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Volume 8, Number 3 Original Music Soundtracks for Movies & Television

Who is Man? pg. 20

36MAGNIFICENT MOVIE MUSIC MOMENTS From KING KONG to LORD OF THE RINGS

PLUS Into the X-JET WITH Arrakis Attack HUNTING Gods & Generals A SCORING ALLIANCE Spring CDs & DVDs THE LATEST REVIEWS

03>

7225274 93704 $4.95 U.S. • $5.95 Canada v8n3 covers.qxd 4/8/03 12:44 PM Page c2 ON APRIL 22 EVERYBODY WHO’S ANYBODY IN &TV WILL READ THIS MUSIC SPECIAL ISSUE Don't miss this opportunity to reach the most influential players in film and television who are in the position to hire you for your next project. Your ad in this special issue is the most effective way to showcase your talent, product or service to these decision-makers. FILM & TV MUSIC SPRING EDITION, APRIL 22, 2003 Space: April 4 Materials: April 10 CONTACT: JUDI PULVER 323-525-2026 JOHN TROYAN 646-654-5624 JOHN KANIA + 44.208-694.0104 www.hollywoodreporter.com v8n3 issueB.qxd 4/8/03 12:38 PM Page 1

CONTENTS MARCH 2003

DEPARTMENTS COVER STORY

2 Editorial 24 36 Magnificent Movie Music Moments Dumb Luck. You know the scene in Dreamcatcher where that razor-toothed, slithering phallus bites off Jason Lee’s fingers to James 4 News Newton Howard’s pounding scary music? Relax, that didn’t Goodbye Mr. Scharf. make the list. But a lot of truly great marriages of film and 5 Record Label music did. Have a look. Round- By Jon & Al Kaplan, et al What’s on the way. 6 Now Playing FEATURES Movies and CDs in release. 12 Battle Plans It started with a pair of lesbians. 7 New Assignments and talk about their collabora- 14 Who’s writing what tive efforts in scoring the epic Civil War production of Gods for whom. and Generals, the prequel to Gettysburg. 8 In Concert By Daniel Schweiger Film music performed around the globe. 14 Take the Red Pill It’s all things Matrix for lately, as he focuses his tal- 9 Mail Bag ents on two gigantic theatrical productions and nine Internet Nice Hobbit. mini-features. All this and he still has time to explain post- modernism. 11 Pukas By Jeff Bond Unctious Underscore. 19 Arrakis Attack Score 33 Whether writing ethnic textures for the Sci-Fi Channel’s 19 Spicy stuff on Sci-Fi. The latest CD reviews, Children of Dune, action music for The Hunted, or cues for the including: The Recruit, Tooth Fairy in Darkness Falls, one thing’s for sure: Brian Tyler is Re-Animator, It’s Always working a lot. Fair Weather, Gods and By Jeff Bond Generals and more. 22 Call Forth the Mutants 45 Laserphile Directing Urban Legends 2 kept him from being able to com- Spring Has Sprung. pose the score for The X-Men. This time around, John Ottman is keeping his schedule open for ’s sequel. By Jeff Bond

36 FSM Marketplace 45 Still hot, even on DVD.

ON THE COVER: MMMM!

Film Score Monthly (ISSN 1077-4289) is published 10 times a year (with double issues in May/June and November/December) 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 Monthly, 8503 Washington Blvd, Culver City, CA 90232

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EDITORIAL

Dumb Luck VOLUME 8 FSM's fearless leader radically applies NUMBER 3 the concept of "taste" to film music discussion.

Editor & Publisher his month our cover story is a list of the last shot of Ponch and Jon, and then LUKAS KENDALL Managing Editor film music’s “great moments.” In launches into the theme with the gui- TIM CURRAN T other words, we’re in the magazine tars. That’s not even mundane, that’s down- Executive Editor business, where somehow an annual “Top right awful! But I love it. JONATHAN Z. KAPLAN 100” list of rich people that Forbes started has I suppose “memorable moments” are like Editor-at-large become “It” lists, A-lists and power lists as far fingerprints, unique to each person. A great JEFF BOND as the eye can see. (Maybe cooking magazines deal of them are age-dependent—I’ve often Design Director have a Top 100 list of ingredients—number held that people get into film music at an JOE SIKORYAK one: flour!) Major League Baseball recently early age, usually through genre material, be Mr. Helper released its “Memorable Moments” in which it with Gunga Din or The Magnificent Seven or Star AL KAPLAN half the entries weren’t even “moments” but Wars or Gladiator. If you’re 13 and bored and Copyeditor generalized happenings, like a player having a one day you see an awesome movie star STEVE GILMARTIN Contributing Writers good year. culture likes lists. killing people while great music plays—that’s DOUG ADAMS Our FSM list of great “moments” has only a your gold standard. According to Freud, every ALTOMARI few examples that I would have personally boy grows up seeking the image of his mother STEPHEN ARMSTRONG selected—and yet I know exactly what the list in other women. (Freud didn’t bother much SCOTT BETTENCOURT is all about. A few years ago I was feeling with what women seek, a problem which ANDY DURSIN depressed—a period which has lasted from extends to film music fandom.) I think every ANDREW GRANADE roughly 1983 to today—and was griping to a boy grows up wanting to be the MARK GRIFFIN friend that I didn’t know why I should even or Luke Skywalker he saw killing people on STEVEN A. KENNEDY care about movies, or good TV shows, or TV when he was 13. And that music is the DARREN MACDONALD music. “Because they’re about life!” he said. music of his life. Or mine, anyway. DANIEL SCHWEIGER And they are. Human beings need relation- There’s no accounting for taste, someone CARY WONG ships for emotional and mental health, and once said, and it’s true. So it is with film Editorial & Subscriptions part of that sustenance comes from art and music’s “memorable moments.” They’re 8503 Washington Blvd storytelling—from feelings and ideas and about age and access and the plain dumb Culver City, CA 90232 truths about life, or small. I have always luck of what anyone happened to see or PH. 310-253-9595 loved film music because for fleeting little hear at a seminal moment in life—but FAX 310-253-9588 moments, my three favorite artistic forms (sto- they’re also about taste. Why do I like E-MAIL [email protected] rytelling, visual images and music) intersect to vanilla but not chocolate? Salmon but not create powerful—well, moments. Think of the shrimp? Morricone but not Nascimbene? I Sales & Marketing Manager shark hunt in , a fairly long sequence. The don’t know—but why “The Ecstasy of Gold” BOB HEBERT exact moment I have always loved is when from The Good, the Bad and the Ugly isn’t on our 8503 Washington Blvd Culver City, CA 90232 Quint is shooting the first barrel into the list is truly puzzling. [Guess we just didn’t PH. 323-962-6077 shark, and the crew is scrambling to rig the grow up watching kill enough FAX 310-253-9588 equipment—that precise instant when John people! —The Kaplans] Supervising Mail Order Handler Williams changes from pounding suspense Love, MAILMAN AL into the joyful sea shanty of the . Our Website I could list dozens more of my own favorite Is updated five times weekly! moments, but many would seem mundane. Point your browser at: There’s a lot of Star Trek in there. I like the spot WWW.FILMSCOREMONTHLY.COM in every episode of CHiPs (starting with season © 2003 Vineyard Haven LLC. two) where the kick-drum starts at the end of Printed in the U.S.A. the teaser, usually running a bar or two over Lukas Kendall, Editor and Publisher

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RECORD LABEL ROUND-UP

THE SHOPPING LIST • NOW PLAYING

UPCOMING ASSIGNMENTS NEWS IN CONCERT

ning Vera Wang gowns. Especially spared hearing the ever-intelli- enjoyable was when Best gent Julia Roberts say how much winner Adrien Brody spoke she liked director Roger Moore’s about how he had just acted in a Bowling for Columbine. war movie, so he really knows how bad war is. Brilliant. Though ’s award for Quick Takes Best Song (“,” from 8 he 29th Annual Saturn Mile) was well-deserved, we were Tnominations for Sci- disappointed that Fi/ film and TV have been didn’t win for Far From Heaven. Nor announced: for Catch Me If You , Spider-Man Can. Nor for Reinhold Heil & Johnny Klimek, One-Hour Photo ® Road to Perdition. In fact, Elliot My Film Score Has a First Name—It’s O-S-C-A-R Joe Hisaishi, Spirited Away Goldenthal won the beloved , The Lord of the Rings: eems like that headline good job of balancing the far-off golden statuette for his fine work The Two Towers Sworked a lot better last issue. blood, carnage, fear and devasta- on Frida. John Williams, Minority Report Nonetheless, the Oscars did a tion of war with a couple of stun- Oh well, at least we were John Williams, : Episode II— Attack of the Clones. The show will take place in Goodbye, Mr. Scharf 1910–2003 May at some sort of event facility. Winners will be announced, omposer-conductor-arranger Walter Scharf, a two- specials, winning Emmys for his sometime afterwards. Ctime Emmy winner and 10-time Oscar nominee, scores to The Tragedy of the Red died of heart failure at his home in Brentwood, , Salmon and Beneath the Frozen Feb. 24, at the age of 92. World. He went on to score such Elmer Bernstein and Bruce Scharf was born in City on Aug. 10, 1910, the miniseries as From Here to Broughton were elected to the son of Bessie Zwerling, a comic in the New York Yiddish Eternity and Blind Ambition, and ASCAP Board of Directors, effec- Theater. He graduated from New York University and was his final feature was Twilight Time, tive March 20, 2003. starring Karl Malden. His concert one of the orchestrators for the original Broadway produc- Congratulations, gentlemen. tion of ’s Girl Crazy. pieces include The Israeli Suite He moved to in 1934 as an arranger for and a symphony, The Tree Stands and contributed uncredited music to many Still. On Apr. 19, Earle of the ’30s and ’40s. He received his first Original Unfortunately, little of Scharf’s film and TV music has Hagen (I Spy; Mod Squad; Mayberry, Score nomination for Mercy Island in 1941, and was also been released on CD. In 1991, Bay Cities released a now- R.F.D.; The Dick Van Dyke Show) nominated for his scores to In Old Oklahoma and The out-of-print CD called ’s World of Comedy, fea- received a star on the Walk of Fighting Seabees, as well as for his adaptations for Johnny turing a suite from Scharf’s 1959 score to the classic Fame in Palm Springs, California. Doughboy, Hit Parade of 1943, , Hans Christian Lloyd silent comedy The Freshman and a suite from the Andersen (his favorite film project), the classic , Lloyd compilation World of Comedy. The recent FSM CD Composer is and the more-popular-than-ever Willy Wonka and the The Man From U.N.C.L.E. features seven minutes of Chocolate Factory. He also received a Best Song nomina- Scharf’s score to the episode “The Project Strigas Affair.” taking another tour group to tion for his most famous composition, the title song to the In addition to receiving 10 Oscar nominations, Scharf China in September to see Willard sequel Ben (lyrics by ), which became a was a frequent finalist in the music categories, for his orig- things, eat great food, hang out number-one hit single for . inal scores to The Birds and the Bees, Ben, Final Chapter: with master and He was the musical director on five films for Elvis Walking Tall (he scored all three Walking Tall films) and other fun stuff. Presley (who always called him “Mr. Scharf”) and scored Gasp (aka Backbone), and for his adaptations of Two For more details, visit www.wte-usa.com. several films for director-star , including The Tickets to Broadway, , Bundle of Joy, Nutty Professor. He also scored Frank Capra’s final film, Rock-a-Bye , and . Pocketful of Miracles. Memorial services were held at the Mt. Sinai Temple in According to Bridget Fonda’s In the ’60s, he wrote many scores for television, includ- the Hollywood Hills on Feb. 28. He is survived by his spokeswoman, Fonda and Danny ing episodes of The Man From U.N.C.L.E., The Wild Wild daughter Susan and his wife Betty. He named his yacht Elfman are getting married. Now West, Mission: Impossible and Hawaii Five-O, as well as 16 The Lady Betty, and composed much of his Cousteau she belongs to us! FSM National Geographic specials (whose classic theme was music while sitting on its deck. —Scott Bettencourt composed by Elmer Bernstein) and 28

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RECORD LABEL ROUND-UP score from archival sources and a Disques Cinémusique 36-page color booklet); A Summer Due in May is Chouans! (Georges NEWLY ANNOUNCED PROJECTS Place (, featuring the Delerue, 1988). Plans are under- AND INCOMING ALBUMS complete score from magnetic way for a series of ’70s and ’80s tracks); and Battle Cry (Steiner, 1955, Canadian film music releases, also from magnetic tracks). starting this fall with Fantastica tel.: 540-635-2575; (Lewis Furey). www.screenarchives.com www.disquescinemusique.com 1M1 famed Blue Note. Featured musi- Now in pre-production is Bruce cians include Schifrin, Jon Faddis, Chandos FSM Smeaton’s orchestral scoring and Grady Tate, Dick Oats and Available now: Addinsell: Film Two discs, four scores, and a pair songs for John Gardner’s Grendel Paulinho Da Costa. Music, featuring Richard of legendary composers: Our Grendel Grendel (with Peter Ustinov www.alephrecords.com Addinsell’s music for Scrooge Golden Age Classic features a pair singing his own songs); coming (1951), Goodbye Mr. Chips, Flame of of exotic adventures by Miklós soon are The Last of the Mohicans All Score Media Fire and more (cond. Rumon Rózsa, Green Fire and Bhowani and Tom Sawyer (Simon Walker); The release date for Vier Freunde & Gamba, BBC Phil.); forthcoming is Junction, in stereo with bonus The Naked Country, Departure and Vier Pfoten, a score by hip-hop Some Who Lived (Algunos Que mono tracks. The Silver Age Double Deal (Bruce Smeaton); Bliss artist Phillipe Kayser written for a Vivieron), featuring music from the Classic presents two premiere (Peter Best); and Brian May’s children’s movie, has been moved Holocaust documentary. releases by : All Fall never-before-released score for to Sept. 2003. Forthcoming are a Down and The Outrage, both in The Killing of Angel Street. full-length album from lounge Cinesoundz stereo. Next month: sounds of [email protected] • www.1m1.com.au band Pornorama, due this sum- Due in May is Molto Mondo swords and science. mer, and a soundtrack compila- Morricone, featuring lounge music Aleph tion of Eastern Bloc fairy-tale by the Maestro. Due later this Hollywood Due late spring is The Hellstrom movie scores, due in Oct. year are re-releases of the two Available now is Ghosts of the Abyss Chronicle. Due April 22 (as of press www.allscore.de classic Mondo Morricone albums. (Joel McNeely), the original score time) are albums Ins and Outs Slated for autumn: The Ennio to the 3-D IMAX film directed by and Lalo Live at the Blue Note. Ins and Brigham Young University Morricone Remix Project. James Cameron. Outs was recorded in Hollywood Forthcoming are limited-edition tel.: +49-89-767-00-299; fax: -399; in 1982; Lalo Live was recorded in releases of The Big Sky (Dimitri pre-orders by mail: [email protected]; Intrada late 2002 at ’s Tiomkin, including the complete www.cinesoundz.com Available now is Intrada Special

NOW PLAYING: Films and scores in current release

Agent Cody Banks JOHN POWELL Hip-O** Assassination Tango RCA Victor* Basic n/a CRAIG PRUESS Milan** Boat Trip ROBERT FOLK n/a Bringing Down the House Hollywood** n/a Down and Out With the Dolls ZOE POLEDOURIS Lakeshore** Dreamcatcher Varèse Sarabande The Good Thief Virgin (France)* Head of State MARCUS MILLER, DJ QUICK n/a Irreversible THOMAS BANGALTER Thrive Laurel Canyon CRAIG WEDREN Hollywood* Levity MARK OLIVER EVERETT Pleximusic Nowhere in Africa NIKI REISER Virgin (Germany) Piglet’s Big Movie CARL JOHNSON Disney* The Safety of Objects EMBOZNIK n/a The Slaughter Rule JAY FARRAR Bloodshot Spun BILLY CORRIGAN n/a Tears of the Sun Varèse Sarabande View From the Top Curb** Willard n/a What a Girl Wants RUPERT GREGSON-WILLIAMS Atlantic* *mix of songs and score **song compilation with less than 10% underscore

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RECORD LABEL ROUND-UP SCREEN Collection Volume 9, Roughing It (Bruce Zeitlin’s 1978 Invasion of the Body Snatchers Broughton); coming soon is Bones (2002) by (including a 30-minute interview with Zeitlin). ARCHIVES Elia Cmiral. www.intrada.com This title will be distributed by Intrada. www.perseverancerecords.com ENTERTAINMENT La-La Land Due in April: TNT movies Monte Walsh and The Rhino/Rhino Handmade/Turner Large selection of Crossfire Trail—two scores by Eric Colvin on Due this month from Rhino proper is Fame one CD. Due in May: H.P. Lovecraft’s From Beyond (; remastered and with bonus new domestic and (Richard Band; newly remixed and remas- tracks). Due this month from Rhino import releases, tered). The first 100 copies of each of these Handmade are (Stanley Donen CDs will be autographed by their composer. musical; music by Lerner & Lane) and Born to older releases and Due in June: The Fantasy Film Worlds of George Dance (Cole Porter). Due in May: Broadway out-of-print CDs Pal: Volume One, featuring suites from The Time Melody of 1940 (Porter) and Gay Purr-ee (Arlen & Machine, : The Lost Continent, The 7 Faces of Harburg). www.rhino.com, www.rhinohandmade.com Major credit cards accepted. Dr. Lao, The Power, Doc Savage, Tom Thumb and Write for free catalog! The Wonderful World of the Brothers Grimm. Saimel www.lalalandrecords.com Forthcoming from this Spanish label are Rutas PO Box 500 Alternativas (Santi Vega; documentary) and Linden, VA 22642 La Bande Son (France) Praetorians (Mateo Pascual; video game). ph: (540) 635-2575 Available now is Ginostra (Carlo Crivelli). Screen Archives Entertainment fax: (540) 635-8554 Marco Polo Due imminently is a 2-CD release of Captain e-mail: [email protected] Due in May is John Morgan and William From Castile (). Also forthcom- Stromberg’s new recording of Tiomkin’s Red ing is a 2-CD set of Night and the City (1950), to visit: www.screenarchives.com River, followed by a June CD release of Max feature both the score from Steiner’s scores from two Bette Davis films: the U.S. release and the Benjamin Frankel All This and Heaven Too and A Stolen Life. Also score from the worldwide release. due in 2003 is the first full-length, complete www.screenarchives.com SOUND recording of Korngold’s The Adventures of Robin Hood to commemorate the film’s 65th Silva Screen TRACK anniversary. Max Steiner’s The Adventures of Now available: : The Chronicles, a 3-CD Mark Twain will be released in early 2004. set that reissues Hellraiser and Hellbound: ALBUM The latter two CDs will also be released in Hellraiser II (Chris Young) and Hellraiser III: Hell 5.1 sound on DVD Audio. on Earth (Randy Miller); and Thunderbirds (Barry RETAILERS www.hnh.com Gray), featuring music from nine episodes.

Specializing in Milan Silverline SOUNDTRACK, Available now is Bend It Like Beckham (various). Available now is The Wild Thornberrys Movie (Drew Neumann/Randy Kerber). BROADWAY Naive (France) Available now is 24 Hours in the Life of a Woman Varèse Sarabande and STUDIO CAST CD’s (Michael Nyman). Available now: Identity (); due DOMESTIC and IMPORT April 22: Varèse Sarabande: A 25th Anniversary Numenorean Music Celebration, a 4-CD set featuring five hours of RELEASES Imminent is Dark Crystal (Trevor Jones), featur- film music from the likes of Star Wars, Die Hard, e-mail or write for your ing previously unreleased material. Back to the Future, , , The Sixth FREE CATALOG Sense, The Matrix, L.A. Confidential, The Omen, P. O. Box 487-Dept. FS Percepto Robin Hood, Vertigo and tons more; May 13: New Holland, PA 17557-0487 Forthcoming are The Dreamer of Oz (Lee world premiere release of the original sound- NEW e-mail: [email protected] Holdridge), a pair of Mizzy scores from the track recording of Something Wild (Aaron phone/fax: Don Knotts cache, an animated gem from the Copland’s last film score, 1961). (717)351-0847 1980s, a cult classic from The Devil’s Backbone director Guillermo del Toro and more. Stay Please note: Visit our website at: tuned for more details. www.percepto.com We endeavor to stay up-to-date with every com- www.soundtrak.com pany’s plans, but sometimes bad things happen to ALL MAJOR CREDIT CARDS ACCEPTED Perseverance good labels. Please bear with us if albums are not released as announced. FSM Forthcoming is the CD premiere of Denny

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H UPCOMING ASSIGNMENTS Paul Haslinger Underworld. John Powell Stealing Sinatra. Reinhold Heil & Johnny Klimek The Human Stain, FIND OUT WHO’ S Swimming Upstream. Mona Lisa Smiles (w/ Julia Roberts). SCORING WHAT— FOR WHOM No Other Country, Zbigniew Preisner It’s All About Love. Sounder. David Holmes The Perfect Score, R Buffalo Soldiers. Trevor Rabin The Great Raid. The Replacements Soul Caliber, House of Graeme Revell Out of Time, Danna Dropped Like a Green Potato Sand and Fog (w/ Jennifer Connelly), Chronicles of Riddick. is no longer scoring Ang Lee’s somewhat-anticipat- Beyond Borders (w/ Angelina Jolie). Jeff Rona Shelter Island. ed The Incredible Hulk. Sources say that Danna’s style, while right for James Newton Howard Lee’s original vision, became incongruous with later versions of the Unconditional Love, Peter Pan, S-T film, which are reportedly much more bombastic and “cartoony.” (If Hidalgo (dir. Joe Johnston). Lalo Schifrin The In-Laws (aka The you’ve seen the , you know what we mean.) Sessions that Wedding Party). were scheduled for April have been postponed. In to save the day is I-J-K Cat in the Hat, Marci Danny Elfman, who some would argue has a little experience scor- Mark Isham The Cooler, Blackout X (songs), Down With Love. ing superhero features. (dir. Philip Kaufman). Howard Shore LOTR: Return of the Jan A.P. Kaczmarek Neverland King. Poledouris Goes Home...on the Range (w/ Johnny Depp, Dustin Hoffman). Ryan Shore Coney Island Baby. can’t seem to get a break. While there have been Gary Koftinoff Absolon. Alan Silvestri Van Helsing (dir. occasional low-profile films and TV movies, the western Open Range— Stephen Sommers), Identity (w/ starring Kevin Costner and Annette Bening—appeared to be the L John Cusack), Pirates of the shot the composer needed to get back on the big-feature track. That Nathan Larson Dirty Pretty Things Caribbean (from ride). dream is over, at least for now. He’s been replaced by Michael (replacing ), Lilja 4- Mark Suozzo American Splendor. Kamen, scoring his first western, no less. Ever, Prozac Nation. (continued on next page) In addition to Range, Kamen will remain busy in the coming year, And Now...Ladies scoring ’s Exorcist: The Beginning and Against the Ropes, and Gentlemen (w/ Jeremy Irons). starring Meg Ryan. M-N The Hot Sheet A, B Don Davis Matrix 3: Reloaded, Long Mark Mancina Bears, Bad Boys 2. Eric Allaman Flash Flood, Latter Days. Time Dead. Clint Mansell Rain, Suspect Zero, Lesley Barber Molly Gunn (MGM). Craig Armstrong Lara Croft: Tomb Bruce Almighty (w/ Jim 11:14, The Hole. Trond Bjerknes Captain Raider 2, Love Actually. Carrey, Jennifer Aniston), Raising Joel McNeely Holes, Ghost of the Sabertooth. Fast and the Furious, Helen, Chicken Little (Disney), Abyss. Intolerable Cruelty, The Stepford Wives (dir. , Malibu’s Most Wanted. Peter Melnick West of Here. The Alamo. w/ Nicole Kidman). Thomas DeRenzo State of Denial, Sheldon Mirowitz The Red Betsy, The George S. Clinton 44 Minutes (FX Luis Bacalov Assassination Tango. The Eye Is a Thief. Nazi Officer’s Wife. Channel). Resistance. Second-Hand Lions. Mark Mothersbaugh Envy (dir. Barry Patrick Doyle Calendar Girls (w/ The Incredibles (). Randy Edelman Connie and Carla. Levinson, w/ Ben Stiller and Jack Helen Mirren), The Galindez Christophe Confidence (w/ Danny Elfman Big Fish, Spider-Man 2. Black), Thirteen, Good Boy (animat- Mystery. Dustin Hoffman), Cheaper by the Stephen Endelman It’s De-Lovely. ed, voiced by Matthew Broderick, Vincent Gillioz Evansville. Dozen, Dickie Roberts, Saved. Carl Reiner, Kevin Nealon). The Game of Their Marco Beltrami Hellboy, Terminator F-G Diego Navarro The Time’s Gate Lives (dir. David Anspaugh). 3: Rise of the Machines, Cursed. Claude Foisy Before I Say Goodbye (Spanish). Ricky Gordon Fight Knights. Carter Burwell Tough Love (aka Gigli (Sean Young). David Newman Daddy Day Care. Denis Hannigan Recess: Grade 5 w/ Ben Affleck, Jennifer Lopez). Robert Folk Kung Pow 2: Tongue of Meet the Fockers, (DVD; Disney). Fury, In the Shadow of the Cobra. Seabiscuit. Reinhold Heil & Johnny Klimek C Richard Gibbs Zachary Beaver Thomas Newman Finding Nemo. Shattered Glass (prod. ), George S. Clinton Mortal Kombat 3: Comes to Town, If You Were My Wallace and Gromit: The Iron-Jawed Angels (HBO). The Domination. Girl, My Baby’s Mama. Great Vegetable Plot Rolfe Kent Freaky Friday. Elia Cmiral Son of Satan. Vincent Gillioz I Know What You Did (Dreamworks). Framed (w/ Rob Avenging Angel, Coast to Last Winter. Michael Nyman The . Lowe, Sam Neill; TNT), The Hitcher Coast. Andrew Gold There’s a Price. 2 (w/ Jake Busey, Kari Wuhrer; Elliot Goldenthal Double Down (dir. O-P Universal). D-E Neil Jordan, w/ Nick Nolte). John Ottman My Brother’s Keeper. Graeme Revell Pitch Black 2. Jeff Danna Spinning Boris (formerly Jerry Goldsmith Timeline, Looney Van Dyke Parks The BC Smith Lady Warriors. Yeltsin), Wrinkle in Time. Toons: Back in Action. (dir. Robert Altman). Joseph Vitarelli My Architect: A The Book of Eve, An Angel Helen of Troy. Danny Pelfrey/Rick Rhodes Guiding Son’s Journey. for May. Light (new theme). Christopher Young Runaway Jury.

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IN CONCERT Assignments (continued from page 7) Colin Towns Goodbye Mr. Chips, Sons and Lovers. FILM MUSIC PERFORMED LIVE Brian Tyler The Big Empty (starring Jon Favreau). ALL AROUND THE CLOBE V-W James Venable Jersey Girl (dir. , w/ Affleck & Lopez), Bad Santa, (w/ B. Thornton). South Dakota Mervyn Warren Marci X. May 5, Rapid City, Black Hill S.O.; How the Craig Wedren School of Rock (dir. Richard West Was Won (Newman), The Magnificent Seven Linklater, w/ Jack Black). Nevada (Bernstein). Nigel Westlake Horseplay. May 17, Reno S.O.; Bonanza theme ( Evans John Williams Star Wars: Episode III. & ). Virginia Michael Whalen Reptiles (PBS/Nature Special; May 7, Alexandria S.O.; The Hours (Glass). series opener), Trouble in Paradise. Ohio Hollywood Homicide (dir: Ron May 2, Youngstown S.O.; The Godfather (Rota). May 17, MacLean S.O.; President’s Country Shelton, w/ Harrison Ford). (Tiomkin). Oklahoma Y-Z May 3, Canterbury Choral Society, Oklahoma Two Brothers (dir. J. Annaud). City; Cinema choral classics concert: The International Christopher Young Scenes of the Crime (w/ Jeff Alamo (Tiomkin), The Hunt for Red October England Bridges), Devil and Daniel Webster, Madison (Poledouris), How the West Was Won (Newman), May 9, London Philharmonic; Age of Innocence (themes only). First Knight (Goldsmith), 1492 (). (Bernstein), Raiders of the Lost Ark (Williams), Tasso Zapanti Proudly We Served. Murder on the Orient Express (Bennett). Hans Zimmer Matchstick Men (dir. R. Scott). Pennsylvania May 17, Allentown S.O.; Lawrence Portugal Get Listed! of Arabia (Jarre), The Mask of Zorro (Horner). May 3, Symphony of Lisbon; Psycho Composers, send your info to (Herrmann). FSM [email protected]. FSM

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RANTS, RAVES & RESPONSES CONTENTSMAIL BAG TO READERS

Nice Hobbit anecdotes that Williams’ fanatics Little Girls Are Made Of,” but nifty chase cues that were nice ust a few tidbits to make FSM know by heart. It’s a joy to read that was a few years back. I’m additions to the Apes oeuvre. Jreaders (and the Kaplan such a beautiful piece of film just curious. Are the master 6. Ditto ’s Brothers) happy. music journalism! I also enjoyed tapes in bad shape? Have sales incidental music from the TV Three weeks ago I attended the the “Best and Worst of the Year” been sluggish? What gives? If series Logan’s Run (1977–78). While Lord of the Rings concert in London and John Takis’ take on Trek. And, anything should be out there, it the main title was overly influ- and had the opportunity to meet hey, am I the only fan of the should be this. enced by the disco music of the Howard Shore. While it is unde- great “Pukas” comics? 3. I also liked the recent article day, the score was outstanding. niably thrilling to be on speaking I’ve been a subscriber since on Ray Ellis. Any chance of your Eric Kunze terms with an Oscar-winner, 1996 and I’ve enjoyed almost releasing a collection of his con- [email protected] there are two other things that every issue. You’ve reached such a tributions to Saturday morning are equally important: high level of professionalism, and, animation? 1. Glad you like ’em! First, Howard plans a concert more importantly, care for your 4. Have recently been listening 2. We couldn’t agree more with you that every note of wonderful original tour featuring his music from all readers—it’s astonishing. I feel in a dedicated way to your won- Star Trek series music should be three films sometime next year lucky to be part of the FSM family. derful release of Don Ellis’ French released. We do not know the status of (when all three films are out). This Maurizio Caschetto Connection I and II. What a unique GNP/Crescendo as a label, but we do will be a big affair, as he will even [email protected] and powerful style. I was curious know that they have lost some of their come to Germany—which makes what other movies he scored. In staff and that sales for music from the me very happy. No flying to the Thanks for the kind words, Maurizio. particular, was he the composer original series were always dicey. The U.S. and/or U.K. for a film music And, no, there is exactly one other fan for the TV movies The Groundstar third and final all-Classic Trek album of “Pukas.” (which included Alexander Courage’s concert! “The Naked Time” and ’s Second, there are definite plans “Shore Leave”) was not a success, and to release expanded versions of Points of Happiness this resulted in a long hiatus between all three scores, probably some- . Many thanks for your that and the next Trek album, and time in 2004 (possibly when the 1recent releases of music from likely resulted in the decision to do the 10(+)-hour complete LOTR DVD I Spy and, especially, the “Best of Trek” compilations that set is out). Howard said that each Christmas gift of The Man From included music from all the series in rotation at the time. With Enterprise score will be re-released in a U.N.C.L.E. What a delight to hear currently one of the lowest-rated shows 2-CD set, with approximately 150 this music cleanly. on television and Star Trek Nemesis minutes of music each (which 2. I enjoyed John Takis’ sum- recently bombing out at the box office, means, still no complete release! mary of Star Trek music on CD. Star Trek does not appear to be the Grumble...). Can John or anyone there tell me most marketable franchise going. Christian Kuehn what’s happening with Neil Reportedly it was always difficult for [email protected] Norman and GNP Crescendo’s GNP to move their Star Trek projects through the elaborate course of legal releases of music from the origi- and marketing hurdles necessitated by While we have yet to confirm the nal Star Trek? These seem to have Conspiracy (ca. 1971) and Nightmare expanded Rings albums, we too have Paramount, and with dwindling inter- stopped coming despite high- (ca. 1978 or earlier)? Both have heard of the plans and hope they est and resources it has probably become a reality. lights that remain unavailable. been favorites of mine, but I have become more trouble for GNP than it’s Most notable are Gerald Fried’s no idea who wrote the music. worth, however much we might love What a Wonderful Issue! wonderful space music for 5. Any chance of following up the music. I wish I had better news, just received Vol. 8, No. 1, and “Elaan of Troyius”; his truly origi- your Planet of the Apes releases with but it’s hard to see how any major Star Trek music projects could move for- it’s an amazing issue! First of nal contributions for “Who a CD including Lalo Schifrin’s I ward with the current state of the fran- all, there’s the wonderful John Mourns for Adonais?” with that outstanding incidental music chise. Incidentally, wrote Williams interview, conducted wonderful four-chord motif from the TV series? Including the “Elaan of Troyius” and “Who Mourns with great wit and knowledge by lamenting “no room for gods”; main title on your Conquest of/Battle for Adonais?” not Gerald Fried; Fried the ever-reliable Jeff Bond. Jeff’s and Duning’s “Friday’s Child.” Also for CD was great but only the tip wrote “Friday’s Child,” not George questions are some of the most much desired would be Steiner’s of the iceberg. A particular Duning; Duning wrote clever I’ve read, and Williams’ “Metamorphosis,” Courage’s favorite cue that was used a few “Metamorphosis,” not Fred Steiner; and Steiner wrote “Spock’s Brain,” not answers are very deep. The usual “Plato’s Stepchildren” and “Spock’s times sounded like a miked con- Alexander Courage. However, you did Williams interviews are filled with Brain.” The last release of music tra-bass flute. What an incredible get Courage’s contribution to “Plato’s expected questions and the same from classic Star Trek was “What sound! There were also plenty of

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MAIL BAG

Stepchildren” right. Friends, you can tering engineer, Doug Schwartz at L.K. responds: You’re quite right prevent embarrassing mistakes like which are somewhat dry, but Mulholland Music. about Plymouth—thanks for the infor- this from appearing in Film Score much more to my liking. By the I don’t know who at M-G-M ordered mation. Unfortunately, master tapes Monthly by purchasing the exciting way, what is the low-frequency the stereo masters destroyed, but suf- for Madame Bovary are incomplete in book The Music of Star Trek. It’s avail- thumping sound audible in some fice it to say, knowing the name won’t Turner’s archives, and missing alto- able from FSM for the low, low price of of the tracks? It’s only mildly bring the music back. This happened gether for Quo Vadis? $17.95 plus shipping! Isn’t it worth that only to a specific block of M-G-M mas- noticeable, but it’s there. Just Curious modest sum to keep me from correct- ters in the early . Prior to 1950, Does anybody at FSM happen ust curious about something: ing you like a big jerk? everything there was recorded on opti- 3. No, we’d like to but we can’t. to know which “brilliant” execu- cal film, which is typically monaural, JHave composers ever been 4. Please check .com tive made the decision to pre- unless it was done in two or more commissioned to compose alter- 5. I don’t know. serve the M-G-M soundtracks in channels (“directional” stereo). There’s nate scores for movies? I’m not 6. Hmmmm, we’ll see about this one... mono—mixed down from much more to this, which we hope to talking about situations like the 7. Guess which one of the above stereo—and then dispose of the explain in a future article. Jerry Goldsmith/Tangerine Dream responses was written by Jeff Bond. stereo masters? That guy certainly just received Plymouth scores for Legend, when one com- I Like Plymouth Adventure takes the prize for stupidity! I IAdventure, and the liner notes pleted score is thrown out in just can’t tell you how much don’t think this happened to all mistakenly mention that the favor of another. I’m thinking II’m enjoying your release of of M-G-M’s early stereo recording score’s first release was on a 10” more of a “how someone else Plymouth Adventure. Heretofore, I’ve sessions, did it? Every once in a LP in 1953 with Madame Bovary would score it” kind of thing. I only been able to listen to a cou- while some stereo material pops and Ivanhoe. It was actually issued enjoyed Bruce Broughton’s score ple of cues on my LP (which also up—though usually only a por- by M-G-M in 1952, coupled only for Lost in Space, but it would have included Madame Bovary). It’s won- tion of and not the entire scoring with Ivanhoe. It was not until been fantastic to hear how John derful to hear the entire score, sessions of a particular film. around 1956 or later that it was Williams would have come back particularly in as good a quality Andy Bendel reissued on a 12” LP by M-G-M, to this gem of his past. Or to have as on your album. I especially Champaign, Illinois this time with both Madame Bovary John Williams and Jerry like the fact that you folks at FSM and Ivanhoe. Thank you for reissu- Goldsmith doing alternate scores don’t drench the music with fake L.K. responds: The low-frequency ing all the wonderful Rózsa for Star Trek and Star Wars, respec- reverb—M-G-M liked to do that sound you’re hearing is called a bias soundtracks. I’m still looking for tively. To your knowledge has thump. I forget the technical explana- with many of their LP releases. Bovary and a 2-CD Quo Vadis? that ever been done? tion, but it is very difficult if not impos- Bill Ford You seem to keep intact the origi- sible to get out. I am glad you like our I read your latest issue (Vol. 8, nal recording studio acoustics, sonics, which are the work of our mas- Paducah, Kentucky (continued on page 32)

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FSMCD Vol. 6, No. 6 • Released by Special with Turner Classic Movies Music

All Fall Down & The Outrage by Alex North

THIS CD FEATURES TWO SCORES BY Alex North (1911-1991), a masterful composer who penned two of the most beloved scores of all time in Spartacus (1960) and Cleopatra (1963). Far from the pomp and glory of the ancient world, the projects here hark back to North’s roots in the American stage, where his innova- tions of chamber ensembles and dramatic introspection inspired Elia Kazan to bring him to Hollywood for A Streetcar Named Desire (1951).

ALL FALL DOWN (1962) IS A FAMILY/ coming-of-age drama directed by John Frankenheimer, who like North was known for his technical genius but had a heart for intimate drama. Scripted by William Inge from a book by James Leo Herlihy, the film stars as a teenage lothario worshipped by his idealis- tic younger brother (Brandon deWilde) and dysfunc- tional parents. North’s poignant, sweetly jazzy score is full of hushed, haunting textures, with lovely themes drawing the pained connections between the charac- ters, delicately balanced between love and pain— American Beauty, circa 1962.

THE OUTRAGE (1964) IS AN AMERICAN remake of the Akira Kurosawa classic Rashomon, in which a violent incident is recalled differently by each of the participants. The Outrage transposed the setting from feudal Japan to the American West, star- ring as a Mexican bandito under layers of make-up. The film was directed by , a superb helmsman who favored a paucity of music; North’s complete score runs a mere 14:29 (presented here as a one-track suite), favoring a gentle, lovely theme for the woman and victim (Claire Bloom) whose beauty sets the tale in motion.

FSM’S CD OF ALL FALL DOWN AND THE Outrage features the premiere release for each score, presented in stereo from the original master elements, including alternate and deleted cues. $19.95 plus shipping.

Album Produced by Lukas Kendall All Fall Down 1. Main Title 2:43 14. Conflict/ 2. Bridge 1:25 Symphony No. 2 (Sibelius) 4:49 Don’t Miss 3. So Long 1:11 15. Goes Double 1:20 This Month’s 4. Diary 1:11 16. Trouble/Shut Up 3:32 5. Echo 1:55 17. Pregnant 1:47 Golden Age Classic Golden Age Classic 6. You Just Feel It 1:14 18. Decision 2:56 7. You’re My Guy 0:51 19. Revenge 2:22 Green Fire/ 8. The Past 2:06 20. End Title 2:29 Bhowani Junction 9. Still My Guy 1:20 Total Time: 38:24 by 10. Alone 1:17 See back cover 11. Spring 0:35 The Outrage forfor details.details. 12. Hate Life 1:20 21. Suite 14:29 13. Take It Easy 1:20 Total Disc Time: 52:54 v8n3 issueB.qxd 4/8/03 1:26 PM Page 12

Battlet’s as daunting a task to score the half-dozen of Edelman’s Plans themes into his own beginning of the project. So I never felt Civil War as it is to film it. Just ask score, Frizzell has written a majestic, epic uptight about what he did with my music. John Frizzell and Randy Edelman, work whose tender melodies, choruses and Once in a while I’d check in to see where he the composers who’ve been ethnic music show war as a tragedy in the was using my themes, and I could tell that entrusted with giving musical most devastating, personal sense. If scores like John was having fun with them. voice to producer Ted Turner and Glory and Gone With the Wind are about blood FSM: How did you decide where you directorI Ronald Maxwell’s gargantuan (and and , then Frizzell’s sweeping Gods is wanted to use Randy’s themes? ongoing) epic that depicts the War Between about the very human toll of war, a point that JF: I was fair about where I’d use the the States through the people swept up in is brought home with melodic restraint. themes that I’d written as well as Randy’s. It’s it—both statesman and citizen. definitely easier to use your own stuff, but Edelman took the first volley when he FSM: How did John come on board Gods there were some great scenes where Randy’s wrote three hours of music for Gettysburg, a and Generals? themes worked well. A couple of cues had TNT miniseries that, as part of Turner’s Randy Edelman: I’ve always had great both our themes in them. “No Photographs” is glorious hubris, was later released to the- enthusiasm for John’s work; funnily enough, a particular cue that’s a weird hybrid. aters. Now, because of scheduling difficul- we had lunch a few months before Gods and FSM: What did you get from employing ties, Edelman has passed the scoring flag to Generals came around. Randy’s themes? John Frizzell, who carries it with honors for John Frizzell: You called me up after JF: A composer using another’s themes has Gods and Generals (see Score, pg. seeing . a long history in film, and I enjoyed using 33). Weaving about a RE: And I watched it twice in a row! I Randy’s themes when it was appropriate. called John out of the blue, which is not a You almost get inside of the other com- thing that composers do, especially when it’s poser’s brain and see how it works. But it’s someone they don’t know! I was supposed not until you tear the music apart that you to score Gods and Generals, but when it understand how it’s structured and what became apparent that I couldn’t do it makes it tick. And it’s a treat to see how because of scheduling, I thought of John Randy’s music works. for the job. I felt very comfortable rec- FSM: John, how would you describe what ommending him. And John took you were after with the score? off with it. Now everyone’s JF: The main thing that Ron Maxwell happy with John’s score, wanted the music to project was the emotion which makes me feel great. of the individual characters, without any So this worked out well. judgment of the morality of their political FSM: Had you started affiliation. If you saw someone whose house writing for Gods and was being burned down or invaded, you Generals when you found invoked the emotion they were feeling rather out you couldn’t score it? than the political motivation of what was RE: Ron showed me going on. Most of them had no idea what or

some footage, and I did whom they were fighting for. All wars are PICTURES ANTIEAM FIREWORKS/TURNER ©2003 ARTWORK about a half-dozen extremely complex, and I wasn’t trying to themes, which I gave deal with any political issues, other than to to John to use at his create music that would make you not want discretion. I’d admired to fight. I wanted the score to make people

John’s work, and he feel the pain of war. That’s more important GODS AND GENERALS was given complete now than ever. freedom right from the

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JOHN FRIZZELL and RANDY EDELMAN marshal their musical forces for GODS AND GENERALS. Interview by DANIEL SCHWEIGER

Turn up the Volume important aspects of the score, and Ron had a opposing brigades of Irish soldiers encounter FSM: How much music did you write? really great idea of where the music was sup- one another. It’s one of the most powerful and JF: Three hours. posed to go. devastating moments that I’ve ever had the RE: I had to do approximately the same FSM: How did you pick and choose your privilege of scoring. I thought it would be when I scored Gettysburg. And in both musical opportunities? great to get the Chieftains’ Paddy Maloney to Gettysburg and Gods and Generals, the emotion JF: I didn’t want to use a particular theme play on the scene, which he did with a uil- dictates where the music’s going. Three hours for a particular character rigidly. That would leann pipe. He played the Irish theme with a of music sounds like a lot, and it is a lot. But have been a hokey approach. pennywhistle on other scenes that conveyed a once you get into the characters, it’s not like RE: The themes in Gettysburg weren’t about gentle tragedy. The Irish left their country to you’re sitting around forever trying to decide the characters at all. They were about emo- escape tyranny, and came to America where what the style’s going to be. You settle on the tion. The other thing that’s different about they ended up killing each other. I was also music you’re going for, which John did beau- these films is that they’re made completely very privileged to have Mark O’Connor play- tifully for Gods and Generals. He did a great job outside of Hollywood, even though studios ing on the score in addition to Paddy. His of continuing the emotion that was conveyed might be releasing them. Ted Turner operates staggering ability to procure emotion from his in Gettysburg. completely on his own, which is wonderful fiddle is one of the strongest points of this JF: Absolutely. I watched Gettysburg to see for a composer. You don’t have to deal with a score and a great part of making these the techniques that Randy developed there. committee or test screening. These films come melodies come to life. FSM: What was your for Gods from Ted Turner’s enthusiasm and Ron RE: I think Gods is a more “realistic” score and Generals? Maxwell’s vision. That’s a great way to work. than Gone With the Wind. It uses different colors JF: We had 95 players and 40 singers most JF: It’s almost like the way they made films and textures but continues its tradition in the of the time. Then there were our soloists. I 30 years ago. best sense. John also uses a choir in a very tried to give every soloist his “moment,” FSM: Do you think your score had to serve effective way. Gods and Generals is also a much whether it was a horn, a cello, clarinet or the as a “narrator” to the film? more acoustical score than Gettysburg, which is choir as a section. I hope these solos kept the JF: Yeah, I definitely contemplated that. The what Ron probably wanted for it. But score fresh and interesting. I had to map out music acts as a guide to where you are in the that was a different situation. how to play three hours of score across a film story, especially in the relationship between JF: While I think that will ultimately be six hours, which was Stonewall Jackson and his wife. those are great scores, extremely daunting. You get a cut of the film FSM: Could you talk about the use of Irish I had a lot of different that comes in two boxes of videotapes! It took music in your scores. tools to work with here. a day-and-a-half alone to get the footage in RE: There were characters in both (continued on page 18) the computer, and then I had to figure out Gettysburg and Gods and Generals who are Irish, how many times to play the themes and which is the basis for that. John magnified where the emotional climaxes were. The spot- that in Gods and Generals. ting was really intense. I spent a couple JF: One of the most moving scenes of weeks just thinking about it. That in Gods and Generals is when was one of the most

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hen the Wachowski They took the idea of this lesbian relationship, Brothers released Bound which was something of a favorite among the in 1996, it was hailed as Sundance-type films at the time, and they one of the best of the concocted a story that was pretty traditional post-Reservoir Dogs “new in terms of a crime drama but added a lesbian noirs.” Part of the equa- element that was new. But there was also a tion was a score by Don caper element that was essential to the lesbian Davis full of striking TAKE story because these con these orchestral effects and percussive textures, all Mafiosi and it played on the machismo cul- brilliantlyW woven into the Wachowskis’ sleek ture of these gangsters, who really couldn’t visual vocabulary. As impressive as this first conceive of women not wanting men. Had collaboration was, it could hardly have pre- these two cons been men, or had it been a pared anyone for The Matrix, the Wachowskis’ heterosexual man-woman relationship, they 1999 kung fu cyberpunk epic starring Keanu never would have fooled these Mafiosi. But Reeves and Carrie-Anne Moss. While several the fact that they were lesbians was the only sequences were driven by existing techno THE reason this caper worked, and that was a new tunes by the likes of the Propellerheads, Davis’ element. This concept they had of taking pulsating postmodern orchestral score was existing structures and rearranging them into even more important in establishing the milieu something new was really fascinating to me. I of vibrating existential uncertainty that ani- didn’t realize at the time that they would take mates every frame of The Matrix. From the it to the exponential development that The swelling brass effects that play over the movie’s Matrix turned out to be. opening stream of computer code to the nerv- FSM: What kind of working relationship ous contrapuntal energy bristling underneath RED did you develop with these guys? the sequences “inside” the Matrix, cluing in the DD: I offered them a chance to workshop viewer that something is amiss, Davis created a the score with me; I demo’d every cue, they musical world as distinctive and boundary- listened with the picture and we worked out pushing as the Wachowskis’ film. While scoring alternatives—which developed into the way films like Jurassic Park III (on John Williams’ per- we worked on The Matrix. In terms of develop- sonal recommendation), Behind Enemy Lines and ing my style, I’ve kept active in the concert Ballistic: Ecks vs. Sever, Davis has managed to stay PILL field and I’ve taken a big interest in working connected to the concert field, premiering his on music for its own sake rather than simply work Pain for Two with the promoting myself as a commercial entity. I ensemble Xtet in February, alongside pieces by think I’ve been able to bring that conscious- Karl Kohn and Aaron Kemis. This year Davis ness to film music and that specifically has has just one job: applying music to everything informed my work on the Matrixes, although Matrix. In addition to two full-length live- there was some of that aspect in Bound. action sequels, Davis is scoring nine Animatrix FSM: You had done all kinds of different short animated films, including one nine- scores before Bound, but this was the first time minute computer-animated short, The Final I remember hearing this really extreme sound Flight of the Osiris from the makers of the film from your work in terms of orchestration. It’s Final Fantasy. Davis’ score for The Matrix and the not exactly the style you used on The Matrix, first sequel, The Matrix Reloaded, is being incor- but you can almost see the beginning of the porated into a Matrix videogame called “Enter Don Davis attitude and textures you would later use in the Matrix.” In conversation Davis is thoughtful The Matrix. and articulate, befitting a composer who has shifts from the DD: There’s one thing in particular that managed to bestride both the concert and film definitely parlayed itself into an active para- composing worlds. concert world digm in the Matrix scores. There’s one moment BROS.WARNER ©2003 ALL RIGHTS RESERVED. ARTWORK [in Bound] in which the Joe Pantoliano charac- FSM: Tell me about working for the back into ter gets wise to the fact that his girlfriend is Wachowskis for the first time on Bound. working with someone else. She’s talking on Don Davis: It was obvious that these are science fiction’s the phone and he walks in and she hangs up; very smart guys. I was really excited by the he grabs the phone and hits “redial.” The script to Bound when I read it. It really was a newest, biggest phone rings right on the other side of the wall, REVOLUTIONS THE MATRIX cohesive narrative, but what really impressed and he can hear that the person is right next AND me about it was that it took disparate elements franchise. door and starts to beat her up. I scored that from different genres and combined them in a with basically a piledriver sound. That’s some- new way. They were kind of riding the wave of thing that really resonated with the the Reservoir Dogs super-violent low-budget Wachowski Brothers, and they specifically

independent movie thing that was happening. BY JEFF BOND wanted something like that in The Matrix. RELOADED THE MATRIX

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The Post-Matrix Urge FSM: You’ve described the approach you took in The Matrix as postmodern. What’s your definition of that? DD: I see postmodernism as being a fairly critical junc- ture in music history. Modernism specifically is twelve- tone or atonal music, the driving force in contemporary music until 1980 or so. Postmodernism pretty much refers to minimalism or minimalist influence, but there are two critical moments in recent musical history where two musical camps merged. There was the Wagner camp and the Brahms camp, and then later there was a way to merge the two concepts without conflict, and that was Schoenberg. The result of that synthesis was actually twelve-tone music, and a similar thing happened with Schoenberg, because his output was seen by many people to be uncompromising, extreme and unlistenable. On the other side of the equation was Stravinsky, who after exploring the Russian sound was writing what came to be known as neoclassical in the 1930s and 1940s. By 1940 there was a huge rift among people who listened to con- cert music: you either listened to Schoenberg or Stravinsky, but very few people listened to both. But after the war, when Europe was in ruins, Boulez and Stockhausen became the dominant composers, and their message was that you don’t have to choose between Stravinsky and Schoenberg. Stravinsky pushed forward the rhythmic concepts of music and Schoenberg elimi- nated the need for harmonic content and freed composers to go into a completely atonal space. [Boulez and Stockhausen] launched a huge movement that synthe- sized the achievements of both Stravinsky and Schoenberg, and for many years Boulez was really the preeminent composer. During this time there were composers who pre- sented the antithesis of what Boulez represented, and they were Steve Reich, Philip Glass and Terry Riley. Reilly wrote a piece called In C in 1965 in which any ensemble could basically improvise in the key of C for about an hour. It’s an interesting sound, but it’s clearly the antithesis of what Boulez and Stockhausen were composing. By 1980 there was a huge rift between the WHOA, SQUARED: The Matrix Reloaded and Revolutions, both due this year, minimalists and the modernists, and I think what the extend the postmodern approach Davis used in the original score. composers who’ve emerged since 1980 have demon- strated is that it’s not necessary to choose between Boulez and Reich; they’re both important and their ele- ments can be combined in a new way, and that’s what postmodernism represents. FSM: And would you say this was something happen- ing in terms of your own evolving style or just an approach you saw working specifically on The Matrix? DD: The Matrix was the only movie I’ve done that could absorb that kind of sound. I’m not exactly sure why, but it doesn’t make sense to impose a style on a film if it’s not going to support the film, and on The Matrix it really seemed to support the film. FSM: When did you actually figure out that this was going to be the approach you’d take on The Matrix? DD: The thing that’s different about what I did in The Matrix and what postmodern music generally represents is that there’s an element of jeopardy in an that

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TAKE THE RED PILL

John Adams’ music or the other composers the Matrix itself. I know the Wachowskis that are doing that sort of thing doesn’t really added a kind of green-lighting element to the address. I took that style and generally added photography to hint when people were being a harder edge to it, and that’s what made it depicted inside the Matrix, so did you do any- work with the picture. I don’t think you can thing musically to suggest that? just take John Adams’ general work and put it DD: There’s a motivic concept that I think up against an action movie and expect it to is something of a postmodern idea, kind of a work; it has to be a little bit darker than that. busy but under-the-surface contrapuntal In that way the score for The Matrix may have thing. It’s generally a pretty full texture been even more postmodern than even John because I’d have two parts or even four parts Adams usually represents, because I think of violins, two different viola parts, two differ- there’s a lot more going between atonal music ent cello parts, and even bassoons and bass and aleatoric ideas and the postmodern con- clarinets and other woodwinds doing that, cepts—the minimalist things—than you would but they wouldn’t all be playing the same hear in a piece like (Adams’) Harmonium. thing. I would do enough variation of those few little motives that it created a full texture. Techno-philia There was a lot of opportunity within that FSM: Another element you sort of had to simple structure to thicken the texture. What I work around in The Matrix was the use of was looking for in terms of drama was having techno in that movie. this busy thing underneath that represents DD: It’s quite a different equation in the something else going on that you can’t see or second Matrix than in the first one. They took be fully aware of. existing tracks in the first Matrix and cut them FSM: There’s another really striking effect, to fit the action; in Reloaded, those artists are which starts off the film and becomes a really actually writing to the picture and in some of important element of the score—this kind of those cases I’ve been writing with them. FOR THE BROS.: Davis began his relationship with the swelling, slowly throbbing brass sound. FSM: Since they were going after specific Wachowski Bros. on Bound (1996, top) and continues DD: The first time it appears is when Trinity songs for that movie and they knew that sort on the Animatrix spinoffs (below). is jumping from one building to another and of style would be playing within scenes of the there’s a pretty great slow-motion shot of her film, as opposed to just in the end credits, did jumping across. Larry and Andy said they you create transitions or work in that techno were going to be doing some special sound style to fit those pieces into the picture? effects there, so they wanted me to open up DD: All the instances where there were for that but still build, which is sort of a rough songs, I had to cover it, so I covered it in that directive. What I came up with was something style. And when they were able to get those that had a lot of energy but there was no songs, I didn’t have to keep developing those motion—they were just playing whole notes things, but they were in that techno style. but swelling from triple to triple forte FSM: And you said you’re working a bit within a bar or so. It sounds pretty good but more organically with the songs in the what I laid on top of that was to have the sequels; how is that working out? French horns play a C major triad and the DD: Ben Watkins, who has a band called trumpets would play an A-flat major triad, Juneau Reactor, did a 12-minute sequence and they would both be playing at the same with me that’s a freeway chase that culminates time but the tonality would change by virtue with about a four-minute rooftop of a truck of which was loudest. When the trumpets got

kung fu fight that is all orchestral. Ben and I loud you perceive it as A-flat major, but when Films Inc. Co./Spelling ©1996 Dino Delaurentis Artwork All Rights Reserved. got together and worked out some stuff. He the horns got loud you perceive it as a C pretty much put the rhythm tracks together, major, which I took as a metaphor for these Bound but there are orchestral elements of that two worlds competing with each other. whole chase, and we worked out what those They’re all going on at the same time yet, had to be together. There’s a bit of vocal: some depending on where your perception was, of it is choir and some [are] vocals that he’s you’d perceive it as one thing or another. worked with in Juneau Reactor. Vocals are not FSM: Did they wind up actually using the the preeminent element in that sequel, nor sound effect in that shot? were they in the first Matrix; typically, they DD: The sound effect they were talking would use the nonvocal elements. about was sirens—they wanted to hear the sirens, and in the final dub there was a good

What’s Your Motivation? balance of what I was doing and what the Bros.Warner ©2003 All Rights Reserved. Artwork FSM: One of the interesting elements of the sound-effects people were doing. It was a first movie is that for the first quarter or so of down shot and you could see fire trucks com-

the film you don’t really know that you’re in ing along. But a lot of what they constructed The Animatrix

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[was] all this havoc that happened whenever what the Matrix was, and of the higher-profile it didn’t have the kind of narrative that The the agents and Morpheus were fighting, and it movies that I’ve gotten offered since the first Matrix had, so I didn’t feel that it required the always involved the police and fire trucks and Matrix, like Jurassic Park III, the style just would- same treatment musically. But The Final Flight of some sort of construct would occur such that n’t work for that at all, and I didn’t want to the Osiris was like part of The Matrix and I it could be explained to the people who were impose that on the picture. treated it as such. There were a couple of the- in the Matrix who weren’t aware of anything FSM: You’ve scored nine different anime matic elements that I presented there that else going on. They showed this as a short films based on the world of The Matrix, show up in Reloaded. metaphor for some of the conspiratorial sorts and one of these, Second Renaissance, actually FSM: You do something I loved in The Final of theories of what the authorities were up to. sets up the whole world of The Matrix. Flight of the Osiris where they show this ship’s So when the agents come in and shoot a place DD: The other stories, like World Record, guns firing and you have these blasting, stac- up, it will show up in the newspaper as a really center on individual stories revolving cato brass hits playing along with the gunfire, gangland shooting or a nightclub fire or around the Matrix. There’s one called Detective but then that’s worked into the fabric of what something like that. Story, which is kind of a film noir thing from you’re doing rhythmically. It’s a kind of FSM: You took another really unique the ’50s. The focus of the story is completely mickey-mousing, but it’s something I don’t approach in the film’s fight scenes, and I think different from any of the others, and they all think people do much anymore, and when it’s you first play this in the “dojo” scene where deal with their own chunk of what the Matrix done well it can be really exciting. Neo is training with Morpheus—just pound- tries to explain and the mythology of the DD: It’s a fine line, isn’t it? The masters of ing away with higher and higher tones. Wachowskis. One of the cute little features of the past, Alfred Newman and Korngold did DD: I was looking for something to play the first Matrix is when they’re all walking into that to excellent effect. My knee jerk is to do action that wasn’t the way I normally played the hotel and Neo sees a cat; he looks back that anyway and the Wachowski brothers like action. At that point I’d done a lot of TV, and and says, “Oh, I had a déjà vu.” They all grab that approach. Ultimately, it’s up to the direc- I’d probably written 500 chases; there’s a way him and say, “Wait—what happened?” tors how far they want the music to be from to do it, and I didn’t want to fall into the thing because whenever you have a déjà vu it the action or how close they want to get to it. you get into often where you’re just trying to means something has changed in the pro- get the thing done. I looked upon some of the gramming of the Matrix. So they’ve come up Films of Future Past things I’d been doing on the concert stage and with these little mythological concepts of FSM: Do you notice a big difference between a lot of the things other people have been explaining various elements of real life in working with the Wachowskis and the way doing in scores, and one of the things that has terms of what’s going on with the Matrix. you work with other directors? been synthesized in postmodernism is some There’s one story that involves a haunted DD: We’re not living in a culture that’s of what Stravinsky was doing in the Rite of house; the concept is there’s a small area in really appreciating music or any of the arts to Spring—that sort of thing has been repro- the Matrix that has program bugs, and so a great degree. Most directors, like most peo- grammed into something the minimalists things go haywire in that little area and that’s ple, are steeped in popular music, so it’s have been doing, so that combines the how they contend the origin of a haunted becoming rare. I think real students of film Stravinsky pounding rhythm idea with a very house legend. Reloaded goes into some vam- have taken note of what was done in film simple minimalist approach to what the pire legends. music by Jerry Goldsmith and by Bernard actual pitches are. FSM: Since at least some of these are really Herrmann and composers like that that really laying the groundwork for the Matrix story did something with it, and those directors are Future Fallout and you have two sequels in this series you very much aware of what music can do. But FSM: The Matrix was such a monster hit; how also have to score, did you have to pay a lot that is countered by the cultural divide of did that raise your profile in terms of the of attention to proportion in what you were people who’ve come up with a real disdain for kinds of jobs you got offered after that? doing—specifically, being careful you weren’t , and when they hear orchestral DD: My profile was raised, but I don’t unleashing all your forces in some of these music they go, “What is that?” And you can’t know that I got as much work as I thought I shorts and spoiling the listener for what you really blame them. One of the advantages we would have. A lot of people who noticed the were going to do in the sequels? have and one reason for optimism is that all music in The Matrix noticed Rage Against the DD: The animes were a Warner Home these old films are archived on video and Machine more than the underscore. Video project and had their own budget, so I DVD, and we have channels like Turner Movie FSM: The type of scoring you were doing knew I couldn’t go all out with full orchestra Classics and AMC where you can turn on the is something that a lot of people love, but it’s on those. It wasn’t determined right away that TV and see some great movies. Once aspiring almost a stealth approach in terms of a broad The Final Flight of the Osiris was going to be a directors become interested in film, they’re audience—they feel it and it’s a part of how theatrical short, but once they finalized that inevitably going to become interested in the well the movie works for them, but they don’t deal I convinced them that it was not a good films of the ’70s and ’60s and ’40s, and they’re really walk out of the theater talking about idea to do that one electronically because it going to note what the scores did for those the great music. Jerry Goldsmith once told me wouldn’t do what they really wanted it to do, movies that they would like to see them do how much he loved doing the score for Total which was be a prelude to Reloaded. That was for their movies. Recall, but that no one really noticed it. the only one of the animes that I treated as FSM: How is your music evolving from the DD: Well, I noticed it! part of the Matrix musically, because it was the original Matrix to your work on the sequels? FSM: Were you able to apply any of the only one that really looked like The Matrix and DD: I think the biggest difference is that the ideas from The Matrix in other scores? had that kind of action. In Second Renaissance I audience doesn’t need to be educated in terms DD: I wasn’t that keen to apply that style to reprised some elements of The Matrix, particu- of what the Matrix is, and one thing that is other movies because I thought it might dilute larly the power-plant music, but even on that going on with this movie is they don’t really

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re-explain the exposition of the first movie, so anyone who hasn’t seen the first movie is Music Appreciation DD: [L.A. Times critic] Mark Swedon in partic- really going to be lost. I don’t have to go into FSM: You’ve managed to keep a foot in the ular, who happens to be a pretty erudite guy it and treat the Matrix different than Zion. On concert world; how difficult is it to maintain and rather open-minded in terms of stylistic the other hand, what is new is that there is a credibility in both realms simultaneously? approach and influence—he’s a guy who’s real war going on with troops and ships accu- DD: I think those barriers are starting to really championed Philip Glass and John mulating, and this war is going to be fought break down to a certain extent. The thing that Adams as well as Lutoslowski and people on in the third movie, Revolutions. Some of the really prevents film composers from doing a the other side of the fence—he in particular new elements I have to deal with are present- lot of concert work is that the concert world seems to have a real [problem with] John ing and developing the ideas that are going is based on relationships, just like the film Williams and brutally pans him whenever he to support this war footage. Those ideas are world, and a composer’s relationship with steps into the concert arena. It’s patently less postmodern and a little more tradi- conductors and with managing directors of unfair and really wrong—all of John Williams’ tional film stuff, the big pounding orches- symphonies and such is hindered if you have work, in the concert world and on film, is tral stuff you might have heard in Tora! Tora! to develop relationships with directors and entrenched in such integrity that it baffles me Tora! for example. In doing that, I’ve tried to producers and studio heads and you’re when people dismiss it. combine the more conventional approach spending months of your life working to film FSM: What did you think of Williams’ with some of the signature things that I and recording that. It’s pretty much impossi- score for Minority Report? think were presented in the first Matrix, the ble to develop relationships in two separate DD: I thought it was really strong; it was seesawing dynamic thing. In general, the fields. I think the resulting bad feelings interesting that that and A.I. were going into polychordal ideas that permeated what I amongst concert-type people toward film a postmodern kind of style as well, [but] from was trying to do in the first Matrix I would composers is just being afraid of the the other side of it. It’s shocking to hear a juxtapose with the more traditional ideas as unknown; they don’t know film composers so composer who’s been doing this for a long they’re needed. they kind of fear them. The real snobbery long time, to hear him grow. He’s not a young FSM: I’m assuming, too, that these films comes from critics more than the people man and he’s hardly a pauper; he’s a guy are much more elaborate in terms of action. really in there doing stuff. who you’d think could rest on his laurels and DD: It’s harder. It’s more relentless action FSM: You’d think there would be more he’s not—he’s really growing and pushing it than the first one, plus it’s a longer movie and understanding between the concert world forward, moving and still supporting the pic- therefore [has] more music: around 95 min- and the film world here in Los Angeles), but ture in all the ways it needs to be supported. utes in this one; the first movie had about 75. whenever I read a concert review in the L.A. It’s truly exciting to hear the work of someone Revolutions and Reloaded are bigger projects. Times, film score pieces are just eviscerated. like that. FSM

good moments. enthused by him. Battle Plans FSM: There’s also a very effective battle JF: I had an introductory meeting with (continued from page 13) cue called “VMI Will Be Heard From Today.” Ted, and he was really enthusiastic and glad My main idea was that the “Gods” would be JF: Don’t drive to that cue! It’s a seven- that I was working on Gods and Generals. Then the choir, and the “Generals” would be played minute piece, but we had to cut it down for he basically let me and Ron work together on by the percussion and the snares. That really the CD. The Latin lyrics quote the depiction of the score. It was really Ron’s film. brings out the emotion during the battle the Roman Civil War from Lucan. They say, FSM: What kind of duty do you feel to this scenes. And I didn’t want the themes to be “What madness is this my countrymen, what saga? specific to the characters. I wanted them to be fierce orgy of slaughter?” RE: It’s the duty to Ron Maxwell, who’s the specific to the ideas of pride, honor and love. FSM: Was it difficult to decide on the whole spirit behind these films. He’s the guy So I might play that same theme over a scene music to put on the CD? you’re ultimately pleasing, the director who’s where a character is feeling pride, whether JF: We worked hard on the sequencing of put everything together. Ted’s the one who’s he’s fighting for the North or South. This is a the CD. It was a great challenge figuring out giving him the opportunity. score about America. what part of the three hours of recorded JF: I respected what Ron wanted, and I RE: Yeah. Take the case of Gone With the music would be used. And the cues didn’t like think this film is important for this country to Wind. There’s a lot of source music and dance to be edited internally, so in most cases we understand war, especially today. music in it. But this is a more intimate film just dropped them off entirely. Maybe we’ll RE: Yes. This is an amazingly powerful about these guys. It’s not a “physical” film, do a second CD. I don’t know. subject. You really feel that what you’re although there’s a lot of fighting. But even in doing is important. For me, Gettysburg was a those sequences, it’s about what’s in the sol- Cheers from Mr. Turner unique opportunity, as I’m sure Gods and diers’ eyes. The scope of this is emotional and FSM: How much was Ted Turner involved Generals was for John. It’s very rare that you personal. And that’s what you have to score. with your scores? get the musical scope and creative hand of a FSM: What are your favorite moments in RE: Ted has great passion for the subject film like this. the Gods and Generals score? and was a great cheerleader with his interest JF: You certainly don’t. It’s a subject that’s JF: I really loved what Paddy played over and enthusiasm for the music. He loves his- weighty and massive. And with so many the Irish brigade scene. tory and is really passionate about it. And epics coming out, it will be interesting to see RE: I loved the Chancellorsville battle when you talk with him, his passion for the how people embrace this score. I hope I have and the Irish brigade. There are a lot of subject elevates yours. You come away created something they will enjoy. FSM

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Brian Tyler tackles Children of Dune and The Hunted. By Jeff Bond Arrakis Attack! Brian Tyler’s apparent ambition to score admits to being a total nerd. “I was a big fan of Dune and Lord of the Rings and The Chronicles of Narnia, any of those absolutely everything came close to series,” he says. “I was one of those few people who actu- ally enjoyed the original Dune movie—I’ve seen it hun- fruition this spring when he had the dreds of times.” Children of Dune takes place in the aftermath of Paul Maud’Ib’s takeover of the planet Arrakis and his Bhorror-thriller Darkness Falls and the tortured path to rejecting the mantle of ultimate power that stewardship of Arrakis and its addictive spice holds action-thriller The Hunted in theaters, as for him—all amidst the backdrop of continuing skulldug- gery and feuding between Houses Atreides, Corrino and well as the Sci-Fi Channel’s follow-up to Harkonnen. “It was really one of those dream canvases— an epic story of betrayal and an epic love story, and the its successful Dune miniseries, Children of elements of the worms and the Fremen; it was an absolute joy because it’s what I would watch anyway,” Tyler says. Dune, on television. He even found time “That always makes it a lot easier. I was on this very early, even when they were finishing up the screenplay, and to score an episode of the Star Trek series they would send me conceptual designs when they were doing the set design and the ’thopter design and the ships Enterprise (see sidebar next page). and costumes, and I was writing themes even then. There’s a theme that’s the Atreides motif, which I actually The latter two projects were particu- had written years before with Dune in mind. I had a sketch written out that said ‘Dune-like’ and I never thought I larly gratifying for Tyler, who proudly would do anything with it. I remember thinking it was

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too bad they had already done Dune kind of the combination of East meets West, fied and intertwined. It was tricky recording, because I thought this theme would really but I didn’t want it to be something like ‘the too, because I didn’t want to use samples; it work great in case there was ever a movie otherworldly people are East.’ I wanted it to was all live performers.” that had something to do with this desert all merge and have all the different houses— Graeme Revell had scored the previous power feel.” the Atreides house and Corrino house and Dune miniseries, and while the element of With Children of Dune due to air over three the Fremen—all the different characters have Middle Eastern instruments and feel was consecutive nights in two-hour segments, their own feel musically as opposed to just to both, Tyler’s score showcases a Tyler had his work cut out for him. “It was a instrumentally. That’s why it’s different than much larger orchestra and more of the flour- monster,” the composer agrees. “Just the having a theme played on an Eastern instru- ishes associated with epic adventure film number of themes and different kinds of ment for one character and by the full scores. “This was a completely different direc- instrumentation—it was like three movies. It’s orchestra for another; it was much more uni- tion, consciously, from everyone,” Tyler says. Saving the Enterprise

With Star Trek Nemesis pulling think it lends itself nicely to seeing in a measly $43 million at the box the Enterprise in space going along— office in December, and Enterprise it gives you chills enough when regularly eking out a position at the you’re watching it and writing music, bottom of the Nielsen ratings, the so I thought that backing away from Star Trek franchise is currently so that would be a mistake.” sick Dr. McCoy himself would be While Tyler’s score was a rela- hard put to say anything but “It’s tively lengthy one at around 24 min- dead, Jim.” But in a sign things are utes, the composer took an interest- really desperate for the franchise, ing approach in spotting the Enterprise’s post-production produc- episode, even allowing some shots ers recently did the unthinkable: of the Enterprise shooting through They actually allowed a composer to space to play out without music. “I write some action music for the always feel that if music’s going to show. Even more shocking, some- be more wallpaper or a tone that one from outside the show’s stable you don’t really hear or pads, there of composers (including Dennis shouldn’t be a score,” the composer We were having the musicians, if it was in mezzo forte, sometimes go to forte and if it was forte, go to fortissimo.

the final escape from the vessel used to doing episodic television, so McCarthy, , Paul explains. “If the score’s going to be before it burnt up during an atmos- I wasn’t thinking that for the future I Baillergeon and last year’s addition, good it has to say something and pheric re-entry—footage that was might be establishing some themes, ) was selected. point you in one direction or another, slightly modified to avoid similarities but that turned out to be the case.” Fortunately for the Enterprise team, otherwise it’s noise. So when some- to the recent Columbia space shuttle One area where the standard Trek composer Brian Tyler was a long- times there was no music on an disaster. “There were some shots aesthetic held true was in the overall time Trekkie and immediately exterior shot, that was intentional in that weren’t done yet when that hap- music mix, which allowed for a bit agreed to score the episode, entitled that it was saying something itself pened, but nothing was actually cut,” more presence than usual but still “Canamar.” “When I spotted the by its absence instead of neutering Tyler adds. “They wound up making held back the punch of the music show, they liked the energy I brought the shot.” the statement without showing the where Tyler’s heavily percussive to my scores,” Tyler says. “My “Canamar” has Enterprise Captain ship blow up on re-entry, and you accents and rhythms could have approach was to really do it more Archer (Scott Bakula) and Engineer knew that the character was been highlighted. “They warmed up like a movie—if you watch Wrath of Tucker (Conner Trinneer) imprisoned doomed. That kind of fell in my lap to it more than usual,” Tyler Khan or what Jerry did with the origi- on an alien penal transport ship, to do the payoff to that scene musi- acknowledges, “but I think it’s a nal there is a lot of energy there, which is eventually hijacked by a cally.” matter of degree in creeping up to and I said from the beginning if I dangerous convict. When police ves- While continuing themes and rec- make it sound more cinematic. I was going to do this I didn’t want to sels pursue the transport and ognizable melodies have long been don’t think there’s anything to be do these pads over these action engage it in battle, Tyler punctuated discouraged in the Trek TV franchise, afraid of in doing that.” scenes or space scenes. This show cutaways to the exterior ship shots Tyler was allowed to work some into It’s possible the composer may airs in 1:85 aspect ratio, so it’s really with whooping, aggressive horn his score. “I had a theme for the return to the series in the fall to do like a movie. We went full bore and calls, a far cry from the mellow, sub- Enterprise crew that I would play in another episode, but in the mean- it was actually a wonderful experi- tly modulated pads normally applied different forms where you have time, Tyler’s scoring assignment did ence. We were having the musi- to such sequences. Tyler wrote a cli- shots of the Enterprise; for T’Pol I allow him to fulfill one important cians, if it was in mezzo forte, some- mactic cue that played for six-and-a- brought in a little different flavor, a goal: “I demanded that I get a tour times go to forte and if it was forte, half minutes, through a hand-to-

stranger, more Vulcan-like motif that of the Enterprise and got to see ARTWORKTELEVISION. ©2003 PARAMOUNT go to fortissimo. hand combat scene with Bakula, a I repeated,” he says. “I really every inch of it.” There was a lot of pulsing large boarding-party sortie from the FSM approached it like a movie; I’m not motifs and big soaring lines, and I Enterprise taking over the ship, and ENTERPRISE

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“We wanted to have it triumphant and really Friedkin, a man not noted for his gentle to the pitch.” speak like the movies we grew up watching handling of film composers. “He’s definitely Jerry Goldsmith’s rhythmic approach to and love, like Star Wars. We wanted it to say intense and knows what he wants, and if First Blood and the later films became a something. The marching orders were to someone’s not giving it to him he lets them watermark in action scoring, a fact Tyler was make this really heartfelt, and when the know,” Tyler agrees. “He was originally a well aware of while toiling on The Hunted. “I action’s going and something amazing’s hap- documentary filmmaker before he did the always looked at Jerry as someone who’s very pening, let’s underline that with the music. Alfred Hitchcock Hour. On this there’s a five- or inspiring because he does pay so much atten- The instrumentation and orchestration was a six-minute sequence that’s really music- tion to percussion,” Tyler says. “As a percus- lot thicker than the first one from that per- driven—it doesn’t involve anything blowing sionist writing for orchestra, I pay an inordi- spective. This Children of Dune story starts with up, just cat-and-mouse hunting each other nate amount of attention to rhythms, and in the Atreides family on top and everything’s because these two guys are experts at that. I any score I can’t help but look at things going great, so it’s that kind of ‘ in its heyday’ feel. Everything’s thick and you also have the bad guys, the Corrino family led by Susan Sarandon, in their heyday, and they’re gearing up to take over the Atreides family. So the orchestration is very full and that makes for themes that are going to speak quite a bit.”

An Unlikely Lightening FROM FREMEN TO FUGITIVES: Tyler moved from the wide open spaces of Children of Dune to the Dune fans acquainted with the mys- claustrophobic jungle of The Hunted (with Tommy Lee Jones and Benecio Del Toro, above right). terious ethnic approach of Revell’s score and the dark epic sound of the Toto actually start the CD that way, a shorter ver- rhythmically. One of the first scores I loved approach to ’s film may find sion of that. It’s very aggressive string work, was Planet of the Apes, and just hearing all that themselves surprised by the romanticism in sixteenth notes and everyone in the round weird percussion made me want to get out some of Tyler’s Children of Dune, particularly in in 19/8—a weird time signature, very odd there and score.” FSM some of its unusually bright early marches. asymmetric rhythms. He’s very into that, “It’s romantic in terms of the era and also in and the guy is super musical. He will actu- that the love story and backdrop for this whole ally say, ‘I want a stranger time signature’ or thing is so moving,” Tyler acknowledges. “It ‘I don’t want you to get into a groove on really holds it together in a way that the orig- this, can you do this instead?’ He has a sense inal Han and Leia story worked. For me, of music that’s really beyond what you watching it and really being moved by this would think a non- would know. whole story it makes the music come much In his spare time he directs Bartók , easier—it’s so great doing something you love and he actually closed the season at the L.A. as opposed to being on one of those projects Opera this year. So it’s daunting; he’s a leg- where it’s like pulling teeth getting any inspi- end and when you pile on all of these ration.” things, I’m on the younger side, and there’s Tyler’s admiration for David Lynch’s Dune a big power difference between us.” was expressed in some subtle references to While the plotline of The Hunted (involving that film’s pop-classical-space music score, a veteran soldier, played by Benecio Del written by members of the pop-rock group Toro, going berserk and being hunted down Toto, with contributions from composer Brian by his former superior officer) hearkens Eno. “The nod to the Toto-Eno Dune was in that back to Ted Kotcheff’s 1981 First Blood, Tyler the keyboard sounds that I used over orches- says the similarities don’t extend much tra in different areas have a specific element beyond that. “What Friedkin did with chase from the Prophecy theme of the original Dune,” scenes in The French Connection is almost what Tyler points out. “It’s a Prophet 5 combined he does here with fighting and combat,” the with a Melotron to make this really weird, airy composer explains. “Whereas the Rambo upper sound. It’s something I brought into this movies were fun in that there were huge score even though musically it wasn’t doing explosions and they started almost a craze the same thing; there were these sustains that of pyrotechnics, this is exactly the opposite; ARTWORK ©2003 THE SCI FI CHANNEL; THEreally HUNTED ©2003 ALL RIGHTS RESERVED. evoked that soundtrack.” in fact, Tommy Lee Jones’ character doesn’t even have a gun. It’s all about who can out- The Hunted think the other guy, but because Benecio’s Tyler’s action score for The Hunted involved a character comes from this area where he has

CHILDREN OF DUNE collaboration with veteran director William postwar syndrome, there’s a First Blood vibe

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John Ottman has scored every one of filmmaker Bryan Singer’s Vancouver. I actually wound up putting up baffles between the edit- movies except one—that being Singer’s biggest commercial hit, 2000’s ing area of the room and the music area so the music station wasn’t The X-Men. Ottman was busy directing Urban Legends 2: Final Cut while this evil thing staring at me out of the corner of my eye.” The X-Men was scoring, and took on scoring duties for Eventually, the composer’s plan to conceptualize some of his score the first X-Men movie. With X-Men 2 one of the most highly anticipated during the editing process fell by the wayside. “I would love to be able movies of 2003, Ottman cleared his schedule to score the film, and to say to people that I’m this genius and while I’m editing the film the Singer eagerly invited him back into the fold, with just one condi- score is coming to me, but that’s not the case—while I’m editing I’m tion—that Ottman edit the movie, just as he did on Singer’s The Usual editing, and while I’m scoring I’m scoring,” Ottman notes. “Ironically, Suspects and Apt Pupil. While Ottman and Singer had used this working when I’m editing I’m thinking about how best to pull off a sequence procedure before, it was relatively unprecedented to do so on a proj- without music. When I did all my cutting I didn’t temp with any ect the scale of The X-Men 2. music until the whole cut was done, so Bryan and everyone got used to watching the film without any music whatsoever. In lieu of that I JConfronting the BEAsT did a tremendous amount of sound effects work, so much that a lot Ottman relocated to Vancouver, where the film was being shot, in of those approaches [were] used in the dub. So it really allowed me as

Call Forth the order to work on the editing of X-Men 2, but the obligation of scoring a composer to know what to stay away from effects-wise and if I the movie was never far from the composer’s mind. “I thought about needed to make the music thinner in some places because it’s going it a lot, obviously, because it was this thing that loomed over me the to be effects-supported.” Ottman didn’t even have the chance to do in- entire time,” Ottman says. “Every day I was editing I knew there was depth discussion of possible approaches to the score with his director. this monumental task ahead of me. Most editors can at least breathe “The only discussion was that we both loved the space operas of a sigh of relief when they’ve got their cut done because they’re a lit- Empire Strikes Back and Star Trek II and we want to keep those traditions tle bit on the downhill slope, but it was just the beginning for me, so alive but still be viable for a movie in the 21st century. So the that was a real source of pressure.” approach was how to get a traditional approach to scoring and not Ottman had his music studio shipped to Vancouver and placed the have it seem dated.” equipment in the movie’s editing bay in order to get a possible jump Most composers faced with scoring a comic-book adaptation are on the composing process—a move that wound up adding to the hard-pressed just to come up with a memorable theme for the hero composer’s stress level. “This thing was sitting in the editing room and the villain; Ottman’s task was to provide a theme worthy of the staring at me all day long, and I had no time to even go over there X-Men, as well as to delineate numerous vividly defined individual and use it,” Ottman explains. “But there were some occasions where I characters. “The main theme reflects all of the X-Men as a whole, even came in on the weekends and kind of put the other hat on and came the bad X-Men,” Ottman says. “I tried to build some more humanity up with some basic thematic material. The main theme and Jean into this theme because whether you’re a bad or a good X-Man, there ARTWORK ©2003 TWENTIETH CENTURY-FOX. Grey’s theme were actually conceived in their rudimentary form in is some plight to your existence, so the theme addresses that a little X-MEN2

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bit even though it’s basically one of heroism.” sad theme in the film. And, at least in the end titles, I was able to Ottman says his approach to the film’s characters wasn’t the brassy overlap the two since Stryker is intrinsic to the past of Wolverine. pomp you might expect for superheroes. “All these characters have There’s a scene where they run into the jet and say, ‘Where’s Pyro?’ sadness in some way; not that the film is depressing but I have to go and within the mesh of the action music I have a little nod to Pyro’s with empathy for these characters,” he explains. “Nightcrawler is a guy theme. I tried to do that as much as I possibly could to keep char- who is rejected from a circus and looked on as a freak, like most of the acters alive even when they’re off-screen by having their themes in X-Men. He’s a very devout individual and so I’ve tried to weave some different sections of the film.” religious undertones to his music, but it’s a very tender, sweet under- While The X-Men 2 is being marketed as an explosive comic-book tone for him. Pyro, on the other hand, has sympathy within his theme, action movie loaded with stunts and special effects, Ottman actu- but it sort of implies something darker is underneath. There’s this con- ally downplays that aspect of the movie. “The action’s pretty inci- flict within his theme. Jean Grey has a beautiful theme because she’s dental to what’s going on in the movie,” he says. “X-Men is more a very intelligent X-Man, she’s Doctor Jean Grey, but X-Men fans know about character and psychology than something like Matrix or T2. she’s more than meets the eye and I wanted to imply that in the music; The action is really incidental to the story instead of the reverse. the choir gave rise to a lot of Jean Grey moments.” The theme of the movie is back-dropped by a very rhythmic figure

JoHn OtTmAn steps aboard the X-Jet. UTAnT By Jeff Bond M S — Entering the DANgER RoOm throughout the orchestra, which was sort of inspired by Holst not The score’s use of choir was something Ottman had wanted from the that it’s like Holst really at all, but just the fact that it’s a constant beginning but wanted to test on his director first. “Bryan came over rhythm with strings, woodwinds and brass. I edited the first trailer to see my first batch of cues, and I had meekly incorporated some to the movie and used Holst and everyone went crazy. Bryan said, choir into my main overture; I’m always afraid because he doesn’t ‘I want the theme to be like that.’” Of course, Ottman was well like frivolity in the scoring,” he recalls. “He listened to it and looked acquainted with movie scoring’s long love affair with “Mars, at me and said, ‘By the way, you can’t put enough choir in this film.’ Bringer of War.” “It was like, gee, that’s something we’ve never heard So that was the license I needed to go wild with choir; not that it’s before!” Ottman laughs. “I thought, well, I know what he’s respond- everywhere, but I felt a lot less inhibited and that felt great.” Ottman ing to and that’s the drive of the Holst, so I tried to incorporate a notes that he treated the choral element as an instrument in the real strong drive under the theme, which is sort of in the spirit of score, avoiding any gothic chanting or lyrics—with one exception: the first one [Holst] combined with what I wanted to do to give it “There’s only one moment, a brief moment of lyrics for Nightcrawler, some humanity, and in addition reflect the original theme on the which was a German lyric for three bars, which was fun to do.” cartoon. So it’s a combination of all three.” The film’s abundance of characters and conflicts allowed Ottman While working on a film the scale of The X-Men 2 is a relatively to merge and contrast his numerous melodies throughout the new experience for Ottman, the composer says that the film’s action score. “The bad guy in the movie, whose name is Stryker, has a and visual effects weren’t the project’s biggest challenge. motif [of] overlapping woodwind lines, and Wolverine has a sort of (continued on page 32)

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AGNIFICENT M MOVIE MUSIC MOMENTS Three dozen doses of dynamite! 36 entries! Wow!

ou will be shocked to know that film music fans sometimes speak fondly of their favorite scores. A handful of these people even go beyond general praise and mention specific cues within said scores.

YHere at FSM we like to push the envelope, so we’re going to try and one-up these fanatics. As fans of tiny wonders like snails, helpful bacteria and Al’s penis, we’re looking for something even smaller than a cue. We’re after the little microcosms that show what is best about their scores, and about film music itself. These moments aren’t just about exceptional music worth listening to on CD, but music that’s irreplaceable when matched to its film.

So what qualifies as a moment? According to m-w.com, the word “moment” means absolutely nothing, because our computer froze when we tried to look up the definition. Regardless, a “cue” can be 10 minutes long. So, naturally, we will avoid main titles, montages and “theme” tracks. While these are often excellent representations of their scores (and most often re-recorded for compilation albums), they’re usually based on broader strokes. Most of the moments we do choose will last less than a minute, and many will be closer to 30 seconds.

When possible, we will include in our examples CD track timings (extremely specific to the moments we’re discussing) so that you can listen along if you wish. But these excerpts are best experienced in their films. So for those entries that are unreleased on CD, you can usually check out the DVDs.

We can’t help but point out that a lot of our choices come from genre films. Why that’s the case is a mys- tery to us, but it may be because genre films often end up with better music than films like When Harry Met Sally, starring Princess Leia.

And in case you’re wondering, the entries appear in random order. So it begins...

BY JON & AL KAPLAN

ADDITIONAL ENTRIES BY ELDER STATESMEN SCOTT BETTENCOURT, JOE SIKORYAK AND JEFF BOND

ILLUSTRATIONS BY PAUL SHIPPER

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The Empire Strikes Back but Herrmann, as usual, hits it on the nose. No blaring themes, no unnecessary shifts in texture—just a throttling JOHN WILLIAMS motive more effective than the ticking of a time bomb. RCA Victor/Lucasfilm/20th Century Fox/BMG Classics 09026-68747-2 “The Battle of Hoth,” Disc One (0:00 - 0:39) t’s not easy to select a single moment to represent Ithe greatest score ever written. We’ve come up with Han and Luke’s short good-bye sequence that occurs just before the Hoth battle. Even though it’s very early in the film, this is the last time Han and Luke see each other until Return of the Jedi (after each character has undergone great ordeals and change). The dialogue for the scene is simple—it boils down to “Be careful.” Harrison Ford’s acting is particularly good here, but it’s Williams’ music that does most of the talking. It quickly reinforces the stronger feelings these two men have for each other (this interaction is different from any the two characters had in Star Wars) and foreshadows the tragic paths both will take as Empire charts its course. Williams’ plaintive setting of Luke’s theme moves into a yearning string line over rich, inverted seventh chords. The music flows forth so effortlessly, it’s almost part of . In fact, it’s some of the best conversa- tion music ever written. Runner-up: The tragic statement of the Han and Leia theme when R2D2 opens the door to the docking platform. Everyone is escaping to the Millennium Falcon—everyone except that poor frozen bastard Han. Williams’ use of Han’s love theme is all the more effec- tive in his absence, even more so here than when Solo is actually lowered into the carbon chamber.

What About Bob? Ben-Hur MILES GOODMAN MIKLÓS RÓZSA Album Unreleased • “Car Trouble” Turner Classic/Rhino R2 72197 • “Friendship (extended version),” Disc One (2:20 - 3:00) hat About Bob? is constantly driven by Miles “He says he’s a —” Goodman’s tight, farcical score. The crowning “Then treat him like one!!” W t’s no secret that Ben-Hur is one of Rózsa’s crowning achievements. Central to the moment is when Richard Dreyfuss’ Dr. Leo Marvin is I film’s success is the relationship between Charlton Heston’s Judah Ben-Hur and his splattered with mud by a passing car; it’s the last straw for childhood friend turned Roman lord, Messala. Their defining scene involves an intimate the beleaguered psychiatrist. Goodman’s blasting low spear-throwing contest between the two men. As Messala aims at the spot where the trombones (on the main theme) combine with Dreyfuss’ beams cross, Rózsa carefully builds a series of rising, homophonic string chords before reaction to create perhaps the best depiction of comic rage landing (as the spear strikes) on a strident, modal six-note brass melody over a bold put to screen. “Goddamn son-of-a-bitchin’ Bob...” major tonic. Ben-Hur’s aim and toss are similarly scored, showing off the composer’s effortless skill with sequences and modulations. Technicalities aside, Rózsa controls the emotion of this crucial scene. The Kentuckian Conan the Barbarian Fifth Continent PRCD 1777 • Track Unreleased “Race Across the River” BASIL POLEDOURIS n the exhilarating conclusion to a slow film, an Iunarmed Burt Lancaster is forced to run across a shal- Varèse Sarabande VSD-5390 • Track Unreleased “Conan’s Mastery” low river in order to stop the villain before he can reload or all the brilliant moments of thematic development his musket. The bulk of the action takes place in a single Fin Basil Poledouris’ finest achievement, there’s one shot—Lancaster approaches us from the distance, while that best captures Conan’s pursuit of mastering the disci- the villain frantically loads his gun in the foreground. An pline of steel. It accompanies the short nighttime sequence incredibly propulsive Herrmann rhythm takes charge as where Conan, alone, practices his swordplay. Swinging his Lancaster begins his dash through the water. This is the mighty weapon through the air, Schwarzenegger draws kind of moment that would have been easy to overscore, closer and closer to us before smiling, respectfully kneel-

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ing and bringing the blade to rest against the top of his reaches its climax as George eradicates their little “bean head. Poledouris sets the main Conan theme in English bag” and marital weapon from existence with four little horn underneath a shimmering string accompaniment, words: “Our son is dead.” Alex North, perhaps the keenest before bowing along with Conan in a reverent half- miner of deep emotion in film scoring history, punctuates cadential idea. This short scene (coupled, perhaps, with Taylor’s resulting cry of anguish with an explosive, disso- “The Atlantean Sword” sequence, which is on the nant chord. This is followed by one of the most heart- album) is what sets Conan apart as a film, and even more breaking melodic laments ever written. so as a score. There’s more at work than beauty and brawn—there’s a sense of myth and a respect for his- Total Recall tory that, despite the film’s flaws, makes Robert E. JERRY GOLDSMITH Howard’s world come to life. Varèse Sarabande 302066197 •“Where Am I?” (0:00 - 0:12) n a score crammed with blow-away action cues, it’s the Ismaller, quieter passages that linger. Of particular note is Goldsmith’s writing for the pivotal scene in which a Rekall agent (the late Roy Brocksmith) enters Arnold Schwarzenegger’s hotel room on Mars to inform him that his entire bullet-riddled adventure has been nothing more than a commercial “mental vacation” gone awry. Goldsmith plays out his Quaid theme with hollow-sound- ing electronic tones that slide upward in pitch, turning the meditative section into an existential question.

Devil in a Blue Dress ELMER BERNSTEIN Columbia CK-67008 • “End Credits” (2:06 - 3:01) “ e got to talkin’ about Texas, and fooled around, Wand drunk almost a quart of whisky, and I for- got all about Daphne Monet, DeWitt Albright, Carter and them. And I sat with my friend, on my porch, at my house...and we laughed a long time.” It’s 1948 in Los Angeles, and private detective Easy Rawlins (Denzel Washington) has just barely survived a complex and dan- gerous case. As he relaxes on his porch and surveys his neighborhood, Bernstein’s appropriately relaxed Easy’s theme plays one last time, giving way to a heartbreak- ingly optimistic resolution, a serenade for a safe, peaceful Return of the Jedi Los Angeles that 53 years later we have yet to see. JOHN WILLIAMS The Adventures of Robin Hood RCA Victor/Lucasfilm/20th Century Fox/BMG Classics 09026-68774-2 “The Battle of Endor II,” Disc Two (5:03 - 5:40) hat?! More Star Wars? Yes. This is the epic choral passage that begins after Luke Varèse Sarabande VCD47202 •“Duel” (0:44 - 0:59) W screams “Never!” and emerges from the shadows to fight Vader to the last. The layed and scored more like an opera than a movie, shot that follows a dueling, silhouetted Luke and Vader from behind a fallen catwalk is one The Adventures of Robin Hood is a quintessential child’s of the most beautiful in the trilogy. This is in no small part due to the stunning choral-driven P music, a sweeping, mutated combination of all the major thematic ideas that should play at storybook fantasy. Every major player makes a dramatic the trilogy’s climactic moment. The section begins with a variant of the Emperor’s theme, entrance (Robin Hood gets at least three), and the score is shifts into Luke’s theme, takes a noble turn into Vader’s theme, and eventually closes with brimming with themes. Things come to a thrilling climax the rising leaps of the second half of the Force theme. Whether Williams intended this in the King’s castle as the Merry Men and Saxon loyalists music to be such a unifying force is irrelevant. Intentional or not, it’s all there. enter pitched battle with the treacherous Normans. The conflict narrows to a furious one-on-one between Robin (Errol Flynn) and Sir Guy (Basil Rathbone). Korngold’s Who’s Afraid of Virginia Woolf? orchestra runs up and down scales as the duelists run up and down the stairwells and balconies, until a three-note ALEX NORTH motif is stopped (and restarted) thrice, as Robin delivers Warner Bros. 47884 •“The Party’s Over” (0:00 - 0:15) the coup de grace to his opponent. Robin, in a moment he cruel endgame of emotional brinkmanship of splendor, leads the orchestra with his sword, performs Tbetween middle-aged married couple George and a dance with death, and maintains a hero’s iconic pose all Martha (a caustic Richard Burton and Elizabeth Taylor) at the same time.

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Lord of the Rings: Lithgow’s spine. Titillating him. Tormenting him. The devil The Fellowship of the Ring dancing on his grave. Goldsmith is a master of building suspense via well-timed layering, and this is hands down HOWARD SHORE one of the most effective uses of music in film. Reprise 9 48110-2 • Track Unreleased “Boromir and the White City” oward Shore’s Lord of the Rings is a virtual encyclope- Die Hard dia of balanced, understated and nuanced cues. We H JAMES HORNER single out another case of brilliant dialogue-scoring: the brass writing for Boromir talking to Aragorn about return- Varèse Sarabande 302 066 241 2 (the Aliens album—not Die Hard) ing to the White City (this conversation takes place at “Resolution and Hyperspace” (0:00 - 0:43) Lothlorien). The short, arching brass phrases breathe life his one’s a rare case—it’s temp music used in the into Boromir’s depiction of a place we haven’t seen or Tfinal cut of the film. Regardless, it’d be hard to imag- even heard much about in the film. Shore’s music for this ine Al Powell’s big moment scored with anything other scene paints a clearer portrait of Boromir and Gondor than the James Horner’s Aliens “Hyperspace” (amusingly even than the restoration of several key Boromir unused in the film Aliens, but it is on that album). This sequences to the extended edition of the film. music is as audacious as this kind of writing can be with- out being funny. In most cases, tracking in temp music Who Framed Roger Rabbit would destroy a movie, but Michael Kamen’s Die Hard score is so eclectic (quoting many pop and classical tunes) ALAN SILVESTRI that the Horner piece slides in just fine—even though it Touchstone CD-013 • “End Title” (4:01 - 4:27) does sound a little bit like Al Powell should be floating in ilvestri’s score provides a creditable Carl Stalling- outer space. By the way, we didn’t intentionally leave Sesque vibe until gumshoe Eddie Valiant makes his Michael Kamen out of this article only to insult him by fateful decision to drive into Toontown through an off- including something from Die Hard that he didn’t even limits tunnel. As Valiant’s car veers down the eerily lit tun- write. It just worked out that way. If we had to pick a nel, Silvestri launches a positively -raising assault of Kamen moment off-the-cuff, we’d choose one of many bristling action music that says to the hapless viewer: possibilities from Lethal Weapon, The Dead Zone or Highlander. “Okay, fools, you’re about to see something you’ve never seen before.” The chattering brass and raucous ascending A Word to Our Readers bass line take the Stalling approach someplace new—a place that’s genuinely frightening. lease note the title of this article: “Magnificent Movie Music Moments.” This is Pnot an all-inclusive list. And it’s not necessarily a Top 36 list. We know there are other great moments. We have others. Many others. And so do you. If you’d like to King Kong (1933) share some, the lonely and miserable FSM mailbag would love to hear from you. We MAX STEINER would even welcome comments insulting specific choices on our list. But please do not send too many outraged reactions like “Where is the shower scene in Psycho?” The Marco Polo 8.223763 • “The Return” (0:00 - 0:38) answer is: “Everyone knows about it already.” It can go on the “36 Magnificent Movie teiner’s underscore is as unstoppable as the film’s Music Moments That Absolutely Everyone (Not Just Film Music Fans) Knows and Has Seponymous star. But after 40 minutes of battling stop- Talked About Too Much” list. Here are some other moments that might make that list: motion monsters, there’s a dreamy, quiet moment at the gate to the prehistoric wildlife refuge. The dispirited crew E.T.The Extra Terrestrial E.T. says, “I’ll be right here.” waits for Jack Driscoll (Bruce Cabot), who has gone to res- Gone With the Wind Vivian Leigh stands by that tree. cue leading lady Ann Darrow (Fay Wray) from Kong’s Rocky wins an important boxing match or runs up the stairs. clutches. Pensive harp, strings and woodwinds sum up the Star Wars Luke looks at the suns. crew’s exhaustion and hopelessness. That texture is shat- tered when Steiner launches into a full-bore restatement The Thing of his “jungle march.” The couple breathlessly emerges from the jungle, providing an exhilarating release to the tension and sweeping aside all feelings of restfulness. Varèse Sarabande VSD-5278 • “Humanity (Part 1)” (0:32 - 1:13) ilford Brimley’s Blair sits alone at his computer, Twilight Zone: The Movie Wtyping dire questions to a seemingly omnipotent program. It’s strange, but despite all the horrific images in JERRY GOLDSMITH this film, this goreless, wordless scene is the most psycho- Warner Bros. Japan 759 923 887-2 logically terrifying. The computer’s apocalyptic warnings “Nightmare at 20,000 Feet” (4:37-5:28) combined with Brimley’s stone-faced expression and sweaty, exasperated John Lithgow tries to remain Ennio Morricone’s music makes for one hell of a disturb- Acalm. For a fleeting moment it seems as though he ing sequence. Morricone’s melody spreads outward, mov- may be able to convince himself that he hasn’t really seen ing between sections of instruments—not unlike the a wet gremlin on the wing of the plane—but there’s that invader cells as they reach out for and assimilate the shuttered window right beside him. Then Jerry healthy cells represented on the computer’s projection. It’s Goldsmith’s low strings break the silence, slowly picking at methodical, it’s calculated, and it embodies the film’s tone

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of impending doom and inevitable failure. This music is echoplexed repetition. This idea alone might have been tracked in several places in the film. We've cited a good enough to earn a place among great moments, but Shore example of the material (even if it’s not the exact part). doesn’t stop there. Topping things off is a searing brass statement of the near-serial theme that appears in slow- The Fly moving contrapuntal string settings during some of the film’s later scenes. This is the best-scored arm-wrestling HOWARD SHORE scene you will ever find. And that includes Over the Top. Varèse Sarabande VCD-47272 • “The Armwrestle” (0:00 - 0:57) s freshly mutated Seth Brundle begins an arm- Touch of Evil wrestling match against a doughy competitor, A Howard Shore introduces a crawling strings-and-wood- wind motive that grows more savage with each Varèse Sarabande VSD5414 •“The Chase” (0:00 - 0:42) he is a pistol fired at point-blank range. TDetective Hank Quinlan (Orson Welles) has just shot his loyal partner Pete Menzies (Joseph Calleia), who stares back in mute, disbelieving shock and horror. Quinlan lurches past the dying man and stumbles to the nearby riverbank to wash the blood from his hands. But the weight of accumulated guilt—and Mancini’s brass—is too great. The trombones tilt and slide woozily like Russ Metty’s camera and Quinlan pitches into the muck like a fallen dinosaur with a basso finale.

Sweet Smell of Success ELMER BERNSTEIN Album Unreleased • “I Love This Dirty Town” s omnipotent gossip columnist J.J. Hunsecker (Burt ALancaster) surveys his kingdom—the black, moonlit monoliths of New York City—Elmer Bernstein’s jazz rears up in glorious, ugly splendor, taking Howe’s remarkable location photography to another level.

The Satan Bug JERRY GOLDSMITH Album Unreleased • “Death by Satan Bug” emember when “mickey mousing” wasn’t such a Rdirty term, Pluto? Nothing illustrates those times better than this moment from John Sturges’ thriller in which thug Ed Asner tosses a flask of deadly germs into a Spartacus room occupied by hero George Chakaris and a couple of FBI men (including Star Trek’s James Doohan). Goldsmith’s ALEX NORTH score frantically explodes as the men try to scoop sand on MCA MCAD-10256 • “Goodbye My Life, My Love—End Title” (3:21 - 4:14) the resulting spill to decrease their exposure. Alas, a dull, his is not the subtlest entry, but Alex North’s closing bars of Spartacus are as satisfy- buzzing atonal of strings signals the entry of the Ting a conclusion to a score as you will hear. The section begins with the slowest, most Bug into the two G-men’s bloodstreams. The music builds deliberate statement of the main theme (as Varinia starts to ride off). This breaks off into a to a shattering climax as first one, then the other FBI agent cascading brass fanfare, with bright trumpets running in thirds over blaring “wrong note” low brass pedals (this is also a slower rendition of a passage heard elsewhere in the film). dies before our eyes. Inevitably, the section closes out the film with its characteristic five-chord, homophonic brass cadence. (Please note: We do not intend to imply that the brass cadences in Signs Spartacus are in any way afraid of homosexuals.) As it does throughout the movie, North’s music sets sections and ranges of the orchestra against one another. It constantly straddles JAMES NEWTON HOWARD the line between ultimate victory and inevitable defeat, a concept that resonates strongest Hollywood 2061-62368-2 • “The Hand of Fate Part 1” (3:21 - 3:49) here at the film’s climax. A crucified Spartacus has failed to lead his men to safety, but he his was written for the climax of the film, and what has indirectly achieved freedom for his newborn son. RUNNER-UP: The Crassus & Varinia theme. Brutal Roman Patrician Crassus Ta rousing climax it creates. The music has been mov- (Laurence Olivier) sets his eyes on Varinia (Jean Simmons), beautiful slave girl from ing steadily in this direction for about 90 minutes, mak- Britannia. Only Alex North would write for the villain of a Roman epic a love theme that’s ing its arrival that much more satisfying. The highlight of more heartbreakingly beautiful than the one he wrote for the film’s hero. this spectacular cue is actually part of the build-up, underscoring the short chain of events beginning with the

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shot where Joaquin Phoenix looks at and takes the base- ball bat from its wall mount. Most composers would have scored this pre-fight build with subdued aleatoric strings or banal suspense chords. James Newton Howard knows better: blaring low brass on the minor thirds; a new urgency to the three-note Signs motive; and subtle, pitch- perfect shifts in key and/or texture to match the visuals. Thank you, Newton, and thank god M. Night Shyamalan somehow allowed this stuff to be used in the film. This is the kind of action and suspense scoring most film music fans can only dream about—especially in the 21st century.

First Blood JERRY GOLDSMITH Varèse Sarabande 302066155 / Intrada FMT 8001D (OOP) “The Razor” (0:00 - 0:41) rian Dennehy’s Sheriff Teasle explains exactly why Bhe’s not interested in having John Rambo around, and drops him off on the outskirts of town. But Teasle has- n’t made quite the impression he intended on Rambo, who immediately heads back toward town, accompanied by one of the more restrained “call-to-arms” motifs ever written. This short idea is all-encompassing—it’s not just Rambo’s controlled fury, but also the awakening of the unstoppable machine that is Rambo. This is also the moment where he takes the stand that triggers the whole movie (and trilogy). Goldsmith’s five-note Rambo signa- ture is developed throughout First Blood and its sequels, but it’s never more satisfying than in its simplest guise. Back to the Future Schindler’s List ALAN SILVESTRI JOHN WILLIAMS (and whoever wrote the Penguins’ “Earth Angel”) MCA MCAD-10969 • “Immolation” (0:58 - 1:32) DIDX-422 MCAD-6144 • Track Unreleased “Earth Angel/The Kiss” here are people who argue that Schindler’s List didn’t his is a unique case where source music and original score fuse together to create a need a score at all. Much of the film was shot so well Twhole that actually is greater than its parts. As “Earth Angel” (performed live at the T “Enchantment ” dance) fades into the background, Alan Silvestri’s pounding that it didn’t. But certain scenes were intentionally filmed percussion, swelling brass and churning strings seep through at the seams—Marty McFly is with music in mind—music that Spielberg hoped would fading from existence. But as George returns to kiss Lorraine, the Back to the Future theme say something that silence could not say. In a film (note emerges as the voice of fate. The theme rises triumphantly with two five-note statements, that the word “film” is not preceded by the word “docu- before pulling back and allowing the chorus of “Earth Angel” to take over. Only now it’s mentary”) of this scope and subject, it would have been backed by a Silvestri string underscore, creating unparalleled dramatic weight. remiss to leave the material totally unscored—not to mention the fact that a total absence of music would have scene an affront to God. Speaking of God, we hope that slowed things down immensely, especially during several he does not end the world soon so that you can enjoy montages. We digress; perhaps the best example of why reading this copy of FSM Vol. 8, No. 3. Schindler’s List benefits from music is the immolation scene. This, in particular, depicts the unimaginable, something Diamonds Are Forever almost too horrific to put to film. It is made all the more JOHN BARRY unbearable by Williams’ anguished Hebrew chanting clashing against the triumphant screams of the Nazi. Take EMI 72435-41420-2-4 • “Mr. Wint and Mr. Kidd” (0:04 - 0:32) the choir as a prayer for the dead, or the voices of the wo men in the middle of the South African desert dead themselves—either way, thanks to this music, that Tawait a third man on a motorcycle. The new arrival distant mound is more than a heap of burning flesh. gives them a fortune in diamonds—they drop a scorpion There’s nothing else in Schindler’s List that sounds like this. down his back. A helicopter arrives and leaves with a It’s an isolated moment, a moment that speaks volumes bang, blazing debris raining down on the desert floor. The more than Schindler’s unnecessary breakdown at the end two men are Mr. Wint and Mr. Kidd, assassins and lovers, of the film. And, yes, the immolation would have worked played by the prodigiously eccentric Bruce Glover (father without music. It would have still been disturbing. of Crispin) and jazz musician Putter Smith. The character- Williams’ music makes it more than that. It makes the izations are too bizarre to be offensive. But more impor-

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tant, John Barry’s sinuous “Wint & Kidd” saxophone is dead, and that his father’s grief led him to create an arti- theme could almost make one believe they are the most ficial son whose loss will ultimately equal his creator’s, elegant menace James Bond ever faced. and whose pain will take 2,000 years and the death of mankind to ease.

Dragonslayer ALEX NORTH Southern Cross CD-3-G “Destroy That Amulet!” (Ignore the erroneous packaging, it’s track 20, 1:50 - 2:22) f you were a true grump or sourpuss you might grouse Ithat a lot of North’s 1981 Dragonslayer score is adapted from his rejected 2001: A Space Odyssey. Even so, North shapes the material so painstakingly to the blasted medieval landscape of Hal Barwood’s underrated fantasy that it’s hard to complain. And when North’s orchestra begins its wildly impressionistic, glittering heraldry as sor- cerer Ralph Richardson (in a nod to Disney’s Fantasia) summons the powers of the black arts to do battle with dragon Vermithrax Pejorative, the results are wholly orig- inal, creating a spine-tingling sense of wonder [and an extremely long Jeff Bond sentence].

Dressed to Kill Varèse Sarabande VCD-47148 “The Forgotten Ring—The Murder” (2:20 - 2:56) exually frustrated wife and devoted mother Angie SDickinson has turned a trip to the museum into a one- afternoon stand, only to discover that she may have caught a grotesque STD. Horrified, she flees the scene of the crime but realizes she left her wedding ring behind—just as the creepy stare of a little girl makes her feel as if the Planet of the Apes scarlet letter is emblazoned across her blouse. The motif heard during her post-coital bliss now returns ominously JERRY GOLDSMITH on quiet strings as she rides back up in the building ele- Varèse Sarabande VSD-5848 • “The Hunt” (1:02 - 1:13) vator. As the doors open, the music turns deceptively light erhaps the most obvious among our selections, Goldsmith’s accompaniment for our and optimistic, as if everything is finally going to be all P first glimpse of the Apes is a landmark moment in film music. The siren-like ram’s horn, right—setting her (and the audience) up for the kill. ape-imitating percussion and hellish, churning strings make for an unforgettable combination of forces. Hair-raising both as absolute music and film music, this is some of Goldsmith’s finest The Accidental Tourist writing. It makes us want to be better apes. JOHN WILLIAMS A.I.: Artificial Intelligence Warner Bros. 25846-2 • “A New Beginning” (2:34 - 3:26) n a hotel room, Macon Leary (William Hurt) says JOHN WILLIAMS Igoodbye to his wife for the last time. He catches a taxi Oscar Promo • “Saved/Family Pictures,” Disc Two, Cue 15 (0:00 - 0:58) with the help of a French boy, and as the vehicle passes wo humanoid “mechas”—David, the perfect boy, the boy, Macon is reminded of his own dead son, whose Tand Gigolo Joe, the perfect lover—face a hideous senseless murder forever changed the course of Macon’s death at the “Flesh Fair,” a circus of torture where specta- life. The taxi moves on, and Macon spots Muriel Pritchett tors cheer at the grisly destruction of sentient robots. (Geena Davis) standing at the side of the street with all the Saved at the last moment by the sentiment of the crowd, bargain items she’s bought in the City of Lights. Macon the mechas walk out unscathed, holding hands, accom- calls to the driver: “Arretez, stop for that...woman.” Muriel panied by warm homophonic chords that evoke the reaches for her bags, looks up, and sees the man she loves peaceful final moments of Jaws. Cut to the office of through the taxi’s windshield, his face becoming clear as David’s designer, Prof. Hobby, and the camera pans along the reflection on the glass fades away. Muriel smiles with photos of the Professor’s son David, in whose image the happiness, and Macon smiles too, as if for the first time, robot boy was created. As the haunting, delicate “David” while John Williams’ gorgeous “Accidental Tourist” theme theme enters on piano, we understand that the real David receives one more glorious rendition.

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Mission: Impossible musical moment: the parachute drop. With a fluttering DANNY ELFMAN brass lick, the troops begin their jump, and ferocious vio- Point Music 454-525-2 • “Zoom B” (1:33 - 1:44) lins highlight the tension in counterpoint to the noble ere’s a moment of true comic-book sublime. Danny brass. As if there isn’t enough going on, Waxman takes a HElfman carries this mutation of a movie from few notes to underline the hesitation, and helpful booting beginning to end, but never more than during the final of a nervous trooper out the door of the plane. The action sequence, at the end of which Tom Cruise leaps descending chords follow the chutes to the ground, where from the roof of a train onto the arm of a pursuing heli- equal peril awaits. FSM copter. Elfman gooses the moment with an aleatoric string rush into a fortissimo brass statement of his dead-on “hero motif,” all done with the conviction and balls of a true master. It’s a fantastic lead-in to Lalo Schifrin’s theme and an exhilarating payoff to a brilliantly restrained score. Kudos to Brian DePalma and/or Tom Cruise for having the guts to mix all of this loud enough to do its job. Almost anyone else would have buried it under train and helicopter noises.

Marathon Man MICHAEL SMALL Album Unreleased • “Creepy’s Run” ince we’ve mentioned Planet of the Apes, it’d be foolish Sto ignore Michael Small’s exhilarating piano-driven chase music from Marathon Man. (Not that it’s in any way a rip-off, but ’70s Dustin Hoffman does look like a Planet of the Apes ape.) Specifically, we point out the film’s quick cut back to a half-naked Hoffman running toward us; Small matches it with a savage low-end piano burst underneath wailing pitch-bending strings. Contrasting this material is the bleak trumpet that underlines Hoffman’s vision of Jesse Owens’ running. This may be the best “foot chase” scoring ever.

RoboCop BASIL POLEDOURIS Varèse Sarabande VSD-47298 • Track Unreleased “Robo’s First Patrol” he mysterious figure in the metal helmet (“He’s a Jaws , you idiot!”) doesn’t know that in another life T JOHN WILLIAMS he was a loving father and husband named Alex Murphy. Decca 467045 (expanded edition) • “Father and Son” (0:00 - 1:22) All he does know is that he’s a cop—the first RoboCop. As his patrol car screeches out of the police garage and onto fter Mrs. Kintner slaps Chief Brody and storms off, Williams comments on the scene the mean streets of a futuristic Detroit, Basil Poledouris’ Awith a plaintive horn and solo trumpet passage. This is the kind of music that just doesn’t get written anymore—even by Williams. It’s too noticeable. [Time for an intra-sidebar RoboCop theme, at once an over-the-top parody and sidebar: Contrary to popular opinion, good film music is not music that you don’t notice. genuinely stirring, is heard for the first time in its full That’s referred to as “wallpaper” or “shit for easily distracted morons.” Good music calls glory. Sing “His name is Ro-bo, he is a cop. His name is attention to itself when necessary, while adding to (and not taking away from) the film. Now Ro-bo cooooop” to the RoboCop melody. back to the Jaws cue:] The brass writing segues into the body of one of Williams’ most bril- liant cues, written for the dinner-table scene where Brody’s actions are mimicked by his Objective Burma young son. There’s more at work in this scene than the playful interaction between father and son. Brody is still thinking about what happened to the Kintner boy, and about the role FRANZ WAXMAN he himself played in his death. Williams creates a startling dynamic for the scene, striking an Marco Polo 8.225148 • “Jumping” (0:56-1:45) ominous low pedal underneath a floating, seemingly meterless music-box-like tune. He cov- ers everything the scene is about: a father’s love, guilt and concern; a child’s innocence; and ne of the last war films shot during WWII, Objective the dark undercurrent of an uncertain future. OBurma features a modernistic score to complement Runner-up: The waning moments of the shark cage fugue, where Richard Dreyfuss its quasi-documentary approach. A squad of paratroop- is preparing to submerge. Williams’ effortlessly combined themes are a stunning match to ers (led by Errol Flynn, eliciting another grand underscore) the picture. It’s as though this music was always a part of the film, like it was performed live, embarks on a dangerous mission behind enemy lines. by Jesus Christ, as the scene was first shot. It’s been said before but we’ll be sure to say it again: Remove the shark motif from Jaws and it’s still one of the greatest scores ever written. The first half-hour of the movie is all buildup to a great

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Win An The X-Men 2 would kill for: Unlike many con- Call Forth the Mutants temporary action films, this one doesn’t feature Autographed (continued from page 23) any songs—even Ottman’s end-title music is “It’s not the scale of the action, it’s really the fully orchestral and specially composed for the volume of music; I had to write 105 minutes movie. “It’s a seven-and-a-half-minute suite at of score,” he explains. “I love action music. I the end of the film of all the major themes, so feel very comfortable with it, and it’s fun we don’t have to splice together stuff from ear- because I tend to like to use the orchestra lier in the movie. I always try to do that, but I CD or Poster! instead of drum loops or synth effects. I love never seem to have the support except when trying to get the most I can out of the I’m working with Bryan.” Film Score Monthly and orchestra. One of the most challenging cues The composer admits to achieving a long- TVT Soundtrax are giving you a of the film was the mansion attack—there’s held ambition with this film—while he has chance to win an autographed copy always that one dreaded cue in the film, and scored genre action films before (most of the NARC soundtrack with music this was it. It’s very episodic, where you’re recently Lake Placid and Eight Legged Freaks), The by & going from one place to another, so the X-Men 2 is Ottman’s first opportunity to score Baby Namboos featuring Tricky music has to change from place to place. But a true adventure blockbuster. “I wanted to or a movie poster. you also can’t have this five-and-a-half hearken [back] to the romance of scores of the Enter now at minute sequence feel disjointed, so you have past but make it appropriate for a movie of www.tvtrecords.com/contest/narc-fsm/ to have a sinew that holds it together. That’s today,” he says. “I guess it’s my subliminal Entries must be received by May 15, 2003 the challenge to keep the constant drive influence of Williams and Goldsmith and lov- going without falling into the trap of using a ing those films from when I was a kid, and drum loop or something, but using the per- Horner on Star Trek II as well. It’s just by cussion and cacophony of some timbale for instinct, really; that’s the way I like to score Wolverine, and so forth.” movies, and this gives me the canvas to do it. Obviously, I can’t write a score like this for Unexpected ENDcRaWL Pumpkin, which was fun by itself, but this gave Ottman carried an additional burden that most me a chance to do what comes naturally and film composers working on a blockbuster like score movies that way.” FSM

themes and effects over and over. Glass’ work on Dracula. But that’s not but the expanded old cuts. Great really what you’re asking, is it? And since Titanic, he has been music, great packaging in every Mail Bag Actually, if you want an example of (continued from page 10) stuck in a rut of, well, whatever. respect. You should be very how two composers approach the No. 1) and greatly enjoyed the It’s been a while since I went dig- same assignment, check out The Man proud. Thanks for your continu- ratings of the Star Trek scores, ging for any of his scores. Who Loved Cat Dancing (FSMCD Vol. 5 ing efforts to bring classic film especially since John Takis shares I like Goldsmith, Eric Serra, No. 4) . Michel Legrand’s incomplete score lovers the best CDs possible. my opinions. I think Star Trek: The Basil Poledouris, and wouldn’t score is included on the album with Scott Kirby Motion Picture is one of the all-time mind listening to more Klaus John Williams’. But as far as we know, Woodland Hills, California no producer has ever started out with greatest scores, let alone the best ST Badelt, that is, if he can do as well the idea of commissioning two scores. score. And Wrath of Khan is almost as he did on The Time Machine. L.K. responds: Thanks Scott! Jeff and as great, for different reasons. James Hearn I were thrilled to be able to participate in EMI’s new albums. I didn’t necessarily agree with [email protected] Bond (No Relation) John Williams being considered just want to say how much I Erratum the greatest film composer, but to We’re not exactly sure what you mean Iappreciate the time and effort Don’t you hate it when you spend a lot everyone their opinion. I think in your first paragraph. Yes, it might be that went in to making the of time crafting an editorial (Vol. 8 No. theoretically interesting to hear if John 2) that you really care about, only to Jerry Goldsmith has a much expanded John Barry/James Bond Williams’ Star Trek would be markedly notice after it’s printed that there’s a wider range and does great things different from his approach to Star CDs a reality. I bought You Only glaring typo in it? Me too. Just so you across a wide variety of genres. Wars. But you don’t mean that Live Twice, On Her Majesty’s Secret know, I’m aware that “controveries” is But then he’s also had a higher Williams should actually go and re- Service and Diamonds Are Forever, and not a word. —Tim Curran FSM percentage of not-so-great scores score a specific Goldsmith film, do will pick up Goldfinger and than has Williams. you? You’re just curious if he’d be able Thunderball soon. THE WORLD HOLDS ITS BREATH Also, I forgot which column it to score the next Trek (not that there Everyone did a great job. Kudos You’ve read the mail, perhaps will ever be one). Right? was that took a slam at James to you in particular, Lukas, for perused the issue—what did you We’ve never heard of anyone being think? Let us know and write to: Horner (probably the Kaplans’ hired to go back to re-scorefilms. It’d producing these gems. I was really FSM Mailbag “Best and Worst”), but I’ve come cost a fortune and few people would impressed with the previously 8503 Washington Blvd., to agree with that opinion. I liked care about the result. Certain foreign unreleased music for OHMSS. But Culver City CA 90232 his earlier work, especially Wrath films are totally re-scored when they’re I was nearly bowled over by the or e-mail: of Khan, but over the years he has brought over for an American release, great “new” stuff on Diamonds Are [email protected] tended to use the same signature as are some older things like Philip Forever. Not just the new pieces,

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REVIEWS OF CDS

CLASSIC GREAT GOOD BELOW AVERAGE SCORE WEAK

1 Gods and Generals /2 three discernible themes, but they thing more than keep the action making this near-50 minute CD a JOHN FRIZZELL and undergo little development. This pumping, and while the result is monotonous listen. His inspira- RANDY EDELMAN is not an inherent problem, but not a “bad” score, it’s also the tion here seems to be the work of Sony SK 87891 • 18 tracks - 54:22 even the most repetitive of ideas least memorable of the above- Harold Faltermeyer, an ’80s drum usually undergoes colorful mentioned Pacino flicks (Thomas machine-and-synth-driven style I n 1993, Ron Maxwell adapted orchestral changes at some point Newman’s Scent being the best). would prefer not to see resusci- IJeff Shaara’s novel Gettysburg in a score. Badelt is emerging as the com- tated. At its best, The Recruit rises for the screen. In doing so, he Still, there are bright spots. poser du jour, interesting in the to the hypnotic quality of crafted what is arguably the best Most notable is “VMI Will Be context of this album review Tangerine Dream. —Cary Wong film depiction of the War Between Heard From Today,” which sets because he himself has been the States. Ten years later, Maxwell up an effective low-end ostinato “mentored” by the Pacino-esque Re-Animator: The 1 returns with the entire cast and with the violins striking on top. Hans Zimmer. Looking at Badelt’s Definitive Edition (1985) /2 most of the crew to try and catch The tension of the cue mounts scores for Invincible, The Time RICHARD BAND lightning in a bottle a second as the tempo slowly increases, Machine and K-19: The Widowmaker, La-La Land LLLCD 1002 time. Gods and Generals, also based while dissonant brass chords one always finds competent writ- 16 tracks - 52:43 on a Shaara book, is the prequel and polyphonic trumpet lines ing; Badelt usually goes the extra he cult-classic ’80s horror to Gettysburg, outlining the early weave in and out of the texture. mile. Even in The Recruit, Badelt Tflick Re-Animator was given a days of the war, from 1861 to the The finishing touch is the choir, occasionally throws in a juicy cue score by Richard Band that is part eve of the Gettysburg battle. which enters in triple meter, filled with unexpected twists. , augmented by the Also returning to the scene is firmly against the headlong rush Parts of these tracks make a last- Rome Philharmonic Orchestra Randy Edelman. But this time he of 4/4. The resulting cacophony ing impression, notably the piano (which sounds remarkably like an has a little help from John Frizzell, marvelously illustrates the din finale of “Hijacked” and the nice ensemble of synthesizers), further who composed some of the score; of battle. love theme showcased in “Layla.” augmented by more synthesizers. Mary Fahl, who sings the opening The two songs, while pleasant, Badelt also favors the piano as an Band says the score is 99% number, “Going Home”; and Bob feel tacked on and contribute lit- effective, calming contrast to the orchestral, but to say the sound is Dylan, who contributes a new tle to the album. So, if you are a action music (à la Randy Edelman tinny and pinched is an under- song, “Cross the Green Mountain.” Dylan fan and are interested in and Christopher Young). statement. Add to the mix a Dylan music his every move, by all means Still, there is an overwhelm- The score (among ’80s horror- video (included with the score purchase this CD. Otherwise, ingly generic feel to The Recruit, flick fans anyway) riffs notori- album) and you have what you’ll be best off sticking with the ously on Bernard Herrmann’s appears to be a must-have original Gettysburg. classic Psycho, to some controversy. release. With all this going for it, —Andrew Granade In defense of Band, I would say it what could be better? falls into the realm of homage, 1 Well, this release is like the old The Recruit /2 not plagiarism. But Band doesn’t circus trick of dazzling the eyes so KLAUS BADELT bring anything new or interesting the deficiencies in other areas Varèse Sarabande 302 066 433 2 to the material that the master won’t seem as glaring. The 14 tracks - 49:38 didn’t already use in 1960, other orchestration of the underscore, oger Donaldson’s The Recruit than a funny, rising bass line and obviously trying to mimic Ris the latest film in the a dated 1980s sound. And I don’t authentic sounds from the period, unique Al Pacino-mentoring-a- mean that in a good way, as a has less of the heavy synth beef- naïve-kid genre (remember The dated sound can often be very ing found in Gettysburg, but it’s Devil’s Advocate, Donnie Brasco, City good. still a bit flat. Likewise, the little Hall and Scent of a Woman?). This This score is dull. I imagine it touches that are supposed to con- time around Pacino plays a CIA has some degree of a cult follow- jure down-home wartime instructor who spends about an ing behind it though—probably America come off as a pastiche of hour teaching his newest made up of fans of the film. The via The Patriot. Uilleann “recruit,” Colin Farrell, every- best track, however, is a 15- pipes and fiddle aren’t quite the thing James Bond usually learns minute discussion of the score by definitive sound to represent men in five minutes. Richard Band, who has some fighting for the American cause. German composer Klaus Badelt funny things to say about his Edelman and Frizzell do present likely wasn’t asked to do any- detractors from the Bernard

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SCORE

Herrmann Society, who called his reluctant to mine any real emo- impressive in Chicorel’s recording ing quality time with my dog- score an abortion. It’s not a good tional depths. The Disney-esque of Great Expectations). Disc 2 eared copy of Tolstoy’s text and a score, but it doesn’t bastardize approach undercuts the dramatic includes Paul Stolarsky’s effective, couple of captivating Kareninas Herrmann to that degree. The potency of the source material, commanding narration inter- named Greta and Vivien. liner notes feature glowing praise and many of the selections seem spersed between the musical —Mark Griffin of the score and film by Harry rather rushed and incomplete. numbers and instrumentals. The Knowles of Ain’t It Cool News, who For example, two of Anna’s early are appropriately The Fall of Berlin/ goes on to diss Psycho. If his opin- solo turns, “It’s a Terrible Omen” lush thanks to Eric Segnitz and The Unforgettable Year 1 ion is one you respect, you may and “Forgive Him,” begin Broadway’s favorite musical 1919 (2002) /2 just like this CD. Otherwise, it’s promisingly but aren’t given a director Alex Rybeck. DMITRI SHOSTAKOVICH for die-hard fans only. chance to fully develop and With ticket prices for even Marco Polo 8.223897 —Darren MacDonald ingratiate themselves with the regional musical productions 23 tracks - 75:30 listener before ending abruptly. soaring into the upper strato- n its website, the Marco The FSM Staff reviews As a result, leading lady Lorna sphere, the concept of an afford- OPolo label explains that Re-Animator: We kind of like this Dallas has precious little to work able audio alternative is an one of its primary objectives is score, but then again, we are fans of the film. Our (and everyone’s?) favorite with in terms of building a com- extremely attractive proposition. “to bring to listeners unknown part is when the bad guy puts his sev- pelling central characterization. The crotchety headmaster in me compositions by well-known ered head in a bad place. On the plus side, there are wants to order Ralph Chicorel composers.” With this CD, the strong voices in the cast, includ- and his talented team back into company fulfills its goal amply, Anna Karenina: ing William Michals as Karenin, the rehearsal hall and lock them supplying not just one but two 1 The Audio Musical /2 Ron Spivak as Levin and, espe- in until they’ve completely mas- forgotten scores from RALPH CHICOREL cially, the booming baritone of tered this exciting genre. Until Shostakovich: The Fall of Berlin and LML Music LML CD-165 Brian Noonan (who was equally their next attempt, I’ll be spend- The Unforgettable Year 1919. Disc One: 30 tracks - 54:20 Disc Two: 42 tracks - 70:00 Exclusive Throwback: FSM’s Editor-At-Large Reviews a CD! nna Karenina...For me, the have the vocabulary to discuss. Aname still conjures up Far From Heaven The emotional center of the score visions of the Divine Garbo is “Turning Point,” a melody that emerging from a mysterious ELMER BERNSTEIN underscores Moore’s growing friend- cloud of locomotive steam in Varèse Sarabande 302 066 421 2 ship with her black gardener (Dennis “Cerrano” Haysbert), a relationship M-G-M’s glossy 1935 film adap- 22 tracks - 46:22 that eventually allows her to begin tation. Indelible images of the moving on with her life after she and ver the past couple of months, “Swedish Sphinx” in sublime Quaid separate. Bernstein’s develop- we’ve managed to gush all over close-up are intermingled with ment of this melody and the way in OElmer Bernstein’s great score to which he contrasts it with the more memories of the equally stunning Todd Haynes’ Far From Heaven with- uncertain material for Quaid shows Vivien Leigh in the acclaimed out ever actually reviewing the the composer at his finest, and illus- 1948 British version of this soundtrack album. So here’s to cor- increasingly marginalized in film trates a craft and artistry rarely immortal classic. recting two errors on my part (the scoring. allowed in film music these days. other was saying that Elmer had Count Leo Tolstoy’s deliciously Bernstein’s main title is the clos- It’s not exaggerating to say that never won a Best Original Score tortured heroine is now the star est thing in the score to a retro Bernstein usually concludes his Oscar—he did, for Thoroughly of Anna Karenina: The Audio Musical, approach, mainly because of his scores in a way that puts most other Modern Millie, which I inadvertently application of a crashing to musicians to shame; his denoue- a project billed as “A New identified as an Adaptation award). Edward Lachman’s swooping estab- ment to Far From Heaven is as sub- Journey Into Melody and Bernstein deservedly won an lishing shot of the Connecticut town lime as anything in his canon: grace- Harmony,” with music and lyrics Academy Award nomination for scor- in which the action takes place. After ful and intensely moving. by Ralph Chicorel, who also exec- ing Far From Heaven, and if there its delicate To Kill a Mockingbird-like Far From Heaven faced a tough was any justice he’d have nabbed utive produced this lavishly piano solo prelude, the main theme challenge in the Oscar race: The the award itself. packaged two-disc set. For sheer reveals its lush, romantic and trou- film’s biggest buzz came last fall, The assignment was a challeng- gumption alone, Chicorel and his bled qualities. Bernstein adds an and Haynes’ frequent strategy of ing one: scoring a film shot, written insinuating, subtle jazz quality to building a wall between his charac- collaborators should be and acted from the perspective of Dennis Quaid’s early “Prowl” into a ters and the audience has so far pre- applauded for undertaking such 1950s cinema, specifically the lush ’50s gay bar (one of Far From vented the movie from achieving the an ambitious enterprise. If only “women’s pictures” of Douglas Sirk. Heaven’s interesting aspects is the wide appeal of films like or thinking big were enough to sus- Hiring Bernstein was a stroke of way it paints homosexuality as a even Gangs of New York. But the fact genius: Here was a man who was tain such an elaborate and chal- social disease on the order of drug that Bernstein can still achieve this actually working in the period that lenging venture. addiction or alcoholism and Quaid kind of recognition at an age when Far From Heaven references. The Rather than a considered, dra- as essentially the antagonist in the most people in his profession have resulting score is less a throwback story). This establishes a dire mood long since retired is an incredibly matically satisfying exploration of than simply an honest application of of domestic unrest as Quaid and hopeful sign, not just for him, but for Tolstoy’s themes, this audio musi- principles that Bernstein has always Julianne Moore attempt to confront film composition in general. cal offers a fleeting Cliffs Notes championed but that have been a marital problem they don’t even —Jeff Bond treatment of the story that seems

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Newly re-recorded by the collection will provide plenty of “Texas Memories,” in contrast, Moscow Symphony Orchestra, pleasure. And it may edify the blends a strumming mandolin these vigorous and frequently rest of us, as it proves that totali- with a bleating trumpet to bombastic compositions first tarian art doesn’t always have to approximate the sentimental feel- appeared during the last years of be gray and flavorless. But then ings that sweep through the Tim Stalin’s reign. As Swiss conductor the music in Triumph of the Will is Holt character as he thinks about Adriano explains in this collec- often pretty, too. his past. tion’s liner notes, Mosfilm, the —Stephen Armstrong Replete with liner notes and Soviet Union’s official movie stu- stills (as well as music that doesn’t dio, was producing pictures The Treasure of the appear in the movie), this belated which sought “to impress and Sierra Madre (1948) release warrants the highest instruct the masses like written MAX STEINER praise. But as comprehensive as it history and, as was usual, to pres- Rhino Handmade RHM2 7773 is, there are a few holes. The pro- ent historical truth in a forged or 29 tracks - 54:04 ject’s producer Ray Faiola re-invented form, to serve propa- n 1948, Warner Bros. released explains: “Unfortunately, not all of ganda purposes.” Glorifying I one of John Huston’s greatest the cues survived.” In fact, one Russia and its mustached leader, films, The Treasure of the Sierra of the score’s finest moments, these “artistic documentaries” Madre. Filmed on location in the cue that accompanies the exemplified the ideals of Socialist Mexico with Humphrey Bogart, miraculous revival of a dead Realism, creating easy-to-digest Walter Huston and Tim Holt, this child, no longer itself exists. But odes to Communism and shying story about greed and madness so what? This disc has so many away from criticism and difficult enjoyed instant acceptance from patches of beauty, only the most intellectual ideas. Unfortunately, critics and audiences when it obsessive of Steiner’s followers Shostakovich’s music—for these premiered, and its popularity could complain. —S.A. pictures, at least—adheres to persists today. these principles just as rigidly. No movie is perfect, however, It’s Always Fair Weather That is, the pieces—marches, fan- and the film’s most obvious (1955) fares, pastorales and dance flaw—its score—has long been , BETTY COMDEN songs—use bright colors, blunt ridiculed by critics, including and ADOLPH GREEN transitions and springing rhythms luminaries like James Agee and Rhino Handmade RHM2 7766 to achieve a nearly constant Bosley Crowther. From the open- 32 tracks - 79:13 mood of well-being and confi- ing credits to the closing ones, t’s Always Fair Weather has dence. In fact, this material has Steiner smothers the film with Ialways seemed like the aban- little if any of the counter-revolu- music, blanketing this violent doned, illegitimate offspring of On tionary sentiment that musicolo- film noir with grand rhythms the Town. After all, there is an gists have ascribed to and figures that might be better undeniable family resemblance to Shostakovich. suited for a more traditional consider: Lyrics for both M-G-M Nevertheless, though these action-adventure picture, a musicals were provided by the scores may be guilty of celebrat- swashbuckler story, for instance. unmatchable Betty Comden and ing one of the 20th century’s That is, his heroic “mickey Adolph Green; Stanley Donen and worst murderers (à la “Springtime mouse” scoring smashes up Gene Kelly co-directed both pro- for Stalin”), their beauty occasion- against Huston’s pessimistic ductions; and in each film Kelly ally transcends their subject. For direction, weakening the film’s starred as the charismatic ring- instance, on “The Flooding of the dramatic force. leader of a trio of high-spirited Underground Station,” which Nevertheless, this much- years ago), we can hear this music servicemen. While Metro’s On the appears on the Berlin opus, the maligned score is very satisfying in its original state, performed by Town (1949) was transferred from a MSO’s strings section whips when listened to apart from the the mighty Warner Bros. Studio triumphant Broadway smash, It’s about with Wagnerian fury until film. And over the last several Orchestra, sans dialogue and Always Fair Weather was something winds and drums rush in vio- decades, it has been re-recorded a sound effects. of a studio system anomaly: a lently like a horde of Cossacks on number of times, most recently Featuring a mélange of styles thoroughly original property that horseback. And “Intermezzo,” a by the Moscow Symphony (ranging from romantic classical was neither an adaptation of the track from The Unforgettable Year, Orchestra. Until now, though, the and swinging jazz to Mexican latest New York stage success nor features a swirling, elegiac pool of original soundtrack recordings waltzes and American folk songs), some barely updated version of a strings, while “The Assault on the were not available for general Steiner’s score moves about like a dusty operetta. Red Hill” distantly echoes the audiences, as they were locked up boxer in the ring. On a track like While On the Town invited audi- softer passages of Rachmaninoff’s in the Steiner archives at Brigham “Call for Help,” for example, he ences to tag along on a largely second symphony. Young University. But thanks to follows an ugly horn blast with carefree furlough, Fair Weather For Shostakovich completists Rhino (who released Murder Is My waves of quivering strings to cre- explored a moodier, more cynical and unreconstructed Soviets, this Beat: Classic Film Noir Themes five ate a quietly hysterical sound. (continued on page 43)

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We’re pleased to offer hard-to-find, unusual soundtrack-related products, including: Exclusive CDs; Books for music lovers; Books for composers; One-of-a-kind collectibles; and more! Order online, by phone or by mail: see contact info below. All CDs are $19.95 plus shipping & handling unless otherwise noted. FSMmarketplace

NEW RELEASE: NEW RELEASE: Vol. 6, No. 4 Vol. 6, No. 6 Vol. 6, No. 5 THX 1138 All Fall Down/ Green Fire/ LALO SCHIFRIN The Outrage Bhowani Junction Film released: 1970 ALEX NORTH MIKLÓS RÓZSA Studio: Warner Bros, Film released: 1962/1964 Film released: 1954/1956 Genre: Science Fiction Studio: M-G-M Studio: M-G-M Silver Age Classics Genre: Drama/Western Genre: Adventure/Drama CD released: Mar 2003 Silver Age Classics Golden Age Classics Stereo • 55:45 CD released: Apr. 2003 CD released: Apr. 2003 George Lucas’ first film is a Stereo • 52:54 Stereo/Mono • 79:20 startlingly original look at Two exotic ’50s scores on life in a dystopian future. Two complete scores by the one disc: Green Fire is an Composer Schifrin adds a great Alex North: All Fall Down (38:24) is hushed, sweetly jazzy action-adventure set in Colombia with a gorgeous symphonic main fascinating score ranging from avant garde soundscapes to score to family/coming-of-age drama. The Outrage (14:29) is spare theme; Bhowani Junction is a politically charged romance sporting cheeky plays on his Latin jazz of the ‘60s. The CD includes unused music to western remake of Rashomon. $19.95 largely indigenous, “world-music” source cues. $19.95 passages and is entirely in stereo. $19.95

Vol. 6, No. 3 Vol. 6, No. 2 Vol. 6, No. 1 Home From the Hill Ice Station Zebra Plymouth Adventure BRONISLAU KAPER MICHEL LEGRAND MIKLÓS RÓZSA Film released: 1960 Film released: 1968 Film released: 1952 Studio: M-G-M Studio: M-G-M Studio: M-G-M Genre: Drama Genre: Military/Espionage Genre: Historical Epic Golden Age Classics Silver Age Classics Golden Age Classics CD released: Mar. 2003 CD released: Feb. 2003 CD released: Feb. 2003 Stereo/Mono • 79:26 Stereo • 79:20 Mono • 79:35

Vincente Minnelli’s excellent This ’60s Cold War nailbiter Southern family drama is is enhanced by Legrand’s Miklós Rózsa’s magnificent highlighted by a masterful offbeat, epic scoring for a historical music for the 1620 score by Bronislau Kaper, weaving together romance, tension and 75-piece orchestra. Remixed for superior sound, and resequenced voyage of the Mayflower, from his most fertile period of epic scor- violence. All of the music from the film is present, plus bonus tracks into film order, this dramatic score gets the deluxe treatment with ing. Includes the complete soundtrack as used in the film (47:00) and alternates. $19.95 over twice the music on the original LP—in stereo. $19.95 plus a bevy of alternates (32:35). $19.95

Vol. 5, No. 20 Vol. 5, No. 19 Vol. 5, No. 18 Never So Few/ Tribute to a Bad Man The Man From 7 Women MIKLÓS RÓZSA U.N.C.L.E. ,/ JERRY GOLDSMITH, et al ELMER BERNSTEIN Film released: 1956 TV Produced: 1963-67 Film released: 1959/1966 Studio: M-G-M Studio: M-G-M Studio: M-G-M Genre: Western Genre: Secret Agent Genre: WWII/Drama Golden Age Classics Silver Age Classics Silver Age Classics CD released: Jan .2003 CD released: Dec. 2002 CD released: Jan. 2003 Stereo • 50:30 Mono • Disc One: 77:05 Stereo • 73:46 Mono/Stereo Disc Two: 76:08 Rózsa’s rare western is The first hit spy series on Two Asian-flavored classics sweeping, full of melody, American TV features var- on one CD; Never So Few (42:18) blends action and romance, and flecked with the brooding melancholy expected of a mature ied, jazzy, high-energy music. All of Goldsmith’s scores plus while 7 Women (31:27) is more introspective and character-driven, “psychological western.” This fan favorite has been remixed from scores by six others (including Fried, Schifrin, Scharf, Stevens) is with a big, exciting title theme for the Mongol horde. $19.95 the original strereo masters. $19.95 represented on this 2-CD set. $24.95 same shipping as one CD

Vol. 5, No. 17 Vol. 5, No. 16 Vol. 5, No. 15 The Seventh Sin The Prize The World, the Flesh MIKLÓS RÓZSA JERRY GOLDSMITH and the Devil Film released: 1958 Film released: 1963 MIKLÓS RÓZSA Studio: M-G-M Studio: M-G-M Film released: 1959 Genre: Drama Genre: Espionage Studio: M-G-M Golden Age Classics Silver Age Classics Genre: Science Fiction CD released: Dec. 2002 CD released: Nov. 2002 Golden Age Classics Mono • 59:26 Stereo • 72:37 CD released: Nov. 2002 This reworking of The Stereo • 52:53 Painted Veil inspired Rózsa The Prize is an early Jerry to apply three of his signa- Goldsmith action-sus- One of Rózsa’s rare sci-fi ture sounds; film noir, exotic pense gem for a scores (Two men and one and epic film scoring techniques combine to create a unique and Hitchcock-styled thriller. CD features complete stereo score plus woman struggle in post apocalyptic New York City), embellishes unmistakable score. Includes source music suite. $19.95 source music and vintage re-recorded LP cuts. $19.95 end-of-the-world loneliness and doom with romantic splendor. Premiere release of complete stereo score. $19.95

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Vol. 5, No. 14 Vol. 5, No 13 Vol. 5, No. 12 The Green Berets Scaramouche The Gypsy Moths MIKLÓS RÓZSA ELMER BERNSTEIN Film released: 1968 Film released: 1952 Film released: 1969 Studio: Warner Bros. Studio: M-G-M Studio: M-G-M Genre: War/Adventure Genre: Costume Adventure Genre: Drama Silver Age Classics Golden Age Classics Silver Age Classics CD released: Sept. 2002 CD released: Sept. 2002 CD released: Aug. 2002 Stereo • 72:37 Mono • 62:28 Stereo • 61:08 The first major U.S. film to The last of the Golden-Age address the Vietnam conflict swashbucklers by Rafael This tale of barnstorming sky- features a stirring symphonic score, befitting an action movie Sabatini (Captain Blood, et al) gets a heroic and charming score divers contrasts robust, action-oriented cues and sweeping directed by and starring . All of Rózsa’s music is here by the prolific Victor Young. This premiere release includes all Americana with softer, bittersweet melodies. CD features complete (plus “The Ballad of the Green Berets”) in excellent stereo. $19.95 of the score, plus alternates, unused and source cues. $19.95 underscore plus nightclub and marching band source cues. $19.95

Vol. 5, No 11 Vol. 5, No. 10 Vol. 5, No 9 Above and Beyond I Spy The Prodigal HUGO FRIEDHOFER BRONISLAU KAPER Film released: 1952 TV Produced: 1965-67 Film released: 1955 Studio: M-G-M Network: NBC • Genre: Secret Agent Studio: M-G-M Genre: WWII Silver Age Classics Genre: Biblical Epic Golden Age Classics CD released: July 2002 Golden Age Classics CD released: Aug. 2002 Stereo/Mono • 77:57 CD released: July 2002 Mono • 55:44 Five episode scores for ground- Stereo • 75:11 This combination of wartime breaking series starring Robert drama and domestic struggle Culp and Bill Cosby: “So Long, Complete stereo score for gar- is driving by a stirring, progressive score, with one of Patrick Henry,” “The Time of the Knife” “Turkish Delight,” “The gantuan biblical epic starring Lana Turner features male and Friedhofer’s greatest main titles. Complete, chronological score Warlord” and “Mainly on the Plains.” First three & theme in stereo; female choruses, solos, source cues and thundering symphonic in best possible monaural sound. $19.95 all OST, not LP recordings. $19.95 glory. Includes unused alternate cues. $19.95 Vol. 5, No. 8 Vol. 5, No 7 Vol. 5, No. 6 Point Blank/ On the Beach/ The Traveling Executioner The Outfit The Secret of Santa Vittoria JERRY GOLDSMITH / Film released: 1970 Film released: 1959, 1969 Studio: M-G-M Film released: 1967, 1973 Studio: United Artists Genre: Black Comedy Studio: M-G-M • Genre: Film Noir Genre: Drama, Comedy Silver Age Classics Silver Age Classics Golden Age Classics CD released: May 2002 CD released: June 2002 CD released: June 2002 Stereo • 39:39 Stereo • 77:54 Stereo • 70:59 The main theme charmingly Two films based on D.E. Two scores from the films of blends Americana, Dixieland Westlake’s crime novels: Point Blank (39:38) is a landmark 12-tone director Stanley Kramer on one CD. Beach is a gorgeous sym- and circus sound, but the score touches all the bases, from blue- score, ethereal and strange; The Outfit (38:16) features a dark, pul- phonic score ingenously interpolating “Waltzing Matilda”; Secret grass to avant-garde to full-scale action. This first-release ever is sating score punctuated with unexpected melody. $19.95 is a lyrical slice of “Italiana,” with one bonus cue. $19.95 complete, with every note in excellent stereo. $19.95

Vol. 5, No 5 Vol. 5, No 4 Vol. 5, No. 3 36 Hours The Man Who Joy in the Morning Loved Cat Dancing BERNARD HERRMANN Film released: 1964 JOHN WILLIAMS Film released: 1965 Studio: M-G-M • Genre: WWII/Spy MICHEL LEGRAND Studio: M-G-M / Genre: Romance Golden Age Classics Film released: 1973 Golden Age Classics CD released: May 2002 Studio: M-G-M / Genre: Western CD released: Mar. 2002 Stereo • 66:41 Silver Age Classics Stereo • 46:33 A taut, piano-dominated score CD released: Mar. 2002 Herrmann’s last completed stu- with an accent on stealth— Stereo • 65:37 dio project is sweepingly flamboyant, but naturalistic as A lost gem from Williams’ pre- romantic, surging with passion well. This CD premiere is remixed and remastered in stereo, dou- blockbuster career, during which he wrote melodic scores for del- and haunting in its use of melody. The complete score in stereo bling the playing time of the LP including bonus tracks of vocals, icate dramas, plus Legrand’s unused, unheard take on the same from the original three-track recording with liner notes by piano demos, and a jazz trio improv of the main title. $19.95 material. A rare opportunity for collectors—all in stereo! $19.95 Christopher Husted, manager of the Herrmann estate. $19.95

Vol. 5, No 2 Vol. 5, No. 1 VOLUME 4, No. 20 Logan’s Run Lust for Life Farewell, My Lovely/ JERRY GOLDSMITH MIKLÓS RÓZSA Monkey Shines Film released: 1976 Film released: 1956 Studio: M-G-M / Genre: Sci-Fi Studio: M-G-M Film released: 1975/88 Silver Age Classics Genre: Biography Studio: M-G-M CD released: Feb. 2002 Golden Age Classics Genre: Film Noir/ Stereo • 74:18 CD released: Feb. 2002 Suspense Stereo • 61:51 Silver Age Classics This classic story of a dystopian Premiere of Rózsa’s heartfelt, CD released: Jan. 2002 future gets the royal treatment stirring accompaniment to the Stereo • 73:48 by the master of speculative soundtracks. Jagged action cues, tragic tale of Vincent van Gogh. A favorite of the composer, this CD Farewell, My Lovely (33:06) is symphonic jazz score for '70s noir Coplandesque nostalgia, bracing electronics and more in this has been remixed from the three-track masters with bonus alter- classic; Monkey Shines (40:41) is leitmotivic suspense score for restored, remixed, resequenced release! $19.95 nate cues and more. One of the greatest film scores! $19.95 George Romero monkey thriller. $19.95 Vol. 4, No. 19 Vol. 4, No. 18 Vol. 4, No. 17 Demetrius and the Broken Lance John Goldfarb, Gladiators Please Come Home! FRANZ WAXMAN JOHNNY WILLIAMS Film released: 1954 Film released: 1954 Studio: 20th Century Fox Studio: 20th Century Fox Film released: 1965 Genre: Biblical Epic Genre: Western Studio: 20th Century Fox Golden Age Classics Golden Age Classics Genre: Comedy CD released: Jan. 2002 CD released: Dec. 2001 Silver Age Classics Stereo • 61:51 Stereo • 38:41 CD released: Dec. 2001 Spectacular Waxman score for Stereo • 71:32 Biblical epic emphasizes romance, action and religion, interpolating Disney’s workhorse composer from the ‘30s (Pinocchio) provides This wacky comedy starring Shirley MacLaine and Peter Ustinov themes from The Robe by Alfred Newman. Plus bonus tracks a dark, rich Americana score to this adaptation of King Lear set in is the earliest feature film soundtrack by John Williams available (11:06) and remixed cue from The Egyptian (5:04). $19.95 the American West. $19.95 on CD. Johnny does Arab go-go music! $19.95

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Vol. 4, No. 16 Vol. 4, No. 15 Vol. 4, No. 14 Vol. 4, No. 13 Vol. 4, No. 12 Vol. 4, No. 11 Vol. 4, No. 10 The World of The View From The Illustrated Man The Bravados Morituri/ The Best of Everything Voyage to the Bottom Henry Orient Pompey’s Head/ JERRY GOLDSMITH ALFRED NEWMAN & Raid on Entebbe ALFRED NEWMAN of the Sea ELMER BERNSTEIN HUGO FRIEDHOFER JERRY GOLDSMITH/ Song by Newman & PAUL SAWTELL Piano Concerto by Kenneth ELMER BERNSTEIN/ Film released: 1969 Film released: 1958 DAVID SHIRE , & BERT SHEFTER Lauber BERNARD HERRMANN Studio: Warner Bros. Studio: 20th Century Fox Films released: 1965/77 Perf. by Song by Russell Faith, Film released: 1964 Films released: 1955/1959 Genre: Sci-fi/Anthology Genre: Western Studio: 20th Century Fox Film released: 1959 Perf. by Studio: United Artists Studio: 20th Century Fox Silver Age Classics Golden Age Classics Genre: WWII/Docudrama,TV Studio: 20th Century Fox Film released: 1961 Genre: Comedy/Drama Genre: Drama CD released: Sept. 2001 CD released: Sept. 2001 Silver Age Classics Genre: Drama/Romance Studio: 20th Century Fox Silver Age Classics Golden Age Classics Stereo • 42:02 Stereo (some bonus tracks in CD released: Aug. 2001 Golden Age Classics Genre: Sci-fi/Irwin Allen CD released: Nov. 2001 CD released: Nov. 2001 The Illustrated Man is one mono) • 69:34 Stereo (Morituri)/ CD released: Aug. 2001 • Silver Age Classics Stereo • 71:14 Stereo • 40:32 Stereo • 75:15 of Jerry Goldsmith’s most Two Hollywood legends Mono (Entebbe) • 57:50 CD released: July 2001 • Stereo Newman’s last Fox score is Bernstein’s “second-best” This pair of films by Philip haunting sci-fi creations, collaborate for a rich, Morituri (41:46) is in • 55:55 a romantic gem; think New score for children (after To Dunne feature romantic, with airy beauty, solo handsome western score Goldsmith’s percussive ‘60s Thundering B-movie hyste- York at twilight. Complete Kill a Mockingbird) sports intimate scores by Elmer female vocalise, early with a memorable, driving style; Raid on Entebbe ria plus soothing, romantic score (48:21) in stereo, plus fabulous sound from the Bernstein (lovely electronics, strange main theme and darkly (15:29) features suspense, undersea passages for the some bonus tracks in legendary Goldwyn scoring Americana) and Bernard effects and an aggressive brooding interior pas- pulsating action, and film that launched the hit stage. Whimsical, melodic mono. $19.95 TV show. Herrmann (“baby climax. $19.95 sages. $19.95 Israeli song climax. $19.95 $19.95 and magical. $19.95 Vertigo”). $19.95

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Vol. 4, No. 9 Vol. 4, No. 8 Vol. 4, No. 7 Vol. 4, No. 6 Vol. 4, No. 5 Vol. 4, No. 4 Vol. 4, No. 3 Between Heaven and Room 222/ A Man Called Peter The French The Egyptian Untamed The Towering Inferno Hell/ Soldier of Fortune Ace Eli and Rodger of ALFRED NEWMAN Connection/ ALFRED NEWMAN & FRANZ WAXMAN JOHN WILLIAMS HUGO FRIEDHOFER the Skies Film released: 1955 French Connection II BERNARD HERRMANN Film released: 1955 Film released: 1974 Films released: 1956/55 JERRY GOLDSMITH Studio: 20th Century Fox DON ELLIS Film released: 1954 Studio: 20th Century Fox Studio: Warner Bros./20th Studio: 20th Century Fox Films released: 1969/73 Genre: Religious/ Biography Films released: 1971/75 Studio: 20th Century Fox Genre: Historical Adventure Century Fox Genre: WWII/Adventure Studio: 20th Century Fox Golden Age Classics Studio: 20th Century Fox Genre: Historical Epic Golden Age Classics Genre: Disaster/Irwin Allen Golden Age Classics Genre: Sitcom (TV)/ Americana CD released: June 2001 Genre: Cop Thriller Golden Age Classics CD released: April 2001 Silver Age Classics CD released: July 2001 (feature) Stereo • 58:14 Silver Age Classics CD released: May 2001 Stereo • 65:43 CD released: Apr. 2001 Stereo • 73:00 Silver Age Classics CD released: May 2001 Stereo • 72:06 Stereo • 75:31 A superlative Hugo CD released: June 2001 Biopic of Scottish minister Stereo & Mono (I)/ At last: the classic 19th century African colo- Friedhofer doubleheader: Mono (Room 222)/Stereo & Peter Marshall receives Stereo (II) • 75:01 Newman/Herrmann col- nialist adventure starring Disaster masterpiece gets Between Heaven and Hell Mono (Ace Eli) • 71:37 rich, reverent, melodic Cop thrillers get pulsating, laboration for Fox’s histori- Susan Hayward receives premiere CD release, dou- (complete: 40:18) is a Room 222 (12:15) comprises score by Alfred Newman; dynamic, avant-garde cal epic. Original stereo thrilling adventure score bled in length from the LP. moody war thriller; Soldier theme and two episode CD features complete scores by jazz artist. First tracks were believed to be by Franz Waxman in first- Fantastic main title, climac- of Fortune (surviving scores for popular sitcom; score including source (37:52) includes unused lost or unusable, but this rate sound. Wonderful tic action cue; plenty of tracks: 32:41) an exotic, Ace Eli (59:21) an obscure music. $19.95 music; sequel (37:09) a bit CD features every surviv- main title, love theme. moody suspense and melodic jewel. $19.95 barnstorming movie. $19.95 more traditional. $19.95 ing note. $19.95 $19.95 romantic pop. $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 Conquest of.../Battle for Beneath the The Stripper/ From the Terrace The Undefeated/ Millionaire the Planet of the Apes 12-Mile Reef Nick Quarry ELMER BERNSTEIN Hombre ALFRED NEWMAN & TOM SCOTT/ BERNARD HERRMANN JERRY GOLDSMITH Film released: 1960 Theme by Neal Hefti HUGO MONTENEGRO/ CYRIL MOCKRIDGE / Film released: 1953 Film released: 1963/68 Studio: 20th Century Fox Film released: 1966 Film released: 1953 LALO SCHIFRIN Studio: 20th Century Fox Studio: 20th Century Fox Genre: Drama Studio: 20th Century Fox Film released: 1969/67 Studio: 20th Century Fox Film released: 1972/73 Genre: Adventure Genre: Drama /Action,TV Golden Age Classics Genre: Adventure/Camp Studio: 20th Century Fox Genre: Comedy/ Romance Studio: 20th Century Fox Golden Age Classics Silver Age Classics CD released: Dec. 2000 Silver Age Classics Genre: Western Golden Age Classics Genre: Sci-fi/Fantasy CD released: Feb. 2001 CD released: Jan. 2001 Stereo • 71:27 CD released: Nov. 2000 • Mono Silver Age Classics CD released: Mar. 2001 Silver Age Classics Stereo • 55:06 Stereo (Stripper)/Mono • 65:23 CD released: Sept. 2000 Stereo • 70:03 CD released: Feb. 2001 Fantastic undersea adven- (Quarry) 73:35 Paul Newman/Joanne Holy Bat-tracks! 1966 fea- Stereo • 72:33 Marilyn Monroe comedy Stereo & Mono (Conquest)/ ture score gets premiere Early Goldsmith feature Woodward soaper fea- ture produced at time of Western doubleheader: features period songs Stereo (Battle) • 74:44 release of original stereo (42:01, plus 21:06 bonus- tures tuneful, romantic ‘60s TV show features The Undefeated (w/John adapted as instrumental Final Apes films get vintage tracks, albeit with minor tracks)—is in romantic score by Bernstein. Rich Neal Hefti’s theme, Nelson Wayne, 47:33) is accessible underscore. “Street scores by Scott (38:47, deterioration. Lots of Alex North style. Quarry Americana music, sensi- Riddle’s Bat-villain signa- and symphonic. Hombre Scene” (5:36) conducted w/unused cues) and harps, “underwater” color, (10:27) is a TV rarity— tive romantic themes, tures, swingin’ underscor- (w/Paul Newman, 21:30) is by Alfred Newman opens Rosenman (34:43), plus TV seafaring melodies. $19.95 sounds like Flint music. haunting melancholy. ing and larger action set- moodier, sensitive—a quiet the movie and CD. $19.95 theme (1:13). $19.95 $19.95 $19.95 pieces. $19.95 gem. $19.95

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Vol. 3, No. 5 Vol. 3, No. 4 Vol. 3, No. 3 Vol. 3, No. 2 Vol. 3, No. 1 VOLUME 2, No. 9 Vol. 2, No. 8 A Guide for the Tora! Tora! Tora! Beneath the Planet The Omega Man Take a Hard Ride The Flim-Flam Man/ Rio Conchos Married Man JERRY GOLDSMITH of the Apes RON GRAINER JERRY GOLDSMITH A Girl Named Sooner JERRY GOLDSMITH JOHNNY WILLIAMS Film released: 1970 LEONARD ROSENMAN Film released: 1971 Film released: 1975 JERRY GOLDSMITH Film released: 1964 Title Song Perf. by The Turtles Studio: 20th Century Fox Film released: 1970 Studio: Warner Bros. Studio: 20th Century Fox Films released: 1967/1975 Studio: 20th Century Fox Film released: 1967 Genre: WWII Studio: 20th Century Fox Genre: Sci-fi/Fantasy Genre: Western Studio: 20th Century Fox Genre: Western Studio: 20th Century Fox Silver Age Classics Genre: Sci-fi/Fantasy Silver Age Classics Silver Age Classics Genre: Drama/Americana Silver Age Classics Genre: Comedy CD released: May 2000 Silver Age Classics CD released: Mar. 2000 CD released: Feb. 2000 Silver Age Classics CD released: Dec.1999 Silver Age Classics Stereo • 54:45 CD released: Apr. 2000 Stereo • 65:39 Stereo • 46:38 CD released: Jan. 2000 • Stereo Mono/Stereo (combo) • 75:28 CD released: July 2000 Stereo • 72:37 (Flim-Flam)/Mono (Sooner) • Stereo • 73:10 Classic Goldsmith war score Charlton Heston sci-fi Strange “blaxploitation,” 65:20 Early Goldsmith western enhances docu-drama take Second Apes pic gets atonal classic features one-of-a- foreign-produced western score is presented in com- Vintage score is “Johnny”’s on Pearl Harbor. Aggressive score by Leonard Rosenman kind symphonic/pop fusion gets wonderful symphonic A rural Americana double- plete form (55:43) in mono, most elaborate for a comedy, action music combined with with many avant-garde high- by the late Ron Grainer. score from Goldsmith; great header: Flim-Flam (34:37) with some cues repeated in with long setpieces, groovy avant-garde effects, lights. Includes complete Unforgettable themes, period main theme, action cues. stars George C. Scott as a stereo. Includes delightfully title theme, and orchestral Japanese instrumentation. original tracks (46:03) plus effects; great stereo sound Take a hard ride, indeed. Southern con man; Sooner bizarre vocal version of the underscoring foreshadowing $19.95 1970 LP re-recording with quality. $19.95 $19.95 (30:43) is smaller, sensitive main theme. $19.95 his dramatic works. $19.95 dialogue (26:34). $19.95 TV movie score. $19.95

Vol. 2, No. 7 Vol. 2, No. 6 Vol. 2, No. 5 Vol. 2, No. 4 Vol. 2, No. 3 Vol. 2, No. 2 Vol. 2, No. 1 All About Eve/ The Comancheros Prince of Monte Walsh Prince Valiant Patton/The Flight 100 Rifles Leave Her to Heaven ELMER BERNSTEIN ALFRED NEWMAN JOHN BARRY FRANZ WAXMAN of the Phoenix JERRY GOLDSMITH ALFRED NEWMAN Film released: 1961 Film released: 1949 Film released: 1970 Film released: 1954 JERRY GOLDSMITH/ Film released: 1969 Film released: 1950/45 Studio: 20th Century Fox Studio: 20th Century Fox Studio: CBS Studio: 20th Century Fox FRANK DE VOL Studio: 20th Century Fox Studio: 20th Century Fox Genre: John Wayne/Western Genre: Historical Adventure Genre: Western Genre: Historical Adventure Film released: 1970/65 Genre: Western Genre: Drama Silver Age Classics Golden Age Classics Silver Age Classics Golden Age Classics Studio: 20th Century Fox Silver Age Classics Golden Age Classics CD released: Sept.1999 CD released: July 1999 CD released: June 1999 CD released: May 1999 Genre: WWII/ Adventure CD released: Mar. 1999 Stereo • 47:44 Stereo • 46:39 Mono (1 trk. in stereo) 61:51 Stereo • 62:17 CD released: Nov. 1999 Silver Age Classics Stereo/Mono (combo) • 77:08 Mono (2 trks. in stereo) • 44:19 CD released: April 1999 Elmer Bernstein’s first of “Lost” Tyrone Power histor- Revisionist western gets Fox’s colorful 1954 adapta- Stereo • 76:24 Burt Reynolds/ Eve is a cinema master- many scores for John ical adventure gets exciting, vintage John Barry score 20 tion of the famous epic western gets explosive piece; the complete score is Wayne is a western gem, robust score by Alfred years before Dances With comic strip features stirring Patton (35:53) is complete score, heavy on Mexican col- appropriately theatrical, per- with rhythmic main title and Newman, newly mixed into Wolves. Song “The Good adventure score by Franz OST to WWII biopic classic. ors and guttural action. CD fectly drawn. Leave Her to high-tailing action music. stereo. Glorious main title, Times Are Comin’” per- Waxman in “leitmotiv” style, Phoenix (40:51) is a rare features score twice, in Heaven is more dramatic, Think in terms of “The stirring love theme. $19.95 formed by Mama Cass; a la Star Wars: hero, villain, album release for Frank De stereo and in mono with brooding film noir. $19.95 Magnificent Eight.” $19.95 many bonus tracks. $19.95 princess, mentor. $19.95 Vol, a rousing adventure/ slight variations. $19.95 survival score. $19.95

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VOLUME 1, No. 4 Vol. 1, No. 3 Vol. 1, No. 2 Vol. 1, No. 1 FSM-80125-2 FSM-80124-2 FSM-80123-2 The Return of Dracula/ Fantastic Voyage The Paper Chase/ The Stagecoach/The Loner Mad Monster Party Deadfall The Taking of I Bury the Living/ LEONARD ROSENMAN Poseidon Adventure JERRY GOLDSMITH Film released: 1998 Film released: 1968 Pelham 1-2-3 The Cabinet of Caligari/ Film released: 1966 JOHN WILLIAMS Film released: 1966/1965 Studio: Rankin/Bass Studio: 20th Century-Fox Film released: 1974 Mark of the Vampire Studio: 20th Century Fox Film released: 1973/72 Studio: 20th Century Fox Genre: Animagic Genre: Heist caper Studio: M-G-M GERALD FRIED Genre: Sci-fi Studio: 20th Century Fox Genre: Western (film/TV) Percepto/Retrograde Records Retrograde Records Genre: Thriller Films released: 1958/58/62/57 Silver Age Classics Genre: Drama/Disaster Silver Age Classics CD released: 1997 CD released: 1997 Retrograde Records Studio: UA/ 20th Century Fox CD released: Sept. 1998 Silver Age Classics CD released: May 1998 Stereo 36:48 Stereo 40:23 CD released: 1996 Genre: Horror Stereo • 47:28 CD released: July 1998 Stereo (Stagecoach)/ Stereo & Mono • 30:55 Silver Age Classics Stereo/Mono (combo) • 75:53 Mono (Loner) • 45:25 The jazzy score by composer Barry scored this thriller in CD released: Jan. 1999 • Mono Sci-fi classic following Maury Laws, with lyrics by his most creative period. Hear David Shire’s Disc One: 61:06 Disc Two: 73:20 miniaturized sub crew The Paper Chase is eclectic Stagecoach is gentle Jules Bass, features the Features “Romance for Guitar unparalleled ’70s 12-tone inside the human body gets score for drama about law Americana score for remake vocal talents of Boris Karloff, and Orchestra,”; the title jazz/funk fandango for the Star Trek and The Man from of classic western. The U.N.C.L.E. composer gets 2- imaginative, avant garde students. The Poseidon and Ethel Ennis. song performed by Shirley 1974 subway hostage thriller CD release of creepy, early score; one of Rosenman’s Adventure is classic Irwin Loner includes theme and Features 16-page color book- Bassey, plus two unreleased, on FSM’s first album release. horror scores, packaged in signature works. Symphonic Allen disaster score. Also two episode scores for let with rare and unpublished alternates and vintage under- A sensational, driving, slimline case; same shipping yet thrillingly bizarre. $19.95 includes Conrack (1974), short-lived Rod Serling west- photographs and concept score. $16.95 pulsating score in a class by as one CD. $29.95 main title (6:07). $19.95 ern series. $19.95 drawings. $16.95 itself. $16.95

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The Click Book Comprehensive timing tables for synchronizing BOOKS FOR COMPOSERS music to film By Cameron Rose Composer provides click-tempo tables for 6-0 through 32-0 frame 2002 Film/TV Music Guide click-tempos. Each timing table covers beat 1 to beat 999 at the given From the Music Business Registry click-tempo. With large, easy-to-read click-tempo and metronomic Isn’t your career worth it? An exhaustive directory of record labels, music values at the top of each page, there are timing, frame and footage publishers, film/TV music depts., music supervisors, music editors, com- breakdowns for rhythmic subdivisions within each click-tempo— poser representatives, composers, clearance companies, recording stu- including compound meters. Includes a listing and tutorial of standard dios, performing rights societies, and music libraries—names, addresses timing-conversion formulas for 24 fps film speed, and a tutorial in and numbers. $94.95 SMPTE-to-absolute time conversion, plus frames-to-seconds conver- sion tables for U.S. and European film & video speeds. 430 pp. $149.95 Getting the Best Score for Your Film: A Filmmakers’ Guide to Music Scoring by David Bell BOOKS FOR MUSIC LOVERS The Score: Interviews with Film Composers by Michael Schelle Respected TV composer Bell (Star Trek: Voyager) wrote this book in 1994 This 1999 book uses a Q and A format to provide readers with a conver- to help producers and directors get the most out of film music. Aimed at sational look at contemporary composers, featuring lengthy transcripts filmmakers, this book also provides useful professional info to com- with Barry, Bernstein, Blanchard, Broughton, Chihara, Corigliano, posers and musicians—or any interested fan. Topics include spotting, Howard, Isham, Licht, McNeely, T. Newman, Shaiman, Shore, Walker and communicating, recording, budgeting and licensing, with explanations of C. Young. Written by a composer, who delves deeply and precisely into the personnel and entities involved in each; also includes lists of agents, each composers’ ideas. clearance companies, glossary terms and resources. Silman-James Silman-James Press, 432 pp., softcover. $19.95 Press, 112 pp., softcover. $12.95

U.S. Soundtracks on CD: Music from the Movies 2nd Edition by Tony Thomas Scores for Motion Pictures and Television 1985-1999 The original film music book (1971) from which all others followed, Price Guide by Robert L. Smith telling the stories of Hollywood’s most successful—if hitherto FSM’s 2nd market-standard price guide contains 2,400+ album titles with unknown—composers. Updated in 1997, shortly before the author’s composers, label numbers, special collectible info and estimated values. death. Composers covered (many with photos) are Stothart, V. Young, Listings are annotated to differentiate between originals and reissues, Green, Newman, Tiomkin, Waxman, Kaper, Rózsa, Steiner, Korngold, commercial albums and promos. Learn what’s out there, what they’re Herrmann, Friedhofer, Raksin, Antheil, Thompson, Copland, North, worth, and how much you should spend on your collection. Smith surveys Bernstein, Duning, Rosenman, Goldsmith, Mancini, Schifrin, Scott, the market and provides a checklist for the top 50 collectible CDs. Shire, Broughton and Poledouris. Vineyard Haven LLC, 154 pp., softcover. $17.95 Silman-James Press, 330 pp., softcover. $19.95

The Album Cover Art of Soundtracks A Heart at Fire’s Center: The Life and Music of Bernard Herrmann by Frank Jastfelder & Stefan Kassel, Foreword by Saul Bass by Steven C. Smith This 1997 coffee-table book is a stunning collection of soundtrack The most influential film composer of all time, who scored Citizen Kane, LP covers, many reproduced full-size. From westerns to blaxploita- Vertigo, Psycho and Taxi Driver, Bernard Herrmann (1911-1975) wasas tion to sexploitation in every style, it’s a gorgeous dossier of vivid famous for his musical passion as his bad temper. This hard-to-find 1991 artwork, with covers both ubiquitous and rare. Take a trip down book is the definitive biography of the legendary composer, covering his memory lane, or experience these powerful images for the first film, television, radio and concert work as well as his personal life. It’s a time. Originally sold for $29.95—it’s now out-of-print, but we have brilliant illumination of Herrmann and probably the best film composer a limited number of copies for our faithful readers. biography ever written. Edition Olms AG Zürich, 128 pp., full color, softcover. $24.95 University of California Press. 416 pp., hardcover. $39.95

Hugo Friedhofer: The Best Years of His Life Dimitri Tiomkin: A Portrait Edited by Linda Danly, Introduction by Tony Thomas by Christopher Palmer The gifted musician of such Hollywood classics as The Best Years of Our This 1984 book is the authoritative study of legendary composer Tiomkin Lives, Above and Beyond and Soldier of Fortune was considered by his (1894-1979). Long out of print, a few copies have surfaced from the U.K. contemporaries to be the most sophisticated practitioner of their art. publisher, but when they’re gone, they’re gone! This treasured tome is Friedhofer (1901-1981) gave a lengthy oral history to the American Film divided into three sections: a biography, an overview of Tiomkin in an Institute, rife with anecdotes, opin ions and wit, which forms the center- historical perspective, and specific coverage of his major landmarks piece of this book. Includes a short biography by Danly, the eulogy from (Lost Horizon, High Noon, the Hitchcock films, Giant, and many more). Friedhofer’s memorial service by , a filmography, photographs Includes a complete filmography, 41 b&w photos, and 9 color plates. and more. The Scarecrow Press, 212 pp., hardcover. $39.95 T.E. Books. 144 pp., hardcover. $24.95

Sound and Vision: 60 Years of Motion Picture Soundtracks Film Music and Everything Else! by Jon Burlingame Foreword by Leonard Maltin Music, Creativity and Culture as Seen by a Hollywood Composer Journalist and historian Burlingame’s overview of movie music com- by Charles Bernstein posers and history, encapsulating the most notable people and events Essays by the composer of the original Nightmare on Elm Street, Sadat, in clear and direct prose. Largely comprised of composer mini-bios Cujo and others. Originally written for“The Score,” the quarterly journal of with reviews of their most notable works and photo portraits (from the Society of Composers and Lyricists. Topics include: melodies, “hum- Golden Age titans to present-day masters), there is also a thorough mers,” emotion and more. It’s a rare opportunity to read thoughtful opin- overview of soundtrack album history (LP and CD), a section devoted to ions and musings from a film composer directed towards other practition- song compilation reviews, and a helpful movie music bibliography. ers of the art. Turnstyle Music Publishing, 132 pp., softcover, limited to 500 Billboard Books, 244 pp., softcover. $18.95 copies. $18.95

Overtones and Undertones: Reading Film Music Memoirs of a Famous Composer— Nobody Ever Heard Of by Royal S. Brown by Earle Hagen The film music columnist takes on the first serious theoretical study Composer Hagen (b. 1919) has had an outstanding career: as a big band of music in film and exploring the relationship between film, music trombone player with ; working under Alfred Newman and narrative, chronicling the its aesthetics through several eras. at 20th Century Fox; and as a composer/music director for thousands of Key works analyzed include The Sea Hawk (Korngold), Double hours of television, including I Spy, The Mod Squad and The Andy Indemnity (Rózsa), Laura (Raksin), Prokofiev and Eisenstein, Griffith Show. He also wrote the standard, “Harlem Nocturne,”and Herrmann and Hitchcock, and several scores for Jean-Luc Godard. authored two technical books on film composing. This is Hagen’s story, Also features probing interviews with Rózsa, Raksin, Herrmann, filled with charming anecdotes of some of the most famous personalities Mancini, Barry and Shore. U.C. Press. 396 pp., softcover. $24.95 in movie music. Xlibris Corporation. 336 pages, hardcover. $34.95

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The Music of Star Trek: Profiles in Style Stu Who? by Jeff Bond Forty Years of Navigating the Minefields The first-ever history of Star Trek soundtracks, from the original series to of the Music Business the present—by FSM’s own senior editor. Featuring interviews with Stu Phillips’s career encompasses groovy cult films (Beyond the Valley of composers Goldsmith, Courage, Fred Steiner, Fried, Ron Jones, the Dolls) and virtually every Glen Larson TV show ever produced McCarthy, Chattaway, producer Robert Justman, music editor Gerry (Battlestar Galactica, Knight Rider). Stu Who? is his candid, breezily told Sackman and others, the book contains a complete list of music written memoirs full of exciting stories from the worlds of arranging, music direct- for all four TV series; a guide to score tracking and credits; Trek manu- ing, record producing, and film and TV scoring. Published Cisum Press, 304 script excerpts from the composers; and several cue sheets. Lone Eagle pp., hardcover, illustrated. $29.95 Publishing. 224 pages, softcover, illustrated. $17.95 FSMmarketplace

BACK ISSUES OF FSM flea market. (Varèse Sarabande); 10 Most Influential (The Simpsons); promotional CDs; Vol. 3, No. 4, May ’98 Bruce Broughton #50, Oct. ’94 A. Silvestri (); Scores; Goldsmith documentary. Congress in Valencia; Readers Poll ’96; (Lost in Space), D. Arnold (Godzilla); VOLUME ONE, 1993-96 M. Isham; sex & soundtrack sales; *#63, Nov. ’95 James Bond Special Issue! Into the Dark Pool Pt. 2 Inside Close Encounters restoration; Schifrin concert; Morricone Beat CDs; Barry & Bond (history/ overview); Serra *Vol. 2, No. 3, May ’97 Michael Fine: Re- Williams Buyers Guide Pt. 3; Score 24 pp. unless noted. that wacky Internet; Recordman on liner on GoldenEye; essay; favorites; more. recording Rózsa’s film noir scores; Internationale, Laserphile, Ed Shearmur; Asterisk (*) indicates photocopies. notes. Also: History of Soundtrack Collecting Pt. Fox Classics reviews. *#30/31, Mar. ’93 64 pp. M. Jarre, B. *#51, Nov. ’94 H. Shore (Ed Wood), T. 3; Davy Crockett LPs. *Vol. 3, No. 5, Jun. ’98 Mark Snow (X- Poledouris, Chattaway, J. Scott, C. Young, Newman (Shawshank Redemption), J. P. *#64, Dec. ’95 Danny Elfman Pt. 2, Steve Files), Classic Godzilla; J. Chattaway Mike Lang; secondary market, Morricone Robinson (Craven’s New Nightmare), Bartek (orchestrator), Recordman Meets (Maniac, Star Trek), Broughton Buyers albums, Bernstein Film Music Collection Lukas’s mom interviewed; music of Shaft: The Blaxploitation Soundtracks; Guide Pt. 1, Downbeat (D. Reynolds, LPs; 1992 in review. Heimat, Star Trek; promos. Kamen Pt. 3; re-recording House of McCarthy, Anne Dudley), SCL Conference *#32, Apr. ’93 16 pp. Matinee temp-track, *#52, Dec. ’94 E. Serra; M. Shaiman Pt. 1; Frankenstein. Report. SPFM ’93 Conference Report, Star Trek Sandy De Crescent (music contractor); *#65/66/67 Mar. ’96, 48 pp. T. Newman; *Vol. 3, No. 6, Jul. ’98 Trevor Rabin music editorial. Valencia Film Music Conference; SPFM Takemitsu; Robotech; Star Trek; 10 (Armageddon), Barry’s London Concert; *#33, May ’93 12 pp. Book reviews, clas- Conference Pt. 1; StarGate liner notes; Influential composers; Glass; Heitor Villa- Burkhard Dallwitz (The Truman Show); sical/film connection. Shostakoholics Anonymous. Lobos; songs in film; best of ’95; film Christopher Gordon ( Dick); Debbie *#34, Jun. ’93 16 pp. Goldsmith SPFM *#53/54, Feb. ’95 M. Shaiman Pt. 2; D. score documentary reviews (Herrmann, Wiseman (Wilde); ‘70s soul soundtracks. award dinner; Orchestrators; Lost in McCarthy (Star Trek); Sergio Bassetti; Delerue, Takemitsu, “The Hollywood Space; recycled Herrmann; C.Young; Jean-Claude Petit & Armando Trovajoli in Sound”). Pinocchio; Bruce Lee movie scores. Valencia; Pt. 1; *#68, Apr. ’96 D. Shire’s The Taking of GET FREE GIFTS! *#35, Jul. ’93 16 pp. Tribute to David Kraft; rumored LPs; quadraphonic LPs. Pelham One Two Three; C. Burwell John Beal Pt. 1; scores vs. songs; *#55/56, Apr. ’95 B. Poledouris (The (Fargo); gag obituaries; Apollo 13 reviews: Poltergeist, Mars Attacks!, Film Score Monthly rewards its Herrmann Christmas operas; Film Jungle Book); A. Silvestri (The Quick and promo/bootleg tips. Rosewood; Lukas’s & J. Bond’s reviews. happy, loyal customers with a free Composers Dictionary. the Dead); J. Lo Duca (Evil Dead); Oscar *#69, May ’96 Music in Plan 9 from Outer *Vol. 2, No. 4, Jun. ’97 Elfman (Men in gift for spending over $50 on any one *#36/37, Nov. ’93 40 pp. Bob Townson & Music Pt. 2; Recordman’s Diary; SPFM Space; Funny movie music glossary; Black), Promos Pt. 2, Martin Denny and order, and TWO free gifts for spend- (Varèse); Richard Kraft & Nick Redman Conference Report Pt. 2. Herrmann & Rózsa radio programs; Irwin Exotica, Lady in White, the Laserphile on ing over $100. (Magazine subscrip- Pt. 1; John Beal Pt. 2; reviews of CAM *#57, May ’95 Goldsmith concert; B. Allen box set; Bender’s “Into the Dark DVDs, Brian May obit, The Fifth Element . tions, shipping and tax are not appli- CDs; of collectors interest; classic corner; Broughton (Young Sherlock Holmes); Pool” column. *Vol. 2, No. 5, Jul. ’97 Goldenthal cable towards the $50 or $100—but fantasy film scores of E. Bernstein. *#70, Jun. ’96 Mancina (Twister), final (Batman & Robin), Mancina (Con Air, everything else is, including *#38, Oct. ’93 16 pp. John Debney desert island lists, J. Bond on summer Speed 2), Clinton (Austin Powers), ASCAP backissues.) (seaQuest DSV); Kraft/Redman Pt. 2. movies; TV’s Biggest Hits review. & BMI nites; Crash, Lost World. If your order applies, please scrib- *#39, Nov. ’93 16 pp. Kraft & Redman Pt. *#71, Jul. ’96 D. Arnold (Independence Vol. 2, No. 6, Aug. ’97 Schifrin (Money ble your selection on the form or a 3; Fox CDs; Nightmare Before Christmas; Day); M. Colombier; Recordman Goes to Talks), J. Powell (Face/Off), Shaiman separate sheet. yourself. The free Bride of Frankenstein. Congress; J. Bond’s summer round-up. (George of the Jungle); remembering gifts will, from time to time, include *#40, Dec. ’93 16 pp. Kraft & Redman Pt. *#72, Aug. ’96 10 Best Scores of ’90s; T. Tony Thomas; Summer movies, TV products we otherwise sell here at 4; Re-recording The Magnificent Seven. Newman’s The Player; Escape from L.A.; sweeps. the site, and some products we *#41/42/43, Mar. ’94 48 pp. E. Goldenthal; conductor John Mauceri; reference *Vol. 2, No. 7, Sept. ’97 Zimmer vs. FSM don’t—although they may be avail- J.N. Howard; Kitaro & R. Miller (Heaven books; Akira Ifukube CDs. (interview: Peacemaker), M. Beltrami able from other sources. & Earth); R. Portman; ; Star *#73, Sept. ’96 Recordman on War Film (Scream, Mimic), (L.A. Here is the present line-up of Wars trivia/cue sheets; sexy album cov- Soundtracks Pt. 1; David Schecter: Confidential); Laserphile; Bender: Film available gifts: ers; music for westerns; ’93 in review. Monstrous Movie Music; Ifukube CDs Pt. Music as Fine Art, Recordman. *#44, Apr. ’94 J.McNeely; B. Poledouris 2; Miles Goodman obituary. *Vol. 2, No. 8, Oct. ’97 Poledouris Basil Poledouris: (On Deadly Ground); SPFM Morricone *#74, Oct. ’96 Action Scores in the ’90s; (Starship Troopers), Shore (Cop Land, His Life and Music tribute & photos; lots of reviews. Cinemusic ’96 report (Barry, Zhou Jiping); The Game), Zimmer vs. FSM Pt. 2, Alloy FSM’s videotape docu- *#45, May ’94 R. Newman (Maverick); G. Miles Goodman interview; ’94 Readers Vic Mizzy. Orchestra (scoring silent films), Golden mentary of the admired Revell (The Crow); Goldsmith concert; in- Poll; Star Trek overview. *#75, Nov. ’96 Barry: Cinemusic Age CD reviews. composer. Specify depth reviews: The Magnificent Seven, *#58, Jun. ’95 M. Kamen (Die Hard); Royal Interview; Recordman on War Film Vol. 2, No. 9, Nov./ Dec. ’97 D. Arnold NTSC (U.S.) or PAL Schindler’s List; Instant Liner Notes, book S. Brown (film music critic); Recordman Soundtracks Pt. 2, J.Bond’s reviews. (); J. Frizzell (Alien (U.K.) format. reviews. Loves Annette; History of Soundtrack *#76, Dec. ’96 Interviews: R. Edelman, Resurrection); Neal Hefti (interview); U- Regular FSM Price: $19.95 *#46/47, Jul. ’94 P. Doyle, J.N.Howard Collecting Pt. 1. Barry pt. 2, R. Cooder (Last Man Turn & The Waltz, Razor & Tie (Wyatt Earp), John Morgan (restoring *#59/60, Aug. ’95 48 pp. Sex Sells (LP cov- Standing); A. Dursin’s laserdisc column, CDs; 1st issue of current format. Now Playing on Marco Polo Hans Salter); Tribute to Mancini; M. ers); Jarre interview; History of Lukas’s reviews. Sampler of John Morgan/William Nyman music for films, collectible CDs. Soundtrack Collecting Pt. 2; Rózsa Stromberg re-recordings on the *#48, Aug. ’94 Mancina (Speed); Chuck Remembered; film music concert debate. VOLUME THREE, 1998 Marco Polo label (8 tracks -37:55). Cirino & Peter Rotter; R. Kraft: aspiring *#61, Sept. ’95 Goldenthal (Batman VOLUME TWO, 1997 Expanded format! Issues 48 pp Retail Price: $14.95 composers advice; classical music; CAM Forever), Kamen Pt. 2, Chris Lennertz; First color covers! Issues 32-48 pp. *Vol. 3, No. 1, Jan. ’98 Williams Buyer’s CDs; Cinerama LPs; bestsellers. Star Trek: The Motion Picture, classical *Vol. 2, No. 1, Jan./Feb. ’97 Star Wars Guide Pt. 1 (Star Wars to Amistad), M. U.S. Soundtracks *#49, Sept. ’94 H. H. Zimmer (The Lion music for soundtrack fans. issue: Williams interview; behind the Danna (The Sweet Hereafter), Titanic‘s on CD Price Guide: King), S. Walker; L. Rosenthal; Hans *#62, Oct. ’95 D. Elfman Pt. 1; J. Ottman Special Edition CDs; commentary, cue music supervisor, readers poll, laserphile, 2nd Edition Salter in memoriam; classical music in (The Usual Suspects); R. Townson editing minutia/trivia. Silvestri lecture, Rykodisc reviews. FSM's market- films; Williams concert; Recordman at the *Vol. 2, No. 2, Mar./Apr. ’97 A. Clausen *Vol. 3, No. 2, Feb. ’98 Glass (Kundun), standard price Williams Buyers Guide Pt. 2 (The Reivers guide featuring to Black Sunday), D. Amram (The over 2,400 listings. Regular FSM Price: $17.95 EXCLUSIVE VIDEO! includes footage of Basil and at Manchurian Candidate), Goldsmith on Basil Poledouris: His Life and Music work on mock-ups of Starship Troopers, Varèse, Pendulum CDs; poll results, TV An intimate visit with the composer of Conan as well as dozens of behind-the-scenes and CDs. Please note! If your order qualifies, it the Barbarian, Free Willy, Starship Troopers and family photos, and appearances by wife Bobbie and Vol. 3, No. 3, Mar./Apr. ’98 Titanic/Horner is your responsibility to ASK for a Lonesome Dove. Take a tour of his work and daughter Zoë. Discover the man behind the music, essays, Best of 1997, Cinerama Rides free gift—we won't send it automati- lifestyle, from his methods of composing to his in a way you’ll never see on TV, or experience in Again, Remembering Greig McRitchie, cally. Thanks! love of sailing. The video runs 50 minutes and print. Specify NTSC (U.S.) or PAL (European) $19.95 Fox Newman Stage pics, Oscar noms.

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*Vol. 3, No. 7, Aug. ’98 South Park (Adam Silver Age Hollywood, concert work CDs Recall redux; C. Martinez (Traffic); more. Man); Attack of the Clones (cue-by-cue Berry, Bruce Howell), Ira Newborn and lots more. Vol. 6, No. 2, Feb. ’01 The Musical World analysis); M. Mothersbaugh (Welcome to (Baseketball), Taxi Driver retrospective, of Irwin Allen; Copland on Film (cond. Collingwood); Legend on DVD; BMI & ASCAP dinners, Broughton Jonathan Sheffer); G.Clinton (3000 Miles Retrograde (ASCAP winners). Buyers Guide Pt. 2, Downbeat (Schifrin, VOLUME FIVE, 2000 to Graceland); Douglass Fake of Intrada; *Vol. 7, No. 5, Jul. ’02 MURDER MUSIC: Bernstein, Legrand). 48-64 pp.each How to Marry a Millionaire, more. Film Noir; Williams (Minority Report); *Vol. 3, No. 8, Sept. ’98 Lalo Schifrin Vol. 5, No. 1, Jan. ‘00 Rhino’s reissue of Vol. 6, No. 3, Mar. ’01 BIGGER, BETTER Goldsmith (The Sum of All Fears); M. (Rush Hour), B.Tyler (Six-String ); :The Movie, film and cue sheet SCORES: New RMA agreements; Don Kamen; P. Schickele (Silent Running); T.Jones; Williams concert premiere, analysis; ’50s Superman TV score; H. Ellis and a life in 13/8 Time; Irwin Allen Laserphile: Summer Thrills; SCL ASCAP scoring seminar, Rykodisc CD Shore (Dogma); Goldenthal, Barber, Tyler, discography; R. Kent (Town & Country); Conference pix, more. reviews. Debney and Robbins; pocket reviews Italian Imports: You can’t beat BEAT. Vol. 7, No.6, Aug. ’02 JAZZ IN FILM: Past *Vol. 3, No. 9, Oct./Nov. ’98 Erich debut, Laserphile. Vol. 6, No. 4, Apr./May ’01 J. Horner and present work by Miles Davis, E. Wolfgang Korngold: Biographer interview *Vol. 5, No. 2, Feb. ’00 20th Anniversary Buyer’s Guide Part 1; The Mummy Bernstein, S. Clarke and T. Blanchard; and book reviews; Williams’s Tanglewood Tribute to Jerry Fielding, conversation Returns, Swordfish; A Salute to Hoyt Chats with K. Badelt (K-19 : The film scoring seminar; C. Burwell; S. with Camille Fielding; Top picks for 1999; Curtin; Epics on DVD; Session Notes from Widowmaker); G. Clinton (Goldmember); Boswell; Citadel Records, Halloween review. Oliver Stone’s score-o-matic (Any Given Atlantis The Lost Empire. Louise Steiner in her own words; Billy laserphile. Vol. 4, No. 4, Apr./May ’99 F. Waxman: Sunday); obit; Score Vol. 6, No. 5, June ’01 Sergei Prokofiev Goldenberg (Duel, Kojak) more . Vol. 3, No. 10, Dec. ’98 The Prince of Scoring Prince Valiant ; 1998 Readers Internationale;1999 release stats. Tribute; Friedhofer and Fox; Ghostbusters Vol. 7, No.7, Sept. ’02 FSM’S TOP 40: We Egypt (Zimmer, Stephen Schwartz), E. Poll; Goldsmith Buyer’s Guide Pt 3: Late Vol. 5, No. 3, Mar. ’00 Build the ultimate retrospective; J. Danna, R. Shore; Bender Cmiral (Ronin); Holiday Review Round-up: ‘70s; DIVX soundtrack festival report; reports from Chiller, and plenty of 50+ CDs; Downbeat (Elfman, Young, Barry bios reviewed; C.Gerhardt obit. reviews. Beltrami, Eidelman, D. Cuomo, Kamen.) *Vol. 4, No. 5, Jun. ’99 Star Wars: The Vol. 6, No. 6, July ’01 Elfman’s new Planet Phantom Menace scoring session & of the Apes; Zimmer on Pearl Harbor and VOLUME FOUR, 1999 analysis of Trilogy themes; Halloween concert CD; Horner Buyer’s Guide Part 2; *Vol. 4, No. 1, Jan. ’99 NFL Films (Sam H20 postmortem; Affliction, Futurama; Goldenthal (Final Fantasy); Shore (The Spence), Goldsmith at Carnegie Hall, Free Enterprise, Election; CD reviews: Roy Score); Williams (A.I.); more. Elfman (Psycho, Civil Action, A Simple Budd, Morricone, TV, A Simple Plan. Vol. 6, No 7, August ’01 Plan), Wing Commander game music, Vol. 4, No. 6, Jul. ’99 Elmer Bernstein: Retrospective Part 1; Moulin Rouge; John books, Indian funk soundtracks. Wild Wild West; Clinton: Austin Powers 2; Morgan Reconstructing Golden Age *Vol. 4, No. 2, Feb. ’99 Goldsmith Buyer’s Goldsmith Buyer’s Guide Pt 4: Early ‘70s; Scores; Schifrin, Jones, and Guide Pt 1: The ’90s, The Exorcist (lost USC film scoring program; CD reviews: Debney; Score Internationale; Random Schifrin score); D. Shire (Rear Window 1984, Sword and the Sorcerer, The Play. remake); TVT sci-fi CDs; promo CDs; Mummy, The Matrix, more. Vol. 6, No 8, September ’01 Angelo Glass (Koyaanisqatsi). Vol. 4, No. 7, Aug. ’99 Warner Animation Badelamenti (Mulholland Drive); The *Vol. 4, No. 3, Mar. ’99 The Best of 1998: Scoring (Walker on Batman/ Superman, School of the Arts (for film chart the most in-demand composers in Broughton on Tiny Toons, more); Phantom Menace CD at home; Readers composing); Quincy Jones Pt 2; Earle Hollywood; John Frankenheimer tribute; Phantom Menace; Kamen (The Iron picks for 1999; Music director Mark Hagen; Halloween DVDs; more. L. Schifrin birthday; Signs; One Hour Giant); Stu Phillips (Battlestar Galactica); Russell Smith on film vs. concert music; Vol. 6, No. 9, Oct./Nov. ’01 H. Shore (Lord Photo (J. Klimek) The Kid Stays in the percussionist Emil Richards; ASCAP C.H. Levenson’s “last” letter, reader sur- Picture (J. Danna); 25 scary DVDs; more. awards. vey, and more. Vol. 7, No.8, Oct. ’02 FALL FILM ROUND- *Vol. 4, No. 8, Sept./Oct. ’99 Tribute to Vol. 5, No. 4, Apr./May ’00 Herrmann: 10 UP: E. Bernstein (Far From Heaven); E. Stanley Kubrick: interview (Jocelyn Pook) Essential Scores of the ’50s and CD Goldenthal (Frida); D. Elfman (Red analysis (Eyes Wide Shut); review checklist, Journey to the Center of the Dragon); Goldsmith and Williams con- (Kubrick compilation); Poledouris (For Earth retrospective; R. Marvin (U-571); certs; S. Bramson (JAG); The Michael Love of the Game); Goldsmith Buyer’s J.Z.K. on Tora! Tora! Tora!; Film music Hennagin story; 25+ CD reviews; more. Guide Pt 5: Late ‘60s; concert advice for representation in Hollywood, pt.1. Vol. 7, No.9, Nov. ’02 BOND TURNS 40: D. Goldsmith. Vol. 5, No. 5, Jun. ’00 TENTH Arnold (Die Another Day, plus reviews Vol. 4, No. 9, Nov. ’99 U.S. Postal Service ANNIVERSARY ISSUE! Kendall remem- and re-release news); W. Ross (Harry Composer Stamps; Papillion retrospec- bers; An FSM Timeline; The Film Score Potter, Tuck Everlasting); George tive; Peter Thomas; Inspector Gadget; Decade: who and what made it memo- Feltenstein (Turner Classic Movies’ The Thomas Crown Affair; more); BMI rable; Jaws 25th Anniversary CD review; restoration man); 12-CD Wishlist by Essays by J. Bond, A. Dursin & D. Adams; awards night. J. N. Howard (Dinosaur); Goldsmith Stavrakis & Bender; Omaha’s Orpheum Wendy Carlos; Goldsmith Buyer’s Guide Vol. 4, No. 10, Dec. ’99 SCORES OF Buyer’s Guide Pt 6, more. Theater; Holiday DVD reviews; more. Part 2: The ‘80s; Hammer soundtracks on SCORES 1999: annual review roundup: Vol. 5, No. 6, Jul. ’00 Summer Movie Vol. 7, No.10, Dec. ’02 TOWERING CD; Recordman; Downbeat; ST:TMP CD animation, Morricone, horror, Golden and Round-up; D. Newman (Bedazzled, The of the Rings); R. Stein:Invasion of the ACHIEVEMENTS: H. Shore (The Two Klumps); Film score agents, pt.3; Session Score Man; T.Jones (From Hell); Davis Towers); P. Glass (The Hours); Ray Ellis Notes (debut); They Might Be Giants Meets Williams (Jurassic Park III on (Filmation cartoons!); The Alloy FSM: The Complete Collection—STILL AVAILABLE! (Malcolm in the Middle); pocket reviews; DVD); M. Danna (Chosen, Hearts of Orchestra, Spy Notes (secret agent Score Internationale. Atlantis); ST:TMP gets a DVD refit; Pukas discography); Adaptation & Punch-Drunk Something we offer—that most Vol. 5, No. 7, Aug ’00 B.Broughton inter- comix debut . Love; more. magazines do not—is the chance to view; Silverado analyzed; Shaiman gives Vol. 6, No. 10, Dec. ’01 Annual roundup buy every single issue of Film Score hell from the heavens; Agent History’s CD reviews; Alejandro Aménabar (The Monthly we’ve ever published. fiery conclusion; Laserphile (Autumn Others); G. Yared; other Hobbit music; C. VOLUME EIGHT,2003 DVDs); .William Stromberg; Elfman & Young, H. Gregson-Williams, R. Kent, M. Vol. 8, No. 1, Jan. ’03 JOHN WILLIAMS From #1, the little one-page xerox mom at a scoring session. Isham. interviewed (finally!); The Best and the Lukas Kendall circulated to 11 people in Vol. 5, No. 8, Sept./Oct ’00 R.Newman Worst of 2002; Star Trek film scores; June 1990, to the present day—the glo- (Meet the Parents); Things To Come Laserphile New Year; reviews and more. rious, glossy mag beloved the world Soundtrack LP; The Goonies VOLUME SEVEN, 2002 Vol. 8, No. 2, Feb. ’03 HOW THE AWARDS over—you can have it all for one all- Retrospective; Requiem for a Dream; Vol. 7, No. 1, Jan. ’02 THE BEST AND THE WERE WON (Film music Oscars past and inclusive price: $189.95. (See above list- Session Notes (The Simpsons); Psycho WORST OF 2001; Horner Buyers Guide Pt present); J. Williams and L. Slatkin con- ings for contents and notations as to honored by NPR; “Cinema of Dreams”. 3:1989-86; Zimmer (Black Hawk Down); certs; Interviews with Jan Hammer, Cliff which editions are xerox-only.) Vol. 5, No. 9, Nov./Dec. ’00 Special 64 pg. Logan’s Overrun:expanded liner notes; Martinez, Conrad Pope, Shirley Walker; double issue. 101 Great Film Scores on Enterprise; Yann Tiersen. reviews and more. That may seem like a lot of money, but this set represents 13 years worth CD—FSM’s big list; & Yo-Yo Ma Vol. 7, No. 2, Feb. ’02 HAPPY BIRTHDAY, Index How much stuff have we printed in of film score passion, and has become quite expensive for us to produce (we (Crouching Tiger, Hidden Dragon); Shore ELMER BERNSTEIN; Rózsa speaks! (Lust FSM? We’re not sure, but here’s a handy have to photocopy the older issues). It comes in a big ol' box and is sure to (The Cell); Silvestri (Cast Away); Back to for Life); Richard Rodney Bennett; index of all reviews and articles through give many hours of reading pleasure, not to mention eyestrain. the Future retrospective. Downbeat (John Q,.Frailty); Laserphile the end of 2001, compiled by Dennis (baseball & rites of passage DVDs). Schmidt. Cost: same as one back issue. Shipping is FREE in the U.S. via USPS priority mail or UPS ground (your Vol. 7, No. 3, Mar/Apr. ’02 J.Debney (The choice, but UPS is recommended). (Add $30 for air mail to Canada, $40 for VOLUME SIX, 2001 Scorpion King); Hook retrospective surface mail to the rest of world, or $80 air mail rest of world.) 48 pp.each (Williams);Dialect of Desire: Edda Vol. 6, No. 1, Jan. ’01 The Best of the Dell’Orso; Craig Armstrong (Moulin So ACT NOW! It is the COMPLETE COLLECTION of Film Score Monthly ! Worst:2000 in review; Our Town music Rouge; Oscar winners. $189.95 analysis; Hollow Man on DVD; Total Vol. 7, No. 4, May/Jun. ’02 Elfman (Spider-

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(continued from page 35) “High Quality” sound that was well as the composer’s aesthetic breaks from the order in which postwar world. The same pair of about as sonically enthralling as intentions. they appear in the film, DRG umbilically attached friends who flat ginger ale. Whereas MCA The album opens with imbues this score with a new shared your foxhole overseas reduced It’s Always Fair Weather to “Overture and Kidnapping,” a momentum, making it resemble were nothing but a couple of 10 poorly edited tracks, two-part piece that begins as a an uninterrupted, although disap- spineless schlemiels once they Rhino/Turner has come through bouncy waltz and halfway pointingly short, symphony. were transported back home and with a very generous 32 selec- through turns into a funereal, Superior to both the movie and had changed into civilian clothes. tions, including several outtakes, classical arrangement. the novel, this re-released opus It’s been suggested that the alternates and rare demos. A Throughout the score, in fact, reminds us that British composers movie’s bittersweet maturity is clever centerfold featured in the Bennett shifts gears abruptly like (an often overlooked group) write what kept film fans away from liner notes booklet pays tribute to this, as he directs his emphasis fine film music, too. —S.A. the ticket window in 1955 despite the film’s CinemaScope format from the lighter aspects of 1 superlative reviews and an enter- and compensates for an unattrac- Christie’s mystery to the darker Studs Lonigan /2 taining score. tive cover. ones. Occasionally, he also blends JERRY GOLDSMITH For the memorable sequence If you’re a die-hard M-G-M these contrasting styles together Varèse Sarabande VCL 1102 1016 where Kelly and his pals endure musical fanatic, this Internet- to produce a sound that is simul- 14 tracks - 34:40 an insufferable reunion, a very exclusive release should be a taneously sweet and sinister, as he tuds Lonigan will be of interest young Andre Previn created a mandatory purchase. If you’re a does in one of the score’s longer Sto most soundtrack enthusi- mini-masterpiece by merging more casual collector of vintage pieces, “The Orient Express.” asts as an early collaboration Comden and Green’s hilarious soundtracks, make sure that And though the waltz motif between Jerry Goldsmith and John litany of insults, “I Shouldn’t Have you’ve already acquired An tends to dominate this collection, Williams. Johnny has several fan- Come” with the lilting strains of American in Paris and Singin’ in the other melodies surface. On tracks tastic piano solos. But now on to Strauss’ The Blue Danube. It should Rain before moving on to the like “Entr’acte” and “Finale,” for the merits of the CD as a whole... be noted that Previn’s collabora- more rarefied charms of It’s Always instance, the main title theme—a This newest Goldsmith CD in tor on the arrangement and Fair Weather. —M.G. simple series of ascending notes— the Varèse Sarabande Soundtrack orchestration of that number was materializes, coupled with a club series opens with a “Main the great , a semi- Murder on the Orient somber string-and-winds back- Title” similar to Chinatown, with 1 nal figure in the development of Express /2 drop. And in “Princess an old Hollywood-style string the M-G-M musical and a gentle- RICHARD RODNEY BENNETT Dragomiroff,” one of the few cues arrangement accompanying a man who still hasn’t received the DRG CD 19039 collected here, Bennett strikes the mournful and bluesy trumpet credit he deserves. Same goes for 10 tracks - 39:36 title theme’s brittle notes for a solo. Overall, however, the score , Skip Martin and Kay n 1974, two years before moment and then introduces a is exciting and upbeat, similar to Thompson. IAgatha Christie’s death, one of rising and falling pattern of lush the Americana style of The Flim- It’s Always Fair Weather really her best known novels, Murder on strings that evokes Ravel with its Flam Man and The Traveling springs to life with the invigorat- the Orient Express, was adapted by emotive simplicity. Executioner, as well as to ing “Baby, You Knock Me Out” for the screen. Having arranged the album’s Williams’ The Reivers, with a fair (with Carole Richards dubbing Featuring an all-star cast, with selections in a manner that amount of honky-tonk and rag- Cyd Charisse after the latter’s spo- Albert Finney as the great sleuth time piano, harmonica and ken intro), Kelly’s “I Like Myself” Hercule Poirot, the film enjoyed other distinctly American styles. (a sort of self-affirming sequel to good reviews, high ticket sales Still, Studs is not as reflective and his immortal Singin’ in the Rain) and several Academy Award nostalgic in tone as The Reivers; and most especially during nominations, including one in the it’s a lot grittier. Dolores Gray’s scintillating Best Original Dramatic Score cate- The standout track is the six- “Thanks a Lot, But No Thanks,” gory. (That year’s award, by the minute “A Game of Pool.” Though which features some of the way, went to and I haven’t seen the film, I can eas- sharpest Comden and Green for The Godfather ily imagine a smoke-filled bil- lyrics ever (“Thanks for losing Part II.) liard room and the creatures that your mind and thanks for Fort Despite this honor, British com- inhabit it, not to mention the Knox sealed and signed, but I’ve poser Richard Rodney Bennett’s back-and-forth quick rhythm of got a guy who’s Clifton Webb and score was never released in the the game. “No Hate” is also a fine Marlon Brando combined!”). U.S. until this year, and now, for- cue, featuring a romantic treat- This Turner Classic Movies tunately, listeners can enjoy this ment of the main theme. Music/Rhino Handmade sound- music without having to watch Not a throwaway score at all, track is head-and-shoulders and listen to the affected manner- this is a fine effort from early in above the lackluster edition isms of the film’s cast at the same Goldsmith’s career, though at released by MCA Records in 1986. time. Moreover, DRG presents this $20 a pop, one would hope for a That uninspired album offered a remastered score with liner notes, longer disc with perhaps a com- truncated and incorrectly written by Bennett, that explain plimentary, short score. —D.M. sequenced version of the score in the history of its composition as (continued on next page)

FILM SCORE MONTHLY 43 MARCH 2003 v8n3 issueB.qxd 4/8/03 12:39 PM Page 44

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The Coolangatta Gold (1983) push themselves.” soar and fall gracefully. On 1 /2 Unfortunately, to achieve this “Finale,” for instance, he presents BILL CONTI effect Conti decided to graft fast an exciting, four-part march with 1M1 1M1CD1031 • 28 tracks - 78:03 rhythms and sounds from dance brass, violins and percussion. wenty years ago, Bill Conti music onto conventional orches- “Family Competition,” perhaps Tscored The Coolangatta Gold, a tral parts. The problem with this the prettiest track on the album, film about an Australian family strategy is that the composer is a waltz that slides along like of runners whose members train apparently listened to and tried water over glass. And in “Kerry for and compete in an Iron Man to emulate the chart music that and Steve—Love Theme,” Conti triathlon. As Phillip Powers flourished in the early ’80s. And combines a piano melody with explains in the liner notes for this thus a great deal of this score, hushed strings to create an emo- newly reissued album, the with its bouncing synthesizers However, whenever the com- tionally complex sound that pays movie’s producers hired Conti and electric guitar and bass, bears poser directs his attention onto passing homage to Beethoven’s (the man who’d written the music a strong resemblance to “hot” what Powers calls “the emotional Sonata Pathetique. for Rocky and The Karate Kid) to songs whose hipness disappeared relationships between the charac- In addition to the original create a soundtrack that would long ago—songs, for instance, like ters in the film, and the tensions score, 1M1 packs this album with approximate the “heart-pounding Olivia Newton-John’s “Let’s Get involved,” he replaces the dance alternate and extended versions energetic resonance of the Physical,” ’s “Fame” and floor hooks with symphonic of the film’s main themes, making extremes to which the athletes so on. that swell, contract, 40 minutes of previously unre- leased music available; and with its clear, clean sound and inform- Hot for Herrmann, Cool for College ative liner notes, this comprehen- sive collection should delight sion with little discussion as to why they are The Soul of Cinema: Conti’s devotees. The rest of us, included. Timm begins to lean heavily on An Appreciation of Film Music however, may find that the expe- 1 Academy Award-recognized scores, and when /2 that is not the case, he shifts focus to science rience of listening to this album LARRY M. TIMM fiction and horror scores. Of course, composi- (in its entirety) is, like the 346 pages, paperback, Prentice Hall, 2003 tional challenges and innovations appear Coolangatta Gold race itself, a test more often in genre films, but so many areas of endurance. —S.A. inally, someone has put together a col- get overlooked. Perhaps Timm was relying on lege-level music appreciation text- the possibility that his students were already book. Mr. Timm has an impressive At the Movies F familiar with these genre scores or films and résumé—his experiences in Hollywood and ENNIO MORRICONE could better apply their learning here. his acknowledgments give a nod to many Also apparent is Timm’s love of Bernard RCA/BMG Heritage 07863 65133 2 familiar industry professionals and com- Herrmann’s music. Of course, Herrmann has 18 tracks - 53:02 posers who aided him with this work. Timm’s title reflects had an important influence on film music, but practically n Spaghetti Westerns, an encyclo- his wish to explore the real importance of film music, and every one of his scores is discussed. Korngold does not pedic survey of the cowboy the first half of his book does exactly that. Foremost, I receive the same treatment, nor do Steiner, Waxman or though, this is a college-level textbook that is well-written movies produced by Italian film- any number of other important voices. And if we are to and manages a fairly easy overview of both musical the- makers in the late ’60s, Sir understand the various musical methods used in film, ory techniques and important scores. where is the discussion of, say, Mancini’s Touch of Evil? Christopher Frayling attributes Timm’s classroom experience shows from his opening That is a glaring omission. the genre’s unique musical sound reference to the familiar opening attack sequence in The final few chapters aren’t quite up to the standard to Ennio Morricone, praising him Jaws. It’s an effective “grabber” and is also familiar to the of the rest of the book. In fact, on reflection they seem for being the first composer to average student. The first chapter sets out to introduce like a work-in-progress. The main problem is that movie blend orchestral instruments with the topic, and also throws in a few terms. Subsequent after movie is cited along with brief paragraphs that fail chapters include occasional composer biographies, electric guitars, winnowing voices, to distinguish why that film score is important (at times plenty of pictures, and occasional musical examples and bullwhips. Professor even Timm seems baffled by the “awarded scores”) or befitting a proper textbook. Timm also includes helpful exactly what sequence within each exemplifies the effec- Frayling, however, dismisses the review questions for each chapter (excepting the first). tive use of music in film. Instead of discussions that maestro’s subsequent work, con- The technical definitions are well explained, comprehensi- explore the power music can have in a particular scene, cluding that “his non-Western ble and mostly free of musical jargon. we get something akin to liner notes for a recording. It scores are not always so success- Throughout the first half of the book, it is made repeat- may simply be that Timm’s intent was to include as many ful—or interesting.” edly clear that Timm loves his subject. As such, this is films as possible for the instructor to choose from to illus- one of the more engaging college texts on music that This new anthology album trate many points, but this choice makes the latter stages you’ll find. Timm’s ability to slip in definitions or addi- (which collects themes from films of this text feel more like a survey. tional material is so subtle that you’ll forget you’re actu- An accompanying instructor’s guidebook would be a as various as the western A Gun ally learning something along the way. welcome addition to this work. And as most of the films for Ringo, the thriller What Have You The first few chapters made me want to head back mentioned are available on DVD or CD, a movie-clip list- Done to Solange? and the love story into the classroom and begin sharing my own love of film ing to assist the instructor would make this an even more Per Amore) calls this claim into music with students. But then we take a turn into the valuable teaching resource. Still, as a first edition, this question. Many pieces included post- and things get a little more muddled. In the text is a worthy beginning that will likely get better with second half of the book, scores appear in rapid succes- here demonstrate that further updates. —Steven A. Kennedy (continued on page 48)

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Spring Is Sprung

Musicals, Foreign Films and Imports on DVD By Andy Dursin

he recent success of Chicago, both commer- Tcially and critically, will undoubtedly open the floodgates not only for new screen musicals, but the release of classic ones on DVD. Some studios had already

decided to open their vaults in advance of Chicago’s success, and this month we have a look at a handful of new releases guaran- ALL HOLDS BARRED: Richard Beymer and Natalie Wood can’t get no satisfaction in West Side Story. teed to help you break into song.

Also, because so many high-profile Special Key to the added features is a new hour- Dolby Digital sound is vibrant, with the disc Edition releases are just a few months away, long documentary, offering recent interviews enabling you to choose whether or not to now is the perfect time to look at a handful of with Sondheim, stars Richard Beymer, Russ watch the film with its original intermission classic and foreign films just making their Tamblyn, Rita Moreno and other cast and music. Trailers, storyboards and stills round debut on DVD, offering some alternative crew members in a candid look back at the out the disc extras, but MGM has also choices aside from the usual mainstream often-turbulent production. Wise and included a deluxe, full-color scrapbook con- blockbuster titles out there. Happy spring Robbins used authentic New York locations to taining new liner notes from screenwriter viewing! give their updating of Romeo and Juliet a gritty, Ernest Lehman (plus the complete text of his contemporary look, but clashes between the original script), a reproduction of the lobby two men and weather problems resulted in a brochure, trivia, anecdotes and copious stills. Musical Madness two-week shoot being prolonged to several With Chicago being one of the most her- West Side Story months. The documentary is at its best when alded and successful musicals since West Side (MGM Limited Edition, $40) discussing the arduous rehearsal process the Story, MGM’s new Special Edition arrives at a he landmark Leonard Bernstein-Stephen cast went through, along with the differences perfect time to compare and contrast the two. TSondheim musical was brought to the in opinion and working methods that sepa- Highly recommended! screen vividly by Robert Wise and the show’s rated Wise and Robbins, who ultimately original director, Jerome Robbins, in this clas- shared directorial credit on the film. Behind- (MGM, $15) sic 1961 film. In many ways, West Side Story rep- the-scenes footage is interspersed with a few rom perhaps the best-ever film adapta- resented a maturation of the genre on the sil- too many film clips, at times, but the program Ftion of a Broadway classic we move to ver screen, paving the way for more daring shines when detailing how co-producer Saul one of the most disappointing: Richard and sophisticated works to follow. Chaplin handled the vocal dubbing of the Attenborough’s failed 1985 filming of A Chorus Although previously available in a 1998 cast—even those who could sing! Footage is Line—one of the stage’s longest-running DVD, MGM has one-upped that single-disc included of Natalie Wood and Russ Tamblyn’s shows—certainly hammered a few nails into release with a lavish, two-disc box-set, featur- original vocals, making this a must for fans. the genre’s coffin. ing new supplements and a gorgeous, over- The newly remastered wide-screen transfer heads a relatively sized scrapbook. is identical to the earlier DVD release, and the unknown cast as a Broadway producer trying

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to select the chorus in his new show. The a photo gallery. lives, loves and fears of each individual then David Bowie and Sade join a group of jazz New Foreign Cinema Arrivals become exposed as Douglas probes their greats in this entertaining adaptation of personal backgrounds, resulting in a collec- Colin MacInnes’ novel that takes a few unnec- Beauty and the Beast (Criterion, $40) tion of - essary melodramatic detours but nevertheless ean Cocteau’s enchanting 1946 fairy tale is songs. makes for a great-looking disc. Jone of those sumptuous visual master- Despite A Chorus Line’s popularity and pieces that can be examined over and over on widespread acclaim, director Attenborough Breakin’ 2: Electric Boogaloo home video, and Criterion’s new deluxe DVD managed to botch just about everything Beat Street (MGM, both $15) presentation surpasses even their original, with this lifeless film. ’ plastic, ans of ’80s nostalgia should rejoice in the exemplary laserdisc release. synth-heavy rendition of the original score Flong-awaited DVD debuts of these two The North American video premiere of the results in a soundtrack that dates the film hits from 1984, which are dated beyond belief badly, while many of the actors seem to be but no less entertaining because of it. completely miscast (leading lady Alyson Those wacky filmmakers at the Cannon Reed has zero chemistry with Douglas). Group, Menahem Golan and Yoram Globus, Worst of all, though, is Attenborough’s scored one of their biggest hits with the treatment of the show itself—songs were release of Breakin’ in the spring of 1984. Deftly dropped, many were rearranged or abbrevi- exploiting the then-current craze of break- ated, with the director treating several of dancing, the movie catapulted stars Lucinda them as if they were throwaways. One need Dickey (best-known for her role in another look no further than what the filmmakers Cannon classic, Ninja III: The Domination), did to the show’s standout song, “What I Did Adolfo “Shabba Doo” Quinones and Michael for Love,” to see how misguided the entire “Boogaloo Shrimp” Chambers into fame and enterprise was. fortune—if only for a few months. For fans of musicals, though, MGM’s DVD The sequel, Breakin’ 2: Electric Boogaloo, was may still be a worthwhile view, since it pre- released before the year was out, and it serves the film’s original wide-screen smartly reprised all the elements that made its dimensions, appearing for the first time in predecessor a hit some six months before. the U.S. since its theatrical release. The Dolby With another group of rad moves that were so Surround soundtrack is surprisingly robust, fresh back in the day, our trio of heroes strikes and a featurette spotlighting Hamlisch and out to stop a greedy group of developers (are his work over the years will prove particu- there any other kind?) from building a shop- larly interesting for aficionados. ping plaza on top of an urban community center. Yes, the plot is mind-numbing, but the Absolute Beginners (MGM, $15) bouncy, upbeat soundtrack is definitely old IN THE EYE OF THE BEHOLDER: There’s nothing quite like tale of teenage life in a stylized late- school and the movie itself highly entertain- the original 1946 Beauty and the Beast. A’50s London, Julien Temple’s uneven ing—like opening up your fourth-grade time but frequently engaging 1986 rock musical capsule buried in the school yard. movie’s 1995 restoration is reason enough to has been given a sumptuous new wide- Another hit from 1984, Orion’s Beat Street not celebrate, and the movie—while still appear- screen transfer on DVD. only examined the street scene from the ing grainy at times—has never looked better Eddie O’Connell plays a strapping young viewpoint of aspiring break-dancers but also on the small screen. Screening at the Majestic, a photographer whose girlfriend (Patsy Kensit) graffiti artists and up-and-coming rappers. 1995 French documentary, offers interviews decides to leave their dreary existence Rae Dawn Chong stars as a sophisticated “jazz with the surviving cast and crew, while a TV behind and take up with wealthy James Fox. artist” who falls for an aspiring DJ-cum-rap- interview with cinematographer Henri Alekan O’Connell then tries to get her back in this per (Guy Davis), only to console him when is likewise enlightening. Cocteau’s original atmospheric, colorful film boasting a one of his friends is killed. The resulting, well- trailer, a featurette on the film’s restoration, plethora of fantasy musical sequences. intentioned film—co-produced by Harry and a segment on the film’s makeup (culled Even if most of Temple’s work here Belafonte—is like a 1984 After School Special from a French TV program in the ’60s) round resembles a music video, Absolute Beginners is about urban life, far more pretentious than out the supplementary features, which are a lot of fun, and MGM’s DVD finally gives the innocuous Breakin’ films, but energetic complemented on the film by a pair of audio viewers the opportunity to screen the film enough to have attracted fans over the years. commentary tracks: one from author Sir in its original 2.35 aspect ratio. This is one of Both films have been given solid treatment Christopher Frayling; the other by Arthur those movies that absolutely doesn’t work on DVD from MGM, though only Beat Street Knight, reprised from the laserdisc. at all in pan-and-scan, with the whole look includes a 16:9 wide-screen transfer. The Film score fans may be especially interested and design of the picture being severely trailer, though, on Breakin’ 2 is utterly price- in Criterion’s DVD due to its inclusion of compromised if its framing is cropped. less, with a rapper boasting about how the Philip Glass’ original opera, presented on an Fortunately, MGM’s transfer is excellent and movie is “another good one” from Cannon. alternate channel in 5.1 Surround. Glass com- the Dolby Surround sound likewise accom- Who would’ve thought Golan-Globus could posed the opera in strict adherence to the plished, though supplements are limited to be so fresh? film’s dialogue and timing—hence, all of the

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dialogue is sung in sync with the film. The for newcomers. Half-hour featurettes, composer provides notes on his work and including interviews with the stars, Insdorf Recent and Recommended how Cocteau’s vision inspired him to author and other critics, are included on each disc, it, though I found the marriage of Glass’ con- along with separate interviews with the Star Trek: Deep Space Nine: temporary style with Cocteau’s classic three leading ladies, selected student films Season 1 Box-Set (Paramount, approx. $89) imagery to be a rather uneasy one. Glass’ by the director, short interview-commen- t wasn’t set on a starship, so the characters score for the 1931 Tod Browning-Bela Lugosi taries by others involved in the productions Istayed in the same venue over the course Dracula worked to a degree, largely because and 1.85 wide-screen transfers with yellow of the show’s run. The lead character was a the film itself was devoid of music, but with English subtitles on all three pictures. stoic yet heroic individual far removed from Beauty and the Beast, viewers may have a far Though none of the three films is avail- the likes of Captain Kirk. The drama was more difficult time distancing themselves able separately, the three films are definitely rarely self-contained, offering a story that from the actual soundtrack and Georges best viewed as a part of a trilogy, and Buena evolved over the span of the program’s seven Auric’s original score. Vista has enriched the set with excellent seasons. Cocteau’s movie is a cornerstone of the fan- special features that should enhance the For all of those reasons, Star Trek: Deep Space tasy genre, laying the groundwork for count- themes of the films for the filmmaker’s Nine has always been the oddball in the Trek less films that followed (including Ridley admirers and newcomers alike. franchise, a series that never quite appealed to Scott’s recently revived Legend). Its innovative the masses the way its peers did. Yet, at the production design, art direction and cine- Cinema Paradiso (Buena Vista, $30) same time, the very elements that some criti- matography make for an all-time classic that iuseppe Tornatore’s loving tribute to cized it for are what make it such an attractive the Criterion Collection has lovingly pre- Gthe movies, small towns and growing purchase on DVD, where you’re free to watch served on DVD. up became an international sensation in the the show evolve at your leisure. late ’80s, despite a rocky initial premiere In going through Paramount’s Season 1 box- Three Colors Trilogy (Buena Vista, $40) showing. set, I could understand why some fans were rzysztof Kieslowski’s Three Colors Trilogy Originally screened at 150 minutes, agog over DS9. The characters, from Avery Khas been brought to DVD by Buena Tornatore’s initial version of Cinema Paradiso Brooks’ Captain Sisko to Nana Visitor’s Kira Vista in a terrific three-disc box-set that was reportedly rejected by audiences in and particularly Rene Auberjonois’ Odo, should provide a feast of entertainment for Europe. After being re-cut and shortened to behave in a consistent manner that makes international cinephiles. 122 minutes, though, the movie became an them some of the most “believable” of all Trek Kieslowski’s films examine the state of con- award-winning box-office hit, especially in protagonists. Watching their interaction as DS9 temporary life, using the three colors of the North America, where it copped the 1989 progressed through a somewhat rocky but French flag as the basis for the themes in his Best Foreign Film Oscar. generally entertaining first season is the high- screenplays: Blue examines liberty from the Tornatore’s original version—some 174 light of the six-disc box-set, which features viewpoint of a woman (Juliette Binoche) who minutes long—was then screened through- every first-season episode in full-screen for- loses her husband and daughter in an acci- out Europe for years, though only now have mat with 5.1 Dolby Digital sound. dent and seeks to distance herself from any- the Weinstein Brothers and Films Among the special features is an overview thing in her past; White (equality) probes the imported the longer, three-hour cut for of the show’s origins, including interviews life of a Polish man (Zbigniew Zamachowski) North American viewers. with Rick Berman and Michael Piller, plus a whose beautiful French wife (Julie Delpy) The result is this long-awaited DVD profile of the Kira character. Additional fea- deserts him because of his inadequacies in the release, offering both the PG-rated theatrical turettes look at the makeup designs Michael bedroom, and his subsequent attempts at get- cut and the new, R-rated 174-minute Westmore created for the show’s aliens, an ting revenge; and Red (fraternity) stars Irene Director’s Version, which includes a lot more overview of Quark’s bar, props and produc- Jacob as a model who befriends judge Jean- sex and melodrama than the version most tion design. Louis Trintignant, and becomes enveloped in audiences are familiar with. Predictably, Paramount plans on releasing all seven sea- his secretive world. relationships between characters—espe- sons of DS9 on DVD this year, which should The three movies vary in overall mood, cially the protagonist’s meeting with his for- satisfy both die-hard fans and viewers new to with the often-amusing White being the mer love—are elaborated upon and clari- the program’s own universe. most accessible of the trio for first-time fied, but somehow the longer version misses viewers. However, Kieslowski fills each with the simplicity and tenderness that the Assault on Precinct 13 (Image, $20) plenty of subtext that makes them worthy shorter cut contained. ohn Carpenter’s intense, electrifying 1976 of repeat viewing, once you become accus- At least both versions of the film have Jaction-thriller is still one of the director’s tomed to the leisurely pace the director been included on DVD, though the presen- most accomplished works. takes in each picture. tation of the new version is clearly superior. plays a cop who has to Certainly film scholars will appreciate the The 5.1 Dolby Digital sound is a massive defend an L.A. police station against an assault excellent supplements that Buena Vista has improvement over the original’s 2.0 sound- by a gang named Street Thunder—one that included here. Students should savor film track (which sounds as if it’s in muffled attacks the helpless, barricaded cops (and con- professor Annette Insdorf’s commentary on mono by comparison), doing far more jus- victs, including Darwin Joston) in a manner each film, which elaborates upon the vari- tice to Ennio Morricone’s beloved score. that recalls Night of the Living Dead nearly as ous themes and ideas inherent in Otherwise, viewers can express their prefer- much as it does classics like Kieslowski’s work, making them accessible ence for either version with the DVD. Rio Bravo.

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This early Carpenter work may have been umentary featuring footage of Ratner at work quality is sensationally crisp, but the Dolby modestly budgeted, but the director was able throughout the production process, makeup Digital stereo soundtrack is a bit of a mess— to make good use of the wide Panavision tests, audio commentary from the filmmakers, stick with the mono and you’ve got one of the frame and create a memorable, sturdy thriller deleted and extended scenes, a promotional year’s better genre discs (overseas correspon- that’s still compulsively watchable. The eco- featurette and Ratner’s student film. dents tell the Laserphile that these features are nomical storytelling and performances, along Consumers should note the single-disc exclusive to the U.S. release). with a basic but effective Carpenter score, DVD release ($27) contains all the extras combine to make a movie that remains one of appropriate to the Director’s Edition disc one, Journey to the Center of the Earth the auteur’s finest. including Elfman’s isolated score track. (Fox, $15) Image’s new DVD supplants their earlier his big, splashy, colorful ’50s matinee release with a remastered 16:9 wide-screen Tadventure is bloated by today’s stan- transfer, along with a reprisal of the special Classic Quick Takes dards, but there’s still much to admire in the features from the laserdisc release, including The Howards of Virginia Pat Boone-James Mason epic—namely, isolated score, commentary by Carpenter (Columbia TriStar, $25): Bernard Herrmann’s outstanding score. As (that’s admittedly a bit on the dry side), ary Grant plays a surveyor who marries with The Day the Earth Stood Still, the Dolby radio spots, the trailer and a new stills CMartha Scott, an aristocratic young Digital stereo track has its issues, but the gallery. A recent interview with Carpenter woman whose political beliefs clash with her restored wide-screen transfer is exemplary. It’s and Stoker is also included, rounding out a husband’s once he joins the colonial fight a bargain at the price, despite the lack of sup- superb package for one of my favorite films against the British. This Revolutionary War plementary features. of the ’70s. Check it out. drama is not one of the most critically lauded films of all time, but as a historical period How Green Was My Valley (Fox, $20) Red Dragon (Universal, $35) piece, The Howards of Virginia is a worthwhile ohn Ford’s classic tale of life in a Welsh anny Elfman’s score is isolated in the slice of Hollywood’s Golden Age, with equal Jmining village has been reissued on DVD Dtwo-disc Director’s Edition of Red doses of soap opera thrown into the mix. The with solid new features: The audio commen- Dragon, Brett Ratner’s conventional and sur- black-and-white transfer is in decent shape, tary by Anna Lee Nathan and historian Joseph prisingly bland entry into the Hannibal Lecter and the mono soundtrack is fine, sporting a McBride is filled with revealing anecdotes, series. I didn’t find Elfman’s score to be one of serviceable score by Richard Hageman. while an AMC Backstory episode profiles the his best works—at times, it sounds like under- film’s historical legacy. Transfer and sound are score for a Universal monster movie from the The Day the Earth Stood Still identical to the earlier DVD release, making ’50s—but completists should be satisfied with (Fox, $20) the supplements the primary reason for the isolated score track, which also includes his Special Edition DVD offers nearly all upgrading to the new disc. FSM sporadic comments from the composer Tthe supplements from the more expen- whenever the music isn’t running (which, alas, sive mid-’90s laserdisc release, including a 70- Andy Dursin can be reached at [email protected]. Read isn’t very often). minute documentary and commentary with “The Aisle Seat” at filmscoremonthly.com/aisleseat for The set includes a better-than-average doc- Robert Wise and Nicholas Meyer. The picture extensive DVD reviews and movie analysis!

ances a cascading violin arrangement against patterns of the African desert. Score (continued from page 44) a twangy banjo, to create a grotesque and Any one of these compositions should the composer’s singular (and emotive) somber context for Edda Dell’Orso’s soaring prove that Morricone did not peak creatively sound—the result of simple, often kitschy voice. And “Secret of the Sahara,” from a 1987 more than 30 years ago. This idea (entertained melodies set against baroque harmonies—has film of the same name, blends synths and by many, perhaps) is like the Wild West itself— surfaced regularly throughout his long career, strings to approximate the quiet, stretching just a dusty old myth. —S.A. FSM regardless of genre. Unfortunately, over half of the tracks on At the Movies have appeared elsewhere with frus- trating consistency. A large portion of space, for instance, is given to music pulled from the horse operas (, and Once Upon a Time in the West). This is a tactic RCA also used in its 1990 collection, Legendary Italian Westerns. Nevertheless, it’s arguable that the CD’s lesser-known pieces compensate for their scarcity with quality. The Adventurer, a string- driven adagio used in a Terence Young nauti- cal adventure, for example, gently rises and falls like the waves it describes. “The Encounter,” from The Master and Margarita, bal-

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X-Men 2 © 20th Century Fox, The Lord of the Rings: The Two Towers © New Line Cinema, E.T.: The Extraterrestrial © , The Matrix © Warner Bros., The Thing © Universal Pictures. v8n3 covers.qxd 4/8/03 12:44 PM Page c4

FSMCD Vol. 6, No. 5 • Released by Special Arrangement with Turner Classic Movies Music

Green Fire & Bhowani Junction by Miklós Rózsa

MIKLÓS RÓZSA SCORED TWO FILMS FOR M-G-M in the mid-1950s set in exotic locations: mod- ern-day Colombia for Green Fire (1954) and post- WWII India for Bhowani Junction (1956). Each movie required foreign sounds, yet the resultant scores are as different as night and day: grandiose symphonic scoring for Green Fire, and atmospheric, indigenous tracks for Bhowani Junction. GREEN FIRE IS AN ACTION-ADVENTURE romance starring Stewart Granger as an emerald prospector and Grace Kelly as the owner of a Colombian coffee plantation. Granger finds an aban- doned emerald mine and is determined to unearth its treasure, but his efforts put all involved in peril. Rózsa’s stirring symphonic score features a rarity for him: a title song (with lyrics by Jack Brooks) created from the gorgeous main theme, which is otherwise used in everything from love scenes to the high- adventure thrills. FSM’s premiere release features the complete underscore in stereo—long sought by Rózsaphiles—with bonus tracks of source cues and instrumental alternates of the main and end titles. BHOWANI JUNCTION, DIRECTED BY George Cukor, stars Ava Gardner as a half-caste torn between three loves amidst the English withdrawal from India. The film was shot on location in Pakistan and is a tactile portrait of a country reaching its boil- ing point. In keeping with the naturalistic presenta- tion, the music is as much of a “non-score” as Rózsa ever composed: almost entirely source music, writ- ten in a faux-Indian style. His exotic backings are melodic and atmospheric, but sound unlike any of his traditionally dramatic scores. The cues are pre- sented largely in stereo, with a bonus track culled from monaural masters. FSM’S CD OF GREEN FIRE/BHOWANI Junction features the two sides of ‘50s Rózsa “exot- ica,” from dramatic, symphonic strains of Green Fire to the offbeat stylings of Bhowani Junction. Liner notes are by Lukas Kendall. $19.95 plus shipping

Green Fire Bhowani Junction 1. Prelude/Lost Mine 3:15 13. Courage/ Detonator/Fight 4:05 23. Bhowani Station No. 1 2:12 2. Leopard 2:18 14. Finale 1:32 24. Bhowani Station No. 2 0:45 Don’t Miss 3. Mining 1:32 Total Time: 36:06 25. Street Music No. 1 0:43 This Month’s 4. Tropical Night (revised) 2:57 26. Sarina 3:08 Silver Age Classic 5. Tropical Night (original version) 2:57 BONUS TRACKS 27. Street Music No. 2 0:25 6. Confessions 1:26 15. Prelude/Lost Mine (instrumental) 3:14 28. Jikiwiki Miki 0:39 7. Romanza 2:11 16. Cartagena 2:15 29. Alakallala 3:19 All Fall Down/ 8. Showdown/Green Fire/ 17. Allegria 2:12 30. Indian Rooftops 4:40 The Outrage Nocturnal Visit/Speech 18. Maringa (instrumental) 2:16 31. Bhowani Station No. 3 0:47 by Alex North Without Words 4:05 19. Tejo 1:10 32. Bonus Suite 10:53 See inside page 11 9. Boulder/Death 2:19 20. Maringa (vocal) 1:10 Total Time: 27:52 forfor details.details. 10. Grave/Alone 1:11 21. Green Fire (guitar version) 0:50 Total Disc Time: 78:57 11. Bonus/Sluicing/Mujer Traidosa 3:31 22. Finale (instrumental) 1:31 12. El Moro 2:21 Total Time: 14:58 Album Produced by Lukas Kendall