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American composer, pianist, singer and producer
- Emile Mosseri (born August 11, 1985) is an American composer, pianist, singer and producer based in Los Angeles. He has scored films including The Last Black Man in San Francisco (2019), [1] Minari (2020), [2] and Kajillionaire (2020), [3] and composed for television shows like HBO's Random Acts of Flyness, and season 2 of Amazon's Homecoming. [4]
en.wikipedia.org/wiki/Emile_Mosseri
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Emile Mosseri (born August 11, 1985) is an American composer, pianist, singer and producer based in Los Angeles. He has scored films including The Last Black Man in San Francisco (2019), [ 1 ] Minari (2020), [ 2 ] and Kajillionaire (2020), [ 3 ] and composed for television shows like HBO's Random Acts of Flyness , and season 2 of Amazon's ...
As a singer, songwriter, and composer, Emile Mosseri transforms the human experience into song. Musical storytelling is his lifeblood—a talent he has shared with songwriters and directors—and has recently taken center stage in his own work as a performing artist.
May 29, 2020 · At 34 years old, Emile Mosseri is a man whose name you may have not heard, but whose work you've more than likely felt. In 2019, Mosseri was the sole composer of the critical darling The Last Black Man in San Francisco, imbuing the film with an operatic decadence that is as identifiable as any of the acting.
Emile Mosseri, the film composer and musician, leans back in his desk chair and reflects on the last two years. “It was a bit trippy. It was surreal,” he tells me, though not for the reasons you’re thinking.
Sep 24, 2024 · In June, Emile Mosseri released the thoughtful song “Wasting Your Love.”It turns out that track is from his just-announced new album Trying To Be Born, slated for release Feb. 21.The sprawling ...
Mar 4, 2021 · A look at the work of composer Emile Mosseri, the man behind the scores for The Last Black Man in San Francisco, Homecoming, Kajillionaire, and Minari.
May 27, 2021 · When Emile Mosseri B.M. ’07 created his Oscar-nominated score for the film Minari, he took an oblique approach: he wrote music that didn’t directly reference the film’s visuals or dialogue but that nonetheless was able to get right to the heart of the story.
