Geoff Zanelli Zanelli Press...Pictures’ “Angels & Demons,” DreamWorks’ “Antz,”...

Geoff Zanelli Press Kit

Prepared By:

Press Contact:

CW3PR

Emilie Chan-Erskine

[email protected]

Jordan von Netzer

[email protected]

Geoff Zanelli composer

Emmy Award-winning composer Geoff Zanelli has become a standout in the film and

television scoring industry – garnering accolades and recognition for his work since going

solo after numerous collaborations with Academy Award-winning composer Hans Zimmer.

Recently, Zanelli completed the score to the Summer 2012 release of Disney’s fantasy

drama “The Odd Life of Timothy Green,” starring Jennifer Garner and Joel Edgerton.

A Southern California native, Zanelli began his musical career as a guitar player and

songwriter for numerous local acts. In 1994, he met Zimmer and was offered a job

Remote Control Productions after Zimmer recognized Zanelli’s musical talents. Now,

Zanelli is known as a versatile composer who combines music from different genres and

cultures while using instruments and other live sounds rather than electronic music.

In 2006, Zanelli earned his first Emmy after scoring the original music for Steven

Spielberg’s miniseries “Into The West.” A few years later, Spielberg once again tapped

Zanelli to score HBO’s “The Pacific,” which earned him his second Emmy nomination.

Other credits include: DreamWorks and Paramount Pictures’ “Disturbia,” 20th Century

Fox’s “Hitman,” The Weinstein Company’s “Outlander” and Lionsgate’s “Gamer,” among

many others. He co-wrote the song “Don’t Make Me Wait” for Disturbia.

Zanelli has also collaborated with composers John Powell, Harry Gregson Williams and

Steve Jablonsky on many feature films including: Disney’s “Pirates of the Caribbean: On

Stranger Tides,” Pirates of the Caribbean: At World’s End,” “Pirates of the Caribbean:

Dead Man’s Chest,” and “Pirates of the Caribbean: The Curse of the Black Pearl”; the

Golden Globe-nominated scores for Warner Bros.’ “The Last Samurai” and Touchstone

Pictures’ “Pearl Harbor”; Paramount Pictures’ “Rango,” MGM’s “Hannibal,” Columbia

Pictures’ “Angels & Demons,” DreamWorks’ “Antz,” “Chicken Run,” “Shark Tale” and

“Madagascar: Escape 2 Africa.”

Additionally, Zanelli has written music for directors Gore Verbinski, Ridley Scott and David

Koepp; producers Jeffrey Katzenberg and Jerry Bruckheimer; as well as actor/producer

Tom Hanks and David Duchovny.

Zanelli has degrees in Film Scoring and Music Production/Engineering from the

prestigious Berklee College of Music. He is an active alumn at his alma mater and has

participated on a major curriculum development task force [official name?] as well as

given seminars to students studying composition.

Zanelli has received the Doug Timm Award in recognition of his film scoring work and the

Music Production/Engineering Scholar Award, both from the Berklee College of Music.

FEATURES AND

INTERVIEWS

Press Release Soundtrack Release

Continued…

Continued…

Kaya Savas: So I am speaking with Emmy winner Geoff Zanelli, who is not only one of my

personal favorite composers but was actually the first composer interview I ever did back when

I launched this site as a blog. That was two and a half years ago, but it’s great to do it again.

Geoff Zanelli: Yes, indeed. Thanks for having me back.

Kaya Savas: Um, so you’ve been busy since the last time we spoke um…

Geoff Zanelli: A bit. (laughs)

Kaya Savas: Doing movies like “You May Not Kiss the Bride”, “Beneath the Darkness”, and this

year you have “Should Have Been Romeo” and of course, “The Odd Life of Timothy Green”.

Geoff Zanelli: Right

Kaya Savas: Which I was at the SCL screening with you and it was a very, very great, moving film,

I mean, and you scored, beautiful everything just all around, very well done. So, what about the

story appealed to you as a composer and what did you try to achieve musically with Timothy

Green?

Geoff Zanelli: Well, let’s see, when I first read the script, I kind of latched on to the way it kind

of handles parenting and how it talks about the themes of being a parent because I actually just

had a child about a year and a half before I read the script. So, I like to say the stars aligned and

kind of gave me this gift of a chance to work on a movie like this. It was so in line with where I

was in my life, so that was the first, you know it was kind of instance. And then once I met Peter

Hedges, the director, I just felt like a real kinship. You know, he and I are cut of from the same

cloth, we both stay up late at night obsessing about our movie and so it made for a really good

collaboration. But musically, I was trying to get into the idea that these are, you know, regular

folk and it’s a regular, you know really pretty common problem really. They can’t conceive a

child, and but they sort of wish one into existence. So, I approached it from that angle and I

thought, well, that means we get to use, sort of, folky instrumentation if we want to and it

opened up kind of instrumental colors that I could bring to the end of the score that are built

into the story.

Kaya Savas: And after seeing the film and after seeing John Toll’s amazing photography.

Geoff Zanelli: Yeah.

Kaya Savas: Does the image of the film play any part of how you wrote it? It just reminded me,

because I’m from the east coast, so it reminded me of the fall and I was like, man, I really wish,

miss fall so…( laughs)

Continued…

Geoff Zanelli: Sure, yeah it had a huge impact actually and it’s funny when you bring that up,

because when I first read the script I wrote a piece of music, this is sort of how I got the job, I

wrote a piece of music, and we, you know, sort of managed to convince Disney’s music

department to send it to Peter Hedges, and that generated a meeting. But that piece of music

was written just to the script. So when I sat down with Peter, he goes, well let me show you the

movie and I’ll play it to you dry, and there will be no temp music or anything, but I think you’ll

see, you know you have a great melody, but you need to think a little bit about what it actually

means to this movie. So he played me the movie, and you know like a minute into it I went, ok

so I’ve got a good tune and I know that but my arrangement was sort of bigger than it needed to

be and maybe a little more orchestral or a little more conventional, for lack of a better word,

and as soon as I got to the end of the first scene, you know, I went hang on we have so much

more to work with, that’s what I mean with the folky instruments. So I started grabbing the

dulcimers, and guitars, ukuleles and mandolins, and you know just sort of more instruments that

you don’t hear quite as often in film music, of course they get use to it. I got to kind of spread

out a little bit and that really is because of John Toll’s photography and just the look of the film.

Kaya Savas: Right, and so now the topic or subject matter of the film as you mentioned involves

an infertile couple who can’t, you know, they can’t conceive a child and they wish their dream

child, I mean that has, that deals with a lot of serious life issues

Geoff Zanelli: Yeah

Kaya Savas: And also, has to be heartwarming and open and then you have the magical element

kind of to it all. How did you find the right tone because that seems kind of like a nightmare

trying to nail down the right tone?

Geoff Zanelli: You know it is, I don’t know about nightmare but it is a delicate and subtle thing

that you have to work on. And the goal was always to be, you know, to keep it with the lightest

touch possible. You’re in territory where people, you know, it’s a real struggle for people who

are going through it, it’s profoundly depressing and hard, all the things. And the goal for the

movie is to be uplifting and to kind of give hope and inspire people really. So most of the time

when we were dealing with the heavy subject matter, I was trying to be as light as possible while

still supporting it because you get the heaviness in the performances, you know, of the cast.

They’re just sort of top to bottom perfect, they’re really great. So they didn’t really need me to

come in with a big, you know, music with a whole bunch of gravitas. They needed me to come

with music that just sort of cradled their performance a little bit. I was definitely something that

we would work on and readdress and reassess. All the time we were looking at things. There

were times I would write a scene and that scene would feel great but then when you watch it in

the run, in the first 40 minutes of the movie for instance, you start to realize well now it feels a

little weighty here and maybe you don’t need music there. So there’s a real constant process of

reevaluating, you know, not only with the music was but how much we needed it at all, how loud

it should be against the dialogue. There was a lot that went into getting that to, kind of balance

properly.

Continued…

Kaya Savas: Right, right and there were a few moments in the film where score was noticeably

absent and it was to a really great dramatic effect. How important is it for a composer to know

where and when to back off and kind of not interfere at all? And did you how do you come to

terms with that in the spotting session?

Geoff Zanelli: Ahh, well we decided when to do it in the spotting session, yes, but we always

stayed open to the possibility that we learned something down the road that make us re-jig

something. So, in other words, indeed we did do a formal spotting session but I think if we

were to go back and look at the original notes, there is at least one more cue in the early reels

that is no longer in the picture, and one cue in the early reels that was never in the spotting. So,

these are things that evolved over time. I think it’s crucial though to speak to your first question

about how important is it to know when to play music and not to. I think it’s crucial. I think that

the most important thing really that a film composer is doing is the grand architecture of his

score. And that means, where should there even be music to begin with? And it’s also

something that, you can’t just decide on day one, having not written a note yet, you have to just

let it kind of evolve.

Kaya Savas: And you also mentioned that you have a family now, you’re a father, and so, would

you have been able to write the score before or a couple of years ago?

Geoff Zanelli: Oh before? Before, I don’t think so, I don’t think I could have. I think I would have

thought I could have but I don’t think I could have

(Kaya laughs)

And it’s actually pretty eye opening for me in that sense. You know, I just was somehow able to

approach this movie from, from the point of view of Timothy or really the point of view from

Timothy’s parents. You know, like I know what it feels like now to watch my child do something

for the first time. And you can’t put that into words and you can’t describe that to someone who

it hasn’t happened to yet. So, that’s the thing, my work has always been strongest when there’s

something that I can pull in from my personal life to, kind of, make myself relate to the film.

Now obviously, I’ve never been a pirate, so …

(Kaya laughs)

So it doesn’t come into play with pirates… But other things though, you can get into like a

behavior that a character has in pirates or an event or something like that.

Kaya Savas: Right

Geoff Zanelli: So, you know, you just have to find your way into the movie. But in this case, it was

just so easy. It’s about what I’m doing right now, every single day. So that was um, it was great.

Continued…

Kaya Savas: And I think one of the most emotionally anchoring parts of the score is your central

theme that we kind of hear over the opening credits and it’s such a beautiful melody, and you

were talking a bit at the SCL screening about how as a composer, you don’t get a chance that

often to write big melodies. Why do you think that is and why do you think it’s such a luxury

when you get to do such a thing?

Geoff Zanelli: You know, I think it’s really just kind of a statement about what film music has

become. These are things that change over time too. It’s a very typical thing. I think right now

your seeing a lot less emphasis placed on big melodies. As far as why, I really couldn’t tell you, I

don’t necessarily know why. I do think, you know, I’ve done movies where I didn’t need to have

the big melody, so it has probably more to do with the movie itself or the director of the movie,

how its made, just like, the design of the movie. In this case though, you know, it just ate it up, it

soaked up any melody you threw at it. You almost get, sort of, gluttonous about being able to

be melodic in the film if you’re the composer on something like this. But… for me it was really

important because we get to go and have any actual resonant musical quality for a lot of

different characters. There’s actually quite a few sub things as well, that kind of reoccur in a few

different fashions and it was very, sort of, classic in that sense you’ve got a theme and got

variations of it that kind of evolve with the characters of the story.

Kaya Savas: And you mentioned working with Peter Hedges as well who is a fantastic writer,

who wrote and directed this film. Is there a difference working with the director who is also the

writer versus a director who didn’t write the script, did you find him to be more attached to the

material than the director who is just handling someone else’s script.

Geoff Zanelli: Oh, well, I do think there is a difference in directors who are also writers, in that

the writing process, of the written word writing process, I think is similar somehow to the writing

process of music. So, I do find when the director is also a writer we develop a shorthand much

faster. You know they understand the same, you know it’s a very similar problem than looking at

the architecture and things like that of their whole film and so you can king of engage with them,

I guess just with the vocabulary that’s similar to your own. I hope that makes sense. It doesn’t

mean that, you know like, I’ve worked with guys like Gore Verbinski who directs other people’s

material and they are just as in tune with their film or anything. I do find that there is a

difference. I think it’s just in the mindset or just the process they go through.

Kaya Savas: Well, last time we spoke I wrapped up the interview by asking you “If you could

score any film ever made with no disrespect to the original composer, what film would you

choose?” And you said “Willy Wonka.”

Geoff Zanelli: Yeah. I was about to say it again. (laughs).

Kaya Savas: Really great choice. But now I’ll ask you, what’s your favorite, you’ve been working in

film music for such a long time now, what’s your favorite genre that you found that you’ve really

attached to.

Continued…

Geoff Zanelli: Interesting. Well, this has been such a good experience for me, Timothy Green,

and so I’d kind of have to say right now my favorite genre is fantasy dramas about boys with

leaves on their legs. I don’t know what genre to call this movie besides it’s a good movie. But I’d

have to say once I tried that hat on it felt very comfortable. I think you can look at my old credits

and you can go, there’s no precedence for me to do a movie like this. It’s really unlikely that

Peter Hedges called Disney and was like “I want the guy who did Disturbia to score my film”. So

I had to go in, and I had to write a lot of music and sit down with him, and get him excited about

what I had to offer. And it worked out, well obviously it worked out that I got the job, but it’s

sort of an old school way about getting a job. You write some music, and the director likes it,

and then you go from there, is actually not way it normally goes. It takes a certain amount of

convincing. I think, when you’ve written a beautiful movie like this. He’s kind of got his pick of

the litter, so to speak. And I know he had a lot of interest from composers. Anyway I’m rambling

a little bit, but I have to say, once I got the chance to try on a movie like this, with something that

I’ve never done, it just felt so right for me, especially right now in my life.

Kaya Savas: It is definitely, I think, your most personal score. And it really comes through in the

music. It’s a very beautiful piece of work.

Geoff Zanelli: Thank you. I appreciate that.

Kaya Savas: Thank you so much for your time. It was such a great pleasure to chat to you again.

Geoff Zanelli: Of course. It’s good to hear your voice.

Continued…

Continued…

(Patrick Phillips Show opening Introduction)

Patrick Phillips: Welcome into the program. Coming up tonight, Emmy award-winning composer,

Geoff Zanelli joins me to talk about his score for the Disney fantasy film The Odd Life of Timothy

Green. We’ll learn how Geoff used his personal experience as a father while composing for the

project and we’ll take a look at his scoring process. All of that and more coming up tonight.

Patrick Phillips: And it’s a pleasure to welcome Geoff Zanelli into the program. Hey Geoff, thanks

so much for being here.

Geoff Zanelli: Hi, you’re welcome. Thanks for having me.

Patrick Phillips: Man I tell you what, I first saw the trailer for The Odd Life of Timothy Green a

couple of months ago, and I remember saying to myself at that point that this looks like one of

those really cool fantasy films. How did you get involved in this project?

Geoff Zanelli: Well let’s see, I just finished working on the fourth Pirates of the Caribbean movie

and right when we finished up, you know, the guy that I was working with, the whole team was

headed up by Hans Zimmer, and he said to Disney, “Look I’ve always had this guy as my right hand

man in all the Pirates movies but there is so much more to him. I wish you would take a listen to

some of his other music…

Patrick Phillips: Sure

Geoff Zanelli: …and see if there is something you can connect with him down the line.” So Disney

calls me up and they have a script for The Odd Life of Timothy Green and their head of music

Mitchel Leib says, “Here why don’t you look at this and if it inspires you write some music and I’ll

get it over to the director. So it was kind of the old school way. I read the script, I got really really

excited, like the stars had kind of aligned.

(Patrick Laughs)

Geoff Zanelli: And it had kind of handed me this movie that was so perfect for me at that time in

my life. And I just started writing music, eventually it got into the hands of the director, Peter

Hedges, who showed me the film, and we just took off from there.

Patrick Phillips: Well you mentioned that you had worked with Hans Zimmer, you know, before.

Geoff Zanelli: Yes

Patrick Phillips: And you worked with him for a really long time. Was there ever a point where he

influenced your sound as a composer or did he just kind of mentor you to some degree?

Continued…

Geoff Zanelli: Well, no I think it’s both actually. He certainly was one of my mentors and also I used

to work for a guy named John Powell…

Patrick Phillips: Oh, yes

Geoff Zanelli: Another great composer

Patrick Phillips: Love him

Geoff Zanelli: Yeah, oh good, me too. So I have, kind of, a unique set of amazing and very different

musical mentors. But, I think it’s inevitable that I’d be influenced by their music. Another thing that

Hans would say to me was that he would bring me onto his projects to bring a new idea. I can

think of an example, in the second Pirates movie where I wrote the music for Cannibal Island, and

he pulled me aside after he listened to my first pass and he says, “Look I don’t know how you write

strings like that, it’s just so Geoff Zanelli.”

Patrick Phillips: (Patrick Laughs) Wow.

Geoff Zanelli: So I think there’s a certain amount of, kind of, both. I am certainly influenced by his

work, but there are also times, like that, where I am bringing something like that to him that maybe

isn’t in his vocabulary.

Patrick Phillips: That’s great, you know, and people can actually go on your website at Geoff

Zanelli, and Geoff is spelled with a “G”, GeoffZanelli.com is your website. I’ve listened to various

samples of your other projects there on your website and I noticed that you typically write for a

really large orchestra but on The Odd Life of Timothy Green you scaled it back quite a bit and

gave us, kind of, a folk sound.

Geoff Zanelli: Sure

Patrick Phillips: Was there a reason behind that decision?

Geoff Zanelli: Yeah. I think that you hear me writing for large orchestras is really kind of a product

of the movie that you were listening to, like Pirates, but we need the fire power.

Patrick Phillips: Yeah, absolutely.

Geoff Zanelli: We need to dive, you know and it needs to be that big summer movie and you can’t

let it down. In this case though, I just wanted to get really in touch with the characters and with the

story. For me, it’s about the salt-of-the-earth couple, Jim and Cindy Green, who cannot conceive a

child and they sort of wish one into existence. So, the biggest the music can really get is when

there is a supernatural element when they are dreaming up a child and when, you know… I don’t

want to give away any of the story.

Continued…

Patrick Phillips: Sure

Geoff Zanelli: But when I needed it to be a little supernatural, I used the size of the orchestra. But

for the most part, it’s a character driven score, so I wanted to make sure that we honor the folky

nature of those two characters and the innocence and, kind of, childlike but still wise

characteristics of Timothy Green. So in that case my orchestra was eight string players instead of

on a big movie you might have, well you really might have eighty. So, yeah it’s quite a bit smaller

than Pirates.

(Music starts playing in the background)

Patrick Phillips: It’s very intimate, the way that you’ve written for the instruments and the way it

comes across and in your cue you’re going to find it hard to believe. Can you walk us through that

cue just a little bit, and kind of explain the some of the instrumentation?

Geoff Zanelli: Sure, sure. That cue is really Timothy Green’s theme. It is one of the first things I

wrote for the movie. I wrote it just to the script so I hadn’t even seen the picture yet. But it ended

up being, kind of, virtually unchanged and used as the main title. So, let’s see, I was trying to keep

it, like I said, a little bit folky but this is Timothy’s theme and it also has a childlike nature. There’s

pianos in there, there’s some ukuleles, accordions….

(Music stops playing)

…There’s really instruments where you can really hear individual musicians as opposed to a huge

orchestra sound. You hear bells, there’s an instrument called a dulcitone, there some celestas in

there too. And that’s all just to kind of give on to the naivety but also wiseness of Timothy’s

character.

Patrick Phillips: I also found it incredibly cool that you pulled upon the experience of being a dad

and actually applied that to the film and that really comes through.

Geoff Zanelli: I’m glad to hear that. I sort of half-jokingly refer to it as method composing.

(Patrick laughs)

Geoff Zanelli: And you know, I don’t think that I could have really written the score if I wasn’t a

father. That’s partly what I meant by when I said that the script came to me and it felt like the stars

had aligned and it gave me this gift at the perfect time of my life. You know, I became a father

about a year and a half before I read that script, and it just connected with me pretty quickly. Then

when I met with Peter Hedges, he said to me, Peter is the director, he says, “This is a movie about

what children can teach you if you let them.” And that’s all I needed. I said, “I need to work with

this guy.” He was so in tune with what was happening in my life at the time.

Continued…

Patrick Phillips: So often enough film directors don’t always get the music. They don’t always

understand the process, and for you in this case, Peter Hedges, the director, actually shot

additional footage to match your music. What was that like for you?

Geoff Zanelli: He did. That was amazing. What happened was there is a sequence in the movie,

which is a young boy and a young girl, go on a bike ride.

(The scene’s music starts playing in the background)

What happened was I wrote a piece of music for this scene and we were even considering maybe

finding a song for this scene and I was thought, well, its kind of our love theme in a way. And we

had been using it all throughout the film so shouldn’t we play it here instead of just a song that’s

kind of alien? So I wrote a cue and Peter Hedges watched it and he said, “Man, this is great but the

problem is, now my picture isn’t big enough for what you’ve done….

Patrick Phillips: Wow

Geoff Zanelli: So I’m going to get on the phone with Disney and I’m going to see if we can do some

additional photography. And that’s what they did. They added a little bit more temp and kind of

size and scope to that sequence, which goes a long way.

(The scene’s music stops playing)

The idea is you’ve got two very young people but it’s not right to trivialize their emotions. It’s a

really powerful, potent feeling when you’re ten years old and you have your first crush or your first

love really.

Patrick Phillips: Right

Geoff Zanelli: So now we have a piece of music and some footage that kind of honors that.

Patrick Phillips: What a great compliment. I mean that is so neat.

Geoff Zanelli: It was really something, yeah.

Patrick Phillips: And it doesn’t happen that often.

Geoff Zanelli: Well that’s true. You know, I think when you have good filmmakers working together

and sort of all looking up at the film and helping it become what it wants to become, you know it’s

okay to be inspired by each other. He certainly inspired me and in that case, I inspired him.

Patrick Phillips: What a great story. And one of the things that I’ve also noticed is that you’ve

written a lot of music. You’ve written for just about every genre out there.

Continued…

Geoff Zanelli: Sure

Patrick Phillips: What is the difference when it comes to scoring a fantasy film like The Odd Life of

Timothy Green? What’s the difference between a fantasy film and a drama or comedy?

Geoff Zanelli: Well, you know, I actually had to go and prove that I could do it. Something like The

Odd Life of Timothy Green is not really represented in my prior credits. I can’t imagine Peter

Hedges calling Disney and going, “Let’s get the Disturbia guy for this movie”.

(Patrick laughs)

Geoff Zanelli: So I had to go and write him some music. This is something that I have always

wanted to do, I like these movies, you know. You’re talking to a guy who grew up loving Stand By

Me and Edward Scissorhands and Big. These were movies that meant a lot to me but I never get to

work on. You know, I’m busy doing Pirates, and I love it. But it gave me a chance to spread out.

Musically though, you have a little more freedom in how you’re approaching the instrumentation.

And like you said earlier, if it’s Pirates it’s the kitchen sink. It’s a huge orchestra, huge percussion,

you could have choir if you needed it. You could have anything you’d ever need. In this case,

you’re trying to find specific instruments and specific melodies that attach to the characters in a

way that doesn’t overwhelm the picture. Does that make sense?

Patrick Phillips: Absolutely

Geoff Zanelli: So it’s much more subtle.

Patrick Phillips: Well The Odd Life of Timothy Green comes out on August 15. Is it weird for you

when you’re at these premieres and you’ve been going through the footage and you’ve been

composing and writing and you know that footage intimately, and then you meet the actor or

actress from the film, what’s that like for you sometimes?

Geoff Zanelli: Well, the thing is, especially in a case like this, where the performances are just

flawless and nobody lets the movie down in their acting. It’s really hard for me to separate their

performance from who they actually are. I know that sounds weird, but it’s like I meet them and I

expect to meet Jim Green not Joel Edgerton.

(Patrick laughs)

Geoff Zanelli: Because it’s just so compelling, genuine, and honest in the way they portray their

character. Once you get past that, of course, it’s quite cool to just get to know them a little bit as a

person.

Patrick Phillips: Yeah that’s great. Well are you working on anything currently Geoff?

Continued…

Geoff Zanelli: Let’s see, I just finished something actually. It’s an album that Peter Asher is

producing and he’s producing an album for Steve Martin and Edie Brickell. And Steve Martin is

playing banjo and Edie, of course, is singing. And I did the string arrangements for that.

(Music starts playing)

So I think it’s for about five songs on their album with that finished. And I did an independent film

called Last I Heard and that I am just about to finish up as well.

Patrick Phillips: Well something to look forward to. Folks, I wanted to remind you can listen to

Geoff’s music on his website at GeoffZanelli.com. That’s G-E-O-F-F-Z-A-N-E-L-L-I dot com. Geoff,

thanks so much for being here on the program.

Geoff Zanelli: Of course

Patrick Phillips: I appreciate it man and I look forward to hearing more of you.

Geoff Zanelli: Good, thank you very much. I appreciate it too.

Continued…

“The Odd Life of

Timothy Green”

REVIEWS

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EVENTS

Media Alert Premiere / Red Carpet

Continued…

Piper Reese: Hi guys, I’m Piper Reese from Piper’s Picks TV and I’m here with Geoff Zanelli. Geoff Zanelli: Hi. Piper Reese: So you’re the composer? Geoff Zanelli: That’s right, I am. Piper Reese: Was it hard to do it for all of the strange things that go on in this movie? Geoff Zanelli: You know, not so much hard but inspiring. It is a beautiful movie and there are so many kind of crazy left to center things that happen, that you just always got a new challenge and new things to be excited about with music. Piper Reese: I saw the movie and there was a lot of songs in it. Geoff Zanelli: Yeah, there’s a whole lot of score and at the end there’s a great song by Glen Hansard. I hope you heard that, it’s in the end credits. It’s a beautiful song. Piper Reese: Did you do all of the songs by yourself? Did you have a team to help you or anything? Geoff Zanelli: No, it was just me. Piper Reese: Oh wow. Geoff Zanelli: Well, other than the Glen Hansard song, the rest of the score, all me. Piper Reese: How long does it take you? Geoff Zanelli: It took um, I think we had about 12 weeks to write the whole score from start to finish. Piper Reese: Do you have a twitter account? Geoff Zanelli: Yes, its @GeoffZanelli

Geoff at green carpet LA premiere ofThe Odd Life

of Timothy Green at El Capitan Theater

August 6, 2012

Geoff with The Odd Life of Timothy Green

Director, Peter Hedges

Geoff with wife Jennifer at

The Odd Life of Timothy Green

LA premiere.

The Odd Life of Timothy Green screening and

Q&A for The Society of Composers and Lyricists

August 8, 2012

Geoff with SCL President, Dan Foliart.

Geoff Jeff Jernigan (ASCAP), Laura Dunn (SCL),

Dan Foliart (President, SCL), Mike Todd (ASCAP),

and Nancy Dolan (Disney)

Geoff at The Odd Life of Timothy Green

Disney Digital Sound Screening

August 7, 2012

Geoff with The Odd Life of Timothy Green

Director, Peter Hedges

Geoff talking with fellow sound team panelists,

Peter Hedges, David E. Fluhr, Dennis Sands, Jay Richardson and Brian Dinkis

“The music and sound

brought the film to life. It

makes it alive. It makes it

feel real.”

- Peter Hedges, Director

The Odd Life of Timothy

Green

“I’ve worked on a lot of

movies, and there’s

something magical about

this project’s truly iconic

score. It is beautiful and

melodic. It connects to the

story so well.”

- Dennis S. Sands, Music

Scoring Mixer The Odd Life

of Timothy Green

“Geoff is such a good guy,

and so talented. This movie

and score is going to

elevate him substantially.”

- Dennis S. Sands, Music

Scoring Mixer the Odd Life

of Timothy Green

SOUNDTRACK

RELEASE

LISTINGS

Prepared by CW3PR

August 16, 2012

Media Contact:

Emilie Chan-Erskine

[email protected]

Jordan Von Netzer

[email protected]

323-476-1050

Geoff Zanelli Zanelli Press...Pictures’ “Angels & Demons,” DreamWorks’ “Antz,”...

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