Alex Wurman

Award-winning composer Alex Wurman is receiving accolades for his boundless talents. He can traverse the film landscape from writing a critically acclaimed score for an Oscar^®winning film to displaying his musical comedic abilities for box office giants. Wurman is a versatile composer with a broad musical palette: the eerie, piano melodies of Confessions of A Dangerous Mind; avant-heartland tunes for Normal, groovy ‘70’s themes for Anchorman: The Legend of Ron Burgundy, contemporary interpretations of French impressionism for Thirteen Conversations About One Thing, and soulful melodies combined with ethereal orchestrations for March of the Penguins. His signature style can be defined by an emphasis on harmony, rhythm and melody. Although known primarily for film scoring, when asked to score a major telefilm, such as Normal, Mrs. Harris, or Bernard and Doris, he is rewarded with Emmy recognition. This year Wurman’s score for HBO Film’s Temple Grandin starring Claire Danes won the Emmy for Outstanding Music Composition for a Miniseries, Movie or a Special. Wurman’s next film score, The Convincer, incorporates the signature banjo of Grammy winner Bela Fleck.

Alex Wurman’s talents are the result of both nature and nurture, hailing from a family with generations devoted to the study and performance of music. The Chicago native’s father, Hans Wurman, was an arranger and composer, who pioneered the world of electronic music by recording intricate works on the first Moog synthesizer. Young Alex would spend afternoons at his father’s workplace; his love for the arts would secure him admission into the prestigious Academy of Performing Arts High School. He went on to study composition at the University of Miami in Coral Gables and the American Conservatory of Music in Chicago

After graduating and beginning his career composing for commercials, Wurman moved to Los Angeles to pursue a career in film scoring. He immediately began scoring AFI student films. While working under A-list composers, Wurman learned the scoring process of major motion pictures and had the opportunity to contribute music to many projects. These valuable experiences proved to be the launching pad for Wurman’s independent career. Soon thereafter, assignments came his way as directors discovered a fresh and versatile composer whose music lent depth to their films.

The cerebral composer is able to work with directors in all film genres. He especially develops a close relationship with writer/directors, such as Steven Conrad, John August, Jill Sprecher, and Ron Shelton; perhaps because Wurman’s music, on its own, also tells a story. “He is a born storyteller whose work gets to the heart of the matter and expresses what words cannot. The music he creates is completely unique, complex and stunning,” said Jill Sprecher, director of Thirteen Conversations About One Thing. Ron Shelton (Play it to the Bone, Hollywood Homicide) stated, “I don’t think there is any kind of music of which he is not conversant.” The Los Angeles Times wrote: “Wurman’s spare, elegant score contributes strongly to creating and sustaining the film’s shifting moods.” Percy Adlon, director of Bagdad Café and The Hotel Adlon described Wurman’s abilities by stating, “He has a wonderfully wide range of styles. You can travel with him from Schubert to Thelonius Monk, from Jamaican to Baroque, from noise to ballroom, from rich to sparse. He will never give you a cheap imitation. You always get an original.”

Bio Award-winning composer Alex Wurman is receiving accolades for his boundless talents. He can traverse the film landscape from writing a critically acclaimed score for an Oscar^®winning film to displaying his musical comedic abilities for box office giants. Wurman is a versatile composer with a broad musical palette: the eerie, piano melodies of *Confessions of A Dangerous Mind; avant-heartland tunes for Normal, groovy ‘70’s themes for Anchorman: The Legend of Ron Burgundy, contemporary interpretations of French impressionism for Thirteen Conversations About One Thing, and soulful melodies combined with ethereal orchestrations for March of the Penguins. His signature style can be defined by an emphasis on harmony, rhythm and melody. Although known primarily for film scoring, when asked to score a major telefilm, such as Normal, Mrs. Harris, or Bernard and Doris,* he is rewarded with Emmy recognition. This year Wurman’s score for HBO Film’s *Temple Grandin* starring Claire Danes won the Emmy for Outstanding Music Composition for a Miniseries, Movie or a Special. Wurman’s next film score, *The Convincer,* incorporates the signature banjo of Grammy winner Bela Fleck. Alex Wurman’s talents are the result of both nature and nurture, hailing from a family with generations devoted to the study and performance of music. The Chicago native’s father, Hans Wurman, was an arranger and composer, who pioneered the world of electronic music by recording intricate works on the first Moog synthesizer. Young Alex would spend afternoons at his father’s workplace; his love for the arts would secure him admission into the prestigious Academy of Performing Arts High School. He went on to study composition at the University of Miami in Coral Gables and the American Conservatory of Music in Chicago After graduating and beginning his career composing for commercials, Wurman moved to Los Angeles to pursue a career in film scoring. He immediately began scoring AFI student films. While working under A-list composers, Wurman learned the scoring process of major motion pictures and had the opportunity to contribute music to many projects. These valuable experiences proved to be the launching pad for Wurman’s independent career. Soon thereafter, assignments came his way as directors discovered a fresh and versatile composer whose music lent depth to their films. The cerebral composer is able to work with directors in all film genres. He especially develops a close relationship with writer/directors, such as Steven Conrad, John August, Jill Sprecher, and Ron Shelton; perhaps because Wurman’s music, on its own, also tells a story. “He is a born storyteller whose work gets to the heart of the matter and expresses what words cannot. The music he creates is completely unique, complex and stunning,” said Jill Sprecher, director of *Thirteen Conversations About One Thing. Ron Shelton (*Play it to the Bone, Hollywood Homicide) stated, “I don’t think there is any kind of music of which he is not conversant.” The Los Angeles Times wrote: “Wurman’s spare, elegant score contributes strongly to creating and sustaining the film’s shifting moods.” Percy Adlon, director of Bagdad Café and The Hotel Adlon** described Wurman’s abilities by stating, “He has a wonderfully wide range of styles. You can travel with him from Schubert to Thelonius Monk, from Jamaican to Baroque, from noise to ballroom, from rich to sparse. He will never give you a cheap imitation. You always get an original.” BACK TO THE TOP