Allen v. Farrow
Allen v. Farrow is a look behind the years of sensational headlines to reveal the private story of the accusation of sexual abuse against Woody Allen involving, his 7-year-old daughter with Mia Farrow. This story gains new perspective now being retold in the #metoo era where allegations of this kind of assault are seen in a far different light, perhaps, than when they originally occurred.
I was privileged to serve on the music team under composer Michael Abels. Over the course of the last few months, we’ve hunkered down through the Covid season to help the filmmakers, Kirby Dick and Amy Ziering, put together the pieces drawing from new interviews as well as never-before-seen footage. The score itself weaves intricate ambient textures featuring piano, guitars, and a string/woodwind orchestra.
Allen v. Farrow is garnering lots of polarizing and controversial responses; for those interested I will link to The Awful Intimacy of Allen v. Farrow (The Atlantic), The Biggest Takeaways from Allen v. Farrow (The Cut), Roger Ebert’s review, Allen v. Farrow Digs Deep Into a Tale of Celebrity, Power, and Silence (NPR), Woody Allen, Soon-Yi Previn Respond to Allen v. Farrow Filmmakers: “These Documentarians Had No Interest in the Truth” (Hollywood Reporter), Deadline’s take, and What to Watch For (Bob Weide’s take).
Allen v. Farrow streams in four episodes and can be found on HBO here. The trailer is embedded below:
I have been told to stop stealing muffins from the bakery. Unfortunately, it’s the only way to keep my lucrative muffin stand in business. Everyone is fine with this.
Finale's Finale. What happens next in music notation? After having been through Finale, Sibelius, and now Dorico, I have thoughts. And then there’s MuseScore. (Reposting with fixed video.)
You think you know somebody and then you find out they’ve been using finale this whole time
