Working in the industry for over 30 years, Daniel Carlin
has collaborated on hundreds of film and television projects. An Emmy-winning music editor and an Emmy-nominated music director, he has a fascinating portfolio that includes the Academy Award-winning films: The Last of the Mohicans
(music supervisor and conductor), The Black Stallion
(music supervisor, conductor, soundtrack producer), An Officer and a Gentleman
(music consultant and conductor), and Days of Heaven
(music editor); the Golden-Globe winning films: Quest For Camelot
(music production supervisor) and Steel Magnolias
(music editor); the Oscar-nominated films: What's Love Got to Do with It
(music supervisor, song producer), The Bodyguard
(playback supervisor), The Preacher's Wife
(music production supervisor), and Coming to America
(music editor); and the Emmy winners: The Temptations
(Emmy-nominated music director, conductor, soundtrack producer), Lou Grant
(music editor, conductor), St. Elsewhere
(music supervisor/music editor), Moonlighting
(music editor/playback supervisor), and Copacabana
(music editor/playback supervisor).
Dedicating his career to advocating for composers, performers, and musicians, Carlin served two elected terms as Chair of The Recording Academy (the GRAMMY organization) and 25 years on the Motion Picture Academy's Music-Branch Executive Committee. He also contributed to designing, creating, and funding the composer program at the Sundance Institute, was a charter member of UCLA's Film Scoring Advisory Board, and helped found the Alliance for Women Composers.
Now the Director of USC Thornton's Screen Scoring program, he was first the Executive Director of the Henry Mancini Institute before serving 5 years as Chair of Film Scoring at Berklee College of Music.
With the industry rapidly changing, University of Southern California Thornton School of Music decided to change its approach for its classical students in an effort to broaden their experience. "In the old days, [academic institutions] were preparing mostly classical students [to] go out and perform," Daniel Carlin begins. "For many, the goal was to become a soloist and the fallback position was to join a symphony."
In the United States, there has been a palpable decline in symphony orchestras, which are having a problem attracting a younger audience pool. "If you go to one of their concerts, everybody looks to be my age or older," Daniel smiles. In order to change that, a few started offering concerts of film music, video game music, and other forms of contemporary music that isn't written in the classical tradition, which is something that Carlin did at Boston Symphony Hall when he lived in Massachusetts.