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Volume 9, Number 2 Original Music for Movies and Television

Guess Who?! PG. 29

Horner THEN &NOW AN EXCLUSIVE INTERVIEW THE LOST BUYER’S GUIDE Debney’s MUSIC FOR MEL Monster MUSIC BT’S KILLER SCORE

PLUS: 30+ CD & DVD REVIEWS

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7 252 74 93704 2 $4.95 U.S. • $5.95 Canada

FEBRUARY 2004 CONTENTS

DEPARTMENTS COVER STORY

2 Editorial 16 Horner Revealed What’s Right With Horner. To some he’s the rightful heir to Williams and Goldsmith. To others he’s a lazy plagiarist. To us, he seems like he might be 4 News going a little crazy. But you can decide for yourself, as James Oscar Triumph! Horner lets all hang out in a interview for the ages. 5 By Jeff Bond Round- What’s on the way. 21 James Then and Now 5 Now Playing After a two-year hiatus to recover from the exhaustion of Movies and CDs in covering this ’s career output, we’ve got the final 4 Shore goes two for two. release. installment of the Buyer’s Guide. Enjoy. 6 Puzzle Fun By Paul Bouthillier South Park ! 7 Upcoming 22 The “More Music” Assignments By Jonathan Broxton Who’s writing what for whom. 27 Off-Screen Concert Works 6 Concerts Film music performed around the globe. FEATURES 8 Pukas The Appleseed Saga, 10 Capturing a Monster Part 6. BT has managed to carve a niche for himself as one of the few film composers who hails from the world of trance and DJ 16 Catching up with James Horner. 9 Mail Bag music. Now he’s gathered a group of top-flight musicians to . and the help realize his vision for the critically acclaimed Monster. New Phil. By Jeff Bond

30 Score A heaping helping of 12 Act of Faith new and old releases With a little help from God and , including: The Triplets has met the challenge of scoring his biggest movie yet, of Belleville, Bernard Gibson’s controversial The Passion of the Christ. Herrmann x 2, Secret By Jeff Bond Weapons Over Normandy and more.

44 Laserphile 12 Debney gets dogmatic. Awesome Quadrilogy. On the cover: James Then and Now, illustration by Paul Shipper. 36 FSM Marketplace

THIS PAGE: portrait ©2004 Academy of Motion Picture Arts and Sciences; Beyond Borders ©2003 Paramont Pictures; The Passion of Monthly (ISSN 1077-4289) is published ten times a year (with double issues in May/June and November/December) for $36.95 per year by the Christ ©2003 Icon Distribution Inc., All Rights 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 , 8503 Washington Blvd, Culver City, CA 90232 Reserved.

FILM SCORE MONTHLY 1 FEBRUARY 2004 EDITORIAL What’s Right With Horner VOLUME 9 After nearly 25 years, his approach makes sense...kinda. NUMBER 2

hen I was 13, James Horner was (We live, after all, in a world where people EDITORIAL STAFF my all-time favorite film com- have been devouring movies for a century; Editor & Publisher Wposer. II and III, Krull (an many of Horner’s movies tend to slave to their LUKAS KENDALL expensive import), Brainstorm, Cocoon, , suspension of disbelief.) Horner’s overlapping Wolfen (no CD for that), Willow—these were colors are tastefully manipulative without Executive Editor the greatest scores ever. By the early 1990s, creating the kind of musical construction that JONATHAN Z. KAPLAN his symphonic ear candy had mutated into might shed irony and critical distance upon Managing Editor “texture” streams of often ethnic styles (Patriot the work (as is often the case with scores by TIM CURRAN Games, blech)—most of which I didn’t like any- , , Carter Design Director way. Combined with his notoriety for copying Burwell and Howard Shore, to name a few). JOE SIKORYAK music, and the varying accounts of his biog- Horner’s touch is consistently “warm” whereas Supervising Content Consultant AL KAPLAN raphy (while he did go to school in , these other composers’ styles are often “cold”; Editor-at-Large he was born in , and his father was is the best example of a com- JEFF BOND , 1910–1984, an Oscar-winning poser whose tone can go both ways. Horner Copyeditor art director/set designer), I ended up joining is brilliant at what he does; it’s just not to my STEVE GILMARTIN the chorus of film music fans asking: What the taste. When I want warm, I want it from John Contributing Writers hell happened? And what’s his ? Barry, and , PAUL BOUTHILLIER Now that I am a broke grown-up, I can real- composers who never hide their musical con- JONATHAN BROXTON ize—what problem? He is an Oscar-winning, ventions, and instead relish the bittersweet, COSCINA multimillionaire, A-list composer who cherry- melancholy flavors of their styles. ANDY DURSIN picks projects from the blockbuster and indie SIMON DUFF worlds, and has devoted admirers among have read Horner’s many explanations LUKE GOLJAN film music , the general public and, about copying himself—including the lat- ANDREW GRANADE I MARK GRIFFIN especially, the industry. He is a superb musi- est on pg. 16 of this issue—and this is my MARK HASAN cal dramatist and the finest film composer of interpretation: Because of the era in which NICK JOY his generation to come from a conservatory he has worked, Horner has used neo-clas- STEVEN A. KENNEDY background—which used to be the norm and sical conventions (the traditions with which ANDREW KIRBY is now increasingly rare. I’ve heard stories of he began) as only one “color” in his pal- DARREN MACDONALD him being rude to musicians and the “little ette—just as the symphonic film score is only IAN D. THOMAS people”—many of which go back decades and one option today, whereas it used to be the CARY WONG come from disgruntled sources—but he must only style. To him, melodies and instruments BUSINESS STAFF have great relationships with the “big people” are inseparable. When he picks up his clas- because they keep hiring him. It’s certainly sical “brush,” it doesn’t just bring Editorial & Subscriptions not a good thing to be selectively nice, but and , but the notes they must play to 8503 Washington Blvd this is gossip, so who knows? As for his British achieve their effect. Culver City, CA 90232 accent—I don’t care. It’s his life. I don’t see how much trouble it would have PH. 310-253-9595 My issue with Horner is that I admire his been to think, “Hmm, I’ve already used this FAX 310-253-9588 craftsmanship and musicianship but dislike stinger from Nevsky 18 times, maybe E-MAIL [email protected] his music (the early scores aside). I’ll have the trumpets go up here instead”—but Sales & Marketing Manager There is such a thing as ideology in movies, I’m not being entrusted with a $100 million BOB HEBERT and Horner’s music tends to accompany direc- movie. Horner paints in colors, not in notes, 8503 Washington Blvd Culver City, CA 90232 tors whose points of view I do not like: Mel and his scores are meant to be felt, not heard: PH. 323-962-6077 Gibson, and Ed Zwick. In their it’s more dramatically effective, more pleasing FAX 310-253-9588 worlds, martyrs are victors, love conquers all, to his employers, and probably quicker to Sales Associate and all sorts of baloney lives and write and record—classic scoring by the yard. POLLY GELLER breathes as real; Horner’s music consistently I don’t particularly like it, but it’s his life. Supervising Mail Order Handler avoids signposts of its own artifice in favor of I’ll always have Krull. MAILMAN AL subliminal, emotional nudging—i.e., no clear Our Website themes and endpoints, just flowing colors. To Is updated five times me, these movies present false ideas as real, weekly! Point your browser at: and the music must not call attention to itself WWW.FILMSCOREMONTHLY.COM lest the wizard be shown behind the curtain. Lukas Kendall, Editor-in-Chief

FEBRUARY 2004 2 FILM SCORE MONTHLY Want scores? We’ve got ’em! www.intrada.com $16.99 $19.99 $17.99

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FEBRUARY 2004 2 FILM SCORE MONTHLY Record Label Round-up The Shopping List • Now Playing Upcoming Film Assigments NEWS Concerts • On the Air • “Pukas” Going, Going, Goldsmith!

erry Goldsmith celebrated Jhis 75th birthday on Feb. 10, and Varèse Sarabande threw a virtual barn burner in his honor. Promising a “a very special, mind-blowing, head-spinning, the material on the first half of jaw-dropping, historic-beyond- the set. And Varèse has stopped words release,” Varèse released a short of promising that all the 6-CD set entitled suites of new material are the at 20th Century Fox. Limited to definitive editions—fueling 1,500 copies and bearing a stiff speculation that collectors will $130 price tag, the club offering be asked to pony up for future, quickly drew a firestorm of inter- extended releases of the same est and criticism—and brisk sales material. to boot. Within three weeks, the Is it worth all of the hoopla? entire run was sold out, even It’s impossible to tell at this point, The Become though it’s not scheduled to since no one outside of Varèse begin shipping until March 17. has heard the discs in ques- Our Favorite Awards Show Reaction to the set, produced tion (FSM will offer a review in his year’s Academy Awards that Howard could have won for by Robert Townsen and Nick an upcoming issue.) But fans Twere a surreal affair, with all three films? Perhaps. But it’s Redman, has been sharply who have not had access to the : The Return of obviously more important that divided. Regrettably for some, Internet in February are sadly the King winning all 11 awards for he win for Return of the King than the first three discs are a com- out of luck. A few copies may yet which it was nominated, includ- for Two Towers. pendium of previously released surface at the usual soundtrack ing both Original Score and Song It seems like every six years or works by Goldsmith (see the specialty stores, but bargains will honors. Can you remember the so the Oscars get things generally complete lineup in Record Label surely be in short supply. last time that the actual best right, but when it comes to the Round Up, page 6.) The good —Joe Sikoryak score and best song took the original score category it tends to news is that the second half prize... wait... by Jove, this just average out more like every 20 contains the premiere release You’re a Winner! happened at the Golden Globes! years. So to witness everything of 12 scores in varying degrees This is the dawn of a new era. come together at the same time of completeness, including he Oscars capped what We can think of no more deserv- (à la Ben Hur) is quite the event. Damnation Alley, Von Ryan’s Express, Tamounts to the heart of ing a composer than Howard —Jonathan Z. Kaplan The Detective, Shock Treatment, Fate Is award-show season, but there’s Shore to shatter Oscar traditions the Hunter, Anna and the King, A Tree still more to come. Here’s an by winning two Original Score Grows in , S*P*Y*S and The update of recent film-music awards for a single trilogy (three Vanishing. So, the set features cues winners as well as nominees for Oscars total). It turns out that from virtually every Fox project upcoming shows: last year’s eligibility fiasco prob- Goldsmith composed for, with a ably helped Shore win this year. few exceptions like The Boys From The BAFTAs Awards Some voters may have been Brazil (released in the U.S. by Fox The winner of the Anthony hard pressed to mark down a but produced by I.T.C.) and Alien Asquith Award for Achievenment Lord of the Rings score two (or Nation (whose score was rejected). in Film Music went to Cold three) years in a row, but thanks As fans have been quick to Mountain, and composers Gabriel to one or two members of the point out, in literally hundreds Yared and T-Bone Burnett. music branch, there wasn’t a of Internet postings, this high- single person who voted for Two priced collector’s item is aimed The Grammy Awards Towers last year, because it wasn’t squarely at buyers who no Compilation Soundtrack for a “Bless My Bark!” nominated! Was there a chance doubt have most, not all of (continued on page 6)

FEBRUARY 2004 4 FILM SCORE MONTHLY FILM SCORE MONTHLY 5 FEBRUARY 2004 RECORD LABEL ROUND-UP New Announcements and Incoming Albums

Aleph Chandos FSM Forthcoming from ’s Due April 27 is Shostakovich: Film This month’s releases span three label is . Music Vol. 2, featuring suites from discs and many centuries. Our www.alephrecords.com The Golden Mountains, The Gadfly and Golden Age Classic features a The Volochayev Days. Vassily Sinaisky wealth of historical opulence conducts the BBC Philharmonic by . The 2-CD set Due late-winter is Battle Cry . includes the complete score from (Steiner, 1955, from magnetic Diane (1956) on one disc, and a tracks). Forthcoming are The Cinesoundz second disc closes the book on Fountainhead, Johnny Belinda and The Due imminently is The Ennio Diane with extensive alternates Three Musketeers (all Steiner). Morricone Vol. 2 (2-CD set and source cues, plus all of the tel.: 540-635-2575; featuring Herbert, Hosono, Nortec remaining, unreleased cues from www.screenarchives.com Collective and more). Upcoming Plymouth Adventure (1952) and is a sea-related, film-music Moonfleet (1955). Our Silver Age Buysoundtrax.com compilation in cooperation with Classic features a flight of futuris- Available now are the soundtracks the German magazine MARE. tic fantasy: Logan’s Run, the televi- 1M1 to the Peter Kuran documentaries www.cinesoundz.com [email protected] sion series! Suites from all Now available is Grendel Atomic Journeys/Nukes in Space episodes of original music are Grendel (). Still (premiere release) and Trinity and Disques Cinémusique collected on a single disc. forthcoming is a special-edition Beyond (remastered re-issue)—both Forthcoming is A Walk With Love Next month: The cold war gets release of Bliss () and The CDs autographed by composers and Death (Georges Delerue). hot—and a cool blonde takes up Naked Country (Smeaton). William Stromberg and John www.disquescinemusique.com fencing. [email protected] • www.1m1.com.au Morgan. www.buysoundtrax.com (continued next page)

NOW PLAYING: Films and scores in current release 50 First Dates TEDDY CASTELLUCCI * Barbershop 2: Back in Business Interscope* The Big Bounce GEORGE S. CLINTON Varèse Sarabande Catch That Kid GEORGE S. CLINTON n/a Club Dread Sanctuary/Trojan* Confessions of a Teenage Drama Queen Hollywood* Dirty Dancing: Havana Nights HEITOR PIERIERA J-Records* The Dreamers VARIOUS Nettwerk* Eurotrip JAMES L. VENABLE ** Good Bye, Lenin! YANN TIERSEN EMI International Hidalgo Hollywood Latter Days ERIC ALLAMAN n/a Ladykillers ** Made-Up MICHAEL WOLFF n/a La Mentale (The Code) THIERRY ROBIN N/A The Passion of the Christ JOHN DEBNEY Sony Classical The Reckoning n/a Secret Window PHILIP n/a Starsky and Hutch TVT** Touching the Void n/a Traffic: The Miniseries Varèse Sarabande Twisted Varèse Sarabande Welcome to Mooseport JOHN DEBNEY n/a **Mix of songs and score; *Song compilation with less than 10% underscore

FEBRUARY 2004 4 FILM SCORE MONTHLY FILM SCORE MONTHLY 5 FEBRUARY 2004 RECORD LABEL ROUND-UP

GDM/Hexachord De Masi’s score to the Folco Rhino/Rhino Handmade/Turner The Thomas Crown Affair (original Due imminently is Professor Quilici filmIndia . Also in Available now are Three Little score by ; fea- Zamori’s restoration of Francesco preparation is Footprints in Words (Kalmar/Ruby), with turing the Oscar-winning song (). bonus tracks from Yolanda and “The Windmills of Your Mind”); Email [email protected] the Thief (Warren/Freed), and (re-issue; Grammy Awards www.hexacord-america.com DuBarry Was a Lady (Cole Porter, ). Due to ship this (continued from page 4) various), with bonus tracks from month—and already sold out—is Hollywood Meet the People (various). Jerry Goldsmith at 20th Century Fox. Motion Picture, Television or Other Available now is Hidalgo (James www.rhino.com, www.rhinohandmade.com (see below) www.varesesarabande.com Visual Media: ; Newton Howard). Score for a Motion Screen Archives Entertainment Virgin Picture, Television or Other Visual Intrada Forthcoming is Keys of the Kingdom Due April 6 is ’s Media: The Lord of the Rings: Available now is Intrada Special (Newman, 2-CD set). Penthouse Party, a compilation The Two Towers, Howard Shore, Collection Vol. 13—Bring Me the www.screenarchives.com disc featuring remixes of Henry composer; and Head of Alfredo Garcia/The Killer Elite Mancini’s classic Pink Panther Song Written for a Motion Picture, (). www.intrada.com Silva Screen theme, as well as other lounge Television or Other Visual Media: A Due this spring is the Essential favorites. artists include St. Mighty Wind, Christopher Guest, La-La 4-CD set (see FSM Germain, Fischerspooner, Fatboy and Michael McKean, Available now are autographed Vol. 8, No. 9 for a complete track Slim, , Kinky and Koop. . copies of Richard Gibbs’ score listing). www.silvascreen.com to the SciFi Channel miniseries Please note: Battlestar Galactica, as well as The Varèse Sarabande Sometimes bad things happen he International Press Fantasy Films of (featuring Available now: The Big Bounce to good labels. Please bear with us if albums are not released as Academy handed out its music from Atlantis and 7 Faces of (George S. Clinton). Due Mar. 30: T announced. FSM Original Score award to Hans Dr. Lao). Forthcoming are Stealing Zimmer’s . Time (), The Best of Other nominees included: Lone Wolf and Cub: The Baby Cart JERRY IN THE BOX Series (’70s Japanese samurai saga Here’s a summary of the track list- DISC THREE The Lord of the Rings: Return of the compilation) and Laws of Attraction ing from Varèse Sarabande’s Jerry 1-3 King: Howard Shore (Ed Shearmur). Goldsmith at 20th Century Fox. Track 4-5 Chain Reaction numbers precede each title. Cold Mountain: www.lalalandrecords.com 6-8 Magic Seabiscuit: 9-11 The Other DISC ONE : Thomas Newman 12-14 1-5 Patton The Missing: James Horner Due imminently is ’s 15-17 6-10 Tora! Tora! Tora! Camp: Stephen Trask The Adventures of Mark Twain, which 18-19 Damien: Omen II 11-14 The Sand Pebbles will also be released in 5.1 sound 20-21 The Final Conflict 15 Morituri on DVD Audio. www.hnh.com Total Time 69:33 he Academy of Science 16-18 19-21 TFiction, Fantasy and Pacific Time Entertainment DISC FOUR Horror Films announced the Due imminently is Billibong 22 Escape From the 1 The Agony and the Ecstasy nominees for its 30th annual (Dorian Cheah). Due April 13 is Planet of the Apes (Prologue) Saturn Awards show, sched- The Best of...Volume 1 (compilation 23-24 2-10 Shock Treatment uled for May 5 in Hollywood: includes Ennio Morricone, Don 25-26 11-14 Fate Is the Hunter Davis, , Ed Bilous, Total Time: 77:05 15-22 Von Ryan’s Express Pirates of the Caribbean: Klaus ). www.pactimeco.com Total Time 60:16 Badelt, et al. DISC TWO The Hulk: Danny Elfman Percepto 1-2 Bad Girls DISC FIVE : Back in Action: Available now is The Ghost and Mr. 3-5 Take A Hard Ride 1-9 S*P*Y*S Jerry Goldsmith Chicken. Forthcoming are Mizzy’s 6-7 Rio Conchos 10 The Chairman Suite Finding Nemo: Thomas Newman The Reluctant Astronaut and -10 11-22 The Detective X2: Newman’s complete score for 11-13 Stagecoach 23-24 Alien (Main Title & Suite) The Lord of the Rings: The Return of The Little Toaster (1986). Due 14-15 The Flim-Flam Man Total Time 65:19 the King: Howard Shore later this year is Vic Mizzy—Suites 16-17 & Themes, Vol. 2. www.percepto.com 18-20 Ace Eli and DISC SIX This year’s show will feature Roger of the Skies 1-9 Damnation Alley a Lifetime Achievement Award 21-22 Justine 10-21 Anna and the King (TV) presentation to John Williams. Due this spring is an expanded 23-25 The Stripper 22-29 A Tree Grows in Brooklyn (TV) 30-33 The Vanishing FSM version of (Jerry Total Time 77:47 Total Time 71:07 Goldsmith).

FEBRUARY 2004 6 FILM SCORE MONTHLY FILM SCORE MONTHLY 7 FEBRUARY 2004 UPCOMING ASSIGNMENTS Who’s Scoring What for Whom?

A-B H R The Stepford Wives (dir. & The Curse of the Wererabbit. The Great Raid. , w/ ). Deck Dogz. The Actors, Libertine The Chronicles of The Dust Factory, James Horner Cinderella Man (w/ (w/ ). Riddick (w/ Vin Diesel), Catwoman Bride of the Sea. , dir. Ron Howard), O-P (w/ Halle Berry and Sharon Stone). Dark Water. The Da Vinci Code (dir. Ron John Ottman My Brother’s Keeper, Ladder 49. Being Julia, We Don’t Howard). Cellular. S-T Live Here Anymore, (w/ Naomi James Newton Howard The Village Under Siege 3, King Team America. Watts and Peter Krause). (dir. M. Night Shyamalan) Conan: Crown of Iron. Michael G. Shapiro Home Room. Johnson Family I-J-K Because of Winn Shark How to Go out on a Date in Vacation, Carolina. Mark Isham Spartan (). Dixie. Queens (w/ Jason Alexander). Dawn of the Dead. Adrian Johnston If Only. John Powell Robots, , Ed Shearmur Laws of Attraction, Christophe Cinderella Story, Jan A.P. Kaczmarek J. M. Barrie’s Mister 3000, Bourne Supremacy. Sky Captain and the World of Little Black Book, Without a Neverland (w/ Johnny Depp, Tomorrow. Paddle. ). Howard Shore (dir. Hellboy, Cursed. 13-30, (dir. Scorsese) King Kong (dir. Peter Elmer Bernstein American Epic: The Alexander Payne), . The Hot Sheet Jackson). Story of Cecil B. DeMille (TV docu.). David Kitay Harold and Kumar Go to Carlo Siliotto The Punisher. Eternal Sunshine of the White Castle. Danny Elfman Fable (main Van Helsing (dir. Spotless Mind. Harald Kloser The Day After theme; videogame). Stephen Sommers), Polar Express BT Underclassman. Tomorrow (w/ Dennis Quaid; prod. Claude Foisy Try to Remember (dir. . Carter Burwell The Alamo (w/ Roland Emmerich). (w/ Gabrielle Anwar; TV), Rock BC Smith Coyote Waits, Thief of Dennis Quaid), The Ladykillers L the Cradle (w/ Jennifer Beals; Time. (Coen Bros.), Kinsey. James Lavino The Hole Story. TV), White Noise (w/ Michael Semih Tareen Continuing Education. C Chris Lennertz Tortilla Heaven (w/ Keaton). Stephen Teacher’s Pet. George S. Clinton Mortal Kombat 3: George Lopez). Vincent Gillioz Chupacabra. The Big Empty (w/Jon The Domination, Minute, Geoff Levin One of Them. Nine Lives (w/ Favreau), Godsend (w/ Robert De Dirty Shame (dir. John Waters). Whirlygirl, My Name Is ). Niro). D-E Modesty. James Horner The Forgotten, V-W Vanity Fair. M-N Bobby Jones, Stroke of Genius. Alexander the Great (dir. John Debney , Princess Brice Martin Remnants of Auric Jon Brion I Heart Huckabee’s. ). Diaries 2. Healing. John Debney The Whole 10 James Venable Jersey Girl (dir. Kevin John DeBorde Happily Even After. Home on the Range. Yards. Smith), Ugly American. Thomas DeRenzo The Break-Up Messy (Doug DeAngelis and Kevin Hostage. Two Brothers. Artist, The Control Room. Haskins) Employee of the Month. David Kitay Elvis Has Left the John Williams : Episode Connie and Carla, Bryce Mitchell Safe, A Stolen Building. III, Harry Potter and the Prisoner Surviving Christmas. Moment. Rachel Portman The of Azkaban, The Terminal (dir. Danny Elfman Spider-Man 2, Charlie Richard G. Mitchell A Good Woman Manchurian Candidate. Spielberg, w/ ). and the Chocolate Factory (dir. Tim (w/ Helen Hunt, Tom Wilkinson). Trevor Rabin White on White. Y-Z Burton). John Morgan/William Stromberg Lalo Schifrin The of San Gabriel Yared Troy (dir. Wolfgang F-G Starship Troopers 2: Hero of the Luis Rey (w/ Robert DeNiro, Petersen). . Federation. Kathy Bates, Harvey Keitel and Christopher Young Scenes of the Vincent Gillioz Hamal_18, Erosion. Mark Mothersbaugh Envy (dir. Gabriel Byrne.) Crime (w/ ), Madison Taking Lives, Undertow. , w/ Ben Stiller and Ed Shearmur The Skeleton Key (themes only), Unfinished Life (dir. Jerry Goldsmith The Game of Their Jack Black), The Life Aquatic (dir. (dir. Iain Softley). Lasse Hallstrom). Lives (dir. ), Empire Wes Anderson), Confessions of a Brian Tyler Paparazzi (replacing Aaron Zigman . Falls. Teenage Drama Queen. Mark Isham due to scheduling King Arthur (prod. Jerry Adam Gorgoni 95 Miles to Go Thomas Newman Lemony Snicket’s conflict). Bruckheimer), Collateral. (comedy/docu.; w/ Romano). A Series of Unfortunate Events. Hans Zimmer Thunderbirds (dir. Harry Gregson-Williams Bridget Christopher Nickel Savage Island. Jonathan Frakes). Get Listed! Jones: The Edge of Reason (w/ John Nordstrom Black (dir. II (videogame). Composers, send your info to Renée Zellweger), Rick Schroder). [email protected] FSM (DreamWorks, animated). Wallace & Gromit Movie:

FEBRUARY 2004 6 FILM SCORE MONTHLY FILM SCORE MONTHLY 7 FEBRUARY 2004 CONCERTS Film Music Played Live Around the Globe

Home (Rosenman), Star Trek VI: The the Rings in six move- (Kaper), Waxman’s Eine Kleine Undiscovered Country (Eidelman), Star ments. Musik, medley of songs for Trek Generations (McCarthy). For ticket information visit www.teletickets German musicals of the 1930s. April 10, 11, Pacific S.O.; How the ervice.com West Was Won (A. Newman). Greece April 22, Walnut High School, May 8, Gwynedd, North Penn Canada March 16, Athens, Symphony Elmer Bernstein concert. S.O.; The Godfather (Rota), Shakespeare March 20, Regina S.O.; Cold of Colours; , in Love (Warbeck), Lawrence of Arabia Mountain world premiere (Yared), (Herrmann). Kansas (Jarre). Sense & Sensibility (Portman; revised April 17, Topeka, Topeka S.O.; world premiere), The Alamo (Tiomkin), Rawhide Texas (Tiomkin). May 2, Zurich, Jugend (Tiomkin), Bonanza (Evans & April 16, 17, Lubbock, Lubbock March 26-28, Kitchner Waterloo Orchester; Cutthroat Island Livingston). S.O.; Lost Weekend (Rózsa), Perry S.O., Kitchner ; Red River (Debney), Vertigo (Herrmann), Mason (Steiner). (Tiomkin). Motion Picture Medley (Jerry New Mexico Goldsmith). April 14, Los Alamos, Santa Fe Germany Esplanade S.O.; Star Trek concert: International March 24, 25, Babelsberg, Thanks to John Waxman of Themes “The Menagerie,” (Courage), Star Belgium Deutsches Phil. Orchestra; Sabrina and Variations, at www.TNV.com. Concertgoers, attention: Call before Trek: The Motion Picture (Goldsmith), April 16, Antwerp, Flemish (Hollander), King Kong (Steiner), you go—schedules subject to change Star Trek II: The Wrath of Khan Radio Orchestra and Chorus, (Waxman), without notice! FSM (Horner), Star Trek IV: The Voyage Howard Shore cond.; The Lord of (Gold), Mutiny on the Bounty

FEBRUARY 2004 8 FILM SCORE MONTHLY FILM SCORE MONTHLY 9 FEBRUARY 2004 Rants, Raves and Responses MAIL BAG to Readers John Williams and expected emotional shock, and selections from his 1992 score from his score for Catch Me If The New York Phil “Arlington”’s mournful horn solo for Far and Away. As with many You Can (2002). The sneaky sinu- he evening of Feb. 10, 2004, with string variations on the of his scores, his music here is ous theme for the credits made Twas a memorable one both main theme was marred only much more interesting than a particularly vivid impression, for the New York Philharmonic by the ringing cell phone of a the film for which it was writ- starting almost imperceptibly on and for the audience mem- rude audience member and a ten, and it was very well played. the and accompanied bers who gathered in Lincoln few counting problems among The titles of the selections were: by the humorous sight of the Center’s Avery Fisher Hall for a the musicians. After acknowledg- “County Galway, June 1892,” “The Philharmonic musicians snap- sold-out concert of film music ing the applause, Mr. Williams Fighting Donnellys,” “Joseph and ping fingers for the rhythmic by John Williams, making his took up his microphone to share Shannon,” “Blowin’ Off Steam punctuations; and the playing Philharmonic debut as a con- his happiness at the opportu- (The Fight)” and “Finale.” of Mr. Higgins, who also plays ductor. Words like “,” nity to conduct the New York While some changes to the saxophone on the soundtrack, “intoxicating” and “spine-tingling” Philharmonic for the first time, as of musicians on was both delicious and definitive. suggest the excitement but don’t well as the chance to conduct his the stage were in progress, Mr. Again the audience burst into do the experience justice. Having music without the distraction of Williams mentioned that the 21 rapturous applause. been a loyal subscriber to the the films. films he had scored for Steven Following Escapades, Mr. Philharmonic for 13 years, I can After explaining that he was Spielberg had resulted in a rela- Williams described the experi- recall very few concerts that working on the score for the tionship like an old married ence of seeing a rough cut of engaged both the musicians and third Harry Potter movie, Mr. couple’s. He talked about his Schindler’s List (1993), after which the audience so thoroughly. Williams described and then con- lifelong interest in jazz and his he was so moved that he took a Mr. Williams was greeted ducted a suite based on the first work in the 1960s as a jazz musi- long walk to recover his equilib- with thunderous applause upon two movies: “Hedwig’s Theme” cian, reminding those audience rium. When he returned to Mr. his entrance. The first selection from Harry Potter and the Sorcerer’s members who were unaware Spielberg, he said, “You need a was his 1984 “Olympic Fanfare Stone (2001); “Fawkes the Phoenix” that he was the jazz pianist for better composer than I am for and Theme,” showcasing the from Harry Potter and the Chamber of ’s 1964 master- this film,” to which Spielberg lush sonorities of the legendary Secrets (2002); and “Nimbus 2000” replied, “Yes, I know, but they’re Philharmonic brass section. This and “Harry’s Wondrous World” all dead!” Then Philharmonic piece was written for the opening from HPSS. This suite was for Concertmaster Glenn Dicterow ceremonies of the 23rd Olympiad me the highlight of the concert, played the soulful haunting in Los Angeles. The first selec- particularly the brilliant playing main theme from Schindler’s List tion of film music came from his of the Philharmonic’s woodwind with all the requisite emotional 1977 score for Close Encounters of the section on the “Nimbus 2000” weight and attention to detail. Third Kind. Possibly distracted by theme. If Williams can maintain Williams and Dicterow embraced the usual late-comers, orchestra this high level of inspiration afterward in a deeply moving members did not get the first throughout the Harry Potter mov- moment. cue quite right, and the increas- ies, these scores will rank among The final selection on the pro- ing layering of instruments and his very best. Boisterous clap- gram was titled “Adventures on volume leading to that first ping and cheering greeted the Earth,” arranged from various explosive chord was ineffective. conclusion of the first half of the cues such as the bicycle chase But a later section evoking the concert, obviously pleasing to and the farewell and ending from wonder of the mother ship was Williams. E.T. the Extra-Terrestrial (1982). The absolutely hair-raising. The second half of the concert piece . He then full Philharmonic sound, used A three-movement suite from commenced with a 2002 work introduced two Los Angeles so effectively in such vivid and JFK (1991) followed (“Theme,” entitled Tribute to the Film Composer. musicians— on alto memorable music, and directed “Motorcade” and “Arlington”). This delightful work contains bits saxophone and Mike Valerio by one of our greatest composers, This is Williams writing in his and pieces from more than 20 on double bass—and New inspired an ecstatic standing ova- Americana style, where he has film scores (I was able to identify York Philharmonic Principal tion the likes of which I cannot few rivals. “Theme” was note- 17); its premiere took place at Percussionist Christopher S. Lamb recall in Avery Fisher Hall (unless worthy for its blending of a the Academy Awards on March on vibraphone, who were the we go back to the legendary solo supported by snare 24, 2002, under Mr. Williams’ soloists for a 2003 suite of three event years drums, “Motorcade” had the direction. Next he conducted pieces entitled Escapades, arranged (continued on page 29)

FEBRUARY 2004 8 FILM SCORE MONTHLY FILM SCORE MONTHLY 9 FEBRUARY 2004 DOWNBEAT Capturing a Monster

BT gets into the mind of a serial killer. By Jeff Bond

strong component of the film’s music is the of the period, with a major assist from the band Journey’s “Don’t Stop Believing.” BT’s score had to work around that foundation. “I wanted to be reverent to what would be occurring outside the score, but the [source music] is more integral to the external dialogue of the film than it is to the internal dialogue of the characters. It’s definitely something that frames my music so they have to work together.” BT’s music does have rock elements that speak to the character of Wournos, however. “The stuff that is more rock-oriented is more indie-sounding than anything, and it’s very loose and actu- ally not something I do a lot of because my own music is sort of tight and precise. So it’s distinct from what I do on my own records. THE K WORD: Christina Ricci and Charlize Theron are the kiss kiss, bang bang couple in Monster; BT himself. The stuff that’s more rock-oriented, like in the ‘Call Me Daddy’ killing, we were going rian Transeau (aka BT) is better known as a artist in the much more for a garage-band art-rock thing than ’80s hair band, because we wanted the DJ and scene than he is as a film composer, though he music to sound dark and sinister and raw and unpredictable.” has worked on a number of films including Go, Driven and The Fast and B Music to Kill By the Furious (which, if nothing else, indicates the genius of Hollywood talent BT began constructing the score through improvisatory sessions with musician Ben scouts who apparently deduced that a man who can write music for a movie Goodman before recruiting other players. “Ben played hurdy-gurdy and I played a lot called Go would be just perfect to score two getting jobs? of bowed , a acoustic guitar movies about race car driving). He’s also pro- Fortunately for BT, Jenkins was persistent. which we used a lot with a bow—that became vided songs for Lara Croft: Tomb Raider, Zoolander “She said she wasn’t looking for a cookie-cut- a recurring thing throughout the score. And and The Core. ter ‘scary sad music’ guy; she wanted some- I played -style prepared —in The musician makes the transition to one who could unravel and have their own ‘Bad Cop’ and at the beginning of the ‘Bus heavier fare in Monster, director Patty Jenkins’ emotional process and bring something really Stop’ cue, the Cage-y pianos show up a fictional view of the Aileen Wournos serial specific and unique to this film and that’s why lot, sometimes buried and sometimes more killer story, with Charlize Theron in a trans- she wanted me to do it, and it was a tremen- prominent. Then I did a lot of work cutting forming, Oscar-winning performance as dous honor working with her. Our process and programming. Richard Fortus from Guns Wouronos who was executed in October was like no other film I’ve ever worked on. N’ Roses played and , and 2002. BT got the job at the behest of Jenkins, As opposed to all this traditional sitting down, Bob Sterling, who plays drums with David but before she got access to the composer, doing spotting sessions and everything I Bowie, played drums.” the director had to get past an unexpected studied at Berklee [College of Music], it was a The improvised sets then became part of roadblock: BT’s agent. “Patty approached my lot more—it’s really the most altruistic project the film’s temporary music track. “I don’t agent herself and she said, ‘I want BT to score I’ve ever worked on, and because of that we know when it’s worse, when someone gets this film,’ and my agent was like, ‘Uh, are you were really discovering the process as we attached to someone else’s music in there or sure?’” the composer recalls. “He started say- went along. There was a lot of discovery on when they’re attached to a piece of music you ing, ‘Don’t you think someone else would be everyone’s part how to make this work soni- wrote that’s from a different film,” BT says. more appropriate for that?’” Hmm…are agents cally, timbrally and emotionally.” “Either way, when someone gets attached to actually supposed to prevent their clients from Monster is set during the , and a a piece of music it usually sucks. The whole

FEBRUARY 2004 10 FILM SCORE MONTHLY FILM SCORE MONTHLY 11 FEBRUARY 2004 thing about this is the things people got funny is I hadn’t heard the music from attached to were really my music. But it was Badlands. Patty kept talking about [what] she unique in that it did change; one of the most wanted specifically for the job hunt, which gut-wrenching parts of the whole film—where was this xylophone piece from , one of [Wournos’] victims is talking about his because it totally plays at variance to what wife and kid and begging for his life and she happens. I never heard the Badlands score until kills him anyway—was originally loaded with after that, but we did have specific conversa- music, and literally at the last moment I real- tions about that.” ized that music was not going to be good there, and that’s usually the opposite of what In Through the Back Door a composer thinks because we all want to BT feels he’s in a good position to bring write wall-to-wall music. But Patty and her something new to the film-scoring scene. assistant Claire and I in the edit- “, who did Swingers, ing bay decided that it would “...at the last approached me to do Go because be so much more impactful for moment I realized he wanted someone from the the audience to be exposed to that music was not community to the extreme discomfort of her do something very genuine for his making such a horrible deci- going to be good film; he didn’t want some cheesy sion without any music play- there, and that’s Hollywood composer trying to ing, because even music that usually the opposite approximate electronic music, is sad or scary or ambiguous of what a composer which we hear way too much of is helping the viewer’s process thinks because we these days. He wanted someone of interpolating information, so that was involved in the scene to it needed to be uncomfortable; all want to write do it, so that was the first gig that there were a bunch of places like wall-to-wall music.” I got. I came out to California and that where there was originally —B.T. I really wanted to score movies. music but we changed it.” I had studied and BT says that one of the score’s biggest chal- knew how to write for orchestra, and all the lenges was creating the central “Ferris Wheel” music supervisors initially treated me like theme that forms the spine of the score. some punk kid from the DJ and “Originally my template ideas for the main scene who didn’t know fuck-all about orches- theme were much more sophisticated har- tral music. So when I started sitting down monically than what it ended up becoming; I talking about articulation and , SCREEN realized what Patty was trying to engender [in] people were like, ‘Oh, maybe you do know me about not writing at it but writing in it, that what you’re talking about.’ It was really hard these are simple, broken people, all experienc- actually to land my first gig using more tradi- ARCHIVES ing a tragedy, and that was a commonality of tional instrumentation because people had a the whole film, even from the vantage point of perception of me as more of a DJ.” ENTERTAINMENT the victims. There’s real simplicity and human- The composer says he dispensed with that ity and tragedy that runs through the film, perception when he wrote the score for The Large selection of and what ended up becoming the theme is a Fast and the Furious. “There I really demonstrate new domestic and simple pentatonic major progression; melodi- I can write for a 90-piece orchestra,” he notes. cally it was very simple, and it just speaks to “I think that having the background in classi- import releases, that kind of human simplicity.” The composer cal music but actually being part of the dance older releases and says that the theme also becomes a kind of music scene puts me in a unique position; the product of the film’s period. “It speaks to the more traditional orchestral composers have to out-of-print CDs era and music from that time period and this try to approximate dance music culture and root Americana, Southern rock and Lynyrd incorporate and blend those things together, Major credit cards accepted. Skynyrd and that sort of thing. It’s a I-IV-V and it’s kind of embarrassing really because Write for free catalog! (chord progression) in a pentatonic melody they don’t understand electronic music. Those PO Box 500 but shrouded in some unique instrumenta- of us in the electronic community listen to tion. That was easy to do, but where we ended those scores and go ‘Oh my God, I’ve got to Linden, VA 22642 up was hard.” send these guys some records to listen to.’ It’s ph: (540) 635-2575 The score harkens back to the percussive really crappy knock-offs of electronic music, xylophone rhythms of ’s Musica and because I’ve studied classical music and fax: (540) 635-8554 Poetica for one montage of Wournos hunting have some legitimacy in the electronic music e-mail: [email protected] for a job, linking the film both to the Quentin community I’m able to put those two things visit: www.screenarchives.com Tarantino-scripted True Romance and its original together and make them work, and I feel really inspiration, Terence Malick’s Badlands. “What’s blessed to be in that position.” FSM

FEBRUARY 2004 10 FILM SCORE MONTHLY FILM SCORE MONTHLY 11 FEBRUARY 2004 CT OF AITH A John Debney brings his own passion to FMel Gibson’s controversial film.

By Jeff Bond

t’s a safe bet that when John

Debney was working on the

score to last

year he had little inkling that

he’d soon be devoting his

energies to a far weightier

movie with religious sub-

ject matter: Mel Gibson’s

The Passion of Christ, one of the most

controversial film projects to be launched in the past decade. IDebney’s résumé is a varied one, ranging from action to supernatural thrillers to comedy, but it’s fair to say the composer’s biggest opportunities have come on comedies (including Liar, Liar; Dick; The Princess Diaries; Snow Dogs; and Elf)…which The Passion of Christ is decidedly not. So how did Debney get to go to bat for Mel Gibson? The answer is appropriate. “It was sort of a miracle,” the composer says. “It just fell in my lap. A guy I grew up with, [producer] Stephen McEveety, called me in October and said they were having some prob- lems on a movie; I didn’t know what movie he was talking about. [He said] they had a composer on it for a year but Mel was concerned because this composer hadn’t done a lot of scoring work—he had done a lot of research for them and gotten a lot of great ethnic samples for them, thinking that they were going to score the movie with period music. As we were talking it dawned on me finally that he was talking about The Passion, and I was floored because it would be anybody’s project to work on, but especially me being a lifelong Catholic. At that point I offered to write some pieces for free because it would be an honor just to try some things. So he showed me the movie and I spent that weekend writing four or five pieces, one of which is the music that’s playing in the theaters now.” After demo-ing the music for Gibson and McEveety, Debney safely assumed he had just done a favor for a friend and wrote it off, but shortly thereafter McEveety called the

FEBRUARY 2004 12 FILM SCORE MONTHLY

v9n02iss.id 12 3/8/04, 1:29:26 PM composer with the news that Gibson wanted Debney on The through, there’s a scene where Mary walks away from the tor- Passion as the film’s composer. From there Debney embarked on ture,” Debney says. “It was a really tough scene to get because the most challenging and personal project of his career, one in it was a very complex set of emotions at play inside Mary. I which filmmaker Gibson was closely employed wonderful musicians in involved nearly every step of the this score, and I happened upon Al way. “He would come over every two Shankar and Ginger; Al Shankar is or three days and I’d play him what this incredible double player

PASSION PLAYERS: James Caviezel as Christ (opposite) as Mary Magdalene (above), Luca Lionello as Judas (right).

I’d done,” Debney says. “It was a tough road. There was a lot of who performed on The material he liked, but there were some crucial pieces of music Last Temptation of Christ. that it was hard for me to get, so we struggled with it. I think It took me a month to there was a key moment where through a lot of prayer on my locate him, but I got part—I was really having trouble getting the theme for Mary, him to come over and which was a crucial theme for the movie because in my opinion had him start playing the story is seen through her eyes. I was wrestling with that and around with some textures and performances with Mel, and we Mel was tortured by this movie and it was so important to him, did some vocals with Shankar and Ginger. Mel helped me form and being a crazy Catholic I started praying to Mary, and lo and that whole area and it was very cool to do. Mel was looking for behold a couple days went by and I woke up with a theme in a kind of Zen-like, ambient emotional thing there.” my head, and the theme was what became Mary’s theme. I also woke up with to the theme, which is kind of rare for me. RESISTING TEMPTATION I wrote this piece, which was in essence a lullaby from Mary While the ethnic, “” aspect of the score was a given to , and I got this great friend of mine over and we (particularly with the influence of ’s music for The

images © 2003 Icon Distribution. All Rights Reserved. demoed it in Aramaic and we demoed it for Mel and after we Last Temptation of Christ), Debney was able to deviate from that played it I turned around and Mel was in tears. It was like a huge template at several important junctures. “There was an area door had opened, and from then on I invited Mel to be a really where Jesus is getting nailed to the cross, which is a really hard integral part of the process. He was over here with musicians scene to watch, and I had several attempts at that and it wasn’t giving them background on the scenes.” working,” the composer says. “Finally, a few days before I went The Mary theme wasn’t the only problematic area in the score to , one morning I just said I was going to write the most The Passion of the Christ for Debney. “Right off the very horrific torture scene Christ goes beautiful music I could write, because the idea was—and Mel

FILM SCORE MONTHLY 13 FEBRUARY 2004 kept pounding this into me—was that when it’s most horrific the heading of chants or guttural noises but he’s in a lot of the that’s when the music should be the most beautiful just to help film. It was kind of a family deal and even I sang on a couple of us all get through it, and also to play up the heroic nature of cues—I never intended them to stay in, but Mel liked it and told what this person Christ is doing, this self-sacrifice. I wrote this me to keep it in.” piece and Mel never heard it until we got to London, and the first time he heard it he was just blown away. So I lucked out because GIVE THE PEOPLE WHAT THEY WANT The composer says the combination of ethnic elements (a cliché- fighting concept which, by this point, has become its own cliché) and traditional parts in the score is what he had aimed for all along. “My belief is that normal people are yearning to have that cathartic feeling you get when the music is powerful and melodic at points, so that’s part of what the score is. The Sony Classical release has things that are influenced by Last Temptation of Christ and that is fine. For those moments it works wonder- fully but we tried certain things in other places that didn’t work, especially that moment with Mary’s theme which plays over a flashback Mary has of the child Jesus. That flashes forward to the adult Jesus carrying the cross and falling down, and her theme is presented there really for the first time, sort of giving her strength to go to him. That’s the first time where the score really swells and gets huge, and I asked Mel if he thought it was too big, and he thought it could be even bigger. We’d earned it by then, and people had to be able to feel it emotionally by that point. So that was the tightrope I was walking—it’s a given you have to have and instruments of the period and it does get drone-y HE NO HELP WITH CURVE BALL: Composer John Debney with Director Mel Gibson. and it does have some interesting vocal things, but it also has some power and weight to it, which ultimately is what people there were areas that were tough, but once I got into want.” it the door sort of opened.” In addition to the surprisingly lyrical scoring of Jesus being Debney was able to push some areas of the score into a nailed to the cross, Debney at Gibson’s behest took an equally more traditional orchestral realm, this despite the conventional unusual approach to the film’s depiction of the resurrection, scor- wisdom that a big orchestral sound won’t be accepted by audi- ing it with a powerful, martial percussion beat that gives the end ences on “serious” movies. “One of the things Mel said is, ‘I don’t of the movie the feeling of a call to arms. “Mel had his hands want any reverential music’ or god-like music,” Debney recalls. all over the beginning of that cue, especially the drums—that’s “I think he’s right for the most part, but the more we discussed exactly what he wants to say, and I didn’t get it at first. When we and thought about it, one of my dilemmas was, where does this got to London, Mel was very specific about where the drums hit score get big? Where does it get bigger than life or reverential? and how it builds into a rhythm and then builds to the actual We picked a few areas very carefully where it really does get end credits, which is the theme you hear in the trailer. He was huge. I think in the long run that’s right. I think at first Mel really very specific about this and he said at the end of the movie, this gravitated toward the Peter Gabriel-type score. But the flip side of is where the real battle begins, the real war for the hearts and that coin, which is very interesting, is that when I was allowed to minds begins. So those drums you hear became really warlike get more melodic in a sense or get bigger, he also loved drums and that’s exactly what he wants them to say, that it’s that, so it was interesting to me that this was a guy who was very sort of marshaling the troops. It’s the good, moral people with a complex—it’s not all one thing.” against the evil.” And despite some claims to the contrary, Debney says Mel Of course to some people it’s arguable as to exactly which side Gibson does sing on the Passion of Christ score—although he may Gibson and his film are on, but Debney says his exposure to the not be audible on the Sony Classical album release. “He did sing,” film’s controversial aspects has been minimal. “I hope people will Debney acknowledges. “He is in the movie. He may be embar- reflect on the beauty and artistry of the movie and not all the rassed by it but I told him I would never let him embarrass negative stuff; I hope it generates more dialogue.” For Debney himself. He has a great ear and a really good singing voice and a himself, the assignment was a watershed both personally and really low range, so I had him do a lot of stuff. There’s actually a professionally. “It’s extremely hard for me to describe what it solo in the movie near where Judas hangs himself that was Mel meant for me. It was my own personal act of faith and to make Gibson. I don’t think it’s on the Sony album but you’ll hear it in it to the finish line on this was only going to be due to God the movie. I tried out three or four Arabic singers and I found wanting me to. So that’s the way I lived through it. I’ve never a couple great ones, but this particular area I couldn’t get them gone through the turmoil I went through on a professional level to do. Mel wasn’t happy and asked me to let him try it, and he on this—it was nuts but I made it and I had a lot of help making went into the booth and tried it and it was amazing. You have to it. For me there are no superlatives and no way to describe what remember what a great actor he is, and he was in their - it was like to be a part of this at all—for me to have even 10 sec- ing and he nailed it. Some of what I had him do [comes] under onds of my music in this was everything to me.” FSM

FEBRUARY 2004 14 FILM SCORE MONTHLY GOLDEN AGE CLASSICS • FSMCD VOL. 7, NO. 3 • RELEASED BY SPECIAL ARRANGEMENT WITH MUSIC Composed by Miklós Rózsa

DIANE DE POITIERS (1499–1566), THE SOPHISTICATED mistress of King Henri II of , virtually supplanted the Queen’s political influence for a period of the French Renaissance. In 1956 M-G-M mounted a lavish of her pivotal years, scripted by the formi- dable Christopher Isherwood. Diane was played by Lana Turner, with a young cast as Henri, and vivid supporting roles of the French and Italian royalty who turn the plot.

KEY TO M-G-M’S GRAND, HISTORICAL STYLE WAS composer Miklós Rózsa, who scored so many costume dramas for the studio: Ivanhoe, Knights of the Round Table (FSMCD Vol. 6, No. 7), and Young Bess, among many others. Although Diane features manly activities calling for robust, symphonic scoring in the style of Rózsa’s adventure music, it is essentially Diane’s tale of the heart: a woman who resists true love for the good of her kingdom. Rózsa responded with a gorgeous melody representing her grace, nobility and romantic yearning; the theme was in fact called “Beauty and Grace” in a popular arrangement.

AS WAS CUSTOMARY FOR THE COMPOSER, RÓZSA provided Diane with a host of secondary themes: regal fanfares for the King; an austere theme for Diane’s unlov- ing husband; darting, menacing motives for the treach- erous ; and shimmering, choral mysticism for the story’s “prophecy” component. He supplied French dances for the film’s source music, although the score itself is vividly carried by Rózsa’s symphonic style. It is DISC ONE: Diane Third Jousting Fanfare/ 15. Finale/End Cast 5:07 1. Pre-Prelude/Prelude/ Fourth Jousting Fanfare 1:31 Total Time: 42:06 the kind of score that made fans want to listen to the Post-Prelude 2:38 20. Lance/Cage of Gold/ Diane Source Cues 2. Decision/Change of Mind 1:32 Revenge 4:13 music—which only took 48 years to happen! 16. Royal Gardens 2:35 3. Royal Chambers 3:18 21. Last Journey 2:16 17. Royal Gardens (alternate) 2:09 4. Home Again/Dejected 0:49 22. Requiem 1:47 18. Pavane du Rois 0:16 5. Royal Command/ 23. Retribution/ ALTHOUGH DIANE IS NOT A LONG SCORE PER SE, 19. Love Song 2:21 Royal Palace 4:04 Private Audience 1:27 20. Gaillarde (pre-record) 1:28 Rózsa recorded so many alternate versions that it is 6. Pastorale/Gaillarde 2:00 24. Finale/End Cast 5:07 21. Pavane (pre-record) 2:13 7. Consternation/Wedding 25. Diane ( and violin) 2:40 being released as a 2-CD set. Disc one features the 22. Chanson Populaire 0:19 Rehearsal/Reality 2:37 Total Disc Time: 71:36 23. Banquet Music (pre-record) 1:35 score proper, while disc two features alternate cues 8. Cortege 3:23 24. Requiem (film version) 0:45 9. Warning 3:03 DISC TWO: Diane Alternate Score as well as source music and skeletal “pre-records.” 25. Fanfare for Cortege (pre-record) 1:27 10. Diana/Peephole/Hate 5:40 1. Prelude/King’s Filling out disc two are additional and alternate cues 11. 2:32 Messenger/Riding 4:45 Plymouth Adventure from two other Rózsa historical works: Moonfleet 12. Prophecy/Bugle/Royal 2. Royal Command/ Alternate Cues Hunt/Wild Boar 3:24 Royal Palace 4:13 26. Main Title (album version) 1:47 (1955, FSMCD Vol. 6, No. 20) and Plymouth Adventure 13. Desperate Ride/Fanfare to 3. Reality 1:19 27. Greensleeves (alternate) 1:13 (1952, FSMCD Vol. 6, No. 1), which would not fit on their Forgiveness/Forgiveness/ 4. Warning 2:09 28. Old Hundred (alternates) 1:40 For King and Country/Viva la 5. Diana/Peephole/Hate 5:39 29. Plymouth Rock/ earlier FSM editions. This 2-CD album thus “closes the Guerra March/Love Letter 4:37 6. Bugle/Royal Hunt/Wild Boar 3:46 Confess Jehovah 3:00 book” not only on Diane, but on Moonfleet and Plymouth 14. King’s Return/Souvenirs/ 7. For King and Country/ Total Time: 7:48 Death of Francis I 4:36 Viva La Guerra March 0:58 Moonfleet Additional Cues Adventure as well. 15. Suspicion 2:27 8. Death of Francis I 2:25 30. Guitar Improvisations 16. Confession/Revelation 1:54 9. Suspicion 2:18 (Vicente Gómez) 3:56 17. Jealousy 1:03 10. Revelation (alternate #1) 1:10 31. Gypsy Dance (Vicente Gómez) 5:28 THE RELEASE IS BY AND LARGE IN STEREO, SAVE 18. Banquet Music/ 11. Revelation (alternate #2) 1:09 32. Bourée (pre-record version) 2:42 Forbidden Fruit 2:01 12. Lists/Fifth Jousting for certain source tracks, as well as the Plymouth Total Time: 12:10 19. Lists/Knights and Horses/ Fanfare/Revenge 2:59 Total Disc Time: 77:43 Adventure material, which was recorded in mono. First Jousting Fanfare/ 13. Last Journey 2:05 $24.95 plus shipping Second Jousting Fanfare/ 14. Retribution/Private Audience 1:32 Album produced by Lukas Kendall Don’t miss this month’s Silver Age Classics Logan’s Run (Television Series) by , et al.

FEBRUARY 2004 14 FILM SCORE MONTHLY See inside back cover for details here’s no question that James Horner

is one of the most popular and con- troversial film composers on the Horner film-scoring scene of the past two decades. To some, he’s the logical suc- cessorT in the lineage that includes John Williams, Jerry Revealed Goldsmith and all their forebears working in the clas- sical film-scoring tradition. To others he’s a pretender,

and “pretender” isn’t the worst epithet to be thrown in

Horner’s direction. The composer is wary in interviews,

and he’s been asked some of the same questions about

his approaches and influences so many times that he

tends to march ahead of the interviewer and address

these points himself before they even come up. But

his intelligence and his compellingly philosophical—if

somewhat defensive—point of view on his work are

what really register in any conversation with the man.

FSM: Am I right in thinking The Missing is the closest thing you’ve done to an actual western in your career? James Horner: If you told that to Ron, though, he’d shoot you for saying it was a western and not a thriller. FSM: You’ve done a number of movies with Ron Howard; what’s your working relationship with him? JH: We work actually very, very closely. I like to work very closely with directors so there are no surprises, and I like their involvement. Over the course of our history together he’s become more and more The Oscar-winning comfortable with music. Initially he knew what he would want but he didn’t know how to communicate it very well; over the course of the composer talks about his movies that we’ve done together, I’ve really made sure that he was as plugged in as he could be so that things would turn out just the way recent projects, his “sound” he wanted, as opposed to something that he wasn’t with but had to live with. and the mathematical realities FSM: Does he make specific suggestions? JH: Yes. Or I will make suggestions to him; we’ve gotten sort of com- of Western scales. fortable working together so that we talk more abstractly now than we used to. We’ll talk and then he’ll say, I’ll see you in two weeks and we’ll Interview by JEFF BOND see what you’ve got. We discuss things ahead of time and he gives me ideas that he’s interested in or instruments that he’s interested in, in the case of The Missing, and then we eventually meet when he comes to L.A. or when I go to New York and we talk more specifically and I’ll play him things on . Ron feels that The Missing is not really a western; it’s a period piece, but Ron wanted it to be more of a thriller. I’m not sure how successful that precept is; I think that it is a western and it is

FEBRUARY 2004 16 FILM SCORE MONTHLY

v9n02iss.id 16 3/9/04, 8:27:35 AM a thriller but he was less interested in the fact that it was and it’s not noisy per se; a lot of it plays on the eeriness of a western. He didn’t want to do a big, romantic, big sky just being real. Now as soon as you put a score in there, the open scenery type of film—he wanted to make something eeriness of it being real goes away and now suddenly it’s much darker. And a lot of the instruments we talked about a scored Hollywood movie, and that’s something I didn’t were indigenous instruments, ethnic instruments, almost want and Ron didn’t want. So there are long spaces in the anything that wasn’t symphonic. He did not want a big movie where there’s not a lot going on sound effects-wise glorious Elmer Bernstein or How the West Was Won score. He or in terms of the score; it’s purposefully kept very real wanted something much darker and much more brooding, and very dark. There’s about 107 minutes of score; there’s with Apache voices and things like that—there’s a lot of a ton of music in this movie but a lot of it is unconven- vocalizing in the score. tional, so it’s hard to distinguish whether it’s me or sound effects working. Because I used so much indigenous music Sounds Different it sounds so interesting; a lot of the sound effects were FSM: There are some really interesting effects used in this dropped on the dubbing stage because a lot of the music score; there’s something like a pan flute running through it, sounds so convincing on its own and a lot of it isn’t music, there’s an almost howling sound and there’s a drumming really—it’s a cross between music and sound that sounds almost like fingernails tapping on a surface. effects. I tend to JH: They’re all just colors; it’s a lot like painting and I’m FSM: But you also get to develop some real looking for colors that are very atmospheric and interest- themes in the movie. write long cues ing, and most of them were done on flutes of some kind. JH: The film opens up in a kind of uncon- Not so much pan pipes, but there’s a very breathy Apache ventional way, and I wanted to lay the seeds of because I hate flute that’s a very large flute, and the two flute players I several of the characters at the beginning of the used actually played it very breathily. We have a lot of film so that they come to fruition as the film the idea of music other ethnic instruments. The problem with ethnic instru- proceeds and you get toward the end. There ments is that they sound great in theory but they have a are a couple of big themes in the score—one of stopping and range of four or five notes and they’re not very reliable. them is for and the family and You can’t put printed music in front of the player and her world, that emotion. The other theme is starting; I’m say, “Here, I want this melody played”—it doesn’t work the more heroic or stoic thing that plays more like that. You basically sample them; you have to. It’s the for Jones as the film progresses. It just so aware of only way to get a really great performance consistently. sounds conventional but it sort of works that Sometimes, depending on the flute, I would have one of way because if the whole score is unconven- music doing its the guys actually play a melody on one of the instruments, tional and unfocused and abstract, emotion- which he could do, but it’s so difficult to get the instrument ally you don’t hook up with anybody. You sort thing when it in tune and it’s so difficult to get each note—if you play a of narrate the film in an interesting way, but melody and it’s going on a harmony or it’s being played emotionally, from the heart, you don’t hook up stops and starts. in conjunction with violins it has to be in tune, it can’t be with anybody when things go badly or things sort of free floating, and to do that kind of work requires go well or people or get caught. either a great player or the perfection of sampling, and then FSM: You also have something like a 15-minute climac- straightening out the notes manually. tic cue in the score. FSM: What about the percussion sound? Are those JH: I tend to write long cues anyway because I hate the samples or is the sound processed in any way? idea of music stopping and starting; I’m just so aware of JH: [They’re] Japanese drums, and there’s a hollow music doing its thing when it stops and starts. I prefer to drumstick that, instead of coming to a point like a conven- keep it in motion and try and be out of the way when the tional snare drum stick, is actually split into four pieces like music doesn’t need to work, but that way it’s already in it’s been sawed down the length of this thin drumstick four progress and when it needs to work again, you don’t just times. So it’s got four flaps of wood at the end; they make suddenly bring it in; to me it works a little more subtly. a snapping sort of sound, and when you actually make a FSM: You’ve worked now since the late 1970s; how has sound with the wooden sticks it’s the sound you hear in the industry changed since you got started? the score. That’s live playing. JH: It’s interesting; I’ve been thinking a lot about this in FSM: One of the big advantages to doing this kind of the last few months. Unlike anything else, when you write movie is you’re not up against a huge action movie sound a score for a movie, somebody else owns the score; it’s not mix, and it also seems that you get to play through scenes mine. If I’m a writer and I write a story or if I’m a painter more and write longer cues. and I paint a painting, the idea of a proprietary, copy- JH: Theoretically yes. There were a few places in the righted thing doesn’t occur as strictly as it does in music. movie where I wasn’t sure whether the occult or the eth- You write a film score and you develop interesting ideas nic direction was the best way to go. I felt that perhaps the and you think you’d love to explore that more in your next material should be more thematic, and the film does lend score or in a serious piece—if you’re a painter you can do itself to that because there aren’t a lot of sound effects. But a whole series of paintings on a theme, as many painters what Ron wanted to do was instead of putting themes in, have done in their lives, and there’s not that proprietary we discussed using voices, and there are a lot of voices in feeling. In [film] music, once you’ve written it, it belongs to the score. But you’re right that it’s not a shoot-out movie somebody else, and it’s a very hard thing to come up with

FEBRUARY 2004 16 FILM SCORE MONTHLY FILM SCORE MONTHLY 17 FEBRUARY 2004 a completely different personality in every film. It’s part of your JH: In that score, unlike The Missing, the music was much more nature, as it is in every art. repetitive in nature and it was like this big, slowly evolving, repeti- If there was a famous move that you used to win or a tive circle, and it doesn’t really pay off at the beginning; it’s abstract football move, and at the end of the game that football move was and it doesn’t pay off until the music sort of revolves again toward owned by somebody and you could never ever use it again, that’s the end of the film with these slow-moving changes. There’s an the sort of thing that [film] music suffers from—that you can’t inevitable quality about the score that I purposefully tried to do. continue a style or explore ideas you’ve explored before, because These characters have an initial confrontation and from there the they don’t belong to you. I would say, more recently, it’s harder story is cast in stone and you can see what happens; they come and harder to be completely fresh each time. No other discipline so close to resolving but you can see that it’s inevitable what hap- requires that quite as dramatically as the music does. And I also pens, and there’s a hugely moving ending to this movie. I wanted feel that, maybe not in the next five or 10 years, but given that to have this feeling that you weren’t so much listening to under- audiences are relatively conservative with film music and you’re score and new cues every time the music played but that you were not all of the sudden going to be able to put in avant-garde music listening to cues that had a familiarity to them and they repeated, or atonal music—for all intents and purposes audiences expect a and ideas repeat over and over again and build throughout the certain sound and presentation—[that] it’s only a matter of time movie. [At] the end of the movie, the last quarter, the whole story until we run out of melodic patterns that becomes unraveled, and it’s heartbreaking. The music having are completely original. Mathematically these slow ongoing chord changes, as opposed to a conventional It’s only a mat- we eventually will if you think about all “each cue is different than the previous one” or thematic approach, the people who are writing songs and gives it a feeling that it is this horrible, inevitable thing that’s cast ter of time until film scores and what-not all over, and and it’s not undoable. it’s all proprietary so it doesn’t belong to FSM: You wrote some very extended, almost classical pieces for we run out of you, it belongs to a publishing solo piano for that score. or a film company or a recording com- JH: I wanted to play the piano myself and the piano music is melodic patterns. pany or an artist. In the next 10 or 20 sort of atmospheric; it’s not really thematic. I don’t play it the- years it will become harder and harder to matically and there are no real themes playing, it’s more just sort In 10 or 20 years write something totally unique. of gentle textures playing, very open. The music is a very gentle Somewhere along the line you will story—a slowly unraveling psychological story—and I didn’t want it will be harder either inadvertently play four or five the music to call attention to itself. It was very important that notes together that are somebody else’s it just stay very low-key and like a character quietly brooding and harder to or four or five notes together that are underneath; I didn’t want the feeling of movie music. yours but that don’t belong to you—that write something is where more and more film scores are Quizas, Quizas, Quizas going to end up. It’s harder and harder FSM: Another score you did late last year was Radio, which is totally unique. because of companies not letting a a much more traditional kind of picture. How do you do your composer develop a style and work on job on a project like that and not go over the line into raw that—a composer has to come up with a sentimentality? completely different approach every film. Mathematically, the idea JH: When I approach a movie like this the last thing I want to of tonal music—we’re going to run out of notes and note com- do is be sappy and maudlin and sweet, but it is the story of this binations. To use an example, when you listen to a whole three- kid that is adopted by this school, and it’s a feel-good type story. hour run of Mozart or Vivaldi or Beethoven or Brahms, there’s Working with Ron allows me a huge latitude and subtlety because such a distinctive style from piece to piece. If you were to do that he trusts my instincts and I trust his. Working with the director of in film you’d get sued; you would never be able to do that. Radio, I was told quite often to make a cue a certain way, perhaps FSM: That’s interesting; have there been cases of composers sweeter, perhaps using the theme in every cue, and I would beg actually being sued for reusing their own material? to not have to do that. But ultimately it’s not my movie; I’m work- JH: Yes, they have. I’m nervous to say exactly who. There have ing for somebody and it’s his call and his movie; I can object, but been instances where composers have had scores thrown out like in a courtroom, I’m overruled. The cumulative effect is one because legal has come back and said, “You did this score for of intense sweetness where perhaps I would not have done that such and such a movie and it’s the same score”; and they throw given my own sensibilities. I think in hindsight, he feels he made out the score. a mistake by not giving me greater freedom and scoring things in FSM: But you do have some stylistic effects and even motifs perhaps a grittier or edgier way. You can’t tell that from the CD that you’ve been able to return to; there’s a kind of “menace” motif because there’s so little score on the CD. But sometimes it’s not the that you’ve been able to apply to different projects, for instance. composer that calls the shots. JH: Those are minor, I won’t say “infractions,” but it is impos- FSM: It seems like the character gives you an out to sible for an artist not to have some sort of a style, and I think go into a more masculine emotional territory and avoid some of more and more it will become harder to come up with a block of the keening sentiment a lot of these kinds of scores have. six notes that doesn’t sound like something else. JH: I tried, but I’m right on the edge of what’s acceptable to my employers and the director. If he had his way I would be keening. Another Nomination It’s so frustrating because the movie, when you see it visually you FSM: You got an Oscar nomination for House of Sand and Fog, a say, right, okay it’s a very sweet movie, but the last thing the music much more subdued score. should be is as sweet as the movie. That’s all up on the screen and

FEBRUARY 2004 18 FILM SCORE MONTHLY FILM SCORE MONTHLY 19 FEBRUARY 2004 you can give movies a lot more interest- to decide what kind of a movie to do; ing depth by doing that. I just look for films that are interesting FSM: I have to assume you must have and people that are interesting, and made enough money from not to especially now I’m not looking for big have to work at all, so what inspires you mainstream action movies but for direc- to take on a film project now? tors who come out of theater or things JH: A lot of things go into a decision that are more interesting to me. I guess to do a film or not do a film, and I don’t that’s what the freedom of having done know if I always make the right deci- Titanic has done for me; it’s allowed me sions. I look at each film for different to perhaps be much choosier. But it’s a reasons. [Radio] is a film where there are double-edged sword because that same a lot of people involved that I’ve known success blocks many directors from forever. I was asked to do the film by even considering me, and I have to do who runs Revolution. I did his a very big sell to get some directors to very first movie and then he became an talk to me. executive at Fox and stopped directing FSM: What’s your working method? and producing, and he’s running his Do you use any of the computer tech- NOT TYPECAST: Horner’s recent projects include “Don’t-call-it-a-western” own company. I have relationships nology composers have today to con- The Missing, the Oscar-nominated drama House of Sand and Fog and Radio. that I’m very fond of and I do a film struct your scores? sometimes even though I know it’s not JH: I sit at a desk and I just write, the best strategic move, it’s something orchestrate as I go and write to paper. I feel I must do out of friendship. Not I have a piano and I’m a pianist but I very often, but perhaps this movie falls don’t really compose at a piano; I com- into that category where I might not pose at a desk and I’ll check things out have done it if it had been a different sometimes against the scene and play combination. It’s funny that everybody music against the scene, but I don’t thinks Titanic gives you ruby slippers use any machines in my line of work and a silver carpet—it really doesn’t in and I really don’t work with anybody. I a way. It makes you so mainstream that have a very small group of people that I interesting directors think they know work with from film to film—a record- what they’re gonna get and they’re not ing engineer I bring over from London interested. who’s absolutely stunningly brilliant, You have to be very careful. It doesn’t my music editor I work with on every open doors necessarily; people like movie, Ian and Randy who are my key- Marty Scorsese or or board and synth players when I don’t whomever don’t look at composers of play keyboards myself. But really I do those big Hollywood epics as being the most everything in a very old-fashioned most brilliant composers in the world; manner and it goes from me to the they’re looking for something that’s copyist, unlike other people who have much different than that, and the films whole factories and apprentices. I’m interested in doing are different from that. So after Titanic, it was hard Time After Time to find interesting directors that were FSM: What about your schedule? How interested in working with me because much time do you have to work on a they thought I was just as mainstream score now? Hollywood as I could be. And I wanted JH: What’s happened in to do movies like Iris or House of Sand and is that the editing is being done digitally Fog or A Beautiful Mind, and whatever now and the whole concept—the old arty movies I could find along the way concept of a film where you that weren’t action movies I would do, finish editing and you’re done and you and I turned down for instance Lord of give it to a composer and you give it to the Rings. I don’t know whether I did sound effects and then six weeks later the right thing, and here it is three you record the music and a couple of years after Lord of the Rings started—had weeks [after that] you start dubbing the I done Lord of the Rings I would have had film and putting the music and dia- to be completely enmeshed in that, and logue and sound effects together—that I wouldn’t have been able to do any of whole type of procedure has changed. these smaller movies that I wanted to With digital editing you now can edit do; I think I would have compounded so easily that people change the film up my artistic problem even more. It’s hard to the last moment, as long as they can,

FEBRUARY 2004 18 FILM SCORE MONTHLY FILM SCORE MONTHLY 19 FEBRUARY 2004 because it’s so easy to experiment and try things and improve he’s saying, “I think it should be magenta” or “I think it should be things and preview the film and make changes based on pre- romantic.” It’s something tangible where he’s put in John Williams views, that whole thing. So the traditional way of working where or something, even me, and he thinks the scene plays wonder- I have a solid six weeks to work doesn’t apply anymore. Now the fully, and I’m saying, “I don’t think it plays wonderfully, I think it first question I ask when I do a film is what is the release date; would play much better with a different approach.” And then I sit backing up from the release date I figure out when the dubbing him down at a piano and play him something different. starts; backing up from that I figure when I have to start record- FSM: Have you run into cases where directors fall in love with ing the music so they get the music in time for the dubbing; and what’s on the temp and want you to reproduce it? backing up from recording the music I try to give myself as much JH: Not so much. That’s sort of the complaint; what time as I can to write it. What invariably happens is if I start writ- happens often with temp music is editors use it to cut big long ing five to six weeks before the recording date, they’re still edit- scenes to because it helps them in their cutting rhythms and they ing. They’re still editing at five weeks and at four weeks, and at a have some sort of going in their mind. If they cut too certain point you have to start writing because you’re really going close to a piece of music it has a structure that is hard to change to run out of time. I would say that I don’t think I’ve had more later on. And also nowadays the editing schedule being shortened than three and a half or four weeks to do a movie for the past and changed, they have to put in a temp score because they’re three years, and it would be even less if I showing it to audiences who don’t understand raw footage with a lot of directors didn’t scream and fight for my three weeks. only production sound—they have to put music in to give it a sort But The Missing was done in two and a half of lubricant so that audiences or executives can understand it and are used to songs or three weeks. I was hired very early on don’t pick apart the film. So I understand the reasons temp scores and they don’t and I was standing around for a long time, are put in outweigh not doing it. Usually directors know that they but every time I tried to write a scene, the can’t get that close to a piece of pre-existing music. They won’t ask see the virtue scene would change, so there’s not much you; if it’s a really inexperienced director he may inadvertently point in that. want something that he can’t have, and you may have to convince of an orchestral FSM: Do you have time to work out your him or have others convince him that it’s not going to be that way. concepts for a score beforehand then? But I think most people are aware that even if it works a certain piece of music— JH: Concepts and themes happen very way that they can’t get what they took off a record; they have to they don’t know easily for me; that all happens right away. accept a new artistic version of that. I haven’t had that problem I’m inspired by the movie and immediately where they’ve asked to make it closer to the temp, because I don’t how to solve ideas come gushing out. That’s not the write that way, where I’m just doing dictation. problem; that happens in the course of 15 cinematic minutes or a day where I have the whole The Horner Sound thing scoped out in my head. What I need FSM: You do have a fairly recognizable style though, and that problems to start doing is knitting the quilt, and every seems to be something we hear less and less in contemporary with it. time you start to put the sticks together to film music. start knitting, the scene changes. When you JH: There aren’t a lot of people who write in that sort of recog- start writing you’re dealing with literally nizable style; it is much more generic. A lot of people come out of mathematical timing: The scene goes from point A to point B pop, they come out of synths and they don’t understand where and it has to do certain things along the way; somewhere along music has been for the past 300 years or where jazz has been or there someone gets shot and somewhere in there somebody gets influences like that; they have no idea of that scope. They come kissed and those things happen at very specific timings. So you from a world where the more sound you put on the better it is, start knitting the eight-minute piece together and then they pre- and there are directors that don’t know the difference either. I’ve view it and the whole thing gets turned upside down—so what heard directors discuss other directors, and a lot of directors come was the point of writing that eight-minute piece when it has so out of commercials or video now, and they have no sense of many changes now you might as well start again? cinematic history and certainly music history, virtually nil except for Top 10 or VH-1 or radio. A lot of directors, when they have a Breaking Away cinematic problem that needs to be solved by music, their instinct FSM: How much are you affected by having a temp score in place is to put a song in there. And I’m not saying this in an egotistical on you work on? way, but a lot of directors are used to songs and they don’t see JH: I don’t have to deal with them but I like it when directors the virtue of an orchestral piece of music—they wouldn’t know use temp scores; it helps me find out from them what they have what to do with it. They don’t know how to solve cinematic in mind or what the editor has in mind. So I can say, “I under- problems with it, and they certainly wouldn’t know how to solve stand what you want when you put that music in there and I a cinematic problem with a long, extended piece that has a real agree with you, that will sound great when I’m done with it, it style to it—they want it to be more generic, big, short, in, out, do won’t be the same music but it will work great so don’t worry its job, don’t finesse around the , just solve that one problem about it.” But sometimes they put in music and they think what and be done with it. is not going to sit through a 15- they put in works wonderfully and then I see it and say, “I think minute music cue and would have three or four that’s horrible—you think that’s a romantic scene and I think it’s composers working on a movie unbeknownst to each other to a tension scene.” By putting in temp music it gives you a great give him music he can mix and match. Even somebody as expe- discussion point because you can look at it and say, “I don’t agree rienced as Scorsese on —there were 200 songs in with that,” and it’s something tangible, it’s not abstract, where that movie at one time. FSM

FEBRUARY 2004 20 FILM SCORE MONTHLY FILM SCORE MONTHLY 21 FEBRUARY 2004 ur Buyer’s Guide resumes

where we last left off (Vol. 7, James No. 1), with this installment featuring James Horner’s Ofruitful repertoire of work from 1985 back Then to his career beginnings. We also close the

book on scores albums released since the Now previous installment in 2001: & — 1985 1978

In Her Own Time (1985) ● Unreleased orner provided a few minutes of original music for this hour-long documentary (available on video- Hcassette) from Testament director Lynne Littman as a favor, reportedly after the pair hit it off well on that 1983 feature. The film follows anthropologist Dr. Barbara Myerhoff through her struggle with (and eventual death by) cancer while at the same time she researches the Jewish Hasidic community of Los Angeles. Horner’s effort here is a stark, low-key affair with little to recommend.

Amazing Stories: “Alamo Jobe” (October 1985) ●● ◗ Unreleased orner scored one episode of the popular Amazing Stories television series, involving a 15-year-old boy H(Kelly Reno) who experiences time travel during the fight for the Alamo. Horner’s score bristles with hero- ism and adventure, and to the disappointment of many, remains unreleased in any form. With Varèse Sarabande’s 1999 release (VSD-5941) of re-recorded scores by John Williams and Georges Delerue from the series, it was widely hoped future volumes would follow and include Horner’s score, a longtime fan favorite. Sadly, nothing has materialized yet.

Commando (October 1985) ●●● Varèse Sarabande Club VCL 1103 1026 • 8 tracks - 43:26 ecember 2003 finally saw a Varèse Club limited release of 3,000 copies of Commando, a long-in- Ddemand Horner score that had never appeared in any prior format in its original recording. Propulsive, The long-awaited conclusion to the noisy and synthy, with fewer acoustic instruments than its closest relative, 48 Hrs., the score works effectively epic James Horner Buyer’s Guide enough for this Arnold Schwarzenegger vehicle involving his retired Colonel character and his kidnapped daugh- By PAUL BOUTHILLIER ter (Alyssa Milano). Unfortunately, the music fights with Illustration by PAUL SHIPPER dialogue and sound effects, rendering it completely indis- cernible at times. Demand for this title spawned inferior cover versions on the 1990s compilation CDs Titanic: The Essential James Horner Film Music Collection (Silva SSD 1089)

FILM SCORE MONTHLY 21 FEBRUARY 2004 and Heart of the Ocean (Sonic Images SID-8807). score include Horner’s beloved A notated excerpt of one of the cues of this flute (back when it was novel and interesting), About the Ratings score appears in and Rayburn self-borrowing (acoustic guitar work from About Wright’s excellent book On the Track: A Guide to Cocoon and horns from 1983’s Testament), and the Ratings Contemporary Film Scoring (Schirmer). the concert world (think Benjamin Britten’s While we call this a buyer’s guide, it’s really a Four Seas)—all of these, while detractions to listening guide, including mention of films with The Journey of Natty Gann (September 1985) Horner fans, are tolerable here. Though sev- unreleased scores. Bear in mind that these ●●● Unreleased eral film music labels have tried to negotiate scores are relative to the rest of the composer’s output, and do not compare directly to the rat- orner replaced a rejected score by Elmer the rights for a release, Disney has reportedly ings in our regular SCORE section. Bernstein (though a few Bernstein cues made it impossible by its refusal to license its Hstill remain in the final film) for this music catalog to others, as well as by its gen- ●●●● A MUST-HAVE. Disney movie set in the Depression and eral lack of interest in releasing this particular One of his finest works; belongs in every involving a girl who seeks to reunite with title. soundtrack listener’s collection. her father. The Americana Copland-influenced approach here is the score’s thrust; in fact, Volunteers (August 1985) ●● ●●● HIGHLY RECOMMENDED. one particular scene involving an ornery bull Unreleased Close to being a classic, with lots of replay value. shamelessly cribs from that composer, but in orner scored this light comedy for Star ●● RECOMMENDED WITH RESERVATIONS. spite of that, this remains an enjoyable score Trek II: The Wrath of Khan director Nicholas A score with representative moments but not a and functions exceptionally well in underscor- HMeyer, which featured Tom Hanks consistently enjoyable listen. ing individual scenes and shaping the movie’s and John Candy as Peace Corps workers in character as a whole. Some of Horner’s motivic Southeast Asia. Horner provides a suitably ● FOR COMPLETISTS ONLY. ideas here would later wriggle their way into serviceable but lightweight score, steering Really, don’t you have more important things to . Other influences in this clear of comedy scoring and aiming instead spend your money on?

to both legitimately underscore the film’s few The “More Music” Albums serious moments and provide comic effect via parody of well-known cues from other The “More Music” Albums films (such as Bridge on the River Kwai). None (1998) ●● ◗ of the parody is quite razor-sharp enough to Sony Classical SK-60691 • 13 tracks; 79:05 work, and while there are a scant few genu- LIKE THE SEQUEL ALBUM, BACK TO TITANIC IS BOTH A ine, heartfelt cues, the music is too subdued commercial cash-in and a musical godsend, an album for non-score fans, both in composition and performance to complete with remixes, additional songs and source music, and dialogue make an impact. clips for all the teenage girls who swooned over Leo DiCaprio’s dulcet tones. Musically, the album’s highlights are the four additional score Cocoon (June 1985) ●●● ◗ cues, which include a delicate solo piano version of Rose’s theme in “The Polydor 827 041-2 • 12 tracks - 44:30 Portrait,” a barnstorming original Irish jig in “Jack Dawson’s Luck” and Pendulum PEG013 • 12 tracks - 44:30 an additional action cue “A Building Panic.” Horner’s 19-minute re-recorded “Titanic Suite” replaces the orner’s score for this Ron Howard film synthesized from the original with a performance by the Choristers of King’s College, Cambridge, about a group of senior citizens who and actually sounds better because of it. The two classical performances by the acclaimed Hdiscover a “fountain of youth” courtesy I Salonisti of the Titanic’s actual repertoire are included as a recognition of their contribution to the film, of some not-of-this-world visitors, is a lilting, while the superb piece of Irish party music by Gaelic Storm raises the tempo considerably. As a consumer lush, string-heavy romantic affair at its core, item aimed at the mass market, it is probably a better concept than the original soundtrack, but, other offset by several complex kinesthetic “action” than the additional score pieces, offers little to the film music collector. —Jonathan Broxton cues firmly in line with 1980s Horner writing; effortless shifting meters and jagged, percus- More Music From Braveheart (1997) ●● ◗ sive rhythmic construction abound. Seen by London 458487 • 25 tracks; 68:31 many as the first time Horner would show DESPITE BEING A LENGTHY ALBUM IN THE FIRST PLACE, MORE such an unbridled romantic and sentimental Music From Braveheart took several additional cues of score music scoring instinct, the composer remarked that not included on the OST and padded them out with dialogue clips and his challenge was to create sentimentality traditional Scottish bagpipe tunes to make this unusual sequel hybrid: and empathy to move audience members of half score, half concept CD. The additional score material is very good; all ages, without being maudlin—and to this a haunting bagpipe lament for the death of William Wallace’s father in end he succeeds. Other hallmarks of Horner’s “Outlawed Tunes on Outlawed Pipes,” a romantic reworking of the love 1980s compositional sensibilities (supportive theme in “The Proposal” and the slightly different version of “For the Love of a Princess,” which was and at times antiphonal-like brass writing, included in the film but not on the original album. As for the dreaded dialogue clips, the entire conclu- glissandi string passes and active upper sion of the film is included verbatim. More Music From Braveheart is a redundant album unless you have woodwinds) are here, too. And while the an affinity for the skirl of the pipes, and it’s really only worth investing in if you have an unquenched duality of the more romantic sections com- desire for an 86-minute complete score. —Jonathan Broxton bined with more aggressive action cues could have clashed both in the film and on the disc

FEBRUARY 2004 22 FILM SCORE MONTHLY FILM SCORE MONTHLY 23 FEBRUARY 2004 itself, that’s fortunately not the case. Horner ring ’80s staples Molly Ringwald and Zach effectively weaves both together by con- Galligan. Horner’s score is gentle, sparse and sciously creating a large range of transitional evocative, similar to his work on Testament or musical material (alas, some of it lifted from 1991’s , though the writing here Star Trek II: The Wrath of Khan) and both second- is more piano-oriented. The difficult chal- ary motivic ideas and reworkings of primary lenge of scoring the suicide scene is handled devices within these transitions. There are effectively with ice-cold, dissonant strings, some jazz here courtesy of late and while the composer’s scoring of a piv- veteran arranger May that are worth a otal funeral scene with piano and set listen. But do yourself a favor and skip the against quiet strings is effective, chunks of it dated breakdance-able “Gravity” by Michael would later be reconfigured for Cocoon, and Sembello. This disc went out of print rapidly this ultimately detracts. on its original Polydor pressing (and was sell- ing for up to $400 for its CD on the second- Star Trek III: for Spock ary market through the early to mid-1990s), (June 1984) ●●● and was then re-pressed on the emerging GNP Crescendo GNPD 8023 • 9 tracks - 46:53 Pendulum label in 1997—which has also since Silva Screen FILMCD 070 • 8 tracks - 42:54 gone out of print, inflating prices for both ver- hile retreading the musical territory sions. If you can find this one, snap it up. of 1982’s Star Trek II: The Wrath of Khan, WHorner’s score for the third big-screen Heaven Help Us (February 1985) ●● Trek outing is supplemented with enough EMI SV-17154 • 10 tracks (songs only) original content and thoughtful re-imagin- his is possibly the most troubled scor- ings of the Trek II material to hold sufficient ing project of Horner’s career. He ended interest, as well as a sensitive treatment Tup writing and recording three separate of ’s classic Trek theme scores for this film—a comedy/drama about beyond merely the fanfare. The Prokofiev- five attending Catholic school in 1960s inspired “Stealing the Enterprise,” a clear Brooklyn—due to meddling by studio execu- album highlight, differs from its in-film tives. His first attempt was uniquely Irish, the version both in and in the first such experimentation for Horner, and presence of music designed to accom- reportedly resembled his similarly influenced pany intercut scenes eventually chopped work on Patriot Games and The Devil’s Own, only from the film during editing. One quibble: written for a small ensemble. Though director Performances are fatigued and substandard Michael Dinner and Horner were both pleased at times, while Shawn Murphy’s usually with his approach, studio execs wanted it more crisp recording work is problematic. The “like Mozart,” even going so far as to name par- European CD release from Silva has the ticular Mozart selections they favored. Horner good sense to omit the atrocious throbbing eventually adapted some Mozart and Bach synth track, “The Search for Spock” (origi- and wrote a few new cues in a more formal nally issued by itself on a second LP for the classical style, but this time the studio thought gatefold soundtrack issue), rumored at one it was too sterile. The third score had Horner time to be under consideration for inclusion re-orchestrating his Irish music for a more tra- in the film to “modernize” it for a younger ditional orchestra and re-adapting some of the audience. The CD reissue of the original LP classical works; to add insult to injury, a bunch and cassette tape release was remastered of Horner’s final cues were dumped in favor with “B.A.S.E.,” a process said to enhance of pop songs. As such, in the film the score is sound quality. a mish-mash of influences with brief glimpses of what could have been a vintage Horner The Stone Boy (April 1984) ●●● score during his creative peak. But it fails to Unreleased evolve beyond a ragtag collection of cues. An orner’s score for The Stone Boy is unique LP “songtrack” of Motown tunes was issued within his musical canon in that it uti- as a tie-in to the movie and features none of H lizes only two instruments—a wordless Horner’s music; all of the composer’s attempts female vocalist and an acoustic guitar. This for this film remain unreleased. Christopher Cain film deals with the guilt of a boy after his accidental shooting of Surviving (February 1985) ●● ◗ his older brother (Lois & Clark’s Dean Cain). Unreleased Though under 10 minutes, the score’s impact urviving (aka Surviving: A Family in Crisis) is keenly felt in its meticulous and tender is an all-but-forgotten made-for-TV application at only key moments—offsetting Smovie focusing on teen suicide and star- the stark, somber nature of the film. It’s a

FEBRUARY 2004 22 FILM SCORE MONTHLY FILM SCORE MONTHLY 23 FEBRUARY 2004 uniquely intimate project for Horner and an score. With emphasis on piano, horns and cifically re-recorded for album release at the experimental approach he hasn’t duplicated strings, and chimes as support, Testament conclusion of the film’s scoring sessions, so since. Trailer composer contributed bears a resemblance to The Dresser. the in-film content differs from what’s rep- the carnival source music heard throughout resented on disc. The UK LP release features the film’s pivotal final scenes. The Dresser (December 1983) ●● alternate cover artwork. Unreleased Gorky Park (1984) ●●● ◗ lbert Finney is the core of this Between Friends (September 1983) ●● Varèse Sarabande VCD 47260 • 11 tracks - 36:04 film about an aging Shakespearean actor Unreleased n his first pairing with director Michael Astruggling to stay focused. With less his rarely seen TV movie (aka Nobody Apted, Horner’s score for this film about a than 15 minutes of score in the entire movie Makes Me Cry) starring Itriple-homicide and the man responsible (including main and end titles), The Dresser Tand features a lyrical, intro- for investigating it is enjoyable, if somewhat is not that far removed from other work verted score for small orchestra.

schizophrenic. It’s worthy of a solid place Horner was doing in this period, including Krull (July 1983) ●●● in any collector’s catalog—some 48 Hrs.-ish Brainstorm and Testament. Harp, solo horn (in Southern Cross SCCD 1004 • 8 tracks - 44:52 action music (dated at times thanks to its a haunting melodic line) and female vocal SCSE CD-4 • 16 tracks - 78:51 references to then-emerging 1980s synth- align in tight, clustered discord and avoid SCSE CD-4-G • 16 tracks - 78:51 pop forms) contrasted with modern, dis- making a grandiose statement, keeping Super Tracks STCE 01/02 • 21 tracks - 92:58 sonant orchestral composition as well as firmly with the introverted central character iewed by some as the quintessential satisfying modal writing (“Airport Farewell”). and the resigned personality of the film as a Horner “fantasy” genre score, this was A highlight is Horner’s clever and effective whole. Essentially a singular theme and slight V the composer’s first outing with the distortions of Tchaikovsky (Swan Lake, 1812 variation approach rather than specific scene London Symphony Orchestra, as one of Overture) intercut with brutal synth stabs and scoring, the lack of music in the film (at one the youngest conductors (then 29) to ever piano crashes. or Titanic this point, there’s over 45 minutes of continuous lead them. Peter Yates’ ambitious if messy isn’t, but with its gritty augmented picture with no score) will make you sit up effort features a young Liam Neeson along with a dark love theme, Gorky Park covers all and take notice every time it enters. with Ken Marshall, Lysette Anthony and the bases. Freddie Jones in a film about an attack Brainstorm (September 1983) ●●● ◗ on the planet Krull, and plot threads Uncommon Valor (December 1983) ●●● Varèse Sarabande VCD 47215 • 7 tracks - 30:15 surrounding a magic weapon, a princess Unreleased his is an outstanding example of progres- and a black fortress. Horner’s work is precursor of sorts to and sive 20th-century composition and still rich; straight-ahead, bombastic scoring, even Aliens, Horner’s score for this Gene Tstands as one of the boldest and most a gorgeous love theme and sophisticated AHackman military picture is infused with experimental scores Horner has ever done, brass and percussion writing form what Southeast Asian rhythms and hammering though some find it too inaccessible and some see as the first true “masterpiece” of metallic percussion and is a smorgasbord cold. helmed this “science Horner’s career and spawning influence for of textures and influences. His shakuhachi fiction thriller” featuring , his work on Star Trek 3: The Search for Spock, flute also makes an appearance, while his Louise Fletcher and Natalie Wood (in her last The Rocketeer and even Aliens. The original layered writing for an arsenal of soli snare, role) about a mind-recording and playback issue first surfaced on CD 1987, with an field and bass drums, and timpani is unique device, which in many ways was ahead of its expanded edition (SCSE CD-4) following in in his body of work. Some material is pulled time. Utilizing the of the London 1992, then a “Gold” edition re-press (SCSE straight out of Star Trek II: The Wrath of Khan, Symphony Orchestra, plus the Ambrosian CD-4-G) appearing in 1994. Both of these but you may be so caught up in the energy Singers and the Boys’ Choir of New College, SCSE editions were individually num- of this score that you’ll be willing to forgive this is a watermark of Horner’s career and a bered. Finally, in 1998, Super Tracks issued that. full demonstration of his abilities and sonic their 2-CD “complete” representation, palette. “Michael’s Gift to Karen,” spun from including liner notes by Starlog contributor Testament (December 1983) ●●● ◗ Mozart, is a nuanced symphonic lullaby, and soundtrack buff David Hirsch—this is Unreleased while the scoring in “Lillian’s Heart Attack” the best one to track down. Some hoped ynne Littman’s film depicting a nuclear evokes sheer terror and has even more that the April 2001 release of a deluxe fallout still holds up, and Horner turns symphonic turbulence than his later Aliens. DVD treatment of Krull might include an Lin a haunting and strikingly minimalist The soundtrack album’s contents were spe- isolated Horner score; it didn’t.

FEBRUARY 2004 24 FILM SCORE MONTHLY FILM SCORE MONTHLY 25 FEBRUARY 2004 Something Wicked This Way Comes overdone (both by Horner later on and, original Atlantic LP and cassette tape release (April 1983) ●●● ◗ Unreleased increasingly, by Media Ventures composers). was remastered with the sound-enhancing his sumptuous, multi-faceted score Though there was no legitimate soundtrack “B.A.S.E.” technology. remains a fan favorite of many, includ- release to this /Nick Nolte T ing the novel’s author . vehicle, the Scotti Bros. did release Another Rascals & Robbers: The Secret Adventures of Replacing a rejected Georges Delerue effort 48 Hrs., which essentially revisits the same Tom Sawyer and Huck Finn (February 1982) on short notice, Horner dabbles in pseudo- ground. The music works well enough within ●● ◗ Unreleased Wagnerism (most notably in the main-title the noisy film itself, but this is more a curiosity irected by Dick Lowry, who employed sequence) and winds us through bouts of than a musical treasure. Horner numerous times on TV movies impressionism (continually representing the Dduring the early 1980s, this is yet another wind and autumn leaves through music), Star Trek II: The Wrath of Khan (June 1982) Twain adaptation, starring a young Anthony neo-romanticism, Americana and 20th- ●●●● Michael Hall, and features a Horner Americana century effects as he illustrates the arrival GNP Crescendo GNPD 8022 • 9 tracks - 44:45 score. The breakneck main-title sequence is a of a dark carnival and its mysterious leader, he hallmark Horner action score that pro- crisp virtuosic joy, while the remainder of the “Mr. Dark” (Jonathan Pryce), at a small town. pelled him into prominence and kicked score shows off intriguing early hints at the Horner’s unleashed creativity and techni- Tdown career doors, this score remains a musical origins of Something Wicked This Way cal mastery ties all elements together here. “Top 5” favorite of Horner fans, even today. Comes, The Journey of Natty Gann and, perhaps Well-recorded by Shawn Murphy (on one Director , on his first Trek most surprising, Star Trek 2: The Wrath of Khan of his first jobs with Horner) and sensitively outing, set out to make a mark, and the (“Surprise Attack” figures prominently, as does

TWO THAT GOT AWAY: 48 Hrs. and Something Wicked This Way Comes.

performed by orchestra and choir, this work score echoes that vision. Bold and aggres- “Khan’s Pets”). The movie is available on vid- remains unreleased commercially, suffer- sive but with ample heart and warmth, its eocassette. ing the same fate that befell The Journey of strong mixed-loudly-in-the-film presence Natty Gann. Damn you, Disney. Damn you! has caused even casual moviegoers to take A Piano for Mrs. Cimino (February 1982) ●● The laserdisc featured an isolated score in notice. Horner freely admitted cribbing and Unreleased mono, regrettably not carried over to the morphing “a love theme” from the original cored for just five instruments, this piano- DVD release. Useless trivia to impress your 1960s series into the main title for this movie and -heavy score pays a fair friends at Horner parties: Some of the horn (probably Jerry Fielding’s “Ruth” from the Shomage to and shows countermelody heard in the post-main title episode “Shore Leave”), and how often does Horner striving to balance and classi- sequence would later be echoed by Horner Horner openly admit his influences? Though cal forms. The score’s small scope for this Bette in his fanfare (utilized some music appearing in the film is missing Davis picture about the challenges of aging, from 1991–1997). from the soundtrack album that fans have however, fails to make a lasting impression. clamored for (at the time of the original LP 48 Hrs. (December 1982) ●● issue of the film soundtrack, Horner was P.K. and the Kid (1982/1987) ● Unreleased Unreleased concerned about squeezing too much music his film was intended for theaters, but sat he genesis for later Horner scores such as on the album, necessitating narrower vinyl on the shelf from 1982 until 1987, when Red , Gorky Park and of course Another 48 grooves and compromising sound quality), TMolly Ringwald’s stardom prompted its THrs., Horner’s experiments in the presentation remains effective and brisk, direct-to-video release. The plot involves an and acoustic fusion writing (with saxophone, and highlights the score’s most remarkable abused Ringwald running away, with her step- electric bass, etc.) are mildly intriguing in moments. As with Star Trek 3: The Search for father hot on her trail, and befriending an arm terms of his total output, but are dated and Spock, the GNP Crescendo CD reissue of the wrestler along the way. Directed by film editor

FEBRUARY 2004 24 FILM SCORE MONTHLY FILM SCORE MONTHLY 25 FEBRUARY 2004 , Horner’s work is similar to B-grade (with one of Sharon Crescendo release. The laserdisc release fea- other projects he was doing in the early 1980s. Stone’s first appearances, no less). Though tured an isolated score track in mono, but Written for small ensemble, there’s nothing occasionally influenced by Goldsmith’s this was not carried over to the 1999 DVD particularly notable here. The Omen (which Horner blames on the release as was originally announced.

The Hand (1981) ●● ◗ director’s insistence on sticking to the temp (1980) ●● ◗ Unreleased track), there’s some interesting writing for Rhino Movie Music RNSP 300 • 16 tracks - 42:20 his early Oliver Stone horror film is about choir here. GNP Crescendo GNPD-8075 • 16 tracks - 42:20 a comic book artist () who longtime fan favorite and structurally Tloses his hand and the ensuing havoc that Wolfen (July 1981) ●●● a precursor to Star Trek 2: The Wrath of the detached hand wreaks. It sure doesn’t Unreleased A Khan, this science-fic- sound like much to work with, but Horner his early score (replacing one by Craig tion cheapie isn’t exactly great cinema, but dutifully manages to turn in an acceptable Safan) is one of the more striking and at least it doesn’t take itself too seriously. score. Less original than Wolfen, with influence T unique of Horner’s career (FSM once In spite of tinny sound, poor orchestral from Goldsmith’s The Omen, there’s a consid- quipped “Why can’t he rip off more of his performances and that Goldsmith influ- erable amount of suspense music as well as scores like Wolfen?”). Echoes of ’ ence, there’s no denying the charming, crisp more aggressive writing for the film’s more Unanswered Question and cribbing for his later writing, with Horner flexing his early cre- manic scenes. Star Trek 2: The Wrath of Khan notwithstanding, ative and technical muscle—adding up to this is a brilliant listen and Horner man- a decent if slightly campy listening experi- Pursuit of D.B. Cooper (November 1981) ● ages to cover all of the bases in his writing: ence. The Rhino LP issued at the time of the Polydor PD-1-6344 • 10 tracks - 30:27 action, suspense, mysticism, a love theme film’s release never made it to CD, with GNP his 1981 movie featured Robert Duvall and and even a leitmotivic representation of the Crescendo issuing this score in 2001—mas- in a hypothetical telling of creature itself with distinctive low brass and tered from vinyl sources (!)—paired up with Tthe fate of noted hijacker D.B. Cooper who piano rumbling. It’s also notable for some . Reportedly, Horner disappeared via parachute into the moun- early Horner experimentation with synthe- himself has the master tapes but has refused tains. Unrecognizable generic bluegrass music sizers; the composer utilized a processed to license them for release to labels that makes you wonder just how much was pains- gunshot effect for creature “point of view” expressed interest throughout the 1990s. takingly notated and how much was born of sequences. Horner overseeing veteran studio musicians The Lady in Red (1979) ● improvising through common chord progres- Angel Dusted (February 1981) ● Unreleased sions. Issued exclusively on LP at the time of Unreleased gangster film set in the 1930s, The Lady the film’s release, there are only three Horner orner’s music for this Helen Hunt in Red contains capable performances by tracks on the album and seven country songs drug-abuse education TV movie is A Robert Conrad, Pamela Sue Martin and by others. A curiosity, but little more. H low-key and scored for a small orches- Louise Fletcher. Horner contributed a pri- tral ensemble. Noted Horner trademarks marily ragtime score that blurred the line A Few Days in Weasel Creek (October 1981) crop up throughout, and it’s interesting if between score and source music, with slight ●● ◗ Unreleased only to hear them in reduced form. emerging hints of signature Hornerisms. nother Dick Lowry TV production, this one stars Mare Winningham as a drifter’s Humanoids From the Deep (1981) ●● Up From the Depths (1979) ●● Agirlfriend who becomes intertwined with Cerberus CST-0203 • 15 tracks - 33:14 Unreleased the characters in a generic one-horse town. GNP Crescendo GNPD-8075 • 15 tracks - 33:14 n unremarkable score with only a few Horner’s score is sparse and quiet, featuring usic for a terrible movie, most of it minutes of score mixed among the source standard writing for a small ensemble. involves chilly strings and suspense- Acues, this rip-off is best forgotten. M ful piano. “Jerry’s Death” contains (August 1981) ●● ◗ an homage to Goldsmith’s Planet of the Norman and the Killer (1978) ●● Unreleased Apes, as several of Horner’s earliest works Unreleased n obscure but strong early score, Horner’s were clearly “influenced” by Goldsmith. his independent main title and love theme for this Wes Originally issued on vinyl at the time of the film was completed in 1978 and saw home ACraven project are strikingly beautiful, film on Cerberus, Humanoids was then paired T video release in 1991. Running only 25 and you’d never suspect they came from a up with Battle Beyond the Stars on a 2001 GNP minutes, and in black and white, it’s a stark

FEBRUARY 2004 26 FILM SCORE MONTHLY FILM SCORE MONTHLY 27 FEBRUARY 2004 film version of a Joyce Carol Oates work instruments and chorus. While Horner’s do occasionally surface, Horner’s music involving a young man tormented by what writing for woodwind and percussion feels openly inspired and always remains he witnessed in his youth. Though written (including a big promotional fuss made of interesting. While writing for for solo piano and bells, and with less than the fact that some patterns are played on and orchestra, Horner further broadens the five minutes of score, the entire score is basi- metal chairs instead of typical snare drums) canvas by infusing children’s and mixed cally a single piano melody that’s exactly the is compelling, these grandiose ambitions at and ethnic vocals and instruments. same as that of 1989’s Glory, augmented with times lessen any leaning the score might The album’s divided into three sections by a few dissonant low-end crashes and a brief have toward intimacy and warmth. Still, it’s country, featuring the 10-minute “Cambodia mid-range . Horner got his start at one of the most dramatically astute scores II,” a striking experimentation in synth writ- AFI, and other AFI projects he scored primar- Horner has written in a long while and if ing for Horner. Other tracks, like “Ethiopia ily in 1978 included The Drought, Fantasy and you relish driving, ambitious scores that III,” showcase Horner’s skill at writing pas- Landscapes, all of which remain unreleased on “pull out all the stops,” you’ll find some- sionate, elegiac material and rival anything video and difficult to locate to this day. thing to enjoy here. from Horner’s best 1980s period.

2004—2001 Beyond Borders (October 2003) ●●● ◗ Radio (October 2003) ●● ◗ Varèse Sarabande 302 066 529 2 Hip-O 0001494-02 • 20 tracks - 71:46 House of Sand and Fog (December 2003) 12 tracks - 55:23 ilm critics in their reviews of this Cuba ●●● ◗ his is an intensely likeable score for an Gooding Jr./Ed Harris film singled out Varèse Sarabande 302 066 532 2 vehicle. Though elements F Horner’s score as being a maudlin soup 13 tracks - 69:41 T of his (fortunately) long-forgotten Bopha! that sets out to accomplish all the wrong he last quarter of 2003 marked an explo- sion of four James Horner score releases T on CD, and among all of these, House of Sand and Fog is the most captivating. Inspired and fresh, House as a score is introverted and Off-Screen Concert Works THOUGH HORNER HASN’T WRITTEN AS MUCH STAND-ALONE CONCERT HALL MUSIC AS MANY FILM reflective, equal parts synthesizer (Horner composers, three notable concert works from him are known to exist. A ballet commission was rumored himself improvising to picture) and con- and reportedly allowed for in a contract signed with Sony Classical following his success on Titanic, but ventionally orchestral. Those who are burnt nothing has materialized thus far. out by Horner’s tendency to inject as many notes as possible into his late-1990s and early-2000s scores will find respite here; in Conversations: A Chamber Work for 16 Performers (1976) “The Waves of the Caspian Sea” (and later in HORNER’S M.A. DEGREE THESIS WORK, THIS SCORE REMAINS HOUSED IN UCLA’S MUSIC LIBRARY. SET “A Return to the Caspian”), Horner openly to text by Russian poet Andrei Voznesenskii, the work is a complex and fascinating modernist piece (for indulges an impressionistic style that musi- two soprano vocalists and a bevy of strings and percussion), somewhat in the same vein as Lukas Foss’ cally represents the water’s tide. Can anyone seminal concert work, Time Cycle. No recordings of this are known to exist. remember the last time he actually dabbled so openly in this?—1983’s Something Wicked Spectral Shimmers (1978) This Way Comes, perhaps? This score feels COMPLETED BY HORNER IN 1978, THE INDIANAPOLIS SYMPHONY ORCHESTRA WORLD-PREMIERED relaxed, confident and comfortable. Any this piece on January 25, 1979, at the Indiana State University campus as part of a contemporary music pretense or need to “prove himself” is dis- festival. The work received little publicity and met with a half-empty hall. Horner’s sense of futility at hav- carded in favor of thoughtful, passionate ing worked long and hard on this piece only to see it receive such little reception was one of his acknowl- music making. Nominated for an Academy edged motivations for moving into film music. A longtime curiosity of Horner fans, no official or amateur Award for Original Score. audience recording of this piece is known to exist, and the orchestra did not retain the score or parts.

The Missing (November 2003) ●●● A Forest Passage (2000) Sony Classical SK 93093 • 15 tracks - 77:33 COMMISSIONED BY THE ORCHESTRA IN CELEBRATION OF THE 25TH ANNIVERSARY OF orner’s score for Ron Howard’s latest Ohio’s Cuyahoga Valley National Recreation Area, this short, single-movement work was performed out- film cuts a wide swath; there’s orches- doors on July 30, 2000. Various Cleveland Orchestra members contacted for this article recall rehearsing H tra, augmented with synthesizers, and performing the piece, but remember little about it musically, and were unsure if Horner was in audi- native chants, an assortment of ethnic solo

FEBRUARY 2004 26 FILM SCORE MONTHLY FILM SCORE MONTHLY 27 FEBRUARY 2004 things, but on disc it’s reasonably effective. Iris (February 2002) ●●● ◗ “Night Game” is an energetic joy, featuring Sony Classical SK 89806 • 8 tracks - 49:53 sparkling piano runs, electric guitar and his beautiful Horner score wears its drum corps, while “Gift of the Ball” contains heart firmly on its sleeve. The Dame Judi an equally appealing opening before tran- T Dench/ vehicle tells of the sitioning into the kind of heartfelt writing life of writer Iris Murdoch, and Horner treats that Horner does so well. Vocalist India.Arie us to a warm, first-class effort that features is featured on several of the Horner cuts, violinist . Titled only as “Parts,” and while her voice works well with the Horner’s writing is expressive and has other textures, any originality in approach is been most closely compared to The Spitfire marred by the nagging reminder while lis- Grill, though its scope, musical interest and tening that Horner employed Lennox performance quality all surpass that earlier on his Apollo 13 score in a similar manner. score.

The Four Feathers (September 2002) ●● ◗ A Beautiful Mind (December 2001) ●●● Sony Classical SK 89744 Decca 440 016 191-2 • 16 tracks - 71:07 13 tracks - 79:18 Decca 440 018 139-2 (SACD/Surround) his movie is less epic than it continu- 16 tracks - 71:07 ally strives to be, and at over two hours, his crisp, mathematical score elaborates T much longer than necessary. Heavily on ideas from Sneakers and Deep Impact SOUND infused with Arabic vocals, Horner’s music T (okay, okay, also from Searching for Bobby adds an appropriate amount of color to an Fischer, Apollo 13 and Bicentennial Man) for TRACK otherwise bombastic score. Horner contrasts this Russell Crowe/Jennifer Connelly film this large and potentially overpowering that focuses on the life of mathematician ALBUM writing by weaving some secondary themes John Nash. Opening with “A Kaleidoscope and piano-based orchestration throughout, of Mathematics” (orchestrated for five pia- RETAILERS at times nodding to Bicentennial Man and nos plus full orchestra and vocals), Horner Casper. defines a motif designed to illustrate the Specializing in power and beauty of mathematics and SOUNDTRACK, (June 2002) ●● Nash’s keen mental facility. His second- RCA Victor 09026-63867-2 ary motif is pleasant enough, but when it BROADWAY 11 tracks - 66:55 surfaces in “All Love Can Be,” a song with n underwhelming assemblage of over- words by longtime collaborating lyricist and STUDIO CAST CD’s long cues, Windtalkers is an exhausting and vocals by Charlotte DOMESTIC and IMPORT A listen, and the score has little to recom- Church, it wears out its welcome. A surpris- mend it. Playing like a less memorable ver- ingly dull recording is one drawback to this RELEASES sion of A Perfect Storm, the recurring theme disc, though Decca did include multime- e-mail or write for your for this /Nicholas Cage military dia clips of Horner and Howard speaking FREE CATALOG vehicle, usually presented without variation, briefly about the project on a data portion P. O. Box 487-Dept. FS wears thin. And Horner’s clash between a of the CD. Some European pressings of large orchestral approach and a forced infu- this soundtrack featured a different cover. New Holland, PA 17557-0487 sion of Native American elements makes Additionally, the film’s soundtrack was also NEW e-mail: [email protected] for a disjointed experience. One bright spot, released in a separate SACD Stereo/Surround phone/fax: however, is noted session harmonica legend Sound version by Decca. FSM (717)351-0847 ’s playing, which adds some Visit our website at: welcome color. Originally set to see release Paul Bouthillier is a freelance writer, musician and educa- www.soundtrak.com in November 2001, the soundtrack was tor. His writings have appeared in numerous film music ALL MAJOR CREDIT CARDS ACCEPTED delayed until May 2002 after being shelved journals. He can be reached at [email protected]. in light of 9/11.

FEBRUARY 2004 28 FILM SCORE MONTHLY FILM SCORE MONTHLY 29 FEBRUARY 2004 Mail Bag part resulting from the rise and proliferation score, he says, is simply that it’s “annoy- (continued from page 9) of the great movie melodies and the work of ing and inappropriate.” This is so vague it’s ago, “ in Concert”). Mr. Williams was the great film composers throughout virtu- hard to refute with any specificity. I would visibly moved and rewarded the shouting, ally every country and culture. This February suggest, for what it’s worth, that had Mr. whistling and stamping with three encores: concert of the work of John Williams, played agreed in the slightest with a delightful 1988 piece called “To Lenny, To by one of the world’s great , is a Mr. Crawford about the appropriateness of Lenny,” composed for the 70th birthday of milestone in proving Mauceri’s point that film Jarre’s music, we never would be having this and based on themes from music belongs in our concert halls every bit as disagreement because we never would have On the Town and West Side Story; the main theme much as of the dead composers to heard it in Mr. Wyler’s movie. As for me, I saw from the 1977 classic Star Wars (I leave the whom Spielberg was referring. the film when it first came out, and liked both audience reaction to your imagination!); and Kyle Renick movie and score very much. I still listen to the because the audience refused to stop applaud- [email protected] Jarre soundtrack on the Mainstream CD. It ing, his 1985 theme for NBC Nightly News. always puts this New Englander in the mind When I opened my program to discover the Gabriel Yared of childhood Octobers, with the sun shining contents of the concert, I was somewhat dis- really enjoyed your interview with the on falling leaves, and the thrills and darkness appointed that none of my favorite Williams I talented Mr. Yared in the latest issue (Vol. of just around the corner. scores was included, such as A.I., The Witches of 8, No. 10). However, I was disappointed that Preston Neal Jones Eastwick, The Fury or Images. By the conclusion I no mention was made of his terrific score for Hollywood, California realized that the selections chosen fully dem- Map of the Human Heart, one of the great, over- onstrated the incredible scope of his imagi- looked films (and soundtracks) of the 1990s. Erratum nation as a composer and the depth of his Time for a rediscovery! areful readers may have noted a slight insight as a dramatist. And then I recalled the Bruce Marshall Cproblem in Ian D. Thomas’ review of The point of view of Maestro (con- , California Cooler (FSM Vol. 8, No. 10, pg. 32). He mentions ductor of symphonic music, , Broadway a song entitled “Can I Steal a Little Chinese shows, and film music concerts and record- Collect This! Girl?” The song’s actual title is “Can I Steal a ings) expressed both in an address to the hen Mr. Harold B. Crawford’s letter Little Love?” Ian D. Thomas had nothing to Society for the Preservation of Film Music and Wnominating ’s Collector do with this error. But rest assured, those at in the Alternate Current/WNET documentary as one of “the worst film scores of all time” fault will be severely disciplined. Thank you. entitled Music for the Movies: The Hollywood Sound. originally ran on FSD, I was moved to start a BE PICKY! BE PROUD! SEND YOUR LETTERS TO: Movie music is the classical music of our time, thread on the Message Board “In Defense of FSM Mailbag in part resulting from the years of audience The Collector.” Since Crawford’s attack has now 8503 Washington Blvd., Culver City CA 90232 alienation, due to atonalism and , spread to FSM itself, I hope you’ll spare a few or e-mail not to mention snobbery, and the attendant lines in your next Mail Bag for my rebuttal: [email protected] audience absence from concert halls, and in What bothers Mr. Crawford about Jarre’s NOTE: Letters may be edited for clarity, brevity or

FSM PUZZLE FUN: Who’s who in the cartoon composer universe?

Match the composer’s name with his animated likeness:

1. ___

2. ___ Elmer Bernstein

3. ___ Howard Shore

4. ___ John Williams A B C D 5. ___ Danny Elfman

6. ___ James Horner

7. ___

8. ___ Hans Zimmer

9. ___ Jerry Goldsmith

E F G H I Answers: 1d, 2b, 3e, 4g, 5i, 6a, 7c, 8f, 9h 9h 8f, 7c, 6a, 5i, 4g, 3e, 2b, 1d, Answers:

FEBRUARY 2004 28 FILM SCORE MONTHLY FILM SCORE MONTHLY 29 FEBRUARY 2004 CD REVIEWS

Classic ★★★★★ Great ★★★★ Good ★★★ Below Average ★★ SCORE Weak ★ The Triplets of Belleville ing of the film, a French and a score aficionados and neighbor- to create a generally similar ★★★★ (barely interpretable) English hood coffee-house hipsters. How mood. Because Butterfly’s score is BEN CHAREST version by the band M, a demo, many soundtracks can you say relatively accessible, what appear Higher Octave 7087 618280 2 3V and the wonderful version that that about? —Cary Wong as half-familiar phrases draw 19 tracks - 50:14 includes a bike wheel. You’ll the listener into the challenge 1 irector Sylvain Chomet either love every incarnation or The Butterfly Effect ★★ /2 of referring back to other scores. Dworked at Disney in the want to rip your ears out. For me, MICHAEL SUBY Crouching Tiger has already been early ’90s before quitting so he it’s the former. La-La Land LLLCD 1014 mentioned, but echoes of Hans could find someplace to express The rest of the score, which is 23 tracks - 43:44 Zimmer’s music for Hannibal also his own vision. This voice could essentially the heart of the movie he Butterfly Effect has garnered present themselves (especially not be further from the Disney since there’s little spoken dia- Tsome negative reviews, but in “Blowing Up Kayleigh” and aesthetic: odd but likeable, fan- logue, is equally eclectic. While not on the basis of its music. In “Lockdown Lenny”), where shriek- tastic yet grounded, strange but each set piece is obviously con- a drama that blends elements ing violins register dramatic effect. familiar. The Triplets of Belleville nected, each is also unique—my of The , The Time Machine An ethereal choir (“Everyone’s is almost indescribable, at least favorite being the melancholy and Somewhere in Time, composer Fixed Memories”) also reminded without giving away its charm. I music usually associated with Michael Suby (The Real Cancun) has this listener of ’s work. suppose I can say that the movie Bruno, the dog. “Jazzy Bach” is a created a score that establishes Nonetheless, these are hardly involves a French grandmother, great number on-screen, but a lit- a sense of temporal dislocation unflattering comparisons. her hopelessly depressed grand- tle off-putting on CD. The theme and psychological manipulation, All in all, this is a moody son, his overweight dog, a singing for the French Mafia is effectively but does so in a relatively under- piece of work, well recorded, group way past its prime, and a menacing. There’s even a hilari- stated manner. The music should and professionally performed kidnapping plot involving the ous surfer/beach ditty by way be placed in a collection along- by the Czech Philharmonic. As Tour de France. The animation of Elvis called “Pa Pa Pa Palavas.” side American Beauty for its use we know from critical reaction harkens back to the old ’40s and And the car chase finale is prob- of minimalist forms, but instead to The Hours, minimalism either ’50s style of Betty Boop or Felix the ably the funkiest action cue you’ll of relying on electronic instru- delights or repels—this time last Cat, with just enough modern hear all year. ments, Suby turns directly to year, a critic for technology to keep our eyes dart- This is truly an original score. Philip Glass. His main theme for described Glass’ score as a mix- ing across the screen to catch all I have a feeling it’s going to be the score is based on traditional ture of “chug-a-chug rhythms that’s going on. listened to and enjoyed by both strings, wind instruments, piano and swooning string melodies.” One of the most memorable and choir and is reminiscent of That said, for the aficionado this elements of the film (for better or works from Glass’ middle period, is an interesting piece of work worse) is the Oscar-nominated such as Passages. from a composer who seems set song that the Triplets of Belleville In setting up the different to evolve in interesting directions. sing called “Belleville Rendez- episodes in the main character’s —Andrew Kirby Vous.” Even if you only hear it in odyssey back and forth in time, 1 the trailer, the tune is so off-kilter Suby works hard to create con- House of Sand and Fog ★★★ /2 and catchy that you are imme- trast, albeit too hard in places. JAMES HORNER diately hooked. A jazzy, French At several points (such as “Evan’s Varèse Sarabande 302 066 5322 guitar-driven, big-band fantasia, Plan”), the sparse phrases are 13 tracks - 79:46 the song perfectly encapsulates interrupted by violent percus- f there’s ever been a score that the film’s wacky tone (I mean, do sion, reminiscent of the extended Iperfectly recapitulates its film’s they really sing “ca-ca” during the rooftop scene in Crouching Tiger, title, James Horner’s House of Sand chorus?). Composer Ben Charest Hidden Dragon. Here, however, the and Fog is it. Atmospheric, haunt- said that one of his inspira- brevity of the insertion serves to ing and chilly, the soundtrack is tions was famed guitarist Django disrupt more than contrast. That an uncharacteristically restrained Reinhardt (whose presence is also said, the disruption is still much effort from James Horner, who prominent in the less than injecting into was rewarded with an Academy film Sweet and Lowdown), and the the Pollock soundtrack, or placing Award nomination. homage is evident. The song is next to Beethoven To say that the movie House of played five times on the CD: the on Traffic, to take two examples Sand and Fog is relentlessly bleak hypnotic black-and-white open- of recent soundtracks that strive would be an understatement. In

FEBRUARY 2004 30 FILM SCORE MONTHLY FILM SCORE MONTHLY 31 FEBRUARY 2004 the tradition of the films of Lars ways)—but it also feels mechani- piano amidst orchestral shrieks. Van Trier (including the upcoming cal. Thankfully, this progression in And then there’s the cover of Dogville, which has such hostility the plot finally frees Horner from “Powerhouse”—a theme instantly toward its characters and its audi- his monotonous cycle. There’s a recognizable to cartoon fans ence that it’s almost laughable), moment of release in the movie everywhere—performed by full Russian director ’s (which involves a person praying) orchestra and electric guitar. adaptation of the novel by Andre that is so raw in power, imagery “Powerhouse” also serves as the Dubus III revels in the darker and music that it’s cathartic. It’s basis for chase music in “Hot sides of human despair to the here in particular that you can Pursuit,” with sawing strings point of numbness. It focuses on see why Oscar voters were taken keeping the beat as Goldsmith the battle over a California house, by this score. Also of note are the punctuates the action over it. A mistakenly repossessed from film’s final scenes and the end rousing western theme erupts Kathy (Jennifer Connelly) and credits. After two hours of hold- halfway through the album, pro- immediately bought at auction ing back, Horner rewards listeners viding a fun diversion from the by Gen. Behrani (Ben Kingsley), by finally lifting the shroud of fog main theme. And let’s not forget an Iranian who wants his fam- and revealing his full orchestra. a cutesy in-joke cover of the ily to finally have a fresh start in —C.W. theme in “Out of the Bag.” America. While most elements —Luke Goljan of the movie-making process are Looney Tunes: Back in Action 1 accomplished, from the acting to ★★★★ The Dreamers ★★ /2 the art direction to Horner’s score, JERRY GOLDSMITH VARIOUS Perelman is too heavy-handed in Varèse Sarabande 302 066 523 2 Universal (France) 981 208-4 dealing with the movie’s porten- 21 tracks - 37:08 12 tracks - 56:17 tous mood. Shadings of the story’s ooney Tunes marks Jerry ernardo Bertolucci’s latest looming tragedy are so prevalent LGoldsmith’s 10th collabora- Bmovie caused controversy in the look and feel of the whole tion with director , a even before it opened in the film, that by the time the end rolls pairing that has seen its share of United States. The U.S. distribu- around one cannot help but feel films (six, actually) that deal with tor, Fox Searchlight, originally resignation rather than in-the- creatures running amok. And not planned to release an edited ver- moment involvement. unexpectedly, Goldsmith’s music sion of this coming-of-age romp Horner is not known for his has been completely different in order to avoid an NC-17 rat- restraint, which is why this score every time around. Channeling of the underscore is reminiscent ing. After much campaigning by is an accomplishment…but also the vibe he reserves almost exclu- of Gremlins or Mom and Dad Save Bertolucci and his cast, the studio a letdown. The restraint unfor- sively for Dante films, Goldsmith the World, the main theme is sur- decided to release the NC-17 ver- tunately leads to a shortage of centers Looney Tunes with warm prisingly dramatic when played sion which offers one prolonged “hope” in the music. This works strings and bouncy melodies—a straight (“Jungle Scene” is a good shot of a penis, and two extended well in the Kathy sections, but welcome change from his recent example). Much of the time, sex scenes, which aren’t very feels wrong in Behrani’s story, at action and drama themes that however, it plays out on guitar graphic—just intense. least in the first half of the movie. sound like a bunch of stingers and strings, with an appropriate The movie centers on young Shouldn’t his buying of the house in a row. It’s hard to believe this happy-go-lucky vibe. Goldsmith American cinephile Matthew, be, at least in his eyes, a step is the film that inspired him to seems to have focused more on who spends a year in in forward? Since Perelman never return to the style that won me providing a solid theme rather the late ’60s. There, he is thrust lets you forget that a over in the first place, but I guess than one that necessarily evokes into the strange and exotic world is near, Horner’s music remains Daffy Duck and Bugs Bunny were “Looney Tunes” every time it of Theo and Isabelle, fraternal carefully measured. This results all Goldsmith needed. plays. Overall, the theme merely twins whose physical intimacy in a downbeat feel to much of A revamping of some Carl serves as groundwork for most is disturbing to Matthew...before the score. Horner’s only ray of Stalling music opens the CD, of the tracks, with flourishes and it becomes alluring. This all hope is a solo piano theme he setting the stage for the mickey- little orgasms of sound thrown plays out with the French riots occasionally incorporates for the mousings that come later. Though in every time someone gets run of 1968 as the backdrop. The house—as if to say it is human Goldsmith does an admirable over or has an dropped on movie is certainly a from folly and not the house itself that’s job of threading together much their head. Bertolucci’s equally Abercrombie the problem. of the joke-signifying random In between all this is the and Fitch-ready Stealing Beauty. But This dire outlook gets to be crescendos and crashes with true brilliance of Goldsmith. A the movie ultimately lacks believ- tiresome (musically and dra- melodies, make no mistake: This fantastic and villainous theme ability and credible characters. matically), but toward the end is music for an animated film. rounds up the end of “Dead What it does have is an abun- the movie shifts into melodrama, Since the movie’s only half ani- Duck Walking,” with electronic dance of style. The recreation of verging on Greek tragedy, which mated, however, Goldsmith does bass effects augmenting swirl- Paris in the ’60s is not only evi- is refreshing (the characters a fine job of balancing this cliché ing -like strings. “Area dent in the sets and costumes but are finally facing the problem along with less traditional mate- 52” gets eerie bowed saw/vocal in the attitudes and ambiance. head-on, and in unexpected rial. Though the sound of much wailing effects and tinkling And while there’s no score in the

FEBRUARY 2004 30 FILM SCORE MONTHLY FILM SCORE MONTHLY 31 FEBRUARY 2004 SCORE film, there are things in the movie of Sinbad, and it’s a good thing to and the CD soundtrack that hear such atypical music for TV should interest film score enthu- westerns. siasts. The three main characters It’s amazing that each suite are huge film buffs, recreating key is scored for 15 instruments or scenes from mainly French New fewer, as each one sounds so full Wave movies and playing “guess and lush. Contact info is given the movie” charades (as a prelude for those wishing to license the to sex). Bertolucci intercuts these music, and it’s enticing to think games with actual scenes from the that Herrmann’s music could still movies in question, with the one grace new TV productions. —D.M. from Band of Outsiders being the neither suspenseful or intense, ture westerns, and while his music most effective. romantic or nostalgic. Instead this is unconventional for the fictional : The CBS Years Vol. 2: Also included are cues from descending sax line is used only American West, it still proves most American Gothic ★★★★ The 400 Blows (Jean Constatin), as a reminder of our place amidst effective for the medium. This disc BERNARD HERRMANN Breathless (Martial Solal) and Pierre a gritty . This theme, features music from the of Prometheus PCD 153 • 26 tracks - 68:29 le Fou (Antoine Duhamel), which combined with the rhythmic per- Have Gun, Will Travel, an episode hile the subtitle American are hard to find on any domestic cussion and synth lines, provides of , and three suites of WGothic may not be entirely CD. Since I’m not that familiar a steady sameness to the album, library cues that were used by appropriate for the second vol- with the cin- and although there’s little variety filmmakers at whim on multiple ume in Prometheus’ Bernard ema movement and their scores across tracks, the running time episodes of multiple series. Herrmann series, the music con- (at least beyond Georges Delerue’s makes the album just right for a Have Gun is an exciting and tained within will certainly delight collaboration with François good adrenaline fix. up-tempo score, with a main most Herrmann fans. Truffaut), this music was new to The action on this disc is relent- title used throughout the series’ The collection consists of seven me and whetted my appetite for less, with only brief moments six-year run. The Gunsmoke suite different themes and suites writ- more. The rest of the CD is filled of reflective lyricism, during the has an eerily romantic feel to it, ten between 1944 and 1958. Some with American pop (Grateful “Prologue” as Schwarzenegger’s scored mostly for strings. The were from radio broadcasts while Dead, Steve Miller Band) and John Matrix plays with his soon- “Western Suite,” for woodwinds, others were composed specifi- French songs of the day, including to-be-kidnapped daughter and harp and percussion, has the least cally for television. Almost all the the obligatory Edith Piaf number. also at the “Finale,” when they are conventional western sound to it, pieces were for small ensembles. (A domestic release of The Dreamers reunited after Matrix singlehand- and is very moody, dark and sus- After the “Landmark Theme” is now available.) —C.W. edly demolishes a small army. penseful, as is frequently the case gets things going with its Not surprisingly, Commando with Herrmann. Even in the cue quick military march, the “Walt Commando (1985) ★★★ includes a few of the brass licks titled “Gunfight,” Herrmann seems Whitman Suite” presents several JAMES HORNER Horner developed in films like Star to be scoring the psychology of dramatic cues from a radio show Varèse Sarabande VCL 1103 1026 Trek II & III and perfected in Aliens. the battle, more what is going on that aired in 1944. Solemn bell 8 tracks - 43:27 Even though this is not an essen- inside the gunfighters’ heads than tolls, haunting vibraphone, and believe it was FSM’s Scott tial score in the Horner canon the action of a gunfight. It comes harp glissandi all make appear- I Bettencourt who said, upon (and not an especially unique as no surprise that cues from this ances in true Herrmann fashion. this first-ever release of Horner’s one), it will more than likely be suite were tracked throughout “Idyll” begins with harp arpeg- Commando in late 2003, that his Varèse’s next limited edition club episodes of and gios behind a beautifully sweet CD wish list of cheesy ’80s action release to sell out (though not Perry Mason. string melody. Halfway through, scores was complete. Commando nearly as quickly as or The cues of “The Indian Suite” the arpeggios switch to the celeste has been for a long even , which took nearly prominently feature a steady and a solo cello takes over the time, having never before been two years to sell its 3,000 units), so drumbeat throughout, evoking melody. Simple, but effective released on CD or LP. And, well, buy it while you can, before you the presence of villainous Indians writing has always been one of cheesy it is. pay inflated prices on the second- in a typical “Old Hollywood” fash- Herrmann’s greatest powers as a The music is primarily percus- ary market. —Darren MacDonald ion but sounding neither authen- composer. sion-driven, and gets a lot of tically Native American or clichéd, The “Ethan Allen Suite” is mileage out of the Caribbean- Bernard Herrmann: The CBS Years Vol. 1: and remaining just as suspenseful drawn from a CBS pilot about the flavored steel drums. Horner is in The Westerns ★★★★ as the “Western Suite.” Revolutionary War hero and is the same urban action mode that BERNARD HERRMANN “Western Saga” has the most written for 10 brass players plus propelled him through 48 Hours Prometheus PCD 152 • 24 tracks - 68:51 traditional western sound to it, timpani. With its incredible array and Gorky Park, and this style is ernard Herrmann may seem but still carries the unmistakable of tonal colors, this track should perfectly suited to the Reagan- Ban candidate to Herrmann stamp, and is only be required study for any would- era vengeful super-heroics of score westerns, but he was a good traditionally western sounding in be film composer. From huge Schwarzenegger. There are several friend of CBS music director Lud as much as Herrmann will allow. blasts of full-throttle brass attacks short motifs at play here, but the Gluskin, who offered Herrmann A couple of the cues even sound to introspective muted solos, this only real theme is an emotion- many such assignments. Indeed, like Herrmann’s monster/fantasy 10-minute suite shows what can ally inert saxophone riff that is Herrmann scored a couple of fea- scoring for films like The 7th Voyage be done with a small ensemble if

FEBRUARY 2004 32 FILM SCORE MONTHLY FILM SCORE MONTHLY 33 FEBRUARY 2004 the composer has the talent. It’s acceptable. Most readers will find industry, but at least that mar- sessions with said musicians as no wonder that the original pencil a lot to enjoy from this wonderful ket allows access to a fairly wide opposed to written out music. score is on display at the UCLA collection, and Prometheus should audience. Highly recommended to The result gave the sound of that Music Library. be applauded for its efforts to Giacchino and John Williams fans. score authenticity even though “The Desert Suite” features uncover more lost treasures from —Steven A. Kennedy it did use contemporary musical music recorded for use on a vari- one of film’s greatest composers. devices like synthesizers and the 1 ety of western shows. Outside of —Ian D. Thomas The Gospel of John ★★★ /2 odd trap kit. the grim “Prelude,” most of it is JEFF DANNA Danna’s score, while also using traditional underscore and seems Secret Weapons Over Normandy Varèse Sarabande 302 066 530 2 a plethora of exotic instruments a little bland when compared to ★★★★ 18 tracks - 52:00 appropriate to the time and the other offerings on the CD. MICHAEL GIACCHINO efore listening to Gospel of region, is still rooted in tradi- While it’s not Herrmann’s most 1013 BJohn, you may want to check tional Western harmonies. Yes, memorable, it’s still worth a listen. Disc One: 16 tracks - 68:57 out the detailed and informa- some of the melodic material The three remaining suites are Disc Two: 14 tracks - 14:02 tive liner notes, which outline does use scales found in Middle the real reason Herrmann fans ichael Giacchino is a the exhaustive research that Eastern music, most notably the will want to add this disc to their Mname familiar to many Jeff Danna put into the score. root-minor-second-major-third collection. “Collector’s Item” is videogame fanatics. His scores The composer consulted bibli- intervals. But it is still overshad- from another pilot for a series that for the Lost World game and other cal scholars and music libraries owed by a theme that’s more wasn’t picked up. The show paired /Spielberg collabora- to approximate the sound of the evocative of the classic biblical Vincent Price and Peter Lorre tions have been very successful. time period featured in the film. scores by Rózsa. The tracks that as antiques dealers, and proves His big break came with Alias, Based on this, I expected to hear feature percussion, such as “Jesus that even Herrmann’s legend- but an even bigger one may be something akin to Peter Gabriel’s and Nicodemus,” have a strange ary grumpiness could give way around the corner with next fall’s Last Temptation of Christ, in which groove element in their construc- to occasional bouts of humorous release of The Incredibles. In musicians from the Middle East tion, functioning like a traditional writing. the meantime, let’s take a step were used along with a variety of rhythm section while the orches- From a radio broadcast of the back into the game world to listen indigenous instruments. Gabriel tra plays over top. I call it exotic same name, “The Moat Farm to Secret Weapons Over Normandy, relied heavily on improvised adornment. Last Temptation ironi- Murders” is written for a fuller for which Giacchino returned cally doesn’t come off that way orchestra and chillingly portrays a to Seattle to record with the because the indigenous instru- slow descent into madness. More Northwest Sinfonia, a 25-piece ments are the prominent element dynamic than the other suites, choir, and a taiko drum ensemble. and are rhythmically more varied Herrmann’s are The first disc consists of the 15 in their patterns. Gospel of John sure to induce chills. This is up primary scenarios and the main seems neither completely authen- there with some of Herrmann’s overture. The second disc features tic nor completely Westernized best writing. abbreviated bits and pieces that and thus has a strange schizo- The album ends with the appear throughout segments phrenic quality. In other words, it bizarre “New World Order.” Scored of the game, plus supplements sounds more like a film score. for harp, organ, celeste and per- including Quicktime composer The central theme, introduced cussion, it defies easy classifica- interviews playable on your PC in “Here Comes Your King,” is a tion. Interwoven musical lines are or Mac. The opening “Main Title” long, flowing melody. Although tossed about the ensemble as if is impressive and reminiscent of its initial moments bear a close this were a game of Hot Potato, John Williams’ Americana scores resemblance to ’s and indeed much of the music (as featured in his recent American American History X material, it has a childlike quality. Well, kind Journey). Giacchino’s score goes develops nicely into its own emo- of a creepy child, anyway. even further back, reaching for tive entity. “The Lamb of God” Unfortunately, the downside the kind of 1941/Midway feel approximates religious music to this new volume of Herrmann that makes it instantly accessible. with its big block string-chord discoveries is the sound qual- Many of the orchestral gestures voicings that insinuate a sacred ity of “The Walt Whitman Suite.” are out of that Copland/Harris/ tone. “Mary Washes Jesus’ Feet” Distortion can be expected William Schumann school of and “The Prayer” feature vocal- in older recordings, but these Americana. Though there are a lot ist Esther Lamandier singing in tracks also have a strange phase of action cues to keep your blood Aramaic over a bed of strings problem between the channels. pumping, these are effectively off- augmented by gothic harp and Although recorded in mono, there set by many longer, lyrical themes. ney (a Middle Eastern flute). It’s is an unsettling “pseudo-stereo” Gorgeous moments in “Zauara” evocative and moving music that aspect to these tracks that may and “The Rescue of Pauline” are warrants repeated listening. In bother some listeners. The rest of reminiscent of some of the love fact, a great deal of this disc is the CD is also mono but doesn’t music in the Indiana Jones series. extremely good, with the excep- suffer from this anomaly, and It’s hard to believe that this tions of “Pilate’s Dilemma” and the sound quality is more than music is relegated to the gaming “Jesus at the Temple,” which both

FEBRUARY 2004 32 FILM SCORE MONTHLY FILM SCORE MONTHLY 33 FEBRUARY 2004 feature active, animated action-styled music Watch Out! Scary Stuff on CD that doesn’t mesh well with the rest of the 1 Poltergeist II: The Other Side (1986) The Deluxe Edition ★★★ /2 material on this disc. The writing is much JERRY GOLDSMITH too literal and muscular and sticks out like Varèse Sarabande 3020665182 • 14 tracks - 60:01 a sore thumb. I cannot see this working VARÈSE’S LATEST RELEASE OF JERRY GOLDSMITH’S POLTERGEIST II even in the context of the film. In fact, the opens with a synth-heavy, Native American-influenced theme that drifts music almost suggests Jesus pulling out a and spirals around before coalescing into familiar material from the couple of machine guns and blazing away original Poltergeist. This beginning is indicative of much of the album. or exploding out into a fantastic display of There’s plenty of good stuff: strong brass writing, beautiful vocal work, horrific chanting and incredible string writing. And yet it still can’t match martial arts, kicking Roman butt all over the Poltergeist. place. Considering I was raised Catholic, this The sequel’s (ill-advised) concept of blaming Poltergeist’s hauntings music produces images that I’d call sacrile- on the work of a sinister reverend is treated with absolute seriousness by gious at best. But that’s my reaction based Goldsmith. The reverend’s music echoes a much more deadly presence on a conditioned response to a certain type than the one that appears on screen. of sound that I equate with sacred or reli- As you may remember, this album was originally released in a more truncated version. Here, the sound gious music. Regardless, this action music quality is also improved, and best of all, the CD is available for a reasonable price. Though there are many other Goldsmith scores I’d rather see get this lavish treatment, it’s hard to argue against any Goldsmith getting interrupts the lyrical and gentle flow of the improved and reissued. —Luke Gojian rest of the CD. In the end, Gospel of John, the soundtrack, Texas Chainsaw Massacre ★ contains a great deal of well-written music that is, at times, at odds with itself in its La-La Land LLLCD 1009 • 18 tracks - 50:25 stylistic roots. It is predominantly steeped IF YOU COMPARE POLTERGEIST II’S SKILLFUL BLENDING OF SYNTHS in Western harmonies, even when Middle and orchestra, the sampled abortion of Steve Jablonsky’s Texas Eastern instruments have the floor. But the Chainsaw Massacre remake score seems all the more horrible. Anyone score’s strengths, like its lush orchestrations, who’s ever experimented with any sort of sampling software will hate cannot be overlooked. —David Coscina this score...as will anyone who enjoys good music. Ugly and noisy with no structure and absolutely no artistic merit, the music fails using the same methods that the original Massacre employed with great success. Ennio Morricone Remixes Volume 1 ★★★ Track 7 sees the introduction of a tiny amount of thematic content, Mixes by INTERNATIONAL PONY, KABUKI, and that’s about the last you’ll hear of it. The entire album screams along SWELL SESSION, etc. until arriving at its weak conclusion, with no musical journey even alluded Compost CPT 150-2 • 14 tracks - 70:43 to—unless “scary noise” counts. Believe it or not, the creative team behind the CD sees fit to praise the quick and hile purists will be spitting blood at rough nature of its creation in the liner notes—I doubt anyone else will say the same. —L.G. Wthe prospect of Il Maestro’s music being sampled, remixed, deconstructed and Freddy vs. Jason ★★ generally played-around-with by a group GRAEME REVELL of European DJs and electro-meisters, those Varèse Sarabande VSD-6498 • 20 tracks - 42:40 with broader tastes will find much to enjoy IF FREDDY KRUEGER IS THE BASTARD SON OF A THOUSAND MANI- here in the first of Compost’s eclectic com- acs, should his scores be of equally dubious parentage? For the sev- pilations. enth Elm Street movie, a series that has featured a different composer Clearly aimed at the dance crowd (there’s each time, should the razor-fingered ghoul be scored to a “Best of” a version in vinyl for those who can’t wait mix from what has come before? Or should this movie take a cue from Friday the 13th and use a regular composer (Harry Manfredini) to spin it on their turntables), these cover and established motifs? These should have been the questions going versions will clearly be judged by film through Ronny Wu’s mind when he signed on to direct this clash of music fans using criteria far different from horror titans, but instead he took the easy option of bringing in Bride of those used by dance-room revelers. As Chucky collaborator Graeme Revell. The result is a curious hybrid that such, any review in this magazine might doesn’t really sit in either of the franchises’ canons. miss the nuances that the target audience The score’s greatest disappointment is its inability to distinguish itself from so many other low-budget hor- will identify. But what can’t be ignored is ror romps. Even with the legacy of 16 films to build on, we get little more than frantic and hysterical ostinato violins, electronic drones, crashes, bumps and thuds. In fairness, some of the tracks aim for continuity: Track how much the artists love their composer. 3 features little girls chanting the “One, Two, Freddy’s Coming for You”’ tune, and Machine Head approximates At no point are we under any illusion that Manfredini’s “Jason’s Theme” (ki ki ki!) on “Jason’s Surprise Attack” and “Jason’s First Dream” (even the cue these are variations on well-established titles are bland). But it’s disappointing that Charles Bernstein’s Freddy motif doesn’t make an appearance. classic themes. Re-mixer Leroy Hanghofer The other Elm Street and Friday the 13th scores weren’t masterpieces, but they always seemed to deliver admits that “Every remix attempt of a ‘pop’ something more inspired than the cash cows they were underpinning. It’s true that the efforts of Charles producer on Morricone’s music is in fact Bernstein, Chris Young and Angelo Badalamenti were in a different class from ’s and J. Peter Robinson’s efforts, and that Manfredini’s scores were fairly interchangeable; but they never sounded this unre- an outrage...every attempt of an electronic markable. ‘home constructor’ to interpret one of his Mario Klemens conducts the City of Prague Philharmonic (a first for either franchise) and the performances works has to end inevitably in a ragged are fine. Robert Revell (surely a relation) also provides some fine guitar solos. It’s just the music that is unin- disaster.” Perhaps a little harsh, but it shows spired, juggling any number of horror clichés. A 10-minute suite on a “Best of Nightmare on Elm Street” compi- the honor and respect that the performers lation would be a better home for this insipid collection of clunky cues. —N.J. hold for their idol. In this project, they are

FEBRUARY 2004 34 FILM SCORE MONTHLY SCORE the eager children, trying to please Alexander Trocchi and stars of the most affecting love songs their father. So, what we have are Ewan McGreggor as a drifter in ever written. Melancholy almost a series of re-imagined tracks that Glasgow who hooks up with a to the point of self-destruction, it don’t try to mimic the originals married woman (Tilda Swinton) starts with a simple, lilting piano but rather put a new spin on and may be involved with a phrase before ’s them (literally). murder. The movie is very styl- achingly powerful voice enters. Raw Deal’s take on Cat of ized, in muted colors, and swims A haunting palette of synths and Nine Tails is a fresh fusion of in the score provided by Byrne. orchestra swells up the emotion Morricone and Goblin, while Unlike his approach for Emperor, in Sylvian’s delivery: “The wounds Swell Sessions’ The Good, the Bad Byrne opted not to bathe the in your hands never seem to heal. and the Ugly drifts too far from movie in Scottish instruments and I thought all I needed was to its source material. International motifs (although the musicians believe. Here I am a lifetime away Pony’s “We Love Ennio Mix” are Scottish). Instead, he goes for from you. The blood of Christ or is a delightful ’80s-style pop more nondescript music, provid- the . My love song that can’t help but make ing a moody, haunting backdrop, wears forbidden colors. My life you , and Temporary filled with piano, guitar and cello. believes.” In the end the union Soundmuseum’s “Epitaph for Like Daniel Lanois’ Sling , this between piano, voice, machine ” is a chilled-out score is less about action and and orchestra is complete, and a take on “Sucker’s Finale” from A more about setting. The repeti- whole generation of broken hearts Fistful of Dynamite. tive “Canal Life” and “Sex on the in the ’80s had a place to cry. Those who like ’s Docks” are standout examples of The theme from Bernardo work or the Morricone RMX this, with the latter (in its slowly Bertolucci’s begins remix album will find much to building intensity) being the best with somber strains reminiscent enjoy—diversity truly is the key cue on the album. of Barber’s Adagio. But instead to life. It’s a great testament to Coupled with this is a loving of the shuddering high-string Morricone that he can influ- homage to Angelo Badalamenti, finality of that great lament, ence the modern music scene in with jazzy drums and sax punctu- Sakamoto instills a sense of a way that his American peers ating the score every so often, as hope with the aspirational cannot. Volume 2 is available in the cues “Seaside Smokes” and atmosphere of the Francophone now. —Nick Joy “Warm Sheets.” Few moments of middle section. Darkness has the score sound like typical David fallen, yet the sun will rise Young Adam (Lead Us Not Into Byrne. Even the two songs that again. For , Temptation) ★★★ end the CD (“Speechless” and “The emotion resonates in dramatic Great Western Road,” with Byrne Orchestra, a band soon to be fashion as East meets West and 113 • 15 tracks – 50:57 providing the vocals) are curiously hailed as an international sen- a poignant Asian-influenced avid Byrne, the former non-idiosyncratic. sation, going on to share the melody is refracted through the Dlead singer of The Talking The score CD (also available crown of king of technology with sweeping textures of a roman- Heads, won an Oscar for co- in vinyl) is curiously titled, Lead . Sakamoto recorded tic orchestra, linking to a great writing the score for The Last Us Not Into Temptation, Music From 11 albums with YMO before conclusion. In stark contrast, Emperor. He once said in an the Film Young Adam, and is being leaving to pursue a solo career, Sakamoto’s pop experimenta- interview that he believed his released by indie Chicago label becoming a Golden Globe- and tion is well served by the inclu- contribution was the reason why Thrill Jockey. With this score, Oscar-winning film composer sion of “Risky.” A highlight from the score won, since it sounded David Byrne has proven him- and collaborating with such art- his 1987 Neo Geo record, and the most Asian, using traditional self to be more than a one-hit ists as , David Byrne, co-written and produced with Asian musical instruments. wonder. Let’s hope it doesn’t take David Sylvian, , Youssou Bill Laswell, it features Iggy Pop Byrne was obviously insult- another 15 years for his next film N’Dour, and turning in a crooning Sinatra- ing fellow avant-garde rocker, project to come along. —C.W. Caerano Veloso, as well as writers inspired vocal performance. , who con- William Burroughs and William The album serves as a tribute tributed an Asian-flavored score Moto.tronic ★★★★ Gibson. Moto.tronic is a compilation to the restless and hungry using a Western orchestra. Since RYUICHI SAKAMOTO summing up Sakamoto’s most that lies at the heart of Sakamoto’s then, Sakamoto has proven to be Sony Classical SK93044 ambitious film music along with music making. More importantly, a highly experimental film music 14 tracks - 68:53 some of his work beyond film. It’s it defines a key to understanding composer, providing intriguing n 1963, at the 11, an eclectic mix that demonstrates in the 1980s, primarily in its scores to Little Buddha, Snake Eyes IRyuichi Sakamoto, whose just how far Sakamoto is prepared play with the intercultural space and Love Is the Devil. Byrne, on musical interests ranged from to go in breaking down the walls of the recording and film indus- the other hand, has been largely to Beethoven, began between genres, categories and tries, and the use of the recording absent from the film scoring studying composition at cultures. studio as a symbolic crucible for world. Until now. National University. By 1978 The song “,” the internationalization of Japan. Young Adam is based on a he had released his first solo written for the 1983 film Merry —Simon Duff novel by cult Scottish writer album and formed Yellow Magic Christmas, Mr. Lawrence, remains one (continued on page 43)

FEBRUARY 2004 34 FILM SCORE MONTHLY FILM SCORE MONTHLY 35 FEBRUARY 2004 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. FSM marketplace  Vol. 7, No. 4  Vol. 7, No.3 Logan’s Run (Television Series) Diane LAURENCE ROSENTHAL, et al. MIKLÓS RÓZSA Telecast: 1977 Film released: 1956 Studio: MGM Studio: M-G-M Genre: Genre: Historical Drama Silver Age Classics Golden Age Classics • CD released: March 2004 CD released: March 2004 Stereo • Disc One: 71:36 Stereo • 78:55 Stereo & Mono • Disc Two: 77:43 This short-lived TV series borrowed props and ideas from Lana Turner’s final film at M-G-M gets a typically lush score the feature film, with new music by Rosenthal, Bruce of beauty and grace. Disc one presents the score proper, Broughton, Jerrold Immel (Dallas) and Jeff Alexander. while disc two includes a wealth of alternates and source Includes suites from all nine episodes of original music, cues (57:45), as well as unreleased material from Plymouth remixed from three-track masters, in stereo. $19.95 Adventure (7:48) and Moonfleet (12:10). $24.95

 Vol. 7, No. 2  Vol. 7, No.1  Vol. 6, No. 21  Vol. 6, No. 20  Vol. 6, No. 19  Vol. 6, No. 18  Vol. 6, No. 17 Khartoum/Mosquito The Prisoner of Zenda Where Eagles Dare/ Moonfleet McQ The Man From U.N.C.L.E. Squadron Operation Crossbow MIKLÓS RÓZSA ELMER BERNSTEIN BERNARD HERRMANN Vol. 2 FRANK CORDELL Film released: 1952 Film released: 1955 Film released: 1974 Film released: 1952 JERRY GOLDSMITH, et al. Films released: 1965/1969 Studio: M-G-M Films released: 1968/1965 Studio: M-G-M Studio: Warner Bros. Studio: RKO TV Produced: 1963-67 Studio: Genre: Swashbuckler Studio: M-G-M Genre: Swashbuckler Genre: Police Thriller Genre: Studio: M-G-M Genre: Historical Epic/WWII Golden Age Classics Genre: WWII Espionage Golden Age Classics Silver Age Classics Golden Age Classics Genre: Secret Agent Espionage CD released: February 2004 Silver Age Classics CD released: January 2004 CD released: November 2003 CD released: November 2003 Silver Age Classics Silver Age Classics Mono • 58:21 CD released: January 2004 Stereo • 77:11 Stereo • 49:24 Mono • 48:24 CD released: Oct. 2003 CD released: February 2004 This colorful remake of the Stereo • Disc One: 74:04 A moody tale of smug- Mono • Disc One: 77:54 Stereo • 78:55 Disc Two: 78:37 1937 swashbuckler sports glers directed by Fritz Elmer Bernstein combines Herrmann’s only film noir Mono/Stereo Disc Two: 76:29 Two military-themed scores A 2-CD presentation of two a robust adaptation of Lang. The score is richly his traditional symphonic runs the gamut from furi- Because you demanded on one CD: Khartoum (41: Newman’s original score classic scores: The entire melodic with a particularly approach with ’70s ous chase music to heart- it: Another 2-CD set of the 46) is a sweeping epic with (by ). The underscore (not the LP lovely main theme. FSM’s for a unique, swagger- felt warmth. Presented in classic TV series scores, British and Arabian colors; score is brimming with re-recording) from Where premiere album release ing sound. This premiere complete, chronological including music by Fried, Mosquito Squadron (37: 08) Wagnerian leitmotifs for Eagles Dare, and the pre- includes the complete album release includes the order with a bonus suite of Shores, Riddle and more. includes aggressive action the major characters, and miere release of Operation score plus numerous alter- complete score from the rehearsal outtakes. NOTE: Two unused versions of the writing and a noble, patriot- a rousing underscore for Crossbow, plus source and nates and source cues. original scoring elements. This CD was produced theme and music from the ic theme. Both scores from the climactic duel. $19.95 alternate cues from Eagles. $19.95 $19.95 from acetate recordings of feature films are included. stereo LP masters. $19.95 $24.95 varying quality. $19.95 $24.95

 Vol. 6, No. 16  Vol. 6, No. 15  Vol. 6, No. 14  Vol. 6, No. 13  Vol. 6, No. 12  Vol. 6, No. 11  Vol. 6, No. 10 The Brothers Karamazov Wild Rovers The Cobweb/ Hawkins on Murder/ Toys in the Attic The Appointment Our Mother’s House/ BRONISLAU KAPER JERRY GOLDSMITH Edge of the City Winter Kill/Babe MICHEL LEGRAND, The 25th Hour JOHN BARRY GEORGES DELERUE Film released: 1957 Film released: 1971 JERRY GOLDSMITH Film released: 1962 Films broadcast: 1973, ’74, ’75 & DON WALKER, Studio: M-G-M Studio: M-G-M Films released: 1956, 1957 Studio: United Artists Films released: 1967 Studio: M-G-M STU PHILLIPS Genre: Literary Adaptation Genre: Western Studio: M-G-M • Genres: Drama Genre: Southern Family Drama Studio: M-G-M Genres: Crime, Biography Film released: 1969 Golden Age Classics Silver Age Classics Golden Age Classics Golden Age Classics Genre: Gothic/WWII Comedy Silver Age Classics Studio: M-G-M CD released: Oct. 2003 CD released: Sept. 2003 CD released: Sept. 2003 CD released: July 2003 Silver Age Classics CD released: July 2003 Genre: Drama Mono • 79:10 Stereo • 79:14 Stereo • 51:54 Stereo • 70: 27 CD released: June 2003 Stereo • 77:24 A rich and varied score for Silver Age Classics Stereo • 58:49 One of Duning’s greatest CD released: June 2003 one of the greatest works A favorite score gets the Two early scores by one Three TV movie scores: Our Mother’s House (31:18) scores (and one of his Stereo • 77:06 in literature—composed by deluxe, definitive treat- of cinema’s most distictive Hawkins (16:51) is a is the story of orphans and few on CD) is sensitive, A tale of obsessive love fea- one of the novel’s greatest ment from FSM: This CD voices: The Cobweb is the courtroom drama featuring their deadbeat dad; The rich and melancholy as tures music by a quartet of fans. Kaper draws upon includes the never-before- first 12-tone score for mov- Jimmy Stewart; Kill (17: 25th Hour (27:31) follows befits the personal noted composers: Legrand Prokofiev, gypsy melodies released film recording ies; this release features 58) is a dramatic pilot for one man’s tragi-comic relationships of the film. CD (18:59); Barry & Walker and his natural gift for dra- (39:47); the expanded LP the complete score in Andy Griffith; Babe (26: journey during WWII. Both features album sequence (26:19); Phillips (31:48). matic writing to create a recording (35:59); plus stereo (36:41). Edge of the 41) is the Emmy-winning delicate, melodic scores from Citadel LP followed by Remixed from the original classic soundtrack. $19.95 bonus vocal tracks, all in City is a reprise of the thrill- story of Olympic star Babe are remastered in stereo. bonus tracks. $19.95 masters, it’s a one-of-a-kind stereo. $19.95 ing mono suite originally Didrikson Zaharias, plus $19.95 trio. Special price: $16.95 released on LP. $19.95 bonus tracks. $19.95

TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9598 • Fax 1-310-253-9588 • Online www.filmscoremonthly.com  Vol. 6, No. 9  Vol. 6, No. 8  Vol. 6, No. 7  Vol. 6, No. 6  Vol. 6, No. 5  Vol. 6, No. 4  Vol. 6, No. 3 The Adventures of Soylent Green/ Knights of the Round All Fall Down/ Green Fire/ THX 1138 Home From the Hill Huckleberry Finn Table/The King’s Thief The Outrage Bhowani Junction LALO SCHIFRIN BRONISLAU KAPER FRED MYROW/ MIKLÓS RÓZSA MIKLÓS RÓZSA Film released: 1970 Film released: 1960 Film released: 1960 JERRY FIELDING Film released: 1953/1955 Film released: 1962/1964 Film released: 1954/1956 Studio: Warner Bros, Studio: M-G-M Studio: M-G-M Film released: 1973/77 Studio: M-G-M Studio: M-G-M Studio: M-G-M Genre: Science Fiction Genre: Drama Genre: Satirical Adventure Studio: M-G-M • Genre: Sci-Fi Genre: Costume Adventure/ Genre: Drama/Western Genre: Adventure/Drama Silver Age Classics Golden Age Classics Golden Age Classics Silver Age Classics Swashbuckler Silver Age Classics Golden Age Classics CD released: Mar 2003 CD released: Mar. 2003 CD released: June 2003 CD released: May 2003 Golden Age Classics CD released: Apr. 2003 CD released: Apr. 2003 Stereo • 55:45 Stereo/Mono • 79:26 Stereo and Mono • 59:58 CD released: May 2003 Stereo • 52:54 Stereo/Mono • 79:20 Stereo • 79:49 ’ first film is a ’s excel- A giant of Americana scor- Stereo • Disc One 70:31 Two complete scores by Green Fire (51:04) is an Two ’70s sci-fi scores on startlingly original vision of lent Southern family drama ing writes a bouncy, rich Disc Two 78:21 the great Alex North: All adventure set in Colombia one disc: Soylent Green a dystopian future. Schifrin is highlighted by a master- score for Mark Twain’s clas- Knights (86:25) is the Fall Down (38:24) is hushed, with a gorgeous symphonic (40:21) features a mix of adds a fascinating score ful score by Bronislau sic tale. Originally planned complete film recording of sweetly jazzy score to main theme; Bhowani pop, classical and avant- ranging from avant garde Kaper, weaving together as a musical, our CD Rózsa’s thunderous, epic family/coming-of-age Junction (27:52) is a garde sounds; Demon soundscapes to cheeky romance, tension and includes snippets of songs score, including bonus drama. The Outrage (14:29) politically charged romance Seed (39:28) is a wild blend plays on Latin jazz. The violence. All of the music in the score as well as rare tracks; Thief (56:47) is a is spare music to western sporting indigenous, “world- of the electronic and sym- CD includes many unused from the film is present, demos. $19.95 rousing swashbuckler in remake of . music” source cues. $19.95 phonic. Stereo with mono passages and is entirely in plus bonus tracks and the Korngold mold. $24.95 $19.95 alternates. $19.95 stereo. $19.95 alternates. $19.95

 Vol. 6, No. 2  Vol. 6, No. 1  VOLUME 5, NO. 20  Vol. 5, No. 19  Vol. 5, No. 18  Vol. 5, No. 17  Vol. 5, No. 16 Ice Station Zebra Plymouth Adventure Never So Few/ Tribute to a Bad Man The Man From The Seventh Sin The Prize MICHEL LEGRAND MIKLÓS RÓZSA 7 Women MIKLÓS RÓZSA U.N.C.L.E. Vol. 1 MIKLÓS RÓZSA JERRY GOLDSMITH / Film released: 1968 Film released: 1952 Film released: 1956 JERRY GOLDSMITH, et al Film released: 1958 Film released: 1963 Studio: M-G-M Studio: M-G-M ELMER BERNSTEIN Studio: M-G-M TV Produced: 1963-67 Studio: M-G-M Studio: M-G-M Genre: Military/Espionage Genre: Historical Epic Film released: 1959/1966 Genre: Western Studio: M-G-M Genre: Drama Genre: Espionage Silver Age Classics Golden Age Classics Studio: M-G-M Golden Age Classics Genre: Secret Agent Golden Age Classics Silver Age Classics CD released: Feb. 2003 CD released: Feb. 2003 Genre: WWII/Drama CD released: Jan .2003 Silver Age Classics CD released: Dec. 2002 CD released: Nov. 2002 Stereo • 79:20 Mono • 79:35 Silver Age Classics Stereo • 50:30 CD released: Dec. 2002 Mono • 59:26 Stereo • 72:37 Mono • Disc One: 77:05 This ’60s Cold War nailbiter Miklós Rózsa’s mag- CD released: Jan. 2003 Rózsa’s rare western is This reworking of The The Prize is an early Stereo • 73:46 Mono/Stereo Disc Two: 76:08 is enhanced by Legrand’s nificent historical music sweeping, full of melody, Painted Veil inspired Jerry Goldsmith action- offbeat, epic scoring for for the 1620 voyage of the Two Asian-flavored clas- and flecked with the America’s first hit spy TV Rózsa to apply three of suspense gem for a orchestra. Remixed for Mayflower, from his most sics: Never So Few (42: brooding melancholy series features varied, his signature sounds; film Hitchcock-styled thriller. superior sound, and rese- fertile period of epic scor- 18) blends action and expected of a mature jazzy, high-energy music. noir, exotic and epic film CD features complete quenced into film order, ing. Includes the complete romance, while 7 Women “psychological western.” All of Goldsmith’s scores scoring techniques com- stereo score plus source this dramatic score gets soundtrack as used in the (31:27) is more introspec- This fan favorite has been plus scores by six others bine to create a unique music and vintage re- the deluxe treatment with film (47:00) plus a bevy of tive, but with a big, excit- remixed from the original (inc. Fried, Schifrin, Scharf, and unmistakable score. recorded LP cuts. $19.95 over twice the music on alternates (32:35). $19.95 ing title theme for the stereo masters. $19.95 Stevens) are represented Includes source music the original LP—in stereo. Mongol horde. $19.95 on this 2-CD set. $24.95 suite. $19.95 $19.95

 Vol. 5, No. 15  Vol. 5, No. 14  Vol. 5, No 13  Vol. 5, No. 12  Vol. 5, No 11  Vol. 5, No. 10  Vol. 5, No 9 The World, the Flesh The Green Berets Scaramouche The Gypsy Moths Above and Beyond I Spy The Prodigal and the Devil MIKLÓS RÓZSA ELMER BERNSTEIN HUGO FRIEDHOFER BRONISLAU KAPER MIKLÓS RÓZSA Film released: 1968 Film released: 1952 Film released: 1969 Film released: 1952 TV Produced: 1965-67 Film released: 1955 Film released: 1959 Studio: Warner Bros. Studio: M-G-M Studio: M-G-M Studio: M-G-M Network: NBC Studio: M-G-M Studio: M-G-M Genre: War/Adventure Genre: Costume Adventure Genre: Drama Genre: WWII Genre: Secret Agent Genre: Biblical Epic Genre: Science Fiction Silver Age Classics Golden Age Classics Silver Age Classics Golden Age Classics Silver Age Classics Golden Age Classics Golden Age Classics CD released: Sept. 2002 CD released: Sept. 2002 CD released: Aug. 2002 CD released: Aug. 2002 CD released: July 2002 CD released: July 2002 CD released: Nov. 2002 Stereo • 72:37 Mono • 62:28 Stereo • 61:08 Mono • 55:44 Stereo/Mono • 77:57 Stereo • 75:11 Stereo • 52:53 The first major U.S. film to The last of the Golden- This tale of barnstorming This combination of Five episode scores for Complete stereo score A rare Rózsa’s sci-fi address the Vietnam con- Age swashbucklers by skydivers contrasts robust, wartime drama and groundbreaking series for gargantuan biblical score (Two men and flict features a stirring sym- Rafael Sabatini (Captain action-oriented cues and domestic struggle is starring Robert Culp and epic starring Lana Turner one woman struggle in phonic score, befitting an Blood, et al) gets a heroic sweeping Americana with driving by a stirring, pro- : “So Long, features male and female post-apocalyptic NYC), action movie directed by and charming score by softer, bittersweet melo- gressive score, with one Patrick Henry,” “The Time choruses, solos, source embellishes end-of-the- and starring . the prolific Victor Young. dies. CD features complete of Friedhofer’s greatest of the Knife” “Turkish cues and thundering world loneliness and doom All of Rózsa’s music is This premiere release underscore plus main titles. Complete, Delight,” “The Warlord” symphonic glory. Includes with romantic splendor. here (plus “The Ballad includes all of the score, and marching band source chronological score in and “Mainly on the Plains.” unused alternate cues. Premiere release of com- of the Green Berets”) in plus alternates, unused cues. $19.95 best possible monaural First three & theme in ste- $19.95 plete stereo score. $19.95 excellent stereo. $19.95 and source cues. $19.95 sound. $19.95 reo; all OST, not LP record- ings. $19.95

TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9598 • Fax 1-310-253-9588 • Online www.filmscoremonthly.com  Vol. 5, No. 8  Vol. 5, No 7  Vol. 5, No. 6  Vol. 5, No 5  Vol. 5, No 4  Vol. 5, No. 3  Vol. 5, No 2 Point Blank/ On the Beach/ The Traveling 36 Hours The Man Who Joy in the Morning Logan’s Run The Outfit The Secret of Santa Executioner DIMITRI TIOMKIN Loved Cat Dancing BERNARD HERRMANN JERRY GOLDSMITH / Vittoria JERRY GOLDSMITH Film released: 1964 JOHN WILLIAMS Film released: 1965 Film released: 1976 JERRY FIELDING Film released: 1970 Studio: M-G-M • Genre: MICHEL LEGRAND Studio: M-G-M / Studio: M-G-M / Genre: Sci-Fi Film released: 1967, 1973 Film released: 1959, 1969 Studio: M-G-M WWII/ released: 1973 Genre: Romance Silver Age Classics Studio: M-G-M Studio: United Artists Genre: Black Comedy Golden Age Classics Studio: M-G-M Golden Age Classics CD released: Feb. 2002 Genre: Film Noir Genre: Drama, Comedy Silver Age Classics CD released: May 2002 Genre: Western CD released: Mar. 2002 Stereo • 74:18 Silver Age Classics Golden Age Classics CD released: May 2002 Stereo • 66:41 Silver Age Classics Stereo • 46:33 Stereo • 39:39 This classic story of a dys- CD released: June 2002 CD released: June 2002 A taut, piano-dominated CD released: Mar. 2002 Herrmann’s last studio Stereo • 77:54 Stereo • 70:59 Stereo • 65:37 topian future gets the royal The main theme blends score with an accent on project is sweepingly treatment by the master of Two films based on Two scores from the films Americana, and stealth—flamboyant, yet A lost gem from Williams’ romantic, surging with pas- speculative soundtracks. D.E. Westlake’s crime of director circus sound, but the score naturalistic. Remixed and melodic, pre-blockbuster sion and haunting in its use Jagged action cues, novels: Point Blank (39: on one CD. Beach is a touches all the bases, from remastered, this CD dou- career, plus Legrand’s of melody. The complete Coplandesque nostalgia, 38) is a landmark 12-tone gorgeous symphonic score bluegrass to avant-garde bles the playing time of the unused, unheard take on score from the original bracing electronics and score, ethereal and ingeniously interpolat- to full-scale action. This LP including bonus tracks the same material. A rare three-track recording with more in this restored, strange; The Outfit (38:16) ing “Waltzing Matilda”; first-release ever is com- of vocals, piano demos, opportunity for collec- liner notes by Christopher remixed, resequenced features a dark, pulsating Secret is a lyrical slice of plete, with every note in and a jazz trio improv of tors—all in stereo! $19.95 Husted, manager of the release! $19.95 score punctuated with “Italiana,” with one bonus excellent stereo. $19.95 the main title. $19.95 Herrmann estate. $19.95 unexpected melody. $19.95 cue. $19.95

 Vol. 5, No. 1  VOLUME 4, No. 20  Vol. 4, No. 19  Vol. 4, No. 18  Vol. 4, No. 17  Vol. 4, No. 16  Vol. 4, No. 15 Lust for Life Farewell, My Lovely/ Demetrius and the Broken Lance John Goldfarb, The World of The View From MIKLÓS RÓZSA Monkey Shines Gladiators Please Come Home! Henry Orient Pompey’s Head/ JOHNNY WILLIAMS ELMER BERNSTEIN Film released: 1956 Film released: 1954 Piano by Studio: M-G-M Studio: 20th Century released: 1965 ELMER BERNSTEIN/ Film released: 1975/88 Film released: 1954 Kenneth Lauber Genre: Biography Studio: M-G-M Studio: 20th Century Fox Genre: Western Studio: 20th Century Fox BERNARD HERRMANN Golden Age Classics Genre: Film Noir/ Genre: Biblical Epic Golden Age Classics Genre: released: 1964 Films released: 1955/1959 CD released: Feb. 2002 Suspense Golden Age Classics CD released: Dec. 2001 Silver Age Classics Studio: United Artists Studio: 20th Century Fox Stereo • 61:51 Silver Age Classics CD released: Jan. 2002 Stereo • 38:41 CD released: Dec. 2001 Genre: Comedy/Drama Genre: Drama Stereo • 71:32 Silver Age Classics CD released: Jan. 2002 Stereo • 61:51 Disney’s workhorse Golden Age Classics Premiere of Rózsa’s heart- Stereo • 73:48 CD released: Nov. 2001 felt, stirring accompani- Spectacular score for composer from the ‘30s This wacky comedy CD released: Nov. 2001 Stereo • 40:32 Stereo • 75:15 ment to the tragic tale of Farewell, My Lovely (33:06) Biblical epic emphasizes (Pinocchio) provides a starring Shirley MacLaine Vincent van Gogh. A favor- is symphonic jazz score for romance, action and reli- dark, rich Americana score and is Bernstein’s “second-best” This pair of films by ite of the composer, this CD ‘70s noir classic; Monkey gion, interpolating themes to this adaptation of King the earliest feature film score for children sports feature has been remixed from the Shines (40:41) is leitmotivic from The Robe by Alfred Lear set in the American soundtrack by John fabulous sound from the romantic, intimate scores three-track masters with suspense score for George Newman. Plus bonus West. $19.95 Williams available on CD. legendary Goldwyn scoring by Elmer Bernstein bonus alternate cues and Romero monkey thriller. tracks (11:06) and remixed Johnny does Arab go-go stage. Whimsical, melodic (lovely Americana) and more. One of the greatest $19.95 cue from The Egyptian music! $19.95 and magical. $19.95 Bernard Herrmann (“baby film scores! $19.95 (5:04). $19.95 Vertigo”). $19.95

 Vol. 4, No. 14  Vol. 4, No. 13  Vol. 4, No. 12  Vol. 4, No. 11  Vol. 4, No. 10  Vol. 4, No. 9  Vol. 4, No. 8 The Illustrated Man Morituri/ The Best of Everything Voyage to the Bottom Between Heaven and / JERRY GOLDSMITH ALFRED NEWMAN & Raid on Entebbe ALFRED NEWMAN of the Sea Hell/ Soldier of Fortune Ace Eli and Rodger HUGO FRIEDHOFER JERRY GOLDSMITH/ Song by Newman & PAUL SAWTELL HUGO FRIEDHOFER of the Skies Film released: 1969 DAVID SHIRE , & BERT SHEFTER JERRY GOLDSMITH Studio: Warner Bros. Film released: 1958 Perf. by Films released: 1956/55 Genre: Sci-fi/Anthology Studio: 20th Century Fox Films released: 1965/77 Song by Russell Faith, Studio: 20th Century Fox Films released: 1969/73 Silver Age Classics Genre: Western Studio: 20th Century Fox Film released: 1959 Perf. by Frankie Genre: WWII/Adventure Studio: 20th Century Fox CD released: Sept. 2001 Golden Age Classics Genre: WWII/ Studio: 20th Century Fox Film released: 1961 Golden Age Classics Genre: Sitcom (TV)/ Stereo • 42:02 CD released: Sept. 2001 Docudrama,TV Genre: Drama/Romance Studio: 20th Century Fox CD released: July 2001 Americana (feature) Stereo (some bonus tracks in Silver Age Classics Golden Age Classics Genre: Sci-fi/ Stereo • 73:00 Silver Age Classics The Illustrated Man is mono) • 69:34 CD released: Aug. 2001 Silver Age Classics CD released: June 2001 CD released: Aug. 2001 A superlative Hugo one of Jerry Goldsmith’s Stereo (Morituri)/ Stereo • 71:14 CD released: July 2001 Mono (Room 222)/Stereo & most haunting sci-fi cre- Two Hollywood legends Friedhofer doubleheader: Mono (Entebbe) • 57:50 Newman’s last Fox score Stereo • 55:55 Mono (Ace Eli) • 71:37 ations, with airy beauty, collaborate for a rich, Between Heaven and is a romantic gem; think solo female vocalise, handsome western score Morituri (41:46) is in Thundering B-movie hyste- Hell (complete: 40:18) is a Room 222 (12:15) com- New York at twilight. early electronics, strange with a memorable, driving Goldsmith’s percussive ‘60s ria plus soothing, romantic moody war thriller; Soldier prises theme and two Complete score (48:21) in effects and an aggressive main theme and darkly style; Raid on Entebbe (15: undersea passages for the of Fortune (surviving episode scores for popular stereo, plus some bonus climax. $19.95 brooding interior pas- 29) features suspense, pul- film that launched the hit tracks: 32:41) an exotic, TV series; Ace Eli (59:21) a sages. $19.95 sating action, and Israeli tracks in mono. $19.95 TV show. $19.95 melodic jewel. $19.95 lyrically-scored barnstorm- song climax. $19.95 ing movie. $19.95

TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9598 • Fax 1-310-253-9588 • Online www.filmscoremonthly.com SOLD OUT! Sorry, all gone...

 Vol. 4, No. 7  Vol. 4, No. 6  Vol. 4, No. 5  Vol. 4, No. 4  Vol. 4, No. 3  Vol. 4, No. 2  Vol. 4, No. 1 The French Connection/ The Egyptian Untamed The Towering Inferno How to Marry a Conquest of.../Battle for ALFRED NEWMAN French Connection II ALFRED NEWMAN & FRANZ WAXMAN JOHN WILLIAMS Millionaire the Planet of the Apes Film released: 1955 DON ELLIS BERNARD HERRMANN Film released: 1955 Film released: 1974 ALFRED NEWMAN & / Studio: 20th Century Fox Films released: 1971/75 Film released: 1954 Studio: 20th Century Fox Studio: Warner Bros./20th CYRIL MOCKRIDGE LEONARD ROSENMAN/ Genre: Religious/ Biography Studio: 20th Century Fox Studio: 20th Century Fox Genre: Historical Adventure Century Fox Film released: 1953 LALO SCHIFRIN Golden Age Classics Genre: Police Thriller Genre: Historical Epic Golden Age Classics Genre: Disaster/Irwin Allen Studio: 20th Century Fox Film released: 1972/73 CD released: June 2001 Silver Age Classics Golden Age Classics CD released: April 2001 Silver Age Classics Genre: Comedy/ Romance Studio: 20th Century Fox Stereo • 58:14 CD released: May 2001 CD released: May 2001 Stereo • 65:43 CD released: Apr. 2001 Golden Age Classics Genre: Sci-fi/Fantasy Stereo & Mono (I)/ Stereo • 72:06 Stereo • 75:31 Biopic of Scottish minister 19th century African colo- CD released: Mar. 2001 Silver Age Classics Stereo (II) • 75:01 Stereo • 70:03 Peter Marshall receives At last: the classic nialist adventure starring Disaster masterpiece CD released: Feb. 2001 Cop thrillers get pulsating, gets premiere CD release, Stereo & Mono (Conquest)/ rich, reverent, melodic Newman/Herrmann collab- Susan Hayward receives Marilyn Monroe comedy Stereo (Battle) • 74:44 score by Alfred Newman; dynamic, avant-garde oration for Fox’s historical thrilling adventure score by doubled in length from features period songs CD features complete scores by jazz artist. First epic. Original stereo tracks Franz Waxman in first-rate the LP. Fantastic main adapted as Final Apes films get vintage score including source (37:52) includes unused were believed to be lost sound. Wonderful main title, climactic action cue; underscore. “Street scores by Scott music. $19.95 music; sequel (37:09) a bit or unusable, but this CD title, love theme. $19.95 plenty of moody suspense Scene” (5:36) conducted (38:47, w/unused cues) and more traditional. $19.95 features every surviving and romantic pop. $19.95 by Alfred Newman opens Rosenman (34:43), plus TV note. $19.95 the movie and CD. $19.95 series theme (1:13). $19.95

 VOLUME 3, No. 10  Vol. 3, No. 9  Vol. 3, No. 8  Vol. 3, No. 7  Vol. 3, No. 6  Vol. 3, No. 5  Vol. 3, No. 4 Beneath the The Stripper/ From the Terrace The Undefeated/ A Guide for the Tora! Tora! Tora! 12-Mile Reef Nick Quarry ELMER BERNSTEIN Hombre Married Man JERRY GOLDSMITH Theme by / JOHNNY WILLIAMS BERNARD HERRMANN JERRY GOLDSMITH Film released: 1960 Film released: 1970 Title Song Perf. by The Turtles Film released: 1953 Film released: 1963/68 Studio: 20th Century Fox Film released: 1966 Studio: 20th Century Fox Studio: 20th Century Fox Studio: 20th Century Fox Genre: Drama Studio: 20th Century Fox Films released: 1969/67 Film released: 1967 Genre: WWII Genre: Adventure Genre: Drama /Action,TV Golden Age Classics Genre: Adventure/Camp Studio: 20th Century Fox Studio: 20th Century Fox Silver Age Classics Golden Age Classics Silver Age Classics CD released: Dec. 2000 Silver Age Classics Genre: Western Genre: Comedy CD released: May 2000 CD released: Feb. 2001 CD released: Jan. 2001 Stereo • 71:27 CD released: Nov. 2000 Silver Age Classics Silver Age Classics Stereo • 54:45 Stereo (Stripper)/ Mono • 65:23 CD released: July 2000 Stereo • 55:06 /Joanne CD released: Sept. 2000 Classic Goldsmith war Mono (Quarry) 73:35 Stereo • 72:33 Stereo • 73:10 Fantastic undersea adven- Woodward soaper fea- Holy Bat-tracks! 1966 score enhances docu- ture score gets premiere Early Goldsmith feature tures tuneful, romantic feature produced at time Western doubleheader: Vintage score is drama take on Pearl release of original stereo (42:01, plus 21:06 bonus score by Bernstein. Rich of ‘60s TV show features The Undefeated (w/John “Johnny”’s most elaborate Harbor. Aggressive action tracks, albeit with minor tracks)—is in romantic Americana music, sensi- Neal Hefti’s theme, Wayne, 47:33) is for a comedy, with long music combined with deterioration. Lots of Alex North style. Quarry tive romantic themes, Nelson Riddle’s Bat-villain accessible and sym- setpieces, groovy title avant-garde effects, harps, “underwater” color, (10:27) is a TV rarity— haunting melancholy. signatures, swingin’ under- phonic. Hombre (w/Paul theme, and orchestral Japanese instrumenta- seafaring melodies. $19.95 sounds like Flint music. $19.95 scoring and larger action Newman, 21:30) is underscoring foreshadow- tion. $19.95 $19.95 setpieces. $19.95 moodier, sensitive—a ing his dramatic works. quiet gem. $19.95 $19.95

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 Vol. 3, No. 3  Vol. 3, No. 2  Vol. 3, No. 1  VOLUME 2, No. 9  Vol. 2, No. 8  Vol. 2, No. 7  Vol. 2, No. 6 Beneath the Planet The Omega Man Take a Hard Ride The Flim-Flam Man/ Rio Conchos / The Comancheros of the Apes RON GRAINER JERRY GOLDSMITH A Girl Named Sooner JERRY GOLDSMITH ELMER BERNSTEIN JERRY GOLDSMITH ALFRED NEWMAN LEONARD ROSENMAN Film released: 1971 Film released: 1975 Film released: 1964 Film released: 1961 Film released: 1970 Studio: Warner Bros. Studio: 20th Century Fox Films released: 1967/1975 Studio: 20th Century Fox Film released: 1950/45 Studio: 20th Century Fox Studio: 20th Century Fox Genre: Sci-fi/Fantasy Genre: Western Studio: 20th Century Fox Genre: Western Studio: 20th Century Fox Genre: John Wayne/Western Genre: Sci-fi/Fantasy Silver Age Classics Silver Age Classics Genre: Drama/Americana Silver Age Classics Genre: Drama Silver Age Classics Silver Age Classics CD released: Mar. 2000 CD released: Feb. 2000 Silver Age Classics CD released: Dec.1999 Golden Age Classics CD released: Sept.1999 CD released: Apr. 2000 Stereo • 65:39 Stereo • 46:38 CD released: Jan. 2000 • Mono/Stereo (combo) • 75:28 CD released: Nov. 1999 Stereo • 47:44 Stereo • 72:37 Stereo (Flim-Flam)/Mono Mono (2 trks. in stereo) • 44:19 sci-fi Early Goldsmith western Elmer Bernstein’s first Strange “blaxploitation,” (Sooner) • 65:20 Second Apes pic gets classic features one-of-a- score is presented in com- Eve is a cinema master- of many scores for John foreign-produced western atonal score by Leonard kind symphonic/pop fusion A rural Americana double- plete form (55:43) in mono, piece; the complete score Wayne is a western gem, gets wonderful symphonic Rosenman with many by the late Ron Grainer. header: Flim-Flam (34: with some cues repeated is appropriately theatrical, with rhythmic main title score from Goldsmith; avant-garde highlights. Unforgettable themes, 37) stars George C. Scott in stereo. Includes delight- perfectly drawn. Leave and high-tailing action great main theme, action Includes complete original period effects; great stereo as a Southern con man; fully bizarre vocal version Her to Heaven is more music. Think in terms of cues. Take a hard ride, tracks (46:03) plus 1970 LP sound quality. $19.95 Sooner (30:43) is smaller, of the main theme. $19.95 dramatic, brooding film “The Magnificent Eight.” indeed. $19.95 re-recording with dialogue sensitive TV movie score. noir. $19.95 $19.95 (26:34). $19.95 $19.95

TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9598 • Fax 1-310-253-9588 • Online www.filmscoremonthly.com  Vol. 2, No. 5  Vol. 2, No. 4  Vol. 2, No. 3  Vol. 2, No. 2  Vol. 2, No. 1  VOLUME 1, No. 4  Vol. 1, No. 3 of Foxes Monte Walsh Prince Valiant Patton/The Flight 100 Rifles The Return of Dracula/ Fantastic Voyage ALFRED NEWMAN JOHN BARRY FRANZ WAXMAN of the Phoenix JERRY GOLDSMITH I Bury the Living/ LEONARD ROSENMAN Film released: 1966 Film released: 1949 Film released: 1970 Film released: 1954 JERRY GOLDSMITH/ Film released: 1969 The Cabinet of Caligari/ Studio: 20th Century Fox Studio: 20th Century Fox Studio: CBS Studio: 20th Century Fox FRANK DE VOL Studio: 20th Century Fox Mark of the Vampire Genre: Sci-fi Genre: Historical Adventure Genre: Western Genre: Historical Adventure Film released: 1970/65 Genre: Western Golden Age Classics Silver Age Classics Golden Age Classics Studio: 20th Century Fox Silver Age Classics Films released: 1958/58/62/57 Silver Age Classics CD released: July 1999 CD released: June 1999 CD released: May 1999 Genre: WWII/ Adventure CD released: Mar. 1999 Studio: UA/ 20th Century Fox CD released: Sept. 1998 Stereo • 46:39 Mono (1 track. in stereo) 61:51 Stereo • 62:17 Silver Age Classics Stereo/Mono (combo) • 77:08 Genre: Horror Stereo • 47:28 “Lost” Tyrone Power gets Fox’s colorful 1954 adapta- CD released: April 1999 Burt Reynolds/Raquel Silver Age Classics Sci-fi classic following min- Stereo • 76:24 historical adventure gets vintage John Barry score tion of the famous epic Welch western gets CD released: Jan. 1999 • Mono iaturized sub crew inside exciting, robust score 20 years before Dances comic strip features stir- Patton (35:53) is complete explosive score, heavy on Disc One: 61:06 Disc Two: 73:20 the human body gets imagi- by Alfred Newman, With Wolves. Song “The ring adventure score by OST to WWII biopic clas- Mexican colors and gut- Star Trek and The Man from native, avant garde score; newly mixed into stereo. Good Times Are Comin’” Franz Waxman in “leitmo- sic. Phoenix (40:51) is a tural action. CD features U.N.C.L.E. composer gets one of Rosenman’s Glorious main title, stir- performed by Mama tiv” style, a la Star Wars: rare album release for score twice, in stereo and 2-CD release of creepy, early signature works. ring love theme. $19.95 Cass; many bonus tracks. hero, villain, princess, Frank De Vol, a rousing in mono with slight varia- horror scores, packaged in Symphonic yet thrillingly $19.95 mentor. $19.95 adventure/ survival score. tions. $19.95 slimline case; same shipping bizarre. $19.95 $19.95 as one CD. $29.95 EXCLUSIVE VIDEO! Basil Poledouris: His Life and Music SOLD OUT! An intimate visit with the com- Sorry, all gone... poser of Conan the Barbarian, Free Willy, Starship Troopers and Lonesome Dove. Take a tour of his work and lifestyle,  Vol. 1, No. 2  Vol. 1, No. 1  FSM-80125-2  FSM-80124-2  FSM-80123-2 from his methods of composing The Paper Chase/ The Stagecoach/The Loner Mad Monster Party Deadfall The Taking of to his love of sailing. The video Poseidon Adventure JERRY GOLDSMITH MAURY LAWS JOHN BARRY Pelham 1-2-3 runs 50 minutes and includes Film released: 1966/1965 Film released: 1998 Film released: 1968 JOHN WILLIAMS DAVID SHIRE footage of Basil and Film released: 1973/72 Studio: 20th Century Fox Studio: Rankin/Bass Studio: 20th Century-Fox Film released: 1974 Studio: 20th Century Fox Genre: Western (film/TV) Genre: Animagic Genre: Heist caper Studio: M-G-M atwork on synthesizer mock-ups Genre: Drama/Disaster Silver Age Classics Percepto/Retrograde Records Retrograde Records Genre: Thriller of Starship Troopers, as well as dozens of behind-the- Silver Age Classics CD released: May 1998 CD released: 1997 CD released: 1997 Retrograde Records Stereo (Stagecoach)/ Stereo 36:48 Stereo 40:23 scenes and family photos, and appearances by wife CD released: July 1998 CD released: 1996 Bobbie and daughter Zoë. Discover the man behind Stereo/Mono (combo) • 75:53 Mono (Loner) • 45:25 30th Anniversary collector’s Features “Romance for Stereo & Mono • 30:55 Two complete ’70s scores Classic western film plus edition features score and Guitar and Orchestra,” & title Unparalleled ’70s 12-tone jazz/ the music, in a way you’ll never see on TV, or experi- plus the main title (6:07) to theme and two episode the vocal talents of Boris song by , plus funk fandango on FSM’s first ence in print. Specify NTSC (U.S.) or PAL (European) Conrack (1974). $19.95 scores for TV series. $19.95 Karloff & Phyllis Diller. $16.95 two rare alternates. $16.95 album release. $16.95 $19.95

CHECK YOUR ORDER ONLINE Visit https://secure.filmscoremonthly.com/store to place JOIN THE CLASSICS CHARTER CLUB an order on our secure server. You will receive an automatic confirmation. All of your info is Get every Classics release FIRST—automatically! Plus, receive discounts on multi-disc sets and kept confidential and encrypted for your protection. Save days and rest easy! other member surprises! See order form for details.

Getting the Best Score for Your Film: BOOKS FOR COMPOSERS A Filmmakers’ Guide to Music Scoring by David Bell NEW!!! 2003 Film/TV Music Guide From the Music Business Registry A respected TV composer, Bell wrote this book in 1994 to help producers and Isn’t your career worth it? An exhaustive directory of record labels, music pub- directors get the most out of film music. Aimed at filmmakers, this book also lishers, film/TV music depts., music supervisors, music editors, composer rep- provides useful info for pros—and fans. Topics include spotting, communicating, resentatives, composers, clearance companies, recording studios, performing recording, budgeting and licensing, with explanations of the personnel and enti- ties involved in each; plus lists of agents, clearance companies, glossary terms rights societies, and music libraries—names, addresses and numbers. $94.95 and resources. Silman-James Press, 112 pp., softcover. $12.95 8 Sound and Vision: 60 Years of Motion Picture Soundtracks BOOKS FOR MUSIC LOVERS by Jon Burlingame Foreword by Leonard Maltin The Score: Interviews with Film Composers by Michael Schelle Journalist and historian Burlingame’s conducts an overview of film compos- This 1999 book uses a Q & A format to converse with contemporary composers, ers and history in clear and direct prose. Comprised of composer mini-bios, featuring lengthy transcripts with Barry, Bernstein, Blanchard, Broughton, Chihara, with reviews of their most notable works and photo portraits, there is also Corigliano, Howard, Isham, Licht, McNeely, T. Newman, Shaiman, Shore, Walker a thorough overview of soundtrack album history (LP and CD), a section and C. Young. Written by a composer, who delves deeply and precisely into each devoted to song compilation reviews, and a helpful movie music bibliography. composers’ ideas. Silman-James Press, 432 pp., softcover. $19.95 Billboard Books, 244 pp., softcover. $18.95 Music for the Movies 2nd Edition by Tony Thomas U.S. Soundtracks on CD: Scores for Motion Pictures and TV 1985-1999 Price Guide by Robert L. Smith The music book ( written in 1971, updated in 1997), tells the sto- ries of Hollywood’s most successful composers. Composers featured (many FSM’s 2nd market-standard price guide contains 2,400+ album titles with with photos) include Stothart, V. Young, Green, Newman, Tiomkin, Waxman, composers, label numbers, collectible info and estimated values. Listings Kaper, Rózsa, Steiner, Korngold, Herrmann, Raksin, Antheil, Thompson, are annotated to differentiate between originals, reissues, commercial North, Bernstein, Duning, Rosenman, Goldsmith, Mancini, Schifrin, Scott, albums and promos. Smith surveys the market and provides a checklist for Shire, Broughton and Poledouris. Silman-James Press, 330 pp., softcover. the top 50 collectible CDs. Vineyard Haven LLC, 154 pp., softcover. $17.95 $19.95

TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9598 • Fax 1-310-253-9588 • Online www.filmscoremonthly.com The Music of Star Trek: Profiles in Style by Jeff Bond Stu Who? Forty Years of Navigating the Minefields The first-ever history of Star Trek scores, from 1966 thru 2000—by of the Music Business by Stu Phillips FSM’s editor-at-large. With interviews of composers Goldsmith, Stu Phillips’s career encompasses groovy cult films (Beyond the Valley of Courage, , Fried, Ron Jones, McCarthy, Chattaway, pro- the Dolls) and virtually every Glen Larson TV show ever produced (Battlestar ducer Robert Justman, music editor Gerry Sackman and others, the Galactica, Knight Rider). Stu Who? is his candid, breezily told memoirs full book contains a complete list of music written for four TV series; a of exciting stories from the worlds of arranging, music directing, record pro- guide to score tracking and credits; Trek manuscript excerpts from the ducing, and film and TV scoring. Published Cisum Press, 304 pp., hardcover, composers; and several cue sheets. Lone Eagle Publishing. 224 pages, illustrated. $29.95 softcover, illustrated. $17.95

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

Hugo Friedhofer: The Best Years of His Life A Heart at Fire’s Center: Edited by Linda Danly, Introduction by Tony Thomas The Life and Music of Bernard Herrmann by Steven C. Smith The gifted musician of such classics as The Best Years of Our Lives, Above The most influential film composer of all time, who scored , and Beyond and Soldier of Fortune was considered by his peers to be the most Vertigo, Psycho and , Bernard Herrmann (1911-1975) was as famous sophisticated practitioner of their art. Friedhofer (1901-1981) gave a lengthy for his musical passion as his bad temper. This hard-to-find 1991 book is the oral history to the AFI, rife with anecdotes, opinions and wit, which forms the definitive biography of the legendary composer, covering his film, television, centerpiece of this book. Includes a short biography by Danly, the eulogy from radio and concert work as well as his personal life. It’s a brilliant NEW softcover ed. Friedhofer’s memorial service by , a filmography, photographs and of Herrmann and probably the best film composer biography ever written. NEW lower price! more. The Scarecrow Press, 212 pp., softcover. $24.95 University of California Press. 416 pp., hardcover. $39.95

Film Music and Everything Else! Music, Creativity and Culture as Seen by a Hollywood Composer by Charles Bernstein Essays by the composer of the original Nightmare on Elm Street, Sadat, Cujo and others. Originally written for“The Score,” the quarterly journal of the Society of Composers and Lyricists. Topics include: melodies, “hummers,” emotion and more. It’s a rare opportunity to read thoughtful opinions and musings from a film composer directed towards other practitioners of the art. Turnstyle Music Publishing, 132 pp., softcover, limited to 500 copies. $18.95 BACK ISSUES OF FSM • VOLUME ONE, 1993-96

24 pp. unless noted. ute; M. Nyman, collectibles. *#62, Oct. ’95 D. Elfman; R. Townson; reviews; Recordman on War 2. Asterisk (*) indicates photocopies. *#48, Aug. ’94 M. Mancina (Speed); C. J. Ottman; 10 Influential Scores; Jerry *#76, Dec. ’96 R. Edelman, J. Barry 2, R. GET FREE GIFTS! *#30/31, Mar. ’93 64 pp. M. Jarre, B. Cirino & P. Rotter; aspiring composers video. Cooder; Laserphile, Lukas’s reviews. Poledouris, J. Chattaway, J. Scott, advice; CAM CDs; Cinerama LPs. *#63, Nov. ’95 Special! FILM SCORE MONTHLY REWARDS C. Young, Morricone albums,1992 in *#49, Sept. ’94 H. H. Zimmer; S. Walker; J. Barry; E. Serra; History of Soundtrack loyal customers with a free gift for review. L. Rosenthal; H.Salter; Williams concert; Collecting 3; Davy Crockett LPs. VOLUME TWO, 1997 spending over $50 on any one order, *#32, Apr. ’93 16 pp. Matinee temp- Recordman/flea market. *#64, Dec. ’95 D.Elfman Pt. 2, S. Bartek, First color covers! Issues 32-48 pp. and TWO free gifts for spending track, SPFM ’93 Conf., Star Trek #50, Oct. ’94 A. Silvestri; M. Isham; Recordman/Blaxploitation; Kamen 3; re- *Vol. 2, No. 1, Jan./Feb. ’97 Star Wars: over $100. (Magazine subscriptions, editorial. sex & soundtracks; Schifrin con- recording House of Frankenstein. Williams interview; Special Edition CDs. shipping and tax are not applicable *#33, May ’93 12 pp. Book reviews, cert; Morricone/Beat; the Internet; *#65/66/67 Mar. ’96, 48 pp. T. Newman; *Vol. 2, No. 2, Mar./Apr. ’97 A. Clausen; towards the $50 or $100—but every- classical/film connection. Recordman/liner notes. Takemitsu; Robotech; Star Trek; 10 promo CDs; Congress in Valencia; thing else is, including backissues.) *#34, Jun. ’93 16 pp. SPFM: Goldsmith; *#51, Nov. ’94 H. Shore; T. Newman; Influential composers; Glass; H. Villa- Readers Poll ’96; “Into the Dark Pool” 2 Orchestrators; ; Herrmann; J. P. Robinson; Lukas’s Mom; music of Lobos; songs in film; best of ’95; film *Vol. 2, No. 3, May ’97 Michael Fine: IF YOUR ORDER APPLIES, PLEASE C.Young; scores. Heimat, Star Trek. score documentary reviews. Re-recording Rózsa; Poltergeist, Mars note your selection on the form or *#35, Jul. ’93 16 pp. David Kraft; John *#52, Dec. ’94 E. Serra; M. Shaiman; *#68, Apr. ’96 The Taking of Pelham One Attacks!, Rosewood; Lukas/Bond a separate sheet, The free gifts will Beal Pt. 1; scores vs. songs; Herrmann Sandy De Crescent; Valencia Film Two Three; C. Burwell; gag obituaries; reviews. change from time to time—and Christmas; Film Composers Dictionary. Music Conference; SPFMPt. 1; Apollo 13 promo/bootleg tips. *Vol. 2, No. 4, Jun. ’97 D. Elfman, they may be available from other *#36/37, Nov. ’93 40 pp. Bob Townson ; StarGate; Shostakoholics Anonymous. *#69, May ’96 Plan 9 from Outer Space; Promos 2, M. Denny & Exotica, Lady sources. R.Kraft & N.Redman; John Beal; CAM *#53/54, Feb. ’95 M. Shaiman Pt. 2; D. Movie music glossary; Herrmann & in White; Brian May obit, The Fifth HERE ARE SOME OF OUR GIFTS; CDs; E. Bernstein fantasy scores. McCarthy; Sergio Bassetti; Jean-Claude Rózsa on radio; Irwin Allen; “Into the Element. newer items are listed online: *#38, Oct. ’93 16 pp. J.Debney; Kraft/ Petit & ; Academy Dark Pool.” *Vol. 2, No. 5, Jul. ’97 E. Goldenthal, M. Redman 2. Awards Pt. 1; rumored & quad LPs. *#70, Jun. ’96 Mancina, desert isl& Mancina, G.S.Clinton, ASCAP & BMI Basil Poledouris: His Life and Music *#39, Nov. ’93 16 pp. Kraft/Redman 3; *#55/56, Apr. ’95 B. Poledouris; A. lists, summer movies; TV’s Biggest Hits nites; Crash, Lost World. FSM’s videotape documentary of the Fox CDs; Nightmare Before Christmas. Silvestri; J. Lo Duca; Oscar & Music 2; review. Vol. 2, No. 6, Aug. ’97 L. Schifrin, admired composer. Specify NTSC (U.S.) or PAL (U.K.) format. *#40, Dec. ’93 16 pp. Kraft/Redman 4; Recordman’s Diary; SPFM Conf. 2. *#71, Jul. ’96 D. Arnold; M. Colombier; J. Powell, Shaiman; Tony Thomas; Re-recording The Magnificent Seven. *#57, May ’95 Broughton; M. Goodman; Recordman/Congress; summer round- Summer movies, TV sweeps. Regular FSM Price: $19.95 *#41/42/43, Mar. ’94 48 pp. E. Goldenthal; ’94 Readers Poll; Goldsmith concert. up. *Vol. 2, No. 7, Sept. ’97 Zimmer vs. FSM, U.S. Soundtracks on CD Price J.N. Howard; Kitaro & R. Miller; R. *#58, Jun. ’95 M. Kamen; Royal S. *#72, Aug. ’96 10 Best Scores of ’90s; M. Beltrami, ; Film Music Guide: 2nd Edition Portman; ; Star Wars trivia; Brown; Recordman/Annette; History of T. Newman; Escape from L.A.; cond. J. as Fine Art, Recordman. FSM’s market-standard price guide LP covers; ’93 in review. Soundtrack Collecting. Mauceri; ref. books; A. Ifukube CDs. *Vol. 2, No. 8, Oct. ’97 Poledouris, featuring over 2,400 listings. *#44, Apr. ’94 J.McNeely; B. Poledouris; *#59/60, Aug. ’95 48 pp. Sex Sells; M. *#73, Sept. ’96 Recordman on War ; Shore, Zimmer vs. FSM 2, Alloy Regular FSM Price: $17.95 SPFM: Morricone. Jarre; Soundtrack Collecting 2; Rózsa Monstrous Movie Music; Ifukube CDs 2; Orchestra; Golden Age CDs. PLEASE NOTE! *#45, May ’94 R. Newman; G. Revell Remembered; film score concert Miles Goodman obit. Vol. 2, No. 9, Nov./ Dec. ’97 D. Arnold; If your order qualifies, you must ASK (The Crow); Goldsmith concert, debate. *#74, Oct. ’96 ’90s Action Scores; Cine J. Frizzell; Neal Hefti; U-Turn & The for a free gift—we won’t send it Schindler’s List; Instant Liner Notes. *#61, Sept. ’95 E. Goldenthal, Kamen 2, Music ’96 (Barry, Zhou Jiping); Vic Mephisto Waltz, Razor & Tie CDs. automatically. Thanks! *#46/47, Jul. ’94 P. Doyle, J.N.Howard; C. Lennertz; Star Trek: TMP, classical Mizzy. J.Morgan (on H. Salter); Mancini trib- music for film score fans. *#75, Nov. ’96 Barry Interview; J.Bond’s (continued on next page)

TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9598 • Fax 1-310-253-9588 • Online www.filmscoremonthly.com (S. Walker, B. Broughton R. Stone); Vol. 6, No. 2, Feb. ’01 MUSICAL WORLD Zimmer (Black Hawk Down); Logan’s (Turner Classic Movies); 12-CD Wishlist; VOLUME THREE, 1998 Phantom Menace; Kamen; S. Phillips OF IRWIN ALLEN; A.Copland (cond. J. Overrun; Enterprise; Yann Tiersen. Omaha’s Orpheum Theater; Holiday DVD Expanded format! Issues 48 pp (Battlestar Galactica); ; Sheffer); G.Clinton; Douglass Fake of Vol. 7, No. 2, Feb. ’02 HAPPY BIRTHDAY, reviews. *Vol. 3, No. 1, Jan. ’98 Williams ASCAP awards. Intrada; How to Marry a Millionaire. ELMER BERNSTEIN; Rózsa speaks! (Lust Vol. 7, No.10, Dec. ’02 Buyer’s Guide 1, M. Danna, Titanic‘s *Vol. 4, No. 8, Sept./Oct. ’99 STANLEY Vol. 6, No. 3, Mar. ’01 BIGGER, BETTER for Life); ; John TOWERING ACHIEVEMENTS: H. Shore music supervisor, Silvestri lecture, KUBRICK J.Pook/Eyes Wide Shut, CD SCORES: New RMA agreements; D. Q, Frailty; Laserphile (baseball DVDs). (The Two Towers); P. Glass (The Hours); CDs. comp.; Poledouris; Goldsmith Guide 5: Ellis; Irwin Allen discs; R. Kent (Town & Vol. 7, No. 3, Mar/Apr. ’02 THE Ray Ellis (Filmation cartoons!); The Alloy *Vol. 3, No. 2, Feb. ’98 Glass, Williams (‘60s); concert advice for Jerry. Country); Italian Imports/BEAT. SCORPION KING; Hook (Williams); Edda Orchestra, Spy Notes (secret agent Buyers Guide 2, D. Amram, Goldsmith Vol. 4, No. 9, Nov. ’99 COMPOSER Vol. 6, No. 4, Apr./May ’01 J. Horner Dell’Orso; Craig Armstrong (Moulin discs); Adaptation & Punch-Drunk Love. on Varèse, Pendulum CDs; TV CDs. STAMPS; Papillion; Peter Thomas; Buyer’s Guide; Returns, Rouge); Oscars. Vol. 3, No. 3, Mar./Apr. ’98 Titanic/ ; The Thomas Crown Swordfish; ; Epics on DVD; Vol. 7, No. 4, May/Jun. ’02 J.Horner, Best of 1997, Cinerama, Greig Affair; BMI awards. Atlantis The Lost Empire. SUMMER BLOCKBUSTERS Spider-Man; VOLUME EIGHT, 2003 McRitchie, Fox Newman Stage, Oscars. Vol. 4, No. 10, Dec. ’99 SCORES OF Vol. 6, No. 5, June ’01 SERGEI Attack of the Clones ; M. Mothersbaugh Vol. 8, No. 1, Jan. ’03 JOHN WILLIAMS Vol. 3, No. 4, May ’98 B. Broughton, SCORES: animation, Morricone, horror, PROKOFIEV; Friedhofer & Fox; (Welcome to Collingwood); Legend on INTERVIEWED (finally!); The Best & the D. Arnold; CE3K restoration; Williams Golden & Silver Age Hollywood, concert Ghostbusters; J. Danna, R. Shore; DVD; (ASCAP winners). Worst of 2002; Star Trek film scores. Guide 3; Ed Shearmur; Fox Classics work CDs. Bender at Chiller, more. *Vol. 7, No. 5, Jul. ’02 Vol. 8, No. 2, Feb. ’03 HOW THE AWARDS CDs. Vol. 6, No. 6, July ’01 PLANET OF MUSIC: Film Noir; WERE WON (Oscars past & present); *Vol. 3, No. 5, Jun. ’98 M.Snow, Classic APES; H. Zimmer; Horner Guide 2; Williams (Minority Report); Goldsmith J. Williams & L. Slatkin concerts; Jan Godzilla; J. Chattaway; Broughton VOLUME FIVE, 2000 Goldenthal; Shore; Williams. (The Sum of All Fears); M. Kamen; Hammer, C. Martinez, C. Pope, S. Walker. Buyers Guide; D. Reynolds, D. 48-64 pp.each Vol. 6, No 7, August ’01 QUINCY JONES P. Schickele (Silent Running); Vol. 8, No. 3, Mar. ’03 MAGNIFICENT McCarthy, Anne Dudley), SCL Conf.. Vol. 5, No. 1, Jan. ‘00SUPERMAN:THE PART 1; ; J. Morgan Laserphile: Summer Thrills; SCL pix, MOVIE MUSIC MOMENTS; Brian Tyler *Vol. 3, No. 6, Jul. ’98 T. Rabin; MOVIE CD reissue: film, cue sheet on Golden Age Scores; Schifrin, more. (The Hunted, Children of Dune); J.Ottman Barry Concert; Aussies: B. Dallwitz, analysis, ’50s TV score; H. Shore Jones, Diamond & Debney; Score Vol. 7, No.6, Aug. ’02 : Miles (X-Men 2); D. Davis (Matrix Reloaded). C. Gordon; D.Wiseman; ‘70s soul (Dogma); Goldenthal, Barber, Tyler, Internationale; Random Play. Davis, E. Bernstein, S. Clarke & T. Vol. 8, No. 4, Apr-May ’03 soundtracks. Debney, Robbins; Pocket Reviews debut, Vol. 6, No 8, September ’01 ANGELO Blanchard; K. Badelt (K-19 : The MEET THE FOLKS: H. Shearer & M. *Vol. 3, No. 7, Aug. ’98 South Park Laserphile. BADELAMENTI (Mulholland Drive); Widowmaker); G. Clinton (Goldmember); McKean (A Mighty Wind); M. Hamlisch; (A. Berry, B.Howell), I. Newborn; *Vol. 5, No. 2, Feb. ’00 JERRY FIELDING: N. Carolina School of the Arts; Quincy Louise Steiner memoir; G. Fenton (The Blue Planet); E. Shearmur Taxi Driver, BMI & ASCAP dinners, tribute, Camille Fielding; Top picks for ’99; Jones Pt 2; Earle Hagen; Halloween (Duel, Kojak) more . (Charlie’s Angels); Bond reissues. Broughton Guide 2; Schifrin, Bernstein Oliver Stone’s score-o-matic (Any Given DVDs; more. Vol. 7, No.7, Sept. ’02 FSM’S TOP 40: The Vol. 8, No. 5, June ’03 BOOM TIMES: (T3, & Legrand. Sunday); George Duning obit; Score Vol. 6, No. 9, Oct./Nov. ’01 LORD OF THE most wanted composers in Hollywood; Hulk, Down With Love); Bond reissues 2; *Vol. 3, No. 8, Sept. ’98 L.Schifrin; Internationale;1999 release stats. RINGS; Ronald Stein; T.Jones (From ; L. Schifrin; Signs; Jan Hammer 2; Korngold DVD. B.Tyler; T. Jones; Williams premiere, Vol. 5, No. 3, Mar. ’00 How to burn Hell); Davis Meets Williams (Jurassic One Hour Photo (J. Klimek) The Kid Vol. 8, No. 6, July ’03 THE PIRATE ISSUE: ASCAP seminar, Rykodisc CDs. Phantom Menace CD at home; Readers Park III); M. Danna (Hearts of Atlantis); Stays in the Picture (J. Danna); 25 scary K.Badelt (Pirates of the Carribean), H. *Vol. 3, No. 9, Oct./Nov. ’98 picks for ’99; Film vs. concert music; C.H. ST:TMP on DVD refit; Pukas comix debut. DVDs. Gregson-Williams (Sinbad: Legend of the E.W.Korngold: Biography & books; Levenson’s “last” letter, reader survey. Vol. 6, No. 10, Dec. ’01 Vol. 7, No.8, Oct. ’02 FALL FILM ROUND- Seven Seas), 11 Great Pirate Scores; R. Williams at Tanglewood; C. Burwell; S. Vol. 5, No. 4, Apr./May ’00 SCORES OF SCORE reviews; Alejandro UP: E. Bernstein (); Portman’s , The Sherman Bros.. Boswell; Citadel Records. 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TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9598 • Fax 1-310-253-9588 • Online www.filmscoremonthly.com SCORE (continued from page 35) fact, the emphasis on eye-catching splendor was deemed so vital that 1 Runaway Jury ★★★ /2 the film’s director, Mervyn LeRoy, CHRISTOPHER YOUNG stepped aside so that Metro’s Varèse Sarabande 302 066 524 2 numero uno director, Vincente 18 tracks - 59:39 Minnelli, could helm the climactic have to admit that I love read- fashion show sequence. While I ing potboilers. I enjoy novels the cameras remain fixated on a that exist primarily for their plot of ocular enchantments, and are filled with quirky charac- the score suffers somewhat from ters defined by their actions. Most an overreliance on instrumen- of John Grisham’s books have at running strings. native reality that includes Judy tal reprises of Kern favorites. one time or another graced my In these two styles there is little Garland’s “The Trolley Song” and Nevertheless, the M-G-M Studio crowded bookshelves. Likewise, I to quibble with. I found some of ’s “Where or When”). Orchestra, under the guidance of look forward to the various movie the synth work distracting, espe- Relaxing her distinctively operatic Leo Arnaud, , Saul incarnations of the books. cially the electronic beats behind performance style, Grayson deliv- Chaplin and others, makes the In Runaway Jury, Gary Felder has the funk guitar of “Cheaper by ers her best cinematic singing most of this opportunity. A snazzy formed another well-crafted, well- the Dozen” (which seems out performance ever (with her vocals arrangement of “I Won’t Dance” is acted Grisham adaptation that of place), as well as the synthed in Metro’s 1951 version of Show proof that M-G-M had not only stays true to the book even while voices in “Fayeth in Fate No More.” Boat a close second). more stars than there are in the changing the subject of the court With James already on the project There is a poignant, wistful heavens but also the most tal- case from tobacco to gun control. it would have seemed logical to quality to Kern’s 70-year-old ented musicians of all the major With his score, Christopher Young use her for this section. But there ballad, which has been memo- studios. has created a delightful mélange is so much more to love from rably performed in other films Prior to this release, the that evokes the film’s the funk of “The (most notably by in Tea With soundtrack had been circulating setting and shady characters so Komeda” to the soft-palate scat- Mussolini). But never has this stan- in an abbreviated format for sev- well; I want him to score not ting of “Voir Dire” to the layers of dard been treated as lovingly as eral decades. In 1974, 10 truncated only all future Grishams, but percussion, guitar and string tex- this. In fact, Grayson’s rendering tracks were paired with highlights even things like ’s tures in “Spilt Whiskey.” of “Smoke” was so superb that it from Lerner and Loewe’s Brigadoon Tishomingo Blues (yes, another plot- The strength of Young’s score was accorded a place of honor in (1954) and released as part of a driven book). lies in its balance of ambient cues the acclaimed 1976 retrospective M-G-M Records series titled The album, which at 60 min- with the tense thriller under- That’s Entertainment, Part 2, a daz- “Those Glorious MGM Musicals.” utes provides us with a gener- score expected of a genre picture. zling compilation of clips from In the 1980s, MCA Records ous amount of music, is divided Many have commented on the Metro’s matchless archive of pruned even further and tossed between two styles. The first is similarity of the sound to Thomas musical films. a handful of Lovely tracks onto an heard in the main titles, “Runaway Newman’s, but I find this only in The good news continues as album with songs from Summer Jury.” The cue opens with blues- the long passages of harmonic Grayson isn’t the only showstop- Stock (1950). As if a pedestrian inspired piano chords supporting ambiguity that are not com- per on board this limited-edi- presentation wasn’t bad enough, Teresa James’ similarly tinged mon in standard action/thriller tion Turner/Rhino Handmade MCA’s edition even awkwardly vocals over a bed of lush strings. scores—in other words, where soundtrack. During Hollywood’s retitled Grayson’s big number Two minutes in, a broken guitar Young plays against type. Isn’t heyday, if a cinema marquee “When Your Heart’s on Fire Smoke theme kicks in as an extension of that what we have come to expect boasted the tour de force, tap- Gets in Your Eyes.” According to the piano licks. The form reveals from Young? Thankfully the dancing talents of Ann Miller in a Will Rhys, librarian at the Scherer itself to be standard ternary as answer is a resounding “yes.” lavish production like Easter Parade Library of , Kern’s the opening music returns at the —Andrew Granade or On the Town, audiences were verseless “Smoke” is based on a end to finish, but never resolve. guaranteed a high-octane display proverb that begins, “When your With little thematic or propulsive Lovely to Look At (1952) ★★★ of showmanship. For Lovely to Look heart’s on fire...” When the stage material, this first style proves , OTTO HARBACH At, Miller was handed the invigo- version of Roberta debuted on to be one evocative of the film’s AND rating “I’ll Be Hard to Handle,” a Broadway in 1933, that was the physical and psychological terrain, Turner/Rhino Handmade plum production number that line that prompted the song— but it is so nice to see strong clas- 23 tracks - 68:10 remains exciting minus the spec- hence the confusion that exists to sical form in an ambient cue. The idway through the tacle of Miller surrounded by a this day regarding the title. second style is more common to Msoundtrack of Lovely to Look pack of predatory chorus boys in This disc concludes with five thriller scoring, but is still under- At, Kathryn Grayson sings Jerome wolf masks. bonus tracks from the 1951 mini- stated. This first fully appears in Kern’s “Smoke Gets in Your Eyes” Just as its title would indicate, musical Texas Carnival, which fea- “Shark Tactics.” High, dissonant and what had previously been the primary allure of Lovely to Look tures songs written by the great screaming strings open the cue, a mildly diverting audio experi- At is its visuals. This Technicolor Dorothy Fields, who also assisted holding just past the toleration ence is all at once elevated into remake of RKO’s Roberta (1935) with lyrics on Lovely to Look At. The point before descending in a the realm of M-G-M musical certainly makes the most of its standout among these tracks is of percussion, brass and nirvana (a rarefied state of alter- haute couture surroundings. In (continued on page 48)

FILM SCORE MONTHLY 43 FEBRUARY 2004 LASERPHILE

Awesome Alien Quadrilogy And other cool DVD releases without invented words in their titles. By Andy Dursin

called “Director’s Cut” are included—as says about the latter, it’s not really a “DC” but an alternate version with extra footage. It’s also a bit faster-paced, as evidenced by the shorter running time, adding a couple of extra glimpses of the alien and the infamous cocoon scene at the end (which thankfully has been trimmed from its unexpurgated outtake state on previous laser/DVD editions). No matter which way you go, Alien is still a classic of the genre, regardless of the many shameless imitations that followed in its wake. Its belated 1986 follow-up, Aliens, still ranks as one of the great sequels of all time, with ’s brilliant reworking of the franchise, opening up the story and character- izations of its predecessor. Sigourney Weaver rightly copped an Oscar nomination for her ALIEN ARCHEOLOGY: The folks art Fox have uneartherd new materials for the ultimate (?) box-set. work as here, and the supporting per- formances (especially Michael Biehn and Bill erry Goldsmith hasn’t recovered from having his opening and Paxton) add depth to a rollercoaster-ride of a movie that’s bigger and even better than the closing credit themes removed from Alien. James Horner says he first film. For the first time, Fox has included the was nearly fired by of Aliens because he couldn’t original theatrical version of Aliens on J DVD—which for me is more swiftly paced compose the score’s climactic cue in the short time frame they desired. and superior to the longer “Director’s Cut,” also available here. And Elliot Goldenthal says the sound who produced the project, including Charles While Aliens improved on its predecessor in mix of was a muddled mess, in a de Lauzirika, who has been involved with many ways, the ill-fated Alien 3 is a textbook flawed movie he stills calls incomplete. some of the top DVD supplements in recent on how not to make a sequel. This unrelent- If those comments intrigue you, make sure years (including Legend). ingly grim and tedious film was a disastrous you don’t pass up the nine-disc Special Edition Having the opportunity to revisit the series way for to start his career in DVD box-set of the Alien series, rather awk- on disc revealed new layers to each film— features, the messy result of a handful of writ- wardly dubbed the Alien Quadrilogy (Fox, $99). enhancing the first two films while augment- ers and filmmakers having been previously The mammoth box-set includes all four ing flaws in the later installments. attached to the long-in-development project. films in the series in both their theatrical Suffice it to say, Alien rode the sci-fi wave The result was not only an unsatisfying fol- release versions and extended Special Edition that Star Wars ignited and became a classic low-up to Aliens but a movie that generates edits (three of which make their debut in this of its own thanks to Ridley Scott’s direc- almost no legitimate scares. set), with a supplemental disc for each movie tion, the film’s evocative Fincher chose not to partici- and a ninth disc of extras, including the com- production design and pate in the DVD’s creation, but a plete contents from the Alien and Aliens CAV striking H.R. Giger special longer preview assembly of the laserdisc box-sets. effects. The story may be movie—adding some 30 minutes It’s a fascinating, outstanding anthology simple and derivative (and of previously excised footage— that ranks as one of the finest box-sets ever to methodically paced), but debuts here and does improve arrive on DVD. Fueled by incisive commen- everything about the exe- on the original theatrical version, tary tracks and surprisingly frank documen- cution of Alien is elegant especially in clarifying who the taries, the Quadrilogy supplements are some of and eerie. prisoners actually are—a question the best the medium has yet produced—well- Both the film’s theatrical never really answered in the the- deserved kudos go out to the various folks version and the new, so- atrical version.

FEBRUARY 2004 44 FILM SCORE MONTHLY FILM SCORE MONTHLY 45 FEBRUARY 2004 After the calamity of the third movie, one duction audio tracks. Those were might have assumed that Alien: Resurrection contained in the earlier DVD but would have been an appreciable improve- not here, so do yourself a favor ment on its immediate predecessor. Joss and track down the original 20th Whedon (Buffy the Vampire Slayer) came onboard Anniversary Alien disc for the to write the script for French auteur Jean- superb music-oriented content Pierre Jeunet’s film, but the end result was a that’s the only omission from tiresome and gory freak show variant on the this otherwise sensational set. earlier movies, with more colorful characters The supplements on Aliens than Alien 3, but less visual style. The theat- are likewise comprehensive, rical version of the movie is included here particularly the scoring segment along with a new “alternate” Special Edition where James Horner recounts (like Scott, Jeunet states that his original edit is his trouble writing for a movie the “Director’s Cut”), which adds an unneces- that was still being re-cut and sary epilogue to the proceedings and minor re-filmed once the recording character extensions. sessions began. Horner is diplo- While I’m obviously not a fan of the matic about the countless altera- third and fourth films in the franchise, the tions James Cameron made to Quadrilogy box-set is nevertheless essential his score in post-production, for its behind-the-scenes chronicle of the but dives into full frustration series, and its strikingly honest assessment of about how Gale Anne Hurd the strengths and weaknesses of each picture. threatened to fire him from the (If only most DVD supplements were as com- movie when he needed more prehensive as this.) time to write the movie’s clas- The candid comments of Jerry Goldsmith sic climactic cue. Horner claims are just one of the highlights of the Alien that he told them to go ahead supplement, which boasts an all-new, three- and try and find a “more expe- QUEEN-SIZED: Ripley prepares to slap that bitch around. hours-plus overview of the production. This rienced” composer than he—a is a smart, expertly crafted “Making of” that fiery exchange that proves more treads on ground other laser and DVD sup- honest than anything you’ll typically find in Both discuss their departure from the movie plements first charted, but does so even more a DVD supplement. and how director David Fincher had to deal comprehensively. All the major players are The 180-minute “Making of” is again filled with a script worked on by “too many cooks” newly interviewed, from Sigourney Weaver to with great production anecdotes and a - that was being constantly rewritten during Ridley Scott, producer David Giler and writers ough history of the production, while a stills shooting. Dan O’Bannon and Ronald Shusett. archive includes shots of the recording ses- It’s been reported that on-set footage of sion. While both the Special Edition and the- a frustrated Fincher was excised from the Rare Insights atrical version are included, it’s still surprising documentary (which would account for the As you’d anticipate, every facet of the movie that additional deleted sequences weren’t shorter run time of this “Making of”), yet the is covered—including the score. Goldsmith incorporated here—fans will still have to program is still rich with honest comments notes his disappointment at the removal wait to see the long-discussed scene between from the cast and crew, including cinematog- of his music from the end credits, how the Ripley and a dying Carter Burke (Paul Reiser), rapher Alex Thomson and composer Elliot “alternate” main credit theme he composed in a semi-reprise of the Dallas-Ripley cocoon Goldenthal. Thomson notes that not even he a matter of minutes was used instead of his scene from Alien. could tell the difference between some of the original (preferred) piece, and how Scott gen- Alien 3, though, may have the tastiest characters at a pre-release screening, while erally failed to communicate with him about supplement of all, even if some of it was Goldenthal engages in a fascinating dissec- the direction of the score. Also interesting reportedly discarded because it was “too tion of the movie’s unappealing sound mix. are editor ’ comments about controversial” for DVD. What is here—a The composer’s comments are refreshingly using (it was better than 162-minute overview of the film’s troubled direct and pinpoint the movie’s weaknesses, Goldsmith’s work, which “wasn’t his best” shoot—is nevertheless a fascinating, gripping though it’s equally interesting to hear the in Rawlings’ mind), and David Giler’s bizarre account of a movie that never should have sound effects editors say that Goldenthal’s description of Goldsmith’s music being over- begun shooting in the first place. music was too loud and overbearing in bearing, “like Patton” (umm—okay, Mr. Giler!). and Vincent Ward are on spots—and how the filmmakers initially con- A multi-angle view of the chestbuster hand to discuss their early versions of the sidered using no music at all! scene, a new group commentary track (dif- third movie’s concept, which sounded far Whether or not you like Alien 3, there’s ferent from Scott’s solo commentary on the more intriguing in Harlin’s incarnation this documentary is a must for all previous DVD), storyboards, stills and more (which was supposed to have been set on the movie buffs, both for pointing out the failings are included in a supplement worthy of the alien’s home planet) and Ward’s illogical but of the finished movie and the more interest- movie itself—entirely comprehensive save for visually audacious conception (Ripley crash ing directions that original versions of the the Quadrilogy’s lack of isolated score and pro- lands on a wooden planet run by monks!). story might have produced.

FEBRUARY 2004 44 FILM SCORE MONTHLY FILM SCORE MONTHLY 45 FEBRUARY 2004 LASERPHILE

If all that wasn’t enough, the Quadrilogy The story, though (by and maker and the strengths and weaknesses offers a bonus ninth disc incorporating all Coppola), is tedious at best, with fun couple of the movie, including the decision to play the supplements from the massive Special Teri Garr and Frederic Forrest breaking up, the climactic twist ending without music CAV Edition laserdiscs of the early ’90s! All of finding new partners (Raul Julia, Nastassja (Goldsmith says that Charlton Heston was a the text materials from those huge Alien/Aliens Kinski), and rekindling their flame for each bit over-the-top by himself, and didn’t need platters are included here, along with trailers, other before it’s all over. Coppola re-cut the any score to accompany him). Note that this TV spots and/or featurettes from all four mov- movie for DVD (trimming a few minutes from is a commentary track and not an isolated ies. And, if you still have an appetite for more, both the domestic U.S. release and a longer score with composer comments. there’s Alien Evolution, a British documentary international version), but the film’s most For other new supplements, the disc narrated by Mark Kermode, examining the satisfying elements reside strictly in its visuals adds a strong text commentary track (filled making of the original film. Though nicely and sound design. with excellent anecdotes), and a secondary done, after seeing the new documentaries It’s a picture-perfect storybook, complete audio commentary with Kim Hunter, John made expressly for the Quadrilogy release, it with a jazzy and melodic Tom Waits-Crystal Chambers, and the late Roddy McDowall, comes up a bit short. Gayle songtrack, but how this intimate story which is overly sporadic in nature. There are new commentaries on each could have ever ruined a studio and cost Nevertheless, the addition of the text anec- movie, plus the option of seeing the new upwards of $20 million in its day is one of dotes, Goldsmith’s commentary, and a few footage from each film’s extended version Hollywood’s strangest tales. new featurettes will make this Apes edition in a separate supplement. The new 16:9 Thankfully, the DVD goes a long way a definite purchase for fans, while the inclu- transfers and 5.1 remixed soundtracks are toward revealing what happened: A half- sion of the terrific AMC two-hour documen- just as potent as you’d hope, and the set hour documentary, The Dream Studio, recounts tary makes this, overall, the definitive DVD is contained in a large cardboard box that the movie’s turbulent production and fallout, release of the 1968 sci-fi classic to date. folds out to reveal stills from each of the complete with candid footage of Coppola at four movies. work. The director also contributes a com- Although there have been plenty of out- mentary track, while other extra features Criterion Corner standing discs this past year, this set stands out include deleted scenes, a featurette on the Rules of the Game (1939) ($39) as the definitive DVD release of movie’s revolutionary early dig- ean Renoir’s classic film, a scathing satire of 2003. Though each one of the ital photography (undoubtedly Jthe dying French aristocracy, has made its films is also available in sepa- a precursor to today’s cinema) way to DVD in a deluxe Criterion edition that’s rate double-disc editions (the and videotaped rehearsals. chock-full of extra features. supplements identical to their The original print has been restored from the corresponding discs here), the Tom Waits fans will also love best-surviving elements, with new subtitles low price of the box-set ($60–70 the plethora of extras centering and an introduction from the director, along at many outlets) and the trailers on the score (easily the movie’s with plenty of supplements. There’s also an and other extras on the ninth strongest asset). Included are audio commentary penned by film scholar disc make the Quadrilogy the a handful of demo recordings Alexander Sesonske and read by filmmaker ideal gift for any Alien or sci- and alternate takes, a vintage ; a more specific track fi/horror fan. featurette on the recording ses- read by Renoir scholar Christopher Faulkner; sions, and a complete isolated an analysis of the film’s two endings; new One From the Heart (1982) score track in 5.1 surround. interviews with Renoir’s son, set designer (Zoetrope/Fantoma, $29) Max Douy and actress Mila Parely; tributes his exceptional Special Planet of the Apes (1968) to Renoir and the movie from the likes of TEdition package of the 35th Anniversary Edition Francois Truffaut, Paul Schrader and others; movie that sank Francis Ford (Fox, $26) and a comprehensive 24-page booklet that Coppola’s Zoetrope Studios his two-disc reissue of the serves as the perfect companion to Criterion’s manages to celebrate both the Toriginal and best film in two-disc set. film and its filmmaker’s dream the Apes saga boasts a newly Also newly available from Criterion with of owning his own studio. enhanced 16:9 transfer and a generous extras are: Watching One From the Heart few new supplements, includ- now, I was struck by how “ordi- ing a commentary track by Pickup on South Street (1953) ($29) nary” the picture is—particu- Jerry Goldsmith. amuel Fuller’s taut, explosive film noir larly for one that’s considered Goldsmith talks about his Sfeatures an interview with the late director one of the biggest bombs ever experience working with conducted by critic Richard Shickel; a French turned out by a major com- Franklin F. Schaffner, utiliz- television program focusing on Fuller; an mercial filmmaker at the height ing early synthesizers and extensive booklet with essays and notes; and of his popularity. Granted, this divulging some of the tricks an outstanding new black-and-white transfer. pseudo-musical recreation of he employed to create the Las Vegas—vividly shot on movie’s unusual soundscape. Tunes of Glory (1960) ($29), sets by Vittorio The composer is candid about onald Neame’s exceptional film fea- Storaro—is beautiful to watch. his relationship with the film- Rtures interviews with Sir ,

FEBRUARY 2004 46 FILM SCORE MONTHLY FILM SCORE MONTHLY 47 FEBRUARY 2004 and the director himself, who includes the initial 15 shows in decent approved the disc’s new high-definition 16: full-screen transfers with 5.1 9 transfer. sound. Fans will undoubtedly find the Finally, the label has also issued a handful never-before-seen outtakes of original of new international titles: Henri-Georges captain Genevieve Bujold to be the most Clouzot’s 1943 classic Le Corbeau (The Raven, fascinating of the extras. Bujold was the $29), featuring an interview with filmmaker producer’s first choice to play Janeway, yet ; ’s the actress wasn’t used to the faster-paced bizarre 1976 French comedy Maitresse ($29), demands of television and departed after starring Gerard Depardieu; and French only a few days on the set. Her outtakes filmmaker ’s moody Diary are quite interesting to see at last, though of a Country Priest ($29), sporting a new other featurettes tend to be shorter, many transfer with enhanced subtitles and over containing older interviews with the cast 10 minutes of deleted scenes. and crew. (Paramount will be releasing all seven seasons this year.) TV on DVD Round-Up (Columbia TriStar, $49) Barney Miller (Columbia TriStar, $29) Jeremiah (MGM, $79) s a critic I could identify with a few abylon 5 scribe J. Michael Straczynski Athings in The Critic, the short-lived 1994- Bserved as creator and executive producer 95 animated sitcom from the producers of The AMAZING TRIO: The Rules of the Game, The Critic and of this entertaining post-apocalyptic cable Simpsons. The constant exasperation one has Pickup on South Street are finally available on DVD. series. Luke Perry and Malcolm-Jamal Warner when watching a bad movie, the frustration play buddies who are some of the oldest liv- you feel when viewing a formulaic movie, ing humans left on Earth after a deadly virus and having to write it up anyway—sure, I’ve kills all adults (well, there’s one way to avoid been there plenty of times. any charges of age-discrimination casting!). That said, this hit-or-miss series isn’t The duo team up as they drive through the as consistently funny as its fans would remnants of civilization, running into friends lead you to believe. The film parodies are and foes alike, all battling to take charge of lightly amusing, but the constant angst of mankind. its protagonist, Jay Sherman (voiced by Jon Like any cable series, there are ample doses Lovitz), wears on you, while the quality of of violence and fleeting gratuitous sex scenes, the writing is simply too inconsistent. but Jeremiah is a fairly intelligent and compel- If you are a fan, though, Columbia’s three- ling show that becomes more effective as it disc set includes all 23 episodes of the show, moves through its 19 episodes. MGM’s DVD plus assorted “web episodes,” featurettes box-set contains all of the show’s first-season and commentary tracks. episodes, plus commentary from the two Far funnier is the first season of one of stars on the pilot episode, deleted scenes, and the landmark sitcoms of the ’70s, Barney a behind-the-scenes featurette. For those who Miller. The ensemble comedy set in a don’t subscribe to Showtime, this is a good police precinct introduced us to the likes alternative to catching a quietly underrated of the title character (Hal Linden) and his genre series. motley assortment of crazy co-workers, including the irrepressible Fish, played by Star Trek Voyager: Season One Abe Vigoda. (Paramount, approx. $89) I could carp about the lack of extras his box-set of the fourth Trek series (where’s the pilot?), but Columbia’s two-disc Tincludes all 15 episodes from Voyager’s set includes the show’s 13 episodes from its first season. Much like The Next Generation first season, and they’ve held up far better before it, Voyager got off to a rocky start with than most sitcoms of the time. a few great episodes and a couple of clunkers thrown into the mix. While it would take Jeri Roswell (Fox, $59) Ryan’s Seven of Nine character for Voyager’s Firefly (Fox, $49) popularity to expand beyond its initial core ci-fi fans have seen their share of quality audience, the performances are always Sprograms over the last few years on TV, on target and the dynamic between Kate and Fox’s latest DVD box-sets serve up excel- Mulgrew’s Capt. Janeway and the rest of her lent packages for two of the more intriguing crew remained the most compelling element recent series to grace the air. on the program. Roswell was a smartly written, appealingly Paramount’s six-disc DVD compilation performed hybrid of sci-fi fantasy and

FEBRUARY 2004 46 FILM SCORE MONTHLY FILM SCORE MONTHLY 47 FEBRUARY 2004 romantic teen drama. Creator Jason Katims look for Whedon junkies; the show benefits incarnation of the Hasbro toy line? Rhino’s managed to deftly balance the two genres in from an amiable ensemble cast and the typical excellent first season box-set compiles the its telling of three teens who happen to be smart dialogue that’s a staple of the creator’s initial 27 episodes produced by Marvel and aliens trying to survive both high school and projects. What the show didn’t have, though, Sunbow Productions, tracing the beginning of real life in Roswell, New Mexico. was enough of a hook to garner an abundance Joe’s battle with the nefarious Cobra, led by As with any show of this sort, the cast was of fans, who had to be overly patient with the none other than Cobra Commander himself! crucial to the program’s success, and lead program’s developing story lines. The four-disc set includes superb stars Jason Behr and Shiri Appleby managed As it turned out, Fox pulled the plug before remastered transfers with remixed 5.1 audio to convey a typical star-struck teen romance all of its 14 episodes ran, which is rectified and the original mono track. Extras include with sensitivity and charm. William Sadler, somewhat by this superb DVD box-set. a few interviews with show personnel and meanwhile, avoids cliché as the town sheriff Featuring the 11 episodes that did air and the original public service announcements pursuing the truth. the three that never made it, this is a terrific that served as bookends on each show, Fox’s six-disc box-set of Roswell’s first (and package that includes commentaries, deleted which should make for a blast of nostalgia best) season offers commentaries, deleted scenes, plenty of featurettes and interviews for those of us who could sing all the lyrics scenes and featurettes. A few songs were that fans of the series should love. to the program’s unforgettable theme changed for video, but at least they were song (and now it’s stuck in my head selected by the program’s creators. G.I. Joe: Season 1, Part 1 again! Darn it!). FSM Buffy creator , meanwhile, had (Rhino, $59) less success with his short-lived Fox series id anyone who grew up in the ’80s not Andy Dursin can be reached at [email protected]. Read Firefly. “Stagecoach in Space” is worth a strong Dlove this awesome weekday cartoon The Aisle Seat at www.filmscoremonthly.com/aisleseat

of this nature. “Training” melody and the tension there are the obligatory video- Score With such a large number of is released. Rousing syncopated game-sounding electronics that (continued from page 43)“ short cues, one might also expect percussion propels “Anpfiff” along seem an inherited feature from Young Folks Should Get Married,” a lot of repetition, but this is cer- an exciting trajectory reminiscent Brad Feidel’s Terminator scores. But an overlooked gem in the M-G-M tainly not the case. Barsotti and of Jerry Goldsmith’s Capricorn the full sound of the Hungarian musical canon. As performed by co-orchestrator Enrique Ugarte One. Again, it’s not so much that Radio Chorus lifts these electronic Howard Keel (who had precious keep the music constantly evolv- Barsotti is copying other compos- above and beyond little to do in Lovely to Look At), the ing through their wonderful ers’ musical styles, but that he’s mere aural filler. This choral song not only bears repeated lis- use of the orchestra’s palette of comfortable and sure-footed writ- writing has a definite Slavic feel tenings but should be considered colors. The recording of the NDR ing for the medium. reminiscent of Poledouris’ The a coveted treasure to those who Philharmonic Orchestra is simply It might take a little search- Hunt for Red October and Conan know it only from their nearly beautiful, with a full and natural ing to get a copy of this album scores. Unfortunately, the cho- disintegrated vinyl copies of tonal balance that really shows in the States, but, hopefully, both rus performs on a precious few DRG’s 25 Years of Recorded Sound off the sumptuous orchestrations. the film and its wonderful score tracks. Also of note are the score’s (1945-1970) From the Vaults of M-G-M In particular, the woodwinds are will make it across the Atlantic. elements, along with the Records. —Mark Griffin impressive in the touching way Mainstream American composers percussive synth keyboard pas- they handle the bulk of the the- who are sitting back collecting sages that sound like Vangelis on Das Wunder von Bern ★★★★ matic material for the score. paychecks for bland, half-baked steroids. MARCEL BARSOTTI “Training” is a bouncy cue with scores will have cause to worry While each track on its own ZYX Music - ZYX55341-2 strings behind play- should Marcel Barsotti decide to can be musically intriguing, their 35 tracks - 71:18 ful woodwinds that will surely move to Hollywood. Das Wunder sum total makes for a near- wiss-born composer Marcel bring Thomas Newman’s Six Feet von Bern is a release that surely constant barrage of electronic SBarsotti is currently mak- Under theme to mind. “Ackermann deserves attention and signals punctuations; this obviously gets ing a name for himself overseas, Rumba,” with its slurring clarinet the arrival of an enthusiastic tiresome after a while. Perhaps writing music for the German and trumpet melodies, has a play- new talent. —I.D.T. that’s more a weakness of the cinema. His newest soundtrack ful Gershwin sound to it. “Kleine genre than a fault of the com- release, Das Wunder von Bern, is a Bar am Thuner See,” played by Freedom Fighters ★★★★ poser. While many will pass this wonderfully melodic score that Achim Kück, is an original piece album by, gamers will definitely shows his respect for traditional for solo jazz piano that’s so well NANOCD01 • 18 tracks - 65:38 want to check it out, as will those film scoring, while still highlight- developed you’d swear you’ve esper Kyd has written several interested in electronic music. The ing his own abilities. heard it before. Jvideogame soundtracks, most downside—the packaging is bare With 35 tracks on a single CD, Clanking wind chimes lead into notably for the series, and bones, with no information about you can expect a lot of short cues. a harp arpeggio for the beginning recently completed a score for the composer, music, or the game But Barsotti’s writing is inventive of “Unter Tage.” A deep bass drum the film Cycles, which has yet to itself in the booklet. —S.A.K. and most tracks are still effective. signals the start of an ominous see wide release. His score for the While a few tracks end unexpect- crescendo of stirring strings and action- Freedom Check out www.jesperkyd.com or edly, most flow together well, low brass. Unexpectedly, the cue Fighters has more going for it than www.music4games.net for more info which is unusual for soundtracks shifts back to a variation of the your average film score. Sure, on Freedom Fighters and other game

FEBRUARY 2004 48 FILM SCORE MONTHLY SILVER AGE CLASSICS • FSMCD VOL. 7, NO. 4 • RELEASED BY SPECIAL ARRANGEMENT WITH TURNER CLASSIC MOVIES MUSIC Composed by Laurence Rosenthal and , Jerrold Immel, Jeff Alexander

LOGAN’S RUN WAS NOT ONLY A SCIENCE fiction novel and big-budget 1976 film, but a spin-off TV series which premiered on CBS in September 1977. In a post-apocalyptic future, two young “runners,” Logan (Gregory Harrison) and Jessica (Heather Menzies), flee their home city, where lives of luxury end in ritualistic death at age 30. Joined by their android companion, Rem (Donald Moffat), Logan and Jessica outwit an assortment of aliens, robots, time travelers, mad scientists and superpowered constructs across the parched landscape while searching for a mythical “Sanctuary” and fleeing their “sandman” pursuers, led by Francis (Randy Powell).

ALTHOUGH IT LASTED ONLY 14 EPISODES, Logan’s Run is fondly remembered by genre fans for its attractive characters, entertaining sci-fi plots and futuristic gadgets—not to mention ’70s sci-fi charm. One of the most memorable aspects was an exotic title theme by Laurence Rosenthal (The Return of a Man Called Horse, Clash of the Titans) with an unforgettable synthesizer “siren.” A gifted melodist, Rosenthal provided a long-lined melody (he also wrote the theme to ) enhanced by a Yamaha E5 organ. It is surprising that this classic theme has never before been released, let alone in stereo.

FSM’S PREMIERE CD OF THE LOGAN’S RUN television soundtrack features Rosenthal’s main and end titles plus suites from all nine episodes that received original scores (the rest were tracked): Rosenthal’s for the pilot and three additional episodes, setting the tone and symphonic style with his elegant, dramatic moods; Jerrold Immel’s (Dallas, Knots Landing) for two episodes, utilizing a French impressionistic style plus electronics; veteran M-G-M staffer Jeff Alexander for one; and a young Bruce Broughton for two.

1. Main Title 1:11 EPISODES WELL BEFORE BROUGHTON WAS A FEATURE 6. The Collectors 4:10 composer (Silverado, Young , Lost in PILOT 7. Capture (Jeff Alexander) 5:56 Space), he was busy on numerous television programs, 2. Suite Part 1 8:43 8. The Innocent (Jerrold Immel) 6:29 and this is the first-ever release of any of his early 3. Suite Part 2 6:18 9. Man Out of Time 9:06 television work. His score for “Fear Factor” features 4. Suite Part 3 7:47 10. Half Life (Immel) 8:46 sophisticated action writing and evocative treatments of Total Time: 22:51 11. Fear Factor (Bruce Broughton) 11:39 Rosenthal’s title theme, hinting at Broughton’s popular- 12. Futurepast 6:40 feature career to come and his ample talent and craft. 5. Bumpers 0:10 13. Night Visitors (Broughton) 1:55 Total Time: 54:59 THE CD IS ENTIRELY IN STEREO, REMIXED FROM 14. End Title 0:38 the original 1/2” three-track session masters. Liner Total Disc Time: 79:55 notes are by Lukas Kendall. $19.95 plus shipping

Don’t miss this month’s Golden Age Classic Diane by Miklós Rózsa See inside cover for details