Danny Elfman Dante Meets Goldsmith Maestro Erich Kunzel Shakespeare

Home , 100 Rifles, Aaron Zigman, Boston Pops Orchestra, Brian Tyler, Christopher Young, Crime and Dissonance

Volume 10, Number 6 Original Music Soundtracks for Movies and Television

The End of FSM —or Is It? Pg. 4 SPECIAL COLLECTOR’S EDITION FINAL PRINT ISSUE! 25 by AFI Picking the Greatest Film Scores Danny Elfman The Darkest Buyer’s Guide Yet Dante Meets Goldsmith Nine Crazy Collaborations Maestro Erich Kunzel The Art of the Suite & Cincinatti Pops on CD Shakespeare Scores Music for the Bard’s Comedies PLUS: News • Mail Bag • Downbeat Score • The Laserphile

$7.95 U.S. • $8.95 Canada �� contents ��

�� contents Nov./Dec. 2005

DEPARTMENTS COVER STORY

32 The AFI Top 25 4 Editorial A fitting cover story for the last print issue of FSM, the American Keeping the Dream Alive. Film Institute recently presented its top 25 film scores at a memorable performance conducted by John Mauceri at the Hollywood Bowl. 6 News See how your favorites measured up. By Joe Sikoryak 8 Record Label Round-Up What’s on the way. FEATURES 8 Now Playing Movies and CDs in 18 So, you want to play Film Music? release. 18 The Art of the Suite 9 Upcoming Film Maestro Erich Kunzel celebrates his 40th year leading the Cincinnati Assignments Pops and reflects on a career dedicated to the art of film music. Who’s writing what By Saul Pincus and Mike Petersen for whom. 10 Concerts 13 Pops Art Film music performed Over the years, Erich Kunzel and Telarc have joined forces to bring us around the globe. album after album of film music collections on CD. Here’s a guide to the best…and the rest. 11 Mail Bag Lalo CDs. 24 One of the Good Ones 13 Downbeat Part One of the Danny Elfman Buyer’s Guide follows the versatile and Serenity Now! inventive composer’s evolution from 1996’s Mission: Impossible to last summer’s Charlie and the Chocolate Factory. 43 Score By Thor J. Haga 34 I vant to suck some bluhd... A big batch of CDs (and books), including Broken 29 Work for Darkened Media Flowers, Corpse Bride, A Commercials, concert works, video games and more. History of Violence, Judgment Night, The Brave Little Toaster and Seed of Chucky (x2). 34 The Dante/Goldsmith Project Director Joe Dante recounts his long, fruitful relationship with 54 Pocket Reviews Jerry Goldsmith. Reading this may only make you miss Jerry more… but in a good way. 61 Laserphile By Michael Heintzelman Making the Leap.

56 FSM Marketplace 38 Not With the Eyes, But With the Ears In Part One of a three-part series, we take a look at the music for film versions of William Shakespeare works—this time, it’s the comedies. 38 As you like it! By James Lochner ON THE COVER: “MAGIC IN THE AIR” PHOTO ILLUSTRATION BY JOE SIKORYAK

Film Score Magazine (ISSN 1077-4289) was published six times a year for $36.95 per year by Vineyard Haven LLC., 8503 Washington Blvd, Culver City, CA 90232. Periodicals postage paid at Culver City, CA and additional mailing offices. POSTMASTER: Send address changes to Film Score Magazine, 8503 Washington Blvd, Culver City, CA 90232

FILM SCORE MAGAZINE 3 NOVEMBER/DECEMBER 2005 EDITORIAL

have the same people managing FSM Online, the same great stable of contributors, and, most important, the same content you’ve come to Keeping the Dream Alive expect from the printed pages of Volume 10 • Number 6 FSM over the past 15 years. While it’s FSM says good-bye...and hello. true you won’t have the tactile form of the printed magazine delivered to EDITORIAL STAFF n 1990 I had a dream: to be “hardcopy” subscriptions (hence the your home, there is a lot to be gained popular in high school. That was aforementioned free-CD letters) and from migrating to online, digital Editor & Publisher Iclearly impossible. So I came starting new ones for the electronic content. In fact, as we moved forward LUKAS KENDALL up with a new dream: to publish a version. (See below.) If you appreciate with these plans, we quickly realized Executive Editor magazine about an aspect of movies this magazine the way I think you that the Internet is a perfect place JONATHAN Z. KAPLAN I found fascinating—the music. This do—if you have the kind of love for for FSM, and now is a logical and Managing Editor was before the Internet, before DVDs, us that we have for you—then join us perfect time to move it there. Imagine TIM CURRAN before most film scores were available on the digital frontier. a magazine no longer limited by Creative Director on CD, and before I could drive. I will be concentrating my efforts page count, or black-and-white print JOE SIKORYAK It succeeded beyond my wildest on our label, producing at least 20 and pictures, or by time spent at the Editor-at-Large imagination. After 15 years we have CDs a year of rare and forgotten printer or in distribution. And that JEFF BOND published over 150 editions of FSM, soundtracks. So you won’t find me just scratches the surface. Copyeditor released 125 CDs on our specialty writing as much, but I will be reading, DEBBIE NOTKIN soundtrack label, maintained a and listening, as we start podcasts Here’s how it’s going to work: Contributing Writers website since 1997, and dabbled in and other multimedia goodies. • First, we’re happy to announce, DOUG ADAMS publishing and even documentary I have never been so grateful to we’re returning to our original STEPHEN ARMSTRONG filmmaking. But all things change everyone for making real a simple “monthly” status. Well, “monthly” JOHN BENDER and this issue will be the last printed dream of a teenager: that those of us meaning 10 issues per year. But JEFF ELDRIDGE edition of Film Score Monthly— who liked movie music could find expect timely delivery, and the two LUKE GOLJAN though all of our other operations companionship and understanding. split issues (traditionally April/ MARK GRIFFIN will continue, and then some. That we could find recordings, May and Oct./Nov.) will be jam- THOR J. HAGA The reason is purely financial: information and insight that made packed with extra stuff. NICK HAYSOM without selling CDs directly the hobby not just easier, but richer • When we say timely, we mean MICHAEL HEINTZELMAN to customers (as we did before and more satisfying. Maybe not it—each issue will be available the JACK HOLSTEIN joining up with Screen Archives everyone will understand why we first week of each month. CHRISTOPHER JENKINS Entertainment last year) we don’t walk around listening to Williams, • Subscribers pay $4.95 per month NICK JOY have the cash flow to cover printing, Barry and Morricone in our heads, for FSM Online. There are no STEVEN A. KENNEDY mailing and overhead. We’re getting but we do, and we appreciate each annual subscriptions; it’s all JAMES LOCHNER killed. So as much as I had wanted other for it. Life just sounds better strictly monthly. So you can cancel DARREN MACDONALD this print magazine to go on forever, with a good score. anytime if you want, without R. MIKE MURRAY it has to come to an end. having to deal with any leftover MIKE PETERSEN Around a month ago—when we subscription fees. SAUL PINCUS sent letters to our subscribers offering Lukas Kendall • Each month, you’ll receive an email KYLE RENICK them free CDs for issues not yet announcing that the latest edition BRIAN SATTERWHITE received (if you did not get a letter, it of FSM Online is available. Then... WILL SHAW means your subscription is expiring • Go to the FSM Online site (which ROBERT L. SMITH now, so we’re all square)—I thought Welcome to FSM Online! you’ll also be able to reach through STEPHEN WOOLSTON that would be the end of it. No more i folks, Tim and Jon here (and www.filmscoremonthly.com), CARY WONG FSM. But the best thing about this Joe, Jeff and Doug Adams, enter your login and password, BUSINESS STAFF journey has been the amazing people Htoo). We were as sad as all of and enjoy the latest issue. Editorial & Subscriptions who have joined it. The staff—see you when Lukas gave us the news PH. 310-253-9595 below—will not let this publication of the magazine’s fate. After all, we Now let’s talk about what you’re Sales & Marketing Manager die, and are producing the best- love FSM, too, and didn’t want to going to get for your $4.95 per MARK KELLY possible continuation of our legacy. see it just disappear. So, after lots of month (or, a little over 16 cents a PH. 312-352-0639 That is online, where we probably brainstorming—and thanks to your day)—and this is where FSM in the Point your browser at: should have been all along. That way support and helpful advice—we digital domain will really come to WWW.FILMSCOREMONTHLY.COM we can concentrate our resources came up with a plan to keep it going: life. You’ll get all the critical writing © 2005 Vineyard Haven LLC. into journalism and programming, We’re taking FSM to the Internet! and exclusive content you’ve come to Printed in the U.S.A. and not the delivery mechanism. That’s right, we’re moving online, expect, plus a lot more. At this point Arrivederci, Baby! We require, for business and as a subscription-based “e-zine,” and we’re planning the same amount clerical reasons, closing the we hope you’ll come with us. We’ll of text content as we produced

FILM SCORE MAGAZINE 4 NOVEMBER/DECEMBER 2005

in the monthly issues—chock-full arguably more at home in the digital excited for you to see what it looks purchase a subscription; your login of features, reviews, news, etc. But realm—where we can actually watch like. It’s got much of the same look will be your email address, and you inevitably we’ll make those issues and listen. and feel of the printed version, but can choose your password right then. larger, because, well, we can. In optimized for web viewing. It’ll even Either way, access to the site will be addition, we’re planning downloadable We Need You. have a “Cover” each month, much available to you once the first issue content like podcast forums, Digital Here’s where it gets a little tricky. As like the ones you’re used to! For the (Vol. 11, No. 1) is online: the first week Downbeats featuring audio of excited as we are about this venture, best comparison, hold this print of January, 2006. (Again, though, composer interviews as opposed to we realized early on that it’s not version in one hand and compare it you’ll get an email to let you know.) just text Q&As; we’re going to be something we can sustain financially to what you see on the screen. The Once you’ve subscribed, your credit digitizing dozens (if not hundreds) of without a good portion of our loyal same content is up there, too. We’ve card will be charged each month, archival interviews and posting them readers coming along with us and also put some of the digital stuff up unless you cancel your subscription. Keep in mind that although your credit card won’t be THE JOURNEY CONTINUES. charged until the end of Here’s a pretty good idea of what December, it’s important FSM Online is going to look like. that you sign up now so You’ll get all the great FSM content that we can gauge our you’re used to, plus exciting subscription base. new stuff that only a move to the So that’s our pitch; we Internet could allow us: hope we’ve convinced you to • Digital Downbeats: streaming- stay onboard with us as we audio composer interviews attempt to not only keep FSM • Digitally archived content alive, but move it to the next from 100s of FSM interviews level where it can thrive. We all know that as film music • Up-to-the minute-news /reviews fans we represent but a small —no more waiting on the mailman; niche in this entertainment just log on! market. But we think it’s a • Longer, more in-depth articles… niche worth filling, as much and more of them now as when Lukas started • Downloadable PDF versions of the magazine back in 1990. So every issue of FSM ever published if you sign up for FSM Online • Lots more top-secret plans (and tell your friends, your in the works... family and perfect strangers To subscribe, just go here— to do the same), and we www.screenarchives.com/ provide you with the same fsmonline/sample/—take a look at exclusive content you’ve come to expect from the pages of the FSM Online preview site and FSM, well, there’s no telling hit “Click to Subscribe.” That’ll set what this humble venture can you up for the inaugural issue, become. Here’s to the future! Vol. 11, No. 1, coming the first week Sincere thanks from of January. We’ll see you online! your friends at Film Score Monthly. for you to listen to; not to mention signing up for the new FSM Online there (in shorter sample form) so PDF archives of all the FSM backissues, as soon as possible. (The good you can see how that works. which you can download and print news for you is that if that happens, Once you’ve gone to the sample out yourself (...yes, technically you we will easily be able to lower the site, you can immediately subscribe can pay $4.95 and download every $4.95 monthly subscription rate, to FSM Online. All you have to do is single backissue, but hopefully you’ll so we’ll see how things are in the click the button there that says “Click do it at your leisure). Again, this is early going.) We also realize that to Subscribe!” You’ll be transported to just the beginning. Some of what we there may be some trepidation the FSM Store (run by our friends at have planned can’t be mentioned yet, as to what this newfangled FSM Screen Archives Entertainment) where but suffice it to say that we’re going to will entail. So we’ve spent a lot you can securely purchase a monthly take full advantage of the multimedia of time creating a “preview” subscription just like you would capabilities that broadband Internet sample site for you. It’s located an FSM CD. If you are a returning connections allow. FSM is, after all, here—www.screenarchives.com/ customer, you’ll just use your existing Tim Curran, Jonathan Z. Kaplan, about film and music—which may fsmonline/sample/—so please login and password to access the Doug Adams, Jeff Bond, Joe have been well-served in print, but are go there right now, because we’re site. If you’re a new customer, simply Sikoryak and all of our contributors

FILM SCORE MAGAZINE 4 NOVEMBER/DECEMBER 2005 FILM SCORE MAGAZINE 5 NOVEMBER/DECEMBER 2005 Now Playing Record Label Round-Up Concerts Upcoming Film Assignments winners were… news Bruce Racks Up Soundtrack Composer of the Year 10th Emmy Angelo Badalamenti (pictured ll right, enough’s enough. below), A Very Long Engagement. ANow give him the feature film he deserves! Well, at least it’s Best Original good to see our pal Mr. Broughton Soundtrack of the Year recognized yet again for a great John Williams, War of the Worlds. piece of work, this time for HBO’s F.D.R. biopic Warm Springs. Here’s Best Original Song the full list of the music category Written for Film winners from the the Creative Arts “Old Habits Die Hard”; Alfie; written Emmys, given out Sept. 11: by Dave Stewart and Mick Jagger, performed by Mick Jagger. Outstanding Music Composition Kong Score Tossed Out at 11th Hour for a Miniseries, Movie or Discovery of the Year 2004 Special (Dramatic Underscore) Michael Giacchino, The Incredibles. as extreme dieting driven thank Howard Shore, whose talent is Bruce Broughton, Warm Springs HPeter Jackson mad? Okay, surpassed only by his graciousness.” maybe that’s not the reason, but Outstanding Music Composition Joel Hirschhorn 1938-2005 it’s as good a guess as any as to why This is dispiriting, not just because for a Series (Dramatic omposer Joel Hirschhorn Jackson replaced Howard Shore many of us expected a Howard Shore Underscore) Cdied on Sept. 18, 2005, of a with James Newton Howard to King Kong score to be a film music Michael Giacchino, Lost heart attack in Thousand Oaks, rescore his blockbuster King Kong highlight of the year, but especially California, at the age of 67. After with less than eight weeks to go because Shore and Jackson seemed to Outstanding Main Title Theme his graduation from Juilliard he before its release. For the record, have formed an ideal collaboration, Music moved to Los Angeles, where he here’s the “official” version of what where the composer and director Danny Elfman, Desperate Housewives and his writing partner Al Kasha happened, from a press release: really have a meeting of minds and contributed music and songs to the composer is given enough time to Outstanding Music Direction such films as The Fat Spy and The Universal Pictures confirmed…that do the project justice. Michael Kosarin, A Christmas Carol Cheyenne Social Club. The pair James Newton Howard will compose had their big breakthrough with the original score for the dramatic Outstanding Music and Lyrics the song “The Morning After” adventure King Kong, which is Composers as Writers? Dan Studney, Kevin Murphy, from The Poseidon Adventure, directed by triple Academy Award Reefer Madness; which earned them the Best Song winner Peter Jackson. Mr. Howard ROLAND EMMERICH WILL Song: “Mary Jane/Mary Lane” Oscar and led to yet another Oscar replaces Howard Shore, who is leaving next direct the prehistoric winner, “We May Never Love Like the project. Peter Jackson made the adventure 10,000 B.C., based This Again” from The Towering following statement: “I have greatly on a screenplay he wrote Inferno. They also earned Oscar enjoyed my collaborations with with...composer Harald Kloser, nominations for their song score Howard Shore, whose musical themes who scored Emmerich’s and the song “Candle on the Water” made immeasurable contributions to productions The Day After from Disney’s animated Pete’s The Lord of the Rings trilogy. During Tomorrow and The Thirteenth Dragon, and Tony nominations for the last few weeks, Howard and I came Floor, as well as Alien Vs. Predator. Copperfield and Seven Brides for to realize that we had differing creative Seven Brothers. Their orchestral aspirations for the score of King Kong. ON A SIMILAR NOTE, THE score for the drama China Cry was Rather than waste time arguing award-winning new independent World Soundtrack released on CD by Warner Bros. with a friend and trying to unify our film, Forty Shades of Blue, was Along with his composing and points of view, we decided amicably co-written by composer Michael Awards Bestowed songwriting work, Hirschhorn to let another composer score the film. Rohatyn, who scored The Ballad of he World Soundtrack Awards wrote theater reviews for Variety I’m looking forward to working with Jack and Rose, Personal Velocity and Twere given out at the annual for the last six years. He is survived James Newton Howard, a composer Angela for director Rebecca Miller. Flanders Film Festival in Ghent, by his wife, two sons, a grandson,

FILM SCORE MAGAZINE 6 NOVEMBER/DECEMBER 2005 ��

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�� FILM SCORE MAGAZINE 6 NOVEMBER/DECEMBER 2005 RECORD LABEL ROUND-UP Newly Announced Projects and Incoming Albums UPCOMING ASSIGNMENTS Who’s Scoring What for Whom?

LOTR: Fellowship Chandos Georges Delerue for the Films of Jack GDM (Italy) Complete Recordings on a Available now is Korngold: Film Clayton, including re-recordings of Available now are Battle of Algiers 4-Disc Set Available Soon Music of Erich Wolfgang Korngold, music from The Pumpkin Eater, Our (Ennio Morricone) and Morricone On Dec.13, Reprise/WMG featuring the complete score for The Mother’s House, Something Wicked Gold Edition Vol. 2 (3-CD set). Soundtracks will release The Lord Sea Wolf and a concert suite from The This Way Comes and more. of the Rings: The Fellowship of the Adventures of Robin Hood. Ramon www.disquescinemusique.com Intrada Ring—The Complete Recordings, Gamba cond. The BBC Philharmonic. Available now is a re-release of containing Howard Shore’s complete Forthcoming is William Alwyn Film FSM Intrada’s re-recording of Jerry score for the film. Over three hours Scores, Vol. III, featuring suites from November’s Golden Age Classic Goldsmith’s Islands in the Stream, of music will be featured on three The Magic Box, Swiss Family Robinson, release is Bronislau Kaper’s Invitation conducted by the composer, as part CDs, with the fourth disc a DVD The Running Man, The Million Pound (1951) paired with A Life of Her Own of Intrada’s Excalibur series. Due containing the same music, but in Note and more. (1950), two scores (on a single disc) late-Nov. in the Special Collection 5.1 Surround Sound. Extensive liner that started with the same melody! series will be Frank DeVol’s Oscar- notes will be provided by FSM’s Doug Cinesoundz The Silver Age Classic features Jerry nominated score to Hush...Hush, Adams. Due in Nov. is Rhythm of Peace, a Fielding’s unused score to Sam Sweet Charlotte. The release is limited world-music compilation including Peckinpah’s The Getaway (1972). to 1,200 copies. Coming for the Allscore music from films Lost Children (Ali This CD is being shipped with a holidays is an expanded, complete Due in Feb. is Franco De Gemini— N. Askin) and Hotel Rwanda (Wyclef free bonus DVD, including a 30- edition of Bruce Broughton’s The Man With the Harmonica, the Jean). www.cinesoundz.com; minute documentary directed by CD Silverado (2-CDs). premiere CD compilation of Italian [email protected] producer Nick Redman. www.intrada.com composer and harmonica player Next month: A double disc set of Franco De Gemini. www.allscore.de Decca delicious dance music and a double Ipecac Available now is Pride & Prejudice dose of J.B. on CD from LP. Due Nov. 29 is Crime and Dissonance, Brigham Young University (Dario Marianelli). Next year: Another 20 regular a 2-CD collection featuring 30 tracks Due by the end of the year is Max releases, plus some Surprises of from Ennio Morricone’s late-’60s/ Steiner’s 1935 score for The Three Disques CineMusique Extraordinary Magnitude. early-’70s work. Musketeers. www.screenarchives.com Available now is The Music of www.filmscoremonthly.com (continued on page 10)

NOW PLAYING Films and scores in current release The Beautiful Country ZBIGNIEW PREISNER Mellowdrama Capote MYCHAEL DANNA not yet available The Chumscrubber JAMES HORNER Lakeshore Domino HARRY GREGSON-WILLIAMS n.y.a. Doom CLINT MANSELL Varèse Sarabande Dreamer: Inspired by a True Story JOHN DEBNEY Sony Classical Duma JOHN DEBNEY, G. ACOGNY Varèse Sarabande Elizabethtown NANCY WILSON RCA The Fog GRAEME REVELL Varèse Sarabande Forty Shades of Blue DICKON HINCHLIFFE Memphis Intl. The Greatest Game Ever Played BRIAN TYLER Hollywood Good Night, and Good Luck VARIOUS Concord In Her Shoes MARK ISHAM n.y.a. A History of Violence HOWARD SHORE New Line Kiss Kiss, Bang Bang JOHN OTTMAN La-La Land Mirrormask IAIN BALLAMY La-La Land Nine Lives EDWARD SHEARMUR n.y.a. North Country GUSTAVO SANTAOLALLA Sony The Prize Winner of Defiance, Ohio JOHN FRIZZELL Milan Serenity DAVID NEWMAN Varèse Sarabande Shopgirl BARRINGTON PHELOUNG n.y.a. The Squid and the Whale D. WAREHAM, B.PHILLIPS Ultra Stay ASCHE & SPENCER Varèse Sarabande Wallace and Gromit: The Curse of the Were-Rabbit JULIAN NOTT Varèse Sarabande Where the Truth Lies MYCHAEL DANNA Varèse Sarabande * less than 10% underscore ** songs and score

FILM SCORE MAGAZINE 8 NOVEMBER/DECEMBER 2005 FILM SCORE MAGAZINE 9 NOVEMBER/DECEMBER 2005 UPCOMING ASSIGNMENTS Who’s Scoring What for Whom?

L-M-N John Williams Munich. Nathan Larson The Motel. Hummie Mann Suzanne’s Diary Y-Z for Nicholas. Gabriel Yared Breaking and Clint Mansell The Fountain. Entering, The Decameron. Cliff Martinez First Snow. Aaron Zigman 10th and Wolf, Ennio Morricone Leningrad. Flicka. Mark Mothersbaugh The Ringer, Hans Zimmer Over the Hedge, A Johnny Appleseed. Good Year, The Da Vinci Code, David Newman I Married a Witch. Ask the Dust. MAN WITH THE GOLDEN ARMS: Elmer Bernstein at the podium in the ’60s. Randy Newman Cars. Get Listed! A-B Pino Donaggio Toyer. O-P Composers, send your info to  Mark Adler The Rise and Fall of Patrick Doyle Nanny McPhee, Paul Oakenfold Victims. [email protected] FSM Fujimori. Harry Potter and the Goblet of John Ottman Logan’s Run, Craig Armstrong Asylum. Fire, Wah-Wah, As You Like It. Superman Returns. David Arnold Ghost Rider. Anne Dudley Perfect Creature. Art Phillips The Secret World of The Hot Sheet Klaus Badelt Ultraviolet, The Danny Elfman Charlotte’s Web, A Sleepwalkers. Promise. Day With Wilbur Robinson. Rachel Portman Have You Heard? Mark Adler Life of the Party Rick Baitz Hope and a Little John Powell The Bourne (replacing George S. Clinton). Sugar. F-G Ultimatum, Ice Age 2: The Klaus Badelt Poseidon (dir. Nathan Barr 2001 Maniacs. George Fenton The Regulators, Meltdown. Wolfgang Petersen). Tyler Bates Slither, 300, Last Holiday. David Box The Devil Wears Goodnight. Michael Giacchino Mission: R Spurs. Christophe Beck The Pink Impossible 3, The Family Stone. Graeme Revell Goal!, Harsh Alan Brewer Come Early Panther. Vincent Gillioz Taking Charge. Times, Call of Duty, Call of Morning. Marco Beltrami The Three Philip Glass Partition. Duty 2: Big Red One (both Evan Evans Hoboken Hollow Burials of Melquiades Estrada, Nick Glennie-Smith Love and videogames). (w/ Dennis Hopper). Underworld: Evolution. Honor, The Sound of Thunder. Jeff Rona The Quiet. Michael Giacchino Ratatouille Scott Bomar Black Snake Moan. Harry Gregson-Williams The J. Peter Robinson Highlander: (Disney animated), Looking Bruce Broughton Bambi and the Chronicles of Narnia: The Lion, The Source. for Comedy in the Muslim Great Prince of the Forest. the Witch and the Wardrobe World (dir. Albert Brooks), (Disney). S-T What About Brian (TV series). C Larry Groupé Man About Town. Lalo Schifrin Rush Hour 3. Richard Gibbs John Tucker Jeff Cardoni Thanks to Gravity, Penka Kouneva-Schweiger Must Die. Just Friends. H Wednesday. Scott Glasgow Hack. Teddy Castellucci Click, Just My Jan Hammer Cocaine Cowboys. Eric Serra Bandidas. James Horner All the King’s Luck. James Horner Theodore Shapiro Idiocracy. Men, The New World. Gary Chang Sam’s Lake. The Chumscrubber. Ed Shearmur Derailed. James Newton Howard King Steve Chesne Press Pass to the James Newton Howard Howard Shore The Departed (dir. Kong. World. Freedomland, R.V., Lady in the Martin Scorsese). Mark Isham Eight Below Chuck Cirino Shockwave, Solar Water (dir. Shyamalan). Alan Silvestri The Wild, Firewall, (Disney). Strike. Beowulf. Harald Kloser 10,000 B.C. (dir. George S. Clinton Big Mama’s I-J-K Stephen James Taylor The Roland Emmerich). House 2, Flakes, The Cleaner. Quincy Jones Adventures of Br’er Rabbit. Anthony Lledo Frostbite. Get Rich or Die Tryin’. Brian Tyler Annapolis. David Newman Marigold: An D-E David Julyan The Last Drop. Adventure in India. Burkhard Dallwitz Caterpillar Kent Karlsson Silence Inside. V-W Penka Kouneva-Schweiger Wish. Rolfe Kent The Matador, Thank James Venable Happily N’Ever The Third Nail. Jeff Danna Ripley Under Ground. You for Smoking. After. Bradley Parker-Sparrow The Mychael Danna Black. David Kitay Art School Stephen Warbeck On a Clear Gift, Shut Eye. Don Davis The Marine. Confidential. Day. William Susman Fate of the John Debney Zanthura, The Johnny Klimek/ Mark Watters Kronk’s New Lhapa. Barnyard. Reinhold Heil Aeon Flux. Groove. Brian Tyler Bug. Alexandre Desplat Casanova, Alan Williams Suits on the Loose. Michael Wandmacher South. Syriana. David Williams Planet Ibsen.

FILM SCORE MAGAZINE 8 NOVEMBER/DECEMBER 2005 FILM SCORE MAGAZINE 9 NOVEMBER/DECEMBER 2005 CONCERTS Film scores played live

Arkansas Pennsylvania Brazil Denmark Dec. 2, Fort Smith S.O., It’s a Dec. 13, Williamsport S.O., It’s a Dec. 4, Municipal Theater of San Nov. 24, 25, Odense S.O.; The Wonderful Life (Tiomkin). Wonderful Life (Tiomkin), Christmas Paulo; “Cinema in Concert,” featuring Untouchables (Morricone), Basic Carol (Waxman). Psycho (Herrmann). Instinct (Goldsmith). California Dec. 9, 10, Pacific S.O. Richard Texas Canada Germany mail bag Kaufman, cond.; Miracle on 34th Dec. 31, Fort Worth S.O., President’s Nov. 24-26, Ottawa, National Arts Jan. 14, 15, Gewandhaus O., Leipzig, Street (Broughton). Country (Tiomkin). Center Orchestra, John Mauceri, John Mauceri, cond.; “Between Dec. 31, Santa Barbara S.O., Star cond.; world premiere of “The New Two Worlds” film music concert, Trek TV theme (Courage), Addams Washington, D.C. Enterprise,” 8-minute suite from Star European premieres of “The New Family Values Tango (Shaiman), TV Nov. 25, 26, National S.O., Kennedy Trek: TMP (Goldsmith), Dr. Jekyll Enterprise,” 8-minute suite from Medley—Dragnet, Alfred Hitchcock Center, Marvin Hamlisch, cond.; The and Mr. Hyde (Waxman), Spellbound Star Trek: TMP (Goldsmith), Dr. Presents, The Honeymooners, The Lone Godfather (Rota). Concerto (Rózsa), Canadian premiere, Jekyll and Mr. Hyde (Waxman), Ranger, I Love Lucy; Trolley Song from Mutiny on the Bounty concert suite Mutiny on the Bounty concert suite Meet Me in St. Louis (Mills/Sterling). International (Kaper), Canadian premiere “Watch (Kaper), “Watch Your Step” from Australia Your Step” from Shall We Dance Shall We Dance (Rodgers). FSM Florida Jan. 14, Miller’s Point, New South (Rodgers). Always call the box office to confirm! Dec. 2-4, Florida Orchestra; Miracle Wales, Australian Youth Orchestra; Thanks as always to John Waxman at Themes and Variations, the source for film on 34th St. (Mockridge). Psycho (Herrmann). score concert music and parts. Visit www.TNV.net for more information.

Record Label Round-Up (1956; Paul Sawtell). This Island Earth Screen Archives Entertainment Whale (Dean Wareham, various). (continued from page 8) (and Other Alien Invasion Films) Forthcoming are Son of Fury (Alfred Lakeshore features the complete score from This Newman) and a complete, 2-CD Varèse Sarabande Available now is The Chumscrubber Island Earth (Herman Stein, Hans Marjorie Morningstar (Max Steiner). Available now are Prime (Ryan (James Horner). J. Salter, Henry Mancini); The Day www.screenarchives.com Shore, various), Stay (Asche & of the Triffids (1962; Ron Goodwin’s Spencer), The Fog (Graeme Revell), La-La Land semi-rejected score); the Main Title Silva Where the Truth Lies (Mychael Available now is Kiss Kiss, Bang Bang from War of the Satellites (1958; Available now are League of Danna), Doom (Clint Mansell), (John Ottman). Due in Nov. is a Walter Greene); the Main Title from Gentlemen’s Apocalypse (Joby Talbot) Duma (J. Debney, George Acogny), 2-CD, limited-edition Lost in Space Earth vs. the Flying Saucers (1956; and The Chronicles of Narnia: Firefly (TV series; Greg Edmonson) 40th Anniversary Collection. The set Daniele Amfitheatrof). TV Scores by Geoffrey Burgon. and Stargate: Atlantis (Joel will feature remastered cues from www.mmmrecordings.com Forthcoming is a re-recording of Goldsmith); Nov. 22: Zathura (John the series as well as over 70 min. of Milan Guns of Navarone (Dimitri Tiomkin), Debney) and The High and the previously unavailable material, and Available now is The Prizewinner of which will include over an hour of Mighty: A Century of Flight (LSO, will include music by John Williams, Defiance Ohio (John Frizzell). score, plus a 10-minute suite from cond. Richard Kaufman); Dec. 6: Alexander Courage, Herman Stein, Tiomkin’s The Sundowners. Nic Water (Mychael Danna); Jan. 24: Fred Steiner and Leith Stevens. Naxos Raine conducts the City of Prague Nanny McPhee (Patrick Doyle). www.lalalandrecords.com Available now is the concert-work Philharmonic and the Crouch End www.varesesarabande.com CD Akira Ifukube: Sinfonia Tapkaara Festival Chorus. Mellowdrama (Akira Ifukube). Walt Disney Available now is The Beautiful SMCD Due Dec. 13 is The Chronicles of Country (Zbigniew Preisner). Percepto Available now is Adventurous Andy Narnia: The Lion, the Witch and Due imminently is The Reluctant (Alan Williams). the Wardrobe (Harry Gregson- Monstrous Movie Music Astronaut (Vic Mizzy). Williams). After many delays, MMM is back, as www.percepto.com Sony promised, with its next two releases. Perseverance Available now are Dreamer (John Warner Bros. Due later this year is Mighty Joe Now available are Loch Ness (Trevor Debney) and The Legend of Zorro Available now is Harry Potter and Young (and Other Ray Harryhausen Jones) and The Punisher (Dennis (James Horner). the Goblet of Fire (Patrick Doyle). Movies), featuring music from Mighty Dreith; 1989). Joe Young (1949; Roy Webb); 20 www.perseverancerecords.com Sony Classical Please note: Million Miles to Earth (1957; Mischa Due Nov. 22 is Memoirs of a Geisha We endeavor to stay up-to-date Bakaleinikoff) and Columbia library Saimel (John Williams), featuring Yo-Yo Ma with every company’s plans, cues by G. Duning, F. Hollander, Available now are Le Due Stagioni and Itzhak Perlman. but sometimes, bad things happen D. Diamond, D. Amfitheatrof, Della Vita (Morricone) and Oceano to good labels. Please bear with us M. Steiner, D. Raksin and W. (Pino Donagio). Ultra if albums are not released as Heymann); and The Animal World www.rosebudbandasonora.com/SAIMEL.HTM Available now is The Squid and the announced. FSM

FILM SCORE MAGAZINE 10 NOVEMBER/DECEMBER 2005 FILM SCORE MAGAZINE 11 NOVEMBER/DECEMBER 2005 The last raves, rebukes and rebuttals to FSM you’ll see on paper.

mailLalo CDs produced by #1 Time Machinebageverything together. The graphics short length leaves a number of ideas read your recent reviews of fan Arnold Leibovit (though are all top notch, and I even see artist thrown out and undeveloped, and it ILalo’s Caveman and Magnum others might take exception to Reynold Brown was given credit for makes a fatal mistake that it can never Force CDs and couldn’t agree more. that moniker). This is not to say the poster art replicated on the cover. fully recover from, and that is making Magnum Force, in my opinion, is that Leibovit’s recording should He did the poster art for Atlantis as the main thrust of the story [spoilers better than Dirty Harry, basically be condemned, because it was well. start here for those to care] not the because it really sounds like the a decent attempt. Some of it is And the sequencing of the new time machine itself, but the untimely ’70s. There’s another score he did remarkably authentic. But the release brings the whole package to death of the time traveler’s fi ancée. that is even better than Magnum sound effects, so integral to the a high level. The ’87 release just got Following that, the machine is only Force. It’s for the somewhat boring overall sensibility of the score, were it wrong. Why in the middle of the a means to bring her back from the Charles Bronson fl ick called St. Ives. missing—with the exception of score is there a reprise of the End dead, which he can never do, and The music keeps this movie alive. some synth material that could best Title? The FSM release gives the time doesn’t have the mystique or charm it Rent or buy a copy of the fi lm and be labeled a “place holder.” Now travel sequence its proper running has in the original fi lm. In an earlier listen to the music. It gets better that the “futuristic” sounds have time. To me, this sequence was what draft of the screenplay Vox is a robot and better as it runs its0 course. been integrated into the orchestral I always looked forward to each time and plays a bigger role, and more St. Ives, in my opinion, is one of cues, it’s clear that this marriage is I saw the fi lm, and I always loved the time was spent in the future. It was the best “Urban Crime Jazz” scores what had given the original score apparently a troubled production and (with Magnum Force and Dirty its magic. And of course, Garcia’s much of the material in the future Harry). And yes, it would sell like earlier work along those lines is was cut out for various reasons. [End the others. The fans know what what attracted George Pal to the spoilers] they want, and I think they have composer in the fi rst place. Although I did like Klaus Badelt’s spoken in regard to the sales. But beyond the lack of the score to the remake, it needed what Randy Viscovich sound effects in the ’87 release, the Garcia did with the original: a clever [email protected] performance of many of the cues blending of a traditional orchestra do not have the vigor of the original with some strange sounds as a Stu-pid Series? 1960 performance, nor the correct futuristic counterpoint. Well, FSM got hank you for releasing Stu tempo. And although it was nice to it right by understanding the integral TPhillips’ sublime music for the get a suite included from Garcia’s importance of the sound effects, and Knight Rider series. Although I am other score for producer Pal, Atlantis: has taken care to mix them into the not the biggest fan of the original The Lost Continent, not only was the music to make for a pleasing listening Battlestar Galactica album, I jumped tempo off on that one as well, Garcia experience. I wish the same care had at the chance to fi nally get Knight actually altered the melody of the been taken with the liner notes. Now, Rider music separated from the opening theme! Now that FSM has probably by now, you’ve caught some stupid series it was attached to. also released that original score, we of the errors, and you’re likely kicking Not just because of the theme or can play them back-to-back to see the yourselves for not catching them its various reworking during the difference. before going to print. Yet much of it action-cues, but also the trademark Along with the original 1933 King feels a bit rushed, with perhaps too string writing (as in “Not Bad,” Kong, the 1960 Time Machine was an much reliance on previously written “Through a Truck” and “Mad absolute favorite fi lm of mine as a odd and even creepy futuristic sound material (Cinefantastique, Randall Love”). youth, and I probably saw it at least effects that featured prominently Larson’s book, etc.). John Bijl 40 to 50 times even before it was once Rod Taylor arrived in the year I wonder why this happened? It Rotterdam, Netherlands shown on TV. So I knew it upwards, 802,701. It is the length of time the seems a shame so much care went sideways and backwards. When it fi lm spends on the journey, and the into the music itself (which is where it Russell Garcia’s fi nally did run on TV, I shot Super futuristic sounds that, at least for me, counts, of course), that the liner notes The Time Machine 8mm movie footage off the screen account for the feeling that once we don’t come up to the same standard. hat a nice surprise to see the just so I could study the visuals. So get to the world of the Eloi and the I realize Lukas’ team must be working Woriginal tracks of Russell what FSM’s release of this score does Morlocks, we feel we’re a long way hard to keep these CDs released on Garcia’s score to the 1960 The Time for me is to fulfi ll a long dream to from where we started. schedule, however, if there isn’t the Machine fi nally made available. actually own the original soundtrack, This is something the 2002 version time to check the facts properly, This is the defi nitive release, far something the ’87 rerecording only fails at miserably, even though I perhaps proof reading should be outdistancing the 1987 rerecording whetted my appetite for. As usual, think the remake is not as bad as given to someone else, or even to one conducted by the composer and FSM has done a fi ne job of piecing some critics contend. However, its or two or more of your readers.

FILM SCORE MAGAZINE 10 NOVEMBER/DECEMBER 2005 FILM SCORE MAGAZINE 11 NOVEMBER/DECEMBER 2005 MAIL BAG

In the notes it’s stated The Time song-style,” when in fact, this is And fi nally, why is The Time Machine following his objections to ‘the Machine was the third major (and as you refer to it later) “Filby’s a Golden Age Classic and a year later, tone’ of some cues. One was the cue Hollywood fi lm to be made based on Theme,” which has a Scottish fl avor Atlantis the Lost Continent/The Power titled ‘Are You El Tigre?’ My original a novel by H. G. Wells, following The to associate the melody with the a Silver Age Classic? I would think orchestration of the so-called waltz, Invisible Man (1933) and The War of character played with strong Scottish the presence of Rózsa would alone depicting the scene of Heston and the Worlds (1953). Well, The Island aplomb by Alan Young. qualify The Power as Golden Age even Berger copulation in the lake, was of Lost Souls (1934), based on Wells’ The rest are missed opportunities, though it’s from 1968. dissonant, in the style of Bartók. Island of Dr. Moreau, certainly had really. The transfer to 2" analog tape All in all, and in spite of the Bresler did not approve. I rewrote the a higher budget than The Invisible for “home video project” your notes problems with the liner notes, this is cue to his satisfaction, but it ended up Man. This is not to even mention describe on page 9, was in actuality a fantastic release and a CD that will sounding more like ‘Max [Steiner]’ two major British productions of done for the MGM/UA laserdisc and get a lot of play in my household. The than ‘Daniele.’ the 1930s, Things to Come and The VHS release of the fi lm in 1992. At Time Machine is not only one of the “There were many other changes, Man Who Could Work Miracles. The that time the score was nicely remixed greatest science fi ction scores of all which were attended to on the former has more in common with into the fi lm in stereo. Track 6 of time, but one of the great romantic recording stage. I had an excellent The Time Machine than do the two FSM’s CD, however, “A Good Friend scores as well. hand-picked orchestra contracted Hollywood productions you listed. To Gone,” begins with a musical sting, Kirk Henderson by Marian Klein, including John refer to Rod Taylor’s character as H. when George learns from Filby’s [email protected] Williams [piano], Emil Richards G. Wells is a bit misleading since he son (in the year 1966...the future in [percussion] and Laurendo Almeida is really only referred to in the fi lm as 1960 of course) that Filby the senior, [guitar]. So it was not as diffi cult “George.” Even though the machine George’s friend, was killed in the war. as it might otherwise have been on itself has “Manufactured by H. This rather overly emphatic musical account of their cooperation. George Wells” inscribed on its control sting was dialed down in the original “The sound of the fi ve-note motif panel, it’s something more of an in- mix of the fi lm in 1960, but left up for the Indian Chief Chariba has joke. That, of course, can be forgiven, in the remix for laserdisc. It rather already been commented on by some since what you suggest makes sense. cheapens a previously effective scene. of my colleagues. Jerry Goldsmith, But there are a few more. When the fi lm was released on DVD for one, told me how much he The time traveler’s friend, Filby, years later, the problem was either liked it. The effect was achieved by is spelled “Philby” in the third corrected or they went back to the altering the playback speed of the paragraph, but properly elsewhere. original mix. I do not know which. tape recorders, then overdubbing Filby is also attributed incorrectly to As you have it on your CD release, the playback of the three anvils, Alan Cummings instead of actor Alan it is up at full volume, which is in each of different length, struck by Young (who indeed was the star of keeping with what FSM tends to do the metal hammers. I worked with the Mr. Ed TV series). Also on page on their CDs: release the music as Emil Richards on this beforehand. four Yvette Mimieux is described as the composer wrote it. So good, it’s Major Dundee I had used a similar effect, without playing a character in Toys in the Attic preserved for posterity. would like to comment on overdubbing, in the 1930s with my who is “developmentally disabled.” In “Reminiscing,” it is actually one IJoe Sikoryak’s article, “Who concert work, American Panorama. This is a surprising error since Attic morlock that grabs Weena, and if Is Daniele Amfi theatrof” in the Bresler liked this effect, as I recall. He is an FSM CD release and easy you have the DVD, freeze the image March/April 2005 issue of FSM was also fond of my march for the enough to check. In Toys in the Attic when the creature grabs Weena and (Vol. 10, No. 2). Based on personal Mexican militia, which he remarked Yvette played a jealous wife, but the step through it frame by frame. You’ll recollections and numerous sounded like ‘Three Blind Mice.’ “development disabled” character see a mustasched crew member with interviews I had with Amfi theatrof Actually, I jotted this motif down on mentioned in your notes was from blue arms but no morlock mask between 1970 and 1980, I can add the back of a cocktail napkin while Light in the Piazza (1962) where spring in and pull her away. Of course clarifi cation to the piece. waiting to meet him at the old Brown Yvette plays a 26-year old with the it happens so fast, and it’s such a I’ll begin with the composer’s Derby restaurant. mind of a girl of 10, caused by an shock because of the strident musical own comments on the directives “Mitch Miller produced the equestrian accident. Indeed she was sting, it’s never seen when playing at he received from the producer of Columbia Records soundtrack typecast, but not as a vacuous blonde, normal speed. Major Dundee, Mr. Jerry Bresler. album. He was responsible for the rather as a victimized innocent, a Since the original music tracks for Amfi theatrof informed me at our re-recording of the songs performed character type that reoccurred in The Time Machine existed, I would fi rst interview in May 1970 that he by his ‘gang.’ The rest of the music on (among others) Where the Boys Are like to know why Leibovit chose to re- was hired for the job on the personal the LP was extracted from the session (1960), Diamond Head (1963), and record the score instead of licensing recommendation of Dr. Miklós tapes, which by the time we set about later, a bit tougher, but still a victim in the original tracks and just remixing Rózsa, who was fi rst approached by to select tracks, had been mixed down Jackson County Jail (1976). In Piazza, as FSM has now done? And since the Bresler to compose the score. to mono sound. We were informed her performance is quite moving. original tracks to The Time Machine Recalled Amfi theatrof: “He by Columbia Pictures that the stereo Once we get to the track listings exist, surely tracks for Leigh Harline’s asked for an ‘upbeat, old-fashioned tracks had been ‘wiped,’ and these things settle down, with the exception score to Pal’s 7 Faces of Dr. Lao also ’50s type score.’ At the time of the tapes were reused for another fi lm. of the cue “London 1900,” noted exist. And perhaps his Wonderful recording I was obliged to add certain Mitch Miller decided on the addition as being “a simple British folk World of the Brothers Grimm as well. textural changes in the orchestration of various sound effects to mask

FILM SCORE MAGAZINE 12 NOVEMBER/DECEMBER 2005 FILM SCORE MAGAZINE 13 NOVEMBER/DECEMBER 2005 MAIL BAG DOWNBEAT

the mono tracks. I assisted him in this regard. I was not happy with this intrusion on my music, but I offered no complaint since I was so Serenity Now! pleased that after many years my film music was being recorded again for David Newman saddles up for a stint in outer space. • By Jeff Bond commercial release...”. In closing, I would like to advise readers that other commercial recordings exist of Amfitheatrof’s music, including Dance of the Seven Veils (RCA’s Wonderful World of Classic Film Scores), the M-G-M film Trail (Label X’s America at the Movies), and, I believe, cues from the Columbia Pictures library on two compilation CDs from Monster Movie Music. I trust this will enlighten FSM readers about this most unjustly neglected of the major composers who worked in Hollywood during the Golden Age. Perhaps, it may even rekindle new interest in his work. John Steven Lasher Broken Hill, NSW, Australia WAY, WAY OUT WEST: Serenity combines the best of horse opera and space opera.

Suggestions for Future Articles ow about interviews with he spaceship Serenity’s road from the small screen to the big screen didn’t take quite as Hthe composers for various animated series, like Adam Berry long as the starship Enterprise’s, but in many ways it was almost as circuitous. Writer/ (Kim Possible) or Charles Brissette and Brian Causey (Jimmy Neutron)? Tdirector Joss Whedon launched his “space western” show (entitled Firefly) about a Or maybe a piece on Maury Laws, the Rankin/Bass composer who did transport ship of rebels working under the heel of an Orwellian “Alliance” on Fox in 2002, all the Holiday specials? James Smith III but the show was quickly canceled; it wasn’t until the series was put on DVD that a large Williston, North Dakota and fervent fan base became apparent. Whedon took the with it. We weren’t pouring over the series trying to figure The Last Mail Bag Entry idea to Universal and the studio greenlit it as a feature film, out what to do; it was kind of a reconception of the whole ’m a lucky guy. I got the very last taking the unusual tack of preview-screening the movie piece.” Some of the conventions of the series included full Iof your “complete” magazine more than 60 times to generate word of mouth among banjo-pickin’ flyby shots of the Serenity (some characters collections, and boy would I have its fan base. The final film featured all of the TV show’s on the show even rode horses), and Newman says he was been missing out had I not done original cast with Whedon behind the camera, but for asked to reflect a bit of the TV show’s feel while moving so. There is a generation’s worth of the score Whedon eventually settled on David Newman, off in his own direction. “There’s definitely a western valuable articles in these pages, and whose lengthy list of credits not only included numerous Americana flavor to the score; the question for us was how it’s been fun to compare the first comedies but also the space spoof Galaxy Quest and the much of that to do and how big to get and how not big to issue (a one-page flier) from June retro comic book adventure The Phantom, both of which get; it was more of an issue based on the actual piece itself 1990 to the most recent magazine. featured bold orchestral scores. than the series. The series hardly ever came up in all our Too bad you dropped “Score Serenity’s long gestation allowed Newman an unusual discussions, except we did put in an arrangement of Joss’ Internationale” along the way. It was opportunity to work on a longer schedule than most film theme in the end titles, and it does have this westernish my favorite column! composers ever see. “I worked on it for almost six months,” flavor to it.” Pierre Pouliot Newman says. “I started at the end of January. I had never Meanwhile Newman applied himself to creating the Beauport, Quebec seen Firefly so I looked at some of that, but it was a different melodies that would drive the score and enhance the film’s Good-bye, Pierre! beast in a way so in terms of the music Joss Whedon didn’t plot, which focused on the Serenity’s mysterious passenger Send your condolences to want it to be so much like the TV series, which was more River (Summer Glau), who’s being pursued by a dangerous [email protected]! of an all-out western thing. Even though there’s a little of Operative from the Alliance (Chiwetel Ejiofor). “There’s a

images ©2005 Twentieth Century Fox Film Corporation Fox Century ©2005 Twentieth images Serenity FSM that in the score, we were trying to be as subtle as possible theme for the ship itself, which was the most difficult

FILM SCORE MAGAZINE 12 NOVEMBER/DECEMBER 2005 FILM SCORE MAGAZINE 13 NOVEMBER/DECEMBER 2005 DOWNBEAT

Original Motion Picture Score theme to get; a theme for the young girl River, who’s between Whedon’s down-to-earth heroes, the By NATHANIEL SCOTT psychic, and that’s the one I got to first; and then mystery of River and the dehumanizing aspects there’s a theme for the Operative, the quasi-bad guy of the Alliance. “Joss wanted this Orwellian world in the movie. The River theme…when I first talked of the Alliance to feel really sterile in a way, and to Joss I was in Indianapolis because I had written a then he kept saying he wanted the Serenity crew piece for the Indianapolis Symphony to be like a flash of oxygen or a blast based on themes my father [legendary of fresh air, something from the past film composer Alfred Newman] that’s so organic as opposed to the wrote, called Songs of My Father. I was other world that’s so mechanized and there for about five days and there was inorganic. But again, we wanted that a square piano, like a baby grand but to be subversive, a texture you weren’t square, kind of a 19th-century piano, totally aware of rather than being and this piano was completely out out front, and to try and unify that of tune as if no one had touched it in some way and make a statement. in 10 years. I started messing around DAVID NEWMAN A lot of directors don’t want you to and there were some really beautiful make a statement and he was pretty things in it and it sounded like this character to cool about that—he didn’t want it to be a big, huge Reconciled Through The Christ me. Its kind of hidden in the movie but it’s all over statement, but there are moments where it could be Independent Film, 2005 DVD Release the movie in terms of her character, and I wrote a big and he let me go really far with that. There are theme for her using that, and the Operative theme some big, gothic moments in the score.” “The music score is very ‘Hollywood’ and works well with came a little slower. But the Serenity theme, I must Newman had to wrap up the movie with not only the visuals.” have written that about 20 times. It was like writing an immense space battle but also a sustained and -- monstersatplay.com review a TV theme, or what I imagine that would be sound-effects-heavy climactic battle involving both like—I wrote over and over and over again. It was noisy weapons and hand-to-hand fight. “He always First album by composer Nathaniel Scott. either too big, too small, too country, too orchestral said that the space battle could be big. I didn’t have Limited collector’s edition of 1000 copies. or whatever. What we finally hit on was that cello any woodwinds in the orchestra, just brass, strings Visit nathanielscott.com for links to sales outlets. thing with the quartet, this solo cello group seemed and percussion. We tried to find places to come Available September 2 to work for the character of Mal (Serenity’s captain, down because it can get a little overwhelming—it played by actor Nathan Fillion) and the ship, just goes and goes and from there on to the end so once we got that we were good. That was the of the movie it’s almost solid music, and I feel a hardest thing, and I did that on and off for months. lot of movies now just have too much music. But I wrote a lot of different themes and some good certain things need music, whether I like it or not.” stuff too, but this one worked the best.” The Serenity score not only balances three Time on His Side primary themes, but a great deal of complex action For Newman, the long schedule on Serenity was a material, percussion, staccato piano, samples and luxury he’s not often afforded. “I did another movie electronics—although Newman says he didn’t want in between but there wasn’t very much music in it; any overt presentation of synthesized sounds. “Joss they kept recutting Serenity and the release date never wanted it to be too big; he was always trying got moved back. It was great though, and as many to get me to do less and I’m always pushing for a notes as I had and as much as I had to do it really little more, but I would say 50 percent of the score helps taking some time to do something like this, is not electronics—that’s a misnomer—they’re especially if you write for a while and then stop and samples, recordings of live instrument. My whole go back. You have all this time to think about it and background is orchestra and I started studying even not thinking about it is helpful. music playing the violin. So I played in orchestras “Joss really wanted it to sound different, and from when I was a kid, with the American Youth to be honest, I’m not a big champion of my own Symphony and the Young Musician’s Foundation, so music. But when we mixed the album I thought I came to electronics later. And my whole view about that it really sounded different and it really doesn’t this is I want the electronics to be as un-ostentatious sound like anything else I’ve done, and it was nice as possible and as much as possible to be an adjunct having the time to screw around and rethink things. to the orchestra. The main thing about orchestrating I wrote lots of music that then informed what I to me is to have a blend, not that you can’t tell who’s ended up with. It’s a lot better to have time, but playing, but that it’s one vision of musical content. unfortunately no one seems to give a damn. There’s The electronics I treat like acoustic instruments; I really no reason you can’t have this much time; it’s orchestrate with it and I orchestrate around it, and plain and simple mismanagement. There are also it’s all one thing to me.” changes in culture and in people’s training, but Throughout the score Newman strove for none of that should mean anything. It wouldn’t contrast between the Serenity-, River- and Alliance- cost any more money to spend a little more time on related materials to emphasize the differences these things.” FSM

FILM SCORE MAGAZINE 14 NOVEMBER/DECEMBER 2005 FILM SCORE MAGAZINE 15 NOVEMBER/DECEMBER 2005 A tip of the hat and “Bon Voyage” from some of FSM’s friends and family from over the past 15 years.

remember the fi rst issue ofFilm Score Monthly and I’m not afraid to ignore in a stifl ing stairwellstairwell with with that I bought at a Tower Records in San him when I disagree—and no air conditioning on a Francisco: A dog-eared, banged-up copy of anyway, the music keeps us hot August afternoon, after Vol. 1 No. 36/37 with Elmer Bernstein on together. But my experience which Lukas persuaded me the cover. I almost didn’t notice it, next to is not unique; lots of folks have been, um… to proofread liner notes—while he took a nap on I Strange Skin and the other tattoo rags in the touched…by their experiences with Film Score the FSM couch. That was just the beginning of dark corner of the newsstand. But holy smokes, it Monthly and its founder. So forgive us if we put the a very eventful day: celebrity sightings at Lukas’ was an honest-to-god fi lm music magazine! As a music aside for a moment, and talk about us. birthday dinner, a pornographic birthday gift to score fan and a magazine designer, I was doubly —Joe Sikoryak, FSM’s Friendly Lukas from the Kaplans (plus a light saber from Jeff interested. So imagine the confl icting emotions in Neighborhood Art Director Bond), and a mad dash on foot to the Hollywood my pounding heart as I read the editorial on page Bowl (Lukas had underestimated the time it would three—a single-spaced, un-indented rant about First Contact take to walk there from Bond’s apartment). I will how FSM stood apart from the magazine industry: espite having had the privilege of working always remember it fondly! “My basic philosophy in editing this sucker is to with Lukas since 1998 (on all but one of FSM’s —Jeff Eldridge, FSMCD Production take the music seriously, not the magazine. It seems D120-plus CD releases), I did not actually meet Assistant and Chief Grammarian that whenever a new magazine starts up, the fi rst him in person until August 2001. On vacation with thing the publication is concerned with is itself…” my family in Southern California, I headed up to And then, before I could sputter out a defense, he Culver City one day to hang out with Lukas prior to Making Soundtracks went on to further defame my chosen profession attending a John Williams concert at the Hollywood n 1977, at 16, I started collecting soundtracks by complaining about the typical magazine’s “pre- Bowl. Lukas had recently acquired several oversized with StarWars, read comic books and a magazine conceived formatting (usually artsy-fartsy)…I movie posters (including The Black Hole and Star Icalled Starlog. In 1991, I received a peculiar call couldn’t care less about this stuff.” Trek: The Motion Picture) and had them framed. from a very mature 16-year-old who was collecting So began the complicated relationship between Now he wanted to hang them in the stairwell of soundtracks, reading comic books and a magazine this publication designer and that magazine the FSM suite. He needed someone (me) to hold called Starlog. Thus began an association with an publisher, which happily continues to this day. them in place while he climbed up a rickety wooden amazing youth. Turns out that Lukas Kendall couldn’t be easier to stepladder (one side precariously balanced on the Lukas had somehow received or obtained a work with, and we’ve managed to collaborate on stairwell, the other even more precariously on a pile copy of a sale list of duplicate LP soundtracks that over 75 issues of FSM and 130 CD packages so far. of L.A. phone books). I had written. On the back was a small column I He’s not afraid to tell me when he thinks I’m wrong So we spent two hours of my vacation laboring had written about soundtracks. At that time, there

FILM SCORE MAGAZINE 14 NOVEMBER/DECEMBER 2005 FILM SCORE MAGAZINE 15 NOVEMBER/DECEMBER 2005 was no e-mail, no eBay and few cell phones. But, on Unfortunately, as Lukas and I, despite years of to my buddy Lukas, my name—in a very small Lukas’ desk, in the woods of Martha’s Vineyard, there contact, had never actually met face-to-face, the way—will always be linked with a great fi lm and was a new Macintosh computer. I agreed to write a result was more confusion than chuckles. And so score. That’s just cool. regular column about soundtracks—chiefl y vinyl it was that Lukas’ fi rst words to me were, “Who the And don’t ya love how the other fi lm music mags LPs, which still dominated. CDs had only started hell are you!? Get the hell out of my car!” seem “stuffy” compared to FSM? That’s Lukas. He to appear in larger numbers, and James Horner’s —Doug Adams, FSM’s Resident Musicologist might not be a silly “party-animal,” but he knows how to keep FSM up front and in your face, and that’s just how I like my fi lm music, too! Hey, Lukas, just for the heck of it, how about doing another couple hundred issues (and CDs)? I dare ya! I’ll even pitch in now and again (if you’ll have me). —John Bender, Score Internationale Columnist

My First (FSM) Time any happy memories of the 1990s are associated with attendance at conferences and MCareer Achievement Awards of the Society for the Preservation of Film Music (or as the late Herschel Burke Gilbert once gaffed, “Society for the Prevention of Film Music”; it has since been re-named the Film Music Society) in both L.A. Cocoon remained impossible to fi nd (although Into the Dark Pool… and N.Y.C. I think I met Lukas Kendall at the Jerry Lukas had one and I didn’t!). fter my fi rst exposure toFSM (probably picking Goldsmith Tribute in 1993, having earlier become For years, we had much to say about soundtracks. up a copy at a record store or a convention) I an FSM subscriber. I say “think” because last year Lukas worked incredible hours in high school, Afelt compelled to write Lukas and offer my I e-mailed Lukas recalling him wearing a red bow through college and in relocation from East Coast services as a critic/essayist. I do remember being tie with his tuxedo and speaking with Goldsmith. to West. The publication grew, matured and impressed by the quality of the ’zine, especially His quick reply was that he has never worn a red unbelievably survived (as few do). considering that it was most obviously (at that bow tie and defi nitely did not speak with Jerry at In one of our fi rst conversations, I told Lukas that time) a one-man operation. I must’ve thought the Tribute. one day he would be producing soundtrack CDs. “This guy is so young, but is doing such a great job; I took many photographs at the event and sent To this day, I do not know why I said this. There he could use some help, and I’m just the guy to give some to L.K. for possible publication. I remember was something in that 16-year-old’s voice, logic or it to him!” one of them running in FSM of Goldsmith with dreams. Lukas, you made me cry at Christmas, 2004 Anyhow, Lukas called and said something like the ubiquitous cigarette, accompanied by a caption when I held and heard Mutiny on the Bounty like “Yeah, so write something.” He mentioned me in suggesting it was Jerry’s 50th cigarette of the never before. Bronislau Kaper and many others are the editorial of one of the fi rst issues in which my evening, which it may well have been. A photo I shot smiling—maybe even Bernard Herrmann! efforts appeared. He told readers, in his typically of Ennio Morricone in 1994 at his Tribute appeared —Dr. Robert L. Smith, emotional, gushing manner “Some guy named John on the cover of FSM, with a mention in the issue of Author of FSM’s Soundtracks on CD Bender wanted to submit stuff; who knows why. L.K.’s gratitude for “saving my butt.” It seemed odd Anyhow, he seems to be into Italian soundtracks; that L.K.’s butt was somehow in jeopardy over a who knows why.” I was touched. I knew that, from photo of the reclusive Morricone, but I was thrilled Welcome to the Clubhouse then on, he and I would grow closer together, to have my photo on FSM’s cover. fi rst began contributing to FSM as an undergrad platonically, spiritually and culturally. A few years later I wrote my fi rst review for FSM, at the University of Illinois. Lukas set me up with I used to play this game with myself where I of a movie music concert in Leipzig, Germany, I interviews, checked in via email to see how things would rehearse what I would say to Lukas before performed by the famous Gewandhaus Orchestra were progressing, called up to give his regards and getting him on the phone. The damned thing is in its acoustically perfect new auditorium. FSM generally took advantage of all modern technology that, no matter how short and abrupt I contrived continues to be a major force in establishing offered to keep the connection. After a few years to get my communications with him, he would still fi lm music as the “classical music” of our time, Lukas made the jump to the West Coast and, at his manage to squeeze in a “Look, I’ve gotta go!” I’d through both the eclectic magazine articles and the invitation, I decided to make a trip out to L.A. As it hang up and think, “Damn! Next time I’m gonna wonderful CD releases. turned out, I ended up meeting the Kaplan brothers fi nish before he gets a chance to say that!” It never As a Classic Charter Club Member, I have often (then undergrads at U.S.C.) the same day Lukas and happened. Lukas is not a social butterfl y, but then, been pleasantly shocked and surprised by the I were to get together, only a few hours earlier. Jon if he was, we probably would not have all those releases, never more so than by two of my favorite and Al, being Jon and Al, decided that when Lukas wonderful FSM CD releases. “phantom” western scores appearing on one CD— arrived, they would not only avoid introducing me, The great things he has accomplished took a David Rose’s Hombre and Hugo Montenegro’s The but would refuse to acknowledge my presence. (You lot of time and hard work, and he was (is) the best Undefeated—prompting a gushing fan e-mail to have to know the Kaplans to understand that this man for the job. I will forever be grateful to our L.K. (Now, if we could only do something about isn’t antisocial behavior—it’s their seal of approval, dear publisher for bestowing upon me the honor of the manners of some Message Board posters.) Best a welcome to their deviant and unnervingly acute writing the liner notes for the premiere CD release wishes for another 15 years, give or take. sense of humor.) of the complete score to Last Tango in Paris. Thanks —Kyle Renick, Contributor, Subscriber, et al.

FILM SCORE MAGAZINE 16 NOVEMBER/DECEMBER 2005 FILM SCORE MAGAZINE 17 NOVEMBER/DECEMBER 2005 The Vinyl Conflict his computer (initially sent to a dozen people in journalist could ever have. Interviewing composers first heard of “The Soundtrack Club,” as it was various pockets of the planet) became a full-fledged like Alan Silvestri, Randy Edelman, Miles Goodman, then known, through a plug in an early 1992 magazine. I was the first editor of the “Score” and—even more so—meeting friends like Lukas Isale list of a West Coast record dealer. I wrote section and would hurry home from school to and Paul MacLean, were things that never would a $6 check to “Lukas” for a subscription to his edit one review after another (on my typewriter!) have happened if it didn’t all begin with that Starlog stapled newsletter, but I declined to join his “pen that just came in from readers around the globe. I letter (good thinking, Lukas!). pal list” until I determined what breed inhabited still have most of those submissions as well...except As the first “contributor” to the magazine, it’s the STC (my first thought being this could have the correspondence from the South American guy bittersweet to say goodbye to the print side, but the been a kinky STD club cover). Well, I got all the who tried to extort cassette copies of my CDs (and adventure is just beginning. I’ll see you where it’s at, back issues and quickly realized that I had stumbled later told me I’d burn in hell for demanding return and where we could never guess it would go back in into a den of high school Star Wars/Star Trek geeks, postage!). the summer of ’90: into the digital realm. most of whom thought John Williams wrote the Needless to say, working on FSM “from the —Andy Dursin, The Laserphile himself first film soundtrack, and whose level of discourse ground up” truly was the best experience a future FSM in reviewing soundtracks (with the exception of Andy Dursin) was basically, “It Sucks—It Doesn’t Suck.” What I did like was Lukas’ slightly irreverent tone and the “Collector’s Corner” by Dr. Bob Smith, a kindred LP collector/spirit. I gave this fanzine about six months to live (like many such ventures in the past) and was pleasantly surprised when it continued. I wrote a few letters to what had become FSM in June 1992, and after a few discussions with Lukas, I created my alter ego, who first appeared in issue #30/31 (Feb/Mar. 1993 -“The Adventures of �� Recordman”). I thought that the one thing that was missing from FSM was an attempt at humor—the �� authors and fans were so serious when they wrote. Recordman became an amalgam of every anal- �� obsessive collector I had ever known (be it LPs �� or CDs), myself included—the slightly bumbling �� soundtrack fan with a heart of gold. Recordman �� thereafter graced the monthly issues of FSM for �� at least the next five years, hopefully amusing �� and educating as he went. I had immense fun in �� describing his travels and got to play show ’n’ tell �� with the FSM readers. �� FSM grew in both quantity and quality to become �� the standard it is today. As he is my son’s age, I’ve �� always felt somewhat paternal toward Lukas and �� have greatly admired his ambition and drive over �� these last 13 years. The film score community has benefited greatly by his efforts. �� —R. Mike Murray, aka Recordman �� An Amazing Journey �� n the spring of 1990, I thumbed through the �� pages of Starlog magazine and found a letter to �� Ithe editor written by one Lukas Kendall. It wasn’t �� just another run-of-the-mill letter—and it wasn’t �� just about movies, but rather film music. As a huge �� soundtrack fan even at that point, I wrote to Lukas and it turned out we had a lot more in common than I thought: we were both high schoolers, New Englanders, and obsessed with soundtracks (and �� the Red Sox!). �� As the weeks and months went by, I watched— �� and (proudly) contributed a great deal—as the one-page, Xeroxed sheet Lukas turned out on

FILM SCORE MAGAZINE 16 NOVEMBER/DECEMBER 2005 FILM SCORE MAGAZINE 17 NOVEMBER/DECEMBER 2005 THE OF THE Erich Kunzel’sART 40th anniversary as conductor of the Cincinnati Pops is alsoSUITE a celebration for fi lm score fans. Interview by Saul Pincus and Mike Petersen

TAKE FORTY: Kunzel conducts an early Telarc recording session. That’s frequent Kunzel collaborator Dave Brubeck on piano.

THE WORLD OF FILM MUSIC CREATION IS Educated at Dartmouth, Harvard and Brown Universities, the New York-born Kunzel studied with (and was personal assistant to) French often characterized in terms of the fi lms, the conductor Pierre Monteux, considered by many to be one of the leading conductors of the 20th century and a man who premiered works by collaborations between composers and directors, Stravinsky, Debussy and Ravel. In 1965, Cincinnati Symphony Orchestra Music Director Max Rudolf invited Kunzel to helm the CSO’s “8 O’Clock and the resulting scores. The world of fi lm music Pops” series, and in 1970, Kunzel began an association with the Boston Pops as guest conductor, resulting in more than 100 performances in appreciation, however, is something entirely different. the U.S. and abroad. When the CSO fi nally pushed their Pops program into the limelight as the Cincinnati Pops Orchestra in 1977, Kunzel was Whatever we as fans may desire, the manifest destiny of a fi lm score offi cially named conductor—a job he’s held ever since. is not always an original soundtrack album. The music lives on, but Kunzel is sweet, humble and down-to-earth. Yes, he’s an exacting sometimes in other forms. And sometimes even in the concert hall. [For presence on the podium, a perfectionist of the highest order who likes to historical documentation on this extremely divisive topic, check out dot his I’s and cross his T’s. But he doesn’t give off anything approaching Andrew Derrett’s mano-a-mano with FSM’s Lukas Kendall on pages the pomposity so often associated with the lore of classical music. 18-20 in issue #59/60, July/Aug. 1995.] Pretension isn’t his game. He knows he’s a showman, a translator of That said, fi lm music for the concert hall is more of an aberration memorable works originated outside the otherwise hermetic confi nes of than a commonplace occurrence. Few conductors attempt it, few pursue the concert hall. And his ongoing professional relationships with some it beyond a couple of tries, and fewer still make it a career. Eliminate the of the best confi rms it. Just ask John Williams, who considers himself “a composers themselves, and the pool becomes even smaller. great friend and admirer” of Kunzel’s work. And then there’s the unfortunate legacy of rerecordings. From This October, Erich Kunzel celebrates his 40th year as conductor of a collector’s perspective, the process of rerecording fi lm music has the Cincinnati Pops. From what we gathered when we sat down to talk historically been slipshod at best. Let’s face it: for every (now-vintage) with him last summer, he shows no sign of slowing down. Charles Gerhardt Star Wars compilation, there are 10 or more lesser offshoots like the Mighty Moog Ensemble’s Star Wars. (Nostalgia value A HOEDOWN aside, don’t get us started on Meco…) Saul Pincus: Your reputation is that of someone who’s taken great There is a general sense that Charles Gerhardt’s work—in pains to render the fi lm music of composers such as John Williams, Jerry collaboration with George Korngold—was an anomaly. But in reality, Goldsmith, James Horner and others, with great precision… if you take a careful look back and cast your gaze on the past 20 years Erich Kunzel: I think it goes back to my teacher Pierre Monteux, the of the mostly barren fi lm-music-in-a-concert-hall landscape, you will great French maestro. He was of the very old school, where you really fi nd a fan’s beacon of hope. It’s a beacon personifi ed by a lengthy career were dedicated to the composer’s score. You didn’t dick around with it. conducting fi lm scores for live audiences, no fewer than 17 albums of It was the bible of that piece, whereas people like [Leopold] Stokowski fi lm music, and an indefatigable drive to get it right. If there’s a modern went their own way. And I guess that’s in my heritage. When I prepare

dean of live fi lm score performance and rerecording, it’s Erich Kunzel. for any recording, whether it’s a fi lm score or anything, I go to the source, reserved. All rights All photos courtesyPops Orchestra. Cincinnati

FILM SCORE MAGAZINE 18 NOVEMBER/DECEMBER 2005 if I have to listen, read a book, or go see the film, I look into the history to know about it. Because that’s part of your preparation. If you’re conducting a Brahms symphony you want to know if he was drunk, or sleeping with a woman or whatever. What was he doing at that time? SP: Do film scores present a challenge to orchestras who are more inclined to traditional classical works than to playing to variety of styles inherent in film composition? EK: Film scores, unless they’re a Quincy Jones-jazz type of thing, have a tendency to be quasi-classical, whether it’s James Horner or John Williams. Williams, of course, has been sometimes criticized as sounding very Mahler-ish; you know, you conduct a Mahler piece and then you go to John Williams and you’re hearing kind of the same thing. For the orchestra, the technique of playing film scores is exactly like it would be playing a classical composition, be it a modernist Stravinsky or a Mahler piece. Now, when we get to something like the Cantina Band, VINTAGE ERICH: or a Quincy Jones piece, or Danny Elfman, where you get all that wacko (clockwise from top stuff, and you have four electronic keyboards and everything…then left) Kunzel works things are a little bit different. But we’re prepared for that! with Duke Ellington; Mike Petersen: And you find that the players respond to the many atop his 44-ft. cruiser different styles with equal adeptness? Pops; directs his EK: Absolutely. Whether I’m doing a hoedown or whether it’s orchestra from the something from Star Wars, it’s the same technique. I mean, if you look comfort of his piano at our catalogue, we have something like 80 releases on Telarc alone. The bench, circa 1960s. precision, whether we’re doing a big band album or a Puccini opera or whatever, it’s exactly the same. It has to be perfect. SP: That’s the job of a pops orchestra. To interpret a lot of styles. EK: Well, “pops” is really a derivative of the word “popular.” A Bach because the movie dribbles on, so sometimes, I have to put an ending piece can be popular. There are many popular pieces. on, some sort of a button, because if there’s a love theme—and then in the movie all of a sudden they’ll go and climb a tree or something—the THE ART OF THE SUITE composer will do “climb a tree music.” Well, I don’t want the “climb a SP: Some of your CDs with the Cincinnati Pops feature concert suites tree music” in the love theme! So sometimes we need an ending, or an that have been previously heard—perhaps having been put together by opening to get into it. That’s just the nature of the beast. the composers themselves—while others offer new arrangements with MP: One of my favorite buttons, is what you did with Jurassic Park. different endings or excerpts and sequences that had previously not John Williams, of course, had his own rendition for the film and the first been “concertized” before. album, but then a few years later you put the theme on The Great Fantasy EK: That really depends an awful lot on what’s out there. John Adventure Album, and you buttoned it with the T-Rex Rescue, which Williams and I are very good friends, so I can get anything from John gave it a real brassy fanfare kind of ending. Williams himself performs I need. So with John it’s the original. Let’s see if we can get the original the piece in concert sometimes, and now he’s using your button! scores, right? That’s the first attack by my library staff. My librarian Peter Throm [Cincinnati Pops Manager]: Tell them about that knows all the composers so she talks to them. With the exception of medley you created for John. James Horner. He’s a fuss-pot who doesn’t want anybody doing his stuff. EK: I always do the 4th of July in Washington, and about two years But all the others, like Jerry Goldsmith, [was] very accessible. Usually ago John received the first of what we call a Lifetime Achievement we get the original. If we don’t get the original I have a guy by the name Award. He did conduct one number, but I did a whole medley, starting of Joe Price in Cincinnati, and he’s fabulous. He copies all our parts. He right from the beginning. So I started with Jaws, then Star Wars and went does beautiful stuff; he has a fantastic ear. For example, Howard Shore right through, almost chronologically. And I gave it to John. Now John has kept all his music for The Lord of the Rings. You can’t rent it, you can’t uses that. Another cute one was from the first Superman, when they go do anything with it, because he has his traveling symphony thing. Now, through the birth of Superman up on the planet Krypton, and then he’s Howard Shore does not write a long melody, like Williams…and when I put into the capsule and shot into space. John composed a fanfare that listened to Fellowship of the Ring, I was trying to find, on the CD or in the was a little bit like Also Sprach Zarathustra by Richard Strauss. It was his film, some body of stuff, and I just couldn’t find it. So I said “listen Joe, theme for the planet Krypton. I heard that, and I called John up and I here’s what we’re going to do”—and this cost us a lot of money—“we’re said “I’ve got to record this fanfare. It’s fabulous!” And he said “Oh, Erich, going to take this section, that section and this section and we’re going to I don’t know where that music is. Try the London Symphony.” And I said put it into a six-minute suite.” Now the reason I say it cost a lot of money “John, that’s exactly what we did”—because he does everything with is, we pay a royalty charge on one piece, but if I add even 16 bars of them, and I conduct them frequently—and he asked me, “Any luck?” something else, then we pay again, so actually that arrangement cost us and I said, “No,” because you see his music comes in such piecemeal, quite a bit because I did it that way. I felt that, because of Shore’s music, and then they just heave it. They do takes all over the place and the pages I couldn’t get a long enough three-and-a-half minute ditty to make it are all marked up, then it’s all put together later. So it’s really ready for a work. So sometimes, yes, we do make our own arrangements. Generally dump pile, what they are playing from. But of course he has his master you’ll find that everything we do we try to go to the original source, and scores so he said, “All right, the only place it could be is up in my attic, I then work from there. Sometimes these things just dribble on and on, always keep one copy of everything in a file there.” So here he’s got film

FILM SCORE MAGAZINE 19 NOVEMBER/DECEMBER 2005 scores to do, but he went up and spent a whole day, he went through all concert suites out of Jerry’s stuff, Explorers, for example. his crap, and he found it. He sent it to me and then we made parts from EK: Yup. it and we recorded it. Then of course I sent him the parts so he could use them…and he does! This is a nice relationship that I have with him. THE ART OF THE ALBUM SP: You and the Telarc label embraced digital recording technology at SCORES BETWEEN FRIENDS a time when it wasn’t yet established in the industry. Some of the CD SP: How did you and John come to meet? jackets even have warnings not to play them too loud—owing to the EK: The very first time we met was when he first became conductor inherent dynamic possibilities of the then-new medium… of the Boston Pops Orchestra. I had for years annually conducted EK: Telarc has always been on the forefront of what’s new, and they them, and so he wanted to see what Kunzel was all about. He came to still are. They were the first to go digital. The first to go to CDs. One of Cincinnati. I didn’t know he was in the audience, and I did one of his the very first to go to surround sound, one of the very first to go to 24-bit pieces. And he came backstage, and this whole entourage was kind of technology. Everyone else follows what Telarc does. Telarc doesn’t hide a following him, and of course we recognized each other and hugged as thing. Everything, all the equipment they use, is on the inside of the liner colleagues even though we’d never met. And he said in front of everyone notes. As far as Cincinnati is concerned, and the sound that they have, in the green room there, he said, “You know, I have to admit, Erich it’s really produced in the music hall. We have this beautiful ambience in Kunzel knows how to conduct my music better than I do.” the music hall, it’s a hundred and thirty years old. The oboe is still exactly SP: That’s so generous. where it was in 1978 when I conducted Tchaikovsky’s 1812 Overture EK: Well, that’s the way he is. But what he meant was that, even as [Kunzel’s celebrated premiere digital recording on the Telarc label]. The he does concerts of his own music, John remembers—like a horse with old technique was simply a pair of microphones, right behind my rear blinders—how he conducted it for the film, and many times he has to be end, one over here [right] and one over here [left], and that was it. Where so exact, whereas I can give it breadth, I can give it more meaning, more Deutsche Grammophon would use a hundred microphones here, there emotion. I can let the music breathe. And this is what he’d never heard and everywhere, it looked like a forest, Telarc said “Hey this is stupid; before, which is why he so enjoyed me conducting his music. you want the ambience!” Me, the conductor at the podium, I became SP: Our readers would kill us if we didn’t ask: What’s a typical the balancer, and that’s the way it’s supposed to be, not the clowns in the conversation between Erich Kunzel and John Williams? control room playing with this and that. “Oh, let’s have some more oboe, EK: Well, for example, he recently composed a piece called let’s have a little bassoon.” No. That’s my job. The only thing that’s been Soundings, for the new Walt Disney Hall, which takes stuff from the added to this style of recording is of course the surround sound. Then foyers, all over the place, and there’s a lot of pre-recorded stuff, bells we got into ambient sound. The first CDs, when they first came out, the and things like that. My 40th anniversary concert is coming up this sound was dry. But with Telarc it wasn’t. October in Cincinnati, so I said to John “I’m going to do Soundings.” It SP: And you’re not recording an original score that has to go into the had just been written; he thought it would never be performed again. film. It doesn’t have to be on the dry side [as is the case with original “It’s my 40th anniversary concert, we have this huge beautiful hall in score recordings, so that they can be better integrated with sound effects Cincinnati, which is the perfect venue.” I said it would be even better and dialogue]. You’re basically creating a stand-alone experience. than the Disney Hall as far as reverbs and all that sort of stuff. So we EK: In essence, the Telarc technique is simplicity, and the conductor were working on that, and somehow they couldn’t find any CD of that runs the balance. Our recording team—Bob Woods is usually the extra pre-recorded stuff anywhere. Not in any of our libraries, nowhere. producer, and Jack Renner or Mike Bishop are the engineers—they know So finally John stepped in and said “Get Erich what he needs.” And my style, and they know I don’t want anything in a take to pass that isn’t they did. Recently, we had a meeting about the 4th of July Memorial absolutely perfect, because when I start listening to the edits I don’t want Concert, and in April I had to fly out to L.A. Our producer is Walter to be saying, “What went wrong here? Why wasn’t that covered?” That’s Miller, who does the Grammys and the Tonys and all those. He and very rare, because when I’m listening to a playback, in my score I always John play golf together. Just in passing, Walter Miller says to John “Erich put an “X” as we’re going along, there’s an “X” where the horn was flat, is going to be here on Monday” and John says “Oh, he’s got to come there’s an “X” where there’s something else, so when I go back out onto over, I want to have cocktails with him!” Well as it turned out he didn’t the stage, I have to make myself very sure that those “Xs” are all covered. realize he’d be conducting the National Symphony that morning. But We always have a sound check, and sometimes we’ll go through a piece that’s the way John is. and then I’ll go in and listen and say no, not enough this, not enough SP: Another composer who appears quite a bit on your albums is the that, or what have you. But then, we reposition. We don’t add a mic. We late Jerry Goldsmith… just go a little closer. Say we don’t get enough strings, it’s just a matter EK: A wonderful person, very warm. Jerry was, I would say, very of going out there and tweaking those microphones, just bringing much of the classic film score school of composers. He started out with them up or down. They can take them down 3/16ths of an inch, and a very kind of classical approach, and then got into all that electronic that’s enough to give more glow to the cellos. You want the ambience, stuff, and as he got older he kept up with all the changes that were the beauty of the hall. It’s the largest concert hall in North America, by evolving in film score writing. He liked loud sounds, that’s for sure. But cubic feet, and also seating-wise. And the oldest. It’s an old German he was a very sweet guy, very much a John Williams-type of person. If I thing built in 1877. That’s why, when you hear a Telarc recording, you needed a score from Jerry, no problem, there it was. hear this glow. That’s not digital time delay—that’s the hall. FSM SP: And the same question applies: What constituted a typical Thanks to Peter Throm and Carrie Krysanick of the Cincinnati Pops conversation between you and Jerry Goldsmith? Orchestra, Liz Parker and Stefani Truant of the Toronto Symphony EK: I had Jerry guest-conduct in Cincinnati a few times over the Orchestra, Leanne Wright and Carrie Sager of Flip Publicity, years. He loved to conduct, he loved to guest-conduct, so he was always Gerard Chrysostum-Louis, Alison MacAlpine of AM Communications, very grateful when I got him. Jamie Richardson and John Williams. MP: You’re the only other conductor I can think of who made Special thanks to Maestro Kunzel for graciously spending time with us.

FILM SCORE MAGAZINE 20 NOVEMBER/DECEMBER 2005 FILM SCORE MAGAZINE 21 NOVEMBER/DECEMBER 2005 POPS ART A Telarc Buyer’s Guide

BY PINCUS & PETERSEN

Star Tracks (1984)  Courage’s The Cage (Star Trek’s pilot) Star Tracks II (1987)  Star Trek IV, for example). CD-80094; 10 tracks - 49:08 before, and the listener gets simply CD-80146; 14 tracks - 54:50 Music from the Star Wars Trilogy, giddy hearing Stu Phillips’ Battlestar Fred Steiner, Sol Kaplan, Alexander Happy Trails (1989)   Superman, Raiders of the Lost Ark, Star Galactica in full symphonic glory. A Courage, James Horner, Leonard CD-80191; 22 tracks - 67:38 Trek, Close Encounters of the Third Kind perfect companion to Star Tracks. Rosenman, Alan Silvestri, Bill Conti, John Suites and themes from The Sons of Katie and E.T. Williams, Henry Mancini; music from Star Elder, The Good, the Bad and the Ugly, ecordings of these neo-chestnuts Round-Up (1986)  Trek I, II and IV, Back to the Future, The Duel in the Sun, Giant, The Alamo, Sunset, were a dime a dozen in the late CD-80141; 13 tracks - 51:07 Right Stuff, Cocoon, SpaceCamp, Return Lonesome Dove, Johnny Guitar, Oklahoma R’70s and early ’80s, with everyone Elmer Bernstein, Franz Waxman, Alfred of the Jedi, Superman and Lifeforce. Crude, The Wild Bunch, The Man Who from Charles Gerhardt to Zubin Newman, Dimitri Tiomkin, Jerome ow we’re talkin’. This CD gets full Shot Liberty Valance. Mehta to Neil Norman taking a crack Moross, Bruce Broughton; music from marks for boldly going where he Singing Sergeants—an all-male at them. The good were good, but High Noon, Big Country, The Magnificent Nno symphony orchestra had chorus, for the purposes of this the bad were ugly. It seemed like any Seven, Silverado and more. gone before. Here’s the fanfare for TCD basically a bunch of singing Tom, Dick or Meco was suddenly his album opens with charming Superman’s “The Planet Krypton” cowboys—are featured throughout issuing so-called performances digital sound experiments (many that Williams unearthed especially this disc, which leans more heavily of what was intended as pure Tof these albums first appeared for Kunzel. [See page 19.] Here’s the on traditional ballads than it does symphonic music. Then along came on vinyl): horses galloping and “Klingon Battle” from Jerry’s first Star on film music. Intermittent sound Kunzel and the Cincinnati Pops, whinnying, cowboys and cattle Trek score. But here also is...Horner’s effects include a “stampede,” a finally breathing life into the music hooting. After that it’s music all Wrath of Khan? Rosenman’s Voyage “saloon brawl” and an “authentic and reminding us why we fell in love the way, starting with the very Home? Conti’s The Right Stuff? steam engine.” The gorgeous with it in the first place. Consider this first “cowboy music,” the post- Yup. We got ’em! Even Williams’ rendition of The Good, the Bad and album a library essential. Not even appropriated William Tell Overture SpaceCamp is here. The digital the Ugly might be the biggest sound Williams’ own re-recordings with (The Lone Ranger). Frankie Lane sound improves with each album, (full orchestra, chorus and concert the Boston Pops come close to these sings lyrics through the “Anthology too, as Kunzel’s engineers tweak the hall ambience) that a Morricone versions. The word is verisimilitude, of TV Western Themes,” and perhaps technology. Here the sound is crystal score has ever achieved. There’s less folks. This CD is a workout both for the first contemporaneous re- clear, ocean deep and as palpable energy in this album overall than your home stereo and your nostalgia- recording of Broughton’s Silverado; as the air in the room. Some digital there was in Round-Up; although the bone. (Note: The album opens and the film was barely a year old when sound-effect tracks are sprinkled difference is hard to describe, you’ll closes with synthesized “tone poems” this album was released. into the sequence of this album, but know it when you compare. (Be that are probably meant to test the they’re apt (whale songs preceding careful—listening to this back-to- then-new digital sound; the Star Hollywood’s Greatest Hits, back with Round-Up might have you Wars Main Title is, unfortunately, Volume I (1987)  hallucinating horses and saddles and inextricably attached to an ephemeral CD-80168; 17 tracks - 60:58 RATINGS GUIDE Lorne Greene in a vest.) synthesized “intro.”) Themes from Exodus, Lawrence of Many of Erich Kunzel’s Telarc CDs Arabia, Gone With the Wind, The Summer have been reviewed individually in past A Disney Spectacular (1989)  Time Warp (1984)   of ’42, Goldfinger, Out of Africa, Chariots issues of FSM. This guide considers CD-80196; 12 tracks - 68:10 CD-80106; 10 tracks - 51:46 of Fire. them as a group, in the context of his Leigh Harline, Richard M. Sherman, Tommy Dorsey, Richard Strauss, Jerry nce you hear the orchestra burst career as a conductor who brings Robert B. Sherman, Ned Washington, Goldsmith, Alexander Courage, Stu forth with Alfred Newman’s film music into the concert hall. These Sammy Fain, Mack David, Bob Hilliard, Phillips, John Williams, Johann Strauss, O“20th Century Fox Fanfare with ratings are relative to the rest of Jerry Livingston, Frank Churchill, Al Aram Khachaturian, music from 2001: A CinemaScope Extension,” you know the composer’s oeuvre, and do not Hoffman, Ray Gilbert, Larry Morey, Jimmy Space Odyssey, Star Trek: The Motion you’re in for a great ride. It is mostly compare directly to the ratings in our Dodd, Gershan Kingsley, Jean Jacques Picture, Battlestar Galactica, Star Wars, comprised of the usual suspects, but SCORE section. Perrey; songs from Mary Poppins, Jungle Alien and “The Menagerie” (Star Trek). you’ve never heard Steiner’s Gone Book, Cinderella and more.  A must-have. Belongs in ore chestnuts, more With the Wind, Korngold’s Captain ou have to be in the mood for every soundtrack collector’s collection verisimilitude; there’s a pattern Blood or even Bill Conti’s “Theme this one, but if that mood strikes,  Highly recommended. Close to Memerging here. Erich Kunzel from Rocky” played with such passion Ythen this is the most unabashedly a classic, with lots of replay value. and the Cincinnati Pops take this and captured with such clarity. The sweet, sticky-gooey Disney  Recommended with reservations. stuff seriously. Thank God. The brilliance of the recording is so compilation ever. It’s not a spoon Not a consistently enjoyable listen. revelation with this album is that striking that you can imagine Erich full of sugar, it’s a trough. You can  For completists only. Kunzel is flirting with new material; and his engineers, saying “Ha! Take practically see the orchestra dancing You’re a Kunzel Kollector! no one has tackled Alexander that, analog!” on the rooftops. It’s wonderful. No

FILM SCORE MAGAZINE 20 NOVEMBER/DECEMBER 2005 FILM SCORE MAGAZINE 21 NOVEMBER/DECEMBER 2005 scores, per se, but lively suites of Fantastic Journey (1990) ●●● ◗ Your Eyes Only, Beverly Hills Cop, Lethal album segue into “I’m your goddamn many of the familiar songs, “Bare CD-80231; 16 tracks - 64:10 Weapon, Darkman, The Spy Who Loved partner!” but it doesn’t happen. Put Necessities” and “Bibbidy-Bobbidy- Music from Batman, Moonwalker, War of Me, Shaft, Octopussy. this disc on if your grandmother is Boo” among them. We’re telling the Worlds, Indiana Jones and the Last solid re-recording of John Barry in the house, and she won’t worry so you, this stuff sparkles. Play it loud Crusade, Star Trek V, The Day the Earth themes is hard to find; even much about that “weird music” her and pretend you’re in Disneyland. Stood Still, The Last Starfighter. Athose by Nic Raine—who’s grandson listens to. It’s amazing how magical this music he delight here is getting bright, done a more-than-faithful job on becomes, aged well and presented clear digital performances of suites several Silva compilations—aren’t Hollywood’s Greatest Hits, with class. With a chorus here, a Tand themes we’d never thought perfect. Where Kunzel excels here Volume II (1993) ●●● ◗ soprano there—this material gets we’d hear outside their OSTs, like is in applying his unmistakable CD-80319; 17 tracks - 63:44 as close to the vintage Disney film Barry’s The Black Hole (still yet to sense of “groove” to Barry’s work. Themes from 2001: A Space Odyssey sound as movie buffs can imagine. make it to CD), Herrmann’s The Kunzel’s decades of experience (North), The Ten Commandments, Around In other words: Kunzel and the Pops Day the Earth Stood Still, Goldsmith’s performing with Dave Brubeck, the World in 80 Days, Mutiny on the perform Disney music with the same Poltergeist and Elfman’s Batman. Duke Ellington, Doc Severinson Bounty, Spartacus, Zorba the Greek, Far integrity as they do everything else. We’re thankful that this great album and Ella Fitzgerald have given him and Away, Dances With Wolves, Grand features none of those intermittent an unerring understanding of Canyon, Ben-Hur. Victory at Sea and Other sound effects that are peppered how to bring out the best in pop- ny album that begins with a Favorites (1989)   throughout some of the others. influenced film music, and how taste of Alex North’s rejected CD-80175; 15 tracks - 61:02 to make a series of cues like this as Ascore for Kubrick’s 2001: A Space Suites and themes from Victory at Classics of the Silver Screen enjoyable as they are on their OSTs Odyssey is confirming its literacy Sea, The Winds of War/War and (1990) ● (particularly The Untouchables). about film music history. It’s one of Remembrance, Casablanca, Bridge on the CD-80221; 17 tracks - 77:31 Even Harold Faltermeyer’s indelibly the hallmarks of Kunzel’s approach River Kwai, Suicide Squadron, The Valiant Classical music popularized by the dated Beverly Hills Cop feels fresh, to programming that he always tries Years, Battle of Britain, The Longest Day movies. proving that in the right hands, you to slip in not-so-well-known music and “The Generals’ March” (Goldsmith). utting this on is like playing can’t keep a good tune down. If there amongst the expected favorites; his disc is an ode to WWII and Film Score Trivial Pursuit. Name are missteps, they’re slight: Kunzel’s that’s true here, with evocative represents the greatest leap in Pthat tune! Name that movie! “Medley of TV Adventure Themes” performances of Will Hudson and Tsonics since the debut of digital Name that composer! Here we doesn’t survive the translation, and George Duning’s “Moonglow” and sound. It’s as though the engineers have Turandot by Puccini, one part don’t ask us why Lethal Weapon is theme from Picnic, and even Dimitri finally perfected their equipment, of which is most famous in the represented by a lackluster rendition Tiomkin’s “Thee I Love” from found the optimum levels, and film score world for its use in the of Honeymoon Suite’s main title Friendly Persuasion. What strikes tweaked their sweeteners just ballroom sequence of what film? song rather than by Michael Kamen’s one even more is that this album is exactly so. Or maybe it’s just louder. (Hint: It starred Jack Nicholson and theme for Martin Riggs. filled with music that dares conjure Whatever the case, this CD sounds three beautiful witches.) John Barry up the kind of emotions that film great. Steiner’s “The Casablanca wrote the score for the time-travel Movie Love Themes (1992) ● ◗ music rarely, if ever, is allowed to Suite” is a highlight, and all those love story Somewhere in Time, but CD-80243; 18 tracks - 70:55 do anymore. It’s all decidedly unhip whistlers puckering up to blow Jane Seymour’s character loved the On Golden Pond, Ghost, Somewhere in to today’s ears, but emotional time through Alford’s “Colonel Bogey music of another famous composer. Time, and “Marion’s Theme” from Raiders travel is the primary aim here, and March” (from Bridge on the River Name the composer… In Who of the Lost Ark. Kunzel and his players pull off the Kwai) is real fun, but Addinsel’s Framed Roger Rabbit?, Donald Duck magine a soundtrack with all the journey with such welcome feeling “Warsaw Concerto from Suicide and Daffy Duck played dueling action and suspense tracks left off. that one can forgive the main quibble Squadron” slows the album down to pianos in a nightclub, duking it IThis CD is love theme after love with this album—which is that there a crawl for an eternal eight-and-a- out on the keys using a piece by theme after love theme (not that isn’t more of it. half minutes. Of particular interest is composer Franz Liszt. Name the there’s anything wrong with that) Goldsmith’s “The Generals’ March.” piece…Fun, eh? and therefore functions best as, ahem, The Great Fantasy-Adventure The CPO’s brass section lacks the bite background music. Curious to hear Album (1994) ●●●● of the performances on Goldsmith’s Bond and Beyond (1991) ●● ◗ what Kunzel has done with “Marion’s CD-80342; 21 tracks-65:39 MacArthur and Patton OSTs, but CD-80251; 17 tracks-61:22 Theme” from Raiders of the Lost Ark? Jurassic Park, The Hunt for Red October, Kunzel’s tempo here is peppy Themes from Goldfinger, From Russia Well, it’s brief and beautiful; this is Terminator, Hook, The Abyss, Robin Hood. compared to the lugubrious pace With Love, Dick Tracy, The Untouchables, the scene where Indy is resting and ore of those sound-effect Goldsmith himself employed for Rambo: First Blood Part II, Medley of TV Marion is kissing his elbow and such. tracks—the roar of a T-Rex, the latter-day re-recordings. Adventure Themes, Live and Let Die, For One does expect to hear the 1981 Mwhoosh of an arrow through

FILM SCORE MAGAZINE 22 NOVEMBER/DECEMBER 2005 FILM SCORE MAGAZINE 23 NOVEMBER/DECEMBER 2005 Sherwood Forest—make this CD is simplified. It doesn’t matter that he performances have their flourishes arranged by frequent a bitch to listen to on shuffle, but much, though, since the album has usual verve and the recording Kunzel collaborator Joseph D. Price. with some careful programming clearly been crafted as a listening Tits customary clarity, but some this is actually the very best of the experience—and on that level, it of the films represented here were Mega Movies (2000) ●● bunch. Here we get the “Main succeeds admirably. almost brand-new when Kunzel CD-80535; 22 tracks - 73:44 Themes” from Jurassic Park that took up the baton. Ideally, this kind Armageddon, Godzilla, The Phantom Kunzel tagged with the “T-Rex Symphonic Star Trek (1996) ●● of music takes a while to ferment; Menace, Titanic, The Mummy, The X- Rescue” fanfare (and which Williams CD-80383; 28 tracks - 72:05 the passage of time will (and should) Files, The Mask of Zorro, Shakespeare in himself has since adopted for his own Music from the Star Trek movies and be the judge as to what’s a modern Love and more. performances and re-recordings). television series. classic warranting a re-record, and t’s the too-new-to-be-re-recorded Kunzel’s interpretation of “The his retrospective takes us all the what’s just a trendy Hollywood ditty. syndrome again, with The Mummy Ultimate War” from Hook differs way from The Original Series So this is the “ditty album.” Arnold’s I(Goldsmith) and The Phantom from Williams’s OST performance, Tto Star Trek: Voyager. While the Independence Day is nice, and so is Menace barely out of theatres, let but it’s a testament to Kunzel’s skill suites from The Motion Picture, Horner’s Apollo 13, but there’s little alone on a Blockbuster shelf near that it makes no less of an impact. It The Wrath of Khan, The Voyage else of interest here, and those pesky you. More sound effects are dappled even survives a tempo problem (slow Home and The Final Frontier were sound effect tracks abound. into the menu, but they can easily be here, inconsistent there) and is nicely on previous Telarc discs, the rest— programmed out. This CD works like sandwiched by a fresh performance themes from The Next Generation, Beautiful Hollywood (1997) ● one of those “best of whatever year” of the OST “Prologue.” Silvestri’s The The Undiscovered Country, Voyager, CD-80440; 18 tracks - 69:03 compilations that Varèse used to do. Abyss, Horner’s The Rocketeer and The Search for Spock, Deep Space A River Runs Through It, Legends of the In this case, the year is 1999. Cast Willow, and Rózsa’s El Cid are all Nine and Generations—are newly Fall, Forrest Gump, The Mission, Jerry your mind back, if you dare… given faithful, energetic run-throughs recorded. Voyager has been adapted Maguire, Evita. here. Great album! with a flourishing big finish that snooze-fest, frankly. This is as Chiller (2001) ●●●● we’re guessing Jerry Goldsmith close to Muzak as you can get CD-80189; 20 tracks - 58:20 The Magical Music of Disney had absolutely nothing to do with, Awithout standing in an elevator. Suites from The Twilight Zone, The Bride (1995) ●● ◗ the chronology is totally out of Goldsmith’s Rudy and Forever Young, of Frankenstein, The Devil and Daniel CD-80381; 23 tracks - 57:17 whack, and there are more sound aand Silvestri’s “Feather Theme” from Webster, Psycho, Sleuth, Poltergeist. Suites from Aladdin, The Little Mermaid, effects on this disc than there were Forest Gump and Menken’s “Colors n absolute classic. This is the The Lion King, and Beauty and the Beast; tribbles on the Klingon transporter of the Wind” from Pocahontas are Halloween album we’ve been by Hans Zimmer, Elton John, Alan Menken. pad. Kunzel probably thinks that this album’s only gems. Awaiting for, sound effects, nsulin at the ready, folks. Kunzel’s Star Trek, by default, lends itself to classical music, film themes and collection of four suites from beeps, whistles, explosions, warp The Great Movie Scores From all. Putting an archetypal spooky IDisney’s last great animation drive rev-ups, tribble cooings and the Films of Steven Spielberg favorite like Mussorgsky’s Night on renaissance is an essential companion transporter warblings. Well maybe (1999) ●● ◗ Bald Mountain on the same disc to Kunzel’s own A Disney Spectacular. to some, but the point here should CD-80495; 19 tracks - 78:30 as Waxman’s Bride of Frankenstein, And if you’re a closet “Sing-along- be the music and that sounds John Williams, Jerry Goldsmith, Quincy Herrmann’s Psycho and Goldsmith’s Sound-of-Music” fan, you’ll be in incredible, faithfully evoking that Jones, music from Saving Private Ryan, “The Light” from Poltergeist was a heaven. There isn’t much in the way sense of awe and grandeur one Schindler’s List, Jurassic Park, E.T., Close stroke of genius. It not only makes of pure instrumentals to be had would expect from a melodramatic Encounters, Raiders of the Lost Ark, one feel proud of our little family of here; what there is gets performed adventure in deep space. If you Amistad, Indiana Jones and more. favorite composers, but it makes a with gleeful gusto, warmth and like your Star Trek retrospectives hey’re all here and they’re all CD that’s ripe and ready for blasting precision. But the bulk of the album in strict chronological order, and chronological, from The Sugarland by candlelight when trick-or-treaters is driven by chorus and vocals, would like to skip the sound effects, TExpress to Saving Private Ryan. come calling. (How many of these and when it is, the arrangements play the tracks in this order: 12- They even threw in Goldsmith’s “scary” compilations have we tried favor that chorus and those vocals 23-19-18-14-15-16-25-11-2-21-4- Poltergeist and Twilight Zone: The to assemble ourselves?) The album heavily—occasionally (as in Hakuna 8-6-27. Movie and a suite from Quincy Jones’ is heavy on established classics like Matata and Kiss the Girl) robbing The Color Purple, for completists. Berlioz’s “March to the Scaffold” the experience of the power it might The Big Picture (1997) ● ◗ Many of the familiar suites are from Symphonie fantastique and have had if the orchestra employed CD-80437; 24 tracks - 76:06 rendered faithfully, while others, like Gounod’s “Funeral March of a just a bit more energy and drive. Independence Day, Braveheart, Twister, “Slave Children” from Indiana Jones Marionette” (from which the Theme At times it’s akin to listening to a Apollo 13, Batman Forever, Crimson Tide, and the Temple of Doom and “Toy From Alfred Hitchcock Presents is Broadway cast album, where the Speed, Executive Decision, The Last of Planes” from Empire of the Sun, are derived). And while some are tune’s the thing but the score’s detail the Mohicans, Jumanji, and more. buttoned with some “big-finish” (continued on page 55)

FILM SCORE MAGAZINE 22 NOVEMBER/DECEMBER 2005 FILM SCORE MAGAZINE 23 NOVEMBER/DECEMBER 2005 It continues to amuse me that some people, especially older film score fans, still label Danny Elfman an up-and- coming composer. The red-haired husband of One Bridget Fonda passed 50 a couple of years ago, and has been an established film composer for almost 20 years. He’s actually older than John Williams was when Williams scored of Star Wars. So it is only natural that we do an Elfman buyer’s guide and showcase the amount of work he’s done since the late ’70s. Yet it is not his prolific output that makes the this guide a daunting task, but rather his decision to try out as many different media as possible. Should we also include his radio jingles and TV commercials? How about the Good music he’s written for Internet movies and computer games? The TV themes? The themes he’s written for films that were primarily scored by others? What about the scripts he’s Ones written? Not to mention his work with pop group Oingo Boingo (now referred to as just (or, CDs to Die for) Boingo), and all the films that have had its songs in them. And then, obviously, there’s his recent concert work and two uncompleted musicals. This guide will try to cover as much of this as possible, but in some cases, we will have to be selective. (In particular, the Boingo material is really suited for another magazine.) The Danny Elfman Much has been said about the “old” vs. the “new” Elfman, with Buyer’s Guide preferences in both directions. This guide PART ONE will attempt to trace some of the transitions that cause this debate. I have decided to make Mission: Impossible the defining moment, but by Thor J. Haga that’s not necessarily the definite answer. In

FILM SCORE MAGAZINE 24 NOVEMBER/DECEMBER 2005 terms of the grades, we have tried to follow Spider-Man 2 (2004) ●● the set-up from previous guides (see sidebar). Columbia/Sony Music Soundtrax CK 92842 We have not rated the unreleased material, nor 15 tracks - 48:01 the TV themes (many of which aren’t even available). any complained that the first film didn’t M contain any hummable themes. And to Charlie and the Chocolate Factory a certain extent, that is true for the sequel score (2005) ●●● as well, the difference being that Elfman expands Warner Bros. 72264 • 21 tracks - 54:14 upon the main theme and performs it more explicitly on many occasions. This is of course in oald Dahl and Tim Burton were a match line with Sam Raimi’s expansion of the Spider- R made in heaven, as both share a sense for Man character itself. Peter Parker/Spider-Man the burlesque. Burton’s version of Dahl’s classic is more self-aware and mature now (although children’s book pays tribute to the author’s still struggling with adolescent worries). The colorful descriptions by using gaudy contrasts new arch-villain, Doc Ock, gets a sinister minor- and a creepy Johnny Depp as factory owner moded theme that resembles the Goblin motif Willy Wonka. Elfman, on his end, is finally from the first film, with a similar descending scale, allowed a return to his Mystic Knights of the but is beefed up with far more percussion. Overall, Oingo Boingo roots: There are five hilarious the action material seems a bit unfocused and songs (all sung by Elfman himself—in various overly bombastic (largely because Christopher modified guises)—from the Bollywood- Young and others provided additional music, inspired “Augustus Gloop” to the quasi-Queen and 40% of the film was tracked with cues from anthem “Mike Teavee.” Great fun. The score is Spider-Man after Elfman left the project), while the also a journey through Elfman’s styles—past strength lies in the intimate moments and careful and present: the waltzes, wordless chorus and variations of the main theme. This score album tender celeste from Edward Scissorhands to the from Columbia also includes a new and faithful somber contrapuntal writing of Sleepy Hollow in version of Burt Bacharach’s classic “Raindrops “Chocolate Explorers.” The highlight for many, Keep Fallin’ on My Head,” which was used though, would be the track “River Cruise—Part prominently at the end of the movie. 2” (not used in the film), which contains a steady drumbeat complemented by humming, kazoo- Big Fish (2003) ●●● ◗ like voices and a heroic brass theme. This is a Sony Classical/Epic SK 93094 varied listening experience, and you’ll find that 23 tracks - 61:24 (40:44 score) the disc won’t leave the player very easily. lthough the film certainly is ripe with Point Pleasant (2005) (TV) A fantasy elements, it is also grounded in a Unreleased realistic environment, quite a departure for Tim Burton. As such, it may be considered his most lfman wrote the theme for this series about adult film to date. The story about Ed Bloom, Emysterious happenings a coastal New played brilliantly by both Albert Finney and Jersey burg, which Fox canceled after only a few Ewan MacGregor, who tells many unbelievable episodes. The 30-second tune is a cross between stories from his past, is only the frame through the funky grooves of Dead Presidents and an which we really witness the relationship eerie child’s voice humming a Sleepy Hollow-like between father and son; husband and wife. ONE OUT OF FOUR melody. Elfman’s Oscar-nominated score is one of the AIN’T BAD: Elfman’s most enjoyable he’s written in recent years. Sure, output over the past 10 Desperate Housewives (2004) (TV) there are the typical Burton elements such as years is remarkably Hollywood 2061-62499-2 • 1 Track the solemn sadness of “Sandra’s Theme,” the well-represented tongue-in-cheek horror licks for the witch, and on CD. But only one BC’s award-winning series about frustrated the oompah music for Danny DeVito’s circus of these four efforts housewives in an American suburb quickly (not on the album). But there’s also maturity A made it to disc: My became an international success. Elfman’s Emmy- in the music, as in the film. There is a rural Favorite Martian (1999); winning theme lies somewhere between Thomas Americana feel to the orchestration, similar to Desperate Housewives Newman’s ubiquitous American Beauty-sound A Simple Plan, and a delicate, almost haunting (2004); Point Pleasant and his own, fluffy “gossip” motif from Edward quality to the choir and strings that steer the (2004); and The Dilbert Scissorhands. The episode scores were composed score determinedly away from cliché. The album Zone (1999). Can you by a variety of composers, including Steve Bartek, includes about 40 minutes of Elfman’s score, and guess which? Steve Jablonsky and W.G. Snuffy Walden. is otherwise filled with ’60s and ’70s standards,

FILM SCORE MAGAZINE 25 NOVEMBER/DECEMBER 2005 plus an excellent new ballad called performances by Zeta-Jones, Spider-Man (2002) ●● ◗ “Man of the Hour” by Pearl Jammer Zellwegger and Gere are decent, Columbia/Sony Music Soundtrax Eddie Vedder. This is a perfect there are better recordings out CK 86681 • 15 tracks - 45:00 example of Elfman’s mature sound, there, with professional singers and is a must-have. to boot? am Raimi’s eagerly anticipated feature film S adaptation of the popular comic book character Hulk (2003) ●● ◗ Red Dragon (2002) ●●● met its expectations. Many felt that it was refreshing Decca /Universal Classics Decca /Universal Classics to see a superhero who struggled with everyday B0000633-02 • 19 tracks - 63:50 289 473 248-2 • 17 tracks - 57:17 teenage problems and who wasn’t the invulnerable übermensch or the tormented dark hero of other ng Lee’s interpretation of the his Brett Ratner film is serials, although Peter Parker certainly was an A green superhero divided fans. T a remake of the original outsider like all other superhero alter egos. But there Some thought that there was too little installment of author Thomas were also those who felt that the film suffered because action and too many weird effects Harris’ so-called Hannibal Trilogy, Willem Dafoe’s Goblin villain was a bit over the top. (such as the split screen), while others about the infamous mass murderer Danny Elfman’s score is a typical example of his applauded these aspects because they Hannibal “The Cannibal” Lecter, current approach to these films—it’s appropriately allowed for character development played again by Anthony Hopkins Wagnerian and large-scale like Batman, but adds a and a non-mainstream approach. (although, strictly speaking, he only whole palette of symphonic “noise,” meaning that There was also controversy in the has a supporting role in this film). the themes are rarely allowed to be expressed in score department. Mychael Danna, It may be better than both Michael peace, instead having to confront both conflicting surely an interesting choice for a film Mann’s original version of the melodic lines and dense orchestration. But hidden like this, provided an unusual original same story, Manhunter, and Ridley away underneath are many neat details such as the score, which was rejected because Scott’s stylish-but-flawedHannibal , innocent glockenspiel signalling Parker’s youth, or it was too “off.” Replacement and but it does not possess the same pizzicato string and piano interludes indicating his superhero master Elfman allegedly atmosphere as Jonathan Demme’s spider-like gracefulness. The main theme is never kept some of Danna’s original The Silence of the Lambs from 1991. expressed fully until the end, when Spider-Man elements, however, such as the duduk Elfman’s score, however, may rival finally comes into his own at the top of the Empire and the Arabic-sounding female Howard Shore’s offering for Lambs. State Building. Overall a worthwhile album, but one vocal that has become cliché since Equally textural and chilly, Elfman that grates a bit, even at 45 minutes. the popularity of Gladiator. This is particularly displays a sleazy sense of “delicious darkness” by evident in “Captured,” which has an unmistakable using twisted xylophone and bell sounds, distant Novocaine (2001) ● ◗ world music feel. It is also true for Elfman’s main flutes and tormented strings (including those in TVT Soundtrax TVT 6850-2 theme, which consists of six descending notes on the piano!) throughout. The album also has an 15 tracks - 40:24 (4:19 Elfman) a cushion of dissonance and exotic percussive interactive CD-ROM track that has interviews with effects. Overall, the Hulk’s rage lends itself easily to Ratner, Elfman and Hopkins. egular Elfman orchestrator and Boingo Elfman’s aggressive and at times overly bombastic R guitarist Steve Bartek provided the score for action music, but is also opposed by moments Men in Black II (2002) ●● ◗ of subdued reflectiveness, just like the qualms of Columbia/Overbrook/Sony Music Soundtrax Bruce Banner himself. The album includes the CK 86295 • 18 tracks - 53:29 Guns ’n’ Roses/Stone Temple Pilots single “Set Me Reading the Ratings Free,” which is skippable. his sequel to the 1997 box office hit includes While it’s called a buyer’s guide, this feature is T most of the successful elements from the really a listening guide, with mention of unreleased Chicago (2002) ● ◗ first film, including Will Smith, Tommy Lee music. These ratings are relative to the rest of the Epic/Sony Music Soundtrax EK 87018 Jones and director Barry Sonnenfeld, but only composer’s oeuvre, and do not compare directly 18 tracks - 70:16 (7:22 score) fared moderately in blockbuster terms. Danny to the ratings in our SCORE section. Elfman is not to blame, however, as his score ohn Kander and Fred Ebb’s retro Broadway retains the energy of the first film and adds more  A MUST-HAVE. J musical was brought to the big screen by Rob synth samples and retro-’70s grooves. The album One of his finest works; belongs in every Marshall in 2002 to profit from the popularity of opens in an entertaining fashion with a jazzy big soundtrack collector’s collection. Baz Luhrmann’s Moulin Rouge the year before. band arrangement of the main theme (“Worm Elfman, with his extensive experience as composer Lounge #1”), and moves directly into brassy  HIGHLY RECOMMENDED. of ’30s Cab Calloway-type tunes in the early Boingo action tracks. The score is book-ended with yet Close to being a classic, with lots of replay value. days, provides the few transitional score cues in the another lounge-y suite (“Worm Lounge #2”) and film. On the album, his output is represented by a recap of the original main titles. There’s also the  RECOMMENDED WITH RESERVATIONS. two tracks: “After Midnight” and “Roxie’s Suite.” pointless addition of Frank the Pug’s version of “I A score with representative moments but not a These are pure big-band jazz numbers reminiscent Will Survive” and the slick funk-meets-rap song consistently enjoyable listen. of “Oogie Boogie’s Song” in The Nightmare Before “Black Suits Comin’” by Will Smith. But the album Christmas, and are nice enough. But whether you is well-produced and more entertaining than its  FOR COMPLETISTS ONLY. want this CD or not depends entirely on your predecessor, even though the score is on cruise- You’re unquestionably an Elfmaniac! relationship to the musical itself. While the vocal control.

FILM SCORE MAGAZINE 26 NOVEMBER/DECEMBER 2005 FILM SCORE MAGAZINE 27 NOVEMBER/DECEMBER 2005 this dark Steve Martin comedy that combines Heartbreakers (2001) ● his “Tchaikovsky-esque” Christmas music from the unlikely elements of paranoia and dental RCA Victor 09026 63770 2 Scissorhands and Nightmare, combined with the hygiene(!). Elfman contributes two tracks, both 12 tracks - 53:17 (14:39 score) less consonant textures of Good Will Hunting. The of which are available on the soundtrack album: commercial album only has two score tracks, “Main “Main Titles” and “I Wish.” The former shifts ho can pull more men? Sigourney Weaver Title” and “Farewell,” but Elfman released a score- between the obligatory female chorus on top of Wor Jennifer Lowe Hewitt? That’s basically the only promo that has almost 43 minutes of music, sinister minor-mode harmonies and jagged electric premise of this less-than-stellar romantic comedy, and is heartily recommended to those who can find guitar outbursts, much like To Die For. The latter is a with an uncomfortable Gene Hackman caught in it and afford it. It pops up on eBay once in a blue laid-back textural piece with guitar and vibraphone the middle. John Debney provides the sneaky score, moon, but usually at exorbitant prices. that builds into a dramatic tutti climax. Bartek’s while Elfman composed the Thomas Newman- score is stylistically similar, venturing even further inspired “Heartbreakers” theme that pops up Sleepy Hollow (1999) ●●● into pop/rock terrain on occasion. A schizophrenic at frequent intervals. The soundtrack consists Hollywood HR-62262-2 • 19 tracks - 67:59 listening experience, but recommended for the primarily of non-descript pop songs by the likes Elfman fan. of Alison Krauss and Shawn Colvin, while the score obody but Tim Burton could have made is relegated to two seven-minute suites at the end. N this film; the uneasy combination of Planet of the Apes (2001) ●●● ◗ Recommended only for the hard-core completist. dark humor and dead-on seriousness suits the Sony Classical SK 89666 • 15 tracks - 58:21 director’s sentiment perfectly. Burton’s alter ego Proof of Life (2000) ●● ◗ Johnny Depp may not be in his best role here, im Burton’s infamous “re-imagining” of the Varèse Sarabande 302 066 208 2 • 9 tracks - 30:13 but the horror element of the headless horseman T classic Pierre Boullé sci-fi novel has little in works well and compensates for a run-of-the- common with the 1968 Schaffner version and aylor Hackford’s underrated hostage drama mill performance. Much of the excitement is has more plot holes than your average Ed Wood T is more famous for hooking up Meg Ryan thanks to Elfman’s score, a constant wall of masterpiece. Yet it does have a few redeeming and Russell Crowe than for the actual film itself. frenetic strings, wailing brass and thundering features, such as a brilliant production design, an Too bad, because it has a nerve and focused percussion (plus the ubiquitous voices, of eerie Tim Roth in ape costume and great music. narrative that makes it suspenseful. David Morse course). This is pure horror melodrama à la While Elfman’s score may be less experimental is captured by guerrilla forces in a fictional Latin Waxman’s Bride of Frankenstein. At almost 70 than Goldsmith’s magnum opus, it is certainly American country, and it is up to his wife (Ryan) minutes, listening to the album may be a chore more “dense.” Elfman employs a whole army of and negotiator Crowe to get him out of it. Elfman to some people, but there are many highlights percussion instruments, both sampled and acoustic, finally gets to try his hand at a South-American throughout, such as the progressive cello writing and adds Goldenthal-like brass outbursts, resulting idiom—through guitars, pan flutes in “Into the Woods/The Witch” or in marvelous action set-pieces like this score’s and exotic percussion—but also the rhythmic flair of “The Chase.” “The Hunt.” The soundtrack contains two tracks adds synth loops and a dizzying Once again, the album displays specifically composed for the album (“Ape Suite array of contrapuntal writing, Elfman’s great grasp of “delicious #1” and “Ape Suite #2”) and a Paul Oakenfold remix particularly in the track “Escape.” darkness,” i.e. foreboding music of the main title theme that retains the energy of It’s not an easy listen, but at 30 with immense orchestrational Elfman’s composition. Even though it may be a tad minutes, the orchestral textures and detail. on the bombastic side, the orchestration makes this lack of clearcut melodies become one of Elfman’s most interesting and entertaining interesting rather than annoying. Anywhere but Here post-Mission: Impossible scores. More would be too much. (1999) ● Atlantic 7567-83234-2 Spy Kids (2001) ●●● Family Man (2000) ●●● 15 tracks - 59:36 (7:35 score) Chapter III CH 30002-2 Sire 31151 19 tracks - 31:36 (10:18 Elfman) 14 tracks - 52:43 (6:11 score) ayne Wang’s sappy mother/ Promotional release W daughter-relationship drama Robert Rodriguez children’s movie? It 27 tracks - 42:50 with Susan Sarandon and Natalie A seemed unlikely at the time, but its success Portman gave Elfman the opportunity generated two sequels. Danny Elfman was one of rett Ratner made this to elaborate on the Good Will Hunting several composers to work on this film (including B Dickens-inspired “what style he had refined by then, the main John Debney, Harry Gregson-Williams, Chris if”-tale about Nicolas Cage as the ingredients being acoustic guitar, a Boardman, Gavin Greenaway and Rodriguez successful businessman who has pop beat and soft female humming. himself) about two siblings who have to rescue forgotten the true values in life, The soundtrack album is filled with their kidnapped spy parents. Elfman wrote some only to be transported to a parallel songs by female artists, while Elfman’s tracks alone, such as the delightful albeit brief universe by a guardian angel on seven-minute score suite at the end “Floop’s Song,” which sounds like it was culled Christmas Eve, where he ends up remains the only testosterone. He also from Nightmare Before Christmas, as well as as a poor but dedicated “family composed the song “Strange Wind,” others in collaboration with the other composers. man.” Unfortunately, the film which is performed by the artist Poe. You have to buy the soundtrack to see who wrote often ends up in saccharine clichés, It is a credit to Elfman’s songwriting what. Despite the many composers, the album feels which is surprising given Ratner’s skills that it may be one of the two best coherent, and the Hispanic flavor of the music track record. But it afforded on the album, along with k.d. lang’s makes it an entertaining summer listen. Elfman the opportunity to revisit title song.

FILM SCORE MAGAZINE 26 NOVEMBER/DECEMBER 2005 FILM SCORE MAGAZINE 27 NOVEMBER/DECEMBER 2005 Modern Vampires (1999) “Uncle Martin theme” for the Christopher Lloyd the same brisk temperament and in-your-face Unreleased character—a jaunty blues riff à la Midnight Run— dynamic that blessed the 1960 thriller. In many while John Debney’s score sounds like Alan Silvestri ways, it even surpasses Herrmann’s own album lso known as The Revenant, Richard Elfman’s without the scope. At times it’s fun, but at almost 70 re-recording back in the day. Every serious film A vampire flick is notable for its tongue-in- minutes, the promo album is too “mickey-mousey” music fan should have a recording of Psycho in their cheek humor and a delightful supportive role by for a good listening experience. collection, whether he likes Herrmann or not, and the late Rod Steiger. As usual, Danny steps in to this is certainly one of the best out there. compose a couple of tunes for his older brother’s A Civil Action (1998) ●● ◗ work. There are two Elfman tracks here, “The Hollywood HR-62158-2 • 22 tracks - 47:00 Scream 2 (1997) Revenant” and “The Revenant Returns,” both Unreleased featuring a wailing female voice and children’s his John Travolta courtroom drama came chorus with a Men in Black-type groove. The rest of T and went without much of a hooplah (then es Craven initiated a new wave of teen the score was composed by Michael Wandmacher, again, how many courtroom dramas do come with W slasher wave with this franchise, and and it runs the gamut from samba to jazz to rock hooplah?). Elfman is back in Good Will Hunting eventually gave us two sequels that followed the to ’50s pop to traditional horror scoring! There mode with usual suspects popping up, such as horror recipe of the first film closely. In the second has never been a commercial release of the score, wordless voices, a groovy bass line, and contrapuntal film, protagonist Sid acts in a stageplay that becomes but Richard Elfman reportedly issued one single string writing. It’s a relatively solemn and laid-back a little too realistic for good measure. Danny soundtrack CD as an Internet contest prize. Even experience, but the big highlight is “The Letter,” Elfman composed the music for this in-story, three- though it only last about 12 minutes, it’s obviously a where Elfman releases a consonant choir humming minute segment, naming it “Cassandra’s Aria” after sought-after and extremely rare item. a lullaby-like gospel hymn that is repeated in the end the stageplay’s lead character. It’s a melodramatic, credits. It’s the ice dance from Edward Scissorhands dissonant piece that crosses Sleepy Hollow and Instinct (1999) ●● all over again, probably the closest he has ever been Nightbreed, sprinkled with one or two “Arabian” Varèse Sarabande VSD-6041 • 8 tracks - 38:36 to James Horner’s Apollo 13. flavors. The piece was unfortunately not released on the Scream/Scream 2 soundtrack album from any people don’t know that Danny Elfman A Simple Plan (1998) ●●● ◗ Varèse, which only contained a portion of Marco M hiked across the African continent in his Silva Screen FILMCD 310 Beltrami’s scores. late teens before he joined The Mystic Knights 14 tracks - 43:54 of the Oingo Boingo. This is where his obsession Good Will Hunting (1997) ●●● with oddball percussion instruments was ignited; etuned piano, banjo, uneasy woodwinds Capitol 23338 15 tracks - 52:15 (6:29 score) it has since seeped into almost all of his scores. But D and rural, Americana-type Promotional release nowhere else is this “African” experience explored harmonies? No, you’re not listening 13 tracks - 23:29 more clearly than in this Tarzan-inspired drama to a Thomas Newman score. Elfman about Anthony Hopkins as the savage jungle came up with one of his most original fter years of ignoring Elfman’s man returning to civilized society. Elfman pulls scores for this moody Sam Raimi A output, the Academy of out a number of authentic African percussive flick starring Billy Bob Thornton, Motion Picture Arts and Sciences instruments and weaves them cautiously into a Bill Paxton and the composer’s wife- finally acknowledged him with no traditional symphonic soundscape. If you want to-be Bridget Fonda. For the most fewer than two Oscar nominations your ethnic score to have a lot of striking melodies, part restrained and introspective, it in the same year, giving the this is not for you. But if you like the textural blend never reverts to cheap gimmicks and impression of a unanimous of ethnic instruments and orchestral music without redundancy, even if there are things apology. Gus van Sant’s excellent either dominating entirely, you will probably find a going on in the film that would have drama about the gifted prodigy lot of interesting stuff here. required it. The album concludes just wanting to be a blue-collar with three contemporary blues/ worker was one of them. It sports The Dilbert Zone (1999) (TV) country songs that blend neatly with an impressive performance by Unreleased the preceding score. then-newcomer Matt Damon and relatively cliché-free dialogue cott Adams’ popular cartoon about sardonic Psycho (1998) ●●●● scenes. Elfman’s brief score is low- S office worker Dilbert was eventually made into Virgin 724384765729 key, Irish-flavored and soft, with this animated TV series in 1999. Elfman reworked 22 tracks - 31:33 prominent piano, mallets, flutes his zany main title theme from Forbidden Zone for and acoustic guitar. Overall, this is the show’s opening titles. ay what you will of Gus van where he laid the groundwork for S Sant’s controversial remake his now-familiar drama writing My Favorite Martian (1999) ● of the Hitchcock classic, but at without the striking melody, yet Promotional release • 36 tracks - 67:53 least we got the best recording with hypnotic orchestration. The and interpretation of Bernard commercial album only has two his is yet another example of a remake Herrmann’s original score thus far. tracks (“Main Titles” and “Weepy T bombing miserably at the box office, just to Admitted Herrmann nut Elfman Donuts”) but the “For-Your- hit the straight-to-video shelves in the international and his orchestrator Steve Bartek are Consideration” promo release market. Not all ’60s TV shows are suited for incredibly faithful to the original in includes all 24 minutes of score. It’s “modernization.” Danny Elfman provided the their adaptation, and provide it with hard to find, but is an important

FILM SCORE MAGAZINE 28 NOVEMBER/DECEMBER 2005 FILM SCORE MAGAZINE 29 NOVEMBER/DECEMBER 2005 Work for Darkened Media Danny Elfman has to starts off with more Men in Black- musicals in 1994. These were commissioned by the American grooves. Most recently (2002), a both in the style of the Disney Composers Orchestra to present be applauded for his one-minute Honda ad for IMAX movie, and it’s a shame neither his very first concert work, the decision to spend as was scored with an up-tempo, Pee- ever materialized on stage or “Serenada Schizophrenia.” It Wee-inspired piece. screen, even though Elfman made premiered on Feb. 23, 2005, in much creative time as several demo tapes with himself the revered Carnegie Hall. The possible on his major score Interactive media performing all instruments and 40-minute piece typically runs n collaboration with the online practically all the voices. The first through a plethora of different assignments, limiting his I animation website Atom Films, of these was Jimmy Callicut, about styles (hence its name) and can feature film output to Tim Burton created a creature a disillusioned schoolboy. It sports be subdivided into six segments: called “Stainboy” in 2000 that ran songs that could have been pulled “Pianos,” “Blue Strings,” “A Brass three to four films a year, at most. for six episodes on the website right out of Nightmare: “oompah” Thing,” “Quadruped Patrol,” This has, however, resulted in a before it was canceled. Elfman’s rhythms, children’s choir, engaging “I Forget” and “Bells.” There long list of brief “in-between” theme for this series is arguably the minor-mode laments and so are certainly hints of his scores jobs—commercials, Internet movies, most Bernard Herrmann-inspired forth. The other uncompleted throughout, such as the Dolores computer games, concert works, etc. Claiborne influence in “Blue Here is an overview of this material. Strings” or the ’20s jazz chords in “A Brass Thing.” But Elfman also Commercials reveals many new sides, such as lfman wrote music for a the virtuoso piano flourishes in Ecommercial as early as 1978; the opening or the choral writing a radio jingle for the KROQ radio that do more than just “ooh” and station (a wacky a cappella ditty “aah.” For an extensive coverage of performed by Boingo). In 1984, the concert piece, please see Luke he wrote and performed another Goljan’s review in FSM, Vol. 10, Boingo song for Budweiser called No. 2. “This Bud’s for You.” Reportedly, ONLY A LAD: Stainboy; Danny in the day as frontman to Boingo. he was not paid for this job, but thing he’s ever done: basically just musical of 1994 was Little Demons, Movie scripts received several crates of beer, three dramatic notes performed perhaps even closer to Nightmare eeing as Elfman’s mother is which the band drank up during a by a theremin with groaning brass in tone than Jimmy Callicut, it San author, it may not be very wild weekend. In 1992, he returned samples as pulse. It’s hilarious. concerns the fruitful combination surprising that he has made a few to the advertising world with a The short films can still be viewed of tongue-in-cheek darkness attempts at creative writing. So far, more serious composition for at www.atomfilms.com. In 2004, and twisted humor. This is most he has two scripts lying around that Nike. Elfman wrote a 30-second, Elfman composed the theme for evident in the jazzy tune “The Cat await materialization. The first is stomping percussive piece, naming Fable (Sumthing Else 2014), the Is Dead”—a lighthearted, childish called Julian (1993) of which little is it “Barkley Superhero” after the acclaimed role-playing game for melody confronted by morbid known other than that it concerns protagonist, basketball superstar the Xbox platform It is based on lyrics. Hopefully, Elfman will find children and ghosts. The second Charles Barkley. It was released on a typically heroic fanfare melody time to record these musicals is Undying Love (2001), inspired the Music for a Darkened Theatre, reminiscent of Shore’s grandiose properly some day, even if they by Ben Harrison’s book Undying Vol. 2 compilation. In several mid- “Fellowship” theme from Lord of won’t surface as a performance. The Love: The Shocking True Story of ’90s-interviews, Elfman said that the Rings, and that is quite unusual compositions certainly deserve it. a Passion That Defied Death. The he grew so weary of hearing the in Elfman’s post-M:I oeuvre. script recalls the burlesque romance Edward Scissorhands rip-off in However, there are still plenty Concert Works between Count Carl Tanzler von all the car advertisements that he of “Elfmanisms” here: the ack in the mid-’70s, Elfman Cosel, Ph.D. and a poor Hispanic decided to just do them himself. So contrapuntal writing, the ominous B was still learning notation. beauty named Elena Hoyos. After for a 1996 Nissan commercial (a choir, the string flourishes, the Without any formal education, Hoyos’ death, the deluded count two-minute mini-story about a kid primal percussion. While Russell he would often transcribe music removes her body from the grave who falls through the floorboards Shaw composed the rest of the by other composers, and turn and maintains it more or less and ends up in an underground music for this game, he makes them into mini-pieces that had intact for several years, hoping to car garage), Elfman revisits the frequent use of Elfman’s theme. some of his own stamp on them. bring her back to life. Sounds like Scissorhands waltz, complete with Once, for example, he transcribed an Elfman project, all right. He oooh-ing voices and haunting Musicals a Duke Ellington composition was, however, a third writer on celeste. In 1998, a 30-second Ford/ fter the success of Nightmare and called it his Piano Concerto this script, and due to its graphic Lincoln/Mercury campaign got ABefore Christmas, Danny No. 1. It was not until several treatment, the film version has yet a similar treatment, although it wrote material for two other decades later, however, that he was to be made. —T.H.

FILM SCORE MAGAZINE 28 NOVEMBER/DECEMBER 2005 FILM SCORE MAGAZINE 29 NOVEMBER/DECEMBER 2005 entry in the Elfman canon and, consequently, “less is less and more is more.” There’s a noisy version of Blue Oyster recommended to all. Acting, costumes, effects and Cult’s hit “Don’t Fear the Reaper” at the gags seem to be without limits end (performed by The Mutton Birds). Men in Black (1997) ●●● here, and the same goes for Columbia/Sony Music Soundtrax 489313 2 Elfman’s score. It’s big, bold Freeway (1996) ●● 16 tracks - 42:42 and brassy and has all kinds MCA Soundtracks of weird sonorities: theremin MCAD 2-11550 (7:02 suite) his Barry Sonnenfeld sci-fi/comedy clashes with Hammond organ T blockbuster was the other Oscar nomination and Arabian string instruments. atthew Bright, writer of that year. Hardly the caliber of Batman, Edward There’s a delightful and M Forbidden Zone and Modern Scissorhands or Nightmare Before Christmas, it is otherworldly “lounge” tune Vampires, directed this independent nonetheless an enjoyable listen that juxtaposes that sounds like Henry Mancini movie starring Kiefer Sutherland and funky ’70s grooves, loops and samples with without the catchy melody, as Reese Witherspoon, with none other than Herrmann-inspired low brass and woodwinds. well as a wonderful main title Oliver Stone producing. It is an updated The highlights remain the rhythmic “M.I.B. Main march. However, the score version of “Little Red Riding Hood,” Theme” (the bass line of which Elfman would reuse does get a bit intense and with plenty of violence and disturbing in several future themes) and the expansive “Orion’s bombastic at times. The album themes (yet a morbid sense of humor is Belt/Cat Stinger.” Some of it might be a bit intense also includes two songs that never far away). The score is written for over the course of 40-or-more minutes, and the have a purpose in the film: The small ensemble and varies from a quirky sequel album is, in many ways, more entertaining, “Indian Love Call” that killed main theme with “nagging” voices and but Elfman deserves credit for taking the silly the Martians and Tom Jones’ a glockenspiel countermelody to bluesy subject matter dead-on seriously and actually classic showstopper “It’s Not guitar rock to nondescript suspense cues. helping me forget that I’m watching Will Smith. Unusual,” as the closing act. It has not been released on a separate soundtrack, but a seven-minute suite Flubber (1997) ● Extreme Measures was released on the Music for a Darkened Walt Disney 60952-7 • 18 tracks - 47:09 (1996) ●● ◗ Theatre, Vol. 2 compilation (out of a Varèse Sarabande VSD-5767 total 20-something minutes). Interesting et another forgettable remake of an old Fred 9 tracks - 29:30 tidbit: Elfman was reportedly paid only Y MacMurray comedy that wasn’t that funny to $1 for the job! begin with. Robin Williams seems uncomfortable f this Michael Apted thriller in his role as the crazy professor inventing the Iabout spooky medical Mission: Impossible (1996) bouncy “flubber” material, and the film is littered experiments wasn’t exactly ●●●● with plot holes and cheap resolutions. I’m sorry to groundbreaking fare, at least it Point Music 454-525-2 • 18 tracks - 52:28 report that Elfman’s score is unmemorable as well. gave Hugh Grant the possibility In fact, it’s outright annoying. Imagine his blaring to play something other than a kay, so here is the big turning point brass outbursts combined with insane mickey- Hollywood heartthrob. Elfman’s Oscore, the one that made Danny mousing and you’ve got an idea of what this is. A score is a muted follow-up to Elfman fall in love with counterpoint and fun mambo and occasional nostalgic details such Mission: Impossible, with lots densely orchestrated soundscapes. You as the piano flourish don’t save this score and CD of sustained string chords and could argue that there were elements of from becoming an unnecessary misfire in Elfman’s rumbling piano interrupted by tutti outbursts. The this in the scores immediately preceding it as well, career. Only for the completist. sad and reflective main theme (reminiscent of Alex but they were not as consistently present. Brian de North’s Cleopatra) is a worthwhile listen. Palma’s revitalization of the classic TV show was a Perversions of Science (1997) (TV) big success, offering a complex plot and believable Unreleased The Frighteners (1996) ●● characters. Lalo Schifrin’s famous theme pops up MCA Soundtracks MCAD-11469 • 15 tracks - 41:14 at a few crucial points (such as the helicopter/train his was HBO’s ill-fated attempt at a Twilight scene), and his influence is felt in the rest of the T Zone lookalike, but with far more sex and hat if the director of this film, Peter score as well. It has a pronounced ’70s vibe, with violence (and a hot android host!). It was canceled W Jackson, had kept his connection with muffled horns, wooden percussion and progressive after only one 10-episode season. Elfman’s theme for Elfman when he made Lord of the Rings? Would semi-jazz harmonies. I remember being put off by the series can best be described as a combination of it have sounded anything like this Michael J. this score when I first bought it; it was too “different” the bass line of Beetlejuice and the wailing theremin Fox horror comedy? It’s pointless speculation, and harsh. But in retrospect, it stands not only as a of Mars Attacks!—and all of it way over the top. perhaps, but intriguing. Elfman pulls out the rich listening experience, but as an important and trademark ghost story elements here, such as the career-defining score in Elfman’s career. That’s why Mars Attacks! (1996) ●● ◗ harpsichord, celeste and children’s chorus in the it’s a must-have. FSM Atlantic 7567-82992-2 • 19 tracks - 46:51 vein of Tales From the Crypt. These elements keep Special thanks to Ryan Keaveney. things relatively light, although Elfman scores the Stay tuned for Part 2 of the Danny Elfman Buyer’s irst he made an Ed Wood biopic. Then he horror sequences harshly and progressively (this is Guide, coming next in Vol. 11, No. 1—the inaugural F made this film that actually could have been a where I hear potential Mordor music!). Some great issue of our online-exclusive Film Score Monthly! contemporary Ed Wood film. Tim Burton’s ode to moments are scattered about, but the album as a Visit www.screenarchives.com/fsmonline/sample/ ’50s sci-fi and utter camp is a delightful display of whole may be a little tough on the non-Elfman fan. to subscribe.

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FILM SCORE MAGAZINE 30 NOVEMBER/DECEMBER 2005 1 Star Wars (1977) JOHN WILLIAMS The AFI’s Sony Classical S2K 92950 • 2CDs • 24 Tracks - 01:45:48

6 Jaws (1975) JOHN WILLIAMS Decca 467 045-2 • 20 Tracks - 50:45 Top Gone With the Wind 25 2 (1939) MAX STEINER Something for nearly everyone. Rhino R2-72260 • 2CDs • 56 Tracks - 02:27:37

ON FRIDAY, SEPT. 23, AT THE HOLLYWOOD Bowl, 15,000 patrons attended the unveiling of the American Film Institute’s 25 Greatest Film Scores. The selections were revealed in real time, during a two-and-a-half-hour concert Laura (1944) countdown to #1. Conductor John Mauceri 7 DAVID RAKSIN was a charming host and he introduced each Fox 07822-11006-2 • 1 Track - 27:16 piece with oblique clues, that had the audience buzzing with anticipation, in a unique and 3 Lawrence of Arabia memorable component of the show. Each (1962) MAURICE JARRE selection was introduced with the film’s Varèse Sarabande VSD- 5263 • 14 Tracks - 37:20 original title card and composer credit. About one third of the selections were only brief excerpts, and another third featured main titles or short suites accompanied by film montage, with the remainder of the selections played to film: Waxman’s staircase Magnificent Seven (1960) climax from Sunset Boulevard, Herrmann’s 8 ELMER BERNSTEIN second murder from Psycho and the clothes Varèse Sarabande 302 066 559 2 • 23 Tracks - 01:07:14 snatchers/hunt sequence from Goldsmith’s Planet of the Apes were particular highlights. 4 Psycho (1960) Even if you missed the show, you can be BERNARD HERRMANN glad that film scores received this recognition. Virgin 724384765729 • 22 Tracks - 31:33 The AFI is one of the few organizations prominent enough to transcend its industry status and catch the attention of the casual film audience. The AFI’s list of 250 nominees and its 25 finalists are remarkably balanced and varied, and while this critic would have Chinatown (1974) liked to seen favorites like Spartacus, East 9 JERRY GOLDSMITH of Eden and The Big Country included, Varèse Sarabande VSD 5677 • 12 Tracks - 30:36 most of the composers selected represent a combination of influence, popularity and 5 The Godfather (1972) artistic significance that deserve recognition. NINO ROTA And we welcome any opportunity to remind Silva America SSD 1121 • 17 Tracks - 52:00 the public of the great works by Korngold, Steiner and Newman (among others). So if you haven’t yet perused the list, consider the inevitable question: Which soundtracks are in your collection? In case your shelves aren’t yet full, we’ve included a High Noon (1952) few recommendations for choice recordings 10 DIMITRI TIOMKIN that may still be available. Keep listening and BMG Classics 09026 62658 2 • 2 Tracks - 9:51 keep the faith! —Joe Sikoryak

FILM SCORE MAGAZINE 32 NOVEMBER/DECEMBER 2005 FILM SCORE MAGAZINE 33 NOVEMBER/DECEMBER 2005 11 The Adventures of Robin Hood 21 Ben-Hur (1959) (1938) ERICH WOLFGANG KORNGOLD MIKLÓS RÓZSA Marco Polo 8.225268 • 25 tracks - 01:18:27 Rhino R2-72197 • 2CDs • 88 Tracks - 02:27:40

16 Sunset Blvd. (1950) FRANZ WAXMAN Varèse Sarabande VSD 5316 • 25 Tracks - 01:08:36 12 Vertigo (1958) 22 On the Waterfront (1954) BERNARD HERRMANN LEONARD BERNSTEIN Varèse Sarabande VSD 5759 • 16 Tracks - 01:04:12 Sony SMK 63085 • 1 Track - 19:31

17 To Kill a Mockingbird (1962) ELMER BERNSTEIN Varèse Sarabande VSD 5754 • 14 Tracks - 41:36 13 King Kong (1933) 23 The Mission (1986) MAX STEINER ENNIO MORRICONE Naxos 8.557700 • 22 Tracks - 01:12:05 Virgin 90567 2 • 20 Tracks - 47:53

18 Planet of the Apes (1968) JERRY GOLDSMITH Varèse Sarabande VSD 5848 • 17 Tracks - 50 40 14 E.T. the Extra-Terrestrial 24 On Golden Pond (1981) (1982) JOHN WILLIAMS DAVE GRUSIN MCA 088 112 819-2 • 21Tracks - 01:15:39 GRP GRD-9547 • 2 Tracks - 05:58

A Streetcar Named Desire 19 (1951) ALEX NORTH Varèse Sarabande VSD 5500 • 15 Tracks - 46:17

15 Out of Africa (1985) 25 How the West Was Won JOHN BARRY (1962) ALFRED NEWMAN Varèse Sarabande VSD 5816 • 18 Tracks - 38:40 Rhino R2-72458 • 2CDs • 58 Tracks - 02:14:08

20 The Pink Panther (1964) HENRY MANCINI Buddha 74465 99725-2 • 16 Tracks - 43:05

FILM SCORE MAGAZINE 32 NOVEMBER/DECEMBER 2005 FILM SCORE MAGAZINE 33 NOVEMBER/DECEMBER 2005 ver the span of his legendary career, Jerry never afford to go to Italy, so he came here. But I also don’t speak Italian, and Pino didn’t speak English. So we would spot the picture with fellow Goldsmith wrote hundreds of scores—from director Paul Bartel who spoke Spanish, as did Pino, and Paul would translate back to me. It was a very interesting situation. Then Pino would small screen to big screen, in every genre, go away, write the music, and send it to us completely labeled. But there O was no going to the recording session or consulting about the music.” for too many filmmakers to count. Franklin J. Schaffner, Gordon The Howling opened doors. Steven Spielberg was so impressed with Douglas, John Frankenheimer—these were names on a short list of Dante’s visual style that he hired Dante to direct Gremlins. Though men whose cinematic works drove Goldsmith’s innovation and style to Warner Bros. green-lit the picture, concerns over the film’s budget renowned success in the 1960s. When the old studio system faded away stalled the production repeatedly. The delays were significant enough in the early 1970s, a new wave of filmmaking style emerged. Movies that Spielberg went on to shoot Twilight Zone: The Movie, asking Dante were grittier, stories less inhibited, canvases less glamorous. Music for to take on one of that movie’s segments, “It’s a Good Life.” Spielberg movies changed too. Contemporary pop sounds were preferred over hired Goldsmith, who had scored a number of original Twilight Zone traditional orchestral scores. Many composers faltered, unable to evolve television episodes, to score the feature. It was the second time Goldsmith or reinvent themselves, but not Jerry Goldsmith. He hit his stride in worked for Spielberg, having completed Poltergeist the previous year, but the 1970s, earning his first and only Oscar for The Omen in 1976, and it was the first time the composer met Dante. “I sort of inherited Jerry,” THE Dante/ Goldsmith PROJECT Nine films, nine scores, one sensibility.

By Michael Heintzelman TOONSMITHS: Dante (left) and Goldsmith at the Looney Tunes sessions with Mark McKenzie and Bruce Botnick.

rounding out the decade with two masterpieces: Alien and Star Trek: The Dante explained. “I really hit it off with Jerry—we just seemed to click. Motion Picture. However, as the ’80s marched in, the former cinematic I had a really weird episode, and Jerry had to do a lot of cartoon music. masters who had once been synonymous with Goldsmith were gone We used a lot of Carl Stalling tracks from Warner Bros., but there was from the limelight, working sporadically and even more rarely—if ever a lot of stuff we needed in stereo, so Jerry’s assignment was to try to get again—working with the composer himself. Goldsmith was still at the the orchestra to play this cartoon music. When Carl Stalling originally top of his game, but his familiar collaborators were virtually gone. That recorded those things they were with small jazz groups and they could would begin to change when Jerry Goldsmith met Joe Dante. play very fast, and these studio musicians were not used to playing that fast. It was hilarious to watch them trying to keep up. They would just Up and Coming get lost because the music changes so often. But Jerry managed to make Joe Dante came up through the ranks as an editor of film trailers at it work, and do his own score as well.” Roger Corman’s New World Pictures in the mid ’70s. After sharing the director chair with Allan Arkush on Hollywood Boulevard, Dante was Little Creatures given a solo shot on Piranha. Considering his next-to-nothing budget, By the middle of 1983, Gremlins found its way back into the light at Dante was surprised that a well-known composer would even consider Warner Bros. With a larger budget than he was accustomed to having, scoring his new horror film. “When I got the chance to do Piranha, one Joe Dante’s first choice for a composer was Jerry Goldsmith—and of the producers came to me and said he thought they could get Pino Goldsmith was happy to do it. While the film was still in prep, Goldsmith Donaggio,” Dante recalled. “I was astounded. The guy had scored Don’t managed to complete enough of a theme to play for Dante. “When Jerry Look Now and Carrie and here I am making this rubber-fish movie first played the theme for me on the piano, I had to do a lot of mental thinking, ‘Can we really get this guy?’ He did a great job for me.” When gymnastics to imagine from the piano versions what he would do in Dante found himself on The Howling two years later, he immediately the orchestral versions,” Dante said. “All I knew was that it sounded like went to Donaggio. Dante had become a fan of Italian horror pictures a rinky-tink circus theme. I kept thinking, ‘Is this really appropriate for over the years, and he was convinced that Donaggio would be able to this picture?’ Jerry, of course, knew exactly how it would sound with an translate that same quality to his new werewolf movie. “Pino had found orchestra. Even if you went to the scoring stage and listened to what the a church organ somewhere in Italy and did this great score. I was really orchestra was playing it would give you a very false impression of what happy with it. The problem with working with Pino was that I could the music sounded like. You would have to go in the booth and hear

FILM SCORE MAGAZINE 34 NOVEMBER/DECEMBER 2005 it with the synthesiz e r trac ks because you couldn’t hear the m ou tsid e. Innerspace saw Joe Dant e ret urn to wo rking f o r St eve n Spielbe rg. I liked to sit ou t with Je rry, b u t if I did I’d have to w ear earp ho nes. Dip ping into seve ral g e nres, Innerspace was an e ff ects-pac ked f eat ure Othe rwise I wasn’t g etting the true sound. It was s uc h a t e rrific sco re.” that p roved a c halle ng e f o r both directo r and co mpose r. “The re was a Gr emlins was an instant hit in the s umme r o f 1984. It was also a whole lot o f st uff g o ing o n in that movie,” Dant e recalled. “It was ve ry majo r t urning po int f o r Joe Dant e as a filmmake r—and an une xpect ed hard to sco re, b u t it was j ust as hard to t e mp trac k. I was ve ry meticulous o ne. “Gr emlins was an astounding s uccess,” Dant e stat ed. “Fo r a while, in my t e mp trac ks. Most co mpose r s act uall y hat e t e mp trac ks because it mad e me this A-list directo r, and I was reall y a B-list directo r—I still it’s annoying to the m to have to filt e r ou t the m usic o f so meo ne else am. I would have bee n hap p y with a caree r like Jac k A rnold had. Now while they’re thinking o f what they the mselves are g o ing to writ e…b u t I’m s udd e nl y in the b ig time, swimming with the b ig fish, be ing o ff e red you reall y have to try to g et as m uc h o f a so p histicat ed sco re as you the Batman movie and all this othe r st uff. It reall y was not what I should can f o r rough cu ts and p revie w s. I kne w Je rry wouldn’t writ e anything have bee n d o ing. That was an int e resting pe riod—I guess anyo ne is e xactl y like what I had pu t in—no r should he have. B u t the re are ce rtain l uc ky if they g et a pict ure that’s as s uccessful as Gr emlins.” things that you want to start at a ce rtain place, sto p at a ce rtain place, Despit e the ne w p ress ures, Dant e’s A-list stat us helped co ntin ue his give a ce rtain punct uatio n, c hang e dramaticall y at a ce rtain po int, and collabo ratio n with Je rry Goldsmith. Explor ers ushe red in ne w c halle ng es he was great at that.” f o r Dant e, amo ng the m a cast o f p rimaril y c hild acto r s and the abse nce A running joke betw ee n Dant e and Goldsmith co ntin ued into o f St eve n Spielbe rg as a b uff e r betw ee n Dant e and the st udio (this time Innerspace co nce rning t e mp trac ks as w ell—a joke whose o rigin began

Paramount Pict ures). Wo rking again with cine matograp he r John Ho ra ou t o f necessity. Because the to nes o f Dant e’s films w e re s uc h an odd and special make up artist Ro b Bottin, Dant e and cre w co mplet ed mix, the directo r o ft e n f ound himself rel ying o n Be rnard He rrmann’s p hotograp hy insid e f our mo nths. Once the rough cu t was asse mb led, scor e for The Tr o ub le With Harry f o r his t e mp trac ks. A ft e r wo rking Je rry Goldsmith g ot a glimpse o f Explor ers. He was s urp rised by the to ne tog ethe r ove r three pict ures, Goldsmith’s grousing be havio r am used Dant e had set. “I had t e mped a lot o f melanc hol y m usic o n Explor ers,” Dant e to the po int whe re he would needle the co mpose r j ust f o r fun. Dant e said, “and I re me mbe r Je rry saying to me, ‘Do you reall y want it to “Je rry’s pe r so nality was that he was alway s griping abou t so mething. It be this sad?’ I told him yeah, kind o f—the sto ry’s abou t disill usio nme nt. was part o f the relatio nship; it was part o f what mad e him fun. So fro m These kids are e xpecting to see the secrets o f the unive r se and they find Gr emlins o n I used the same cue fro m The Tr o ub le With Harry in all my alie ns that are kids j ust like the mselves. That t urned ou t to not be a t e mp sco res. It annoyed him, and it j ust g ot to a po int whe re I would particularl y po pular co nce pt whe n the movie came ou t.” stic k it in j ust to piss him o ff. Je rry would sit the re in the scree ning roo m Goldsmith’s sco re f o r Explor ers, how eve r, was far fro m melanc hol y. and gripe, ‘C hrist—not Be rnie He rrmann again!’” De mo nstrating his ap p reciatio n o f sile nce, Goldsmith let the Dant e e njoyed wo rking with Goldsmith, and Innerspace was no “disill usio nme nt” mo me nts o f the film play mostl y withou t m usic while e xce ptio n. The jo b was to make the film as g ood as it could be, and und e r sco ring the mo re e xciting aspect o f the sto ry—three boy s b uilding Goldsmith und e r stood and respect ed that. “Je rry would occasio nall y the ir own spaceship. The res ult was e xtrao rdinary. The Explor ers have s ugg estio ns f o r othe r places to pu t m usic,” Dant e ac knowledg ed, “the me” is a stro ng, stirring piece o f m usic introd uced in segme nts as “b u t f o r the most part he would agree with whe re I thought the m usic the boy s piece tog ethe r the ir craft, whic h the n g ets sp read throughou t should g o, start and sto p. The great thing abou t Je rry was he was so the film in varied signat ures until the unint e rrupt ed “ove rt ure” plays imp rovisatio nal. If he played so mething and you had a thought abou t ove r the e nd credits. Dant e greatl y credits the sco re as a saving grace. “It’s it, you’d be ab le to g o up to him and he would act uall y c hang e it. If you act uall y o ne o f the best sco res Je rry eve r did f o r me,” Dant e p raised. “The want ed it mo re plaintive, mo re raucous—he figured ou t a way to d o it. movie need ed so m uc h help because it was neve r reall y finished. Je rry He’d play this, play that, cu t this part. You g ot e xactl y what you want ed. sco red the rough cu t, and by the time w e had a p revie w it was too lat e to Oft e n he would eve n look at the pict ure with the m usic, realiz e he didn’t make any c hang es. We couldn’t move things around to reall y shape the like what he had d o ne and c hang e it. It was e xciting to g o to the sco ring movie—all w e could d o was cu t things. Je rry did a great d eal to make it sessio ns because the re was a lot o f creating g o ing o n. It reall y was a see m like a movie.” collabo rative e ff o rt.”

FILM SCORE MAGAZINE 34 NOVEMBER/DECEMBER 2005 FILM SCORE MAGAZINE 35 NOVEMBER/DECEMBER 2005 U ltimat el y, the Innerspace sco re is an ec lectic o ne, d e rived fro m no n- Gr emlins 2, Je rry and his wif e both ap pear. I joked with him be f o re w e start ed, the maticall y drive n actio n cues yet still kee ping a f ocus o n the sto ry’s unlikel y ‘Now Je rry—d o n’t look at the came ra.’ It all w e nt fine. B u t I think Je rry f ound he ro, Jac k Pu tt e r (Martin Sho rt). “Je rry h umaniz ed the movie a lot. It’s his rightful place be hind the podi um.” esse ntiall y Martin Sho rt’s sto ry, and I think Je rry g ot the pathos ou t o f it—the While Dant e had free re ign in Gr emlins 2’s sto ryline, Goldsmith was give n drama ou t o f the co med y that he need ed to d o. Innerspace is a nice sco re. It’s j ust o ne restrictio n. “I asked him not to use the ‘G re mlin Rag’ as the basis f o r ve ry uno btrusive.” the movie,” Dant e said. “The o riginal pict ure was kind o f b ucolic, and the re’s a ce rtain q uality in that m usic. The seco nd film is in Ne w Yo rk City—a whole Call It Quirky diff e re nt wo rld—and I didn’t want it to sound like the fir st pict ure. It had to As uno btrusive as Innerspace was, Dant e’s ne xt film,The ’Burbs, was co mplet el y sound diff e re nt. Je rry q uot ed it in the places whe re it was ap p ro p riat e, b u t he o p posit e in its manne r and m usical ap p roac h. A dark co med y set in Sub urb ia, didn’t recyc le the old sco re—he did a co mplet e ne w o ne.” U.S.A., The ’Burbs f eat ured c haract e r s fro m the o b noxious to the cowardl y to Still d ee p in his ‘electro nic ’ pe riod, Goldsmith’s m usic f o r Gr emlins 2 was the cree p y—recurre nt q ualities in Joe Dant e films. How eve r, the une xpect ed no d e part ure. Ind eed the eve r-t urning wheel o f t ec hnology not o nl y mad e twists this time w e re n’t in the scree nplay as m uc h as they w e re in the manne r its mark in Goldsmith’s o rc hestratio ns, b u t also in how the co mpose r did his o f how the p rod uctio n ran. “The re was a writ e r s’ strike at the time,” Dant e wo rk. “Because I wo rked with Je rry so lo ng, I saw all the t ec hnological c hang es recalled, “so a lot o f the movie was imp rovised and it was shot in seq ue nce. It’s that took place betw ee n Gr emlins and L ooney Tunes,” Dant e stat ed. “We would mo re o f a pe rf o rmance piece than a sto ry—because it ce rtainl y d oesn’t hold g o into his st udio and the re w e re Yamahas and cab les and all these electro nics

m uc h wat e r as a sto ry.” all ove r the place. It was b izarre. B u t eve nt uall y, toward the e nd, it all shrunk The dive r sity in c haract e r s and spo ntane ity in pe rf o rmances gave Je rry d own again. You would g o into his st udio and the re would be nothing b u t a Goldsmith a b road m usical canvas, with signat ures ranging fro m s ubtle to co mpu t e r, a scree n and a keyboard. It see med less high t ec h than the piano, ve rbose. “The sco re is ve ry similar to a pe rf o rmance piece as w ell. The re is a o nl y now it was way high t ec h. Je rry could now p ress a b u tto n, run the sce ne, ce rtain lightness and q uic kness to it—e xce pt whe n you g et to the bad guy s, and you would hear an o rc hestra j ust like whe n it was all d o ne. It was q uit e and the n the re’s the heavy, o rgan m usic parod y. I had o riginall y t e mped that amazing.” pict ure with a lot o f Italian w est e rn m usic. I d o re me mbe r trying to g et him to Things c hang ed a great d eal in the ’90s. Dant e f ound himself wo rking mo re imitat e an Ennio Mo rrico ne piece and, try as he might, Je rry could neve r g et in t elevisio n than in f eat ures, with Matinee be ing his o nl y majo r theatrical film that Euro pean q uality into his m usic. He would t e nd to g o bac k to his Tak e a betw ee n 1991 and 1998 (though he had bee n attac hed to The Phant om in the Hard Ride style o f w est e rn m usic, and that wo rked okay. B u t the re was a sce ne mid ’90s, the st udio pulled the pl ug ove r the b udg et). As co mf o rtab le as Dant e that had bee n t e mp-trac ked to a Mo rrico ne piece, and Je rry m ust have take n was wo rking the small scree n, it mad e f o r sc hed ule co nflicts whe n it came to 10 o r 11 tries at reco rding so mething that would fit. He did pic k up o n the Goldsmith. “The thing with Je rry was, as he became mo re and mo re s uccessful, mythic aspect o f what was g o ing o n since I was so rt o f parod ying a L eo ne-like you had to book him lo ng in ad vance o r he wouldn’t be ab le to d o it,” Dant e stand o ff, and he did act uall y e nd up using a lot o f that w est e rn st uff in the e xplained. “I d o n’t re me mbe r him eve r be ing unavailab le f o r a f eat ure, b u t I movie. B u t in the e nd, f o r that particular sce ne, w e e nd ed up b uying the act ual re me mbe r him be ing unavailab le f o r a lot o f TV. He didn’t d o m uc h TV lat e r Mo rrico ne cue.” in his caree r.” Dant e’s sixth pict ure with Goldsmith was a trip bac k to familiar t e rrito ry. As the ’80s waned, Warne r B ros. was h ungry f o r anothe r Gr emlins s uccess. A ft e r Despite the System many att e mpts to g et a seq uel g o ing—most o f whic h not involving Dant e Dant e and Goldsmith may not have bee n wo rking m uc h tog ethe r in the whatsoeve r—an invitatio n was give n to Dant e to esse ntiall y d o what eve r he mid-’90s, b u t d uring the d ecad e aft e r Twilight Zone, the two me n had beco me want ed with the ne w sto ry. Gr emlins 2: The New Bat ch was absol u t e Joe Dant e frie nds—a rare thing in the Holl ywood mac hine. “I was alway s ve ry grat e ful f o r cart e b lanc he—fro m moc king its p red ecesso r and co rpo rat e spo nso r ship to the time I was allow ed to spe nd with Je rry,” Dant e stat ed. “We didn’t g o to eac h the e ndless in-joke gags. As with the o riginal Gr emlins, Je rry Goldsmith mad e a othe r’s houses eve ry day—nothing like that. A couple o f times a year I g ot invit ed cameo, b u t this time the re was a twist: Je rry had lines. “Whe n I shot Gr emlins, ove r to Je rry’s house f o r dinne r o r w e’d g o ou t. You have to re me mbe r whe n you Je rry looked right at the came ra—and it’s in the movie,” Dant e laughed. “On make movies the re are lo ng pe riods whe n you d o n’t see peo ple because you’re

FILM SCORE MAGAZINE 36 NOVEMBER/DECEMBER 2005 working on something or they’re working on something. There Cut to the Chase are also all these interconnected relationships that you have with Like Small Soldiers, the making of Looney Tunes: Back in Action was people that come into your life, like a soundman who you only see problematic. Among the many problems was the studio’s seeming when you’re making a movie…then maybe you’ll see him come unwillingness to hire Jerry Goldsmith—not for reasons of his to the offi ce, or you’ll have lunch. Essentially your relationship is failing health, but for marketability. “They wanted to use some a professional one. As much as you get to know them and you let contemporary rock music, like had been done on Space Jam,” them into your life you fi nd—at least in this business—there isn’t Dante explained. “For a long time they stonewalled me on it—they a lot of time to cultivate a lot of friendships.” didn’t want to call Jerry, they didn’t want to talk to Jerry. They tried The last two collaborations of Joe Dante and Jerry Goldsmith to fi gure out reasons why he would turn it down. Ultimately, I wore proved to be battles—not between the two men, but with the them down. They liked something they saw in dailies one day—I studios. On Small Soldiers, Dante found himself in a quagmire can’t remember what it was—and I was a hero again for a day. So of studio notes on a daily basis. Disagreements about what would I got to use my leverage to get them to hire Jerry. I think if they remain and what would be cut bounced back and forth throughout had known how ill he was they probably would have had another production. In the end, it was Goldsmith who “saved” the fi lm. reason not to hire him.” “I think his score for that picture is nothing less than heroic,” The Looney Tunes assignment was not easy for Goldsmith. The Dante praised, “considering the mess that the movie was and the diffi culty wasn’t so much with fi nding the right tone or style—it had to do with the cuts. “It was another case of where the movie kept changing kept every fi ve minutes,” Dante acknowledged. “Scenes would be in, scenes would be out—animation would be in, animation would be out. New dialogue would also come in, so now the music was playing over lines that hadn’t been there when Jerry recorded the music, which meant you either had to drop it in the mix or he’d have to re-orchestrate it. Movies have undergone more radical changes in the editing process in the past fi ve to 10 years than they ever have previously. Now every picture is being changed after the preview, and that means the composer either has to rewrite the music or re-edit it. Just before Looney Tunes Jerry had done Timeline. That score got thrown out because the picture had been re-cut so much that the music didn’t fi t any more, and he wasn’t available to re-do it. Jerry had to roll with the punches.” Always the professional, Goldsmith pushed on, but the extra work paired with his ailing health took its toll. “I think he enjoyed doing it, but I know it was diffi cult for him. He told me it was very hard to concentrate. Ultimately, Jerry couldn’t fi nish the score. The last reel-and-a-half were done by John Debney.” incredible changes that were foisted on us every fi ve seconds. When Looney Tunes: Back in Action was indeed the last time Jerry Jerry put that music on it looked like a movie—before that it was Goldsmith’s name appeared on a movie. After the debacle of just a mess. The main title is terrifi c. It really sets up the movie in Timeline, Goldsmith could no longer continue to work. He a way that it needed.” But the disarray of the fi lm’s production did withdrew from project after project. Concerts were canceled. not end once scoring sessions began. More executive indecision led In July 2004, Jerry Goldsmith lost his long battle with cancer. to more cuts, which led to yet another mess. “There was a lot of Everyone who loved his music mourned—not just his death, but last-minute editing going on after Jerry had written his score. His more the loss of his creativity, knowing there was more to come music editor, Kenny Hall, would be up in the booth at the mixing had he lived just a few more years. The world is left with Jerry stage cutting notes together—literally reconstructing pieces of the Goldsmith’s music, a body of work replete with the appreciation score to fi t scenes that were now a foot longer here, or a foot shorter of those fi lmmakers who stood taller from the benefi t of his there, or three frames shorter somewhere else, yet still hitting the contributions. right points in the material that was left. It was an astounding job “It is mind-boggling to me that someone could write that considering the obstacles that were thrown in front of him.” much music in their lifetime, much less have it be different from Another fi ve years passed before the two men met on a itself,” Dante stated. “Luckily, I never handed him a project that recording stage again. As much as Dante delighted in working with was problematic enough for him to say, ‘You know, I just can’t do Goldsmith once more, the looming reality hit that Looney Tunes this.’ But that’s something that intrigues me about composers, and might be their last collaboration. Jerry Goldsmith was fi ghting I asked Jerry once—what do you do when you go to the rough cancer. Dante knew Goldsmith had been ill for some time, but the cut and it’s really bad? Do you write bad music? What do you do? composer had managed to keep the seriousness of his condition Jerry said that whenever he saw a picture in trouble he would very secret. “For me, the reward that came at the end was getting work twice as hard to try and save it, to make it work. He really to work with Jerry, and unfortunately this time it was much more seemed to love that kind of challenge. The kind of movies that I poignant than exciting. It was pretty apparent that it was going to made needed Jerry. I don’t think I would have been as successful be last time I was going to be able to work with him. It was obvious as I have been in the business if it weren’t for the extra level of he wasn’t going to be doing this too much longer.” It was a fi nal quality in my movies because of Jerry’s music. I don’t know if collaboration that almost didn’t happen. you can ask for more than that from a composer.” FSM

FILM SCORE MAGAZINE 37 NOVEMBER/DECEMBER 2005 Not ButWith With the Eyes,the Ears * * * Scores from Shakespeare Films • Act I: The Comedies * * * The first in a seriesB Y JAMES LOCHNER (with most humble apologies to Will)

DRAMATIS PERSONAE Justly lionized as the first full-length Shakespeare film, today it’s best remembered for its impressive sets, Oscar-winning cinematography (the only CHORUS, a forty-something Shakespearean bachelor and likely to remain so award to be given to a write-in candidate), and Erich Wolfgang Korngold’s score. Reinhardt had wisely hired Korngold, European classical music’s wunderkind, ERICH WOLFGANG KORNGOLD • GUY WOOLFENDEN to “underpaint” the visual style of the film by adapting Felix Mendelssohn’s HOWARD BLAKE • SIMON BOSWELL famous incidental music. WILLIAM WALTON • NINO ROTA The Overture, written in 1826 when Mendelssohn was 17, MICHAEL NYMAN • PATRICK DOYLE precedes the incidental music for the play by 17 years, for which SHAUN DAVEY • JOCELYN POOK— many of the themes found in the Overture are incorporated. composers Since the incidental music doesn’t even begin until after the Act II Entr’acte with the famous Scherzo, it was clear Enter CHORUS. more music would be needed, especially for transitions Students expos’d to Shakespeare in school, between scenes and for the ballets. Instead of padding On a diet rich with thee, thou and thy, the score with the same themes from the play’s May be excus’d to suffer fools gladly music over and over, Korngold borrowed from And their “well-rounded education” Mendelssohn’s symphonies, chamber works, cry. and lieder, such as the Third Symphony Come, musicians, play and ply your (“Scottish”) and the Songs Without music. Words. Show us what wealth in Shakespeare While much of Mendelssohn’s doth await. orchestrations are left intact, Lessons of life and love hath eluded Korngold enhanced them with a Us in our attempts to articulate. wordless chorus for the Fairies, The muse of Shakespeare is heard and extra instruments such as through the years, saxophones, piano, guitar, harp and Forsooth, not with the eyes, but with vibraphone to complement the the ears. special effects used in the film. The textures are also thickened in the lower SCENE I strings to make up for the limitations of The palace and a wood near the monaural sound recording. “All Athens. Shakespearian devotees will be pleased at the soothing treatment German director given to the Max Reinhardt’s 1935 Mendelssohn score,” film version of A said Variety. For Midsummer Night’s Mendelssohn Dream broke the purists, Shakespearean Korngold’s sound barrier. orchestrations,

FILM SCORE MAGAZINE 38 NOVEMBER/DECEMBER 2005 FILM SCORE MAGAZINE 39 NOVEMBER/DECEMBER 2005 use of chorus, and brisk tempi One element that cannot may seem suspect, but the be faulted is William Walton’s payoffs are many. rich score. By 1936, 34-year- old Walton was known as the * * * “white hope” of English music. In the late ’60s esteemed And though Walton’s music British director Peter Hall is used mainly as decoration helmed his take on the material and transition except for a few with the Royal Shakespeare choice spots, it hints at the great Company’s cast of formidable British actors, * * * film scores to come. including Judi Dench, Diana Rigg, Helen Mirren, As of this writing, the latest Midsummer The main titles begin with a flourish and a Ian Holm and David Warner. Fraught by choppy arrived in 1999 with a dream of a production. galloping brass minuet, which is later heard during editing, green fairy makeup, distracting hand-held The art direction is stunning and the cast creates the fountain sequence delicately played by a small camera work, and “groovy” lighting effects, the relationships that other versions never captured. string contingent and clarinets, harps and flutes. result is akin to a bad acid trip. Director Michael Hoffman set the film in turn- One of the rare extended cues is nighttime in the As resident composer of the RSC at the time of-the-century Italy and insisted that Italian opera forest, full of idyllic French horns and murmuring (with over 150 productions to his credit), Guy be incorporated in the score. Renowned voices woodwinds. A 22-year-old Benjamin Britten, Woolfenden was the natural choice to score the film. such as Renée Fleming, Luciano Pavarotti, Cecila reviewing the score for World Film News, was none Orchestrated for a small quintet of performers, the Bartoli, Roberto Alagna and Marcello Giordani too taken with the sequence: “One is conscious of score consists of two brass quintets that bracket the contribute their talents to famous arias by Verdi, the energetic ranks of the London Philharmonic film, and one lullaby sequence “sung” by Titania’s Puccini, Bellini, Donizetti and Rossini. Mascagni’s sweating away behind the three-ply trees.” Walton (Dench) fairy train. Circumstance apparently didn’t beautiful “Intermezzo” from Cavalleria rusticana gets one more chance to let loose during the call for much music, if music this be. is adapted by composer Simon Boswell and used wedding procession at the end, backed by the full effectively for Bottom’s (Kevin Kline) scenes with force of the chorus. * * * Titania (Michelle Pfeiffer). Mendelssohn’s indelible In 1996, artistic director Adrian Noble filmed music is used as well. Under the greenwood tree sing wonders, for his RSC stage production of A Midsummer Night’s With so many classical melodies, it may be Music was scal’d back because of locale. Dream. The concept is nothing if not stylized, difficult to discern Boswell’s original score. The These seeds of invention blossom’d and bloom’d utilizing Anthony Ward’s primary color costumes most striking cues are heard during the fairy In war and the reign of Larry’s King Hal. and minimal scenic design, and the inventive sequences, using Indian, Bulgarian and Syrian lighting of Chris Parry. This time, the concept is the influences. Boswell said, “We wanted it to be not SCENE III dream of a young boy who roams throughout the area-specific, and not time-specific, so people Padua. production witnessing the events. What may have didn’t think it was relating to the Shakespearean appeared full of magic and mirth onstage is poorly period at all, and that it should be rather dark, and The Taming of the Shrew provides two juicy suited to film. not airy-fairy… We discussed somehow making it roles for an actor and actress, roles they can sink Not so Howard Blake’s score. Expanded from the a kind of pan-world sound, using influences from their teeth into and scenery they can chew. And it stage production, the music contains a lushness that around the world that weren’t specific, and were took two huge stars, Elizabeth Taylor and Richard makes up for the spartan look of the film. It also actually downright peculiar!” This was achieved by Burton, to tackle Petruchio’s taming of the fiery employs a childlike simplicity and wonderment combining medieval and Arabic instruments with Kate in 1967. Director Franco Zeffirelli keeps the that perfectly suits a young boy’s dream. ancient Persian percussion. proceedings busy and brawling, as it should be, and An attractive violin solo sings of love in the air, Fine performances backed by gorgeous arias Nino Rota, the musical voice behind the films of later sung by a mournful, wise viola during the and Boswell’s interesting score combine for what Fellini, composed a rousing score that adds greatly “I know a bank” soliloquy. The entire orchestra is arguably the best film version of Shakespeare’s to the enjoyment of the picture. joins in for a joyful rendition during the flight popular comedy we can expect for some time. The score consists of three major themes. The to fairyland. Umbrellas play a large role in the rousing melody based on “Where is the life that staging and solo woodwind triplets ascend into What a fool this mortal be who questions late I led” perfectly captures Petruchio’s boisterous the heavens accompanied by pizzicato strings as Of a midsummer night’s dose of pretend. ego and the speed with which he wants to “wive the umbrellas take flight. Female voices seduce But music heard in groves outside Athens it wealthily in Padua.” The theme for Lucentio the ear, from a plaintive alto mermaid voice Enriches those that listen. Pray, attend. (Michael York) and Bianca (Natasha Pyne) to the beautiful female trio waltzing through suitably pines along with the young lovers. But it “Philomel with melody.” A jaunty trumpet and SCENE II is Kate’s melancholy music, voicing her unspoken oboe with slide trombone (which later bays with The Forest of Arden. loneliness, that gives an emotional depth to the Nick Bottom’s ass’ head) accompanies the merry score. The theme is also sped up for her more band of actors. A gentle string trio underscores The 1936 film version ofAs You Like It is notable shrewish moments. the party and later provides a tender backdrop for if for no other reason than it stars Laurence Olivier Add some lutes, mandolins and troubadours and Bottom’s final speech. in his first Shakespearean film role. However, the Rota’s score provides a delightful accompaniment Blake’s score captures more of the magic of Forest of Arden suffers from some of the problems to this most entertaining film. Shakespeare’s text than the awkward production. that the Midsummer trees did the year before, If you can find a copy of the long-out-of-print namely how best to adapt the Bard to the sound era With crate and plate, to berate is her trait. import CD, it’s definitely worth a listen. without it sounding stagy and wooden. Bonny and curst, far from plain is our wench.

FILM SCORE MAGAZINE 39 NOVEMBER/DECEMBER 2005 No matter how soft music makes our Kate, to Branagh and Emma Thompson—as the Harsh are her shrewish ways. Why, there’s a quarreling Benedick and Beatrice—and to the wrench! stunning cinematography and art direction of the picturesque Italian countryside. SCENE IV Branagh wisely brought back his longtime An island. musical collaborator, Patrick Doyle. Following a dual career in acting and composing for Given Hollywood’s love of CGI-generated British television, Doyle joined Branagh’s special effects and the supernatural elements Renaissance Theatre Company in 1987 as of the story, surely someone would have made a Shakespeare included in the play. Nyman made an actor, composer and musical director before successful adaptation of The Tempest by now. The the decision that no music would be written or composing his first score for Henry V. most infamous is Peter Greenaway’s Prospero’s rewritten which was remotely contemporary As opposed to the dramatic muscularity of Books (1991), which, while retaining a good deal of with Shakespeare’s play. The score is thoroughly the earlier score, Doyle’s music for Much Ado Shakespeare’s text, is far from traditional. Anyone contemporary and adds immeasurably to the visual is saturated with pure elation, especially in the familiar with Greenway’s work will recognize images onscreen. overture. During the memorable main titles, the the director’s visual stamp on the film. Layered strings and woodwinds swirl around Leonato’s cinematography, striking costumes and sets, and Love it, hate it, minimal sets the score. (Richard Briers) chaotic household as they prepare tons of nudity provide something to gaze at for Such stuff as dreams are made on, are they more for the arrival of Don Pedro (Denzel Washington) everyone. John Gielgud speaks all the roles (in Wedded on film than on shore? For some it’s and his band of soldiers, accompanied by galloping voiceover), further adding to the unique flavor of Art, others it’s junk, the rest it’s a bore. trumpets, French horns and percussion. the film. The plaintive ballad, “Sigh No More, Ladies,” Minimalist Michael Nyman composed a score SCENE V serves as the love theme. First spoken during the that would have sounded far different had he not LEONATO’S house and orchard. prologue by Beatrice, it is later sung by a balladeer remembered Caliban’s line incorrectly referring to accompanied by guitar and backup trio. The an “island full of voices,” instead of an “isle full of Kenneth Branagh’s sun-drenched Much Ado melody plays a memorable role in the newfound noises.” By the time he discovered the error, the About Nothing (1993) was his first Shakespeare film love of Beatrice and Benedick. And the tune overall concept of the score was essentially vocal, following the phenomenal success of 1989’s Henry bookends with the finale, as the joyous wedding with settings of the majority of the song texts V. The film is suffused with joy, and it belongs party romps through the orchard. While there are

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FILM SCORE MAGAZINE 40 NOVEMBER/DECEMBER 2005 FILM SCORE MAGAZINE 41 NOVEMBER/DECEMBER 2005 darker moments in the score for the jealous Don songs, sparkling and period-perfect though they John (Keanu Reeves), the overall tone is decidedly, are in their orchestrations, the effect is jarring and and blissfully, sunny. makes what many consider a silly play even sillier. Patrick Doyle commented on the complexities Hey nonny, nonny, love is in the air of the music: “The songs here needed longer The End of For masters and mistresses ever fair. introductions; the Collegian design (being If Beatrice and Benedick apply, quintessentially English) called for a traditional Then love can find anyone, ’by and by. English sound; the Royalty aspect cried out for Print, Part 2 a noble quality; the very funny ‘Cinetone News’ SCENE VI. sequences needed none other than the classic Get FSM BACKISSUES OLIVIA’S house. ‘March of Time’ accompaniment; the comic Before They’re Gone! characters…needed music that reflected their Twelfth Night, one of the most enduring tales dignity; the opening titles need to sound like the of mistaken identity and gender bending, was old M-G-M overtures.” finally filmed in 1996. Trevor Nunn, internationally Doyle’s original score fills in the gaps, supplying known for helming theatrical hits as Cats and Les the emotion and poignancy missing from most of Miserables, directed the impressive cast (which the film.Variety agreed, saying Doyle’s underscoring includes Ben Kingsley, Helen Bonham Carter and is “a major assist in mood and tone, especially in the Nigel Hawthorne) with the utmost earnestness. final reels.” Shaun Davey composed a rich, full-blooded orchestral score, interspersed with charming For those who watch, pity Gershwin and Cole. settings of Shakespeare’s songs for the clown, The cast could have been stronger on the whole. Feste (Kingsley). Davey had worked with the Royal Listening to Doyle’s music can set you free. Shakespeare Company and composed the music for With three-fold love I wish you all these three. the BBC series Ballykissangel before scoring Twelfth Night. He would later be nominated for a 2000 Tony SCENE VIII. Award for the musical James Joyce’s The Dead. Venice. A court of justice. You thought they’d always be After a dire prologue, the main titles give some here, but they’re going fast. indication of the vibrancy of the score as Viola The Merchant of Venice, with its centuries-old Less than half are remaining— (Imogen Stubbs) disguises herself as Cesario. The controversial character of Shylock, can barely be please see our website for an up-to-date lovely piano theme for the “Food of Love” sequence classified as a comedy under the most permissive list of remaining titles: is heartbreaking and plays a major role in the of circumstances these days. And director Michael http://www.screenarchives.com/fsm/ poignant finale as Viola and Sebastian are reunited. Radford’s 2004 film version eliminates most of the backIssues.cfm Befitting Davey’s prominence as one of Ireland’s comedic elements, focusing on the darker aspects foremost composers, many of the melodies, of the play. So Jocelyn Pook’s somber score comes Or, call or write to Screen Archives at especially the songs, have an Irish flavor to them. as no surprise. P.O. Box 550, Linden, VA 22642-0550 The march for Malvolio (Hawthorne) is, like his Best known for her music in Stanley Kubrik’s Eyes 1-888-345-6335 character, light, delicate and vedy proper. And the Wide Shut, Pook immersed herself in Renaissance finale is suffused with merriment while Feste leads music “hoping to achieve music that was a kind of If you want to complete a rousing rendition of “The Wind and the Rain” hybrid between my own contemporary style and as the lovers are married and everyone gets what early music.” Ancient instruments such as recorder, your print library, it’s time to Shakespeare feels they deserve. psaltery (harp), sackbut (trombone) and theorbo make your move. (lute) were used in the scenes involving court You can still get one copy of every If music be the food of love’s sweet throne, musicians, balanced by more modern instruments original edition still available (about 50 Eat from its banquet, sing of its refrain. such as guitar, snare drum and double basses in all). Get the FSM Complete Originals And when the gales of ill become o’erblown, elsewhere in the score. The fight between religious Collection for a flat-rate of $49.95 plus Remember, “Hey, ho, the wind and the rain.” forces is reflected in the Hebraic and Protestant postage: $20 in the U.S. via USPS priority melismas in the score. Adding to the ethereal quality SCENE VII. of much of the music is the presence of German mail or UPS ground (your choice). Add Navarre. A park with a palace in it. countertenor Andreas Scholl. $30 for air mail to Canada, $30 for surface Pook’s music provides a great deal of atmosphere mail to the rest of the world, or $50 for air Never one to shy away from a challenge, in 2000 to the film and stays in the background without mail to the rest of the world. Remember, Kenneth Branagh turned Love’s Labour’s Lost into drawing undue attention to itself. Variety called the we aren’t making any more! a 1930s musical set to classic songs by Cole Porter, score “subtle” and an “elegant addition” to the film. Jerome Kern, Irving Berlin and George Gershwin. Though it was an audacious move, it stumbles A pound of flesh is more than we can bear, Goodbye, paper! on two left feet. The film gives us the bare bones Preferring our merchants out of the glare. Hello to the future... of the plot spoken by a less-than-comfortable You prick’d us, we bled. In villains, forsooth, www.filmscoremonnthly.com group of actors (excepting Branagh). When the We looked in the mirror, ourselves in truth. Shakespearean dialogue is interrupted with the FSM

FILM SCORE MAGAZINE 40 NOVEMBER/DECEMBER 2005 FILM SCORE MAGAZINE 41 NOVEMBER/DECEMBER 2005 SILVER AGE CLASSICS • FSMCD VOL. 8, NO. 18 Music Composed and Conducted by Jerry Fielding

Music for The Getaway:

Jerry Fielding’s Original Score

Not Contained in the Motion Picture

SAM PECKINPAH AND JERRY FIELDING FORMED ONE OF the most potent director/composer collaborations in cinema history, creating lasting works in The Wild Bunch (1969), Straw Dogs (1971) and Bring Me the Head of Alfredo Garcia (1974). One of their efforts together, sadly, was not to be: The Getaway (1972), for which Fielding’s score was replaced by an equally fi ne yet different one by Quincy Jones.

FOR YEARS FIELDING’S SCORE WAS KNOWN ONLY BY reputation; associate producer Gordon Dawson said it was “like a man in a green suit walking in a forest.” Portions were included on a private Jerry Fielding compilation in 1992; fi nally, this CD features the premiere authorized release of the complete score in excellent stereo sound.

THE GETAWAY STARRED STEVE MCQUEEN AND Ali Macgraw as a husband-and-wife criminal team attempting to save not only their lives and their loot but their marriage. Fielding provided the requisite action and thriller strains, but keyed onto SOUNDTRACK CD: Music for The Getaway the couple’s fraying relationship with Jerry Fielding’s Original Score gentle, melancholy colors and a Not Contained in the Motion Picture sophisticated, “feathery” approach. 1. Benyon’s World 1:34 2. The Water Hole 2:25 AS A SPECIAL BONUS, THIS CD 3. Doc and Carol 1:24 package includes a bonus promotional 4. Casing the Joint 1:31 item not for sale separately: a DVD of 5. The Bank Robbery 7:47 the half-hour documentary, Main Title 1M1: 6. Bullet Proof 1:30 7. Payoff 2:20 Jerry Fielding, Sam Peckinpah and The Getaway, 8. Bag Theft 3:31 a highly personal reminiscence by three of the women in SPECIAL FREE BONUS DVD: 9. Laughlin’s 0:42 Jerry Fielding’s life: his wife Camille, daughter Elizabeth, and Main Title 1M1: 10. Punch It, Baby 1:18 Peckinpah confi dante Katy Haber. Jerry Fielding, 11. Shall We Gather Sam Peckinpah at the River 0:47 and The Getaway 12. Texas Trash Heap 1:23 LINER NOTES BY PECKINPAH AUTHORITY NICK A Dog Bros. Co. Production 13. Hombres 1:04 Redman—who produced this album and directed the Directed by Nick Redman 14. Money Talks 2:28 documentary fi lm—provide a wealth of historical detail, and 15. Hotel Confrontation 4:17 16. End Credits 2:06 exact timings for relating the music to the motion picture. ©2005 Warner Bros. Entertainment, Inc. All rights reserved. Total Time: 38:05 This is a must-have package for fans of Peckinpah, Fielding, Region-free • NTSC • Running Time: 29:54 and ‘70s cinema. 1.85.1 Letterbox • Stereo Mix: left/right Album Produced by Nick Redman FOR PROMOTIONAL PURPOSES ONLY. $24.95 plus shipping DVD NOT FOR SALE

Film Score Monthly—continuing to bring you new releases of classic film scores, monthly! Visit www.filmscoremonthly.com REVIEWS OF CDS

CLASSIC  Reviews rate the listening GREAT  experience provided by a soundtrack on CD and do GOOD  not necessarily indicate BELOW AVERAGE  the music’s effectiveness in score WEAK  the film. Just Like Heaven 1⁄2 Just Like Heaven is the second and prostitutes as main characters usual rousing openers, “The Streets ROLFE KENT CD this year (after Sky High) that in his novel). Polanski’s recent music of London,” and reaches a high Sony Music Soundtrax ACK-97696 has contemporary artists covering collaborator, the usually severe point a few tracks later with the 18 tracks - 62:06 songs from the ’80s, and while Wojciech Kilar, has been replaced by beautiful “Oliver Runs Away.” There’s he pitch meeting for Just Like Heaven has more recognizable the sunnier Portman, a decision likely also a playfulness in her theme for THeaven couldn’t have been that names attached (Kelis doing “Brass based on Nicholas Nickleby (well...the “The Artful Dodger.” But with the complicated: “Imagine City of Angels in Pocket” and Bowling for Soup Twist trailers are using it, anyway). introduction of Fagin and the gang but with the girl as the ghost.” “I like doing a scary—for all the wrong That said, if you’re expecting the of pickpockets, Portman doesn’t it. Make it less depressing and we’ll do reasons—“Ghostbusters”), this usual Portman period score, you will sugarcoat Oliver’s many adventures it!” Just Like Heaven involves Elizabeth trend is uninspired, considering the be in for a little shock. Yes, the fi rst on the street. She doesn’t abandon (Reese Witherspoon), an E.R. doctor covered songs were pretty much couple of cues are bouncy, typical her hopeful music altogether, but uses (Meg Ryan, anyone?) who dies in a perfect in their original form. The Portman, but the latter tracks are it sparingly. car crash, and sad sack David (Mark score portion of the album is 15 another story. Things may not get as By the time we get to the fi nal cues Ruffalo), the poor guy who moves minutes long, consisting of fi ve cues bleak as her more contemporary The of the CD, you can almost imagine into her old apartment.” Before you from the movie. I’m not sure if any Manchurian Candidate, but Oliver that Portman is actually scoring The can say “Whoopi Goldberg,” Elizabeth important ones have been left off, Twist is still a depressing listen. The Pianist. Portman being Portman, is haunting David, since he’s the only but given what’s on the CD, they feel score begins with one of Portman’s there is a bit of an uplift in the last adult that can see her. Mean Girls representative. —Cary Wong cue, “Newgate Prison,” but nowhere director Mark Waters, who specializes near the sentimental fl ourish ofThe in contemporary, satirical stuff, enters Oliver Twist  Cider House Rules or Emma. To the treacle (albeit successful treacle) RACHEL PORTMAN casual fan, Oliver Twist may seem territory, and brings along his usual Sony Classical • 18 tracks - 53:18 like business as usual, but dig a little composer Rolfe Kent, who’s forte is achel Portman is on her way to deeper and you may notice some of not usually supernatural romantic Rbecoming the offi cial composer the underbelly of London creeping comedy. Okay, he did a nice job with for Charles Dickens fi lms. In her into her music. Polanski’s choice of Kate and Leopold, but he excels in follow-up to her underrated work to Portman may have a lasting effect on edgier genres. 2002’s Nicholas Nickleby, Portman her career as a composer. Is anyone This is why it’s such a pleasant creates a substantially darker score working on another adaptation of surprise that Kent’s contribution is for Roman Polanski’s Oliver Twist, a David Copperfi eld? —C.W. one of his best. The score is indebted faithful adaptation of Dickens’ most to the more romantic works of John popular novel about pickpockets on Broken Flowers  Barry. Think of Somewhere in Time the streets of London. Ben Kingsley is MULATU ASTATKE and Peggy Sue Got Married, and Fagin, the leader of the pickpockets, Decca B0005150-02 • 12 tracks - 40:08 you’ll have an idea of the wistful, and newcomer Barney Clark plays the im Jarmusch is entering his Woody melancholic and swoony Just Like titular hero. Although there have been JAllen period, where Hollywood Heaven. Nothing in Kent’s scoring numerous adaptations of this novel, stars are clamoring to be part of his career has been as unabashedly the most famous remains the musical brand of indie fi lmmaking. Although melodic and traditional. The opening rendition, Oliver! the respected director of Night on cue, “Her Picture,” one of Kent’s Polanski’s follow-up to his Oscar- Earth and Mystery Train has always most luscious, surprised me with winning The Pianist is an odd choice: had a cult following, it wasn’t until his its unironic romantic sentiment. “I it’s his fi rst PG-13 children’s movie last work, Coffee and Cigarettes, a sort Remember You,” the last cue on the (unless you count Pirates, which I of hipster collage of short fi lms, that CD, could have been pure mush, but don’t) and his fi rst adaptation of a his stock really rose. Now, his newest Kent gives you the uplift without the classic novel. But after exploring the fi lm, a mid-life crisis story analogous sugar shock. Kent, who made a splash horrors of the Holocaust, this might in many ways to Annie Hall, features with his jazzy score for Sideways, have been the perfect tonic (although Bill Murray in search of a son he may should be getting offers for the kind Polanski might have been attracted have fathered with one his many of of movies Barry and Gabriel Yared to the fact that at the time of Oliver ex-girlfriends. usually excel with. This score is that Twist’s publication, Dickens was Jarmusch has always reveled in the effective. criticized for the use of criminals indie music scene as well, and this

FILM SCORE MAGAZINE 43 NOVEMBER/DECEMBER 2005 FSM’S PICKS OF THE MONTHS

songs, each conjuring the uniquely the underscore into darker, more seedy elegance of Kurt Weill, while textural places without ever losing Corpse features four songs, three of sight of the tonal consistency that’s which are almost purely expositional, so crucial to these projects. Listen to relating them more to a refi ned peculiar harpsichord jibe in “Victoria’s Gilbert and Sullivan regalia. Early Escape” at 1:11—Elfman creates a reviews complain that Corpse’s songs momentary percussive groove that’s didn’t seem as catchy, but I think uniquely odd, but perfectly framed by the reviewers were misinterpreting the atmospheric regularity. Likewise the intent of the writing. With the for the 20th century ensemble exception of the score’s one set-piece divisions—string quartet, full Corpse Bride  tune (“The Wedding Song,”) which orchestra, choir, minimalistic piano, few of these scores evoke the same DANNY ELFMAN packs a gleeful wallop upon its arrival, synth and percussion—that begin operatic opulence exercised by the Warner Bros. 49475-2 the songs are extensions of the drama “End Credits Part 1.” Shore of late (The Fly and M. Butterfl y 24 tracks - 59:30 and fl ow naturally into the fi lm’s Admittedly, in listing the ways crawl to mind), but by and large o many listeners, 1993’s story. Nightmare’s that Corpse Bride is the Cronenberg scores have been TNightmare Before Christmas songs were that fi lm’s The fi nal FSM Pick not Nightmare Before psychological puzzles, writhing to constituted a mini-classic of the drama—its dialogue of the Months is a Christmas, I’ve probably solve their own riddles as the narrative Elfman/Burton collaboration, the had to incorporate tie between Corpse proven little more progresses. On the surface, A History apotheosis of the funhouse/funeral itself into the musical Bride and A History than that an easy A/B of Violence may seem the kindest in parlor vein the duo had been mining fl ow. If the songs seem of Violence. comparison can be made this library, a dichotomous pairing since the mid ’80s. Everything clicked “talkier” here, I believe between the two. Each of rural Americana and the kind of in Nightmare; it was the perfect it’s because the makers have refused project seems to have offered Elfman a velvety agony endemic to the duo’s vehicle for Elfman’s rare mix of catchy to take the easy route and stop the similar list of choices, but, to his credit, past teamings. Classic black-and- hooks and timbral experimentalism. drama to allow characters to peal into he’s made different decisions across white/coarse-impulses-versus-better- Immediately after, the director and partitioned-off musical refl ections. the board. Where they’re undeniably angles material, right? composer split up, only to reunite a It’s a more mature route, and Elfman’s similar, however, is in the composer’s Hardly. In its subtle way, A History few years later with a realigned, slicker songs aren’t any less clever or detailed emotionally direct, elegant lyricism. of Violence may be among the sensibility—no less catchy, no less for it. The forms are different, yes, If Nightmare were to have a worthy most subversive scores Shore and complex, no less endearing, but with but they connect organically to the successor, this would be it. Cronenberg have yet brewed. It’s the homemade charm eclipsed by a storytelling. Besides, it’s fascinating —Doug Adams… largely a score without walls. There’s new sense of orchestral power and to see Elfman downplay his own (who should probably admit he has a pair no easily discerned line between grandeur. Gone were the two-step innate gifts as a hook-smith to stretch of the Mayor of Halloweentown’s eyes the warmth and the coldness of rhythmic vamps, the whole-tone himself creatively. It’s a successful hanging on his basement wall, and may this music—despite the fact that harmonizations and the acoustic toy- experiment—Elfman the songwriter not be the most unbiased person to write there are two clearly delineated box orchestrations. has become Elfman the recitative this review. Oh well…) major themes (or theme groups, The year 2005, however, has been composer. As always, the lyrics feature as is probably more appropriate to a renaissance year for the pair. Charlie him—with an assist by screenwriter 1. My single favorite moment of the Shore’s penchant for development). and the Chocolate Factory returned John August—at his typical tongue- score comes in the end credits’ final The inviting Americana theme to many of the storybook leanings of twisty best. A personal favorite: seconds, where Elfman combines the favors solo winds—French horn, the couple’s fi rst few projects. And yet, “…our daughter with the face of an music of the living and the dead by oboe, fl ute (often alto fl ute)—while for a project specifi cally positioned as otter in disgrace.” allowing a hilariously refined choral the darker tune stresses the string the successor to Nightmare, Elfman’s What’s more, with less structural rendition of Bonejangle’s “Remains of fi gures beneath by highlighting oddly Corpse Bride score is a strikingly emphasis on the songs, Elfman is the Day.” spaced voicings or harmonics. But original piece of work, true to its free to create a central theme in the “good” theme isn’t so strictly own consistent atmosphere and the underscore, something that A History of Violence  warm, and the “bad” fi gure never voice. Bride is like Nightmare’s bigger, Nightmare never established. This HOWARD SHORE chills all the way to the core. They broody sibling. This time the darkness cooing melancholy line breezes its way New Line NLR39051 seem to want to be tonal opposites of is less a zany celebration and more all around the score, fading in and 14 tracks - 40:14 one another. They even invert each a ghoulish intersection of Victorian out of various guises, but appearing oward Shore has made other’s contour in the opening three restraint (for the buttoned-down land most prominently as the piano Hhis name in the past half- pitches, as if in a vain attempt to mask of the living) and romping Dixieland music Victor (Johnny Depp) plays decade as a composer of epic vistas, a relationship, protesting too much Swing (for the devil-may-care land on-screen, here taking on a favorable world-clashing confl icts and overt that they’re unrelated. But an obvious of the dead).1 This effort’s ensemble comparison to Beethoven’s stalwart emotionality. But how quickly we demarcation continues to elude the is bigger, replacing Nightmare’s “Moonlight” Sonata, Op. 27. (Both forget that his road to popular material. dance-band instrumentation with the Elfman and the Beethoven begin acclaim was paved with the thought- Violence’s fi gures seem to harpsichord-gilded, xylophone-ribbed with similar accompaniment fi gures provoking boutique scores he fi nd themselves (and, thus, orchestral ballast. in C# minor.) The enhanced sense of perfected in the service of director defi ne themselves) almost by Nightmare was built upon 10 identity allows the composer to push David Cronenberg. To be certain, a happenstance—as if intention

FILM SCORE MAGAZINE 44 NOVEMBER/DECEMBER 2005 FSM’S PICKS OF THE MONTHS SCORE

and mood were a byproduct of fi lm is no exception. Mulatu Astatke, in that it leads one to assume that environment and reaction. A simple a native Ethiopian educated in Silenzio is going to be throughout tonal theme never turns a corner England, was an infl uential fi gure in a faithful referencing of Silver Age sharply to dissolve into disarray and the 1960s with his form of Ethio Jazz. Italian fi lm music ornamentation. At angularity. It simply wanders away Although the credit on the poster least to my ears it doesn’t quite play from its roots until it fi nds itself an leads one to believe that Astatke out that way. I can’t easily connect unnerving new identity. And the wrote a new score for the movie, his the very next track, “Starshine,” to darker moments display their sunnier music (at least the ones on the CD) any Italian fi lm music motif that I’m sides by a similar path. There’s a is mostly from Astatke’s compilation familiar with. Perhaps it is meant bit of a Rorschach element to the CD, “Ethiopiques, Vol. 4: Ethio Jazz to stylistically refl ect the score for score. Isolate any given moment and & Musique Instrumentale, 1969- Barbarella, or Marcello Giombini’s attempt to chart its exact placement 1974.” The material fi ts well with psychedelic ‘60s pop-art masterpiece within the development of the Jarmusch’s alt-vision of the world. Seli, the main title track for Mission material and you’re likely to get any Your enjoyment of this album will Stardust, aka 4.3.2.1...MORTE! number of possible answers. Every depend on your tolerance of song (1967). The “Starshine” lyrics are bit of levity is touched with an compilations where there’s only one concerned with rocket ships, but undercurrent of discord and every star name (Marvin Gaye), a Faure the music, apart from a super-spy moment of darkness clamors over soprano solo and a handful of funky era organ riff, is more akin to post touches of warmth. The score is in cool cuts. —C.W. punk, with the 1980s band Au Pair a constant sway between the two coming to mind. Another song, poles. Whether or not it ever hits The Skeleton Key 1⁄2 “Bonniewood,” seems to exist as a either extreme—or establishes either EDWARD SHEARMUR, VARIOUS Unfortunately, the source blues capricious turn on Blondie (the band, tone as the score’s principal voice—is Varèse Sarabande 302 066 670 2 tracks are scattered between the score not the comic strip). “Super Villain” almost entirely up to the listener. 16 tracks - 52:49 cues, and that is a nuisance. is most likely an intended burlesque With the composer’s specifi cally dward Shearmur, the musical —Jack Holstein of Barry’s Bondian lexicon, but the subtle harmonic modulations and Ebrains behind Charlie’s Angels, caricature is too remote. orchestrational sleight of hand, the The Sweetest Thing, Laws of Attraction Silenzio Violento (non-score)  I can congratulate Morricone point at which a solo fl ute line moves and Miss Congeniality, can suffer MORRICONE YOUTH Youth for successfully delivering from sweet, linear Americana to along with Hollywood tripe, but he Country Club CC1013 a lush, quirky, avant-garde pop unraveled, disjointed seething is often can also deliver outstanding work on 14 tracks - 57:44 sensibility. A few cuts on the only visible in retrospect. The score fi lms where the executives are not out Note: This is a rock album inspired by album, besides the title track, do abounds in unavoidable ambiguity. for extra cash from songtracks. His fi lm music. harbor noticeable fi lmic innuendo. Every attempt at establishing an work on Sky Captain was particularly usually enjoy the efforts of young “Monster,” while probably meant absolute, be it in the orchestral promising, and many fans were no Imusicians, operating in the pop/ to pay homage to Japanese kaiju divisions, the melodic contours or doubt on the lookout for his next rock/alternative vein, who allow fl icks, actually does a commendable the tonal shadings, is compromised score (or more specifi cally, his next themselves to openly express their job of bringing us back to the by the purposefully untidy musical genre score). The Skeleton Key, his appreciation of fi lm music. I can spaghetti western, specifi cally as it borders. Shore consistently refuses most recent effort, has good motifs trace the phenomena back to the acknowledges, by design or otherwise, to give the score a simple pair of but is in the end a Southern-bayou, “prog” movement of the late ’70s, Bruno Nicolai’s wonderful East polemics. cliché-ridden score. You really know which produced some very cool Asian-tinted score for Il Mio Nome Rarely does this gray-shaded you are in the deep voodoo South bands such as Can and Faust, both E’ Shanghai Joe (1973). Track 8 on material allow itself to boil over with this offering. of whom actually did go on to score the disc, “Heist,” has strong cinematic into an aggressive shape. The disc’s Shearmur delivers chills and for cinema. The CD Silenzio Violento, connotations; within its hard-driving highlighted sixth track, “Run,” whips surprises with ease. And when not by Morricone Youth, is, obviously, (pun) urban car chase warp and into a rhythmic fury, but true to busy shocking, he evokes a solemn intended to be an example of just weave, there is evidence of a scaled- the score’s tone, the mood is open sadness in the quieter passages, such a dynamic. down blending of Morricone (Violent to debate. Is it an angry frenzy or a weaving a blues sentimentality with The disc kicks off with “Silenzio City) and American cop show scoring thrilling dance? Violin clusters and an undercurrent of foreboding Violento (titoli),” a rather straight- (Hawaii 5-0/Streets of San Francisco). brass voices hammer away sharply, tension. forward homage to the universally Judging from the promotional but the mid strings gambol along The album also features blues recognized spaghetti western sound; materials that accompanied the CD with a fl uid, soothing beauty. tracks performed by Johnny heavy on the guitar, chanting male it appears that Morricone Youth has There are of course parallels to Farmer, Blind Willie Johnson and chorus, and the melody, a gunfi ght performed live numerous covers of be made to the fi lm’s drama, but several other artists. One of the bolero, is spiced with a distinctive actual fi lm tracks, including principal regardless, the music makes for a most interesting of these songs is Spanish air. It’s close enough to the themes from The Cincinnati Kid, Sol fascinatingly provoking listen on disc. “Conjure the Sacrifi ce,” co-produced real thing that it could probably be Madrid, Mission Impossible (Schifrin), The music’s puzzle earns the fi rst by Shearmur, with lyrics by Ehren slipped, unnoticed, into an actual A Fistful of Dollars, The Bird With spin, but it’s the staying power Krueger, who also penned the fi lm’s Italian fi lm production of the the Crystal Plumage (Morricone), of the material that will keep it in screenplay. The lyrics, or should I say appropriate genre and period. This In Like Flint (Goldsmith) and many your player. —D.A. chants, are a bit disturbing. opening cue is a bit of a cheat though, others. I certainly would not balk

FILM SCORE MAGAZINE 45 NOVEMBER/DECEMBER 2005 SCORE SCORE at the idea of a CD release focusing strings; dark and mysterious shock/ of the score’s highlights. The oud on these youthful recapitulations of horror stings and crescendos; and all carries with it a sense of the exotic, various gems from our beloved Silver of the musical fantasy sounds one an unfamiliar instrument in an Age microcosm. I think fi lm music would expect for this black forest. unfamiliar land. Soderqvist also uses fanatics would be more appreciative A few gentler passages crop up solo violin to great effect, particularly of such a compilation. Compassion here and there, often scored for piano during “Repentance.” In addition, for our readers demands I end this accompanying violins or woodwinds, praise should be given to “When review (with apologies to Morricone including one of the main themes, I’m Coming Home,” a song written Youth) by jumping track: For a which is often presented in a lullaby- by Jesper Winge Leisner, sung by truly magnifi cent contemporary like rendition (reminiscent of James Commitments singer Andrew Strong. take on ’60s and ’70s fi lm music I Newton Howard). “The Eclipse The song bookends the score and, strongly suggest you pay good money Begins” actually features clever unlike many songs used in fi lms, is for a CD called Felt Mountain by interpolations of Brahms’ Lullaby memorable and well-performed. Goldfrapp. In fact, I’d like to drop the and Rossini’s The Thieving Magpie, Soderqvist has yet to score an hint that it wouldn’t be a bad idea for but these moments seldom last long American fi lm, but with Brothers, FSM, at some point in the not too before the darker undertones surface. he joins the ranks of other fi ne distant future, to interview Goldfrapp It must be said that Marianelli composers who have made their (Alison Goldfrapp and Will Gregory). brings nothing new to the genre, but marks overseas. I hope he will, in the —John Bender instead plays with the archetypes of coming years, bring a unique voice to horror and fantasy scoring in a way the growing diversity of fi lm music. The Brothers Grimm 1⁄2 often neglected these days in favor of —Will Shaw DARIO MARIANELLI hipper pop-based music or watered- Milan M2-36136 • 17 tracks - 71:50 down, pseudo-ethnic sounds. I’m Last Flight Out (2004)  was surprised at how strong a score thankful that there are no such BRUCE BROUGHTON IThe Brothers Grimm is, especially infl uences here, and I hesitate to say Intrada Signature Edition1005 since I was unfamiliar with Dario something so lame, but this could be 17 tracks - 50:28 Marianelli. Some critics have said this 2005’s Sky Captain or The Incredibles, ast Flight Out opens as one is a weak Bernard Herrmann knock- a grand orchestral throwback from Lwould expect of this South off, but I don’t hear much Herrmann a relatively obscure composer, and a American adventure: with guitar, here. If anything, the infl uence is score that can reaffi rm to soundtrack pan fl utes, maracas and steel drums, more secondhand, coming through fans why we listen to soundtracks in a template that will remind a lot of Danny Elfman. But even that is felt the fi rst place. If the fi lm had been listeners of Jerry Goldsmith’s Under more in terms of the instrumental better received, perhaps more people Swedish composer Johan Fire. The palette for this score is layering and textures of the orchestra, would be exposed to the score, but Soderqvist has been scoring small (Broughton had to score this and not so much in melody. Plus, this unfortunately it seems unlikely Scandinavian fi lms for nearly low-budget fi lm with extremely is the type of movie on which Elfman to fi nd as large a fan base as the 15 years, but Brothers is his fi rst limited means) but Broughton’s would have been a good choice aforementioned works. released score. Soderqvist’s style for talent for melody and emotion come (there are similarities between Terry —Darren MacDonald the fi lm is similar to the pensive through strongly, as the music is at Gilliam’s fi lms and Tim Burton’s, minimalism of Graeme Revell. Like turns optimistic, suspenseful and for instance), and Marianelli’s music Brothers 1⁄2 Revell, he has a penchant for utilizing evocative of the locale. His knack for reminded me of both Sleepy Hollow JOHAN SODERQVIST unique instruments and creating Americana is also hinted at, and more and Red Dragon. Milan M2-36121 • 22 tracks - 40:22 atmospheric soundscapes that add than a few moments are reminiscent The Brothers Grimm is beautifully usanne Bier’s fi lmBrothers focuses a sense of mystery. Brothers does of his beautiful score for the “Seasons orchestrated with a rich and colorful Son the drama of two brothers— not offer the sweeping strings or of the Vine” attraction from Disney’s palette. A full orchestra is employed one bad, one good—who essentially blaring brass that characterize many California Adventure theme park. along with a large choir. There’s a switch roles in their family in the American scores, instead striving for a In addition to the aforementioned lot going on in this score, and the aftermath of the war in Afghanistan. subdued, yet not monotonous feel. material, there is a lot of darker album’s generous running time The good brother, who selfl essly goes Soderqvist has chosen a novel atmospheric scoring (but not too allows for a lengthy sampling of all off to war and is presumed dead, approach to scoring the twin worlds dark, as the fi lm is intended to be for of the material. There are lighter returns to fi nd that his younger of northern Europe and the Middle family audiences). In these and other comic passages, mostly for pizzicato brother, an ex-con, has taken over his East. Using the ancient Arabic oud tracks, a lot of synths are used to strings, scoring the brothers’ schemes position in the family. Although the (somewhat similar to a guitar) and supplement the acoustic instruments, to bilk the local villagers, but the bulk fi lm won several awards at various the relatively modern bandoneon and for the most part they sound of the album focuses on the bizarre fi lm festivals, including the Audience (similar to an accordion), Soderqvist fairly authentic—good quality elements of Terry Gilliam’s medieval Award at Sundance, it was received creates two separate moods for the acoustic instrument imitation is the European fantasy. The nine-minute with tepid interest despite critical locales of Denmark and Afghanistan. norm here. The are also a few more “The Forest Comes to Life” offers acclaim during its summer release, The bandoneon has a particularly action-oriented cues, like “Rescuing up all of these elements, including grossing less than a half-million domestic feel to it and is used most Mateo” and the standout “The pulsating action/chase writing for dollars in the U.S. notably in “Sarah and Michael,” one Escape,” moments of which reminded

FILM SCORE MAGAZINE 46 NOVEMBER/DECEMBER 2005 FILM SCORE MAGAZINE 47 NOVEMBER/DECEMBER 2005 SCORE SCORE

me of Jerry Goldsmith’s The Last case, the skillful rearrangement of Castle (no small compliment for Rota’s work is welcome. On album, Broughton there). It’s a true shame Rota’s scores often have a disjointed that Broughton is relegated to synth feel to them that is exacerbated by duty on these action tracks. This is Rota’s penchant for quoting popular like listening to good synth mock- works. (I doubt I’m the fi rst person ups—you can tell how great they’d to cringe when the orchestra slips be for real orchestra, but you’ll never into “Jingle Bells” on the La Dolce actually get to hear them that way. Vita album.) This collection is even The disc also contains a pair able to make sense of I Clowns, which of mildly religious folk-like songs, was released in two ponderous suites which though pleasantly arranged contains an ominous quote of the esque pastorale for the ancient city that incorporated sound effects and and performed, are in fact dull and “Dies Irae.” While there is thematic of Rome and then whisks us into dialogue (in Italian) that completely without character. All in all this material here, you won’t be humming the fervor of the early ’60s nightclub undermined Rota’s score. is a good album that Broughton it the way you might Silvestri’s more scene of the Via Veneto, the clash All in all, The Symphonic Fellini/ fans will want. And in the collectors’ catchy themes for fi lms such as Back of the old and the new, the profane Rota offers fi lm score fans an excellent market, since this has already sold to the Future and Forrest Gump. and the sacred. Rota also specialized overview of the most fruitful out, its value will only rise. However, if you like Silvestri in full- in supplying music that fi t Fellini’s relationship of Rota’s career. Fans —D.M. blown action mode, this release is lifelong love and fascination with unfamiliar with his work will no highly recommended. —D.M. clowns and the circus. Fellini doubt recognize his infl uence on such Judgment Night (1993) 1⁄2 incorporated imagery and music modern composers as Elfman and ALAN SILVESTRI The Symphonic Fellini/Rota inspired by the big top into many of Zimmer (Matchstick Men) and fans Intrada Special Collection Vol. 23  his fi lms, and Rota’s accompaniment of more traditional scores will enjoy 19 tracks - 72:44 NINO ROTA is grand and fi lled with brio without his lush, romantic stylings as well as lan Silvestri’s debut on the Silva Screen SIL CD 3013 becoming silly or obnoxious. his energetic vintage jazz. —W.S. AIntrada label, Judgment Night, 15 tracks - 68:56 The energy here is infectious: proves to be a welcome addition to he collaboration between brilliant Anybody that isn’t immediately House of Wax 1⁄2 the composer’s discography, and TItalian fi lmmaker Federico Fellini sucked in by the jubilant march of JOHN OTTMAN perhaps his personal involvement and his musical counterpart, Nino The White Sheikh needs to get their Varèse Sarabande 302 066 652 2 in the project helped facilitate it for Rota, is one of the best known in pulse checked. The City of Prague 13 tracks - 41:50 Intrada. The majority of the score is cinema history. From 1952 to 1978, Philharmonic tears through each ohn Ottman’s horror music is written for large orchestra, into which Rota scored 17 fi lms, spanning all selection with joy and enthusiasm. Jusually effective in the fi lms, Silvestri weaves electronic textures facets of Fellini’s career from neo- The arrangements favor a slightly but on CD, it has an unsurprising that add an unsettling feeling. realism to his more fanciful work of more orchestral approach than Rota sameness that will probably not Most of the cues are dark and the ’60s and ’70s. Throughout that originally intended; however, this appeal to anyone who’s not addicted atmospheric, evocative of the time, Rota tackled documentaries, adds a brassy vigor to the cues that to the genre. (And there must be a slums of the inner city at night (the fantasies, slice-of-life dramas, and proves to be most enjoyable. fan base since a lot of horror fi lms, movie takes place over one night in even a risqué historical epic. Composer compilations even unsuccessful ones, like Seed of Chicago as four friends witness a Rota was most effective often suffer from a “greatest hits” Chucky, get a CD release). Ottman’s murder and are then hunted by the at combining old-fashioned mentality. The listener may get all latest horror score is for the remake of gang that committed it), along with romanticism with modern jazz to the big themes or end credit suites, House of Wax by music video director all the inherent dangers, whether create a sound rooted in both the but the format doesn’t allow for Jaume Collet-Serra. The fi lm will be real or imagined. However, Silvestri’s past and the present. La Dolce Vita appreciation of the subtleties of a remembered more because of Paris trademark propulsive action writing in particular begins with a Respighi- composer’s work. However, in this Hilton’s fi rst major movie role than does frequently break out from these darker cues. This material is very reminiscent of his writing for the Predator fi lms (and in fact Predator 2 was directed by Judgment Milan Records Night’s Stephen Hopkins) with their Specializing in soundtracks from foreign and domestic art-house jungle percussion rhythms. Over a cinema to Hollywood blockbusters. dozen percussionists are credited, E-mail or write for your free catalog: which should give a good indication Dorothea Hackenberg Milan Entertainment of the type of sound present here. 3500 West Olive Avenue, Suite 750 Burbank, CA 91505 “Execution” and “Train Yard” are (818) 953-7811 [email protected] good examples. The album fi nishes off with a Visit our website at www.milanrecords.com suite of unused electronic score cues, including Silvestri’s main title, which Buy 10 CDs and get 2 free with order! (for first-time customers) Milan Records offers free standard shipping.

FILM SCORE MAGAZINE 46 NOVEMBER/DECEMBER 2005 FILM SCORE MAGAZINE 47 NOVEMBER/DECEMBER 2005 SCORE SCORE for anything else. Heathers and DuckTales: The Movie, The most melodic moments the ’80s consistently showcased David in these scores usually come as Newman’s versatility. part of the calm before the storm, The Kindred opens with the aptly where we get the requisite character titled “Lullaby,” a sinister piece that development before the hacking (or leads into a quasi-synth “Main in this case, waxing) begins. In House Title.” Newman’s cues develop nicely of Wax, this comes via “Opening/ into orchestral score with a tense Tantrum,” with its Elfmanian undertone. The Kindred certainly wonderment and choral vocals. shows off Newman’s skills integrating The last cue, “Endless Service,” with synths with acoustics. Additionally, its throwback organ solo is also a the score relies more on melody than pleasing listen. Give Ottman credit for the now standard Polish transplants the nice mood work (“Three Sons”) of aleatory and shock effects. before the thump-thump-thumping Take note: This soundtrack sold (and dead bodies) eventually arrive. out within less than 16 hours of its Also, throw in a few more points for release on Varèse Sarabande’s website. naming one cue “Paris Gets It,” even It is limited to only 1,000 copies and though her character’s name is Paige. currently can be purchased from Nice. —C.W. collector sites such as eBay for the right price. This release does not Camera: Reflections on Film contain the usual track-by-track Music  analysis former Soundtrack Club JAMES HORNER, VARIOUS releases have included. It instead True North TND 294 (Canada) contains a few interesting notes 15 tracks - 63:08 regarding biographical information he musical group Incantation on David Newman and his other Thas achieved great success with projects. A more deluxe booklet its evocative performances based should have been in order. But this around ethnic instruments, especially album is already becoming a sought- Celtic and Latin American. Having after collectable. —J.H. contributed its distinctive voice to numerous scores since its debut on pleasing, Hinnigan displaying plucking of guitar strings. Valiant 1⁄2 The Mission (1986), it is only natural impressive breath control, with a The liner notes carry endorse- GEORGE FENTON that the group should give us a “best striking use of vibrato and an eerie ments from all the composers bar Walt Disney 61388-7 • 15 tracks - 47:10 of” collection. As one might expect, solo coda. Willow is also winning with Morricone, with the quote from ecently, Disney soundtracks this is no Panpipes Go to the Movies: its peculiarly drowsy tempo. On the Horner suggesting that The Mission Rhave not been the events they Each of the 15 cuts has been arranged other hand, Legends of the Fall, The was to blame for his latter-day were in the days of Ashman and with a good deal of fl air and variety Devil’s Own and The Mask of Zorro penchant for ethnic instruments. Menken. George Fenton’s Valiant by leading light Tony Hinnigan. struggle to rise above the indifferent Camera is atmospheric and sensual doesn’t feature any songs, but it’s a The approach is low-key, intimate source material, whilst the lovely music-making, deserving of wide wonderfully energetic and amusing and affectionate; the performances melody of The Land Before Time is audition, though only fans of Horner score. You probably have to look all feature dextrous playing of pipes and spoiled by a trite drum line. and Incantation will count it an the way back to The Black Cauldron strings; and the close-miked sound Of the other composers’ works, essential purchase. —Nick Haysom to fi nd something of this caliber is deliciously crisp and clear, guitar Christopher Young’s roistering (and beyond) in a Disney animated squeaks and Hinnigan’s breathing theme to The Shipping News is a little The Kindred (1987)  feature. vividly to the fore. The only misstep is disappointing, lacking the heady DAVID NEWMAN George Fenton imbues Valiant in the occasional use of electronics to momentum of the original. Michael Varèse Sarabande CD Club with plenty of patriotic marches provide a soothing bed of sound: The Nyman’s The Piano provides a literal VCL 0805 1041 • 19 tracks - 36:35 and triumphant passages that ooze result tends to come across more like and slightly eccentric change of he Kindred tells the story of a with imagination. He has little hiss on the recording! tone: with strings to the fore—and, Tfemale experimentalist involved experience with animation, but trivia The music of James Horner yes, no piano!—its ascetic quality in the creation of evil life forms hell- buffs may appreciate knowing he predominates, with no fewer than is an intriguing, albeit too brief, bent on causing carnage. Yep. David provided uncredited source music for 10 pieces, including two from “the diversion. George Fenton’s A Handful Newman’s score is impressive from Nickelodeon cartoon shows Ren and iceberg movie.” The reverential of Dust is attractive indeed; it and the standpoint that it was one of his Stimpy and Rocko’s Modern Life. performance of “Hymn to the Sea”— The Mission allow a succession of earliest works, and the effort is not The score is conducted by even employing a faux organ—makes instruments to shine. For once the nearly as cookie-cutterish as it could Fenton and performed by the Royal a good case for this over-familiar hackneyed Morricone piece sounds have been. From Frankenweenie to Philharmonic Orchestra. The Central score. Braveheart is immensely fresh, benefi ting from some plangent The Kindred, The Brave Little Toaster, Band of the Royal Air Force and the

FILM SCORE MAGAZINE 48 NOVEMBER/DECEMBER 2005 FILM SCORE MAGAZINE 49 NOVEMBER/DECEMBER 2005 SCORE SCORE

Syd Lawrence Orchestra help to give in World War II) is craftsmanly. It The other criticism is that Unlikely perhaps stronger themes, perhaps Valiant an authentic British military has depth of emotion, drama and Heroes sounds just too typical. It more pace, perhaps more grit in the infl uence on several cues. “Shoo Shoo is overall a well-written score. It sounds like “yet another” Jewish hero drama, perhaps some sense of rise and Baby,” a sultry jazzy tune performed just lacks the magic ingredient, that score (and you can’t help thinking that fall. As it is, Unlikely Heroes passes the by Mis-Teeq, is also included. elusive thing that turns well-crafted The Pianist did it better). Of course, ears nicely but inconspicuously. This is an energetic offering from scores into gripping scores. At least fi lm music serves the fi lm. It would be —Stephen Woolston Fenton, and while not exactly in on CD. There are themes, but they wrong of Holdridge to lack dramatic the same vein as Shadowlands or just don’t grab like an Islands in the integrity in the fi lm for the sake of Hitman/Hitman 2 1⁄2 The Crucible, Valiant is a gem that Stream or Out of Africa theme does. making a more interesting album. JESPER KYD deserves recognition. —J.H. There is sensitivity, but it doesn’t And, of course, it’s a documentary so La-La Land LLLCD 1030 seem to go anywhere. There is lyrical there’s no dramatic contrivance for Disc One: 12 tracks - 67:49 Jerry Goldsmith fl ow, but it ambles without pace or the music to score. Even so, it’s hard Disc Two: 20 tracks - 50:41 40 Years of Music 1⁄2 direction. There’s just no sense of not to have a sense that the music ollowing a cheesy sampled JERRY GOLDSMITH crescendo in the listen. could have been more engaging— Fgunshot, Hitman delivers a fun, Silva Screen SILCD1183 Disc One: 13 tracks - 73:09 Disc Two: 15 tracks - 72:47 ver since his ’80s collaborations DOUBLETAKE ON DONAGGIO Disc Three: 14 tracks - 69:52 Ewith Brian De Palma, Pino Disc Four: 15 tracks - 68:33 Seed of Chucky (2004) Donaggio has been a relatively silent his Jerry Goldsmith set consists / voice in American fi lm. Even the Tof themes from a wide range of PINO DONAGGIO “selected fi lmography” provided works, including many of his fi nest: La-La Land LLLCD 1033 with this La-La Land release lists Papillon, The Great Train Robbery, 21 tracks - 53:40 1992’s Raising Cain as the most Alien, Twilight Zone: The Movie, Total f all the composers to take a recent of his output. Many people Recall, Basic Instinct, Capricorn One, O“stab” at scoring a Chucky admire Donaggio for, arguably, Lionheart, The Mummy, Gremlins, fi lm, Pino Donaggio comes to the modernizing Bernard Herrmann’s The Boys From Brazil and The Swarm, latest installment with the highest sound. But the unique combination among others. The four-disc album of pedigrees. Not to detract from previous perpetrators of orchestral elements with electronics is a larger part of also contains several suites, like those like Joe Renzetti, Graeme Revell, and Cory Lereios & John Donaggio’s musical language, then coupled with his gift from Under Fire and the World War II D’Andrea, but Donaggio is an icon of musical terror, for romantic lyric themes. All of this is on display in the television miniseries QB VII. having worked with the likes of Dario Argento, Brian latest entry into the Child’s Play franchise. Film score compilations usually DePalma and Lucio Fulci. His association with this fourth Donaggio’s music comes across a little like Danny provide a mixed bag of joy and Child’s Play sequel, however, lends the proceedings a Elfman’s mid-’90s music (bringing us back to Herrmann) frustration, especially when said sophistication they wouldn’t otherwise have. anchored in Italian horror scoring. Seed of Chucky, and compilation is built on re-recordings. While Seed of Chucky will never be compared with some of the track titles, play up the tongue-in-cheek style Though I certainly prefer Goldsmith’s the work of Hitchcock, it is a movie with multiple of the fi lm. The score hinges on a delightfully creepy little originals, these arrangements are personalities. It’s a comedy/horror/tragedy about the theme that crosses a calliope and glass harmonica sound. usually enjoyable. For casual fans this ultimate dysfunctional “plastic” family, and requires an It’s played in contrast to slashing string lines and an is a nice way to be able to hear many equally colorful score. occasional boy’s chorus not unlike Elfman’s Nightbreed. works that are hard to fi nd without The CD opens with “Main Title,” an eerie piece for Most of the underscore involves holding one line while paying large sums of money. voices, synthesizers and string attacks that set the mood clashes of harmony or ostinati creep in and out of the This is obviously not on the level for the off-kilter adventures of Chucky, wife Tiffany, texture. “Stark Raving Mad” is one of several examples of Varèse Sarabande’s critical and now and their prodigy Glen/Glenda. While tracks like that mix horror underscore with more lyrical material. ultra-expensive collector’s treasure “Stark Raving Mad” and “Paparazzo’s Delight/Jennifer’s In “How to Get a Head in Hollywood,” a melodic Latin trove of Goldsmith’s scores for 20th Windows/Designs by Tiffany” further the suspense number is interrupted by strange electric guitar before all Century Fox. It does serve as a nice element of the fi lm with sharp strings and electronic the ideas fall together, eventually fading out. “Glen and overview, however, so don’t judge it pulses, cues like “Our Jennifer” and “Ordinary Dolls” Glenda” is a nod to the Ed Wood-ish nature of the fi lm. by its horrid cover art. —J.H. compliment the dark humor and pathos of the story Though the London Symphony Orchestra is listed as with contemplative passages for saxophone, voice and the ensemble here, it sounds like it’s a reduced version Unlikely Heroes 1⁄2 orchestra. of the ensemble in many of the tracks. Anyone who LEE HOLDRIDGE Under the baton of Maurizio Abeni (an underrated followed Donaggio’s music in the ’70s and ’80s (especially Citadel STC 77138 • 38 tracks - 71:23 composer himself) who conducts the London Symphony Carrie and Body Double) will enjoy his return to familiar t’s funny, isn’t it, how you can listen Orchestra, Donaggio delivers a fi endishly clever, modern territory here. Donaggio is currently scheduled to reunite Ito a CD and fi nd no fault with the score that actually works better on CD than in the fi lm. with De Palma on a project to be released in 2006. Seed of craftsmanship, and yet somehow The liner notes by the composer and writer/director Don Chucky may at least whet the appetite for what might be it just doesn’t light the fi re. Lee Mancini detail some of the inevitable post-production possible in a higher profi le score. Holdridge’s score for Richard Trank’s deviations in the arrangements. La-La Land’s fi rst-rate As a fi nal “bonus,” the disc ends with the song “Cut It episodic fi lm (which features seven production values shine once more, with cool graphics Up,” performed by Fredwreck and Defari. unknown stories of Jewish heroism and great sound quality. —Christopher Jenkins —Steven A. Kennedy

FILM SCORE MAGAZINE 48 NOVEMBER/DECEMBER 2005 FILM SCORE MAGAZINE 49 NOVEMBER/DECEMBER 2005 SCORE SCORE solid main theme that stays out of with notes by David Newman and trailer music for The Shining, and the techno-dance territory. But a myriad director Jerry Rees among others. informative liner notes that detail of virtually interchangeable drum According to Percepto’s website this is Carlos’ innovations, such as her beat and muddy synth tracks follow, a “Limited Edition” release. There is instrument the Circon. —C.J. until the album fi nally revives with no information on how many copies a remix of the main theme (which will be available, but if you are a fan 2001: Music From the Films of sounds exactly the same and wears of David Newman or this fi lm, the Stanley Kubrick 1⁄2 out its welcome at six minutes long). purchase is a no-brainer. —J.H. ALEX NORTH, BEETHOVEN, ETC. Hitman 2, utilizing a full orchestra, Silva Screen 1176 fares much better, though it’s still Rediscovering Lost Scores: 18 tracks - 75:44 hampered by the fact that none of Volume 1  efore reading any further, take the music is ever allowed to go in any WENDY CARLOS Bnote that this is essentially the particular direction. Jesper Kyd shows East Side Digital ESD81752 same album that Silva put out under his competence in establishing mood, 32 tracks - 58:26 the title Dr. Strangelove: Music From but unless you want to listen to a big endy Carlos, best known the Films of Stanley Kubrick. So if you orchestra that fades into the distance, Win fi lm circles for her have that you can pass on this one. this CD won’t hold your attention. groundbreaking music for A The Strauss introduction opens Like most videogame score Clockwork Orange, showcases the disc and actually works well. reviews, this one also contains a unreleased and discarded work for It’s recorded at a level that allows variation on the line: “the biggest The Shining on this new release on you to hear the opening bars thing that hampers the score is the East Side Digital label. without being blasted out of your that the music cannot underscore While some brief variations on seat. The closing organ also is in any particular action, because it is Purcell’s Music for the Funeral of tune (rare in recordings of the doomed to play in the background Queen Mary from Clockwork, and complete Zarathustra). The “Main and loop unobtrusively as you a suite of ethnic-fl avored themes Title” from Spartacus is absolutely fi gure out what takes you to the from director Dick Young’s 1970s vicious, with crazy horn licks in next level.” But I have to give credit UNICEF documentaries are featured, the opening bars. The orchestra where it’s due: The CD remained the highlight of this CD, fl awlessly does well with North’s love theme, in my car stereo for a long time mastered in HD 20-bit, is music despite intonation problems in because the main theme is fun from Stanley Kubrick’s adaptation of the high strings. Less forgivable to drive to at night. Buy this CD Stephen King’s The Shining. is the new version of the Handel only if you truly believe you are During post-production, “Sarabande” from Barry Lyndon. It’s Agent 47 and need to hear his Philharmonic) is strong, hinting at Kubrick opted (again) for a classical a markedly different orchestration background music constantly. greater things to come in his later soundtrack comprised largely of than Leonard Rosenman’s. Jocelyn —Luke Goljan DuckTales feature. Parks’ songs help source pieces by Gyorgy Ligeti and Pook’s “underscore” from Eyes Wide to progress the movie forward and Krzystof Pendericki. The album Shut (which I found annoying) is, The Brave Little Toaster (1987) are at times fun. “Cutting Edge” and was issued on LP during the fi lm’s thankfully, not included here; that  “Worthless” show the differences theatrical run. Only a few minutes of fi lm is represented by a Shostakovich DAVID NEWMAN between the newer, more high-tech Carlos’ music, namely the synthesized piece. Mark Ayres does a fairly good Percepto 016 • 27 tracks - 58:26 appliances, as opposed to the old riff on “Dies Irae,” were retained in reinterpretation of the electronic n 1987, a new animated feature outdated models who are heading the fi nished fi lm. pieces from A Clockwork Orange, Full Itold the story of fi ve humanized toward the eventual junk heap. “City The jettisoned music, comprised Metal Jacket and The Shining. appliances journeying in search of of Lights” begins the long journey of 22 tracks on this release (with Of greater interest are the Gerald their long-gone “master.” The fi lm into the unknown, and “It’s a ‘B’ more on the recently released Fried tracks for fi ve fi lms he scored itself went in search of a distributor, Movie” introduces the gang to new Volume Two), is certainly spooky and for Kubrick. The six selections make even after playing several festivals, characters in a manner akin to a evocative, in particular cues such as up about 25 minutes of playing time. including Sundance, the only Rocky Horror musical send-up. “Horror Show” and “Two Polymoog Too bad Silva didn’t do a Gerald Fried animated fi lm to be shown at the My only caution regarding this CD Improvisations.” But it’s hard not to album instead of just rehashing their event until Waking Life. The Brave is the fact that dialogue and sound disagree with Kubrick’s fi nal spotting 1999 release. —S.A.K. Little Toaster was fi nally distributed effects are mixed into a handful of choices; while the composer’s by Disney, and found its following on score cues. I frown upon this practice evocative Gothic soundscapes are The Best of Lone Wolf home video. It’s not surprising that heavily, as it has ruined some great well-crafted, they wouldn’t have and Cub  the soundtrack wasn’t released until soundtracks like Michael Kamen’s complemented the fi lm and its HIDEAKIRA SAKURAI February 2005. Percepto’s release Brazil. [Producer Taylor White protagonist’s Jack Torrance descent La-La Land 1017 • 25 tracks - 49:16 includes the complete orchestral score explained there was no choice: the into madness. hile Akira Kurosawa by David Newman and the songs by tracks with dialogue were the only Afi cionados of the fi lm and of Winfl uenced a generation of Van Dyke Parks. surviving recordings of that music.] Carlos will fi nd much to admire directors and fi lm students in the Newman’s oftentimes melancholy This fi rst ever CD release of The here, especially the cue “Clockworks 1960s and beyond, his visual style and score (performed by the New Japan Brave Little Toaster is nicely produced, (Bloody Elevators)” used in the storytelling ability brought Japanese

FILM SCORE MAGAZINE 50 NOVEMBER/DECEMBER 2005 SCORE SCORE

cinema out of the dark ages and gave respect run throughout the series as pictures—a sushi western if you will. it some nobility. His exploration of the hero learns about himself and The recording tends to be a little ancient Japan and the samurai culture his opponents. Each fi lm features odd in places, with unusual reverb, infl uenced countless westerns. These a different aspect of character especially in drumming sequences. It Samurai characters were important development as the hero follows his is otherwise a bit dry. to Japanese culture in the 1950s and quest for justice. The rest of the fi lms in the series 1960s as the country struggled to Sword of Vengeance (1972), the continue in the general idiom of the regain a sense of historical pride. As inaugural fi lm, has a “Main Title” fi rst, but most add new elements time passed, other interpretations that refl ects the fi lm’s early-’70s to the mix. Baby Cart at the River of strong, noble characters seeking production. A mixture of electronic Styx (1972) incorporates even out justice and struggling between sounds, including an electric guitar, more eclectic sounds, including an good and evil became popular when the fi lms receive a DVD release. coupled with ethnic drumming, electronically enhanced vocal line. fi lm experiences. These themes The “Baby Cart series” is a six-fi lm places it squarely in spaghetti-western Sakurai’s music predates some of the are coupled with gory violence series. The fi rst four were released territory. But the aesthetic here is medieval hero fi lms of the 1970s as and amazing battle/swordfi ghting over the course of 1972. The last still Japanese, both in melody and well as genre pictures like Conan and sequences. Oftentimes derived from two fi lms released separately over in the accompaniment that features Doc Savage, and it’s of a similar ilk. manga (graphic novel) sources, these the next two years. Tomisaburo lute and shakuhachi. The great Baby Cart in Peril (1972) features a samurai fi lms achieved cult status as Wakayama was cast as the hero up irony is that a Western composer rockier, edgier “Main Title” that’s still they made their way to the U.S. Akira against seemingly insurmountable operating in this way would be touted very ’70s, complete with an awesome is perhaps one of the more recent odds, who experiences a deep betrayal as “experimental.” Here Sakurai electric bass line. This score, more examples of this transition. It opened and spends the series seeking justice. is extending a cultural musical than the others, picks up on the the way for more Japanese animé to All of this is laid out in the opening approach that honors history while urban jazz sound (in “Besieging Army transcend the culture that created it. fi lm of the series, Sword of Vengeance. also updating the sound with modern of Ura Yagyu”) employed by Schifrin The style is defi nitely different from The subsequent fi lms pit him electronics. “The Bird and the Beast” in the Dirty Harry fi lms. Baby Cart popular Kung Fu fi lms of the time. and his toddler sidekick, Daigoro, is a fascinating track that combines in the Land of the Demons (1973) The Sword of Vengeance fi lms, against deadly female Ninjas, an evil a lyrical, almost western, line with mixes Barry-esque brass motives with referred to as the Lone Wolf and Cub chamberlain, a series of warriors and traditional Japanese instrumental Japanese percussion—think The Lion series, gained a cult following that a 5,000-man army. The themes of accompaniment. The “End Title” in Winter with taiko drumming. The will fi nally be rewarded this spring loyalty, trust, obedience, honor and is fi rmly in the classic line of genre fi nal fi lm in the series, White Heaven

FILM SCORE MAGAZINE 51 NOVEMBER/DECEMBER 2005 SCORE SCORE in Hell (1974), is represented on the a commercial success. —S.A.K. But in the end, this volume is not as disc by Kunihiko Murai’s “Main comprehensive as one might assume. Title,” which continues the funky Dear Frankie (2004)  The volume is as current as could sound that could fi t any western fi lm, ALEX HEFFES be expected. It’s organized with a or TV series of the time. The disc Silva Screen 1164 • 14 tracks - 38:30 primary section alphabetized by closes with the theme song sung by ear Frankie is the fi rst feature fi lm title. Each piece of music from the title character. Dfrom director Shona Auerbach, a fi lm is listed with the name of the The CD notes suggest further and has garnered her numerous fi lm music collection it’s included in, titles in the series to come, though awards and nominations. The fi lm along with publisher data. There are, at 49 minutes there was room for a was also an offi cial selection at the however, several omissions. I found at bit more on this one. At a time when 2004 fi lm festivals of Cannes, Los least two pieces that are in The John Asian cinema continues to fi nd a Angeles, Tribeca and Toronto. It Williams Anthology but are not listed market here in the states, and with the received a very limited release in the here under their fi lms, while other rerelease of further DVDs, this genre U.K. and here in the states. The story pieces from that same anthology are will likely fi nd an audience that will deals with a deaf boy and his mother, included. Also of note: “Single” sheet be drawn to its epic ideas and themes. who has hidden the truth about music is not included, so this is not an Recommended to those interested in his father from her son. The boy’s exhaustive list. something a little different. —S.A.K. mother not only tells him that his According to Wright’s father is away at sea, she writes letters introduction, many of the collections Diva! Lesley Garrett: A Soprano to him to perpetuate this falsehood. were chosen because they were at the Movies 1⁄2 Eventually, the truth needs to be listed as available in most libraries, VARIOUS revealed, and therein lies the tension dialogue overlays of Frankie or through interlibrary loan. That Silva 3012 • 12 tracks - 49:38 of this realistic and heartfelt drama. reading, over both score and pop makes many of the selections here his collection features soprano Alex Heffes wrote the superb score selections. These overlays do help a lot more recent though I did fi nd TLesley Garrett essaying a number for the true-life drama Touching the set the tone, and turn into reference one collection included that was of arias used in fi lms over the last Void (2003). That soundtrack was points for the disc. Among the pop published in 1977. I grabbed my 50 years or so. The music is all well- easily one of the fi nest of 2003 and numbers included are ones featuring well-worn copy of The American performed by the Philharmonia is still worth seeking out. This score Clarksville, Obi and Jesse Harris. Treasury of Popular Movie Songs Orchestra conducted by Andrew (9 tracks - 21:01) is a chance to see There’s also an excerpt from Arvo to see if any of the instrumental Greenwood. The sound features a how he handles a more intimate Part’s Spiegel im Spiegel. —S.A.K. pieces found their way into Wright’s warm orchestral accompaniment drama. The main title is a delicate collection. My copyright page was with a forward vocal miking. Garrett’s piano solo beautifully performed by BOOK REVIEW missing, but I bought this in the sound is crystal clear, with a lyrical Christopher Ross. The piano plays Film Music at the Piano: late 1970s or early ’80s. My guess is theatrical quality that avoids the an important part in several other An Index to Piano Arrangements of that it was overlooked because of enunciation problems that can plague tracks, adding poignancy where Instrumental Film and Television Music in the word “song” in the title. But by some of these arias. necessary. In tracks such as “Stamp Anthologies and Collections 1⁄2 doing that you miss piano versions Are there better performances Album,” we fi nd a combination H. STEPHEN WRIGHT of the themes for Marathon Man elsewhere? Yes and no. The point of an Elfmanian piano line with [189 pages, $39.95-hardcover, (not evidently in any other collection of this compilation is to primarily a little Thomas Newman thrown Scarecrow Press, Inc., 2003] researched for this volume), The demonstrate the range of the featured into the mix. The writing strikes ocating piano reductions of one’s Godfather Part II, Romeo and Juliet artists. Garrett’s pitch is dead-on at the heart of childlike simplicity, Lfavorite fi lm music can be an (Rota), Murder on the Orient Express, and the orchestra sounds like it is but with an emotional depth of exasperating process. Sheet music The Odd Couple TV theme, Mission enjoying itself. The repertoire all understanding. This means that the for individual themes is overpriced. Impossible, Mannix, Lipstick, and a comes from the late 19th to early 20th music at times has a darker, more And more often than not, the larger, few others, not to mention the only century and features familiar arias by melancholic sound. Heffes gets at consumer-friendly collections are piece I have ever seen from Barry’s Bizet, Canteloube, Catalani, Delibes, the reality of Frankie’s story in a way comprised mainly of pop songs or King Kong, the love theme/song, “Are Dvorak, Gounod, Offenbach, Puccini that’s apropos to the fi lm’s drama. yet another version of Star Wars, the You in There?” This makes it clear and Rossini. The exceptions are an There is no magic to convey, just the Raiders March, Out of Africa, the that Film Music at the Piano is only aria from Mozart’s Marriage of Figaro, existence of living with memory and “John Dunbar Theme” from Dances scratching the surface, but it is still a and adaptations of famous themes hope. The score communicates this With Wolves, etc. good starting point. for Carmen Jones and Kismet. excellently and when it gets a chance Still, it’s hard to believe anyone Wright has included two additional Fans of Ms. Garrett will not be to breathe in longer cues like “The would be able to tackle and index indices. One lists all the excerpt title disappointed by this recording. Kiss” and especially “The Final Letter,” the piles of sheet music, collections names, and the other is organized by Incidentally, Garrett is featured in the the payoff is worth the wait. This of music, etc. from nearly a century composer. Although a lot of work recording of Rachel Portman’s opera is excellent music making even if it of music publishing for fi lm. Even clearly went into this book, it needed The Little Prince and has released a perhaps aspires to nothing more than the thought that such a volume has a bit more cross checking. It is also variety of solo albums. This is the carrying us along with the childlike been put together by H. Stephen limited in nature even for the focus kind of recording that can be used to expectancy of young Frankie. Wright, a music librarian at Northern it intends to provide. Scarecrow’s license out various pieces and can be The album does feature some Illinois University, boggles the mind. website has 10 more pages listed than

FILM SCORE MAGAZINE 52 NOVEMBER/DECEMBER 2005 FILM SCORE MAGAZINE 53 NOVEMBER/DECEMBER 2005 SCORE SCORE

are actually in the book—most likely source of much frustration. challenging. Some of the specifi c points of interest a typo. Because it is intended more The newest edition of Finale: An featured music includes and helpful reminders. for libraries, the price is a bit steep for Easy Guide to Music Notation by “The Entertainer” by At the end of each the average piano music lover. If you Thomas E. Rudolph and Vincent Scott Joplin transcribed chapter are summaries are on good terms with your library, A. Leonard, Jr., could very well be for saxophone quartet, and review questions recommend it to them, or donate a the best independent guide on the an excerpt from to further ingrain the copy if you can. —S.A.K. market today for mastering Finale. Stravinsky’s Petrushka material. It’s comprehensive, elucidative, easily and “Blues for a Hiccup” This book offers Finale: An Easy Guide to Music accessible, and it appeals to both the by Vince Leonard, more than just aid for Notation (Second Edition) ★★★★ novice and advanced Finale user. which highlights usage the beginner. It also BY THOMAS E RUDOLPH AND The authors’ approach to learning of the JazzFont. The provides a plethora VINCENT A. LEONARD, JR. Finale centers around understanding corresponding Finale of insightful tips, © 2005 Berklee Press basic music notation, which is fi les for every piece notational strategies www.berkleepress.com essential to learning any notation used throughout the and charts for specifi c ne of the many obstacles facing program successfully. The book is book are available features that are far too Oan author attempting to write a divided into four major sections for download at diffi cult to memorize guide for Finale notation software is comprising a total of 16 chapters. Finalebook.com. By even for seasoned Finale coming up with a viable companion Each section utilizes a different-sized downloading these users. A few of these to an already supremely helpful score beginning with single-staff fi les you can trace the include the General user manual, which is included with parts (Section I) and progressing to steps of each lesson MIDI Percussion Note the purchase of the software. The large-ensemble scores (Section III). and perform the work yourself. The Assignment Chart, the Speedy only problem with the Finale User Each chapter is presented as a lesson, web site also offers an array of new Entry Keyboard Commands Chart, Manual is that ever since Finale ’97, which begins easy and becomes more templates and libraries for users to and my favorite, the JazzText Font it arrives in the form of digital PDF advanced throughout the book. download and use at their leisure. Bracket Characters Chart. This fi les and not as a bound tome. This is The key to the success of this Every page is fi lled with clearly chart alone is almost worth the adequate for referencing single points book is that each lesson employs a annotated charts, graphics and price of the book! By the authors’ of interest within the program, but if different piece of music to teach the screenshots for both the Mac and PC, own admission this book is not you want to hunker down and learn numerous features of the program. making this book compatible with meant to replace the Finale User Finale from scratch these fi les are not Like the lessons themselves, the either platform. Ubiquitous icons Manual but rather serve very accommodating and can be a music selections also become more peppered through the book highlight (continued on page 55)

FILM SCORE MAGAZINE 52 NOVEMBER/DECEMBER 2005 FILM SCORE MAGAZINE 53 NOVEMBER/DECEMBER 2005 We’re pleased to offer hard-to-find, fully licensed, definitive editions of some of the greatest soundtracks ever recorded in Hollywood! Order online, by phone or by mail: see contact info below. All CDs are $19.95 plus shipping & handling unless otherwise noted. FSMmarketplace Don’t miss these and other great “B-sides” that are part of the FSM Classics Collection.

w/DVD 2-CDs  Vol. 8, No.18  Vol. 8, No.17  Vol. 8, No.16  Vol. 8, No.15  Vol. 8, No.14 Music From The Getaway Invitation/ Coma/Westworld/The Lili Crossed Swords JERRY FIELDING A Life of Her Own Carey Treatment BRONISLAU KAPER MAURICE JARRE Film released: 1972 BRONISLAU KAPER JERRY GOLDSMITH/ Film released: 1953 Film released: 1978 Studio: Warner Bros Film released: 1978 FRED KARLIN/ROY BUDD Studio: M-G-M Studio: Canal+ Genre: Crime Drama Studio: M-G-M Films released: 1978/1973/1972 Genre: Romantic Fantasy Genre: Swashbuckler Silver Age Classics Genre: Women’s Pictures Studio: M-G-M Golden Age Classics Silver Age Classics CD released: November 2005 Silver Age Classics Genre: Sci-Fi/Thriller CD released: October 2005 CD released: August 2005 Stereo • 38:05 CD released: November 2005 Silver Age Classics Mono • 72:21 Stereo • 40:16 This original score was not con- Mono/Stereo • 76:07 CD released: October 2005 The indelible pop sensation This robust adventure from the tained in the motion picture. The Two films that employ the same Stereo • Disc One: 74:49 “Hi- Lili, Hi-Lo” is just the first of producers of the Musketeers CD includes a free bonus DVD great theme: Invitation (46:30) Disc Two: 72:04 many pleasures in this complete series features energetic music with a 30 min. documentary by is complete, including source Three scores from films written release of Kaper’s biggest hit. orchestrated by Christopher Nick Redman: Main Title 1M1: cues, and partially in stereo; Life and/or directed by Michael Rich ballet scoring, plus out- Palmer. This CD features the Jerry Fielding, Sam Peckinpah (29:19) presents the surviving Crichton, completely restored takes, alternates and a wealth same crowd-pleasing program Read the titles carefully: nearly one third of our CDs and The Getaway. $24.95 score elements. $19.95 and expanded! $24.95 of melody awaits. $19.95 as the original LP. $16.95 offer one or more bonus titles, at no extra charge!

 Vol. 8 No.13  Vol. 8, No.12  Vol. 8 No.11  Vol. 8, No.10  Vol. 8 No.9  Vol. 8 No. 8  Vol. 8, No.7 The Time Machine The Yakuza Lord Jim/ The Long Ships Knight Rider The Devil At 4 O’Clock/ King Kong Quentin Durward RUSSELL GARCIA DAVE GRUSIN BRONISALU KAPER/ STU PHILLIPS The Victors JOHN BARRY BRONISLAU KAPER Film released: 1960 Film released: 1975 DUSAN RADIC Series broadcast: 1982 GEORGE DUNING/ Film released: 1976 Conducted by Studio: M-G-M Studio: Warner Bros. Films released: 1965/1964 Studio: Universal SOL KAPLAN Studio: Paramount Films released: 1955 Genre: Science Fiction Genre: Crime Drama Studio: Columbia Genre: Adventure/Sci-Fi Films released: 1960/1961 Genre: Fantasy Studio: M-G-M • Genre: Golden Age Classics Silver Age Classics Genre: Drama/Adventure Silver Age Classics Studio: Columbia Silver Age Classics Adventure CD released: August 2005 CD released: May 2005 Golden Age Classics CD released: July 2005 Genre: Drama/WWII CD released: June 2005 Golden Age Classics Stereo • 52:54 Stereo • 55:17 CD released: August 2005 Stereo • 79:36 Golden Age Classics Stereo • 46:36 CD released: April 2005 George Pal’s classic fan- The first film in a fruitful collabo- Stereo 79:00 The popular TV score comes CD released: July 2005 The first legit release of Barry’s Stereo • 79:36 tasy benefits from an indelible ration between Grusin and direc- Lord Jim (42:50) is ranked with to CD for the first time, with its Stereo • 70:58 signature take on “Beauty and From the producer of Ivanhoe underscore, rich in melody and tor Sidney Pollack, The Yakuza Kaper’s Mutiny on the Bounty groundbreaking (for television) Our first titles from the Colpix the Beast” is a reissue of the and Knights of the Round Table excitement. This CD presents is a tough yet poetic action for sheer dramatic impact and blend of orchestra and synthe- catalog: Devil (31:05) is a strong, original LP tracks—but has been comes a lighthearted yet full- the complete soundtrack, thriller. The score is jazzy with a ethnic color; The Long Ships sizer. The main and end titles thematic masterpiece; Victors mastered from the original 1/4” bodied swashbucker full of the including alternates and extras, Japanese flavor, premiering on (36:01) is a thrilling, full-blooded have been newly mixed from (38:46) is an unconventional, lyri- tapes for the best-possible sound derring-do that fans enjoy the for the very first time! $19.95 CD in its entirety. $19.95 action score. $16.95 24-track masters. $19.95 cal treasure. $16.95 quality. $16.95 most. $19.95

2-CDs  Vol. 8 No.6  Vol. 8, No.5  Vol. 8 No.4  Vol. 8, No.3  Vol. 8 No.2  Vol. 8, No.1  Vol. 7, No. 20 Jericho/The Ghostbreaker Two Weeks in 633 Squadron/ Green Mansions Atlantis: The Lost The Thing From Another Kelly’s Heroes JERRY GOLDSMITH, ET Another Town Submarine X-1 BRONISLAU KAPER Continent/The Power World/Take the High LALO SCHIFRIN AL./JOHNNY WILLIAMS DAVID RAKSIN RON GOODWIN Special music by RUSSELL GARCIA/ Ground! Films released: 1970 Episodes premiered: 1966/1965 Film released: 1962 Films released: 1964/1969 Heitor Villa-Lobos MIKLÓS RÓZSA DIMTRI TIOMKIN Studio: M-G-M Studio: M-G-M • Genre: WWII Studio: M-G-M • Genre: Drama Studio: United Artists Films released: 1959 Films released: 1961/1968 Films released: 1951/1953 Genre: War/Comedy Action/Supernatural Golden Age Classics • CD Genre: WWII Action Studio: M-G-M Studio: M-G-M Studio: RKO/M-G-M Silver Age Classics Silver Age Classics • CD released: May 2005 Silver Age Classics Genre: Adventure/Fantasy Genre: Sci-Fi/Fantasy Genre: Science Fiction/Drama CD released: January 2005 released: May 2005 Stereo • 55:17 CD released: April 2005 Golden Age Classics Silver Age Classics Golden Age Classics Stereo • 79:02 Mono • 79:55 A companion to The Bad and the Stereo/Mono • Disc One: 46:36 CD released: April 2005 CD released: March 2005 CD released: March 2005 An expansive underscore (54:08, Suites from all 10 Jericho Beautiful, this score boasts gor- Disc Two: 51:05 Stereo • 79:36 Stereo • 76:04 Mono/Stereo • 78:42 mostly unavailable and partly scores (52:56), plus all ofThe geous new themes—complete, Expanded with a bonus suite A fascinating hybrid score, All of Atlantis (46:19 ) and all that Tiomkin’s bellicose Thing (26:50) unheard!), plus three songs and Ghostbreaker (26:50). $19.95 remixed and remastered. $19.95 (8:24) and a premiere (X-1). $24.95 including lots of extras. $19.95 remains of The Power. $19.95 is as terrifying as ever. $19.95 the original LP tracks. $19.95

TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-540-635-2575 • Fax 1-540-635-1154 • Online www.filmscoremonthly.com TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-540-635-2575 • Fax 1-540-635-1154 • Online www.filmscoremonthly.com 2-CDs 3-CDs 2-CDs  Vol. 7, No.19  Vol. 7, No. 18  Vol. 7, No.17  Vol. 7, No. 16  Vol. 7, No.15  Vol. 7, No. 14  Vol. 7, No.13 The Subterraneans Penelope/ Valley of the Kings/ Mutiny on the Bounty Saddle the Wind The Man From U.N.C.L.E. Vol. 3 I’ll Cry Tomorrow ANDRÉ PREVIN Bachelor In Paradise Men of the Fighting Lady BRONISLAU KAPER ELMER BERNSTEIN/ JERRY GOLDSMITH, ET AL. ALEX NORTH Films released: 1960 JOHNNY WILLIAMS/ MIKLÓS RÓZSA Film released: 1962 JEFF ALEXANDER Series Broadcast: 1964-68 Film released: 1955 Studio: M-G-M HENRY MANCINI Films released: 1954 Studio: M-G-M • Genre: Film released: 1958 Studio: M-G-M Studio: M-G-M Genre: Drama Films released: 1966/1961 Studio: M-G-M Historical Epic Studio: M-G-M Genre: Secret Agent Genre: Biography Golden Age Classics Studio: M-G-M • Genre: Comedy Genre: Adventure/War Drama Silver Age Classics • CD Genre: Western • Silver Age Classics Golden Age Classics CD released: January 2005 Silver Age Classics • CD Golden Age Classics released: November 2004 Golden Age Classics CD released: September 2004 CD released: October 2004 Stereo • 79:56 released: December 2004 CD released: Dec. 2004 Stereo • Disc One: 79:15 • Disc CD released: November 2004 Mono • Disc One: 77:21 Stereo • 75:53 One of the best jazz soundtracks Stereo • Disc One: 79:54 Stereo • 67:39 Two: 79:01 • Disc Three: 79:53 Mono • 75:53 Mono/Stereo Disc Two: 77:03 A jazz-infused score with a ever gets an expanded CD. Disc Two: 69:15 Includes Men (22:52), & trailer FSM’s 100th ClassicRelease— This tale was scored twice—get Includes The Girl From great main theme. all source $19.95 Both scores complete! $24.95 from King Solomon’s Mines. $19.95 nearly 4 hours in all! $34.95 both on one CD! $19.95 U.N.C.L.E. $24.95 cues and three vocals. $19.95

2-CDs  Vol. 7, No. 12  Vol. 7, No.11  Vol. 7, No. 10  Vol. 7, No. 9  Vol. 7, No. 8  Vol. 7, No.7  Vol. 7, No. 6 Ride the High Country/Mail Cimarron Born Free Julius Caesar Big Wednesday The Fastest Gun Alive/ The Shoes of the Order Bride FRANZ WAXMAN JOHN BARRY MIKLÓS RÓZSA BASIL POLEDOURIS House of Numbers Fisherman GEORGE BASSMAN Film released: 1960 Film released: 1966 Film released: 1953 Film released: 1978 ANDRÉ PREVIN ALEX NORTH Films released: 1962/1964 Studio: M-G-M Studio: Columbia Studio: M-G-M Studio: Warners Film released: 1956 Film released: 1968 Studio: M-G-M Genre: Western Epic Genre: Wildlife Adventure Genre: Shakespeare/Epic Genre: Surf Epic Studio: M-G-M Studio: M-G-M Genre: Western Golden Age Classics • CD Silver Age Classics Golden Age Classics CD Silver Age Classics Genre: Romantic Drama Genre: Political Thriller Silver Age Classics released: August 2004 CD released: July 2004 released: July 2004 CD released: June 2004 • Golden Age Classics • CD Silver Age Classics CD released: August 2004 Stereo • 79:37 Stereo • 39:55 Mono & Stereo • 68:05 Stereo • 78:29 released: June 2004 CD released: April 2004 Stereo • 76:54 The sumptuous score includes The original pop sensation has This premiere CD features the One of the great orchestral Mono • 76:10 Stereo • Disc One: 77:09 Two premieres: Ride 32:35) and the stirring title song, European been remastered and released complete powerful score, with a scores of the 1970s, available for Two potent scores penned for Disc Two: 74:50 Mail Order Bride (44:28). $19.95 folk song and more! $19.95 on CD for the first time!$16.95 wealth of extras. $19.95 the first time anywhere. $19.95 director Russel Rouse. $19.95 Complete score and more. $24.95

2-CDs  Vol. 7, No.5  Vol. 7, No. 4  Vol. 7, No.3  Vol. 7, No. 2  Vol. 7, No.1  Vol. 6, No. 21  Vol. 6, No. 20 The Swan Logan’s Run (TV Series) Diane Khartoum/ The Prisoner of Zenda Where Eagles Dare/ Moonfleet BRONISLAU KAPER LAURENCE ROSENTHAL, et al. MIKLÓS RÓZSA Mosquito Squadron ALFRED NEWMAN Operation Crossbow MIKLÓS RÓZSA Film released: 1956 Telecast: 1977 • Studio: M-G-M Film released: 1956 FRANK CORDELL Film released: 1952 RON GOODWIN Film released: 1955 Studio: M-G-M Genre: Science Fiction Studio: M-G-M Films released: 1965/1969 Studio: M-G-M Films released: 1968/1965 Studio: M-G-M Genre: Romantic Drama Silver Age Classics Genre: Historical Drama Studio: United Artists Genre: Swashbuckler Studio: M-G-M Genre: Swashbuckler Golden Age Classics • CD CD released: March 2004 Golden Age Classics • CD Genre: Epic/WWII Espionage Golden Age Classics Genre: WWII Espionage Golden Age Classics released: April 2004 Stereo • 79:55 released: March 2004 Silver Age Classics CD released: February 2004 Silver Age Classics CD released: January 2004 Stereo • 49:54 Suites from all scored episodes Stereo Disc One: 71:36 CD released: February 2004 Mono • 58:21 CD released: January 2004 Stereo • 77:11 The complete, original sound- by Rosenthal, Bruce Broughton, Stereo & Mono Disc Two: 77:43 Stereo • 78:55 A robust adaptation of Stereo • Disc One: 74:04 A moody tale with a richly track remixed from three-track Jerrold Immel (Dallas) and Jeff Plus cues from Plymouth Adventure Two military-themed scores Newman’s original score (by Disc Two: 78:37 melodic score and a lovely main masters plus LP cues. $19.95 Alexander. $19.95 (7:48) & Moonfleet (12:10). $24.95 from stereo LP masters. $19.95 Conrad Salinger). $19.95 Two entire film underscores. $24.95 theme—plus alternates. $19.95

2-CDs  Vol. 6, No. 19  Vol. 6, No. 18  Vol. 6, No. 17  Vol. 6, No. 16  Vol. 6, No. 15  Vol. 6, No. 14  Vol. 6, No. 13 McQ On Dangerous Ground The Man From U.N.C.L.E. The Brothers Karamazov Wild Rovers The Cobweb/ Hawkins on Murder/ ELMER BERNSTEIN BERNARD HERRMANN Vol. 2 BRONISLAU KAPER JERRY GOLDSMITH Edge of the City Winter Kill/Babe Film released: 1974 Film released: 1952 JERRY GOLDSMITH, et al. Film released: 1957 Film released: 1971 LEONARD ROSENMAN JERRY GOLDSMITH Studio: Warner Bros. Studio: RKO • Genre: Film Noir Series Broadcast: 1964-68 Studio: M-G-M Studio: M-G-M Films released: 1956, 1957 Films broadcast: 1973, ’74, ’75 Genre: Police Thriller Golden Age Classics Studio: M-G-M • Genre: Spies Genre: Literary Adaptation Genre: Western Studio: M-G-M • Genres: Drama Studio: M-G-M Silver Age Classics CD released: November 2003 Silver Age Classics Golden Age Classics Silver Age Classics Golden Age Classics Genres: Crime, Biography CD released: November 2003 Mono • 48:24 CD released: Oct. 2003 CD released: Oct. 2003 CD released: Sept. 2003 CD released: Sept. 2003 Silver Age Classics Stereo • 49:24 Herrmann’s only film noir runs Mono • Disc One: 77:54 Mono • 79:10 Stereo • 79:14 Stereo • 51:54 CD released: July 2003 Combines a traditional sympho- the gamut from furious chases Mono/Stereo Disc Two: 76:29 A rich and varied score for one A favorite score gets the defini- Two early scores by one of Stereo • 77:24 nis with ’70s funk for a unique, to heartfelt warmth.. Produced With music by Fried, Shores, of the greatest works in litera- tive treatment including film cinema’s most distictive voices, Three complete TV movie swaggering sound. $19.95 from acetate recordings. $19.95 Riddle and more. $24.95 ture. $19.95 tracks & LP recording. $19.95 from film and LP. $19.95 scores plus bonus tracks. $19.95

TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-540-635-2575 • Fax 1-540-635-1154 • Online www.filmscoremonthly.com TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-540-635-2575 • Fax 1-540-635-1154 • Online www.filmscoremonthly.com 2-CDs  Vol. 6, No. 12  Vol. 6, No. 11  Vol. 6, No. 10  Vol. 6, No. 9  Vol. 6, No. 8  Vol. 6, No. 7  Vol. 6, No. 6 Toys in the Attic The Appointment Our Mother’s House/ The Adventures of Soylent Green/ Knights of the Round Table/ All Fall Down/The Outrage GEORGE DUNING MICHEL LEGRAND, JOHN The 25th Hour Huckleberry Finn Demon Seed The King’s Thief ALEX NORTH Film released: 1962 BARRY & DON WALKER, GEORGES DELERUE JEROME MOROSS FRED MYROW/ MIKLÓS RÓZSA Film released: 1962/1964 Studio: United Artists STU PHILLIPS Films released: 1967 Film released: 1960 JERRY FIELDING Film released: 1953/1955 Studio: M-G-M Genre: Southern Family Drama Film released: 1969 Studio: M-G-M Studio: M-G-M Film released: 1973/77 Studio: M-G-M Genre: Drama/Western Golden Age Classics Studio: M-G-M Genre: Gothic/WWII Comedy Genre: Satirical Adventure Studio: M-G-M • Genre: Sci-Fi Genre: Costume Adventure Silver Age Classics CD released: July 2003 Genre: Drama Silver Age Classics Golden Age Classics Silver Age Classics Golden Age Classics CD released: Apr. 2003 Stereo • 70: 27 Silver Age Classics CD released: June 2003 CD released: June 2003 CD released: May 2003 CD released: May 2003 Stereo • 52:54 One of Duning’s greatest scores CD released: June 2003 Stereo • 58:49 Stereo and Mono • 59:58 Stereo • 79:49 Stereo • Disc One 70:31 Two complete scores: a hushed, is sensitive, rich and melancholy. Stereo • 77:06 Both delicate, melodic scores A giant of Americana writes a Two ’70s sci-fi scores on one Disc Two 78:21 sweet, family drama and a west- $19.95 Three scores on one CD. $16.95 are remastered in stereo. $19.95 bouncy, rich score.$19.95 disc. $19.95 Two complete OSTs. $24.95 ern remake of Rashomon. $19.95

 Vol. 6, No. 5  Vol. 6, No. 4  Vol. 6, No. 3  Vol. 6, No. 2  Vol. 6, No. 1  VOLUME 5, NO. 20  Vol. 5, No. 19 Green Fire/ THX 1138 Home From the Hill Ice Station Zebra Plymouth Adventure Never So Few/7 Women Tribute to a Bad Man Bhowani Junction LALO SCHIFRIN BRONISLAU KAPER MICHEL LEGRAND MIKLÓS RÓZSA HUGO FRIEDHOFER/ MIKLÓS RÓZSA MIKLÓS RÓZSA Film released: 1970 Film released: 1960 Film released: 1968 Film released: 1952 ELMER BERNSTEIN Film released: 1956 Film released: 1954/1956 Studio: Warner Bros, Studio: M-G-M Studio: M-G-M Studio: M-G-M Film released: 1959/1966 Studio: M-G-M Studio: M-G-M Genre: Science Fiction Genre: Drama Genre: Military/Espionage Genre: Historical Epic Studio: M-G-M Genre: Western Genre: Adventure/Drama Silver Age Classics Golden Age Classics Silver Age Classics Golden Age Classics Genre: WWII/Drama Golden Age Classics Golden Age Classics CD released: Mar 2003 CD released: Mar. 2003 CD released: Feb. 2003 CD released: Feb. 2003 Silver Age Classics CD released: Jan .2003 CD released: Apr. 2003 Stereo • 55:45 Stereo/Mono • 79:26 Stereo • 79:20 Mono • 79:35 CD released: Jan. 2003 Stereo • 50:30 Stereo/Mono • 79:20 Includes many unused pas- All of the music from the film is Offbeat, epic scoring for orches- Rózsa’s magnificent historical Stereo • 73:46 Rózsa’s rare western is sweep- A symphonic score coupled with sages from an avant garde present, plus bonus tracks and tra, with over twice the music on music for the voyage of the Two Asian-flavored classics on ing, full of melody, and flecked “world-music”cues. $19.95 masterpiece. $19.95 alternates. $19.95 the original LP—in stereo. $19.95 Mayflower. $19.95 one disc. $19.95 with brooding melancholy. $19.95

2-CDs  Vol. 5, No. 18  Vol. 5, No. 17  Vol. 5, No. 16  Vol. 5, No. 15  Vol. 5, No. 14  Vol. 5, No 13  Vol. 5, No. 12 The Man From U.N.C.L.E. The Seventh Sin The Prize The World, the Flesh The Green Berets Scaramouche The Gypsy Moths Vol. 1 MIKLÓS RÓZSA JERRY GOLDSMITH and the Devil MIKLÓS RÓZSA VICTOR YOUNG ELMER BERNSTEIN JERRY GOLDSMITH, et al Film released: 1958 Film released: 1963 MIKLÓS RÓZSA Film released: 1968 Film released: 1952 Film released: 1969 Series Broadcast: 1964-68 Studio: M-G-M Studio: M-G-M Film released: 1959 Studio: Warner Bros. Studio: M-G-M Studio: M-G-M Studio: M-G-M Genre: Drama Genre: Espionage Studio: M-G-M Genre: War/Adventure Genre: Costume Adventure Genre: Drama Genre: Secret Agent Golden Age Classics Silver Age Classics Genre: Science Fiction Silver Age Classics Golden Age Classics Silver Age Classics Silver Age Classics CD released: Dec. 2002 CD released: Nov. 2002 Golden Age Classics CD released: Sept. 2002 CD released: Sept. 2002 CD released: Aug. 2002 CD released: Dec. 2002 Mono • 59:26 Stereo • 72:37 CD released: Nov. 2002 Stereo • 72:37 Mono • 62:28 Stereo • 61:08 Mono • Disc One: 77:05 This reworking of The Painted An early Jerry Goldsmith action- Stereo • 52:53 A stirring symphonic score, The last of the Golden-Age A sweeping Americana score Mono/Stereo Disc Two: 76:08 Veil combines film noir, exotic suspense gem for a Hitchcock- A rare Rózsa’s sci-fi score set in (plus “The Ballad of the Green swashbucklers with alternate, plus nightclub and marching Seven composers! $24.95 and epic film scoring. $19.95 styled thriller.. $19.95 post-apocalyptic NYC. $19.95 Berets”). $19.95 unused and source cues. $19.95 band source cues. $19.95

 Vol. 5, No 11  Vol. 5, No. 10  Vol. 5, No 9  Vol. 5, No. 8  Vol. 5, No 7  Vol. 5, No. 6  Vol. 5, No 5 Above and Beyond I Spy The Prodigal Point Blank/The Outfit On the Beach/ The Traveling Executioner 36 Hours HUGO FRIEDHOFER EARLE HAGEN BRONISLAU KAPER JOHNNY MANDEL/ The Secret of Santa Vittoria JERRY GOLDSMITH DIMITRI TIOMKIN Film released: 1952 TV Produced: 1965-67 Film released: 1955 JERRY FIELDING ERNEST GOLD Film released: 1970 Film released: 1964 Studio: M-G-M Network: NBC Studio: M-G-M Film released: 1967, 1973 Film released: 1959, 1969 Studio: M-G-M Studio: M-G-M • Genre: Genre: WWII Genre: Secret Agent Genre: Biblical Epic Studio: M-G-M Studio: United Artists Genre: Black Comedy WWII/Spy Golden Age Classics Silver Age Classics Golden Age Classics Genre: Film Noir Genre: Drama, Comedy Silver Age Classics Golden Age Classics CD released: Aug. 2002 CD released: July 2002 CD released: July 2002 Silver Age Classics Golden Age Classics CD released: May 2002 CD released: May 2002 Mono • 55:44 Stereo/Mono • 77:57 Stereo • 75:11 CD released: June 2002 CD released: June 2002 Stereo • 39:39 Stereo • 66:41 This stirring, progressive score, Five episode scores for ground- Epic features choruses, solos, Stereo • 77:54 Stereo • 70:59 This score touches all the bases, A taut, piano-dominated score includes one of Friedhofer’s breaking series—all OST, not LP source cues and thundering Two tough films based on D.E. Two LP scores reissued on one from bluegrass to avant-garde with an accent on stealth—and greatest main titles. $19.95 recordings. $19.95 symphonic glory. $19.95 Westlake’s crime novels. $19.95 CD, with one bonus cue. $19.95 to full-scale action. $19.95 double the length of the LP. $19.95

TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-540-635-2575 • Fax 1-540-635-1154 • Online www.filmscoremonthly.com TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-540-635-2575 • Fax 1-540-635-1154 • Online www.filmscoremonthly.com  Vol. 5, No 4  Vol. 5, No. 3  Vol. 5, No 2  Vol. 5, No. 1 n VOLUME 4, No. 20  Vol. 4, No. 19  Vol. 4, No. 18 The Man Who Loved Cat Joy in the Morning Logan’s Run Lust for Life Farewell, My Lovely/ Demetrius and the Broken Lance Dancing BERNARD HERRMANN JERRY GOLDSMITH MIKLÓS RÓZSA Monkey Shines Gladiators LEIGH HARLINE JOHN WILLIAMS Film released: 1965 Film released: 1976 Film released: 1956 DAVID SHIRE FRANZ WAXMAN Film released: 1954 MICHEL LEGRAND Studio: M-G-M / Studio: M-G-M / Genre: Sci-Fi Studio: M-G-M Film released: 1975/88 Film released: 1954 Studio: 20th Century Fox Film released: 1973 Genre: Romance Silver Age Classics Genre: Biography Studio: M-G-M Studio: 20th Century Fox Genre: Western Studio: M-G-M Golden Age Classics CD released: Feb. 2002 Golden Age Classics Genre: Film Noir/Suspense Genre: Biblical Epic Golden Age Classics Genre: Western CD released: Mar. 2002 Stereo • 74:18 CD released: Feb. 2002 Silver Age Classics Golden Age Classics CD released: Dec. 2001 Silver Age Classics Stereo • 46:33 This classic story of a dystopian Stereo • 61:51 CD released: Jan. 2002 CD released: Jan. 2002 Stereo • 38:41 CD released: Mar. 2002 The complete score: romantic, future gets the royal treatment A favorite score of the compos- Stereo • 73:48 Stereo • 61:51 Disney’s workhorse composer Stereo • 65:37 surging with passion and haunt- in this restored, remixed, rese- er, remixed, with bonus alternate Jazzy Noir & rhythmic thrills. $19.95 Spectacular Biblical epic. $19.95 from the ‘30s goes West. $19.95 A rare two for one! $19.95 ing in its use of melody. $19.95 quenced release! $19.95 cues and more. $19.95

 Vol. 4, No. 17  Vol. 4, No. 16  Vol. 4, No. 15  Vol. 4, No. 14  Vol. 4, No. 13  Vol. 4, No. 12  Vol. 4, No. 11 John Goldfarb, The World of Henry Orient The View From Pompey’s The Illustrated Man The Bravados Morituri/Raid on Entebbe The Best of Everything Please Come Home! ELMER BERNSTEIN Head/ Blue Denim JERRY GOLDSMITH ALFRED NEWMAN & JERRY GOLDSMITH/ ALFRED NEWMAN JOHNNY WILLIAMS Piano Concerto by K. Lauber ELMER BERNSTEIN/ Film released: 1969 HUGO FRIEDHOFER DAVID SHIRE Song by Newman & Film released: 1965 Film released: 1964 BERNARD HERRMANN Studio: Warner Bros. Film released: 1958 Films released: 1965/77 Sammy Cahn. Studio: 20th Century Fox Studio: United Artists Films released: 1955/1959 Genre: Sci-fi/Anthology Studio: 20th Century Fox Studio: 20th Century Fox Film released: 1959 Genre: Comedy Genre: Comedy/Drama Studio: 20th Century Fox Silver Age Classics Genre: Western Genre: WWII/Docudrama,TV Studio: 20th Century Fox Silver Age Classics Silver Age Classics Genre: Drama CD released: Sept. 2001 Golden Age Classics Silver Age Classics Genre: Drama/Romance CD released: Dec. 2001 CD released: Nov. 2001 Golden Age Stereo • 42:02 CD released: Sept. 2001 CD released: Aug. 2001 Golden Age Classics Stereo • 71:32 Stereo • 40:32 CD released: Nov. 2001 One of Jerry Goldsmith’s most Stereo (w/ some mono) • 69:34 Stereo (Morituri)/ CD released: Aug. 2001 Wacky Arab go-go music! $19.95 Bernstein’s “second-best” score Stereo • 75:15 haunting sci-fi creations. $19.95 Two scoring legends collaborate Mono (Entebbe) • 57:50 Stereo • 71:14 for children, sounds great! $19.95 Two films by Philip Dunne. $19.95 for a rich western score. $19.95 Suspense! Action! Exotica! $19.95 Newman’s last Fox score. $19.95

 Vol. 4, No. 10  Vol. 4, No. 9  Vol. 4, No. 8  Vol. 4, No. 7  Vol. 4, No. 6  Vol. 4, No. 5  Vol. 4, No. 4 Voyage to the Bottom Between Heaven and Hell/ Room 222/Ace Eli and A Man Called Peter The French Connection/ The Egyptian Untamed of the Sea Soldier of Fortune Rodger of the Skies ALFRED NEWMAN French Connection II ALFRED NEWMAN & FRANZ WAXMAN PAUL SAWTELL HUGO FRIEDHOFER JERRY GOLDSMITH Film released: 1955 DON ELLIS BERNARD HERRMANN Film released: 1955 & BERT SHEFTER Films released: 1956/55 Films released: 1969/73 Studio: 20th Century Fox Films released: 1971/75 Film released: 1954 Studio: 20th Century Fox Song by Russell Faith, Studio: 20th Century Fox Studio: 20th Century Fox Genre: Religious/ Biography Studio: 20th Century Fox Studio: 20th Century Fox Genre: Historical Adventure Film released: 1961 Genre: WWII/Adventure Genre: Sitcom / Americana Golden Age Classics Genre: Police Thriller Genre: Historical Epic Golden Age Classics Studio: 20th Century Fox Golden Age Classics Silver Age Classics CD released: June 2001 Silver Age Classics Golden Age Classics CD released: April 2001 Genre: Sci-fi/Irwin Allen CD released: July 2001 CD released: June 2001 Stereo • 58:14 CD released: May 2001 CD released: May 2001 Stereo • 65:43 Silver Age Classics Stereo • 73:00 Mono (Room 222)/Stereo & Biopic receives rich, reverent, Stereo & Mono (I)/ Stereo • 72:06 A thrilling adventure score in CD released: July 2001 A moody war thriller, and an Mono (Ace Eli) • 71:37 melodic score; complete. Stereo (II) • 75:01 The original stereo tracks first-rate sound. $19.95 Stereo • 55:55 $19.95 exotic, melodic jewel. $19.95 Two light and lyrical scores. $19.95 including source music. $19.95 Two classic cop thrillers. $19.95 resurrected! $19.95

 Vol. 4, No. 2  Vol. 4, No. 1  VOLUME 3, No. 10  Vol. 3, No. 9  Vol. 3, No. 8  Vol. 3, No. 7  Vol. 3, No. 6 How to Marry a Millionaire Conquest of.../Battle for Beneath the 12-Mile Reef The Stripper/Nick Quarry From the Terrace Batman The Undefeated/ Hombre ALFRED NEWMAN & the Planet of the Apes BERNARD HERRMANN JERRY GOLDSMITH ELMER BERNSTEIN NELSON RIDDLE HUGO MONTENEGRO/ CYRIL MOCKRIDGE TOM SCOTT/LEONARD Film released: 1953 Film released: 1963/68 Film released: 1960 Theme by Neal Hefti DAVID ROSE Film released: 1953 ROSENMAN/LALO SCHIFRIN Studio: 20th Century Fox Studio: 20th Century Fox Studio: 20th Century Fox Film released: 1966 Films released: 1969/67 Studio: 20th Century Fox Film released: 1972/73 Genre: Adventure Genre: Drama /Action,TV Genre: Drama Studio: 20th Century Fox Studio: 20th Century Fox Genre: Comedy/ Romance Studio: 20th Century Fox Golden Age Classics Silver Age Classics Golden Age Classics Genre: Adventure/Camp Genre: Western Golden Age Classics Genre: Sci-fi/Fantasy CD released: Feb. 2001 CD released: Jan. 2001 CD released: Dec. 2000 Silver Age Classics Silver Age Classics CD released: Mar. 2001 Silver Age Classics Stereo • 55:06 Stereo (Stripper)/ Stereo • 71:27 CD released: Nov. 2000 CD released: Sept. 2000 Stereo • 70:03 CD released: Feb. 2001 Premiere release of original Mono (Quarry) 73:35 Soaper features tuneful, roman- Mono • 65:23 Stereo • 72:33 Period songs adapted as Stereo & Mono (Conquest)/ stereo tracks, albeit with minor Early Goldsmith feature w/bonus tic score; Rich Americana, sen- Holy Bat-tracks! 1966 feature A Western two-fer: one brash, instrumental underscore. $19.95 Stereo (Battle) • 74:44 $19.95 deterioration. $19.95 tracks)— plus a TV rarity. $19.95 sitive romantic themes. $19.95 expands TV themes. $19.95 one quiet—both gems. $19.95

TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-540-635-2575 • Fax 1-540-635-1154 • Online www.filmscoremonthly.com TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-540-635-2575 • Fax 1-540-635-1154 • Online www.filmscoremonthly.com  Vol. 3, No. 5  Vol. 3, No. 4  Vol. 3, No. 3  VOLUME 2, No. 9  Vol. 2, No. 8  Vol. 2, No. 7  Vol. 2, No. 6 A Guide for the Tora! Tora! Tora! Beneath the Planet The Flim-Flam Man/ Rio Conchos All About Eve/ The Comancheros Married Man JERRY GOLDSMITH of the Apes A Girl Named Sooner JERRY GOLDSMITH Leave Her to Heaven ELMER BERNSTEIN JOHNNY WILLIAMS Film released: 1970 LEONARD ROSENMAN JERRY GOLDSMITH Film released: 1964 ALFRED NEWMAN Film released: 1961 Title Song Perf. by The Turtles Studio: 20th Century Fox Film released: 1970 Films released: 1967/1975 Studio: 20th Century Fox Film released: 1950/45 Studio: 20th Century Fox Film released: 1967 Genre: WWII Studio: 20th Century Fox Studio: 20th Century Fox Genre: Western Studio: 20th Century Fox Genre: John Wayne/Western Studio: 20th Century Fox Silver Age Classics Genre: Sci-fi/Fantasy Genre: Drama/Americana Silver Age Classics Genre: Drama Silver Age Classics Genre: Comedy CD released: May 2000 Silver Age Classics Silver Age Classics CD released: Dec.1999 Golden Age Classics CD released: Sept.1999 Silver Age Classics Stereo • 54:45 CD released: Apr. 2000 CD released: Jan. 2000 Mono/Stereo (combo) • 75:28 CD released: Nov. 1999 Stereo • 47:44 CD released: July 2000 Score balances aggressive Stereo • 72:37 Stereo (Flim-Flam)/ Presented complete (55:43) in Mono (2 trks. in stereo) • 44:19 Elmer Bernstein’s first score Stereo • 73:10 action with avant-garde Complete film score plus LP re- Mono (Sooner) • 65:20 mono, with some cues repeated Eve is a true classic: Heaven is for John Wayne is a western “Johnny”’s best comedy! $19.95 effects. $19.95 recording and FX tracks. $19.95 An Americana duo. $19.95 in stereo. $19.95 brooding film noir. $19.95 gem. $19.95

 Vol. 2, No. 5  Vol. 2, No. 4  Vol. 2, No. 3  Vol. 2, No. 2  Vol. 2, No. 1  VOLUME 1, No. 4  Vol. 1, No. 3 Prince of Foxes Monte Walsh Prince Valiant Patton/ 100 Rifles The Return of Dracula/ Fantastic Voyage ALFRED NEWMAN JOHN BARRY FRANZ WAXMAN The Flight of the Phoenix JERRY GOLDSMITH I Bury the Living/ LEONARD ROSENMAN Film released: 1949 Film released: 1970 Film released: 1954 JERRY GOLDSMITH/ Film released: 1969 The Cabinet of Caligari/ Film released: 1966 Studio: 20th Century Fox Studio: CBS Studio: 20th Century Fox FRANK DE VOL Studio: 20th Century Fox Mark of the Vampire Studio: 20th Century Fox Genre: Historical Adventure Genre: Western Genre: Historical Adventure Film released: 1970/65 Genre: Western GERALD FRIED Genre: Sci-fi Golden Age Classics Silver Age Classics Golden Age Classics Studio: 20th Century Fox Silver Age Classics Films released: 1958/58/62/57 Silver Age Classics CD released: July 1999 CD released: June 1999 CD released: May 1999 Genre: WWII/ Adventure CD released: Mar. 1999 Studio: UA/ 20th Century Fox CD released: Sept. 1998 Stereo • 46:39 Mono (1 track. in stereo) 61:51 Stereo • 62:17 Silver Age Classics Stereo/Mono (combo) • 77:08 Genre: Horror • Silver Age Stereo • 47:28 “Lost” historical adventure gets Revisionist western gets vintage Colorful 1954 adaptation of the CD released: April 1999 Full of Mexican colors and gut- CD released: Jan. 1999 • Mono Sci-fi classic gets imaginative, exciting, robust score, mixed in Barry score 20 years before epic comic strip features stirring Stereo • 76:24 tural action. CD presents two Disc One: 61:06 Disc Two: 73:20 avant garde score; a signature stereo. $19.95 Dances With Wolves. $19.95 score a là Star Wars. $19.95 Two OSTs on one CD. $19.95 versions of score. $19.95 2-CDs of creepy music. $29.95 work. $19.95 Order Everything from Screen Archives Entertainment

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 Vol. 1, No. 1  FSM-80125-2  FSM-80124-2  FSM-80123-2 MAILING ADDRESS: Stagecoach/The Loner Mad Monster Party Deadfall The Taking of Pelham 1-2-3 SCREEN ARCHIVES ENTERTAINMENT JERRY GOLDSMITH MAURY LAWS JOHN BARRY DAVID SHIRE Film released: 1966/1965 Film released: 1998 Film released: 1968 Film released: 1974 P.O. Box 550, Linden, VA 22642-0550 Studio: 20th Century Fox Studio: Rankin/Bass Studio: 20th Century-Fox Studio: M-G-M FOR PHONE OR FAX ORDERS, CALL Genre: Western (film/TV) Genre: Animagic Genre: Heist caper Genre: Thriller Silver Age Classics Percepto/Retrograde Records Retrograde Records Retrograde Records PH: 1-888-345-6335 FAX: (540) 635-1154 CD released: May 1998 CD released: 1997 CD released: 1997 CD released: 1996 (Call Monday-Thursday, 10:30 am to 5:00 pm e.s.t., Stereo (Stagecoach)/ Stereo 36:48 Stereo 40:23 Stereo & Mono • 30:55 Friday 10:30am to 2pm e.s.t.) Mono (Loner) • 45:25 30th Anniversary edition score Vintage underscore, Concerto Crazy, funky, thrilling ’70s action Film score plus TV theme and features vocals by Boris Karloff for Guitar and Orchestra, and score—a one of a kind must QUESTIONS ABOUT SOUNDTRACKS OR ORDERS, two episode scores. $19.95 & Phyllis Diller. $16.95 multiple vocal tracks. $16.95 have! $16.95 E-MAIL:[email protected] or [email protected]

SHIPPING RATES: USA and CANADA: $3.50 for first CD and .50 for each additional CD (be sure to add .50 postage for each cd in multiple cd sets). ALL OTHER COUNTRIES: orders are sent air mail; add $7.00 for first disc and $1.75 for each disc thereafter (be sure to add $1.75 postage for each cd in multiple cd sets). The Music of Star Trek: DOMESTIC ORDERS are sent First Class mail unless UPS is requested (for The Score: Interviews U.S. Soundtracks on CD: Basil Poledouris: His Life Profiles in Style by Jeff Bond with Film Composers Scores for Motion Pictures and and Music (VIDEO) UPS add an additional $4.00 to the postage rate). Alaska and Hawaii are Encompasses Trek scores from by Michael Schelle TV 1985-1999 Visit with the composer of excluded from UPS shipping. 1966-2000. With interviews Q&As with Barry, Bernstein, Price Guide by Robert L. Smith Conan the Barbarian, Big of composers Goldsmith, INTERNATIONAL ORDERS are sent air mail. Blanchard, Broughton, Chihara, 2,400+ album titles with stats, Wednesday and Lonesome Courage, Steiner, Fried, Jones, Corigliano, Howard, Isham, collectibilty data and estimated Dove. The 50 minute video For an additional $8.00, you can opt for registered delivery. McCarthy, and others; a guide Licht, McNeely, T. Newman, values—annotated to includes footage of Basil con- to score tracking; manuscript OUT-OF-STOCK ITEMS will be back-ordered. Due to occasional supply Shaiman, Shore, Walker and differentiate originals, reissues, ducting and at work on Starship excerpts; and more. Lone Eagle uncertainties, payment for out-of-stock items will be credited to your C. Young. commercial albums and Troopers, as well as scenes Publishing. 224 pages, softcover, Silman-James Press, promos. Vineyard Haven LLC, of home and family. A unique account or refunded at your request. Please allow 4-6 weeks for delivery. illustrated. $17.95 432 pp., softcover. $19.95 154 pp., softcover. $17.95 musical portrait. Specify NTSC (U.S.) or PAL (European) $19.95

TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-540-635-2575 • Fax 1-540-635-1154 • Online www.filmscoremonthly.com Pocket Reviews Pocket Reviews What is It? Why to Buy What is It? Why to Buy

Film Noir 1⁄2 VARIOUS • Milan M2-36119 • 19 tracks - 71:58 YOU CAN ALMOST FEEL THE MURKY FOG BETWEEN EACH THE TAGLINE FOR THIS COMPILATION CD IS “MUSIC TO cue. From the jazzy to the haunting, the CD fl ows as if telling Accompany Your Sleepless Nights,” and that’s as good a its own fi lm noir story. John Morris’ cut from The Elephant description as any for the scores represented here. Yes, there Man is surprisingly sweet; Howard Shore’s cut from Crash are the usual suspects, pun intended, from John Ottman’s The is electronically dissonant and creepy; and Joe Hisaishi’s Usual Suspects to Bernard Herrmann’s The Wrong Man. But “Ballade” from Brother is almost romantic. Good fi lm noir there are also odd choices where the music may be noir-like, directors can start with any genre and twist it into their but the movies the pieces are pulled from are decidedly not— vision. That’s what makes Film Noir so indescribable and yet plus tracks that weren’t written for movies at all. totally, recognizable. Like irony. —C.W.

Lalo Schifrin: Most Wanted 1968-1979  LALO SCHIFRIN Universal Jazz Germany 00440 0692072 • 16 tracks - 53:18

FROM THE PRODUCERS OF THE MAD, MAD WORLD OF OTHER TRACKS INCLUDE POP COVERS OF DIRTY HARRY, Soundtracks and pop-based compilations of ’60s and ’70s the record versions of TV themes Medical Center and fi lm themes comes this smoking tribute to Lalo Schifrin. The Most Wanted (a little-known, 1976 theme that is fantastic), 16-track program has been compiled from vintage concept and Schifrin’s funked-up take on Williams’ “Theme From albums (including four from the 1968 There’s a Whole Lalo Jaws.” Not every track is from a fi lm per se, but all the Schifrin Goin’ On), OST fi lm themes (Rollercoaster, Enter the selections carry Schifrin’s unique jazz-orchestra-avant garde Dragon, the disco version of The Amityville Horror), and rare fusion sound from what many consider to be his most singles—the greatest excavations being “Ape Shuffl e” and its infl uential period. With selections culled from the holdings fl ipside “Escape From Tomorrow,” a 45rpm on Fox Records of Universal, Sony, Warner Bros. and others, the label has re-recorded from Schifrin’s Planet of the Apes TV music. clearly gone to a lot of trouble—and provided detailed liner “Ape Shuffl e” features ape noises—it’s a classic. notes for each track. —L.K.

The Illusionary Movements of Geraldine and Nazu  J. RALPH FAR FROM BEING SIMPLE JINGLES, MANY OF THE PIECES Rumor Mill RMR 010-80042 • 9 tracks - 41:06 are weird, but often pretty, amalgams of musical styles and fi gures. In “Mi Ricordo,” for example, two opera singers THE RUMOR MILL IS AN IMMENSELY SUCCESSFUL TV serenade one another over a hip-hop backbeat; and in the advertising collective in New York City. The group was appealing “Thrift Shop Warrior,” a woman’s voice soars founded in 2001 by the self-trained Joshua Ralph, after an above an arrangement of symphonic strings and spun-sugar ad for Volkswagen made use of his song called “One Million synths, creating a sound that simultaneously evokes Enya Miles Away.” Newly released and exclusively distributed and Angelo Badalamenti. Performed by a 56-piece orchestra, through the Barnes & Noble bookstore chain, The Illusionary the tracks titled “Untitled 17” and “M (Instrumental),” on the Movements of Geraldine and Nazu presents several “full- other hand, exhibit less eccentricity, perhaps the infl uence length” treatments of compositions which Ralph, who now of Carter Burwell, who receives credit for their arrangement calls himself “J. Ralph,” has written for his clients. and orchestration. —Stephen B. Armstrong

Orient Express (1979)  ENNIO MORRICONE GDM 2051 • 19 tracks - 50:27 THERE ARE SOME PARTICULARLY INTERESTING DIXIE- land interpretations, along with an ’80s-style track with ORIENT EXPRESS WAS A SIX-PART MINISERIES INVOLVING wordless voice, by Edda Dell’Orso, and a Fender Rhodes several love stories taking place between 1914 and 1939. electronic piano with a soft ballad feel. The score’s tension Ennio Morricone’s score features moments of lyrical elements are close cousins of those in The Untouchables orchestral writing along with sublime solo fl ute and piano, and State of Grace. We also get a dose of the experimental bearing resemblance in shape to Cinema Paradiso and Morricone sound, fi lled with screeching clarinets. This music Love Affair. It’s also similar, both in melodic approach and is recommended even to those who are not simply collecting orchestration, to the more recent The Legend of 1900. Orient every Morricone score. The main theme is one of his more Express’ primary theme is the song “Che Senso Ha,”which gorgeous tunes. Once again, GDM does little or nothing to appears in wildly varied arrangements throughout the album. spice up this release. —S.A.K.

FILM SCORE MAGAZINE 54 NOVEMBER/DECEMBER 2005 Pocket Reviews Pocket Reviews What is It? Why to Buy What is It? Why to Buy

Happy Endings  VARIOUS • Commotion CR010 • 8 tracks - 28:58 THE SONGS ARE ACTUALLY CONNECTED TO THE STORY. HAPPY ENDINGS, DIRECTED BY DON ROOS, WAS THE Maggie Gyllenhaal plays a torch singer and makes her opening fi lm at Sundance this year, where it received good recording debut here with three songs, including Billy Joel’s buzz. Commotion has released this disc of eight songs “Just the Way You Are,” which closes the album. The disc is featured in the fi lm. Performances by Calexico), Black Heart mostly a marketing ploy for the fi lm and isn’t recommended Procession (a cross between Elfman and Morricone) and unless you need a sampler disc of these indie artists. The Greyboy (an electronica group) are on parade. meager playing time is also not a selling feature. —S.A.K.

Wonderful Town 1⁄2 LEONARD BERNSTEIN, BETTY COMDEN AND ADOLPH GREEN • DRG 94776 • 20 tracks - 69:43 THE ORIGINAL REVIVAL CAST OF THE SHOW, WHICH concerns two Midwestern sisters trying to make a living and ALTHOUGH MOST PROLIFIC IN SYMPHONIES AND OTHER fi nd love in New York, was recorded with Donna Murphy. classical forms, Leonard Bernstein dabbled in fi lm music and When Shields got rave reviews, she and her co-star Jennifer Broadway. His trilogy of musicals was a love letter to New Hope Wills went into the studio and recorded their vocals to York. His fi rst was the joyous sailors-on-leaveOn the Town, replace those by Murphy and Jennifer Westfeldt. The rest and his last was the seminal West Side Story. Both became of the recording remained the same. While Shields has the memorable movie musicals. The middle work, Wonderful comic chops, I have to admit I enjoyed Murphy’s vocally Town, written with Betty Comden and Adolph Green, was adept version better, but you can’t go wrong with either. never fi lmed, but for an abridged TV version with original The songs include such delightful standards as “Ohio” (as Broadway star Rosalind Russell. The recent Broadway revival in “Why oh why oh why oh. Why did we ever leave Ohio?”) starred the wonderful Donna Murphy (whenever she decided and “A Little Bit in Love,” so whichever version you buy, the to show up), until she was replaced by Brooke Shields. songs are the real stars of the show. —C.W.

Forty Shades of Blue  VARIOUS • MarLess DOT 0214 • 13 tracks - 46:03 THE UNDERSCORE IS BASIC AND ENGAGING, BUT IDEAS ANOTHER SUNDANCE FILM, AND WINNER OF THE GRAND are brief. The lengthiest track, “The Proposal,” has a plaintive Jury Prize for Best Dramatic Feature, Forty Shades of Blue is sadness. The score was not intended to link the disparate set in the world of Memphis music and stars Rip Torn. This material that surrounds it,rather to provide emotional punch album features a collection of songs illustrating the variety ooff to the proceedings. Those gravitating toward this disc will do the cradle of blues. Dickon Hinchcliffe, of the U.K. cult band so because of the source songs, and there is indeed much to Tindersticks, provides the original score that receives only enjoy for blues fans, with performers including Reba Russell, three of the tracks here (totaling 4:28). Jim Dickinson and Red Stick Ramblers. —S.A.K.

Charmed: Book of Shadows 1⁄2 A MARKETING GIMMICK, THIS DISC IS INTENDED FOR VARIOUS • Treadstone B0007M22KM • 11 tracks - 41:35 fans of the Charmed television series. If you are not a fan, you can pass this one by. The mix includes the likes of Sarah FOLLOWING ON THE HEELS OF AN EARLY PACKAGED McLachlan, Ashlee Simpson, Zero 7 and Sarah Brightman; disc of songs marketed with the television series, Image something for everyone, perhaps, but no doubt specifi c to Entertainment has put together this disc of 11 songs, all this year’s season of songs. If you liked the earlier Charmed performed by an eclectic mix of female artists. disc you can jump right one this one too. —S.A.K.

and the Sorcerer’s Stone, Attack of the Clones. Score (continued from page 53) Pops Art (continued from page 23) his CD has more breadth of history than any as a companion guide to it. Whether you are a instantly recognizable, others may not be; yet their of the others combined. These are the epics of beginner who has been procrastinating learning this inclusion makes a lovely introduction to music we Tour time...the first contemporary re-records dauntingly powerful program, or an advanced user may have heretofore missed—for example, Saint- of Harry Potter and Fellowship of the Ring (that who feels like your knowledge of Finale is already Saens’ Danse Macabre. we know of) along with “Across the Stars” (from impressive, this guide will be of great benefi t. By Attack of the Clones) and some cherished diamonds working diligently through the lessons in this Epics (2003) ●●●● ◗ CD-80600; 14 tracks - 62:11 of yesteryear like Ben-Hur and Gone With the Wind. book and keeping the Finale User Manual PDFs Ben-Hur, Spartacus, Gladiator, Gone With the Wind, Kunzel has dispensed with sound effects so he can accessible, you can easily tame this powerful and Doctor Zhivago, Lawrence of Arabia, The Lord of the focus solely on the music and the ambient glow robust notational tool. —Brian Satterwhite Rings, Crouching Tiger Hidden Dragon, Harry Potter that this music deserves. FSM

FILM SCORE MAGAZINE 55 NOVEMBER/DECEMBER 2005 THE LASERPHILE

Making the Leap The final confrontation—on paper. • By Andy Dursin

ince this is the final print edition of FSM, space is limited, Seven though the amount of titles we have to cover is anything but! Rest assured, though, that you’ll still be able to find weekly in-depth DVD coverage at my Aisle Seat webpage (which you can find at www.film scoremonthly.com and my home, www.andyfilm.com), with reviews ALL ABOARD: The Mother of all Titanic DVDs has arrived, loaded with extras. on a much more consistent basis than the relative purchase that’s inexplicably missing only the Fire Ships, The Duchess and the Devil, The constraints that these pages have nevertheless film’s theatrical trailers. Wrong War, The Mutiny, Retribution, Loyalty graciously allowed. I’ll expect to see you there, and Duty) in addition to three bonus programs and in the meantime, I leave you with the top Cinderella: Platinum Edition (Disney, $25) (two documentaries and a behind-the-scenes late-quarter releases of 2005... his outstanding restored edition of the featurette), an interactive 3-D naval cannon, and T1951 Disney classic offers a spotless new all the nautical terms and definitions you need to FOUR FOR FALL: Essential New DVDs transfer and newly remixed 5.1 Dolby Digital keep up with the dizzying action and adventure soundtrack. Moreover, Disney has included a of this outstanding series. Titanic: Special Collector’s Edition generous heaping of supplements, including a (Paramount, $29) handful of unused songs in demo form; two Batman Begins (Warner, approx. $29) he wait was worth it. Paramount’s three-disc deleted musical numbers (in storyboard form); hristopher Nolan’s atmospheric, mature TDVD box set offers the first supplemental a rare performance on a Perry Como TV special Ctake on DC Comics’ Dark Knight starts presentation of James Cameron’s box-office and by members of the cast; a 38-minute “Making brilliantly before it ultimately succumbs to Oscar smash. The movie has been remastered Of” special; countless trailers and TV spots; special effects silliness in its final third. Despite and enriched by no fewer than three audio and (talk about cross-promotion!) “Broadway” its flaws, though, this visually rich interpretation commentaries: one from Cameron, another Joe Namath narrating over a half-hour of ESPN ranks as one of the few satisfying studio sporting various cast and crew members, and Classic “Cinderella Stories.” One could carp blockbusters in recent years. Warner’s double- a third from the project’s historical advisors, about the cross-branding going on there, but the disc Special Edition offers not just eye candy who aren’t afraid to sound off on some of the movie itself is so masterful—and the restoration (with its gorgeous transfer) but a second disc of script’s inaccuracies. During the film, the viewer as sparkling as Cinderella’s dress—that it’s hard special features, including a near-two-hour look has the option of watching various behind-the- to rain on the parade. at the production of the film. None of the extras, scenes featurettes, offering production footage however, is anything more than your typical and new interviews with the cast and crew, but Horatio Hornblower: Collector’s Edition DVD filler, making one suspect a truly “Special” most of the supplements are found on the set’s (A&E, approx. $79) Edition DVD will hit stores by the time the next third DVD. Among the latter are 45 minutes of oan Gruffudd’s early role as one of the first Batman flies into theaters. never-before-seen deleted sequences, including Imates in James Cameron’s Titanic served as an alternate ending that was wisely left on the the ideal training ground for his later, massively Criterion Corner cutting room floor. Fascinating time-lapse popular role as C.S. Forester’s naval hero. This Criterion continues to output a steady stream of photography, a dynamic DTS soundtrack, and eight-disc Collector’s Box offers all of A&E’s outstanding DVDs. Here’s a rundown of their lat- countless galleries round out an essential DVD successful Hornblower tele-films (Duel, The est releases:

FILM SCORE MAGAZINE 61 NOVEMBER/DECEMBER 2005 THE LASERPHILE

The Flowers of St. Jane Campion’s fi ne An Angel at moping around in search of a character. It’s a shame Francis ($29), Roberto My Table ($39) is also among the recent so much effort went into the DVD’s supplemental Rossellini’s poetic look at the benefi ciaries of thethe Criterion Criterion treatment. treatment. section, including a 210-minute documentary life of St. Francis of Assisi, This superb 1989 biography of New examining every (and I do mean every) aspect of has fi nally been issued in a Zealand poet Janet Frame—misdiagnosed the picture’s production. quality presentation on DVD. as a schizophrenic and subjected to years Curiously, the Director’s Cut of the Marvel Criterion’s release includes of electro-therapy as a result—arrives Comics adaptation Elektra ($26) tightens a beautifully crisp, restored on disc with six deleted sequences, a new up some of its silly action and comes closer to new transfer of this spiritual commentary with Campion and star Kelly what director Rob Bowman was intending: an examination of St. Francis’ Fox, and a 1983 audio interview with Frame emotional, character-driven action fl ick. Still, its world, with 2004 interviews herself. pleasures are mainly confi ned to seeing star Jennifer featuring Rosselini’s daughter, Last but not least is Mike Leigh’s Naked Garner running around in Elektra’s trademark Isabella, historian Adriano ($39), the director’s dark 1994 meditation red outfi t and kicking the occasional ninja butt. A Apra and critic Father Virgilio on a London drifter (David Thewlis). This more-than-generous two-hour documentary dives Fantuzzi. The American release fascinating portrait of an unforgettable headfi rst into the picture’s production, and copious prologue and an insightful character includes a new transfer by Leigh, deleted scenes and additional extras round out the booklet offer essays and commentary by the director, Thewlis package. writings refl ecting on the 1950 and co-star Katrin Cartlidge and several fi lm’s legacy. shorts on the second disc, including “The 2005’s Best TV on DVD Boudu: Saved From Short and Curlies,” a comic 1987 team-up Star Trek Enterprise: The Complete Third Drowning ($29), Jean Renoir’s between Leigh and Thewlis. Season (Paramount, approx. $90) The third 1932 critique of the bourgeoisie, and arguably most satisfying of Enterprise’s four is also a spirited comic look at a tramp who crashes Wayne Revisited seasons charts the crew’s attempts to prevent an in on a well-to-do Parisian family and promptly It’s been a long time coming, but the legal wrangling alien race named the Xindi from destroying Earth. infl uences their lives. Later the basis for the Nick over various Batjac fi lm properties came to an end More serialized in nature than any other season of Nolte-Richard Dreyfuss fi lm Down and Out in this past summer with Paramount’s superlative the series, Enterprise fi nally took off with a strong Beverly Hills (as well as a recent French remake DVDs of The High and the Mighty and dramatic arc, though ratings never caught on and with Gerard Depardieu), Criterion’s DVD includes Island in the Sky. This past October brought the ambition the series displayed during Year Three a new subtitle translation and archival footage of the welcome arrival of Wayne’s 1953 adventure was promptly kiboshed in the fourth and fi nal Renoir among other extras. Hondo and the wonderfully engaging McLintock!, season. Paramount’s seven-disc set offers all 24 Samurai fans will be thrilled with Criterion’s each with commentaries by Leonard Maltin episodes and a strong assortment of supplements: four-fi lm collection of ’60s samurai classics and numerous cast and crew veterans. Multiple deleted scenes, outtakes, a profi le of director Samurai Rebellion, Sword of the Beast, Samurai featurettes, galleries, wonderful memories and Roxann (Biggs) Dawson, a featurette on star Spy and Kill! called Rebel Samurai ($89). vintage Wayne performances grace these fully Connor Tionneer, a photo gallery and a “Moments: Meanwhile, the separate double-disc of Masaki remastered discs—each an absolute steal at under Season 3” featurette. Kobayashi’s classic Harakiri follows Tatsua $15 each. The Simpsons: Season 6 (Fox, $39) The Nakadai’s distraught samurai as he attempts to sixth season of the long-running Fox animated kill himself on the land of a rival clan—where he The Fox Report series offers several “classic” Simpsons episodes, ultimately learns a few lessons about honor and Outstanding supplements mark four new Fox though the decline in the show’s writing had started self-sacrifi ce. Criterion’s double disc set of this titles—two of which are bona fi de classic fi lms, to manifest itself at times. The four-disc box set stark black-and-white classic (hugely infl uential while the other pair were recent box-offi ce fl ops. offers all 25 sixth-season episodes, plus commentary in its genre) includes a new video introduction The Golden Age greats include the splendid 1940 on each show from creator Matt Groening, writer by critic Donald Richie, an excerpt of a Director’s adventure The Mark of Zorro ($19) and Alfred David Mirkin, cast members Dan Castellaneta and Guild of Japan interview with Kobayashi, Hitchcock’s 1944 drama Lifeboat ($19), both with others, deleted scenes, commercials and more. interviews with Nakadai and a poster gallery. new transfers and supplements. The Tyrone Power More traditional, but nevertheless hilarious, is Also new from the label are an excellent new swashbuckler Zorro sports an excellent commentary the second season of The Bob Newhart Show: edition of Clouzot’s The Wages of Fear ($39), from esteemed critic Richard Schickel and an A&E Season 2 (Fox, $29), which not only offers 24 sporting a brand-new restored transfer (superior to Biography of its star, while Hitch’s character piece episodes of the successful series’ sophomore frame, Criterion’s previous DVD); Jean-Pierre Melville’s includes commentary from fi lm professor Drew but select episode commentaries by Bob Newhart, Le Samourai ($29), offering interviews, essays Casper, a new Making Of documentary, and a still co-stars Jack Riley and Marcia Wallace, and creator and a restored transfer; superior deluxe sets of photo gallery. The fresh black-and-white transfers David Davis. Hearing these veterans sound off on Nicolas Roeg’s 1980 drama Bad Timing ($30) look generally excellent, with Zorro also including a what made this particular Newhart work is nearly and Roeg’s earlier The Man Who Fell to Earth newly (and poorly) colorized version as well. worth the price of the set itself. FSM ($39), sporting a fresh transfer supervised by the As far as “the new stuff” goes, it’s safe to say that director, a previous Criterion commentary with Ridley Scott’s Kingdom of Heaven ($26) isn’t And that’s all folks! Don’t forget to visit David Bowie and Buck Henry, recent interviews going to be remembered as one of its auteur’s fi nest The Laserphile from now on at www.andyfi lm.com, and with Candy Clark and Rip Torn, and a reprinting of hours. This good-looking but languid epic lacks a email me at andy@andyfi lm.com. Cheers everyone— Walter Tevis’ original novel. dramatic center, with star Orlando Bloom forever we’ll see you on the other side!

FILM SCORE MAGAZINE 62 NOVEMBER/DECEMBER 2005 GOLDEN AGE CLASSICS • FSMCD VOL. 8, NO. 17 • RELEASED BY SPECIAL ARRANGEMENT WITH TURNER CLASSIC MOVIES MUSIC

Music Composed by Bronislau Kaper Conducted by Johnny Green

BRONISLAU KAPER WAS A COMPOSER OF CLASSIC fi lm songs as well as fi lm scores—“Lili,” “On Green Dolphin Street” and “All God’s Chillun Have Rhythm” are among his most famous works. One of his loveliest melodies he actually used in two “women’s pictures”: fi rst inA Life of Her Own (1950), then in Invitation (1952), presumably because the fi rst fi lm did not perform well and the theme was too good to let it go to waste. This CD features the complete score to Invitation (plus source music), followed by the surviving tracks to A Life of Her Own.

INVITATION STARRED DOROTHY MAGUIRE AS A married woman who discovers that her perfect husband (Van Johnson) might have been “purchased” for her by her overprotective father, and that she might have a fatal illness. Kaper’s “Theme From Invitation” dominates the score as a haunting expression of Maguire’s anxiety, love and heartbreak, but the soundtrack also features beautiful, transparent writing for her family life, and dark currents for her obsessive search for the truth.

A LIFE OF HER OWN starred Lana Turner as a New York City model embroiled in an affair with a married

Invitation 20. All I Do Is Dream of You man (Ray Milland). Although 1. Main Title 1:41 (Nacio Herb Brown & Arthur Freed) 0:10 directed by George Cukor, 2. Five-Eighteen 2:23 21. Tyrolean Waltz (traditional) 1:14 it soon disappeared from 3. Maud/How Is Maud 1:33 22. I Read Your Letter (Franz Schubert) 2:58 4. Ellen Visits Maud 5:07 23. Ellen Visits Maud (film version) 5:07 theaters—spurring Kaper to 5. Hello Father 1:07 Total Time: 13:00 reuse his theme later. The 6. I Want to Marry You/ surviving tracks consist mostly Honeymoon 3:13 A Life of Her Own 7. Lovely/Invitation 2:24 24. Champagne Room #1 2:30 of source music, along with a few cues of Kaper’s 8. Research 2:11 25. I Know, I Know Muzak 2:39 dramatic score, similar to Invitation and interpolating 9. You Wanted to Know 0:48 26. Way Up High/Mary’s Kitchen 2:22 the gorgeous melody as a recurring source cue for 10. Agnes 2:17 27. All God’s Chillun Got Rhythm 3:26 11. Oh Dan 2:14 28. Champagne Room (excerpt)/ piano. 12. Now/I Went 1:43 Dinner for Three 3:15 13. I Came Home/Goodbye Dan/ 29. Margarite Montage/ MANY CUES FROM INVITATION ARE PRESENTED That’s His Story 3:06 Champagne Room #2 2:26 14. Gardener 0:43 30. Lana’s Jitterbug (André Previn) 1:37 in rudimentary stereo, due to the prominent use of 15. Dan’s Upstairs 1:24 31. Lana’s Jive (Lennie Hayton) 2:26 piano which was recorded on its own channel; the 16. End Title 1:00 32. It’s All Over/Lily’s Extension 3:14 balance of the CD is in mono. Total Time: 33:36 33. Champagne Room #5 1:48 34. No Place to Go, Part 1 1:28 BONUS MATERIAL 35. End 1:34 AT LAST, ONE OF CINEMA’S LOVELIEST MELODIES— 17. Greenwich Village (Lennie Hayton) 1:01 Total Time: 29:19 which became a veritable “standard” of popular 18. Piano Improvisation of Theme 0:54 Total Disc Time: 76:07 19. Wedding Reception (Johann Strauss Jr.) 1:17 music—is fully documented in this premiere FSM CD. Album Produced by Lukas Kendall $19.95 plus shipping Film Score Monthly—continuing to bring you new releases of classic film scores, monthly! Visit www.filmscoremonthly.com

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