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Screen Rant interviews composer Ian Hultquist about his work on Quiet on Set: The Dark Side of Kids' TV. Revealing hard truths from beloved 90s shows, Quiet on Set uncovers abuse claims against Nickelodeon producer Dan Schneider. Composer Ian Hultquist faced a unique approach writing music for the series away from picture, capturing emotions and telling the story.

Quiet on Set: The Dark Side of Kids TV exposed hard truths about shows beloved by an entire generation. Centered around allegations of abusive conduct by Nickelodeon producer Dan Schneider, Quiet on Set: The Dark Side of Kids TV features firsthand accounts from the actors and writers on some of the most iconic kids television series of the 90s early 2000s as they recount their experiences working with him. The series was directed by Mary Robertson and Emma Schwartz.

In addition to the work of the filmmakers and former Nickelodeon child stars...

Spoilers are ahead for Turtles All the Way Down.

Mention of the main character's obsessive-compulsive disorder (Ocd), including her symptoms and intrusive thoughts.

Both Aza's intrusive thoughts and moments of joy come alive with the genre-spanning tunes in Turtles All the Way Down, enhancing the movie's themes and moods. From anxiety-inducing moments to exciting first love experiences, each song perfectly underscores key scenes in the film adaptation. With a mix of catchy hits like "Bad Guy" and emotional tracks from composer Ian Hultquist, the soundtrack adds depth to Aza's story.

An eclectic mix of genre-spanning tunes, the Turtles All the Way Down soundtrack captures the excitement of first love and new experiences as well as the anxiety-inducing and all-consuming terror of Aza's intrusive thoughts. Needless to say, every song in the movie works to underscore particular scenes' themes and moods. Based on John Green's bestselling young adult (YA) novel of the same name,...

Many things weigh on Aza Holmes, the anxious protagonist of Hannah Marks’ Turtles All the Way Down, but none more than the existence of bacteria. Thoughts of these microorganisms — the ease with which they can infiltrate a body and the chances of infection — plague her. She worries about a wound on her left middle finger, a slit in the skin she can’t let heal. Picking at the sore relieves her obsessive thought spirals, but it also activates a new round of worries about contamination, disease and the impossibility of safety.

Aza, played by Isabela Merced (Madame Web) has anxiety and Ocd, conditions that make the already challenging experience of high school even more difficult. Turtles All the Way Down, which Marks (Don’t Make Me Go) adapted from John Green’s novel of the same name, is a mostly moving portrait of how one teenager navigates her mind’s unruly terrain.

The Walking Dead: Dead City is a short-and-sweet spinoff that drills into the tumultuous relationship between Lauren Cohan’s Maggie and Jeffrey Dean Morgan’s Negan. The six-episode series brings The Walking Dead franchise to its most iconic location yet, exploring post-apocalyptic Manhattan even as it establishes Maggie’s new Hilltop community and continues Negan’s long redemption arc. The Walking Dead: Dead City has largely been hailed as one of the best The Walking Dead-verse projects yet, which is good news for any concerned about the wealth of franchise spinoffs and companion series.

In addition to featuring the return of longtime franchise stars, The Walking Dead: Dead City introduces exciting new faces both in front of and behind the camera. One key production member is composer Ian Hultquist, who stepped into The Walking Dead world to deliver one of the franchise's most unique scores. Hultquist had to not...

The songs and dance styles for Dancing With The Stars season 31's Halloween Night have been revealed. The remaining couples will perform spooky routines to celebrate the holiday and will break into two teams, where they have to create Halloween-inspired group routines. Country singer Jessie James Decker and her partner Alan Bersten were eliminated during DWTS' Michael Bublé Night, an episode that featured the singer performing and guest judging. Only nine couples remain as they gear up for the DWTS Halloween episode, which airs on the actual holiday.

#DWTS Halloween Night songs & dances! pic.twitter.com/aGc6VCZHuv — Desiree Murphy (@desireemurphy_) October 27, 2022

Desiree Murphy from Page Six revealed the songs and dance styles for DWTS' Halloween Night on Twitter. After a perfect score on Michael Bublé Night, Charli D'Amelio and Mark Ballas will try to replicate that magic by taking on an Argentine Tango to "Tanguera" by Fabio Hager Sexteto.

Drum & Lace (Sofia Hultquist) and Ian Hultquist go back to the past for "Rosaline." The composers, known for their work on "Dickinson" and "Good Girls," score the twist on Romeo & Juliet with a similar spin of their own. There's the throwback to needle drops from early-2000s romantic comedies, as well as the renaissance instruments expected from a (loose) William Shakespeare adaptation.

The duo's score features a cover of Robyn's bittersweet feel-good classic "Dancing on My Own," as well as an Enrique Iglesias cover. The irreverent choices were tailored for the titular lead, Juliet's cousin (played by Kaitlyn Dever), whose voice helped lead the way for the composers' choices. Drum & Lace and Ian Hultquist met back in college and have made music together ever since, although both have solo projects and careers as well. Recently, the duo talked to us about their work on "Rosaline," how they approach film scoring,...

Hulu’s “Rosaline” (streaming Oct. 14) puts a rom-com spin on Shakespeare’s classic love story “Romeo and Juliet.” With that, composers Drum & Lace (Sofia Hultquist and Ian Hultquist) put a similar spin on their musical approach to scoring.

The film stars Kaitlyn Dever as Rosaline, the story’s jilted ex-lover.

Drum & Lace integrated traditional instruments of the time, such as harpsichord, lute, wooden flutes, renaissance drums and more, into a score with a pop sensibility.

But for the composers whose credits include “Dickinson,” scoring comedy was more of a challenge than scoring drama. Sofia Hultquist said, “You have comedic timing to keep very much in mind. For ‘Rosaline,’ we tried to find very strong themes that we could use often so as to build a familiarity with the characters as well as play up the emotional arcs that were happening on-screen.”

The “Scheming” theme can be heard throughout the film.

Kaitlyn Dever as Rosaline in Karen Maine’s Rosaline. Photo: 20th Century Studios If the name Rosaline rings a bell, it’s because she’s the mentioned-but-never-seen girlfriend Romeo was dating right before falling for his one true love in William Shakespeare’s Romeo And Juliet. Yet in director Karen Maine’s feature Rosaline,...

In director Wanuri Kahiu’s “Look Both Ways,” a twentysomething woman is confronted with a pivotal situation that splits her life in two, eventually landing both versions of herself at a crossroads. The film mixes the conceits of “Sliding Doors” and “For Keeps” into one refurbished product, eschewing fantasy or melodrama in favor of grounded authenticity and levity. While the filmmakers’ heads and hearts are in the right place with their resonant sentiments on taking risks and embracing fate, their execution of narrative basics proves lackluster.

Natalie (Lili Reinhart) may look like an animated Disney princess, but her life is no fairytale. The soon-to-be college graduate has a five-year plan for success. Or at least she thought she did. She didn’t factor in the spontaneous sex she and friend Gabe (Danny Ramirez) had after finals, which leaves her puking her guts out and taking a pregnancy test at a rowdy graduation party.

The announcement of winners for the ASCAP Screen Music Awards, being held virtually again for 2022 and announced Monday morning, included revealing the top vote-getters for several Composers’ Choice Awards, including the scores for “Encanto” and “The White Lotus.”

Germaine Franco prevailed for film score of the year for “Encanto.” Cristobal Tapia de Veer won two of these peer-voted awards, for television score of the year and television theme as well, for “The White Lotus. The video game score of the year honor went to Wataru Hokoyama for “Ratchet and Clank: Rift Apart.” Triumphing in the documentary score of the year category was Amanda Jones for “Dreamland: The Burning of Black Wall Street.”

Those five Composers’ Choice Awards come on top of ASCAP’s traditional Screen Music Awards, which collect date to honor the most-consumed music of the year in the fields of TV, film and video games, with dozens of winners cited.

Nominees for this year’s ASCAP Composers’ Choice Awards have been announced, with scores for films like “Dune” and “The Power of the Dog,” TV series like “Loki” and “The White Lotus” and video games like “Call of Duty” among the contenders.

These competitive awards, voted on by members of ASCAP, will be given out during the week of May 2 as part of the 2022 ASCAP Screen Music Awards, alongside the non-voted honors that reward the composers of the most-performed scores and themes of the year.

Up for film score of the year are Hans Zimmer, for “Dune”; Germaine Franco, for “Encanto”; Daniel Hart, for “The Green Knight”; Dan Romer, for “Luca”; and Radiohead member-turned-maestro Jonny Greenwood for “The Power of the Dog.”

Zimmer, Franco and Greenwood have already been nominated for the Academy Awards this month for their work on those films.

Nods for television score went to Michael Abels,...

Night Teeth Trailer — Adam Randall‘s Night Teeth (2021) movie trailer has been released by Netflix. The Night Teeth trailer stars Jorge Lendeborg Jr., Debby Ryan, Lucy Fry, Alfie Allen, Megan Fox, Raul Castillo, Sydney Sweeney, and Alexander Ludwig. Crew Brent Dillon wrote the screenplay for Night Teeth. Drum & Lace and Ian Hultquist created [...]

Continue reading: Night Teeth (2021) Movie Trailer: Vampires Debby Ryan & Lucy Fry drag Jorge Lendeborg Jr. into an Underworld Mission...

For the first season of the Apple TV+ series “Dickinson,” creator Alena Smith and her team were given a Peabody Award in part for the delightful way the comedy uses the life of Emily Dickinson (played by Hailee Steinfeld) to discuss modern issues like identity and equality. But despite the successful debut, Smith and the “Dickinson” team did not rest on their laurels.

“Season 2 was so absolutely different tonally and each character grew quite a bit from Season 1,” star Jane Krakowski, who plays Mrs. Dickinson on the show, told Gold Derby in an interview this year. “Initially, that was a bit like, ‘Can you explain why they made these changes?’ [Alena] had answers for every bit of it and guided our characters where they were going to start Season 2. I think Season 2 is better than Season 1 because of it.”

See over 460 video interviews with 2021 Emmy contenders

Set in the months before the Civil War,...

The second season of “Dickinson” keeps its title poet (played by Hailee Steinfeld) and the woman she loves (played by Ella Hunt) apart and at odds for a large part of its 10 episodes. But that changes during the season finale, which finds Emily and Sue reconnecting and defining their relationship for the first time.

“Emily, when I’m with you, that is the only time I feel alive,” Sue tells Emily during a post-coital moment.

“That’s all I need. That’s all I’ve ever needed. To make you feel that way,” Emily responds. “I write for you, my Sue. I write for you. For you alone. That’s enough.”

SEEHailee Steinfeld interview: ‘Dickinson’

“This is a queer relationship and these two young women are in love and it’s great that this representation is happening,” “Dickinson” creator Alena Smith tells Gold Derby about the game-changing moment of honesty between the two women.

Thank music supervisor DeVoe Yates for the enviable soundtrack that provides “Dickinson” with its anachronistic flourishes and likely has many viewers opening Shazam during the Apple TV+ series. Yates, who started his career working as a music supervisor on David Gordon Green projects like “Prince Avalanche” and “Eastbound and Down,” has worked with showrunner Alena Smith on “Dickinson” since the beginning. (Green himself directed two episodes in Season 1.)

“We knew what the sound was,” Yates tells Gold Derby about how he thought about the music selections going into Season 2. “Alena had talked to me at the end of Season 1 about what Season 2 was about — which gave me a lot of time to focus on the themes.”

SEEHailee Steinfeld interview: ‘Dickinson’

During his interview with Gold Derby (watch the exclusive video above), Yates reveals some stories behind the most memorable song selections in Season 2, including the choice to use an original song,...

For the second season of “Dickinson,” composers Drum and Lace and Ian Hultquist were given the opportunity to not just write score accompaniment for the Apple TV+ series but also what might be the key musical moment in the entire series thus far.

In episode 6, as Emily (Hailee Steinfeld) continues to grapple with her feelings on fame as well as her relationship with Sue (Ella Hunt), the famed poet imagines her muse taking the stage during an opera to sing a soaring rendition of the poem “Split the Lark.” Performed by Hunt, the resulting track has more than 200,000 streams on Spotify and countless more on YouTube.

“It took us a minute to find the right direction to take it in,” Hultquist says in a new interview with Gold Derby (watch the exclusive video above). “We had to blend coming out of the opera, ‘La Traviata,’ and it had to feel...

A coming of age story can take a number of routes when doing its thing. Some opt to really get raunchy, relying on sex to sell. Others focus on the emotional journey of a teenager. Few are able to meld the two cohesively, since there’s usually a high art/low art divide that gets in the way. This week, Yes God Yes is the kind of coming of age movie that manages to thread that needle. Now, there are a handful of bumps along the way, as well as an inconsistent tone, but the work of Natalia Dyer, as well as the genuine heart on display, rules the day. The film is a mix of comedy and drama, set in the early 2000s. Sixteen-year-old Alice (Dyer) has always been a good Catholic girl in the Midwest, but that’s about to change. When an innocent AOL chat room excursion accidentally turns racy,...

For a new streaming service, Apple TV Plus made some pretty sharp music choices from the start, tapping Carter Burwell to score “The Morning Show,” Atli Örvarsson for “Defending Jacob,” Michael Brook for “Little America” and Drum & Lace and Ian Hultquist for “Dickinson.”

Two-time Oscar nominee Burwell had not previously done episodic TV, but was intrigued by the Jennifer Aniston-Reese Witherspoon a.m.-news-show sendup. Explains the veteran of 18 Coen Brothers films: “They wanted someone who could take openly tragic situations and put an ironic tinge on them.”

Piano, string bass and percussion were the main instruments: “Upright bass worked very well. It had an urban feeling to it, a version of hipness that seemed to fit these characters. We wanted to play the way they thought of themselves, in New York City on top of their game. It’s a bit jaunty, which helps with how awkward,...

Ascap usually maintains a packed schedule in Los Angeles in June with separate gala pop and screen music ceremonies as well as its open-to-the-public “Experience” (formerly Expo) conference. All those events are being taken online in this quarantine year, and the performing rights organization revealed a slew of activity on Monday that is set to virtually go down in the coming two weeks.

The Ascap Pop Awards will take place online over two days, this Wednesday and Thursday. The awards themselves will be unveiled on Wednesday. The second day of the pop awards celebration will overlap with a single-day component of what’s being called the Ascap Experience Home Edition, a virtual version of the conference, to be capped by a conversation between Finneas, Billie Eilish’s Grammy-winning collaborator, and Glen Hansard, of “Once” and Swell Season fame.

The following week, the Ascap Screen Awards will unfold on social media...

The Guild of Music Supervisors has unveiled its summer panel series lineup featuring many of the top musical tastemakers and composers working across television and streaming platforms today.

The first panel kicks off with music supervisors from HBO’s lineup: Kier Lehman from “Insecure,” Jen Malone from “Euphoria,” Liza Richardson from “Watchmen” and Blake Leyh from “The Plot Against America.” Guild founding member Jonathan McHugh will moderate the panel on June 11. Register here.

June 18’s panel focuses on the working relationships of composers and music supervisors on Apple TV Plus shows. Moderated by Variety Artisans Editor Jazz Tangcay, speakers include Zach Cowie and Michael Brook (“Little America”), DeVoe Yates, Ian Hultquist and Sofia Hultquist (“Dickinson”) and Liza Richardson and Carter Burwell (“The Morning Show”). Register here.

The Netflix panel on June 25 looks at the diverse offerings of shows where music features as a character. Matt Biffa of “Sex Education,” Nora Felder...

With Sundance and Tiff Midnight Madness favourite Assassination Nation hitting Us cinemas today, Friday 21st September, our man in New York James Kleinmann spoke exclusively to the film’s composer Ian Hultquist for HeyUGuys about his unnerving, experimental and atmospheric score. You can read our rave review of the film from Sundance here. Assassination Nation Composer Ian Hultquist

James Kleinmann: At what stage did you come on board and what was it the that drew you in and made you want to be part of Assassination Nation?

Ian Hultquist: I actually came on board really early, around four months or so before they started shooting. I was sent Sam Levinson’s screenplay by my agent and the first time I read it and looked through the ‘lookbook’ visualising what they were going for, I was just like ‘this is crazy! Even if I don’t work on this I would...

The Midnight section of the Sundance Film Festival is where attendees get freaky, and “Assassination Nation” is aiming to get Park City talking. The latest from Sam Levinson (“Another Happy Day”), not only boasts a wild premise, but some terrific help on the soundtrack front.

Starring Odessa Young, Suki Waterhouse, Hari Nef, Abra, Bill Skårsgard, and Bella Thorne, the film brings viewers to the small town of Salem who have to deal with the fallout when their private, digital lives, become public.

Continue reading Stream Former Passion Pit Member Ian Hultquist’s “Take Salem Back” From ‘Assassination Nation’ [Sundance Exclusive] at The Playlist.

A total of 145 scores were recently announced as being eligible for this year’s Academy Award, with everything from perceived frontrunner “La La Land” (Justin Hurwitz) and “Jackie” (Mica Levi) to outliers like “Sausage Party” and “Elle.” The final five will be nominated on January 24. In the meantime, avail yourself of this Spotify playlist featuring selections from 110 of the eligible scores — as well as the full list of every eligible score.

Read More: Oscar Best Score Contenders: The Inside Story of Creating 5 Diverse Frontrunners

Read More: Oscars 2017: Listen to 70 Songs Eligible for This Year’s Academy Award

The Abolitionists,” Tim Jones, composer

“Absolutely Fabulous The Movie,” Jake Monaco, composer

“The Accountant,” Mark Isham, composer

“Alice through the Looking Glass,” Danny Elfman, composer

“Allied,” Alan Silvestri, composer

“Almost Christmas,” John Paesano, composer

“American Pastoral,” Alexandre Desplat, composer

“The Angry Birds Movie,” Heitor Pereira, composer

“Anthropoid,” Robin Foster, composer

“Armenia, My Love,...

The Academy of Motion Picture Arts and Sciences today announced that 145 scores from eligible feature-length motion pictures released in 2016 are in contention for nominations in the Original Score category for the 89th Academy Awards.

The eligible scores along with their composers are listed below, in alphabetical order by film title:

“The Abolitionists,” Tim Jones, composer

“Absolutely Fabulous The Movie,” Jake Monaco, composer

“The Accountant,” Mark Isham, composer

“Alice through the Looking Glass,” Danny Elfman, composer

“Allied,” Alan Silvestri, composer

“Almost Christmas,” John Paesano, composer

“American Pastoral,” Alexandre Desplat, composer

“The Angry Birds Movie,” Heitor Pereira, composer

“Anthropoid,” Robin Foster, composer

“Armenia, My Love,” Silvia Leonetti, composer

“Assassin’s Creed,” Jed Kurzel, composer

“Autumn Lights,” Hugi Gudmundsson and Hjörtur Ingvi Jóhannsson, composers

“The Bfg,” John Williams, composer

“Believe,” Michael Reola, composer

“Ben-Hur,” Marco Beltrami and Buck Sanders, composers

“Bilal,” Atli Ӧrvarsson, composer

“Billy Lynn’s Long Halftime Walk,” Mychael Danna and Jeff Danna,...

The Academy of Motion Picture Arts and Sciences (AMPAS) has announced the 145 scores eligible in the Best Original Score category, includeing work from “Jackie” and “La La Land.” The latter film, a musical directed by “Whiplash” helmer Damien Chazelle, picked up the Los Angeles Film Critics Association’s award for Best Music earlier this month; “Jackie” was the category’s runner-up. Notably absent, meanwhile, are “Arrival” (which just landed a Golden Globe nod), “Manchester by the Sea” and “Silence.”

Read: ‘La La Land’: Emma Stone and Ryan Gosling’s ‘City of Stars’ Duet Will Sweep You Off Your Feet – Listen

Justin Hurwitz composed and orchestrated the “La La Land” score, while “Jackie” marks “Under the Skin” composer Mica Levi’s second silver-screen effort. Decades after becoming one of the world’s most renowned film composers, Ennio Morricone won last year’s Oscar for his work on Quentin Tarantino’s “The Hateful Eight.

As you may remember from my last column (and you better… you better), The Diabolical was well and truly “the s–t”! Well, guess what, creeps? That’s right, that flick’s co-writer/die-rector Alistair Legrand has stopped by the Crypt o’ Xiii to talk all about his foray into our beloved horror biz!

Famous Monsters. Welcome Big A! As this is yer first time at the rodeo known as the horror biz, what challenges did you face bringin’ The Diabolical to the screen?

Alastair Legrand. First of all, I can’t believe I’m talking to Famous Monsters; this is amazing. In response to your question, this was the best graduate film program I could have done, and a proper response would be ten pages long. The first main challenge was convincing the producers that I was the right man for the job—proving to them that I had...

Ian Hultquist, best known for being a founding member of Passion Pit, has moved onto film composition, working on three features over the last couple of years that have played at South By Southwest and Sundance. You may know his work from Animals or Ivory Tower, but his latest project, the horror film The Diabolical, played at SXSW 2015.

After its premiere, we had a chance to sit down with Ian and discuss the project. During the course of our interview, we talked about how he got his start composing, some of his biggest influences, the importance of music to a horror film, and much more.

Check out the full interview below and enjoy!

Wgtc: How’d you originally get involved with the project?

Hultquist: I had just started working with an agency for the first time early last year. This was the first project they brought to me. They had...

By Terence Johnson

Managing Editor

The sign of a good documentary is if it gets a visceral reaction from an audience member. That reaction could be emotional or the desire to learn more, a documentary can’t succeed unless it has that. Ivory Tower, the documentary that takes on the topics of education costs and the models with which students are taught, certainly engenders much emotion and should spark further conversation about these topics.

That being said, Ivory Tower was one of the most infuriating movie watching experiences I’ve had in a while. I spent that last hour of the 90 minute running time pretty much livid at the film, despite it’s impeccable crafting. The film seems to be in the business of asking questions and shaping the narrative to fit it’s own importance, which is does extremely well, but it also detracts from the film. This is...

It’s that time again. The biggest American film festival is upon us, and this year the Ioncinema crew will be descending on Park City with eight feet on the ground and eight eyes on Park City’s various and plentiful screens. Eric Lavallee, Nicholas Bell, Caitlin Coder and I will be covering just about every inch of this year’s festival here at Ioncinema.com, as well as on that ever increasingly vibrant instanews network – Twitter. Be sure to follow @ioncinema and, as stated above, my personal handle @Rectangular_Eye, as we’ll be tweeting throughout the festival with breaking news, reviews, and sightings, all the while trying to keep up with the massive amount of content sure to be coming from this year’s Sundance filmmakers themselves, most of which have their own Twitter accounts and are listed at length below (minus the world & short programs). Whether you...

Part two in this year’s Sundance Twitterverse series, we are bringing you direct contact with most of next year’s Oscar short list. No one on this list is repped more than the No No: A Dockumentary (@dockumentary) crew, who are all sporting profile pics from the film on their feeds.

U.S. Documentary Competition

Alive Inside: A Story of Music & Memory – @AliveInsideFilm

Editor Manuel Tsingaris – @MTsingaris

Composer Itall Shur – @ItaalShur

All the Beautiful Things – @ATBThingsMovie

Director John Harkrider – @pathetic100

Captivated The Trials of Pamela Smart

Cinematographer Naiti Gámez – @naitigamez

The Case Against 8 – @TheCaseAgainst8

Co-Director Ben Cotner – @bcotner

Producer Rebekah Fergusson – @R_Films

Composer Blake Neely – @cowonthewall

Cesar’s Last Fast – @CesarsLastFast

Co-Director Richard Ray Perez – @BraveNewRick

Producer Molly O’Brien – @mobworks

Editor Lewis Erskine – @EditorSavant

Editor Carla Gutierrez – @CarlitaGu

Cinematographer James Chressanthis – @NoSubtitles

E-team - @ETeamFilm

Subject: Human Rights Watch – @hrw

Co-Director Katy Chevigny – @mightychevs

Co-Director...

Thousands of music fans trekked to New York's Madison Square Garden on Friday night, faces turned down against the snow and biting winds of a still-emerging storm that someone decided to call Nemo. They had come to see Passion Pit, an indie rock outfit from Boston, and many expressed surprise that the arena was nearly full. Either New Yorkers are too cynical to take the advice of Mayor Mike Bloomberg or too arrogant to let some flurries get in the way of seeing a show at The Garden.

Singer Michael Angelakos led the five-piece band through an engaging and, at times, emotional show -- which was more suited to the venue than the show Passion Pit put on at last year's Governors Ball. Passion Pit's songs generally focus on the same themes: Angelakos has spoken frankly about his battles with depression and bipolar disorder, and a sense of disillusionment...