Roberto Aschieri, freelance (Chile) former member
Robert is a film producer, conductor and producer of radio and TV shows in Chile. He was born in Argentina and began to study film and collect soundtracks in 1980. For professional reasons he relocated to Santiago de Chile City in Chile in 1992. He soon started writing articles for El Mercurio. In 1999 he published his first book on the works of John Williams “Over The Moon”, which was acknowledged by the Maestro himself. He has also conducted interviews with numerous composers including John Williams, Joel Goldsmith, Howard Shore, David Shire, Gustavo Santaolalla, Lalo Schifrin and Antonio Pinto. From 2000 he has been a columnist for Radio Beethoven, and from 2001 a conductor and producer of his program “Funcion”. In 2007 he debuted as a writer, conductor and producer of the documentary series “Escuchando El Cine”, which explored the art and craft of film music. That same year he served as a consultant for the feature film “Papelucho”, music by Pablo Avila. For the first ever Morricone concert in Chile he wrote a fine article covering the event. In 2012 he had his third season with CNN-Chile, focusing on the value of cinema and the emotional aspects that define the cinematic experience. Robert has about 1,000 soundtrack albums and 3,000 film score CDs in his collection. His favorite composer is Jerry Goldsmith, and he is partial to his works of the 1970 and 1980s. Roberto died in 2017, but remains listed here as a member to honor his work.
David Doncel Barthe, BSO Spirit (Spain)
David is the co-founder of BSOSpirit, one of the more well-known Spanish websites about soundtracks, created in 2001. David is also the film music editor of the Spanish “Sci Fi World” magazine and the director of the Film Music Festival “Ciudad de Ubeda”.
John Bender, freelance (USA)
John is a freelance film music journalist from Pittsburgh, Pennsylvania. His earliest memories of pleasures from life on Earth involve television and film, and the music for both. As a student, he pursued education in the visual Fine Arts and earned his MFA from Yale University. Following graduation he worked in a wide variety of capacities, including fine artist (painter), museum curator, art critic, gallery director, arts guild presidency, university instructor and lecturer, graphic artist, freelance editor, and film lecturer. In the early 1990s, and without any expectations, John began writing about film music (he has been a life-long collector and connoisseur). He feels very fortunate that this pursuit blossomed into a fulfilling and consistent avenue of personal expression, and he freely confesses to be enjoying every minute of it. His work, which focuses on the Silver Age, has appeared in Soundtrack!, Variety, European Trash Cinema, Video Watchdog, and Film Score Monthly. He was the first journalist to publish English interviews with Edda dell’Orso and Peter Thomas. The connection to film music has, over the years, provided glorious opportunities, including new friendships, travel (Europe), the experience of meeting many great artists, and the honor of providing notes for a number of top-ranked and beloved film scores. His philosophical bearing as an enthusiastic film music writer is to enlighten and educate, both with the singular intent of promoting informed appreciation of the medium.
Phil Blumenthal, filmmusicjournal.com (Switzerland)
Phil is an avid film and film music fan since his early teens. It all began in the time of Star Wars and with Steven Spielberg films. There were times when he visited the local cinemas every week. Of course, he soon discovered names like Jerry Goldsmith and John Williams appearing regularly on the screen. Phil was editor and contributor to the Swiss Film Music Society magazine (1993) and its follow-up The Film Music Journal (written in German), publishing until 2003. Since 2009 filmmusicjournal.com is an online magazine written in German with Phil as webmaster, editor and writer along with a small but fine group of contributors. He also wrote film reviews for various newspapers and websites like outnow.ch and cineman.ch. He still plays a bit of music on keyboards, E-Bass and drums.
Basil Boehni, CinemaMusica and City Light Concerts (Switzerland)
Sincce 2005, Basil has been a freelance journalist for several printed and online magazines and newspapers which are exclusively or partly film and film music related («Cinema Musica», FilmMusicJournal.ch, «Luzerner Zeitung»). For «Cinema Musica» he writes as a freelance journalist since 2007, since 2011 he is member of the editorial board. From 2006–2018 he has been involved with the 21st Century Symphony Orchestra, supporting them as texter (liner notes, press and marketing articles) and Web Master (www.21co.ch). Since 2018 he works for City Light Concerts and the City Light Symphony Orchestra. With this orchestra, Basil has been involved in several high-profile concert projects with composers like David Arnold and John Powell. Basil studied media science, film science and economics (Management & Economics) at the University of Zurich, Switzerland. He lives in Lucerne, Switzerland.
Mike Brennan, Notes from the Soundscape (USA)
Mike is a film score and rock/metal music critic for Notes from the Soundscape, a blog dedicated to examining trends in modern music. He began writing film score reviews in 2003 for Cinemusic.net and then SoundtrackNet in 2004 and became a member of IFMCA in 2008. Mike received a BA in archaeology and geology from Bowdoin College (where he also played in concert band and a taiko drum ensemble), and a MA and PhD from the University of Rhode Island in maritime archaeology and oceanography. His day job is as a maritime archaeologist for SEARCH Inc.
Ley Bricknell, Filmic (UK)
Ley, a lifelong film and movie music enthusiast and collector of vinyl soundtracks, has spent her professional life in publishing. And has worked in radio for over 20 years, in managerial, broadcasting and training roles. Ley also writes and presents a monthly movie music show called Filmic that has been on the air since 2009. It was the music of John Barry that was to blame for Ley’s obsession with film scores and in 1998 she contributed to the book John Barry A Life In Music. Ley regularly reviews soundtracks and interviews composers. In August 2009 Filmic debuted on Radio Nowhere which sadly closed down in 2017. From then on it could be heard via Mixcloud. In March 2020 Erik Woods, founder of Cinematic Sound Radio, invited Ley to join his network where Filmic now resides.
Charlie Brigden, Films on Wax (UK)
Charlie is the owner and editor-in-chief of Films On Wax, which reviews and discusses soundtracks and film scores with a focus on the vinyl LP format. A film music enthusiast from an early age, Charlie has contributed film music articles and reviews to CHUD.com, Lost In The Multiplex, and Den of Geek, with his work appearing in print in Moviescope Magazine. He regularly works with independent vinyl record labels to help promote their work through his writing and has written liner notes for the 60th-anniversary edition of Akira Ifukube’s score to Godzilla from Death Waltz Records. Charlie currently resides just outside Cardiff in the United Kingdom
Jonathan Broxton, Movie Music UK (USA/UK)
President; Regional Co-Ordinator for USA (West)
Jon is a film music critic and journalist, who since 1997 has been the editor and chief reviewer for Movie Music UK, one of the world’s most popular English-language film music websites. Over the last 15 years Jon has written over 2,500 reviews and articles and conducted numerous composer interviews. In print, Jon has written reviews and articles for publications such as Film Score Monthly, Soundtrack Magazine and Music from the Movies, and has written liner notes for two of Prometheus Records’ classic Basil Poledouris score releases, “Amanda” and “Flyers/Fire on the Mountain”. He also contributed a chapter to Tom Hoover’s book “Soundtrack Nation: Interviews with Today’s Top Professionals in Film, Videogame, and Television Scoring”, published in 2011. In the late 1990s Jon was a film music consultant to the Royal Philharmonic Orchestra in London, and worked with them on the films “Relative Values” with music by John Debney, and “The Ring of the Buddha” with music by Oliver Heise, as well as on a series of concerts with Randy Newman. In 2012, Jon chaired one of the “festival academies” at the 5th Annual Film Music Festival in Krakow, Poland. He is a member of the Society of Composers and Lyricists, the premier nonprofit organization for composers, lyricists, and songwriters working motion pictures, television, and multimedia. Originally from Sheffield in England, he currently lives and works in Los Angeles, California.
Tim Burden , Film Score Monthly (UK)
Regional Co-Ordinator for the United Kingdom
Tim has been working with Film Score Monthly since 2007 and is a broadcaster and film correspondent for the Northern Media Group in Ireland (www.northernmediagroup.com). He has worked within cinema management for Warner Bros. Village Roadshow & home entertainment distribution for Blockbuster and provides voice-overs for various media formats. Tim also hosts Q&A’s and screenings for local film festivals.
Mikael Carlsson (Sweden)
Mikael is a soundtrack producer, composer and former film music journalist who took the initiative to form the International Film Music Critics Association. Born in 1971, Mikael is the owner of acclaimed soundtrack company MovieScore Media and has produced over 120 score albums. He recently launched a new soundtrack label devoted exclusively to horror film music, Screamworks Records. As a composer, Mikael concentrates his efforts on concert music and recently had his first album, “Rainbow Suite: The Choral Music of Mikael Carlsson,” released. With 20 years of experience in film music, Mikael is also frequently hired as a consultant, concert producer, and film music lecturer. He lives with Lina and Elmer in Gothenburg, Sweden.
Jocelyn Clarke, Irish Times (Ireland)
Jocelyn is a freelance dramaturg and writer. He is a creative advisor on the ScreenWriting programme at National Film School in Ireland as well as a member of the artistic staff of the Sundance Institute’s Theatre Lab in the U.S. He is a film music critic with The Irish Times (www.irishtimes.com), Ireland’s leading daily national newspaper in Ireland.
Christian Clemmensen, Filmtracks (USA)
Christian was raised in a household friendly to film music, his father an avid collector since the 1960’s. A decade of formal piano training as a youth led to countless performances of famous movie themes in concert. While earning a B.A. in Business Communications and English at the University of Montana, he worked at Internet service providers and combined his passion for film music, technology, and writing into his first online soundtrack reviews in 1995. Evolving into Filmtracks.com in 1996, his site became a popular and controversial portal between film music and mainstream movie-goers. After receiving an M.A. in Speech and Technical Communication in 2000 from the University of Washington in Seattle, Christian settled down with his family in Missoula, Montana, the original home of Filmtracks. By 2016, the site had returned to Seattle, featured over two million words of review content (covering 1,800 soundtrack albums), and had been visited hundreds of million times.
Christopher Coleman, TrackSounds (USA)
Christopher, a lifelong movie and video game enthusiast, launched the soundtrack website, Tracksounds, in 1997 as a meager site on Geocites. Built upon soundtrack reviews, interviews, and other special features, the site remains dedicated to the original music from film, television, video games and production music. Launching the SoundCast (Podcast in 2008), he remains the show’s host and producer. The podcast reflects the same sensibilities of the site, Tracksounds, in covering the soundtrack genre through panel reviews, topical discussions, and interviews with composers and other industry professional.
Erin Veronica Corrado, One Movie Five Views (Canada)
Erin is a writer/filmmaker, and the co-founder of the entertainment website One Movie Five Views, which covers everything film-related from movies, to books, to soundtracks. On the music side of things, Erin started playing piano at age 3, has composed music for her own short films, and holds a Grade 9 piano certificate from the Royal Conservatory of Music. She currently works mainly as a freelance writer, and enjoys experimenting in several writing mediums, including screenwriting. On the filmmaking side of things, she is currently directing a documentary about Autism Service Dogs – which she plans to write the score for as well.
Paul Cote, Cinemusic (USA)
Paul is a PhD student at the University of Maryland in College Park. He is currently working on a dissertation that explores the way music in children’s films teaches us listening practices that we retain as adult film-goers. You can read his current film-music criticism at his blog, Movie Music Musings (moviemusicmusings.wordpress.com). He has also been a regular contributor to Cinemusic.net since 2003.
Joep de Bruijn, Main Titles (Netherlands)
Joep has been writing about film music for a variety of websites since 2002. He currently writes reviews and articles for www.maintitles.net and is Dutch film music correspondent for www.neerlandsfilmdoek.nl. He has also been working as temp score/ film music advisor on several Dutch feature films, short films and a television program. Joep currently lives and works in Rotterdam, Netherlands.
Nasrollah Davoodi, (Iran)
Nasrollah is a composer, multi-instrumentalist, singer, music scholar, film music historian, teacher, writer, linguist, polyglot (speaks 7 languages), translator, painter and calligrapher who did his BA in Business Administration and his MA in Translation Studies and Linguistics, He started learning music at the age of 5 and became serious about it at age 9 when he studied the basics of Santoor (the Iranian Hammered-Dulcimer) and Persian classical singing (known as the vocal Radif) under his father. Afterwards he began a lifelong passion with learning different instruments. He currently knows how to play 27 instruments including all the Iranian instruments as well as many classical instruments. Self-taught, Nasrollah began composing at the age of 12 writing solo pieces for Santoor. Later he studied classical music and became a professional composer. He also had his own orchestra at the age of 26. His association with film music began when he was 13 when heard his first film score album, Lawrance of Arabia by Maurice Jarre. From that point on he became a great film music fan. At 31 he began his long series of lecture in the most prominent cultural centers of Iranian capital Tehran. Nasrollah is the only serious film music journalist in his country and began giving lectures and writing about film music in 2013. He is also a scholar in fields such as Linguistics (semiotics), Visual Media, History of Art, Literary Criticism, Middle Eastern political history (in the 20th and 21st century) and Cinema.
Bregt De Lange, Main Titles (Belgium)
Webmaster and Technical Support
Bregt started with the review website filmscore.be, which ran for 6 years, until he and other IFMCA member Thomas Glorieux started MainTitles.net in 2007, at which the former scorereviews.com community found its new home. Bregt maintains several film music related websites. In addition, he also supports and takes part in the promotion of the Film Festival of Ghent and the World Soundtrack Awards. Bregt helps with the administration and hosting of the IFMCA website, but he is not involved in the voting process.
Cédric Delelée, Mad Movies (France)
Since 1999, Cédric has been a professional film journalist for the French magazines Mad Movies and Impact, where he also runs the film music columns. He began to write about film music in 1989 in the magazine L’ Ecran Fantastique, joined the French edition of Soundtrack in 1992 and occasionally contributes to the French website Underscores. Specialized in period epics, genre movies and 80′s film music, he has written hundreds of score reviews and conducted many interviews with directors and composers.
Olivier Desbrosses, Underscores (France)
Regional Co-Ordinator for France
It was with John Williams’ Star Wars in 1977 that Olivier discovered film music, a passion that has continued growing since that day. After undertaking filmmaking studies, Olivier directed several short movies before turning to journalism, first in the fanzine world then later for regular magazines like Mad Movies. In 2008, Olivier created UnderScores, the number one French online magazine dedicated to film music, for which he still works today as editor in chief.
Clark Douglas, Movie Music UK & WHIE Radio (USA)
Clark has hosted the film music radio program “The Sounds and Sights of Cinema” since 2004, which spotlights film music of yesterday and today. In 2008, the show became available in podcast form as part of the “DVD Verdict Presents” series of online programs. He has also conducted many interviews with composers and others from the film music community. He writes film music reviews for Movie Music UK in addition to writing DVD reviews for DVD Verdict. He is currently the station manager of WHIE Radio in Griffin, Georgia.
Jason Drury, Cinematic Sound Radio (UK)
Jason is a film music podcast producer and interviewer based in the UK in Ramsgate in Kent. A lifelong fan of film and TV music, Jason started writing and producing audio productions on film music in 2010 for his local community radio station KAASPAR. In 2016, Jason joined CINEMATIC SOUND RADIO with his epic 3 part audio documentary on the life and music of James Horner. In 2017, Jason began hosting his own show on CSR called THE ARCHIVE focusing on new releases of archival film music and forgotten gems. Jason also produces special shows for the station and conducts major interviews with people in the film and TV music industry.
J. Blake Fichera, Scored To Death (USA)
Blake is the author of Scored to Death: Conversations with Some of Horror’s Greatest Composers, which was released in 2016 to positive reviews. He has taught film studies at the State University of New York at Purchase, has contributed as a writer to several noteworthy film and music-related publications and websites—including Rue Morgue magazine, Scream magazine, Video Watchdog magazine and MovieMaker magazine—and has also written essays and liner notes for several vinyl LP releases from Mondo/Death Waltz Records and Cadabra Records. He hosts Scored to Death: The Podcast and cohosts the popular film-themed podcast Saturday Night Movie Sleepovers. Blake is also a professional film/television editor and producer, as well as a gigging musician in the New York City area, and a New York Blues Hall of Fame inductee. His second Scored to Death book will be available in the Fall of 2020.
Panos Gkenas, Avopolis (Greece)
Panos is the chief film music reviewer for www.avopolis.gr, the biggest music site in Greece. When he was 3, John Williams and a light-fingered alien showed him the way. Panos and his interest for movies grew up together, and he began writing about film music in 2001. He worked as a film critic for free-press magazines and as a director for short films, supervised video installations and theatre productions as a musical consultant, and is currently working with “The Mitsos Company”, an art group consisting of film directors, actors and dancers, in Thessaloniki, Greece.
Thomas Glorieux, Main Titles (Belgium)
Thomas has been a reviewer for MainTitles.net since 2007. Before that, he hosted and reviewed soundtracks on his site Radio Soundtrack FM for seven years. He has also interviewed several composers, exclusively for MainTitles, in correspondence with the Ghent Film Festival. Thomas lives in Belgium, and works for an insurance company.
Dan Goldwasser, Soundtrack Net (USA)
As editor-in-chief of SoundtrackNet for over ten years, Dan has been heavily involved in the film music industry, writing articles, reviews, and interviewing many of the industry’s top composers. In 2008 he launched ScoringSessions.com, the only Internet destination that provides exclusive coverage of Hollywood’s orchestral recording sessions. When he isn’t covering the film music industry, he designs websites for Warm Butter Design, whose primary clientele includes many of Hollywood’s film composers. Additionally, he writes liner notes for La-La Land Records and Prometheus Records, and has recently gotten into soundtrack producing, with his first release of “Blazing Saddles”, and is currently working on a much requested score that will be announced shortly.
Florent Groult, Underscores (France)
Regional Co-Ordinator for France
Born 1974 in Normandy, educated within a classical music environment, keen on orchestral music for a long time and fascinated by the magic of cinema from age 8 after the discovering of three masterpieces (King Kong, Forbidden Planet and Jaws), Florent combined his passions at the beginning of 90’s, attracted by the alliance between music and image. Soon he joined the French association Cinéscores, contributing to its fanzine and radio programme (1995-1999) and then he took a active part in the creation and the activities of association Colonne Sonore/L’Ecran Musical (1999-2003). In 2008, he initiated and co-founded French webzine Underscores – le magazine de la musique de film (the film music magazine) for which he invests himself until today as vice-chief editor. In 2011, Florent wrote his first liner notes for French label Music Box Records and contributed to the collective book John Williams: Un Alchimiste Musical (L’Harmattan Editions).
Thor Joachim Haga, Montages and Celluloid Tunes (Norway)
Regional Co-ordinator for the Nordic Countries
Thor is a staff writer and film music specialist at montages.no. It’s the only publication in Norway that has articles about film music, composer interviews etc. on a regular basis. He’s also the host and editor of celluloidtunes.no, Norway’s first and only webcast about film music. Additionally, he’s a freelance journalist for international film music publications, including LA-based Film Score Monthly. He is a member of the Norwegian Film Critic Society, a subsidiary of the international FIPRESCI organization, and a former Assistant Professor in Media Studies at the University of Oslo where he wrote his masters thesis on film music.
Roger L. Hall, Film Music Review (USA)
Roger is a film music historian, educator, composer and critic and has been the editor-in-chief of Film Music Review since its beginnings as an online e-zine in 1998. A writer of numerous reviews, articles and interviews, including for Film Score Monthly and Soundtrack Magazine, he is the author of the reference book, “A Guide to Film Music: Songs and Scores“, first published in 1997, and updated every few years. For over twenty years, Roger has been selecting what he considers the best film music CD releases of each year for his Sammy Awards. He has also taught film music courses in college and adult education programs, and composed music and produced programs for radio and cable television.
Bob den Hartog, MoviEmotion (Netherlands)
Bob has been writing about film and film scores for online the film magazine MoviEmotion (formerly DVD-Club), since 2005; he began working on the site as a contributor, writing numerous ‘background articles’ on film, and is now chief editor at the site. Bob has also worked as a programming and production assistant for the 23rd Amsterdam Fantastic Film Festival. He studied communication management, with journalism as a minor.
Sergio Hardasmal, freelance (Spain)
Writing about movies and his music for years, Sergio ran a printed magazine called Film Music (the Spanish edition of Film Score Monthly). He was member of sites as BSOSpirit, Filmica or Estrellas en La Noche, among others. He also was member of Ubeda International Film Music Conference and made layouts for some printed magazines. Sergio also participates in radio and TV shows about movies in Malaga, Spain, and writes the soundtracks pages for a veteran Spanish printed magazine called Accion Cine Video.
Mogens Skaaning Høegsberg, Planet Pulp (Denmark)
Mogens bought his first film score in 1990 at the age of 13, and began writing about film music in 2000 for a now long defunct website. In 2005 he co-founded the Danish language webzine Planet Pulp where he also serves as webmaster and editor in chief. As such, over the past 12 years he has edited more than 2200 reviews and articles, focusing on films, film music, books, comic books, video games etc., having written almost 800 himself (200 of which are film scores). Film music was an integral part of Planet Pulp since its inception, initially with a focus on music from horror films, science fiction and fantasy, but within the last couple of years with a broad outlook without editorial limitations to film genres. Mogens has contributed liner notes to two releases from Danish film music label PlantSounds and hopes to do more in the future. Professionally, he works as an archaeologist. Whether or not this has anything to do with 'Raiders of the Lost Ark' being one of his favourite film scores is a mystery, even to himself. He is a father of three, aged 0-8, and thus constantly sleep deprived. This does not improve his driving, but works wonders for his sense of humour.
Erik Heine, Film Score Monthly (USA)
Erik is Professor of Music at Oklahoma City University, where he has taught since 2005. In his youth, he was raised on the film music of John Williams by his parents. He earned a BM in Percussion Performance from Illinois Wesleyan University, an MM in Music Theory from the University of Arizona, and a PhD in Music Theory from the University of Texas at Austin. His graduate studies focused on the film music of Ralph Vaughan Williams and Dmitri Shostakovich. He has written a number of academic articles and book chapters on film music, as well as a book, James Newton Howard’s Signs: A Film Score Guide, published by Scarecrow Press in 2016. He has been contributing to Film Score Monthly Online since 2017, a job that he finds particularly interesting and rewarding. In his spare time, Erik is an avid runner and founded Team Hoyt Oklahoma, a non-profit dedicated to inclusion of disabled athletes in running events.
Kees Hogenbirk, Concertzender (Netherlands)
Kees started writing soundtrack reviews, score analyses and interviews with composers for a variety of Dutch newspapers and magazines during his university studies of History. From 1978 to 1992 he was an editor of Score, formerly the newsletter of the Max Steiner Music Society, and from 1997 to 2009 of Skrien, Holland’s most analytical film monthly. With his Masters in Art History, Kees is also an art journalist, specializing in the relation between vision and sound. In 1995 he started his (still ongoing) series ‘The Sound of Movies’ for the independent radio broadcaster De Concertzender. He is a member of the Circle of Dutch Film Journalists (KNF), based in Amsterdam.
Tom Hoover, Scorenotes (USA)
Tom serves as producer, reviewer, and host for the multiple content features that are available on ScoreNotes, a site that was created to celebrate and promote the world of film, television and video game music. Established in 2005, the site has gained notoriety for the ongoing Composer Interview series (in audio), Film Music Suites, and the regularly updated Soundtrack Reviews.
Juan Carlos Jiménez, El Cine por Los Oídos (Spain)
Juan Carlos is the creator, along Jaime Ramos, of “El Cine por los Oídos”, a spanish language podcast in which we explain and analyze the value and importance of film music featuring different topics each week. Journalist and assistant director on TV, Juan Carlos also collaborates on radio programs like “Vivir de Cine” and webpages like “35 milímetros” or “Cinéfagos” always focusing on film music. His favorite composer is Jerry Goldsmith and if you can hum Gizmo’s theme, you are already his friend!
Ryan Keaveney, Cinemusic (Canada)
For 10 years Ryan has designed, written for and edited the film music review site Cinemusic.net. Since 1996, through his design company klaatumedia.com, he has created evocative websites on the work of film composers Danny Elfman, Shirley Walker, Marc Shaiman, Brian Tyler, Elliot Goldenthal, Christopher Lennertz and many others. He wrote liner notes for La-La Land Records’ release of Brian Tyler’s cult-favorite “Terror Tract”, and is available to write notes for an inevitable release of Jerry Goldsmith’s “Gremlins”. Ryan spent 8 years in the Toronto film and television industry as an assistant, most recently in 2008 when he assisted director Jaume Collet-Serra on the Warner Bros./Silver Pictures thriller “Orphan”. He currently works in the interactive department for Corus Entertainment in Toronto, Canada.
Steve Kennedy, Cinemusical (USA)
Steve is a composer, music critic, performer, educator, and freelance writer. He has written reviews, articles, and interviews for Film Score Monthly, regularly contributes to Roger Hall’s Film Music Review, and hosts his own blog Cinemusical. He has also written for Music4Games. Steve’s selections of the best film music have appeared at Roger Hall’s site over the last decade. He has taught music in college, worked as a radio programmer/producer/announcer, and performs locally. His original music is published at www.scoreexchange.com.
Thomas Kiefner, Golden Scores (USA)
Tom was born in 1947 and is an avid collector of film music, soundtracks, films, and Russian classical music. Passionate and determined, Tom an audiophile is the same man who would then take apart the speaker at the drive-in theater and record the audio and who would later build his own amplifier from scratch. Via a McIntosh amplifier, AR turntable, Teac recorder, and Klipsch speakers he would become addicted in achieving the perfect sound as well as amassing an out of control collection of material. After many years as a successful photo store manager and major health issues he’s overcome, he’s now devoting much time and efforts in listening and reviewing material. He owns and runs the Film Music: A Neglected Art website, publishing articles in Film Score Monthly and Maintitles. He’s also a and writer and reviewer for Naxos, the largest distributor of classical music in the world. He’s working on books about soundtracks and Russian classical material. As a collector, his favorite film score is “The Best Years of Our Lives.” His favorite classical recording is “Scheherazade.”
Kevin Koltz, AETN/A&E Television Networks (USA)
Kevin is an award winning producer, writer and director with nearly a quarter century experience in the television industry. Specializing in productions dealing with fostering the promotion of the arts, film, motion picture history and music in film, he is currently employed with AETN assigned to the Biography series for A&E and The Biography Channel. Other series while at AETN include Our Generation and Reel to Real for The History Channel and the long running Breakfast with the Arts which profiled artists, personalities and trends impacting music, theater, film and fine arts. In addition to series work, he also developed and produced a number of original film-themed specials which include The Amazing World of Harry Potter, The Lord of the Rings Trilogy, Visionary Storytelling: Computer Animation and Beyond and the annual And the Nominees Are…Academy Award specials. He has been a passionate collector of film music since the early 70s, but can trace his love of film music to his first film going experience, 1967’s The Jungle Book.
Karol Krok, Films on Wax (UK/Poland)
Karol Krok is a lifelong film score enthusiast and a frequent attendant of various concerts dedicated to this subject. Karol is the editor of film score criticism outlet Films On Wax, for which he writes regular soundtrack reviews and features, including interviews with such names as Dario Marianelli, Howard Shore and Abel Korzeniowski. He used to provide similar content for the major Polish radio station’s official website – Polskie Radio Online. Karol also runs behind-the-scenes film website The Assembly Cut. and currently resides in the hills of Derbyshire, Central England.
Randall Larson, Soundtrax, Musique Fantastique (USA)
Randall has been writing about film music for more than 40 years. He currently writes a regular film music interview/review column for buysoundtrax.com, and has written nearly 200 liner note commentaries for specialty soundtrack album releases for labels such as BSX, La-La Land, Quartet, Perseverance, and others. In the 1980s, Larson edited and published CinemaScore: The Film Music Journal, which eventually merged with Soundtrack Magazine, for which Larson served as senior editor until its demise in 2002. Larson is the author of hundreds of articles in fields as diverse as music, fantasy and horror fiction literature, and has authored several books on these topics. He specializes in examining music in science fiction, horror and fantasy films.
Tomasz Ludward, Filmmusic.pl (Poland)
Tom has been writing about film music since 2013 but his editorial efforts stretch back to 2007 and his first serious article on scores for a high school newspaper. Since his official debut on Filmmusic.pl, the most complete online source of film music in Poland, he has been a writer of reviews, articles and interviews with such composers as Terence Blanchard and Craig Armstrong. Always looking to promote and popularize the genre, he has been also collaborating with numerous cultural events and venues such as Krakow Film Music Festival, the National Forum of Music in Wroclaw and Znak publishing company. Occasional guest on radio shows. A die-hard fan of Thomas Newman.
Craig Lysy, Movie Music UK (USA)
Membership Committee Co-ordinator
Craig started collecting in earnest in 1980 and has never turned back. At the prodding of his dear friend and fellow Los Angelino Jon Broxton he joined his website Movie Music UK with a mission to bring Golden and Silver Age scores to its readership. Craig loves the sensibilities of these ages, which bear an amazing treasure trove of extraordinary scores. He has dedicated himself to celebrating, and introducing new generations of film score lovers to the glory of the Golden Age with his seminal series “Father Of Film Scores”, where he provides in depth articles that explore the biographies, canon, compositional style, legacies and recommended works of these Titans of film score art. Craig is also celebrating the past with his ongoing series of critical reviews, which explores the history of Academy Award film score winners. Craig believes that to truly and fully appreciate the beauty of film score art today, you must first understand the wonder and glory from whence it came.
John Mansell, The Cinemascore & Soundtrack Archives (UK)
Born 1955 in the UK. John started his long love affair with film music back in 1963 after watching Lawrence of Arabia, after which he began to collect movie music and is still as passionate about it now as he was when he started to become interested, if not more so. In the early 1970,s he imported LP records from Italy and supplied record shops in London and also Brighton. Started to write reviews in the early days of the Goldsmith society for their fanzine and this led to becoming actively involved with the first incarnation of Music from the Movies. He also wrote regularly for Soundtrack and because of this was commissioned by Derek Elley to write an article and filmography on Ennio Morricone for Variety, which led to him supplying the Variety International Film Guide of 1996 with the entire film music section, this included numerous profiles of film music composers. He has interviewed over 50 composers and still remains active in the area of composer interviews, always attempting to introduce new and young composers to collectors. He interviewed many of the Hammer Horror composers, James Bernard, Harry Robinson, Carlo Martelli, David Whitaker etc and wrote many of the sleeve notes for the GDI Hammer film music series. He has written extensively for various recording labels in Europe and the United States and supplied these with sleeve notes and also photography at recording sessions. He is a regular contributor to the run movies web site and also acts as co-ordinator for that site. His musical tastes vary, Italian, French and other Euro film music figuring large in his collection. But he also has an extensive and diverse collection of film scores (over 5,000) which range from Korngold, Steiner, Barry etc to recent additions such as Daft Punk.
Mihnea Manduteanu, Soundtrack Dreams (Romania)
Mihnea is of Romanian ancestry and currently resides in Bucharest. He has a MBA degree in Audit and Capital Markets, with an occupation in banking. He has been writing film music reviews in earnest since 2014 for his own website Soundtrack Dreams. To date he has 700 reviews to his credit. He enjoys collecting and has 2,154 film scores in his collection. Mihnea has written a number of articles including a fine review of Patrick Doyle’s score for Great Expectations. He has also had the pleasure of interviewing several composers including, Lorne Balfe, John Lunn, Freddie Wiedmann and Cris Velasco. He counts Hans Zimmer, James Newton Howard, Ennio Morricone, James Horner and Patrick Doyle among his favorite composers.
Rubén Franco Menéndez, Asturscore (Spain)
Rubén is the co-founder of the web Asturscore, created in August of 2010, and he also participates writing articles in BSOSpirit from autumn of 2006. He has also participated in the International Film Music Festival – Ciudad of Ubeda from it third edition.
Eleni Mitsiaki, Kinetophone and City Lights (Greece)
Eleni studied Musicology in the Music Department of the Aristotle University of Thessaloniki and the State Conservatory of Thessaloniki unanimously awarded her Piano Diploma with honours. She is a graduate of Advanced Theory, with degrees in Harmony, Counterpoint, Fugue, Orchestration and Music Composition. She has worked as editor in chief for the classicalmusic.gr portal and has also been a music editor for Muzine, SONIK, Project Amoeba, Pepper music magazines, avopolis.gr.music e-zine and movieworld.gr. film e-zine. Mesmerized by silent films and the idea of creating an overall musical world for each film and an audiovisual result that you couldn’t have heard back in the silent era, she has been dealing with contemporary practices for their musical re-scoring (she has worked as music editor and compiler of silent film screenings for the 2nd, 3rd and 4th Silent Film Festival at Michael Cacoyannis Foundation in Athens, Greece) and has given lectures, such as “Silent Films and Music Accompaniment” and “History of Soundtrack”. Since 2008, she is devoted to spreading the love for film music and discovering new film composers, through her personal 2-hour radio show City Lights (weekly on air via innersound-radio.com) and her website Kinetophone, which features her latest articles, reviews and interviews.
Yavar Moradi, The Goldsmith Odyssey (United States)
Yavar is cofounder and cohost of The Goldsmith Odyssey, a podcast begun in early 2018 dedicated to the thorough chronological exploration of every extant work by the incredibly prolific Jerry Goldsmith, his favorite composer. In addition he produces a side series of Odyssey Interviews, in-depth one-on-one conversations with composers, conductors, and other film music luminaries, most of whom knew Jerry personally. Raised on a collection of old movies (especially classic westerns and swashbucklers) his Persian father taped off TV in the 80s, Yavar was always drawn to the music even before he came to recognize the names and styles of Alfred Newman, Miklós Rózsa, Roy Webb, Bernard Herrmann, Elmer Bernstein, or Erich Wolfgang Korngold. Soon after he expanded his interest to all eras of film music, and art music in general — his favorite composers for the concert hall are Jean Sibelius, Joseph Joachim Raff, Camille Saint-Saëns, Samuel Barber, and Dmitri Shostakovich, the latter of which of course also wrote much great film music. A graduate of St. John’s College (the “Great Books” school”), Yavar received rare approval to write his senior paper on a great film — Lonely Are the Brave — with special emphasis on the score by Jerry Goldsmith. In a professional capacity he has worked for the Los Angeles Philharmonic, Houston Symphony, Santa Fe Opera, and Santa Fe Desert Chorale, as well as spending two years as manager of Joel’s Classical Shop (now Classical Music of Spring), the last independent classical music shop in North America.
Pablo Nieto, Score Magacine (Spain)
Pablo is a lawyer and film music reviewer. He’s also co-founder of Score Magacine, one of the top Spanish film music-dedicated websites created in 2005 with Miguel Angel Ordoñez. Pablo has written hundreds of reviews for scoremagacine.com and interviewed numerous composers. He was the co-director of the Soncinemad-Madrid Film Music Festival in 2006 and 2007, a large worldwide film music event which has gathered large media attention, film music fans from all over the world and was blessed with concerts and composers’ conferences/seminars and workshops. Those featured bright names like Hans Zimmer, Harry Gregson-Williams, Trevor Jones, Christopher Young, Gabriel Yared and Alan Silvestri. Pablo orks for Spanish Film Companies and Spanish film composers as lawyer and legal assistant as well as filmmusic advisor.
Miguel Ángel Ordóñez, Score Magacine (Spain)
Regional Co-ordinator for Spain
Miguel is the co-founder and editor-in-chief of Score Magacine, a Spanish website created in 2005, for which has written hundreds of reviews and interviewed numerous composers. He is the author of articles in Spanish about the life and work of Leonard Rosenman, George Antheil and Toru Takemitsu, collaborates with Music Sales Group (an international group of music publishing companies), and was the co-director of the Soncinemad-Madrid Film Music Festival in 2006 and 2007, an event with concerts and composers’ conferences featuring Hans Zimmer, Harry Gregson-Williams, Trevor Jones, Christopher Young, Gabriel Yared and Alan Silvestri.
Massimo Privitera, Colonne Sonore (Italy)
Massimo is a film music journalist from Catania, Sicily, the chief editor of the Italian film music web magazine ColonneSonore, which he founded in 2003. He graduated from the Cinema Laboratory in Rome, and has been works as promoter and copyright editor for Italian media companies such as Mediaset Sky and Channel 5. He has also directed several short films and television programs for TV Mediaset and Rai.
Roberto Pugliese, Colonne Sonore (Italy)
Roberto was born in Venice, Italy, in 1952. He graduated with a Liberal Arts degree in 1976, with a thesis on the music in Stanley Kubrick films. He has been a professional journalist since 1980. In 1975 Roberto began to specialize in the history and critique of film music for the magazine ‘Discoteca Alta Fedeltà’. He started writing on this subject for several papers, publications, and for many conventions, concentrating on the music in the cinematographical works of Kubrick, Sergio Leone, Dario Argento, Wes Craven, Giuseppe Ferrara, John Carpenter, Clint Eastwood et al. From the early eighties onwards he has been a member of the board of ‘Segnocinema’ magazine, where Roberto is the editor of the movie soundtrack section. He has taught History of Music for Film at the Università di Ca’ Foscari of Venice, for two four-year terms. Presently Roberto is collaborator to the online periodical colonnesonore.net.
Kyle served as Executive Director of WPA Theatre (Workshop of the Players Art Foundation, Inc.), producing more than one hundred Off-Broadway plays and musicals, including such long-running successes as Little Shop of Horrors by Howard Ashman and Alan Menken, and Steel Magnolias by Robert Harling. He produced new works by Yoko Ono, Larry Kramer, Charles Busch, Paul Rudnick, Doug Wright, Israel Horovitz and Reynolds Price, as well as revivals by Tennessee Williams, Lillian Hellman and Edward Albee. Born and raised in St. Louis, he attended Tufts University in Boston and graduated Phi Beta Kappa with degrees in Drama and Music. Mr. Renick has been a consultant for both the New York State Council on the Arts and the National Endowment for the Arts, and served for twelve years on the Board of Directors of the Alliance of Resident Theatres/New York. He has written extensively on movie music for Film Score Monthly and has had articles published in Theatre Times and Back Stage among other publications. Mr. Renick is a Charter Member of Early Music America and a proud supporter of the Film Society of Lincoln Center, Film Forum and Museum of Modern Art.
Dimitri Riccio, Colonne Sonore (Italy)
Regional Co-ordinator for Italy
Dimitri has written about film music since 1987, first for Soundtrack! magazine, now for several Italian classical music monthlies as film music editor, and for www.colonnesonore.net. Dimitri also works as an actor, does voice dubbing in films, and is industrial engineer in computer science.
Johannes Ruckstuhl, Film Score Monthly and CamFM (UK/Germany)
Johannes has been listening to film music since childhood, initially falling in love with John Williams’ Harry Potter and Howard Shore’s The Lord of the Rings scores. After writing film and soundtrack reviews on his personal website for several years, he joined “Film Score Monthly” in 2012 as a regular reviewer, contributing several pieces for each issue. He also hosts a weekly radio programme devoted to film music titled “Composing for Picture.” The show is broadcast on CamFM, on terrestrial and also available worldwide via online streaming. Further experience includes seats on film and film music juries at the “Cork Film Festival” and the “Watersprite Film Festival,” as well as contributing pieces on film music to a number of other publications in the UK. Johannes is currently in his final year of study for a degree in English Literature at the University of Cambridge.
Mike Rumpf, Filmmusik 2000 (Germany)
Mike is the editor of the German-language online film music magazine Filmmusik 2000. He has written reviews and articles on current and classic film scores since the year 2000. Mike works as a software developer in Kiel, Germany.
Brian Satterwhite, Nuance Music/Film Score Focus (USA)
Brian is a professional composer based in Austin, Texas. He holds a degree with dual majors in Film Scoring and Composition from the Berklee College of Music in Boston, Massachusetts. Over the years, Brian has written scores for over eighty-five short and feature films, and his accolades include seven Gold Medals for Excellence and a Silver Medal from the Park City Film Music Festival, a Bronze Telly Award, and in 2001 Brian was a Finalist in the Young Film Composers Competition sponsored by Turner Classic Movies. Brian is also the producer and host of the Austin film music radio program “Film Score Focus” on 89.5 KMFA and writes extensively for several web sites including his own professional blog, Nuance Music.
Daniel Schweiger, iF Magazine/Venice Magazine (USA)
Beyond interviewing composers and reviewing film scores for a variety of print and internet publications over the last twenty years, Daniel also temps with their soundtracks as an editor at Modern Music in Hollywood. Daniel’s many liner note credits include The Day of the Dolphin. Watership Down and Big Trouble In Little China, while his audio interview show “On the Score” can be heard at filmmusicmag.com.
Asier G. Senarriaga, BSO Spirit (Spain)
Asier is a member of the Bsospirit Association, film music reviewer, articulist and interviewer for Bsospirit.com, one of the more well-known Spanish websites about soundtracks. He has collaborated with printed magazines like Rosebud and Hobb’s Lane, and with the International Film Music Festival City of Úbeda, now currently being celebrated in Córdoba (Spain). He fell in love with film music at a very early age when he discovered the magic of a great symphonic melody during the early eighties, and since then music became the oxygen of his life. His musical interests are wide and eclectic, from the musical wonders of the Golden & Silver Ages to the modern and electronic angle, not forgetting Jazz, Celtic or Ethnic music, or the impressive and unforgettable works of such titans as Miklós Rózsa, Bernard Herrmann, Henry Mancini , Erich Wofgang Korngold, Alfred Newman, Elmer Bernstein, John Williams, James Horner, Basil Poledouris, James Newton Howard, Danny Elfman, Christopher Young, Michael Giacchino, or John Ottman.
David Serong, Cinema Musica (Germany)
David co-founded the Cinema Musica – Europe’s only print magazine for film music – in 2005. Since then he interviewed many of his film music heroes and heard a lot of good music. Apart from his work for Cinema Musica, he works as a freelance film journalist.
Oscar Gimenez Serrano, BSO Spirit (Spain)
Oscar is a member of the BSOSpirit staff, a Spanish-language film music website that started in 2001. Oscar is also part of the organzing committee for the annual International Film Music Festival which takes place in Ubeda, Spain, every July since 2005.
Peter Simons, Synchrotones (UK/Netherlands)
Peter studied journalism at the Fontys School for Journalism in Tilburg, Netherlands in the mid-to-late 1990s. During this time at university, he wrote soundtrack and film reviews for At the Movies, a now defunct site that was set up by fellow students. Between 1997-2004 Pete was an editor and (from late 2002) graphic designer for Score, a Dutch printed magazine about film music and one of the oldest and longest running (still) in existence. In the early 2000′s he also briefly contributed to Movie Music UK. After a hiatus of several years, Synchrotones’ Soundtrack Reviews marks Pete’s return to film music journalism. Born in the Netherlands and currently living and working in the United Kingdom, he has been listening to (and collecting) soundtracks since the late 1980s. His favorite composers include Alan Silvestri, James Horner, Danny Elfman, Elliot Goldenthal, Mark Isham, Craig Armstrong and many other. He is also keen on classical music (particularly John Adams, Segey Prokofiev), indie rock (e.g. Snow Patrol, The Killers) and dance music (e.g. Orbital, Unkle). In his spare time he is an amateur composer
Damian Soltysik, Soundtracks.pl (Poland)
Damian has been writing about film music since 2003. As an editor of the most popular film music website in Poland, Soundtracks.pl, he writes reviews, articles and reports from important music events in his country. He is a student in administration at the University of Silesia in Katowice, Poland.
Konstantinos Sotiropoulos, SoundtrackBeat (Greece)
Konstantinos has been writing reviews and articles about film music since 2002. For eight years, he was chief soundtrack reviewer and editor for cinemascope.gr, the most interesting internet destination for Greek moviegoers. From December 2006 to May 2007, he co-hosted and co-produced a weekly cinematic radio show, the musical selection of which was exclusively from movie scores and songs. In November 2010 he founded the first Greek site dedicated exclusively to film music, named SoundtrackBeat.com. The noble mission of this site – where he is placing his reviews – is to make a special connection between the average moviegoer and movie music.
James Southall, Movie Wave (UK)
Membership Committee Co-ordinator
James began writing about film music in 1996, and has rarely paused for breath since. Along with his website, Movie Wave, he has contributed to all the major film music magazines and written liner notes for various soundtrack albums. He currently resides near Bristol in the south west of England but frequently travels to other locations, such as Shrewsbury and Berlin.
Paul Stevelmans, Score (Netherlands)
Paul has been writing for Score, the Dutch film music magazine, since 1997, and since 2004 has been its editor-in-chief . Score was first published in 1971 and today is the oldest still-existing film music magazine in the world. Paul also writes CD and book reviews, general articles concerning film music, and conducts regular interviews with Dutch and foreign film composers.
Kevin Xinkai Sun, SoundtrackMagazine (Australia/China)
Kevin is a freelance film music journalist from Guangzhou, China, and a landscape architect in Melbourne, Australia. Kevin has been reviewing film scores on Chinese microblogging website “Weibo” and Movie View Weekly (看电影杂志) since 2010s, in order to promote film music culture amongst Chinese moviegoers. He now runs Soundtrack Magazine (影乐志) with friends, including another IFMCA member Qiu Yang, further expanding the influence. On the journey of popularizing music culture in China, Kevin has also translated literature on musicology into Chinese, including“How to Listen to Jazz” by music historian Ted Gioia and “Film Music: A History” by musicologist James Wierzbicki (collaborated). With his architectural education and previous classical music background such as grade 8 piano performance issued by the Associated Board of the Royal School of Music in the UK, he possesses an analytical understanding towards the structure and the narration of film music composition.
Giuliano Tomassacci, Colonne Sonore (Italy)
Giuliano is co-editor of the Italian film music website Colonne Sonore. Among his continuative web collaborations, he is a movie critic for Offscreen.it and Film.it (to which he also contributes soundtrack surveys and columns) and the magazines L‘Acchiappafilm and Spettatore. He has contributed with essays, articles and reviews to Segnocinema and the collector’s magazine Raro!. He currently lives in Rome where he also works as a director of photography and production manager.
Stefanos Tsarouchas, Cinématographe (Germany)
Stefanos war born 1963 in East-Germany to Greek parents. His interest in film music began when he recorded the title song of “Daniel Boone” on his parents’ tape recorder. In the mid 1970s his family moved to West-Berlin. Stefanos was hooked once again on film music, after watching “Close Encounters of the Third Kind” (1977). He was amazed by the “musical” conversation between the humans and the mother ship. Stefanos studied business administration and computer science. He is the editor-in-chief of Cinématographe at Berlin’s radio station 88vier. The program features a mix of film and film music reviews, interviews with directors and composers. Stefanos is a member of the German film critics association (VDFK), a subsidiary of the international FIPRESCI organization.
Steve Vertlieb, Film Music Review (USA)
Steve has been writing published articles about films and film music since 1969 in a variety of books, magazines, journals, tabloids, and on the web. He worked in television and radio for fourteen years, performed “voice-over” announcing in both venues, as well as for professional documentaries, and has appeared in films and on television talk show programs as an authority on motion picture history. He has written feature length biographies of Miklos Rozsa, Bernard Herrmann, Orson Welles and Boris Karloff, and has contributed regular soundtrack columns, commenting on motion picture music, for “Cinemacabre Magazine,” and the respected British journal “L’Incroyable Cinema.” He programmed, wrote, and co-hosted a nine day, seventeen film salute to Miklos Rozsa at San Francisco’s historic Castro Theater during the Winter of 2007/2008, during he which he interviewed Juliet Rozsa on stage regarding her illustrious father before a live audience of seven hundred patrons. He wrote and delivered a posthumous life achievement award to Bernard Herrmann at a film conference in Crystal City, Virginia, which was accepted by the composer’s daughter, writer Dorothy Herrmann, and contributed the liner notes for Tadlow Records’ premiere cd recording of Miklos Rozsa’s memorable score for Billy Wilder’s “The Private Life Of Sherlock Holmes.” He counted Miklos Rozsa as a personal friend for nearly thirty years, and has known Elmer Bernstein, Jerry Goldsmith, Hugo Friedhofer, James Bernard, Lee Holdridge, and Russell Garcia as both friends and correspondents. He was privileged to spend time with John Williams in late August, 2010, back stage at The Hollywood Bowl, following the composer’s sold out concert with The Los Angeles Philharmonic, and continues to write essays on film scores, their history and composers for publishers both on line and in print.
Łukasz Waligorski, MuzykaFilmowa.pl (Poland)
Regional Co-ordinator for Poland
Łukasz is the reviewer, creator and host of MuzykaFilmowa, one of the biggest Polish film music websites, and for over 4 years has written reviews, articles and interviewed numerous composers. He is also formerly the host of a radio show about film music for Radio Merkury in Poznan, Poland.
Erik Woods, Cinematic Sound Radio (Canada)
Erik Woods is the host and producer of the film, TV and video game music radio show/podcast CINEMATIC SOUND RADIO. The show, which began in 1996, is heard exclusively on-line and on-demand after spending its first ten years on terrestrial radio at C101.5 FM in Hamilton, Ontario. Erik has a broadcast journalism diploma from Mohawk College and has spent his professional career in the video production industry working as an editor, cinematographer, sound recordist/editor, producer, and director.
Łukasz Wudarski, FilmMusic.pl (Poland)
Łukasz has been connected with film music since 2004. He is a graduate student in history of art from Nicholaus Copernicus University in Toruń, Poland. For over 4 years he has written reviews, articles and interviewed composers for the biggest film music web site in Poland, Filmmusic.pl.
Conrado Xalabarder, MundoBSO (Spain)
Conrado is a specialist in film music. The author of two books and numerous articles on the subject, he is film music critic at Fotogramas, the most widely read film magazine in Spain, and at the magazine of the Academy of Motion Picture Arts and Sciences of Spain. He teaches film music at two Universities in Barcelona and gives numerous lectures in Spain, he is the webmaster of www.mundobso.com and coordinates the Jerry Goldsmith Awards, held at the Ubeda Film Music Festival.
Qiu Yang , Soundtrack Magazine and ShockWave (China)
Born in Wuhan, China in 1987, Qiu Yang (邱阳) is a freelance film music critic and journalist. He has written and translated over 300,000 words on film music for magazines, newspapers and websites since 2005. He also wrote for two columns on film music in ELLEMEN (睿士) magazine and Netease (网易), one of the biggest and most popular websites in China. In 2014, he launched Soundtrack Magazine (影乐志) with two friends at Wechat, China’s most widely used social network tool. The internet magazine focuses on the Chinese film music industry and non-Chinese composers’ participation in Chinese film music. It also includes interviews and reviews on foreign film music. He is the host of ShockWave (震荡波), a Chinese podcast reviewing film music of newly released films. Having devoted himself to promoting film music culture in China and raising the level of Chinese film music to a new level for over 10 years, Qiu is determined to keep moving forward.