Thursday, March 31, 2011

Battle: Los Angeles (Soundtrack) by Brian Tyler - Reviewed

Battle: Los Angeles (Soundtrack) by Brian Tyler - Reviewed

Unyielding Barrage
Review by Richard Buxton

Planet earth has been taking a real beating in recent months. Having only just recovered from the events of SKYLINE, the USA’s west coast is once again the victim of alien invasion, an invasion choreographed by South African director JONATHAN LIEBESMAN. 

Having previously directed psychological thriller THE KILLING ROOM and horror DARKNESS FALLS, both scored by BRIAN TYLER, the two join forces once more for BATTLE: LOS ANGELES. With a worldwide invasion underway, the film follows the efforts of a single Marine platoon against the extraterrestrial antagonists. Prior to release the film was frequently described as ”Black Hawk Down with aliens”, suggesting a more personal and emotionally visceral experience when compared to most examples of the alien invasion genre. What transpired was perhaps less emotionally engaging than the filmmakers had hoped for, but BATTLE: LOS ANGELES pulls no punches in its delivery of relentless action as mankind faces the greatest threat of its brief existence.

Regardless of any shortfalls in the storytelling found in BATTLE: LOS ANGELES, the nature of the film has provided composer BRAIN TYLER with the opportunity to flex his action muscle, and he has certainly hasn’t shunned it, providing audiences with a bombastic and relentless barrage of ubiquitous action and bravado on an epic scale.

Born Today (March 31) - Franz Joseph Haydn


View Joseph Haydn and over 3,000,000 other topics on Qwiki.

Born today, in 1732, was Franz Joseph Haydn, called the Father of the Symphony or Father of the String Quartet!  Happy Birthday, Heir Haydn!

Here are just a few of the films his music has appeared in:


From Paris With Love (2010) Song ("Symphonie No 94, Finale")
Sherlock Holmes (2009) Song (“Adagio From String Quartet Opus 1 No. 3 In D Major”)
The Duchess (2008) Song ("Adagio From String Quartet Opus 1 No. 3 In D Major")
The Spirit (2008) Song ("Deutschland Uber Alles")
Fantastic Four: Rise of the Silver Surfer (2007) Song (String Quartet #13 In A Minor “Rosamunde”: Andante)
Mission: Impossible III (2006) Music ("String Quartet in B Major, Op. 1, No. 1 ("La Chasse"))
Talladega Nights: The Ballad of Ricky Bobby (2006) Music ("Symphony No. 104 in D Major")
Monster-in-Law (2005) Music ("Sun Quartet for Strings, Op. 20, No. 6")
National Treasure (2004) Music ("String Quartet In A Major Movement No. 3")
The Alamo (2004) Music ( String Quartet No 5 in D Major Final Presto - Opus 76 )
Daddy Day Care (2003) Music ( Quartet In C Major, Op. 74, No. 1 )
Bicentennial Man (1999) Music ("The Hunt Quartet No 1 (2nd movement 'Menuetto')")
Runaway Bride (1999) Music ("Menuet (from 'Sonata No 33')")
Star Trek: Insurrection (1998) Music ( Fourth Movement: Finale-Vivace (from String Quartet in D Major ) Opus 64 No 5 The Lark )
George of the Jungle (1997) Music ( Haydn String Quartet Op 33 No 1 )
The Relic (1997) Music ( Sunrise (String Quartet in B Flat Major )
The Evening Star (1996) Music ("Symphony #94 in G Major")
Interview With the Vampire (1994) Music ("Sonata in E Flat Adagio e Cantabile")
Boomerang (1992) Music ("String Quartet in G. Opus 54, No. 1-Third Movement")
Wayne's World (1992) Music ( String Quartet in G Opus 54 No 1 - Third Movement )

See more films with Haydn's music here

Wednesday, March 30, 2011

Jedi Knight Character Progression Trailer Features Original Music




LucasArts has released another teasing bit of goodness for the upcoming STAR WAR: THE OLD REPUBLIC. This time we get to look at the character progression of the Jedi roles. From a noob-jedi wielding, essentially, a pole, to some full-on, Jedi mastery, this short video gives us a tiny clue as to what your game journey could be like.

But nevermind that for now. Throughout the whole video you get treated to original score written for this colossal game by composer Mark Griskey et al.

Sounding so very "Star Wars" to be sure! What do you think of what you are hearing thus far?

Tuesday, March 29, 2011

Cris Velasco and Sascha Dikiciyan Score Mass Effect: Arrival (DLC)

Cris Velasco and Sascha Dikiciyan Score Mass Effect: Arrival (DLC)

BIOWARE™ HIRES COMPOSING TEAM TO CREATE THE “ARRIVAL” SOUND

Original Mass Effect 2 DLC Soundtrack Features the Work of Sascha Dikiciyan and Cris Velasco

Los Angeles, CA – March 28th, 2011 – The game industry’s top composing team, Cris Velasco and Sascha Dikiciyan, have created an original hybrid-orchestral score for the biggest Mass Effect™ DLC yet, titled “Arrival.”

Known for their unique ability to merge orchestra with heavy electronics, Velasco and Dikiciyan created an epic score influenced by the likes of Vangelis and Tangerine Dream. “We wanted to pay homage to the great 80s sci-fi -sound of the first score while moving the music forward, delivering a sound that matched the cinematic quality of the game,” says Velasco. “Sascha and Cris perfectly nailed the retro-futurism style that has become a key part of the Mass Effect franchise,” says Rob Blake, Audio Lead for Mass Effect 2.

In “Arrival,” the final DLC, Shepard will travel to the edge of the galaxy, rescue an undercover agent and discover the truth about the Arrival. Admiral Hackett, a favorite of the series, will be playing a prominent role in the new mission. This exciting final mission will act as the bridge for the new upcoming game.

“Arrival” will be available on March 29 for the PC, Xbox 360 and PS3. For more information,
visit http://masseffect.bioware.com/

Cris Velasco and Sascha Dikiciyan are two of the most in-demand composers in the video game industry today, having scored more than 30 AAA game scores. Their unique fusion of cutting-edge electronica and cinematic orchestra have garnered critical acclaim for versatility and fearlessness of pushing the boundaries of music – whether it’s composing an elegant string arrangement, dramatic orchestral score, hard-hitting rock tracks, or raw electronic beats.

For more information, please visit www.sonicmayhem.com or www.monarchaudio.com.

Saturday, March 26, 2011

On this day, Ludwig van Beethoven died in 1827


View Ludwig van Beethoven and over 3,000,000 other topics on Qwiki.


Today we pay tribute to one of the most popular and influential composers the world has seen to date, German pianist, Ludwig van Beethoven.  Below you will find just a few of the films his music has appeared in.



Beethoven Music in the Movies (via About.com)

The Age of Innocence - Beethoven's Piano Sonata No. 8, mvmt. 2
Along Came Polly - Beethoven's Cello Sonata No. 2
Before Sunrise - Beethoven's Piano Sonata No. 8, mvmt. 3
Colonel Chabert - Beethoven's Piano Trio No. 5, mvmt. 2
Confessions of a Dangerous Mind - Beethoven's Piano Sonata No. 8, "Pathetique"
Crime of Padre Armano - Beethoven's Piano Concerto No. 5
Crimson Tide - Beethoven's Piano Sonata No. 14
Daddy Day Care - Beethoven's String Quartet Op. 18, No. 5
Dead Poets Society - Beethoven's Piano Concerto No. 5 "Emperor", mvmt. 2
Fantasia - Beethoven's Symphony No. 6
Fearless - Beethoven's Piano Concert No. 5, mvmt. 3
Frances - Beethoven's Symphony No. 7, mvmt. 2
George of the Jungle - Beethoven's String Quartet, Op. 18, No. 6
Hard Target - Beethoven's Piano Sonata No. 23, mvmt. 3
Hilary and Jackie - Beethoven's Piano Trio No. 7 "Archduke"
The Horse Whisperer - Beethoven's Cello Sonata No. 1
Kalifornia - Beethoven'ts Symphony No. 8, mvmt. 2
The Lost World - Beethoven's Piano Sonata No. 8 "Pathetique", mvmt. 2
Misery - Beethoven's Piano Sonata No. 14, mvmt. 1
Mr. Hollands Opus - Beethoven's Symphony No. 7, mvmt. 2
Romey and Michelles High School Reunion - Beethoven's Piano Sonata No. 8 "Pathetique"
Sour Grapes - Beethoven's String Quartet No. 2 and No. 7
Star Trek: Insurrection - Beethoven's Piano Sonata No. 8 "Pathetique", mvmt. 1
Traffic - Beethoven's Piano Sonata No. 1 in F minor

More movies featuring the music of Beethoven.

Tuesday, March 22, 2011

The Lincoln Lawyer (Soundtrack) by Cliff Martinez - Reviewed

The Lincoln Lawyer (Soundtrack) by Cliff Martinez - Reviewed

Better Lawyer Up
Richard Buxton

CLIFF MARTINEZ is yet another example of musicians lending their talents to film scores. Yet, in a manner contrasting to that of the normal process, Martinez has found what seems like a permanent residence in the world of film scoring, beginning in 1989 with SEX LIES AND VIDEOTAPE, MARTINEZ has accumulated over 25 film scoring credits to date, suggesting that his real success and longevity is to be found in film music.

MARTINEZ teams up with director BRAD FURMAN, a relatively new director, for THE LINCOLN LAWYER, a thriller revolving around defense attorney Mickey Haller (Matthew McConaughey) and a murder case.

Barring the more light-hearted affairs of the genre, legal dramas aren’t known for their thematic content, with composers opting for a more ambient underscoring approach, an attribute MARTINEZ maintains in his music for THE LINCOLN LAWYER. “How’s It Hangin’ Counselor” (1) introduces listeners to what they can expect over the next 40 minutes, as within the 2.5 minute running-time, the opening track provides a brief summary of the dominant forces at work in MARTINEZ’S music. Opening with a dream-like pads and a nonchalant bass line the track quickly picks up the pace with guitar stabs that eventually lay way to a percussion dominated climax. The emotions that the track evokes are relatively shallow as the music rarely attempts to challenge the listener.

Read the full review

Sunday, March 20, 2011

Behind the Score: Killzone 3 with Joris de Man

Behind the Score:  Killzone 3 with Joris de Man

Behind the Score:  Killzone 3

Depicting the ongoing conflict between the human ISA colonists and the mutated halfbreed race known as the Helghast, the Killzone series has boasted extremely polished gameplay, mindblowing graphics quality, and fantastic music since its first title in 2004. With the recent release of Killzone 3 (actually the fourth game in the series, counting the PSP-exclusive Killzone: Liberation), we delve into the rich and sophisticated music of JORIS DE MAN, and learn how one electronic musician's brave creative vision brought the symphony orchestra to the First-Person Shooter genre in all its glory.

Join with us as we go with them all BEHIND THE SCORE OF KILLZONE 3. In this edition:

- SoundCast Interview with composer Joris de Man
- Killzone 3 Game score review
- Article:  "A Moment's Weight" by Jeremy Hardin
- BONUS Coverage:  2009 Interview with Joris de Man (Killzone 2)
- BONUS Coverage:  Killzone 2 Game score review


Saturday, March 19, 2011

Beastly (Soundtrack) by Marcelo Zarvos - Reviewed

Beastly (Soundtrack) by Marcelos Zarvos - Reviewed

The Beauty in the Beastly
Review by Helen San

MARCELO ZARVOS is a Brazilian classical and jazz pianist turned film composer who has a penchant for simple, haunting piano themes. A relative newcomer, he scored his first film only in 2000, mostly with indie films, moving rather quickly to Hollywood fare with THE GOOD SHEPHERD (co-composed with BRUCE FOWLER) in 2006. That is his first score that brought his name to my attention, a score I rushed to buy immediately after watching the movie. Believe it or not, I don't actually do that very often.

What sets ZARVOS apart from others is he seems to be able to express a lot of poetry with not a lot of notes or fanfare. Less is more, in ZARVOS ' case. One piano and a few strings, and he delivers lyrical support that doesn't overwhelm a weak picture, yet doesn't underwhelm a strong one either. It is no wonder then that in the last 10 years, he's scored a whopping 40 projects, which attests to the demand for this uncommon talent of simplicity and balance.

His latest opus, BEASTLY, is scored for a modernized remake of the old fable, Beauty and the Beast. A handsome-but-selfish preppy high school student gets cursed into bald, tattooed freak, a curse that can only be broken if a girl falls in love with him by the end of the year. Obviously, without his good looks, he'll have to actually, be nice to girls. We all know the ending. Without his hair and flawless skin, the guy develops a personality, matures, falls in love, and gets the girl.

Read the full review

Friday, March 18, 2011

Castlevania: Lords of Shadow (Soundtrack) by Oscar Araujo - Reviewed

Castlevania:  Lords of Shadow (Soundtrack) by Oscar Araujo - Reviewed

A Beautiful Re-Invention
Review by Marius Masalar

Not too long ago, the International Film Music Critics Association announced their award winner for best video game score. The winner, who was also nominated for best breakout composer of the year, beat out such critically acclaimed titles as 007 Bloodstone, Dark Void, and Lego Universe — each of which was penned by marvelous and well-known composers. The unexpected bolt of lightning that took the IFMCA and your humble writer’s breath away was the score for CASTLEVANIA: Lords of Shadow, a 3D reboot of the iconic Konami franchise, developed by Mercury Steam and released on the major consoles earlier this year. The musical mastermind behind this achievement was OSCAR ARAUJO, whose name is likely unfamiliar to you.

ARAUJO is a Spanish composer whose work on CASTLEVANIA will surely catapult him to more mainstream work, though he is certainly no stranger to the craft, having worked on a number of smaller scale projects in his homeland. For CASTLEVANIA, ARAUJO pulled out all the stops and recorded an absolutely immense score with a 120-piece orchestra and choir in Bratislava. An immediate gauge of the score’s success is that even die-hard Castlevania fans, ones who were demanding another gothic-rock musical offering in the vein of all the previous titles in the series, have unashamedly admitted that ARAUJO’s score — while certainly unexpected — takes the franchise in a very strong new direction.

Read the full review

Thursday, March 17, 2011

Source Code (Soundtrack) by Chris Bacon

Source Code (Soundtrack) by Chris Bacon


Open Source
Review by Richard Buxton

One of the greatest joys of Science Fiction in film and literature is the potential for a spectacle unlike anything seen before coming with each attempt at the genre. It is the genre that has brought us such mind-bending thrillers as MINORTIY REPORT and INCEPTION and has produced classic scores like BLADE RUNNER, a groundbreaking score for a groundbreaking film. Sci-Fi is the fertile ground from which the most original and stimulating films are born. With a sufficient suspension of disbelief, Sci-Fi can provide the ultimate in cinematic entertainment. DUNCAN JONES’ SOURCE CODE is a film that requires such suspension, its original premise is one of outstanding potential and if MOON is anything to go by, it could be another excellent production from this up and coming young director.

As the director continues to feel his way through the industry, it seems fitting that another young and promising artist has been chosen to score the film. CHRIS BACON, most notable for his working alongside JAMES NEWTON HOWARD, and providing additional music for such films as KING KONG and I AM LEGEND, scores his first blockbuster release in SOURCE CODE, and compared to his previous solo scoring credits (ALPHA AND OMEGA, LOVE RANCH), his music is naturally somewhat of a departure.

Read the full review

Monday, March 07, 2011

In Treatment (Soundtrack) by Richard Marvin - Review

In Treatment (Soundtrack) by Richard Marvin - Review


Marvin's Treatment
Review by Richard Buxton

With music taking centre stage in many recent major television series such as LOST, HUMAN TARGET and 24 it almost comes as a surprise when the score takes a backseat and allows the drama onscreen to carry the weight. Shows such as the aforementioned three are universally known for their enigmatic, adventurous and intense themes, making their analysis somewhat easier than RICHARD MARVIN’S work for IN TREATMENT.

With the exclusion of AVI BELLELI’S title theme music from the score, it becomes difficult to identify any overarching theme for the series. While “Jake & Amy (theme) – Week 1 – Season 1” (4) and “Sophie – Week 2 – Season 1” (2) are used during the credits, the tracks consist of ideas found only sparsely elsewhere. With most episodes detailing the sessions of a different patient, the only identifiable consistencies in theme or instrumentation come when a particular patient is granted multiple tracks across the soundtrack. For example Gina, a character with 6 tracks in the score release. “Gina – Week 5 – Season 1” (7) and ”Gina – Week 1 – Season 1” (16) mirror one another in instrumentation and their pensive tone, but it’s there that the similarities come to an end. No theme becomes apparent, just mood and timbre.

READ THE FULL REVIEW HERE

Sunday, March 06, 2011

Rango (Soundtrack) by Hans Zimmer - Review

Rango (Soundtrack) by Hans Zimmer - Review

Western Wacky Weirdness
Review by Helen San

If the soundtracks of RAISING ARIZONA (CARTER BURWELL) and ANTZ (JOHN POWELL AND HARRY GREGSON-WILLIAMS) had a love child, it would be RANGO (HANS ZIMMER). Calling this album “quirky” would be an understatement. Wicked zany crazy would be more like it.

The movie is a mishmash of classic cinema references, so it comes as no surprise that the music has everything but the kitchen sink. With a hodgepodge of different genres from mariachi yodeling (WTF?) to classical to even a few seconds of industrial metal (courtesy of punk band Lard), the album listens like the playlist of someone with ADHD. The transitions are jerky, sudden, and unpredictable. You feel like you’re falling through a rabbit hole into The Land of Soundtrack Weirdness.

Actually, most of it is The Land of Album Badness. (Not to be confused with badass-ness.) If there are any soundtrack producers reading this, please allow me to outline some rules from the consumer’s point of view--and use RANGO as an example of what NOT to do: . . .

READ THE FULL REVIEW HERE

Saturday, March 05, 2011

More on the HANNA Soundtrack by The Chemical Brothers

More on the HANNA Soundtrack by The Chemical Brothers

Container Park by The Chemical Brothers by Hannamovie

As the release date for HANNA draweth nigh, we are getting treated to increasing glimpses of the original score from THE CHEMICAL BROTHERS.  While our cautionary stance on this "new movement" in film scoring is pretty well-known by now, I have to admit that what I'm hearing (please check the soundcloud clip above) seems like it will be an good fit for the film.  I'm, at the very least, intrigued by the film's trailer and the music that is married to these images definitely enhance that feeling.  

THE CHEMICAL BROTHERS style seems to fit the mysterious-action-personality of the film...perhaps better than some other recent attempts.  Still, we'll have to see just how well it works in the film.  Hopefully, it will be a better marriage than in The Social Network OR at least provide as entertaining a listen as Tron Legacy did...in case the film, itself, is a letdown.  

There are others out there who certainly share this opinion.  Check out what Moviefone says,

"Trust us when we say they deliver something really special with this one, topping (in our opinion) the much-buzzed-about Daft Punk TRON: Legacy score... as well as Trent Reznor's [Oscar-winning] score for The Social Network. Oh yes, we just went there."

Thursday, March 03, 2011

Tracksounds Trends #2 (February 2011)

Ten Most Popular Soundtrack Reviews of January 2011

Tracksounds Trends #2 (for February 2011)

Here's a look at some of our most popular content at Tracksounds for February 2011.  While David Robidoux's promo score stays at #1, Hans Zimmer's Gladiator shoots up to #2 and Black Swan to #3.  Entering the Top 10 is John Debney's score for No Strings Attached.  Lastly, Rocketing to the most popular episode of The SoundCast in February was #21 The Invasion of the Score Snatchers.

Ten Most Popular Soundtrack Reviews (Lost month's ranking)

10 - No Strings Attached (Soundtrack) by John Debney (x)
09 - L'Arnacoeur (Soundtrack) by Klaus Badelt (4)
08 - Band of Brothers (Soundtrack) by Michael Kamen (9)
07 - Autumn Thunder by Sam Spence, Tom Hedden, and David Robidoux (8)
06 - Call of Duty: World at War (Game Soundtrack) by Sean Murray (5)
05 - Braveheart (Soundtrack) by James Horner (2)
04 - Master and Commander: The Far Side of the World (Soundtrack) by Christopher Gordon (10)
03 - Black Swan (Soundtrack) by Clint Mansell (3)
02 - Gladiator (Soundtrack) by Hans Zimmer (7)
01 - NFL Films Original Music (Promo) by David Robidoux (1)

Five Most listened to Episodes of the SoundCast

05 - Interview: Ramin Djawadi (Medal of Honor Video Game)
02 - Interview with Jason Graves (Dead Space 2)
01 - Episode 21:  Invasion of the Score Snatchers


View Tracksounds Trends for January 2011

Wednesday, March 02, 2011

Operation Ajax - Graphic Novels with an Original Score? Yes!


Operation Ajax from Operation Ajax on Vimeo.

Ever pop on a good original score while plowing through your latest read?  It's something that has become somewhat of a habit for me in recent years.  I had ISAO TOMITA's music from Yoji Yamada's samurai trilogy on constantly while reading trough Lian Hearn's TALES OF THE OTORI, HOWARD SHORE's epic work for THE LORD OF THE RINGS on as I read THE CHILDREN OF HURIN and re-read THE SILMARILLION, even ZIMMER's work for THE DA VINCI CODE and ANGELS AND DEMONS as I read THE LOST SYMBOL (well, at least until I got to the half way point and decided I knew what the ending was going to be.)  Yes. The combination of a good read and a good score can be an intriguing experience, but a book and an iPod-device is soooo 2007...

In 2011, it's a new world for readers, with Kindles, Nooks, iPads, and even smartphones becoming a significant means of consuming the latest novels, how-tos, and social media books.  With this electronic invasion comes some new opportunities to potentially enhance the reading experience.

A great example of, what I consider, a revolutionary trend in the "reading" experience is OPERATION AJAX.  This is a graphic novel for the iPad that tells the true story of the 1953 Iranian Coup.  And what's so special about this?  Well, if you haven't already done so, check out the video preview above and see for yourself.  This is no ordinary graphic novel.  Besides the obvious motion, did you notice any thing else?  Right.  There's sound.  Very good.  Anything else?  Yes...along with the narration and sound effects, there is a score.

Now this excites me to no end.  Beyond whatever interactivities such titles may possess, I'm excited for the potential of the this new medium - the potential as another venue for original scores to be composed AND released.  It's more opportunities for talented men and women to write compelling music to picture.

Of course, pioneering credit must be given to RYAN SCHIFRIN for including a score for his graphic novel, SPOOKS, several years ago...and not only that, but having he had his father, LALO SCHIFRIN, pen the score.  As innovative as that move was, they were just a bit before there time...before the advent of iPad-family of devices.

While I eagerly look forward to seeing what titles like OPERATION AJAX have to offer, there are others on the way...and not just novels.  Al Gore's book, OUR CHOICE, will also be released in this new interactive format by Pop Up Press and Melcher Media.  And with the XOOM and iPAD2 getting everyone  buzzed, it will only take one or two successful titles to get the calvacade going.

I look forward to seeing that happen...and seeing Tracksounds populated with a brand new type of soundtrack review.


Tuesday, March 01, 2011

SoundCast Episode 22: 83rd Oscars - Post Mortem

SoundCast Episode 22:  83rd Oscars - Post Mortem

Episode #22 - 83rd Oscars - Post Mortem

Recorded February 28, 2011
Published March 1, 2011

The crew jumps online talk about the 83rd Academy Awards show.  What they liked, didn't like, their reaction to the winner of Best Original Score, and some ideas on how the show could be improved.

Episode Highlights

0:00 — Opening of the 22nd Academy Awards
0:23 — Intros
01:35 — News: Mars Needs Moms, Rango, Captain America
10:04 — More from Opening of the 22nd Academy Awards
11:23 —What we liked about the Oscars
16:10 — What we didn't like about the Oscars
23:44 — Winners Reactions
30:37 — Twittering the Oscars
36:40 — Best Score winner reactions
46:40 — How the Oscars could be improved
54:48 — Conclusion

Music Clips (Select music clips contained in this podcast)

00:00 — "Hooray For Hollywood" (Hooray For Hollywood) - Ray Davies
10:04 — "Hollywood Newsreel A" (Hooray For Hollywood) - Ray Davies
22:15 — "I Love You" (The Last Sin Eater) Mark McKenzie
35:57 — "Hand Covers Bruise"  (The Social Network) Trent Reznor and Atticus Ross
40:20 — "Opening Titles Part 1" (The King's Speech) Alexander Desplat
43:53 —  "In the Hall of the Mountain King" (The Social Network) - Trent Reznor and Atticus Ross
43:53 —  "In the Hall of the Mountain King" (The Social Network) - Trent Reznor and Atticus Ross
54:42 — "Hooray For Hollywood" (Hooray For Hollywood) - Ray Davies


Hans Zimmer at the 83rd Academy Awards


So Hans Zimmer was actually there on Sunday. Perhaps next year ABC will get some shots of other nominated composers.

See more quick videos of the Inception crew on the red carpet at Thompson on Hollywood.  Video by Anne Thompson (@akstanwyck)