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Home , Alan Silvestri, Alberto Iglesias, Angelo Badalamenti, Art School Confidential, Bruce Broughton, Bruno Coulais

Volume 10, Number 1 Original for Movies and Television

MAX MEMORIES pg 24 The BEST and the Rest FSM’s Annual Roundup of the Year That Was Jan A. P. Kaczmarek And More Describe Their Recent Hits Plus Reviews and More

$7.95 U.S. • $8.95 Canada contents January/February 2005

DEPARTMENTS COVER STORY

2 Editorial 10 The Best and Worst of 2004 The Magazine That From to , from Harry Potter and the Almost Wasn’t. Prisoner of Azkaban to Van Helsing, and from Troy to, well, Troy, last year offered plenty of fodder for music 4 News fans. Now strap yourself in as our FSM contributors Hordes of Awards. chime in on the State of Film Music, 2004. 5 Round-up 10 of All Things! What’s on the way. By Jon & Al Kaplan 5 Now Playing 10 The way of the future. Movies and CDs in 15 The Hits...and Misses release. By Jeff Bond 6 Concerts Film music performed 18 Arbitrary Musings around the globe. By John Takis 7 Upcoming Film Assignments 19 Coulda Been a Cover! Who’s writing what By Joe Sikoryak for whom. 20 The Best of the Year 9 Mail Bag By Doug Adams Elmer.

33 Score FEATURES More reviews, includ- ing A Series of Unfortunate 24 Memories of Max 24 Recollecting the past. Events, Sideways, Alexander, FSM is proud to publish this historical interview with and . , circa 1967. In , the maestro talks about composing Gone With the Wind, 47 Tech Talk his relationships with Selznick, Cukor and others, To Remaster or Not to and cigars. Remaster? By Myrl A. Schreibman

36 FSM Marketplace 28 Composers of the Roundtable As part of our year-end wrap-up, today’s top film composers comment on their respective 2004 projects. By Jeff Bond

15 Living in the present.

FILM SCORE MAGAZINE (ISSN 1077-4289) is published ten 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

FILM SCORE MAGAZINE 1 JANUARY/FEBRUARY 2005 EDITORIAL

The Magazine That Almost Wasn’t Volume 10 • Number 1 Or, how FSM came back from the brink

agazine publishing is one of the world’s interesting for you to read, and the most inspiring EDITORIAL STAFF dumbest financial endeavors. All we for us to write. This issue provides a glimpse of Founder & Publisher Mdo is lose money. In the past, Film Score things to come: Want more Golden Age coverage? LUKAS KENDALL Monthly has been able to beat the odds by acting Don’t miss Part One of an archival interview with as a “loss leader” for our Classic CDs (most maga- Max Steiner from 1967. It’s a funny, fascinating Executive Editor zines survive by ad sales or they close in less than and lively portrait. How ’bout a little tech talk? JONATHAN Z. KAPLAN five years.) Our strategy worked pretty well, as Take an inside look at mastering and remastering Managing Editor long as we were distributing CDs ourselves—but also in this issue. And the new year wouldn’t be TIM CURRAN we have successfully transferred our retail store complete with our annual Best of the Worst, fea- Creative Director to Screen Archives Entertainment (thanks for your turing the kind of lively writing certain to amuse JOE SIKORYAK patient support). It was a risky financial move but some and annoy others. Editor-at-Large it had to be done—the burden of mail order was FSM has always been a struggle to produce; JEFF BOND ruining our lives, and more importantly, we we have a small, if devoted, staff and everybody Copyeditor wanted to concentrate our efforts on producing here does double and triple duty (hence our DEBBIE NOTKIN albums. So… occasional lateness.) It’s easy to forget what a dif- Contributing Writers Film Score Magazine is now bimonthly. Six issues ferent world it was when FSM was founded back DOUG ADAMS a year, not 10. Outside of this newsstand publica- in 1990: There was no Internet, and it was pretty DAVID COSCINA tion, we are not changing our name because that’s lonely being a fan of film music. At that time, the ANDREW GRANADE too complicated—we’ll just reinforce our acro- most important thing a publication could offer MARK GRIFFIN nym—not unlike the way Kentucky Fried Chicken was frequency. Now there’s news everywhere, with STEVEN A. KENNEDY has renamed itself KFC because they don’t want quick-fix resources like soundtrackcollector.com ANDREW KIRBY people to think of fried food. Anyway, just call us and .com, not to mention a thriving online IAN D. THOMAS FSM like always. community of fellow fans. Today, the most impor- DARREN MACDONALD MYRL A. SCHREIBMAN But, while our frequency will be reduced, the tant thing this publication can strive for is depth. JOHN TAKIS issues themselves will be enlarged. After this one, Perhaps we should have changed our schedule CARY WONG FSM will grow to 64 pages, and we may even years ago, but we’re changing it now. We want sport color pages here and there. This expan- to keep producing our magazines and CDs, so sion is largely made possible by way of our we can share the excitement of film music, past, BUSINESS STAFF long standing and supportive relationship with present and future. Our number one concern is to Schumann Printers—thanks again! keep you, our loyal readers, satisfied—and coming Editorial & Subscriptions The cover price is going up for newsstand buy- back for more. 8503 Washington Blvd. ers, from $4.95 to $7.95. (This after years of people We promise to deliver issues that compensate Culver City, CA 90232 telling us we could charge three times that and for quantity with quality. We hope you’ll stick PH. 310-253-9595 FAX 310-253-9588 still sell.) Subscription prices will stay the same— around for years to come. Thanks for your won- E-MAIL [email protected] please keep in mind we have not changed them derful support and understanding, as always. since 1999. The mathematically inclined among Sales & Marketing Manager you will realize this is a less obvious way of rais- BOB HEBERT ing the price, because the same money is now 8503 Washington Blvd. bringing you fewer issues; however, six issues a Culver City, CA 90232 year of 64 pages still delivers 384 pages, not such a PH. 323-962-6077 big drop from 480 pages (10 issues of 48 each). Lukas Kendall, Publisher FAX 310-253-9588 Moreover, regular departments like News, Mail Bag, and Score aren’t going to grow all that much. We’re pledging to put the extra pages each issue Our Website is updated five times weekly! Point your browser at: to good use, covering the kind of substantive WWW.FILMSCOREMONTHLY.COM feature stories that have always been the most Joe Sikoryak, Creative Director

© 2005 Vineyard Haven LLC. THE FINE PRINT: Subscriptions are being recalculated to give you an adjusted number of issues over the same period of time: Printed in the U.S.A. Two years gets you 12 issues, not 20; 1 year gets you 6 issues, not 10; and 6 months gets you 3 issues, not 5. You will receive customary renewal notices and other than that, you don’t have to worry about a thing. If you feel as Lando Calrissian did, being treated unfairly by —sorry, but we’re broke! Of course, you can cancel your subscription same as always—but we hope you won’t. Instead, we hope you’ll continue to appreciate us as much as we do you.

JANUARY/FEBRUARY 2005 2 FILM SCORE MAGAZINE EDITORIAL Get fast, friendly, expert service www.intrada.com $14.99 $15.99 $19.99

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The Intrada Special Collection Volume 14 By Available May 25 This 1990 thriller (starring Gene Hackman and Anne Archer) gave Bruce Broughton the opportunity to write one of the most $19.99 $19.99 $21.99 exciting fi lm scores ever. This CD presents the entire unadulterated score in picture order, and includes a bonus suite featuring alternate, unused versions of the exciting action set pieces just as the ’s intended—in stereo. $19.99 • This volume is limited to 1500 copies $19.99 $19.99 $21.99

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Total______Concerts • Now Playing Record Label Round-Up The Shopping List Upcoming Film Assignments “Pukas” • On the Air

Best Compilation Soundtrack published a great reference newsAlbum for a Motion Picture, book: Case History of Film Score: The Television or Other Visual Media Thorn Birds, by , Garden State; Various edited by Roy Phillippe. Mancini was asked to write The Critics Choice Award win- the book in the mid-’80s, but ners in the music categories: the original offer was pulled The Aviator; before Mancini finished it. Years Runners-Up: later, Roy Phillippe took on the ; Emily Bernstein 1958-2005 monumental task of editing the Sideways; manuscript, coordinating tim- SEEMS LIKE LAST YEAR: Winners again! EMILY BERNSTEIN, PRINCIPAL ing notes and analyzing the BAFTA’s Anthony Asquith Award clarinetist with the Thorn Birds music. After several And the Winner of for Achievement in Film Music Opera and the more years of delay, the book nominees: Pasadena Symphony, and a first- is finally available, filled with the Celebrity Chili The Aviator; Howard Shore call, session , musical examples, manuscripts The Chorus; died Thursday, Feb. 3 in Duarte, in Mancini’s hand, and even Cook-Off Is... Finding Neverland; Jan A. P. , of liver cancer. She includes a CD of the score— Kaczmarek was 46. which, , includes the es, there are too many award The Motorcycle Diaries; Gustavo Bernstein played on hundreds harpsichord melody missing Yshows this time of year. But Santaolalla of film scores; her most recent from the recent Varèse release since we only report on a frac- ; Craig Armstrong featured work can be heard in of the same score. tion of them, we don’t feel so bad. The Terminal and Here are some recent winners and ’s Seabiscuit. nominees: She served on of the Quick Takes Elliot’s Gold Henry Mancini Institute in Los The Golden Globe winners Angeles and was a member of • THE HARTT SCHOOL OF in the music categories: or those wondering what the the music ensemble XTET. the University of Hartford in heck ’s been Just a note of clarification: Connecticut has announced the Best Original Score— F doing since writing the score for Emily Bernstein was not directly gift of a permanent collection Motion Picture S.W.A.T., the Los Angeles Opera related to . It’s of memorabilia depicting the The Aviator; Howard Shore has announced that, as part easy to see how confusion could career of , the Best Original Song— of its 20th anniversary season arise, however; Elmer’s daughter, late Oscar-winning composer, Motion Picture (2005-2006), it will present the an accomplished orchestrator, is conductor and concert pianist. “Old Habits ”; Alfie; world premiere of Goldenthal’s named Emilie. The collection, including , Dave Stewart opera Grendel, to be directed, of Sukman’s legendary ebony course, by . Contributions can made to: Steinway grand , will be Grammy Winners include: Grendel is based on the John The Emily Bernstein Fund on permanent display in The Best Score Gardner novel, which retold The Pasadena Symphony Harry Sukman Foyer in the for a Motion Picture, Television the story of Beowulf from the 2500 East Colorado Boulevard, Ste 260 Fuller Music Center adjacent or Other Visual Media monster’s point of view. The Pasadena, CA 91107 to Millard Auditorium. The : The Return of novel was previously made Those interested in contributing should exhibition will include music the King; Howard Shore as an Australian animated make checks payable to scores, scripts, correspondence, feature in 1981 entitled The Pasadena Symphony. photographs, albums, lobby Best Song Written for a Motion Grendel Grendel Grendel, with cards, posters and awards Picture, Television or Other Peter Ustinov as the voice of spanning his career. Sukman Visual Media Grendel and a score by Bruce received an Oscar for his scoring “Into the West” (From The Lord of Smeaton (soundtrack available Mancini Lives! of Song Without End, nominations the Rings: The Return of the King); on 1M1). We’ll keep you for Fanny and The Singing Nun, , Howard Shore, apprised of specific dates as or those of you who might and an Emmy nomination for they approach. Fnot have heard, Warner the miniseries Salem’s Lot. www.losangelesopera.com Bros. Publications has recently (continued on page 6)

JANUARY/FEBRUARY 2005 4 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 5 JANUARY/FEBRUARY 2005 RECORD LABEL ROUND-UP Newly Announced Projects and Incoming Albums

news imminently is Parker: Film FSM Music (featuring Clifton Parker We travel to the far ends of the selections Treasure Island, Blue earth and beyond: Our Golden Lagoon, Sea of Sand and more). Age release features Dimitri www.chandos.net Tiomkin’s The Thing From Another World (1951, archival mono) Commotion coupled with Take the High THIS JUST IN: The CD Depot, Ashland, Oregon. Forthcoming is a compilation Ground! (1953, stereo). In another album of film and television direction, our Silver Age Classic Aleph Cinesoundz music by . couples : The Continent Next on the docket for Lalo Forthcoming are two DVDs www.arecordcommotion.com (1961, Russell Garcia) with the Schifrin’s label is his score for Les and a radio play of the British- complete surviving score to The Felins (1964). Also forthcoming German ’70s TV sci-fi series Digitmovies Power (1968, ), both is the 1981 comedy Caveman. Star Maidens (both by Berry Available now is Bruno Nicolai’s in stereo. www.alephrecords.com Lipman). La Coda Dello Scorpione (1971). Next month: Music in the sky, www.cinesoundz.com; [email protected] and deep within Brigham Young University Disques Cinemusique the jungle! www.filmscoremonthly.com Due imminently is The Chandos Forthcoming are new recordings Fountainhead (Max Steiner). Available now is Goodwin: Film of the scores GDM Forthcoming are Johnny Belinda Music (featuring Rapture and Interlude. Both will be Many Morricone reissues now and The Three Musketeers (also selections from Whirlpool, 633 produced with digital sampling available from GDM include: Steiner). tel.: 540-635-2575; Squadron, Battle of Britain, Where of acoustic instruments. Morricone: Musiche Per Il Cinema www.screenarchives.com Eagles Dare and more). Due www.disquescinemusique.com Di Giuseppe Tornatore, Morricone:

NOW PLAYING: and scores in current release Alone in the Dark B. VEINDLANDT, P. ZWEIER, O. LIEB, et.al n/a Appleseed T. TAKAHASHI, VARIOUS Tofu** Are We There Yet? n/a Assault on Precinct 13 Varèse Sarabande The Big Red One: The Reconstruction DANA KAPROFF n/a Boogeyman JOSEPH LODUCA n/a Bride and Prejudice , ANU MALIK Casablanca** Coach Carter TREVOR RABIN Capitol* Constantine / Varèse Sarabande Cursed Image* Dolls Universal (import) Fascination JOHN DUPREZ n/a Hide and Seek Kirtland Hitch Sony* Inside Deep Throat DAVID STEINBERG n/a In the Realms of the Unreal n/a Man of the House DAVID NEWMAN n/a Pooh’s Movie JOEL McNEELY n/a Racing Stripes Varèse Sarabande Rory O’Shea Was Here n/a Son of the Mask New Line Swimming Upstream , n/a White Noise CLAUDE FOISY n/a The Wedding Date n/a *Song compilation with less than 10% underscore; **Mix of songs and score

JANUARY/FEBRUARY 2005 4 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 5 JANUARY/FEBRUARY 2005 RECORD LABEL ROUND-UP

Musiche Per Il Cinema Di Pier Paolo Pacific Time Entertainment version of Caboblanco (Jerry (David Buttolph) and Son of Fury Pasolini, 1900 and Orient Express. Due Mar. 29: Fabled (Ari S. Goldsmith). Still coming is a (A. Newman). www.screenarchives.com Kirschenbaum and Aaron 2-CD set of ’s Intrada Platt); The Keys to the House complete score to Cutthroat Island. Varèse Sarabande Due in early March will be (); Womb Raider Available now is Constantine the next in Intrada’s Signature (Randolph Scott); and Carlos RCA (Klaus Badelt/Brian Tyler). Due Collection series, Castaneda—Enigma of a Sorcerer Available now is Ortolani: Mar. 1: Million Dollar Baby (Clint (Bruce Broughton’s first (Ralph Torjan and Robert J. Genius of (Italian Eastwood). Due Mar. 15: Robots score; 1983). The Feldman). www.pactimeco.com import; 2-CD set). (John Powell). release will be limited to 1,000 www.varesesarabande.com pressings, and may be pre- Percepto Saimel ordered now. www.intrada.com Percepto’s long-awaited, Due imminently is Entre Vivir y Please note: deluxe release of The Little Soñar (Juan Bardem). We endeavor to stay up-to-date La-La Land Toaster (David Newman) is now www.rosebudbandasonora.com/saimel.htm with every company’s plans, but Forthcoming are MirrorMask available. www.percepto.com [email protected] sometimes bad things happen (Iain Ballamy), /Hitman 2 to good labels. Please bear with () and The Big Empty Screen Archives Entertainment us if albums are not released as (Brian Tyler). www.lalalandrecords.com Now available is a remastered Forthcoming are Foxes of Harrow announced. FSM

News (continued from page 4) Film Music Played Live • MIZZY HONORED: CONCERTS Composer/ Vic Movie, Wild Rovers, Forever Young, Mizzy (right) was awarded INTERNATIONAL Supergirl. The Society of Composers & Lyricists Ambassador Award for Austria his lifetime achievements at the May 24, 25, Tonkunstler Orchestra SCL’s annual meeting. of Lower Austria in Polteen; The California documentary. Magnificent Seven (Bernstein), Vertigo April 9, Bakersfield S.O.; for Cliff Bradley is working on • FSM READER NICK KASPER (Herrmann), Once Upon a Time in the Guitar & Orchestra, (Elmer Bernstein, the music for the feature Plains is taking part in the West (Morricone). featuring Christopher Parkening, soloist). Empty. Marathon April 17 to raise David Pickvance was money for the Florida recently offered the position of Memorial Fund. If you wish March 5, Hobart, Tasmanian S.O.; March 11, 13, 14, Tampa Bay, Florida Composer-in-Residence at the to help sponsor him, you can “Australians at the Movies,” featuring Orchestra, Richard Kaufman, cond.; BBC in London, where he will contact him at willavecrew@ The Hours (Glass), “Music of the Islands,” featuring Hawaii relocate for the next two years. ntlworld.com. Sponsors will be (Warbeck), The Sundowners (Tiomkin). (E. Bernstein), Mutiny on the Bounty just delivered entered into a raffle, and the April 28-30, Sydney S.O., (Bronislau Kaper), Swashbuckler a new music package for winners will receive copies of (Herrmann). (Addison), Finding Neverland (Jan ABC news and current affairs the Patch of Blue and QBVII CDs, Kaczmarek). programs. donated by Intrada. Christopher O’Young and Rima May 12, Trinity College of Music Tamou are composing for Til Orchestra, London; Psycho (Herrmann). March 19, 20, White Plains, , a documentary Death Do Us Part Westchester Philharmonic; Psycho Scoring News funded through AFC Indigenous France (Herrmann). Unit and SBS Independent. April 10, Oceanographic Institute, , from Down-Under Bryony Marks has just started By Art Phillips, President, John Scott, cond.; Once Upon a Time in Texas the score for a new six-part The Australian Guild of Screen the West (Morricone), The Magnificent April 22-24, Dallas S.O.; The Russia series, Australian of the Year. Composers Seven (Bernstein), The Sand Pebbles, House (Goldsmith), “Ride of the Scott Saunders is scoring (Goldsmith) and Cossacks” from Taras Bulba (Waxman), Colony, a six-part series for SBS Leah Curtis’ new logo I.D. “Sounds of Hatari” (Mancini). premiere of Ode to Orion: Fantasy Television. music for the U.S. Production for Solo Horn and Orchestra (Lee Art Phillips is currently Company Crystal Sky has Switzerland Holdridge). scoring the eight-part television just premiered in cinemas May 15, Orchestre de la Swisse documentary Outback House, internationally. Romande, Geneva; Jerry Goldsmith Wisconsin an 1860s adventure, for the Brett Aplin has just tribute, featuring : The Motion March 19, Green Bay S.O.; Psycho Australian Broadcasting completed the score for Picture, Masada, Twilight Zone: The (Herrmann). FSM Company. FSM Welcome to Wonderland, a feature

JANUARY/FEBRUARY 2005 6 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 7 JANUARY/FEBRUARY 2005 UPCOMING ASSIGNMENTS Who’s Scoring What for Whom?

Thomas Newman The Cinderella Libertine (w/ Johnny Man (dir. , w/ Russell Depp). Crowe), Jarhead (dir. ). O-P THAT THING YOU DO: on the scoring stage in the ’60s. John Ottman House of Wax, Kiss Kiss Bang Bang, X-Men 3, Fantastic Four. A-B Layer Cake. Because of Winn Dixie, Craig Armstrong Asylum. Michael Giacchino Sky High (Disney The Hot Sheet Flightplan. Bond 21, Return to Sender. live action, w/ , Bruce Mark Adler Marilyn Hotchkiss’ John Powell Mr. & Mrs. Smith. Dark Water. Campbell). Ballroom Dancing & Charm Rick Baitz Hope and a Little Sugar. Partition. School, When Do We Eat? R The Perfect Man, Nick Glennie-Smith Love and Honor. 2001 Maniacs. Trevor Rabin The Great Raid. The Pink Panther (replacing his Claude Foisy Snake King. Teddy Castellucci Rebound. replacement, David Newman). Harry Gregson-Williams The Chronicles Joseph Conlan Mansquito. S-T Marco Beltrami XXX: State of the Union. of Narnia: The Lion, the Witch and Cliff Eidelman The Sisterhood of the The Bridge of San Luis BT Underclassman, Stealth (w/ Randy the Wardrobe (Disney), Kingdom of Traveling Pants. Rey, (w/ Robert DeNiro, Kathy Bates), Edelman). Heaven (dir. ). Charlotte’s Web, Abominable, Rush Hour 3. Andy Bush and David Gale It’s Not Me, A Day With Wilbur Robinson Aeon Flux (w/ It’s Him. H (Disney; animated). Charlize Theron), The Baxter (w/ Craig The Da Vinci Code (dir. George Fenton Last Holiday. Wedren; dir. ). C Ron Howard), Ask the Dust (dir. The Honeymooners. Ed Shearmur The Skeleton Key (dir. Iain Teddy Castellucci The Longest Yard (w/ ). Vincent Gillioz Living With Uncle Ray. Softley). Chris Rock, Adam Sandler). James Newton Howard , Jan Hammer Cocaine Cowboys. Howard Shore King Kong (dir. Peter Steve Chesne Press Pass to the World, Begins (w/ ). Animal. Jackson), A History of Violence (dir. Zen Noir. James Horner The Chumscrubber. ). George S. Clinton Eulogy. I-J-K David Julyan Dungeons and Ryan Shore Confession, Ladies Night, Mark Isham In Her Shoes (dir. Curtis Dragons II: The Elemental Might, Headspace. D-E Hanson). The Last Drop. Black, Where the Truth Rolfe Kent The Wedding Crashers. David Kitay Art School Confidential. V-W Lies (dir. Atom Egoyan). Johnny Klimek/Reinhold Heil Proof. Mothers and Daughters. L The Cave. Alan Williams Suits on the Loose, Crab John Debney Chicken Little. Down in the Valley (w/ Orchard, Ice Hotel. Hostage, The Upside Edward Norton), The Motel. Mozart and the Whale. John Williams : Episode of Anger. Chris Lennertz Sledge: The Story of Mark Mothersbaugh The Ringer, III—Revenge of the Sith, War of the Toyer (dir. Brian De Frank Sledge. The Big White, John Chapman. Worlds, Memoirs of a Geisha. Palma, w/ Juliette Binoche). Joseph Lo Duca Devour. The Man. Nanny McPhee, Man to Nicholas Pike Sam’s Lake. Y-Z Man, New France (dir. Jean Beaudin), M-N J. Peter Robinson Hide and Seek, Harry Potter and the Goblet of Fire, Mark Mancina Asylum. The World’s Fastest Indian Unfinished Life (dir. Lasse Hallstrom), Wah-Wah (w/ Gabriel Byrne). Suzanne’s Diary for (w/ ). Beauty Shop. Perfect Creature. Nicholas. Slow Burn, Urban Legends Aaron Zigman Heart of Summer, The Randy Edelman Stealth (w/ BT). (dir. Darren 3: Bloody Mary. Wendell Baker Story. Danny Elfman Charlie and the Aronofsky), Sahara. Nic. tenBroek The Moguls Hans Zimmer Over the Hedge, A Good Chocolate Factory, ’s The Havoc. (w/ Jeff Bridges). Year, The Weather Man (dir. Gore . Libertas, Karol, Ryan Shore 212. Verbinski), (w/ James Sportman van de Euw. James Venable Happily N’, Newton Howard), Mission: Impossible F-G Mark Mothersbaugh Lords of Dogtown. Deuce Bigalow: European Gigolo. 3, Madagascar. Andy Farber The Warrior Class. Ira Newborn E-Girl. Nathan Wang (w/ David Manning) George Fenton The Regulators, David Newman I Married a Witch (dir. Reefer Madness (musical). Get Listed! Bewitched (dir. ), Valiant Danny DeVito), Kicking & Screaming. Composers, send your info to (Disney, animated). Randy Newman (animated). [email protected] FSM

JANUARY/FEBRUARY 2005 6 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 7 JANUARY/FEBRUARY 2005 Once they’re , they’re GONE! We warned you, and now it’s true! We are no longer offering our photocopies of older backissues. The issues listed here are original editions, and supplies are dwindling. Please see our website for an up-to-date list of remaining titles: http://www.screenarchives.com/fsm/backIssues.cfm

Special deal! Want one copy of every original edition still available (about 50 in all)? It’s a flat-rate of $60 plus postage: FREE in the U.S. via USPS priority mail or UPS ground (your choice, but UPS is recommended). Add $25 for air mail to Canada, $30 for surface mail to the rest of the world, or $50 for air mail to the rest of the world. Hurry, they’re going fast!

debut. APES; H. Zimmer; Horner Guide 2; Hennagin. RETURNS: At the Return of the King BACK ISSUES OF FSM Vol. 5, No. 3, Mar. ’00 PHANTOM Shore. Vol. 7, No.9, Nov. ’02 BOND TURNS 40; sessions; Kamen Tribute; G. Yared; MENACE CD; Reader pix ’99; C.H. Vol. 6, No 7, August ’01 W. Ross (Harry Potter, Tuck Holiday DVD roundup. VOLUME ONE 1993-96 Levenson’s “last”. PT. 1; Moulin Rouge; J. Morgan on Everlasting); George Feltenstein (TCM); 24 pp. unless noted. Vol. 5, No. 4, Apr./May ’00 Golden Age; Score Internationale; CD Wishlist. ; R. Marvin Random Play. Vol. 7, No.10, Dec. ’02 VOL. NINE, 2004 #50, Oct. ’94 A. Silvestri; M. Isham; (U-571); Tora! Tora! Tora!; Film score Vol. 6, No 8, September ’01 ANGELO TOWERING ACHIEVEMENTS: H. 48 pp.eachVol. 9, No. 1, Jan. ’04 sex & soundtracks; Schifrin con- agents, pt.1. BADELAMENTI; N. Carolina School Shore; Ray Ellis (); The Alloy BEST OF THE WORST, 2003; Thomas cert; Morricone/Beat; the Internet; Vol. 5, No. 5, Jun. ’00 TENTH of the Arts; ; Orchestra, Spy Notes (secret agent Newman; A. Desplat; Williams’ in Recordman/liner notes. ANNIVERSARY! 25th Ann. CD; DVDs; more. discs). Chicago; The Shining. J. N. Howard (Dinosaur); Goldsmith Vol. 6, No. 9, Oct./Nov. ’01 LORD OF THE Vol. 9, No. 2, Feb. ’04 JAMES HORNER Guide Pt 6. RINGS; Ronald Stein; T.Jones; Davis THEN AND NOW; J. Debney; B.T.; VOL. TWO, 1997 Vol. 5, No. 6, Jul. ’00 SUMMER SCORE Meets Williams; M. Danna; Pukas VOL. EIGHT, 2003 Composers of South Park. 32-48 pp. ROUND-UP; D. Newman; Session Notes. comix debut. 48 pp.each Vol. 9, No. 3, Mar. ’04 JON BRIO/ Vol. 2, No. 6, Aug. ’97 L. Schifrin, J. Vol. 5, No. 7, Aug ’00 B. BROUGHTON; Vol. 6, No. 10, Dec. ’01 Vol. 8, No. 1, Jan. ’03 JOHN WILLIAMS; AN TYLER BATES; The Bride of Powell, Shaiman; Tony Thomas; Summer Shaiman gives hell; Elfman & mom. SCORES OF SCORES; Alejandro Best & Worst 2002; Star Trek film Frankenstein; (Robin Hood x 2); The movies, TV sweeps. Vol. 5, No. 8, Sept./Oct ’00 R. NEWMAN Aménabar; G. Yared; Hobbit music; H. scores. Music of the Christ; TheRza. Things To Come; ; NPR Gregson-Williams, R. Kent. Vol. 8, No. 2, Feb. ’03 Vol. 9, No. 4, Apr.-May ’04 THE FALL OF honors. HOW THE AWARDS WERE WON; J. TROY; Forbidden Planet; B. Poledouris; VOL.THREE, 1998 Vol. 5, No. 9, Nov./Dec. ’00 64 pg. 101 Williams & L. Slatkin; Jan Hammer, C. ; Goldsmith on Apes. 48 pp. each GREAT FILM SCORES; (Crouching Tiger, Martinez, C. Pope, S. Walker. Vol. 9, No. 5, Jun.’04 THE SOUNDS OF Vol. 3, No. 4, May ’98 SCI-FI; B. Hidden Dragon); Shore; Back to the VOL. SEVEN, 2002 Vol. 8, No. 3, Mar. ’03 MAGNIFICENT SUMMER: Stephen King TV; Dirty Harry Broughton, D. Arnold; CE3K restoration; Future. 48 pp. each MOVIE MUSIC MOMENTS; Brian Tyler; on CD; Mr. Songtrack, Gary LeMel. Williams Guide 3; Ed Shearmur; Fox Vol. 7, No. 1, Jan. ’02 THE BEST & J.Ottman; D. Davis (Matrix Reloaded). Vol. 9, No. 6, Jul.’04 KEEPING IT REAL: Classics CDs. THE WORST: 2001; Horner Guide Pt 3: Vol. 8, No. 4, Apr-May ’03 MEET THE Reality TV scores; John Morgan Re:Re- Vol. 3, No. 10, Dec. ’98 THE OF VOL. SIX, 2001 Zimmer; Logan’s Overrun; Enterprise; FOLKS: (A Mighty Wind); M. Hamlisch; recordings; George Bassman profiled. EGYPT ; E. Cmiral (Ronin); 50+ CDs. 48 pp.each Yann Tiersen. G. Fenton (); Bond Vol. 9, No. 7, Aug.’04 JERRY Vol. 6, No. 1, Jan. ’01 THE BEST OF THE Vol. 7, No. 2, Feb. ’02 HAPPY BIRTHDAY, reissues. GOLDSMITH 1929-2004: Tributes, retrospectives, imaginary chats and an WORST: 2000; Our Town; ELMER BERNSTEIN; Rózsa speaks!; Vol. 8, No. 5, June ’03 unwritten letter. VOL. FOUR, 1999 DVD; Total Recall ; C. Martinez (Traffic). ; John Q, BOOM TIMES: SUMMER; Bond reis- Vol. 9, No. 8, Sept.’04 SCORE CAPTAIN 48 pp.each Vol. 6, No. 2, Feb. ’01 MUSICAL WORLD Frailty. sues 2; Jan Hammer 2; Korngold DVD. Ed Shearmur; Last Goldsmith Buyer’s Vol. 4, No. 7, Aug. ’99 WARNER OF IRWIN ALLEN; A.Copland (cond. J. Vol. 7, No. 3, Mar/Apr. ’02 THE Vol. 8, No. 6, July ’03 Guide; Arthur Morton; Raksin ANIMATION; Phantom Menace; Sheffer); G.Clinton; Douglass Fake of SCORPION KING; Hook (Williams); Edda THE PIRATE ISSUE: K.Badelt, H. remembered. Battlestar Galactica); ; Intrada; How to Marry a Millionaire. Dell’Orso; Craig Armstrong (Moulin Gregson-Williams; R. Portman’s opera, Vol. 9, No. 9, Oct.’04 ELMER BERNSTEIN ASCAP. Vol. 6, No. 3, Mar. ’01 BIGGER, BETTER The Sherman Bros. Rouge); Oscars. 1922-2004: A Tribute; R. Kent’s Vol. 4, No. 9, Nov. ’99 COMPOSER SCORES: New RMA agreements; D. Vol. 8, No. 7, August ’03 SEX, LIONS & Vol. 7, No. 4, May/Jun. ’02 SUMMER Sideways, M. Giacchino’s Incredibles, STAMPS; Papillion; Peter Thomas. Ellis; Irwin Allen discs; R. Kent (Town & AUDIOTAPE: P. Doyle; M. Kamen; Betty BLOCKBUSTERS; M. Mothersbaugh; more! Vol. 4, No. 10, Dec. ’99 SCORES OF Country); Italian Imports/BEAT. Comden, C. Lennerz; audio formats. Legend on DVD; (ASCAP winners). Vol. 9, No. 10, Nov.-Dec’04 SHORE SCORES: review compilation issue. Vol. 6, No. 4, Apr./May ’01 J. Horner Vol. 8, No. 8, Sept. ’03 LOVE THAT BOOB Vol. 7, No.7, Sept. ’02 FSM’S TOP 40 SCORES: The Aviator; A. Badalamenti; Buyer’s Guide; Returns, TUBE; Staff picks; Indiana Jones and COMPOSERS; John Frankenheimer; Arrested Development; Barbie, and more! Swordfish; ; Epics on DVD; L. Schifrin; J. Klimek; The Kid Stays in the Temple of Doom; M. Barwood. Atlantis The Lost Empire. Vol. 8, No. 9, Oct.-Nov. ’03 MATRIX VOL. FIVE, 2000 the Picture. Index What exactly have we printed in Vol. 6, No. 5, June ’01 SERGEI CONCLUSIONS; “Dumped”: 50+ cut 48-64 pp.each Vol. 7, No.8, Oct. ’02 FALL FILM ROUND- FSM? Here’s a handy index of all con- PROKOFIEV; Friedhofer & Fox; & altered scores; The Gospel of Jeff Vol. 5, No. 1, Jan. ‘00 SUPERMAN:THE UP: E. Bernstein; E. Goldenthal; D. tent through 2003, compiled by Dennis Ghostbusters; J. Danna. Danna. MOVIE H. Shore; Goldenthal, Barber, Elfman; S. Bramson (JAG); Michael Schmidt. Cost: same as one back issue. Tyler, Debney, Robbins; Pocket Reviews Vol. 6, No. 6, July ’01 PLANET OF THE Vol. 8, No. 10, Dec. ’03 SHORE

FSM lives, but our back issues are HISTORY! (Use order form, opposite)

FILM SCORE MAGAZINE 9 JANUARY/FEBRUARY 2005 mail bag Elmer Since Roger Hall called it a superior score just finished reading Jeff Bond’s beautiful trib- and recommends the recording, the uninitiated I ute to Elmer Bernstein (FSM Vol. 9, No. 9), and should be forewarned, or they’ll “plotz” when I’m reminded anew of why I cherish this film they hear it. composer’s work above that of all others: that Larry Gelb, Englewood, NJ perfect phrase of his, “grace and simplicity,” which so Musicals, Please aptly describes his own best am a big movie musical scores. While I was shocked Ifan. It seems that FSM and saddened by the death writers do not appreciate the of Jerry Goldsmith, its effect fact that movie musicals also on me was not, somehow, have a “film score.” Musical personal. Bernstein’s pass- soundtracks are rarely ing hurt. reviewed or even mentioned When I heard the news in passing. In a recent issue my first reaction was a devoted to Elmer Bernstein, resurgence of the anger I felt Thoroughly Modern Millie was when the Academy denied not featured, even though him the Oscar he so richly it’s the only score that won deserved for Far From Heaven. him an Academy Award. I remember saying, “He’s While I know that you written a masterwork! And at his age, how are more devoted to other types of music, many more opportunities is he going to get?” you have released many scores that But Bernstein’s work was an instant annealing contain singing, and ‘60s rock/hop music, agent; all I had to do was think of that almost but not one release has been a complete film unbearably moving cue he composed for the musical. Look at the fabulous underscore for finale of To Kill a Mockingbird. That was Elmer films like Hello Dolly, Man of La Mancha, Mame, Bernstein: neat (composition that was perfectly even Millie...the list goes on forever. It seems attuned to the movie, and the moment); Rhino is the only label that releases these, and elegiac without pomp or self-importance; they only release the ones from M-G-M. and exquisitely emotional without in the least I hope that one day you will treat the movie resorting to bathos or sentimentality. It’s my musical as it should be treated, equally with favorite of all film score moments...the one I other film scores, because they are also film want played at the end of my wake. scores. The underscore in many of them is, in Scott Ross fact, often more extensive because an arranger Raleigh, North Carolina has to take what is usually stage material and score it for action on film. Fair Warning Robert Jackson n Roger Hall’s otherwise excellent article [email protected] Ion Elmer Bernstein’s essential scores in the “Tribute Issue,” he does not mention that both Hey, we love musicals as much as the next the Capitol release and the DRG CD of what guy...and doll. Get it? is called the “original soundtrack” of True Grit is a disco album of themes from the film Errata arranged by Artie Butler. Other than the title Jon Aanesen’s two-and-a-half-star review of song, it contains no instrumental music from American River (FSM Vol. 9, No 10., page 35) was Elmer’s original score as used in the movie. supposed to read three-and-a-half stars. The closest thing available is “Rooster and Runaway” track on The Films of John Wayne CD conducted by Elmer for Varèse Sarabande (also Keep those cards and letters coming to Mail Bag c/o FSM, 8503 Washington Blvd., Culver City, included on the Elmer Bernstein: Great Composers CA 90232 or [email protected] compilation from the same label). FSM101

FILM SCORE MAGAZINE 9 JANUARY/FEBRUARY 2005 FSM’S ANNUAL BEST & WORST AWARDS The END of All Things!

The Kaplans pick the best, the worst, and their noses. • By Jon & Al Kaplan

Spielberg survive thin material. Williams’ Hebrew-flavored clarinet theme for sells the character’s pervasive mis- chief in a way the tonally flailing script is never able to do. There’s also a touching Raksin-esque Christmas time love theme for Catherine Zeta-Jones. If you haven’t seen The Terminal, don’t. This is an album best heard without having to conjure the painful movie for which it was written. We’re a little disappointed that John Williams won’t be doing Harry Potter IV, because Prisoner of Azkaban is his best yet for the series (this despite its poor mix in the film and Alfonso Cuarón’s butcher- ing of several climactic musical moments). Azkaban is the first, and possibly last Potter not be able to tell the score from the source entry where Williams is able to weave his The Way of the Future Award music. While this new rule may help pre- chamber-oriented source material into the goes to...HOWARD SHORE vent something like “The Full Monty disaster larger fabric of the score. The threatening of 1997” from happening again, in this “Double Trouble” material pops up in dif- oward Shore’s fiery, neurotic Aviator instance, it’s just further proof that as long ferent guises throughout, and the bitter- score returns him to the rigorously as Howard Shore continues to write music Hhorizontal complexity of his pre- this good, the music branch of the Academy Lord of the Rings work, and “H-1 Racer Plane,” will have to invent ways to disqualify him. our pick for cue of the year, is some of the How about a “no scores for remakes” clause most original “flying music” we’ve heard. for King Kong, fellas? This pulsating, unstoppable piece takes you inside Howard Hughes’ head and plays through the scene with an angry grandeur The Still Bald, Still Brilliant Award that keeps you focused on the genius fly- goes to...JOHN WILLIAMS ing the plane, instead of simply hammering home how fast the plane is going. Alas, The he Terminal is part Capra, part David Aviator score was deemed ineligible for an TE. Kelly, all torture, but it’s another Oscar under the pretense that voters might example of John Williams helping Steven

JANUARY/FEBRUARY 2005 10 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 11 JANUARY/FEBRUARY 2005 sweet Jane Eyre-like theme for Harry and oblivious (and not-so-oblivious) inhabitants did however stress the value of “under- his family resonates in a way that the more of The Village. Also, the choice of playing to standing” film, honing in on that one whimsical “Harry” themes of the first two the love story gives the second half of the central idea under the surface that could be films never quite did. film a relentless drive. This material show- brought out and realized through music. All that said, if Williams is out, we’re glad cases soloist , and offers Sometimes that idea could be as basic as the franchise is going to Patrick Doyle, one further proof that when Howard aims high, something like “friendship,” but Elmer’s of perhaps two people who have the chops he’s one of the best in the business. realizations of these concepts were any- and the raw ability to successfully take the thing but basic. He set standards in every Williams approach without sounding like a genre and was better at doing comedy than gorilla aping him. It’ll also be fun to see if Death Is Just Another Path... anyone else. He’ll be missed not only for his Doyle takes any on Williams for all work but for his presence as an advocate the Henry V cues that crept from the temp e’ve put it off for as long as possible, for good film music and for simply being a track into way back in 1993. We Wbut now we have to talk about the delightful, lovable human being. don’t yet know if or how Williams’ themes devastating death toll for film compos- We never got the chance to study under will be incorporated in Harry Potter IV, but ers in 2004. It’s a cruel act of fate that or meet Jerry Goldsmith, but given his let’s hope that Doyle is given some degree Jerry Goldsmith, and Elmer characteristic disdain for those who loved of free rein, if not carte blanche. Then again, Bernstein died within the same month, his work a little too much (along with we can also simply hope that he stays on continuing the streak of composer deaths people writing for this magazine), we were the project. that began a year earlier with Michael probably better off. Kamen and . We were two of One thing that made Goldsmith’s death the several hundred privileged few to have David Raksin and Elmer Bernstein as professors at USC in the late 1990s. Raksin, as charm- ing and witty in person as his music is on screen, told perennially interest- ing, irreverent war stories and made jokes about Andrew The Little Red Riding Hood Award Lloyd Webber. Bernstein’s tales of yesteryear so painful is that his writing held constant goes to...JAMES NEWTON HOWARD were more benign and general, but he was reminders of his greatness ... right up until vocal about his opinions on the current the very end. People have noted his sup- ay what you want about M. Night state of film music. He was interested in posed “decline” in the ”90s, and there’s SShyamalan’s ego, but at least his head where things were going, who was good, some truth to that. But even in his most hasn’t swollen to the point where he’s afraid who was bad and why. You didn’t find any streamlined work of the past decade, there to let James Newton Howard take center other members of the older generation were always flashes of brilliance: the soar- stage in his films. It’s clear that Howard waxing on about John Williams’ score for ing aftermath of the final game from Rudy; relishes the chance to work on Shyamalan’s Minority Report or ’s Road to the operatic lament for the main title of gloriously inflated Twilight Zone episodes, Perdition. Elmer took the art form seriously Sum of All Fears; the canonic action material and The Village is possibly the composer’s and helped bring credibility and respect to in Bad Girls that conjures his fire from the most exquisite score yet. The ethnic per- his field. Who will fill that void now? ’60s; Take a Hard Ride reimagined for Yosemite cussion for the monsters is a little heavy- Elmer seldom went into any detail about Sam in ; the Hollow Man cue that handed but it’s more than compensated for his compositional process, save for simple somehow turned “Elizabeth Shue building by the intricate folk string writing for the things like the importance of melody. He a magnet” into a show-stopping set-piece;

JANUARY/FEBRUARY 2005 10 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 11 JANUARY/FEBRUARY 2005 the entire score for . Hell, we even dazzling reinvention of themes past. There’s like the theme from Forever Young. That’s true mastery at work in the “Aunt May right. Forever Young. Boy, a lot of these mov- Packs” cue in particular, where Elfman’s ies were bad. But that’s the whole point. We separate Spidey themes mingle and stray only remember them because of him. into unfamiliar harmonic territory as Aunt Goldsmith was and likely will forever May explains what it means to be a hero. remain our greatest film composer. There In the film, this cue was tracked over with was more to his writing than the gloriously the first film’s love theme for Mary Jane. memorable themes; the mixed-meter action The tracked cue would have made sense writing; the clarity of voice; the sheer lack of in Spider-Man 2 had Tobey Maguire tried to filler; the mastery of ; and the make love to Aunt May immediately after unique instrumentation. This is a general her big speech. statement and it’s been said before, but Despite the mangling of the Spider-Man there was an uncanny symbiosis between 2 score in the film, this hasn’t been an the “replace-respected-composer-at-the- Goldsmith’s scores and the films for which entirely bad year for Danny Elfman. His 11th-hour” epidemic, but also because this they were written. While his material is theme is catchy even Golden-Age−worthy music is simply too influential as absolute music, the actual if the Elfman/Thomas Newman-inspired good to disappear without anyone caring. application of his music (where it’s placed, scores for the actual episodes are some of If you’ve managed to acquire Yared’s score, how it’s used, and what it’s not used for) is the most consistently annoying ever writ- try playing it against the Troy DVD. There another topic entirely; the guys who have ten; and his theme for the X-Box game Fable are some obvious sync points, and it’s both learned from that aspect of Goldsmith’s adds a heroic slant to the impending dread incredible and heartbreaking to witness the technique are fortunately the ones who of Sleepy Hollow. music at work in the film. sound nothing like him. did such an extraordi- Good-bye, Jerry. Thanks for everything. nary job deconstructing the songs in the The Reject Pile South Park underscore that we were eagerly TROY and awaiting whatever he had in store for Team TEAM AMERICA: WORLD POLICE America: World Police. Alas, it was not meant to be. Shaiman’s music oozes personality. ost people who’ve heard Gabriel In his best work, going all the way back MYared’s score for Troy agree that it’s to City Slickers, there’s a gleeful wink behind a spectacular piece of writing that didn’t every bar. Shaiman is very much in on the deserve its rushed, arbitrary rejection. But joke, but on Team America, the inevitably let’s assume for a moment that those kids schlocky Media Ventures score is the joke, in the test audiences (the ones who were and as much as we hate to admit it, it’s laughing because of the music) were right. used to side-splitting effect in the film. This Let’s take it for granted that Yared’s score movie finds ways to skewer every Media didn’t work, that it was too high-brow for Ventures staple, from the stock Zimmer/ Wolfgang Peterson’s simple-minded, mass- Bruckheimer aesthetic to the generic, over- The Peter Weir Award consumption telling of the story. Should active “movie music” anthems that Harry goes to... for Spider-Man 2 Yared have dumbed down his approach to Gregson Williams and John Powell employ be more in line with the rest of the produc- in movies like Sinbad and Pluto Nash. Is it t’s hard to imagine that Danny Elfman’s tion? Maybe, but for those of you who are possible that playing the straight man in Inot angry at how his score for Spider-Man quick to say “Yes,” would you say the same Team America will make it difficult for Media 2 was treated, but if he’s not, then we’ll be about Jerry Goldsmith’s numerous classic Ventures composers to continue their she- angry for him. It’s no secret that a secret scores for terrible films? nanigans on subsequent films? No, because someone fell in love with the Spider-Man 2 Yared made history by throwing a huge no one went to see Team America. But we, temp track to the point where large portions stink over this rejection, giving detailed for two, will never be able to hear another of Elfman’s new score were clumsily re- interviews and even putting up excerpts emphatic Hans Zimmer anthem without tracked with cues from the first film. More from his rejected score on his website picturing Gary the Puppet vomiting his damningly, other scenes were rescored to (before Warner Bros. threatened a lawsuit if guts out in that alley. temp specifications by John Debney and he didn’t remove them). In the end, the fuss Media Ventures aside, the musical heart Chris Young, to varying degrees of suc- probably amounts to little. It could prove of Team America is in ’s songs, cess. All of this is particularly disappointing damaging to Yared’s career, but hopefully an assortment of spot-on parodies of pop because Elfman’s discarded material (some only at Warner Bros. Yared still has strong standards ranging from Broadway to coun- of which is available on the Spider-Man 2 relationships with several renowned direc- try to the band Survivor to ’80s action toy score album) is tremendous. Those out tors, so he’ll continue to work ... just not commercials and cartoons. As in South Park, there (like us) who thought Elfman’s super- on big Hollywood epics. Regardless, we’re Parker’s songs often transcend the standards hero scoring well had run dry are advised proud of Yared for being the first major he’s sending up, combining clever and to out unused cues like “The Train” and composer to air this kind of filth, not only slaps at convention with memorable hooks “Aunt May Packs,” both of which feature because it brought a lot of bad press to and a strong fundamental musicality. It’s

JANUARY/FEBRUARY 2005 12 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 13 JANUARY/FEBRUARY 2005 a shame that the tight post-production Grail”-like faith and brotherhood theme, moments finally emerge late in the film schedule resulted in a finished film with a receives similar treatment. The smallest ker- they feel like they’ve been earned. Yes, sloppily prepared soundtrack where several nels of these themes are developed, woven they “feel” like they’ve been earned, but of the songs come across rushed, and the into one another, and turned into thrilling they haven’t been. Because each facet of underscore takes on a drop-the-needle feel, action motifs. You’ll have to sit through the the score is not part of a greater whole. with tons of repetition, no transitional mate- movie to get a feel for any of this, because The bigger cues don’t grow out of what’s rial and bad music edits. Then again, they the album is an exciting but wholly inac- come before, they grow out of whatever were going for Bruckheimer, weren’t they? curate “” version of the score. piece was up next on the temp track. And While Van Helsing was reviled as a film, we lest you think that this score exists as hope continues to make part of some great singular vision from The Silvestri Vineyards Award these silly movies just so Silvestri can keep , our sources indicate he had goes to...ALAN SILVESTRI writing for them. at least three composers writing at least Silvestri’s other big score this year, Polar two separate scores for this film—unbe- lan Silvestri often tells a story about Express, was a mixed but mostly attractive knownst to each other—and when they Ahis first experience scoring ChiPs, when bag. The main theme veers dangerously were done, he picked the one he wanted: a producer pulled him aside and gently close to , which is frustrat- the one that was closest to his temp track. scolded him for writing music that drew ing, especially on a high-profile Zemeckis Last Temptation of Christ influences aside, the too much attention to itself. “This is not the film. But we don’t really mind, because the cathartic, most melodic and memorable rest of the score easily ranks as Silvestri’s best writing since his explosive fantasy work from the ’80s. The lion’s share of the score was left off the album in favor of the songs (the film is a musical, after all—we think). But sinfully omitted is the cue where the out-of-control train skids across the ice, a furiously developed track that shuffles fragments of several songs into what is per- haps the best piece of music Alan Silvestri has ever written for a train. Some other examples of music Silvestri has written for trains can be found in Fandango, III and his rejected Mission: Impossible. Alan Silvestri show,” the producer said. Well, Also of note: This coming year will see parts of Debney’s Passion are written by Van Helsing is the Alan Silvestri show, and the release of Alan Silvestri’s delicious new other composers: namely James Horner, thank god for that. This improved com- wine. Check out www.silvestrivineyards.com whose score for Glory makes an important panion to is Silvestri’s for more information. cameo during the crucifixion; and the most thrilling fusion of pop and orchestra absurd Gladiator anthem for Christ march- since an older sequel score, Young Guns 2. We ing off to kick some ass right before the simply couldn’t believe the things Silvestri The Other Alan Award end title comes around. was able to get away with on this project. goes to... People have undeniably been affected It’s one of the greatest Saturday morning by this score, though arguably they were cartoon scores ever written—and we don’t ere we honor Alan Menken not for affected more by the film, and thus by mean that in terms of musical quality, but HHome on the Range, which was fine, but default the score as well. Either way it’s in approach. Van Helsing’s many themes for admitting in that a gold-selling record. Debney also helped are used with playful abandon, like the he liked the score to Van Helsing. turn the music for this movie into a media raucous traveling music that Silvestri dar- frenzy with his harrowing retellings of ingly throws against what appears to be a how he fought the devil on his computer standard “creeping around” scene for Hugh The Glory of The Passion and how Mary, a renowned Horner fan, Jackman’s introduction just after the film’s gave him the idea for her theme. At the prologue. he Passion of the Christ has been hailed very least it’ll be interesting to see if John People have complained that this score Tas John Debney’s greatest score. But Debney fulfills his lifelong dream of getting is turned up to 11 from start to finish, and what exactly is a John Debney score? It’s a an Oscar nomination. But consider this: If going by the album it’d be hard to argue professionally executed reiteration of the James Horner’s score for Glory (1989) was against them. Whoever assembled the CD film’s temp track. John Debney likes temp declared ineligible for an Academy Award did the score a disservice by leaving off tracks. He’s said so. “I think a good temp nomination because it leaned too heavily virtually all of the moments of respite. The track is great,” he says in FSM #38 (page on concert sources, wouldn’t it then be love theme (highlighted only in the album’s 8). The Passion of the Christ is a well-temped ironic if John Debney’s The Passion of the final cut) goes through some particularly movie. The Last Temptation of Christ sections Christ not only got nominated but actu- beautiful permutations throughout the of the score are effectively subdued and ally won? Granted, Debney intelligently film, and its related motif, a stirring “Holy trance-like, and when the large orchestral left off the Prokofiev section of Horner’s

JANUARY/FEBRUARY 2005 12 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 13 JANUARY/FEBRUARY 2005 Glory theme, but still... (We realize, by the forced to. In fact, ’s insistence on sound effects and music into a competi- time any of you read this, not only will the a literal facsimile of this theme is likely tion, everyone loses. But we’ll let Steven nominations have been announced, but the the reason left the project to Spielberg settle this little dispute with his awards will have been handed out.) begin with. Quibbles aside, Shearmur and comment about another film that both Giacchino are at the very least both liter- Burtt and Williams worked on: “John The Gifted Beast Award ate and it’ll be exciting to see Williams is E.T.” goes to... what the future holds for them. The fans love ’em, and that’s healthy, especially in these dark times. Best Film Music Release of 2004 goes to...VARÈSE SARABANDE The Return of the King Award goes to...HOWARD SHORE arèse Sarabande’s Jerry Goldsmith at V20th Century Fox box set is the obvi- e’re happy to give out yet another ous winner. It has three CDs of unre- Waward for Howard Shore’s work leased material, and is worth owning for on Lord of the Rings, this one for his work Damnation Alley alone (even without three on the extended ROTK DVD. One of our or four of the film’s best cues). favorite new cues is Liv Tyler’s “Arwen’s Song,” tracked over the hypnotic Houses of Healing sequence. But we also love The Brandon F. Moore Award ternal Sunshine of the Spotless Mind is a the Sissel-performed music that may goes to...MICHAEL SMALL Efine film, the first have been actually written for the scene. movie to use his absurdist genius to build As usual, Shore includes this and other his year’s Moore is awarded posthu- to something truly moving and resonant. freshly written pieces in the extended end Tmously to Michael Small for his 1978 Jon Brion has carved a niche for himself title scroll, proving that his dedication to score to Comes a Horseman. If you can’t on quirky character-driven movies. At his this project knows no bounds. stand to sit through the eerily dry film, worst he’s unbearable (Magnolia) and at Words cannot describe how The Lord hit the fast forward button and check out his best, he’s at least trying to do things of the Rings, and especially its music, has at any scenes involving Jason Robards or his own way. His Sunshine score glows enriched our lives over the past four years. cattle-roping ... you’re sure to find some with nostalgia, and it’s outlandish and And its not over yet...bring on the box set Small gems. The end of the film features daring even when it doesn’t work, as in with Doug’s book! a particularly staggering cue that brings the needlessly cartoonish cue where Jim Robards’ plaintive, “Taps”-like theme to Carrey and first meet…for the fore in bold brass. the second time. We were pissed off at The “Pray I Don’t one of Brion’s comments in a recent FSM Alter It Further” Award interview (something to the effect of the goes to...BEN BURTT being dead in film music), but we’ll let him live for now because he id you know that in the nearly six appreciates John Williams. Dhours of commentary on the Star Wars DVDs, John Williams is mentioned by name, oh, approximately once? Fear The Two Promising Men not. Sound designer and film editor Ben Award Burtt is a major voice on the commentary goes to... and track, and he ensures us that his sound MICHAEL GIACCHINO effects are just as important as the music when it comes to shaping emotion. Thank dward Shearmur and Michael you for that reminder, Ben. We’re sorry we EGiacchino did standout work on their can’t go to Tower Records and buy a CD Nice Knowing You! pastiche scores for Sky Captain and the World of Darth Vader breathing so we can listen of and The Incredibles, respectively. to it while we eat dinner. hat’s it for 2004. The new year brings Sure, neither score is perfect. Sky Captain’s Do you think Ben Burtt hates John Tus Howard Shore’s King Kong and a got a bunch of fun themes, but whenever Williams? One certainly gets that impres- bunch of potentially great Danny Elfman Shearmur abandons them in the action sion, first seeing how the scores for projects, including his first concert work. writing, the score becomes dense and Episodes One and Two were hacked to There are also three John Williams scores, aimless. The Incredibles is a heartfelt ode to ribbons, and now hearing his dismissive one of which is his final Star Wars. We hope a time in films when wasn’t used as comments on the DVDs. Well, if he is he remembers to use the Rebel Fanfare in a punchline. We only wish that Giacchino indeed jealous, he needn’t be. Ben Burtt this one. hadn’t strayed so close to Barry’s OHMSS is a genius and as such should know that The way of the future. The way of the for his main theme, but he was probably when you turn the relationship between future. The way of the future. 

JANUARY/FEBRUARY 2005 14 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 15 JANUARY/FEBRUARY 2005 FSM’S ANNUAL BEST & WORST AWARDS The HITS ...and Misses

FSM’s Editor-at-Large Takes Aim. • By Jeff Bond

old-fashioned space war movie score. Yes, the theme (accidentally, apparently) hear- kens too closely to Hans Zimmer’s Backdraft, but it’s still rousing and there are lots of other great moments, including a stirring climactic section. The movie itself is misbegotten but actually plays better on the big screen where some subtleties of performance and script- ing read more clearly.

Best Rejected Score TROY ()

id it work with the movie? Well, since Dthe distribution of a CD of the score by Yared’s representation has made this one Best Score for the Worst Film music, but his presence is more than felt in of the most available “unavailable scores” VAN HELSING, (Alan Silvestri) the film’s exciting flying sequences. Shore’s in recent memory, everyone can synch big, dynamic theme for these scenes has the it up to the Troy DVD and take a good ow anyone could have made musi- kind of scale, power and urgency you might guess. Regardless of how apropos it was, cal sense out of this big green expect to hear from a King Kong score…con- I’m awfully glad Yared wrote it because it Hheadache of a movie is beyond me, veniently enough. makes for a magnificent listen on its own in but Silvestri managed it with a score that the grand old Hollywood (or even Italian) was muscular, bombastic and yet somehow sword-and-sandal manner. graceful and fun. It’s almost enough to make Best John Ford me look forward to Stephen Sommers’ Flash Western Score of 2004 Gordon. Almost. STARSHIP TROOPERS 2: Best James Horner Score HERO OF THE FEDERATION in Spite of Itself (John Morgan and William Stromberg) TROY (James Horner) Best Warm-Up for King Kong THE AVIATOR (Howard Shore) hile I wish the Moscow Symphony es, it’s even more derivative than most Wperformance was better and the YHorner efforts and having hore shared the spotlight with the usual indexing of longer cues makes it a bear to belt out a pop song to the tune of Fantasia Sassortment of Martin Scorsese source play on my iPod, I really enjoyed this wildly on a Theme by Thomas Tallis is a new low, but

JANUARY/FEBRUARY 2005 14 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 15 JANUARY/FEBRUARY 2005 the inherent cheesiness of this genre still people make it out to be; The Incredibles score inspired a rousing and highly enjoyable is quite a vibrant, varied work that hits all throwback to Horner’s good old days, with the right beats. a grand theme for Troy itself, exciting battle music and a heroic theme for Brad Pitt’s Achilles that bears a lot of repetition (so to Worst News for Film Music speak). But enough with the “wailing female The deaths of JERRY GOLDSMITH vocal” already. and ELMER BERNSTEIN

hese two titans of the art form clearly Thad plenty more great music in them Nicole Kidman and a deliciously creepy that will now never be heard. This is no Anne Heche. Desplat’s score is a knockout dismissal of the passings of men like David from its elegant, ethereal opening for flutes Raksin (whose career practically stretched to its repeating patterns and unnerving to the beginning of movie music itself), low-end hum—the composer Michel Colombier or any of the other deftly scores against the movie and weaves important film composers who passed away quite a spell. in 2004. But the tragedy of Goldsmith and Bernstein’s deaths is that both men clearly had a wealth of music left in them, both Best Mark Mothersbaugh Score were in demand by major filmmakers and THE LIFE AQUATIC WITH STEVE ZISSOU Best Throwbacks both seemed to be finding renewed inspira- (Mark Mothersbaugh) SKY CAPTAIN AND THE WORLD OF tion and energy in their final works. They TOMORROW (Ed Shearmur) were standard-bearers for their generation es Anderson’s third movie did not THE INCREDIBLES (Michael Giacchino) and their craft, and they leave a void that Wpay the comic dividends of Rushmore will be impossible to fill. but I did enjoy Mark Mothersbaugh’s emo to Hollywood: There’s a built- quirky, deliberately low-tech score—a cross Min, guaranteed audience for retro, between Bach, Tomita and Charlie Brown. ’30s-style comic book adventure movies Weird in a Good Way Award like The Rocketeer, The Phantom and Sky Captain ETERNAL SUNSHINE and the World of Tomorrow. Unfortunately, OF THE SPOTLESS MIND (Jon Brion) Best Harry Potter Score this built-in audience is limited strictly to HARRY POTTER AND THE yours truly, which explains why these mov- redit Brion with a determination to do PRISONER OF AZKABAN (John Williams) ies never make any money. I saw Kerry Csomething unusual with every film he Conran’s Sky Captain for the second time at scores. Eternal Sunshine is a little masterpiece can really only deal with one giant fran- the great art deco Mann’s Chinese theater on its own; it’s both an unusually honest Ichise involving wizards per decade, so I’ve in Hollywood and literally felt transported look at romance and a great riff on a sci-fi only sat through the first Harry Potter film, back to some alternate existence as an concept. Brion’s weird score fits the movie but it’s hard to ignore the sophistication excited kid in 1939. There’s something like a glove—except early on, where his and energy bursting out of Williams’ third ingenious about the approach to this film deliberately annoying approach to an early score in the series. With the deaths of Jerry as a kind of lost, never-made classic like conversation between and Kate Goldsmith and Elmer Bernstein, Williams is Willis O’Brien’s dream project, War Eagle. Ed Winslet eventually keys the viewer into the really our last old-school giant left work- Shearmur’s score shouldn’t have been that fact that everything is not what it seems. ing—can we really be getting Star Wars III, big a revelation—some of the action cues in War of the Worlds and Memoirs of a Geisha in the previous year’s Johnny English were as 2005? Treasure every note… elaborate—but there’s been nothing like it Weird in a Good Way Award, since Williams’ last Indiana Jones scores, and Part Two it perfectly captures the film’s pulpy, awe- BIRTH (Alexandre Desplat) Best M. Night Shyamalan score struck mood. THE VILLAGE (James Newton Howard) Michael Giacchino’s score for The Incredibles lexandre Desplat’s Girl With a Pearl harkens back to the era I actually grew up AEarring was one of the best original oward’s efforts for Shyamalan continue in, the ’60s, with its crazed mix of Mancini, scores released last year, and the offbeat Hto be top-notch even if the movies John Barry’s On Her Majesty’s Secret Service, and film Birth shows Desplat fulfilling his prom- themselves can’t quite bear their constant Hoyt Curtin (the film’s first shot of a jet ise (to American ears at least, this guy is a comparisons to . The Village flown by Elastigirl en route to rescuing her newcomer). The movie covers some of the score is less spectacular than Howard’s Signs husband is straight out of the title sequence same emotional territory as the unbearable but fitting for The Village’s faux-rustic locale, of Jonny Quest). Giacchino has been pilloried Godsend (even using the same impassively and its wheeling Hilary Hahn violin solos for the obvious OHMSS homage, but it was odd child actor), but unlike that mess, Birth and elegiac tone made it far friendlier fare clearly demanded by the filmmakers and knows what it’s trying to do and features for listeners than the aggressive fear music is hardly the cornerstone of the score that some terrific performances, especially from of Signs. Happily for Howard this year, that

JANUARY/FEBRUARY 2005 16 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 17 JANUARY/FEBRUARY 2005 combination spelled Oscar nomination! I’m Most Annoying Television Music a chair in order to get me to listen to it more Bill Tush, and we’ll talk later! BOSTON LEGAL (Danny Lux) than once. Happily, a few 2004 CDs were capable of doing just that and I have the don’t watch a lot of series television, but rope burns to prove it. They included The Best Scoring Job Igive me a show with William Shatner Incredibles, Sky Captain and the World of Tomorrow, by a Film Director and James Spader as regulars and I’m pretty Birth, The Village, Harry Potter and the Prisoner of THE SEA INSIDE (Alejandro Amenabar) much obligated to view it, even if I have to Azkaban, The Aviator, Team America: World Police, enter the often intensely irritating universe Timeline (Goldsmith), The Great Train Robbery lint Eastwood notwithstanding, Spanish of David E. Kelley to do so. Boston Legal is Deluxe Edition, the Jerry Goldsmith at 20th Cdirector Alejandro Amenabar continues less annoying than Ally McBeal, but apart Century Fox boxed set (and “Into the Valley” to apply sophisticated orchestral scoring from its slip ’n’ slide jerky camerawork, the from Damnation Alley rates as my favor- to his own films (after he’s done writ- most cringe-inducing feature is the incred- ite music cue of the year), The Great Escape ing, directing and editing them), showing ibly intrusive, nudging / music Deluxe Edition, Intrada’s Bandolero!, Aleph’s respect for the discipline of film scoring underscore, which has some B.B. King imi- Dirty Harry, and the unexpected first-time as well as other filmmaking skills. And he tator scatting all over the place just to let release of ’s Futureworld. shows amazing restraint by giving over the us know we’re watching totally outrageous, When critics moan about all the fantas- film’s big, imaginary escapist flight scene cutting-edge characters at work. I guess tic movies that were made during the ’70s to a piece of opera music when any film this is an attempt to give some street cred they tend to leave out films like Futureworld, composer would have given his eye teeth to one of the whitest casts on television. In but Karlin’s music is terrific, sort of a cross to score the sequence. one early episode Spader gave a dry punch- between the melodic flavor of John Williams line that ended with the word “double,” at and the sci-fi sensibility of Jerry Goldsmith. which point the scatster vamps it up by And I’d be remiss if I didn’t mention cooing “Ooooh! Dubble dubble!” on the the FSM discs I particularly enjoyed this soundtrack. If this is supposed to represent year—the oddball Logan’s Run TV album television’s evolution beyond the laugh (well worth it for the way Bruce Broughton track, I’ll take the laugh track back, please. captures the feel of Goldsmith’s movie score), the epic Mutiny on the Bounty, ’s stunning The Shoes of the Fisherman, CDs Jeff Bond Played ’ revelatory Big Wednesday More Than Once in 2004 and Barry’s Born Free—one of the original soundtrack albums I grew up listening to on ey, that’s no joke—after seven years of LP. And I’m happy to say that we’re working Catchiest Danny Elfman tune Hlistening to film music as a job, a CD on a few more of my old favorites for 2005. The DESPERATE HOUSEWIVES theme has to virtually knock me out and tie me to So buy more and increase production! 

few critics slammed this effort as being Atoo similar to his other television tunes, More Staff Picks from 2004 but with Elfman streamlining his style lately the classic Elfman sound is being produced MY 12 MOST-PLAYED CDs more by Elfman imitators than by the man (in order of release) himself. Desperate Housewives is also one of the Paycheck • JOHN POWELL few remaining shows to boast an actual title The Great Escape (Deluxe Edition) sequence with music, and while it doesn’t ELMER BERNSTEIN 10 BEST SCORES quite reach its developmental potential, Big Wednesday • Basil Poledouris (in alphabetical order) Elfman’s winsome, catchy title tune is one Starship Troopers 2: The Aviator • HOWARD SHORE thing I look forward to every week. Hero of the Federation WILLIAM STROMBERG Birth • ALEXANDRE DESPLAT & JOHN MORGAN Enduring Love • JEREMY SAMS Best TV Underscore Jerry Goldsmith at 20th Century Fox Hidalgo • JAMES NEWTON HOWARD The Incredibles • MICHAEL GIACCHINO LOST (Michael Giacchino) The Punisher • CARLO SILIOTTO The Man From U.N.C.L.E. Volume 3 Harry Potter and the Prisoner of Azkaban JOHN WILLIAMS ny time I hear musical instruments JERRY GOLDSMITH, ET. AL Lemony Snicket’s A Series of Unfortunate being played with some expressiveness Hero • A Events • THOMAS NEWMAN I sit up and take notice, and Giacchino’s Birth • ALEXANDRE DESPLAT Sky Captain and the World of Tomorrow scraping strings and percussive effects add Lawman • EDWARD SHEARMUR an important atmosphere of mystery and Jungle Book • MIKLÓS RÓZSA The Terminal • JOHN WILLIAMS uncertainty to the gorgeously produced The Subterraneans • The Village • JAMES NEWTON HOWARD series Lost. His scoring of a dumbfounding —Joe Sikoryak —Scott Bettencourt revelation involving Kerry O’Quinn’s char- acter early in the series was masterful.

JANUARY/FEBRUARY 2005 16 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 17 JANUARY/FEBRUARY 2005 FSM’S ANNUAL BEST & WORST AWARDS Arbitrary 2004 Musings

A Little of This, a Little of That. • By John Takis

of them, and both Elmer Bernstein and Jeff Alexander provide fine underscores. Not FSM’s most glamorous release this year, but sure to be among my most-played.

RUNNER-UP: MUTINY ON THE BOUNTY Because … well, duh!

Best John Williams Score HARRY POTTER AND THE PRISONER OF AZKABAN he DVD has only increased my appre- Tciation for this marvelous fantasy score…and heightened my frustration with the album for omitting original music in Best Expanded Reissue ous about the Captain Nemo and the Underwater favor of repeated cues. MARY POPPINS (Sherman Bros.) City suite. lot of competition in this category, but AI’m a sucker for good musicals, and this RUNNER-UP: ALEXANDER NEVSKY (Film Worst John Williams Score is one of the best. The expanded version is Score Reconstruction) (Prokofiev, cond. Strobel) THE TERMINAL long overdue, and simply beautiful. Dying to hear this, a CD that promises to feel the opposite with this score, which be substantially different from the Brohn Iseems way too long on CD. Not Williams’ RUNNER-UP: Too many to list … but I’ll reconstruction; released on Capriccio. best effort, but hardly bad. It’s listed as choose BANDOLERO! (Goldsmith) because “worst” rather than “runner-up” because I of “Maria’s Theme.” don’t feel there’s any competition with POA. Favorite FSM CD I was ready to have bet that this one would SADDLE THE WIND have gotten the obligatory Oscar nomina- Best CD I Didn’t Get But Want (Elmer Bernstein/Jeff Alexander) tion—and I would have lost. THE FILM AND TELEVISION MUSIC OF guarantee you this CD isn’t going to be Ion anyone else’s list, especially not in Best Released Unused Score atership Down is one of my all-time this category. But every once in a while a TIMELINE (Jerry Goldsmith) Wfavorite scores, and I have nothing melody just grabs me and won’t let go. Jay he last score Jerry Goldsmith finished… else by this composer. I’m especially curi- Livingston and Ray Evans’ title theme is one Tand what a finish! Muscular, roman-

JANUARY/FEBRUARY 2005 18 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 19 JANUARY/FEBRUARY 2005 tic and exciting as hell. As if we needed another reason to miss the Maestro. Coulda Been a COVER! Best Unreleased Unused Score Graphic Gripes • By Joe Sikoryak TROY (Gabriel Yared) t’s a shame this was ditched in favor of I DON’T COLLECT SOUNDTRACKS (MUCH LESS DESIGN THEM FOR A LIVING) JUST BECAUSE OF THE empty Horner calories, but if there’s a I music—those jewel-cased, shiny little discs are talismen, keepsakes, souveneirs of movies that I’ve backlash against Yared for daring to pro- enjoyed. A soundtrack CD is my favorite way to relive a good film experience anywhere, anytime. So I mote it anyway, that will be an even bigger get a little disappointed when the packaging—especially the cover—doesn’t live up to my memory of shame. the film. Here’s a handful of releases from 2004 that I’d have handled differently if I had the chance:

FLIPPED OUT: Prometheus Worst Overall Soundtrack Records still holds the title for Release of 2004 the weakest art direction on THE PHANTOM OF THE OPERA a strong label. In the cases of () Amerika and The Unsaid, the fix ialogue and sound effects? Check. is easy—turn the booklets over! In the case of , the Lame, unnecessary new song? Check. D front cover is still better than a Unfortunately overexposed themes that I poke in the eye with an ice pick got tired of years ago? Check. (or the back cover, pictured).

RUNNER-UP: TROY (Horner) Speaking of overexposed themes that I got tired of years ago…

Special Achievement Award HOWARD SHORE: CREATING THE LORD OF THE RINGS SYMPHONY DVD he interspersed commentary is mostly Told news to rabid Shore/LOTR devotees, but it’s a wonderful introduction for the casual film fan…and we can all enjoy the TALK ABOUT COVERING YOUR gorgeous concert footage and production ASSETS: The Incredibles was one of the best-looking films of artwork. Props to New Line for prominently the year, not to mention having featuring this DVD in the Return of the King: generated enough concept art Extended Edition gift set. to fill a coffee-table book (The Art of the Incredibles). So what happened to the CD package? Best Soundtrack Release of 2004 Even flipping the jacket around JERRY GOLDSMITH doesn’t do the film justice. AT 20TH CENTURY FOX here’s not much to say about this Tmassive, essential box set that hasn’t UTTERLY MYSTIFYING: Sky already been said. The music speaks for Captain may have been an itself. Admit it…if you don’t own this, you exquisite corpse of a film, but Paramount’s marketeers didn’t wish you did! need to bury a beautiful film with this ugly headstone. The And finally… alternate poster design, albeit derivative, would’ve landed Coolest FSM Guy I Met This Year some butts in the seats; I cer- KAPLAN tainly wish it graced the CD.

RUNNER-UP: The other KAPLAN IT’S A CRIME: The new anti-piracy warning, introduced this year by the FBI and adopted by the RIAA (for use on NO, SERIOUSLY: CDs) and by the MPAA (for use on DVDs), simply SUCKS. he real winner is Doug Adams, It takes up too much valuable real estate on music Tbecause I bet he’s got Howard Shore packages, solves no problems and is just plain ugly.  on his speed-dial. 

JANUARY/FEBRUARY 2005 18 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 19 JANUARY/FEBRUARY 2005 FSM’S ANNUAL BEST & WORST AWARDS The BEST of the Year

FSM’s resident musicologist keeps it positive. • By Doug Adams

more serious-minded, relative in Williams’ own Sinfonietta for Wind Ensemble—just listen to that busy bass line.

James Newton Howard THE VILLAGE

What: James Newton Howard already hates , so if I refer to this as two-thirds of the second-best score he’s ever written, I won’t worry too much that he’ll read that the wrong way. It may lack the focus and dramatic severity of Signs, and perhaps that percussion- driven monster music fails to balance the ingenuity of the rest of the work, but that doesn’t make The Village anything less than a gorgeous collection of reluctant adagios pologies to Mr. Dickens, but is coy bit of Modern playfulness. Williams, and obligatos playing up the mystery of anyone going to refrain from like director Cuarón, proved unafraid to love as much as the bumps in the night. Aparaphrasing the Two Cities opening shade Harry’s wondrous world with more Why: Howard’s work with M. Night this year? This past year was fraught with adult hues, strengthening and broadening Shyamalan has now officially provided the tragedy, but at least provided the solace of the sense of setting that is so important to composer with a musical calling card all his several outstanding new film scores, invit- the Potter pics. Why: This is the first Potter own—a fully realized adult voice that ducks ing us not to dwell too long on our losses. score to completely differentiate between the impersonal commercialism that often So with a glass-half-full mindset, here are plot and setting. The previous two were haunted earlier works. FYI: Mr. Howard, my favorite scores of 2004 (in no particular thorough candy stores of musical gestures, I meant that two-thirds/second-best thing order). but Azkaban placed the acts of sorcery as a compliment! in a heavier and sadder air. For the first time in the series, the combination of old- John Williams HARRY POTTER AND Danny Elfman SPIDER- MAN 2 world rigidity and new-age magic made THE PRISONER OF AZKABAN us feel that Hogwarts could really have What: In this, only the fourth sequel score What: Williams’ third foray into the been around the corner…and was all the of Elfman’s career, the moody maestro of wizardly realm of Harry Potter proved more amazing for it. FYI: Williams’ wacky the macabre got the short end of the stick in to be a rich combination of Medieval Knight Bus music with its twangy steel the editing room, seeing a mighty handful placidity, Romantic latitude and even a drum and shrieking whistles has a close, if of cues either rewritten or rescored (by

JANUARY/FEBRUARY 2005 20 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 21 JANUARY/FEBRUARY 2005 John Debney, Chris Young and Joe LoDuca), you’ve got to love any year where this is and yet his work still managed to shine. the second-best Williams score. The Terminal Even the listeners who waged a bizarre may have lacked the structural concord of battle again the first score, ardently (and the composer’s finest works, and maybe inaccurately) labeling it as themeless, were the 7/8 spin drift felt a bit forced, but how forced to admit that Elfman was clearly can anyone resist that love theme? FYI: having fun with his material in this score, The Terminal featured the first of Summer winding and weaving it into innumerable 2004’s two Wagnerian quotes, although melodic and harmonic variations with the Williams’ Lohengrien interpolation lacked sly grace that only he can muster. Why: the audacious hilarity of Elfman’s—where Because it’s a tighter, more exciting and he actually ran the Spider-Man theme more mature effort than the original Spider- contrapuntally headlong through the Man, and because the album is packed Wedding March! with memorable moments and plays like a dream. FYI: Elfman’s new Doctor Octopus circle back into themselves. FYI: In this Michael Giacchino theme is almost identical to Skinner’s collaboration, Scorsese may have finally S THE INCREDIBLE Frankenstein theme from Abbott and Costello found a way to work with film composers Meet Frankenstein. without surrendering his stylistic What: Did any film in 2004 pack more idiosyncrasies: commission a composer to fun into theaters than The Incredibles? And write an original concert work on a subject say what you will about Giacchino’s retro Alexandre Desplat BIRTH then rework it for the film. Sure, Howard Barry-esque (uh, very Barry-esque) stylings, What: This one flew under too many Shore may be the only composer with the but did any film this year benefit more listeners’ radar, thanks to the fact that dedication to see this process through, but from its score? Giacchino reached out the film was little-seen and controversial, is that a bad thing? from an orchestral vantage point to pull but everyone who caught it noted the in all manner of and lounge score–a tightly wound mini-masterpiece influences, providing Brad Bird’s second John Williams THE TERMINAL of atmosphere and monothematic film with a manically sincere score. Why: development. Why: Desplat converts What: Many viewers felt Spielberg’s The music is just goofy enough that it his material into everything from Glass- film returned the director to the maudlin invites us to care for the Incredible family ish minimalist flutes to primordial world of Always, others felt that it was a without ever blatantly demanding we do , near-subliminal electronics and heartwarming ode to human frailties… so. It constantly plays to character above ballroom-worthy Viennese waltzes. And and others read the first half of this situation, allowing danger, excitement and yet it continually evokes a sense of magical sentence and grumbled, “Hey, I like tenderness to exist as applied contexts. In mourning, never becoming a posturing Always!” But like, love or loathe it, The that way, it’s perhaps the deepest lounge showcase. Desplat hasn’t yet been Terminal is one of those films that begs music ever written. FYI: Mr. Giacchino, established as a fixture of the American for a score, yet threatens to evade any you’ve got chops to spare. Acknowledging cinema, but here’s hoping he’ll cart his summarizing musical assessment. Williams Barry’s influence in the press would only unique style stateside whenever possible. could have tossed a slow ball down have drawn more fans to you without FYI: Birth’s score is almost entirely the middle and simply aped the story’s tarnishing your obvious talents. composed in the key of D, a uniquely third-act obsession with jazz masters, but subtle unifying device that only adds to the composer wisely recognized this as a Edward Shearmur SKY CAPTAIN the thematic cohesion. plot machination. Instead, he responded AND THE WORLD OF TOMORROW with a breezy bit of Slavic buoyancy and a touch of elegant charm. Why: Because What: Ed Shearmur’s big bold Sky Captain Howard Shore THE AVIATOR officially announced that its author was What: Scorsese again indulges his ready to strut his orchestral stuff. Though urge to use music as a non-redundant Williams’ original Star Wars work is counterpoint to drama, but this time with perennially referenced as a throwback to an original score by Shore. It’s a collection Hollywood’s Golden Age, it always bore the of neo-fugal counterpoint, orchestrated stamp of progressive jazz harmonies. so cleanly that it would make Webern’s Shearmur’s Romanticism hit far closer take on Bach’s Musical Offering check to the frothy days of early Hollywood, itself in the mirror. Why: Shore’s score as did the film. Why: Nothing’s more bears the indelible imprint of its subject, satisfying than discovering a relatively churning and spinning like Hughes’ mind, new composer writing orchestral music yet occasionally sticking and falling out that actually sounds like orchestral music. of harmonic synch. Touches of jazz and Shearmur commands his forces skillfully Spanish flavoring remind us just when and admirably. And the fact that we and where we are, yet even these bits actually get a couple of clever themes out lock into uneasily obsessive patterns that of the mix only sweetens the deal. FYI:

JANUARY/FEBRUARY 2005 20 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 21 JANUARY/FEBRUARY 2005 Shearmur’s dedication of the Sky Captain So was it really a film score? Sure, in the third mission. FYI: At a time when too album to was one of same sense that Prokofiev’s many composers are trying to adopt a faux film music’s classiest acts in 2004—topped is still ballet music when it’s performed Media Ventures sound (portions of Debney’s only by the lovely animated credit in First in the symphony hall. I don’t know how Passion score, for example) it’s great to hear Daughter (one of Kamen’s final scores…Hey, Troy worked in the film…but to be honest, a true MV vet leaving his past behind and I saw it on a plane, okay?) Touching and I’ve never seen a staged version of Romeo stretching out. thoughtful. and yet have no problem adoring the music. Troy was composed dramatically to Michael Danna VANITY FAIR Howard Shore film with a fistful of standout interlocking Phillip Glass themes and a scope and saliency that the THE LORD OF THE RINGS: THE RETURN Marco Beltrami HELLBOY gifted composer had heretofore hinted at, OF THE KING: EXTENDED EDITION but never set on display. Despite its lack of What: Like Powell’s , these fall into What: It was a score written and recorded a filmic counterpart, it’s a great film score. an Also-Ran category, and in a lesser year in 2004 for a film released in 2003 that was Why: Because Troy may be filmdom’s finest might have established a greater impact. largely shot in 1999 and 2000. And it put rejected score. FYI: I’m going to selfishly But, hey, that’s not a bad problem to have. the cap on one of the genuine film music avoid taking a stance on the semantics of Danna’s Vanity Fair contains some lovely

phenomena of our time, dropping the the situation, but I’m incredibly glad, from a examples of the composer’s effortless curtain with the same class, dedication and musical standpoint, that Yared allowed the lyricism, but too often it feels as if the score artistry with which it was raised. Why: world to hear some of his score. But will he is comporting itself politely within another’s Shore’s 12-hour Lord of the Rings score is a ever work for Warner Bros. again? skin. No claims of plagiarism here, Danna’s masterwork of thematic development and following the styles dictated by the film, but interaction, and now finally we can see all I’d rather he’d been allowed to establish John Powell THE BOURNE SUPREMACY the pieces in place. The finale of the Isengard a more connective tissue. Glass’ Secret music, the more nuanced encroachment of What: Powell’s first Bourne score frustrated Window tore the composer away from his the Evil of the Ring/Mordor themes, the me with what I felt was a far too techno- trademarked throbbing dominant seventh gradual introduction of the new Fourth Age driven score for the story. But as I lived with chords and slipped him into a creaky melodies—this is film score architecture at the film on DVD, I came to realize that this chromatic world of reimagined horror tropes. its best. FYI: No, you still haven’t heard was no Ronin; No would propel this Unfortunately, ’s more obvious everything! Shore wrote a handful of pieces protagonist expat across Europe. It needed contributions seemed ill complements to that never made it into either the films or the electric sharpness that originally turned Glass’ twists, and so the score came off the original soundtrack albums—such as me off, and Powell’s themes weren’t bad at unevenly in the film. And I didn’t love a contrapuntal treatment of all three Ring all–slick and chipper and just cool enough the themes in Beltrami’s Hellboy, but I did themes that played as Frodo stands above to encourage us to root for Damon’s enjoy the as thematically the fires of Mount Doom. Look for the character while seeing him human and applied. Beltrami’s scores sometimes come eventual boxed set to include several such fallible. Why: Part two solidifies everything off as brilliant in search of rarities. that was appealing in part one while stronger material. Here, the composer may affording us the fun of hearing the themes not have penned the most groundbreaking re-examined. It’s not a great work. There’s motifs, but they were dressed fantastically. Gabriel Yared TROY still too much drum and bass filler, and The baritone guitar in the main titles What: Yared’s finest work to date, besting the first reel sequence with Bourne and his stood out especially. I wish I could even his Talented Mr. Ripley score, which has ladylove living anonymously in paradise muster more enthusiasm for the overall been aging particularly well over the years. momentarily lapses into an athematic work, but between this and I, Robot, I’m Unlike Ripley, however, not a note of this pan-ethnic garble of percussion, but the hoping Beltrami keeps digging into tonal score ever saw the light of the projector. bright spots make me anxious to hear a grounds to see what he can find. FSM

JANUARY/FEBRUARY 2005 22 FILM SCORE MAGAZINE SILVER AGE CLASSICS • FSMCD VOL. 8, NO.1 • RELEASED BY SPECIAL WITH MUSIC Composed and conducted by Dimitri Tiomkin

FSM BEGINS ITS EIGHTH YEAR OF CLASSIC SOUNDTRACK albums with one of the most famous scores of all time: Dimtri Tiomkin’s The Thing From Another World (1951), which astoundingly has never been released in its original soundtrack form.

THE THING FROM ANOTHER WORLD WAS PRODUCED by and bears his trademark creative stamp: a small group of researchers and military men recover a crashed flying saucer in the Arctic, out of which comes the Thing, an unstoppable bent on world domination. The film practically invented the archetypes of the genre: the unreasoning alien force that must be destroyed; the scientist who lets curiosity get in the way of action; the confined-space setting; and the fate of mankind resting on the shoulders of a few.

SCORING THE THING FROM ANOTHER WORLD WAS Dimitri Tiomkin, one of cinema’s most famous composers, who nonetheless was known for his popular melodies rather than an aptitude at science fiction. Tiomkin’s roaring, bellicose score for The Thing (26:50) featured unusual instrumentation—particularly the electronic theremin—that terrified audiences along with the film’s titular villain. The score became the blueprint for the ‘50s “monster” movie genre, although Tiomkin never The Thing From Another World 17. Platoon Breakup 2:35 attempted another one like it. 18. Julie 2:02 1. Main Title 1:48 19. Julie Faints 1:08 2. Flying Saucer Sequence, Part 1 2:14 20. Obstacle Montage/ MASTER TAPES TO THE 3. Flying Saucer Sequence, 5:47 Gas Chamber/Platoon Drill 2:48 Thing are long lost, but the 4. Melting Sequence 1:40 21. Letters From Home 2:32 5. Dog Fight 1:49 22. Julie’s Theme 2:23 complete score survived on 6. The Hand 0:50 23. Julie’s Distress/Holt Comes monaural acetate transfer disks 7. Greenhouse Sequence 1:10 Home/Naglaski and Chaplain 2:43 in Tiomkin’s personal collection, 8. The Thing at Door 0:40 24. Infiltration Course/Mock Battle 3:36 9. Plasma #1 2:26 25. Julie (Sung by Bill Lee) 2:53 and that source has been used 10. Plasma Plants #2 1:06 26. William Tell Tolliver 1:13 for this premiere CD. Some surface noise is present, but the 11. Fire Sequence 2:04 27. Lighted Love 3:17 12. Electrocution Sequence 4:11 28. Let Me Alone 0:55 sound is superior to our earlier release from acetates of On 13. End Title 0:35 29. Dover AWOL/Dover Returns 2:38 Dangerous Ground (1952). Two cues are even in rudimentary Total Time: 26:50 30. Goodbye Julie/Buddies Again 2:32 stereo, owing to the use of separate overlays. 31. Dress Parade/ America’s Fighting Men 1:22 Take the High Ground! 32. Ryan Takes Over 2:02 THIS CD IS FILLED OUT WITH TIOMKIN’S 1953 SCORE Song: “Take the High Ground!” Music by Dimitri Tiomkin, 33. End Title 0:49 Lyrics by 34. Julie’s Theme (Key Club version) 1:32 to Take the High Ground!, a military-training film from M-G-M Song: “Julie” Music by Dimitri Tiomkin, 35. Take the High Ground! starring Richard Widmark and Karl Malden (running 51:47). Lyrics by Charles Wolcott (cond. ) 3:08 36. (alternate) 2:24 Tiomkin’s score is much more traditional than The Thing and Julie’s Theme 14. Lion Head/Prologue/ Total Time: 51:47 features a rousing military march as a title song, as well as a Main Title/Foreword 3:19 Total Disc Time: 78:42 love song (“Julie”). Take the High Ground! is presented largely 15. Holt’s Opening Address 0:57 16. Footlockers/Mattresses/ in stereo, although the masters are a generation removed from Sinking Teeth Bridge/ typical releases of M-G-M films of this era. $19.95 First Day Recap 2:04 Album produced by Lukas Kendall

Thanks to the International Film Music Critics Association for voting FSM “Soundtrack Label of the Year” in 2004!

JANUARY/FEBRUARY 2005 22 FILM SCORE MAGAZINE he year was 1967, my senior year of college. giant. Other members of his profession would call out his technique as “mickey- I needed one more course in Humanities to mousing,” (reference to the music heard in animated cartoons) but producers, complete my requirement for my Bachelors directors and stars knew that his scores would make a good film better, and a Degree and I wanted one that would have great film superb. But who cared about the criticism! Not me! I had something to do with my intended future to find this guy. And if I did, would he let me interview him? Me, as a film producer/director. So I saw that the this little pisher from the Theater Department at UCLA? I wanted Music Department was offering “Background to hear from his own lips how he wrote the score to the greatest Music for Motion Pictures.” Wow! This was ideal, since the Theater movie of all time! Selznick’s Gone With the Wind was 221 minutes TDepartment (film and television majors at UCLA in those days long and over 90 percent of it had music. were all in the Theater Department) did not offer a course in film How could I find him? I picked up the phone book and to music. my amazement found Max Steiner listed in Beverly Hills. While We listened to many musical scores and discussed such things standing in a pay phone booth on campus I gained the courage as “leitmotif” and “underscoring to dial the number, and when a of dramatic action,” and we were voice answered I asked to speak required to do bibliographic to Mr. Steiner. I waited a few research and write a paper on minutes (but to me it seemed some aspect of background to be an hour) until an accented music for motion pictures. I memories of voice came to the phone saying, thought for a very long time “Hello, this is Mr. Steiner.” I’m about what my subject would a producer. Pitch! And I did be. My favorite movie was Gone and before I could finish the With the Wind. I had seen it seven voice said, “Yes of course, come times. But I hated research! Thursday at 1:00 p.m. Bye!” I was a production person! I There was a click and that was was a soon-to-be director and it. I got it! producer. I did not want to I borrowed a microphone haunt the stacks of the UCLA and tape recorder from school Research Library. Would any (reel-to-reel), and the following books I find provide me with Thursday, with a record album the answers to my curious MAX of the movie score from the An archival interview with questions about the score to campus music library in my Gone With the Wind? Or should I Max Steiner hand, I went five blocks from go to the source—its composer campus and visited with Max Max Steiner? Yes! I would do By Myrl A. Schreibman Steiner. When I walked through exactly that. The Austrian-born the door I was greeted by a film composer Max Steiner was houseman who told me to set certainly a legend in the motion picture industry. up in the music room. While setting up my tape recorder I looked So I delved into Max Steiner’s history in the hopes of finally around the room: A beautiful grand piano in a sunlit corner interviewing him. I marched myself over to the library and seemed to shine in that light. I was sure it was light that was only discovered that he was the grandson of the musical impresario available to the pure geniuses of our world. The room was rich who discovered Strauss and brought Offenbach to Vienna. So I with the life of a Hollywood legend. The shelves of this room were knew he grew up with a rich heritage of opera and symphony. I full of books, musical scores, and photographs with Max Steiner found out that he composed his first musical piece at 14 and was and David Selznick, Max Steiner and Clark Gable, Max Steiner and full at 17. I was impressed. I had to meet this David Fox, etc. Finally the great Max Steiner came into the room. man. He emigrated to America, where he kept busy with Broadway musicals Seventy-nine years old! He was wearing grey slacks and a beige and and to keep himself alive he composed the music to be conducted shirt and immediately said hello. He had a twinkle in his eye and during screenings of the The Bondman (1913). I was getting when he spoke I knew he was part of the Hollywood tradition more excited as my research grew. Could I really interview this that gave us Sam Goldwyn, Louis B. Mayer and Harry Cohn. His guy? He was brought to RKO Radio Studios to orchestrate the film adaptation European Jewish accent and his warmth made me feel right at of Ziegfield’s Rio Rita (1929). Here he developed his theory that music home. I introduced myself and thanked him for this interview. I should be a function of the dramatic content of a film and not turned the tape recorder on and we began. merely background filling. Could I even find this man? This legend of movie scoring? MS: What are you going to do with this? You going to write it His scores for such films as The Informer (1935) and King Kong (1933) up or what? are carefully integrated works that comment upon the visual images, which FSM: Yes. That’s exactly what I am going to do with this. Write it augment the action and heighten the dramatic impact. I was praying that I up into a five-page paper on Gone With the Wind. The score for Gone could eventually find him and come face to face with this legendary With the Wind. I was listening to it again this morning...and ...

JANUARY/FEBRUARY 2005 24 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 25 JANUARY/FEBRUARY 2005 MS: You have more guts than I have. Music with Personality you brought in Tara’s theme. FSM: Why? FSM: When you wrote this score, GWTW, MS: Well Tara’s the whole story. The MS: I can’t stand it. did you write it for the actors, Mr. Gable or whole thing revolves around Tara. She FSM: The music? Ms. Leigh, or did you write the themes for never wanted to leave Tara. It was her MS: No...the film...I don’t like to look at the characters of Rhett and Scarlet? whole life. The very end...she says...I don’t the film. It’s boring. It’s 28 years old. To MS: The characters, naturally. want to worry about it today—it was so me. I don’t like to listen to my old pictures. FSM: Not necessarily by the people long ago I haven’t seen this picture in 20 You know it’s opening here in October, in playing the parts. million years—but she says, “I know what I 70mm screen. The large screen. And I don’t MS: Well, you are influenced by what the am going to do tomorrow...I am going back know what the sound will be like. It’s a new person looks like. What Gable looked like to Tara and everything is going to be all sound. or what Vivien looked like. Or what was the right.” And the ghosts —I don’t FSM: Did they re-record your score? person’s name who played Melanie...Olivia know if you remember this—at the end MS: Well, sure, they did the the ghosts talk to her after he whole picture...but not play it walks out on her...[Gable] says, again. They just took the old film “I don’t give a damn” and walks and blew it up to 70mm. They out...the ghosts or voices talk say it is very good. I didn’t see it. to her. They are not quite ready yet. FSM: So you bring the theme FSM: You say it opens in back in...over and over. October. MS: Well you have to. MS: Here. It opens in April in FSM: Is it Scarlet’s theme? Europe and Japan. They say it Meant to be Scarlet? looks beautiful. They say it looks MS: No it’s Tara. The better than any new picture. plantation. The land. Scarlet FSM: I remember seeing the has her own theme. It doesn’t film in 1961. And I am from Ohio appear very often. Because with and I had gone to the theater the picture there is no reason and it was a very hot day. I sat in to play her...you play Melanie, the last row of the theater. It was or Ashley or Rhett Butler. It’s muggy and everything else but I no occasion. This is how I still loved the film. Of course at see it. You see. GWTW, like all that age I didn’t pay attention to my scores, [is] written like an the musical score or the script opera. You see. Just the same. or anything else as much as the If you listen to Wagner’s Ring acting and the story. you will find the same theme MS: (Sighs) throughout. It goes from one FSM: Now recently since I have been in [de Havilland]. Sure it influenced me. Some end to the other. Except Meistersinger doesn’t this course I have been examining scores of the new composers, I don’t know what have it. But the others...Götterdammerung and a lot more in detail and doing research on they are writing for. They must be thinking Das Rheingold. Any opera is like a symphony. your score and you. I have come across of Boris Karloff all the time. I suppose so. A theme reoccurs in different ways. quite a few interesting things. I read some Terrible. FSM: That’s exactly how you did it. place that it took you three months to write FSM: Even Clark Gable looks like the MS: I did it with every one. Every one the music for the score. Do you remember description of Rhett Butler. of my scores that you hear. If you watch it how long? MS: A very, very nice man. A wonderful carefully you will find it is written the same MS: Three months...maybe four. man. A great friend of mine. [Sighs] [Vivien way. I start out with a basic theme and I—you can’t tell because I did another Leigh] was a darling girl. Well she is. She is then I keep going with it. Of course there picture in between...Intermezzo at the same still around. I don’t know what she is doing, are other tunes, too. time. See. And the Symphonie Moderne I but she is still around. FSM: Did [director] Victor Fleming have wrote...whatever that picture’s name was, FSM: Was it always your intent to use an influence on your score? The Four Wives...something, I don’t remember Tara’s theme to open the movie? It seems MS: No. In fact, Victor Fleming replaced now. It was so long...1938 or ’39. to me that you interwove the basic melody another director, as far as I can remember, FSM: It was before me. Before I was throughout the entire score. but I can’t remember who. born. MS: Why sure, that’s what you are FSM: Well there was . He MS: How old are you? supposed to do. was one director. FSM: 22. FSM: Why? MS: Yes, George was an old friend of MS: Oh how wonderful to be that MS: What do you mean why? mine. young. FSM: Well even in the Civil War passage FSM: Well he started out on the picture.

JANUARY/FEBRUARY 2005 24 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 25 JANUARY/FEBRUARY 2005 MS: Yes that’s right. See you know more place where the German knights advance for you to understand...but what [are] you than me. [laughs] and you hear the same thing...boom going to do. You going to play any old FSM: Actually Victor Fleming replaced boom...boom boom...You think I don’t way...the music going one way and [the someone else on the picture. So he didn’t know, huh? [laughs]. image the other]...it would drive you nuts. have any influence on your music? FSM: Uh, no...[laugh] I know you know. It has to be with the feet. So if you call it FSM: Did you work together? MS: It didn’t fit. It isn’t written the same “mickey mousing” it’s okay with me...it’s MS: No. Nobody works with me. I way. You can’t compare that technique too silly to say that. You have to fit the don’t let anybody ever tell me anything. to what I do. My technique is entirely same thing with anyone who runs...very Nothing! If I did in one or two instances...it different. It is highly specialized and disturbing. was always fatal because they just don’t figured out to the split second. I have cues FSM: This is the same thing that know. People have no feeling they have that are three-second cues...pieces...five- Wagner did in his operas, didn’t he? no...no influence at all. Not even Selznick. second cues, 10-second cues. I mean just to MS: What? FSM: Wagner...he picked a motif for a character or an action and used it. MS: In the opera...there is no click track and you can’t coordinate it. Unless you play a march for soldiers like Faust and the chorus walks in tempo. But on screen the music has to fit otherwise you can’t...how are you going to play...you have a love scene...let’s see...I don’t know how to explain this to you...you have a love scene...and in the middle of the love scene you cut away to a bar-room someplace where they have a...jukebox or a fight, what are you going to do, keep on with the love theme? You know [hums a love theme]. So you have to play the appropriate music to develop the action. If that is “mickey mousing” it’s all right with me. I’d like to see it...not to do it. Or play the fight music when she is saying “Darling, I love you” and all hell is breaking loose in the music. You follow me? FSM: Yes, I understand...and I agree Any time! I write at home always...I think have two chords...one...two...to fit... with you completely. this is what you want to know. I write at FSM: To the action. MS: It doesn’t matter if you agree... home...I write at home all my cue sheets. I MS: Well, certainly. that’s how it is. Only some of them don’t look at my picture once or twice. Not very FSM: Some people, they think that— know how to do it and it becomes very often. I have a very good memory and after MS: You want a cigar? obnoxious. I have heard some scores I see it twice, I can play every part in the FSM: No, thank you ... [which are] the most terrible things...lately. picture. See...Anybody [who told] me what MS: You want two cigars? One worse than the other I think. to do was dead. Or at least I think they FSM: [laugh] No, thank you. FSM: Going back to GWTW, what stands are: They would kill me. I would never let MS: Would you like three cigars? out in my mind is the opening theme them. Never. FSM: No, thank you. [laughing] Would when Scarlet runs out to meet her father you like a cigar? MS: I don’t remember the scene. Mickey Mousing MS: I’ll have one, thanks. FSM: Well she runs out to meet her FSM: Then you wrote the music after you FSM: Some people...the condemning father and you hear the horse’s hoofs, saw the film? people who are not aware of how difficult and it isn’t actually the hoofs; it is the MS: Why sure. How can you write it it is to write a musical score, call this type percussion instruments in the score before? of scoring, where you accent the action MS: Well certainly...what would you FSM: There are some composers that “mickey mousing”...I’m sure you have heard play there? A Viennese waltz? wrote before they saw the film. that term before. FSM: [laughs] It seems to me in the MS: Like who? MS: Sure I have...I always laugh. When first part of the score you are basically FSM: During Alexander Nevsky... “mickey mousing” it is so darn silly... you introducing the characters. You are MS: Well you can’t...you can’t...you can’t think... you see... let me say... soldiers introducing Melanie and Scarlet and go by Alexander Nevsky because the music marching... now when you play...it needs a Ashley and Tara. didn’t fit the picture. Outside of the one march lets say... I’m trying to make it easy MS: I don’t even remember how the

JANUARY/FEBRUARY 2005 26 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 27 JANUARY/FEBRUARY 2005 picture opens. write. You say...when did I sleep? picture? FSM: And then after that you get into FSM: Yes, when did you sleep? FSM: Yours...the one you recorded on more emotionalism and more subjective MS: I slept four or five hours, then a the first night. type of analysis. doctor [would] come in about noon to MS: Why sure...Oh God...one night, I MS: You kill me...I can’t even remember. give me a Benzedrine injection so I didn’t forget what the scene was...when Ashley You know I don’t even remember the fall over. [Selznick] came in, I’ll never forget comes home from the war...you know tunes. it...where Melanie has the baby...and I had 90 when he visits and comes home from FSM: You really don’t? men...the whole stage was full (of musicians) the war? MS: No. at ...I had something like 12 I had the scene—I forget what the FSM: I have the record right here if you cellists...Selznick came in about three in scene was—Selznick used to sleep all day want to hear it. the morning and I was just doing the and work all night with the picture...you MS: Nooooooo. scene and he called me over and he said, know cutting and so forth. This was his FSM: I know how you hate to hear your own tunes. [laugh] Right after the portion of the score where it starts showing the war and the announcements of the deceased in the war...the casualty list. It seems there is a break in the film when it no longer becomes an individual analysis...the film becomes more emotional and even with Scarlet she carries on her own private war. It seems that from that moment on the music becomes more emotional and I think the most moving segment of the score is the love segment between Melanie and Ashley just before Melanie dies. MS: Yes...it’s where the two tunes come together as far as I remember. The Ashley tune “da dee da...da dum” something like that...I don’t quite remember...I hear [the 70mm re-recording] is really good now. My friend with the Associated Press, he called and said he saw the first few reels on the big screen and he says it is absolutely marvelous. I have no idea how it sounds and what it looks like. It will be a big “What are you trying to do? Ruin me?” I hobby...he would work all night...he would success again. Mark my words. It will be said, “Why?” He said, “A big scene like that start at 10:00 at night and work until two-a-day...hard tickets ... and you have only 12 cellists...Melanie 6:00 in the morning. He would make his FSM: Only two a day? has labor pains...I want 20 cellists.” I said, changes and say to his staff, “Make the MS: Well you couldn’t have more...it is “We can go with them [the 12].” He said, “I changes.” He would come back at night, almost four hours long. It’s three hours and don’t want it, send them home.” We sent and the guys were up with him all night. 45 minutes, unless they cut it. the whole orchestra home at 3:00 in the FSM: And those three hours and 45 morning, because where were you going Mr. Steiner’s houseman came into the room. minutes, or 222 minutes, 90 percent is your to get a cellist at 3 a.m.? We came back House man: Would you like a drink? score. Thirty minutes is without score. the next night. This time we had 110 men MS: Huh? MS: 30 minutes? (including our 20 cellists) and then he was House man: A drink? FSM: —is without music happy. And then he said, “Now this sounds MS: No I had one...you want a drink, like something.” I said, “Look, David, this Myrl? Working with Selznick is too big. It’s too labored...a scene like FSM: No, thank you. MS: Well you see Myrl, Selznick was a that...a girl having a baby...there’s twenty MS: He doesn’t want one...If you want great producer. Towards the end he went cellists...it’s too big for the scene.” He said, to go home. Go home. Have you talked to haywire. He was a great producer and very “It’s my picture.” “Okay,” I said, “it’s your Mrs. Steiner? If you want to, go home...go intelligent and a man who understood picture.” We had so many men on the home, Sergio...it’s okay. music. He came in one night [when] I stage that we had to open the door and House man: No...it’s fine. I’ll stay was scoring...we were scoring all night all they had to bow outside because we had MS: Okay, I had a house right across from the time...we used to start at 8:00 at night no room. [Selznick]...my driveway and his driveway and finish at 7:00 in the morning with the FSM: [laughs] met on the causeway. One night he calls orchestra...because in the daytime I had to MS: Which track do you think is in the up at 4:00 a.m. after hearing a part of the

JANUARY/FEBRUARY 2005 26 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 27 JANUARY/FEBRUARY 2005 Composers of the Roundtable

behind you and try to find the appropriate music from moment to moment.”

Expanding Ideas Chris Van Allsburg’s children’s book was a brief tome that focused on illustrations, so Zemeckis and his team had to greatly expand on the original material to make a 99-minute movie. “Bob would have these sequences that [lyricist] and I went off and developed material for. No song was more difficult than any other but everything had to appear at its proper time. One song called ‘Spirit of the Season’ was written for a particular scene but when we presented it to Bob it didn’t seem to work for the scene it had been written for. Yet as the film went on to its development we would spiral back • and say ‘What about that song done this way ALAN SILVESTRI The Polar Express in this place?’ Nothing was wasted because it was all part of this ongoing process. All lan Silvestri’s long association with orchestral score and a large number of fires were burning at all times—once we had songs, any one of which needed to sound one of these songs, of course, it presented director has meant like a Christmas classic. Silvestri found a possibility of being incorporated into the himself analyzing some of the elements that fabric of the score. We were looking to not he’s been in on some of the most come together to make a timeless Christmas have the songs sound like drop-in items A song. “As an Italian-Irish Catholic on the East in the fabric of the film. There was a fair cutting-edge motion picture productions Coast I’d been around the Christmas thing amount of score that needed to be written to of the past 20 years—from the Back to the my whole life,” he says. “There was talk about take care of all the dramatic needs of the film, Future films to Who Framed Roger ? and what makes Christmas Christmas and what maybe 50 minutes of score, so sometimes it . The pair’s most recent makes a Christmas song an enduring piece was possible to use material from the songs collaboration, the computer-generated of material, and there were discussions about themselves in the fabric of the score.” Christmas fantasy The Polar Express, just may all that. There were some sound aspects— Silvestri ran with a long tradition of be their most ambitious project yet. Silvestri certainly the bell plays a very prominent building rhythmic material and effects worked on the project over more than two part in Polar Express and [bells] play a big part around the sounds of a steam locomotive. years—not uncommon for a musical of its [in] ; voices often play a part, “We wanted to have as much fun with the kind. But the relationship between the film’s —even on the famous solo Christmas movie as we could; what was interesting music and its visuals was even more integral songs like ’s ‘White Christmas’ overall about the film and [was] kind of than on most CG films. “Normally Bob gets or Sinatra or , you’d hear a … something we were able to hook our me involved very early on even if the script chorus at some point. It was also interesting wagon onto musically was that even though isn’t finished,” Silvestri points out. “The in terms of content because Bob didn’t want the movie takes place in this very all- difference with these songs was they actually to make a completely lightweight Christmas encompassing Christmas environment, it’s had to design the sequences around some of movie; he felt there was always some really an adventure film about a boy who’s them, so we had to have them ready before darkness in these Christmas stories, whether on a journey to find his belief, so when they started shooting.” Yes, there was actual it’s Jacob Marley in A Christmas or It’s a Bob would do one of these train sequences filming involved in Polar Express, which used Wonderful Life, where the guy’s really having we had the license to put ourselves in the sophisticated motion- and performance- a nervous breakdown and a terrible crisis, middle of an action-adventure film. We had capture technologies to allow Tom Hanks to so that’s something that’s always been part this great piece of machinery that’s notorious play a number of characters in the film. of the Christmas tale—there was always that for creating its own sense of rhythm and Silvestri’s challenge in providing music bittersweet, nostalgic, dark element lurking we didn’t want to turn our back on that, for the film included both an elaborate about. But then you put all the theory so whenever we could have fun with that

JANUARY/FEBRUARY 2005 28 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 29 JANUARY/FEBRUARY 2005 As 2004 came to a close, FSM’s editor-at-large Jeff Bond caught up with some of the most prominent composers in film to discuss their hopes, their dreams and the year that was.

train rhythm concept we did, and the song of a sudden does—that whole sequence that the film, and for a whole range of times and ‘Polar Express’ is kind of that quintessential carries us from there to Santa riding off on places. Bob kind of summed it up because I train rhythm, and the song’s called ‘Polar his sleigh and disappearing—I somehow was trying things and Bob said ‘In the end Express,’ so if you can’t have a train rhythm knew that whatever was the underpinning Al, this theme, whatever it will eventually in that, when will you?” of the score thematically had to pay off be, has to be the theme for the bell.’ That One scene in particular was crucial to in that sequence, so when it came time allows you to step back and look for some creating thematic material for the score. “I to look for that material I went right to much wider kind of thematic material that’s knew that the sequence where our hero that sequence and I knew if I could find overseeing the situation without being right picks up the bell and shakes it in the square something there I would have something down on the ground. It’s almost an epic and doesn’t hear the sound—and then all for the opening of the film, for the ending of point of view.”

are subtle differences between London and Los Angeles, and for a number of reasons on this project London seemed to be best.” Finding Neverland called for some source theater music, but the composer says he didn’t focus too much on achieving an appropriate period sound for his music. “Because I listened to so much and contemporary music in my life, I rarely research because if you go too deeply into the period thing you start writing a copy of a period piece. Finding Neverland is a period piece but it’s also very contemporary, JAN A. P. KACZMAREK • Finding Neverland and I wanted to have all the elements of a classical score but creating the energy and ctors are advised never to work with stories, all non-mainstream approaches, and the touch of today, so I didn’t follow any that includes Lost Souls, which was a movie historical example.” children or dogs; but for composers, full of darkness. When this opportunity Kaczmarek found the actual scoring presented itself I was very enthusiastic. There duties on the film more complex. “There are children—particularly crying child- was a moment of doubt where my agent three lines developing in the material—first A said to me that this may not happen—there is psychological interactive music, music ren—can be a boon. Finding Neverland tells the was the fear that a European composer or connecting people—James Barrie with Emily story of Peter Pan author J.M. Barrie (Johnny Polish composer might lean toward the dark or Boris, all the relationships between people. Depp) finding the inspiration for his famous side and that there was a bit of hesitation as Then there was music for the fantasy world character in a fatherless family he “adopts” to how this would work. Fortunately. I was of James Barrie and his adventures with the while relating to its attractive matriarch (Kate in and very passionate about it and boys when they were imagining things like Winslet)—but fortunately for Depp’s Oscar I wrote a piece in two days and submitted pirates and other things. The third was the chances, there’s tragedy afoot. After scoring something and hired an orchestra and boys play itself. The drama between people is big with 2002’s Unfaithful, composer Jan A.P. choir and created demos to send to Los scored mostly by strings and piano with Kaczmarek stepped into uncharted waters Angeles to show people that I can use the some subtle presence of woodwinds, while with the family-friendly Finding Neverland. language of innocence, joy and lightness, the world of fantasy I could use instruments “The beginning was quite dramatic because and that was the end of the story.” like accordion, some drumming, ethnic I’ve never done a picture of this kind, one The challenge in scoring a film likeFinding flutes to give some exotic flavor to those that deals with the world of children to such Neverland is to avoid sentimentality, a pitfall adventures, and [with] the play itself I also a degree, and a picture with such a gentle Kaczmarek was well aware of. “I responded included some exotic instruments, if we can message,” Kaczmarek says. “Unfaithful or to this challenge not only by choosing a call mandolin exotic.” Aimee and Jaguar or Total Eclipse were dealing specific style of writing but also by choosing For a scene late in the film showing Barrie with quite complicated or complex adult to record in London. British musicians never confronted by a crying young boy devastated relationships—love triangles, lesbian love go too far in a sentimental direction. There by the death of a parent, Kaczmarek chose

JANUARY/FEBRUARY 2005 28 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 29 JANUARY/FEBRUARY 2005 an equally unusual instrumental palette. a moment of release for me when things are done by Leszek Mozdzer, my favorite “I used boys’ choir there and a rare Indian really happen. The bench scene was not as pianist, whom I always use if there’s a flute that sounds a bit like [an] ocarina. I large but an extremely important moment piano interpretation that’s needed. I have a kept the choir as small as possible to keep of releasing energy and tension. Within the habit of creating piano versions of different the intimate character of the scene and I crisis you also have a kind of happy end of a things I do, and also I use this as a way used those exotic woodwinds to give it great friendship and also the transformation to depart from the rest of the score and the flavor of memories of adventures, even of James Barrie from being a boy inside to I use it on an additional day and spend within this very sad, emotional moment of the man who assumes responsibility for this all day with the pianist. At first I thought extreme closeness between Peter [Llewellyn family of four boys.” maybe this was pure pleasure and there’s Davies] and James Barrie. I was restraining Kaczmarek got an extra opportunity not enough space in the film to use those myself all the time and suddenly there when a planned-for end title song failed to piano interpretations, but then the situation was a scene where the mother goes into make the film’s final cut and the composer changed when the song created by Elton Neverland, into the magic garden, and then was able to use a solo piano development John did not work for the film and we all the music opens up and it’s the biggest of some of his score material for the end agreed that piece would be the cue in terms of size of orchestra. That was credit sequence. “The piano performances perfect end credit solution.”

enormous sections of the movie; we always try to get away with not scoring a lot of the movie and inevitably come back and score most of the movie. I think we had a difficult time for a long time arriving at a piece of music that would work as a love theme and as some kind of transformational piece as Ivy goes through her journey, so it had to have this neo-heroic quality but also be intimate and tender. There was one theme I wrote early on that we both kind of hated but couldn’t keep it out of the movie, and finally I had to get in there and replace it with that sort of folk tune that’s in there now.” In 2003’s Signs Howard used a diabolical fiddle (actually a viola) to create a feeling of pastoral horror; The Village also features stringed instrument solos, this time violin JAMES NEWTON HOWARD • The Village solos by Hilary Hahn—but the approach is quite different. “The similarity with Signs is ames Newton Howard has scored and emotionally satisfying aspect of the film that there is an ostinato, a constant motion, was really a love story, a much more tender and in Signs it was a three-note piece and in everything from action to animation. interior idea, and that’s what I wound up The Village the ostinatos or repeating patterns focusing on the last few months. Originally are a lot more complex and they don’t stay In 2004, he wrote music for the desert when I thought about scoring the movie with the same series of notes. But the idea J I wanted to do it with a very small string of a constant motor provided by this one adventure Hidalgo, the urban thriller Collateral ensemble and immediately departed from instrument seems to work well.” and M. Night Shyamalan’s late-summer that notion [and] wrote something based on Howard also got to work with director exercise in paranoia, The Village. Howard’s music I’d heard by a group called Synaulia, , on Collateral with Tom Cruise collaborative relationship with Shyamalan who recreate what they speculate must have and Jamie Foxx. Mann is well-known as a has yielded first-rate scores to The Sixth been music from ancient . It had this director who prefers to use a mixed-media Sense, Unbreakable and Signs, but his Oscar- very elemental, feral quality and was very approach to music, often commissioning nominated work on The Village proved to be rugged and bold and difficult, and it made music from several different composers a special challenge. “I was writing that movie the movie a lot edgier and tougher, a harder and mixing and matching cues in the final for five months, a long time and I think what read in a lot of ways. The downside was music edit—an approach that would seem happened with the movie was we started off it was emotionally distancing. The whole to be anathema to distinctive composers like writing much more of a thriller score and Hilary Hahn violin, much more melodic, Howard and Elliott Goldenthal, who scored my first effort was much more oriented poetic feeling, evolved after a long time. Mann’s crime caper film . Howard says toward these mythical beings that nobody I knew the movie quite well by then and he went into the project with eyes wide had gotten a look at, and really dealing with it was easier to do that at that stage of the open. “I knew going in that there was going the excitement quotient and trying to amp game than it would have been earlier.” to eventually be music from all kinds of that up. After a period of immersion in the Howard’s troubles extended to the actual sources. I had no problem with that because movie we both felt that the most interesting spotting of the music. “We began not scoring I wanted to work with Michael because he

JANUARY/FEBRUARY 2005 30 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 31 JANUARY/FEBRUARY 2005 makes such good movies, and it was a great still months away, a lifetime in the rapidly opportunity to kind of get into a different evolving world of movie post-production, Quick But Quotable place. In the end I probably scored 70 Howard says the collaboration is underway. percent of the movie, which isn’t bad. The “We’re already doing sketches and sending ending was a real battle royale that went on things to [director] Chris [Nolan]. I think it’s for weeks, and I wrote a number of different the perfect movie to go for it on and I know things but he wound up using the Antonio that Chris is interested in an unconventional Pinto piece, which is a great piece but just a score so it just came at the right time. My different point of view.” idea (and what we’ve talked about the most) is the idea of co-devising certain Next Adventure: A Dynamic Duo building blocks of the score which we will Now Howard is gearing up for what he then both be able to use independently. If hopes will be a fruitful multi-composer I have a certain rhythmic or tonal bed I’ve collaboration—working with Hans Zimmer written and we sort of exchange them then on Batman Begins. Despite wildly differing we’re both working with the same elements ALAN MENKEN • Home on the Range personal composition styles, Zimmer and but perhaps embellishing them differently. Howard have been trying to collaborate I think we’re both very confident that What a Director Wants: “Initially they on a movie project for some time (they there’s no filmic predicament we haven’t really wanted a songs-under-action score. came close on Secret Window before Philip encountered on one level or another, so we’re As it developed, I also realized they wanted Glass stepped in). While the film’s debut is sure we can come up with something.” many of the moments that are associated with animated features, like the big production number and comedic elements within the songs, so it became a process of discovery of how far they were willing to go to let Home on the Range be a musical and how far Home on the Range could go to be a musical. There was a full reinvention of the characters and storyline two years in, new title, new focus and new characters, and none of the songs that ended up in the movie remained from the original concept. But in some cases part of songs remained. The title song, ‘Home on the Range,’ that whole comedic approach to a song that was going to provide narrative bookends, that remained, but under a different title.” Western homages: “There are nods to Elmer Bernstein, to Dimitri Tiomkin, to Randy Newman and to Ennio Morricone—the nods were important because so much of the tone is tongue-in-cheek, a western from the point of CARTER BURWELL • Kinsey view of the animals.” The Big Finish: “It wasn’t tough for me to arter Burwell has long been defined but I didn’t see it until he was back in L.A. get, creatively; sometimes it was tough for Neither of us really knew what the music me to arrive at the same place the directors as the king of arty independent films, for this film should be and it wasn’t until arrived at. How much we made use of the I really started writing that I got an idea of song ‘Home on the Range’ as a threading after years of work with the offbeat what would work best, which was to go on device was a constant discussion. Many more C the one hand with a bit of of moments were tried where they wanted to use and projects like Being John Americana to position [Alfred Kinsey] in his other things instead and there was a lot of Malkovich and . He reunited time and place in the ’40s in Indiana—which creative pushing and pulling, and one thing with director for the sexually is one of the interesting things about this about animated features is once the songs charged biopic Kinsey. Burwell worked with story, that someone who became such a are in place, the score is very defined by the Condon previously on Gods and Monsters and cultural revolutionary had such a middle- songs and the structure and tone the songs says the director does not give him a blow- American background--and also that the create. My job is to support that and provide by-blow description of what kind of music music is fairly warm and emotional, which any elements that might be needed to amplify he wants in his movies. seemed to help because Kinsey himself has certain aspects. In the case of a movie like this “I have less detailed discussions with quite a bit of difficulty expressing emotion. where one of the bigger songs wound up in the Bill about music than most directors I talk It seemed by going in that direction with end credits rather than in the movie is to keep to. Part of that is that he is in L.A. and I’m the music we were able to make the movie (continued on next page) in New York; he shot this in New York more than a scientific examination of sex

JANUARY/FEBRUARY 2005 30 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 31 JANUARY/FEBRUARY 2005 or a biographical examination of this man; While Liam Neeson’s portrayal of sex and it’s implied in the movie that he got we were able to make the experience more researcher Kinsey is full of scientifically that from his father. He doesn’t seem to emotional than we expected it might be. I graphic talk about sexuality, he’s not always actually have any idea what’s going on in sent [Bill] the themes I was working on and forthcoming about his own feelings, which his own heart at any given time, so the he seemed to like them, but the whole score allowed Burwell to indulge in the dying music does probe that aspect of him even was written in two weeks so there wasn’t art of psychological scoring. “One of the as he is unable to. That’s one of the parts much time for discussion. It was done in interesting things about that character is of writing music for film, the opportunity between The Alamo and The Ladykillers and fit that he operates from the perspective that to look at aspects of the character or story in the gap between those two.” he knows what’s best for other people, (continued on page 48)

from the ’40s I loved so much. I chose to find a Quick But Quotable repetitive pattern that would allow me to bring in (continued from previous page) colors of the fairy tale and if you listen carefully that song alive and threaded throughout the to the score it’s all in the opening—different movie and to keep them from feeling like they’re tempos, different keys, different textures, but just tacked on at the end of the movie, which is a it’s all there. Sometimes you find a little pattern tradition I don’t love.” from the opening way down in the movie but completely slowed down. But this repetitive little hook was the engine I found to move along with ALEXANDRE DESPLAT • Birth lightness and still this obsessional movement— had in The Others, mainly the flute and the the character of Nicole Kidman is obsessed with , I wanted the music to be like a blanket a love she’s lost.” of musicians supporting Ramon Sampedro, The Big Scene: “The kiss—how do you score the main character, in his journey—warming that? How do you score a woman in her 30s him up. That’s why I didn’t feel it should have kissing a 10-year-old child? The key I think was too many soloists at the beginning. Also the that it’s so pure—the love of this woman, there’s movie takes place in Galicia, and [since] Galicia nothing pedophilic about it, it’s very pure. She is connected to Ireland through Celtic music, I says to the boy ‘I’ll wait until you’re 21’—she thought I’d include some Celtic sounds in the doesn’t say let’s make love right now. At the very soundtrack.” moment she bends down—she’s very tall so she The Big Scene: “I remember the first scene What a Director Wants: “We met in London with bends to kiss the boy, it’s the purest kiss you can with music starts after Julia asks Ramon why Jonathan Glazer and he wanted a non-score, so imagine, like a prince and a princess. There’s he wants to die. I wanted the music to start very I had to think about what he meant and what he nothing sexual about it, it’s just pure love like a sadly; it seems after that question that this is meant is that the movie is on the edge of being knight and his princess. So I had to keep in mind going to be a very sad movie—it could seem a thriller, a love story, so many things that the this purity and I used the extremes—very high so, so I wanted the music to feel sad at that music shouldn’t go either way, and there was notes of the and this very low sub-bass very moment and it was just one single note of both a neutrality and at the same time we didn’t that I used earlier in the score, and it creates this violins and vibrato, a very sad sound, and then want for the score to be foreboding or sci-fi or enormous gap between the sounds that’s like all the rest of the musicians start playing and Bernard Herrmannish or a Sixth Sense type the gap between the [characters].” then it starts to warm up. That also is related to of score. We had to keep the distance without The Low Note: “I didn’t want to use electronics the sea concept: In this story the sea is a very being cold, because when you try to erase all the way it would be done in an action movie with important concept and in the sea you have the these references and you go too much into a cold drum loops and sequencers everywhere that you sound of the waves coming and going, and I score it, doesn’t bring anything to the picture. We send into the back and the rear and play with wanted that in the music, the feeling of sound experimented a lot.” the stereo effects like in a movie. I increasing and then going down.” Birth of a Fairy Tale: “First I’m a flutist. Girl wanted it to be as low as possible and it’s really Operatic Decision: “When we wrote the With a Pearl Earring starts with a flute that I play invisible; you don’t hear it but you feel it, and you scene where Ramon flies in his imagination, myself. The second thing is that the key term for know when you really feel it is when it stops. It’s I remember Mateo Gil, my co-writer, said ‘You the film was fairy tale, and when I heard that it, like this boy has turned a spell on her and it’s like should shoot this scene without music at all.’ clicked immediately—we knew that the way the this low tune is the spell.” I said no, we need music here, and I thought characters in the script are built is like a fairy of composing something there myself. Then tale: There’s an abandoned princess and there’s I thought of the idea of the record, so that it a new prince that comes to marry her, she’s not ALEJANDRO AMENABAR•The Sea Inside would be better if these images of him flying really in love with him but he’s part of the course come from the music. It’s the music that helps so she should go with him. There’s the old queen, What a Director Wants: (Amenabar co-wrote, him build images in his mind, and I thought I Lauren Bacall, the other sister, the knight—all directed and scored The Sea Inside): “The first would have to compose something that can these other characters, so that helped a lot clear idea I had in mind when I was thinking sound like opera for the audience and I found it with the color and I just brought up my love for about the music when I started writing the would be crazy for me to try and imitate that, so I fairy tale music and knight music—it could be script was a big, big playing piano, chose the aria from Turandot when I was editing from Waxman to King’s Row or all these scores which means instead of having soloists as we and found that worked very well.” 

JANUARY/FEBRUARY 2005 32 FILM SCORE MAGAZINE REVIEWS OF CDS

CLASSIC  GREAT  GOOD  BELOW AVERAGE  score WEAK  Lemony Snicket’s A Series of recurring motif that I could even wildly diverse and seemingly than anything else here. The CD Unfortunate Events  imagine a child recognizing insurmountable. Also, Newman prominently features a number THOMAS NEWMAN was the one for the orphans; has been indulging in this type of songs performed Sony Classical/ Soundtrax it’s a bittersweet Victorian- of soundtrack release for too by Seu Jorge in Portuguese. SK 93576 • 29 tracks - 69:00 like music box melody. long. Call me a curmudgeon, Bowie’s versions of “Life on ne of the most anticipated Digging deeper, there’s also a but if he’s not willing to give us Mars?” and “Queen Bitch” Ofamily films of the holiday lesser-used theme (heard in some more cohesion on his CDs, bookend the film’s underscore season, Lemony Snicket’s A Series “Resilience”) reminiscent of the then I’m not going to give them and additional song material. A of Unfortunate Events, hoped to coral reef music from Finding too many listenings. recording of Devo’s “Gut Feeling” jumpstart as profitable a fran- Nemo. The peppy tune of the As disappointed as I was with and songs performed by Joan chise as Harry Potter. Also based first cue also returns as a full the presentation, this is still Baez, Iggy and the Stooges, Paco on a series of children’s novels, Disney-styled song written by classic Thomas Newman, and de Lucia, Scott Walker, and The Lemony Snicket follows the misad- Newman and Bill Bernstein, fans should be delighted. The Zombies round out the rest of ventures of the three Baudelaire called “Lovely Spring,” acting as thought that a generation of kids the disc. orphans after their parents are a pleasant diversion. The rest may have Thomas Newman’s Mark Mothersbaugh’s killed in a fire. The children are of the score is mostly devoted Lemony Snicket scores as part of underscore (5 tracks - 17:21) taken in by Count Olaf, a distant to Six Feet Under-type macabre the music of their childhood is generally has a ’60s retro feel relative who’s more interested music. fortunate indeed. —Cary Wong that’s not all bad, but it sounds in the kids’ fortune than in their Even though the CD is almost cheap to the point of distraction. well-being. And while this first 70 minutes long, it is filled with The Life Aquatic Could this really be what 1 installment is the film adaptation a series of 29 unfortunate cues with Steve Zissou  ⁄2 Anderson wanted? It would of the first three books in the of various lengths, from a mere MARK MOTHERSBAUGH seem so, given his little note in series (The Bad Beginning, The Reptile 38 seconds to the five-minute Hollywood 2061-62494-2 the accompanying booklet that Room and The Wide Window), the end title. If you didn’t mind 25 tracks - 60:09 has nothing at all to say about books are already on their 11th this format in , you fter thoroughly enjoying Mothersbaugh’s score. volume. should be fine with it here. I for AWes Anderson’s Rushmore Mothersbaugh uses a semi- The first movie, as with Harry one am tired of trying to find (1998), and especially Bill baroque sound for “Loquasto Potter, sets the tone and the the heart in a score that is so Murray’s superb performance in International Film Festival,” mood of the series. Director it, I was mildly looking forward which features a well- has created a to this awkwardly named film. reproduced baroque string washed-out world with few The Life Aquatic with Steve Zissou orchestra mixed in with a primary colors and with danger features a list of famous comedy few key solo instruments and lurking in every corner. For this stars and familiar faces. That prominent guitar. Keyboard downbeat setting, composer alone often spells disaster, and sounds include a mixture of Thomas Newman creates one of if the music on this disc is any harpsichord and organ that the least joyful children’s movie indication, the film may very lends a bit more seriousness to scores ever, but it is totally well sink. At the very least, we the proceedings. “Let Me Tell You appropriate. Just listen to the can expect something that’s not About My Boat” uses a light- first cue, “The Bad Beginning,” like most Hollywood fare. hearted sound best described which starts with a peppy tune The soundtrack opens as Rolfe Kent filtered through that’s soon bumped aside by with a brief theme written by The Rugrats. The solo piano work Newman’s signature darker Norwegian composer Sven here and in several other tracks sound. Libaek for a nature film called is reminiscent of David Benoit Newman did, however, waste Inner Space. It’s a quasi-jazz piece and Vince Guaraldi. an opportunity to put a stamp with a that harkens In the split track, “Zissou on the Snicket franchise by failing back to those Stan Getz albums Society Blue Star Cadets/Ned’s to provide a memorable and of the 1960s. A second theme Theme Take 1” the second half noticeable main theme like from Inner Space is also included sounds like it was produced (though I hate to keep referring on this disc. And these turn on a high-end Casio keyboard. to it) “Hedwig’s Theme.” The only out to be far more impressive Perhaps this can be considered

FILM SCORE MAGAZINE 33 JANUARY/FEBRUARY 2005 SCORE cute or even quaint, but the Yamaha Portatone that anyone music sounds like nothing can pick up at their local Best more than a child noodling at a Buy would provide more keyboard in a music store. “We accurate acoustic representations Call Them Pirates Out Here” and of the instruments featured on “Ping Island/Lightning Strike this disc. Rescue Op” provide action As a longtime fan of ’ music that at least livens up the music, I find Alexander bereft proceedings. But the former ends of anything worthwhile up being repetitive and overlong to recommend, which is by the time it reaches the two- disheartening to say the least. minute mark. Alas, not a single moment on —Steven A. Kennedy to a specific time period. Take ominous melody and real male this disc is appealing. Vangelis’ the DX7 or LinnDrum drum chorus. Such is not the case with harmonic idiom has been Alexander  machine. If you are hear them Alexander. stripped down to its barest. If VANGELIS on a Goldsmith disc, you Things get a little more there were some interesting Sony Classical ASK 92942 immediately know that it’s got interesting on “Garden of textures to compensate for 18 tracks - 56:23 to be one of his ’80s scores. Delight,” where Vangelis this shortcoming, then I could grew up listening to and lov- Vangelis’ palette of sounds has incorporates a duduk. Problem find some merit in his music. Iing Vangelis’ music. Something only marginally changed over is, like his choice of synthesizer But the antiquated synthesizer in his choice of synthesizer tex- the past 20 years, so when one patches, he’s behind . sounds only make the listening tures, combined with lush har- hears a track such as “Titans,” This particular instrument was experience all the worse. And if monic progressions, separated even the most casual listener will interesting when he had stuck with completely him from the fraternity of elec- be able to make the association used it in The Last Temptation of electronic tones, that too would tronic musicians such as Tomita, in the of the ubiquitous Christ or when Mychael Danna have been somewhat visionary. Kitaro, Klaus Shultz, Tangerine CS80 string or brass sound and employed it in his scores. But the bipolarity of using old Dream, to name a few. It was that of Vangelis’ most popular But now it’s commonplace. sounds with newer (where’s his application of a romantically score to Runner. This of It doesn’t help that this track Gigastudio when you need it?) styled ideology toward the new course creates a huge problem, so closely resembles Gabriel’s result in a score that doesn’t (for the time) music medium. in that one is thrust out of the “The Feeling Begins” cue from satisfy on any level. Ironically, That’s partly why his score to film with visions of a movie the aforementioned score. Yep, Vangelis achieved a dated sound ’s epic film Alexander made 20 years ago about the Vangelis just cannot seem to get for his score to Alexander—the is so disappointing. Gone are future, not the past. a break (or give us one). There’s problem is that it missed the those full and expansive har- What new sounds Vangelis even that wispy ol’ Fairlight flute mark by about a thousand years. monies. One has but to listen has acquired don’t fare much sound backing up a modern- Can anyone say Ladyhawke? to “Titans” to understand what I better. The sampled horns styled drum beat and solo violin —David Coscina mean; it is ostensibly the main on “Introduction” sound so on “Roxane’s Veil.” 1 theme from the film and the obviously fake that they ruin Listening to this soundtrack, Sideways  ⁄2 main harmonic body of this whatever atmosphere the music I cannot fathom what Oliver ROLFE KENT piece is a simple IV-I progression tries to achieve. When there Stone was thinking when he New Line B0002ZYDOW with little to no deviation in its isn’t some obvious sampled went this route. Was it because 15 tracks - 37:54 melodic content from the basic instrument playing a lead line, Hans Zimmer’s Gladiator music rom its unreserved critical triadic chords. Vangelis reaches for Acid- set the trend for an ethnic synth- Fpraise, coupled with its funny To make up for this musical styled audio loops with ethnic based scoring approach to epic and bucolic print ads, shortcoming, Vangelis chooses women’s as found on “The films? Even if that is the case, you might assume that Sideways to load up the music with his Drums of Gaugamela” or one of Zimmer’s music still had some is not much more than a light, trademark synth sound, the the worst tabla loops I’ve ever contextual legitimacy in that his romantic road trip through Yamaha CS80. And therein heard, featured on “Roxane’s choice of electronics was mostly the Santa Barbara wine coun- lies the other major problem, Dance.” There is no variation of subtle, way-in-the-background try, interspersed with picnics, not only with Vangelis’ score this rhythmic figure during the pads or else doubling a Chardonnay and a little hand- to this film, but with an over- three-minute running time and conventional orchestra. It’s been holding. But when it comes reliance on in after the first 30 seconds, it gets said that the score for Alexander down to it, the film is relatively general. Unlike instruments of monotonous to the point where is also fortified with a large dark, and there’s much more the orchestra, which reached I found myself wishing I was orchestra. Unless this refers to to it than the wines that are so the summit of their evolution listening to “Hispanol” from his the size of the groups used on lovingly tasted throughout the over a hundred years ago, superior 1492 score. At least with the sample libraries, I cannot movie. The movie starts with a thereby making their sound that track, the main rhythmic hear any evidence of this. And hung-over Paul Giamatti mutter- timeless, synthesizers are quickly line was comprised of an odd that can’t be it either, as the ing “f-ck,” and ends with some evolving electronic instruments meter giving that piece an samples used on this score are slapstick sex scenes that John with specific sounds linked unstable feeling, assisted by an so cheesy that a garden-variety Waters would have been happy

JANUARY/FEBRUARY 2005 34 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 35 JANUARY/FEBRUARY 2005 SCORE to choreograph. In between, that don’t really score anything, It was only when I listened enjoyable mood piece, ending there is assault-by-golf worthy they’re just there so that if the to the soundtrack in a quieter with the slow and wistful “Miles of Happy Gilmore, and a trail of audience gets bored they’ll have setting that I began to realize and Maya.” cynically discarded women. All something to tap their toes to.” what Kent had concocted. There is much more to the in all, then, it might also come Having bought into the road- Essentially, the score is music. One of the reasons that as a surprise that while Rolfe trip description, I first took this an homage to the cool, Kent’s main theme is so catchy Kent’s score contains titles such CD on a long drive through the sophisticated acoustic jazz of is that it sounds like a reworking as “I’m Not Drinking Any #@%!$ West Texas wine country (aka the - era of the and Hal Merlot,” this light, ’60s-style jazz the Odessa oil fields), but quickly (a snippet of Davis is heard on David song “Wives and Lovers.” work superficially dovetails with gave up on that plan as my the film’s soundtrack, although While you may not recognize the way the movie is marketed attention kept wandering away not on the CD, which is strictly this title, you will know the as a romantic comedy. from the subtle instrumentation. Kent’s work). Impeccably played lyrics, which start off with the Director Alexander Payne But even as I turned to by a small ensemble, this sounds admonition, “Hey little girl, (Election, About Schmidt) is even something else, I also realized like an extension of Davis’ “Quiet comb your hair, fix your make- quoted as saying that he wanted that I had the main theme Nights.” The CD even mixes up up,” and go on to make dire “long pieces of jazz that arc (“Asphalt Groovin’”) lodged the chronology of the tracks, warnings about what a wife over two three or four scenes somewhere in my consciousness. in order to create a short but (continued on page 42)

follows suit with Alanis Morissette, Elvis Costello and bursting into song whenever Kevin Kline’s Porter bags another sailor Hot and Cool Porter in Central Park. Both De-Lovely and the obligatory Columbia/Sony soundtrack De-Lovely  seem desperate to emulate the hipper-than-thou success of Red, Hot COLE PORTER and Blue, a 1990 audio tribute to Porter that featured the likes of Columbia/Sony Music Soundtrax • 18 tracks - 57:23 Neneh Cherry, Erasure and Annie Lennox alternately annihilating and inventively re-interpreting evergreens from the Porter songbook. While 1 Cocktails with Cole Porter  ⁄2 that collection boasted some authentic surprises (who knew that The COLE PORTER Thompson Twins were ready for “Who Wants to Be a Millionaire”?), the Capitol/EMI • 20 tracks - 52:59 De-Lovely soundtrack is decidedly undelightful, with an assortment of self-conscious guest vocalists apparently mystified and unmoved by WHY CAN’T I EVER BE ASKED ONE OF THOSE IRRESISTIBLY some of Porter’s snazziest tunes. profound “Inside The Actor’s Studio” questions? You know, the kind of -searching stumper like, “Mark, darling, if you could host one IT’S ILLUMINATING TO COMPARE ALANIS MORISSETTE’S PASSABLE, of those proverbially posh dinner parties and invite anybody—living not-quite-there rendering of “Let’s Do It (Let’s Fall in Love)” from De- or dead—who would be asked and more importantly, what would Lovely with ’s glorious live recording of the same tune you wear?” Well, the guest list would be fabulously eclectic and from Capitol’s recently released compilation Cocktails With Cole include everyone from Greta Garbo to Malcolm X. Turned away at the door and ordered Porter. Priceless lyrics that Morissette either sloughs off or approaches uncertainly to never return would be Kathie Lee Gifford, Senator Orrin Hatch and The Olsen Twins. In are sent soaring to the heavens by Fitzgerald, the undisputed First Lady of American terms of musical accompaniment, and Lena Horne would be encouraged Song. For incontrovertible proof that miracles still exist in modern times, just listen to to sing; and slaving away at the Steinway? Nobody but Cole Porter. Deliciously witty, the incomparable Ella take the most masterfully controlled vocal tumble ever recorded eminently erudite and outrageously talented, Porter [1891-1964] wrote songs that on the phrase “let’s faaaaalll in love!” This is how Porter should sound: deliriously are emblematic of a bygone era, yet his work remains sublimely timeless. Beneath romantic and thrillingly giddy. On Cocktails, Cole’s compositions ignite like Bastille Day the glossy veneer, Porter’s private life was a ready-made Hedda Hopper exclusive: a fireworks when matched with the talents of such veterans as Nat King Cole, sexless marriage of convenience to a wealthy socialite, countless homosexual liaisons, and Keely Smith, dynamic performers who really know how to sell a song and give the a brutal riding accident in 1937 that left him crippled at age 46. listener their full ruble’s worth. It was only a matter of time before some well-intentioned auteur decided that Porter’s “You’d Be So Nice to Come Home To” (featured in the long-forgotten 1943 legendary director Michael (Casablanca) Curtiz got it all wrong with his sanitized, film Something to Shout About) is another highlight of the Capitol collection, and that song-saturated 1946 Porter biopic, Night and Day, and set out to tell the world the tune is blissfully wed with Miss Nancy , an extraordinary vocalist blessed with true story of the man behind the music. Enter , an enterprising individual exquisitely precise phrasing, an unvarnished sensitivity and a larynx that should be with an ambitious yet wildly uneven track record in Hollywood. From producing the preserved under glass at the Smithsonian. Nobody hooks notes quite like Nancy, and brilliant but neglected Up the Sandbox (1972) to directing execrable marshmallows the swinging Jimmy Jones orchestration on this track is pure Rainbow Room heaven. like The Net (1995), Winkler is simultaneously responsible for creating some of the Another standout is 19-year-old , who really gives her all on “Looking at finest and some of the most forgettable films of all time. You” (from Wake Up and Dream). It’s nice to hear the engaging freshness in that voice De-Lovely (originally titled Just One of Those Things) is Winkler’s attempt to bring before the advent of sequins, Studio 54, Betty Ford, encephalitis and, especially, Porter’s colorfully complex life to the screen. While it’s certainly more frank about David Gest. Porter’s unconventional domestic with spouse Linda Lee Thomas and It’s easy to imagine that Kay Starr’s vibrant, sock-hop-styled rendition of “C’est more candid (or at least politically correct) about the composer’s sexuality, it doesn’t Magnifique” (from the Broadway favorite Can-Can) is exactly the kind of straightforward diverge from the basic revue structure of Night and Day all that much. For example, the and unaffected delivery that Porter would have appreciated. Perhaps Peru, Indiana’s Curtiz film featured Ginny Simms, Mary Martin and Monty Woolley bursting into song favorite son, might even be persuaded to play it at my dream party, while I slip into whenever Cary Grant’s Porter embarked on another theatrical endeavor. De-Lovely a black velvet smoking jacket and paisley pajamas. —Mark Griffin

JANUARY/FEBRUARY 2005 34 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 35 JANUARY/FEBRUARY 2005 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

 Vol. 8 No.2  Vol. 8, No.1 Atlantis: The Lost Continent/The Power The Thing From Another World/Take the High Ground! RUSSELL GARCIA/MIKLÓS RÓZSA DIMTRI TIOMKIN Films released: 1961, 1968 Films released: 1951/1953 Studio: M-G-M • Genre: Sci-Fi/Fantasy Studio: RKO/M-G-M Silver Age Classics Genre: Science Fiction/Drama • Golden Age Classics CD released: March 2004 CD released: March 2004 • Mono/Stereo • 78:42 Stereo • 76:04 It’s the premiere release of a seminal sci-fi score: Tiomkin’s roaring, Two George Pal soundtracks on one disc! Atlantis: The Lost bellicose music features unusual instrumentation and is as terrifying Continent (46:19) is a full-blooded action-adventure score in the today as ever. Although mastered from acetates, the sound is good and mode of The Time Machine. The Power (29:39) is an offbeat blend of even includes some primitive stereo tracks. The Thing (26:50) is paired noir, fantasy and suspense with a Hungarian flavor, and is the defini- with Take the High Ground! (51:47) a lively, if more conventional military tive presentation of the surviving score (both in stereo). $19.95 drama, sporting a high-spirited march and original song. $19.95

 Vol. 7, No. 20  Vol. 7, No.19  Vol. 7, No. 18 2-CDs  Vol. 7, No.17  Vol. 7, No. 16 3-CDs  Vol. 7, No.15  Vol. 7, No. 14 2-CDs Kelly’s Heroes The Subterraneans Penelope/ Valley of the Kings/ Mutiny on the Bounty Saddle the Wind The Man From U.N.C.L.E. LALO SCHIFRIN Bachelor In Paradise Men of the Fighting Lady BRONISLAU KAPER ELMER BERNSTEIN/ Vol. 3 Films released: 1970 Films released: 1960 JOHNNY WILLIAMS/ MIKLÓS RÓZSA Film released: 1962 JEFF ALEXANDER JERRY GOLDSMITH, Studio: M-G-M Studio: M-G-M HENRY MANCINI Films released: 1954 Studio: M-G-M • Genre: Film released: 1958 , ET AL. Genre: War/Comedy Genre: Drama Films released: 1966/1961 Studio: M-G-M Historical Epic Studio: M-G-M Series Broadcast: 1964-68 Silver Age Classics Golden Age Classics Studio: M-G-M • Genre: Comedy Genre: Action-Adventure/ Silver Age Classics • CD Genre: Western • Golden Age Studio: M-G-M CD released: January 2004 CD released: January 2004 Silver Age Classics • CD Wartime Drama released: November 2004 Classics Genre: Secret Agent Stereo • 79:02 Stereo • 79:36 released: December 2004 Golden Age Classics Stereo • Disc One: 79:15 • Disc CD released: November 2004 Silver Age Classics One of ’s most One of the best jazz soundtracks Stereo • Disc One: 79:54 • CD released: December 2004 Two: 79:01 • Disc Three: 79:53 Mono • 75:53 CD released: September 2004 popular films—a WWII com- gets an expanded CD. Previn Disc Two: 69:15 Stereo • 67:39 FSM’s 100th Classic Series This dark tale of gunslinging Mono • Disc One: 77:21 • Mono/ edy-caper—finally gets the enlisted Carmen McRae, Shelly Two swinging ‘60s comedies on Two-fisted archeological action Release. This legendary pro- brothers (scripted by Rod Stereo Disc Two: 77:03 full soundtrack it deserves. Manne and others to augment a 2-CD set. Penelope includes in the Indiana Jones mold! This duction features a remarkable Serling) features an early score FSM completes its trilogy of FSM’s CD includes Schifrin’s his own film scoring skills to cre- the complete underscore, bonus CD includes the underscore epic score—now presented by Elmer Bernstein and a title albums with music from the expansive underscore (54:08, ate a hybrid jazz and symphonic tracks and the original LP re- from Men of the Fighting Lady in its entirety for the first time, song performed by . original series and its 1966 spi- mostly unavailable and partly score. All of the original LP recording. Bachelor in Paradise, (22:52), a Korean War plus a virtual “alternate score” The CD also includes an earlier noff, The Girl From U.N.C.L.E. unheard!), plus three songs and tracks are here, plus the entire is a jazzy outing by Mancini with saga. Both scores are remixed of unreleased takes and revi- score by Jeff Alexander which Eight composers are repre- the original LP album tracks (24: remaining underscore, remixed bonus tracks. Both scores are from the 35mm masters. Plus: sions, plus most of the source went unused. A rare, unex- sented, including 37 minutes 48). $19.95 from 35mm masters, plus source in stereo from the original 35mm the trailer music from King cues—nearly 4 hours in all! pected pairing, heard here for of Goldsmith music cues (some in mono). $19.95 masters. $24.95 Solomon’s Mines (mono). $19.95 $34.95—and worth it. the first time! $19.95 in stereo. $24.95

 Vol. 7, No.13  Vol. 7, No. 12  Vol. 7, No.11  Vol. 7, No. 10  Vol. 7, No. 9  Vol. 7, No. 8  Vol. 7, No.7 I’ll Cry Tomorrow Ride the High Country/Mail Cimarron Born Free Julius Caesar Big Wednesday The Fastest Gun Alive/ ALEX NORTH Order Bride JOHN BARRY MIKLÓS RÓZSA BASIL POLEDOURIS House of Numbers Film released: 1955 GEORGE BASSMAN Film released: 1960 Lyrics by ; Film released: 1953 Film released: 1978 ANDRÉ PREVIN Studio: M-G-M • Genre: Films released: 1962/1964 Studio: M-G-M Vocal by Matt Munro Studio: M-G-M Studio: Warners Film released: 1956 Biography Studio: M-G-M Genre: Western Epic Film released: 1966 Genre: Shakespeare/Epic Genre: Surf Epic Studio: M-G-M Golden Age Classics Genre: Western Golden Age Classics • CD Studio: Columbia Golden Age Classics CD Silver Age Classics Genre: Romantic Drama CD released: October 2004 Silver Age Classics released: August 2004 Genre: Wildlife Adventure released: July 2004 CD released: June 2004 • Golden Age Classics • CD Stereo • 75:53 CD released: August 2004 Stereo • 79:37 Silver Age Classics Mono & Stereo • 68:05 Stereo • 78:29 released: June 2004 A first-rate biopic based upon Stereo • 76:54 This remake of Edna Ferber’s CD released: July 2004 Mono • 76:10 the life of Lilian Roth, starring Bassman contributed a warm, novel was one of the last Stereo • 39:55 One of Ròzsa’s most powerful One of the great orchestral Two potent scores penned for Susan Hayward in a power- wistful and melodic score to attempts to present a big, scores: dark and dramatic yet scores of the 1970s, available for director Russel Rouse. Fastest house performance. Equally Sam Peckinpah’s first master- sprawling epic of the old West. This score and song became pop full of melody. This premiere CD the first time anywhere. Ranging Gun (37:36) is a psychological strong is North’s jazz-infused piece, Ride the High Country The sumptuous score includes sensations; Barry and Black won features the complete score, in in scope from simple folk tunes western with classic American score featuring a memorable (32:35). Two years later, he the stirring title song, European for both song mono, with a wealth of outtakes, to magnificent orchestral swells, string writing; House of main theme. The CD includes all reworked the same material folk song and a spiritiual—not and score. Now, the original LP and pre-recordings, including Poledouris’ feature debut is Numbers (38:34) is a psychotic of the dramatic underscore, plus into his score to Mail Order to mention the thunderous Land recording has been remastered several tracks in stereo. $19.95 epic in every sense. Includes crime thriller with appropriately source cues and three vocals Bride (44:28). This CD premieres Rush cue. This is the definitive and released on CD for the first aternate takes and source cues over-the-top music. Presented (by Hayward) presented in both scores in stereo. $19.95 presentation! $19.95 time! Special price: $16.95 (21:24), all in stereo. $19.95 in the best-possible monaural sound (as recorded). $19.95

To Order Call Toll Free: 1-888-345-6335 Mon.-Fri. 10:30 a.m. - 5 p.m. EST / FAX: (540) 635-1154 • Go Online At: www.filmscoremonthly.com  Vol. 7, No. 6 2-CDs  Vol. 7, No.5  Vol. 7, No. 4  Vol. 7, No.3  Vol. 7, No. 2  Vol. 7, No.1  Vol. 6, No. 21 2-CDs The Shoes of the The Swan Logan’s Run (TV Series) Diane Khartoum/ The Prisoner of Zenda / Fisherman BRONISLAU KAPER , et al. MIKLÓS RÓZSA Operation Crossbow ALEX NORTH Film released: 1956 Telecast: 1977 • Studio: M-G-M Film released: 1956 FRANK CORDELL Film released: 1952 RON GOODWIN Film released: 1968 Studio: M-G-M Genre: Science Fiction Studio: M-G-M Films released: 1965/1969 Studio: M-G-M Films released: 1968/1965 Studio: M-G-M Genre: Romantic Drama Silver Age Classics Genre: Historical Drama Studio: United Artists Genre: Swashbuckler Studio: M-G-M Genre: Political Thriller Golden Age Classics • CD CD released: March 2004 Golden Age Classics • CD Genre: Epic/WWII Espionage Golden Age Classics Genre: WWII Espionage Silver Age Classics released: April 2004 Stereo • 79:55 released: March 2004 Silver Age Classics CD released: February 2004 Silver Age Classics CD released: April 2004 Stereo • 49:54 Suites from all scored episodes Stereo Disc One: 71:36 CD released: February 2004 Mono • 58:21 CD released: January 2004 Stereo • Disc One: 77:09 The complete, original sound- by Rosenthal, Bruce Broughton, Stereo & Mono Disc Two: 77:43 Stereo • 78:55 A robust adaptation of Stereo • Disc One: 74:04 Disc Two: 74:50 track remixed from three-track Jerrold Immel (Dallas) and Jeff Plus cues from Plymouth Adventure Two military-themed scores Newman’s original score (by Disc Two: 78:37 Complete score and more. $24.95 masters plus LP cues. $19.95 Alexander. $19.95 (7:48) & Moonfleet (12:10). $24.95 from stereo LP masters. $19.95 ). $19.95 Two entire film underscores. $24.95

 Vol. 6, No. 20  Vol. 6, No. 19  Vol. 6, No. 18  Vol. 6, No. 17 2-CDs  Vol. 6, No. 16  Vol. 6, No. 15  Vol. 6, No. 14 Moonfleet McQ On Dangerous Ground The Man From U.N.C.L.E. The Brothers Karamazov Wild Rovers The Cobweb/ MIKLÓS RÓZSA ELMER BERNSTEIN BERNARD HERRMANN Vol. 2 BRONISLAU KAPER JERRY GOLDSMITH Edge of the City Film released: 1955 Film released: 1974 Film released: 1952 JERRY GOLDSMITH, et al. Film released: 1957 Film released: 1971 Studio: M-G-M Studio: Warner Bros. Studio: RKO • Genre: Series Broadcast: 1964-68 Studio: M-G-M Studio: M-G-M Films released: 1956, 1957 Genre: Swashbuckler Genre: Police Thriller Golden Age Classics Studio: M-G-M • Genre: Spies Genre: Literary Adaptation Genre: Western Studio: M-G-M • Genres: Drama Golden Age Classics Silver Age Classics CD released: November 2003 Silver Age Classics Golden Age Classics Silver Age Classics Golden Age Classics CD released: January 2004 CD released: November 2003 Mono • 48:24 CD released: Oct. 2003 CD released: Oct. 2003 CD released: Sept. 2003 CD released: Sept. 2003 Stereo • 77:11 Stereo • 49:24 Herrmann’s only film noir runs Mono • Disc One: 77:54 Mono • 79:10 Stereo • 79:14 Stereo • 51:54 A moody tale with a richly Combines a traditional sympho- the gamut from furious chases Mono/Stereo Disc Two: 76:29 A rich and varied score for one A favorite score gets the defini- Two early scores by one of melodic score and a lovely main nis with ’70s funk for a unique, to heartfelt warmth.. Produced With music by Fried, Shores, of the greatest works in litera- tive treatment including film cinema’s most distictive voices, theme—plus alternates. $19.95 swaggering sound. $19.95 from acetate recordings. $19.95 Riddle and more. $24.95 ture. $19.95 tracks & LP recording. $19.95 from film and LP. $19.95

 Vol. 6, No. 13  Vol. 6, No. 12  Vol. 6, No. 11  Vol. 6, No. 10  Vol. 6, No. 9  Vol. 6, No. 8  Vol. 6, No. 7 2-CDs Hawkins on Murder/ Toys in the Attic The Appointment Our Mother’s House/ The Adventures of / Knights of the Round Table/ Winter Kill/Babe , JOHN The 25th Hour Huckleberry Finn Demon Seed The King’s Thief JERRY GOLDSMITH Film released: 1962 BARRY & DON WALKER, GEORGES DELERUE FRED MYROW/ MIKLÓS RÓZSA Films broadcast: 1973, ’74, ’75 Studio: United Artists Films released: 1967 Film released: 1960 JERRY FIELDING Film released: 1953/1955 Studio: M-G-M Genre: Southern Family Drama Film released: 1969 Studio: M-G-M Studio: M-G-M Film released: 1973/77 Studio: M-G-M Genres: Crime, Biography Golden Age Classics Studio: M-G-M Genre: Gothic/WWII Comedy Genre: Satirical Adventure Studio: M-G-M • Genre: Sci-Fi Genre: Costume Adventure Silver Age Classics CD released: July 2003 Genre: Drama Silver Age Classics Golden Age Classics Silver Age Classics Golden Age Classics CD released: July 2003 Stereo • 70: 27 Silver Age Classics CD released: June 2003 CD released: June 2003 CD released: May 2003 CD released: May 2003 Stereo • 77:24 One of Duning’s greatest scores CD released: June 2003 Stereo • 58:49 Stereo and Mono • 59:58 Stereo • 79:49 Stereo • Disc One 70:31 Three complete TV movie is sensitive, rich and melancholy. Stereo • 77:06 Both delicate, melodic scores A giant of Americana writes a Two ’70s sci-fi scores on one Disc Two 78:21 scores plus bonus tracks. $19.95 $19.95 Three scores on one CD. $16.95 are remastered in stereo. $19.95 bouncy, rich score.$19.95 disc:. $19.95 Two complete OSTs. $24.95

 Vol. 6, No. 6  Vol. 6, No. 5  Vol. 6, No. 4  Vol. 6, No. 3  Vol. 6, No. 2  Vol. 6, No. 1  VOLUME 5, NO. 20 All Fall Down/The Outrage Green Fire/ THX 1138 Home From the Hill Plymouth Adventure /7 Women ALEX NORTH Bhowani Junction LALO SCHIFRIN BRONISLAU KAPER MICHEL LEGRAND MIKLÓS RÓZSA / Film released: 1962/1964 MIKLÓS RÓZSA Film released: 1970 Film released: 1960 Film released: 1968 Film released: 1952 ELMER BERNSTEIN Studio: M-G-M Film released: 1954/1956 Studio: Warner Bros, Studio: M-G-M Studio: M-G-M Studio: M-G-M Film released: 1959/1966 Genre: Drama/Western Studio: M-G-M Genre: Science Fiction Genre: Drama Genre: Military/Espionage Genre: Historical Epic Studio: M-G-M Silver Age Classics Genre: Adventure/Drama Silver Age Classics Golden Age Classics Silver Age Classics Golden Age Classics Genre: WWII/Drama CD released: Apr. 2003 Golden Age Classics CD released: Mar 2003 CD released: Mar. 2003 CD released: Feb. 2003 CD released: Feb. 2003 Silver Age Classics Stereo • 52:54 CD released: Apr. 2003 Stereo • 55:45 Stereo/Mono • 79:26 Stereo • 79:20 Mono • 79:35 CD released: Jan. 2003 Two complete scores: a hushed, Stereo/Mono • 79:20 Includes many unused pas- All of the music from the film is Offbeat, epic scoring for orches- Rózsa’s magnificent historical Stereo • 73:46 sweet, family drama and a west- A symphonic score coupled with sages from an avant garde present, plus bonus tracks and tra, with over twice the music on music for the voyage of the Two Asian-flavored classics on ern remake of Rashomon. $19.95 “world-music”cues. $19.95 masterpiece. $19.95 alternates. $19.95 the original LP—in stereo. $19.95 Mayflower. $19.95 one disc. $19.95

To Order Call Toll Free: 1-888-345-6335 Mon.-Fri. 10:30 a.m. - 5 p.m. EST / FAX: (540) 635-1154 • Go Online At: www.filmscoremonthly.com  Vol. 5, No. 19  Vol. 5, No. 18 2-CDs  Vol. 5, No. 17  Vol. 5, No. 16  Vol. 5, No. 15  Vol. 5, No. 14  Vol. 5, No 13 Tribute to a Bad Man The Man From U.N.C.L.E. The Seventh Sin The Prize The World, the Flesh The Green Berets Scaramouche MIKLÓS RÓZSA Vol. 1 MIKLÓS RÓZSA JERRY GOLDSMITH and the Devil MIKLÓS RÓZSA Film released: 1956 JERRY GOLDSMITH, et al Film released: 1958 Film released: 1963 MIKLÓS RÓZSA Film released: 1968 Film released: 1952 Studio: M-G-M Series Broadcast: 1964-68 Studio: M-G-M Studio: M-G-M Film released: 1959 Studio: Warner Bros. Studio: M-G-M Genre: Western Studio: M-G-M Genre: Drama Genre: Espionage Studio: M-G-M Genre: War/Adventure Genre: Costume Adventure Golden Age Classics Genre: Secret Agent Golden Age Classics Silver Age Classics Genre: Science Fiction Silver Age Classics Golden Age Classics CD released: Jan .2003 Silver Age Classics CD released: Dec. 2002 CD released: Nov. 2002 Golden Age Classics CD released: Sept. 2002 CD released: Sept. 2002 Stereo • 50:30 CD released: Dec. 2002 Mono • 59:26 Stereo • 72:37 CD released: Nov. 2002 Stereo • 72:37 Mono • 62:28 Rózsa’s rare western is sweep- Mono • Disc One: 77:05 This reworking of The Painted An early Jerry Goldsmith action- Stereo • 52:53 A stirring symphonic score, The last of the Golden-Age ing, full of melody, and flecked Mono/Stereo Disc Two: 76:08 Veil combines film noir, exotic suspense gem for a Hitchcock- A rare Rózsa’s sci-fi score set in (plus “The Ballad of the Green swashbucklers with alternate, with brooding melancholy. $19.95 Seven composers! $24.95 and epic film scoring. $19.95 styled thriller.. $19.95 post-apocalyptic NYC. $19.95 Berets”). $19.95 unused and source cues. $19.95

 Vol. 5, No. 12  Vol. 5, No 11  Vol. 5, No. 10  Vol. 5, No 9  Vol. 5, No. 8  Vol. 5, No 7  Vol. 5, No. 6 Above and Beyond I Spy The Prodigal Point Blank/The Outfit On the Beach/ The Traveling Executioner ELMER BERNSTEIN HUGO FRIEDHOFER EARLE HAGEN BRONISLAU KAPER / The Secret of Santa Vittoria JERRY GOLDSMITH Film released: 1969 Film released: 1952 TV Produced: 1965-67 Film released: 1955 JERRY FIELDING Film released: 1970 Studio: M-G-M Studio: M-G-M Network: NBC Studio: M-G-M Film released: 1967, 1973 Film released: 1959, 1969 Studio: M-G-M Genre: Drama Genre: WWII Genre: Secret Agent Genre: Biblical Epic Studio: M-G-M Studio: United Artists Genre: Black Comedy Silver Age Classics Golden Age Classics Silver Age Classics Golden Age Classics Genre: Film Noir Genre: Drama, Comedy Silver Age Classics CD released: Aug. 2002 CD released: Aug. 2002 CD released: July 2002 CD released: July 2002 Silver Age Classics Golden Age Classics CD released: May 2002 Stereo • 61:08 Mono • 55:44 Stereo/Mono • 77:57 Stereo • 75:11 CD released: June 2002 CD released: June 2002 Stereo • 39:39 A sweeping Americana score This stirring, progressive score, Five episode scores for ground- Epic features choruses, solos, Stereo • 77:54 Stereo • 70:59 This score touches all the bases, plus and marching includes one of Friedhofer’s breaking series—all OST, not LP source cues and thundering Two tough films based on D.E. Two LP scores reissued on one from bluegrass to avant-garde band source cues. $19.95 greatest main titles. $19.95 recordings. $19.95 symphonic glory. $19.95 Westlake’s crime novels. $19.95 CD, with one bonus cue. $19.95 to full-scale action. $19.95

 Vol. 5, No 5  Vol. 5, No 4  Vol. 5, No. 3  Vol. 5, No 2  Vol. 5, No. 1 n VOLUME 4, No. 20  Vol. 4, No. 19 36 Hours The Man Who Loved Cat Joy in the Morning Logan’s Run Lust for Life Farewell, My Lovely/ Demetrius and the DIMITRI TIOMKIN Dancing BERNARD HERRMANN JERRY GOLDSMITH MIKLÓS RÓZSA Monkey Shines Gladiators Film released: 1964 JOHN WILLIAMS Film released: 1965 Film released: 1976 Film released: 1956 DAVID SHIRE FRANZ WAXMAN Studio: M-G-M • Genre: MICHEL LEGRAND Studio: M-G-M / Studio: M-G-M / Genre: Sci-Fi Studio: M-G-M Film released: 1975/88 Film released: 1954 WWII/Spy Film released: 1973 Genre: Romance Silver Age Classics Genre: Biography Studio: M-G-M Studio: 20th Century Fox Golden Age Classics Studio: M-G-M Golden Age Classics CD released: Feb. 2002 Golden Age Classics Genre: Film Noir/Suspense Genre: Biblical Epic CD released: May 2002 Genre: Western CD released: Mar. 2002 Stereo • 74:18 CD released: Feb. 2002 Silver Age Classics Golden Age Classics Stereo • 66:41 Silver Age Classics Stereo • 46:33 This classic story of a dystopian Stereo • 61:51 CD released: Jan. 2002 CD released: Jan. 2002 A taut, piano-dominated score CD released: Mar. 2002 The complete score: romantic, future gets the royal treatment A favorite score of the compos- Stereo • 73:48 Stereo • 61:51 with an accent on stealth—and Stereo • 65:37 surging with passion and haunt- in this restored, remixed, rese- er, remixed, with bonus alternate Jazzy Noir & rhythmic thrills. $19.95 Spectacular Biblical epic. $19.95 double the length of the LP. $19.95 A rare two for one! $19.95 ing in its use of melody.. $19.95 quenced release! $19.95 cues and more. $19.95

 Vol. 4, No. 18  Vol. 4, No. 17  Vol. 4, No. 16  Vol. 4, No. 15  Vol. 4, No. 14  Vol. 4, No. 13  Vol. 4, No. 12 Broken Lance John Goldfarb, The World of Henry Orient The View From Pompey’s The Illustrated Man The Bravados Morituri/Raid on Entebbe Please Come Home! ELMER BERNSTEIN Head/ Blue Denim JERRY GOLDSMITH ALFRED NEWMAN & JERRY GOLDSMITH/ Film released: 1954 JOHNNY WILLIAMS Piano Concerto by K. Lauber ELMER BERNSTEIN/ Film released: 1969 HUGO FRIEDHOFER DAVID SHIRE Studio: 20th Century Fox Film released: 1965 Film released: 1964 BERNARD HERRMANN Studio: Warner Bros. Film released: 1958 Films released: 1965/77 Genre: Western Studio: 20th Century Fox Studio: United Artists Films released: 1955/1959 Genre: Sci-fi/Anthology Studio: 20th Century Fox Studio: 20th Century Fox Golden Age Classics Genre: Comedy Genre: Comedy/Drama Studio: 20th Century Fox Silver Age Classics Genre: Western Genre: WWII/Docudrama,TV CD released: Dec. 2001 Silver Age Classics Silver Age Classics Genre: Drama CD released: Sept. 2001 Golden Age Classics Silver Age Classics Stereo • 38:41 CD released: Dec. 2001 CD released: Nov. 2001 Golden Age Stereo • 42:02 CD released: Sept. 2001 CD released: Aug. 2001 Disney’s workhorse composer Stereo • 71:32 Stereo • 40:32 CD released: Nov. 2001 One of Jerry Goldsmith’s most Stereo (w/ some mono) • 69:34 Stereo (Morituri)/ from the ‘30s goes West. $19.95 Wacky Arab go-go music! $19.95 Bernstein’s “second-best” score Stereo • 75:15 haunting sci-fi creations. $19.95 Two scoring legends collaborate Mono (Entebbe) • 57:50 for children, sounds great! $19.95 Two films by Philip Dunne. $19.95 for a rich western score. $19.95 Suspense! Action! Exotica! $19.95

To Order Call Toll Free: 1-888-345-6335 Mon.-Fri. 10:30 a.m. - 5 p.m. EST / FAX: (540) 635-1154 • Go Online At: www.filmscoremonthly.com  Vol. 4, No. 11  Vol. 4, No. 10  Vol. 4, No. 9  Vol. 4, No. 8  Vol. 4, No. 7  Vol. 4, No. 6  Vol. 4, No. 5 The Best of Everything Voyage to the Bottom Between Heaven and Hell/ /Ace Eli and A Man Called Peter The French Connection/ The Egyptian ALFRED NEWMAN of the Sea Soldier of Fortune Rodger of the Skies ALFRED NEWMAN French Connection II ALFRED NEWMAN & Song by Newman & PAUL SAWTELL HUGO FRIEDHOFER JERRY GOLDSMITH Film released: 1955 BERNARD HERRMANN . & BERT SHEFTER Films released: 1956/55 Films released: 1969/73 Studio: 20th Century Fox Films released: 1971/75 Film released: 1954 Film released: 1959 Song by Russell Faith, Studio: 20th Century Fox Studio: 20th Century Fox Genre: Religious/ Biography Studio: 20th Century Fox Studio: 20th Century Fox Studio: 20th Century Fox Film released: 1961 Genre: WWII/Adventure Genre: Sitcom / Americana Golden Age Classics Genre: Police Thriller Genre: Historical Epic Genre: Drama/Romance Studio: 20th Century Fox Golden Age Classics Silver Age Classics CD released: June 2001 Silver Age Classics Golden Age Classics Golden Age Classics Genre: Sci-fi/Irwin Allen CD released: July 2001 CD released: June 2001 Stereo • 58:14 CD released: May 2001 CD released: May 2001 CD released: Aug. 2001 Silver Age Classics Stereo • 73:00 Mono (Room 222)/Stereo & Biopic receives rich, reverent, Stereo & Mono (I)/ Stereo • 72:06 Stereo • 71:14 CD released: July 2001 A moody war thriller, and an Mono (Ace Eli) • 71:37 melodic score; complete. Stereo (II) • 75:01 The original stereo tracks Newman’s last Fox score. $19.95 Stereo • 55:55 $19.95 exotic, melodic jewel. $19.95 Two light and lyrical scores. $19.95 including source music. $19.95 Two classic cop thrillers. $19.95 resurrected! $19.95

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 Vol. 4, No. 2  Vol. 4, No. 1  VOLUME 3, No. 10  Vol. 3, No. 9  Vol. 3, No. 8  Vol. 4, No. 4  Vol. 4, No. 3 How to Marry a Millionaire Conquest of.../Battle for Beneath the 12-Mile Reef The Stripper/Nick Quarry From the Terrace Untamed ALFRED NEWMAN & the BERNARD HERRMANN JERRY GOLDSMITH ELMER BERNSTEIN FRANZ WAXMAN JOHN WILLIAMS CYRIL MOCKRIDGE /LEONARD Film released: 1953 Film released: 1963/68 Film released: 1960 Film released: 1955 Film released: 1974 Film released: 1953 ROSENMAN/LALO SCHIFRIN Studio: 20th Century Fox Studio: 20th Century Fox Studio: 20th Century Fox Studio: 20th Century Fox Studio: Warner Bros./20th Studio: 20th Century Fox Film released: 1972/73 Genre: Adventure Genre: Drama /Action,TV Genre: Drama Genre: Historical Adventure Century Fox Genre: Comedy/ Romance Studio: 20th Century Fox Golden Age Classics Silver Age Classics Golden Age Classics Golden Age Classics Genre: Disaster/Irwin Allen Golden Age Classics Genre: Sci-fi/Fantasy CD released: Feb. 2001 CD released: Jan. 2001 CD released: Dec. 2000 CD released: April 2001 Silver Age Classics CD released: Mar. 2001 Silver Age Classics Stereo • 55:06 Stereo (Stripper)/ Stereo • 71:27 Stereo • 65:43 CD released: Apr. 2001 Stereo • 70:03 CD released: Feb. 2001 Premiere release of original Mono (Quarry) 73:35 Soaper features tuneful, roman- A thrilling adventure score in Stereo • 75:31 Period songs adapted as Stereo & Mono (Conquest)/ stereo tracks, albeit with minor Early Goldsmith feature w/bonus tic score; Rich Americana, sen- first-rate sound. $19.95 Premiere CD release, doubled in instrumental underscore. 19.95 Stereo (Battle) • 74:44 $19.95 deterioration. $19.95 tracks)— plus a TV rarity. $19.95 sitive romantic themes. $19.95

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 Vol. 3, No. 7  Vol. 3, No. 6  Vol. 3, No. 5  Vol. 3, No. 4  Vol. 3, No. 3  Vol. 3, No. 2  Vol. 3, No. 1 Batman The Undefeated/ Hombre A Guide for the Tora! Tora! Tora! Beneath the Planet Take a Hard Ride HUGO MONTENEGRO/ Married Man JERRY GOLDSMITH of the Apes JERRY GOLDSMITH Theme by JOHNNY WILLIAMS Film released: 1970 LEONARD ROSENMAN Film released: 1971 Film released: 1975 Film released: 1966 Films released: 1969/67 Title Song Perf. by The Turtles Studio: 20th Century Fox Film released: 1970 Studio: Warner Bros. Studio: 20th Century Fox Studio: 20th Century Fox Studio: 20th Century Fox Film released: 1967 Genre: WWII Studio: 20th Century Fox Genre: Sci-fi/Fantasy Genre: Western Genre: Adventure/Camp Genre: Western Studio: 20th Century Fox Silver Age Classics Genre: Sci-fi/Fantasy Silver Age Classics Silver Age Classics Silver Age Classics Silver Age Classics Genre: Comedy CD released: May 2000 Silver Age Classics CD released: Mar. 2000 CD released: Feb. 2000 CD released: Nov. 2000 CD released: Sept. 2000 Silver Age Classics Stereo • 54:45 CD released: Apr. 2000 Stereo • 65:39 Stereo • 46:38 Mono • 65:23 Stereo • 72:33 CD released: July 2000 Score balances aggressive Stereo • 72:37 Sci-fi classic features one-of-a- Strange “blaxploitation,” west- Holy Bat-tracks! 1966 feature A Western two-fer: one brash, Stereo • 73:10 action with avant-garde Complete film score plus LP re- kind symphonic/pop fusion, and ern gets wonderful symphonic expands TV themes. $19.95 one quiet—both gems. $19.95 “Johnny”’s best comedy! $19.95 effects. $19.95 recording and FX tracks. $19.95 unforgettable themes. 19.95 score, great main theme. $19.95

 VOLUME 2, No. 9  Vol. 2, No. 8  Vol. 2, No. 7  Vol. 2, No. 6  Vol. 2, No. 5  Vol. 2, No. 4  Vol. 2, No. 3 The Flim-Flam Man/ Rio Conchos / The Comancheros Prince of Foxes Monte Walsh Prince Valiant JERRY GOLDSMITH Leave Her to Heaven ELMER BERNSTEIN ALFRED NEWMAN JOHN BARRY FRANZ WAXMAN JERRY GOLDSMITH Film released: 1964 ALFRED NEWMAN Film released: 1961 Film released: 1949 Film released: 1970 Film released: 1954 Films released: 1967/1975 Studio: 20th Century Fox Film released: 1950/45 Studio: 20th Century Fox Studio: 20th Century Fox Studio: CBS Studio: 20th Century Fox Studio: 20th Century Fox Genre: Western Studio: 20th Century Fox Genre: John Wayne/Western Genre: Historical Adventure Genre: Western Genre: Historical Adventure Genre: Drama/Americana Silver Age Classics Genre: Drama Silver Age Classics Golden Age Classics Silver Age Classics Golden Age Classics Silver Age Classics CD released: Dec.1999 Golden Age Classics CD released: Sept.1999 CD released: July 1999 CD released: June 1999 CD released: May 1999 CD released: Jan. 2000 Mono/Stereo (combo) • 75:28 CD released: Nov. 1999 Stereo • 47:44 Stereo • 46:39 Mono (1 track. in stereo) 61:51 Stereo • 62:17 Stereo (Flim-Flam)/ Presented complete (55:43) in Mono (2 trks. in stereo) • 44:19 Elmer Bernstein’s first score “Lost” historical adventure gets Revisionist western gets vintage Colorful 1954 adaptation of the Mono (Sooner) • 65:20 mono, with some cues repeated Eve is a true classic: Heaven is for John Wayne is a western exciting, robust score, mixed in Barry score 20 years before epic comic strip features stirring An Americana duo. $19.95 in stereo. $19.95 brooding film noir. $19.95 gem. $19.95 stereo. $19.95 Dances With Wolves. $19.95 score a là Star Wars. $19.95

To Order Call Toll Free: 1-888-345-6335 Mon.-Fri. 10:30 a.m. - 5 p.m. EST / FAX: (540) 635-1154 • Go Online At: www.filmscoremonthly.com SOLD OUT! Sorry, all gone...

 Vol. 2, No. 2  Vol. 2, No. 1  VOLUME 1, No. 4  Vol. 1, No. 3  Vol. 1, No. 2  Vol. 1, No. 1  FSM-80125-2 Patton/ The Return of Dracula/ The Paper Chase/ Stagecoach/The Loner Mad Monster Party The Flight of the Phoenix JERRY GOLDSMITH I Bury the Living/ LEONARD ROSENMAN The Poseidon Adventure JERRY GOLDSMITH MAURY LAWS JERRY GOLDSMITH/ Film released: 1969 The Cabinet of Caligari/ Film released: 1966 JOHN WILLIAMS Film released: 1966/1965 Film released: 1998 Studio: 20th Century Fox Mark of the Vampire Studio: 20th Century Fox Film released: 1973/72 Studio: 20th Century Fox Studio: Rankin/Bass Film released: 1970/65 Genre: Western Genre: Sci-fi Studio: 20th Century Fox Genre: Western (film/TV) Genre: Animagic Studio: 20th Century Fox Silver Age Classics Films released: 1958/58/62/57 Silver Age Classics Genre: Drama/Disaster Silver Age Classics Percepto/Retrograde Records Genre: WWII/ Adventure CD released: Mar. 1999 Studio: UA/ 20th Century Fox CD released: Sept. 1998 Silver Age Classics CD released: May 1998 CD released: 1997 Silver Age Classics Stereo/Mono (combo) • 77:08 Genre: Horror • Silver Age Stereo • 47:28 CD released: July 1998 Stereo (Stagecoach)/ Stereo 36:48 CD released: April 1999 Full of Mexican colors and gut- CD released: Jan. 1999 • Mono Sci-fi classic gets imaginative, Stereo/Mono (combo) • 75:53 Mono (Loner) • 45:25 30th Anniversary edition score Stereo • 76:24 tural action. CD presents two Disc One: 61:06 Disc Two: 73:20 avant garde score; a signature Two scores plus the Main Title Film score plus TV theme and features vocals by Boris Karloff Two OSTs on one CD. $19.95 versions of score. $19.95 2-CDs of creepy music. $29.95 work. $19.95 to Conrack (1974). $19.95 two episode scores. $19.95 & Phyllis Diller. $16.95

 FSM-80124-2  FSM-80123-2 RARE VIDEO! Basil Poledouris: His Life and Music Deadfall The Taking of Pelham 1-2-3 Visit with the composer of Conan the Barbarian, Big Wednesday and JOHN BARRY DAVID SHIRE Lonesome Dove. Tour his personal and professional worlds, from composing Film released: 1968 Film released: 1974 to sailing. The 50 minute video includes footage of Basil conducting and at Studio: 20th Century-Fox Studio: M-G-M work on Starship Troopers, as well as dozens of behind-the-scenes and Genre: Heist caper Genre: Thriller family photos, and appearances by wife Bobbie and daughter Zoë. Discover Retrograde Records Retrograde Records the man behind the music, in a way you’ll never see on TV, or experience in CD released: 1997 CD released: 1996 print. Specify NTSC (U.S.) or PAL (European) $19.95 Stereo 40:23 Stereo & Mono • 30:55 $16.95 $16.95 Books for Music Lovers...Going, Going—Got YOURS? Film Score Monthly is liquidating its stock of film score books. While they aren’t necessarily going out of print, they soon won’t be available here. So what are you waiting for? It’s time for

The Score: Interviews with Film A Heart at Fire’s Center: The Life and Music of U.S. Soundtracks on CD: Scores for Motion Composers Bernard Herrmann by Steven C. Smith Pictures and TV 1985-1999 by Michael Schelle The most influential film composer of all time, Price Guide by Robert L. Smith Q&As with Barry, Bernstein, Blanchard, Herrmann (1911-1975) was as famous for his musical FSM’s market-standard price guide contains 2,400+ Broughton, Chihara, Corigliano, Howard, Isham, passion as his bad temper. This hard-to-find 1991 book album titles with stats, collectibilty data and estimated Licht, McNeely, T. Newman, Shaiman, Shore, is his definitive biography, covering his film, television, values—annotated to differentiate originals, reissues, Walker and C. Young. radio and concert work as well as his personal life. It’s commercial albums and promos. Vineyard Haven LLC, Silman-James Press, 432 pp., a brilliant and probably the best film com- 154 pp., softcover. $17.95 softcover. $19.95 poser biography ever written. University of California Press. 416 pp., hardcover. $39.95

The Music of Star Trek: Stu Who? Forty Years of Navigating the Profiles in Style by Jeff Bond Memoirs of a Famous Composer— Minefields of the Music Business by Stu Phillips The history of Star Trek scores, from 1966 thru Nobody Ever Heard Of by Earle Hagen Stu Phillips’s career encompasses groovy cult 2000. With interviews of composers Goldsmith, Composer Hagen (b. 1919) played with films and virtually every Glen Larson TV show ever Courage, Fred Steiner, Fried, Ron Jones, Benny Goodman; worked under Alfred Newman at produced. Stu Who? is his candid, breezily told McCarthy, Chattaway and others; music written 20th Century Fox; and composed for thousands of memoirs full of exciting stories from the worlds of for four TV series; a guide to score tracking; hours of television (including I Spy, The Mod Squad arranging, music directing, record producing, and manuscript excerpts; and several cue sheets. and The Andy Griffith Show) and authored two film and TV scoring. Published Cisum Press, 304 pp., Lone Eagle Publishing. 224 pages, softcover, books on film composing. This is Hagen’s own story. hardcover, illustrated. $29.95 illustrated. $17.95 Xlibris Corporation. 336 pages, hardcover. $34.95

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To Order Call Toll Free: 1-888-345-6335 Mon.-Fri. 10:30 a.m. - 5 p.m. EST / FAX: (540) 635-1154 • Go Online At : www.filmscoremonthly.com (continued from page 35) Revolutionary War. If all the is wonderful, with Spacey must do to keep her man. clues are historically accurate, backed up by a huge orchestra. One of the most sexist odes to then parts of the movie are He especially gets it right in male biology ever written (and actually fascinating. But with all the jazzy “Charade,” the lovely fully reflecting its 1964 origins), the Bruckheimer touches, from “Dream Lover” and the swinging it constitutes the perfect hymn the excruciatingly unfunny side- title number. His liberties with to the two male characters in kick, to the crazy set pieces (this “Mack the Knife,” however, Sideways: Jack, who is determined one underground in New York), are distracting, and “Splish to use all his condoms before and the hyperactive score by Splash” should never be sung the end of the road trip, which Trevor Rabin, the movie, how- by a 40-year old, even if he’s is the week prior to his wedding; ever polished, is an overblown, pretending to be 22. The CD is and Miles, who steals from his senseless mess. mostly Spacey, but there are also mother, talks his way into a Rabin’s music should not be cameos by William Ullrich, who woman’s bed with a paean to a surprise to anyone who has portrays Darin as a kid (how viticulture, and gets drunk and heard any of his other scores generous of Spacey to not play a harasses his ex-wife. for the Bruckheimer franchise 10-year old), and Brenda Blethyn With its muted horns, piano, like Gone in Sixty Seconds and as his mother. bongos and vibes, the score Armageddon. Pulsating and Spacey wasn’t content to immediately conjures up images adrenaline-dripped, Rabin’s have his impersonation of of Playboy and silk pajamas—or music is now clichéd, although Darin merely on film and CD. perhaps The Pink Panther. And it certainly is true to the movie’s He also went on the road with like Inspector Clouseau, the vision: that nothing is too big. his Darin charade, creating a sophistication of Jack and Miles The first track on the CD is called concert experience for the casino is entirely superficial, so the cool “National Treasure Suite,” which circuit as well as smaller venues. jazz provides a deeply satisfying is strange since the movie has I didn’t see any of these shows, contrast to these two would-be no real thematic material. My but they couldn’t have been any lotharios, with their expanding favorite past Rabin score is Deep more vacant or less informative waistlines, foot deodorant and Blue Sea, if only for the melodic than the movie on which they aging convertible. The irony of cue, “Aftermath.” Nothing in were based. —C.W. the music in the context of the National Treasure comes close film itself is easy to miss; it is to being that memorable. The La Mala Educación (Bad so quietly inserted that it only guitar-driven cue “The Chase,” Education)  appears with repeated viewing for example, could be dropped and listening. Perhaps that’s into any other Bruckheimer makes the timeline of the movie Sony SK 93551 another reason why Sideways action sequence, without harm confusing since Spacey hardly 26 tracks - 59:20 has garnered so many awards to the movie or the music. changes looks between the start n his latest film, Pedro and nominations, namely that Rabin does use an interesting and the height of Darin’s career IAlmodóvar explores the taboo it contains an ingredient usually Thomas Newman-esque piano (thankfully, Spacey does wear subject of sexual abuse of young lost on Hollywood— ditty that appears every so often a mustache as the elder Darin). boys by priests. Almodóvar is subtlety. —Andrew Kirby and livens up the listening This is especially distracting since directors who experience. But unless you’re a huge plot twist at the end of invites you into the worlds of 1 National Treasure  ⁄2 on a long, night-time car trip in the movie relies so much on bizarre people who end up TREVOR RABIN need of a NoDoz, this CD serves physical appearances. being transformed in unique Walt Disney 62493-2 no practical purpose. —C.W. If Spacey wanted to make a ways. The director makes you 12 tracks - 38:43 true biography of Darin (more uncomfortable, but has such a roducer Beyond the Sea  on the order of the recent Ray), visual flair that you are drawn in Pcan turn any script into VARIOUS he would have fired himself as to his characters. His composers one of his over-the-top, action- ATCO/Rhino R2 78444 lead and hired up-and-coming have the difficult job of trying to adventure extravaganzas. Just 18 tracks - 53:11 crooner Peter Cincotti (who soften or bridge the gap between witness National Treasure, which eyond the Sea is a van- has a minor role as Darin’s his vision and the viewer. could have been an interesting Bity project of an ego gone accompanist) to play Darin Alberto Iglesias has been Hardy Boys type of mystery, but unchecked. How else to explain instead. As it is, this is a well- Almodóvar’s composer of instead is turned into Ocean’s first-time director Kevin Spacey intentioned but historically choice for his last five films. The Eleven meets Raiders of the Lost (at age 46) hiring himself to play muddled bio-pic more akin to opening titles of Bad Education Ark by way of Enemy of the State. his longtime idol: singer, actor the messy Cole Porter De-Lovely (21 score tracks - 46:07) have plays Ben Franklin and teen-heartthrob Bobby from earlier this year. Iglesias recreating the sound Gates, a history buff whose Darin, who died at age 37? The The only selling point of of Herrmann from North by family has always been chas- conceit is that the dying Darin is the movie is that Spacey Northwest mixed in with a little ing an elusive treasure that the making a movie about his life, does a pretty good job aping Psycho. There’s more interesting founding fathers hid during the playing himself throughout. This Darin’s singing voice. The CD material in one minute of this

FILM SCORE MAGAZINE 41 JANUARY/FEBRUARY 2005 SCORE piece than one often finds in an the old Alan Partridge movies. entire score. The string writing The plot concerns Simon in “Cine Olimpo” may remind Garden, the parole officer of the you of Franz Waxman, before title, who is framed for a murder it moves into a soaring melody he witnesses. The only way to that’s pure Iglesias. He has a clear his name is to steal a video way of writing wonderfully of the murder that is currently compact melodic ideas filled under lock and key at the local with an intensity unequaled by bank. To accomplish this feat, many of his contemporaries. he recruits some ex-cons of his “Noche Oscura” is another acquaintance and hilarity and example of a small amount of mayhem ensue. material being stretched into muscular action writing found bass/celli accompanied by a This is a tongue-in-cheek something emotionally tense. in the aforementioned trilogy, or bi-tonal violin/piano line gets a production, with dashes of The This building and release of the eerie avant-garde textures little too close for comfort. While Italian Job and recent Hollywood tension is trademark Iglesias, and contained in the composer’s hor- this motif does show up in other heist movies thrown in for good here it again takes on more of a ror fare, The Unsaid is a dramatic, tracks on the disc, it is gener- measure, and to score this brisk Herrmann-esque quality. emotive score. ally presented in a way that is, comedy, the director turned to Several source pieces that “Main Title” introduces the fortunately, much less evocative relative unknown . appear in the film also make the prominent thematic material of Newman’s theme. Knowing Heffes has slowly been making disc. One is the 1963 recording that Davis will vary throughout that most composers have to a name for himself with his of “Quizás, Quizás, Quizás” by the course of this beautiful work. deal with the temp-score hurdle, recent work on the documentary Sara Montiel that has to be one The melody brings to mind the it doesn’t completely mar the One Day in September and the of the most sultry recordings folk harmonies found in many overall enjoyment and original- exceptional Touching the Void. The this famous little Fares song has of Thomas Newman’s scores. ity of Davis’ work. Parole Officer shows that these ever had. She is also heard in But make no mistake; this is not I always find that the best film efforts were not a fluke and that another song recorded that year, second-generation film music. scores have their own narrative he is definitely a name to watch “Maniquí Parisien.” A gorgeous Davis has his own compositional logic, inviting the listener into in the coming years. newly recorded performance technique. Much of the music the world they’ve been written I make that bold claim of a Rossini “Kyrie” gives a little centers on piano and string to accompany. To Davis’ credit, because of how well Heffes contextual music and does not orchestra, the latter playing his score summons up enough matched the movie’s tone, feel at all out of place in its muted in the opening tracks, images that someone who hasn’t even though he made unusual positioning on the disc. Also lending a soft, ethereal tone. seen the film can still appreciate scoring choices. Most composers appearing is a little 1967 pop Standout tracks include “The the dramatic arc of the music. would have approached this rock number, “Cuore Matto,” Opening,” with its plaintive By the time the listener gets to project with either humdrum sung by Little Tony. Finally, presentation of the main theme, “Tommy and Mommy,” Davis action writing or off-kilter there’s an unusually poignant and “Kyle Denial,” containing has built things to a fever pitch slapstick writing that would performance of Mancini’s “Moon expansive block string/piano with a thunderous variation of not hold together outside the River” (in Spanish) with a young chords, a technique found in the main theme that shows off project. Heffes pokes fun at boy, Pedro Martínez, singing the works of such 20th century the composer’s orchestration these conventions while crafting with guitar accompaniment. Polish composers as Kilar and prowess. a unified work. The main title, Iglesias was nominated for Gorecki. The soundtrack presentation presented in “Theme From the the “Soundtrack Composer of Speaking of which, “Tommy by Prometheus is first rate—great Parole Office,” would not have the Year” at this year’s World Turbulence” and “Harry’s Little sound, an excellent performance been out of place in an Elmer Soundtrack Awards, and his Secret” do have some unsettling by the Utah Symphony Bernstein western in the 1960s. It score was nominated as well. string parts suggesting that Orchestra, generous running is bold, using brass, strings and There is a lot to admire on this all is not well in this story. time, and most of all, an piano to create the asymmetric album, and if you are attracted The latter of the two contains opportunity to hear Davis’ full swagger familiar from Bernstein, to noir-ish film music this is effective lower string writing compositional range. —D.C. or even ’s ballets. worth your attention. —S.A.K. that recalls Ennio Morricone’s Heffes then uses that theme as classic The Thing. This serves as The Parole Officer  the basis for almost every other The Unsaid  a nice contrast to the abundant ALEX HEFFES theme in the score. He pares it lyricism on a majority of the Harkit HRKCD 8093 • 20 tracks - 34:43 down for a beautiful love theme Prometheus PCD-156 tracks. lex Heffes’ The Parole Officer in “I Like Your Knees,” pumps 19 tracks - 53:33 I have one minor issue with Ais a clever, extraordinarily it up by adding electronics and or fans of Davis’ seminal the score. “Kyle’s Little Secret” unified score that comes as a a strong beat in an imitation FMatrix scores, the music for sounds as though the director welcome distraction as we enter of the Bruckheimer sound in this 2003 Andy Garcia thriller fell in love with The Shawshank into the doldrums of winter. “Car Chase,” and even uses it as will be a bit of a surprise, and a Redemption. A foreboding four- The movie itself is a broad a lead in to Wagner’s “Ride of pleasant one at that. Unlike the note alternating motif in the British comedy in the manner of the Valkyrie” in one particularly

JANUARY/FEBRUARY 2005 42 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 43 JANUARY/FEBRUARY 2005 SCORE over-the-top moment. These choices all work, even though on first glance you Gameboys Attack might think they wouldn’t. And they are given an infectious Halo 2: Volume One  energy by the rawness of the MARTIN O’DONNELL AND MICHAEL SALVATORI sound, something achieved by Something Else SE-2013-2 happenstance when the entire 21 tracks - 69:28 score had to be recorded in a day. Sometimes, however, Heffes THIS VIDEOGAME SOUNDTRACK, PRODUCED BY , USES THE SAME does go a little too far. In cues techniques as film soundtrack albums—that is, a series of “inspired by” works are like “It’s Kirsty!,” which would mixed in with the material written specifically for the game. The opening of the sound perfectly in place in an disc has a wordless male chorus in a kind of false Renaissance chant mode that soon moves into a pure rock number Austin Powers movie, he manages featuring guitarist Steve Vai. It is a kind of cross between Tangerine Dream and the Trans-Siberian Orchestra. The rest of a parody of a parody. By giving the disc is filled out with selections performed by Breaking Benjamin, Incubus and a “bonus cut” featuring . a knowing wink in the score, Incubus performs a four-movement work that is split throughout the disc and was written exclusively for the album. These Heffes wants to be providing are massive four- to-nine-minute tracks of varying interest. The others have all contributed new songs. That should give you ironic commentary on the state an idea of the primary audience. of action scoring, but it’s so The non-rock material is composed by Martin O’Donnell and Michael Salvatori, who also co-wrote the music for Halo: obvious that it only serves to Combat Evolved. The first cue, “Peril” sounds like it was produced by a high-end synthesizer, but the booklet says it is distract. —Andrew Granade “orchestrated and conducted,” so I could be wrong. It’s fairly standard underscore with a kind of Thomas Newman edge to it. The choral sounds created in “Ghosts of Reach” are interesting but nothing extraordinary. The titles of the individual tracks Mary Poppins (1964) no doubt go with some specific scene in the game, but most of them sound pretty interchangeable. There are standard  little rhythmic ideas with punctuated low string sounding chords—lots of little motivic loops that are all but required by this RICHARD AND sub-genre. ROBERT SHERMAN If you enjoy a more drum-heavy, rock sound you will be more than happy listening to much of this disc. Most of the Walt Disney 61202-7 time, I waited patiently for something ... anything, to happen. At best, the score sounds like something out of the early Disc One: 28 tracks - 79:48 Media Ventures days. Again, the music may be a step above the standard pulsating noise that accompanies some Disc Two: 23 tracks - 74:43 game play, but it does not have musicality enough to truly stand on its own. Then again, perhaps it was never intended ary Poppins seems pretty to do so. —S.A.K. Mspry for being 40 years old. Released in 1964, Mary Poppins Headhunter/Headhunter Redemption  was a huge hit for Disney and was nominated for 13 Oscars, La-La Land 1023 winning five, including two Headhunter: Redemption (Disc One): 26 tracks - 66:44 for music. Richard and Robert Headhunter (Disc Two): 22 tracks - 66:19 Sherman’s songs have become standards, with the made-up EARLY IN 2004 LA-LA LAND RELEASED MICHAEL GIACCHINO’S SECRET WEAPONS word, “Supercalifragilisticexpia- Over Normandy, which I really enjoyed. Now here comes another eagerly awaited lidocious” actually making it into videogame soundtrack in their ever-growing catalog, this time from the Headhunter the dictionary. In 2004, Disney series. Richard Jacques is fast becoming a well-respected name in the videogame released a special 2-DVD industry with his bar-raising work on Headhunter, for which he received the 2002 Game version of the movie, and for Audio Network Guild Recognition Award at the Game Developer’s Conference in March 2003. Game Industry News nominated the occasion, they have also Headhunter for its 2002 Soundtrack of the Year. This two-disc collection features the score from the original game and the score released an extended soundtrack for the newest game release in the series. with extended songs, score and I’ll start with the second disc, which is devoted to music from Headhunter (2002). This score is known for being one of the on a separate disc, recordings first to use a world-class recording studio along with an orchestra more noted for its work in the film world. The music here is a from story meetings between the delightful mix of action cues and wonderful lyrical reposes. The music of “Jack’s Theme” is as good as Arnold’s contributions to Sherman Brothers, P.L. Travers the recent Bond scores. A lot of orchestral details can be heard in this track. It features a kind of pop Baroque orchestral sound, (writer of the original books) and a little techno beat, great string writing, and an extra flute line that floats above and around the music. screenwriter Don DaGradi. The opening of Headhunter: Redemption features a brooding horn solo that recaps the primary thematic idea of the earlier Does a children’s movie really score. The synthetic sound reproduction here is unbelievable, and, to the credit of the production, a list of the samples used in deserve this much scrutiny? If the score is provided. Even though a “live” orchestra is not used, you’d be hard-pressed to figure that out on your own in many it’s as popular and beloved as of the tracks. This music has more electronics than its predecessor, but it’s all well-integrated into the overall sound of the music. Mary Poppins, yes. First, there is “MIG Encounter” has perhaps the most “game-ish” sound of the lot, but even this is far superior to similar game music. This dual a plethora of unreleased music release is highly recommended for fans of this genre, though sitting through both discs in a row may not be the best way to enjoy that wasn’t part of the 2001 them. —S.A.K. CD soundtrack release. From The album can be ordered from a number of outlets including the label’s site, www.lalalandrecords.com. the full versions of “Pavement You can learn more about the composer at his website, www.richardjacques.co.uk. Artist,” with the first appearance

JANUARY/FEBRUARY 2005 42 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 43 JANUARY/FEBRUARY 2005 SCORE SCORE of the Oscar-winning song of variations on her Grecian theme. “Chim-Chim--ee,” to the The same can be said of The six-minute extended version Weeping Meadow, her latest score of that song later in the movie, for Angelopoulos. Her music is the expanded album contains a hypnotic and enchanting, sad wealth of treasure. It would have and wistful, but also moving. been nice, however, to also get a The movie, seen at the recent sampling of “Chimpanzoo,” one Toronto Film Festival, is the first of the deleted songs featured of a trilogy that may turn out on the DVD. But the real joy to be thematically similar to the of the new release is that the Three Colors series by Krzysztof wonderful and whimsical score Kieslowski. With the backdrop by the Sherman Brothers is childhood nanny. There are also new generation. And that’s just of World War II and the Greek finally available, especially the occasional snippets of singing of supercalifragilisticexpialidocious Civil War, Angelopoulos tells the carousel chase and penguin the songs, including some that —C.W story of a young woman’s love dance during the imagination were eventually cut. for her musician husband, and 1 sequence in the pavement The disc continues with The Weeping Meadow  ⁄2 her life in 20th-century Greece. painting. Accolades all around a nice interview with the ELENI KARAINDOU Hopefully, the movie will get a to the special edition producer stars and creators (including ECM New Series 1885 B0002715-02 wider release, but at almost three Randy Thornton. orchestrator ) from 16 tracks - 44:05 hours in duration, it will be a I haven’t seen the 2-Disc DVD a radio program, and finally a hen the discussion of hard sell. with all the bonus materials, reminiscence by the Sherman Wwomen composers comes Fortunately, ECM New Series but the second CD includes Brothers about writing the score. up, one rarely hears the name has made the score available. the equivalent audio bells and This is all fascinating archival Eleni Karaindou, a Greek com- Of all recent fare, The Weeping whistles. The most substantial material that may not be worth poser known mostly for her Meadow most resembles James portion of the second disc listening to more than once, but collaboration with legendary Newton Howard’s The Village, is handed over to a story is great to have preserved. director Theo Angelopoulos. I as both scores have prominent meeting with P.L. Travers, who This only the beginning of first heard of Karaindou when violin solos and an earthy folk reads part of the script while the renewed interest in Mary she scored the best known of feel. Karaindou’s score may stopping every so often to ask Poppins. With the recent opening Angelopoulos’ later films, Ulysses’ sound awfully monotonous to questions and make suggestions, of the London stage production Gaze, which starred Harvey Keitel the casual listener, but she is a like dropping the fact at the and its inevitable transfer to as a Greek filmmaker returning firm believer in the theme and beginning that Mary Poppins Broadway, Mary Poppins will to his homeland. Her score was variation format, which is why may have been Mr. Banks’ indeed be treasured by a whole sparse and repetitive with slight so many cues like “Theme of

THE FRANKIE LAINE DISC MAY HOLD particular interest for film music fans, beyond Saddle the Disc those who simply enjoy Hollywood cowboy songs. Laine somehow managed to pull Roy Rogers—The King of the Cowboys Greatest Hits  these songs up to a new level, and many of BMG Special Products DRC 12311 • 14 tracks - 37:07 his covers were quite popular in their day. I was able to track down the sources for these Frankie Laine—Gunfighter Ballads and Trail Songs  selections to at least three older Columbia Sony Music Custom Marketing Group A 59959 • 14 tracks - 37:06 releases: Call of the Wild, Deuces Wild and Hell Bent for Leather. This CD does include Laine’s TEXAS MOON RECORDS IS DISTRIBUTING SOME CLASSICS BY EARLY COUNTRY version of “The Green Leaves of Summer,” singers. These are two discs that include the best of the Hollywood cowboy singers which Columbia chose not to release after from Roy Rogers’ 1940 RCA Victor recordings and from Frankie Laine’s late-’50s its recording in 1961. Laine’s 1962 cover of and ’60s recordings for Columbia. Though Texas Moon is one of the distributors, “Ghost Riders in the Sky” is also included. this compilation really bears the BMG Special Products imprint. There are two versions each of “Gunfight at the The songs on Rogers’ disc include “Pecos Bill,” “Roll on Texas Moon,” “Yellow O.K. Corral” and “The 3:10 to Yuma.” The later Rose of Texas,” “Don’t Fence Me In” and the ubiquitous “Happy Trails.” Even the versions appeared on the above-mentioned holiday song “Christmas on the Plains” makes an appearance. Some of the releases. Film music fans who’d like a sample selections can be heard on an ASV/Living Era recording from 1999, and a 2002 of John Williams’ work as an arranger might Naxos disc. This one appears to include several that are more difficult to track want to check out this CD, since he was the conductor and arranger on the three down on CD, such as “Old Joe Clark” and “Ricket’s Reel.” Whether or not fans will aforementioned Laine albums. You will not find a lot of Williams’ Hollywood sound want or need to add this to their collections will depend on whether the album will (more apparent in his recordings with Vic Damone), but his involvement brings even fill any holes. more class to these legendary Tiomkin and David-Livingston songs. —S.A.K.

JANUARY/FEBRUARY 2005 44 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 45 JANUARY/FEBRUARY 2005 SCORE Uprooting” and “Waiting” have both his and Cello more than one version on the Concerto. For this disc, he has CD. Like the music of Philip pulled together performances Glass, Karaindou’s score is an from three different orchestras extremely noticeable aspect of (France, Monte Carlo and its film. It is not background Prague) to provide a survey wallpaper, but an important of his work from Maigret, layer in creating a specific mood. beginning from its inaugural Anyone who wants to take a episode in 1991. risk in the small insulated world The opening “Generique” of film music scores should try is instantly likable and this score. —C.W. appropriately spans the kind out more than $20 for this disc. than on the orchestral level used of mystery and humor that’s Footprints in Jazz  —S.A.K. so effectively in X2. Still, one an integral part of the genre can’t fault Ottman too much for of detective fiction and film. 1 Hexacord HCD-22 • 26 tracks - 61:18 Cellular  ⁄2 adhering to the formula of this The inclusion of an accordion/ ootprints in Jazz is a pleas- JOHN OTTMAN genre. bandoneon adds character to Fant surprise. The open- La-La Land LLL-CD 1025 Although it wasn’t a huge each track as well, and after a ing nine tracks are devoted 16 tracks - 57:43 blockbuster, Cellular was a series of brief cues from various to music from a stagework elcome to the 21st-cen- modest hit, which should Maigret episodes, the disc entitled Bellinda e il Mostro. Wtury thriller. Not since portend bigger and better things concludes with an extensive Mario Nascimbene’s music Enemy of the State has technology for La-La-Land Records, which (over 20 minutes) symphonic is a wonderful blend of jazz played as important a part in started out with a small niche suite. sounds of the ’50s and ’60s, an everyday thriller as it does in market of cult scores for sci-fi The music is an intriguing with styles ranging from the Cellular, David R. Ellis’ film about and horror movies. But with this mixture of musical influences big band sound of Glenn Miller, a young man (Chris Evans) who CD and the release of Laws of with strong in French to the lyrical romanticism of gets a call on his cell phone Attraction earlier this year, they Impressionism, so if you enjoy Henry Mancini, to the more from a kidnapped victim (Kim have taken small but important that style of music, this may experimental strains of Duke Basinger). Ellis, who started his steps into the mainstream become a favorite. The disc is Ellington’s jazz suites. The career as a stunt coordinator soundtrack world. —FSM attractively packaged in a first 15 minutes or so of the and then was a second-unit cardboard case that folds out 1 disc will be a great trip down director on such movies as Clear Maigret  ⁄2 with notes by the composer. memory lane for anyone who and Present Danger and Harry Potter LAURENT PETITGIRARD —S.A.K. grew up entranced by lounge and the Sorcerer’s Stone, made a Play Time 5785572 • 14 tracks - 55:02 This CD is available at www.fglmusic.com. jazz. The 10-minute “Suite for a splash with his second feature eorges Simenon’s Maigret 1 Psychological Film” is evidently as director, Final Destination 2. Gis one of the great literary King of the Ants  ⁄2 comprised of bits and pieces For scoring Cellular, Ellis turned detectives, standing alongside BOBBY JOHNSTON from Nascimbene’s film work. to John Ottman, whose prior the likes of Poirot, Sherlock La-La Land LLLCD 1024 The “Rhythmic Suite” is more assignment was the creepy Holmes, Frost and others. There 19 tracks - 34:03 experimental than the other Gothika. have been a multitude of adap- tuart Gordon’s latest film, tracks and has not aged as well. While not groundbreaking tations of these novels, and over SKing of the Ants (2003), made There are also nine “bonus in any way, Ottman’s score is the past decade or so, French TV the rounds of a few film festi- tracks,” the best of which is serviceable and effective, only has produced many telefilms vals before appearing on video the “Homage to Shearing.” The occasionally falling into the featuring the detective played by in April of 2004. Gordon’s most “Stage Suite” and “Rhythmic usual thriller-score clichés. Bruno Cremer. familiar film, Re-Animator (1985), Suite” are marked with a sym- Ottman’s first cue, “Opening/ Laurent Petitgirard has has a big . Other bol denoting “Living Stereo,” Abduction” certainly sets the provided the music for most more recent projects like Fortress suggesting they were previously tone, with a gorgeous full of these films, and now fans (1993) and Dagon (2001) did well released on RCA. orchestra melody in the middle of the series have the pleasure at specialty festivals. Gordon While not a film score disc, that could be a theme for a big of revisiting the music on a is something of a modern-day this is a great album that could epic romance. It is also heard to marvelous disc that collects , creating enter- easily become a guilty pleasure. chilling effect at the beginning themes from several of them. taining independent films on Once again, Hexacord provides of “Lost Connections/Dirty Most of Petitgirard’s work has unusually low budgets. With little to no background on Cops.” While the score has the been in television (with an King of the Ants, he turned to any of the music. One either expected brooding, creepy occasional film to his credit), so Bobby Johnston for the music. has to know from osmosis or section, Ottman excels during he may be somewhat unfamiliar Bobby Johnston is a new spend a great deal of time on the chase sequences. The best is to soundtrack fans. On the other voice in film. At the time he the Internet tracking down the exciting “School’s Out,” even hand, he is an accomplished was hired for this score, he was information. It is a bit much to though it relies too much on musician and composer who still a kindergarten teacher. He ask of customers who may shell the rock-score mentality rather has released a recording of uses all acoustic and “found”

JANUARY/FEBRUARY 2005 44 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 45 JANUARY/FEBRUARY 2005 SCORE

instruments to create his are multi-layered works with sections of guitar background independent feature. But if King unusual sounds. He provided Johnston performing everything solos, high piano melodic lines of the Ants is any indication, music for several short features himself. The music has an urban with rhythmic accompaniment, Johnston should be able to soon before scoring his first film, A sound appropriate to the film’s unusual bell/bottle tones that find a comfortable niche in Little Crazy (2003). This is then his setting. If you can imagine sound like a cross between a larger productions. second feature-length film score. something like Gregson- steel drum and a , and La-La Land is to be The main title track might leave Williams’ score for Spy Game much more. The more traditional commended for allowing this you a bit amazed—it’s refreshing stripped of all its Hollywood drum loops are fortunately music to be heard. The score, to hear real instruments instead gloss, synth patches and drum used less than the experimental however, is relatively brief, with of a lot of synthetic percussion, samples, you’ll begin to get an textures. four minutes devoted to a remix even if you can’t necessarily tell idea of what’s going on here. Johnston is currently at work of the music by the score’s what any of the instruments No single instrument stands on Lee Shallat Chemel’s family studio mastering technician. are! Many of the ensuing tracks out on its own, but there are film, Greener Mountains, another —S.A.K. FSM

the flute.” I said, “Okay.” He says, “Let’s do it on a trumpet.” It’s better for “Dixie” than Memories of Max it over.” I said, “David, there are 85 men, it a fiddle. This is four in the morning. I go (continued from page 25) will cost a fortune.” “Please do it over,” he to bed at six in the morning and sleep four score [“Dixie”] and says, “Max, there’s a flute.” said...“Okay”...“Who can play it?” he asked. or five hours and the doctor comes in with I said, “Yes.” “Why a flute?” I said, “David, “Would you like an oboe?” He said, “What’s the injection and the next night we did it all why not a flute?” He says, “I don’t like the an oboe?” I said, “An oboe sounds like over and I think we spent about two hours flute. Let’s put something else. Who can this,” and I am making the sound over the doing it all over. He was happy...he heard play what a flute plays?” [I said] “Anything phone. it and he said, “Now you’re talking.” Which you want, I think a flute is right, because FSM: [laughs] track is in the picture? you cannot play ‘Dixie’ with a fiddle. Diddle MS:He said, “No, not an oboe.” I said, FSM: The flute? dum dum...diddle diddle dum dum.” He “What would you like it played with then?” MS:Sure...meshuggeneh, those are the few says, “I don’t like the flute. I always hated He said, “A trumpet.” I said, “Okay we’ll play things I remember. To be continued ... 

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JANUARY/FEBRUARY 2005 46 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 47 JANUARY/FEBRUARY 2005 ���������������������������� ������������������ ��������������� ���� ������������������������ ����������� ��������� �������� ������������� ��������� ��������

����� �������� �� SCORE TECH TALK To Remaster or Not to Remaster? Or, Why Is My Collection So Much Louder These Days? By Ian D. Thomas

e always hear about older CDs that are being W newly remastered and it’s not uncommon for people to think that this mysterious pro- cess must improve the original. In fact, record-label marketing departments bet on that impres- sion. But what is mastering, any- way? And what exactly does the WOW, THAT’S LOUD: Fingersnaps and bomb blasts are all the same thanks to compression technology.

process do to the music? Does sounds perfect, then the only thing to do is bring out the best (or hide the worst) in the mastering always make the sound better, put the tracks in the right order and you’re music. EQ is a powerful tool and, like most or could it actually be damaging precious finished. But this is very rarely the case, as powerful tools, can be highly destructive in recordings? So many questions...let’s see if most recordings can be improved with some the wrong hands. we can clear things up a bit. additional processing. Noise reduction is fairly easy to grasp. Tape hiss or other noises from the production can Heed Thy Master Master of Its Domain usually be dealt with by the mastering engi- Mastering is the final creative step in the It’s important to note that digital audio has neer and removed from the final product. recording chain before manufacturing. In the come quite a way since the early ’80s and the Once again, noise reduction has to be care- old days, the mastering engineer was the guy introduction of the CD. Analog to digital con- fully applied, or it will take some music out who cut the master from which all the LPs verters have steadily increased in accuracy along with the noise! were stamped. Today, mastering engineers and can add quite a bit to the overall sound work largely in the digital domain. Their job quality of transfers from older magnetic tape Dynamic Dynamite is to assure that the musical efforts of the art- recordings. Simply running the tape through Dynamic alteration, in the form of compres- ist make it into the final product. It sounds modern converters can enhance the quality sion, is one of the most heated topics amongst simple enough, but it takes an experienced of an older recording, making a solid argu- mastering engineers today and is changing engineer with the right equipment, and a ment for remastering. But there the way we listen to music. well-trained ear, to make it work properly. are other issues to consider. Try this: Rub two of your There are four key steps to mastering. First The engineer may apply some A short course fingers together. Hear that quiet is the sequencing of the album along with type of equalization, also known rubbing sound? Great. the conversion from an analog format (if the as EQ, to the individual tracks. on mastering, Now, go outside and blow up album was recorded on magnetic tape) to the This can tame resonances or your car. Hear that? Pretty loud. digital domain. Next are two steps that can other rough in the record- remastering This is the basic problem facing be considered “sweetening,” the application ing, but can also be used to bol- any recording engineer. Nature of equalization, as well as control over the ster the bass if needed, or make and knowing has an alarmingly wide range of dynamic range of the recording. Finally, there a vocal sound less murky. Think volumes that somehow need to is the issue of noise reduction, which is obvi- of the two tone controls on your when to say be captured and played back on ously more important for older recordings. stereo. The mastering engineer equipment with a much smaller Ideally, the mastering engineer would do has a much much larger number when. range. The answer to this prob- absolutely nothing. If the original recording of knobs that can be adjusted to lem is compression.

JANUARY/FEBRUARY 2005 46 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 47 JANUARY/FEBRUARY 2005 TECH TALK Compression has been around a very long adds a dramatic exclamation point at the time and is used, in some way, on just about end. On the remastered version, the dynam- every recording. Its original purpose was to ics have changed, with the orchestra getting allow a wider dynamic range to be recorded louder sooner, and maintaining that volume into a smaller space. When done properly, it throughout the ending. Remember, they sounds completely natural, with all of the are both from the same original recording, musician’s intent left intact. yet they will sound totally different. Which But then along came rock ’n’ roll. Soon, would you rather hear? Another downside to those wacky engineers were twisting the over-compression is that raising the level of knobs in all sorts of directions and chang- FIGURE 1: , today and yesterday. the quieter parts will also increase any noise ing the sounds in interesting ways. It’s never like tape hiss, air conditioning, etc. been quite the same since. Compression is Sadly, even films are bowing to the still used to control dynamics, but is also pressure, as directors keep insisting that used today in most rock/pop/rap as a spe- their movies be louder than the last major cial effect. The problem begins when the two blockbuster. Explosions in films used techniques start to blur. to go “tick...tick...BOOM!”; now most go Note: Compression is usually used on “TICK...TICK...BOOM!” And if that’s not bad individual instruments (drums, bass, vocals, enough, even some modern orchestras are etc.) during recording or mixing. But at the adding hidden PA systems to their concert mastering stage, any use of compression will halls so that the musicians can be heard at affect the whole mix. higher volumes. It’s already a loud world out FIGURE 2: A remastered soundtrack (top) and the original. there; do we really need it any louder? The Loudness Wars Figure 1 shows two up-tempo recordings Most mastering engineers are proud of Beginning in the 1990s, mastering engineers from the same popular artist. The upper their profession and are opposed to squash- began to get requests to make albums louder. waveform is from a song recorded in the ing the dynamics from their recordings and Each artist wanted his album to be louder mid ’90s. The lower waveform is from 1981. cranking the volume. But ultimately, it’s the than the other guy’s album. Since the digital Notice the difference? The overall volume of customer’s choice. There is a historical per- audio format has an absolute volume ceiling, the newer song, represented by the vertical spective to consider: The original tapes of above which you cannot get any louder, how axis, is almost constant. The blocky look of many famous recordings are disintegrating, do you make it sound louder? The answer is the waveform indicates a recording that has and mastering these recordings one last time to heavily compress the whole song. Make been severely compressed—this is one loud can save them for future generations, but not the softer parts as loud as the loudest parts CD! Note that the lower waveform has a little if we alter them drastically. Unfortunately, and the whole song will sound much louder. variation to it. Overall, it is quieter, but there once a recording is overcompressed, there’s The downside to this techniques is that the is also more movement to the dynamics. The no way to undo the damage. And if the mas- dynamic nuances of are lost race to be the loudest has left the rock/pop/ ter tape is gone, then all you have left is a for good. That might be fine for the Red Hot rap trenches and is marching on toward clas- shadow of the original. Chili Peppers, but what about film scores and sical and soundtrack albums. So, next time you buy a re-release of a classical music? Getting back to our com- Figure 2 shows a remastered film favorite album that’s been remastered, hang parison, imagine if the sound of your fingers soundtrack with the original release below it. onto the old version and compare them rubbing together were as loud as the sound The remastered version is definitely louder, before you toss the original one into the of your car being destroyed. The idea doesn’t but notice the final crescendo. On the origi- trash. It may actually be the better sound- sound very pleasant, does it? nal recording, the orchestra slowly builds and ing of the two! FSM

Composers of the Roundtable very long, but it was an opportunity to horns in parallel fifths, and it occasionally (continued from page 32) introduce most of the themes in the score comes back in—it comes back in in a montage and test whether they were working.” in the middle where he’s doing interviews that aren’t investigated—in this case they Kinsey is set in the 1940s and ’50s, but all over the country. It’s an attempt to say can’t be investigated because the film Burwell felt under no pressure to make his that his interest in humans and human is about this one man and he’s in every score adhere to period stylings. “The music sexuality is just one aspect of his interest scene, and he’s unable to investigate his doesn’t attempt to tell the passage of time, in nature—that from his perspective it’s not own feelings, so it fell to me to do that in which is told mostly through some pieces of any different interviewing humans than it a way. The music through pretty much the pop music and costume and makeup; it is is watching chipmunks with a telescope, entire first reel of the film is an eight- or mostly a unifying factor. One of the things and that theme comes in at the end when nine-minute cue that goes through the music does at the opening of the picture is he’s really at death’s door and near the opening titles, this montage where you’re establish a theme for Kinsey’s relationship end of his life, and a simple walk through introduced to his interviewing technique, with nature—he’s a boy outside by himself the woods is able to bring him back to the he talks about his childhood, and that takes observing animals, and there are several source of his inspiration, which is nature. It you right up to when he starts teaching in outdoor scenes in that first reel in which this appears at important times to suggest this adulthood, and that was challenging—it’s theme is established—it’s played by French fundamental motivation for his work.” 

JANUARY/FEBRUARY 2005 48 FILM SCORE MAGAZINE SILVER AGE CLASSICS • FSMCD VOL. 8, NO.2 • RELEASED BY SPECIAL ARRANGEMENT WITH TURNER CLASSIC MOVIES MUSIC Music by Russell Garcia and Miklós Rózsa

THIS CD FEATURES TWO CLASSIC SCORES FOR GEORGE Pal films in their definitive stereo editions: Atlantis: The Lost Continent (1961) and The Power (1968).

ATLANTIS: THE LOST CONTINENT WAS ONE OF PAL’S less-successful productions, a chronicle of the legendary lost civilization of Altantis. Anthony Hall (actually a singer/songwriter named Sal Panto) played Demetrios, a Greek fisherman who ends up leading a revolution against Atlantis’ corrupt ruling class. The film blended sword-and-sandal adventure with the fantasy elements and special effects for which Pal was known.

SCORING ATLANTIS WAS RUSSELL GARCIA, WHO THE year before had produced a memorable science fiction score for Pal’s The Time Machine. Garcia carried over his romantic, full-blooded approach from The Time Machine for Atlantis, providing fully developed melodies and aggressive action music. Atlantis has previously been released only in excerpts; this is the complete score, including passages deleted from the finished film.

THE POWER (1968) WAS ONE of George Pal’s most offbeat films, starring George Hamilton as the head of a government think tank attempting to track down “Adam Hart,” a mysterious mastermind Atlantis: with mental powers beyond that of The Lost Continent The Power ordinary humans. The film marked Music Composed and Conducted by Music Composed and Conducted by the return to cinema of Miklós Russell Garcia Miklós Rózsa

Rózsa (who had not scored a film 1. Main Title/Credits 1:34 21. Prelude 2:48 since 1963), and who was more 2. Mermaid 2:59 22. First Manifestation/ Hallison Dies/ than able to accompany the film’s 3. Exit/Antillia/Market Place 2:19 4. Happy Chase 1:05 Death in the Centrifuge/ noir-like plot, fantasy elements 5. Stolen Boat 1:06 Recognition 4:22 and suspense. At Pal’s request, 6. The Bargain/ 23. The Merry-Go-Round 2:25 Pillars of Hercules 1:25 24. Viva L’Amour 2:50 Rózsa interpolated the Hungarian cymbalom instrument as a 7. Lost/Hallucinations 1:57 25. Nocturnal Visit/Attack 1:36 flamboyant color; both Rózsa and Pal were Hungarian, as was 8. Love Scene/ 26. Gypsy Eyes Submarine Scene 5:21 (Theme From The Power) 2:30 the character of Adam Hart. 9. Atlantis 0:59 27. Disappointment/Pursuit 3:46 10. Kidnapped/Slavery 2:34 28. Babble Pit/The Revolver 2:40 THE POWER HAS PREVIOUSLY BEEN AVAILABLE IN 11. Anger/The Temple 3:02 29. Adam Hart/Transformation 3:50 12. Temple Surprise/Loop #8 1:06 30. The Killer Killed/ unauthorized form on LP and CD. Unfortunately, the complete 13. Fanfares 0:46 The End/End Cast 2:29 master tapes to the film have deteriorated beyond use, so this 14. Fight With Giant 3:41 Total Time: 29:39 15. War/Decision/Map 1:30 Total Disc Time: 76:04 “private” 29:39 album program is all that survives of the original 16. Work Montage/Manimal 2:38 soundtrack. It is presented here in its first authorized edition, 17. Harps/Rejected/Proposal 3:09 remastered from Citadel Records’ original 1/4” stereo tape. 18. Rebellion and Murder/ Album Produced by Lukas Kendall Search/Trumpets 2:50 19. Stabs/Rumbles/Madness 2:04 $19.95 plus shipping 20. Prayer/Justice/Miracle 3:29 Total Time: 46:19

Thanks to the International Film Music Critics Association for voting FSM “Soundtrack Label of the Year” in 2004! �������������������������������������������������

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