The first time I watched Adult Swim’s “Metalocalypse,” I was completely blown away by the animated series’ perfect combination of humor, breathtaking art, long-form storytelling and searingly hilarious insight into the process of making music. The band in the show, Dethklok, had a fantastic heavy metal sound, and I immediately heard influences of Queen, Metallica, Iron Maiden, Ennio Morricone and Basil Poledouris.
Digging through the show’s credits, I was shocked to realize that this incredible music was written and produced by the show’s executive producer, writer and star Brendon Small. I tracked Brendon down through mutual friends and we hit it off. Because we share similar musical tastes, but come from entirely different backgrounds, we found a number of opportunities to collaborate over the years. We produced and performed a Freddie Mercury Tribute Concert, he played guitar on my single “Maverick Regeneration,” and he contributed heavy metal guitars to my score to the upcoming film “Knights of Badassdom.”
I appreciate Brendon’s guitar contributions to my projects, but always hoped for the chance to return the favor, to be able to add my own style of orchestration to his music. That opportunity finally arrived when he called me to discuss his newest project, “Metalocalypse: The Doomstar Requiem – A Klok Opera.” (more…)
I am proud (or should I be ashamed?) to announce that BuySoundtrax has just released my newest Zombie film score: Chillerama Presents… Zom-B-Movie. The CD is available now from the label’s website and the first hundred orders will receive copies autographed by myself, director Joe Lynch and Young Beautiful in a Hurry frontman Brendan McCreary. For those hoping to stuff their digital stockings this holiday, the album is now available on:
Zom-B-Movie is the “wrap-around” segment of the larger anthology film “Chillerama,” which has been experienced in exclusive drive-in screenings around the world this fall and debuts on BluRay / DVD on November 29th. I sat down with director Joe Lynch for a blog-exclusive chat about the blood, sweat, tears and various other bodily fluids that went into the creation of Zom-B-Movie and its recklessly ambitious score. (Be warned, this video blog is probably not safe for work!)
ONE NIGHT ONLY: On October 24th, the Golden State Pops Orchestra will perform a special tribute to composer Stu Phillips to commemorate his 80th birthday. He will conduct his scores from the original Battlestar Galactica, as well as several other projects. Richard Hatch and other new and original BSG alums will be there, and I will be there as a special guest, conducting my new arrangement of Stu’s classic theme!
My piece will be a combination of the various moments in my scores in which I quoted Stu’s timeless melody, drawing from “Colonial Anthem” from Season 2, “Husker in Combat” from Razor and, of course, “The Heart of the Sun” from the final episode. Some of my own, original BSG themes will weave in there as well.
If you missed the summer concerts in downtown Los Angeles, San Diego, or my ballet, Prelude to War, in Germany last spring, this is your last chance this year to hear my Galactica score performed live in concert. Since the concert program also includes Stu’s “Theme from Battlestar Galactica,” I want my “Colonial Anthem” to have all the unique qualities and sounds that set my score apart. So, the orchestra will be joined on stage by BSG Orchestra superstars Paul Cartwright on electric violin, Chris Bleth on duduk and M.B. Gordy on taikos and ethnic percussion. (UPDATE: The line-up has changed. See the bottom of this entry).
And even if you did see any of the previous shows, this one will be entirely different, since it involves a full orchestra! This concert will truly be a once-in-a-lifetime opportunity to experience the classic and re-imagined Galactica scores together on one program. There will also be a drawing to win CDs and other goodies signed by me and Stu.
This Monday, September 28th on NBC at 9/8c, check out the premiere of my newest series!
I know what you’re thinking: “Wait a minute… this looks like a medical show. But, if Bear is doing the score then this TV series must somehow involve cyborgs who look like sexy people that want to destroy and / or save humanity.” Alas, no. Trauma represents my long-overdue step out of the sci fi genre. But, don’t worry… with the rocket-pack-themed Dark Void videogame and BSG prequel series Caprica out in January, I’m in no danger of losing my sci fi cred just yet. 🙂
When I saw the first episode, I was hooked and knew it was a series I had to be involved in. Executive produced by Peter Berg, Trauma is an action series disguised as medical drama that focuses on EMTs in San Francisco. The show is shot and cut like a combat movie, where each sequence is infused with chaos and energy. Because the action takes place out in the field, it has a much more open and dangerous feeling than most medical dramas.
In honor of this week’s cylon-centric Deadlock, I present the second installment in my Exclusive Final Five Interviews: Michael Hogan (Saul Tigh).
In this interview, Hogan shares that he discovered he’s a Cylon the same way Rekha did… Eddie Olmos found out first and teased him about it. He tells us he first thought the idea to give him an eye patch was a joke, reveals what song he wants played at his funeral and describes what it was like working on set with yours truly. (Some moderate spoilers ahead, you should watch No Exit before reading on…)
In the mid-season premiere, Sometimes a Great Notion, we learned remarkable truths about Earth, the Cylons and the Final Five. Now that the mutiny of the past three episodes is finally resolved, No Exit and next week’s Deadlock fill in the back story and details of the lives of the Final Five.
To pay tribute to these two Cylon centered episodes, I present an Exclusive Interview with the Actors Behind the Final Five! This week, I spoke with Aaron Douglas (Chief Tyrol), Michael Trucco (Sam Anders) and Rekha Sharma (Tory Foster).
This entry is the first in what I hope will become a continuing series of interviews with industry professionals. Rather than comprehensive, career-spanning interviews, I will focus on one project or aspect of a person’s career that relates to an experience of my own. Loyal readers can enjoy in-depth detail, and I have the chance to learn something professionally valuable. The format will be unusual, since half the blog will be interview and the rest my own experiences and inevitable opinions. But the interviews will be easy to spot if you want to scan ahead to the pearls of wisdom from people far more knowledgeable than myself.
For this first interview, I’m thrilled to have spoken with renowned composer Bruce Broughton. I’ve loved Bruce’s work ever since I was a kid, when I first heard his knock-out scores for Young Sherlock Holmes and Silverado. The latter project, combined with his brilliant work for Tombstone, instigated my life-long love affair with classic Westerns and their scores.
My interview focuses on one of his most under-appreciated credits: Tiny Toons Adventures. I always adored his Looney-Tunes-inspired score for this now-classic series, but my admiration grew tenfold when I had a brief opportunity to follow in his footsteps, writing a full-fledged orchestral animation score for this loveable little scamp, Atomic Al: