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William B. Kaplan | Avatar Sound Mixer

Joining the team of other award winning sound professionals in Avatar's sound studio is Motion Picture Sound Editors award winner William B. Kaplan. Beginning in the 1970's, William's career in film sound spans four decades and has provided his talents to over 90 film and television projects.

Kaplan is also a seven time Academy Award nominee for Best Sound and a Cinema Audio Society (C.A.S.) award winner for Outstanding Achievement in Sound Mixing for a Feature Film (Forrest Gump).

While sound mixing is his primary film profession, William has taken on other roles in film projects including cinematographer, actor, and camera operator.


Production/Sound Mixer/Recordist
Cinematographer, Actor:

2010 - Alice in Wonderland
2009 - Avatar, Big Kids, A Christmas Carol
2008 - Yes, The House Bunny
2007 - Beowulf, Next, Spider-Man 3
2006 - Monster House
2005 - Stealth, Beowulf & Grendel
2004 - National Treasure,
The Polar Express
2003 - House of Sand and Fog, Tell Us
Terminator 3: Rise of the Machines
2002 - xXx, Collateral Damage
2001 - Evolution
2000 - What Lies Beneath, Modern Marvels
1998 - Enemy of the State
1997 - Contact, UFO's Over Phoenix
1996 - The Fan, Down Periscope
1995 - Crimson Tide
1994 - Forrest Gump
1993 - True Romance
1992 - Brain Donors, Death Becomes Her
1991 - Oscar, Deceived
1990 - Back to the Future Part III
1989 - Troop Beverly Hills,
Back to the Future Part II
1988 - Yellow Pages, Rambo III,
Coming to America
1987 - Born in East L.A., Beverly Hills Cop II
1986 - ¡Three Amigos!, The Whoopee Boys, When the Bough Breaks, Top Gun
1985 - Into the Night, Back to the Future
1984 - Tightrope, Irreconcilable Differences, Romancing the Stone
1983 - Doctor Detroit,
Twilight Zone: The Movie
1982 - The Best Little Whorehouse in Texas
1981 - Continental Divide
1980 - Heart Beat, Carny, Loose Shoes, The Blues Brothers
1979 - Over the Edge, Old Boyfriends,
The Cracker Factory
1978 - The Evil, Kingdom of the Spiders, Animal House
1977 - Moonshine County Express, Ruby, Supervan, The Kentucky Fried Movie
1976 - High Velocity, Blue Sunshine, Jackson County Jail
1975 - Darktown Strutters, Las Vegas Lady, Lepke, Chac: Dios de la lluvia
1974 - God Bless Dr. Shagetz, Dirty O'Neil, Memory of Us, Tender Loving Care
1973 - The Slams
1972 - Saddle Tramp Women, Prison Girls, The Final Comedown
1971 - Prostitution Pornography USA
1970 - Gimme Shelter
1969 - Naked Angels

William B. Kaplan Awards (shared)

Academy Awards
Nominated Best Sound/Mixing:
2005 for The Polar Express
2001 for Cast Away
1998 for Contact
1996 for Crimson Tide
1995 for Forrest Gump
1987 for Top Gun
1986 for Back to the Future

Cinema Audio Society Awards
Nominated Outstanding Achievement
in Sound Mixing for a Feature Film:
2001 for Cast Away
1998 for Contact
1996 for Crimson Tide
Won: 1995 for Forrest Gump

Motion Picture Sound Editors
Best Sound Editing Golden Reel Award

2008 Won: Music in a Musical Feature Film for Hairspray
Nominated: Music in a Feature Film for The Assassination of Jesse James by the Coward Robert Ford

Jim Henrikson

Jim Henrikson | Avatar Music Editor


Motion Picture Sound Editors
Won (shared) 2007 Golden Reel Award
Best Sound Editing for Music in a
Feature Film for: Apocalypto

Nominated 2002 Golden Reel Award
Best Sound Editing - Music
Feature Film for: A Beautiful Mind

Won (shared) 1998 Golden Reel Award
Best Sound Editing - Music for: Titanic


Supervising/Music Editor:
2009 - Avatar
2008 - The Boy in the Striped Pyjamas,
The Spiderwick Chronicles
2007 - The Life Before Her Eyes
2006 - Apocalypto
2004 - The Forgotten, Troy,
Bobby Jones: Stroke of Genius
2003 - House of Sand and Fog,
The Missing, Radio
2002 - The Four Feathers, Windtalkers
2001 - Enemy at the Gates, Iris,
A Beautiful Mind, The Perfect Storm
1999 - The '60s, Bicentennial Man,
The General's Daughter
1998 - The Mask of Zorro, Deep Impact
1997 - Titanic, The Devil's Own
1996 - To Gillian on Her 37th Birthday,
Ransom, Courage Under Fire,
The Spitfire Grill
1995 - Jumanji, Braveheart, Jade, Apollo 13
1994 - Legends of the Fall,
Clear and Present Danger
1993 - We're Back! A Dinosaur's Story,
The Man Without a Face, The Pelican Brief,
Once Upon a Forest, For Richer/for Poorer,
A Far Off Place, House of Cards, Bopha!,
Thunderheart, Fish Police, Swing Kids,
Jack the Bear, Patriot Games
1992 - Sneakers
1991 - An American Tail: Fievel Goes West,
The Rocketeer, Class Action
1990 - Another 48 Hrs.
1989 - Field of Dreams, Glory, Dad,
In Country, Honey, I Shrunk the Kids
1988 - Cocoon: The Return, Vibes,
The Land Before Time, Young Guns,
Willow, Dominick and Eugene
1987 - Roxanne
1986 - Little Shop of Horrors,
Where Are the Children?
1985 - Creator, Perfect, Brewster's Millions,
Heaven Help Us
1984 - Body Rock, Footloose,
Cannonball Run II
1983 - Scarface, Stroker Ace, Flashdance,
Staying Alive
1982 - The Wall, Barbarosa
1981 - The Cannonball Run,
Sharky's Machine, True Confessions, Southern Comfort, Death Hunt,
Second-Hand Hearts
1980 - Raging Bull, Urban Cowboy,
The Long Riders
1979 - Being There, Promises in the Dark,
Friendly Fire, The China Syndrome
1978 - Three Warriors, Lord of the Rings

Luke Dunn Gielmuda | Foley Editor

Luke Dunn Gielmuda, from Gowrie, ACT, Australia, has a wall full of awards to go along with his career. Beginning with 1999, Luke won the Australian Guild of Screen Composers Special Achievement in Sound Design Award for his work in Project Vlad.

For the same film, he was also nominated for the Australian Film Institute Best Sound in a Non-Feature Film Award. To wrap up 1999, Giemuda finished off the year with a win (shared) for the Australian Screen Sound Guild (ASSG) Best Australian Film Soundtrack Award for Paperback Hero.

In the early 2000's, he continued his award winning ways with a nomination for the 2000 Verna Fields Award. Luke received two awards (shared) for the 2001 ASSG Best Achievement in Sound for a Feature Film and Best Achievement in Sound for a Documentary Awards for his work in Australians at War and Moulin Rouge, respectively.

In 2003, Luke was twice nominated (both shared) for the ASSG Best Achievement in Sound for an Animation for Ward 13 and the Motion Picture Sound Editors Golden Reel Best Sound Editing in Domestic Features Award for Panic Room.

In the most recent years, the award organizations continued to recognize his talents with three nominations (all shared) for the Golden Reel Best Sound Editing Awards for his work in The Bee Movie, The Simpsons Movie, and Transformer.

And last but not least, Gielmuda nominated (both shared) for the 2009 Golden Reel Best Sound Editing Awards for his work in Cloverfield and Indiana Jones and the Kingdom of the Crystal Skull, respectively.


2009 - Avatar, The Haunting in Connecticut,
Post Apocalyptic Pizza, Knight to F4, 9
2008 - Cloverfield,
Indiana Jones/Kingdom of the Crystal Skull
2007 - The Simpsons Movie, Film Noir,
Transformers, Zodiac, Bee Movie
2006 - Zoom, Clerks II, Charlotte's Web,
Happily N'Ever After, Monster House
2005 - Munich, Rent, Stay, The Libertine,
2004 - Finding Neverland
2003 - Ward 13, Yeah Right!
2002 - Panic Room
2001 - Ambush, Moulin Rouge!,
Australians at War
2000 - Bootmen, Gloria's House
1999 - Project Vlad, Soft Fruit,
Paperback Hero
1998 - Has Beans

James M. Tanenbaum | Sound Mixer

Awards (shared)

Cinema Audio Society Nominated
Outstanding Achievement Sound
ForTelevision Mixing Awards:

2003 for: Live from Baghdad
2000 for: Tuesdays with Morrie

Emmy Awards:
Won 2003 Emmy Outstanding Single Camera Sound Mixing for a Miniseries or a Movie for Live from Baghdad
Nominated 2000 Emmy Outstanding Sound Mixing for a Miniseries or a Movie for Tuesdays with Morrie


Production/Sound Mixer:
2009 - Avatar, A Christmas Carol
2008 - Over Her Dead Body
2005 - Wanted,
Their Eyes Were Watching God
2004 - The Handler
2002 - Crossing Jordan,
Live from Baghdad,
The First $20 Million Is Always the Hardest
2001 - Amy & Isabelle
2000 - Quantum Project
1999 - Tuesdays with Morrie
1998 - From the Earth to the Moon,
A Night at the Roxbury,
Halloween H20: 20 Years Later
1997 - Volcano
1996 - A Very Brady Sequel
1994 - Love Affair
1993 - Babylon 5: The Gathering
1992 - Night Trap
1991 - The Doctor
1990 - The Hot Spot, Catchfire,
The Bonfire of the Vanities,
1989 - Warlock, Gross Anatomy
1988 - Moving, Arthur 2: On the Rocks
1987 - The Untouchables
1986 - The Men's Club, Out of Bounds,
Nobody's Fool
1984 - Fear City, Body Double
1983 - The Creature Wasn't Nice
1982 - Endangered Species
1981 - Blow Out, Take This Job and Shove It
1979 - The Tenth Month
1978 - Mirrors
1974 - Macon County Line,
Phantom of the Paradise
1973 - The Mad Bomber,
The Candy Snatchers
1972 - Bury Me an Angel
1971 - Runaway, Gas!
1970 - Count Yorga, Vampire
1969 - Gun Runner
1968 - Like Mother Like Daughter

Other Sound/Music Crew

Sean England - Foley Mixer/Recordist
Filmography highlight:
Avatar (2009) Ice Age: Dawn of the Dinosaurs (2009) My Bloody Valentine (2009) WALL·E (2008) Indiana Jones and the Kingdom of the Crystal Skull (2008) Beowulf (2007) Ratatouille (2007) Eragon (2006) Monster House (2006) Ice Age: The Meltdown (2006) Hellboy (2004) Finding Nemo (2003) Star Wars: Episode II - Attack of the Clones (2002) Artificial Intelligence: AI (2001) Space Cowboys (2000) End of Days (1999) Mars Attacks! (1996)

Kyle Griffiths - Assistant Sound
Greg Steele - ADR Mixer
Tony Johnson - Sound Mixer
David Lee - Mixer: 2nd Unit
Stacey Parish - Sound Asst.: 2nd Unit
Aaron Martin - Score Programmer
Tony Hinnigan - Ethnic Instruments

Boom Operators:
Thomas Giordano
Daniel A. Greenwald
Jesse Kaplan
Mark Williams


James Horner

James Horner
Avatar Composer, Conductor

A prolific and talented composer and arranger, James Horner was raised in England where he studied at the Royal College of Music. Returning to his native California, he obtained his undergraduate degree at USC and graduate degrees at UCLA.

In 1978, his avant-garde composition "Spectral Shimmers" was premiered but the critical reaction was mixed.

That same year, Horner entered the film industry, first composing scores for individual student films at the American Film Institute and later under the aegis of Roger Corman at New World Pictures.

Although his early efforts were mostly low-budget horror flicks (i.e., "Battle Beyond the Stars" 1980), Horner eventually began to branch out to thrillers and dramatic fare (e.g., "The Pursuit of D B Cooper" 1981). In 1982, he won his first mainstream success with his jazz-fusion underscore for Walter Hill's "48 Hrs." and for his stirring themes for "Star Trek II: The Wrath of Khan". Employing strings and brass, the composer fashioned a score that perfectly complimented the film's action sequences.

After the boxoffice success of "Star Trek II", Horner's stock in Hollywood rose and he was soon in demand. Since 1983, he has composed over 75 film scores in a variety of genres. Horner has experimented with different types of instruments, from steel drums in "Commando" (1985) to pan flutes in "Patriot Games" (1992). For James Cameron's superior sequel "Aliens" (1986), he earned his first Oscar nomination for what some have called one of the best action film scores. Horner utilizes flutes, strings, brass and timpani to create memorable themes.

One of his biggest successes came with the Academy Award-nominated, Grammy-winning song "Somewhere Out There", co-written with Barry Mann and Cynthia Weil. Penned for the animated "An American Tail" (1986), the song became a hit thanks to a lovely duet by Linda Rondstadt and James Ingram. Horner also won considerable acclaim for his stirring themes for "Glory" (1989), which also employed the Boys Choir of Harlem, The film's main theme, begun on a single trumpet which eventually gives way to a full orchestra, brought him another Grammy.

That same year, he was again Oscar-nominated for "Field of Dreams", which perfectly matched the film's tearjerking tone, beginning in a light-hearted fashion before becoming more serious. Throughout the 90s, he has continued to provide thoroughly enjoyable, strong scores. Some critics felt his songs (written with Will Jennings) for the animated sequel "An American Tail: Fievel Goes West" (1991) were superior to the original. The piano-heavy score for the underrated film "Searching for Bobby Fisher" (1993) and the synthesizer-heavy music for "Bopha!" (also 1993) rank among his better work.

He earned a fair amount of critical attention for the melodic "Legends of the Fall" (1994), which interwove themes written to represent each of the major characters. Horner was a double Oscar nominee in 1995 for the Celtic-influenced "Braveheart" and for the triumphant music in "Apollo 13". Two years later, he reteamed with director James Cameron for what stands as Horner's most accomplished and successful achievement, the powerful Oscar-winning score to the blockbuster "Titanic" (1997).

From its subdued beginning through the heavy use of brass and drums to indicate the ship's sinking, the score was Horner's masterwork. He again employed Celtic instruments as well as the haunting vocalizations of Norwegian singer Sissel to create the ethereal underscore for the romantic scenes. The film's award-winning love theme, "My Heart Will Go On" (with lyrics by Will Jennings), also proved popular in a rendition by Celine Dion.

Once in the mainstream, Horner has barely stopped, penning scores for several features a year. Although some have detected influences of other composers, Horner most often recycles his own compositions. Themes or motifs from one film may be heard in variation in another (e.g., the main theme of "Aliens" appears in 1987's "Project X" motifs from "Glory" are reused in 1994's "The Pagemaster"). Despite this self-plagiarism, Horner continues to captivate audiences with his aurally pleasing film music.

James Horner


Attended University of the Pacific in Stockton, California. Has tagged several scores with a distinctive four-note trumpet blast during an important moment in the film. Many of his scores contain a wordless female voice (like Ennio Morricone often does). Often uses a "crashing piano" to symbolize genius in his scores (A Beautiful Mind (2001), Searching for Bobby Fischer (1993)). Son of Harry Horner. Brother of Christopher Horner.

His end-title themes for Battle Beyond the Stars (1980) and Glory (1989) have been heavily reused for various movie trailers. Although he studied Piano, he doesn't consider himself to be a good pianist. Has followed Jerry Goldsmith by composing the scores for two sequels to movies Goldsmith scored: Star Trek: The Wrath of Khan (1982) and Aliens (1986). Titanic (1997) Salary: $800,000 (plus $1.2$ per soundtrack CD sold).

Trade Mark

Frequently uses a chorus or soloist (Ex: Glory, Titanic, A Beautiful Mind). Frequently represents bad guys with a distinctive four-note motif. Frequently uses the sakuhachi (Ex: Braveheart).

Personal Quotes

'I had no idea who Jerry Goldsmith or John Williams were before I did The Hand (1981). I'm sure that I was influenced by Goldsmith's large orchestral scores when I started out, and that was because the people who employed me wanted that kind of sound. I wasn't in a position to say, Go To Hell!'

Filmography (Composer)

2009 - Avatar
2008 - Spiderwick Chronicles,
The Boy in the Striped Pyjamas
2007 - The Life Before Her Eyes
2006 - Apocalypto,
All the King's Men,
2005 - The Chumscrubber,
The Legend of Zorro,
Flightplan, The New World
2004 - The Forgotten, Troy,
Bobby Jones: Stroke of Genius
2003 - House of Sand and Fog,
The Missing, Radio,
Beyond Borders
2002 - The Four Feathers,
2001 - Iris, A Beautiful Mind,
Enemy at the Gates,
2000 - The Perfect Storm,
How the Grinch Stole Christmas
1999 - Bicentennial Man
1998 - The Mask of Zorro,
Deep Impact, Mighty Joe Young
1997 - Titanic, The Devil's Own
1996 - Courage Under Fire,
Ransom, The Spitfire Grill
To Gillian on Her 37th Birthday

1995 - Balto, Jumanji, Jade, Apollo 13, Casper, Braveheart
1994 - Legends of the Fall,
The Pagemaster,
Clear and Present Danger
1993 - The Pelican Brief,
House of Cards, Bopha!,
We're Back! A Dinosaur's Story,
The Man Without a Face,
Jack the Bear, Swing Kids,
Searching for Bobby Fischer,
Once Upon a Forest,
A Far Off Place
1992 - Sneakers, Thunderheart,
Unlawful Entry, Patriot Games
1991 - Norman and the Killer
Once Around, Class Action,
An American Tail: Fievel Goes West, My Heroes Have Always Been Cowboys, The Rocketeer
1990 - Another 48 Hrs.,
I Love You to Death
1989 - Honey, I Shrunk the Kids,
Glory, Dad, Tummy Trouble,
In Country, Field of Dreams
1988 - The Land Before Time,
Red Heat, Cocoon: The Return,
Vibes, Willow

1987 - *batteries not included,
Project X, P.K. and the Kid
1986 - An American Tail,
Der Name der Rose, Aliens,
Captain EO, Off Beat,
Where the River Runs Black
1985 - In Her Own Time,
The Journey of Natty Gann,
Let's Go, Commando,
Volunteers, Cocoon,
Heaven Help Us,
1984 - The Stone Boy,
Star Trek III: Search for Spock
1983 - Uncommon Valor,
Something Wicked This Way Comes, Gorky Park, Krull,
The Dresser, Testament,
Brainstorm, Space Raiders
1982 - 48 Hrs., Sorceress,
Star Trek: The Wrath of Khan
1981 - Deadly Blessing,
The Pursuit of D.B. Cooper,
Wolfen, The Hand
1980 - Humanoids from the Deep, Battle Beyond the Stars
1979 - The Lady in Red,
Up from the Depths
1978 - The Watcher

James Horner: 'Scoring Avatar has been the most difficult job I've done'

James Horner can do difficult. He’s produced first-rate scores for next to no money. He's produced first-rate scores in next to no time (his music to Troy was written and recorded in two weeks, a favour to Warner Bros after the original composer's efforts were rejected a month before the film’s release).

Hell, he’s even sunk the Titanic. But Avatar isn’t mission difficult, it’s a mission impossible; the film its director, James Cameron, says will revolutionise cinema. “Avatar has been the most difficult film I have worked on and the biggest job I have undertaken,” Horner says.

“It’s a huge two-and-half-hour epic and the score has got so much to do. When you see for the first time the [alien] world, you get right away the scale of what’s going on and the depth of what Jim has created. It is like the difference between hi-def and listening to a mono cassette. “I promised Jim I wouldn’t take on any other work for a year-and-a-half, and it has taken that length of time. I work from four in the morning to about ten at night and that’s been my way of life since March. That’s the world I’m in now and it makes you feel estranged from everything.

I'll have to recover from that and get my head out of Avatar.” The gentleness in Horner’s voice and generosity with his time betray little of the pressure he’s under — after this interview he was due to show Cameron a cue he had been working on late into the night. The biggest challenge, he says, was working out how far he could push audiences. “Visually, audiences are able to accept almost anything, but in terms of film music, I couldn’t put something in front of them that’s light years ahead and expect them to accept it.

I had long discussions with Jim and we decided that mainstream audiences were not ready for an avant garde experience — they don’t listen to avant garde music and Avatar is not an art film. The score needed to be grounded; that’s where the world’s ear is. “What I have done is create a world that uses a tremendous amount of colour — colours that we haven’t heard before. There is a tremendous amount of different vocalisations in the score, as well as conventional orchestral music.

For example, you’ll hear a small bit of orchestral music, then three or four ethnic instruments will play and then somebody will sing and then the orchestra will do something and it has to all be seamless over, say, a 12-minute sequence. It’s been very difficult to keep straight. It’s not like saying, ‘OK, we have a 12-minute sequence and the orchestra will play until the end.’ We start a piece of music that lasts 12 minutes but in the course of that piece of music maybe ten different ensembles will play.” Avatar is a reunion for Horner and Cameron.

They first met 30 years ago on Battle Beyond the Stars, a no-budget, sci-fi reworking of The Magnificent Seven produced by the king of cheap cinema, Roger Corman. Both men were on the verge of graduating to mainstream Hollywood: Cameron, the film’s special effects supervisor, would soon go on to make his name with Terminator and Abyss while Horner would be thrilling audiences with his rousing scores to Star Trek, Glory and Braveheart. However, their first Hollywood picture together was not a happy one.

The tag line on Aliens is “This time it’s war”, which neatly sums up production on the film. Cameron’s demands for perfection put the film over schedule. When Horner arrived in London to begin scoring with the London Symphony Orchestra there was no picture. Cameron had not finished shooting, much less locked down the final edit. Horner ended up with very little time to write and record more than two hours of music. There were bruises, if not blood, on the recording stage. This time the missiles have been kept in their silos.

“There were no high temperatures on this film,” says Horner, who eventually patched things up with Cameron for Titanic. “We are both relatively serene. Sometimes we don’t see eye to eye on a cue but I always do it again — I have no problems rewriting. “There is some negotiation, there is some leeway and we have a lot of trust between us but he’s the writer, the director, the cameraman and the editor and it’s very hard to budge him from his vision. I have tried to give [Avatar] as much romance and sweep as I can.

There were a few things I thought were really bad choices and when I told Jim, he said, ‘Well if you think they are terrible, prove me wrong. Do it a different way’, and in those cases I did. “We both like to, as he puts it, walk on a branch and hear it creak. We both like that feeling of being way out on a limb, we both like to take chances. This film has been all of that and more.” I ask Horner if he provided Cameron with any surprises. When they worked together on Titanic Horner sprang My Heart Will Go On on Cameron at the last minute.

The director had initially rebuffed Horner’s suggestions that the film should end on a love song, arguing that Titanic should have the same solemnity as Schindler's List, but Horner believed his instincts were right and wrote and recorded a song in secret. The song won him an Oscar, as did his score, and kept Céline Dion at the top of the charts for much of 1998. “This time I discussed the idea of song with Jim ahead of time. There was no time to spring it on him because of post-production. It wasn’t a surprise but he still had to get used to the idea because Avatar is not a love story.

I had to talk him into it. I ended up writing a song for the end of the film for much the same reason I wrote one for Titanic. There is over three hours of music in the movie and I needed something that would keep people in their seats for the end credits — another orchestral piece would not do that. I wanted to end the film on something personal. “I approach things very emotionally. I’m always pushing that side of a story. The rest comes by itself. The emotional part is what affects people the most deeply, that’s what they remember, what makes them cry.”

The desire to connect with audiences is what attracted Horner to film music. Although his father, Harry Horner, was a celebrated production designer and had won Oscars for work on The Heiress and The Hustler, Horner himself had no interest in films until his twenties. “As a family we would trek behind my dad, living in whatever city he had a job in — we were very much a theatre family. I spent my childhood in London — I went to Holland Park School and the Royal College of Music. I would live alone in our flat in London and my family would be in Munich or Vienna or in Czechoslovakia.

I would go to school during the week and at the weekends I would fly out to wherever there were. My dad was a very successful production designer and won two Academy Awards but that [world] had nothing to do with me. I didn’t have any interest in film. Music was all I ever wanted to do.” A cloistered life of serious composition and academia beckoned but Horner’s mindset changed just as his teaching career was taking off at the University of California, Los Angeles. “I was 23 and I had reached my end point with academia. I thought, ‘What am doing? What have I done with my life?

I’m not going to teach for the rest of my life. I can’t do this. It would be insane.’ By chance, a director from the American Film Institute had attended a performance of a piece I had written and had liked it very much. They asked me if I had ever done film before and would I do their score. At first I wasn’t interested but then I said, ‘Alright, I’ll try it. I’m pretty experimental, I’ll see what it’s like.’ I told them I knew what I was doing but of course I didn’t and I had to learn pretty quickly. I did my first film for the AFI and I fell in love, right then and there, with fusing music to film.”

Click on the source link above for the complete article.

Lesbith Scott

Lisbeth Scott | Avatar Music Vocals

From Scott's official site bio: Being a singer was something Lisbeth Scott only dreamed about now and then as a child. Raised as a classical pianist headed for a concert career practicing hours a day, she ran away to California as soon as she could and began to discover her voice. Someone heard her singing and playing piano for a modern dance class in the hills of Idyllwild and suggested her voice for a score by composer Hans Zimmer.

That was all it took. Scott’s uniquely moving and shiver inducing voice has been heard on literally hundreds of films. John Williams wrote a 5 minute solo specifically for her in the score for Spielberg’s film “Munich”. She was the featured vocalist and co-lyricist for the John Debney score to the film “The Passion of the Christ”.

She was the featured vocalist and songwriter for the Disney film “The Lion The Witch and The Wardrobe”., and will again appear on the new “Prince Caspian”. While her film work was gaining momentum, Scott was busy honing her craft as an artist in her own right. She recorded and produced four critically acclaimed CDs of her solo work two of which were named album of the year by New Age Voice. She was the featured vocalist and co-writer for Paul Schwartz’ RCA releases “State of Grace (I and II) and “Earthbound”, all of which spent more than 10 weeks on Billboard’s Top Ten list.

Scott has toured the world as both a solo artist and a featured vocalist for Paul Schwartz, John Debney, Harry Gregson Williams, performing with a 100 piece symphony orchestra one night and accompanying her own singing on piano, guitar, harmonium and dulcimer the next. Early on, Scott made a decision to use her voice as an instrument of healing no matter the context in which it appeared. This continues to be her main focus.

Not only is Scott producing material as a solo artist now, she has recently collaborated with the Danish group Bliss and appears on several tracks of their EMI release of April 200.. Scott and Greg Ellis formed the duo called Biomusique which released their debut on Kosmic Music on May 13th, 2008 and won best new artist and vocal album in the New Age Reporter awards.

Other Sound Credits: Soundtrack Performer,Featured Vocalist, Composer:

2009 - Lahore,
Live Evil,
Star Crossed
2008 - Shutter,
Pirate for the Sea,
La virgen negra

2007 - Captain Abu Raed
2006 - Canvas
2005 - The Chronicles of
Narnia: The Lion, the Witch
and the Wardrobe
2004 - Club Dread,
The Passion of the Christ

2003 - Agent Cody Banks,
Finding Home,
Sinbad: Legend of the 7 Seas
1999 - The Sopranos,
Blast from the Past
1995 - Tuxedo

James Cameron's Avatar Film to Feature Vocals From Singer Lisbeth Scott
Composer James Horner to use sought-after singer’s ethereal voice for anticipated film

“Avatar” Composer James Horner has added singer Lisbeth Scott to his creative musical lineup for the highly secretive film from director James Cameron. The singer, whose voice can be recognized from many of Hollywood’s biggest blockbuster films of the past decade, will be featured on vocal tracks to be used in the film’s anticipated breakthrough score.

In a recent interview, Fox Music executive Mike Knobloch described Horner’s early music of “Avatar” as being “epic and hugely cinematic… music that transports us to another world… a brilliantly unique blend of traditional and contemporary, electronic elements that spans the entire spectrum of attitude and energy – from bombastic action to the delicate, romantic discovery of a new world.”

The addition of Lisbeth’s vocals came about a year into the score’s progress. Lisbeth Scott’s film and television repertoire is of an equally high caliber: Of the last 5 years’ top-grossing movies, she’s been a featured vocalist in almost half (Passion of the Christ, Narnia, Shrek 2, Transformers, and Munich). Through 2009 she will have made her mark on 2 of television’s current top 10 shows as well, with her songs being chosen for both HBO’s “True Blood” and ABC’s “Brothers and Sisters“.

Lisbeth’s ninth studio album will be released on November 10, 2009 via BFM Digital under the title “Hope is a Thing”, as well as a new holiday release “Peace on Earth”. Along with these new albums comes an innovative world-wide web-based campaign at, featuring children of all backgrounds and ethnicities who express what it is they hope for in today’s world via holding up a hand-created sign, and an artistic new music video shot by Academy-Award winning Haskell Wexler.

“Hope is a Thing” debuted at the Edgemar Center for the Arts (November 7 and 8, 2009,, and will debut on November 20, 2009 at Berkeley’s Rudramandir – a center for spirituality and healing.

Simon Rhodes

Simon Rhodes | Avatar Score Mixer

Simon Rhodes, an English audio engineer, has over 18 years of experience in the film industry and has provided his sound mixing talents to over 100 film and television projects. He joined Abbey Road Studios in 1987 after completing an honours degree in physics and music. Rhodes has extensive classical experience and has engineered many major Hollywood film scores as well as co-producing many soundtrack albums.

Simon has long-standing association with many film composers including James Horner, John Williams, Trevor Jones and John Debney. He also recorded the music for the Opening Ceremony of the Beijing Olympics Games 2008.

At the 52nd Annual MPSE Golden Reel Awards, Rhodes took home the Best Sound Editing in Feature Film-Music category for Passion of the Christ (shared with supervising music editor Michael T. Ryan and music re-recording mixer Kevin O’Connell).

Rhodes was delighted upon learning of his MPSE win. He recorded the orchestra, chorus and various individual soloists for Passion at the famed Abbey Road and Air Lyndhurst Studios in London, and has been with Abbey Road Studios since 1987.

Other Sound Credits

2009 - Wide Blue Yonder,
Avatar, Crossing Over
2008 - Defiance, The Reader,
Doubt, Hansie, Doomsday,
Fool's Gold, The Edge of Love,
Wallace & Gromit/A Matter of
Loaf & Death, Coco Chanel,
The Spiderwick Chronicles,
The Secret Life of Bees,
The Boy in the Striped Pyjamas
2007 - There Will Be Blood,
The Life Before Her Eyes, Pride,
The Water Horse, Donkey Xote,
El corazón de la tierra, Angel,
Capturing Mary, Nanny Diaries,
Reservation Road,
Eastern Promises,
2006 - All the King's Men,
Children of Men, United 93,
Alatriste, The Black Dahlia,
Apocalypto, The Kovak Box
2005 - The Legend of Zorro,
Flightplan, The Chumscrubber,
Where the Truth Lies, Sahara,
Joyeux Noël, New World/Rising:
Ballad/Mangal Pandey,
Wallace & Gromit/Curse
of the Were-Rabbit

2004 - The Forgotten, Troy,
Bobby Jones: Stroke of Genius,
The Passion of the Christ,
The Phantom of the Opera,
Hauru no ugoku shiro,
Around the World in 80 Days
2003 - The Life of David Gale,
House of Sand and Fog, Radio,
The Missing, Beyond Borders,
Chaos and Cadavers,
The League of
Extraordinary Gentlemen
2002 - Dinotopia, Windtalkers,
The Four Feathers, Dinotopia,
The Legend of Bhagat Singh,
Punch-Drunk Love, Harry Potter
and the Chamber of Secrets
2001 - Enemy at the Gates,
A Beautiful Mind, From Hell,
Tosca, Iris, Harry Potter and
the Sorcerer's Stone
2000 - The Yards, The Cell,
How the Grinch Stole
Christmas, Freedom Song,
Thirteen Days, The Perfect
Storm, The Long Run

1999 - Angela's Ashes,
The Unfinished Journey,
Bicentennial Man, The Muse,
Cleopatra, Dogma,
Notting Hill
1998 - The Mask of Zorro,
Mighty Joe Young, The Mighty,
Dark City, Deep Impact,
Desperate Measures, Merlin
1997 - Roseanna's Grave,
Lawn Dogs, G.I. Jane, Soleil
1996 - Gulliver's Travels,
Le jaguar, Brassed Off,
1995 - Cutthroat Island,
Wallace and Gromit in A
Close Shave, Kiss of Death
1994 - Nobody's Fool
1993 - M. Butterfly,
Wallace & Gromit in
The Wrong Trousers
1992 - Under Milk Wood
1991 - Atlantis

AVATAR Mixed by Simon Rhodes
at Ocean Way / Record One
James Cameron Epic Adventure
Scored by James Horner

The James Horner score for the epic adventure AVATAR was mixed by Simon Rhodes at Ocean Way's film mixing studio Record One in Sherman Oaks. After five years of lock out by producer Dr. Dre, the newly reopened Record One features a half-million dollar remodel and in Studio A, the largest and most sophisticated SSL film console ever built.

Written and directed by James Cameron, and starring Sam Worthington, Zoe Saldana, Michelle Rodriguez, and Signoury Weaver, AVATAR takes us to a spectacular world beyond imagination, where a reluctant hero embarks on an epic adventure, ultimately fighting to save the alien world he has learned to call home. James Cameron, the Oscar(r)-winning director of "Titanic," first conceived of the film 15 years ago, when the means to realize his vision did not yet exist. Now, after four years of production, AVATAR, a live action film with a new generation of special effects, delivers a fully immersive cinematic experience of a new kind, where the revolutionary technology invented to make the film disappears into the emotion of the characters and the sweep of the story.

AMZ Main

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