Composing For Television and Film
Jordan has seen much success for himself in composing for television and film. In 2006, Jordan's music ("Passage D" from his album Kirlian Selections) was featured in Dove's Evolution promotional campaign for its Campaign for Real Beauty website, which has drawn a large amount of attention from the mainstream media. The campaign took the commercial film winner at Cannes as well as many other prestigious awards. In addition, Jordan was nominated for a 2007 London International Award for the "Best Use Of Music" category; he went on to win the ceremony's grand prize. In 2008, he was nominated again at the London International Awards for "Best Use of Music," although he did not take the grand prize. In 2008 he was also a Webby Award nominee and took the Grand Prix at the Cannes Film Festival. In 2008, Jordan had completed work in branding, having created stings and trademark sounds for companies such as Dove, Knowledge, Verizon, and many others. In July 2012, he released an original score entitled "The Universe," which was commissioned by Chicago's Adler Planetarium for a new interactive exhibit dedicated to the evolution of the universe.
Jordan is currently composes for film, television, and gaming through Vapor Music Group, a large international creative firm operating out of Toronto; he also currently owns and operates his own production and recording facilities in Chicago.
Read more about this topic: Benn Jordan
Famous quotes containing the words composing, television and/or film:
“If I had my life over again I should form the habit of nightly composing myself to thoughts of death. I would practise, as it were, the remembrance of death. There is no other practice which so intensifies life. Death, when it approaches, ought not to take one by surprise. It should be part of the full expectancy of life. Without an ever- present sense of death life is insipid. You might as well live on the whites of eggs.”
—Muriel Spark (b. 1918)
“His [O.J. Simpson’s] supporters lined the freeway to cheer him on Friday and commentators talked about his tragedy. Did those people see the photographs of the crime scene and the great blackening pools of blood seeping into the sidewalk? Did battered women watch all this on television and realize more vividly than ever before that their lives were cheap and their pain inconsequential?”
—Anna Quindlen (b. 1952)
“The woman’s world ... is shown as a series of limited spaces, with the woman struggling to get free of them. The struggle is what the film is about; what is struggled against is the limited space itself. Consequently, to make its point, the film has to deny itself and suggest it was the struggle that was wrong, not the space.”
—Jeanine Basinger (b. 1936)