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Well, sort of. Meet The Widow: Emily Beecham goes 'Into the Badlands' to build killer character Wed, Apr 26th pm Formerly known as Minerva, Emily Beecham's character earned this name following the death of her abusive husband - we're told at her hands. In the wake of her "loss," The Widow has recruited and mothered a group of "butterflies," trained female assassins every part as deadly as the clippers. Interview: Amanda Schull shines on underappreciated '12 Monkeys' Mon, May 16th pm While it's unclear if Cassie will save the world, Amanda Schull sure has made it a better place for future sci-fi series. Goodbye to The Machine? Michael Emerson talks 'Person of Interest' Mon, May 2nd pm Fans of "Person of Interest" have waited almost a full year to see what follows the season finale - and what will become of the watchdogs, who, for four seasons, have used a set of computer-generated numbers to watch over the just and unjust protecting the innocent and punishing the guilty. conan o brien commencementHe learned a multitude of instruments and began playing in bands at the ages of 13 and When Shore was 13, he met and became good friends with a young Lorne Michaels in summer camp, and this friendship would later be influential in his career.
The first film he scored that was not directed by Cronenberg was Martin Scorsese 's After Hours Following that, he scored The Flyagain directed by Cronenberg. Two years later, he composed the score to Bigdirected by Penny Marshall and starring Tom Hanks.
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Shore is the only living composer to have scored a "Top Five" Oscar-winning film. Duringhe composed the scores for M. Butterfly another collaboration with CronenbergPhiladelphia his second collaboration with Jonathan Demmeand Mrs. Doubtfiredirected by Chris Columbus.
The latter two films were highly successful, Philadelphia winning Tom Hanks his first Oscar. Ed Wood is notable for being one of the three films directed by Tim Burton that did not feature a score by Danny Elfman.
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Shore also composed the score of the film The Cell. The news that Shore would score the trilogy surprised some, since he was primarily associated with dark, ominous films and had never scored an epic of this scale. The music editor on the trilogy was Suzana Peric. The latter two films were both nominated for the Academy Award for Best Picture.]
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