|01||Music To Pictures||20090505|
George composed for stage and small screen, before his film score debut for Gandhi was Oscar nominated.
His diverse film credits since then include scores for Cry Freedom, Memphis Belle, The Madness of King George and The Fisher King.
Now George takes us on a unique and personal journey through the art - and the business - of writing music for film.
In tonight's show he looks at Music to Picture" and includes heart stopping scores from Apocalypse Now, Chariots of Fire and Lawrence of Arabia.
George Fenton looks at scores from Apocalypse Now, Chariots of Fire and Lawrence of Arabia"
In programme two of You Heard It At The Movies, composer George Fenton looks at some of the silver screen's most successful composers and how they responded to the lure of Hollywood.
From a steady exodus of European musicians heading to the States in the early days of cinema, to the writers working in the Hollywood studio system today, George gives us a personal insight into the working processes of a film composer.
With illustrations from the cinema greats - as well as some less well-known scores - there's music from Erich Korngold, Miklos Rosza, Aaron Copland, John Williams, Nino Rota and more.
This week in 'You Heard It At The Movies' composer George Fenton looks at the empathy and understanding that can spark off genius between individuals who are central to the film making process.
With classic scores like 'North By Northwest', 'Much Ado About Nothing', 'Star Trek', 'Edward Scissorhands' and 'Schindler's List', it's a personal look at what can be both the best and the worst of jobs, writing music for the movies.
|04||Gotta Sing, Gotta Dance||20090526|
|04||Gotta Sing, Gotta Dance *||20090526|
composer George Fenton looks at the Film Musical in this week's edition of You Heard It At The Movies.
It's impossible to cram all the greats into half an hour - but from Jolson to Garland to Andrews to Astaire and Kelly, George looks at the start of movie musicals, plays some of the classics, and looks at what became of the movie musical after the Golden Age.
George Fenton continues You Heard It At The Movies with a look at writing music for the world of animation.
From the Warner Brothers Looney Tunes to the classic Disney animation films, George looks at the differing disciplines and heightened reality that goes with composing scores for animated films.
He plays classics from The Silly Symphonies, the Disney greats, The Simpsons and more.
George looks at film themes that become songs, the placement of songs within films, and the way songs can influence the dramatic arc of a film.
He also plays some of the greats ranging from Dolly Parton to Hannah Montana and from Bond songs to American songbook classics.
In the penultimate programme of the series, award winning composer George Fenton takes a look at those film scores which connect to an actor, or a role, so strongly that they become not only the character's signature tune, but can even define the actor themselves.
The musical gems include Korngold's writing for Errol Flynn, Bill Conti for the Rocky films, John Williams for Raiders of the Lost Ark, Henry Mancini for the Pink Panther - and the theme that universally identifies a screen character, regardless of several changes of actor in the role - John Barry's music and Monty Norman's theme for James Bond
|08 LAST||Where Does Film Music Go From Here?||20090630|
He looks at the trials and satisfactions of being a film composer, the variety of work, and how you find your own musical voice.
The music includes favourite scores by Steiner, Newman, Bernstein and Jarre to films such as Gone With The Wind, Star Wars, The Great Escape and Doctor Zhivago.
Composer George Fenton asks: 'where does film music go from here?'.