Rubberband Primal Scream Form Alliance With Up-And-Coming Film Composers - ProSoundNetwork.com

Rubberband Primal Scream Form Alliance With Up-And-Coming Film Composers

Santa Monica, CA (January 8, 2004)--RubberBand and Primal Scream have announced a creative alliance with film composers Ramin Djawadi, Simone Benyacar, Jerry Brunskill and Todd Haberman for commercial and film trailer projects. These artists are rising stars in the cinema space, having composed music for the blockbuster films Pirates of the Caribbean and The Recruit and for hit TV programming Saving Jessica Lynch, The Practice, American Dreams and JAG. These composers are the latest to be recruited by Primal Scream and RubberBand, who have been actively connecting up-and-coming stars of the music and film worlds into music for commercials, trailers and the branded entertainment space.
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Santa Monica, CA (January 8, 2004)--RubberBand and Primal Scream have announced a creative alliance with film composers Ramin Djawadi, Simone Benyacar, Jerry Brunskill and Todd Haberman for commercial and film trailer projects. These artists are rising stars in the cinema space, having composed music for the blockbuster films Pirates of the Caribbean and The Recruit and for hit TV programming Saving Jessica Lynch, The Practice, American Dreams and JAG. These composers are the latest to be recruited by Primal Scream and RubberBand, who have been actively connecting up-and-coming stars of the music and film worlds into music for commercials, trailers and the branded entertainment space.

"These young composers are steadily conquering film and TV with some of the most haunting, exhilarating and emotionally charged music I've heard in a long time. Naturally it's a thrill to be the conduit for crossing them over into commercials," said Nicole Dionne, creative director, RubberBand and Primal Scream. "Their entrée into the commercial scene comes at a time when spots are gradually moving away from the 15- and 30-second format, so their film experience brings not only a sophisticated and polished sound, but enables them to adeptly transition into these exciting new mediums and formats."

"Even though a commercial is generally only 30 or 60 seconds, it's similar to composing music for film in that you still need to develop a musical arc to help tell the story," said Djawadi. "And being a film composer, I always write as if I am composing music for the big screen--not by necessarily making the sound more grand--but by making the score broad enough to encompass a central theme recognizable throughout the spot."

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