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Roger Neill, David Palmer, Brian Reitzell
Roger Neill has scored over 20 feature films and hundreds of network television episodes. His work on the series King of the Hill earned him an Emmy Award. He adapted and conducted the music of Antonio Vivaldi and Siouxsie and the Banshees for Sofia Coppola’s Marie Antoinette. He has teamed with Beginners collaborators Dave Palmer and Brian Reitzell prior, as an orchestrator, conductor, and/or arranger; and has worked in those same capacities in the recording industry. In 2004, he conducted the French synth-pop group Air in concert with the Hollywood Bowl Orchestra for a crowd of 17,000. He has received ASCAP and BMI Awards, as well as L.A. Weekly’s Theater Critics Award, the latter honoring his operetta The Beastly Bombing as Best Musical of the Year (2006).
David Palmer’s music career was sparked in the clubs of Norfolk, Virginia, and Dallas; spread to the West Coast via Seattle and San Francisco; and led to the studio and concert landscape of Los Angeles. Over the course of 25 years, he has played with a vast array of artists as a touring musician, studio keyboardist, producer, arranger and musical director (most recently for the Hollywood Bowl’s Beatles Tribute). As a musician, he has played on Brian Reitzell’s scores for a host of films.He has written songs for such films as Rian Johnson’s The Brothers Bloom and for such television series as Love Monkey; has had arrangements and productions featured in such films as Adam McKay’s Step Brothers; and has been band leader/online musician for episodes ofParenthood.
As composer, producer, and/or music supervisor, Brian Reitzell’s films include Sofia Coppola’s The Virgin Suicides, Lost in Translation (also for Focus Features), and Marie Antoinette; Roman Coppola’s C.Q.; Peter Berg’s Friday Night Lights; Marc Forster’s Stranger Than Fiction; Rian Johnson’s The Brothers Bloom; David Slade’s 30 Days of Night; and, also for Beginners director Mike Mills, Thumbsucker. Marie Antoinette, The Brothers Bloom and 30 Days Of Night. He recently composed the score, supervised music, and produced songs for Catherine Hardwicke’s Red Riding Hood. In his explorations of new sounds for film, he draws from his experience as a recording and touring musician with such bands as Redd Kross and Air, as well as on his massive music collection.