BEGIN:VCALENDAR VERSION:2.0 PRODID:-//The School of Sound - ECPv6.17.4.1//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:The School of Sound X-ORIGINAL-URL:https://www.schoolofsound.co.uk X-WR-CALDESC:Events for The School of Sound REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:Europe/London BEGIN:DAYLIGHT TZOFFSETFROM:+0000 TZOFFSETTO:+0100 TZNAME:BST DTSTART:20230326T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0100 TZOFFSETTO:+0000 TZNAME:GMT DTSTART:20231029T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0000 TZOFFSETTO:+0100 TZNAME:BST DTSTART:20240331T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0100 TZOFFSETTO:+0000 TZNAME:GMT DTSTART:20241027T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0000 TZOFFSETTO:+0100 TZNAME:BST DTSTART:20250330T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0100 TZOFFSETTO:+0000 TZNAME:GMT DTSTART:20251026T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0000 TZOFFSETTO:+0100 TZNAME:BST DTSTART:20260329T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0100 TZOFFSETTO:+0000 TZNAME:GMT DTSTART:20261025T010000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+0000 TZOFFSETTO:+0100 TZNAME:BST DTSTART:20270328T010000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0100 TZOFFSETTO:+0000 TZNAME:GMT DTSTART:20271031T010000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=Europe/London:20260425T160000 DTEND;TZID=Europe/London:20260425T180000 DTSTAMP:20260424T121656Z CREATED:20260104T214542Z LAST-MODIFIED:20260424T121656Z UID:10000060-1777132800-1777140000@www.schoolofsound.co.uk SUMMARY:Stephanie Loveless Seminar DESCRIPTION:Alan Silvestri                                                                                 Dennis Sands                                                                                   Randy Thom \n \n \n \n   This session examines the never-ending question of how to balance music and sound design in the final mix. Three leading artists from sound and music\, whose collaborations span a remarkable series of award-winning films — including Contact\, Cast Away\, The Polar Express\, Back to the Future and Flight — come together to discuss the creative partnership required to integrate sound and music in feature filmmaking. Drawing on their shared experience\, they discuss the craft and communication that produces a unified soundtrack\, using the talents of each department fully. 2 hours including Q&A.Tickets include unlimited access to a recording of the event.   Alan Silvestri is an American film composer whose work spans more than four decades and a wide range of cinematic styles. After beginning his career writing music for television\, he moved into film scoring in the early 1980s and developed a long-standing collaboration with director Robert Zemeckis\, composing the music for films including Back to the Future\, Who Framed Roger Rabbit\, Forrest Gump\, Contact\, Cast Away\, The Polar Express and Pinocchio. Silvestri has also written scores for filmmakers such as James Cameron (The Abyss)\, John McTiernan (Predator)\, and the Russo brothers\, composing the music for several Marvel films including The Avengers\, Avengers: Infinity War and Avengers: Endgame. Working across action films\, drama\, comedy and animation\, Silvestri’s music has developed in close collaboration with directors\, sound designers and mixers\, shaping the emotional and narrative dimension of the soundtrack. Dennis Sands is a re-recording mixer and recording engineer whose career in Los Angeles spans nearly five decades across feature films\, animation\, television and music recording. He has mixed more than 350 film scores\, contributing to the soundtracks of films such as Back to the Future\, Forrest Gump\, The Shawshank Redemption\, American Beauty\, Spider-Man\, The Avengers\, Contact\, Cast Away\, The Polar Express and Pinocchio. As a re-recording mixer\, Sands shapes the final soundtrack of a film\, bringing together dialogue\, sound design and music into a balanced and coherent sonic whole. In this role he has collaborated closely with composers including Alan Silvestri\, Danny Elfman\, Michael Giacchino and Alexandre Desplat\, and with sound designers such as Randy Thom\, helping to guide the musical and sonic elements of a film through the final stages of post-production. Alongside his work in cinema\, Sands has recorded hundreds of albums\, working with artists such as Ella Fitzgerald\, Oscar Peterson\, Sarah Vaughan\, Count Basie and Joe Pass. He has received four Academy Award nominations and won both an Emmy and a Grammy\, and is a member of the Motion Picture Academy\, the Cinema Audio Society and the Recording Academy. Sands also teaches seminars in recording and mixing\, including work with the Film Scoring program at the University of Southern California.  Randy Thom started his career in radio and music recording before making the transition to film in 1978\, when he was hired on Apocalypse Now (1979) as a sound effects recordist. Since then\, Thom has worked in a wide variety of creative capacities within the sound department in over 175 films. For example\, in addition to being the music mixer on Star Wars: Episode VI – Return of the Jedi (1983)\, Thom was also the production sound mixer for all the footage shot in the US. Since 1983\, Thom has been on staff as a sound designer and mixer at Lucasfilm’s Skywalker Sound facility. He is part of a small group of sound designers that are following in Walter Murch and Ben Burtt‘s footsteps in the continuing work of turning motion picture sound into an art form and not simply a series of technical processes. His work on a film often begins before the film has started shooting\, and becomes an integral part of the storytelling and emotional impact of the film. Thom has been part of Robert Zemeckis‘ core creative team ever since Forrest Gump (1994) having worked on Contact\, Cast Away\, The Polar Express and Flight. Through his career Thom has worked with such top Hollywood talents as Walter Murch\, Francis Ford Coppola\, George Lucas\, Steven Spielberg\, Brad Bird\, Tim Burton\, Chris Columbus\, Mel Brooks and the Farrelly Brothers. Thom has received two Academy Awards for sound\, The Right Stuff (1983)\, and for sound editing\, The Incredibles (2004). He has fifteen Oscar nominations. – IMDb Mini Biography By: Harry Caul RANDYTHOMBLOG URL:https://www.schoolofsound.co.uk/event/stephanie-loveless-seminar/ CATEGORIES:Seminar ATTACH;FMTTYPE=image/jpeg:https://www.schoolofsound.co.uk/wp-content/uploads/2025/10/Loveless-16x9_jpg.jpg LOCATION:https://www.schoolofsound.co.uk/event/stephanie-loveless-seminar/ END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/London:20260422T190000 DTEND;TZID=Europe/London:20260422T210000 DTSTAMP:20260427T132828Z CREATED:20260312T124615Z LAST-MODIFIED:20260427T132828Z UID:10000064-1776884400-1776891600@www.schoolofsound.co.uk SUMMARY:Strategies for Balancing Music and Sound Design with Alan Silvestri\, Dennis Sands and Randy Thom DESCRIPTION:Alan Silvestri                                                                                 Dennis Sands                                                                                   Randy Thom \n \n \n \n   This session examines the never-ending question of how to balance music and sound design in the final mix. Three leading artists from sound and music\, whose collaborations span a remarkable series of award-winning films — including Contact\, Cast Away\, The Polar Express\, Back to the Future and Flight — come together to discuss the creative partnership required to integrate sound and music in feature filmmaking. Drawing on their shared experience\, they discuss the craft and communication that produces a unified soundtrack\, using the talents of each department fully. 2 hours including Q&A.Tickets include unlimited access to a recording of the event.   Alan Silvestri is an American film composer whose work spans more than four decades and a wide range of cinematic styles. After beginning his career writing music for television\, he moved into film scoring in the early 1980s and developed a long-standing collaboration with director Robert Zemeckis\, composing the music for films including Back to the Future\, Who Framed Roger Rabbit\, Forrest Gump\, Contact\, Cast Away\, The Polar Express and Pinocchio. Silvestri has also written scores for filmmakers such as James Cameron (The Abyss)\, John McTiernan (Predator)\, and the Russo brothers\, composing the music for several Marvel films including The Avengers\, Avengers: Infinity War and Avengers: Endgame. Working across action films\, drama\, comedy and animation\, Silvestri’s music has developed in close collaboration with directors\, sound designers and mixers\, shaping the emotional and narrative dimension of the soundtrack. Dennis Sands is a re-recording mixer and recording engineer whose career in Los Angeles spans nearly five decades across feature films\, animation\, television and music recording. He has mixed more than 350 film scores\, contributing to the soundtracks of films such as Back to the Future\, Forrest Gump\, The Shawshank Redemption\, American Beauty\, Spider-Man\, The Avengers\, Contact\, Cast Away\, The Polar Express and Pinocchio. As a re-recording mixer\, Sands shapes the final soundtrack of a film\, bringing together dialogue\, sound design and music into a balanced and coherent sonic whole. In this role he has collaborated closely with composers including Alan Silvestri\, Danny Elfman\, Michael Giacchino and Alexandre Desplat\, and with sound designers such as Randy Thom\, helping to guide the musical and sonic elements of a film through the final stages of post-production. Alongside his work in cinema\, Sands has recorded hundreds of albums\, working with artists such as Ella Fitzgerald\, Oscar Peterson\, Sarah Vaughan\, Count Basie and Joe Pass. He has received four Academy Award nominations and won both an Emmy and a Grammy\, and is a member of the Motion Picture Academy\, the Cinema Audio Society and the Recording Academy. Sands also teaches seminars in recording and mixing\, including work with the Film Scoring program at the University of Southern California.  Randy Thom started his career in radio and music recording before making the transition to film in 1978\, when he was hired on Apocalypse Now (1979) as a sound effects recordist. Since then\, Thom has worked in a wide variety of creative capacities within the sound department in over 175 films. For example\, in addition to being the music mixer on Star Wars: Episode VI – Return of the Jedi (1983)\, Thom was also the production sound mixer for all the footage shot in the US. Since 1983\, Thom has been on staff as a sound designer and mixer at Lucasfilm’s Skywalker Sound facility. He is part of a small group of sound designers that are following in Walter Murch and Ben Burtt‘s footsteps in the continuing work of turning motion picture sound into an art form and not simply a series of technical processes. His work on a film often begins before the film has started shooting\, and becomes an integral part of the storytelling and emotional impact of the film. Thom has been part of Robert Zemeckis‘ core creative team ever since Forrest Gump (1994) having worked on Contact\, Cast Away\, The Polar Express and Flight. Through his career Thom has worked with such top Hollywood talents as Walter Murch\, Francis Ford Coppola\, George Lucas\, Steven Spielberg\, Brad Bird\, Tim Burton\, Chris Columbus\, Mel Brooks and the Farrelly Brothers. Thom has received two Academy Awards for sound\, The Right Stuff (1983)\, and for sound editing\, The Incredibles (2004). He has fifteen Oscar nominations. – IMDb Mini Biography By: Harry Caul RANDYTHOMBLOG URL:https://www.schoolofsound.co.uk/event/strategies-for-balancing-music-and-sound-design-with-alan-silvestri-dennis-sands-and-randy-thom/ CATEGORIES:Talks ATTACH;FMTTYPE=image/jpeg:https://www.schoolofsound.co.uk/wp-content/uploads/2026/03/sosas-copy.jpg LOCATION:https://www.schoolofsound.co.uk/event/strategies-for-balancing-music-and-sound-design-with-alan-silvestri-dennis-sands-and-randy-thom/ END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/London:20260411T170000 DTEND;TZID=Europe/London:20260411T190000 DTSTAMP:20260327T125120Z CREATED:20260113T110417Z LAST-MODIFIED:20260327T125120Z UID:10000063-1775926800-1775934000@www.schoolofsound.co.uk SUMMARY:Nina Hartstone Seminar DESCRIPTION:Alan Silvestri                                                                                 Dennis Sands                                                                                   Randy Thom \n \n \n \n   This session examines the never-ending question of how to balance music and sound design in the final mix. Three leading artists from sound and music\, whose collaborations span a remarkable series of award-winning films — including Contact\, Cast Away\, The Polar Express\, Back to the Future and Flight — come together to discuss the creative partnership required to integrate sound and music in feature filmmaking. Drawing on their shared experience\, they discuss the craft and communication that produces a unified soundtrack\, using the talents of each department fully. 2 hours including Q&A.Tickets include unlimited access to a recording of the event.   Alan Silvestri is an American film composer whose work spans more than four decades and a wide range of cinematic styles. After beginning his career writing music for television\, he moved into film scoring in the early 1980s and developed a long-standing collaboration with director Robert Zemeckis\, composing the music for films including Back to the Future\, Who Framed Roger Rabbit\, Forrest Gump\, Contact\, Cast Away\, The Polar Express and Pinocchio. Silvestri has also written scores for filmmakers such as James Cameron (The Abyss)\, John McTiernan (Predator)\, and the Russo brothers\, composing the music for several Marvel films including The Avengers\, Avengers: Infinity War and Avengers: Endgame. Working across action films\, drama\, comedy and animation\, Silvestri’s music has developed in close collaboration with directors\, sound designers and mixers\, shaping the emotional and narrative dimension of the soundtrack. Dennis Sands is a re-recording mixer and recording engineer whose career in Los Angeles spans nearly five decades across feature films\, animation\, television and music recording. He has mixed more than 350 film scores\, contributing to the soundtracks of films such as Back to the Future\, Forrest Gump\, The Shawshank Redemption\, American Beauty\, Spider-Man\, The Avengers\, Contact\, Cast Away\, The Polar Express and Pinocchio. As a re-recording mixer\, Sands shapes the final soundtrack of a film\, bringing together dialogue\, sound design and music into a balanced and coherent sonic whole. In this role he has collaborated closely with composers including Alan Silvestri\, Danny Elfman\, Michael Giacchino and Alexandre Desplat\, and with sound designers such as Randy Thom\, helping to guide the musical and sonic elements of a film through the final stages of post-production. Alongside his work in cinema\, Sands has recorded hundreds of albums\, working with artists such as Ella Fitzgerald\, Oscar Peterson\, Sarah Vaughan\, Count Basie and Joe Pass. He has received four Academy Award nominations and won both an Emmy and a Grammy\, and is a member of the Motion Picture Academy\, the Cinema Audio Society and the Recording Academy. Sands also teaches seminars in recording and mixing\, including work with the Film Scoring program at the University of Southern California.  Randy Thom started his career in radio and music recording before making the transition to film in 1978\, when he was hired on Apocalypse Now (1979) as a sound effects recordist. Since then\, Thom has worked in a wide variety of creative capacities within the sound department in over 175 films. For example\, in addition to being the music mixer on Star Wars: Episode VI – Return of the Jedi (1983)\, Thom was also the production sound mixer for all the footage shot in the US. Since 1983\, Thom has been on staff as a sound designer and mixer at Lucasfilm’s Skywalker Sound facility. He is part of a small group of sound designers that are following in Walter Murch and Ben Burtt‘s footsteps in the continuing work of turning motion picture sound into an art form and not simply a series of technical processes. His work on a film often begins before the film has started shooting\, and becomes an integral part of the storytelling and emotional impact of the film. Thom has been part of Robert Zemeckis‘ core creative team ever since Forrest Gump (1994) having worked on Contact\, Cast Away\, The Polar Express and Flight. Through his career Thom has worked with such top Hollywood talents as Walter Murch\, Francis Ford Coppola\, George Lucas\, Steven Spielberg\, Brad Bird\, Tim Burton\, Chris Columbus\, Mel Brooks and the Farrelly Brothers. Thom has received two Academy Awards for sound\, The Right Stuff (1983)\, and for sound editing\, The Incredibles (2004). He has fifteen Oscar nominations. – IMDb Mini Biography By: Harry Caul RANDYTHOMBLOG URL:https://www.schoolofsound.co.uk/event/nina-hartstone-seminar/ CATEGORIES:Seminar ATTACH;FMTTYPE=image/jpeg:https://www.schoolofsound.co.uk/wp-content/uploads/2026/01/NH-Headshot.jpeg LOCATION:https://www.schoolofsound.co.uk/event/nina-hartstone-seminar/ END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/London:20260329T100000 DTEND;TZID=Europe/London:20260329T120000 DTSTAMP:20260327T130843Z CREATED:20260104T231439Z LAST-MODIFIED:20260327T130843Z UID:10000061-1774778400-1774785600@www.schoolofsound.co.uk SUMMARY:Peter Albrechtsen Seminar DESCRIPTION:Alan Silvestri                                                                                 Dennis Sands                                                                                   Randy Thom \n \n \n \n   This session examines the never-ending question of how to balance music and sound design in the final mix. Three leading artists from sound and music\, whose collaborations span a remarkable series of award-winning films — including Contact\, Cast Away\, The Polar Express\, Back to the Future and Flight — come together to discuss the creative partnership required to integrate sound and music in feature filmmaking. Drawing on their shared experience\, they discuss the craft and communication that produces a unified soundtrack\, using the talents of each department fully. 2 hours including Q&A.Tickets include unlimited access to a recording of the event.   Alan Silvestri is an American film composer whose work spans more than four decades and a wide range of cinematic styles. After beginning his career writing music for television\, he moved into film scoring in the early 1980s and developed a long-standing collaboration with director Robert Zemeckis\, composing the music for films including Back to the Future\, Who Framed Roger Rabbit\, Forrest Gump\, Contact\, Cast Away\, The Polar Express and Pinocchio. Silvestri has also written scores for filmmakers such as James Cameron (The Abyss)\, John McTiernan (Predator)\, and the Russo brothers\, composing the music for several Marvel films including The Avengers\, Avengers: Infinity War and Avengers: Endgame. Working across action films\, drama\, comedy and animation\, Silvestri’s music has developed in close collaboration with directors\, sound designers and mixers\, shaping the emotional and narrative dimension of the soundtrack. Dennis Sands is a re-recording mixer and recording engineer whose career in Los Angeles spans nearly five decades across feature films\, animation\, television and music recording. He has mixed more than 350 film scores\, contributing to the soundtracks of films such as Back to the Future\, Forrest Gump\, The Shawshank Redemption\, American Beauty\, Spider-Man\, The Avengers\, Contact\, Cast Away\, The Polar Express and Pinocchio. As a re-recording mixer\, Sands shapes the final soundtrack of a film\, bringing together dialogue\, sound design and music into a balanced and coherent sonic whole. In this role he has collaborated closely with composers including Alan Silvestri\, Danny Elfman\, Michael Giacchino and Alexandre Desplat\, and with sound designers such as Randy Thom\, helping to guide the musical and sonic elements of a film through the final stages of post-production. Alongside his work in cinema\, Sands has recorded hundreds of albums\, working with artists such as Ella Fitzgerald\, Oscar Peterson\, Sarah Vaughan\, Count Basie and Joe Pass. He has received four Academy Award nominations and won both an Emmy and a Grammy\, and is a member of the Motion Picture Academy\, the Cinema Audio Society and the Recording Academy. Sands also teaches seminars in recording and mixing\, including work with the Film Scoring program at the University of Southern California.  Randy Thom started his career in radio and music recording before making the transition to film in 1978\, when he was hired on Apocalypse Now (1979) as a sound effects recordist. Since then\, Thom has worked in a wide variety of creative capacities within the sound department in over 175 films. For example\, in addition to being the music mixer on Star Wars: Episode VI – Return of the Jedi (1983)\, Thom was also the production sound mixer for all the footage shot in the US. Since 1983\, Thom has been on staff as a sound designer and mixer at Lucasfilm’s Skywalker Sound facility. He is part of a small group of sound designers that are following in Walter Murch and Ben Burtt‘s footsteps in the continuing work of turning motion picture sound into an art form and not simply a series of technical processes. His work on a film often begins before the film has started shooting\, and becomes an integral part of the storytelling and emotional impact of the film. Thom has been part of Robert Zemeckis‘ core creative team ever since Forrest Gump (1994) having worked on Contact\, Cast Away\, The Polar Express and Flight. Through his career Thom has worked with such top Hollywood talents as Walter Murch\, Francis Ford Coppola\, George Lucas\, Steven Spielberg\, Brad Bird\, Tim Burton\, Chris Columbus\, Mel Brooks and the Farrelly Brothers. Thom has received two Academy Awards for sound\, The Right Stuff (1983)\, and for sound editing\, The Incredibles (2004). He has fifteen Oscar nominations. – IMDb Mini Biography By: Harry Caul RANDYTHOMBLOG URL:https://www.schoolofsound.co.uk/event/peter-albrechtsen-seminar/ CATEGORIES:Seminar ATTACH;FMTTYPE=image/jpeg:https://www.schoolofsound.co.uk/wp-content/uploads/2025/09/peter-albrechtsen_16x9_31a-scaled.jpeg LOCATION:https://www.schoolofsound.co.uk/event/peter-albrechtsen-seminar/ END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/London:20260226T190000 DTEND;TZID=Europe/London:20260226T210000 DTSTAMP:20260227T234709Z CREATED:20250917T123638Z LAST-MODIFIED:20260227T234709Z UID:10000052-1772132400-1772139600@www.schoolofsound.co.uk SUMMARY:Peter Albrechtsen: Creating a Character's Sonic World DESCRIPTION:Alan Silvestri                                                                                 Dennis Sands                                                                                   Randy Thom \n \n \n \n   This session examines the never-ending question of how to balance music and sound design in the final mix. Three leading artists from sound and music\, whose collaborations span a remarkable series of award-winning films — including Contact\, Cast Away\, The Polar Express\, Back to the Future and Flight — come together to discuss the creative partnership required to integrate sound and music in feature filmmaking. Drawing on their shared experience\, they discuss the craft and communication that produces a unified soundtrack\, using the talents of each department fully. 2 hours including Q&A.Tickets include unlimited access to a recording of the event.   Alan Silvestri is an American film composer whose work spans more than four decades and a wide range of cinematic styles. After beginning his career writing music for television\, he moved into film scoring in the early 1980s and developed a long-standing collaboration with director Robert Zemeckis\, composing the music for films including Back to the Future\, Who Framed Roger Rabbit\, Forrest Gump\, Contact\, Cast Away\, The Polar Express and Pinocchio. Silvestri has also written scores for filmmakers such as James Cameron (The Abyss)\, John McTiernan (Predator)\, and the Russo brothers\, composing the music for several Marvel films including The Avengers\, Avengers: Infinity War and Avengers: Endgame. Working across action films\, drama\, comedy and animation\, Silvestri’s music has developed in close collaboration with directors\, sound designers and mixers\, shaping the emotional and narrative dimension of the soundtrack. Dennis Sands is a re-recording mixer and recording engineer whose career in Los Angeles spans nearly five decades across feature films\, animation\, television and music recording. He has mixed more than 350 film scores\, contributing to the soundtracks of films such as Back to the Future\, Forrest Gump\, The Shawshank Redemption\, American Beauty\, Spider-Man\, The Avengers\, Contact\, Cast Away\, The Polar Express and Pinocchio. As a re-recording mixer\, Sands shapes the final soundtrack of a film\, bringing together dialogue\, sound design and music into a balanced and coherent sonic whole. In this role he has collaborated closely with composers including Alan Silvestri\, Danny Elfman\, Michael Giacchino and Alexandre Desplat\, and with sound designers such as Randy Thom\, helping to guide the musical and sonic elements of a film through the final stages of post-production. Alongside his work in cinema\, Sands has recorded hundreds of albums\, working with artists such as Ella Fitzgerald\, Oscar Peterson\, Sarah Vaughan\, Count Basie and Joe Pass. He has received four Academy Award nominations and won both an Emmy and a Grammy\, and is a member of the Motion Picture Academy\, the Cinema Audio Society and the Recording Academy. Sands also teaches seminars in recording and mixing\, including work with the Film Scoring program at the University of Southern California.  Randy Thom started his career in radio and music recording before making the transition to film in 1978\, when he was hired on Apocalypse Now (1979) as a sound effects recordist. Since then\, Thom has worked in a wide variety of creative capacities within the sound department in over 175 films. For example\, in addition to being the music mixer on Star Wars: Episode VI – Return of the Jedi (1983)\, Thom was also the production sound mixer for all the footage shot in the US. Since 1983\, Thom has been on staff as a sound designer and mixer at Lucasfilm’s Skywalker Sound facility. He is part of a small group of sound designers that are following in Walter Murch and Ben Burtt‘s footsteps in the continuing work of turning motion picture sound into an art form and not simply a series of technical processes. His work on a film often begins before the film has started shooting\, and becomes an integral part of the storytelling and emotional impact of the film. Thom has been part of Robert Zemeckis‘ core creative team ever since Forrest Gump (1994) having worked on Contact\, Cast Away\, The Polar Express and Flight. Through his career Thom has worked with such top Hollywood talents as Walter Murch\, Francis Ford Coppola\, George Lucas\, Steven Spielberg\, Brad Bird\, Tim Burton\, Chris Columbus\, Mel Brooks and the Farrelly Brothers. Thom has received two Academy Awards for sound\, The Right Stuff (1983)\, and for sound editing\, The Incredibles (2004). He has fifteen Oscar nominations. – IMDb Mini Biography By: Harry Caul RANDYTHOMBLOG URL:https://www.schoolofsound.co.uk/event/peter-albrechtsen/ CATEGORIES:Talks ATTACH;FMTTYPE=image/jpeg:https://www.schoolofsound.co.uk/wp-content/uploads/2025/09/peter-albrechtsen_16x9_31a-scaled.jpeg LOCATION:https://www.schoolofsound.co.uk/event/peter-albrechtsen/ END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/London:20260214T180000 DTEND;TZID=Europe/London:20260214T200000 DTSTAMP:20260214T164323Z CREATED:20251208T162239Z LAST-MODIFIED:20260214T164323Z UID:10000059-1771092000-1771099200@www.schoolofsound.co.uk SUMMARY:Walter Murch Seminar DESCRIPTION:Alan Silvestri                                                                                 Dennis Sands                                                                                   Randy Thom \n \n \n \n   This session examines the never-ending question of how to balance music and sound design in the final mix. Three leading artists from sound and music\, whose collaborations span a remarkable series of award-winning films — including Contact\, Cast Away\, The Polar Express\, Back to the Future and Flight — come together to discuss the creative partnership required to integrate sound and music in feature filmmaking. Drawing on their shared experience\, they discuss the craft and communication that produces a unified soundtrack\, using the talents of each department fully. 2 hours including Q&A.Tickets include unlimited access to a recording of the event.   Alan Silvestri is an American film composer whose work spans more than four decades and a wide range of cinematic styles. After beginning his career writing music for television\, he moved into film scoring in the early 1980s and developed a long-standing collaboration with director Robert Zemeckis\, composing the music for films including Back to the Future\, Who Framed Roger Rabbit\, Forrest Gump\, Contact\, Cast Away\, The Polar Express and Pinocchio. Silvestri has also written scores for filmmakers such as James Cameron (The Abyss)\, John McTiernan (Predator)\, and the Russo brothers\, composing the music for several Marvel films including The Avengers\, Avengers: Infinity War and Avengers: Endgame. Working across action films\, drama\, comedy and animation\, Silvestri’s music has developed in close collaboration with directors\, sound designers and mixers\, shaping the emotional and narrative dimension of the soundtrack. Dennis Sands is a re-recording mixer and recording engineer whose career in Los Angeles spans nearly five decades across feature films\, animation\, television and music recording. He has mixed more than 350 film scores\, contributing to the soundtracks of films such as Back to the Future\, Forrest Gump\, The Shawshank Redemption\, American Beauty\, Spider-Man\, The Avengers\, Contact\, Cast Away\, The Polar Express and Pinocchio. As a re-recording mixer\, Sands shapes the final soundtrack of a film\, bringing together dialogue\, sound design and music into a balanced and coherent sonic whole. In this role he has collaborated closely with composers including Alan Silvestri\, Danny Elfman\, Michael Giacchino and Alexandre Desplat\, and with sound designers such as Randy Thom\, helping to guide the musical and sonic elements of a film through the final stages of post-production. Alongside his work in cinema\, Sands has recorded hundreds of albums\, working with artists such as Ella Fitzgerald\, Oscar Peterson\, Sarah Vaughan\, Count Basie and Joe Pass. He has received four Academy Award nominations and won both an Emmy and a Grammy\, and is a member of the Motion Picture Academy\, the Cinema Audio Society and the Recording Academy. Sands also teaches seminars in recording and mixing\, including work with the Film Scoring program at the University of Southern California.  Randy Thom started his career in radio and music recording before making the transition to film in 1978\, when he was hired on Apocalypse Now (1979) as a sound effects recordist. Since then\, Thom has worked in a wide variety of creative capacities within the sound department in over 175 films. For example\, in addition to being the music mixer on Star Wars: Episode VI – Return of the Jedi (1983)\, Thom was also the production sound mixer for all the footage shot in the US. Since 1983\, Thom has been on staff as a sound designer and mixer at Lucasfilm’s Skywalker Sound facility. He is part of a small group of sound designers that are following in Walter Murch and Ben Burtt‘s footsteps in the continuing work of turning motion picture sound into an art form and not simply a series of technical processes. His work on a film often begins before the film has started shooting\, and becomes an integral part of the storytelling and emotional impact of the film. Thom has been part of Robert Zemeckis‘ core creative team ever since Forrest Gump (1994) having worked on Contact\, Cast Away\, The Polar Express and Flight. Through his career Thom has worked with such top Hollywood talents as Walter Murch\, Francis Ford Coppola\, George Lucas\, Steven Spielberg\, Brad Bird\, Tim Burton\, Chris Columbus\, Mel Brooks and the Farrelly Brothers. Thom has received two Academy Awards for sound\, The Right Stuff (1983)\, and for sound editing\, The Incredibles (2004). He has fifteen Oscar nominations. – IMDb Mini Biography By: Harry Caul RANDYTHOMBLOG URL:https://www.schoolofsound.co.uk/event/walter-murch-seminar/ CATEGORIES:Seminar ATTACH;FMTTYPE=image/jpeg:https://www.schoolofsound.co.uk/wp-content/uploads/2025/09/murch-reframe-scaled.jpg LOCATION:https://www.schoolofsound.co.uk/event/walter-murch-seminar/ END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/London:20260210T180000 DTEND;TZID=Europe/London:20260210T200000 DTSTAMP:20260211T163834Z CREATED:20251007T092025Z LAST-MODIFIED:20260211T163834Z UID:10000054-1770746400-1770753600@www.schoolofsound.co.uk SUMMARY:Stephanie Loveless: Deep Listening and Sonic (and more-than-sonic) Awareness DESCRIPTION:Alan Silvestri                                                                                 Dennis Sands                                                                                   Randy Thom \n \n \n \n   This session examines the never-ending question of how to balance music and sound design in the final mix. Three leading artists from sound and music\, whose collaborations span a remarkable series of award-winning films — including Contact\, Cast Away\, The Polar Express\, Back to the Future and Flight — come together to discuss the creative partnership required to integrate sound and music in feature filmmaking. Drawing on their shared experience\, they discuss the craft and communication that produces a unified soundtrack\, using the talents of each department fully. 2 hours including Q&A.Tickets include unlimited access to a recording of the event.   Alan Silvestri is an American film composer whose work spans more than four decades and a wide range of cinematic styles. After beginning his career writing music for television\, he moved into film scoring in the early 1980s and developed a long-standing collaboration with director Robert Zemeckis\, composing the music for films including Back to the Future\, Who Framed Roger Rabbit\, Forrest Gump\, Contact\, Cast Away\, The Polar Express and Pinocchio. Silvestri has also written scores for filmmakers such as James Cameron (The Abyss)\, John McTiernan (Predator)\, and the Russo brothers\, composing the music for several Marvel films including The Avengers\, Avengers: Infinity War and Avengers: Endgame. Working across action films\, drama\, comedy and animation\, Silvestri’s music has developed in close collaboration with directors\, sound designers and mixers\, shaping the emotional and narrative dimension of the soundtrack. Dennis Sands is a re-recording mixer and recording engineer whose career in Los Angeles spans nearly five decades across feature films\, animation\, television and music recording. He has mixed more than 350 film scores\, contributing to the soundtracks of films such as Back to the Future\, Forrest Gump\, The Shawshank Redemption\, American Beauty\, Spider-Man\, The Avengers\, Contact\, Cast Away\, The Polar Express and Pinocchio. As a re-recording mixer\, Sands shapes the final soundtrack of a film\, bringing together dialogue\, sound design and music into a balanced and coherent sonic whole. In this role he has collaborated closely with composers including Alan Silvestri\, Danny Elfman\, Michael Giacchino and Alexandre Desplat\, and with sound designers such as Randy Thom\, helping to guide the musical and sonic elements of a film through the final stages of post-production. Alongside his work in cinema\, Sands has recorded hundreds of albums\, working with artists such as Ella Fitzgerald\, Oscar Peterson\, Sarah Vaughan\, Count Basie and Joe Pass. He has received four Academy Award nominations and won both an Emmy and a Grammy\, and is a member of the Motion Picture Academy\, the Cinema Audio Society and the Recording Academy. Sands also teaches seminars in recording and mixing\, including work with the Film Scoring program at the University of Southern California.  Randy Thom started his career in radio and music recording before making the transition to film in 1978\, when he was hired on Apocalypse Now (1979) as a sound effects recordist. Since then\, Thom has worked in a wide variety of creative capacities within the sound department in over 175 films. For example\, in addition to being the music mixer on Star Wars: Episode VI – Return of the Jedi (1983)\, Thom was also the production sound mixer for all the footage shot in the US. Since 1983\, Thom has been on staff as a sound designer and mixer at Lucasfilm’s Skywalker Sound facility. He is part of a small group of sound designers that are following in Walter Murch and Ben Burtt‘s footsteps in the continuing work of turning motion picture sound into an art form and not simply a series of technical processes. His work on a film often begins before the film has started shooting\, and becomes an integral part of the storytelling and emotional impact of the film. Thom has been part of Robert Zemeckis‘ core creative team ever since Forrest Gump (1994) having worked on Contact\, Cast Away\, The Polar Express and Flight. Through his career Thom has worked with such top Hollywood talents as Walter Murch\, Francis Ford Coppola\, George Lucas\, Steven Spielberg\, Brad Bird\, Tim Burton\, Chris Columbus\, Mel Brooks and the Farrelly Brothers. Thom has received two Academy Awards for sound\, The Right Stuff (1983)\, and for sound editing\, The Incredibles (2004). He has fifteen Oscar nominations. – IMDb Mini Biography By: Harry Caul RANDYTHOMBLOG URL:https://www.schoolofsound.co.uk/event/stephanie-loveless-deep-listening/ CATEGORIES:Talks ATTACH;FMTTYPE=image/jpeg:https://www.schoolofsound.co.uk/wp-content/uploads/2025/10/Loveless-16x9_jpg.jpg LOCATION:https://www.schoolofsound.co.uk/event/stephanie-loveless-deep-listening/ END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/London:20260129T180000 DTEND;TZID=Europe/London:20260129T200000 DTSTAMP:20260201T162131Z CREATED:20260107T203534Z LAST-MODIFIED:20260201T162131Z UID:10000062-1769709600-1769716800@www.schoolofsound.co.uk SUMMARY:Nina Hartstone: Sound Storytelling - The Cutting Edge DESCRIPTION:Alan Silvestri                                                                                 Dennis Sands                                                                                   Randy Thom \n \n \n \n   This session examines the never-ending question of how to balance music and sound design in the final mix. Three leading artists from sound and music\, whose collaborations span a remarkable series of award-winning films — including Contact\, Cast Away\, The Polar Express\, Back to the Future and Flight — come together to discuss the creative partnership required to integrate sound and music in feature filmmaking. Drawing on their shared experience\, they discuss the craft and communication that produces a unified soundtrack\, using the talents of each department fully. 2 hours including Q&A.Tickets include unlimited access to a recording of the event.   Alan Silvestri is an American film composer whose work spans more than four decades and a wide range of cinematic styles. After beginning his career writing music for television\, he moved into film scoring in the early 1980s and developed a long-standing collaboration with director Robert Zemeckis\, composing the music for films including Back to the Future\, Who Framed Roger Rabbit\, Forrest Gump\, Contact\, Cast Away\, The Polar Express and Pinocchio. Silvestri has also written scores for filmmakers such as James Cameron (The Abyss)\, John McTiernan (Predator)\, and the Russo brothers\, composing the music for several Marvel films including The Avengers\, Avengers: Infinity War and Avengers: Endgame. Working across action films\, drama\, comedy and animation\, Silvestri’s music has developed in close collaboration with directors\, sound designers and mixers\, shaping the emotional and narrative dimension of the soundtrack. Dennis Sands is a re-recording mixer and recording engineer whose career in Los Angeles spans nearly five decades across feature films\, animation\, television and music recording. He has mixed more than 350 film scores\, contributing to the soundtracks of films such as Back to the Future\, Forrest Gump\, The Shawshank Redemption\, American Beauty\, Spider-Man\, The Avengers\, Contact\, Cast Away\, The Polar Express and Pinocchio. As a re-recording mixer\, Sands shapes the final soundtrack of a film\, bringing together dialogue\, sound design and music into a balanced and coherent sonic whole. In this role he has collaborated closely with composers including Alan Silvestri\, Danny Elfman\, Michael Giacchino and Alexandre Desplat\, and with sound designers such as Randy Thom\, helping to guide the musical and sonic elements of a film through the final stages of post-production. Alongside his work in cinema\, Sands has recorded hundreds of albums\, working with artists such as Ella Fitzgerald\, Oscar Peterson\, Sarah Vaughan\, Count Basie and Joe Pass. He has received four Academy Award nominations and won both an Emmy and a Grammy\, and is a member of the Motion Picture Academy\, the Cinema Audio Society and the Recording Academy. Sands also teaches seminars in recording and mixing\, including work with the Film Scoring program at the University of Southern California.  Randy Thom started his career in radio and music recording before making the transition to film in 1978\, when he was hired on Apocalypse Now (1979) as a sound effects recordist. Since then\, Thom has worked in a wide variety of creative capacities within the sound department in over 175 films. For example\, in addition to being the music mixer on Star Wars: Episode VI – Return of the Jedi (1983)\, Thom was also the production sound mixer for all the footage shot in the US. Since 1983\, Thom has been on staff as a sound designer and mixer at Lucasfilm’s Skywalker Sound facility. He is part of a small group of sound designers that are following in Walter Murch and Ben Burtt‘s footsteps in the continuing work of turning motion picture sound into an art form and not simply a series of technical processes. His work on a film often begins before the film has started shooting\, and becomes an integral part of the storytelling and emotional impact of the film. Thom has been part of Robert Zemeckis‘ core creative team ever since Forrest Gump (1994) having worked on Contact\, Cast Away\, The Polar Express and Flight. Through his career Thom has worked with such top Hollywood talents as Walter Murch\, Francis Ford Coppola\, George Lucas\, Steven Spielberg\, Brad Bird\, Tim Burton\, Chris Columbus\, Mel Brooks and the Farrelly Brothers. Thom has received two Academy Awards for sound\, The Right Stuff (1983)\, and for sound editing\, The Incredibles (2004). He has fifteen Oscar nominations. – IMDb Mini Biography By: Harry Caul RANDYTHOMBLOG URL:https://www.schoolofsound.co.uk/event/nina-hartstone/ CATEGORIES:Talks ATTACH;FMTTYPE=image/jpeg:https://www.schoolofsound.co.uk/wp-content/uploads/2026/01/NH-Headshot.jpeg LOCATION:https://www.schoolofsound.co.uk/event/nina-hartstone/ END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/London:20251129T110000 DTEND;TZID=Europe/London:20251129T130000 DTSTAMP:20251124T103341Z CREATED:20251104T122015Z LAST-MODIFIED:20251124T103341Z UID:10000058-1764414000-1764421200@www.schoolofsound.co.uk SUMMARY:Paul Davies Seminar DESCRIPTION:Alan Silvestri                                                                                 Dennis Sands                                                                                   Randy Thom \n \n \n \n   This session examines the never-ending question of how to balance music and sound design in the final mix. Three leading artists from sound and music\, whose collaborations span a remarkable series of award-winning films — including Contact\, Cast Away\, The Polar Express\, Back to the Future and Flight — come together to discuss the creative partnership required to integrate sound and music in feature filmmaking. Drawing on their shared experience\, they discuss the craft and communication that produces a unified soundtrack\, using the talents of each department fully. 2 hours including Q&A.Tickets include unlimited access to a recording of the event.   Alan Silvestri is an American film composer whose work spans more than four decades and a wide range of cinematic styles. After beginning his career writing music for television\, he moved into film scoring in the early 1980s and developed a long-standing collaboration with director Robert Zemeckis\, composing the music for films including Back to the Future\, Who Framed Roger Rabbit\, Forrest Gump\, Contact\, Cast Away\, The Polar Express and Pinocchio. Silvestri has also written scores for filmmakers such as James Cameron (The Abyss)\, John McTiernan (Predator)\, and the Russo brothers\, composing the music for several Marvel films including The Avengers\, Avengers: Infinity War and Avengers: Endgame. Working across action films\, drama\, comedy and animation\, Silvestri’s music has developed in close collaboration with directors\, sound designers and mixers\, shaping the emotional and narrative dimension of the soundtrack. Dennis Sands is a re-recording mixer and recording engineer whose career in Los Angeles spans nearly five decades across feature films\, animation\, television and music recording. He has mixed more than 350 film scores\, contributing to the soundtracks of films such as Back to the Future\, Forrest Gump\, The Shawshank Redemption\, American Beauty\, Spider-Man\, The Avengers\, Contact\, Cast Away\, The Polar Express and Pinocchio. As a re-recording mixer\, Sands shapes the final soundtrack of a film\, bringing together dialogue\, sound design and music into a balanced and coherent sonic whole. In this role he has collaborated closely with composers including Alan Silvestri\, Danny Elfman\, Michael Giacchino and Alexandre Desplat\, and with sound designers such as Randy Thom\, helping to guide the musical and sonic elements of a film through the final stages of post-production. Alongside his work in cinema\, Sands has recorded hundreds of albums\, working with artists such as Ella Fitzgerald\, Oscar Peterson\, Sarah Vaughan\, Count Basie and Joe Pass. He has received four Academy Award nominations and won both an Emmy and a Grammy\, and is a member of the Motion Picture Academy\, the Cinema Audio Society and the Recording Academy. Sands also teaches seminars in recording and mixing\, including work with the Film Scoring program at the University of Southern California.  Randy Thom started his career in radio and music recording before making the transition to film in 1978\, when he was hired on Apocalypse Now (1979) as a sound effects recordist. Since then\, Thom has worked in a wide variety of creative capacities within the sound department in over 175 films. For example\, in addition to being the music mixer on Star Wars: Episode VI – Return of the Jedi (1983)\, Thom was also the production sound mixer for all the footage shot in the US. Since 1983\, Thom has been on staff as a sound designer and mixer at Lucasfilm’s Skywalker Sound facility. He is part of a small group of sound designers that are following in Walter Murch and Ben Burtt‘s footsteps in the continuing work of turning motion picture sound into an art form and not simply a series of technical processes. His work on a film often begins before the film has started shooting\, and becomes an integral part of the storytelling and emotional impact of the film. Thom has been part of Robert Zemeckis‘ core creative team ever since Forrest Gump (1994) having worked on Contact\, Cast Away\, The Polar Express and Flight. Through his career Thom has worked with such top Hollywood talents as Walter Murch\, Francis Ford Coppola\, George Lucas\, Steven Spielberg\, Brad Bird\, Tim Burton\, Chris Columbus\, Mel Brooks and the Farrelly Brothers. Thom has received two Academy Awards for sound\, The Right Stuff (1983)\, and for sound editing\, The Incredibles (2004). He has fifteen Oscar nominations. – IMDb Mini Biography By: Harry Caul RANDYTHOMBLOG URL:https://www.schoolofsound.co.uk/event/paul-davies-seminar/ CATEGORIES:Seminar ATTACH;FMTTYPE=image/jpeg:https://www.schoolofsound.co.uk/wp-content/uploads/2025/10/DAVIES_16x9-scaled.jpg ORGANIZER;CN="The School of Sound":MAILTO:sos@schoolofsound.co.uk LOCATION:https://www.schoolofsound.co.uk/event/paul-davies-seminar/ END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/London:20251111T190000 DTEND;TZID=Europe/London:20251111T210000 DTSTAMP:20251223T200112Z CREATED:20250922T153230Z LAST-MODIFIED:20251223T200112Z UID:10000053-1762887600-1762894800@www.schoolofsound.co.uk SUMMARY:Walter Murch DESCRIPTION:Alan Silvestri                                                                                 Dennis Sands                                                                                   Randy Thom \n \n \n \n   This session examines the never-ending question of how to balance music and sound design in the final mix. Three leading artists from sound and music\, whose collaborations span a remarkable series of award-winning films — including Contact\, Cast Away\, The Polar Express\, Back to the Future and Flight — come together to discuss the creative partnership required to integrate sound and music in feature filmmaking. Drawing on their shared experience\, they discuss the craft and communication that produces a unified soundtrack\, using the talents of each department fully. 2 hours including Q&A.Tickets include unlimited access to a recording of the event.   Alan Silvestri is an American film composer whose work spans more than four decades and a wide range of cinematic styles. After beginning his career writing music for television\, he moved into film scoring in the early 1980s and developed a long-standing collaboration with director Robert Zemeckis\, composing the music for films including Back to the Future\, Who Framed Roger Rabbit\, Forrest Gump\, Contact\, Cast Away\, The Polar Express and Pinocchio. Silvestri has also written scores for filmmakers such as James Cameron (The Abyss)\, John McTiernan (Predator)\, and the Russo brothers\, composing the music for several Marvel films including The Avengers\, Avengers: Infinity War and Avengers: Endgame. Working across action films\, drama\, comedy and animation\, Silvestri’s music has developed in close collaboration with directors\, sound designers and mixers\, shaping the emotional and narrative dimension of the soundtrack. Dennis Sands is a re-recording mixer and recording engineer whose career in Los Angeles spans nearly five decades across feature films\, animation\, television and music recording. He has mixed more than 350 film scores\, contributing to the soundtracks of films such as Back to the Future\, Forrest Gump\, The Shawshank Redemption\, American Beauty\, Spider-Man\, The Avengers\, Contact\, Cast Away\, The Polar Express and Pinocchio. As a re-recording mixer\, Sands shapes the final soundtrack of a film\, bringing together dialogue\, sound design and music into a balanced and coherent sonic whole. In this role he has collaborated closely with composers including Alan Silvestri\, Danny Elfman\, Michael Giacchino and Alexandre Desplat\, and with sound designers such as Randy Thom\, helping to guide the musical and sonic elements of a film through the final stages of post-production. Alongside his work in cinema\, Sands has recorded hundreds of albums\, working with artists such as Ella Fitzgerald\, Oscar Peterson\, Sarah Vaughan\, Count Basie and Joe Pass. He has received four Academy Award nominations and won both an Emmy and a Grammy\, and is a member of the Motion Picture Academy\, the Cinema Audio Society and the Recording Academy. Sands also teaches seminars in recording and mixing\, including work with the Film Scoring program at the University of Southern California.  Randy Thom started his career in radio and music recording before making the transition to film in 1978\, when he was hired on Apocalypse Now (1979) as a sound effects recordist. Since then\, Thom has worked in a wide variety of creative capacities within the sound department in over 175 films. For example\, in addition to being the music mixer on Star Wars: Episode VI – Return of the Jedi (1983)\, Thom was also the production sound mixer for all the footage shot in the US. Since 1983\, Thom has been on staff as a sound designer and mixer at Lucasfilm’s Skywalker Sound facility. He is part of a small group of sound designers that are following in Walter Murch and Ben Burtt‘s footsteps in the continuing work of turning motion picture sound into an art form and not simply a series of technical processes. His work on a film often begins before the film has started shooting\, and becomes an integral part of the storytelling and emotional impact of the film. Thom has been part of Robert Zemeckis‘ core creative team ever since Forrest Gump (1994) having worked on Contact\, Cast Away\, The Polar Express and Flight. Through his career Thom has worked with such top Hollywood talents as Walter Murch\, Francis Ford Coppola\, George Lucas\, Steven Spielberg\, Brad Bird\, Tim Burton\, Chris Columbus\, Mel Brooks and the Farrelly Brothers. Thom has received two Academy Awards for sound\, The Right Stuff (1983)\, and for sound editing\, The Incredibles (2004). He has fifteen Oscar nominations. – IMDb Mini Biography By: Harry Caul RANDYTHOMBLOG URL:https://www.schoolofsound.co.uk/event/walter-murch/ CATEGORIES:Talks ATTACH;FMTTYPE=image/jpeg:https://www.schoolofsound.co.uk/wp-content/uploads/2025/09/murch-reframe-scaled.jpg LOCATION:https://www.schoolofsound.co.uk/event/walter-murch/ END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/London:20251106T180000 DTEND;TZID=Europe/London:20251106T200000 DTSTAMP:20251108T020435Z CREATED:20251007T142209Z LAST-MODIFIED:20251108T020435Z UID:10000055-1762452000-1762459200@www.schoolofsound.co.uk SUMMARY:Paul Davies: Emotional Narratives and Subjective Filmmaking Through Sound DESCRIPTION:Alan Silvestri                                                                                 Dennis Sands                                                                                   Randy Thom \n \n \n \n   This session examines the never-ending question of how to balance music and sound design in the final mix. Three leading artists from sound and music\, whose collaborations span a remarkable series of award-winning films — including Contact\, Cast Away\, The Polar Express\, Back to the Future and Flight — come together to discuss the creative partnership required to integrate sound and music in feature filmmaking. Drawing on their shared experience\, they discuss the craft and communication that produces a unified soundtrack\, using the talents of each department fully. 2 hours including Q&A.Tickets include unlimited access to a recording of the event.   Alan Silvestri is an American film composer whose work spans more than four decades and a wide range of cinematic styles. After beginning his career writing music for television\, he moved into film scoring in the early 1980s and developed a long-standing collaboration with director Robert Zemeckis\, composing the music for films including Back to the Future\, Who Framed Roger Rabbit\, Forrest Gump\, Contact\, Cast Away\, The Polar Express and Pinocchio. Silvestri has also written scores for filmmakers such as James Cameron (The Abyss)\, John McTiernan (Predator)\, and the Russo brothers\, composing the music for several Marvel films including The Avengers\, Avengers: Infinity War and Avengers: Endgame. Working across action films\, drama\, comedy and animation\, Silvestri’s music has developed in close collaboration with directors\, sound designers and mixers\, shaping the emotional and narrative dimension of the soundtrack. Dennis Sands is a re-recording mixer and recording engineer whose career in Los Angeles spans nearly five decades across feature films\, animation\, television and music recording. He has mixed more than 350 film scores\, contributing to the soundtracks of films such as Back to the Future\, Forrest Gump\, The Shawshank Redemption\, American Beauty\, Spider-Man\, The Avengers\, Contact\, Cast Away\, The Polar Express and Pinocchio. As a re-recording mixer\, Sands shapes the final soundtrack of a film\, bringing together dialogue\, sound design and music into a balanced and coherent sonic whole. In this role he has collaborated closely with composers including Alan Silvestri\, Danny Elfman\, Michael Giacchino and Alexandre Desplat\, and with sound designers such as Randy Thom\, helping to guide the musical and sonic elements of a film through the final stages of post-production. Alongside his work in cinema\, Sands has recorded hundreds of albums\, working with artists such as Ella Fitzgerald\, Oscar Peterson\, Sarah Vaughan\, Count Basie and Joe Pass. He has received four Academy Award nominations and won both an Emmy and a Grammy\, and is a member of the Motion Picture Academy\, the Cinema Audio Society and the Recording Academy. Sands also teaches seminars in recording and mixing\, including work with the Film Scoring program at the University of Southern California.  Randy Thom started his career in radio and music recording before making the transition to film in 1978\, when he was hired on Apocalypse Now (1979) as a sound effects recordist. Since then\, Thom has worked in a wide variety of creative capacities within the sound department in over 175 films. For example\, in addition to being the music mixer on Star Wars: Episode VI – Return of the Jedi (1983)\, Thom was also the production sound mixer for all the footage shot in the US. Since 1983\, Thom has been on staff as a sound designer and mixer at Lucasfilm’s Skywalker Sound facility. He is part of a small group of sound designers that are following in Walter Murch and Ben Burtt‘s footsteps in the continuing work of turning motion picture sound into an art form and not simply a series of technical processes. His work on a film often begins before the film has started shooting\, and becomes an integral part of the storytelling and emotional impact of the film. Thom has been part of Robert Zemeckis‘ core creative team ever since Forrest Gump (1994) having worked on Contact\, Cast Away\, The Polar Express and Flight. Through his career Thom has worked with such top Hollywood talents as Walter Murch\, Francis Ford Coppola\, George Lucas\, Steven Spielberg\, Brad Bird\, Tim Burton\, Chris Columbus\, Mel Brooks and the Farrelly Brothers. Thom has received two Academy Awards for sound\, The Right Stuff (1983)\, and for sound editing\, The Incredibles (2004). He has fifteen Oscar nominations. – IMDb Mini Biography By: Harry Caul RANDYTHOMBLOG URL:https://www.schoolofsound.co.uk/event/paul-davies-creating-emotional-narratives-with-sound/ ATTACH;FMTTYPE=image/jpeg:https://www.schoolofsound.co.uk/wp-content/uploads/2025/10/DAVIES_16x9-scaled.jpg LOCATION:https://www.schoolofsound.co.uk/event/paul-davies-creating-emotional-narratives-with-sound/ END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/London:20251101T140000 DTEND;TZID=Europe/London:20251101T160000 DTSTAMP:20251017T102931Z CREATED:20251017T101830Z LAST-MODIFIED:20251017T102931Z UID:10000057-1762005600-1762012800@www.schoolofsound.co.uk SUMMARY:Rana Eid: Seminar DESCRIPTION:Alan Silvestri                                                                                 Dennis Sands                                                                                   Randy Thom \n \n \n \n   This session examines the never-ending question of how to balance music and sound design in the final mix. Three leading artists from sound and music\, whose collaborations span a remarkable series of award-winning films — including Contact\, Cast Away\, The Polar Express\, Back to the Future and Flight — come together to discuss the creative partnership required to integrate sound and music in feature filmmaking. Drawing on their shared experience\, they discuss the craft and communication that produces a unified soundtrack\, using the talents of each department fully. 2 hours including Q&A.Tickets include unlimited access to a recording of the event.   Alan Silvestri is an American film composer whose work spans more than four decades and a wide range of cinematic styles. After beginning his career writing music for television\, he moved into film scoring in the early 1980s and developed a long-standing collaboration with director Robert Zemeckis\, composing the music for films including Back to the Future\, Who Framed Roger Rabbit\, Forrest Gump\, Contact\, Cast Away\, The Polar Express and Pinocchio. Silvestri has also written scores for filmmakers such as James Cameron (The Abyss)\, John McTiernan (Predator)\, and the Russo brothers\, composing the music for several Marvel films including The Avengers\, Avengers: Infinity War and Avengers: Endgame. Working across action films\, drama\, comedy and animation\, Silvestri’s music has developed in close collaboration with directors\, sound designers and mixers\, shaping the emotional and narrative dimension of the soundtrack. Dennis Sands is a re-recording mixer and recording engineer whose career in Los Angeles spans nearly five decades across feature films\, animation\, television and music recording. He has mixed more than 350 film scores\, contributing to the soundtracks of films such as Back to the Future\, Forrest Gump\, The Shawshank Redemption\, American Beauty\, Spider-Man\, The Avengers\, Contact\, Cast Away\, The Polar Express and Pinocchio. As a re-recording mixer\, Sands shapes the final soundtrack of a film\, bringing together dialogue\, sound design and music into a balanced and coherent sonic whole. In this role he has collaborated closely with composers including Alan Silvestri\, Danny Elfman\, Michael Giacchino and Alexandre Desplat\, and with sound designers such as Randy Thom\, helping to guide the musical and sonic elements of a film through the final stages of post-production. Alongside his work in cinema\, Sands has recorded hundreds of albums\, working with artists such as Ella Fitzgerald\, Oscar Peterson\, Sarah Vaughan\, Count Basie and Joe Pass. He has received four Academy Award nominations and won both an Emmy and a Grammy\, and is a member of the Motion Picture Academy\, the Cinema Audio Society and the Recording Academy. Sands also teaches seminars in recording and mixing\, including work with the Film Scoring program at the University of Southern California.  Randy Thom started his career in radio and music recording before making the transition to film in 1978\, when he was hired on Apocalypse Now (1979) as a sound effects recordist. Since then\, Thom has worked in a wide variety of creative capacities within the sound department in over 175 films. For example\, in addition to being the music mixer on Star Wars: Episode VI – Return of the Jedi (1983)\, Thom was also the production sound mixer for all the footage shot in the US. Since 1983\, Thom has been on staff as a sound designer and mixer at Lucasfilm’s Skywalker Sound facility. He is part of a small group of sound designers that are following in Walter Murch and Ben Burtt‘s footsteps in the continuing work of turning motion picture sound into an art form and not simply a series of technical processes. His work on a film often begins before the film has started shooting\, and becomes an integral part of the storytelling and emotional impact of the film. Thom has been part of Robert Zemeckis‘ core creative team ever since Forrest Gump (1994) having worked on Contact\, Cast Away\, The Polar Express and Flight. Through his career Thom has worked with such top Hollywood talents as Walter Murch\, Francis Ford Coppola\, George Lucas\, Steven Spielberg\, Brad Bird\, Tim Burton\, Chris Columbus\, Mel Brooks and the Farrelly Brothers. Thom has received two Academy Awards for sound\, The Right Stuff (1983)\, and for sound editing\, The Incredibles (2004). He has fifteen Oscar nominations. – IMDb Mini Biography By: Harry Caul RANDYTHOMBLOG URL:https://www.schoolofsound.co.uk/event/rana-eid-seminar/ ATTACH;FMTTYPE=image/jpeg:https://www.schoolofsound.co.uk/wp-content/uploads/2023/08/Portrait_cropped-scaled.jpg ORGANIZER;CN="The School of Sound":MAILTO:sos@schoolofsound.co.uk END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/London:20251025T110000 DTEND;TZID=Europe/London:20251025T130000 DTSTAMP:20251013T203638Z CREATED:20251013T203200Z LAST-MODIFIED:20251013T203638Z UID:10000056-1761390000-1761397200@www.schoolofsound.co.uk SUMMARY:Rob Szeliga: Seminar DESCRIPTION:Alan Silvestri                                                                                 Dennis Sands                                                                                   Randy Thom \n \n \n \n   This session examines the never-ending question of how to balance music and sound design in the final mix. Three leading artists from sound and music\, whose collaborations span a remarkable series of award-winning films — including Contact\, Cast Away\, The Polar Express\, Back to the Future and Flight — come together to discuss the creative partnership required to integrate sound and music in feature filmmaking. Drawing on their shared experience\, they discuss the craft and communication that produces a unified soundtrack\, using the talents of each department fully. 2 hours including Q&A.Tickets include unlimited access to a recording of the event.   Alan Silvestri is an American film composer whose work spans more than four decades and a wide range of cinematic styles. After beginning his career writing music for television\, he moved into film scoring in the early 1980s and developed a long-standing collaboration with director Robert Zemeckis\, composing the music for films including Back to the Future\, Who Framed Roger Rabbit\, Forrest Gump\, Contact\, Cast Away\, The Polar Express and Pinocchio. Silvestri has also written scores for filmmakers such as James Cameron (The Abyss)\, John McTiernan (Predator)\, and the Russo brothers\, composing the music for several Marvel films including The Avengers\, Avengers: Infinity War and Avengers: Endgame. Working across action films\, drama\, comedy and animation\, Silvestri’s music has developed in close collaboration with directors\, sound designers and mixers\, shaping the emotional and narrative dimension of the soundtrack. Dennis Sands is a re-recording mixer and recording engineer whose career in Los Angeles spans nearly five decades across feature films\, animation\, television and music recording. He has mixed more than 350 film scores\, contributing to the soundtracks of films such as Back to the Future\, Forrest Gump\, The Shawshank Redemption\, American Beauty\, Spider-Man\, The Avengers\, Contact\, Cast Away\, The Polar Express and Pinocchio. As a re-recording mixer\, Sands shapes the final soundtrack of a film\, bringing together dialogue\, sound design and music into a balanced and coherent sonic whole. In this role he has collaborated closely with composers including Alan Silvestri\, Danny Elfman\, Michael Giacchino and Alexandre Desplat\, and with sound designers such as Randy Thom\, helping to guide the musical and sonic elements of a film through the final stages of post-production. Alongside his work in cinema\, Sands has recorded hundreds of albums\, working with artists such as Ella Fitzgerald\, Oscar Peterson\, Sarah Vaughan\, Count Basie and Joe Pass. He has received four Academy Award nominations and won both an Emmy and a Grammy\, and is a member of the Motion Picture Academy\, the Cinema Audio Society and the Recording Academy. Sands also teaches seminars in recording and mixing\, including work with the Film Scoring program at the University of Southern California.  Randy Thom started his career in radio and music recording before making the transition to film in 1978\, when he was hired on Apocalypse Now (1979) as a sound effects recordist. Since then\, Thom has worked in a wide variety of creative capacities within the sound department in over 175 films. For example\, in addition to being the music mixer on Star Wars: Episode VI – Return of the Jedi (1983)\, Thom was also the production sound mixer for all the footage shot in the US. Since 1983\, Thom has been on staff as a sound designer and mixer at Lucasfilm’s Skywalker Sound facility. He is part of a small group of sound designers that are following in Walter Murch and Ben Burtt‘s footsteps in the continuing work of turning motion picture sound into an art form and not simply a series of technical processes. His work on a film often begins before the film has started shooting\, and becomes an integral part of the storytelling and emotional impact of the film. Thom has been part of Robert Zemeckis‘ core creative team ever since Forrest Gump (1994) having worked on Contact\, Cast Away\, The Polar Express and Flight. Through his career Thom has worked with such top Hollywood talents as Walter Murch\, Francis Ford Coppola\, George Lucas\, Steven Spielberg\, Brad Bird\, Tim Burton\, Chris Columbus\, Mel Brooks and the Farrelly Brothers. Thom has received two Academy Awards for sound\, The Right Stuff (1983)\, and for sound editing\, The Incredibles (2004). He has fifteen Oscar nominations. – IMDb Mini Biography By: Harry Caul RANDYTHOMBLOG URL:https://www.schoolofsound.co.uk/event/rob-szeliga-seminar/ CATEGORIES:Seminar,Talks ATTACH;FMTTYPE=image/jpeg:https://www.schoolofsound.co.uk/wp-content/uploads/2025/09/RSZ_SOS_Image_01.jpeg LOCATION:https://www.schoolofsound.co.uk/event/rob-szeliga-seminar/ END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/London:20251018T140000 DTEND;TZID=Europe/London:20251018T160000 DTSTAMP:20260106T105439Z CREATED:20250902T104408Z LAST-MODIFIED:20260106T105439Z UID:10000050-1760796000-1760803200@www.schoolofsound.co.uk SUMMARY:Rana Eid: Working with sound is my passion\, but ...? DESCRIPTION:Alan Silvestri                                                                                 Dennis Sands                                                                                   Randy Thom \n \n \n \n   This session examines the never-ending question of how to balance music and sound design in the final mix. Three leading artists from sound and music\, whose collaborations span a remarkable series of award-winning films — including Contact\, Cast Away\, The Polar Express\, Back to the Future and Flight — come together to discuss the creative partnership required to integrate sound and music in feature filmmaking. Drawing on their shared experience\, they discuss the craft and communication that produces a unified soundtrack\, using the talents of each department fully. 2 hours including Q&A.Tickets include unlimited access to a recording of the event.   Alan Silvestri is an American film composer whose work spans more than four decades and a wide range of cinematic styles. After beginning his career writing music for television\, he moved into film scoring in the early 1980s and developed a long-standing collaboration with director Robert Zemeckis\, composing the music for films including Back to the Future\, Who Framed Roger Rabbit\, Forrest Gump\, Contact\, Cast Away\, The Polar Express and Pinocchio. Silvestri has also written scores for filmmakers such as James Cameron (The Abyss)\, John McTiernan (Predator)\, and the Russo brothers\, composing the music for several Marvel films including The Avengers\, Avengers: Infinity War and Avengers: Endgame. Working across action films\, drama\, comedy and animation\, Silvestri’s music has developed in close collaboration with directors\, sound designers and mixers\, shaping the emotional and narrative dimension of the soundtrack. Dennis Sands is a re-recording mixer and recording engineer whose career in Los Angeles spans nearly five decades across feature films\, animation\, television and music recording. He has mixed more than 350 film scores\, contributing to the soundtracks of films such as Back to the Future\, Forrest Gump\, The Shawshank Redemption\, American Beauty\, Spider-Man\, The Avengers\, Contact\, Cast Away\, The Polar Express and Pinocchio. As a re-recording mixer\, Sands shapes the final soundtrack of a film\, bringing together dialogue\, sound design and music into a balanced and coherent sonic whole. In this role he has collaborated closely with composers including Alan Silvestri\, Danny Elfman\, Michael Giacchino and Alexandre Desplat\, and with sound designers such as Randy Thom\, helping to guide the musical and sonic elements of a film through the final stages of post-production. Alongside his work in cinema\, Sands has recorded hundreds of albums\, working with artists such as Ella Fitzgerald\, Oscar Peterson\, Sarah Vaughan\, Count Basie and Joe Pass. He has received four Academy Award nominations and won both an Emmy and a Grammy\, and is a member of the Motion Picture Academy\, the Cinema Audio Society and the Recording Academy. Sands also teaches seminars in recording and mixing\, including work with the Film Scoring program at the University of Southern California.  Randy Thom started his career in radio and music recording before making the transition to film in 1978\, when he was hired on Apocalypse Now (1979) as a sound effects recordist. Since then\, Thom has worked in a wide variety of creative capacities within the sound department in over 175 films. For example\, in addition to being the music mixer on Star Wars: Episode VI – Return of the Jedi (1983)\, Thom was also the production sound mixer for all the footage shot in the US. Since 1983\, Thom has been on staff as a sound designer and mixer at Lucasfilm’s Skywalker Sound facility. He is part of a small group of sound designers that are following in Walter Murch and Ben Burtt‘s footsteps in the continuing work of turning motion picture sound into an art form and not simply a series of technical processes. His work on a film often begins before the film has started shooting\, and becomes an integral part of the storytelling and emotional impact of the film. Thom has been part of Robert Zemeckis‘ core creative team ever since Forrest Gump (1994) having worked on Contact\, Cast Away\, The Polar Express and Flight. Through his career Thom has worked with such top Hollywood talents as Walter Murch\, Francis Ford Coppola\, George Lucas\, Steven Spielberg\, Brad Bird\, Tim Burton\, Chris Columbus\, Mel Brooks and the Farrelly Brothers. Thom has received two Academy Awards for sound\, The Right Stuff (1983)\, and for sound editing\, The Incredibles (2004). He has fifteen Oscar nominations. – IMDb Mini Biography By: Harry Caul RANDYTHOMBLOG URL:https://www.schoolofsound.co.uk/event/rana-eid-working-with-sound-is-my-passion/ ATTACH;FMTTYPE=image/jpeg:https://www.schoolofsound.co.uk/wp-content/uploads/2023/08/Portrait_cropped-scaled.jpg ORGANIZER;CN="The School of Sound":MAILTO:sos@schoolofsound.co.uk LOCATION:https://www.schoolofsound.co.uk/event/rana-eid-working-with-sound-is-my-passion/ END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/London:20251015T180000 DTEND;TZID=Europe/London:20251015T200000 DTSTAMP:20251201T135959Z CREATED:20250902T100500Z LAST-MODIFIED:20251201T135959Z UID:10000049-1760551200-1760558400@www.schoolofsound.co.uk SUMMARY:Rob Szeliga: Listening to Films in Different Spaces DESCRIPTION:Alan Silvestri                                                                                 Dennis Sands                                                                                   Randy Thom \n \n \n \n   This session examines the never-ending question of how to balance music and sound design in the final mix. Three leading artists from sound and music\, whose collaborations span a remarkable series of award-winning films — including Contact\, Cast Away\, The Polar Express\, Back to the Future and Flight — come together to discuss the creative partnership required to integrate sound and music in feature filmmaking. Drawing on their shared experience\, they discuss the craft and communication that produces a unified soundtrack\, using the talents of each department fully. 2 hours including Q&A.Tickets include unlimited access to a recording of the event.   Alan Silvestri is an American film composer whose work spans more than four decades and a wide range of cinematic styles. After beginning his career writing music for television\, he moved into film scoring in the early 1980s and developed a long-standing collaboration with director Robert Zemeckis\, composing the music for films including Back to the Future\, Who Framed Roger Rabbit\, Forrest Gump\, Contact\, Cast Away\, The Polar Express and Pinocchio. Silvestri has also written scores for filmmakers such as James Cameron (The Abyss)\, John McTiernan (Predator)\, and the Russo brothers\, composing the music for several Marvel films including The Avengers\, Avengers: Infinity War and Avengers: Endgame. Working across action films\, drama\, comedy and animation\, Silvestri’s music has developed in close collaboration with directors\, sound designers and mixers\, shaping the emotional and narrative dimension of the soundtrack. Dennis Sands is a re-recording mixer and recording engineer whose career in Los Angeles spans nearly five decades across feature films\, animation\, television and music recording. He has mixed more than 350 film scores\, contributing to the soundtracks of films such as Back to the Future\, Forrest Gump\, The Shawshank Redemption\, American Beauty\, Spider-Man\, The Avengers\, Contact\, Cast Away\, The Polar Express and Pinocchio. As a re-recording mixer\, Sands shapes the final soundtrack of a film\, bringing together dialogue\, sound design and music into a balanced and coherent sonic whole. In this role he has collaborated closely with composers including Alan Silvestri\, Danny Elfman\, Michael Giacchino and Alexandre Desplat\, and with sound designers such as Randy Thom\, helping to guide the musical and sonic elements of a film through the final stages of post-production. Alongside his work in cinema\, Sands has recorded hundreds of albums\, working with artists such as Ella Fitzgerald\, Oscar Peterson\, Sarah Vaughan\, Count Basie and Joe Pass. He has received four Academy Award nominations and won both an Emmy and a Grammy\, and is a member of the Motion Picture Academy\, the Cinema Audio Society and the Recording Academy. Sands also teaches seminars in recording and mixing\, including work with the Film Scoring program at the University of Southern California.  Randy Thom started his career in radio and music recording before making the transition to film in 1978\, when he was hired on Apocalypse Now (1979) as a sound effects recordist. Since then\, Thom has worked in a wide variety of creative capacities within the sound department in over 175 films. For example\, in addition to being the music mixer on Star Wars: Episode VI – Return of the Jedi (1983)\, Thom was also the production sound mixer for all the footage shot in the US. Since 1983\, Thom has been on staff as a sound designer and mixer at Lucasfilm’s Skywalker Sound facility. He is part of a small group of sound designers that are following in Walter Murch and Ben Burtt‘s footsteps in the continuing work of turning motion picture sound into an art form and not simply a series of technical processes. His work on a film often begins before the film has started shooting\, and becomes an integral part of the storytelling and emotional impact of the film. Thom has been part of Robert Zemeckis‘ core creative team ever since Forrest Gump (1994) having worked on Contact\, Cast Away\, The Polar Express and Flight. Through his career Thom has worked with such top Hollywood talents as Walter Murch\, Francis Ford Coppola\, George Lucas\, Steven Spielberg\, Brad Bird\, Tim Burton\, Chris Columbus\, Mel Brooks and the Farrelly Brothers. Thom has received two Academy Awards for sound\, The Right Stuff (1983)\, and for sound editing\, The Incredibles (2004). He has fifteen Oscar nominations. – IMDb Mini Biography By: Harry Caul RANDYTHOMBLOG URL:https://www.schoolofsound.co.uk/event/rob-szeliga-listening-to-films-in-different-spaces/ CATEGORIES:Talks ATTACH;FMTTYPE=image/jpeg:https://www.schoolofsound.co.uk/wp-content/uploads/2025/09/RSZ_SOS_Image_01.jpeg LOCATION:https://www.schoolofsound.co.uk/event/rob-szeliga-listening-to-films-in-different-spaces/ END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/London:20251014T170000 DTEND;TZID=Europe/London:20251014T190000 DTSTAMP:20251215T133832Z CREATED:20250902T110712Z LAST-MODIFIED:20251215T133832Z UID:10000051-1760461200-1760468400@www.schoolofsound.co.uk SUMMARY:Peter Wiegold: Being in the room. How to make it happen. DESCRIPTION:Alan Silvestri                                                                                 Dennis Sands                                                                                   Randy Thom \n \n \n \n   This session examines the never-ending question of how to balance music and sound design in the final mix. Three leading artists from sound and music\, whose collaborations span a remarkable series of award-winning films — including Contact\, Cast Away\, The Polar Express\, Back to the Future and Flight — come together to discuss the creative partnership required to integrate sound and music in feature filmmaking. Drawing on their shared experience\, they discuss the craft and communication that produces a unified soundtrack\, using the talents of each department fully. 2 hours including Q&A.Tickets include unlimited access to a recording of the event.   Alan Silvestri is an American film composer whose work spans more than four decades and a wide range of cinematic styles. After beginning his career writing music for television\, he moved into film scoring in the early 1980s and developed a long-standing collaboration with director Robert Zemeckis\, composing the music for films including Back to the Future\, Who Framed Roger Rabbit\, Forrest Gump\, Contact\, Cast Away\, The Polar Express and Pinocchio. Silvestri has also written scores for filmmakers such as James Cameron (The Abyss)\, John McTiernan (Predator)\, and the Russo brothers\, composing the music for several Marvel films including The Avengers\, Avengers: Infinity War and Avengers: Endgame. Working across action films\, drama\, comedy and animation\, Silvestri’s music has developed in close collaboration with directors\, sound designers and mixers\, shaping the emotional and narrative dimension of the soundtrack. Dennis Sands is a re-recording mixer and recording engineer whose career in Los Angeles spans nearly five decades across feature films\, animation\, television and music recording. He has mixed more than 350 film scores\, contributing to the soundtracks of films such as Back to the Future\, Forrest Gump\, The Shawshank Redemption\, American Beauty\, Spider-Man\, The Avengers\, Contact\, Cast Away\, The Polar Express and Pinocchio. As a re-recording mixer\, Sands shapes the final soundtrack of a film\, bringing together dialogue\, sound design and music into a balanced and coherent sonic whole. In this role he has collaborated closely with composers including Alan Silvestri\, Danny Elfman\, Michael Giacchino and Alexandre Desplat\, and with sound designers such as Randy Thom\, helping to guide the musical and sonic elements of a film through the final stages of post-production. Alongside his work in cinema\, Sands has recorded hundreds of albums\, working with artists such as Ella Fitzgerald\, Oscar Peterson\, Sarah Vaughan\, Count Basie and Joe Pass. He has received four Academy Award nominations and won both an Emmy and a Grammy\, and is a member of the Motion Picture Academy\, the Cinema Audio Society and the Recording Academy. Sands also teaches seminars in recording and mixing\, including work with the Film Scoring program at the University of Southern California.  Randy Thom started his career in radio and music recording before making the transition to film in 1978\, when he was hired on Apocalypse Now (1979) as a sound effects recordist. Since then\, Thom has worked in a wide variety of creative capacities within the sound department in over 175 films. For example\, in addition to being the music mixer on Star Wars: Episode VI – Return of the Jedi (1983)\, Thom was also the production sound mixer for all the footage shot in the US. Since 1983\, Thom has been on staff as a sound designer and mixer at Lucasfilm’s Skywalker Sound facility. He is part of a small group of sound designers that are following in Walter Murch and Ben Burtt‘s footsteps in the continuing work of turning motion picture sound into an art form and not simply a series of technical processes. His work on a film often begins before the film has started shooting\, and becomes an integral part of the storytelling and emotional impact of the film. Thom has been part of Robert Zemeckis‘ core creative team ever since Forrest Gump (1994) having worked on Contact\, Cast Away\, The Polar Express and Flight. Through his career Thom has worked with such top Hollywood talents as Walter Murch\, Francis Ford Coppola\, George Lucas\, Steven Spielberg\, Brad Bird\, Tim Burton\, Chris Columbus\, Mel Brooks and the Farrelly Brothers. Thom has received two Academy Awards for sound\, The Right Stuff (1983)\, and for sound editing\, The Incredibles (2004). He has fifteen Oscar nominations. – IMDb Mini Biography By: Harry Caul RANDYTHOMBLOG URL:https://www.schoolofsound.co.uk/event/peter-wiegold-in-the-room/ ATTACH;FMTTYPE=image/jpeg:https://www.schoolofsound.co.uk/wp-content/uploads/2025/09/Wiegold16x9.jpeg ORGANIZER;CN="The School of Sound":MAILTO:sos@schoolofsound.co.uk LOCATION:https://www.schoolofsound.co.uk/event/peter-wiegold-in-the-room/ END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/London:20250320T180000 DTEND;TZID=Europe/London:20250320T200000 DTSTAMP:20251215T121743Z CREATED:20250130T105703Z LAST-MODIFIED:20251215T121743Z UID:10000047-1742493600-1742500800@www.schoolofsound.co.uk SUMMARY:Jonathan Webb: Sonic Storyboards DESCRIPTION:Alan Silvestri                                                                                 Dennis Sands                                                                                   Randy Thom \n \n \n \n   This session examines the never-ending question of how to balance music and sound design in the final mix. Three leading artists from sound and music\, whose collaborations span a remarkable series of award-winning films — including Contact\, Cast Away\, The Polar Express\, Back to the Future and Flight — come together to discuss the creative partnership required to integrate sound and music in feature filmmaking. Drawing on their shared experience\, they discuss the craft and communication that produces a unified soundtrack\, using the talents of each department fully. 2 hours including Q&A.Tickets include unlimited access to a recording of the event.   Alan Silvestri is an American film composer whose work spans more than four decades and a wide range of cinematic styles. After beginning his career writing music for television\, he moved into film scoring in the early 1980s and developed a long-standing collaboration with director Robert Zemeckis\, composing the music for films including Back to the Future\, Who Framed Roger Rabbit\, Forrest Gump\, Contact\, Cast Away\, The Polar Express and Pinocchio. Silvestri has also written scores for filmmakers such as James Cameron (The Abyss)\, John McTiernan (Predator)\, and the Russo brothers\, composing the music for several Marvel films including The Avengers\, Avengers: Infinity War and Avengers: Endgame. Working across action films\, drama\, comedy and animation\, Silvestri’s music has developed in close collaboration with directors\, sound designers and mixers\, shaping the emotional and narrative dimension of the soundtrack. Dennis Sands is a re-recording mixer and recording engineer whose career in Los Angeles spans nearly five decades across feature films\, animation\, television and music recording. He has mixed more than 350 film scores\, contributing to the soundtracks of films such as Back to the Future\, Forrest Gump\, The Shawshank Redemption\, American Beauty\, Spider-Man\, The Avengers\, Contact\, Cast Away\, The Polar Express and Pinocchio. As a re-recording mixer\, Sands shapes the final soundtrack of a film\, bringing together dialogue\, sound design and music into a balanced and coherent sonic whole. In this role he has collaborated closely with composers including Alan Silvestri\, Danny Elfman\, Michael Giacchino and Alexandre Desplat\, and with sound designers such as Randy Thom\, helping to guide the musical and sonic elements of a film through the final stages of post-production. Alongside his work in cinema\, Sands has recorded hundreds of albums\, working with artists such as Ella Fitzgerald\, Oscar Peterson\, Sarah Vaughan\, Count Basie and Joe Pass. He has received four Academy Award nominations and won both an Emmy and a Grammy\, and is a member of the Motion Picture Academy\, the Cinema Audio Society and the Recording Academy. Sands also teaches seminars in recording and mixing\, including work with the Film Scoring program at the University of Southern California.  Randy Thom started his career in radio and music recording before making the transition to film in 1978\, when he was hired on Apocalypse Now (1979) as a sound effects recordist. Since then\, Thom has worked in a wide variety of creative capacities within the sound department in over 175 films. For example\, in addition to being the music mixer on Star Wars: Episode VI – Return of the Jedi (1983)\, Thom was also the production sound mixer for all the footage shot in the US. Since 1983\, Thom has been on staff as a sound designer and mixer at Lucasfilm’s Skywalker Sound facility. He is part of a small group of sound designers that are following in Walter Murch and Ben Burtt‘s footsteps in the continuing work of turning motion picture sound into an art form and not simply a series of technical processes. His work on a film often begins before the film has started shooting\, and becomes an integral part of the storytelling and emotional impact of the film. Thom has been part of Robert Zemeckis‘ core creative team ever since Forrest Gump (1994) having worked on Contact\, Cast Away\, The Polar Express and Flight. Through his career Thom has worked with such top Hollywood talents as Walter Murch\, Francis Ford Coppola\, George Lucas\, Steven Spielberg\, Brad Bird\, Tim Burton\, Chris Columbus\, Mel Brooks and the Farrelly Brothers. Thom has received two Academy Awards for sound\, The Right Stuff (1983)\, and for sound editing\, The Incredibles (2004). He has fifteen Oscar nominations. – IMDb Mini Biography By: Harry Caul RANDYTHOMBLOG URL:https://www.schoolofsound.co.uk/event/jonathan-webb-sonic-storyboards/ CATEGORIES:Talks ATTACH;FMTTYPE=image/png:https://www.schoolofsound.co.uk/wp-content/uploads/2025/01/Jonathan-Webb_screenshot2.png LOCATION:https://www.schoolofsound.co.uk/event/jonathan-webb-sonic-storyboards/ END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/London:20250220T190000 DTEND;TZID=Europe/London:20250220T210000 DTSTAMP:20250222T164153Z CREATED:20250114T142142Z LAST-MODIFIED:20250222T164153Z UID:10000046-1740078000-1740085200@www.schoolofsound.co.uk SUMMARY:Composing a soundtrack to emergency in 'Preemptive Listening': A conversation between Laurie Spiegel and Aura Satz DESCRIPTION:Alan Silvestri                                                                                 Dennis Sands                                                                                   Randy Thom \n \n \n \n   This session examines the never-ending question of how to balance music and sound design in the final mix. Three leading artists from sound and music\, whose collaborations span a remarkable series of award-winning films — including Contact\, Cast Away\, The Polar Express\, Back to the Future and Flight — come together to discuss the creative partnership required to integrate sound and music in feature filmmaking. Drawing on their shared experience\, they discuss the craft and communication that produces a unified soundtrack\, using the talents of each department fully. 2 hours including Q&A.Tickets include unlimited access to a recording of the event.   Alan Silvestri is an American film composer whose work spans more than four decades and a wide range of cinematic styles. After beginning his career writing music for television\, he moved into film scoring in the early 1980s and developed a long-standing collaboration with director Robert Zemeckis\, composing the music for films including Back to the Future\, Who Framed Roger Rabbit\, Forrest Gump\, Contact\, Cast Away\, The Polar Express and Pinocchio. Silvestri has also written scores for filmmakers such as James Cameron (The Abyss)\, John McTiernan (Predator)\, and the Russo brothers\, composing the music for several Marvel films including The Avengers\, Avengers: Infinity War and Avengers: Endgame. Working across action films\, drama\, comedy and animation\, Silvestri’s music has developed in close collaboration with directors\, sound designers and mixers\, shaping the emotional and narrative dimension of the soundtrack. Dennis Sands is a re-recording mixer and recording engineer whose career in Los Angeles spans nearly five decades across feature films\, animation\, television and music recording. He has mixed more than 350 film scores\, contributing to the soundtracks of films such as Back to the Future\, Forrest Gump\, The Shawshank Redemption\, American Beauty\, Spider-Man\, The Avengers\, Contact\, Cast Away\, The Polar Express and Pinocchio. As a re-recording mixer\, Sands shapes the final soundtrack of a film\, bringing together dialogue\, sound design and music into a balanced and coherent sonic whole. In this role he has collaborated closely with composers including Alan Silvestri\, Danny Elfman\, Michael Giacchino and Alexandre Desplat\, and with sound designers such as Randy Thom\, helping to guide the musical and sonic elements of a film through the final stages of post-production. Alongside his work in cinema\, Sands has recorded hundreds of albums\, working with artists such as Ella Fitzgerald\, Oscar Peterson\, Sarah Vaughan\, Count Basie and Joe Pass. He has received four Academy Award nominations and won both an Emmy and a Grammy\, and is a member of the Motion Picture Academy\, the Cinema Audio Society and the Recording Academy. Sands also teaches seminars in recording and mixing\, including work with the Film Scoring program at the University of Southern California.  Randy Thom started his career in radio and music recording before making the transition to film in 1978\, when he was hired on Apocalypse Now (1979) as a sound effects recordist. Since then\, Thom has worked in a wide variety of creative capacities within the sound department in over 175 films. For example\, in addition to being the music mixer on Star Wars: Episode VI – Return of the Jedi (1983)\, Thom was also the production sound mixer for all the footage shot in the US. Since 1983\, Thom has been on staff as a sound designer and mixer at Lucasfilm’s Skywalker Sound facility. He is part of a small group of sound designers that are following in Walter Murch and Ben Burtt‘s footsteps in the continuing work of turning motion picture sound into an art form and not simply a series of technical processes. His work on a film often begins before the film has started shooting\, and becomes an integral part of the storytelling and emotional impact of the film. Thom has been part of Robert Zemeckis‘ core creative team ever since Forrest Gump (1994) having worked on Contact\, Cast Away\, The Polar Express and Flight. Through his career Thom has worked with such top Hollywood talents as Walter Murch\, Francis Ford Coppola\, George Lucas\, Steven Spielberg\, Brad Bird\, Tim Burton\, Chris Columbus\, Mel Brooks and the Farrelly Brothers. Thom has received two Academy Awards for sound\, The Right Stuff (1983)\, and for sound editing\, The Incredibles (2004). He has fifteen Oscar nominations. – IMDb Mini Biography By: Harry Caul RANDYTHOMBLOG URL:https://www.schoolofsound.co.uk/event/composing-a-soundtrack-to-emergency-in-preemptive-listening-a-conversation-between-laurie-spiegel-and-aura-satz/ ATTACH;FMTTYPE=image/jpeg:https://www.schoolofsound.co.uk/wp-content/uploads/2025/01/Preemptive-Listening.jpg LOCATION:https://www.schoolofsound.co.uk/event/composing-a-soundtrack-to-emergency-in-preemptive-listening-a-conversation-between-laurie-spiegel-and-aura-satz/ END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/London:20250130T180000 DTEND;TZID=Europe/London:20250130T200000 DTSTAMP:20250201T014720Z CREATED:20241220T122912Z LAST-MODIFIED:20250201T014720Z UID:10000045-1738260000-1738267200@www.schoolofsound.co.uk SUMMARY:Melanie Wilson: Artist's Talk DESCRIPTION:Alan Silvestri                                                                                 Dennis Sands                                                                                   Randy Thom \n \n \n \n   This session examines the never-ending question of how to balance music and sound design in the final mix. Three leading artists from sound and music\, whose collaborations span a remarkable series of award-winning films — including Contact\, Cast Away\, The Polar Express\, Back to the Future and Flight — come together to discuss the creative partnership required to integrate sound and music in feature filmmaking. Drawing on their shared experience\, they discuss the craft and communication that produces a unified soundtrack\, using the talents of each department fully. 2 hours including Q&A.Tickets include unlimited access to a recording of the event.   Alan Silvestri is an American film composer whose work spans more than four decades and a wide range of cinematic styles. After beginning his career writing music for television\, he moved into film scoring in the early 1980s and developed a long-standing collaboration with director Robert Zemeckis\, composing the music for films including Back to the Future\, Who Framed Roger Rabbit\, Forrest Gump\, Contact\, Cast Away\, The Polar Express and Pinocchio. Silvestri has also written scores for filmmakers such as James Cameron (The Abyss)\, John McTiernan (Predator)\, and the Russo brothers\, composing the music for several Marvel films including The Avengers\, Avengers: Infinity War and Avengers: Endgame. Working across action films\, drama\, comedy and animation\, Silvestri’s music has developed in close collaboration with directors\, sound designers and mixers\, shaping the emotional and narrative dimension of the soundtrack. Dennis Sands is a re-recording mixer and recording engineer whose career in Los Angeles spans nearly five decades across feature films\, animation\, television and music recording. He has mixed more than 350 film scores\, contributing to the soundtracks of films such as Back to the Future\, Forrest Gump\, The Shawshank Redemption\, American Beauty\, Spider-Man\, The Avengers\, Contact\, Cast Away\, The Polar Express and Pinocchio. As a re-recording mixer\, Sands shapes the final soundtrack of a film\, bringing together dialogue\, sound design and music into a balanced and coherent sonic whole. In this role he has collaborated closely with composers including Alan Silvestri\, Danny Elfman\, Michael Giacchino and Alexandre Desplat\, and with sound designers such as Randy Thom\, helping to guide the musical and sonic elements of a film through the final stages of post-production. Alongside his work in cinema\, Sands has recorded hundreds of albums\, working with artists such as Ella Fitzgerald\, Oscar Peterson\, Sarah Vaughan\, Count Basie and Joe Pass. He has received four Academy Award nominations and won both an Emmy and a Grammy\, and is a member of the Motion Picture Academy\, the Cinema Audio Society and the Recording Academy. Sands also teaches seminars in recording and mixing\, including work with the Film Scoring program at the University of Southern California.  Randy Thom started his career in radio and music recording before making the transition to film in 1978\, when he was hired on Apocalypse Now (1979) as a sound effects recordist. Since then\, Thom has worked in a wide variety of creative capacities within the sound department in over 175 films. For example\, in addition to being the music mixer on Star Wars: Episode VI – Return of the Jedi (1983)\, Thom was also the production sound mixer for all the footage shot in the US. Since 1983\, Thom has been on staff as a sound designer and mixer at Lucasfilm’s Skywalker Sound facility. He is part of a small group of sound designers that are following in Walter Murch and Ben Burtt‘s footsteps in the continuing work of turning motion picture sound into an art form and not simply a series of technical processes. His work on a film often begins before the film has started shooting\, and becomes an integral part of the storytelling and emotional impact of the film. Thom has been part of Robert Zemeckis‘ core creative team ever since Forrest Gump (1994) having worked on Contact\, Cast Away\, The Polar Express and Flight. Through his career Thom has worked with such top Hollywood talents as Walter Murch\, Francis Ford Coppola\, George Lucas\, Steven Spielberg\, Brad Bird\, Tim Burton\, Chris Columbus\, Mel Brooks and the Farrelly Brothers. Thom has received two Academy Awards for sound\, The Right Stuff (1983)\, and for sound editing\, The Incredibles (2004). He has fifteen Oscar nominations. – IMDb Mini Biography By: Harry Caul RANDYTHOMBLOG URL:https://www.schoolofsound.co.uk/event/melanie-wilson-artists-talk/ ATTACH;FMTTYPE=image/png:https://www.schoolofsound.co.uk/wp-content/uploads/2024/12/Melanie-Wilson-16-x-9-credit-Tom-Baker.png LOCATION:https://www.schoolofsound.co.uk/event/melanie-wilson-artists-talk/ END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/London:20241212T180000 DTEND;TZID=Europe/London:20241212T200000 DTSTAMP:20241214T124207Z CREATED:20240930T115839Z LAST-MODIFIED:20241214T124207Z UID:10000041-1734026400-1734033600@www.schoolofsound.co.uk SUMMARY:Film as composition & music as an historical agent of change - Part 2 DESCRIPTION:Alan Silvestri                                                                                 Dennis Sands                                                                                   Randy Thom \n \n \n \n   This session examines the never-ending question of how to balance music and sound design in the final mix. Three leading artists from sound and music\, whose collaborations span a remarkable series of award-winning films — including Contact\, Cast Away\, The Polar Express\, Back to the Future and Flight — come together to discuss the creative partnership required to integrate sound and music in feature filmmaking. Drawing on their shared experience\, they discuss the craft and communication that produces a unified soundtrack\, using the talents of each department fully. 2 hours including Q&A.Tickets include unlimited access to a recording of the event.   Alan Silvestri is an American film composer whose work spans more than four decades and a wide range of cinematic styles. After beginning his career writing music for television\, he moved into film scoring in the early 1980s and developed a long-standing collaboration with director Robert Zemeckis\, composing the music for films including Back to the Future\, Who Framed Roger Rabbit\, Forrest Gump\, Contact\, Cast Away\, The Polar Express and Pinocchio. Silvestri has also written scores for filmmakers such as James Cameron (The Abyss)\, John McTiernan (Predator)\, and the Russo brothers\, composing the music for several Marvel films including The Avengers\, Avengers: Infinity War and Avengers: Endgame. Working across action films\, drama\, comedy and animation\, Silvestri’s music has developed in close collaboration with directors\, sound designers and mixers\, shaping the emotional and narrative dimension of the soundtrack. Dennis Sands is a re-recording mixer and recording engineer whose career in Los Angeles spans nearly five decades across feature films\, animation\, television and music recording. He has mixed more than 350 film scores\, contributing to the soundtracks of films such as Back to the Future\, Forrest Gump\, The Shawshank Redemption\, American Beauty\, Spider-Man\, The Avengers\, Contact\, Cast Away\, The Polar Express and Pinocchio. As a re-recording mixer\, Sands shapes the final soundtrack of a film\, bringing together dialogue\, sound design and music into a balanced and coherent sonic whole. In this role he has collaborated closely with composers including Alan Silvestri\, Danny Elfman\, Michael Giacchino and Alexandre Desplat\, and with sound designers such as Randy Thom\, helping to guide the musical and sonic elements of a film through the final stages of post-production. Alongside his work in cinema\, Sands has recorded hundreds of albums\, working with artists such as Ella Fitzgerald\, Oscar Peterson\, Sarah Vaughan\, Count Basie and Joe Pass. He has received four Academy Award nominations and won both an Emmy and a Grammy\, and is a member of the Motion Picture Academy\, the Cinema Audio Society and the Recording Academy. Sands also teaches seminars in recording and mixing\, including work with the Film Scoring program at the University of Southern California.  Randy Thom started his career in radio and music recording before making the transition to film in 1978\, when he was hired on Apocalypse Now (1979) as a sound effects recordist. Since then\, Thom has worked in a wide variety of creative capacities within the sound department in over 175 films. For example\, in addition to being the music mixer on Star Wars: Episode VI – Return of the Jedi (1983)\, Thom was also the production sound mixer for all the footage shot in the US. Since 1983\, Thom has been on staff as a sound designer and mixer at Lucasfilm’s Skywalker Sound facility. He is part of a small group of sound designers that are following in Walter Murch and Ben Burtt‘s footsteps in the continuing work of turning motion picture sound into an art form and not simply a series of technical processes. His work on a film often begins before the film has started shooting\, and becomes an integral part of the storytelling and emotional impact of the film. Thom has been part of Robert Zemeckis‘ core creative team ever since Forrest Gump (1994) having worked on Contact\, Cast Away\, The Polar Express and Flight. Through his career Thom has worked with such top Hollywood talents as Walter Murch\, Francis Ford Coppola\, George Lucas\, Steven Spielberg\, Brad Bird\, Tim Burton\, Chris Columbus\, Mel Brooks and the Farrelly Brothers. Thom has received two Academy Awards for sound\, The Right Stuff (1983)\, and for sound editing\, The Incredibles (2004). He has fifteen Oscar nominations. – IMDb Mini Biography By: Harry Caul RANDYTHOMBLOG URL:https://www.schoolofsound.co.uk/event/film-as-composition-music-as-an-historical-agent-of-change-part-2/ CATEGORIES:Talks ATTACH;FMTTYPE=image/jpeg:https://www.schoolofsound.co.uk/wp-content/uploads/2024/09/MV5BZDE3MjRjYzctYjM4ZS00MDVlLThiOGYtZGE4NTNmODNlOWE3XkEyXkFqcGc@._V1_QL75_UX1640_.jpg ORGANIZER;CN="The School of Sound":MAILTO:sos@schoolofsound.co.uk LOCATION:https://www.schoolofsound.co.uk/event/film-as-composition-music-as-an-historical-agent-of-change-part-2/ END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/London:20241203T180000 DTEND;TZID=Europe/London:20241203T200000 DTSTAMP:20241204T221817Z CREATED:20240930T094917Z LAST-MODIFIED:20241204T221817Z UID:10000039-1733248800-1733256000@www.schoolofsound.co.uk SUMMARY:Film as composition & music as an historical agent of change - Part 1 DESCRIPTION:Alan Silvestri                                                                                 Dennis Sands                                                                                   Randy Thom \n \n \n \n   This session examines the never-ending question of how to balance music and sound design in the final mix. Three leading artists from sound and music\, whose collaborations span a remarkable series of award-winning films — including Contact\, Cast Away\, The Polar Express\, Back to the Future and Flight — come together to discuss the creative partnership required to integrate sound and music in feature filmmaking. Drawing on their shared experience\, they discuss the craft and communication that produces a unified soundtrack\, using the talents of each department fully. 2 hours including Q&A.Tickets include unlimited access to a recording of the event.   Alan Silvestri is an American film composer whose work spans more than four decades and a wide range of cinematic styles. After beginning his career writing music for television\, he moved into film scoring in the early 1980s and developed a long-standing collaboration with director Robert Zemeckis\, composing the music for films including Back to the Future\, Who Framed Roger Rabbit\, Forrest Gump\, Contact\, Cast Away\, The Polar Express and Pinocchio. Silvestri has also written scores for filmmakers such as James Cameron (The Abyss)\, John McTiernan (Predator)\, and the Russo brothers\, composing the music for several Marvel films including The Avengers\, Avengers: Infinity War and Avengers: Endgame. Working across action films\, drama\, comedy and animation\, Silvestri’s music has developed in close collaboration with directors\, sound designers and mixers\, shaping the emotional and narrative dimension of the soundtrack. Dennis Sands is a re-recording mixer and recording engineer whose career in Los Angeles spans nearly five decades across feature films\, animation\, television and music recording. He has mixed more than 350 film scores\, contributing to the soundtracks of films such as Back to the Future\, Forrest Gump\, The Shawshank Redemption\, American Beauty\, Spider-Man\, The Avengers\, Contact\, Cast Away\, The Polar Express and Pinocchio. As a re-recording mixer\, Sands shapes the final soundtrack of a film\, bringing together dialogue\, sound design and music into a balanced and coherent sonic whole. In this role he has collaborated closely with composers including Alan Silvestri\, Danny Elfman\, Michael Giacchino and Alexandre Desplat\, and with sound designers such as Randy Thom\, helping to guide the musical and sonic elements of a film through the final stages of post-production. Alongside his work in cinema\, Sands has recorded hundreds of albums\, working with artists such as Ella Fitzgerald\, Oscar Peterson\, Sarah Vaughan\, Count Basie and Joe Pass. He has received four Academy Award nominations and won both an Emmy and a Grammy\, and is a member of the Motion Picture Academy\, the Cinema Audio Society and the Recording Academy. Sands also teaches seminars in recording and mixing\, including work with the Film Scoring program at the University of Southern California.  Randy Thom started his career in radio and music recording before making the transition to film in 1978\, when he was hired on Apocalypse Now (1979) as a sound effects recordist. Since then\, Thom has worked in a wide variety of creative capacities within the sound department in over 175 films. For example\, in addition to being the music mixer on Star Wars: Episode VI – Return of the Jedi (1983)\, Thom was also the production sound mixer for all the footage shot in the US. Since 1983\, Thom has been on staff as a sound designer and mixer at Lucasfilm’s Skywalker Sound facility. He is part of a small group of sound designers that are following in Walter Murch and Ben Burtt‘s footsteps in the continuing work of turning motion picture sound into an art form and not simply a series of technical processes. His work on a film often begins before the film has started shooting\, and becomes an integral part of the storytelling and emotional impact of the film. Thom has been part of Robert Zemeckis‘ core creative team ever since Forrest Gump (1994) having worked on Contact\, Cast Away\, The Polar Express and Flight. Through his career Thom has worked with such top Hollywood talents as Walter Murch\, Francis Ford Coppola\, George Lucas\, Steven Spielberg\, Brad Bird\, Tim Burton\, Chris Columbus\, Mel Brooks and the Farrelly Brothers. Thom has received two Academy Awards for sound\, The Right Stuff (1983)\, and for sound editing\, The Incredibles (2004). He has fifteen Oscar nominations. – IMDb Mini Biography By: Harry Caul RANDYTHOMBLOG URL:https://www.schoolofsound.co.uk/event/film-as-composition-music-as-an-historical-agent-of-change-part-1/ CATEGORIES:Talks ATTACH;FMTTYPE=image/jpeg:https://www.schoolofsound.co.uk/wp-content/uploads/2024/09/MV5BZDE3MjRjYzctYjM4ZS00MDVlLThiOGYtZGE4NTNmODNlOWE3XkEyXkFqcGc@._V1_QL75_UX1640_.jpg ORGANIZER;CN="The School of Sound":MAILTO:sos@schoolofsound.co.uk LOCATION:https://www.schoolofsound.co.uk/event/film-as-composition-music-as-an-historical-agent-of-change-part-1/ END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/London:20241130T190000 DTEND;TZID=Europe/London:20241130T210000 DTSTAMP:20250311T092619Z CREATED:20240930T134446Z LAST-MODIFIED:20250311T092619Z UID:10000043-1732993200-1733000400@www.schoolofsound.co.uk SUMMARY:David Lynch's Soundtracks DESCRIPTION:Alan Silvestri                                                                                 Dennis Sands                                                                                   Randy Thom \n \n \n \n   This session examines the never-ending question of how to balance music and sound design in the final mix. Three leading artists from sound and music\, whose collaborations span a remarkable series of award-winning films — including Contact\, Cast Away\, The Polar Express\, Back to the Future and Flight — come together to discuss the creative partnership required to integrate sound and music in feature filmmaking. Drawing on their shared experience\, they discuss the craft and communication that produces a unified soundtrack\, using the talents of each department fully. 2 hours including Q&A.Tickets include unlimited access to a recording of the event.   Alan Silvestri is an American film composer whose work spans more than four decades and a wide range of cinematic styles. After beginning his career writing music for television\, he moved into film scoring in the early 1980s and developed a long-standing collaboration with director Robert Zemeckis\, composing the music for films including Back to the Future\, Who Framed Roger Rabbit\, Forrest Gump\, Contact\, Cast Away\, The Polar Express and Pinocchio. Silvestri has also written scores for filmmakers such as James Cameron (The Abyss)\, John McTiernan (Predator)\, and the Russo brothers\, composing the music for several Marvel films including The Avengers\, Avengers: Infinity War and Avengers: Endgame. Working across action films\, drama\, comedy and animation\, Silvestri’s music has developed in close collaboration with directors\, sound designers and mixers\, shaping the emotional and narrative dimension of the soundtrack. Dennis Sands is a re-recording mixer and recording engineer whose career in Los Angeles spans nearly five decades across feature films\, animation\, television and music recording. He has mixed more than 350 film scores\, contributing to the soundtracks of films such as Back to the Future\, Forrest Gump\, The Shawshank Redemption\, American Beauty\, Spider-Man\, The Avengers\, Contact\, Cast Away\, The Polar Express and Pinocchio. As a re-recording mixer\, Sands shapes the final soundtrack of a film\, bringing together dialogue\, sound design and music into a balanced and coherent sonic whole. In this role he has collaborated closely with composers including Alan Silvestri\, Danny Elfman\, Michael Giacchino and Alexandre Desplat\, and with sound designers such as Randy Thom\, helping to guide the musical and sonic elements of a film through the final stages of post-production. Alongside his work in cinema\, Sands has recorded hundreds of albums\, working with artists such as Ella Fitzgerald\, Oscar Peterson\, Sarah Vaughan\, Count Basie and Joe Pass. He has received four Academy Award nominations and won both an Emmy and a Grammy\, and is a member of the Motion Picture Academy\, the Cinema Audio Society and the Recording Academy. Sands also teaches seminars in recording and mixing\, including work with the Film Scoring program at the University of Southern California.  Randy Thom started his career in radio and music recording before making the transition to film in 1978\, when he was hired on Apocalypse Now (1979) as a sound effects recordist. Since then\, Thom has worked in a wide variety of creative capacities within the sound department in over 175 films. For example\, in addition to being the music mixer on Star Wars: Episode VI – Return of the Jedi (1983)\, Thom was also the production sound mixer for all the footage shot in the US. Since 1983\, Thom has been on staff as a sound designer and mixer at Lucasfilm’s Skywalker Sound facility. He is part of a small group of sound designers that are following in Walter Murch and Ben Burtt‘s footsteps in the continuing work of turning motion picture sound into an art form and not simply a series of technical processes. His work on a film often begins before the film has started shooting\, and becomes an integral part of the storytelling and emotional impact of the film. Thom has been part of Robert Zemeckis‘ core creative team ever since Forrest Gump (1994) having worked on Contact\, Cast Away\, The Polar Express and Flight. Through his career Thom has worked with such top Hollywood talents as Walter Murch\, Francis Ford Coppola\, George Lucas\, Steven Spielberg\, Brad Bird\, Tim Burton\, Chris Columbus\, Mel Brooks and the Farrelly Brothers. Thom has received two Academy Awards for sound\, The Right Stuff (1983)\, and for sound editing\, The Incredibles (2004). He has fifteen Oscar nominations. – IMDb Mini Biography By: Harry Caul RANDYTHOMBLOG URL:https://www.schoolofsound.co.uk/event/david-lynchs-soundtracks/ ATTACH;FMTTYPE=image/jpeg:https://www.schoolofsound.co.uk/wp-content/uploads/2024/09/sos_lynch-scaled.jpg ORGANIZER;CN="The School of Sound":MAILTO:sos@schoolofsound.co.uk LOCATION:https://www.schoolofsound.co.uk/event/david-lynchs-soundtracks/ END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/London:20241120T190000 DTEND;TZID=Europe/London:20241120T210000 DTSTAMP:20241215T162042Z CREATED:20240930T153129Z LAST-MODIFIED:20241215T162042Z UID:10000044-1732129200-1732136400@www.schoolofsound.co.uk SUMMARY:Screenwriting For Sound DESCRIPTION:Alan Silvestri                                                                                 Dennis Sands                                                                                   Randy Thom \n \n \n \n   This session examines the never-ending question of how to balance music and sound design in the final mix. Three leading artists from sound and music\, whose collaborations span a remarkable series of award-winning films — including Contact\, Cast Away\, The Polar Express\, Back to the Future and Flight — come together to discuss the creative partnership required to integrate sound and music in feature filmmaking. Drawing on their shared experience\, they discuss the craft and communication that produces a unified soundtrack\, using the talents of each department fully. 2 hours including Q&A.Tickets include unlimited access to a recording of the event.   Alan Silvestri is an American film composer whose work spans more than four decades and a wide range of cinematic styles. After beginning his career writing music for television\, he moved into film scoring in the early 1980s and developed a long-standing collaboration with director Robert Zemeckis\, composing the music for films including Back to the Future\, Who Framed Roger Rabbit\, Forrest Gump\, Contact\, Cast Away\, The Polar Express and Pinocchio. Silvestri has also written scores for filmmakers such as James Cameron (The Abyss)\, John McTiernan (Predator)\, and the Russo brothers\, composing the music for several Marvel films including The Avengers\, Avengers: Infinity War and Avengers: Endgame. Working across action films\, drama\, comedy and animation\, Silvestri’s music has developed in close collaboration with directors\, sound designers and mixers\, shaping the emotional and narrative dimension of the soundtrack. Dennis Sands is a re-recording mixer and recording engineer whose career in Los Angeles spans nearly five decades across feature films\, animation\, television and music recording. He has mixed more than 350 film scores\, contributing to the soundtracks of films such as Back to the Future\, Forrest Gump\, The Shawshank Redemption\, American Beauty\, Spider-Man\, The Avengers\, Contact\, Cast Away\, The Polar Express and Pinocchio. As a re-recording mixer\, Sands shapes the final soundtrack of a film\, bringing together dialogue\, sound design and music into a balanced and coherent sonic whole. In this role he has collaborated closely with composers including Alan Silvestri\, Danny Elfman\, Michael Giacchino and Alexandre Desplat\, and with sound designers such as Randy Thom\, helping to guide the musical and sonic elements of a film through the final stages of post-production. Alongside his work in cinema\, Sands has recorded hundreds of albums\, working with artists such as Ella Fitzgerald\, Oscar Peterson\, Sarah Vaughan\, Count Basie and Joe Pass. He has received four Academy Award nominations and won both an Emmy and a Grammy\, and is a member of the Motion Picture Academy\, the Cinema Audio Society and the Recording Academy. Sands also teaches seminars in recording and mixing\, including work with the Film Scoring program at the University of Southern California.  Randy Thom started his career in radio and music recording before making the transition to film in 1978\, when he was hired on Apocalypse Now (1979) as a sound effects recordist. Since then\, Thom has worked in a wide variety of creative capacities within the sound department in over 175 films. For example\, in addition to being the music mixer on Star Wars: Episode VI – Return of the Jedi (1983)\, Thom was also the production sound mixer for all the footage shot in the US. Since 1983\, Thom has been on staff as a sound designer and mixer at Lucasfilm’s Skywalker Sound facility. He is part of a small group of sound designers that are following in Walter Murch and Ben Burtt‘s footsteps in the continuing work of turning motion picture sound into an art form and not simply a series of technical processes. His work on a film often begins before the film has started shooting\, and becomes an integral part of the storytelling and emotional impact of the film. Thom has been part of Robert Zemeckis‘ core creative team ever since Forrest Gump (1994) having worked on Contact\, Cast Away\, The Polar Express and Flight. Through his career Thom has worked with such top Hollywood talents as Walter Murch\, Francis Ford Coppola\, George Lucas\, Steven Spielberg\, Brad Bird\, Tim Burton\, Chris Columbus\, Mel Brooks and the Farrelly Brothers. Thom has received two Academy Awards for sound\, The Right Stuff (1983)\, and for sound editing\, The Incredibles (2004). He has fifteen Oscar nominations. – IMDb Mini Biography By: Harry Caul RANDYTHOMBLOG URL:https://www.schoolofsound.co.uk/event/screenwriting-for-sound/ ATTACH;FMTTYPE=image/jpeg:https://www.schoolofsound.co.uk/wp-content/uploads/2024/09/Randy-Headshot-16.9-crop-scaled.jpeg ORGANIZER;CN="The School of Sound":MAILTO:sos@schoolofsound.co.uk LOCATION:https://www.schoolofsound.co.uk/event/screenwriting-for-sound/ END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/London:20241111T190000 DTEND;TZID=Europe/London:20241111T210000 DTSTAMP:20241118T172447Z CREATED:20240930T131816Z LAST-MODIFIED:20241118T172447Z UID:10000042-1731351600-1731358800@www.schoolofsound.co.uk SUMMARY:Stanley Kubrick's Soundtracks DESCRIPTION:Alan Silvestri                                                                                 Dennis Sands                                                                                   Randy Thom \n \n \n \n   This session examines the never-ending question of how to balance music and sound design in the final mix. Three leading artists from sound and music\, whose collaborations span a remarkable series of award-winning films — including Contact\, Cast Away\, The Polar Express\, Back to the Future and Flight — come together to discuss the creative partnership required to integrate sound and music in feature filmmaking. Drawing on their shared experience\, they discuss the craft and communication that produces a unified soundtrack\, using the talents of each department fully. 2 hours including Q&A.Tickets include unlimited access to a recording of the event.   Alan Silvestri is an American film composer whose work spans more than four decades and a wide range of cinematic styles. After beginning his career writing music for television\, he moved into film scoring in the early 1980s and developed a long-standing collaboration with director Robert Zemeckis\, composing the music for films including Back to the Future\, Who Framed Roger Rabbit\, Forrest Gump\, Contact\, Cast Away\, The Polar Express and Pinocchio. Silvestri has also written scores for filmmakers such as James Cameron (The Abyss)\, John McTiernan (Predator)\, and the Russo brothers\, composing the music for several Marvel films including The Avengers\, Avengers: Infinity War and Avengers: Endgame. Working across action films\, drama\, comedy and animation\, Silvestri’s music has developed in close collaboration with directors\, sound designers and mixers\, shaping the emotional and narrative dimension of the soundtrack. Dennis Sands is a re-recording mixer and recording engineer whose career in Los Angeles spans nearly five decades across feature films\, animation\, television and music recording. He has mixed more than 350 film scores\, contributing to the soundtracks of films such as Back to the Future\, Forrest Gump\, The Shawshank Redemption\, American Beauty\, Spider-Man\, The Avengers\, Contact\, Cast Away\, The Polar Express and Pinocchio. As a re-recording mixer\, Sands shapes the final soundtrack of a film\, bringing together dialogue\, sound design and music into a balanced and coherent sonic whole. In this role he has collaborated closely with composers including Alan Silvestri\, Danny Elfman\, Michael Giacchino and Alexandre Desplat\, and with sound designers such as Randy Thom\, helping to guide the musical and sonic elements of a film through the final stages of post-production. Alongside his work in cinema\, Sands has recorded hundreds of albums\, working with artists such as Ella Fitzgerald\, Oscar Peterson\, Sarah Vaughan\, Count Basie and Joe Pass. He has received four Academy Award nominations and won both an Emmy and a Grammy\, and is a member of the Motion Picture Academy\, the Cinema Audio Society and the Recording Academy. Sands also teaches seminars in recording and mixing\, including work with the Film Scoring program at the University of Southern California.  Randy Thom started his career in radio and music recording before making the transition to film in 1978\, when he was hired on Apocalypse Now (1979) as a sound effects recordist. Since then\, Thom has worked in a wide variety of creative capacities within the sound department in over 175 films. For example\, in addition to being the music mixer on Star Wars: Episode VI – Return of the Jedi (1983)\, Thom was also the production sound mixer for all the footage shot in the US. Since 1983\, Thom has been on staff as a sound designer and mixer at Lucasfilm’s Skywalker Sound facility. He is part of a small group of sound designers that are following in Walter Murch and Ben Burtt‘s footsteps in the continuing work of turning motion picture sound into an art form and not simply a series of technical processes. His work on a film often begins before the film has started shooting\, and becomes an integral part of the storytelling and emotional impact of the film. Thom has been part of Robert Zemeckis‘ core creative team ever since Forrest Gump (1994) having worked on Contact\, Cast Away\, The Polar Express and Flight. Through his career Thom has worked with such top Hollywood talents as Walter Murch\, Francis Ford Coppola\, George Lucas\, Steven Spielberg\, Brad Bird\, Tim Burton\, Chris Columbus\, Mel Brooks and the Farrelly Brothers. Thom has received two Academy Awards for sound\, The Right Stuff (1983)\, and for sound editing\, The Incredibles (2004). He has fifteen Oscar nominations. – IMDb Mini Biography By: Harry Caul RANDYTHOMBLOG URL:https://www.schoolofsound.co.uk/event/stanley-kubricks-soundtracks/ ATTACH;FMTTYPE=image/jpeg:https://www.schoolofsound.co.uk/wp-content/uploads/2024/09/sos_sk-copy.jpg LOCATION:https://www.schoolofsound.co.uk/event/stanley-kubricks-soundtracks/ END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/London:20240617T160000 DTEND;TZID=Europe/London:20240617T180000 DTSTAMP:20240724T102101Z CREATED:20240324T204228Z LAST-MODIFIED:20240724T102101Z UID:10000036-1718640000-1718647200@www.schoolofsound.co.uk SUMMARY:Richard Shannon: An Introduction to Audio Drama DESCRIPTION:Alan Silvestri                                                                                 Dennis Sands                                                                                   Randy Thom \n \n \n \n   This session examines the never-ending question of how to balance music and sound design in the final mix. Three leading artists from sound and music\, whose collaborations span a remarkable series of award-winning films — including Contact\, Cast Away\, The Polar Express\, Back to the Future and Flight — come together to discuss the creative partnership required to integrate sound and music in feature filmmaking. Drawing on their shared experience\, they discuss the craft and communication that produces a unified soundtrack\, using the talents of each department fully. 2 hours including Q&A.Tickets include unlimited access to a recording of the event.   Alan Silvestri is an American film composer whose work spans more than four decades and a wide range of cinematic styles. After beginning his career writing music for television\, he moved into film scoring in the early 1980s and developed a long-standing collaboration with director Robert Zemeckis\, composing the music for films including Back to the Future\, Who Framed Roger Rabbit\, Forrest Gump\, Contact\, Cast Away\, The Polar Express and Pinocchio. Silvestri has also written scores for filmmakers such as James Cameron (The Abyss)\, John McTiernan (Predator)\, and the Russo brothers\, composing the music for several Marvel films including The Avengers\, Avengers: Infinity War and Avengers: Endgame. Working across action films\, drama\, comedy and animation\, Silvestri’s music has developed in close collaboration with directors\, sound designers and mixers\, shaping the emotional and narrative dimension of the soundtrack. Dennis Sands is a re-recording mixer and recording engineer whose career in Los Angeles spans nearly five decades across feature films\, animation\, television and music recording. He has mixed more than 350 film scores\, contributing to the soundtracks of films such as Back to the Future\, Forrest Gump\, The Shawshank Redemption\, American Beauty\, Spider-Man\, The Avengers\, Contact\, Cast Away\, The Polar Express and Pinocchio. As a re-recording mixer\, Sands shapes the final soundtrack of a film\, bringing together dialogue\, sound design and music into a balanced and coherent sonic whole. In this role he has collaborated closely with composers including Alan Silvestri\, Danny Elfman\, Michael Giacchino and Alexandre Desplat\, and with sound designers such as Randy Thom\, helping to guide the musical and sonic elements of a film through the final stages of post-production. Alongside his work in cinema\, Sands has recorded hundreds of albums\, working with artists such as Ella Fitzgerald\, Oscar Peterson\, Sarah Vaughan\, Count Basie and Joe Pass. He has received four Academy Award nominations and won both an Emmy and a Grammy\, and is a member of the Motion Picture Academy\, the Cinema Audio Society and the Recording Academy. Sands also teaches seminars in recording and mixing\, including work with the Film Scoring program at the University of Southern California.  Randy Thom started his career in radio and music recording before making the transition to film in 1978\, when he was hired on Apocalypse Now (1979) as a sound effects recordist. Since then\, Thom has worked in a wide variety of creative capacities within the sound department in over 175 films. For example\, in addition to being the music mixer on Star Wars: Episode VI – Return of the Jedi (1983)\, Thom was also the production sound mixer for all the footage shot in the US. Since 1983\, Thom has been on staff as a sound designer and mixer at Lucasfilm’s Skywalker Sound facility. He is part of a small group of sound designers that are following in Walter Murch and Ben Burtt‘s footsteps in the continuing work of turning motion picture sound into an art form and not simply a series of technical processes. His work on a film often begins before the film has started shooting\, and becomes an integral part of the storytelling and emotional impact of the film. Thom has been part of Robert Zemeckis‘ core creative team ever since Forrest Gump (1994) having worked on Contact\, Cast Away\, The Polar Express and Flight. Through his career Thom has worked with such top Hollywood talents as Walter Murch\, Francis Ford Coppola\, George Lucas\, Steven Spielberg\, Brad Bird\, Tim Burton\, Chris Columbus\, Mel Brooks and the Farrelly Brothers. Thom has received two Academy Awards for sound\, The Right Stuff (1983)\, and for sound editing\, The Incredibles (2004). He has fifteen Oscar nominations. – IMDb Mini Biography By: Harry Caul RANDYTHOMBLOG URL:https://www.schoolofsound.co.uk/event/richard-shannon-an-introduction-to-audio-drama/ ATTACH;FMTTYPE=image/jpeg:https://www.schoolofsound.co.uk/wp-content/uploads/2024/03/Richard-Shannon-380-square.jpg LOCATION:https://www.schoolofsound.co.uk/event/richard-shannon-an-introduction-to-audio-drama/ END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/London:20240608T150000 DTEND;TZID=Europe/London:20240608T170000 DTSTAMP:20240724T105259Z CREATED:20240408T091630Z LAST-MODIFIED:20240724T105259Z UID:10000038-1717858800-1717866000@www.schoolofsound.co.uk SUMMARY:Ray Beckett: Location Recording for Drama - The Audience Experience DESCRIPTION:Alan Silvestri                                                                                 Dennis Sands                                                                                   Randy Thom \n \n \n \n   This session examines the never-ending question of how to balance music and sound design in the final mix. Three leading artists from sound and music\, whose collaborations span a remarkable series of award-winning films — including Contact\, Cast Away\, The Polar Express\, Back to the Future and Flight — come together to discuss the creative partnership required to integrate sound and music in feature filmmaking. Drawing on their shared experience\, they discuss the craft and communication that produces a unified soundtrack\, using the talents of each department fully. 2 hours including Q&A.Tickets include unlimited access to a recording of the event.   Alan Silvestri is an American film composer whose work spans more than four decades and a wide range of cinematic styles. After beginning his career writing music for television\, he moved into film scoring in the early 1980s and developed a long-standing collaboration with director Robert Zemeckis\, composing the music for films including Back to the Future\, Who Framed Roger Rabbit\, Forrest Gump\, Contact\, Cast Away\, The Polar Express and Pinocchio. Silvestri has also written scores for filmmakers such as James Cameron (The Abyss)\, John McTiernan (Predator)\, and the Russo brothers\, composing the music for several Marvel films including The Avengers\, Avengers: Infinity War and Avengers: Endgame. Working across action films\, drama\, comedy and animation\, Silvestri’s music has developed in close collaboration with directors\, sound designers and mixers\, shaping the emotional and narrative dimension of the soundtrack. Dennis Sands is a re-recording mixer and recording engineer whose career in Los Angeles spans nearly five decades across feature films\, animation\, television and music recording. He has mixed more than 350 film scores\, contributing to the soundtracks of films such as Back to the Future\, Forrest Gump\, The Shawshank Redemption\, American Beauty\, Spider-Man\, The Avengers\, Contact\, Cast Away\, The Polar Express and Pinocchio. As a re-recording mixer\, Sands shapes the final soundtrack of a film\, bringing together dialogue\, sound design and music into a balanced and coherent sonic whole. In this role he has collaborated closely with composers including Alan Silvestri\, Danny Elfman\, Michael Giacchino and Alexandre Desplat\, and with sound designers such as Randy Thom\, helping to guide the musical and sonic elements of a film through the final stages of post-production. Alongside his work in cinema\, Sands has recorded hundreds of albums\, working with artists such as Ella Fitzgerald\, Oscar Peterson\, Sarah Vaughan\, Count Basie and Joe Pass. He has received four Academy Award nominations and won both an Emmy and a Grammy\, and is a member of the Motion Picture Academy\, the Cinema Audio Society and the Recording Academy. Sands also teaches seminars in recording and mixing\, including work with the Film Scoring program at the University of Southern California.  Randy Thom started his career in radio and music recording before making the transition to film in 1978\, when he was hired on Apocalypse Now (1979) as a sound effects recordist. Since then\, Thom has worked in a wide variety of creative capacities within the sound department in over 175 films. For example\, in addition to being the music mixer on Star Wars: Episode VI – Return of the Jedi (1983)\, Thom was also the production sound mixer for all the footage shot in the US. Since 1983\, Thom has been on staff as a sound designer and mixer at Lucasfilm’s Skywalker Sound facility. He is part of a small group of sound designers that are following in Walter Murch and Ben Burtt‘s footsteps in the continuing work of turning motion picture sound into an art form and not simply a series of technical processes. His work on a film often begins before the film has started shooting\, and becomes an integral part of the storytelling and emotional impact of the film. Thom has been part of Robert Zemeckis‘ core creative team ever since Forrest Gump (1994) having worked on Contact\, Cast Away\, The Polar Express and Flight. Through his career Thom has worked with such top Hollywood talents as Walter Murch\, Francis Ford Coppola\, George Lucas\, Steven Spielberg\, Brad Bird\, Tim Burton\, Chris Columbus\, Mel Brooks and the Farrelly Brothers. Thom has received two Academy Awards for sound\, The Right Stuff (1983)\, and for sound editing\, The Incredibles (2004). He has fifteen Oscar nominations. – IMDb Mini Biography By: Harry Caul RANDYTHOMBLOG URL:https://www.schoolofsound.co.uk/event/ray-beckett-location-recording-for-drama-the-audience-experience/ ATTACH;FMTTYPE=image/jpeg:https://www.schoolofsound.co.uk/wp-content/uploads/2024/04/Ray-Beckett_cropped.jpg LOCATION:https://www.schoolofsound.co.uk/event/ray-beckett-location-recording-for-drama-the-audience-experience/ END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/London:20240604T150000 DTEND;TZID=Europe/London:20240604T170000 DTSTAMP:20240706T104014Z CREATED:20240307T100021Z LAST-MODIFIED:20240706T104014Z UID:10000032-1717513200-1717520400@www.schoolofsound.co.uk SUMMARY:Listening to Shadows: Seán Street explores the work of Piers Plowright DESCRIPTION:Alan Silvestri                                                                                 Dennis Sands                                                                                   Randy Thom \n \n \n \n   This session examines the never-ending question of how to balance music and sound design in the final mix. Three leading artists from sound and music\, whose collaborations span a remarkable series of award-winning films — including Contact\, Cast Away\, The Polar Express\, Back to the Future and Flight — come together to discuss the creative partnership required to integrate sound and music in feature filmmaking. Drawing on their shared experience\, they discuss the craft and communication that produces a unified soundtrack\, using the talents of each department fully. 2 hours including Q&A.Tickets include unlimited access to a recording of the event.   Alan Silvestri is an American film composer whose work spans more than four decades and a wide range of cinematic styles. After beginning his career writing music for television\, he moved into film scoring in the early 1980s and developed a long-standing collaboration with director Robert Zemeckis\, composing the music for films including Back to the Future\, Who Framed Roger Rabbit\, Forrest Gump\, Contact\, Cast Away\, The Polar Express and Pinocchio. Silvestri has also written scores for filmmakers such as James Cameron (The Abyss)\, John McTiernan (Predator)\, and the Russo brothers\, composing the music for several Marvel films including The Avengers\, Avengers: Infinity War and Avengers: Endgame. Working across action films\, drama\, comedy and animation\, Silvestri’s music has developed in close collaboration with directors\, sound designers and mixers\, shaping the emotional and narrative dimension of the soundtrack. Dennis Sands is a re-recording mixer and recording engineer whose career in Los Angeles spans nearly five decades across feature films\, animation\, television and music recording. He has mixed more than 350 film scores\, contributing to the soundtracks of films such as Back to the Future\, Forrest Gump\, The Shawshank Redemption\, American Beauty\, Spider-Man\, The Avengers\, Contact\, Cast Away\, The Polar Express and Pinocchio. As a re-recording mixer\, Sands shapes the final soundtrack of a film\, bringing together dialogue\, sound design and music into a balanced and coherent sonic whole. In this role he has collaborated closely with composers including Alan Silvestri\, Danny Elfman\, Michael Giacchino and Alexandre Desplat\, and with sound designers such as Randy Thom\, helping to guide the musical and sonic elements of a film through the final stages of post-production. Alongside his work in cinema\, Sands has recorded hundreds of albums\, working with artists such as Ella Fitzgerald\, Oscar Peterson\, Sarah Vaughan\, Count Basie and Joe Pass. He has received four Academy Award nominations and won both an Emmy and a Grammy\, and is a member of the Motion Picture Academy\, the Cinema Audio Society and the Recording Academy. Sands also teaches seminars in recording and mixing\, including work with the Film Scoring program at the University of Southern California.  Randy Thom started his career in radio and music recording before making the transition to film in 1978\, when he was hired on Apocalypse Now (1979) as a sound effects recordist. Since then\, Thom has worked in a wide variety of creative capacities within the sound department in over 175 films. For example\, in addition to being the music mixer on Star Wars: Episode VI – Return of the Jedi (1983)\, Thom was also the production sound mixer for all the footage shot in the US. Since 1983\, Thom has been on staff as a sound designer and mixer at Lucasfilm’s Skywalker Sound facility. He is part of a small group of sound designers that are following in Walter Murch and Ben Burtt‘s footsteps in the continuing work of turning motion picture sound into an art form and not simply a series of technical processes. His work on a film often begins before the film has started shooting\, and becomes an integral part of the storytelling and emotional impact of the film. Thom has been part of Robert Zemeckis‘ core creative team ever since Forrest Gump (1994) having worked on Contact\, Cast Away\, The Polar Express and Flight. Through his career Thom has worked with such top Hollywood talents as Walter Murch\, Francis Ford Coppola\, George Lucas\, Steven Spielberg\, Brad Bird\, Tim Burton\, Chris Columbus\, Mel Brooks and the Farrelly Brothers. Thom has received two Academy Awards for sound\, The Right Stuff (1983)\, and for sound editing\, The Incredibles (2004). He has fifteen Oscar nominations. – IMDb Mini Biography By: Harry Caul RANDYTHOMBLOG URL:https://www.schoolofsound.co.uk/event/listening-to-shadows/ ATTACH;FMTTYPE=image/jpeg:https://www.schoolofsound.co.uk/wp-content/uploads/2024/03/Sean_Street_Author-768x1024-1.jpg LOCATION:https://www.schoolofsound.co.uk/event/listening-to-shadows/ END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/London:20240525T160000 DTEND;TZID=Europe/London:20240525T180000 DTSTAMP:20240528T191541Z CREATED:20240313T120851Z LAST-MODIFIED:20240528T191541Z UID:10000034-1716652800-1716660000@www.schoolofsound.co.uk SUMMARY:Steve Whitford: Part 2 DESCRIPTION:Alan Silvestri                                                                                 Dennis Sands                                                                                   Randy Thom \n \n \n \n   This session examines the never-ending question of how to balance music and sound design in the final mix. Three leading artists from sound and music\, whose collaborations span a remarkable series of award-winning films — including Contact\, Cast Away\, The Polar Express\, Back to the Future and Flight — come together to discuss the creative partnership required to integrate sound and music in feature filmmaking. Drawing on their shared experience\, they discuss the craft and communication that produces a unified soundtrack\, using the talents of each department fully. 2 hours including Q&A.Tickets include unlimited access to a recording of the event.   Alan Silvestri is an American film composer whose work spans more than four decades and a wide range of cinematic styles. After beginning his career writing music for television\, he moved into film scoring in the early 1980s and developed a long-standing collaboration with director Robert Zemeckis\, composing the music for films including Back to the Future\, Who Framed Roger Rabbit\, Forrest Gump\, Contact\, Cast Away\, The Polar Express and Pinocchio. Silvestri has also written scores for filmmakers such as James Cameron (The Abyss)\, John McTiernan (Predator)\, and the Russo brothers\, composing the music for several Marvel films including The Avengers\, Avengers: Infinity War and Avengers: Endgame. Working across action films\, drama\, comedy and animation\, Silvestri’s music has developed in close collaboration with directors\, sound designers and mixers\, shaping the emotional and narrative dimension of the soundtrack. Dennis Sands is a re-recording mixer and recording engineer whose career in Los Angeles spans nearly five decades across feature films\, animation\, television and music recording. He has mixed more than 350 film scores\, contributing to the soundtracks of films such as Back to the Future\, Forrest Gump\, The Shawshank Redemption\, American Beauty\, Spider-Man\, The Avengers\, Contact\, Cast Away\, The Polar Express and Pinocchio. As a re-recording mixer\, Sands shapes the final soundtrack of a film\, bringing together dialogue\, sound design and music into a balanced and coherent sonic whole. In this role he has collaborated closely with composers including Alan Silvestri\, Danny Elfman\, Michael Giacchino and Alexandre Desplat\, and with sound designers such as Randy Thom\, helping to guide the musical and sonic elements of a film through the final stages of post-production. Alongside his work in cinema\, Sands has recorded hundreds of albums\, working with artists such as Ella Fitzgerald\, Oscar Peterson\, Sarah Vaughan\, Count Basie and Joe Pass. He has received four Academy Award nominations and won both an Emmy and a Grammy\, and is a member of the Motion Picture Academy\, the Cinema Audio Society and the Recording Academy. Sands also teaches seminars in recording and mixing\, including work with the Film Scoring program at the University of Southern California.  Randy Thom started his career in radio and music recording before making the transition to film in 1978\, when he was hired on Apocalypse Now (1979) as a sound effects recordist. Since then\, Thom has worked in a wide variety of creative capacities within the sound department in over 175 films. For example\, in addition to being the music mixer on Star Wars: Episode VI – Return of the Jedi (1983)\, Thom was also the production sound mixer for all the footage shot in the US. Since 1983\, Thom has been on staff as a sound designer and mixer at Lucasfilm’s Skywalker Sound facility. He is part of a small group of sound designers that are following in Walter Murch and Ben Burtt‘s footsteps in the continuing work of turning motion picture sound into an art form and not simply a series of technical processes. His work on a film often begins before the film has started shooting\, and becomes an integral part of the storytelling and emotional impact of the film. Thom has been part of Robert Zemeckis‘ core creative team ever since Forrest Gump (1994) having worked on Contact\, Cast Away\, The Polar Express and Flight. Through his career Thom has worked with such top Hollywood talents as Walter Murch\, Francis Ford Coppola\, George Lucas\, Steven Spielberg\, Brad Bird\, Tim Burton\, Chris Columbus\, Mel Brooks and the Farrelly Brothers. Thom has received two Academy Awards for sound\, The Right Stuff (1983)\, and for sound editing\, The Incredibles (2004). He has fifteen Oscar nominations. – IMDb Mini Biography By: Harry Caul RANDYTHOMBLOG URL:https://www.schoolofsound.co.uk/event/steve-whitford-part2/ ATTACH;FMTTYPE=image/jpeg:https://www.schoolofsound.co.uk/wp-content/uploads/2024/03/ID-high-res-Grey-background-16-9-copy-scaled.jpg LOCATION:https://www.schoolofsound.co.uk/event/steve-whitford-part2/ END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/London:20240518T160000 DTEND;TZID=Europe/London:20240518T180000 DTSTAMP:20240521T222903Z CREATED:20240313T092644Z LAST-MODIFIED:20240521T222903Z UID:10000033-1716048000-1716055200@www.schoolofsound.co.uk SUMMARY:Steve Whitford: Part 1 DESCRIPTION:Alan Silvestri                                                                                 Dennis Sands                                                                                   Randy Thom \n \n \n \n   This session examines the never-ending question of how to balance music and sound design in the final mix. Three leading artists from sound and music\, whose collaborations span a remarkable series of award-winning films — including Contact\, Cast Away\, The Polar Express\, Back to the Future and Flight — come together to discuss the creative partnership required to integrate sound and music in feature filmmaking. Drawing on their shared experience\, they discuss the craft and communication that produces a unified soundtrack\, using the talents of each department fully. 2 hours including Q&A.Tickets include unlimited access to a recording of the event.   Alan Silvestri is an American film composer whose work spans more than four decades and a wide range of cinematic styles. After beginning his career writing music for television\, he moved into film scoring in the early 1980s and developed a long-standing collaboration with director Robert Zemeckis\, composing the music for films including Back to the Future\, Who Framed Roger Rabbit\, Forrest Gump\, Contact\, Cast Away\, The Polar Express and Pinocchio. Silvestri has also written scores for filmmakers such as James Cameron (The Abyss)\, John McTiernan (Predator)\, and the Russo brothers\, composing the music for several Marvel films including The Avengers\, Avengers: Infinity War and Avengers: Endgame. Working across action films\, drama\, comedy and animation\, Silvestri’s music has developed in close collaboration with directors\, sound designers and mixers\, shaping the emotional and narrative dimension of the soundtrack. Dennis Sands is a re-recording mixer and recording engineer whose career in Los Angeles spans nearly five decades across feature films\, animation\, television and music recording. He has mixed more than 350 film scores\, contributing to the soundtracks of films such as Back to the Future\, Forrest Gump\, The Shawshank Redemption\, American Beauty\, Spider-Man\, The Avengers\, Contact\, Cast Away\, The Polar Express and Pinocchio. As a re-recording mixer\, Sands shapes the final soundtrack of a film\, bringing together dialogue\, sound design and music into a balanced and coherent sonic whole. In this role he has collaborated closely with composers including Alan Silvestri\, Danny Elfman\, Michael Giacchino and Alexandre Desplat\, and with sound designers such as Randy Thom\, helping to guide the musical and sonic elements of a film through the final stages of post-production. Alongside his work in cinema\, Sands has recorded hundreds of albums\, working with artists such as Ella Fitzgerald\, Oscar Peterson\, Sarah Vaughan\, Count Basie and Joe Pass. He has received four Academy Award nominations and won both an Emmy and a Grammy\, and is a member of the Motion Picture Academy\, the Cinema Audio Society and the Recording Academy. Sands also teaches seminars in recording and mixing\, including work with the Film Scoring program at the University of Southern California.  Randy Thom started his career in radio and music recording before making the transition to film in 1978\, when he was hired on Apocalypse Now (1979) as a sound effects recordist. Since then\, Thom has worked in a wide variety of creative capacities within the sound department in over 175 films. For example\, in addition to being the music mixer on Star Wars: Episode VI – Return of the Jedi (1983)\, Thom was also the production sound mixer for all the footage shot in the US. Since 1983\, Thom has been on staff as a sound designer and mixer at Lucasfilm’s Skywalker Sound facility. He is part of a small group of sound designers that are following in Walter Murch and Ben Burtt‘s footsteps in the continuing work of turning motion picture sound into an art form and not simply a series of technical processes. His work on a film often begins before the film has started shooting\, and becomes an integral part of the storytelling and emotional impact of the film. Thom has been part of Robert Zemeckis‘ core creative team ever since Forrest Gump (1994) having worked on Contact\, Cast Away\, The Polar Express and Flight. Through his career Thom has worked with such top Hollywood talents as Walter Murch\, Francis Ford Coppola\, George Lucas\, Steven Spielberg\, Brad Bird\, Tim Burton\, Chris Columbus\, Mel Brooks and the Farrelly Brothers. Thom has received two Academy Awards for sound\, The Right Stuff (1983)\, and for sound editing\, The Incredibles (2004). He has fifteen Oscar nominations. – IMDb Mini Biography By: Harry Caul RANDYTHOMBLOG URL:https://www.schoolofsound.co.uk/event/steve-whitford_part1/ ATTACH;FMTTYPE=image/jpeg:https://www.schoolofsound.co.uk/wp-content/uploads/2024/03/ID-high-res-Grey-background-16-9-copy-scaled.jpg LOCATION:https://www.schoolofsound.co.uk/event/steve-whitford_part1/ END:VEVENT BEGIN:VEVENT DTSTART;TZID=Europe/London:20240512T170000 DTEND;TZID=Europe/London:20240512T190000 DTSTAMP:20240610T191955Z CREATED:20240325T181024Z LAST-MODIFIED:20240610T191955Z UID:10000037-1715533200-1715540400@www.schoolofsound.co.uk SUMMARY:Stuart Wilson: Features Location Sound Recording DESCRIPTION:Alan Silvestri                                                                                 Dennis Sands                                                                                   Randy Thom \n \n \n \n   This session examines the never-ending question of how to balance music and sound design in the final mix. Three leading artists from sound and music\, whose collaborations span a remarkable series of award-winning films — including Contact\, Cast Away\, The Polar Express\, Back to the Future and Flight — come together to discuss the creative partnership required to integrate sound and music in feature filmmaking. Drawing on their shared experience\, they discuss the craft and communication that produces a unified soundtrack\, using the talents of each department fully. 2 hours including Q&A.Tickets include unlimited access to a recording of the event.   Alan Silvestri is an American film composer whose work spans more than four decades and a wide range of cinematic styles. After beginning his career writing music for television\, he moved into film scoring in the early 1980s and developed a long-standing collaboration with director Robert Zemeckis\, composing the music for films including Back to the Future\, Who Framed Roger Rabbit\, Forrest Gump\, Contact\, Cast Away\, The Polar Express and Pinocchio. Silvestri has also written scores for filmmakers such as James Cameron (The Abyss)\, John McTiernan (Predator)\, and the Russo brothers\, composing the music for several Marvel films including The Avengers\, Avengers: Infinity War and Avengers: Endgame. Working across action films\, drama\, comedy and animation\, Silvestri’s music has developed in close collaboration with directors\, sound designers and mixers\, shaping the emotional and narrative dimension of the soundtrack. Dennis Sands is a re-recording mixer and recording engineer whose career in Los Angeles spans nearly five decades across feature films\, animation\, television and music recording. He has mixed more than 350 film scores\, contributing to the soundtracks of films such as Back to the Future\, Forrest Gump\, The Shawshank Redemption\, American Beauty\, Spider-Man\, The Avengers\, Contact\, Cast Away\, The Polar Express and Pinocchio. As a re-recording mixer\, Sands shapes the final soundtrack of a film\, bringing together dialogue\, sound design and music into a balanced and coherent sonic whole. In this role he has collaborated closely with composers including Alan Silvestri\, Danny Elfman\, Michael Giacchino and Alexandre Desplat\, and with sound designers such as Randy Thom\, helping to guide the musical and sonic elements of a film through the final stages of post-production. Alongside his work in cinema\, Sands has recorded hundreds of albums\, working with artists such as Ella Fitzgerald\, Oscar Peterson\, Sarah Vaughan\, Count Basie and Joe Pass. He has received four Academy Award nominations and won both an Emmy and a Grammy\, and is a member of the Motion Picture Academy\, the Cinema Audio Society and the Recording Academy. Sands also teaches seminars in recording and mixing\, including work with the Film Scoring program at the University of Southern California.  Randy Thom started his career in radio and music recording before making the transition to film in 1978\, when he was hired on Apocalypse Now (1979) as a sound effects recordist. Since then\, Thom has worked in a wide variety of creative capacities within the sound department in over 175 films. For example\, in addition to being the music mixer on Star Wars: Episode VI – Return of the Jedi (1983)\, Thom was also the production sound mixer for all the footage shot in the US. Since 1983\, Thom has been on staff as a sound designer and mixer at Lucasfilm’s Skywalker Sound facility. He is part of a small group of sound designers that are following in Walter Murch and Ben Burtt‘s footsteps in the continuing work of turning motion picture sound into an art form and not simply a series of technical processes. His work on a film often begins before the film has started shooting\, and becomes an integral part of the storytelling and emotional impact of the film. Thom has been part of Robert Zemeckis‘ core creative team ever since Forrest Gump (1994) having worked on Contact\, Cast Away\, The Polar Express and Flight. Through his career Thom has worked with such top Hollywood talents as Walter Murch\, Francis Ford Coppola\, George Lucas\, Steven Spielberg\, Brad Bird\, Tim Burton\, Chris Columbus\, Mel Brooks and the Farrelly Brothers. Thom has received two Academy Awards for sound\, The Right Stuff (1983)\, and for sound editing\, The Incredibles (2004). He has fifteen Oscar nominations. – IMDb Mini Biography By: Harry Caul RANDYTHOMBLOG URL:https://www.schoolofsound.co.uk/event/stuart-wilson-features-location-sound-recording/ ATTACH;FMTTYPE=image/jpeg:https://www.schoolofsound.co.uk/wp-content/uploads/2024/03/DSC01070-S_Wilson_16.9_hires-scaled.jpg LOCATION:https://www.schoolofsound.co.uk/event/stuart-wilson-features-location-sound-recording/ END:VEVENT END:VCALENDAR