Cliff Martinez: “A film score can add a layer of emotion or psychology that isn’t really there without the music”

American film composer Cliff Martinez (b. 1954), formerly a drummer with the Red Hot Chili Peppers from 1983-86, turned to film scoring in the late 1980s when he was hired to do Steven Soderbergh’s first theatrical release “sex, lies, and videotape.” Since then, they have worked together on ten feature films.

On the composer’s website, Richard Henderson writes, ‘On the western verges of the San Fernando Valley, surrounded by an array of custom-constructed instruments–mammoth steel drums, a gamelan metallophone, and the awe-provoking Baschet Cristal, whose spiky protrusions suggest a Mars Rover as much as anything musical–film composer Cliff Martinez wages war with the ordinary. He has hewn a singular path in the scoring of contemporary cinema by channeling his imagination through this gallery of unique musical implements. Influenced by developments at the radical fringes of music-making, pulling notes from minimalism and ethnographic melodies alike, Martinez has lent his talents to a diverse assortment of movies and, in so doing, has pointed toward the horizon to what film music could become.’

Mr. Martinez was a guest of honor at the latest International Film Festival Rotterdam for a masterclass on scoring. This is a slightly edited version of what he talked about to a huge crowd of composers and film buffs in Rotterdam.

Cliff Martinez during his masterclass at the International Film Festival Rotterdam | Leo/Film Talk

Mr. Martinez, how would you define your work as a film composer?

My father always used to ask me, ‘So what was it again that you do for a living?’ And every time people ask me that question, I would always say you would have to see a movie without any music to appreciate what film composers do and what music contributes to film. When film music is at its best, it expresses the things that the images and the dialogue cannot express. A film score can add a layer of emotion or psychology that isn’t really there without the music.

Can you tell something about your successful collaboration with Steven Soderbergh?

I’ve worked with him since 1989, and in many of his films, he doesn’t have like a really bright, optimistic, positive scene ever; it’s like always kind of shaded with bittersweet melancholy emotions, and so as a film composer, I have to get that feeling. I remember one of the very first pieces I played him, and he asked, ‘What’s the thing on the top of the melody? Get rid of that. And that thing at the bottom?’ ‘That’s the baseline.’ ‘Get rid of that. And that thing in the middle?’ ‘That’s the keyboard.’ ‘Get rid of that.’ And all that was left was this kind of drone. And he said, ‘Yeah!’ [Laughs]. He has a very unique take on film music; he really wants music to stay out of the way, keep a low profile, and be felt but not heard. So my style is developed around this idea that music has an important role but doesn’t show up very often. And when it does, it doesn’t twist the audience’s arm too hard; it doesn’t tell them strongly what to think or feel. His philosophy is that it’s more fun for an audience to arrive to their own conclusions about interpreting what’s going on on-screen. He would often use music as a contrast or to use it ambiguously. When you work with other directors, that philosophy might get you into trouble from time to time, so I have become more of a maximalist in later years as I worked with other directors. The early films I did with Steven didn’t have harmony or melody; they were very textual and atmospheric, while now I like the music to be in the front. Nicolas Winding Refn is a director who wants the music to have a big role. His films don’t have a lot of dialogue, so people look for the images and the music to understand what’s going on. He has given the music department a big fat juicy role.

Do you deliver your score before a scene is edited?

I’ve never been in the situation when the film has been cut differently because of the music. Usually, the film is pretty complete, fully realized, at the time when they give it to you to put music to it. So I don’t think I have ever been influential—if I have, they didn’t tell me that. So usually, the film comes first, and then the music has to accommodate the existing images and dialogue.

What’s the time frame for you when the film gets delivered?

“Drive” [2011] was the fastest: I had five weeks, and that was a unique experience because there was no time for second-guessing, for experimentation, or any trial and errors. The first instinct is what we went with. The longest span of time was three months, from the time I first saw the film—that’s when it all really starts, when you see the film, and you can put music up against it. I don’t really count the period when they might send you a script, and you can talk about it.

Where were you when you did the score for “Drive”?

I was in Los Angeles, and director Nicolas Winding Refn was in Copenhagen. We would talk on Skype every night, and that was the first time we ever worked together, so he was very hands-on; he had a lot to say about the music, we would send music back and forth, and things would get revised and changed. But by and large, we went with our first instincts. Nicolas originally thought he was going to use songs for the entire film, but then Adam Siegel, one of his producers, convinced him that an original score would help the film. First I wasn’t really sure if I was wanted or not—I kind of had to prove myself—but the fives weeks went pretty quickly, although it felt like a pretty intimidating deadline to me. Nicolas didn’t ask for a lot of music for the action scenes or the chase scenes, but they’re often sort of set up with a softer moment before the action begins, so a love theme appeared three or four times throughout the course of the film.

Your soundtrack for “Drive” has been compared to scores as Vangelis’s “Blade Runner” [1982] or Brian Eno’s ‘Apollo: Atmospheres and Soundtracks’ [1983]. Is there a connection to any of these soundtracks?

There’s a controversial practice in Hollywood of cutting in temporary music to a rough cut of a film because it’s hard to edit a film without any music. But it’s often used as a reference for the composer as to the style he approached, the placement of the music for the composer to follow, and it’s a great way for a director to communicate what kind of music he likes for his movie. But ever since 1989 with “sex, lies and videotape,” I’ve been beaten over the head with this piece from Apollo called ‘Ascent.’ It was used at the end of “sex, lies and videotape,” and a lot of other films, even non-Soderbergh films, but that’s the quintessential Steven Soderbergh melancholic bittersweet, and that’s the end of our story kind of vibe, but I was very influenced by Brian Eno as a film composer. I once worked on a video game called “Far Cry 4” [2014], and when I got fired, I was replaced by Brian Eno, which I thought was kind of flattering. It was like your wife cheated on you, but it was with Brad Pitt [laughs]. It was a badge of honor; I got kicked off as a video gamer, and was replaced by Brian Eno.

“Drive” was also a huge success, wasn’t it?

“Drive” is a good example of a film that was very successful, and the music was successful too, even on its own. It’s the only soundtrack album where I’ve really seen a cheque worth cashing. I’ve often wondered what the formula was for something like that, but I don’t know what it is, I only know that with “Drive” everything was pretty great. Nicolas chose a bunch of songs that were really memorable. The performances were great, the editing was great, the sound department got Oscar attention [Oscar nomination for Best Achievement in Sound Editing by Lon Bender and Victor Ray Ennis], the sound was very detailed with the crinkling gloves, so there were a lot of things that were great in that film and that made it the success that it was.

When a job is offered to you, do you often get to see a film with or without temporary music?

Most of the time with temporary music. Sometimes a director says, ‘Would you like to see it without temporary music?’ That’s pretty courteous because they know it can either be a very useful tool for communicating what they like or what they’re expecting from the music department, or it can turn evil, so they can’t hear the music any other way. Temporary music was always a great tool when working with Soderbergh because he just knew that if I tried to imitate it, I would mess it up in an interesting way. He would always put crazy stuff as temp music to it, like when we did “King of the Hill” [1993], our third film together, he used John Williams as temporary music, and I can’t think of anybody that’s more opposite from John Williams than me. And he did it gain with “Contagion” [2011], as temporary music he put Ennio Morricone’s score to “Battle of Algiers” [1966, originally titled “La battaglia di Algeri”]. Again, that’s a musical world I know nothing about. So he’s always used it as an idea, take from it what you will, and make it your own. But I’ve also had a few very bad experiences when they want it to sound very similar to the temporary music, and it’s very difficult to imitate other people’s music. But sometimes it’s me. After “Drive,” people would ask me, ‘Do another one of those!’ That’s uncomfortable too because I don’t want to do that, and it’s not even my music, I don’t own it. Usually, the studios owns the music, it’s not even my property, so I don’t know how legal it is to imitate yourself.

Do you have a certain recipe for successful collaborations with film directors?

The most successful collaborations for me have been the repeat customers, like Steven Soderbergh, we did about ten films, and Nicolas Refn I’ve done four with. I do my best work with those directors because monogamy has its advantages. Creatively you’ve developed a telepathic communication that you don’t get with the people who you work with for the first time. So that’s helpful, somebody you worked with knows what you like, and usually, the directors that have asked me to work with them again want to do a complete type of film, and they take you along with them. Steven’s second film was “Kafka” [1991], a black-and-white period piece. That was a huge challenge for me. The exciting projects, creatively, are the ones when you stretch and expand and do something out of your comfort zone. And you’ve got to be with somebody who trusts you to explore that and who supports you.

What is it like to work with the sound designers and all the other artists in your spectrum who don’t necessarily work directly with you?

We composers are pretty isolated hermits; we are in a room by ourselves—a pizza slice under the door at five o’clock, so you work in isolation. Other than the director, the person that I get involved with often is the editor. He makes a lot of choices about the temporary music, the pacing and the design of the film. The sound department I don’t cross paths with very often, although there are exceptions, like Nicolas Refn’s second film “Only God Forgives” [2013], because the supervising sound editor [Kristian Eidnes Andersen] was also a composer, so he had a lot ideas about musical sound design. He did a lot of textural things that also functioned as music. So we had a lot of back and forth about who’s going to do this. Our rule was that if it’s pitched, I get to do it, and if it’s not pitched, it’s for the sound department.

Have you ever considered doing live performances?

Don’t hold your breath, but I’ve been thinking about it. I’ve had some of my music performed at festivals, but the problem is that a lot of it is created by computers, so I know it wouldn’t be very exciting to walk on a stage and hit the space bar for an hour and a half. So I’m figuring out a way to make it intriguing. I’ve had offers to perform live, but I’m considering it.

Are you aware of what young producers and young musicians are doing today?

It seems this is the era of the professional musician drawing to a close because it’s so difficult to make a living selling records. Flea [Michael ‘Flea’ Balzary] from the Red Hot Chili Peppers used to say to me, ‘We don’t make any money on our records anymore because why would anyone pay for something that you can get for free?’ So we had to tour a lot. I think a lot of people are migrating to film, not only because a lot of interesting music can be written for film, but also because it’s an interesting way to make a living as a professional musician. Electronic music and people coming from rock ’n roll or other types of music have gained greater acceptance in Hollywood now. But I’m not too current with what the ‘kids’ are doing today.

What are the most helpful tools for a director to communicate with his composer?

Well, I hate to say it, but a temp score is a great tool if it isn’t abused and if it doesn’t grow deep roots. Musicians talk about music in a very music specific language, and directors often don’t share that language. So I think it’s more of a composer’s job to talk about the music in a way that is kind of like everyday language. For a director, the most important question for me is, ‘Why do you want music in here, in this scene?’ That is the big question, what does he want to achieve dramatically and how can the music help achieve that. If a director can answer that question, then that’s fine. But sometimes, in a perfect world, the temp music is a great reference point as long as nobody gets attached to it, because if the directors says to me, ‘It’s gotta be brown, it’s gotta be slinky and heroic,’ then I would say, ‘You mean, like Danny Elfman?’ ‘Yeah!’ So you have to know what they mean when they want it to be dark or juicy. Whatever you are trying to say, sometimes it helps to have a musical example to back that up, but I’m afraid to encourage the use of the temp scores. Soderbergh doesn’t have to talk to me anymore, we have been working together for so long, and the very most I’ll get a text message, like ‘That was cool, keep going!’ [Laughs.] The way he communicates with me probably is like ninety-nine percent temp music: I get the film, and the temp score tells me the placement of the music, where he would like it to start and to stop. But I think it’s the composer’s job to make the communication flow, and if you just stick with talking about music in dramatic terms, then you’re safe. I wouldn’t try to talk about music in musical terms. Mark Isham once said that he thought the composer’s job was ninety percent writing good music and ten percent talking or communicating about music. Over the years, he has seen that ratio get inverted, and I’ve kind of seen the same thing: music if often a very slippery thing to talk about, and you can get confused very easily. When we were working on “Contagion” [2011], I had something that I thought was main theme material, Steven said he liked it, it had a lot of potential, but he wanted it to be more like Gustav Mahler. I didn’t know anything about Mahler, but I didn’t want to say that because I figured he knew what Mahler sounded like. So I called up one of my friends who is a classic music nerd, and asked him, ‘What can I do with this piece to make it more Mahler-like?’ [Laughs.] Then Steven came over to me, and for the first time in years, he sat on the piano bench with me, I played the song, he singled out the piano part and asked, ‘Can you make that lower?’ I lowered the register an octave lower, and then he said, ‘Hit the piano harder.’ So I played it louder, really really loud, and that was basically it. I burnt a lot of calories revising that music to make it sound like Mahler. I’m not sure what the moral of this story is, except that I think it’s more on us composers to figure what the director is getting at. Very often, it’s something very simple, and I’ve done a lot of stuff remotely with directors working by Skype or the internet, but if you’re working in the same room, the communication is so much more effective.

International Film Festival Rotterdam (Netherlands)
January 29, 2019


SEX, LIES, AND VIDEOTAPE (1989) DIR – SCR – ED Steven Soderbergh PROD John Hardy CAM Walt Lloyd MUS Cliff Martinez CAST James Spader, Andie MacDowell, Peter Gallagher, Laura San Giacomo, Ron Vawter, Steven Brill, Alexandra Root

PUMP UP THE VOLUME (1990) DIR – SCR Allan Moyle PROD Rupert Harvey, Sandy Stern CAM Walt Lloyd ED Larry Bock, Janice Hampton MUS Cliff Martinez CAST Christian Slater, Scott Paulin, Ellen Greene, Samantha Mathis, Anthony Lucero, Andy Romano, Jeff Chamberlain

KAFKA (1991) DIR – ED Steven Soderbergh PROD Stuart Cornfield, Harry Behn SCR Lem Dobbs CAM Walt Lloyd MUS Cliff Martinez CAST Jeremy Irons, Theresa Russell, Joel Grey, Ian Holm, Jeroen Krabbé, Armin Mueller-Stahl, Alec Guinness, Brian Glover

KING OF THE HILL (1993) DIR – ED Steven Soderbergh PROD Albert Berger, Ron Yerxa, Barbara Maltby SCR Steven Soderbergh (memoir by A.E. Hotchner) CAM Elliot Davis MUS Cliff Martinez CAST Jesse Bradford, Jeroen Krabbé, Lisa Eichhorn, Karen Allen, Spalding Gray, Elizabeth McGovern, Adrien Brody, Cameron Boyd, Katharine Heigl

UNDERNEATH (1995) DIR Steven Soderbergh PROD John Hardy SCR Sam Lowry [Steven Soderbergh], Daniel Fuchs (novel by Don Tracy) CAM Elliot Davis ED Stan Salfas MUS Cliff Martinez CAST Peter Gallagher, Elisabeth Shue, Alison Elliott, Joe Don Baker, Shelley Duvall, Adam Trese, Richard Linklater

GRAY’S ANATOMY (1996) DIR Steven Soderbergh PROD John Hardy SCR Spalding Gray, Renée Shafransky CAM Elliot Davis ED Susan Littenberg MUS Cliff Martinez CAST Spalding Gray, Mike McLaughlin, Melissa Robertson, Alvin Henry, Alyne Hargroder

WICKED (1998) DIR Michael Steinberg PROD Frank Beddor SCR Eric Weiss CAM Bernd Heinl ED Daniel Gross MUS Cliff Martinez CAST Julia Stiles, Louise Myrback, William R. Moses, Chelsea Field, Vanessa Zima, Patrick Muldoon

THE LIMEY (1999) DIR Steven Soderbergh PROD John Hardy, Scott Kramer SCR Lem Dobbs CAM Ed Lachman MUS Cliff Martinez ED Sarah Flack CAST Terence Stamp, Peter Fonda, Lesley Ann Warren, Luis Guzman, Barry Newman, Joe Dallesandro, Nicky Katt

TRAFFIC (2000) DIR – CAM Steven Soderbergh PROD Edward Zwick, Laura Bickford, Marshall Herskovitz SCR Stephen Gaghan (teleplay mini-series TRAFFIK by Simon Moore) ED Stephen Mirrione MUS Cliff Martinez CAST Michael Douglas, Don Cheadle, Benicio Del Toro, Dennis Quaid, Catherine Zeta-Jones, Jacob Vargas

NARC (2002) DIR – SCR Joe Carnahan PROD Ray Liotta, Michelle Grace, Diane Nabatoff, Julius R. Nasso CAM Alex Nepomniaschy ED John Gilroy MUS Cliff Martinez CAST Jason Patrick, Ray Liotta, Chi McBride, John Ortiz, Richard Chevolleau, Busta Rhymes

SOLARIS (2002) DIR Steven Soderbergh PROD James Cameron, Rae Sanchini, Jon Landau SCR Steven Soderbergh (novel by Stanislaw Lem) CAM Peter Andrews [Steven Soderbergh] ED Mary Ann Bernard [Steven Soderbergh] MUS Cliff Martinez CAST George Clooney, Natascha McElhone, Viola Davis, Ulrich Tukur, Jeremy Davies, John Cho

WONDERLAND (2003) DIR James Cox PROD Holly Wiersma, Michael Paseornek SCR James Cox, Captain Mauzner, Todd Samovitz, D. Loriston Scott CAM Michael Grady ED Jeff McEvoy MUS Cliff Martinez CAST Val Kilmer, Kate Bosworth, Lisa Kudrow, Josh Lucas, Dylan McDermott, Carrie Fisher, Ted Levine, Natasha Gregson Wagner, Christina Applegate, Paris Hilton

WICKER PARK (2004) DIR Paul McGuigan PROD Tom Rosenberg, Andre Lamal, Gary Lucchesi, Marcus Viscidi SCR Brandon Boyce (screenplay L’APPARTEMENT [1996] by Gilles Mimouni) CAM Peter Sova ED Andrew Hulme MUS Cliff Martinez CAST Josh Hartnett, Diane Kruger, Matthew Lillard, Rose Byrne, Jessica Paré, Vlasta Vrana, Christopher Cousins

HAVOC (2005) DIR Barbara Kopple PROD Stewart Hall, Jack F. Murphy, John Morrissey SCR Stephen Gaghan (story by Stephen Gaghan, Jessica Kaplan) CAM Kramer Morgenthau ED Gerald B. Greenberg, Nancy Baker MUS Cliff Martinez CAST Anne Hathaway, Bijou Phillips, Shiri Appleby, Michael Biehn, Joseph Gordon-Levitt, Matt O’Leary, Freddy Rodriguez, Laura San Giacomo, Channing Tatum

FIRST SNOW (2006) DIR Mark Fergus PROD Bob Yari, Bryan Furst, Sean Furst, Tom Lassally, Robyn Meisinger SCR Mark Fergus, Hawk Ostby CAM Eric Alan Edwards ED Jay Cassidy MUS Cliff Martinez CAST Guy Pearce, Piper Perabo, William Fitchner, J.K. Simmons, Rick Gonzales, Nicholas Ballas

STILETTO (2008) DIR – PROD Nick Vallelonga SCR Paul Sloan CAM Jeffrey C. Mygatt ED Richard Halsey, Tony Wise MUS Cliff Martinez CAST Tom Berenger, Michael Biehn, Stana Katic, Paul Sloan, William Forsythe, D.B. Sweeney, James Russo, Tom Sizemore

VICE (2008) DIR – SCR Raul Sanchez Inglis PROD Matthew Robert Kelly CAM Andrzej Sekula ED Kelly Herron MUS Cliff Martinez CAST Michael Madsen, Darryl Hannah, Mykelti Williamson, Mark Boone Jr., John Cassini, Nicholas Lea

ESPION(S), a.k.a. SPY(IES) (2009) DIR – SCR Nicolas Saada PROD Michael Gentile CAM Stéphane Fontaine ED Juliette Welfling MUS Cliff Martinez CAST Guillaume Canet, Géraldine Pailhas, Stephen Rea, Hippolyte Girardot, Archie Panjabi, Vincent Regan

À L’ORIGINE, a.k.a. IN THE BEGINNING (2009) DIR Xavier Giannoli PROD Edouard Weil, Pierre-Ange Le Pogam SCR Xavier Gianolli, Daniel Karlin, Marcia Romano CAM Glynn Speeckaert ED Célia Lafitedupont MUS Cliff Martinez CAST François Cluzet, Emmanuelle Devos, Gérard Depardieu, Soko, Vincent Rottiers, Brice Fournier, Franck Andrieux

THE LINCOLN LAWYER (2011) DIR Brad Furman PROD Tom Rosenberg, Sidney Kimmel, Gary Lucchesi, Scott Steindorff SCR John Romano (novel by Michael Connelly) CAM Lukas Ettlin ED Jeff McEvoy MUS Cliff Martinez CAST Matthew McConaughey, Marisa Tomei, Ryan Phillipe, William H. Macy, Josh Lucas, John Leguizamo, Michael Peña

DRIVE (2011) DIR Nicolas Winding Refn PROD Adam Siegel, Michel Litvak, John Palermo, Marc Platt, Gigi Pritzker SCR Hossein Amini (book by James Sallis) CAM Newton Thomas Sigel ED Matthew Newman MUS Cliff Martinez CAST Ryan Gosling, Carey Mulligan, Bryan Cranston, Albert Brooks, Oscar Isaac, Christina Hendricks, Ron Perlman, Russ Tamblyn

CONTAGION (2011) DIR – CAM Steven Soderbergh PROD Gregory Jacobs, Stacey Sher, Michael Shamberg SCR Scott Z. Burns ED Stephen Mirrione MUS Cliff Martinez CAST Marion Cotillard, Matt Damon, Laurence Fishburne, Jude Law, Gwyneth Paltrow, Kate Winslet, Bryan Cranston, Jennifer Ehle

ARBITRAGE (2012) DIR – SCR Nicholas Jarecki PROD Laura Bickford, Robert Salerno, Kevin Turen, Justin Nappi CAM Yorick Le Saux ED Douglas Crise MUS Cliff Martinez CAST Richard Gere, Susan Sarandon, Tim Roth, Brit Marling, Laetitia Casta, Nate Parker, Stuart Margolin

SPRING BREAKERS (2012) DIR – SCR Harmony Korine PROD Charles-Marie Antonioz, Chris Hanley, Jordan Gertner, David Zander CAM Benoît Debie ED Douglas Crise MUS Cliff Martinez, Skrillex CAST Vanessa Hudgens, Selena Gomez, Ashley Benson, Rachel Korine, Gucci Mane, Heather Morris

THE COMPANY YOU KEEP (2012) DIR Robert Redford PROD Robert Redford, Nicolas Chartier, Bill Holderman SCR Lem Dobbs (novel by Neil Gordon) CAM Adriano Goldman ED Mark Day MUS Cliff Martinez CAST Robert Redford, Shia LaBeouf, Julie Christie, Sam Elliott, Jackie Evancho, Brendan Gleeson, Terrence Howard, Richard Jenkins, Anna Kendrick, Brit Marling, Stanley Tucci, Nick Nolte, Chris Cooper, Susan Sarandon

ONLY GOD FORGIVES (2013) DIR – SCR Nicolas Winding Refn PROD Vincent Maraval, Lene Børglum, Sidonie Dumas CAM Larry Smith ED Matthew Newman MUS Cliff Martinez CAST Ryan Gosling, Kristin Scott Thomas, Vithaya Pansringarm, Tom Burke, Yayaying Rhatha Phongam, Sahajak Boonthanakit

MEA CULPA (2014) DIR Fred Cavayé PROD Sidonie Dumas, Jean-Baptiste Dupont, Cyril Colbeau-Justin SCR Fred Cavayé, Guillaume Lemans (original idea by Olivier Marchal) CAM Danny Elsen ED Benjamin Weill MUS Cliff Martinez CAST Vincent Lindon, Gilles Lellouche, Nadine Labaki, Gilles Cohen, Max Baissette de Malglaive, Medi Sadoun, Velibor Topic

THE NEON DEMON (2016) DIR Nicolas Winding Refn PROD Lene Børglum, Sidonie Dumas, Vincent Maraval SCR Nicolas Winding Refn, Mary Laws, Polly Stenham (story by Nicolas Winding Refn) CAM Natasha Braier ED Matthew Newman MUS Cliff Martinez CAST Elle Fanning, Christina Hendricks, Keanu Reeves, Charles Baker, Karl Glusman, Jena Malone, Bella Heathcote

WAR DOGS (2016) DIR Todd Phillips PROD Todd Phillips, Bradley Cooper, Mark Gordon SCR Tod Phillips, Stephen Chin, Jason Smilovic (Rolling Stone article ‘Arms and the Dudes’ by Guy Lawson) CAM Lawrence Sher ED Jeff Groth MUS Cliff Martinez CAST Jonah Hill, Miles Teller, Steve Lantz, Kevin Pollack, Daniel Berson, Julian Sergi, Eddie Jemison

THE FOREIGNER (2017) DIR Martin Campbell PROD Maojun Zeng SCR David Marconi (novel ‘The Chinaman’ by Stephen Leather) CAM David Tattersall ED Angela M. Catanzaro MUS Cliff Martinez CAST Jackie Chan, Katie Lueng, Pierce Brosnan, Rufus Jones, Mark Tandy, John Cronin, Coalan Byrne, Donna Bernard

DEN OF THIEVES, a.k.a. CRIMINAL SQUAD (2018) DIR Christian Gudegast PROD Alan Siegel, Gerard Butler SCR Christian Gudegast (story by Christian Gudegast, Paul Scheuring) CAM Terry Stacey ED David S. Cox, Joel Cox, Nathan Godley MUS Cliff Martinez CAST Gerard Butler, Pablo Schreiber, O’Shea Jackson Jr., Curtis ’50 Cent’ Jackson, Maurice Compte, Brian Van Holt

GAME NIGHT (2018) DIR Jonathan Goldstein, John Francis Daley PROD John Fox, James Garavente SCR Mark Perez CAM Barry Peterson ED Gregory Plotkin, Jamie Gross, David Egan MUS Cliff Martinez CAST Jason Bateman, Rachel McAdams, Kyle Chandler, Sharon Horgan, Billy Magnussen, Lamorne Morris

HOTEL ARTEMIS (2018) DIR – SCR Drew Pearce PROD Simon Cornwell, Stephen Cornwell, Marc Platt CAM Chung-hoon Chung ED Gardner Gould, Paul Zucker MUS Cliff Martinez CAST Jodie Foster, Sofia Boutella, Dave Bautista, Jeff Goldblum, Brian Tyree Henry, Jenny Slate, Zachary Quinto


THE NORMAL HEART (2014) DIR Ryan Murphy PROD Scott Ferguson, Alexis Martin Woodall TELEPLAY Larry Kramer (also play) CAM Daniel Moder ED Adam Penn MUS Cliff Martinez CAST Mark Ruffalo, Matt Bomer, Taylor Kitsch, Jim Parsons, Julia Roberts, Sean Meehan, Alfred Molina, Stephen Spinella