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Nick Glennie-Smith, the British composer, conductor and keyboardist known for his collaborations with Hans Zimmer and for his work on films including The Rock, The Man in the Iron Mask and Secretariat, has died. He was 74.

Glennie-Smith died peacefully Aug. 16 surrounded by family at his home in Charlottesville, Virginia, his wife of 52 years, Jan Glennie-Smith, told The Hollywood Reporter. No cause of death was revealed.

As an orchestral conductor, Glennie-Smith teamed with two-time Oscar-winning composer Zimmer on such notable films as The Lion King (1994), Crimson Tide (1995), The Simpsons Movie (2007), Transformers (2007), X-Men: First Class (2011) and Pirates of the Caribbean: On Stranger Tides (2011) as a member of his Remote Control Productions team.

For Michael Bay’s action-packed The Rock (1996), he shared principal composing duties with Zimmer and Harry Gregson-Williams.

He also composed the soaring score for Randall Wallace’s The Man in the Iron Mask (1998) before reuniting with the writer-director on We Were Soldiers (2002), Secretariat (2010) and Heaven Is for Real (2014).

Nicholas Hugh Glennie-Smith was born in London on Oct. 3, 1951. He began his professional career as a keyboard player and would perform or/and or record with the likes of Paul McCartney, Roger Daltrey, Leo Sayer, Cliff Richard, Roger Waters, Phil Collins, Tina Turner and Elvis Costello.

He came to Hollywood in the late 1980s and played keyboards and/or provided music for films including K2 (1991) and Cool Runnings (1993).

Glennie-Smith also worked in various capacities on Bay’s Bad Boys (1995), Beyond Rangoon (1995), Smilla’s Sense of Snow (1997), Con Air (1997), The Peacemaker (1997), King Arthur (2004), The Da Vinci Code (2006), A Little Bit of Heaven (2011), Wreck-It-Ralph (2012), Man of Steel (2013), Pacific Rim (2013), The Amazing Spider-Man 2 (2014), The Little Prince (2015), Deadpool (2016), Ralph Breaks the Internet (2018) and Mufasa: The Lion King (2024).

His older son, Seth Glennie-Smith, is a composer and music editor with credits including Project Hail Mary, It Ends With Us and the rebooted Magnum P.I.

Survivors include his other son, Joss; daughters Haley and Katharine; daughter-in-law Caroline; son-in-law Nick; grandchildren Dylan, Milo and Charlotte; and siblings Steven and Ali.

Glennie-Smith also served as musical director for Zimmer’s live concerts and conducted the 60-piece orchestra at the 2012 Academy Awards that featured compositions from Zimmer and Pharrell Williams.

“We are deeply saddened by the loss of Nick Glennie-Smith,” the Facebook site Hans Zimmer Live posted. “Nick was far more than an extraordinary musician and composer. Through his many years alongside Hans Zimmer, he was a trusted creative partner, band member and, above all, a longtime friend.

“When people share so many years of music, creativity, stages, journeys and memories, that bond reaches far beyond the work. The music remains, but so does the friendship behind every note. Our deepest condolences to Nick’s family, friends and everyone whose life was touched by his music and his presence. May his music, his spirit and all the memories created together live on. He will always be the leader of our band. Rest in peace, Nick.”

Spider-Man: Brand New Day continues to deliver in its fourth weekend at the box office after facing off against newcomers Insidious: Out of the Further and the Jason Statham-led Mutiny.

Sony Pictures‘ releases claim the top two spots at the domestic box office, as Spider-Man: Brand New Day grosses $39 million for the weekend amid its historic run. This brings its domestic cume to $854.9 million through Sunday, surpassing 2021’s Spider-Man: No Way Home to become the No. 3 highest-grossing film ever at the domestic box office. This also puts Brand New Day as Sony’s highest-grossing domestic film after it set the record last weekend for the top global release in the studio’s history.

Additionally, Brand New Day becomes the No. 6 release of all time at the worldwide box office with $2.22 billion. This surpasses 2015’s Star Wars: Episode VII — The Force Awakens, which moves to seventh on the chart with $2.07 billion. The latest Spidey film is now just behind Titanic at No. 5 with $2.26 billion and Ne Zha 2 at No. 4 with $2.27 billion.

Insidious: Out of the Further occupies second place with an opening weekend of $25.3 million for the sixth installment in the horror franchise. The series hails from Screen Gems, Stage 6 Films and Blumhouse Atomic Monster and kicked off with 2011’s original Insidious. Without major studio horror releases for the next four weeks, Out of the Further aims to extend its run with limited competition. It earned a C+ CinemaScore, tying 2023’s Insidious: The Red Door for the series’ lowest grade.

Debuting in 3,330 North American theaters, Out of the Further stars Amelia Eve, Brandon Perea and Lin Shaye and centers on a young mother who can bring spirits back with her to the real world. It follows The Red Door, which saw the return of original series stars Patrick Wilson and Rose Byrne. That one opened to an impressive $33 million domestically before grossing $189 million worldwide throughout its run.

“This summer has been so big,” Regal Global Entertainment head of marketing Vikki Neil tells The Hollywood Reporter. “Spider-Man, obviously, is huge, and we’re seeing horror films, as a general rule, do extremely well for us. We definitely see a lot of those perform really well with young people.”

With an $18 million production budget, Out of the Further holds a 57 percent approval rating from critics on Rotten Tomatoes and a 70 percent audience score. Critic Frank Scheck wrote in his review for THR that the film “proves routine in its elaborate plot machinations.”

Also opening this weekend is Mutiny, as Statham’s latest action title picks up $7.5 million for the frame to land in sixth place from 2,600 North American screens. Lionsgate’s film earned a B+ CinemaScore from audiences. MadRiver Pictures and Punch Palace Productions produced the project that carries a $40 million production budget.

Director Jean-François Richet’s feature stars Statham as a former Marine who sets out to prove his innocence after getting framed for murder. It holds a 50 percent approval score from critics on Rotten Tomatoes but an 87 percent score from audiences. Mutiny follows Statham’s Shelter, which opened with $5.5 million domestically earlier this year for Black Bear. 

Universal’s The Odyssey is finding a home in third place with an estimated $19.5 million for its sixth weekend to bring its domestic total to $539 million. Over the weekend, Christopher Nolan’s mythological epic will become the acclaimed director’s highest-grossing film domestically of his career, surpassing 2008’s The Dark Knight. Starring Matt Damon as Odysseus, the movie moved past Deadpool & Wolverine during the week to stand as the highest-grossing R-rated title globally.

In its sophomore frame, PAW Patrol: The Dino Movie is targeting $9.1 million for fourth place. The third film in Paramount Pictures’ animated franchise brings its domestic tally to an estimated $35.4 million. It crosses the $100 million threshold globally, with its worldwide total reaching $103.4 million.

Close behind its fellow dinosaur movie and also in its second weekend, director David Robert Mitchell’s The End of Oak Street looks to scarf down around $9 million to bring the Warner Bros. release’s two-week domestic total to $38 million. Anne Hathaway and Ewan McGregor star in the survival feature that places fifth.

Expanding to a wide release in its third weekend is A24’s Tony, starring Dominic Sessa as a teenage Anthony Bourdain. The feature serves up an estimated $5 million from 1,600 North American screens to claim seventh place and bring its domestic cume to around $6.6 million.

The 25th-anniversary rerelease of Universal’s The Fast and the Furious pulls into eighth place with an estimated $3.1 million. The Vin Diesel vehicle grossed $207 million globally in its initial run to kick off the franchise that has a long-awaited eleventh installment in the works.

Black Bear’s comedy Spa Weekend is currently in ninth place with an estimated $3.05 million domestically from 2,000 locations. Earning a B+ CinemaScore, directors Jon Lucas and Scott Moore’s movie stars Leslie Mann, Isla Fisher, Michelle Buteau and Anna Faris.

Starring Andrew Garfield, The Magic Faraway Tree is heading for an estimated $1.15 million from 1,600 North American screens to land on the outskirts of the top 10. Vertical releases director Ben Gregor’s literary adaptation that also stars Claire Foy.

This weekend’s milestones include Focus Features’ Obsession crossing the $500 million mark globally. The worldwide total for filmmaker Curry Barker’s low-budget horror sensation now stands at $501.6 million.

Director Destin Daniel Cretton‘s blockbuster Spider-Man: Brand New Day keeps spinning to historic heights. Tom Holland, Zendaya, Sadie Sink and Jon Bernthal star in the film that recently set the record as the fastest movie to hit $800 million domestically. After the weekend is over, only 2015’s Star Wars: Episode VII — The Force Awakens and 2019’s Avengers: Endgame will hold bigger domestic cumes.

The 2026 domestic box office has now crossed the $7 billion mark, according to Rentrak, as this summer’s titles combine for an estimated $4.444 billion domestically. This puts the season 20.4 percent above last year’s tally to that point, with the all-time summer mark remaining 2013’s $4.75 billion.

More to come.

This story was first published on Aug. 22 at 8:55 a.m.

Jim Berk, CEO of the Simon Wiesenthal Center, is defending Paramount after the studio called Mark Ruffalo’s anti-merger comments “antisemitic.”

“Words matter, and so does the willingness to draw a line when legitimate debate gives way to antisemitic tropes,” Berk wrote. “We commend Paramount for speaking clearly and refusing to allow prejudice to masquerade as political or corporate criticism. At a time when antisemitism is too often minimized, rationalized or repackaged in more socially acceptable language, this kind of moral clarity matters.”

“Invoking Israel in an issue where it is completely irrelevant is a textbook case of obsession and demonization. Paramount was right to call it out. More leaders and institutions should have the courage to call antisemitism what it is, regardless of who is spreading it,” his statement concluded.

Earlier this week, the Oscar-nominated actor, who has been an outspoken opponent of Paramount’s $111 billion deal for Warner Bros., highlighted Larry Ellison’s (Paramount CEO David Ellison’s father) Oracle’s ties to the Israeli military amid the Israel-Gaza war. Ruffalo resurfaced a clip from 2024 of former Oracle chief Safra Catz talking about “profoundly scary technologies” the tech company had built in relation to Israel’s war effort in Gaza. The actor also described the war as a “genocide” that “was built on an apartheid system of oppression powered by Oracle.”

In response, Paramount clapped back, calling the Marvel star’s remarks “antisemitic.” The studio’s spokesperson’s statement read in part, “We are, as always, troubled when antisemitic tropes are invoked in purported service of a business dispute. Words like ‘genocide’ and ‘apartheid,’ applied to a corporate transaction, aren’t just wrong — they’re a bridge too far, and they cheapen the very real suffering those words are meant to describe. This doesn’t deserve a response in kind — and to be clear, we don’t tolerate prejudice of any kind, against anyone.”

Creative Community for Peace, a Hollywood-based pro-Israel advocacy organization, has also called for Hollywood to boycott Ruffalo until the actor “retract[s] these remarks and apologize[s],” the group’s executive director, Ari Ingel, wrote in a statement.

“Mark Ruffalo’s rhetoric has increasingly crossed the line from criticism of Israel into extremist and antisemitic messaging,” Ingel also wrote, adding, “Point blank, he has been warned before about the consequences of this rhetoric, yet continues contributing to the toxic antisemitic atmosphere we are witnessing today. That makes him culpable. His argument increasingly fuses hostility toward Israel and Zionism with Jewish-associated wealth, media ownership, oligarchic power and ominous warnings about concentrated control into a single narrative. Those echoes are impossible to ignore.”

On Saturday, Ruffalo took to X to dismiss Paramount’s claims that his comments were “antisemitic” as well as offer a distinction between his criticism of the Israeli military and his views about Jewish people. He wrote in part, “The accusation that I am antisemitic is appalling and fundamentally dishonest. Criticizing the actions of the Israeli prime minister, a military technology contract or the executives who supply it is not the same as criticizing Jewish people. This critical and necessary dialogue is then dishonestly framed as being anti-Israel.”