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Admittedly, it's not a Caldera release, but it's glorious regardless; and it's about film music - yay! In August, my book 'The Struggle Behind the Soundtrack' will be published in the US. Its aim is to examine the current working conditions for composers in film and television - in Hollywood and beyond. How have temp tracks and digital editing influenced their work? Is it still possible to deploy long, sustained melodies in modern blockbusters? How has orchestration and ghost writing changed over the decades? (And who employs ghost writers? Is it just everybody?) Part of the book includes an in-depth analysis of Hans Zimmer's Remote Control Productions and the influence he has had not only on film music. For the first time ever, the set-up of Zimmer's company is examined via in-depth interviews with assistants, interns, programmers and co-composers. In essence, the book should (hopefully) answer the question of how we got where we are now in film music by covering the effects of temp tracks, digital editing, companies such as Cutting Edge, elaborate sound design, and much more. Although it is not a collection of interviews, I did interview over three dozen of composers, editors and sound designers such as Angelo Badalamenti, Klaus Badelt, Lorne Balfe, Marco Beltrami, Bruce Broughton, Carter Burwell, Mychael Danna, George Fenton, Murray Gold, Henry Jackman, Abel Korzeniowski, David Lynch, Walter Murch, John Ottman, Rachel Portman, Alan Silvestri, Randy Thom and Christopher Young. They are quoted in the book. Here is a link to my publisher's homepage: https://mcfarlandbooks.com/product/the-struggle-behind-the-soundtrack/ And amazon: https://www.amazon.com/Struggle-Behind-Soundtrack-Discordant-Scoring/dp/1476676313/ And unfortunately I had to set up a Twitter profile, so follow me for some nuggets: https://twitter.com/EickeStephan (If you find some grammatical errors and spelling mistakes in this post, don't you worry - my book was proofread by several native speakers.) I hope my book can clear up some misunderstandings about the current film music landscape, answer some questions and provide brilliant entertainment of the highest order. It's not an academic book with fancy language, rest assured. I don't like those myself.