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  1. Stephen Deutsch (July 17, 1945) is a filmmaker, professor, and film score composer who has composed over 30 scores for film, theatre, radio, and television. His many collaborations with the playwright Peter Barnes include Jubilee (2001), the Olivier Award-winning play Red Noses (1985) and the feature film Hard Times (1994).

  2. Stephen Deutsch was born on 30 June 1946 in Los Angeles, California, USA. He is a producer and director, known for Bill & Ted's Excellent Adventure (1989), Indigo (2003) and Somewhere in Time (1980). He was previously married to Lauren Stocks.

    • Producer, Director
    • June 30, 1946
    • Stephen Deutsch
  3. Stephen Deutsch was born on June 30, 1946 in Los Angeles, California, USA. He is a producer and director, known for Bill & Ted's Excellent Adventure (1989), Indigo (2003) and Somewhere in Time (1980). He was previously married to Lauren Stocks.

    • June 30, 1946
  4. Stephen Deutsch was born on 17 July 1945 in Brooklyn, New York, USA. He is a composer and writer, known for The Invisible Man (1984), Beau Geste (1982) and A Ghost Story for Christmas (1971).

    • Composer, Music Department, Writer
    • July 17, 1945
    • Stephen Deutsch
  5. Stephen Deutsch is known as an Executive Producer, Producer, Co-Executive Producer, Director, Music, and Original Music Composer. Some of his work includes What Dreams May Come, Bill & Ted's Excellent Adventure, Bill & Ted's Bogus Journey, Somewhere in Time, Body of Evidence, All the Right Moves, Strike!, and Homeless to Harvard: The Liz Murray ...

  6. (Stephen Deutsch) PERSONAL. Born June 30, 1946, in Los Angeles, CA; son of S. Sylvan Simon (a producer, director, writer, and film executive); stepson of Armand Deutsch (a producer). Education: University of California, Los Angeles, B.A.; Loyola Law School, J.D., 1974. Addresses: Office— Metafilmics, 4250 Wilshire Blvd., Los Angeles, CA 90010.

  7. I had been trained as a classical composer and pianist. I entered into the TV and film profession, at first in television, with the belief that a ‘proper’ composer could improve the music of television drama, which I believe was then composed by ‘hacks’.