Welcome to our 84th Toronto Ravel Study!
WE WILL CONTINUE to meet online (ZOOM) into 2022. The study has been discontinued for now – we will continue to have “Adventures in Listening” and a monthly guest.
This Month’s Guest
We once again welcome music editor/supervisor Sharon Smith as this month’s special guest.
Sharon Smith began her music career playing piano and composing music for film and modern dance. She now lives in Miami after thirty years in Los Angeles working in Hollywood film business and composing for theatre and documentary projects.
As a Music Editor/Supervisor on feature films and television, she worked with a number of remarkable composers, directors and producers for films including Brian de Palma-‘Mission Impossible’ with Tom Cruise, Garry Marshall- ‘The Princess Diaries’-John Debney, Ed Harris-‘Pollock-Jeff Beal, Robert Duvall-‘The Apostle’– David Mansfield’, and Al Pacino-‘Wilde Salome’-Jeff Beal, Ben Lewin-‘The Sessions’-Marco Beltrami, and Fina Torres-‘Woman On Top’ with Penelope Cruz, and composer Luis Bacalov OSCAR® Winner Best Score.
Sharon will be inviting music supervisors currently working in A-list Hollywood to join in the discussion. This will be of particular interest to all screen composers, and will provide valuable insights into navigating the tricky but common scenario of directors/producers in love with their temp scores.
PLEASE NOTE: Adventures In Listening may be shortened to make more time for our guests.
Please visit www.linkedin.com/in/sharon-smith-1a758312 for more information on Sharon.
IF YOU WOULD LIKE TO BE A GUEST STUDY LEADER, please contact John firstname.lastname@example.org.
LISTEN TO PAST STUDIES @ https://soundcloud.com/toronto-ravel-podcast
NEW ADVENTURES IN LISTENING – Film clips from “On The Waterfront” and “Ryan” are posted on the “Study Materials” page for download. With the sound removed, they can be scored as an exercise, and brough in to “Adventures in Listening” for feedback and analysis. Adventures in Listening is a unique opportunity to get unbiased and honest feedback on your ‘in-progress’ or experimental work from a community of your professional peers. Because it is anonymous, it is a risk-free environment. Whether you are an emerging composer or an experienced one, and whether your work is for concert or screen, I encourage you to take advantage of this invaluable resource.