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May 20th, 2018 by Cherry

The 2018 International Space Development Conference welcomes the stars and producers of ‘The Expanse’ to discuss the science of the series. The Expanse is a series that takes place in the future where mankind has conquered our solar system and spread but we learn we aren’t the only intelligent lifeforms after discovering the protomolocule. The series is a mix of humanity, special effects and the use of the true concepts of science and physics. It’s why it’s exciting that they are appearing at the West Coast gathering of the world’s greatest scientist, engineers, astronauts, and space entrepreneurs who have been inspired by science fiction greats from Star Trek to Star Wars to Doctor Who to Battlestar Galactica and future innovators will include The Expanse on that list. SYFY channel did not renew the series but passionate fans have launched a renew The Expanse campaign and have appealed to Amazon Video, Netflix, Hulu, and the Networks.

This year Jeff Bezos will be accepting the Gerard K. O’Neill Memorial Award for Space Settlement Advocacy at the 2018 ISDC hopefully they will cross paths and Mr. Bezos will choose to add The Expanse to the Amazon Prime lineup. The Expanse fandom is looking at numerous streaming platforms to renew the science fiction series with a 100% approval on Rotten Tomatoes the SyFy #1 series is still seeking a new home in our galaxy! If you want to attend the conference or the panel details are below.

The Science of the Expanse panel moderated by Kyle Hill is at 5PM with Naren Shankar, (Showrunner/Creator), Cas Anvar (Alex Kamal), Wes Chatham (Amos Burton), Steven Strait (Jim Holden), Shohreh Aghadashloo (Chrisjen Avasarala), and Cara Gee (Drummer) if you haven’t seen The Expanse (SyFy Network). The series is set in a future which finds the solar system is populated and prospering. The writing team on The Expanse works hard to keep special effects and concepts true to science and physics whenever possible. Cas Anvar, who plays starship pilot Alex Kamal, will join fellow cast members to discuss the science of the show.

Register to attend the conference 

If you would like to attend the panel only you can email Aggie Kobrin, National Space Society aggie@cecglobalevents.com 

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May 12th, 2018 by Gigi Teen Geek

By Gigi

I had the wonderful opportunity to attend the Bob’s Burger table read of “Long Time Listener, First Time Bob” at the North Hollywood Studio on Friday, May 11th. It was my first table read, so I was very excited and it was also my first time at Bob’s Burgers studio office! After the entertaining reading with H. Jon Benjamin (Bob Belcher), Kristen Schaal (Louise Belcher), Dan Mintz (Tina Belcher), John Roberts (Linda Belcher), Loren Bouchard (creator), and guest stars Ron Fuches (Patrick), Nick Offerman (Clem) and Rob Huebel (Vance). I was able to have a one-on-one conversation with Jim Dauterive, writer and developer of Bob’s Burgers. During the interview, we discussed the process of creating an animated show for Fox.

Originally, when Jim came to Hollywood, he had no ambitions of becoming a writer for animation. He wanted to write for films, but the opportunity to presented itself when he wrote some spec scripts for a few television shows. By 1996, he was hired for King of the Hill to bring a more realistic portrayal of Texans in the series. Jim treated writing King of the Hill as writing for a live action scripted series, which wasn’t hard for him to do since it’s such a naturalistic setting. In that way Bob’s Burgers is similar to King of the Hill. Both shows are pretty realistic, discounting the occasional fantasy scenes. The Bob’s Burgers character work in a restaurant and they have natural, organic dialogue. Jim even jokes that Texans call King of the Hill a documentary. Fox has used The Simpsons as the seed to grow the animated series with teaming up experienced staff with new creative talent. Simpsons as an established series is a template for their other animated series. They take an established Fox series showrunner and pair with a new talented creator to establish a winning team who can navigate the business of TV while allowing them free reign to make a unique show that fits the lineup. That’s how Jim and Lorne teamed up after Fox ordered Bob’s Burger. For Family Guy, David Zuckerman of King of the Hill was paired with Seth Macfarlane. Even before the start of Fox animations, The Simpsons showrunner Matt Groening was paired with James Brooks and Sam Simon.

It takes about nine months after the table read for the animators to finish an episode and have it ready to be viewed on air. Sometimes they will save five or six episodes that will air the next season. Jim said there is no linear schedule they follow, but they do make holiday episodes like the Halloween episode “The Wolf of Wharf Street” follow a schedule. The most recent Bob’s Burgers episode, “Boywatch”, was written a year and a half ago, but Jim wanted to wait until it was summertime-ish to air it. There is truly no strict order they follow when it comes to releasing episodes.

For “Long Time Listener, First Time Bob”, Scott Jacobson pitched the idea, and Loren approved it. The episode idea then goes through the writers who will help Scott structure the story. Scott will make an outline that must be approved, and once it was approved he wrote the script. Then following Loren’s notes, the writers will edit the script. The final script rewrites always occur the night before the table read. According to Jim, the voice actors will be recorded Wednesday, and the animators will listen in to see how the animations will work in the episode. This process is obviously long and very collaborative, so episodes are not finished until they are about to be aired.

Jim describes the show as a family environment, where for the most part the staff have been together since the beginning. The writers are always in a great mood, and their work environment is very conducive to doing a great show. It shows in the quality and tone of the show. The lightheartedness and positivity in each episode is a also a reflection of the work room. I believe that has contributed to the longevity of this show, and I’m excited to see what they plan to do next season.

Comment your favorite Bob’s Burgers episode below!

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May 5th, 2018 by Cherry

**SPOILERS***

I had to write a brief review about season 5 of the 100 (the CW) after joining the Afterbuzztv panel. Eden and Red Queen are the framework with a time jump of six years, shocking death of a ‘beloved’ character AND meeting new sky people. Taylor Gates, Sayrie and myself round out the all new panel.

The CW Writers Room has me shook with the aftermath of Praimfaya and trouble in the bunker. Who would’t go a little crazy with the barren wasteland, no food and being alone for years? Clarke well she’s Clarke always trying to find someone to rescue but did she REALLY have to kill the buzzard that led her to Eden (that was a jerk move girl). I found her equally pragmatic mini-me a great addition for her. She’s a independent wild child who (rightly so) fears random stranger and has to protect herself. Clarke being wounded (less of a threat) the only way the half wildling would ever get close enough to eventually become a family unit. I especially liked the cross over of the two episodes with Clarke trying to get in and the bunker dwellers realizing they were trapped. It set up the tribes going to war for limited resources and the sky people (as usual) feeling superior. I did like that Octavia likely will include Niylah in her inner circle because that woman knows marketing! I had wondered if Jaha was going to survive the bunker and it turns out .. not so much. I was shocked that he died but rather you liked Jaha or not he has ALWAYS been concerned with humanity’s survival so he went out educating Octavia about the hard choices leaders have to make over life and death.

I was beyond impressed with the two episodes and getting to know the new sky people. I’m curious when everyone will be back on Earth, what will happen to the crew when they go to the prison ship, and how they will get out of the bunker! I’ll be watching every Tuesday and make sure you watch our Afterbuzztv Panel on Tuesdays (we are at 11PM but will move to 10PM in a few weeks)!

 

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April 25th, 2018 by Cherry
This year Whedoncon welcomes Sean Maher (Firefly, Serenity, Much Ado About Nothing) as this years guest of honor. The third annual celebration is from May 18 – 20, 2018 at the Warner Center Marriott in Los Angeles, CA. It’s a intimate
convention by design that is a fanboy/fangirl celebration of Joss Whedon creations from Buffy, Angel, Firefly, Marvel’s Avengers and Agents of S.H.I.E.L.D., Dollhouse to Dr. Horrible’s Sing-Along Blog, and more. During the two day celebration of

Whedon Fandom have fun with contests and panels, meet & greets, receptions and evening parties with talent, vendors room, panels & workshops, stunts and writers

and artists, tabletop gaming, and more. I’m very excited that Sean Maher, James Masters, James Leary, Logan Lubera, Thomas Parham, and Shawna Trpcic are among the special guests attending. See the current list of of social events whedoncon.com/special-events and will be updated with new events! You can learn more about the upcoming event and details at WhedonCon.com

WhedonCon is organized by the same team which hosts the Buffy Musical during San Diego Comic Con, the Dr. Horrible Sing-Along during WonderCon/Anaheim, and the Dr. Horrible Halloween events in Los Angeles. This year’s event marks the 21th anniversary of Buffy the Vampire Slayer and the 16th anniversary of Firefly by raising funds for two amazing organizations dedicated to helping local children.
First, in memory of Ron Glass (Firefly, Serenity, Barney Miller), Fandom Charities continues to raise funds for the Al Wooten Jr. Heritage Center, a youth center that was dear to Ron’s heart. The Center provides free after school and low-cost summer programs for boys and girls in grades 3-12. The Center’s goals include preparing the attending youth for college. www.wootencenter.org
Second, we’re proud to support the Lupus Foundation of America, an organization dedicated to solving the mystery of lupus, a chronic autoimmune disease that adversely affects millions of people throughout the world. http://www.lupus.org
Badges to participate in the festivities are now available and can be attained by visiting WhedonCon.com. Hotel rooms are currently available with an early bird discount and contest for a limited time. https://www.whedoncon.com/single-post/2017/07/27/Dont-Miss-Out-on-this-WhedonCon-Hotel-Room-Contest
 
Facebook, Twitter and Instagram @WhedonCon
Facebook Event Page https://www.facebook.com/events/533537047037398
Please include #WhedonCon
Fandom Charities Inc.® is a 501(c)(3) non-profit organization established for the purpose of raising funds for charitable organizations through fandom events, conventions, special appearances and media events. www.fandomch
WhedonCon offers one-of-a-kind opportunities to interact with Whedonverse actors, writers, and behind-the-scenes crew.
Spend the weekend celebrating the works of Joss and the rest of the Whedonverse: Buffy, Angel, Firefly, Dr. Horrible, Agents of S.H.I.E.L.D., Dollhouse, Avengers, Marvel, DC, and more all while raising money for charity!
Proceeds from WhedonCon 2018 benefit the Al Wooten Jr. Heritage Center and the Lupus Foundation of America.
Indulge in: Cosplay Contests and Panels – Meet & Greets with Talent – Panels – Auction – Dealer’s Room – Behind the Scenes Creators – Workshops – Stunts – Media/Screening Room – Writers & Artists – Autograph & Photo Sessions – Tabletop Gaming – Big Damn Shindig – Live Music – The Prom at The Bronze (And whatever else they’ll let us cram in there!)
For up-to the-minute additional guests, registration info, and to sign up for our newsletter go to: WhedonCon.com
Fandom Charities Inc.
WhedonCon and Whedonopolis.com are projects of Fandom Charities Inc®, a 501(c)(3) non-profit organization established for the purpose of raising funds for charitable organizations through fandom events, conventions, special appearances and media events, and to serve as a hub for the latest news and happenings in the creative universe of selected fandoms, and to provide related educational activities.

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April 22nd, 2018 by Cherry
The season 3 premier picked up where we left off at S2 with our intrepid heroes being in a whole lot of trouble! The Expanse has amped up the problems with betrayals, love & friendship lost, lack of trust and changing alliances. The enemy of my enemy is my ‘friend’ or something like that in space!

I’m very excited that I’ve joined the Afterbuzztv The Expanse Panel with Rick Hong and Kari Lane. Rick and I chatted about the premier with Cas Anvar last Sunday and the entire panel will be chatting S3 E2 tonight at 6PM 

In the 23rd century nobody can hear you scream when tossed out of an airlock or blown up in the icy darkness of space. The lack of humanity in the hardscrabble future where children can be experimented and secret test subjects for nefarious purpose (isn’t kidnapping illegal) is a reminder that human life doesn’t hold much value especially for the poor and powerless belters.

This season is still going to be all about everyone trying to live by a moral core that’s pretty shaky especially on the Rocinante with a crew who’s been betrayed. James Holden (Steven Strait) has lost his jiminey cricket whispering ‘do the right thing’ after Naomi Nagata (Dominique Tipper) decided to ignore the crew vote and give a sample of the protomolecule to Fred Johnson (Chad Coleman) so that everyone is ‘equal’ (Earth, Mars, the Belt). The repercussions has left Naomi on the outs not just from her lover but her BFF Amos Burton (Wes Chatham) who has relied on her for direction as well. It looks as if both men will have to rely on themselves and grow but right now they are both hurt and not handling it very well. Alex Kamal (Cas Anvar) is the one trying to navigate his ship ‘family’ while dealing with the emotional fallout of juggling being a husband, father and a martian while failing at all three realizing what he really wants. As well as MAJOR Queen Bee moves with Chrisjen Avasarala (Shohreh Aghdashloo) reminding everyone who’s boss (but that she should NEVER fire a gun again) and Roberta Draper (Frankie Adams) being the Marine I’d always o my six. Between the two of them getting in formation I think that Sadavir Errinwright (Shawn Doyle) better HOPE the truth doesn’t come out since neither of them are the ‘turn the other cheek’ type of women.

This was a solid premier episode that drops some major bombshells of how shifting alliances and thirst for power at all costs could lead to the death of humanity as well as who’s really a hero. As well as what we’ll chat about tonight about

Watching the last few moments of E2 looks like we have new shipmates, will they pick up the escape capsule and WHERE is the data with Sadavir Errinwright (Shawn Doyle) betrayal of Chrisjen Avasarala (Shohreh Aghdashloo)?

Leave a comment below and don’t forget to watch myself, Rick Hong and Kari Lane at 6PM on Afterbuzztv talk about The Expanse

 

Tune in tonight at 6PM

The Expanse Season 3 Episode 2 Review & Reaction | AfterBuzz TV https://youtu.be/aCSU63Aq3dc via @YouTube

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April 10th, 2018 by Cherry

I had a blast chatting to some of the cast members starring in the latest DC Universe movie Suicide Squad: Hell to Pay at Wondercon. You can buy the new film on Blu-Ray or digital download today. I’m hoping to have a chance to see it to post a review since it was such fun talking to everyone about their characters and of course seeing the clip (see below) that is giving me all the childhood feels! I have to say my roadtrip snack is cinnamon candy and my parents did love a drivethru but with a bunch of ‘heroes’ like them I’d let them do what they want! Lucking Amanda Waller’s in charge of Task Force X and she won’t take any guff from Deadshot, Bronze Tiger, Killer Frost, Captain Boomerang, Harley Quinn and Copperhead on their latest mission!

 

Produced by Warner Bros. Animation, DC Entertainment and Warner Bros. Home Entertainment, Suicide Squad: Hell to Pay finds Amanda Waller’s top secret “Task Force X” – Deadshot, Bronze Tiger, Killer Frost, Captain Boomerang, Harley Quinn and Copperhead – on a mission to retrieve a mystical object so powerful that they’re willing to risk their own lives to steal it. But the Suicide Squad isn’t the only group of villains seeking to possess the object. The race is on for the golden prize … and, to stay alive, second place isn’t an option.

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April 1st, 2018 by Aiyonna White
Composer Mark Rivers shares his experience on Big Mouth during “Music in Animation” panel at WonderCon on Sunday, March 25th in Anaheim, CA.

by Aiyonna White, Contributor      

       I talked to the creative minds behind some of your favorite music pieces in your favorite T.V. shows! I had the chance to interview Ryan Elder, Tim Kiefer, Mark Rivers, and Tom Howe about composing for animation, comics, and their favorite music genres! I also self-indulgently ask them about choir music and show off my music tattoo as an attempt of camaraderie.

 

Mark Rivers

Rivers is a writer, producer, and composer for television. He is best known for his work on Parks and Recreation, and Kroll Show, and most recently Netflix’s Big Mouth.

 

Q: Can you talk to me about your writing process on Big Mouth?

A: Sure! The process usually goes something like… there are a lot of songs in the show. Not a lot, but they’re enough.

Q: There’s a lot.

A: They’re enough. There’s plenty of songs. Usually, as they’re writing the script, the writers and the producers will hit upon a moment where they think, “You know, this moment could use a musical number,” and that’s when they give me a call… “Hey, episode 208, we got a song coming up for you. We want to talk about that.” So we’ll either get on the phone or we’ll meet at their offices and just talk through what they want this musical moment to be. The style of music… we’ve done everything from big band to disco to flamingo… so I never know what’s coming down the pike. My job is to take that moment and to understand the characters’ voices enough, and to understand the story and the script enough to write lyrics that service that moment. So, I’ll go away and shuffle around in my backyard, write a bunch of lyrics, come up with a song, send them a demo, and… cross my fingers that they like it. Usually, they’ll come back with a few notes here and there, and then I’ll run with it… produce it, get the cast members in to sing it. Turn it into something that works in the show. Beyond that, the scoring is very different. That comes much later, when there’s an animatic to score to. We’ll sit down together and we’ll go through like, “That could use some music right there! What about that?” and we’ll have some temporary library music in place. “I can do something better and bigger, that fits the moment better,” It’s back and forth like that. I’ll send them stuff, they’ll have notes, and then back and forth until we’re all happy with it.

Q: How much freedom are you allowed in that process? Do they let you do whatever you want?

BMI Composer Mark Rivers talks working on Netflix’s Big Mouth during “Music in Animation” panel at WonderCon on Sunday, March 25th in Anaheim, CA.

A: Yeah, they trust me to run with it, and if they don’t like what I’ve done they’ll point out why… particularly lyrically. I’m really psyched that they’ve come to just trust me, lyrically. It’s always a bit difficult to inherit a bunch of lyrics… “Stick to these lyrics, don’t change anything…” It compromises the flow of a song. It’s just hard to write music that way. So they give me a lot of freedom… you know, once we’ve agreed upon a direction, the parameters that I should be working within. So yeah. Enough. I’m given enough freedom.

Q: Can I just say that Big Mouth is so, so funny, and I think that the music 

is the funniest part of it.

A: Oh cool! Really? Well, thanks. Thank you

Q: You did Parks & Rec, which is also so funny. I’m just a fan, I guess.

A: Oh good. I’m a fan of the show, too.

Q: What do you do in your free time?

A: I chase my kid around. I have an eight-year-old girl who’s not allowed to watch Big Mouth. I hang out with my wife and my kid.

Q: Do you listen to music? Or is it too much like work?

A: I try to. I have to make the effort to do it. My wife just bought me an Alexa, which immediately my daughter took over. Now she’s got someone to boss around. But I try to listen to more music. I don’t listen to as much as I used to… it’s hard to find stuff that’s like, “Wow, this is new and exciting!” like you did when you were a teenager and in your 20s. I find myself going back to stuff that I liked then… and I watch baseball and I drink beer, stuff like that. But that’s boring.

Q: So I’m really into choir music.

A: Yeah?

Q: Did you ever sing in a choir?

A: Did I ever sing in a choir? When I was a little kid. Well, in high school I sang in the Festival Chorale. I was a band nerd for a while, and then I joined the Festival Chorale because my friends were in it. They got to travel to Washington, D.C. every year and secretly party in the hotel rooms. That’s what I wanted to do.

Q: That’s what everyone wants to do when they go.

A: Yeah, yeah. It was more of the social aspect that drew me than the singing.

Q: Can I ask how you got into scoring, specifically T.V. shows?

A: Yeah… when I was a young man, I knew… I was playing in rock bands forever, but all my friends were comedians. I was living in Boston. I was friends with this whole budding Boston comedy scene. David Cross, who is a very old friend… and Marc Maron, and Louis C.K. and Jon Benjamin… these are all my friends and they liked my band and we would hang out. Years later when I moved to Boston, I had done Mr. Show with Bob and David– an old HBO sketch comedy show-I did that theme song… these guys were starting to get shows. My career as a rock musician had [raspberry sound effect, slams hand on table] grounded out. But these guys were taking off. I got into comedy writing, but also into writing music for these guys because they were old friends. They hired me because they knew me. I suppose they figured, “We can do worse than this guy.”

Q: Do you have a favorite composer?

A: I don’t. I don’t think I do. I mean… Beethoven? Have you heard of Beethoven?

Q: No. Who?

A: I don’t think I do. I have my favorite pop musicians. I was a huge Elvis Costello, XTC fan. That’s what most excited me when I was starting to write rock songs, pop songs. Bowie and The Beatles… other people, too. But I mean, that was sort of the foundation of all the stuff I liked. As far as T.V. composers there are people I like. I’ll hear music on other shows and think, “Oh, that guy’s pretty good! That Dave Porter guy is pretty good!” There’s a guy that does music on a kids show called Masha and the Bear, he writes these great little weird, off-kilter pop songs. They’re really good. Occasionally something will grab my ear, but I wouldn’t say… I’m too old to be a fan of anybody anymore.

Q: Do you read any comics?

A: I don’t. I don’t. The last comic I read… I liked Eightball. I was an Eightball fan. Dan Clowes… I know there are other people sort of like him and in the graphic novel world… I never kept up with it. I have a kid now…

Q: She doesn’t like comics?

A: Not yet! Maybe she’ll get into them. She likes reading. She likes books. She likes Judy Blume.

Q: I loved Judy Blume.

A: She was gonna read Are You There God, It’s Me Margaret and we were like, “No no no no no, not yet!” She’s eight.

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April 1st, 2018 by Cherry

I loved the Walt Disney Television Animation and Buena Vista Television animated series Gargoyles created by Greg Weisman (1994 to 1997). Like many fans I’ve wanted more of these characters so am beyond excited that the award-winning filmmaker Carlos Ferrer has made a short short fan film in hopes of getting approval from Disney to helm a movie with the great characters. The series may have been for kids but I watched as young adult and fell in love with the voices, storylines of being ‘out of time’, friendship, loyalty and heroism. If you’ve never seen the series it follows a clan of night creatures aka Gargoyles who protect modern New York City as they did in Scotland when they wake up after nightfall. Ferrer has directed, edited, animated and scored the fan film out of love for the characters and stories.

I need as many views as possible to convince producers and execs that my vision of a live action Gargoyles film will work for audiences and fans. It’s a rich story with a great message – a fantasy set in the real world and with today’s technology it could be fantastic. I grew up with this so I feel like I really know what has to be done. So it’s really about getting as much exposure as possible with the fans and others who may not know about the show“,Carlos Ferrer.

About Carlos Ferrer

Ferrer is an award-winning American filmmaker with over fifteen years experience in production and storytelling. At the age of sixteen, he directed over one hundred cast and crew members on a feature-length film that later won “Best Student Feature” at the Long Island Film Festival. Ferrer studied Film at SUNY Purchase College, graduating in 2008 with a Bachelor of Fine Arts in Theatre Arts & Film. His credits include the 2016 film Retina and short film The Popcorn Man.

What did you think of the short? Leave a comment below if you want to see a feature length live action or animated film of the beloved series ….

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March 31st, 2018 by Aiyonna White
(L to R): Composers and panelists Mark Rivers, Tim Kiefer, Ryan Elder, and Tom Howe at “Music in Animation” panel at WonderCon on Sunday, March 25th in Anaheim, CA.

by Aiyonna White, Contributor      

        I talked to the creative minds behind some of your favorite music pieces in your favorite T.V. shows! I had the chance to interview Ryan Elder, Tim Kiefer, Mark Rivers, and Tom Howe about composing for animation, comics, and their favorite music genres! I also self-indulgently ask them about choir music and show off my music tattoo as an attempt of camaraderie.

 

Tom Howe

Howe is an award-winning film and television composer and is most known for his work on Wonder Woman and Legend of Tarzan. He has recently worked on the new animated film Early Man.

 

Q: How’s your Wondercon going? Did you just get here?

A: I just got here, and it’s great. I didn’t realize it was such a big thing. Seeing everyone walking around in their costumes was fantastic. I think Americans do things bigger and better than anywhere else.

Q: Are you from England?

A: I am.

Q: I didn’t know that.

A: Yeah. I’m from there. Lived here four years, though.

Q: Can you tell me a bit about Early Man?

A: Yeah. I came on to that project 10 weeks from when we recorded which was November. My co-writer, who is Harry Gregson-Williams, he called me and asked me if I’d like to co-write the movie with him, and I then flew over to London to meet Nick Park and the team. Hung out there for a couple of days just getting to know everybody, visiting sets, and came back and then we started writing, trying to get things approved because we didn’t have a lot of time before we actually had to record. But the movie was fairly complete by that point. Some things change but a lot of the animation had been done because it takes like four or five years for them to get it together, because it’s very slow. It’s frame by frame filmmaking. It was just a great opportunity to be a part of and a fantastic process.

Q: Can you tell me how you got into composing?

A: My parents are both musical, and…my dad plays the organ, piano, guitar, and things, but he played the organ in church and my mom sung in the choir, so I did a lot of singing when I was younger. I started piano at about four or five or something. I took up the guitar at eight, I think, and then the clarinet later, a few things like that. I studied music and orchestration and things later on. I thought originally I was going to be in a band and be a songwriter. That’s what I really wanted to do, but I got a lot of people asking me to do string arrangements for songs, so I ended up going more in that direction. Somebody who I’d been in college with, who had nothing to do with music, but she got a job at a television channel. She called me they needed some music for a very small thing

Composer of Early Man, Tom Howe talks animation at “Music in Animation” panel at WonderCon on Sunday, March 25th in Anaheim, CA.

they were doing. A two minute long student film that they were putting out that day, and I did that. I’d suddenly found that I’d switched directions from what I thought I was gonna do to writing music for media. After that, that producer went on to do something else and I worked with him, then. One thing sort of snowballed to the other. I always knew I was going to do music, whether it was songwriting or film work or whatever.

 

Q: What music do you listen to in your free time?

A: Uhm….

Q: If you like to listen to music in your free time.

A: Funnily enough, because you’re on a film or T.V. show and you’re writing music it can be 18 hours a day for six-and-a-half days a week, sometimes seven when you’re getting near the end. There isn’t really a lot of time to listen to music outside of that, and I almost don’t want to. So I actually I find I listen to a lot of talk radio because I want to hear something but I need it to be almost like white noise that just distracts me rather than something musical. But if I get the chance… I’ve got three kids who listen to all kinds of different things. Usually, it will be whatever they’re listening to, because if we’re driving somewhere in the car, that will take priority over whatever I want to listen to.

Q: You talked a little bit about being in choirs?

A: Yeah.

Q: I love choir. Do you have a favorite choir composer?

A: Yeah, I love Morten Lauridsen, who I think is amazing. He and actually Eric Whitacre is another guy. Eric Whitacre is quite similar to Morten Lauridsen, but there’s a piece called “O Magnum Mysterium” by Lauridsen and I think it’s fantastic. The really close kind of voice writing. A lot of divisi cuts and clashes but… I don’t think there’s anything like the voice… strings get pretty close maybe, but I think that there’s nothing like just voices for everything, really. For emotion, for written things… one of the films I remember seeing growing up was a film called Cry Freedom. This sort of fantastic African choir, just the sound of it obliterated everything else in the movie in terms of the musical stuff. I thought they were amazing. But those are probably the two that I’ve been listening to, recently anyway. I think they’re both great.

Q: I sang that piece in high school.

A: Really?

Q: I loved it. It was beautiful.

A: It’s great, isn’t it?

Q: It was a lot of work.

A: I was gonna say, it’s not an easy thing to sing. There’s a lot or very close writing that then resolves, isn’t it? You’re clashing for quite a bit. But yeah, it’s a great piece of music.

Q: Can you tell me a bit about your role in the Wonder Woman movie?

A: Sure, yes. I was an additional composer on that movie for Rupert Gregson-Williams. That really involves… well, on a movie like that there was, again not a lot of time to put it together, but also there’s a lot of minutes of music. So, I’ll take on some scenes, basically, on Rupert’s behalf and I’ll either take a theme that he’s written-obviously all the main themes are by him and he’s doing the bulk of the movie- and I’ll work that theme into the scene that I’m doing. Or it could be a stand-alone scene that therefore isn’t hugely affecting the arc, then I’ll take that on just to kind of mean that he has not got to do it. So I probably took eight or nine, ten scenes in the movie, something like that. Just try to help out, really. It’s not uncommon on some of these big movies to have one or two other people kind of running alongside you trying to get it all done. Particularly when on a movie of that scale, where the picture’s changing a lot, so there’s a lot of musical conforms to do as well as writing. You’re permanently trying to keep up with the latest version of the picture. It’s just a lot of work that needs to be done. I’ve done that on several different movies for different people, but it’s a great thing to do, I think because you get the experience of working on a huge movie-you’re part of it, your music’s going into the film-but you slightly can stand back from the pressure of being in the firing line as the lead composer if they don’t like it at all. You can learn a lot doing it. It’s good fun. The movie turned out well didn’t it? It was huge. It was very successful.

Q: I loved that movie.

A: Second one’s coming.

Q: Do you read comics at all?

A: I haven’t for many years. A friend of mine collects the original ones and he seems to have an amazing collection of very valuable comics, as well. Do you collect them?

Q: I don’t collect them because I’ve seen that it’s not valuable. But it’s cool to read, I guess. If I really like a piece then I’ll buy it. How much freedom do get when you’re composing?

A: It depends on the project actually. Fairly- initially, anyway- a fairly big degree of flexibility in what you can do and theme ideas, and things. But, fundamentally, writing film music you’re always serving the filmmakers vision, the studio, the other people involved. So you have to respect that. I think sometimes, in the case of like Early Man. I was on for ten weeks, Nick Park was on for six years, so he’s going to have a better idea of what it is and what he wants than I am. I can’t absorb that in that short amount of time, and I have to start writing straight away. I’ve only got ten days before I’m trying to be at the same speed. I think you do get freedom, but at the same time people know what they want and you are trying to serve a higher purpose. Otherwise, you can go write concert music.

 

Follow Tom Howe on Twitter: @howe_tom

Posted in Animated, art, Comic Books, Comic Con, Film, geek tv, Movie, music, TV Tagged with: , , , ,

March 31st, 2018 by Cherry

I briefly spoke with Kenya Hardaway about her work on integrated fan expeirences for the FX Network. It took two months with the Marco Brambilla Studio and her team to work on this popup experience.I covered the opening of FX Networks The LEGION Chamber the artistic video installation inspired by the FX drama series Legion to design  which allows fans to step inside a 360-degree micro-theatre featuring a one-of-a-kind presentation by the internationally-acclaimed Marco Brambilla Studio. An extraordinary visual art piece hosted at Goya Studios in Hollywood this weekend (March 30 – April 1) only, The LEGION Chamber takes fans on a surreal journey through main character David Haller’s altered states of reality forcing them, like him, to question what is real and what is not. Once inside, participants will find themselves disconnected from the outside world – literally – and fully entrenched in David’s hypnotic digital realm. Legion, the acclaimed drama series from creator and executive producer Noah Hawley, will return to FX on Tuesday, April 3 at 10 PM ET/PT.

The LEGION Chamber hours and location details are below:

HOURS

Friday, March 30th – 11AM – 7PM

Saturday, March 31st – 11AM – 7PM

Sunday, April 1st – 10AM – 6PM

LOCATION

Goya Studios, Stage C

1541 N. Cahuenga Blvd

Los Angeles, Ca 90028

 

For more information on how to experience The LEGION Chamber, go to facebook.com/legionfx.

 

ABOUT MARCO BRAMBILLA STUDIO

Founded in 2012, Marco Brambilla Studio is a digital and experiential art studio, based in New York and London. They are widely known for their visionary use of new technologies to create elaborate multi-sensory experiences, combining video, sound, light, architecture, and interaction. With Fracture, the immersive film created for this exhibit, Brambilla explores the concept of altered reality, a central theme of LEGION.

 

ABOUT FX NETWORKS

FX Networks, a business unit of 21st Century Fox, is comprised of the networks FX, FXX and FXM and the video on-demand app FXNOW. FX, the flagship general entertainment basic cable channel, launched in June of 1994 and is carried in 90 million homes. The diverse schedule features a growing roster of critically-acclaimed and award-winning hit dramas series, including The AmericansTaboo, Legion, SnowfallTrust and the upcoming Mayans MC; the critically-acclaimed limited series American Horror StoryFargoAmerican Crime Story and FEUD; acclaimed hit comedy series including Atlanta, Basketsand Better Things; and the upcoming dance musical series Pose. FXX, the newest network, launched in September 2013 and is carried in 86 million homes. Geared towards a young adult audience, the schedule features original series, movies, and acquired series. The channel is anchored by the acclaimed hit comedies It’s Always Sunny in Philadelphia, the Emmy® Award winning comedy series Archer and You’re the Worst. FXX is also the exclusive cable home to The Simpsons, the longest-running comedy in TV history. FXM (formerly Fox Movie Channel) was launched in October of 1994 and is now carried in 57 million homes. Its schedule features classic films during the day (FXM Retro), and contemporary box office hits and acclaimed, award-winning films in the evening, as well as short-form award-winning original programming. FX Networks received 55 Emmy® Award nominations in 2017, the most of any basic cable network for the fourth consecutive year, after winning a basic cable record 18 Emmy Awards in 2016.

 

About Marvel Entertainment and Marvel Television:

Marvel Entertainment, LLC, a wholly-owned subsidiary of The Walt Disney Company (NYSE: DIS), is one of the world’s most prominent character-based entertainment companies, built on a proven library of more than 8,000 characters featured in a variety of media over seventy-five years.  Marvel utilizes its character franchises in entertainment, licensing and publishing. Marvel Television develops and produces some of the world’s most creative and popular live-action and animated programming for broadcast and cable television networks plus digital platforms including a historic deal with NETFLIX. Its portfolio of self-produced series includes “Marvel’s Agents of S.H.I.E.L.D., ” ”Marvel’s The Inhumans” for ABC, ”Marvel’s Daredevil,” “Marvel’s Luke Cage,” and the Emmy and Peabody Award-winning “Marvel’s Jessica Jones” for NETFLIX and “Marvel’s Ultimate Spider-Man,” “Marvel’s Avengers” and “Marvel’s Guardians of the Galaxy” for Disney XD. Marvel Television’s upcoming projects include “Marvel’s Iron Fist” and the culminating “Marvel’s The Defenders” for NETFLIX as well as “Marvel’s The Punisher” (NETFLIX), “Marvel’s Cloak & Dagger” (Freeform), “Legion” (FX), and “Marvel’s Runaways” (Hulu). For more information, visit marvel.com.  © 2017 MARVEL

Posted in Comic Books, Comic Con, culture, free, Geek Fun, geek tv, horror, Los Angeles, San Diego Comic Con

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