of Best Original Music, Non-Fiction for “Little India: Village of Dreams” alongside composer Thomas Hoy!


The SCGC caught up with Phil to find out more about the composing partnership

PS: We met at the 2015 SCGC Apprentice Mentor Program meet and greet! Darren Fung (the program coordinator) followed up and asked if any of the Apprentice candidates seemed a promising match – and I picked Thomas as someone with a warm personality and an adventuresome spirit as well as intriguing and varied interests. My practise is pretty varied and I thought Thomas was best suited to the range of things I undertake. We met and came to an agreement, and have since revisited that agreement a few times as our writing partnership has grown.

SCGC: Do you have any advice for new composer partnerships?

PS: Although we have plenty of overlap, Thomas and I have quite different specific skill sets. It seems other partnerships I have inquired about are similar in that way. It’s nice to have your own areas of specialty and contribution to the partnership, and working with someone with different skills expands the kind and quality of music that can be made – and I think it increases our reach and capability. It’s also invaluable to have another mind on the job and another voice besides the one echoing around in one’s own head!

What’s your favourite part of your job?

PS: It used to be more about the writing – but now I think it is working with Thomas and recording musicians! The music really comes alive when musicians are involved. I also have to say that these days, most of my clients are friends and it’s just great collaborating with them. It is an incredible feeling when they show excitement for the music we’re creating.

SCGC: When did you decide you wanted to be a composer? Was it a childhood dream or an accidental string of events?

PS: For me, it was a long term goal. I wrote music and played in bands as a kid. When it came time to select a school to go to, I picked a recording program thinking that I would be able to infiltrate the technological soundtrack world by becoming a studio engineer first to get a handle on the process of recording and start to collaborate with the people working in that realm. I thought it would take decades, but after graduating I got a studio job with Brock Fricker who put me to work learning the (then) brand new MIDI gear, producing and arranging for some of his musician clients and then writing music for various video projects. Ba bing!

SCGC: What’s the biggest challenge you’ve faced while working on a score?

PS: Tempitus! I had one project that seemed impossible to crack until I literally carbon-copied the temp music down to the exact tone of the electric guitar in a certain track. Once I had achieved this state of replication, the director was then able to gradually tolerate changes to those tracks and finally accept alternate ideas altogether. It ended up being satisfying and coherent in the end – but, a very rocky start. As an additional note, Mark Korven had originally been approached for this project. He decided not to take it on but recommended me and then advised me to quote double what I would normally charge for a similar project. Most surprisingly, they actually accepted my quote! And I earned every dollar.

SCGC: What does your dream job look like?

PS: A dream job is when I feel I am making a valuable contribution to an important project, meeting challenges, working with engaging and intelligent people, learning something new about the world, Improving my reach and my craft – and earning my keep. I am blessed to have been involved with many such projects.

SCGC: What’s one piece of advice you would like to pass on to new SCGC members?

PS: Stay out of debt. Always do your best work. Some projects do not pay for themselves, but other jobs makeup the difference, they all contribute to your career. Make it a positive contribution.

SCGC: Is there anything you would like to share about the project you’ve been nominated for?

PS: I have written a blog entry for director Nina Beveridge on composing the score for “Little India: Village of Dreams” –



Serge Côté

SCGC member Serge Côté has been nominated for a 2018 Canadian Screen Award in the television category of Best Original Music, Animation for “Jaxon and Song’s Maple Mystery”.

SCGC: What can you tell us about the process of scoring for this series?

SC: “Jaxon and Song’s Maple Mystery” is an animated 8 episodes mini series for CBC. I did not even know I was nominated because I had forgotten the producer had submitted an episode. I first found out when a director friend congratulated me via email!

This show came in and out so fast. I received the first episode in early June, and the whole series would be airing on July 1st. Yikes! The animation was going to be completed days before the deadline, so I had to score every episode using leica movies. Leica movies (or animatics) are basically hand drawn black and white storyboards moving with a dialog track. So the dialog drives the story, and hand drawn pictures of the storyboard are placed in sync with the dialog. It’s like scoring to an audio book, with moving stills. I actually like scoring to that format. It lets me imagine the look of the final animation. Somehow though, I am always a bit disappointed when I first see the final animation. It takes me a while to get used to it!

SCGC: When did you decide you wanted to be a composer? Was it a childhood dream or an accidental string of events?

SC: Actually, I sort of fell into it. I started out wanting to be a rock star ( i know…typical). But that was short lived. I was then writing and producing songs for local artists. And yes, one of them was Alanis Morrissette, for which I wrote and arranged 2 CDs under the MCA label (they went platinum, yay!). Anyway, it’s not until the mid-nineties that I started scoring for TV and film. My first TV series was Kevin Spencer, an animated sitcom series (definitely not for kids).

SCGC: What do you do when facing a creative block?

I don’t really have time to face a creative block. TV is a very deadline driven industry. If I’m not sure what to do, I’ll just write something… anything. Then I can work from there. Also, since I work from home, I take a lot of family breaks, walk the dog, drive to the grocery store, etc… I will hear something on the radio or a public place that will inspire me.

SCGC: What’s one piece of studio equipment you could not live without?

SC: I could not live without my computer and any keyboard controller. I am a big fan of keeping a work system small enough to be portable. This allows me to work at the cottage, work at home, or even during family trips (I know, get a life…). I just moved houses recently. Because construction was delayed, I was able to temporarily set up in a house rental using a camping table for months. It wasn’t ideal but I could keep working.

SCGC: What do you like best about your work as a composer?

SC: My favorite part of my job is to be in control of my creative flow. I like to be given music style parameters by directors and producers. This gives me the opportunity to create music in styles and variations I normally would not do on my own. It takes me out of my box, out of my comfort zone.

SCGC: What’s one piece of advice you would like to pass on to new SCGC members?

SC: Don’t work for free. Too many of us are eager to get any work when we start out. There are many many producers that will always abuse and take what ever they can for free or very little money. In my experience, the line “we’ll have more money for you on the next project” has never happened to me. Working for free or very little only devalues or craft and makes it difficult to establish a career as a composer. Producers know that our music is an important part of a film. That has value. We just have to be patient and better educate the ones who hire us.

SCGC: Best moment?

SC: A while back, I was writing a song for a commercial and my client said “You have the best job in the world”. I replied: “you know what, I guess I do, I really do”!

To find out more about Serge

my website – musicsergery.com – that’s where you’ll find credits and some samples
my soundcloud – https://soundcloud.com/musicsergery

that’s where I post some project songs, some are serious, but mostly a lot of goofy songs. I love comedy. Turns out I can get away with singing too 🙂

Michael Richard Plowman

SCGC member Michael Richard Plowman has been nominated for a 2018 Canadian Screen Award in the television category of Best Original Music, Non-Fiction for “Avenues of Escape”!

SCGC: What’s one piece of advice you would like to pass on to new SCGC members?

“It is all about the relationship! While I enjoy the never ending flow of new gear, and you can get lost in sounding great by yourself. [Film] music has become very similar mostly due the expectations of not only the industry, but the filmmakers, and the fact that we are all using the same gear and samples. I put most of my time into relationships and being myself. It’s all about the relationship and playing the long game. Being a good composer is expected from the filmmaker. They don’t hire you hoping you will do a great job, they expect it. So I leave that out if the equation. A coffee and and chat about anything but the industry will go much farther than sucking up to a filmmaker who you are already working with. They will appreciate the candour and sincerity.

SCGC: What do you do when facing a creative block?

MRP: I don’t believe in creative block. There is always creativity. Even the smallest amount can be a starting point. If there are times when I am having trouble. I step back from the gear and hum, sing, tap anything, something.

Never let your playing abilities or computer guide your creative abilities. You are the composer not the technology.

SCGC: What’s one piece of studio equipment you could not live without?

MRP: My headphones. I do most of my writing with headphones. It allows me to stay in the world that I am creating without distraction from waiting for my phone to ping, or the many other barrage of things that have no bearing on the music. Also the people around don’t have to listen to never ending repeat of a single building cue that I think is great but may drive them crazy.

SCGC: What’s your favourite part of your job?

MRP: I have been fortunate to work in Children’s animation quite a bit, and I love it when it makes me laugh – It helps me keep the momentum, and enjoy the moments that are tough!

To read more about Michael’s nominated score for “Avenues of Escape” visit:


For more information about Michael Richard Plowman visit: www.animationtunes.com


SCGC Member News


Compiled by Janal Bechthold


Screen Shot 2018-03-29 at 4.13.44 PM
Toronto Ravel Panel

Howard Shore is the 2018 Louis Applebaum Distinguished Visitor in Film Composition at the University of Toronto. He presented a Masterclass to the University’s Music faculty and Students and the film music community at large on Tuesday, March 6, 2018.

Derek Treffry, Adrian Ellis, Graeme Coleman, and John Welsman presented “Know the Deal: The Screen Composers Guild Business Toolkit” information session on the new SCGC model contract, negotiating, and endorsed rate card, March 3rd, 2018 in Vancouver. SOCAN’s Sara Pavilionis presented the new music cue sheet.

Caron Nightingale appeared as a guest panelist on the Utah Women in Film panel at the Sundance Film Festival.

Members Jake Butineau moderated and Peter Chapman was a special guest on the panel “Scoring For Videogames” at Toronto Ravel. John Herberman lead the orchestration study on Holst’s The Planet: Mars Bringer of War.

Darren Fung - TSO Canada Mosaic series

Darren Fung and Maxime Goulet were honoured by the Canadian Minister of Heritage, Melanié Joly, for contributions to the Toronto Symphony Orchestra’s Canada Mosaic series. The series is to be released on CD this year. Maxime Goulet was also honoured but not present at the event.

Janal Bechthold was selected to participate in the Canadian Music Centre’s 2018 EQ: Women in Electronic Music program. The program is facilitated by SCGC’s Rose Bolton.

Marvin Dolgay accepted the position of Co-Chair of the Music Creators North America advocacy alliance consisting of the Screen Composers Guild of Canada, Society of Composers and Lyricists, Songwriters Association of Canada, Songwriter’s Guild of America, The Council of Music Creators, and the Société Professionnelle des Auteurs et des Compositeurs du Québec (SPACQ).

Ari Posner appeared on the panel “Redefining Success in the Digital Market Place” at the Economic Club of Canada, Ottawa. The discussion focused on new economic challenges, and our perspective as AV composers on what’s known as the Value Gap.

Maxime Goulet - "Symphonie du jeu vidéo de Montreal"

Maxime Goulet appeared at the Montreal International Games Summit for a special screening of the Symphonie du jeu vidéo de Montréal’s recent concert featuring music from his score to “Roller Coaster Tycoon World” and “Warhammer 40,000: Eternal Crusade”, and Trevor Morris’ score for “Dragon Age: Inquisition”. Maxime Goulet is the designer and artistic director of the The Montreal Video Game Symphony. The screening was followed by a Q&A panel discussion.

Ari Wise, Graeme Coleman, Gary Koftinoff, and Mike Shields appeared on “They Shoot, We Score! – A Look Into The TV Producer-Composer Creative Process” panel session at the Whistler Film Festival.

Mychael Danna is on the ‘Film and TV Composition’ Jury Panel for the Music and Sound Awards 2018!

Darren Fung led a SOCAN Foundation Masterclass on Dec 5, 2017.

ORS Masterclass clinicians

Adrian Ellis, John Welsman, and Rob Carli joined director Don McBrearty as clinicians at the 2018 Orchestral Reading Session.

The ORS program is coordinated and lead by John Herberman.


Canadian Screen Awards:
Film – Achievement in Music – Original Score
Mychael Danna & Jeff Danna “The Breadwinner” *Winner

Ben Fox

Ben Fox “Never Steady, Never Still” – nominee
Best Original Music – Fiction

Todor Kobakov “Cardinal” *Winner

Amin Bhatia & Ari Posner “Anne: Remorse is the Poison of Life” – nominee

Amin Bhatia, Ari Posner “X-Company: Remembrance” – nominee
Mychael Danna and Jeff Danna “Alias Grace” – nominee
Best Original Music – Animation

Steffan Andrews “Cloudy With A Chance of Meatballs: Bacon Girl” *Winner

Serge Coté “Jaxon and Song’s Maple Mystery” – nominee

John Welsman - Where The Universe Sings

Best Original Music – Non-Fiction

John Welsman “Where the Universe Sings: The Spiritual Journey of Lawren Harris” – nominee
Michael Richard Plowman “Avenues of Escape” – nominee
Philip Strong, Thomas Hoy “Little India: Village of Dreams”



Berlinale – Berlin International Film Festival:
Tom Third “What Walla Wants”

Michelle Osis - "Fake Blood"

Blood in the Snow Horror Film Festival:
Janal Bechthold “Art of Obsession”
Adrian Ellis “Timebox”, “Red Spring”
Michelle Osis “Fake Blood”
Michelle Osis and David Arcus “Consume”

Canadian Film Festival:
Janal Bechthold “Martin’s Hagge”
Bruce Fowler “Becoming Burlesque”
Antonio Naranjo “Must Kill Karl”
Rebecca Everett, Spencer Creaghan, Chris Reinek “CPR”
Steve London “Love Jacked”
Casey Manierka-Quaille “The Things You Think I’m Thinking”
Michelle Osis “Friends on Facebook”

Cinema on the Bayou Film Festival:
Janal Bechthold “Art of Obsession”

Doc NYC:
Tom Third “6 Weeks to Mother’s Day”

Feel The Reel International Film Festival:
Ryner Stoezer “The One I Adore” *nominated for Best Original Score

Felipe Tellez - "Black Donnellys"

Hamilton International Film Festival:
Adrian Ellis “Timebox”
Felipe Tellez “Black Donnellys”
Sean James Boyer “Microplastics in The Great Lakes” and “Pinebox Fast”

IndieFilm TO Festival:
David Federman “In Utero”

Milton Film Festival:
David Federman “The Suitcase”

National Screen Institute Online Short Film Festival
David Federman “Esmeralda’s Castle”

Judith Gruber-Stitzer - "I Like Girls"
Judith Gruber-Stitzer - "I Like Girls"

Sundance Film Festival:
Judith Gruber-Stitzer “I Like Girls”

Top Shorts Online Film festival:
Russell Soares “Forever & Always” *awarded Best Score

Toronto Shorts International Film Festival
Janal Bechthold “Orchid”
Peter Chapman “Synthesize”

Whistler Film Festival
Spencer Creaghan “Nobody Famous”
Todor Kobakov “Cardinals”
Ari Posner “Tulipani – Love, Honour, and a Bicycle” with Jim McGrath
Michelle Osis “Juggernaut”
Women in Film and Television Vancouver Film Festival:
Janal Bechthold “Reel Women Seen”

Women’s International Film & Arts Festival NYC:
Janal Bechthold “Martin’s Hagge”


Janal Bechthold “The Vatican Deception” – select theatres

Ben Fox- "Never Steady Never Still"

Ben Fox “Never Steady, Never Still”
Evan MacDonald “That Never Happened: Canada’s First National Internment Operations” – Hot Docs Cinema
Michelle Osis “Juggernaut” – select theatres
Erica Procunier “Don’t Talk To Irene” – US theatrical release and VOD


Lesley Barber “Irreplaceable You” – Netflix Original
Sean James Boyer “Paranormal Survivor” Season 4 – Travel & Escape
Sean James Boyer “Brojects: Built for the Weekend” – Cottage Life
Peter Chapman (co-composed with Maylee Todd) “Working Moms” Season 2 – CBC
Rob Duncan “Timeless” – NBC
Greg Fisher and Derek Treffry “Mother Nature is Trying To Kill You” – Discovery
Todor Kobakov “Cardinals” – CTV
Trevor Morris “Vikings” Season 5

Erica Procunier- "Little Dog"
Tom Third - "Shoot the Messenger"

Erica Procunier “Little Dog” – CBC
Erica Procunier “Sesame Street: H is for Holiday”
Tom Third “Shoot the Messenger” – WGN TV (USA)


Victor Davies - "The Ecstasy of Rita Joe"
Jake Buttineau - GameMusicPod podcast

Adrian Ellis “Taken Too Far” released on cable VOD & digital platforms including iTunes, Google Play, Xbox, Shaw & MTS

Michelle Osis recently released the soundtrack for feature film “Juggernaut”. Available on digital platforms

The National Film Board of Canada released “I Like Girls” the animated short film scored by Judith Gruber-Stitzer on their digital platform

Jonathan Kawchuck released his debut album “North” on Paperbag Records.

Sarah Slean composed the song for the season finale of “Cardinals” on CTV

Janal Bechthold and Donald Quan’s feature documentary “Gods in Shackles“ has been released on Ecostreamz.

The World Premiere of the new opera “The Ecstasy of Rita Joe” by Victor Davies is being presented by Voicebox: Opera in Concert at the St Lawrence Centre for the Arts on March 24th.

Scott MacMillan presented a live performance of “Currents of Sable Island” at the Toronto Canadian Music Centre. He was at the CMC launching his latest album of the same name. It won the 2017 East Coast Music Award classical composition of the year and tied for the 2017 Music Nova Scotia Classical Recording of the Year.

Jake Butineau has launched @GameMusicPod, a music podcast discussing the art of scoring for video games (next one) Jesse Zubot “Indian Horse” release


Editor’s Pick
with thanks to the Society of Composers & Lyricists)


Oscar Winner Michel Legrand Scores Orson Welles’ Final Film
Legrand, 86, has been secretly working on the film since December. Orchestral recording began on Monday in Belgium and will continue with a jazz ensemble later this week in Paris.

Oscar Winner Michel Legrand Scores Orson Welles’ Final Film (EXCLUSIVE)

On Leonard Bernstein’s Centennial, Daughter Jamie Reflects on the Composer’s Legacy & Their ‘Raucous’ Household
Born Aug. 25, 1918, in Lawrence, Mass., to Ukrainian Jewish parents, Leonard Bernstein would grow up to be one of the most successful and influential composer-conductor-pianists of the 21st century. He set new high-water marks in musical theater with On the Town and West Side Story, composed operas, ballets and symphonies, and became one of the New York Philharmonic’s most celebrated music directors.


Facebook inks pan-European licensing deals with Wixen, Sacem and Socan

The multi-year agreements, all handled by Sacem on behalf of the trio, cover more than 180 territories across Facebook, Instagram, Messenger and Oculus, and will enable users to create and share videos including music from Sacem, Wixen and SOCAN’s repertoire.


YouTube Is Going to Repeatedly Stuff Ads In Your Face Until You Pay

Last week in a keynote at SXSW, Lyor Cohen, YouTube’s Global of Head of Music, confirmed that the video platform would launch a new music service. Code-named ‘Remix,’ multiple reports had placed the launch of Google’s (3rd) subscription-based music platform launch in early March.

YouTube Is Going to Repeatedly Stuff Ads In Your Face Until You Pay

SXSW Offers Clues on Apple’s Original Content Strategy

At SXSW last week, Apple’s SVP of Internet Software and Services, Eddy Cue, gave a few hints on where Apple is going with its original content strategy. While what he said didn’t particularly stun the ballroom of attendees at the annual film, music, and tech festival in Austin, it did offer clues to where the traditionally tight-lipped company may be headed.

SXSW Offers Clues on Apple’s Original Content Strategy

Netflix and Spotify Aren’t Reducing Piracy, Study Finds. ‘Piracy Is Higher Than Ever…’

According to just-released data, music piracy increased during the first six months of 2017, with brand-new annual highs recorded. In fact, piracy — across all formats, including music, TV, film, gaming, and books — keeps climbing.


Will the spirit of American cinema become extinct?

A recent study from the Internet research firm Sandvine found that an estimated 7 million North American households now have a piracy device, earning criminals about $840 million per year. And this is nothing compared to the billions lost when the device users stop paying for legitimate access.


Industry Insights: The top production music tracks and styles for 2018

We recently had a chance to speak with some of the leaders in production music about the current trends and styles broadcasters are looking for.

Industry Insights: The top production music tracks and styles for 2018


We welcome your suggestions for story ideas!

Email the Guild: info@screencomposers.ca

Cue Notes:
Craig McConnell
: Editor
Nicholas Stirling: Layout, Web
Admin: Tonya Dedrick

“Taking Possession” is screening at the International Short Film Festival SHORT FORM, in Serbia! Congrats @federmusik! #composer @TakPo_1883

@SCREENCOMPOSERS • about 2 hours ago

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