By Ray Pride Pride@moviecitynews.com

BMI CONTINUES ITS SUPPORT OF THE SUNDANCE INSTITUTE FILM MUSIC PROGRAM

Posted Thursday, July 2nd, 2015 - Comments Off on BMI CONTINUES ITS SUPPORT OF THE SUNDANCE INSTITUTE FILM MUSIC PROGRAM
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Broadcast Music, Inc.® (BMI®), a global leader in music rights management, is proud to continue its support for the Sundance Institute Film Music Program, which collaborates with Skywalker Sound to host the Sundance Institute Music and Sound Design Labs at Skywalker Sound. Its first 2015 session of the Lab, which begins July 7 at Skywalker Ranch, provides an opportunity for composers and directors to explore the collaborative process of writing music for feature film and is a joint venture of the Institute’s Film Music Program and Feature Film Program.
BMI is a longtime supporter of the Sundance Institute Film Music Program. As a founding supporter of the Institute’s Composers Lab, BMI has played a critical role in the long-term development of the Lab. Through its involvement, BMI has furthered the careers of many film composers from the Labs. BMI builds on its support of the Film Music Program by producing a composer/director roundtable each year at the Sundance Film Festival in Park City, Utah, highlighting BMI composers who have scored films in the Festival, as well as their filmmakers.
The Sundance Institute Film Music Program is in its third year of collaborating with Skywalker Sound, which focuses on both film composing and sound design. 
“BMI is proud to have supported the Sundance Institute Film Music Program since its inception,” said Doreen Ringer-Ross, BMI Vice President, Film/TV Relations. “The work that occurs during their Lab is a unique artist development forum for film music and sound design. It’s a vital program for the film music community.”
At the Lab, fellows work with a variety of creative advisors, a distinguished group of film composers, sound designers, filmmakers and film industry professionals. The program aims to give composers first-hand experience working on film music and sound design, and to give directors insight into the process as well.
2015 Sundance Institute Music and Sound Design Lab:
Sundance Institute Music and Sound Design Lab: Feature Film (July 7-21) with participating composer fellows: Kris Bowers, Stephanie Enconomou, Danielle Eva Schwob, Fabrizio Mancinelli, Forrest Gray and Alexander Rudd.  
Sundance Institute Music and Sound Design Lab: Documentary (July 22-30) with participating composer fellows: Samora Pinderhughes, Germaine Franco, Christopher North and Jeremy Turner.
Feature film creative advisors include composers: Harry Gregson-Williams, John Frizzell, Anton Sanko, – George S. Clinton, and Jeff Beal; film music agent Robert Messinger; BMI Vice President Doreen Ringer-Ross; Music supervisor Sue Jacobs  and music editor Adam Smalley.
Documentary creative advisors include Laura Karpman and composer Todd Boekelheide.
About BMI
Celebrating 75 years of service to songwriters, composers, music publishers and businesses, Broadcast Music, Inc.® (BMI®) is a global leader in music rights management, serving as an advocate for the value of music. BMI represents the public performance rights in more than 8.5 million musical works created and owned by more than 600,000 songwriters, composers, and music publishers. The Company negotiates music license agreements and distributes the fees it generates as royalties to its affiliated writers and publishers when their songs are performed in public. In 1939, BMI created a groundbreaking open-door policy becoming the only performing rights organization to welcome and represent the creators of blues, jazz, country, and American roots music. Today, the musical compositions in BMI’s repertoire, from chart toppers to perennial favorites, span all genres of music and are consistently among the most-performed hits of the year. For additional information and the latest BMI news, visit www.bmi.com, follow us on Twitter @BMI or stay connected through Broadcast Music, Inc.’s Facebook page.
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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon