The Angel Blog

The Angel WBAI Radio Interview on Niteshift 8/23/10

The Angel — Mon, 23 Aug 2010 19:21:54 +0000

Niteshift is a Latenight Radio Magazine, which covers a broad range of topics from entertainment media to global issues.

I had the real pleasure of talking to Mike Sargent about what goes into my film and TV score and how it differs from the records that I make. He may even play some of the HawthoRNe cues that I created for this season. Mike has very interesting and eclectic taste in music and a genuine appreciation for the art behind the commerce.

East coast can tune in to my interview on Niteshift: Where Life Is Like Science Fiction on August 23rd between 12:00 AM and 2:00 AM Monday Night/Tuesday Morning on WBAI 99.5 FM NYC and streaming on the web @ WBAI.org. Or you can catch the archive later on down the line.

“Bedrooms” World Premiere @ LA Latino Film Festival

The Angel — Tue, 17 Aug 2010 22:13:29 +0000

The world premiere of “Bedrooms” will be at the LA Latino Film Festival Friday, August 20th at Mann’s Chinese Theater. Looking forward to seeing my three directors, Youssef Delara, Victor Teran and Michael D. Olmos, the writers and cast…

This was the second of two films that I scored in 2009, with a more traditional feel. The score is very theme driven and ties together the four distinct stories that make up “Bedrooms”. The film explores how we, as humans, erect walls within our relationships that can cloud the ease of communication and put our strong bonds at risk… and then how we occasionally attempt to break the walls back down. The cast includes Julie Benz, Moon Bloodgood, Sarah Clarke, Xander Berkeley, Barry Bostwick, Dee Wallace, Jordan Belfi and Jesse Garcia, who bring a mixture of humor, pathos and intensity to their stories.

For those not in Los Angeles, you can catch “Bedrooms” screening at ACEFEST NYC for the east coast premiere on August 27th and on Showtime airing in November 2010.

The Music of HawthoRNe – TNT Music Blog by The Angel

Supa Crucial Crew — Fri, 30 Jul 2010 00:17:06 +0000

The Angel’s behind the scenes composer blog entries describing each episode and what specific directives she received from showrunner, Glen Mazzara are exclusively posted on the TNT official HawthoRNe website

In addition to creating all of the original music for Season 2, The Angel’s single, “Ultra Light (featuring Jhelisa)” [DJ Drez Remix] was included in episode 206 “Final Curtain”, which aired Tuesday July 27th. Find out what part of the episode it is in, by clicking on this LINK.

Photo of The Angel & DJ Drez performing together… You can check out the track below:

Season 2 Guide To Scoring “HawthoRNe”

The Angel — Tue, 22 Jun 2010 17:20:20 +0000

A glimpse of what I look at on a daily basis

Erica Shelton, one of the writers on “HawthoRNe” interviewed me for Women And Hollywood, about how I created the new musical direction for the show this season and here is a step by step description of my process… in answer to Melissa Silverstein’s question:

“What Technically Does A Composer Really Do?”

1] I would start by reading the script for each episode.

2] The showrunner, Glen Mazzara invited me to attend tone meetings so I could get an in-depth description of his intention with each episode and hear how they (directors, writers, picture editors, producers) planned on shooting each scene down to the finest details. This also gave me a chance to do the first two critical things that I needed to do… listen and analyze.

3] At the beginning I watched dailies, so I could get an early look at the new visual tone of the show, while the picture editors were still assembling rough cuts. It also helped me to be able to see our new hospital environment and to see how the new cast members would be interacting with our already established cast.

4] Next my music editor , Derek Somaru, and I would receive a locked copy of an episode. This refers to the final cut of the episode that has been approved by the producers, studio and network, so that no further editing would be done. From the locked picture, production would make a special split audio quicktime movie for me to work to, so that I could separate the temp music from the dialogue and effects. I would work within Pro Tools synchronizing to the picture, using the visible timecode as a reference, and output time stamped audio files, so that when Derek would eventually bring all of my cues to the dub stage for final mixing, everything would be completely in sync with the picture.

5] Next Derek and I would both watch the locked version of the episode and do what we call a pre-spot, where all temp music, both source music (songs) and temp score (temporary placeholders) would be entered into spotting notes.

Page one of HawthoRNe spotting notes EP 201

6] Next I would attend a spotting session at one of the editing bays at the HawthoRNE production office. Myself, Derek, Glen, Guin McPherson (co-producer), the picture editor (either Elizabeth Kling, Debra Weinfeld or Robert Bramwell), and music supervisor (Omarr Rambert) would go through the episode in it’s entirety discussing what each piece of music needed to achieve. We would also discuss any notes that TNT, Overbrook and Sony might have had about tone, humor and dramatic effect.

7] After the spotting session, Derek, would update the spotting notes and that would become my road map. We would then host the spotting notes in a program called Cue Chronicle, that myself, my production coordinator and music editor could all access online in real time, simultaneously, while all working in separate locations. This meant that the cue delivery list could be updated with my detailed notes so that we could all see the progress of the entire episode in one place… an absolute must, when for example I was working on as many as 32 cues for episode 203.

8] Using the updated spotting notes I would then watch the episode again in my studio taking into consideration how the episodes could be tied together thematically… and finally I could plan for bringing in any musicians and start working to picture. Often there was only a one week gap in between mixes, so there was very little time for experimentation, I’d have to hit the ground running; programming, writing, recording and mixing as I went along. I would be painting, sculpting and embellishing ideas, working on several cues on several different systems in my studio at the same time.

Always get my bass player Robert Russell to play something unorthodox and in an unorthodox manner

9] I would then digitally deliver all audio files to Derek via ftp, who would download them and then output quicktime movies of the various scenes to run by Glen, Sony, TNT and Overbrook and await notes. If I needed to address notes I would do so and then output a final stereo mix of each cue plus stems. Stems are individual audio files separating out all of the instrumentation in a cue, so that if we needed to re-balance the mix on the dubstage, it would be easily done.

10] Finally we would reach the dubstage and each episode would be mixed in two days. On the second day, I would attend the mix on Sony’s dubstage 12, joining Glen to run through his pass, before Sony and TNT attended an official “playback”. Glen, Guin and myself would be listening to the mix for different things. Glen and Guin would pay close attention to the dialogue and effects as well as the music. Sometimes, we would refine the “in” or “out” of a cue or the levels of the music, or decide to run a scene dry in the end.

Kiino Villand's birdseye view of Hawthorne Mix L-R Derek Somaru, The Angel, Glen Mazzara, Guin McPherson with Mixers Derek Marcil, Nello Torri

11] We were mixing one episode per week for most of the season, so as soon as we mixed one, I was already working on the next two simultaneously. In a typical episode I would deliver between 20-30 cues of all varying lengths approx 15-25 minutes of music.

12] At the end of the season – Sleep for 72 hours, give brain a rest, then do it all again on the next project…

My process when working on a film project, is similar to the process of scoring a TV show, however, on films I interface one on one with my director, in television it is all about interfacing with the showrunner and producers.

Slowly Emerging From The World Of Jada Pinkett Smith & “HawthoRNe”

The Angel — Mon, 21 Jun 2010 21:17:13 +0000

Yes, I’ve been very quiet since my last post in February, quietly making noise, that is. I tried to squeeze in more record releases, before heading deep into scoring for TV once again… but those dubstep and dnb releases will now be coming in July, August and September.

In another part of the sonic forest I’ve spent months creating a new musical direction for the second season of HawthoRNe, which premieres on TNT tomorrow night. The show is centered around a strong, passionate female lead, Christina Hawthorne, played by Executive Producer, Jada Pinkett Smith. Scoring this show feels especially good, with female driven projects being all too rare in the larger TV landscape.

I’ve been asked on numerous occasions to explain the actual process of composing for film & TV, so I’ll be posting some in depth details of my experience scoring HawthoRNe and how showrunner, Executive Producer, Glen Mazzara helped me tap into the essence of this season, right from the get go.

In the meantime, I’d like to send a shout out to the entire cast, who I have spent practically all of my time with… at least virtually on my screen, since February… and a shout out to all the season’s guests including Robert Wisdom, Octavia Spencer, Robin Weigert, Kevin Chapman, Debi Mazar and Marc Anthony.

“Ultra Light” Drum ‘N Bass Remixes To Kick Off 2010

Supa Crucial Crew — Mon, 08 Feb 2010 16:50:40 +0000

“Ultra Light” on the dark side… That’s where Supa Crucial is starting off 2010. The soulful single by The Angel featuring Jhelisa has been given the dnb treatment by LA’s own R.A.W. aka 6BLOCC as well as Dstar & Mason, part of Philly’s Gasm crew. These remixes will satisfy those who gravitate toward a beautiful, sultry vocal blended with dark bangin’ beats. Release date is Feb 16th, but you’ll find an early taster below…

R.A.W. on the decks

Dstar & Mason

Farewell 2009

The Angel — Fri, 01 Jan 2010 03:31:42 +0000

I’ve managed to put off this final post of the year for over a month now, not really sure what message I felt like closing out the year with… until the eleventh hour as such.

I’ve concluded that it is because I’m not as interested in looking back, as I am really content to be living in the moment… enjoying the planning and divine inspiration that comes to me before I start new projects – with ideas flowing into my brain before I’m on a deadline or under the gun… This is the time that refills my creative space and gives me a really clear perspective on where I’m going to take the next set of projects, which are already in place for 2010. I’m not ready to divulge any details, but I’m ready to share my excitement, optimism and gratitude.

I’m also grateful for the many accomplishments and triumphs of friends and colleagues – graduations, album releases, completion of books written, first scripts written and shot for TV, directorial debuts, getting films green lit, having first screenplays optioned, learning new languages, having first art books published, finding new ways to heal themselves and others… all major leaps forward.

2009, for all it’s ups and downs has introduced me to some beautiful people, beautiful art, beautiful music, beautiful minds, beautiful opportunities… a beautiful way of looking at and doing things especially in the face of adversity.

In the spirit of sharing, here’s some positive magnetism going into 2010! Onward and upward…

“Standoff” Behind The Scenes – Life Imitating Art

The Angel — Mon, 30 Nov 2009 21:06:53 +0000

The 2006/2007 TV season, had me on lockdown scoring a Fox primetime drama called, “Standoff”. My foray into outputting on average 30-35 minutes of original score on a weekly basis started here, and I would spend most of my waking hours mapping out, analyzing, feverishly writing and recording the score for each episode starring Ron Livingston and Rosemarie DeWitt. When you spend that much time watching someone’s performances, you start to feel like you know them… they become a very real part of your insular composer’s life for that time… and when in real life, they are so likable, you can’t help but root for them.

Just after scoring the pilot, but before getting into the flurry of episodes to come, Fox asked me if I would DJ their two day presentations for the TCA’s. This gave me a really intimate, first hand look into how new shows are pitched to national media by the networks, something I had had no previous knowledge of. This was also my first opportunity to meet some of the cast including, Ron, Rosemarie, Michael Cudlitz and Gina Torres.

The creator of the show, Craig Silverstein, cast Ron Livingston and Rosemarie DeWitt as our leads because of the great chemistry between them… Well, clearly that chemistry was very real and I couldn’t be happier for Ron and Rosemarie as they have just tied the knot.

Below is a photo of myself and Craig sitting in Matt (Ron) and Emily’s (Rosemarie’s) chairs at the FBI headquarter’s set of Standoff on the Fox lot.

After one of our spotting sessions, the AP, Brian Wankum and I visited the set, where Rosemarie enthusiastically told me that she and her friends thought the music on the show was really cool… in sharp contrast with most network shows. It’s rare to get feedback from a cast member since we’re usually so unconnected on projects; composer’s being holed up in the studio round the clock and far away from production and the cast… but that was good to hear so early on.

Thankfully, Craig had specifically hired me to do something different with the music, so the show would have it’s own voice. This allowed me the freedom to incorporate lots of contemporary flavors into the mix of traditional and non traditional score, including some drum ‘n bass, hip hop and soul every now and again, where appropriate… making it musically progressive for a US network show.

In terms of my creativity, I have a few favorite episodes, which are still available to watch on Hulu; “One Shot Stop”, “Borderline” and “Heroine”.

And thank you, Rosemarie… It was because I became such a fan that I watched and got hooked on “Mad Men”, from the very first episode.

Sound Bites From The Angel Via Twitter To Your Thirsty Ear…

The Angel — Thu, 05 Nov 2009 18:11:56 +0000

It was a little over a year ago that Lucy Beer told me to “get on twitter” and “start your blog”… immediately I was resistant to both. First of all, I had no idea how twitter worked or what on earth it could be used for, and secondly, the idea of starting a blog felt like another responsibility that I already didn’t have enough time to do and then keep up with.

It took me a minute, but I must admit that I’m glad I did both. I’d forgotten how much I actually like to write. Though I don’t post more than a few times a month, I enjoy it.

Twitter was a bit mysterious to me. Everyone I knew was bearing their souls, photos, opinions, eating habits and more on facebook on a minute by minute basis and it didn’t appeal to me, so why twitter? The brevity, immediacy and lack of personal self-exploitation on twitter was way more interesting to me. So I started popping into twitter here and there and continue to do so, though not all day, every day, like some.

The unguarded stream of consciousness can be very revealing, and folks seem to let it all hang out both good and bad. However, I’ve discovered some very cool podcasters, bloggers and music enthusiasts who are now part of our extended Supa Crucial family… and it’s all been very organic. Kevin English and I started tweeting and dm’ing earlier this year. He tweeted about how much he dug “KiDULTHOOD” and the score, and that opened up a dialogue. More recently, Kevin (eleetmusic) asked if he could interview me for a magazine called Stay Thirsty and here is a link to that interview.

“Gridlock’d” On BBC1 – Back In Time For The Angel

The Angel — Mon, 05 Oct 2009 17:53:09 +0000

A blast from my past – “Gridlock’d” is coming to British TV this week… A couple of friends mentioned it because they were excited to see it advertised on the BBC. It’s airing on BBC One late night, Friday 9 Oct 2009 at 23:40.

“Gridlock’d” was the second feature film that I was involved in scoring. It was a real learning experience for me, not only technically and creatively, but politically. I had met with director, Vondie Curtis-Hall, the music supervisor and the producers of the film about creating a song for a pre-record, i.e. the song that was going to be performed on camera by Tim Roth, Tupac and Thandie Newton, but the timing was too tight, as I had already committed to being in NY just when they needed me.

Blue Note were flying me in to attend the release party for the album, “The New Groove: The Blue Note Remix Project Volume 1″. I had remixed Donald Byrd’s “Kofi” as the album opener and produced the only new song on the album for Jacky Terrasson as the album closer. It was my remix of “Kofi” feat Mystic that Vondie licensed for “Gridlock’d” and used in the scene where Tupac and Tim Roth are sitting on a bench, as they drift off into a flashback…

So there was no time for me to write and record a new song for them, in time to catch their shooting schedule. But as fate would have it, while I was in NY, I got a call from the music supervisor telling me that Vondie and the producers would like to talk to me about scoring the film… and that’s where things got political. I soon found out that the old “catch 22″ was in full effect. I had never scored an entire film before and Polygram weren’t keen on the idea of a first timer. Apparently, this wasn’t (and still isn’t) unusual, but it was definitely disappointing.

Over the coming weeks, the producers found a compromise that would suit the studio. They came back to me after hiring Stewart Copeland and asked if I would work on the film in addition to Stewart. I told them that as long as I would be working on my own scenes and cues that I was happy to do it. I was still learning, but I instinctively knew that it was important for me not to be perceived as Stewart’s helper, but to establish my arrival into the film composing world without standing in someone else’s shadow… and that’s how it came to be. Stewart was incredibly gracious and I have always been grateful to him for giving me a really nice mention as an up and coming composer in his interview on KCRW, around the time of the film’s release… something he really didn’t have to do.

With that little bit of background aside… The saddest part of the experience was learning of Tupac’s death the day after I was officially hired to work on the film.