[2] Besterman then began an extensive career in film with Lincoln (1992), subsequently orchestrating Disney's Pocahontas in 1995.
He made his Broadway debut with Damn Yankees (1994), for which he was nominated for a Drama Desk Award for Outstanding Orchestrations.
In 2002, he shared these awards with Ralph Burns for the original Broadway production of Thoroughly Modern Millie, starring Sutton Foster.
"[15] In 2008, Besterman orchestrated songs for the Houston, Texas, premiere of The Gershwins' An American In Paris, a musical adaptation of the 1951 film of the same name.
"[24] When describing Besterman's approach for these new orchestrations, producers Craig Zadan and Neil Meron wrote: They decided to not use strings (other than a harp) and to think in terms of a muscular jazz ensemble rather than a symphonic sound.
Inspiration came from the work of 1950s arranger Marty Paich, whose Dek-Tette recordings (most famously with Mel Tormé) found fresh and versatile sounds from a 10-member ensemble (5 brass, 3 saxes, bass and drums).
Added to our mix were guitar (muted guitar vamp figures were a favorite of Ginzler’s, as in "Gotta Stop That Man"), percussion (for the Latin sounds so popular at the time as exemplified by "Coffee Break"), piano (you can’t do this show without a nod to Grieg), and harp (for over-the-top romanticism in "Rosemary").
[27] Besterman provided orchestrations for the 2011 film remake of Winnie the Pooh, with music and lyrics by Robert Lopez and Kristen Anderson-Lopez, with contributions by The Sherman Brothers.
[28] Besterman orchestrated, with Michael Starobin, the Roundabout Theatre Company's musical The People in the Picture (2011), concerning a grandmother recalling her life in the Yiddish theater and the Holocaust.