Music from RETROGRADE

#		Title	Length
1		Man vs the Meteor	2:54	Play
2		In the Lab	2:01	Play
3		Mission of the Parsifal	1:02	Play
4		Prelude to Mutiny	3:18	Play
5		Mutiny	3:48	Play
6		The Shooting Star	1:41	Play
7		Heaven Sent	1:44	Play
8		Palmer & Lights Out	0:58	Play
9		Antarctica	1:57	Play
10		Fields of Nightmares	2:35	Play
11		John & Renee	2:02	Play
12		From Hell	1:53	Play
13		Just You	2:32	Play
14		Into the Insane	3:14	Play
15		Darkness & Death	5:17	Play
16		TIMEWarp	1:29	Play
17		Trouble	2:11	Play
18		Ship Raid	3:38	Play
19		Into Action	2:30	Play
20		Pinned	1:27	Play
21		Dalton & Renee	1:48	Play
22		Double Fight	1:41	Play
23		No Future Becomes One	4:44	Play
24		Home	3:17	Play
25		End Credit V2	4:09	Play
26		In the Eyes of Our Children	3:21	Play
			1:07:11

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Description

26 Cues from the 82:28 Film Score: RETROGRADE, Directed by Christopher Kulikowski.

RETROGRADE
April 2004
A Note From The Director

The reality of getting a film into production is nothing short of a miracle and collaboration, an integral part of the filmmaking process, can be a dream come true or a nightmare to endure. If you are lucky, your partnerships can bring your vision to a point far beyond your wildest expectations. However, if you are unlucky, the pitfalls can drive one to almost complete despair. My experience with Retrograde, in truth, was a bit of both. I had the pleasure of working with many fine artists and technicians, but I was also challenged by a never-ending battle of time constraints, tight budgets and multiple creative perspectives. Yet, despite these challenges and at times, disappointments, my experience on Retrograde was truly unforgettable. The friendships and creative magic that was forged during the production will stay with me for many years to come.

Through the process, several stood steadfast at my side. One such person was my friend, Stephen Melillo. All of Stephens music, regardless of the genre or medium, is pure cinema and one does not need moving pictures to have the story told. For Retrograde, his score is both delicate and fiercely charged. I cannot thank him enough for the mountains he has climbed and conquered to deliver a wondrous, musical, 84 minute soundtrack and in a miraculous, death defying seven days! I am truly blessed to have Stephen not only as an artist collaborator, but as a friend.
God Speed,

Christopher Kulikowski
April 2004

A Message from Christopher Kulikowski, Writer & Director during the 7 days!

"Stephen, Over the last hour or so, I've been reviewing the cues once again with a fresh ear... all I can say... AMAZING!!!! Where does this stuff come from?! This is your best film score to date!!!! I am so proud and thrilled by your work.... You've really knocked my socks off!!! Talk to you soon and a million thanks!!!! Love," Christopher

"Stephen, The music for Retrograde is incredible, beautiful, and special. I cant stop listening to it! I am so proud of you!!!" Tom Walsh, EnterAktion Studios, Sound City Center Stage

Chris... Its GREAT and I thank you very much for those immensely kind words! So warped was my sense of time... I thought it was ELEVEN days! Ill need to show you a DVD of what was happening during the writing! It was made even more intense by being in the middle of PATHETIC Hurricane Re-Construction work! 8 - ) ! Good Training! SLM


Stephen Melillo's more than 940 works range from interactive video scores to three symphonies commissioned by Gerhardt Zimmerman and the North Carolina Symphony Orchestra, a Concerto for Violin & Orchestra composed for Anne Akiko Meyers, and over 14 hours of Music commissioned for Wind & Percussion Ensembles of the 3rd Millennium.

His scoring work includes 13 feature films and Music which has appeared on 28 network television programs. He scored the Academy-Award-nominated 12:01PM and the Emmy-nominated Actress Works.

Stephen's film-scoring text, Music To Picture was completed during the scoring and orchestration of Academy Award-nominated 12:01PM. He implemented the film scoring program at the State University of New York at Purchase and as author of MIDIMAST, sponsored by the Ford Foundation, he trained teachers and taught inner-city students mathematics and science concepts via musical composition.

Simply by word-of-mouth, Stephen's pioneering, self-publishing entity known as STORMWORKS has gone from 0 to thousands of worldwide renderings in just 4 years.

Stephen is a many-times recipient of ASCAP Special Awards in Concert Music and has guest conducted and recorded with some of the worlds finest ensembles. His students now enjoy a range of musical careers as teachers, and professional musicians in an eclectic range from television jazz bands to studio musicians to members of major symphony orchestras.

Stephen studied conducting with Jens Nygaard and Atilio Poto, a student of Arturo Toscanini. Varied educators, conductors and commissioning parties have termed Stephen Melillo's work a new voice in the direction of music.

"He could become the Leonard Bernstein of this age... Everything he creates has many layers, ranging from synchronicity to the significance of numbers, from visceral emotions to the brotherhood of mankind." John S. Sweeney, Music Critic

"His S-MATRIX Symphony was fabulous, full of childlike wonderment as the composer intended and marvelous sounds. And they worked to maximum effect - a brilliant, original use of orchestral resources for a sophisticated, sensational, beautiful and satisfying experience."Nancy R. Ping-Robbins, Music Critic

"Melillo is to wind music what Beethoven was to the symphony orchestra, and he follows a Beethovenesque design of increasing the musical tension almost to the breaking point, receding, and then reaching again. It is superlative musical craftsmanship and inspiring to hear." Marvin Sosna, Special to The Tribune.

"...a new voice in the direction of music, his sound ? a bridge between the serious and the immediately visceral." Maestro Gerhardt Zimmerman, Conductor

"... his ability to create a mood, find precisely the right touch of drama and create the needed effect was manifest... the sustained chords in the choir, the timpani's roar, the harp's glissandos. Melillo used them all with a sense of absolute rightness and the result was fresh, joyful and exciting... each measure scored with an unerring ear for drama and emotion." John S. Sweeney, Music Critic

"I sit back in a studio. There are others around me. Our eyes are focused on a viewing screen and our ears poised. The two tapes roll. A video and a film score from you. What takes place has to be called a miracle. We are pulled here, then yanked back, thrown into despair then lifted back on to our feet and beyond, far far beyond. The score is beautiful Steve. More than I could have hoped for. What a triumph! I thank you." Rogers Follansbee, Director