Stuart Balcomb net worth & biography:
Composer Stuart Balcomb works for film and TV in Los Angeles. Before moving to LA he taught composition and arranging at Berklee College of Music from 1974-78; he has written arrangements for Woody Herman, Cher, Donald O'Connor, Andy Williams, Magician David Avadon, Gary Burton and the Buffalo Philharmonic, and composed for Batman: The Animated ...
More about Stuart Balcomb:
|Tango Changes Everything||2014||Short|
|Brian O'Brian||2008||TV Series 20 episodes|
|The Ore||2007||Video short|
|The Black Door||2006||Short|
|Batman: The Animated Series||1992||TV Series 3 episodes|
|Miss Congeniality 2: Armed and Fabulous||2005||orchestrator: score|
|Connie and Carla||2004||orchestrator|
|The I Inside||2004||orchestrator|
|Gods and Generals||2003||orchestrator|
|Return to Me||2000||orchestrator - uncredited|
|Michael Jackson: HIStory on Film - Volume II||1997||Video documentary orchestrator|
|Blank Check||1994||orchestrator - as Stu Balcomb|
|Dragon: The Bruce Lee Story||1993||orchestrator|
|Hudson Hawk||1991||orchestrator - as Stu Balcomb|
|The Prince and the Pauper||1990||Short additional orchestrator|
|Mythic Journeys||2009||Documentary music: "Mythic Journeys Original Score" / writer: "Mythic Journeys Original Score"|
|Year||Award||Ceremony||Nomination||Movie||Award shared with|
|2014||IFMCA Award||International Film Music Critics Award (IFMCA)||Best Archival Release of an Existing Score - Compilation||Shirley Walker, Carlos Rodriguez, Peter Tomashek, Todd Hayen, Harvey Cohen, Michael McCuistion, Lars Clutterham, Mark Koval, Lolita Ritmanis, Richard Bronskill, Tamara Kline, Carl Johnson, Steven Chesne, James Stemple, Neil S. Bulk, Dan Goldwasser|
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|1||From 1984 to June 2006 he was the supervisor of the Universal Studios Music Library (Hollywood), working on over 500 films. He oversaw a staff of music copyists who transcribe the individual instrumental parts from scores for Film and Television scoring sessions.|
|1||I like the hands-on feel of developing percussive grooves as opposed to generating everything in a sequencer. That way, the end result has a more realistic energy which will ultimately enhance the final score in a way that no machine can ever hope to.|
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