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Home , Artie Kane, Dee Dee Myers, Edward Shearmur, Film Score Monthly, Gabriel Yared, Joseph LoDuca

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ORIGINAL MUSIC SOUNDTRACKS FOR MOTION PICTURES AND TV

VOLUME 6, NUMBER 10

SOUNDS OF MIDDLE-EARTH PAGE 22 SCORES OF SCORES Our annual roundup of CD reviews from around the globe ALEJANDRO AMENÁBAR Director of The Others is one of us TOP 10 DVDs The Laserphile’s annual picks DOWNBEAT DELUXE This year’s final confrontation MEET GABRIEL The Talented Mr.Yared

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FSMCDFSMCD Vol.Vol. 4,4, No.No. 1919 DemetriusDemetrius andand thethe GladiatorsGladiators byby FranzFranz WaxmanWaxman ThemesThemes fromfrom TheThe RobeRobebyby AlfredAlfred NewmanNewman

Biblical epics have always brought out the best in film . One could not ask for a better canvas for music, from the pageantry and color of the ancient world, to the bold, dramatic gestures of divine involvement. And now— finally—one of the legendary biblical scores of the 1950s gets a premiere CD release: Demetrius and the Gladiators by .

Demetrius and the Gladiators is the 1954 sequel to The Robe (1953), Twentieth Century-Fox’s blockbuster introduction of the stereo CinemaScope format. As such Demetrius features a fascinating collaborative situation in which Waxman, who wrote largely an original score, interpolated ’s themes from the preceding film. This includes Newman’s pow- erful, awe-inspiring melodies for the Robe itself, for the Apostle Peter, for Diana (briefly), and an Album produced by Lukas Kendall adaptation of the crucifixion music for a crucial flashback. Furthermore, Waxman based his central 1. Prelude/Night in the Palace 4:15 theme, a soldier’s march for Demetrius (Victor 2. Messalina 0:42 3. Claudius/The Catacombs/ Mature), on chord progressions from the Robe The Slave Market/Roman Police 7:06 theme, and utilized staples of the Fox “historical 4. Lucia 0:51 epic” sound such as ’s choir. 5. Claudius and Messalina 1:00 6. Wait 1:23 7. Egyptian Dancers 3:29 Waxman wrote all-new music for 8. Caligula Enters 0:45 Demetrius’ sizable Roman dimension, including a 9. Gladiator March 2:03 malevolent march for Caligula and a seductive yet 10. After the Fight 1:19 ambiguous theme for Messalina (Susan Hayward). 11. Messalina at Home 3:36 The themes for Caligula and Demetrius double as 12. At the Pottery/ The Gladiators’ Party 4:23 the fanfares and marches associated with the 13. Fanfares 0:56 gladiators’ arena, and exotic dance cues accom- 14. Temple of Isis 2:06 pany the film’s bacchanal sequences. The afore- 15. Messalina and Demetrius 1:57

Still photographs courtesy of 20th Century Fox Photo Archive. Additional images Photofest. mentioned soldier’s march for Demetrius is 16. Return to Faith 4:41 17. The Dungeon/Glycon 1:35 adapted into a powerful “Gloria in excelsis” for 18. Caligula’s Death 2:05 and choir for the titles. 19. Gloria 0:46 Total Time: 45:39 Demetrius and the Gladiators was one of the earliest CinemaScope recordings at Fox, and BONUS TRACKS 20. The Victors 1:19 time has not been kind to the stereo masters. 21. Victory 0:46 Although most cues sound marvelous, some dam- 22. Caligula and Claudius 1:28 aged passages have been placed at the end of the 23. Peter’s Return 2:27 album (the liner notes identify the chronological 24. Caligula’s Rage 0:53 25. Arena Fanfare 0:19 sequence). Only three cues were completely lost, 26. Caligula’s Death (unused) 0:20 however, and the album also includes the film’s 27. Temporary Fanfares surviving temporary music. As a final bonus, the (Alfred Newman) 0:58 CD includes a five-minute selection from The 28. Temporary Dance Track (Frank Guerrero & Stephen Papich) 2:15 Egyptian, previously released on FSMCD Vol. 4, No. Look for this month’s Total Time: 11:06 offering 5, but with a minor synchronization error between Silver Age orchestra and choir corrected. We regret the mis- THE EGYPTIAN Farewell,and My Lovely take (which was identified too late to re-press and 29. Hymn to Aton (Alfred Newman) 5:04 recall the discs) and hope that fans appreciate Total Disc Time: 61:51 Monkey Shines by having the correct version here. $19.95 plus shipping inside back cover. v6n10 1-48 1/2/02 5:46 PM Page 1

CONTENTS DECEMBER 2001

cover story departments

24 Scores of Scores 2 Editorial Time for us to clean out the FSM Score drawer Thanks for the and give you an expanded, year-end edition of our Memories! reviews section. Enjoy! By the FSM Review Team 4News 24 One Disc to Rule Them All and the Olympics. By Doug Adams 5 Record Label Roundup 32 Universal on the March What’s on the way. By Lukas Kendall 6 Now Playing Movies and CDs in 34 Pocket Reviews release. The original Lords of the Ring. 8 Upcoming Film page 22 Assignments features Who’s writing what for whom. 22 The Other Lords of Middle-earth 9 Concerts With all the excitement surrounding Peter Live performances Jackson’s LOTR epic (and ’s around the globe. equally epic score), it’s easy to forget the - inspired works of film and music that came 10 Annual Reader Poll before it. Here’s a brief look back in time. Think Hard. By John Takis 11 Mail Bag Monstrous Losses. interviews 14 Downbeat Deluxe 20 One of Us Catching with Young, What scored—and what sucked? Alejandro Amenábar is a legitimate triple-threat: Gregson-Williams, Kent page 10 writer, director and (and film-score fan and Isham. to boot!). Our Senior Editor talks to the creative mind behind The Others to see how he manages to 46 The Laserphile do it all, and somehow keep his sanity. The Best of 2001. By Jeff Bond 12 Reader Ads

43 The Talented Mr. Yared 35 Marketplace Like many European film composers, has flown under the radar of many filmmakers and fans in the States—despite winning an Oscar for . We caught up with Yared recently to discuss his career, his concert works and working in the mindfield that is . By Nick Joy Old-fashioned movie magic. page 14

LORD OF THE RINGS ARTWORK ©1978 THE SAUL ZAENTZ PRODUCTION COMPANY; EVOLUTION ARTWORK ©2001 DREAMWORKS LLC; THE Monthly (ISSN 1077-4289) is published monthly for $36.95 per year by Vineyard Haven LLC., MAJESTIC ARTWORK ©2001 WARNER BROS. 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

FILM SCORE MONTHLY 1 DECEMBER 2001 v6n10 1-48 1/2/02 5:46 PM Page 2

EDITORIAL VOLUME 6 Thanks for the Memories! NUMBER 10 Turns out, 2001 wasn’t all bad. editorial staff

EDITOR & PUBLISHER s I sit here, finishing the final issue Zimmer) not to mention last month’s exclu- Lukas Kendall of FSM for the year, listening to the sive Lord of the Rings coverage (which SENIOR EDITOR score to Lord of the Rings, I’m com- arrived in time to read while queueing up at Jeff Bond A pelled to look back at the last year and eval- the multiplex.) Unlike the bigger, more pow- MANAGING EDITOR uate things: what we’ve all been through, erful magazines, we rely on the kindness of Tim Curran what we’ve accomplished here at FSM, and strangers and friendship of composers, for DEPARTMENTS EDITOR whether any of it matters, anyway. which I am most thankful. Jonathan Z. Kaplan DESIGN DIRECTOR But that would be pretty pretentious and This end-of-the-year issue is an attempt Joe Sikoryak overblown. Instead, I think I’ll make this to tie up loose ends for 2001; we added more CONTRIBUTING WRITERS editorial much more, well, self- reviews than usual (though nowhere near as Doug Adams ish. It’s about me, and what I’m many as in the unpopular all-reviews issue Jason Comerford thankful for. To say that the from 1999—we heard you!) We expanded Martin Dougherty To assemble a events of Sept. 11 put life in a dif- our Downbeat section this month, too, so Andy Dursin ferent perspective is perhaps we could let you know what some of the Stephen Greaves complete obvious. But I felt, and still feel, industry’s hottest composers—Chris Young, Robert Hubbard magazine fortunate. It also changed, at Harry Gregson-Williams, and Nick Joy least for now, the little things I —have been up to. And don’t Steven A. Kennedy every appreciate. One of those things is miss Mailbag, as the heated debate over Neil Shurley five weeks my job here at FSM, and all that it John Takis’ Prokofiev story continues. We’ve Chris Stavrakis entails. Over the last two years, got some good things coming your way in John Takis we employ and 2001 in particular, I’ve gotten 2002 as well. Next month, look for our Cary Wong (and I use that a chance to work with some great assessment of the Best/Worst of 2001; I’m COPYEDITOR people: my pals Jon and Al, Joe sure the Kaplan Bros. will write something Steve Gilmartin verb loosely) and Lukas—even the terrifying to piss you off and make you laugh. THANKS TO and reclusive Jeff Bond. Beyond And speaking of the best and worst of the B.A. Vimtrup a rag-tag group that, we’ve gotten some first- year, I’m thankful that we actually had some of film-music class work from our ever-increas- decent movies this year, which subse- business staff fans and writers ing stable of writers, whom I quently inspired some decent music. But EDITORIAL & SUBSCRIPTIONS could never thank enough. we’ll wait till next month to talk about that. 8503 Washington Blvd to do it. People like John Takis, Nick Joy, I’m thankful for you, our readers. Not only Culver City, CA 90232 Larry Getlen, Doug Adams and because you purchase FSM CDs, which PH. 310-253-9595 Mark Hasan. The ever-depend- makes Lukas happy, but because you’re still FAX 310-253-9588 able Laserphile, Andy Dursin, is always a joy interested. I get lots of email—some compli- E-MAIL [email protected] to work with. Daniel Schweiger, Chris mentary, some not so flattering. But what- Stavrakis, Jonathan Broxton and Cary Wong ever you have to say, I’m thankful that you SALES & MARKETING MANAGER have all contributed great writing, too. I’m take the time to say it. It helps us know that Bob Hebert sure I’m forgetting someone, so to those of what we’re putting out there is actually ADVERTISING you I didn’t mention, my apologies. Our being absorbed, appreciated and critiqued, 8503 Washington Blvd contributors’ enthusiasm for film and film for better or worse. Culver City, CA 90232 music never ceases to amaze me. So there’s no call to action in this edito- PH. 323-962-6077 Considering that we have to assemble a rial. No provocative question. Not even a FAX 310-253-9588 complete magazine every five weeks or so, smart-ass remark. No, this is just an oppor- and employ (and I use that verb loosely) a tunity for me to say, in the sincerest way I SUPERVISING MAIL ORDER HANDLER rag-tag group of film-music fans and writers can, thanks. Mailman Al to do it, it’s a challenge to provide a wide variety of subject matter to keep you inter- OUR WEBSITE ested. Still, we manage to produce a few bet- Is updated five times weekly! ter-than-average issues a year. I’m particu- Point your browser at: larly thankful to have had a hand in WWW.FILMSCOREMONTHLY.COM overseeing last summer’s / © 2001 Vineyard Haven LLC. issue (with articles on Tim Curran PRINTED IN THE U.S.A. Horner, Williams, Goldenthal, Shore and Managing Editor

DECEMBER 2001 2 FILM SCORE MONTHLY FEB_MP_F.ILM 1/3/02 4:02 PM Page 1

In tribute to one of Hollywood’s Beloved and pioneering composers, Marco Polo presents a selection of his masterpieces. Georges AURIC on Marco Polo

Film Score 8.225066 - Orphée & Ruy Blas 8.223765 - La Belle et la Bête “Adriano has done an expert job in compil- “Marco Polo has whisked Swiss maes- ing the suites and writing the notes... [This tro Adriano to Russia for this recording Series CD] will help in the rediscovery of an with excellent results... The recorded unjustly neglected composer.” sound is broad, spacious, and exciting. - American Record Guide on 8.225066 All in all, a most enjoyable release.” - Classics Today on 8.225070

"This is an amazing collec- tion from one of French cinema's great masters."

- Film Score Monthly on 8.225136

8.225066 & 8.5135 Slovak Radio Symphony Orchestra 8.225136 - La Symphonie Pastorale 8.223765 & 8.225070 Macao, l’enfer du jeu 8.225070 - Lola Montez Moscow Symphony Orchestra Notre-Dame de Paris All titles conducted by Adriano Farandole Marco Polo is distributed by Naxos of America, Inc. 416 Mary Lindsay Polk Drive, Suite 509 Franklin, Tennessee 37067 www.naxos.com v6n10 1-48 1/2/02 5:46 PM Page 4

NOW PLAYING • CONCERTS RECORD LABEL ROUND-UP UPCOMING FILM ASSIGNMENTS NEWS THE SHOPPING LIST past years, including “The and musician/composer Terence Director/ Composer Blanchard, who reflected on Relationship,” which delves into Bernstein’s seminal jazz scores. the intimate collaborations Other featured speakers between Hollywood’s top film- included Cece Presley, grand- and music makers, and the daughter of Cecil B. DeMille, and “mock negotiation panel,” taking actress Winona Ryder, who read attendees on a journey through a letter of tribute by Scorsese. the industry’s often-complex [Insert Winona Ryder shoplifting business world. joke here.] In addition, plans include a Clips from many of his more day on a studio sound stage with than 200 film and television a live orchestra to provide insight scores were shown, followed by into the scoring process for film- an onstage chat with friend and makers and composers alike. event host Reiner. Contact www.filmscore.org for more details. Williams, Tabernacle Choir TRON Lives! Bernstein Honored ecent rumors about the Tackle Olympic Theme R release of the score to by AMPAS 1982’s Tron have finally been t’s hardly a surprise that Williams Celebrates America confirmed. Composer Wendy Olympic Ceremonies Just in time for the Winter lmer Bernstein was hon- Carlos has posted a report on I Executive Producer Don Olympic Games in Salt Lake E ored in November by the her official site that Disney Mischer hired John Williams to City, Sony Classical will release Academy of Motion Picture Arts recently came to her out of the pen the opening theme to the American Journey, a collection of and Sciences in celebration of blue seeking her newly remas- upcoming 2002 Winter Games in themes by John Williams, Jan. 15. his 50th Anniversary of film scor- tered source copies for Tron. Salt Lake City—Williams has, after The CD will include world pre- ing. Carl Reiner emceed the Disney plans to release the long- all, composed themes for five pre- miere recordings of Call of the event, which included a variety awaited official Tron score CD vious Olympics. Champions, Williams’ theme for of hosted segments covering Jan. 29 to coincide with the 20th But to Williams’ credit, he’s mix- this year’s Olympics, as well as a Bernstein’s genre highlights and Anniversary 2-disc DVD release, ing it up a bit by incorporating the six-movement score for Steven a special focus on his projects due in January as well. conveniently located Mormon Spielberg’s Millennium short The with . For more details, visit Tabernacle Choir into his compo- Unfinished Journey and Song for Among those addressing the www.wendycarlos.com/+tron.html. FSM sition—marking the first time he’s World Peace. Other themes will standing-room-only audience added chorus to any of his include the NBC News Theme, were directors John Landis and Got a hot tip for FSM news? Olympic themes. Williams is Jubilee 350 Fanfare and Celebrate Carl Franklin, actor James Call managing editor Tim Curran at reportedly using the Olympic Discovery. Coburn, producer Noel Pearson 310-253-9597. motto—“Citius, Altius, Fortius” (in English, “Faster, Higher, Stronger”)—as a lyrical motif for SCL announces Global Recognition the 360-member choir, which will be backed by the Utah Symphony The Hollywood Foriegn Craig Armstrong “New” Film & TV Press Association (a.k.a. Moulin Rouge Orchestra. The Golden Globe Guys) In addition to employing Conference has announced its Mulholland Drive and Pieter Bourke Williams for the Feb. 8 opening nominees for Best Ali ceremonies, Mischer has reassem- fter taking a year off from Original Score of 2001. bled much of the team that helped the event to reorganize, the A Will they prove an A Beautiful Mind create the music for the 1996 Society of Composers and accurate prediction of Howard Shore Summer Games in Atlanta, includ- Lyricists has announced an the The Fellowship of the Ring ing composers expanded version of its annual next month? John Williams and Mark Watters (music direc- day-long seminar for film and TV A.I. Artificial Intelligence Christopher Young tor), producer David Foster and composers. The 2002 Film and The Shipping News others. Kamen is also reportedly Television Music Conference: using the Mormon Tabernacle The State of the Art will report- Pearl Harbor GOLDEN GLOBES ARTWORK ©2001 HFPA Choir in his composition. edly include favorite segments of

DECEMBER 2001 4 FILM SCORE MONTHLY v6n10 1-48 1/2/02 5:46 PM Page 5

Fox’s The Robe and the composer’s first Record Label Round-Up epic/Biblical assignment. The disc also includes a short, revised cue from FSM’s All the albums you’ll be waiting for release of The Egyptian; all music is in stereo. This month’s Silver Age release is a David Shire doubleheader: An expanded release of 1M1 (compilation of German film music from Farewell My Lovely (1975, previously avail- Australia’s 1M1 Records’ internet-only label 1945-2000) and first-ever release of Treasure able on LP) has been coupled with the score promises to be up and running with a live site Island (TV series scored by Jan Hanus & to Monkey Shines: An Experiment in Fear in late-Jan. or early-Feb. Its first release will be Lubos Sluka)—digitally remastered from the (1988). Both releases from the archives of Bruce Smeaton’s score to The Missing. Also on original tapes. Metro-Goldwyn-Mayer are stereo, and the the way is an Australian re-release CD record- tel: +49-89-767-00-299; fax: +49-89-767-00-399 compilation was overseen by the composer ing of Smeaton’s best-known themes, per- [email protected]; www.cinesoundz.com himself. formed by the Melbourne Symphony Orchestra. Columbia GDI Pre-orders can be placed by email: Available now is the soundtrack to Orange Imminent are The Mummy’s Shroud (Don [email protected]; www.1m1.com County (various artists). Banks) and Blood From the Mummy’s Tomb www.columbiarecords.com (Tristram Cary). Forthcoming is Captain Amber Records Kronos (Laurie Johnson). Forthcoming from and his Decca record label is a new recording of his score to Forthcoming are Black Hawk Down (Hans GNP/Crescendo Kings of the Sun. The recording sessions will Zimmer), Gosford Park () and The Imminent is the soundtrack from Gene reportedly be held in Poland later this year. Road to Perdition (). Roddenberry’s Andromeda (featuring main www.elmerbernstein.com title by Rush). The label is also featuring for a Film Score Monthly limited time a DVD/CD combo deal on titles BMG This month sees the release of three scores like Black Scorpion, Stargate SG-1 and Battle Scheduled for February 2002 is the first-time- from two composers: Our Golden Age classic Beyond the Stars/Humanoids From the Deep. on-CD release of The Caine Mutiny (Max is Franz Waxman’s Demetrius and the See www.gnpcrescendo.com Steiner). Gladiators (1954), the sequel to 20th Century (continued on page 9) Brigham Young University Forthcoming is at RKO, a 3-CD set (not two as previously mentioned) with origi- nal tracks from Symphony of Six Million, Bird of Paradise, Morning Glory, Little Women, Of Human Bondage, The Little Minister and The Informer. It will also include a 72-page color booklet. Also forthcoming in the first quarter of 2002 is The Bishop’s Wife (), from the original tracks in his collection at BYU. Chromatic Records Forthcoming is Music From Hollywood: A Collection of Mark Mothersbaugh Film Music, The Chromatic Collection, a 5.1 DVD audio sampler, and ’s score for Donald Cammell’s Wild Side. www.chromaticrecords.com

Chandos Due Jan. 22 is a second volume of film music by William Allwyn, performed by the BBC Philharmonic Orchestra under the direction of Rumon Gamba. The disc will contain suites and themes from The Winslow Boy, Desert Victory, In Search of the Castaways, The Card, The Crimson Pirate, State Secret, A Night to Remember, Green Girdle and two operatic arias from Take My Life and Svengali. Cinesoundz Due early-2002 are remixes of Franco Godi’s music from the Italian cartoon series Signor Rossi, as well as Filmmuseum Vol. 2

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Florida cond.; “Journey to America—A Film Music Concerts Jan. 16, 17, Fort Myers, Southwest Musical Immigration”; “Émigrés in Florida S.O.; (Tiomkin). Hollywood” program includes Scores performed around the globe Pinocchio (), Georgia Korngold’s Cello Feb. 23, Marietta, Jennie T. (Frederick Zlotkin, cello); Jerry’s a Little Groupé’s Fantasy Anderson Theatre, Cobb Civic Waxman’s adaptation of Wagner’s Larry Groupé will be performing Center, Cobb Symphony Tristan Fantasy, (Glenn Dicterow, Bit Country his Fantasy for Orchestra—Water Orchestra, Steven Byess, cond.; violin); Edward Castelnuovo- Here’s something you don’t see Unfolding with the Lansing World premiere of western suites Tedesco’s As You Like It, Op. 166; everyday: per- Symphony Orchestra in Lansing, restored by Monstrous Movie and Rózsa’s Sinfonia Concertante. forming with the Michigan, Saturday evening, Music: Smoke Signal (Mancini, Symphony Orchestra…in January 12. He will also be the fea- William Lava, Irving Gertz), The INTERNATIONAL Nashville. Jerry will bring the LSO tured guest with the San Diego Lawless Breed (Herman Stein), Germany to Tennessee on Sunday, April 29 Symphony Jan. 26 at Copley Hall Wichita Town (Hans J. Salter) and Feb. 1, 2, Hanover, Hanover for a 6:00 performance. for the concert program “A Score Is more. Orchestra, State Theater; The Tickets are available through Born,” which will feature several of Feb. 24, Cartersville, Grand Magnificent Seven (Bernstein), ticketmaster.com. Larry’s cues and themes played Theatre, Steven Byess, cond.; Valiant (Waxman). synced to picture. same program as above. www.cobbcvb.com/htmlpgs2culture/ Scotland Tiersen Plays It pgb_symphony.html Feb. 16, 17, Glasgow, Royal UNITED STATES Scottish National Orchestra; up in London Massachussetts (Horner). Riding the recent wave of acco- Feb. 2, Walnut High School Feb. 17, Amherst S.O.; “Victor lades for Amélie—a French art- Orchestra; Elmer Bernstein, cond.; Young Medley.” Switzerland house movie that’s proving to be Walk on the Wild Side, The Rat Jan. 31, Geneva, Swiss Romane the surprise hit of the year—com- Race, Man With the Golden Arm, North Carolina Orchestra; “An Evening With poser Yann Tiersen will bring his Hollywood and the Stars, Feb. 10, Ashville; Brevard Chamber .” FSM World Soundtrack Award-winning Magnificent Seven, The Sons of Orchestra; Psycho (Herrmann). Thanks as always to John Waxman of music from the film to London’s Katie Elder, The Great Escape, To Themes & Variations (http://tnv.net) Royal Festival Hall, Tuesday, Feb. Kill a Mockingbird, Peyton Place Washington, D.C. for this list; he provides scores and 5, at 7:30 p.m. (Waxman). Feb. 8, National Symphony parts to the . For silent film For more information, call 0208 964 6076, or Orchestra, Kennedy Center for the music concerts, see Tom Murray’s email [email protected]. Performing Arts, Leonard Slatkin, web site: www.cinemaweb.com/lcc.

NOW PLAYING Films and CDs in current release

Ali LISA GERRARD & PETER BOURKE Interscope A Beautiful Mind JAMES HORNER Decca Beauty and the Beast (1992, IMAX special edition) , HOWARD ASHMAN Behind Enemy Lines n/a Black Hawk Down HANS ZIMMER Decca** Brotherhood of the Wolf JOSEPH LODUCA Virgin Dark Blue World ONDREJ SOUKUP n/a The Devil’s Backbone n/a The Fellowship of the Ring HOWARD SHORE Reprise Gosford Park PATRICK DOYLE Decca How High ROCKWILDER Def Jam* I Am Sam JOHN POWELL Varèse Sarabande In the Bedroom THOMAS NEWMAN Varèse Sarabande Iris JAMES HORNER Sony Jimmy Neutron, Boy Genius Nick/Jive* Joe Somebody GEORGE S. CLINTON n/a Kate and Leopold ROLFE KENT * The Majestic MARK ISHAM Hollywood Not Another Teen Movie THEODORE SHAPIRO Maverick* Ocean’s Eleven DAVID HOLMES Warner Bros.**✝ Porn Star: The Legend of Ron Jeremy CARVIN KNOWLES n/a The Royal Tenenbaums MARK MOTHERSBAUGH Hollywood** 2001: A Space Odyssey (1968) VARIOUS Rhino The Shipping News CHRISTOPHER YOUNG Miramax Vanilla Sky NANCY WILSON Warner Bros* *one score cue or less; **mix of songs and score; ✝intrusive dialogue alert!

DECEMBER 2001 6 FILM SCORE MONTHLY v6n10 1-48 1/3/02 4:49 PM Page 7

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Networks), Combat Missions, Judd), Below (dir. David Twohy). Superfire (ABC miniseries). Tuck Everlasting. Upcoming Assignments Danny Lux Halloween 8. Marius Ruhland Heaven (Miramax, Who’s writing what for whom Cate Blanchet & Giovanni Ribisi). —M, N— Patrice Rushen Just a Dream (dir. Harry Manfredini Jason X. Danny Glover; Showtime). —A, B— Larry Groupé The Search for John Wooly Boys, A Thing Joe and Max, Conviction Gissing (Janeane Garofalo, Alan of Beauty, After the Rain. —S— (Showtime). Rickman), Out of the Black. Richard Marvin Desert Saints. Jack of All Trades. Sideshow. John Massari Breathing Hard, 40 John Scott Diamond Hunters (minis- The First $20 Million —H— Miles to Saturday Night. eries), . Is Always the Hardest, Blade 2. Family Plan (Leslie John McCallum All American Eric Serra Rollerball. Elmer Bernstein Gangs of Nielsen), No Other Country, Africa. Cowboy. Robert Shapiro Megaplex. (Leonardo DiCaprio & Cameron James Horner Four Feathers (star- John McCarthy Dischord. Shark The Yard Sale. Diaz, dir. Scorsese). ring Kate Hudson, Heath Ledger). Jeffrey W. Mielitz When You Wake Ed Shearmur The Count of Monte Simon Boswell The Sleeping Big Trouble Up in Heaven. Cristo. Dictionary. (starring Tim Allen), Treasure Thomas Morse The Amazing Race. David Shire Ash Wednesday (dir. Christopher Brady Pressure, Planet (Disney animated feature), David Newman Death to Smoochy. Edward Burns). Welcome to the Neighborhood. Unconditional Love. Thomas Newman The Salton Sea Howard Shore Panic Room, Spider, Bobbie’s Girl (starring Val Kilmer). Return of the King. (Showtime), One Man’s Dream —I, J— Lawrence Shragge The Famous Jett (theme park show, Disney Florida). Mark Isham Imposter (Miramax, dir. —O, P— Jackson (Disney Channel), The Bill Brown Scorcher (starring Rutger Gary Fleder). John Ottman Pumpkin (Christina Triangle (TBS), A Town Without Hauer), Momentum, Carnival. Frederic Wilde, The Ricci), Breeders, Point of Origin, Christmas (CBS), Due East Bourne Identity Long Run. Battlestar Galactica (w/ Stu (Showtime), A Wrinkle in Time (Universal), Adaptation (dir. Spike Phillips’ original theme), 24 Hours (ABC miniseries). Jonze). —K— (dir. , starring Macabre (dir. Robert Jan A.P. Kaczmarek Unfaithful (dir. Charlize Theron, Kevin Bacon and Zemeckis), Lilo & Stitch. —C— , starring Richard Courtney Love). William Susman Asphyxiating Uma. Gary Chang The Glow. Gere), Shot in the Heart (HBO), Hart’s War. George S. Clinton Austin Powers: Edges of the Lord (starring Haley John Powell Outpost, Pluto Nash. —T— Goldmember. Joel Osment & ), Quo Zbigniew Preisner Between Semih Tareen WinterMission. Vadis. Strangers. Dennis Therrian The Flock, Knight —D— Rolfe Kent About Schmidt, Forty Chills, From Venus, Heaven’s Jeff Danna The Grey Zone. Days and Forty Nights. —R— Neighbors. The Incredible Hulk John Kimbrough Book of Danny. Black Sheep, Whispers (dir. ), Ararat (dir. Atom Gary Koftinoff The Circle. (Disney). —W— Egoyan), Monsoon Wedding. Graeme Revell Equilibrium (Miramax), Shirley Walker Revelation. Don Davis The Matrix 2&3, Long —L— High Crimes (starring Ashley Gabriel. Time Dead. Eco Challenge (USA Nigel Westlake The Nugget (dir. Bill John Debney Jimmy Neutron Bennett). (Paramount), The Scorpion King, THE HOT SHEET Recent Assignments John Williams Minority Report Dragonfly (starring (Spielberg), : Episode and Kathy Bates). Lesley Barber Hysterical Blindness Rick Marvin The Lost Battalion. Two, Memoirs of a Geisha (dir. Thomas DeRenzo Stir, The Diplomat. (HBO). Nicholas Rivera Curse of the Forty Spielberg). Patrick Doyle Femme Fatale. Marco Beltrami (w/ Marilyn Manson) Niner. —Y— Tabloid. Resident Evil (film version of video Alan Silvestri Showtime (starring game; dir. Paul Thomas Anderson). Robert de Niro and Eddie Gabriel Yared Lisa, Cold Mountain (dir. ). —E— Bendikt Brydern Outpatient. Murphy). Christopher Young Scenes of the David Alan Earnest Whacked Bunch Enterprise ( tomandandy Mothman Prophecies Crime (Jeff Bridges), The Country (starring Judge Reinhold, episode entitled “Silent Enemy”). (starring , Laura Bears (Disney). Carmen Elektra). Carter Burwell Simone, Adaptation. Linney), The Rules of Attraction Randy Edelman The Gelfin. Eric Colvin X-mas Short (dir. Warren (starring James Van Der Beek). —Z— Cliff Eidelman Ocean Men. Eig), The Greatest Adventure of Brian Tyler Frailty (starring Matthew Aaron Zigmund John Q (Denzel Danny Elfman Spider-Man (dir. Sam My Life. McConaughey and Bill Paxton), Washington). Raimi), Men in Black 2. Patrick Doyle Killing Me Softly. John Carpenter’s Vampires: Los Double Down (dir. Muertos (starring Jon ), Hans Zimmer Invincible. —F— , starring Nick Nolte). Jane Doe (prod. by Joel Silver), A Christopher Franke Dancing at the Kevin Haskins/Doug Deangelis Piece of My Heart (starring Get Listed! Your updates are appreciated (which Harvest Moon. Extreme Team (Disney TV movie). Jennifer Tilly, Joe Pantaliano). Reinhold Heil/Johnny Klimek One John Williams Catch Me If You Can includes telling us when your projects are completed as well as when you’ve —G— Hour Photo (FOX). (dir. Spielberg). Jon Kull What About Me? Debbie Wiseman The Guilty (starring got new ones): Composers, call 310- Nick Glennie-Smith The New Guy. 253-9597, or e-mail Tim Curran, All for Nothing (star- Bill Pullman), Before You Go Elliot Goldenthal Kahlo (dir. [email protected]. FSM Julie Taymor). ring James Woods). (starring , Joanne Jerry Goldsmith Sum of All Fears. Risen. Whalley).

DECEMBER 2001 8 FILM SCORE MONTHLY v6n10 1-48 1/2/02 5:47 PM Page 9

REC0RD LABEL ROUNDUP

(continued from page 6) Percepto Records Cyril Mockridge and the second solos by Joshua Bell). Due Jan. 15 Hexacord Productions/GDM Imminent is the complete original collects music from The Fly (1958) is American Journey (John Music (Italy) score to The Changeling (Rick and its two sequels. Williams; see news item, pg. 4). Forthcoming are Tropico Di Notte Wilkins, Ken Wannberg [veteran www.percepto.com (Armando Sciascia) and Eva, La music editor for John Williams] Turner Venere Selvaggia (Roberto and Howard Blake). Forthcoming Prometheus Due Mar. 5: King of Kings (Miklós Pregadio). are a deluxe re-release of Bruce Available now is Big Jake (Elmer Rózsa; 2-CD set). Broughton’s popular The Boy Who Bernstein). Due Feb. is an Could Fly; Vic Mizzy’s never- expanded version of Flesh and Varèse Sarabande Due Mar. 12: The Extremists (vari- before-released complete score to Blood (), which Due Jan. 8: The Affair of the ous), Clockstoppers (various); Due The Night Walker, (featuring 60+ will feature 68 minutes of score. Necklace (David Newman); In the May 21: Bad Company (Trevor minutes of score, plus in-depth ’s Masquerade has been Bedroom (Thomas Newman). Rabin, various). liner notes by William Castle and pushed back until spring. www.varesesarabande.com historian Dick Thompson); a lim- Intrada ited archival release of original Silva Screen Virgin The next release in the Special music from the 1960s TV classic Forthcoming is Music From the Due Mar. 12: Blade 2 (Marco Collection series—due in Jan..— The Addams Family; and a Films of ; and Beltrami, various); The Best of is Hugo Friedhofer’s Barbarian Rankin/Bass follow-up to Mad scheduled for 2002 is The Essential Michael Nyman,Vol. 2. and the Geisha, with remarkable Monster Party. Also coming are a Collection. sound quality. Bruce Broughton’s pair of 20th Century-Fox compila- www.silvascreen.co.uk Virgin France long-awaited Young Sherlock tions: The first features two by www.soundtracksdirect.co.uk Imminent are L’Emploi Du Temps Holmes is due in early 2002 as a (Jocelyn Pook) and Human Nature 2-CD promo release. VISIT Super Collector (Graeme Revell). www.filmscoremonthly.com Still coming: Bill and Ted’s Excellent Milan Adventure 1 & 2 (David Newman). Please note: Due Jan. 8: Maurice Jarre: The Your entry point to www.supercollector.com We depend on the record labels for Emotion and the Strength (2-CD the wide, wonderful world updated and/or amended release set featuring the best of Jarre); Due of soundtracks. Sony Classical information, but, we can’t be responsi- ble for last-minute changes. Jan. 22: Monsoon Wedding Serving the Film Score Available now is James Horner’s Please bear with us. FSM (Mychael Danna). community since 1997! score for Iris, (featuring violin

FILM SCORE MONTHLY 9 DECEMBER 2001 v6n10 1-48 1/2/02 5:47 PM Page 10

What did you think of 2001, soundtrack-wise? Think Hard Please participate in our Annual Readers Poll.

very year, Film Score Monthly has turned 6 Best New Album of Older Score FSM SELF-REFLECTION AWARDS Eto you, dear reader, to help put the past (i.e., reissue). Pick five, rank. Can be original year in perspective (or in its place!). recording or re-recording. 10 Best FSM Article Interview, or Clip or photocopy this page, or use a sepa- Feature (What would you like to see more of?) rate piece of paper and number your respons- 1 es. Thanks! 1 2 HALL OF FAME AWARDS 2 3 1 Best New Score 3 Pick the five best scores to 2001 movies, 4 numbered 1-5 (we weight the votes). Do not pick more than five; non-2001 movies will be ignored. 5 11 Worst FSM Article Interview, etc. (What would you like to see less of?) 1 7 Best New Compilation 1 2 Can be either original tracks or newly recorded. If it has three or more movies on it, it’s a compi- 2 3 lation. Pick three (albums, that is). 3 4 1

5 2 12 Best Writer (explanation optional).

3 1 2 Oscar Guesses Pick the score you think will win the Oscar for Best Score; this is not necessarily your favorite HALL OF SHAME AWARDS 13 Best Cover score, but the one you think will win. Pick as many as you want for these, although 1 is 1 1 sufficient. Some readers find this exercise to be in questionable taste; others have no compunc- tion about rudeness. Your choice. 14 Creative Essay Question 3 Best Composers (optional). Feel free to make up your own cate- Not the best of all time, but the ones who had 8 Worst (or, Most Disappointing) New Score. gories and mention whatever you’d like (faves, the best output in 2001. Pick three, rank them. peeves, trends, etc.), but keep it concise. 1 1 9 Worst Record Label (2001 only). 2 1 3 2

4 Best Unreleased Score (2001 only). 3

1

Send your lists to Jeff Bond, Film Score Monthly, 8503 Washington Blvd, Culver City CA 90232, 5 Best Record Label (2001 only). Pick one. fax to : 1-310-253-9588 or by email to: [email protected]. Submissions will be accepted through February 22, 2002. 1

DECEMBER 2001 10 FILM SCORE MONTHLY v6n10 1-48 1/2/02 5:47 PM Page 11

READER RANTS, RAVES & MAILMAIL BAG BAG RESPONSES

Monstrous Losses haunting and beautiful scores running the gamut from intro- For the record, Alexander t’s a shame we had to lose (which, appropriately enough, spective chamber writing to big- Nevsky is accepted as “Prokofiev’s IJames Bernard recently. I’ve accompanies one of the most band jazz. Hopefully, a Vol. 2 is second film score” only by igno- been reading as much as I could haunting and beautiful films of in the works, as many of rant film historians and certain find about him online. What a all time). I wish someone would Eastwood’s films lack proper CD writers for FSM. Perhaps Takis is wonderful person he was! And actually take the time to analyze representation (e.g., High Plains saying that hundreds of Prokofiev it’s particularly impressive that the of this Drifter, by Dee Barton, and websites, dozens of Prokofiev he scored Nosferatu at the age of film. It is a unique achievement. Firefox, by Maurice Jarre). biographies and key film encyclo- 72—not that I’m surprised. Roger Grodsky Mark of the Devil /Mark of the pedias (including Katz) that list Bernard’s work will always live Cincinnati, Ohio Devil II, celebrations of extreme Queen of Spades before Nevsky on with lovers of film music. The Grand Guignol, offer offbeat, don’t count? Contrary to Takis’ same thing goes for Masaru Sato. Keep ’Em Coming... irresistible Euro-stylings by claims about the music having I’m a lifelong, shameless enthu- t feels like the holidays Michael Holm, John Scott and been recycled into other works, siast of Japanese monster Iarrived early this year, at least Sam Sklair (with his deliciously the complete Queen of Spades movies. Sato wasn’t Akira for soundtrack enthusiasts. A infectious “Father Duffy” score not only exists as such, it Ifukube, but his writing was a lot great feast has been delivered theme). This is a must for fans of even has an opus number! of fun. His best works include with the likes of The Omen, The this style of music! Another fiercely defended untruth Godzilla vs. The Sea Monster, Son Final Conflict, The Snows of I now eagerly look forward to from Takis is the following remark: of Godzilla and The H-Man. I Kilimanjaro/Five Fingers, Music opening my mailbox to find “Nonetheless, a cantata version of will always cherish his work as I for the Movies of FSM’s The Illustrated Man the score emerged in the years fol- watch these films for the zil- and, last but not least, Michael within. I ordered the disc the day lowing Prokofiev’s death, con- lionth time. Holm’s striking easy listening Vol. 6, No. 7 arrived—this is clas- structed by Abram Stasevich.” This Taking a tangent, I love the moodscape for the German sic Goldsmith and warrants seri- is a patently false statement. And new Gamera films, but I couldn’t gorefest Mark of the Devil. ous study complemented by Takis is not referring here to the believe the mediocre music! It’s a The Final Conflict: The Deluxe clear digital replication. new recording mentioned in the shame they didn’t think to use Edition is the standout here: a Christopher Jenkins article. In his reply, Takis refuses to Reijiro Koruku, who did such a stunning digital overhaul of an Smithtown, New York say “you caught me with my brilliant job on Return of already magnificent sounding pants down” (something Jeff Godzilla (1984). That score was score. I have always considered Bond does with gentlemanly dynamic and exciting, better this music operatic, so when grace on the rare occasion than the rehashed stuff that Robert Townson’s liner notes that he makes a mistake). Ifukube’s been turning to nowa- suggest this, I wholeheartedly Instead, he denies that he days. agree. However, the artwork on screwed up at all and pro- Sean McDonald these new CDs is another story; duces six lines of obfuscatory Huntington Woods, Michigan the original Varèse CD issues bull to cover his ass. Covering depicted aesthetically pleasing your ass is one thing, but Carnival of Meyer artwork more like the one-sheets actually admitting to having icholas Meyer is one of my used to promote the films; sim- done no research for the arti- Nfavorite directors. After all, ply duplicating the DVD art cle is another. Takis states cat- he is single-handedly responsi- smacks of hastiness. The liner egorically that he has seen no ble for an entire generation of notes also mention a evidence that Prokofiev con- males falling in love with Mary “September of 1981...” recording tributed to the poor state of Steenburgen (Time After Time)! date, yet I remember this film the soundtrack. How many He is incorrect (see Mailbag, premiering in late March of readily available sources do FSM Vol 6 No. 8) about “Carnival 1981. you want me to quote, Mr. of the Animals” not being cred- The Herrmann CD is a superb Someone Needs a Hug Takis? Since I suspect Lukas has ited in . It is, introduction to one of the greats ohn Takis’ riposte to my letter Mark Walker’s Gramophone Film although at the very end of the and a welcome addition to his Jregarding his Prokofiev article Music Good CD Guide, let me cite end credits in the fine print. The essential library of classics. The (Vol. 6, No. 7) displays bullshitting part of the Alexander Nevsky great thing about the music from restoration sounds faithful to the on a scale little seen outside the entry: ‘The perilous combination this movie is not that “Carnival source, with the sound and copi- former Communist Bloc. For the of primitive Russian recording of the Animals” is heard during ous liner notes making for one of benefit of FSM readers who con- techniques and Prokofiev’s exper- the opening credits, but how the best re-recordings ever! sider this magazine to be an ex imental tinkering (moving micro- uses the chord The tribute cathedra source of information, phones closer to certain instru- changes and themes from it opus for the life and career of I’d like to take this belated oppor- ments instead of thickening the throughout the rest of the film, Clint Eastwood is a deft and tunity to straighten out two or orchestration for example) resulting in one of his most powerful listening experience, three points. yielded quite spectacularly sub-

FILM SCORE MONTHLY 11 DECEMBER 2001 v6n10 1-48 1/2/02 5:47 PM Page 12

MAIL BAG doesn’t know what the word “pio- and understanding of music.” But losing the waning respect of neer” means. And since we’re talk- Film theoreticians who know little the composers you write about is standard results.” Or, if you think ing about ignorance, what about about music I can forgive, but a surely too great a price to pay for Walker doesn’t constitute prima this line from the same article: writer for Film Score Monthly who expressing undying support for an facie evidence, check out the “Stasevich accomplishes with displays no greater understanding appallingly researched article by anecdote related by Roy great success what Prokofiev did is an acute embarrassment. an ignorant writer. Prendergast in his seminal book for Nevsky: a concise, thoughtful Before Takis is allowed to shrug Jerzy Sliwa Film Music (page 52). of all the main musi- off this letter with his usual dis- Krakow, Poland Takis has made mistake after cal ideas from the film.” What dain, ask someone like Douglass mistake in his article and uses Stasevich accomplished is, in fact, Fake to look at the Eisenstein chart John Takis responds: gobbledegook in his riposte to dis- universally considered to be (which Takis considers “pretty I confess that my response to your pre- guise the mess. He states in his exactly the opposite of what Takis damn cool”) and to read the arti- vious letter was hastily typed and fairly article: “Eisenstein was already asserts. Check out Walker’s cle in question (and my letter) and defensive. I’m not used to being reproached with such…enthusiasm. world-famous for his ground- Gramophone Film Music Good CD see if he thinks that Takis’ reluc- Appalling? Ignorant? Really, was it that breaking work in cinema...and for Guide, page 175: “The oratorio has tance to repudiate Eisenstein’s devoid of useful content? Still, I don’t his use of montage, a technique he often—and rightly—been con- writings counts as a faux pas for want anyone to think me unapproach- pioneered.” This is simply false. demned as overlong, excessively FSM or not. Unfortunately, the able. Some of your comments have No discussion. It’s wrong. Having fragmented and dominated by the supposition that Takis knows little merit, so it looks like I’m going to have finally checked it up, what does Russian narration.” But don’t take about music is further reinforced to eat some crow. Takis do? Instead of saying, “I’m Walker’s word for it. Check out any by his ridiculous definition of Prokofiev did not assign opus num- wrong, you’re right, Kuleshov was, one of the Prokofiev biographies “mickey-mousing” as a technique bers to his film scores, only to the con- of course, the pioneer of mon- that refer to the oratorio. Even the “in which the music literally cert works, which a few of the film tage,” he bullshits: “Kuleshov did liner notes to the Nimbus CD set describes the action.” Fake would scores inspired. Ivan the Terrible is an exception, which is understandable indeed inspire Eisenstein, and that Takis mentions in his article (politely) point out to Takis that considering he worked on it for such a may be credited as the earliest go to great lengths to point out music cannot “literally” describe long time, and probably intended to pioneer of montage, but certainly just how bad the oratorio is. If anything at all. It’s drivel like this create a concert piece. As far as Queen not the only one.” Not only does Takis still insists Stasevich has that totally compromises the cred- of Spades (op. 70) is concerned, I Takis get his facts wrong, he clearly done a good job, then he’s either ibility of the article, and it certainly haven’t actually seen Prokofiev’s origi- never listened to the oratorio or he doesn’t help when some fawning nal manuscripts, but I very much doubt knows very little about music. wimp from the editorial board of he had a “completed score” prepared. FSM READER ADS Unfortunately, I suspect it’s the lat- FSM says that the magazine agrees Please write me if you know otherwise. ter—and I’m not the only one who with everything Takis says. Lukas, I’d be especially interested in any SOMETHING WEIRD VIDEO! thinks so. To wit: In my letter, I do you really think the film com- recordings, should they exist. I was Your source for rare nostalgic under the impression that the actual specifically take Takis to task for posers that Jeff Bond and Tim exploitation and sexploitation films film never even got off the ground. from the 1930s-1970s! tacitly agreeing with the general Curran complain about in their Stasevich arranged Ivan the All videos $15 each! critical consensus on Eisenstein’s editorials are going to take FSM Terrible as an oratorio, not as a can- DVDs available! audiovisual score analysis, namely, seriously when you choose to tata. Mea culpa. I’m actually scratching Send $5 for our complete catalog! that it represents the perfect publish—and defend to the hilt— my head at this gaffe, because all my Include age statement 18+ only! SWV, POB 33664, Seattle WA 98133, fusion of music and image in such ineptly written articles? sources say “oratorio.” Forest for the phone 206-361-3759, fax 206-364-7526 Nevsky. Takis openly admits in his Incidentally, I’d have to be brain trees, I suppose. I still feel it works bet- www.somethingweird.com reply to my letter that he does dead to think that you’d treat my ter without narration, so I tend to think indeed agree with the consensus. letter with respect; however, graft- of it as a cantata. SEND YOUR ADS TODAY! Let me quote Roy Prendergast’s ing totally separate and gratu- Thanks for the documentation regarding “the poor state of the Reader ads are FREE for up to five Film Music again, who says on itously insulting remarks about soundtrack.” I think we agree that the items. After that, it’s $1 per item. It’s page 226: “This support of Jonathan Broxton on to what was that simple. Send to Film Score surviving recording (again, probably a Eisenstein’s concept of an audiovi- supposed to be a serious letter is Monthly, 8503 Washington Blvd, Culver temp track) was substandard to say sual score on the part of film theo- definitely below the belt. Losing City CA 90232; fax: 310-253-9588; the least. My intention in the article [email protected]. reticians is a result of their highly your Polish readership might was not to assign merits to Prokofiev’s limited and superficial knowledge mean diddly-squat to you, Lukas. techniques, only to say that in spite of Space Ads for Individual Collectors/Dealers Only $60 For a 1/6 page space ad, simply send your list and information to the address above; you can comfortably fit anywhere from 20 to 60 titles, but try to include less information per disc the more you list, or else the print will be microscopic. We will do all typesetting. Pick up issue 9 page 12 Same deadlines and address as above. Send payment in U.S. funds (credit card OK) with list. Schedule for next issue: Vol 7, No 2 ads due February 15 street date March 15 It’s easy! Don’t delay, contact us today!

DECEMBER 2001 12 FILM SCORE MONTHLY v6n10 1-48 1/2/02 5:47 PM Page 13

his efforts to produce a quality record- but I enjoy it tremendously as a con- the future we can avoid name-calling comes to facts, those same sources ing, it didn’t happen. Perhaps you cert work with its own unique and “gratuitously insulting” each are of considerably lesser value would have preferred “because of his strengths. The issue is not dissimilar other, as you put it. I will continue to when it comes to judging something efforts…,” but I’m uncomfortable put- to that of modern re-recordings like strive for accuracy in my writing, and I subjective, like the Stasevich work, ting that spin on it, especially under Superman. hope that my inevitable slip-ups are for instance. About the Broxton the strong suspicion that the existing I have only read portions of met by a spirit of civil cooperation. comment in your letter hitting below audio track was left unfinished. Eisenstein’s The Film Sense; that the belt, I’m not sure what you mean. Regarding Kuleshov, I must insist graph was taken as a DVD screenshot. As far as I know, we published your that in this case it is you who are in Had I realized the original source of Tim responds: letter in its entirety, just like we do the wrong. Kuleshov understood and the image, I would have certainly We haven’t been this tempted to start all our Mail Bag entries. And I am the applied montage as a harmonious attempted to provide appropriate a Mail Bag war since the bygone era of “fawning wimp” you make reference linking and unifying device, whereas commentary. Examining the positions C.H. Levinson. But John’s right, there’s to in your letter. Watch who you’re Eisenstein made explicit use of it as a you related, I concur that Eisenstein’s no need for such bitter and contemp- calling a wimp, mister. If cold source of violent contrast and conflict. fusion theories are certainly fanciful. tuous dialogue. That said, let me just weather didn’t give me a rash, I’d These are two dramatically different But to be honest, my article was much address a few things as amicably as I grab the first flight out to Poland, methods, and to suggest otherwise is longer than it was initially supposed to can. First, relax Mr. Sliwa. You’re taking and we could settle this like men. short-sighted. Eisenstein’s construc- be, and repudiating Eisenstein was Film Score Monthly much too seri- And lastly, a word of congratula- tion of montage was indeed pioneer- definitely not an objective. ously. I suspect you’ve been an FSM tions on your deft use of the English ing. Kuleshov wanted nothing to do Since you bothered to bring it up, reader for a while now, which means language; never have the words with it, considering it a “rape” of the I’ll defend my use of the word “liter- that you should be aware of the fact “obfuscatory,” “gobbledegook” and viewer’s emotions. ally.” Music cannot “speak” nor that our stories have been known to “bullshit” commingled so effortlessly. Also, since you brought up Nimbus, melodies “soar.” The terms are figura- contain the occasional error—not they do frown upon the “formal struc- tive. If the allusion was too broad for unlike well-known magazines and ture” of Stasevich’s musical interpre- you, I apologize. newspapers that actually have a staff Make a New Year’s Resolution: tation, but let’s not be misleading. You say “I’d have to be brain dead of writers, which we don’t. However, we Write a letter to the FSM mailbag. They also state: “We do not really wish to think that you’d treat my letter with don’t believe these rare miscues You may not look different but you to criticize Abram Stasevich…he gave respect.” Speaking frankly, it would be negate the value of an otherwise well- may feel a little better... a new lease of life to this marvelous easier to treat you with respect if you written feature. The fact is, we’re a magazine about film music for film music…at times [the changes] are not didn’t wrap any potentially useful FSM Mail Bag wholly inappropriate.” Hardly a blan- comments in a cloak of abusive vitriol. music buffs—we’re not Street Journal. Which means that sometimes 8503 Washington Blvd. ket condemnation. I may be in the It’s hard to seriously examine the mer- Culver City, CA 90232 minority in my defense of Stasevich’s its of your argument when one is see- we publish pictures just because we or e-mail: arrangement, but I’ll hold that posi- ing red. think they’re “pretty damn cool.” And tion. The oratorio is, of course, not a I don’t want to see the FSM Mail while I respect your citings of histori- [email protected] substitute for the actual film score, Bag turned into a sideshow. I hope in ans and film theoreticians when it

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DOWNBEAT DELUXE assimilate that into the score. I came up with an ensemble within the orchestra, which was very exciting for me because I don’t think this particular ensemble has been used in its entirety in a movie before.” The Final Confrontation As Young explains, the ensemble set-up ranged from modern instruments to some Our roundup of the year’s ultimate scores dating to the distant past. “The obvious things I had to include were pennywhistle and also By Jeff Bond various Irish whistles of lower ranges,” he notes. “I used uilleann pipe, the bagpipe, which we have heard in scores before, the fid- CHRIS YOUNG dle, and varying Irish harps, both the nylon or The Shipping News gut-string harp and the steel string harp, and we’ve heard those in scores before, too. But I then included a medieval instrument, the hurdy-gurdy, which is a stringed instrument, like an overweight viola, which sits on the per- former’s lap. The bottom side of the instru- ment has a crank on the end and you crank that like an organ grinder, and there’s a wheel that rubs up against the strings and causes them to vibrate. And you have melody strings and a series of drone strings, so it has many more strings than does a violin or viola. On the melody strings you have something like a typewriter keyboard that you press to get the notes you want. You gotta hear this instru- ment—it’s a very stringent sound, one of the most unique things you’ll ever hear. Then I had an old upright pump harmonium, which doesn’t get used that often; a concertina, hris Young does not read FSM any longer because we’ve said too which is a squeeze box like an accordion with buttons instead of keys; and a consort of many mean things about him, but I interview him at least once a Renaissance string instruments, like treble viols. Then behind this ensemble I had a full C year and he’s always entertaining to talk to and has a great way of string group, four horns on a handful of cues, a percussion section and an electric bass.” being earnest and open about the magazine—like, we have every right For the film’s unusual opening Young brought a great deal of his ethnic instrumen- to say whatever we want, but he has a right Despite the emotional hardships of working in tation into play, but he had to hedge his bets. to have it bother him. Young has had an the wake of the terrorist attacks, Young says his “The first instruments you hear are the har- incredible career arc over the past 20 years: collaboration with Halström and his crew was monium and hurdy-gurdy. [The score] then from movies and endless hor- ultimately more than rewarding. His familiar- fades in an ensemble of percussion including ror films to big studio productions and now, ity with a wide range of ethnic instrumenta- the bodhrán, the Irish frame drums, so a big in the past year really, becoming the go-to tion came in handy when it became clear that percussion section starts playing an Irish shuf- guy for A-list prestige productions like 1999’s the director and producers were interested in fle rhythm, and the main theme is presented The Hurricane and 2001’s The Shipping reproducing the sound of the film’s native set- over the footage of Newfoundland, played in News, probably the front-runner for Best ting. “Since the majority of the film is shot in pennywhistle with strings and drums,” the Picture Oscar before it’s even been released. Newfoundland, it’s just gorgeous. It’s a color composer explains. “That represents the old He scored the recent Bruce Willis/Billy Bob film but there’s snow on the ground most of Coyle family and the history of Newfoundland Thornton caper Bandits and the thriller The the time and there’s this grayish hue and this and how it applies to Kevin Spacey’s character. Glass House. And in a summer when a lot of chilling feeling that permeates the film,” Then that ends and we fade to the lake, and the big blockbuster movie scores didn’t really Young says. “When it’s not snowing, it’s rain- there’s a bridge of sorts where I introduce live up to their hype, his score to Swordfish ing. The producers sent me recordings of local some high bell things to give the sense of was pretty gripping, particularly in the way it Newfoundland musicians, gave me some being in a dream state. Finally, when we get propelled the movie’s ludicrously over-the- books on the island’s history and tried to into him and his dad and the water, the music top flying bus finale. encourage me to incorporate the indigenous entirely changes to a kind of fiddle blues tune You can’t get much further from the concept music into the score. And it so happens—and over a slow bass pattern, at least as I originally

of a bad-guy-filled bus being helicoptered it may sound trite and overused because we’ve did it. When I was there I offered a number of ©2001MIRAMAX FILMS ARTWORK over than the icy, anti-dramatic heard this in film scores before and it con- options to replace the fiddle, so when I go to atmosphere of Lasse Halström’s The Shipping cerned me at the outset—but the music of see the film I’ll be anxious to see what they put News, a sea change further accentuated by the Newfoundland is Irish-tinged. So I spent a lot in! I gave them four options: acoustic, electric fact that Young found himself spotting the film of time listening to these groups playing tradi- fiddle, vibes and guitar. I’m going to go with

outside on September 11. tional songs and tried to figure out a way to the fiddle for the album though.” THE SHIPPING NEWS

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The Shipping News caps a year in which deepen now that some of the most respected they’re going with the tracks they had.” Young has been particularly busy, and his directors in the business are seeking out his Kent did have to write playout music for the range of work continues to broaden and distinctive sound. program’s commercial breaks, although he says that doesn’t relate quite the way these things are done on American TV. “We had a ROLFE KENT significant number of themes for the show, The Jury/Kate and Leopold and the show is shot on film and looks like a film, but we did have eight- or 20-second playouts for commercial breaks,” he says. “In olfe Kent became the go-to guy for they kind of state their commercial quirky little comedies after scoring breaks. In American you’re watching a show R Alexander Payne’s acidic Election and suddenly you realize you’re not watching in 1999, and he’s since brought his sly style to a show anymore but an advert. In Britain they movies like Nurse Betty, Town and Country say ‘End of Part One’ or ‘End of Part Two’ and Legally Blonde. The end of 2001 netted before they go to commercial so you know him two projects that look to break him out what’s happening, and there’s more room for a of the comedy mold, however: Kate & real musical statement for the end of a Leopold stars Hugh Jackman (The X-Men) as sequence. I just put together something based an 18th-century duke who winds up in pres- on the theme. I wrote melodies for certain ent-day New York and falls in love with Meg thematic elements within the program; there’s Ryan, all due to some time travel experimen- a budding romance between two jurors, tation being undertaken by Liev Schreiber. there’s a theme for the jury overall and themes The film opens in the past and Kent not only for the trial, and this very sad bittersweet, got to apply an unusually glossy style to the it was because the hairy little thing was diffi- soulful melody, which is really just for the film’s present-day sequences, he also got to cult to hold.” nature of the lives that are unfolding and write on a broader canvas than usual for the unraveling in the jury. It’s the connective tis- film’s period scenes. “I actually exaggerated a The Jury’s In sue that binds all these stories into a piece.” bit for the sequences in the 18th century; we Kent also recently finished scoring a BBC didn’t use anything like Beethoven and in miniseries called The Jury, his first television fact it’s much more of a Baroque sound. But assignment. “It was really interesting to do— HARRY GREGSON-WILLIAMS it’s very big,” the composer says, noting that we ended up using a lot of female vocals and Shrek/Spy Game director James Mangold wanted something we hired a woman named Allison Jiear. She different for the film’s New York scenes. “He has this spectacular, soulful voice. She sang on liked the feeling and the innocence of the the score to Beloved. She’s Australian and old Rock Hudson, romantic based in England. It really transformed the comedies, and there’s some of that kind of music—I wrote music and thought, ‘Well, it’s feel in there. There’s a little bit of Gershwin all right I suppose,’ and then she would sing it and some of that jazzy feel to it.” Although and it would just explode out of the speakers the film has a definite fantasy/science fic- and become something really moving and tion basis, Kent was instructed to avoid poignant and significant. The director of The stressing that in his score. “I actually wrote Jury is Peter Travis, and we’d been trying to something for the time travel aspect and work out what each of us was talking about played it for the director, and he said, ‘No, and closing in on the right idea of how to don’t give it away.’” approach the music, and then I Aside from his underplayed, Hiring played the music with her singing inevitable-sounding rhythms, it and everyone immediately fell in Kent is also well-known for his Alison Jiear to love with it. Her voice made it an arry Gregson-Williams is a very practice of weaving exotic instru- vocalize for extraordinary experience.” funny and self-deprecating Brit ments into the fabric of his Kent is the first to agree that Hwho’s worked with John Powell so orchestra—a tradition he contin- THE JURY writing television music is an many times that he’s kind of used to people ued on Kate & Leopold—which extremely specialized task, and confusing the two. Gregson-Williams and allowed him to not only employ a transformed the despite several stabs he was Powell just won for their score number of period instruments for music—Her unable to convince the producers to Shrek, which seems to be the film’s 18th-century scenes, but to go with his own music for the unassailable movies to come out of also add an instrument that was a soulful voice show’s opening title music. Hollywood this year. Unlike a lot of recent film lot…hairier. “You’ll never hear it just exploded “They’re using a track for the open- scores, Shrek actually features a couple of in the score, but I did use an ing title,” he says. “I get the end pretty good tunes, and the success of the film instrument called a charango, from the titles. Frankly, I don’t know how to has spawned a Shrek score album to augment which is somewhere between a speakers do television themes. When I came the song compilation (which featured a snip-

ARTWORK ©2001MIRAMAXARTWORK FILMS • SPY GAME ARTWORK ©2001 UNIVERSAL mandolin and a harpsichord in up with ideas for the opening titles pet or two of score) released in conjunction sound, but it’s actually made from with it always sounded too filmic to with the film in early summer. It’s clearly a an armadillo,” Kent acknowl- spectacular them, and I’d say, ‘Yeah, but popular work, but Gregson-Williams almost edges. “In fact during the sessions wouldn’t it be cool to have a filmic seems chagrined to see the music given its the player would make these little poignancy. main title for a television piece?’ At own album. “When you’re on a movie that’s as

KATE AND LEOPOLD mistakes and he complained that the end of the day I’m pretty sure successful as Shrek, everyone assumes the

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DOWNBEAT mine comes from more of a gut standpoint. the thing done. We threw a few themes up for That’s not to say John’s doesn’t have any heart Shrek from both of us, all of which were tossed music must be brilliant, which is complete to it or mine doesn’t have any thought to it, but out by the filmmakers straightaway, and it rubbish—I hope it is quite good, but I don’t in very basic terms that was a major difference took us a long time to realize that Shrek was know that it’s any better than what James between us. He, in the mold of Zimmer, really, kind of a clumpy, lonely little big figure, and Newton Howard did for Atlantis,” the com- is a very conceptual guy.” that’s how it came about. The fairy tale theme poser insists. “But I guess that’s just the way Though the duo had planned to go their was something I had kind of coming out of my these things go—if you’re lucky enough to be separate ways after Chicken Run, Shrek was an ears, the very first few notes you hear in the connected to a very successful film, people opportunity neither could turn down. “It was score. Then Robbie Robertson at Dreamworks make assumptions.” quite amusing really because I think we didn’t Records asked to make a song out of it, and he The Gregson-Williams/Powell collabora- know anything about it,” Gregson-Williams thrust a young artist at me named Dana tion (the pair scored Antz and Chicken Run in says. “I know I telephoned John and said, Glover and made a song of that tune.” addition to Shrek and have worked on other ‘Look, John, on you go, mate,’ because I think Gregson-Williams says that the lilting fairy- projects together) is less an institution than we’d said Chicken Run was the last one we tale theme that opens the movie was some- one might think, and their working relation- were going to do together. And he kind of said thing he had had in mind for a long time. “I ship seems to echo something like the old Bert the same thing to me, like, ‘Well, on you go.’ had toyed with that on a film three years ago Shefter/Paul Sawtell approach. “Usually at the And then we were invited to a screening and and it hadn’t flown for various reasons,” he end of these sort of things I’ve done with John outside the screening room I was like, ‘John, says. “That one wasn’t such a difficult one to Powell, we split up and make our own CDs of didn’t you say you had something else to do?’ nail because it was kind of straight up and our own cues, which our agents have; we have and he said, ‘Harry, weren’t you going to do down, generic, hopefully beautiful, but different representation now,” Gregson- that thing or whatever it was?’ And generic fairy tale. There was no subtext to that, it was Snow White meets so-and-so. I was for- EAR NOW, WOT’S THIS? Gregson Williams contributed music to SHREK and CHICKEN RUN. tunate to nail that one. The Shrek one was more difficult, and that really was a co-write between John and myself where we had to lock ourselves in a room overnight and work it out because we were getting close to a meet- ing with the filmmakers when we really hadn’t nailed that. I think we wrote it for a cello. We had a friend of ours who’s a cellist play it on double bass, and he doesn’t play double bass very well, and it just worked. It was slightly clumsy and a little bit on the edge and kind of bizarre. In the film the place you hear it the most clearly is when Donkey and Shrek go to Shrek’s home, and he sends Donkey outside and kind of eats his dinner alone. After that we made more of an action theme out of it.” The composer says that turning the theme into a song was one of the film’s bigger chal- lenges. “The song we based on that was really Williams notes. “The thing about John and me we finally just decided to get on with it and quite tricky,” he acknowledges. “It was rather is we were kind of lumped together; we’re not both do it because it looked good.” like trying to wedge—if I’d been Randy partners or anything like that. But I guess Once they agreed to score the film, Newman I’m sure I’d have found a brilliant some years back when they were trying to find Gregson-Williams and Powell were under way of doing it but I’m not. When one writes a someone to do Antz, I’m sure their first port of pressure, and as Gregson-Williams theme like that one’s really writing call would have been Hans Zimmer, who’s explained, they had to hone their it in a manner that’s going to be obviously been very successful with those working relationship to finish the The partnership useful scoring the film rather than sorts of things; at that time probably two other film. “It is the closest to co-writing I working for a song. For instance, it human beings equal to one Zimmer entered think any two different people of Harry didn’t have a chorus so we had to their mind. And they might not have been could do. We spend a lot of time in Gregson- make one. I think if that ever hap- wrong, actually, because Antz was a hugely my studio together. The first thing pened again, somehow I’d have to complex and long score; it took a lot of music is to carve out some themes and Williams and try and make more time for some- to do that, and neither John nor I had done an the feel of the picture—in this case John Powell thing like that. We were just trying animation before. But I had gotten to know the character of Shrek. We met and to finish the score and all the sud- ARTWORK ©2001 DREAMWORKS LLC [producer] Jeffrey [Katzenberg] working on talked about it and thrashed things is a casual den there was this whole other Prince of Egypt, and I guess Chicken Run came out on the and then went to thing that could take up a lot of along and we couldn’t have screwed up Antz our separate places and wrote a yet persistent time and energy, but it was defi-

too badly because they asked us to do that. couple of tunes for Shrek, relationship that nitely worth doing.” CHICKEN RUN Now after that I think John and I were going to regrouped and met with Jeffrey. We Gregson-Williams is pleased by call it a day. We’ve always had a good time don’t have any chips on our shoul- transcends the attention the score has gotten, [working] together [but] we are two very dif- ders about ‘Well, it’s my theme that promos and but he insists that Shrek pales in ferent people and our music comes from dif- goes [in] and not his,’ because by comparison to his and Powell’s ARTWORK ©2001; ARTWORK ferent places. I’d say John’s music usually that stage there’s not a lot of time representation. work on Chicken Run. “Chicken

comes from an intellectual standpoint and and there’s a lot of pressure to get Run was a much more involved SHREK

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operation musically,” he says. “I wouldn’t say it keyboard sound, although a lot of it was cre- of the film, is powered by a lot of percussion was more difficult or Shrek was easier, but if ated here in my studio with overdubs: singers and electronic elements, but certainly the you listen to the album—I didn’t push for the or Chinese violin or or whatever it hap- middle section of the film and toward the end Shrek album to come out, because it’s pretty pened to be, and on top of that a lot of percus- it’s quite orchestral. And also I auditioned tons slight.” The composer explains that the hyper- sion, most of which is live. For the Chinese of children throughout L.A. and found a boy reality of Shrek’s animation and the presence sequences I found a group at UCLA called I very much wanted to represent the Brad of multiple song montages in the film meant Chinese Percussion Ensemble that I wheeled Pitt character, because the film is really about that the composing duo had to write a lot less in for a couple of sessions.” lost innocence, about a horrible realization by music than they did on Chicken Run. “There The composer also had to oversee the that his job as a spy has some bad were a couple of songs like ‘Flip, Flop and Fly’ assembly of the album. “In this case they repercussions. So I found a boy from the Los when all the chickens start dancing, but needed a lot of the music before I’d even fin- Angeles Children’s Choir who had exactly the mainly it’s score and it is a little bit dry without ished it, but we got through that,” he says. “I’d voice I was looking for, and that appears two any music of any description. If the film’s 90 say the first half of the record, like the first half or three times in the score.” minutes long, I’m sure there was 75 or 80 min- utes of music, whereas in Shrek there were a dozen songs or so for montage sequences. MARK ISHAM And I also think there was a little more confi- Life as a House /The Majestic dence to leave some scenes dry without any music because there was a heightened sense of reality going on. But I guess there was maybe 45 or 50 minutes of score and there were two of us, so really it’s doable.” For the /Brad Pitt vehicle Spy Game, Gregson-Williams returned to his solo working relationship with director Tony Scott on a film that was initially rumored to have its premiere moved back because of the terrorist attacks of September 11. “A lot of peo- ple freaked out and wondered about delaying the film, but it wasn’t delayed a day, actually,” Gregson-Williams says. “There are moments in the film where the story takes you to Beirut—most of the film is told in flashback, and there’s a point where we go to Beirut in the ’80s. I don’t think since September 11 every- one suddenly thinks there’s a terrorist threat in ark Isham chose his assignments Making House a Home the world—if you come from England like I do, well in 2001—in a year marked by ’s Life as a House was the more the IRA have been bombing the shit out of M weak blockbusters that make all intimate assignment, the story of a man com- people since I was a little boy. There’s been ter- their money in one weekend before word-of- ing to terms with his life and family after he ror all around the world but maybe not in mouth does them in, Isham has worked on a discovers he has cancer—an age-old theme, America, I understand that. Part of the story number of sleeper hits that proved to have but one handled with some edge and origi- follows Brad Pitt going to Beirut and doing a real box-office legs—the interracial love nality. “I’ve worked with Irwin before and I specific job and then the film takes us some- story Save the Last Dance for Me, the Keanu know how he’s thought about music. When I where else.” Reeves baseball movie Hardball, and the first read the script I wanted to make sure that Gregson-Williams got a substantial album thriller Don’t Say a Word. he didn’t want to sentimentalize too much,” out of the film, which required quite a bit of But Isham also scored more ambitious films Isham says. “The script had the potential for scoring. “I took longer on this film than any for the fall and winter Oscar season, includ- that, and it’s a fascinating in that it also has a of the others I’ve done—five to six months,” ing Life as a House and Frank Darabont’s The very quirky, edgy line to it. So I immediately he says. “It took a lot of time to find the right Majestic. “The thriller was actually in saw why a director would be attracted to this, touch. I started off a few months ago with between the two—I did Hardball, Life as a but it also seemed like something that would ’s son, who’s done a lot of work House, Don’t Say a Word and The Majestic, in have to be handled just right so the audience with Peter Gabriel, and I thought that would that order,” Isham notes. “It was probably the wouldn’t feel they were being swung around be great. We made some amazing music here best way to do it. I find that as long as it’s rad- and prodded and poked emotionally too in my studio, none of which got used in the ical, it’s kind of fun to jump around. It’s when much. So my first task [was] to define the film—it just didn’t seem to be right. Then I you have to do two similar projects in a row boundaries: how sweeping can we get, found an astonishing singer who went by the that’s the toughest. You’ve already sort of had because potentially you could push things name of Khorsani. I did a lot of research here those ideas and discarded the ones that quite a bit in that direction; how contempo- in L.A. to find the right players and singers. aren’t so good and kept the ones that are rary or youth-oriented should the other side L.A. is such a cosmopolitan place that there’s best, and all of a sudden two months later of the music get, because we’re dealing with all manner of people here, and if you dig you’re doing exactly the same thing again. two different generations. I think the choice of deep enough you can find whatever you’re The decisions are harder to make and it’s using songs for one aspect of the teenagers’ looking for.” harder to find the really good stuff. So given story was very well done; it allowed you to get While there is a substantial electronic pres- there’s so little predictability to this particu- that contemporary angst and anger from the ence to the score, Gregson-Williams says that lar job, having gotten these films in this order song choices. Then as the two generations description is misleading. “One thinks of just a was best.” interact, the score took over and there were

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DOWNBEAT story of this quality and a director who really Statement of Ownership, wants the music to be a high-level participant Managing and Circulation two distinct styles, but they were close enough in the film and was willing to keep the film’s that they could actually join forces in some pace and general concept open for [the] music 1) Publication Title: Film Score Monthly. places and intermingle.” to take part. When you have an opportunity 2) Publication Number: 1077-4289. 3) Filing Date: December 21, 2001. Isham found the film’s independent feel like that, you really want to step forward with 4) Issue Frequency: Monthly except April and freed up his creativity. “That it’s a little more everything you’ve got and take advantage of October. risky makes [the movie] more interesting to that opportunity.” 5) Number of Issues Published Annually: 10. work on,” he points out. “Movies that are going The Majestic was recorded at the cavernous 6) Annual Subscription Price: $36.95. to be marketed similarly are formulaic and Todd-AO studios in Studio City, where Isham 7) Complete Mailing Address of Known Office of therefore the push toward the music may be to got to work with an orchestra larger than what Publication: Film Score Monthly, 8503 not break the formula. When a movie has a he’s generally used to. “The main thing was Washington Blvd, Culver City CA 90232, USA. slightly off-center or different line and point of strings,” he notes. “This is a romance on one Contact Person: Lukas Kendall. Telephone: 310- view, that really helps.” side and a particular type of heroism on the 253-9595. other. It’s not big in the flamboyant sense, in 8) Complete Mailing Address of Headquarters or General Business Office of Publisher: see 7. Making a Majestic Sound the 16 French horns Wagnerian sense, but it’s 9) Full Names and Complete Mailing Addresses of Isham joined forces with Frank Darabont on big emotionally. You love these characters and Publisher, Editor, and Managing Editor: The Majestic, a film originally set to be scored you want them to do the right things and have Publisher: Lukas Kendall, see 7. Editor: Lukas by Thomas Newman, who had worked with the right things happen to them. I just wanted Kendall, see 7. Managing Editor: Tim Curran, see Darabont on The Shawshank Redemption and a sound that embraced you like the characters 7. The Green Mile. In do. We had a beautifully constructed orches- 10) Owner: Vineyard Haven LLC, 8503 Washington the film, Jim Carrey tra—the largest was with eight French horns, Blvd, Culver City CA 90232, USA. plays a man but we did it antiphonally with eight French 11) Known Bondholders, Mortgagees, and Other hounded by the horns, two tubas and four trumpets. We started Security Holders Owning or Holding 1 Percent or House Un- from the center with four trumpets and then More of Total Amount of Bonds, Mortgages, or Other Securities: none. American Activities tubas on either side, and four horns on either 12) n/a. Committee in the side in a long line around the back, so it gave it 13) See 1. 1950s, who loses his this really wide, mid-range brass choir with 14) Issue Date for Circulation Data Below: Vol. 6, memory in an acci- triple winds and 61 strings, and it’s just a lush, No. 9, October/November 2001. dent and winds up gorgeous sound.” 15) Extent and Nature of Circulation: Average No. involved in the Like many contemporary film composers, Copies Each Issue During Preceding 12 reconstruction of Isham prefers to spend his session time in the Months/No. Copies of Single Issue Published an aging movie the- recording booth with the director and sound Nearest to Filing Date: ater in a small town recordists rather than with the orchestra, con- a. Total Number of Copies: 8,435/7,300. far away from his big-city problems. Despite ducting. “Most of my background is in produc- b. Paid and/or Requested Circulation: 1. Paid/Requested Outside-County Mail the period setting, Isham says he was under no tion and recording of music as the final prod- Subscriptions Stated on Form 3541: 2,036/1,921. direction to bring a ’50s feeling to his score. uct for composition,” he explains. “My job as a 2. Paid In-County Subscriptions Stated on Form “Frank relied on his source and prerecorded film composer is so intimately connected with 3541: 0/0. music to really set the period side of it, and I the director, I find it’s more effective to stay in 3. Sales Through Dealers and Carriers, Street felt I really didn’t have to bring that into the the booth with the director and get to know the Vendors, Counter Sales, and Other Non-USPS music that I wrote,” the composer says. “As sound of the recording as it’s being recorded. Paid Distribution: 943/894. long as I didn’t go into any specific time-ori- And the orchestrator [/conductor] who has 4. Other Classes Mailed Through the USPS: ented music vocabulary that violated the made the decisions knows what that third bas- 183/186. period, then I was fine. In other words I could- soon is going to do and why he didn’t use the c. Total Paid and/or Requested Circulation: n’t bring any funk grooves or anything like that three bassoons there and why it went to one 3,162/3,001. d. Free Distribution by Mail: into it, and fortunately that wasn’t appropriate there, and he’s also a . His 1. Outside-County as Stated on Form 3541: so nothing like that ever came into play. It was name is Ken Kugler and he’s an excellent bass 137/131. a very traditional orchestral palette. What’s trombonist. He has a rapport with the orches- 2. In-County as Stated on Form 3541: 0/0. interesting to me is the style of traditional tra that very few people do; he knows these 3. Other Classes Mailed Through the USPS: 84/72. orchestral film music can evolve from later guys and they love him; the other couple days e. Free Distribution Outside the Mail: 65/16. 20th-century composers; Marecki, John of the week he’s sitting next to them, so this f. Total Free Distribution: 286/219. Total Tabner and even Steve Reich and , arrangement works out really well. He knows Distribution: 3,448/3,220. these guys that have expanded on our orches- the score intimately, he can get these guys in a h. Copies Not Distributed: 4,987/4,080. tral palette in the latter half of the 20th century great frame of mind working happily getting i. Total: 8,435/7,300. [are] very inspiring to help me evolve the more this music up and running. I can sit with the j. Percent Paid and/or Requested Circulation: 92%/93%. traditional approach to film composing. John director and engineer hearing the sound 16) Publication of Statement of Ownership: Williams and that generation have taken a cer- through the speakers and making sure it’s Publication Required. Will be printed in the tain generation of composers and made that working with the 5.1 environment the way I December 2001 issue of this publication. vocabulary their own and established a want it to be, and I can also be reacting first- 17) Signature and Title of Editor, Publisher, tremendous wealth of material in that way. hand to the director’s reactions. So there isn’t Business Manager, or Owner: And there’s a new generation of influences to the lag of playing something through, record- be applied to that tradition. So a film like this ing it, playing it back and then getting to the for me is a real opportunity to do that, to really director when he’s now heard this thing he delve in and learn. I really threw myself into it doesn’t like three times. It’s just a really efficient wholeheartedly. It’s very rare that you get a way to work.” FSM Editor/Publisher. Date: December 21, 2001.

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eaders of this magazine are often infuriated by what they particularly when I found out that it was real and that this regard as posers who come in from a rock or amateur company really existed that did these things. Then I had a background, grab a keyboard and suddenly become a suc- serious cold and I was in fever for a few weeks and I think cessful film composer. We’ve all been indoctrinated that then I made everything work for me, the whole structure of classical training is a prerequisite for any respectable film the story, and then I started to write. composer (except maybe in the case of Danny Elfman). FSM: Thesis and Open Your Eyes really explore the idea of But what if it wasn’t some rock musician but rather one of fiction versus reality—and particularly film versus reality. R us, a dyed-in-the-wool film score AA: Our perception of reality and how perspective can addict, who was dabbling in the change things has always been something that interests art? Better yet, what if it was a film me, and particularly in Open Your Eyes there’s a duality, score fan turned acclaimed writer many moments we see the same elements but something’s and director? Alejandro Amenábar changed so that it can completely become disturbing, is the test case: His first two something that was meant to be completely innocent. I Spanish-language films (Thesis and like that kind of effect. Open Your Eyes) were immediate FSM: Were you able to work that into The Others as well? One of hits in Europe and both have now AA: I think The Others, since we can say that it’s a story earned solid cult reputations in that takes place in limbo, is also a story about perception America. Thesis follows a female and about perspective and how things around us can graduate student doing her thesis change depending on how we look at them. Compared to on violence in the media, and the two previous works I would say my first film was specifically on snuff films…when [about] the idea of extreme violence, something very phys- she begins to suspect that one of ical, and very real, violence of the media. The second one is the films she used for her research much more about speculation about the future, and was made right on the campus dreams are more important there. The third one is really where she resides. In Open Your fantasy, so there’s a process of going away from reality in Eyes, a handsome playboy’s life is my three films. But there’s also the fact of leaving in the ruined by a vengeful former flame reality that we find out is different at a certain point. who mutilates his face in a car acci- FSM: What about this idea of being sensitive to light in dent…or is that really what is hap- The Others—where did you find that? pening? Amenábar’s first English- AA: The photosensitivity? I read about it, I don’t remem- language film was this summer’s ber when. The first thing I read about it was in the newspa- period ghost story The Others with pers, about two children who had a sensitivity to light so Nicole Kidman, one of the few NASA designed a special costume for them so they could Discussing movies bright spots in an otherwise dismal go outside. That was a few years ago. That was for me the US summer movie season that was perfect excuse to have all these characters isolated in a sin- and movie music with also popular with audiences. And gle location, which was my first idea. no less than Cameron Crowe (Jerry Alejandro Amenábar, Maguire, Almost Famous) chose to Scared Straight the man behind remake Open Your Eyes as Vanilla FSM: And I’ve heard one of your big inspirations for The Sky with Tom Cruise. Others was the movie The Changeling. The Others Amenábar not only writes and AA: Yeah, The Changeling. Once I knew it was going to and Open Your Eyes. directs his movies, he also scores be a ghost story, The Changeling obviously became a big them. And the results are far from influence. It really shocked me when I was a child. But then your average keyboard noodling: I tried to look at every good film with a haunted house and By Jeff Bond The Others is a haunting and com- ghosts that had been made when I was getting ready to plex orchestral work, ranging from film. The Innocents is a film that you can tell influenced the gentle impressionism to violent, dark passages. Amenábar film, and To Kill a Mockingbird, which is not about ghosts, has even taken to scoring films made by other directors. So but is about childhood, and The Shining of course. do we congratulate this triple threat or fear him? First, FSM: I’ve read that you got into filmmaking because of maybe we should just talk to him: your interest in movie scores, is that right? AA: The first film I was interested because of the music, FSM: What did you think of Vanilla Sky? the first score I got interested in was Superman when I was Amenábar: I was very pleased, particularly because I like seven years old. I wasn’t allowed to go to the movies at think the film to me is like two brothers who sing the same that age and I didn’t watch too much TV. But I got inter- song with a completely different voice. I think Cameron ested in this music and I got the soundtracks, and I started has made this story his and it’s his own style, and I appreci- buying soundtracks many times without even seeing the ate that it’s not just a copy. On the other hand, it doesn’t try film. I would say I got first engaged with soundtracks than to avoid the complexity of this story and to me all the psy- with film, than when I was 10 years old I started watching chological and even philosophical aspects of the story are films. I watched The Changeling because I especially liked intact. There’s no attempt to make it simpler or more naïve. the music for that film. By that time I used to write little sto- FSM: What was your inspiration for the original version, ries and do drawings for them and compose the music for Open Your Eyes? them, not really knowing what that meant. So now it does- AA: I’ve always been interested in reality versus fiction, n’t surprise me that I do those three jobs. right down to my first film. I had thought about all these FSM: How did you get educated in music, though? Did cryogenics things and I was very interested by that idea, you perform the music you wrote?

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AA: I got interested in guitar when I was seven years old, ing for a comedy. and then I kept playing guitar for two or three years and my FSM: How have scores changed over the past 20 years? parents got me a little keyboard for Christmas, and that AA: I don’t know if it’s a good thing or a bad thing, but a was the beginning. I never learned music but I just played few years ago I was completely sure that what really by ear on my keyboards, which were bigger and bigger worked was symphonic music in films. Now I’m not so every year. So when I did my first short movie I decided to sure. For instance, I always thought that although it’s very do the music myself. interesting the use of music in films like Fight Club, which FSM: And did you score the first two electronically? is not symphonic at all, symphonic music at certain points AA: The first one was composed electronically, basically would have helped to make it feel warmer for the audience. because the producers didn’t have enough money for the I still defend symphonic music at least for my films. orchestra. I wished I had been able to have an orchestra because I always intended symphonic music for all my films and I think it really fits with them. All the rest were played by an orchestra. FSM: How did you orchestrate for the latter films? AA: Well, what I do takes a lot of time and work, but I work with a computer program called Notator Logic, sam- plers, [other] music devices and a keyboard, and the com- puter is connected with a video player and synchronized, and I just try with different tracks all the instruments I need. Then my demos and my files are transferred to a score. The computer writes a kind of primary score where you can see the notes and move the notes and change them, which is very useful to me. Sometimes you spend more time playing with a mouse than you do with the key- board. But then all that is transferred, and on The Others there were four of us orchestrating. FSM: How did you learn orchestration? FSM: Do you think you’ll always score your AA: I would say just intuition. Having worked with movies? musicians since I started I have learned many things from AA: Yes. I think if I tried to trust someone else them. For instance, on The Others I wanted something to do it I would be such a pain in the ass. I pre- very, very simple and wanted to try something with flutes fer to do it myself. I would love to work with that I had actually tried before in another film I did the John Williams, but I don’t think he’s available! music for. I wanted to try it with harp and strings, [which] FSM: How do you feel about the reaction The are always vital in my compositions. So for instance if I play Others has gotten in America? a whole track that’s full of lines of strings, the task for the AA: I’m very surprised and proud because orchestrator is to separate what corresponds to the violins, when I came up with this story I intended it to be a simple POINT MAN: Amenábar the violas and the cellos. And sometimes I even specify and intimate story. I wrote it in Spanish and intended it to (left) gives direction on because this score had so many solo lines, I would specify take place in South America. I never intended this big THE OTHERS, his first which lines I wanted played by the cellos. So far I’ve just release. And then when it was translated into English we English-language project. worked with piano, strings, harp, and flute. Since I got Nicole and Tom involved in the project and everything have most of the sounds sampled I can see what it’s going got bigger, and I still tried to keep the intimacy of the proj- to sound like. ect and tried not to betray the nature and the spirit of the FSM: The Others is a very complex score and it was sur- story. I think we were all agreed to this that it was not to be prising to me how dense it was coming from someone who a Hollywood picture, but an independent picture. Then the was self-trained. For horror movies you have to have those reaction of the audience was so good here in America I felt moments of violence and really very powerful orchestral really surprised. moments and that takes a smart composer. FSM: People are impressed here with the score, too, even AA: I’m a fan of all ’s work, and of among our readers. course John Williams and Jerry Goldsmith. For instance, a AA: I always hesitate before the process of composing. friend of mine heard the main title to The Others and he The hard job comes after the final cut of the film and I said it reminded him of To Kill a Mockingbird by Elmer always hesitate, particularly in this case because I was so Bernstein. There are specific compositions I particularly pleased with the work of every department, including of love like the Adagio for Strings by Samuel Barber, and The course Nicole’s performance, and I didn’t want to spoil it, so Changeling, which I hope will be released this year. I’m proud that in the end what I did seemed to work. FSM: What are you working on next? FSM: How long did you have to compose The Others? AA: I haven’t really started writing yet, I’m just resting, AA: I had about two and a half months. My record for a reading, listening to soundtracks and trying to watch film I hadn’t directed was three weeks. I did the music for a movies. film called Butterfly and for one called Nobody Knows FSM:Will you continue to do genre films, horror and sci- Anybody. Butterfly I’m especially proud of. ence fiction? FSM: Did you do these before you started directing? AA: Suspense is something I feel very comfortable AA: No, between my second film and The Others. doing, so yes. Actually, one of the reasons I think I haven’t FSM: How did that happen? done comedy yet is because of the music. To me, compos- AA: Well, I had to wait for Nicole and I didn’t have any- ing for horror or drama is much more inspiring than writ- thing else to do! FSM

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n the almost 75 years since the publication of J.R.R. that context the songs work. Lighthearted in spirit, often border- Tolkien’s , a large number of composers line campy, they also serve to blunt the darker edge of Tolkien’s and musical groups have attempted to put music vision and render it more digestible for the very young. to Middle-earth, with results ranging from impres- Doubtless hoping to capitalize on Bakshi’s failure to go beyond sive to execrable. It’s no surprise…Tolkien’s tremen- the first half of The Two Towers, Rankin and Bass produced a fol- dously successful fantasy is an easy source of inspi- low-up animated telefilm of The Return of the King in 1980, again ration; the novels themselves are filled with music hiring Laws to compose the music. Unfortunately, their approach and poetry. The year 2001 has seen perhaps the to the material is identical to the one they took with The Hobbit. most valiant and successful attempt yet in the form What arguably worked for the former production proved disas- of Howard Shore’s music for and Peter trous the second time around. Setting the story as a retrospective IJackson’s new trilogy. With that in mind, let’s take a look back at told by “Frodo Baggins of the Nine Fingers (and the Ring of three of the more notable musical contributors over the decades. Doom)” (the title song), Return’s intensely dark story line is comi- THE OTHER LORDS OF MIDDLE-EARTH An appropriately timed look at other Hobbit-themed music through the years. By John Takis

cally undercut by Orcs who sing “Where there’s a whip, there’s a MAURY LAWS way!” as they tromp through Mordor, and a Mouth of Sauron who The Hobbit (1978) looks like he walked out of Masters of the Universe. Again, the 1 The Return of the King (1980) /2 music itself is good enough, quirky as it is, and the film is not bad he first filmic adaptations to draw from Tolkien’s cycle of for animated children’s fare. Certain qualities from the original works came in 1978. Arriving the same year as Ralph Tolkien manage to shine through. But most Rings fans, and fans of TBakshi’s disastrous theatrical production of The Lord of the serious fantasy in general, will come away largely disappointed. Rings, The Hobbit is an animated TV-movie produced and The Hobbit received both an LP from Disneyland Records with directed by Arthur Rankin, Jr. and Jules Bass. The film is not alto- music and dialogue from the movie, and a deluxe two-record col- gether unsuccessful, featuring well-conceived animation and lectors edition from Vista Records featuring the complete sound- adhering fairly closely to Tolkien’s original story (at least as far as track: music, sound effects and dialogue. Neither film has received the average fan will notice—Tolkien buffs will scratch their heads a CD soundtrack issue to date, although both were recently at such gaffes as bearded Elves and the omission of Beorn). released on DVD. Perhaps some of Laws’ material will make it Standout performances are delivered by Orson Bean as the voice onto a future compilation. Percepto Records is a likely candidate, of Bilbo Baggins and the incomparable Brother Theodore (who having produced soundtracks for both Mad Monster Party and an passed away April 5, 2001) as a grotesquely rasping Gollum. As upcoming Rankin/Bass compilation. Gandalf, however, comes across as surprisingly flat, and the script by holiday-special scribe Romeo Muller, while ade- quate, robs the story of much of its subtle wit and charm. (1978) For the music, Rankin and Bass turned to their longtime collab- Intrada FMT 8003D • 76:58 orator Maury Laws, composer of Mad Monster Party (available on lthough doomed to be overshadowed by the spectacle and Percepto Records) a decade previous. Laws’ orchestral score is overall quality of ’s trilogy, ’s pio- largely string and guitar based, making occasional use of piano Aneering effort is unquestionably the stuff of and harpsichord. The soundtrack revolves around a series of legend...though perhaps not exactly in the manner Tolkien might songs (in English) for male chorus, with both arranged material— have wished. The film is infamously flawed in many significant songs and poetry were an integral part of Tolkien’s story—and regards. The editing, for one, becomes increasingly sporadic original lyrics by Bass. Glenn Yarbrough sings the title song “The throughout the film, and is hampered by incompetent choreogra- Greatest Adventure.” Laws’ song rather obviously phy that renders battle scenes logistically frustrating and the cli- date from the ’70s, but have aged relatively well. The Hobbit, in max almost unwatchable. Bakshi also segues inexplicably spite of its adult appeal, is primarily a story for children, and in between traditional animation, oddly distorted live-action, and

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surreal special effects. This is occasionally a language he “invented for the occasion”—an The symphony runs about 45 minutes and effective—as with the disorienting dread sur- odd move, considering Tolkien himself had has five movements. “Movement I—Gandalf rounding the Black Riders—but is more often already invented several languages for use in (the Wizard)” opens the work with an awe- comic or simply absurd—as with the Balrog, the story; even odder considering that this inspiring fanfare before settling into a sub- who roars like a lion and appears to be wearing invented language includes the use of dued statement of Gandalf’s principal theme. fuzzy slippers. These flaws aside, the film is not Rosenman’s own name pronounced back- First heard in the horns, the theme is at once without its satisfying moments (such as Bilbo’s wards. The tranquil cue “Mithrandir” uses both noble, tragic and inspiring. (It is also the welcome and genuinely well-rendered cameo) a childrens and adult chorus singing English score’s most frequently recurring theme, and has inspired morbid fascination in its lyrics by Mark Fleischer. The poetry and musi- quoted in movements II, IV and V). This pas- viewers over the decades, garnering a cultish cal arrangement of this song, however, is sage abruptly gives way to a triumphant group of supporters. One of its highlights is strongly reminiscent of traditional British Allegro vivace depicting Gandalf atop his gal- Leonard Rosenman’s impressive score. hymns and seems oddly out of place in Elvish loping steed Shadowfax. The movement con-

HOBBIT FORMING: THE LORD OF THE RINGS (below); THE HOBBIT.

“When a film fails it pulls everything con- Lothlorien. tinues with a grand brass chorale for Gandalf’s nected with it down to oblivion. Unfortunately, These are relatively minor complaints. In the Elvish alter ego Mithrandir and wraps up with in this case, it includes a film score of great final analysis, Rosenman has indeed produced a final statement of the main theme. complexity and sophistication.” This flattering a work of remarkable variety and sophistica- “Movement II—Lothlorien (the Elvenwood)” quote is from Rosenman himself and opens tion, one which he describes as “probably the is pastoral in nature, with a gentle clarinet the liner notes of the Intrada CD of the com- most challenging assignment I have ever dealt solo leading us to a lilting statement of the plete score. Rosenman’s music is indeed multi- with.” There is much to recommend it to movement’s bucolic theme. The music layered: bold and brassy in its more dramatic Tolkien and soundtrack fans alike. The score gradually becomes more serious, eventu- passages, lyrical and woodwind-oriented in its has received several LP and CD releases, ally building to a statement of Gandalf’s gentler moments. Much of the score is based including a very nice picture-disc LP set of theme and culminating in a dramatic pas- around a lengthy march, a wind-based pas- interest to collectors. Intrada’s deluxe presen- sage meant to represent Frodo’s vision of sage that threads through the orchestration, tation of the complete score remains the ideal the Eye of Sauron in Galadriel’s mirror. A revealing itself in bits and pieces until its final way to experience Rosenman’s music, allowing more subdued, but still tense, passage ©1978 THE SAUL ZAENTZ PRODUCTION COMPANY and complete statement at the album’s end. ample room for the themes and musical ideas closes the movement, reflecting the depar- The march is gentle and optimistic, with a hint to develop over the course of 77 minutes. The ture from Lothlorien. of melancholy, ably serving the character of film has also recently been released on DVD. Nowadays the is most com- Frodo and his quest. For action sequences, monly associated with jazz, sex, or both. But it Rosenman makes use of “grotesque rhythmic JOHAN DE MEIJ was, in fact, originally designed to serve as the motifs” and unusual instruments such as the Symphony No. 1: The Lord of the Rings violin of the band. That application becomes THE LORD OF THE RINGS “lion’s roar” and ram’s horn that help bring out (1988) readily apparent in “Movement III—Gollum an otherworldly character in the music. The olland-born composer Johan de Meij (Smeagol).” Opening with a wrenching action score reaches its climax at the powerhouse cue premiered his first symphony in in the brass, it rapidly moves to a whining, “Helm’s Deep.” HBrussels in 1988. Masterfully sniveling motif for Gollum on solo soprano Like Laws (and Shore after him), Rosenman arranged for symphonic band, the work took sax. The opening passage describes an agreed that the subject matter required vocals, first prize at the Sudler International Wind “extended lament” and successfully captures here taking several forms. For the Black Riders Band Composition Competition at Chicago in Gollum’s pathetic character. A bouncing figure

ARTWORK ©1977 RANKIN/BASS; and later the Orcs, Rosenman uses a male cho- 1989. Not merely his debut symphony, the is introduced to underscore his nervous insta- rus moaning “Mordor” over and over again. Lord of the Rings was also his first professional bility of movement and speech, eventually This will either unnerve you or amuse you. composition for band after graduation from taking the form of a 1/1 march. One of the (continued on page 48

THE HOBBIT Rosenman later ties in his Mordor motifs with the Royal Conservatory in the Hague.

FILM SCORE MONTHLY 23 DECEMBER 2001 v6n10 1-48 1/2/02 5:47 PM Page 24 SCORESSCORES ofof SCORESSCORES Our ANNUAL REVIEW ROUNDUP of extraordinary magnitude

ness for the simple piano theme, “ambient,” but ultimately that’s must-buy. It’s a frothy feel-good Spy Game often a precursor to boy soprano the best description of this selec- experience and a legal high. —N.J. HARRY GREGSON-WILLIAMS Timothy Washburn’s haunting tion of chill-out tracks predomi- 1 Decca 440 016 190-2 • 20 tracks - 71:25 lament (especially on “Operation nantly structured around simple Novocaine /2 ony Scott won’t be rehearsing Dinner Out”) that holds these dis- piano melodies with synth back- STEVE BARTEK/DANNY ELFMAN Tan Oscar speech for Spy parate threads together. This ing. Not dissimilar to Thomas TVT 6850-2 • 15 tracks - 40:25 Game; it’s not that sort of a movie. strong and enchanting theme is Newman’s score to previous teve Martin returns to the role Most of Scott’s films are populist worth three of the minor ethnic Spacey drama American Beauty Sof a dentist in Novocaine, a crowd pleasers that wash across variants. (did they temp this film with a comic film noir written and the screen with no real threat of a At 71 minutes, this disc is a bit Newman extravaganza?), the directed by David Atkins. detailed plot getting in the way. So of an indulgence, and tighter edit- music also harks back to Jack Interestingly enough, Atkins pops the fact that Harry Gregson- ing would have helped the differ- Nitzsche’s thematically linked up on the soundtrack as a contrib- Williams’ Spy Game score is not ent themes stand out more Starman. But this is a more robust utor to the two songs that open profound (and instead merely a prominently. But with a bit of multi-layered composition that the album. He also plays drums flashy chorus flanking the on- judicious tracking on your CD works equally well away from the on the title track and is listed as a screen pyrotechnics) is a given. player, it’s easy to trim away the screen. Sure, read the listing and co-author of the second track, “Le But the music on this album is far fat and leave some accomplished then deconstruct tracks as you try Monde de Frank Sangster,” a faux better than one could have hoped cues. Perhaps there are just too to recall how the music served the French electronica number fea- for. Gregson-Williams is a talented many themes jockeying for atten- movie, but add another dimen- turing a catchy whistled riff. A composer, as witnessed by his col- tion, and the two techno remixes sion to your listening experience third song, the actual French laborations on Shrek and Antz. I only add more variety to an by listening to it “cold” and appre- number “Menilmontant,” by assumed that Spy Game would already busy palette. This album ciating it as a mood piece. Charles Trenet, closes the album give us more techno-beats in line shows just how wide Gregson- If you yearn for those halcyon (and the film). All three songs are with his Enemy of the State (again Williams’ range is, but this isn’t a days when set the tone surprisingly listenable and fit in for Tony Scott). Instead, there’s a compilation record, and eclecti- for a generation, and cutting-edge with the overall mood of the CD. wide range of tracks that employ cism isn’t the best basis on which soundtracks featured those The rest of the disc (not quite instrumentation from countries to sell a score. Next time, less Tangerine Dreamers pounding 30 minutes worth of material) is across the Northern Hemisphere. would be more. —Nick Joy away at the keyboards, this is a dedicated to the score itself, which Spy Game is determined to spell is primarily by Steve Bartek. 1 out locations by annotating the K-PAX /2 Danny Elfman makes two contri- movie with local music and butions, however, including the instruments. The opening track is Decca 440 016 192-2 • 12 tracks - 43:19 CD’s best track, the “Main Titles.” called “Su-Chou Prison,” but I dward Shearmur is an This is a trademark piece of could have guessed the title (well, Eenigma. Just when you think Elfmaniana, featuring wordless close enough anyway) just from that you’ve tied down his particu- chorus, orchestra and wailing To Guangming Li’s twangs on the lar “sound,” he shifts approach Die For-style electric guitar. On erhu. And so, “Berlin” features and surprises you by throwing in the flip side, Elfman’s other track, militaristic (vaguely Russian) something out of left field. From “I Wish...”—a quiet Thomas- pomp, and “Beirut, a Warzone” is the period drama of Wings of a Newman-in-American-Beauty punctuated with a wailing Middle Dove to the schlock horror of mode meets A Simple Plan— Eastern voice. While the music is Species II or overblown high makes for one of the least interest- determined to make each location drama of Charlie’s Angels, this guy ing sections of the CD. unique, it does so at the expense has shown he’s a chameleon. To Now, finally, we get to Bartek. of narrative, creating a fragmented prove the point, his score to the His contributions feature fun listening experience. Thank good- Kevin Spacey “is he or isn’t he an instrumentations and vary widely, alien” flick is an electronic opus. A from a psychedelic circus version BEST throwback to the mid-’80s, this of “Menilmontant” to more form- REALLY GOOD music might be retro in style, but less suspense and action-guitar AVERAGE in no way is it a retro step for the rambling. Like the film itself, the WEAK composer. CD opens on a light note and WORST I hesitate to use the word slowly delves into more numbing RATINGS

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territory. Bartek uses layers and Beethoven. The first time during it’s a must-have. Others, sample sounds familiar from his orches- the film that I remember hearing with care. —N.S. trations for Elfman, but this time music that I knew was Burwell he really makes them his own. In a was a half-hour in, when The Last Castle way, Bartek has actually out- Thornton enters the department JERRY GOLDSMITH Elfmaned Elfman. —Neil Shurley store at night. That piece (“Ed Decca 440 016 193-2 • 13 tracks - 42:59 Visits Dave”) coupled with the fter the terrorist attacks on The Man Who Wasn’t There music for the following scene AAmerica, Jerry Goldsmith 1 /2 (“The Fight”) is Burwell at his best. debuted a stirring anthem entitled CARTER BURWELL Burwell has composed music to “September 11, 2001,” a new date Decca 440 016 019-2 • 14 tracks - 45:43 such suspenseful Coen movies as that will live in infamy. This mov- n every generation, a com- Fargo, Miller’s Crossing and Blood ing, subdued piece was both Iposer appears who so aston- Simple, and he knows what works patriotic and elegiac. Utilizing a ishes with his film-scoring debut for such scenes. Here he has the horn as its centerpiece at the that fans hunger for his next orchestra growling in such a care- beginning and drums toward the effort—and yet, as with most peo- fully menacing fashion that it cre- end, it captured the mood of the ple with such enormous talent, ates suspense without ever raising country in ways only music can that next effort may take years to its collective voice. Chilling. express. This anthem was based materialize. Finally, after almost Burwell also contributes a nice on a theme Goldsmith had just seven years, the brilliant com- jazz piece for a party scene. Its written for The Last Castle, a film poser of Immortal Beloved is back sound is in keeping with the 1949 released a month after the attack. with his latest score. The com- setting but is slightly jarring com- Like Goldsmith’s music, the movie poser in question is of course ing in the middle of the album. Badalamenti primarily employs is also heavy on images of patriot- Ludwig van Beethoven, and the Not including this piece, the CD layered, swirling electronic under- ism and standing together as a movie is The Man Who Wasn’t has fewer than 15 minutes of tones and effects with a somber nation. The film, directed by Rod There, the Coen Brothers’ film noir actual Burwell score, which may accompaniment on strings (per- Lurie, concerns a three-star Army about a passionless barber and his prompt you to ask if it’s “the score formed by the City of Prague General (Robert Redford) who is very passionate (and adulterous) that wasn’t there.” But this is Philharmonic) and the occasional sentenced to a military prison run wife. While the film’s script mean- about par for the course for a electric guitar. It’s a familiar by a power-wielding Colonel ders all over the place, aping such Coen Brothers movie. In fact, sound, similar to that used in (James Gandolfini). When the movies as Double Indemnity and Burwell’s percussion score for other Lynch films, but with the General realizes the oppression of Lolita, it’s the mood that hypno- their last movie, O Brother,Where added warmth and depth that real the prisoners, he starts to defy the tizes, and two men are chiefly Art Thou?, was so minimal that it strings provide. Colonel in a test of wills and responsible for this. First is vet- wasn’t even released. I don’t think The album progresses much strength (though it doesn’t seem eran cinematographer Roger any of the underscore was left off like a typical Lynch film, opening to bother the General that a lot of Deakins, whose use of shadow this album. with a quick, pleasant jitterbug the military prisoners are in and smoke is downright astonish- If you don’t mind the brevity of and then slowly delving into prison for a reason). ing (just look at how he shoots the the Burwell sections, the prepon- darker string passages, the twangy Without a doubt, this is complex landscape of Billy Bob derance of Beethoven’s sonatas guitar sounds of ’50s diner music Goldsmith’s most accessible score Thornton’s face). And then, of (well played by Jonathan and, finally, the layered, disturb- since the likes of Mulan and Rudy. course, there’s Beethoven. Feldman) and a cue from that ing, often confusing underbelly of Die-hard Goldsmith fans may crit- Director Joel Coen’s choice of young upstart named Mozart, the score. Like the opening icize the score for being too even- Beethoven’s piano sonatas is you’ll find this a satisfying album moments of Blue Velvet, what keeled and lacking in orchestra- inspired. Instead of choosing from and a worthy companion to the appears pretty on the surface is a tional variety, but I believe this is the broad spectrum of movie. —Cary Wong roiling torrent underneath, and one of Goldsmith’s most mature Beethoven’s oeuvre, he focuses the music here has the same feel. and personal scores. While it has 1 mainly on one form, solo piano, Mulholland Drive /2 The compositions by Lynch and shadings of John Williams’ Born which adds thematic resonance to ANGELO BADALAMENTI John Neff sound a lot like Twin on the Fourth of July, The Last the movie as a whole. And, the Milan 73138-35971-2 • 17 tracks - 74:04 Peaks (“Pretty ’50s” and “Go Get Castle is a unique creation—and actions fit the music: Watch the illiams and Spielberg, Some” in particular), while it’s one of Goldsmith’s best, pre- way hair falls to the ground to WSilvestri and Zemeckis, Badalamenti’s tracks offer some of cisely because it doesn’t go wildly Beethoven’s somber piano and Badalamenti and Lynch. Certain his more sumptuous melodies to over the top or off on the usual you know that Coen made the composers and directors are date: “Betty’s Theme” and “Love action-music tangents. It’s true right choice. almost cosmically intertwined, Theme.” Although I say melodies, that in the film the score becomes However, not all the action not unlike some of the unsavory they’re really more like extended repetitive, but as an album, the would have worked with just the characters in a David Lynch film. riffs. Nevertheless, they’re exqui- music is focused and powerful. (A piano sonata, so Coen called his Mulholland Drive, the latest col- site and perfectly capture the tone blues song does interrupt the first usual collaborator, the talented laboration from the team that of the film. part of the score, but this is easily Carter Burwell, to fill in the holes. brought you Blue Velvet, Twin While this CD is not as varied as remedied by reprogramming.) Obviously not offended by having Peaks and Wild at Heart, is an Wild at Heart or as consistent as Horns and drums predomi- to share billing with Beethoven, atmospheric effort that will, like the original Twin Peaks television nate—these tend to be prerequi- Burwell has adapted his signature most of the aforementioned films soundtrack, it’s a coherent and lis- sites of military-based Americana style of mood scoring (as opposed themselves, thrill Lynch fans and tenable effort, much more so scores. But unlike the fanfares in to action scoring) to sound leave innocent onlookers scratch- than, say, the Fire Walk With Me films such as , this is of remarkably similar to the ing their heads. soundtrack. For Badalamenti fans, the less “showy” kind. None of the

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SCORES of SCORES Contemporary Films

1 tracks on the album really stands Hearts in Atlantis /2 (And You Alone)” and “Sh-Boom flawless. Distant, plaintive strains out, as the disc plays more like a MYCHAEL DANNA (Life Could Be a Dream)” with for piano create that certain hol- symphony, with each cue building Decca 440 016 035-2 •12 tracks - 38:05 Danna’s cues—four to be exact low, lonely tension that can only on the prior one, before ending t would be a pleasure to gush (totaling around 17 minutes). come of expertly shaped solo writ- with the theme reprise, Iall over the Hearts in Atlantis Accepting that this mixed listening ing. His vulnerable central theme “September 11, 2001.” The score soundtrack and particularly format is not what FSM readers is sweeping at times, and the has a concert hall feel to it, so I Mychael Danna’s fine score, but and score fans would likely prefer, result is beautiful, but most emo- wouldn’t be surprised if Goldsmith the paltry amount of original it does come off better than one tive are the fragile versions for solo incorporates more of it into his material presented on this disc might expect. piano or a lone reed. Not only is repertoire soon. leaves one asking not “how is it?” Putting the focus on Danna’s this score appropriately (and Is it fair for a film score to carry but “where is it?” portion, the writing is, in a word, excruciatingly) tender and sad, but the weight of the tragedy that has There is plenty of good music excellent. It may not be his most Danna also maintains a slight nothing to do with the movie? No. here, but the bulk of it is classic original, and the orchestrations ominous quality that echoes not But Goldsmith’s theme can tran- oldies, some of which have turned are generally sparse, but Mr. only heartache but cerebral scend its original intent and up as retro-Americana backdrops Danna is extremely deft at striking unease and more complex inner become an inspiration as our in more than a few previous films. just the right nerve to turn you turmoil. Don’t listen to music this country faces a troubled time in its The album intersperses malt shop into a maudlin pile of soggy effective if you’ve just been history. —C.W. regulars like “The Twist,” “Only You Kleenex. His sense of pacing is dumped or can’t find your keys. It

known for his ability to tie music should also be noted here that the One Disc to Rule Them All to film. In works like Crash, Naked vocalists are treated as part of this The Fellowship of the Ring Lunch, The Game and so on, he ensemble and not as a featured related music to stories that didn’t element. Soloists, choral ensem- HOWARD SHORE immediately suggest simple musi- bles and instrumentalists com- Reprise 948110-2 • 18 tracks - 71:29 cal counterparts. But the Lord of mingle in cohesive textures that or the past several years, the Rings challenge was one he continually push new elements to Peter Jackson and the had not faced before, because not the foreground. F crew of The Lord of the only did it require the above stylis- The Ring has a number of Rings films have obsessed over the tic balancing act, but it demanded motifs, the most prominent being creation of a Middle-earth that an unprecedented scope and an alluring Swan Lake-like melody both reflects the aesthetics of its scale. Happily, Shore proves him- heard over a series of twisting creators yet appears to have spon- self more than up to the require- minor chords—Bb minor, Gb taneously evolved through the Rosenman’s mental filter—an ments in one of the most intelli- minor, Bb minor again, Db minor, ages. As a filmic goal, this is at “about the world” score. Same gent and emotionally satisfying F minor in the opening track. The most a challenge, but it creates a goes for Johan de Meij’s popular scores of 2001. Fellowship theme, on the other real difficulty for a composer. On First Symphony, based on his Shore’s score begins with “The hand, develops out of pieces— one hand, the composer is free to reading of the book’s characters. Prophecy,” utilizing an ensemble most notably a trio of major add his own aesthetic spin to the Several lesser-known works have of amassed instrumental and chords, descending by step then story, his musical interpretation of found composers setting Tolkien choral forces in a confident and returning—sprinkled throughout the plot, characters and events. lyrics to music, and in such, powerful display. The cue func- the album’s first half until they However, if this approach is almost entirely suppressing their tions somewhat like an overture, coalesce in a forceful, revelatory applied too liberally, the composer musical personalities to create though it displays an array of statement in “The Council of is moving the audience a step fur- music consistently “from the ensemble colors rather than a Elrond.” ther away from the films’ version world”—music that, say, a Hobbit parade of themes—dramatically For his “from the world” tone, of reality with a second level of supposedly could have written. and musically the perfect choice. Shore draws from his menu of interpretation. Ideally, the films Still, neither of these polarized The writing establishes Shore’s timbral colors in providing each call for music that is both from approaches could have been “about the world” voice, and it is culture and setting in Middle- this world and about this world—a entirely successful in Jackson’s this voice that will underscore the earth a signature sound. Shore’s cross between source music and new films. An “about the world” film’s two main recurring ele- egalitarian treatment of his forces score, a seemingly contradictory score, a score that related events ments: the One Ring itself and the in the Ring and Fellowship music requirement. only through the perspective and Fellowship of the Ring. Shore allows him to create an almost Past composers who have tack- interpretation of someone outside scores these ideas with the full limitless number of variant led Tolkien’s legend have, pretty of the film’s reality, would stand resources of his palette, although ensembles, all of which relate to consistently, only addressed one between the audience and the this isn’t to imply that every time this greater musical/dramatic of these two concerns. Leonard story. Yet a diagetic/period score these themes occur they’re blasted whole. Shore is also free to apply Rosenman’s score to the 1978 would fail to acknowledge the out in full orchestral garb. Rather, specialized vocal soloists to specif- Ralph Bakshi animated version is story’s larger issues, dramatic con- Shore allows himself access to his ic characters and regions, while unquestionably a strict account of nections, and resonance. full ensemble to pick and choose they’re still an extension/reduc- the story as heard through Howard Shore has long been colors as the moment dictates. It tion of his amassed ensemble. Not

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will leave you in a stupor. music have at least one copy of up of dramatic writing in a style That brings up an interesting Santo and Johnny’s “Sleepwalk” in that’s become common for serious point about the other material on their collection, and if you don’t dramas or intellectual thrillers the disc. While most of these songs then this is as good a chance as any these days. Adler’s score is, how- are standards that could seem to indulge. —Stephen Greaves ever, set apart by its rich harmony, pretty tired, they take on a new good thematic material and inter- sheen when juxtaposed with Focus esting orchestrational choices. Danna’s cues. It’s as if the bitter- MARK ADLER While Adler has a distinct musi- sweet nature of his music sets you Milan 73138-35972-2 • 29 tracks - 45:35 cal voice and style, a quick run up to hear the nostalgic songs with ark Adler has been busy for through of a few cues should help fresh ears, and they seem almost Ma decade or so providing place their musical richness in surreal...haunted even. You may scores for TV films like HBO’s The William H. Macy and Laura Dern. context with some recent scores. find new depth in lyrics you’ve Rat Pack, for which he received an The album’s first cue, “Carousel “Morning” recalls some of Thomas heard a thousand times, which Emmy. He’s also done a few film Dream,” begins with strings and Newman’s lighter music for urban may be enough to convince you scores, as well as a theme for before merging into the dramas, along the lines of Pay It that you’re buying more than just new PBS series American main theme played on a calliope Forward filtered through The four cues of lean, quality scoring. Experience. Adler’s latest project is and what sounds like a glass har- Green Mile. This material is devel- The sum does achieve more than Focus, a new film adaptation of monica. This is an excellent theme oped and orchestrationally varied the parts. the 1945 Arthur Miller novel that that recalls John Morris’ work on in other cues. “Outrage” brings to A final note: It should be inked as explores anti-Semitism. The film, The Elephant Man. mind James Newton Howard’s The law that anyone who claims to like directed by Neal Slavin, stars The body of the score is made Sixth Sense. There’s also time for

only does this provide a wonder- Shore’s most horizontal writing, extroverted on the album and, ful parallel construction to which creates an ethereal, time- over the course of two tracks (“A Fellowship’s story, its clear struc- less quality. An all-female chorus Journey in the Dark” and “The ture makes the album all the more often appears, as do female Bridge of Khazad Dum”), intensi- enjoyable. soloists Elizabeth Frasier and fies into a dense musical strangle- Shore does have a third recur- Enya. Shore compounds this oth- hold before cutting to a remorse- ring melody, a pastoral and gently erworldly writing with the inclu- ful mixed choir and soprano beautiful Celtic-tinged tune that sion of African and North Indian soloist. develops throughout the score, instruments, and by the occasion- The Ring Wraiths are allotted eventually surfacing as the song al introduction of Eastern-influ- Shore’s darkest music (heard “In Dreams.” This melody seems enced harmonic nuances—note prominently in “The Black Rider,” to be associated with the Hobbits’ the bent pitches in the “A Knife in the Dark,” “Flight at the quest, and I’d imagine we’ll see its “Lothlorien” track. Ford” and elsewhere), as a Gothic continued development in the The album’s two Enya songs are mixed chorus chants thick blocks next two films. Like the other closely related to the Elf styles, of sound over a network of churn- recurring themes, it’s allowed and, as they are orchestrated by ing ostinati. Again, there’s an SHORE SCORES: At the RINGS sessions. access to the score’s full orchestral Shore, fit rather seamlessly into amazing thickness to the counter- resources, with its Celtic sugges- the overall musical fabric. In fact, point, made clear by wise rhyth- of purpose is almost always paint- tions growing from its harmonic they coexist so neatly, neither Enya mic decisions—the instrumental ed in D or E minor, the pure and inflections. As such it provides a song is relegated to its own track. ostinati provide intricate detail simple “In Dreams” melody is nice bridge between the Hobbits’ Fellowship of the Ring only while the voices are used in per- almost always in C major, etc.); quest and their home. The deals in Dwarf culture during the cussive bursts. The Wraiths also with vocal soloists singing mel- Hobbiton music in “Concerning dangerously exciting Mines of have their own characteristically lifluous Tolkien languages; and Hobbits” is swathed in Celtic Moria sequence, so Shore’s gruff imbalanced 5/4 galloping motif with genuine thematic develop- instrumental sounds, including and angular men’s chorus couples for low strings and metal percus- ment allowing material to notice- fiddle, dulcimer, harpsichord, nicely with low brass and string sion. Interestingly, the metal per- ably form and change in conjunc- wooden flute, accordion and clusters to highlight both the cul- cussion in this writing seems as if tion with its dramatic counter- pizzicato strings. The heroic tural aspects of the setting and the it may have gone through some parts. And like an opera, the Hobbits are also associated with danger of the moment. His use of sort of electronic filtering, adding music is written in such a way to the clear tones of a boys choir, guttural grunting effects and syn- to the ghostly quality. be satisfying even when separated aptly representing the characters’ copated rhythms in the chorus Shore has described this score from its story. nobility, stature and disposition augment the general effect, while as an opera, and while that makes For a project with unlimited and establishing yet another link allowing the choral sounds to great copy, it’s also an accurate potential and unlimited pitfalls, to the greater whole. The Hobbit remain audible through the description of the sort of elaborate Shore has carefully and intelli- melodies are very tuneful and ver- swelling, dissonant instrumental detail and scope that the score gently crafted one of the year’s tical, almost song-like in con- clusters. The composer also taps presents. The CD is overflowing best works, meeting and exceed- struction, again reflecting this into Tolkien’s mention of drums in with fascinating harmonic rela- ing the demands of the film. The simple culture. this scene with an ever-building tionships (some cultures have music calls for close listening, but The mystical Elf cultures, on the texture of pounding percussion. chromatic music, some have dia- the rewards outweigh the exer- other hand, receive some of The Moria music is Shore’s most tonic; the Ring Wraiths’ singularity tion. —Doug Adams

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SCORES of SCORES Reissues and New to CD

Americana reflections in cues like List). The family escapes to paper: apply Hong Kong fight to hear that. —Jason Comerford “Courtship” (at 5:13, the longest America and the music shifts to choreography to Alexandre 1 track on the CD) which, along Western styles, but when they go Dumas’ tale of the heroic quartet Baby Boy /2 with the main theme, is a high- back to Hungary...you get the pic- of French freedom fighters. But light of the score. ture. It’s just so easy and pre- like most of those neat-sounding Varèse Sarabande 302 066 280 The one real problem plaguing dictable. The performance is fine ideas, the fun is drained away at 19 tracks - 41:06 this release is the brevity of the and the music does a reasonable every step until the resulting film ohn Singleton’s latest film, Baby cues. This makes it more difficult job of “mickey mousing,” but this is diluted to pander to the lowest- JBoy, was released as summer to develop material within any is déjà vu taken to extremes. common denominator, mass- counter-programming. While I given cue. Despite this common Like a miniseries score that audience tastes. missed the director’s prior film, hindrance, there is a sense of over- aims for greater things but falls How, then, to review David Shaft, I was impressed by the his- all development as the music short of the mark, this unremark- Arnold’s score? It’s exactly what torical Rosewood. The latter fea- unfolds over the course of the CD. able selection of cues contains no you would expect for such a film, tured an outstanding score by Extended tracks still provide the real invention or surprises. and that’s partly the problem—it’s John Williams (who stepped in at most interest, but the shorter cues Perhaps the greatest insult is that basically a critic-proof piece of the eleventh hour), used sparingly are self-contained enough to pro- it could have been composed by music, designed to be exactly in the final film. Apparently, David vide a kind of arching connection anyone. Lacking in artistic flour- what the film needs, and nothing Arnold’s work in Baby Boy was also for the album. The disc closes with ishes or trademark sounds, this more. And for what it is, it isn’t spotted with great care. a statement of the “Theme,” oddly anonymous soundtrack just can’t bad. Arnold knows the 19th-cen- It’s a strange soundtrack world minus the calliope, helping to pull its way out from the shadow tury orchestral idiom inside and when big-budget films like bring the disc to a melancholy and of Eidelman’s previous, more sub- out, and at the very least, it sounds Godzilla and Shaft do not receive satisfying conclusion. stantial work. Not a complete fail- like he enjoyed himself. The score releases, while something Focus is the kind of score that ure by anyone’s standards, it’s just theme for the heroic D’Artagnan is like Baby Boy does. I guess Arnold suffers in popularity without the not enough for a disc to be catchy and infectious in the grand fans must give thanks to Varèse for backing of the film. If the movie mediocre in the fickle market of ol’ Korngold style, and it pops up this one. The Baby Boy album lists had resonated with audiences, it movie soundtracks. Oh, and don’t just enough throughout the score what appears to be an urban jazz could have landed Adler an Oscar even get me started on three eth- to make you think you might not ensemble along with the amazing nomination in a crowded field. nic songs at the end of the disc. need to take the whole affair very Shirley Caesar, so even though I —Steven A. Kennedy Never has the ability to stop a disc seriously. wouldn’t consider myself an before its conclusion been so But then the rest of the score Arnold completist, my interest An American Rhapsody cherished. —N.J. unspools, and it becomes appar- was piqued. Plus, a full string CLIFF EIDELMAN ent that Arnold is working in just orchestra is listed in the accompa- Milan 73138-35955-2 • 22 tracks - 55:21 The Musketeer one gear—Big. There’s the “Big nying booklet (incidentally, Arnold ometimes I really wish I was DAVID ARNOLD Hero Theme,” the “Big Action is credited as one of the guitarists). Swrong. Inspecting the liner Decca 440 014 920-2 • 17 tracks - 49:41 Cues” and the occasional “Soft A late-night jazz sound opens notes and reading the lengthy list he Musketeer is one of those Romantic Moment” (scored in the the CD in “Waiting” and is of cues on this release, I hypothe- THollywood high-concept Key of Big). Arnold is pretty good expanded upon in the following sized what this soundtrack would things that sounds pretty neat on at the splashy action stuff, and his cue, “Meet Melvin.” It’s a “cool” sound like. And I was right. Too cue titles seem to indicate he was sound akin to the jazz fusion right. The music is generic and enjoying himself immensely stylings of Bob James in his early undistinguished when it should (“Fight Inn,” “Jailhouse Ruck”). But 1980s Taxi days. A good portion of be sparking with invention. Cliff these days, a little of this kind of the score rests in this mode, bol- Eidelman took Holst’s The Planets thing goes longer than it used to, stered by an occasional addition and turned it into an interstellar and by the time you hit the “Big of orchestra. “Jody’s Nightmare” is opera for Star Trek VI: The Climactic Cues” (“Scaling the an exception, offering something Undiscovered Country. With An Tower,” “Ladder Fight”), there’s the more orchestrally grounded, American Rhapsody, he should inevitable sense of déjà vu, seeing sounding like an extension of have taken the “escape to the as Arnold’s been basically laying Williams’ Rosewood score. That’s West” immigrant drama subcul- on the same musical approach not meant as criticism. The real ture and reinvented it. Instead, we throughout—just louder this time. problem is that the cue is simply get a crisp recording, some com- I like Arnold’s themes, cheesy too brief to go anywhere musi- plex orchestration and strong and annoying as they are, and I cally—probably more a sign of themes—but nothing can stop appreciated his ear for the musical production costs than any com- this from being just one more run- style that the film required; he positional deficiency. This same of-the-mill soundtrack. gives a trendy, mediocre film the music is revisited in extended By following the narrative, the sheen of professionalism and form in “Drive By,” but it still could disc follows a simple path. The panache that it really doesn’t have used more development. Communists invade—cue the out- deserve. But I wonder what he’d “Jody and Yvette” brings in the bursts of threatening timpani. Cut do if he were given the chance to string ensemble (sounding a little to Hungary—because someone’s do the same material differently. thin in the violins) accompanying cued Polish violin polkas (as pop- I’d like to believe that the results the smaller ensemble. ularized by Williams in Schindler’s would be spectacular, and I’d love The rest of the CD focuses more

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on the jazz stylings. Despite the play. Sarde tends to play down the Battle Beyond the Stars/ style of a given track, Arnold comedy, instead settling into a Humanoids From the Deep weaves small motives throughout reverential romanticism that plays (1980) the score. It’s cohesive, but none of more on the “Sister” aspect than JAMES HORNER the thematic material is bilked like the humor—the music almost GNP-Crescendo GNPD 8075 the bold, extended ideas of amounts to a modern day cantata. 31 tracks - 76:53 minutes Arnold’s action-adventure scores. Overall, Sarde’s score leans toward long time ago, in a galaxy far The album ends abruptly, mak- a “sacred music” approach. For Afar away, a young composer ing for a jarring conclusion to an instance, the opening “Praise My made his mark on a low-rent sci-fi otherwise welcome and unique ” is an original hymn featur- B movie. Long before he would be outing in Arnold’s oeuvre. If you ing chorus, organ and orchestra. criticized for plundering his own enjoyed scores like the recent This is followed by another choral work, James Horner burst on the Brothers () or even piece, “Preparation,” a wonderfully scene with eager full-blooded some of Terence Blanchard’s work written nod to Fauré that rests in anthems that underscored New for , you should find the tradition of French choral World’s cheap and cheerful early- something to like in Baby Boy. music. “The Serpent,” another ’80s output. Now, thanks to GNP- Fans of Arnold’s trademark scores standout, is a wonderful, sinu- Crescendo’s tireless efforts, we can for Stargate or Independence Day ously dark piece. There are also experience Horner’s heroic Battle may not be as impressed.—S.A.K. arrangements of “O Come Beyond the Stars and schlocky Emanuel” and “Lord of All Humanoids From the Deep in all Sister Mary Explains It All: Goodness.” their tinny glory. The Films of Marshall Brickman The music from Lovesick (1983, The frank liner notes by 9 tracks - 26:57) is sandwiched Soundtrack’s Randall D. Larson PHILIPPE SARDE between the other two score pre- a little different, at least as far as make reference to an interview Varèse Sarabande 302 066 268 sentations, but in some ways it’s this album goes. Using a drum with the composer in 1982 and 24 tracks - 74:46 the main attraction of the album. machine, pulsing lower strings tackle the already hot topic of arèse compiles three Philippe Brickman comments that his and a high violin melody, the “copying” other sounds. VSarde scores for films by screenplay was inspired by Sarde’s “Main Title” starts to sound like Interestingly, Jerry Goldsmith’s director Marshall Brickman, who score for Tess, and fans of that watered-down Goldsmith. Star Trek: The Motion Picture is writes a rather dithering and gush- score should not be disappointed. “Ithaca” returns to Sarde’s more seen as the major source of inspi- ing commentary of his awe of As it is, Sarde provided a gorgeous playful, light style. “Escape” is an ration, but surely this is par for the Sarde while managing to say little score for an easily forgettable film action cue with a stunted osti- course. Battle Beyond the Stars was or nothing about the films or the that featured Dudley Moore, nato that plays against snippets produced to cash in on Star Wars, music itself. Like many more Elizabeth McGovern...and Alec of the main title music. It is an and this is inherent from the cos- recent European “imports,” the Guiness as Sigmund Freud! The interestingly orchestrated piece tume design to the glitzy special talented Sarde has never really “Main Theme” is romantic in the that mixes in some remarkably effects. So it stands to reason that received the projects he deserves. best sense of the word. This music romantic music in its second the sound would imitate Williams’ While most are familiar with is pristine, with lush orchestra- half. “Night/Love Theme” is space opera, which it does to great 1979’s Tess, some of his American tions (by Sarde favorite Peter another beautiful piece for flute effect, albeit on a lower budget. highlights in the 1980s would Knight, also known for collabora- and orchestra, but it’s all too brief The quality of playing is, however, include Ghost Story, Quest for Fire tions with Trevor Jones on films at 2:45. This score is sparsely far removed from the LSO’s—just and a troublesome remake of Lord like Dark Crystal) that include a orchestrated but admirably check out that bum note at 1:48 of of the Flies (1990). Other highlights prominent piano and flute solo. played by l’Orchestre de Paris. the finale. have included La Fille d’Artagnan The “Freudian Waltz” is in the tra- Apart from the brief action It’s a combination of Williams’ (1994) and Pour Sacha (1991), dition of European parlor music music, the score is filled with Star Wars and Superman, and also which utilizes the same Jewish complete with accordion, clarinet, more of the kind of wonderful Barry’s Starcrash and The Black hymn found in Schindler’s List. piano and string quartet. It pro- romantic interludes that fill this Hole. It’s generic music for early Varèse has chosen to highlight vides a nice contrast to the previ- album so well. ’80s lasers and spaceships, and to the TV score—probably to their ous main theme and the following At almost 75 minutes of music, judge it against more contempo- detriment, since the cover of the “Mesmerized,” which restates the this must be one of the longer rary work would be inappropriate. album would have one believe main theme. Since each of the Varèse CDs in the catalog. As a product of its time, it fits the that the disc is going to empha- nine cues from this score is musi- Individually, these scores proba- film perfectly, cranking up the size comedy scoring. This is cally substantial regardless of what bly wouldn’t have been much to volume through “Cowboy’s unfortunate, first because few you know of the film, this is an wink at (though they deserve bet- sAttack” and “Destruction of people will recall either of the opportunity for pure listening joy. ter), but assembled in this com- Hammerhead.” The brassy main other two films whose scores are As the tracks progress, the strong pilation, they showcase a great anthem is also highly infectious, included. And Sister Mary main theme recurs in wonderful film composer. Do yourself a poaching from Bernstein’s The Explains It All is anything but a variations. This score alone is favor and pick up this wonderful Magnificent Seven as frequently as comedy score. However, those worth the price of the disc, espe- Sarde album. The idea of includ- it lifts notes from the Goldsmith willing to take a chance on this cially for Sarde fans. ing an older, short score with a stable. In essence, it’s just a prac- will find much to admire. The Project (1986, 6 brand new one by the same com- tice run for The Wrath of Khan— Sister Mary Explains It All (2001, tracks - 18:16) stars John Lithgow poser is a great idea that is, hope- but what a rehearsal! 9 tracks - 29:31) is a Showtime and focuses on a boy who acci- fully (however unlikely it may Humanoids From the Deep is a movie adapted by Christopher dentally makes an atomic bomb. be), the beginning of a trend for different kettle of fish, alternating Durang from his popular one-act This score begins with something Varèse. —S. A. K. between atonal and gentle strings.

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SCORES of SCORES Compilations & Concert Works

Battle is bombastic, while techno classicism of Craig But, for people who know and films being shown, as well as a Humanoids features the low-key Armstrong’s Plunkett and enjoy Glass’ style, the play was compilation of some of Glass’ approach that Horner would Macleane) and will certainly alien- hysterically funny because it hit so other scores. There are only three develop further in Wolfen and The ate the purists who are looking for close to the mark. new or unreleased recordings: the Hand. By setting its sights lower, a traditional score à la Newton As a classical composer, Glass is new scores for the Egoyan and Humanoids is a more accom- Howard’s Purcell-themed probably the most widely recog- Greenaway shorts, along with an plished score, but by the same Restoration. In addition to the nized figure for the minimalist older Reggio short called Evidence. token is less interesting than the Glass and Nyman comparisons, avant-garde, collaborating with The discs for Koyaanisqatsi, disc’s pulpy companion piece. there’s a sense of mid-’70s such auteur opera directors as Powaqqatsi and Dracula are iden- Originally released individually Morricone or even Preisner (La Peter Sellers and Robert Wilson. tical to their previous releases, on vinyl by Rhino and Cerberus, Double Vie de Veronique). But Since they’re very much about the while the La Belle et La Bête disc this is the first time that the scores while all this might suggest a marriage of abstract visuals with contains music culled from the have appeared as legitimate CD mixed bag of styles, the disc holds repetitive musical motifs, Glass’ earlier two-disc release. releases. The murky, overpriced together as a coherent whole. opera and theater pieces of the Koyaanisqatsi is by far the most bootleg discs can now be sent to The soundtrack is basically a set ’70s and ’80s will no doubt be accomplished and musically the trash, for as a single release of variations on two main motifs. debated on their merit and pleasing disc of the package. the disc represents excellent value The first theme is introduced artistry. When I went to see a When I was young, I watched for money. However, and this is a briefly in “The Guards Arrive” as a revival of his Einstein on the Koyaanisqatsi on PBS late one minor caveat, don’t expect crystal heraldic fanfare on brass and is Beach, watching a florescent light night, and two members of my clarity across the entire 76 min- developed further in “Melissa’s bulb slowly stand upright for family got out of bed to tell me to utes. Perhaps in anticipation of Castle.” It then weaves its way about 10 minutes, I said to my turn down the infuriating music. mumblings from disgruntled fans, through the remaining tracks, friend, he’s either very talented or Without the images, the music to the label does include a warning either as a full orchestral piece or he’s laughing all the way to his Godfrey Reggio’s 1983 film could on the packaging that “certain regressed into a chamber arrange- “genius” grants. sound repetitive and grating, but limitations from these sources ment. The second theme makes I’ve never had that feeling with with the images (and this movie is may be evident.” its entrance in “The Village,” albeit Philip Glass the film composer. As ALL images) the music comes Most buyers will forgive the as an ethnic folksy variant, and is with his theater works, he has alive, becomes part of the cine- acoustic shortcomings and accept fully expanded in “Eleonora’s always collaborated with interest- matic landscape and, through the this as good a release as we’re ever Portrait (Love Theme)” and ing, image-driven auteurs. From time-lapse camera of Reggio’s likely to get, while others will take “Eleonora’s Despair.” It makes its Godfrey Reggio to Paul Schraeder vision, invites you to re-evaluate great issue with the imperfect presence known again in “The to Martin Scorsese, Glass has the strange world in which we live. sound. Regardless, this two-in- Delivery” and “Requiem in G scored films that somehow mirror For many people, Koyaanisqatsi one disc is a worthy addition to Minor” before evolving into the his eclectic style. Starting with was an introduction to Glass’ your collection. Give yourself full inevitable finale vocal track by Koyaanisqatsi and continuing all music, and there was no middle marks for spotting the genesis of Antonella Neri, “Love Was Fatal to the way up to his most recent ground on the opinion of the Krull and Willow (or even Me,” which is sung in English. Not score, Kundun, Glass has held on score. Time has been good to this Sneakers) and just dwell in the as bad as you might fear, this coda to the integrity of his art, while score—it now seems quaint and nostalgic sound of big-screen fan- boasts bizarre lyrics, no doubt a providing some of the most inter- innocent when filtered through tasy at the turn of the ’80s. —N.J. result of the Italian to English esting music written for film. most 21st-century ears. translation. (Note: The liner notes In honor of this achievement, I was never a big fan of Il Conte di Melissa and track listing are all in Italian. the Philip Glass Ensemble has Koyaanisqatsi’s sequel, (The Count of Melissa) For ease of understanding, I’ve embarked on a cross-country tour Powaqqatsi (1988), which seems MARCO WERBA crudely translated the track titles of “Philip on Film.” Commencing to have less thematic consis- Hexacord HCD-05 in this review.) —N.J. at a huge Philip Glass retrospec- tency than its predecessor. The 27 tracks - 62:05 minutes tive at the Summer 2001 Lincoln first cue, “Serra Pelada,” sounds 1 ritten to support M. Philip on Film /2 Center Festival, this concert tour like a marching band on speed. WAnanaia’s period tale of PHILIP GLASS has the ensemble playing the The disc does include a cue high tragedy and romance in Italy, Nonesuch - 79660-2 music live during screenings of newer film music fans will rec- Marco Werba’s Il Conte di Melissa Disc One (Koyaanisqatsi): 8 tracks - 73:19 Koyaanisqatsi, Powaqqatsi, ognize (“Anthem: Part 2”), which score is a fine example of hybrid Disc Two (Powaqqatsi): 18 tracks - 73:38 Dracula, La Belle et la Bête and was used to great effect in The composition—a mixture of tradi- Disc Three (Dracula): 26 tracks - 66:49 several short films, commissioned Truman Show. tional 17th-century sounds and Disc Four (La Belle et la Bête): by Glass, that explore the “poetic La Belle et la Bête will be a hard contemporary minimalist bass 20 tracks - 70:53 combination of sound and disc to get through for people who tones. For while the delicate Disc Five (various scores): 17 tracks - 76:18 images.” These shorts were have not seen the movie since it’s plucks of the harpsichord and n David Ives’ one-act play, directed by Atom Egoyan, Shirin more of an opera than a film score harp take us back to a historical IPhilip Glass Buys a Loaf of Neshat, Michal Rovner and Peter (though it is usually only per- Europe, the presence of modern Bread, people in a bakery intone Greenaway. formed in front of the original Glass-esque riffs pulls the listener Glass’ signature repetitive style as In conjunction with these con- 1946 Jean Cocteau movie). back to the present. This is by no they’re ordering bread. For those certs, Nonesuch Records has Dracula, on the other hand, is the means a unique approach (wit- in the audience who didn’t know released a limited edition five-CD most accessible of the scores rep- ness Michael Nyman’s The the composer’s music, the short companion box set that includes a resented here, especially when Draughtsman’s Contract or the play was likely a curiosity at best. majority of the soundtracks of the played with the film. The idea of

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1 taking an old warhorse like the The Director’s Cut /2 have been covered by groups in The Very Best of 1931 Dracula (starring Bela FANTOMAS the rock/pop world before. But Michael Nyman Lugosi) and adding a contempo- Ipecac IPC 17 • 16 tracks - 38:55 how many people would cover Film Music 1980–2001 rary score was a risky one—the s film score aficionados, music from Herrmann’s Cape MICHAEL NYMAN result could have easily been jar- Amany of us pride ourselves Fear, ’s Night of Virgin CDVED957 ring and distracting, and some on our listening to music that’s the Hunter, Morricone’s Disc One: 19 tracks - 75:39 people find it to be just that. But beyond the diet of rock and pop Investigation of a Citizen Above Disc Two: 20 tracks - 74:51 Glass is true to the source mate- pervading everyday life. In some Suspicion and James Bernard’s (U.S./Canada release February 2002) rial, and the result is fascinating. instances, the mere inclusion of The Devil Rides Out? Clearly, these “ est of” compilations are The performance by Glass special- songs on score albums have set are some serious soundtrack Busually a cynical excuse to ists the Kronos Quartet is beauti- off months of heated debate on geeks at work here. repackage old material in a shiny fully captured on this disc. internet message boards. Die-hard score fans who believe new case—great for the uniniti- The fifth and final disc includes Therefore, the appearance of The that film scores should only be ated who want a broad introduc- many of Glass’ finest achieve- Director’s Cut in the pages of heard orchestrally will cry sacri- tion to an established talent, but ments for film, including the FSM is probably the equivalent lege at the very thought of this of no interest to the fans who beautifully executed finale for of waving a red flag in front of a album—and at hearing versions already have the tracks nestling Kundun, the tense opening of maddened bull and presenting of Herrmann and Goldsmith that elsewhere in their collections. So, Mishima and the end credits for your posterior as a target. one can thrash to. But if they’d kudos to Virgin for releasing this The Thin Blue Line, which, unfor- Imagine listening to a well- give this stuff a listen, it’d likely long-overdue two-disc set that not tunately, still includes the sound loved movie theme—say, Nino become a guilty pleasure. Those only contains crowd pleasers like effects. One might feel a little Rota’s The Godfather—starting off who can handle a broad range of The Piano and Wonderland, but overwhelmed when faced with a with a quiet arrangement for har- music and who have a good sense previously unreleased music or five-disc boxed set from such an monica, which then collides with of humor will love this album. If variants on available work. esoteric composer. But given time, a thrash-metal guitar rendition, you’re willing to take the plunge Newcomers get a comprehensive Glass’ music will slowly make accompanied by vocal “wah- into the mosh pit, you can find introduction to Nyman’s experi- sense to film score fans who are hoos” and a jackhammer drum The Director’s Cut at mental world, and the fans get to used to action-driven as opposed beat. That’s the first cut on this www.ipecac.com. fill in the gaps in their already to image-driven scores. album, which is put together by a —Robert Hubbard exhaustive collections. Incidentally, according to the group of musicians mainly known Instead of waxing lyrical on the Nonesuch, this box set will only be in the rock world—Mike Patton structure/merits of Nyman’s work available while “Philip on Film” is (Mr. Bungle, Faith No More), Buzz (previous FSM reviews have tack- on tour, so get it while you can. Osborne (The Melvins), Dave led this in detail), I’ll concentrate —C.W. Lombardo (Slayer) and Trevor on the lost treasures that are Dunn (Mr. Bungle)—and which finally available to the populace. Three Friends essentially is a selection of movie On the down side, the track list- The Music of Ian Krouse & Bruce themes presented in a much dif- ings don’t indicate what film the Broughton, The Debussy Trio ferent form than you’re used to music is from, thus making it diffi- BRUCE BROUGHTON, VARIOUS hearing them. cult for borderline fans to deter- RCM 12003 • 13 tracks - 55:03 It sounds like a dubious con- mine what they’re buying. This is his disc features the world cept that could easily be a major partially remedied by a sticker T premiere recording of sonic disaster (like the disco ver- revealing that the set contains Bruce Broughton’s 1999 non- sion of Star Wars) in the wrong “music from The Piano, Gattaca soundtrack suite Tyvek Wood. hands. In this instance, that’s not and Wonderland.” Clocking in at 18:41, the three- the case. For one, the arrange- Arguably, a greater selling point movement work leaps straight ments by Patton (who, along is the inclusion of Practical Magic, into “Fast, with energy,” an ini- with Dunn, has worked with which was replaced in the movie tially frantic journey up and John Zorn, himself no stranger at the eleventh hour by Alan down the scales by harpist to tweaked out versions of film Silvestri’s score. Nyman was fea- Marcia Dickstein, violist David music themes) are respectful to tured on the first pressing of the Walther and flautist Angela the works chosen and show a lot predominantly “songs from” disc, Wiegand. “Reflectively expres- of humor and cleverness. but this was hastily withdrawn sive; dreamlike” and “Quick and Second, the selections them- and re-released with Silvestri’s determined” live up to their selves are intriguing: in addition tracks. Until now, the original ver- descriptions, and the trio tackles to Rota’s “Godfather Theme” there sion of the disc was a Holy Grail the Silverado composer’s mate- are works by Henry Mancini for Nyman collectors, so it’s a rial with gusto and aplomb. (Experiment in Terror and pleasure to hear the enchanting Recommended for FSM readers, Charade), Jerry Goldsmith (“Ave “Convening the Coven” on a with reservations only because Satani” from The Omen), Harry mainstream release. it’s light years away from the Lubin (“Fear” from One Step As well as containing the pre- likes of Broughton’s Lost in Beyond), Ronald Stein (Spider miere release of new recordings Space. But it’s a revelation for Baby), Angelo Badalamenti (Twin from Monsieur Hire and Nelly’s serious music fans who thought Peaks—Fire Walk With Me) and Version, there are new recordings the composer’s range was lim- Christopher Komeda (Rosemary’s from The Hairdresser’s Husband ited to biblical TV movies or wild Baby) among others. Some of and Carrington, plus a previously westerns. —N.J. these, like Mancini and Lubin, (continued on page 48)

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SCORES of SCORES Universal France by Lukas Kendall

eave it to foreign markets Pierrot le Fou, starring Jean- tential angst. Le Mépris to kick off an eight-film, to mine the great record Paul Belmondo and Godard’s I’m afraid this review is short- eight-year (1962–1970)—with L catalogs of film sound- then-wife Anna Karina, is one of changing a brief but very impor- eight directors—survey of his tracks. While home offices of U.S. his most sublime achievements: tant collaboration (one could most influential work for the nou- labels have regarded film music as part gangster film, part love probably spend a semester on it). velle vague. too small potatoes to bother reis- tragedy, and all nuts. It’s hard to Suffice it to say it is a rewarding Delerue (1925–1992) was a suing, European or Japanese explain, but it goes from a pro- CD, well packaged with new com- supremely gifted composer who, branches often come to the res- found dramatic scene to a car ments by Duhamel. like John Barry and Ennio cue: RCA in Spain; Warner Bros. in commercial to a musical number, Also released by Universal is a Morricone, seemed to have an Japan, Germany and France; and with loud primary colors and a solid overview of Duhamel’s film extra special knack for film com- now Universal in France. zillion quirks. Week-end is an even work, Le Cinéma d’Antoine position. He was a wonderful Under producer Stéphane more accomplished film; a leftist Duhamel. Eleven films are repre- melodist who instinctively main- Lerouge, the French division of rant against consumer culture, it sented from 1963 to the present: tained a simplicity of line and Universal has released over a is about a trip to the country Pierrot le Fou (1965), La Voleur de form so as not to clutter the dozen titles, smartly packaged in which goes horribly wrong. If you Tibidabo (1964), L’Affaire drama but instead evoke its most cardboard cases (but not the want to read more, a countless Marcorelle (2000), Week-end pertinent emotions. As an orches- cardboard cases that ding the sec- number of impenetrable aca- (1967), Belphégor (1965), trator, too, he favored exquisite ond you touch them) with snazzy demic essays have been written Méditerranée (1963), Roger la solos for woodwinds over delicate photos and well-proofed liner on the director. Have fun! Honte (1968), Domicile Conjugal backings for strings—rarely a note notes in French and English. Godard’s use of music is a little (1970), Cinq Gars pour Singapour colored too heavily. Like The French pioneered the easier to explain since it has been (1968), Le Corps de Diane (1969) Morricone, Jarre and Barry—but auteur theory, so it is fitting that practiced by other filmmakers, and Ridicule (1996). It is a strange not many others—he started out these CD packages trumpet the although rarely with Godard’s and strained listening experience in his native cinema and eventu- film’s directors as well as com- skill. He would typically engage a because the styles are so diverse: ally scored dozens of Hollywood posers. While the titles are French, composer to write “raw material” there’s classical thunder, a num- films over a long and fruitful many CDs feature composers or which he would slice and dice ber of jazzy pop songs (in French), career; he was that good. And scores which have reached throughout the film; unlike, say, sleazy and pulsating big band finally, like Morricone, he often American—and worldwide—audi- Peter Hyams wrecking David scoring, whimsical detachment, drew from earlier musical forms, ences. Think the top names of Shire’s 2010 score, Godard prefers atonality (“Petit Concert like those from the Baroque and French film music: Jarre, Delerue, fragmenting his films’ music as Conjugal” from Truffaut’s Renaissance periods, to update Duhamel, Sarde and more. part of his global “serialization” of Domicile Conjugal), airy experi- contemporary genres. film components. mentation (the haunting “Kyoto” Le Mépris (“Contempt”), Pierrot le Fou/Week-end For Pierrot le Fou, Godard from the same film), and the ele- Delerue’s lone score for Jean-Luc (1965/1967) asked Duhamel to write music in giac string writing from the Godard, accompanies a justly ANTOINE DUHAMEL the style of Schumann, and the Godard pictures. From the per- famous picture about the film Universal Music Jazz France 013 478-2 composer provided four darkly spective of an American outsider, industry, starring Brigitte Bardot. 16 tracks - 63:54 hued pieces primarily for strings. it’s an impressive anthology of a It is a signature work that has Le Cinéma d’Antoine Duhamel Royal S. Brown analyzed the score major composer, even if this col- found an afterlife in pictures such 1 /2 in depth in his book Overtones lection only hints at conflicting as Casino, with a somber, classi- Universal Music Jazz France 159 649-2 and Undertones (on sale through facets of a musical personality. cally influenced melody over gen- 22 tracks - 67:29 FSM), where he refers to the The liner notes, featuring tle string arpeggiations—you’ll CD of Antoine Duhamel’s themes simply by number, one Duhamel’s commentary on the recognize it. A classic score, Amusic to two classic Jean- through four. Here they are called selections, indicate that complete despite being only six tracks long. Luc Godard films, Pierrot le Fou “Ferdinand,” “Pierrot,” “Sans releases will be forthcoming from The rest of this CD is filled out and Week-end, requires some Lendemain” and “La Mort Bleue” the respective films. by selections from: L’Aîné des explanation of Godard...which (the film’s main title) and are pre- Ferchaux (1962, with its gently 1 isn’t easy. Godard is a seminal fig- sented in complete form (in the Le Mépris (1963) /2 “Americana” main theme), La ure in the ‘60s nouvelle vague and film they are cut every which Peau Douce (1964, directed by in film history overall: an eccen- way). Also included are three Universal Music Jazz France 013 477-2 Truffaut), Cent-Mille Dollars au tric iconoclast who shattered cin- songs performed by Anna Karina 28 tracks - 70:22 Soleil (1963, with an almost ematic rules of filming, editing and a short pop piece called here have been several com- Herrmann-esque opening break- and scoring and stitched them “Twist pour Jean-Luc.” Tpilations of the music of the ing into a triumphant march), back together with his own Duhamel provided similar late Georges Delerue, among L’Insoumis (1964), Cartouche bizarre stylization. Starting with chamber-styled music for Week- them three volumes from Varèse (1962, an “action” score for the the original Breathless (1960), he end—haunting and predomi- Sarabande (the “London French Robin Hood—Delerue went through an incredible run of nantly minor mode. Seven tracks Sessions”), a re-recording by doing Korngold), Heureux qui popular hits, which polarized crit- are presented here, all instrumen- Nonesuch and an outstanding Comme Ulysse (1969), and ics while attracting mainstream tal, but more diverse than Pierrot, two-CD set of original tracks on Compte à Rebours (1970). audiences. He is still around stretching from the 8:34 the Odeon label from 1998 (“30 The CD flows together much today, although his work since “Lamento” to the comic “Footit et Years of Music for Film”). This more gracefully than the 1970 or so has been erratic and Chocolat.” It’s classic ’60s French new collection utilizes Delerue’s Duhamel compilations, largely marginalized. film music with a sense of exis- complete 14-minute score from due to Delerue’s more consistent

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style and approach. I don’t know ing: the presence of the late Peter Raymond Scott/Leroy Holmes ’50s how useful this will be for those Knight as orchestrator/conductor kitsch); spacey (with siren-like syn- already familiar with the repre- on Le Choix des Armes but not thesizer effects); Scottish (for the sented scores, but I found it a Fort Saganne. Knight was a gifted third film in the series); or blends of wonderful CD. arranger, particularly of strings, all of the above. who did the orchestral backings Because the original sound- Le Choix des Armes/ for the Moody Blues and orches- track to the first film has been Fort Saganne (1981/1984) trated a number of scores from lost, it is represented here in new this period for Sarde (Tess, Quest recordings conducted by PHILIPPE SARDE for Fire, Ghost Story) and Trevor Raymond Alessandrini. There’s Universal Music Jazz France 014 115-2 Jones (The Dark Crystal, Nate and even a bonus track “remix” by 22 tracks - 67:55 Hayes). Le Choix des Armes has Nicolas Errèra. Fantomas fans, his exquisite Philippe Sarde similarities to those scores in the your ship has come in. TCD combines two of his size and warmth of the strings and scores for director Alain Corneau: woodwinds: a wonderful, fluttery, L’Homme Orchestre (1970) Le Choix des Armes, starring Yves impressionistic sound. Fort Montand and Gerard Depardieu Saganne is fine, too, but it’s like FRANÇOIS DE ROUBAIX as rival gangsters, and Fort the difference between setting Universal Music Jazz France 013 473-2 Saganne, starring Depardieu as a your computer to 16 colors, rather 22 tracks - 45:16 French officer in the Sahara before than millions. Having a Knight- Boulevard du Rhum (1971) World War I. Sarde is a fine com- orchestrated Sarde score on this poser who often writes with spe- CD followed by a non-Knight one FRANÇOIS DE ROUBAIX cific classical models in mind— offers an interesting contrast in Universal Music Jazz France 013 474-2 sometimes getting too close for the space and depth the late moments, and pounding, odd- 18 tracks - 41:54 comfort (such as the use of musician contributed. metered action set pieces. rançois de Roubaix Stravinsky in Lord of the Flies). All Jarre may be a “harmonic per- F(1939–1975) drowned at the composers have used models Red Sun (1971) vert” as he kids in the new notes— age of 36, but managed a lively from time to time, such as James MAURICE JARRE which also feature a candid opin- career from around 1965 until his Horner with Prokofiev and Universal Music Jazz France 014 114-2 ion of the film and of the death. Universal has released two Shostakovich, Jerry Goldsmith 12 tracks - 31:49 director—but it takes a special expanded editions of his scores; with Vaughan Williams (Star Trek: ne of my favorite wacko kind of perversion to make a lark both are uneven listening experi- The Motion Picture), John Oscores is given its first stereo like Red Sun memorable 30 years ences due to the varying styles Williams with Hanson (E.T.), and CD treatment: Red Sun by later. In another 30 years, I’ll still and interpolated songs, but fea- with Lutoslawski. Maurice Jarre, for a bizarre 1971 have the theme for Red Sun stuck ture a knack for melodies and a However, with Sarde, it seems to western. Let’s see, it stars an in my head; I doubt I’ll remember certain, dare I say, joie de vivre. happen an awful lot that he writes American action hero, Charles the score to American Outlaws. L’Homme Orchestre is a French an impressive score, and then Bronson paired as a “buddy” with comedy and apparently a musical, 1 someone says it’s just some a Japanese cinema legend, Toshiro Fantomas (1964–1966) /2 too, starring Louis and Olivier de famous classical piece. Mifune (as a Samurai, no less), MICHEL MAGNE Funès. De Roubaix’s music is an In the case of Le Choix des against a Frenchman, , Universal Music Jazz France 013 476-2 outlandish collection of French Armes, Sarde has furthered the as the heavy...is directed by an 27 tracks - 61:36 pop and symphonic overtures, source composer (Ravel) with an Englishman, (who antomas was a trilogy of films particularly the annoying and innovation that does validate the helmed several of the early Bond Ffrom 1964 to 1966 that I can catchy “Piti Piti Pas.” The liner usage: He has taken two American films)...takes place in the only assume was like the French notes by director Serge Korber bassists, Ron Carter and Buster American West but was made by a Danger: Diabolik, starring Jean reveal some interesting tricks the Williams, and written wonderful French-Italian-Spanish consor- Marais as a green-masked super composer used, like recording a jazz parts to blend with the other- tium, à la the spaghetti west- criminal terrorizing the European trombone at half-speed and play- wise symphonic performance by erns...and was scored in Rome by authorities. Michel Magne ing it back to sound like a trumpet the London Symphony Orchestra. a Frenchman, Maurice Jarre. The (1930–1984) scored the three playing otherwise impossible pas- It’s a wonderful mutation of high- result is a terrific, tuneful and films: Fantomas, Fantomas se sages. The CD includes seven minded jazz meeting early-20th- eccentric western score featuring Déchaîne and Fantomas Contre tracks of outtakes of varying century impressionism—like Japanese and American elements Scotland Yard, as well as a 1976 sound quality in addition to the France’s version of Gershwin. Fort blended in Jarre’s inimitable style. television series. Universal’s CD is main program, which sounds Saganne, by contrast, is more tra- I love all of Jarre’s western a splendid compilation of Magne’s pretty good. ditional, but still highly polished. scores—The Professionals,Villa music to the ’60s films, although Boulevard du Rhum (“Rum In his liner notes, director Rides, El Condor—but Red Sun has it’s an awkward listen for those Runners”) stars Lino Ventura as a Corneau mentions that he tracked a special lunacy due to the unfamiliar with the series. Many booze smuggler in the Caribbean the film with Saint-Saëns’ Japanese influence. In the liner tracks are fantastic, swingin’ Bond during Prohibition who becomes Symphony With Organ, and that notes, Jarre says he tried to craft a homages with a French twist (that infatuated with a silent film star, may be what the final score type of “imaginary folklore, like kind of extra ornamentation with played by legendary sex symbol resembles, although solo cello is Bartók did: , strings), nobly furthering the John Brigitte Bardot. De Roubaix’s what carries Sarde’s work, not accordion, koto and dulcimer, all Barry action/spy tradition. Others music is an engaging collection of organ. It is a rich, solemn score, of it mixed with orchestra.” He are lushly romantic; chilling and folksy set pieces, often spotlight- meditative and calm. succeeded, with a joyful, lyrical ghoulish (with extended organ ing banjo and harmonica, but One other thing bears mention- main theme, softer, introspective solos); broadly comic (à la (continued on page 48)

FILM SCORE MONTHLY 33 DECEMBER 2001 v6n10 1-48 1/2/02 5:47 PM Page 34

POCKET REVIEWS Who did it? What is it? To buy or not to buy?

Classic Yo-Yo A classical-to-pop crossover phenomenon, Yo-Yo There is one particular reason why this CD should be in most film Ma has recorded over 50 albums. So Sony Classical score fans’ collections: Yo-Yo Ma has recorded John Williams’ has finally decided to release a greatest hits CD resplendent “American Collection Theme” from the PBS series VARIOUS (suffice it to say, it is not very comprehensive). Still, Masterpiece Theater. Boasting a gorgeous, slow-moving theme for Sony Classical for the casual fan, this CD is a nice orchestra and cello, the piece captures the American spirit without SK 89667 introduction with a fair sampling of musical styles resorting to the usual Copland-esque gestures. Ma’s performance 16 tracks - 69:30 to highlight Ma’s virtuoso playing. For film music is equally subtle and sublime. Not without humor, Williams has fans, Ma’s cello performances graced such scores slyly inserted a quote of Masterpiece Theater’s older, more recog- as The Tango Lesson and Seven Years in Tibet. nizable main theme music, Mouret’s Roudeau (from Stes de Only one film score made it to this collection: Tan Symphonies: Premiere Ste, Fanfares). FYI: there’s a nice rendition Dun’s beautiful, Oscar-winning score to Crouching of the full Mouret piece by Wynton Marsalis available on another Tiger, Hidden Dragon. Sony Classical CD entitled, appropriately enough, Classic Wynton. —Cary Wong O Director Tim Blake Nelson is not one to shy away Jeff has collaborated on many projects with his brother, so it’s not from bleak and controversial subject matters: O, his surprising that a lot of the music in O is reminiscent of Mychael’s 1 /2 adaptation of Shakespeare’s Othello to a modern slower, moodier scores. This is a high compliment since Jeff resis- JEFF DANNA high school basketball setting (the film was delayed ted scoring the movie with the flashy pyrotechnics of many sports Varèse Sarabande because of the increasing frequency of violent inci- and teen movies. The gorgeous opening track, “Hawk,” sets the 302 066 244 2 dents in American high schools). Though most of his tone nicely, using full strings to create an almost Gorecki-like sad- work has been for TV, Jeff Danna started a filmic col- ness. It highlights the building tension underneath all the charac- 15 tracks - 43:19 laboration with Nelson with O, and continues it with ters in a non-intrusive way, as in the foreboding “A Devilish Plan.” the upcoming film The Grey Zone, an even bleaker Overall a pleasant surprise from a rising composer. —C.W. topic concerning Jews during the Holocaust. Hopefully, Danna will soon graduate to more theatri- cal movies like his brother Mychael did (The Ice Storm, Hearts in Atlantis). Evolution John Powell is a member of the Media Ventures The album provides an extremely disjointed listen because Powell 1 school of overemphasis, oversimplification and fails to establish a consistent style, save for some mysterious /2 overamplification. Media Ventures scores tend to interludes. When the music attempts to be heroic, the effect is JOHN POWELL sound very much like the humming of small chil- merely a silly version of the Iron Chef theme (i.e., Backdraft or Varèse Sarabande dren as they play—only expanded for full orchestra. Crimson Tide or The Rock or Gladiator or whatever). The climactic 302 066 256 Evolution does nothing to change that philosophy. action cues, such as “Animal Attack” and “Dino Valley,” are a 23 tracks - 40:17 Cues are often trying too hard to be funny, and horrific cobbling together of all the dull elements that have music that tries to be funny rarely is. comprised the score to that point. Promise is shown in the engaging “Selenium,” but it appears too late on the album to establish much. Running at 40 minutes and change, the album feels like it’s a a lot longer. —Josh Gizelt

Hedwig and the John wrote, starred in and Stephen Trask has written some catchy rock songs for Hedwig, jug- Angry Inch directed this movie version of his hit off-Broadway gling many musical styles with ease. My main problem is with the STEPHEN TRASK show. Mitchell stars as Hedwig, an East German lyrics, which are way too specific to Hedwig’s unique problems to Hybrid HY 20024 rock star who undergoes a sex-change operation to have a pop life outside the movie. There are a few exceptions, 14 tracks - 54:50 marry an American G.I. and come to America, only including the poppy “Origin of Love” and the enjoyable “Wig in the to have it botched as she watches the Berlin Wall Box,” which accompanies the best sequence in the movie. Many of fall. Hedwig spends the bulk of the movie trailing the other songs, including the not-too-subtle “Angry Inch” (named her ex-boyfriend, who has stolen her songs and for Hedwig’s mangled manhood), are less successful. The CD, which become a glam sensation. The movie’s a one-trick highlights the fact that the songs are more concert than movie pony, and depending how much you can stand musical, is faultlessly produced. —C.W. Hedwig (think Tonya Harding channeling the spirit of Ziggy Stardust and Sandra Bernhard), you will either love or hate it. This has midnight cult movie written all over it. The Fox Go figure: Lalo Schifrin re-records his seminal It’s a tough sell for casual fans compared to the cheaper—and 1 score to The Fox for his Aleph Records (presum- longer (60:45 vs. 32:14)—re-recording. The OST’s running time /2 ably as an alternative to licensing the OST), then feels even shorter considering that the B-side of the LP had two LALO SCHIFRIN (1968) the original appears on a CD from Warner Music vocals (the splendid main theme and also the cheery and hence Warner Music France France, who simultaneously releases a European mood-interrupting “Roll It Over”) and the “Renaissance rock”- 9362-47880-2 edition of the (much longer) re-recording. This styled “Foxtail”; hence, the listening experience of the CD strays at 13 tracks - 32:14 score is a jewel for a chamber orchestra with the halfway point. Still, the original performance has a clarity that evocative flute solos, a lovely main theme and gen- is not quite achieved in the re-recording. My collection, at least, tle, almost Renaissance textures for woodwinds has room for two CDs of The Fox. —Lukas Kendall and harp. Composed amidst Schifrin’s greatest urban action thrillers, it could not be further from that genre, but it possesses the best of his pro- gressive sensitivity. The all-time best score for a lesbian love story interrupted by a star of 2001: A Space Odyssey in wintry Canada.

DECEMBER 2001 34 FILM SCORE MONTHLY v6n10 1-48 1/2/02 5:47 PM Page 35

WhoWho did did it? it? What What is isit? it? To buy or not Toto buybuy? or not to buy?

The Godfather Conductor Paul Bateman and the City of Prague The Godfather, Part II receives the least amount of attention on Orchestra present strong and respectful record- the trilogy album. This is odd, considering that this score won an Trilogy ings in crisp sound quality that span a wealth of Academy Award. assumed scoring duties from , material from the three Godfather films, including the late Nino Rota for The Godfather, Part III, and arranged many CARMINE COPPOLA, music not heard on the original soundtrack of Rota’s themes from parts I and II into his original contributions, PIETRO MASCAGNI releases. Some of the new interpretations are most notably his memorable “Love Theme From The Godfather, Silva Screen SSD 1121 fuller and richer in orchestration and performance Part III.” “The Immigrant/Love Theme from The Godfather, Part than the original recordings. III” includes Coppola’s theme, which transformed into the Oscar- 17 tracks - 52:02 nominated song “Promise Me You’ll Remember.” —Martin Dougherty

Anne Dudley Anne Dudley, former member of the ’80s alterna- Dudley’s music has never been easy to categorize. This CD has A Different Light tive band Art of Noise, is still one of the few female lovely moments, including an interesting remake of the Art of composers working today, albeit more for British Noise hit “Moments in Love” into an 11-minute piano/strings opus. movies. This CD is Dudley’s look back on her career A bigger hit in the U.K. than in the U.S., this version is the stand- ANNE DUDLEY as she reinterprets a lot of her music, some pretty out cut of the CD. As for her more recognizable film scores, Angel obscure, like her wotk for a Volvo commercial, and American History X is represented by two moody cuts, while The 7243 5 57158 2 1 music from upcoming projects (“Tabloid”). Crying Game opens the album on a somber note. Her big orches- 11 tracks - 50:01 tral score for the mini-series The 10th Kingdom is noticeably miss- ing—a shame as it could have added textural variety. This is still a nice treat for Dudley fans. —C.W.

Sound Virus Sneaking in to FSM by virtue of the composer’s The tracks from Mario Van Peebles’ movie Love Kills (“Cupid’s a work on ’ Love Island and Love Kills, Hitman” and “Ninja Ninja”) are disc highlights, with the latter fea- Nick Wood’s Sound Virus is a compilation of movie turing pounding Kodo drums. The two mixes of “Passion,” which NICK WOOD and advertisement works. Fitting neatly into ambi- combine African and Japanese percussion with wordless chanting, Milan MLJC 35931-2 ent chill-out mode, this is actually closer to are also worthy of repeated listening. Rich, pounding rhythms tum- 19 tracks - 54:26 Massive Attack or Leftfield than the composer’s ble over fluid grooves. Once you’re “in the mood,” the pulsing cos- stated influences, The Stranglers and Ramones. mopolitan bytes of cyber funk really sizzle—slap this in your player The tracks are taken from Japan-based Wood’s and treat its circuits to some aural sex. —Nick Joy back catalog of contemporary work, which employs all manner of diversions, from contempo- rary drum beats to hip-hop synths.

When Good Ghouls A hapless boy moves to the city of Walker Falls, in Not bad! Gordon provides exactly what one would expect for a which Halloween has been banned due to an unfor- made-for-TV children’s spook show, but not without style. Certain Go Bad 1/ 2 tunate incident (and subsequent curse) many years sequences are goofily reminiscent of Elfman’s bounding CHRISTOPHER GORDON before. The kid’s father used to run a chocolate fac- Beetlejuice, while others provide a mysterious, dreamlike quality Varèse Sarabande tory, which he’d planned to reopen in their new that perfectly captures Stine’s brand of light terror. A couple of 302 066 281 2 hometown. But, alas, no Halloween means no cues, “Spooktacular” and “Trick or Treat,” include variations on 17 tracks - 53:40 candy sales. It’s up to the lad and his recently Bach and Wagner (the cue listing kindly offers “apologies” to zombified Uncle Fred (Christopher Lloyd) to each). “A Pile of Pumpkins,” which accompanies the aforemen- appease the unruly ghosts of Halloween past and tioned Uncle Fred’s demise, moves deftly from a scary-movie motif save the (holi)day. Produced for the Fox Family (including snippets of the ) to more serious minor-keyed Channel, Ghouls is based upon a story by strings as the boy deals with the death of a beloved relative. Goosebumps author R.L. Stine. Probably not the sort of thing one would listen to repeatedly, but it’s good fun nevertheless —Chris Stavrakis

Bubble Boy First-time director Blair Hayes (a.k.a. Alan Buy it only if you either (a) loved the movie or (b) love John JOHN OTTMAN Smithee?) has created what can only be called a Ottman’s music. While a fan of Ottman’s music, I’m hard-pressed Farrelly Brothers rip-off—without any of the humor. to recommend this disc, despite fun moments. “The Girl Next Varèse Sarabande This truly tasteless comedy about a bubble boy’s Door” is a hysterical Twin Peaks dream sequence parody, and 302 066 283 2 cross-country trek to “get the girl” came and went “Cows and Ice Cream” is a goofy and trippy sitar track. Along the 22 tracks - 39:42 so fast that one wonders why anyone associated way, Ottman runs all over the map stylistically (even using Conti’s with it would want to leave behind any evidence of Rocky theme three decades too late), with only a tongue-in-cheek its existence. But for some reason (a slow month inspirational theme (with angelic voices) for the bubble boy recur- for releases?), there is an album of John Ottman’s ring in anything resembling a motif. The score does rise above the score. Also, seeing that three of the cues are actu- movie it supports, and that’s all Ottman can hope to salvage at ally Ottman’s synth demos of music that were this point. —C.W. rejected in favor of songs, this couldn’t have been the best experience for Ottman.

1 The Mole /2 Another reality-TV potboiler. According to their The composer wields an admittedly “heavy baton” here. Most cues DAVID MICHAEL FRANK brief liner statement, producers Scott Stone and suffer from intrusive prime-time twang—low strings and synth Varèse Sarabande David Stanley acquired the rights to the series, under soap-opera brass, distorted electric guitar providing the 302 066 287 2 already a smash hit in Belgium, for American pro- necessary element of intrigue, and Yanni-style stage percussion to duction. Belgian licensing practices had enabled keep things moving. There are a few decent cues, including “751 27 tracks - 75:24 the European producers to score their version of Sheep,” a Bernstein-ish comedic romp; “The Bullfight,” featuring the series with cues from numerous pre-existing flamenco guitar with synthesized koto ornamentation; and some film compositions (by composers such as Barry, adequate “espionage” pieces. Overall, though, Frank leans pretty Elfman and Herrmann); thus, Frank was asked to heavily on the “Remember, it’s a TV show!” button. —C.S. deliver a feature-quality score to compensate for the loss of the original show’s bold sound.

FILM SCORE MONTHLY 35 DECEMBER 2001 market n10 1/2/02 5:37 PM Page 36

WELCOME, FILM SCORE AFICIONADOS! 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.

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NEW RELEASE: Vol. 4, No. 17 Vol. 4, No. 13 Vol. 4, No. 20 Broken Lance The Bravados Farewell, My Lovely/ LEIGH HARLINE ALFRED NEWMAN & Monkey Shines Film released: 1954 HUGO FRIEDHOFER DAVID SHIRE Studio: 20th Century Fox Film released: 1958 Film released: 1975/88 Genre: Western Studio: 20th Century Fox Studio: MGM Golden Age Classics Genre: Western Genre: Film Noir/ CD released: Dec. 2001 Golden Age Classics Suspense Stereo • 38:41 CD released: Sept. 2001 Silver Age Classics Stereo (some bonus CD released: Jan. 2002 Disney’s workhorse tracks in mono) • 69:34 Stereo • 73:48 composer from the ‘30s Farewell, My Lovely (33:06) is symphonic jazz score for '70s (Pinocchio) provides a Two Hollywood legends collaborate for a rich, handsome west- noir classic; Monkey Shines (40:41) is leitmotivic suspense dark, rich Americana score to this adaptation of King Lear set ern score with a memorable, driving main theme (by Newman) score for George Romero monkey thriller. $19.95 in the American West. $19.95 and darkly brooding interior passages (by Friedhofer). $19.95

NEW RELEASE: Vol. 4, No. 16 Vol. 4, No. 12 Vol. 4, No. 19 The World of Morituri/ Demetrius and the Henry Orient Raid on Entebbe Gladiators ELMER BERNSTEIN JERRY GOLDSMITH/ FRANZ WAXMAN Piano Concerto by DAVID SHIRE Film released: 1954 Kenneth Lauber Films released: 1965/77 Studio: 20th Century Fox Film released: 1964 Studio: 20th Century Fox Genre: Biblical Epic Studio: Genre: WWII/Espionage Golden Age Classics Genre: Comedy/Drama (feature)/Docudrama (TV) CD released: Jan. 2002 Silver Age Classics Silver Age Classics Stereo • 61:51 CD released: Nov. 2001 CD released: Aug. 2001 Stereo • 40:32 Stereo (Morituri)/ Spectacular Waxman score for Biblical epic emphasizes Mono (Entebbe) • 57:50 romance, action and religion, interpolating themes from The Bernstein’s “second-best” score for children (after To Kill a Morituri (41:46) is a suspense/action score in Goldsmith’s per- Robe by Alfred Newman. Includes bonus tracks (11:06) and Mockingbird) sports fabulous sound from the legendary cussive ‘60s style; Raid on Entebbe (15:29) features suspense, remixed cue from The Egyptian (5:04). $19.95 Goldwyn scoring stage. Whimsical, melodic and magical. $19.95 pulsating action (“The Raid”), and Israeli song climax. $19.95

Vol. 4, No. 11 Vol. 4, No. 18 Vol. 4, No. 15 The Best of John Goldfarb, The View From Everything Please Come Home! Pompey’s Head/ ALFRED NEWMAN JOHNNY WILLIAMS Blue Denim Song by Newman & Film released: 1965 ELMER BERNSTEIN/ Sammy Cahn, Perf. by Studio: 20th Century Fox BERNARD HERRMANN Johnny Mathis Genre: Comedy Films released: 1955/1959 Film released: 1959 Silver Age Classics Studio: 20th Century Fox Studio: 20th Century Fox CD released: Dec. 2001 Genre: Drama Genre: Drama/Romance Stereo • 71:32 Golden Age Classics Golden Age Classics CD released: Nov. 2001 CD released: Aug. 2001 This wacky comedy Stereo • 75:15 Stereo • 71:14 starring Shirley MacLaine and Peter Ustinov is the earliest This nostalgic pair of films by writer/director Philip Dunne fea- Newman’s last score at Fox is a romantic gem; think New York feature film soundtrack by John Williams available on CD. ture romantic, intimate scores by Elmer Bernstein (lovely at twilight. CD features complete score (48:21) in stereo, some Johnny does Arab go-go music! $19.95 Americana) and Bernard Herrmann (“baby Vertigo”). $19.95 bonus tracks and some cues repeated in mono. $19.95

Vol. 4, No. 10 JOIN THE CLASSICS CHARTER CLUB Vol. 4, No. 14 Voyage to the Bottom Send us your name, address and credit card info, The Illustrated Man of the Sea and we will automatically send each CD upon JERRY GOLDSMITH PAUL SAWTELL release. You can return any disc for a full refund Film released: 1969 & BERT SHEFTER or credit within 30 days. Each CD costs $19.95 Studio: Warner Bros. Song by Russell Faith, plus shipping ($3 U.S./Canada, or $5 rest of world); Genre: Sci-fi/Anthology Perf. by Frankie Avalon no charges until shipping. Silver Age Classics Film released: 1961 CD released: Sept. 2001 Studio: 20th Century Fox Pre-order A Send me everything! Stereo • 42:02 Genre: Sci-fi/Irwin Allen Pre-order B Every Silver Age CD for $19.95. Silver Age Classics Pre-order C Every Golden Age CD for $19.95. The Illustrated Man is CD released: July 2001 To order multiple copies of CDs (up to six each), one of Jerry Goldsmith’s most haunting sci-fi creations, with Stereo • 55:55 write the number desired on the order form. airy beauty, solo female vocalise, early electronics, strange Thundering B-movie hysteria plus soothing, romantic undersea effects and an aggressive climax. $19.95 passages for the film that launched the hit TV show. $19.95

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Vol. 4, No. 9 Vol. 4, No. 4 Vol. 3, No. 9 Between Heaven Untamed The Stripper/ and Hell/ FRANZ WAXMAN Nick Quarry Soldier of Fortune Film released: 1955 JERRY GOLDSMITH HUGO FRIEDHOFER Studio: 20th Century Fox Film released: 1963/68 Films released: 1956/55 Genre: Historical Studio: 20th Century Fox Studio: 20th Century Fox Adventure Genre: Drama (feature)/ Genre: WWII/Adventure Golden Age Classics Action (TV) Golden Age Classics CD released: April 2001 Silver Age Classics CD released: July 2001 Stereo • 65:43 CD released: Jan. 2001 Stereo • 73:00 Stereo (Stripper)/Mono A superlative Hugo 19th century African (Nick Quarry) • 73:35 Friedhofer doubleheader: Between Heaven and Hell (complete: colonialist adventure starring Susan Hayward receives Early Goldsmith feature score (42:01, bonus tracks 21:06)—his 40:18) is a moody war thriller; Soldier of Fortune (surviving thrilling adventure score by Franz Waxman in first-rate first for Franklin Schaffner—is in romantic style. Nick tracks: 32:41) an exotic, melodic jewel. $19.95 sound. Wonderful main title, love theme. $19.95 Quarry (10:27) is a TV rarity—sounds like Flint music. $19.95

Vol. 4, No. 8 Vol. 4, No. 3 Vol. 3, No. 8 Room 222/ The Towering From the Terrace Ace Eli and Rodger Inferno ELMER BERNSTEIN of the Skies JOHN WILLIAMS Film released: 1960 JERRY GOLDSMITH Film released: 1974 Studio: 20th Century Fox Films released: 1969/73 Studio: Warner Bros. SORRY! Genre: Drama Studio: 20th Century Fox & 20th Century Fox Silver Age Classics Genre: Sitcom (TV)/ Genre: Disaster/ SOLD OUT!! CD released: Dec. 2000 Americana Comedy Irwin Allen Stereo • 71:27 (feature) Silver Age Classics Silver Age Classics CD released: Apr. 2001 /Joanne CD released: June 2001 Stereo • 75:31 Woodward soaper fea- Mono (Room 222)/Stereo & Mono (Ace Eli) • 71:37 Disaster masterpiece gets premiere CD release, doubled in tures tuneful, romantic score by Bernstein. Rich Americana Room 222 (12:15) comprises theme and two episode scores for popu- length from the LP. Fantastic main title, climactic action cue; music, sensitive romantic themes, haunting melancholy. $19.95 lar sitcom; Ace Eli (59:21) an obscure barnstorming movie. $19.95 plenty of moody suspense and romantic pop. Not Available.

Vol. 4, No. 7 Vol. 4, No. 2 Vol. 3, No. 7 A Man Called Peter How to Marry a Batman ALFRED NEWMAN Millionaire Film released: 1955 ALFRED NEWMAN & Theme by NEAL HEFTI Studio: 20th Century Fox CYRIL MOCKRIDGE Film released: 1966 Genre: Religious/ Film released: 1953 Studio: 20th Century Fox Biography Studio: 20th Century Fox Genre: Adventure/Camp Golden Age Classics Genre: Comedy/ Silver Age Classics CD released: June 2001 Romance CD released: Nov. 2000 Stereo • 58:14 Golden Age Classics Mono • 65:23 CD released: Mar. 2001 Biopic of Scottish Stereo • 70:03 Holy Bat-tracks! 1966 minister Peter Marshall receives rich, reverent, melodic score Famous Marilyn Monroe comedy features period songs adapt- feature produced at time of ‘60s TV show features Neal Hefti’s by Alfred Newman; CD features complete score including ed as instrumental underscore. “Street Scene” (5:36) conduct- theme, Nelson Riddle’s Bat-villain signatures, swingin’ under- source music. $19.95 ed by Alfred Newman opens the movie and CD. $19.95 scoring and larger action setpieces. $19.95

Vol. 4, No. 1 Vol. 4, No. 6 Conquest of.../ Vol. 3, No. 6 The French Battle for the Planet The Undefeated/ Connection/ of the Apes Hombre French Connection II TOM SCOTT/ HUGO MONTENEGRO/ DON ELLIS LEONARD ROSENMAN Films released: 1971/75 TV Theme by Film released: 1969/67 Studio: 20th Century Fox LALO SCHIFRIN Studio: 20th Century Fox Genre: Cop Thriller Film released: 1972/73 Genre: Western Silver Age Classics Studio: 20th Century Fox Silver Age Classics CD released: May 2001 Genre: Sci-fi/Fantasy CD released: Sept. 2000 Stereo & Mono (I)/ Silver Age Classics Stereo • 72:33 Stereo (II) • 75:01 CD released: Feb. 2001 Western doubleheader: Classic ‘70s cop thrillers get pulsating, dynamic, avant-garde Stereo & Mono (Conquest)/Stereo (Battle) • 74:44 The Undefeated (starring John Wayne, 47:33) is accessible and scores by jazz artist Don Ellis. First film (37:52) includes much Final Apes films get vintage scores by Scott (38:47, with several symphonic. Hombre (starring Paul Newman, 21:30) is moodier, unused music; sequel (37:09) somewhat more traditional. $19.95 unused cues) and Rosenman (34:43), plus TV theme (1:13). $19.95 sensitive—a quiet gem. $19.95

Vol. 4, No. 5 VOLUME 3 Vol. 3, No. 5 The Egyptian Vol. 3, No. 10 A Guide for the ALFRED NEWMAN & Beneath the Married Man BERNARD HERRMANN 12-Mile Reef JOHNNY WILLIAMS Film released: 1954 BERNARD HERRMANN Title Song Perf. by Studio: 20th Century Fox Film released: 1953 The Turtles Genre: Historical Epic Studio: 20th Century Fox Film released: 1967 Golden Age Classics Genre: Adventure Studio: 20th Century Fox CD released: May 2001 Golden Age Classics Genre: Comedy Stereo • 72:06 CD released: Feb. 2001 Silver Age Classics Stereo • 55:06 CD released: July 2000 At last: the classic Stereo • 73:10 Newman/Herrmann col- Fantastic Herrmann laboration for Fox’s historical epic. Original stereo tracks were undersea adventure score gets premiere release of original Vintage “Johnny” Williams score is his most elaborate for a believed to be lost or unusable, but this CD features every sur- stereo tracks, albeit with minor deterioration. Lots of harps, comedy, with long setpieces, groovy title theme, and orchestral viving note. $19.95 “underwater” color, seafaring melodies. $19.95 underscoring foreshadowing his dramatic works. $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 market n10 1/2/02 5:37 PM Page 38

Vol. 3, No. 4 Vol. 2, No. 8 Vol. 2, No. 3 Tora! Tora! Tora! Rio Conchos Prince Valiant JERRY GOLDSMITH JERRY GOLDSMITH FRANZ WAXMAN Film released: 1970 Film released: 1964 Film released: 1954 Studio: 20th Century Fox Studio: 20th Century Fox Studio: 20th Century Fox Genre: WWII Genre: Western Genre: Historical Silver Age Classics Silver Age Classics Adventure CD released: May 2000 CD released: Dec.1999 Golden Age Classics Stereo • 54:45 Mono/Stereo CD released: May 1999 (combination) • 75:28 Stereo • 62:17 Classic Goldsmith war score enhances docu- Early Goldsmith western Fox’s colorful 1954 adap- drama take on Pearl Harbor. Aggressive action music combined score is presented in complete form (55:43) in mono, with tation of the famous epic features stirring adventure score by with avant-garde effects, Japanese instrumentation. $19.95 selected cues repeated in stereo. Also includes delightfully Franz Waxman in “leitmotiv” style, a la Star Wars: hero, villain, bizarre vocal version of the main theme. $19.95 princess, mentor. $19.95

Vol. 3, No. 3 Vol. 2, No. 7 Beneath the Planet / Vol. 2, No. 2 of the Apes Leave Her to Patton/The Flight LEONARD ROSENMAN Heaven of the Phoenix Film released: 1970 ALFRED NEWMAN JERRY GOLDSMITH/ Studio: 20th Century Fox Film released: 1950/45 FRANK DE VOL Genre: Sci-fi/Fantasy Studio: 20th Century Fox Film released: 1970/65 Silver Age Classics Genre: Drama Studio: 20th Century Fox CD released: Apr. 2000 Golden Age Classics Genre: WWII/ Stereo • 72:37 CD released: Nov. 1999 Disaster-Adventure Mono (two tracks in Silver Age Classics Second Apes picture stereo) • 44:19 CD released: April 1999 gets atonal score by Leonard Rosenman with many avant- Stereo • 76:24 garde highlights. Includes complete original tracks (46:03) plus All About Eve is a cinema masterpiece; Newman’s complete Patton (35:53) is complete original soundtrack to WWII biopic 1970 LP re-recording with dialogue (26:34). $19.95 score is appropriately theatrical, perfectly drawn. Leave Her classic with famous march. Phoenix (40:51) is a rare album to Heaven is more dramatic, brooding film noir. $19.95 release for Frank De Vol, an adventure/survival score. $19.95

Vol. 3, No. 2 Vol. 2, No. 6 Vol. 2, No. 1 The Comancheros 100 Rifles RON GRAINER ELMER BERNSTEIN JERRY GOLDSMITH Film released: 1971 Film released: 1961 Film released: 1969 Studio: Warner Bros. Studio: 20th Century Fox Studio: 20th Century Fox Genre: Sci-fi/Fantasy Genre: John Genre: Western Silver Age Classics Wayne/Western Silver Age Classics CD released: Mar. 2000 Silver Age Classics CD released: Mar. 1999 Stereo • 65:39 Less than 50 copies left! CD released: Sept.1999 Stereo/Mono Charlton Heston sci-fi Limit 1 per customer. Stereo • 47:44 (combination) • 77:08 classic features one-of- a-kind symphonic/pop Elmer Bernstein’s first Burt Reynolds/Raquel fusion by the late Ron Grainer. Unforgettable themes, period score for John Wayne is a western gem, with rhythmic main Welch dud gets explosive western score by Goldsmith, heavy effects; great stereo sound quality. $19.95 title and high-tailing action music. Think in terms of “The on Mexican colors and guttural action. CD features score Magnificent Eight.” $19.95 twice, in stereo and in mono with slight variations. $19.95

Vol. 3, No. 1 Vol. 2, No. 5 VOLUME 1 Take a Hard Ride Prince of Foxes Vol. 1, No. 4 JERRY GOLDSMITH ALFRED NEWMAN The Return of Dracula/ Film released: 1975 Film released: 1949 I Bury the Living/The Studio: 20th Century Fox Studio: 20th Century Fox Cabinet of Caligari/ Genre: Western Genre: Historical Mark of the Vampire Silver Age Classics Adventure Films released: CD released: Feb. 2000 Golden Age Classics 1958/58/62/57 Stereo • 46:38 CD released: July 1999 Studio: United Artists/ Stereo • 46:39 20th Century Fox Strange “blaxploitation,” Genre: Horror foreign-produced west- Tyrone Power historical Silver Age Classics ern gets wonderful symphonic score from Goldsmith; great adventure gets exciting, robust score by Alfred Newman, newly CD released: Jan. 1999 main theme, action cues. Take a hard ride, indeed. $19.95 mixed into stereo. Glorious main title, stirring love theme. $19.95 Mono • Disc One: 61:06 Disc Two: 73:20 Composer of Star Trek’s “Amok Time” gets 2CD release of creepy, early horror scores, packaged in slimline case; same shipping as one CD. $29.95 VOLUME 2 Vol. 2, No. 9 Vol. 2, No. 4 Vol. 1, No. 3 The Flim-Flam Man/ Monte Walsh A Girl Named Sooner JOHN BARRY LEONARD ROSENMAN JERRY GOLDSMITH Film released: 1970 Film released: 1966 Film released: 1967/1975 Studio: CBS Studio: 20th Century Fox Studio: 20th Century Fox Genre: Western Genre: Sci-fi Genre: Drama/ Silver Age Classics Silver Age Classics Americana (feature/TV) CD released: June 1999 CD released: Sept. 1998 Silver Age Classics Mono (1 bonus track in Stereo • 47:28 CD released: Jan. 2000 stereo) • 61:51 Stereo (Flim-Flam)/ Mono (Sooner) • 65:20 Sci-fi classic following Lee Marvin revisionist western gets vintage John Barry score miniaturized sub crew inside the human body gets imaginative, A rural Americana doubleheader: The Flim-Flam Man (34:37) 20 years before Dances With Wolves. Song “The Good Times avant garde score by Leonard Rosenman; one of his signature stars George C. Scott as a Southern con man; A Girl Named Are Comin’” performed by Mama Cass; many bonus tracks. works. Symphonic yet thrillingly bizarre. $19.95 Sooner (30:43) is smaller, sensitive TV movie score. $19.95 $19.95

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Vol. 1, No. 2 Vol. 1, No. 1 The Paper Chase/ Stagecoach/ CHECK YOUR ORDER ONLINE The Poseidon The Loner Visit our website at Adventure JERRY GOLDSMITH www.filmscoremonthly.com/cds/order.asp to place an JOHN WILLIAMS Film released: 1966/1965 order using our secure server. You will receive an auto- Film released: 1973/72 Studio: 20th Century Fox matic confirmation. All of your information (including Studio: 20th Century Fox Genre: Western your credit card #) is confidential and encrypted for your Genre: Drama/ (feature/TV) protection. Save precious days that might otherwise Irwin Allen Disaster Less than Silver Age Classics keep you from your music! Silver Age Classics 200 copies left! CD released: May 1998 CD released: July 1998 Stereo (Stagecoach)/ SHIPPING INFO FSMmarketplace Stereo/Mono Mono (Loner) • 45:25 CDs/video: $3 first item, $1.50 each additional U.S./Canada. (combination) • 75:53 Stagecoach is gentle $5 first item, $3 each add’l rest of world. Books: $5 each The Paper Chase is eclectic score for drama about law stu- Americana score for remake of classic western. The Loner is U.S/Canada, $10 rest of world. Backissues: Shipping FREE dents. The Poseidon Adventure is classic Irwin Allen disaster Goldsmith’s theme and two episode scores for short-lived Rod within U.S./Canada. $5 rest of world per order. score. Also includes Conrack (1974), main title (6:07). $19.95 Serling western series. $19.95

Philharmonic; the title song “My Love Has rhythmic subdivisions within each click- WARNER HOME VIDEO Two Faces” performed by BOOKS FOR tempo—including compound meters. has led the way for video restoration with (“”), plus two unreleased, alter- Includes a listing and tutorial of standard box sets of their most famous films. Their nate versions (vocal by Malcolm Roberts COMPOSERS timing-conversion formulas for 24 fps film soundtrack CDs have been available only and instrumental)…not to mention vin- speed, and a tutorial in SMPTE-to-absolute within the larger video packages—until tage, dramatic Barry underscore. $16.95 time conversion, plus frames-to-seconds now. FSM has limited quantities of CDs to conversion tables for U.S. and European sell via direct mail only to our readers. film & video speeds. 430 pp. $149.95

the rejected music (14:14) which Lalo Schifrin recorded for the film—never before heard! (Regrettably, “Tubular Bells” & “Night of the Electric Insects” are omit- ted from the disc.) $19.95

Mad Monster Party Getting the Best Score for Your MUSIC FROM 30th anniversary collector’s edition Film: A Filmmakers’ Guide to The Wild Bunch From Rankin/Bass (TV’s Rudolph the Red- Music Scoring Fully restored, limited availability! RETROGRADE! Nosed Reindeer) comes the original sound- by David Bell The classic Jerry Fielding score, in brilliant track to Mad Monster Party. The jazzy score Respected TV composer Bell (Star Trek: stereo, to the ferocious 1969 Sam by composer Maury Laws, with lyrics by Voyager) wrote this book in 1994 to help Peckinpah western. This 76-minute CD Jules Bass, features the vocal talents of producers and directors get the most out was meticulously restored and remixed by Boris Karloff, Phyllis Diller and Ethel Ennis. of film music. It’s aimed at filmmakers, NEW Updated Edition! Nick Redman for inclusion with the 1997 The deluxe package includes a 16-page but also provides useful professional info 2001 Film/TV Music Guide laserdisc of the film, with nearly twice as color booklet with dozens of never-before to composers and musicians—or any From the Music Business Registry much music as the original LP. $19.95 published photographs and concept draw- interested fan. Topics include spotting, Isn’t your career worth it? An exhaustive ings by Mad Magazine alumnus Jack Davis communicating, recording, budgeting and directory of record labels, music publish- and Don Duga. A wacky, fun, blast from licensing, with explanations of the various ers, film/TV music depts., music supervi- the past! $16.95 personnel and entities involved in each; sors, music editors, composer representa- also included are lists of agents, clear- tives, composers, clearance companies, ance companies, glossary terms and recording studios, performing rights soci- The Taking of Pelham 1-2-3 resources. Silman-James Press, 112 pp., eties, and music libraries—names, Ride this killer ’70s groove! EXCLUSIVE VIDEO! softcover. $12.95 addresses, contact numbers. $94.95 Hear David Shire’s unparalleled ’70s 12- Basil tone jazz/funk fandango for the 1974 sub- Poledouris: way hostage thriller. Part disaster movie, His Life and part gritty cop thriller, Shire’s fat bass Music BOOKS FOR ostinatos and creepy suspense cues glue it An intimate visit Enter the Dragon all together. A sensational, driving, pulsat- with the composer MUSIC LOVERS Lalo Schifrin’s slugfest—expanded! ing score in a class by itself—experience of Conan the U.S. Soundtracks on CD: Bruce Lee’s most famous film introduced the original for your self. $16.95 Barbarian, Free Scores for Motion Pictures and him to mainstream American audiences Willy, Starship Television 1985-1999 and cemented his superstar status. Lalo Troopers and Price Guide by Robert L. Smith Schifrin scored this 1973 adventure with Lonesome Dove. The second edition of FSM’s market-stan- his greatest fusion of funky backbeats, Take a tour of his work and lifestyle, from dard price guide contains over 2,400 list- catchy melodies, screaming orchestra and his methods of composing to his love of ings of album titles with composers, wild percussion. It is the ultimate combi- sailing. The video runs 50 minutes and label numbers, special collectible infor- nation of symphonic fury with crazy ‘70s includes footage of Basil and mation and estimated values. Listings solos. A short CD was released in Japan; at work on mock-ups of are annotated to differentiate between this newly remixed and remastered disc Starship Troopers, as well as dozens of originals and reissues, commercial features the complete score (57:14) in behind-the-scenes and family photos, and The Click Book albums and rare promos. Find out what’s chronological order. $19.95 appearances by wife Bobbie and daughter Comprehensive timing tables for syn- out there, what your rarities are worth, and Zoë. Discover the man behind the music, chronizing music to film how much you should expect to spend on The Exorcist Deadfall in a way you’ll never see on TV, or experi- Composer Cameron Rose provides click- your collection. Smith also surveys the The seminal horror soundtrack! Catch John Barry ’60s vibe! ence in print. tempo tables for 6-0 through 32-0 frame present state of the market and provides a William Friedkin’s 1973 thriller of demonic First time on CD! Barry scored this 1968 NTSC (U.S. Format) $19.95 click-tempos. Each timing table covers checklist for the top 50 collectible CDs. possession is perhaps the scariest film of Bryan Forbes thriller in the midst of his PAL (European Format $19.95 beat 1 to beat 999 at the given click- Published by Vineyard Haven LLC, 154 pp., all time, and it was enhanced by these most creative period of the ’60s. This CD tempo. With large, easy-to-read click- softcover. $17.95 frightening, avant garde compositions by features his 14-minute guitar concerto, tempo values and equivalent metronomic Penderecki, Webern, Henze and other mod- “Romance for Guitar and Orchestra,” per- values at the top of each page, there are ernist composers. This CD includes all of formed by Renata Tarrago and the London timing, frame and footage breakdowns for

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pries deeply and precisely into the com- music composers and history, encapsulat- posers’ ideas. Published by Silman-James ing the most notable people and events in Press, 432 pp., softcover. $19.95 the author’s clear and direct prose. Largely comprised of composer mini-bios with reviews of their most notable works and photo portraits (from Golden Age titans to present-day masters), there is also a thor- ough overview of soundtrack album history (on LP and CD), a section devoted to song compilation reviews, and a helpful movie music bibliography. Billboard Books, 244 pp., softcover. $18.95

The Album Cover Art of Soundtracks by Frank Jastfelder & Stefan Kassel, oral history to the , Foreword by Saul Bass rife with anecdotes, opin ions and wit, Overtones and Undertones: This 1997 coffee-table book is a stunning which forms the centerpiece of this book. Reading Film Music collection of soundtrack LP covers. From Also included is a short biography by by Royal S. Brown paintings to photographs to designs, from Danly, the eulogy from Friedhofer’s memo- This 1994 book by longtime film music westerns to blaxploitation to sexploitation, rial service by , a filmogra- columnist Brown is the first serious theo- it’s a gorgeous dossier of vivid artwork, phy, photographs and more. The Scarecrow retical study of music in film and explores with covers both ubiquitous and rare. Take Press, 212 pp., hardcover. $39.95 the relationships between film, music and a trip down memory lane, or experience narrative, and chronicles the aesthetics of these powerful images for the first time. it through several eras. Key works ana- This German-published book originally lyzed include The Sea Hawk (Korngold), sold for $29.95—it’s now out-of-print, to Double Indemnity (Rózsa), Laura (Raksin), boot, but we have obtained a limited num- Prokofiev’s music for Eisenstein, ber of copies for our faithful readers. Herrmann’s music for Hitchcock, and sev- Published by Edition Olms AG Zürich, 128 Film Music and Everything Else! eral scores for the films of Jean-Luc pp., full color, softcover. $24.95 Music, Creativity and Culture as Godard. A supplemental section features Seen by a Hollywood Composer Brown’s probing interviews with Rózsa, Music from the Movies by Charles Bernstein Raksin, Herrmann, Mancini, Jarre, Schifrin, 2nd Edition by Tony Thomas A collection of essays by Charles Barry and Shore. The original film music book (1971) from Bernstein, composer of the original Press. 396 pp., softcover. $24.95 which all others followed, telling the sto- Nightmare on Elm Street, Sadat, Cujo and ries of Hollywood’s most successful—if others. Most of the essays originally hitherto unknown—composers. This appeared in “The Score,” the quarterly updated edition was released in 1997, journal of the Society of Composers and shortly before the author’s death. Lyricists, a professional organization for Composers covered (many with photos) Dimitri Tiomkin: A Portrait film composers. Topics include: melodies, are Stothart, V. Young, Green, Newman, by “hummers,” emotion and more. It’s a rare Tiomkin, Waxman, Kaper, Rózsa, Steiner, This 1984 book by the late Christopher opportunity to read thoughtful opinions Korngold, Herrmann, Friedhofer, Raksin, Palmer is the authoritative study of leg- and musings from a film composer Antheil, Thompson, Copland, North, endary composer Tiomkin (1894-1979). directed towards other practitioners of the Bernstein, Duning, Rosenman, Goldsmith, Long out of print, a few copies have sur- art. Turnstyle Music Publishing, 132 pp., Mancini, Schifrin, Scott, Shire, Broughton faced from the U.K. publisher and are now softcover, limited to 500 copies. $18.95 and Poledouris. Silman-James Press, 330 for sale, but when they’re gone, they’re pp., softcover. $19.95 gone! This 144p. hardback is divided into A Heart at Fire’s Center: three sections: a biography, an overview of The Life and Music of Tiomkin in an historical perspective, and Bernard Herrmann specific coverage of his major landmarks by Steven C. Smith (Lost Horizon, High Noon, the Hitchcock The Music of Star Trek: The most influential film composer of all films, Giant, and many more). Also Profiles in Style time, who scored such classics as Citizen includes a complete filmography, 41 b&w by Jeff Bond Kane, Vertigo, Psycho and Taxi Driver, photos, and 9 color plates. $24.95 This is the first-ever history of Star Trek Bernard Herrmann (1911-1975) was also soundtracks, from the original series to famous for his musical passion, bad tem- the present—by FSM’s own Jeff Bond. per and outbursts. This hard-to-find 1991 Featuring interviews with composers Jerry book is the definitive biography of the leg- Goldsmith, , Fred endary composer, covering his film, televi- Steiner, Gerald Fried, Ron Jones, Dennis sion, radio and concert work as well as his McCarthy, , producer Robert personal life. It’s a brilliant illumination of Justman, music editor Gerry Sackman and Herrmann and probably the best film com- others, the book contains a complete list poser biography ever written. Published by Film Composers Guide: of scores written for all four TV series; a University of California Press. 416 pp., Year 2000 fifth edition guide to how certain shows were tracked hardcover. $39.95 Compiled and edited by and credited; Trek manuscript excerpts The Score: Interviews Vincent J. Francillon from the composers; and several cue with Film Composers Hugo Friedhofer: This is the ultimate resource for finding sheets. Lone Eagle Publishing. 224 pages, by Michael Schelle The Best Years of His Life out which composers have scored what softcover, illustrated. $17.95 This 1999 book uses a question and Edited by Linda Danly, Introduction films—over 2,600 composers cross-refer- answer format to provide readers with a by Tony Thomas enced with 25,000 films! Never be puzzled conversational look at contemporary com- This gifted musician scored such again. Also contains agency contacts, posers, featuring lengthy transcripts with Hollywood classics as The Best Years of Sound and Vision: 60 Years of Academy Award winners and nominees, Barry, Bernstein, Blanchard, Broughton, Our Lives, An Affair to Remember, One- Motion Picture Soundtracks record company addresses and more. 8.5” Chihara, Corigliano, Howard, Isham, Licht, Eyed Jacks. His Golden Age contempo- by Jon Burlingame by 11”, 416 pp. Lone Eagle Publishing. McNeely, T. Newman, Shaiman, Shore, raries considered him the most sophisti- Foreword by Leonard Maltin Retails for $55; FSM special offer: $39.95 Walker and C. Young. The author is him- cated practitioner of their art. In the 1970s Journalist and historian Burlingame’s self a composer, and the give and take Friedhofer (1901-1981) gave a lengthy Sound and Vision is his overview of movie

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#49, Sept. ’94 Hans Zimmer (The Lion Vol. 2, No. 4, Jun. ’97 Elfman (Men in BACK ISSUES OF FSM King), Shirley Walker; Laurence Black), Promos Pt. 2, Martin Denny and BUY MORE STUFF Rosenthal on the Vineyard; Salter in Exotica, Lady in White, the Laserphile on memoriam; classical music in films; DVDs, Brian May obit, The Fifth Element AND GET FREE GIFTS! VOLUME ONE, 1993-96 John Williams in concert; Recordman at reviewed. Film Score Monthly rewards its 24 pp. unless noted. the flea market. * Vol. 2, No. 5, Jul. ’97 Goldenthal happy, loyal customers with a Asterisk (*) indicates photocopies. #50, Oct. ’94 Alan Silvestri (Forrest (Batman & Robin), Mancina (Con Air, free gift for spending over $50 on * #30/31, Mar. ’93 64 pp. Maurice Jarre, Gump), Mark Isham; sex & soundtrack Speed 2), George S. Clinton (Austin any one order, and TWO free gifts Basil Poledouris, Jay Chattaway, John sales; Lalo Schifrin in concert; Morricone Powers), ASCAP & BMI awards; plus: for spending over $100. Scott, Chris Young, Mike Lang; the sec- Beat CDs; that wacky Internet; Crash, Lost World. (Magazine subscriptions, shipping

ondary market, Ennio Morricone albums, Recordman on liner notes. Vol. 2, No. 6, Aug. ’97 Schifrin (Money and tax are not applicable FSMmarketplace Elmer Bernstein Film Music Collection #51, Nov. ’94 Howard Shore (Ed Wood), Talks), John Powell (Face/Off), Shaiman towards the $50 or $100—but LPs; 1992 in review. Thomas Newman (Shawshank (George of the Jungle); remembering everything else is, including #32, Apr. ’93 16 pp. Matinee temp-track, Redemption), J. Peter Robinson (Craven’s Tony Thomas; Summer movies, TV backissues.) If your order applies, SPFM ’93 Conference Report, Star Trek New Nightmare), Lukas’s mom inter- sweeps. please scribble your selection on music editorial. viewed; music of Heimat, Star Trek; pro- * Vol. 2, No. 7, Sept. ’97 Zimmer vs. the form or a separate sheet. * #33, May ’93 12 pp. Book reviews, mos. FSM (interview: Peacemaker), Marco yourself. The free gifts will, from classical/film connection. #52, Dec. ’94 Eric Serra, Soundtracks, Kamen Pt. 3, re-recording Beltrami (Scream, Mimic), Curtis time to time, include products we * #34, Jun. ’93 16 pp. Goldsmith SPFM Pt. 1, Sandy De Crescent (music con- House of Frankenstein. otherwise sell here at the site, award dinner; orchestrators & what they tractor), Valencia Film Music * #65/66/67 Mar. ’96, 48 pp. T. and some products we don’t— do, Lost in Space, recycled Herrmann; Conference, SPFM Conference Pt. 1, Newman, Toru Takemitsu, Robotech, Star although they may be available spotlights on Chris Young, Pinocchio, StarGate liner notes, Shostakoholics Trek, Ten Influential composers; Philip from other sources. Here is the Bruce Lee film scores. Anonymous. Glass, Heitor Villa-Lobos, songs in film, present line-up of available gifts: * #35, Jul. ’93 16 pp. Tribute to David #53/54, Feb. ’95 Shaiman Pt. 2, Dennis best of ’95, film music documentary Kraft; John Beal Pt. 1; scores vs. songs, McCarthy (Star Trek); Sergio Bassetti, reviews (Herrmann, Delerue, Takemitsu, Herrmann Christmas operas; Film Jean-Claude Petit & Armando Trovajoli in “The Hollywood Sound”). Gone With the Wind 1959 Muir Composers Dictionary. Valencia; Music & the Academy Awards #68, Apr. ’96 David Shire’s The Taking of Matheson re-recording of Max * #36/37, Nov. ’93 40 pp. Bernstein, Bob Pt. 1; rumored LPs, quadraphonic LPs. Pelham One Two Three; Carter Burwell Steiner’s score. Courtesy Sonic Images; Townson (Varèse), Richard Kraft & Nick * #55/56, Apr. ’95 Poledouris (The (Fargo), gag obituaries, Apollo 13 not for sale at FSM. (Regular Retail Price: Redman Pt. 1, John Beal Pt. 2; reviews Jungle Book), Silvestri (The Quick and promo/bootleg tips. $14.95) of CAM CDs; collector interest articles, the Dead), Joe Lo Duca (), * #69, May ’96 Music in Plan 9 from classic corner, fantasy film scores of Outer Space; Funny movie music glos- Elmer Bernstein. sary; Herrmann & Rózsa radio programs; * #38, Oct. ’93 16 pp. John Debney Irwin Allen box set review; Bender’s “Into (seaQuest DSV), Kraft & Redman Pt. 2. the Dark Pool” column. * #39, Nov. ’93 16 pp. Kraft & Redman #70, Jun. ’96 Mancina (Twister), final Hanson (L.A. Confidential); Laserphile; Pt. 3, Fox CDs, Nightmare Before desert island movie lists, Jeff Bond’s Bender: Film Music as Fine Art, Christmas and Bride of Frankenstein. summer movie column, TV’s Biggest Hits Recordman. * #40, Dec. ’93 16 pp. Kraft & Redman book review. * Vol. 2, No. 8, Oct. ’97 Poledouris Pt. 4; Re-recording The Magnificent #71, Jul. ’96 David Arnold (Independence (Starship Troopers), Shore (Cop Land, Seven. The Game), Zimmer vs. FSM Pt. 2, Alloy Day), Michel Colombier, Recordman Goes The Outer Limits John Van * #41/42/43, Mar. ’94 48 pp. Elliot Orchestra (scoring silent films), Golden to Congress, Bond’s summer round-up. Tongeren, Mark Mancina and J. Goldenthal, James Newton Howard, #72, Aug. ’96 Age CD reviews. Ten Best Scores of ’90s, Peter Robinson music to ’90s Kitaro & Randy Miller (Heaven & Earth), Thomas Newman’s The Player, Escape Vol. 2, No. 9, Nov./ Dec. ’97 Arnold Showtime series. Courtesy Sonic Rachel Portman, Ken Darby; Star Wars from L.A., conductor John Mauceri, refer- (Tomorrow Never Dies), Images; not for sale at FSM. (Regular Retail trivia/cue sheets; sexy album covers; ence books, Akira Ifukube CDs. (Alien Resurrection), Neal Hefti (inter- Price: $14.95) music for westerns; ’93 in review. #73, Sept. ’96 Recordman on War Film view), U-Turn & The Mephisto Waltz, * #44, Apr. ’94 Joel McNeely, Poledouris Soundtracks Pt. 1; Interview: David Razor & Tie CDs; 1st issue of current for- (On Deadly Ground); SPFM Morricone Oscar & Music Pt. 2, Recordman’s Diary, Schecter: Monstrous Movie Music; mat. tribute & photos; lots of reviews. SPFM Conference Report Pt. 2. Ifukube CDs Pt. 2, Miles Goodman obitu- * #45, May ’94 * #57, May ’95 Goldsmith in concert, ary. (Maverick), Graeme Revell (The Crow); Bruce Broughton (Young Sherlock * #74, Oct. ’96 Action Scores in the VOLUME THREE, 1998 Goldsmith in concert; in-depth reviews: Holmes), Miles Goodman interviewed, ’90s; Cinemusic ’96 report (Barry, Zhou Expanded format! Issues 48 pp. The Magnificent Seven and Schindler’s ’94 Readers Poll, Star Trek overview. Jiping); Vic Mizzy interviewed. * #58, Jun. ’95 Michael Kamen (Die * #75, Nov. ’96 Barry: Cinemusic Hard), Royal S. Brown (film music Interview; Recordman on War Film critic), Recordman Loves Annette, Soundtracks Pt. 2, Bond’s review col- History of Soundtrack Collecting Pt. 1. umn. The Secret of NIMH 2 1998 Lee *#59/60, Aug. ’95 48 pp. Sex Sells Too * #76, Dec. ’96 Interviews: Randy Holdridge score to animated film. (LP cover photos), Maurice Jarre inter- Edelman, Barry pt. 2, (Last Courtesy Sonic Images; not for sale at FSM. viewed, History of Soundtrack Collecting Man Standing); Andy Dursin’s laserdisc (Regular Retail Price: $14.95) Pt. 2, Remembered, film column, Lukas’s reviews. music in concert debate. U.S. Soundtracks #61, Sept. ’95 Goldenthal (Batman on CD Price Forever), Kamen Pt. 2, Chris Lennertz VOLUME TWO, 1997 Guide: 2nd (new composer), Star Trek: The Motion First color covers! Issues 32-48 pp. Edition FSM’s Picture, classical music for soundtrack market-standard fans. * Vol. 2, No. 1, Jan./Feb. ’97 Star Wars price guide is * #62, Oct. ’95 Danny Elfman Pt. 1, John issue: Williams interview, behind the back with a new- Ottman (The Usual Suspects), Robert Special Edition CDs, commentary, cue look second edi- Townson (Varèse Sarabande), Ten Most editing minutia/trivia, more. Also: Bond’s tion, featuring List; Instant Liner Notes, book reviews. Influential Scores, Goldsmith documen- review column. Vol. 3, No. 1, Jan. ’98 Williams Buyer’s over 2,400 listings #46/47, Jul. ’94 Patrick Doyle, Newton tary review. * Vol. 2, No. 2, Mar./Apr. ’97 Alf Guide Pt. 1 (Star Wars to Amistad), of album titles, Howard (Wyatt Earp), John Morgan * #63, Nov. ’95 Special Clausen: (The Simpsons); promotional Mychael Danna (The Sweet Hereafter), with composers, (restoring Hans Salter scores); Tribute to Issue! John Barry & James Bond (his- CDs; Congress in Valencia; Readers Poll ‘s music supervisor, readers poll, label numbers, special collectible Henry Mancini; Michael Nyman music for tory/overview), Eric Serra on GoldenEye, ’96 & Andy’s picks; Into the Dark Pool Pt. laserphile, Silvestri lecture, Rykodisc information and—most of all— films, collectible CDs. essay, favorites, more. Also: History of 2 reviews. estimated values. (Retail Price: $17.95) * #48, Aug. ’94 Mark Mancina (Speed); Soundtrack Collecting Pt. 3, Davy * Vol. 2, No. 3, May ’97 Michael Fine: * Vol. 3, No. 2, Feb. ’98 Glass (Kundun), Chuck Cirino & Peter Rotter; Richard Crockett LPs. Re-recording Rózsa’s film noir scores; Williams Buyers Guide Pt. 2 (The Reivers Check our website for new offers Kraft: advice for aspiring composers; * #64, Dec. ’95 Danny Elfman Pt. 2, reviews: Poltergeist, Mars Attacks!, to Black Sunday), David Amram (The (offers subject to change without classical music in films; new CAM CDs; Steve Bartek (orchestrator), Recordman Rosewood, more; Lukas’s & Bond’s Manchurian Candidate), Goldsmith on notice.) Cinerama LPs; bestselling CDs. Meets Shaft: The Blaxploitation review columns. Varèse, Pendulum CDs (interview &

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reviews), poll results, TV CDs. Oct./Nov. ’98 : VOLUME FIVE, 2000 Elfman’s new take on Planet of the Apes; Vol. 3, No. 3, Mar./Apr. ’98 Biographer interview and book reviews; 48-64 pp.each Hans Across America: Zimmer on Pearl Titanic/Horner essays, Best of 1997, John Williams’s Tanglewood film scoring Harbor and his latest concert CD; James Cinerama Rides Again, Remembering seminar; Carter Burwell, Simon Boswell, Vol. 5, No. 1, Jan. ‘00 Inside Rhino’s Horner Buyer’s Guide Part 2; Elliot Greig McRitchie, Fox Newman Stage Citadel Records, Halloween laserphile. reissue of Superman:The Movie score; Goldenthal (Final Fantasy) Howard Shore pics, Elfman Oscar noms. Vol. 3, No. 10, Dec. ’98 The Prince of film and cue sheet analysis; ’50s (The Score), John Williams (A.I.) and Vol. 3, No. 4, May ’98 Bruce Broughton Egypt (Hans Zimmer, Stephen Schwartz), Superman TV score; Howard Shore more. (Lost in Space), David Arnold (Godzilla), Emil Cmiral (Ronin); Holiday Review (Dogma); Downbeat: Goldenthal, Barber, Vol. 6, No 7, August ’01 Inside Close Encounters restoration, Round-up: 50+ new CDs; Downbeat: Tyler, Debney and Robbins;pocket The King of Hip: Part 1; A Williams Buyers Guide Pt. 3; Score Elfman, Young, Beltrami, Eidelman, D. reviews debut, Laserphile. Spectacular Spectacular (Moulin Rouge); Internationale, Laserphile, Downbeat (Ed Cuomo, Kamen. Vol. 5, No. 2, Feb. ’00 20th Anniversary John Morgan on Reconstructing Golden Shearmur), Fox Classics reviews. Tribute to Jerry Fielding, conversation Age Scores; Downbeat Deluxe: Schifrin, Vol. 3, No. 5, Jun. ’98 (X- with Camille Fielding; Top picks for Jones, Diamond and Debney; Musical Files), Classic Godzilla reviews/overview, VOLUME FOUR, 1999 1999; ’s score-o-matic Mellifluousness in Score Internationale, Jay Chattaway (Maniac, Star Trek), 48 pp.each approach to Any Given Sunday; George Random Play and more. Duning obit; Score Internationale;1999 Vol. 6, No 8, September ’01 * Vol. 4, No. 1, Jan. ’99 Music for NFL release stats. TThe Madman and His Muse: Angelo Films (Sam Spence), Goldsmith at Vol. 5, No. 3, Mar. ’00 Build the ultimate VOLUME SIX, 2001 Badelamenti (Mulholland Drive); The Carnegie Hall, Danny Elfman (Psycho, Phantom Menace CD at home; Readers 48 pp.each North Carolina School of the Arts (for Civil Action, A Simple Plan), Wing pick the best of 1999; Music director film composing); The King of Hip 2 Commander game music, books, Indian Mark Russell Smith on film vs. concert Vol. 6, No. 1, Jan. ’01 (Quincy Jones retrospective); Earle funk soundtracks. music; C.H. Levenson’s “last” letter, The Best of the Worst:2000 in review; Hagen: He Wrote the Book; Halloween Vol. 4, No. 2, Feb. ’99 Goldsmith Buyer’s magazine reader survey, and more. Our Town music analysis; Hollow Man DVDs; more. 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Wild Wild West; George S. Clinton: Austin Vol. 6, No. 5, June ’01 Atlantis); ST:TMP gets a DVD refit; and * Vol. 3, No. 8, Sept. ’98 Lalo Schifrin Powers 2; Goldsmith Buyer’s Guide: Early Sergei Prokofiev Tribute: The Man, The Pukas returns. (Rush Hour), Brian Tyler (Six-String ‘70s; USC film scoring program; CD Music, The Films; Friedhofer and Fox; Samurai), Trevor Jones, John Williams reviews: 1984, Sword and the Sorcerer, Egon, Your Music: A Ghostbusters retro- Index concert premiere, ASCAP scoring semi- The Mummy, The Matrix, more. spective; Jeff Danna and Ryan Shore in How much stuff have we printed in FSM? nar, Rykodisc CD reviews. Vol. 4, No. 7, Aug. ’99 Warner Animation Downbeat; John Bender reports on the We’re not sure, but here’s a handy index Vol. 3, No. 9, Scoring (Shirley Walker on Batman/ Chiller Convention, and plenty of of all reviews and articles through the Superman, Bruce Broughton on Tiny reviews. end of 2000, compiled by Dennis Toons, more); Phantom Menace music; Round-up; David Newman (Bedazzled, Vol. 6, No. 6, July ’01 Schmidt. Cost: same as one back issue. Michael Kamen (); Stu The Klumps); Film score agents, pt.3; A Whole Different Animal: Danny Phillips (Battlestar Galactica); percus- Debut of Session Notes; They Might Be sionist ; ASCAP awards. Giants (Malcolm in the Middle); double * Vol. 4, No. 8, Sept./Oct. ’99 Tribute to dose of Pocket Reviews; Score : interview (Jocelyn Pook); Internationale. 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THE TALENTED MR.YARED An exclusive FSM interview by Nick Joy

n the eve of his recent live concert perform- ance at the Flanders Film Festival, Oscar Owinner Gabriel Yared shares details of his upcoming proj- ects, his views on the state of mod- ern film music, and why he needs to escape his “romantic music” jail. Everyone will tell you that the composer of The English Patient and The Talented Mr. Ripley is an extremely approachable and friendly man, but why is he keeping his distance from me, sitting on the far end of the table? The truth is, he has the makings of bad cold, and wants to contain the germs instead of spreading them. He’s meant to be performing a concert of his work tomorrow might, but his health is conspiring against him. The con- cert has already suffered the loss of its special guest conductor (Elmer Bernstein was not prepared to travel in the current climate of fear), PIANO MAN: Gabriel Yared at the keyboard, in rehearsal. and it now looks like Yared is suffer- ing from the cruel hand of fate. ing ideas and talking about music craft at our record with a large orchestra every time, and I conference. personally have been very interested in synths FSM: Gabriel, what brings you here to the FSM: Does it feel strange that 15 years ago since I started orchestrating. I started my annual Flanders film music concert? you wrote predominantly for career by being an orchestrator for pop singers GY: For 10 years, the people here have been synths, but tomorrow you’ll have a full orches- (including and Mireille asking me to come and do a concert or be in tra playing it? Mathieu), and I feel that synths are valid as the jury. And this year, I said “Yes, why not?” GY: Before writing Betty Blue I wrote The “real” music. They aren’t a poor copy or undig- You know, mostly I am a composer and a Moon in the Gutter [1983] for Jean-Jacques nified alternatives to the orchestra, and in writer, and when I appear on stage it makes Beineix, and it was a full orchestral score, but Betty Blue they helped me to do something me wet and red in the face. I’ve always sat people don’t know this. The reason that Betty simple yet very elegant. If the film deserves behind my table or hid behind my keyboard. Blue only had five musicians is because I got synths, you should use them—don’t get stuck But when I did concerts in Seville and Valencia fed up with a full orchestra, and the story did- to the orchestra. I discovered that I really enjoyed doing them, n’t actually deserve to have one. I had a saxo- FSM: So, when you compare your original just as long as I had my back turned to the phone, a guitar player, harmonica player and simpler version of Betty Blue with the new fully audience. I feel that it’s good to play your percussion, and all the rest are synths. I wrote orchestrated score, which do you prefer? music live, even if it’s without the picture. all the themes before the shooting, and the GY: You know, I prefer the older version. Sometimes the music makes sense on its own budget for the music was just £12,000—who When I play Betty Blue in concert with the and is just as interesting away from the movie. can write music for that? But it doesn’t matter large orchestra it’s very difficult for the orches- And if my cough and flu is gone, I hope to be whether you have a large orchestra or tra to be silent at the right times. I start off with conducting tomorrow with a very good synths—you just need your music to be the main theme on the piano solo, and that’s orchestra [the Belgian National Orchestra]. My inhabited by a good spirit or an angel. I did before I let the orchestra come in. In concert, friend [conductor] Dirk Brossé has helped me many large scores before going to Betty Blue, this score is very close to the original, but in all the rehearsals because I’ve been very and I decide what type of orchestra to use orchestra-wise, it’s just less interesting. Still, I tired. And I also came here because I am inter- depending on the theme, atmosphere and use it to start my concert because I know it ested in meeting other composers, exchang- universe of the film. We’re not obliged to reminds the audience of the film, and it’s one

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my most well-known scores along with The Waiting Patiently to make more money. My greatest fear is that English Patient [1996]. FSM: Do you have other projects lined up one day music will abandon me, and the only FSM: Is it frustrating that many people with Minghella? way to make sure this doesn’t happen is to thought that Betty Blue marked the debut of a GY: Yes, we’re due to start next month on pray, respect and have an ethical approach to “new” composer, but in reality you’d been Cold Mountain, based on the novel by Charles music. My approach is not just about the doing this work for years? Frazier. It takes place in North Carolina during money, but to do the most personal and sin- GY: Yes, and I had many bad experiences the Civil War, and it’s a very epic odyssey. cere good work. You know, I’m going to change after Betty Blue. Many directors used that Usually with Anthony I am the first person to my way of thinking before I accept other proj- music as a temp track on their movies and read the script, even before the producers. He ects. I would rather stay mute for years than do would call me up and say they wanted the sends it to me and then I react to it and share more projects that only suit me for the money same...again. I’d say, “How can you expect a my feelings, not as a composer, but as a reader. I’m offered. composer to duplicate himself? Every film has Then we start thinking about the music and FSM: In his recorded message to the its own flavor and music on the inside. You we send ideas back and forward. When Flanders Film Festival audience, Elmer don’t really want me to repeat what I’ve Anthony writes a script he listens to a lot of Bernstein says that film music is in difficulty at already done.” Director music and brings music into his writing. For the moment. Do you agree? temped all of his film Clean and Sober with my example, in Cold Mountain one woman plays GY: Musically, I think he is right. I see a lot of a prelude from Bach, a fiddler plays period singers becoming composers, bands doing music and there’s a harmonica player and scores for films, or even composers doing the some songs. All of this is already in the script, very minimum by delivering empty music. so my work mostly involves thinking what I There is no more architecture or craft in film could do to tie all those threads together with music any more. It’s becoming more like, my own score. “What do you want me to underline? OK, I’ll do FSM: You seem to have a unique relation- that for you.” They are makers, not composers. ship with Anthony. There are no more beautiful tunes like we used GY: He is like my brother. We call each to have from Steiner, Tiomkin, Alfred Newman, other soul mates, and I’ll shortly be going Rózsa or Herrmann. They were fantastic com- back to London to start working with him. posers, but there are so few good composers When I wrote The English Patient and Mr. today who know the craft and really worship Ripley, I lived in Brittany, and music. Anthony would come to visit me. But this time I’ve set up a studio in London and will live Playing Favorites there during the project. We were supposed to FSM: So, who do you consider to be good start it in January, but because of what hap- composers or positive influences in the indus- music, and this was my first deal in pened with the shocking tragedy in New York, try? Hollywood. I couldn’t leave it like that, and in filming on the project has been delayed to GY: Elliot Goldenthal is a very good com- the end my new music was no better than, nor June next year. I’m looking forward to spend- poser, and is a real lover of music; as interesting as, Betty Blue. ing a lot of time on it. You know, since Mr. you see that in every score he does. Then you FSM: Have you escaped the legacy of the Ripley I have only done one more film, have the big stars like John Williams, who is a Betty Blue temp tracks? Possession (starring Gwyneth Paltrow). It was REAL composer, but he is over 70 years old, GY: Sure, but instead of Betty Blue now it’s originally going to be released early, in good and who is coming after him to fill his foot- The English Patient. After that picture I’ve time for the Oscars, but now I hear it will be steps? Very few modern film music composers only done English Patient-ish scores, and I released in the spring. have respect for music or an ethical sense to do am fed up with it! I find myself with the same FSM: In what way has your professional a score. And remember that the most wonder- sort of music—an oboe playing the tune life changed since you won the Oscar for The ful composers for film came from the classical while the orchestra performs the other parts. English Patient? field. Today, we are getting to a point where the It’s really boring, so just give me eclecticism GY: Before The English Patient, I used to meaning of the music is very insipid, but I and some faith in my talent. I could bring a jump from one project to another. They would don’t blame the composers. You could blame beautiful original score to a film; I just want be very different—a comedy, a tragedy, or producers or directors who are inhabiting their every score to be different from the previous straight fiction. Like I’ve already said, since films with purely efficient scores, but I am still one. I like fun, I like fantasy, and can jump The English Patient, I’ve been given the same hopeful for the future. My message to com- from synths to brass to string quartet—but sort of project, to the extent of silliness. I did posers is “just respect your music.” Be it for 10 film people put you in a jail. It’s stamped on [Richard Gere/Winona Ryder romance] seconds or 15 seconds, your music should be a my brain that I am the specialist of a partic- Autumn in New York [2000], but I should never masterpiece, every time. ular type of music for romantic, lyrical, sad have done it, because the project was not FSM: You’ve mentioned temp scores and films. Every film I’ve done since The English interesting at all. People came to me and flat- insipid music, but what about the other mod- Patient has been the same: love films where tered me by saying that my tunes are beauti- ern-day scourge of film composers: the last- the character dies at the end, just like The ful, but hell, I should never have done that pic- minute replacement score? English Patient. So, you feel yourself not ture, because it was not a good film. Luckily, I GY: I’ve had this happen to me twice since being very creative, and the best thing to do am also working with fantastic directors like the Oscars. Why does it happen? I don’t know. is escape from it. The only person who Anthony Minghella. It could be that the people who judge the releases me from this jail is Anthony FSM: Was the Oscar a blessing or a curse? music are not educated enough, and that the [Minghella]. The film I did with him after The GY: It was a blessing to have the Oscar. It only thing they want from the music is to get English Patient was The Talented Mr. Ripley was fantastic because my fees went up pro- the audience to understand what’s happening [1999], which is a completely different portionally from say one dollar to ten dollars, more quickly. We are in a civilization now movie, with very different music. but this is not my aim in life. I don’t just want where the ear is not encouraged to go toward

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the sound, the picture just comes toward the ing the audience a regular music concert with eyes. Nobody is to blame, that’s just how it is. no real relationship to the pictures they’ve FSM: You say that you’d like to do some- come from. It’s just music, so take it for what it thing different. Will we ever get to hear a full- is. I’m not trying to say, “I’m a great composer SCREEN scale adventure score from you, in the tradi- and don’t give a shit about the picture.” That’s tion of John Williams or Jerry Goldsmith? not true, and because nobody knows my GY: No, that’s just not me. I’m not good work, this is an opportunity to play things that ARCHIVES with that sort of film, and there are plenty of nobody knows. better composers for that sort of thing than FSM: Will you rest after Cold Mountain? ENTERTAINMENT me. If I was hired to do a film like that, I would GY: There is no rest for me, I just hope that want to do something very personal, and it I get beautiful projects. I would like directors wouldn’t sound like what Hollywood is used to understand that when I come to them, it is Large selection of to. I would have to do something very differ- as an ally. I’d be happy doing only one-and-a- new domestic and ent—not to be an antagonist or fulfill a selfish half projects a year, because I’m not just trying role—but to try a new approach. The truth is, to make more money. The English Patient was import releases, nobody would ever give me an action film, not a hit as a soundtrack, and Betty Blue was older releases and because they’d say, “No, Gabriel is no good at only a hit 10 years later. I can’t just live on the this.” When Bridget Jones’s Diary was proposed music from films—I write for opera, ballet, out-of-print CDs to me, I had lunch with the director Sharon string quartets, and also songs. Maguire and we got on perfectly well. But the FSM: It surprises me that The English Major credit cards accepted. producers said, “No, we can’t use Gabriel —he Patient did not sell well as a soundtrack. What Write for free catalog! has never done comedy.” That’s not true; I about City of Angels [1998]? have done many comedies in France. GY: Sure, that was a hit, but that was mostly PO Box 500 FSM: When you prepare your music for a a commercial operation. I really benefited concert, sometimes up to 15 years after you’ve from that because we sold four million copies, Linden, VA 22642 written it, are you tempted to alter it? which has never happened to me before in my ph: (540) 635-2575 GY: Of course! I really love these concerts life. Of course, this was helped by the songs in because I get the chance to totally review all of the movie by Peter Gabriel, Alanis Morrisette, fax: (540) 635-8554 my orchestrations, and sometimes I rework Sarah Maclachlan, and so on, and I don’t think e-mail: [email protected] every bar. Tomorrow, I am playing things that that my score deserves more than four tracks. nobody knows, like Clavigo, a ballet for the But it’s not what I’d call true eclecticism. If I visit: www.screenarchives.com Paris Opera that was played in 1999. I’m also had composed the songs, it would be truly playing an aria from Possession that has never eclectic. Maybe you’d hear a Brazilian song or been performed publicly, so I am offering new some percussion, or a beautiful tune followed things, and not just the eternal Betty Blue and by orchestra work, but it wouldn’t just be The English Patient. I’ve included Camille romantic score. Claudel [1988], which to me is the most beau- My favorite music includes J.S. Bach, tiful thing I’ve ever written. It’s a very classic, Hayden, Mozart, Stevie Wonder, Marvin Gaye, Mahlerian piece. , Bulgarian songs and Chinese FSM: Was it hard to make the concert opera—and we all should be fed a wide range selection from your many scores? of music. Listen to my score for The English GY: This concert is one hour shorter than Patient, where I move from Hungarian folk my previous two, so I’ve had to leave out tunes to the Goldberg Variations—which inci- things like Map of the Human Heart, which dentally is my homage to Bach. Don’t get stuck people don’t really know in an orchestral ver- with one specialist type of music; that can be sion. I previously played the Jean-Luc Godard the death of the composer. FSM film Sauve qui Peut, la Vie [1979], which is the first film I ever did. But the problem with my —P.S. Gabriel did overcome his ills, and deliv- music is that apart from Betty Blue and The ered a powerhouse performance. Perhaps it English Patient, nobody knows any of my was the fear that I’d stick to my offer of con- scores. People only know those hits because I ducting in his absence? It’s more likely that don’t have any blockbusters. I’ve never done this consummate professional stuck to the big pictures like that, so what I’m doing is giv- idiom that “the show must go on.”

Universal France (continued from page 35) played or ignored entirely by other cultures. becoming larger for the action sequences, Since that sense of exuberance is de Roubaix’s albeit in an ironically cartoonish way. There are forte, at least in these two albums, it makes for also a handful of songs performed by Bardot, a strange export. (The same thing could be said Guy Marchand and Joe Turner. for the Fantômas CD.) Still, there is an obvious The French have a comic sensibility which is sense of melody and dynamism to his music, hard to define—a certain fondness for slapstick and the liner notes for both albums (by the and farce. Think Jerry Lewis or The Fifth respective directors) describe an equally Element. In their film music it comes out as a enthusiastic person behind the notes. tendency to emphasize what would be down- —Lukas Kendall

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THE LASERPHILE and plenty of still-frame supplements on Walt Disney and the production itself. Add in an entire recap of the Disney empire’s accomplishments through the decades (produced expressly for the DVD and Best of the Year of the DVD hosted by celebrities like Angela Lansbury and Dean Jones), and substantial time devoted to In 2001, DVDs saturated the homes of die-hard the film’s visual and audio restoration, and you laserphiles and casual consumers alike, with have a top-flight supplemental package that’s plenty of outstanding new titles released. one of the best I’ve ever seen, period. This premiere Platinum release is perfect in by Andy Dursin almost every way and will be followed shortly by the newly expanded Beauty and the Beast. It’s my pick for Best of 2001. 2. The Godfather Collection (Paramount, $99.98) n offer you can’t refuse? Absolutely. AParamount’s four-disc box-set, contain- ing all three Godfather films plus a bonus disc of supplements, is a must for fans of ’s classic film series. The DVD transfers are superior to the THX- approved laserdiscs that Paramount released a few years ago, while the sound is acceptable. And Paramount’s features-filled fourth disc is chock full of extras, from some 40 minutes of deleted scenes from the trilogy, to trailers (some of them reissue ads), TV spots, a seven- minute featurette on location filming with production designer Dean Tavoularis, plus GOTTA LOVE ’EM: SNOW WHITE AND THE SEVEN DWARFS tops our critic’s list. various novelty clips of Coppola’s Oscar acceptance speeches—even his original intro- rying to come up with a “Top Ten” of the year’s best releases is not only difficult but duction to the network television premiere! Also included is the original 1972 featurette, as practically impossible considering the wide array of packages to choose from. well as an hour-plus documentary, The Godfather: A Look Inside, shot during the pro- TNevertheless, here are the 10 most enjoyable DVDs that Laserphile received this past duction of Part III and offering a nice retro- spective on the series. year—all of them worthy additions to your library: There are also two featurettes on the sound- tracks, and FSM readers will particularly want 1. Snow White and the Seven Dwarfs colors, contrasts, and general condition of the to hear the audio of Coppola’s first visit with (Disney, $29.98) elements are simply amazing, so clear and Nino Rota in 1972, taken from the director’s his double-disc set of Disney’s 1937 land- vastly superior to even the solid job Disney did personal cassette recording. Rota plays demos Tmark marked the inaugural release of the adapting Fantasia to DVD last year. of his now-classic themes on piano for the studio’s “Platinum Editions,” which will be Almost as impressive is the new 5.1 Dolby director, tossing out ideas about orchestration issued once a year for a limited time. While the Digital soundtrack, which expands the sound and arrangements along the way. company has already released outstanding stage for full surround but never in a way that is It’s interesting to note that, in his audio packages of their recent animated efforts overbearing or detrimental to the movie. It commentary for the first film, Coppola claims (Tarzan, Emperor’s New Groove), not to men- opens up the music and enhances the dialogue that Paramount and executive tion terrific box-sets with bonus supplemental for 5.1, but it doesn’t feel the need to “re-think” hated Rota’s music, wanting it replaced from discs (Fantasia Legacy,Toy Story Collection), this the soundtrack or add new sound effects. the film altogether. Coppola clashed with lavish edition of Snow White represents a gen- Most of the extras can be found on disc two, Evans, and the movie retained Rota’s score— uine, big-budget attempt at exploiting DVD in a ranging from trailers from virtually every re- with only a pair of sequences tracked with way few, if any, DVDs have attempted before. release of Snow White, to a radio broadcast of source music. Rota’s original music for one of It’s a unique experience that provides end- the 1937 premiere, along with promotional the scenes, showing an airplane flight to Los ARTWORK ©2001WALT DISNEY less hours of entertainment, both for kids and spots; three vintage radio broadcasts; record- Angeles, is played during the music featurette confirmed Disney buffs, who should find this ing session audio of various songs; pressbook, on the composer. package to be the equivalent of spending a day stills, and poster galleries; the original RKO There’s also a piece on Carmine Coppola’s at Disney World itself. opening credits and end title card; several involvement in the three films, showing the Snow White was previously restored in 1987 deleted scenes, most in the rough animation elder Coppola at the recording sessions for and 1993, but the THX-approved new transfer stage (though fairly well along in their produc- Part III, sporting an interview with the late of the DVD is a revelation. When I say this tion, including one fully animated bit with the composer culled from the same period. transfer is a knockout I mean it: It’s almost Witch), plus storyboards of other deleted con- Any self-respecting film lover needs this set

hard to believe this is a film from 1937. The cepts and storyboard-to-film comparisons; and will take hours savoring all that it has to SNOW WHITE AND THE SEVEN DWARFS

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offer. Paramount is not selling any of the films the wide range of extras included on this lav- individually (at least not yet), but despite the ish edition of Baz Luhrmann’s hyper-kinetic higher-end price tag, you’re getting your musical. The movie is likely to either captivate money’s worth and then some. or repulse you (or perhaps equal doses of both), but there’s no denying the hours of 3. Star Trek: The Motion Picture enjoyment one can gather from the DVD’s (Paramount, $29.98) extensive assortment of extras. he long awaited, enhanced edition of the Tfirst Star Trek theatrical feature turned 6. Almost Famous: Untitled into one of the year’s most anticipated DVD (Dreamworks, $34.98) releases. Fortunately, Paramount’s first of sev- ameron Crowe’s wonderful, autobio- eral planned Star Trek Special Edition DVDs Cgraphical tale of his teen years writing for fulfilled much of its promise for casual viewers Rolling Stone is improved by some 40 minutes and Trekkies alike. of extra footage (restored in the so-called First and foremost, the disc features a mod- “Untitled: The Bootleg Cut”), plus commen- ified, 136-minute “Director’s Cut” of the tary with the filmmaker and his mother, movie, the most debated (and arguably most detailing just how personal Almost Famous is. cinematic) of all the Trek films. The double-disc set also includes the theatri- The relatively straightforward story—of a cal version and a bonus CD featuring six seemingly extraterrestrial “cloud” destroying offers a mixed bag technically. The 2.35 DVD tracks by the film’s fictitious band, Stillwater. everything that crosses in its path as it transfer is perfectly acceptable but seems to approaches Earth—recalls several episodes of hint that the source materials are no longer in 7. Close Encounters of the Third Kind the original series (including “The Doomsday pristine condition. Effects sequences (Columbia TriStar, $27.98) Machine”), with Captain Kirk and the unchanged from the original version contain he long-awaited DVD release of Steven Enterprise crew setting out to explore the speckles and other print abnormalities, which TSpielberg’s 1977 classic has a solid THX unknown “being” and stop it from destroying aren’t a great distraction but do prevent the transfer, dual DTS and Dolby Digital sound- life as we know it. transfer from being considered flawless. The tracks, and the terrific, full-length documen- What distinguishes the film from its small- Dolby Digital 5.1 sound, though, is terrific. The tary from the 1998 laserdisc release. This is screen counterparts is the lavish visual treat- DVD producers have tried not to overhaul one of several outstanding DVD titles released ment the movie receives from director Robert everything in the movie’s older Dolby Stereo in May, including Fox’s super package of Big Wise, cinematographer Richard Kline, the mix, but to simply enhance the sound effects Trouble in Little China. special effects wizardry of Douglas Trumbull and add more directionality to the music. (among others), and of course, Jerry The supplemental side is where the DVD Goldsmith’s all-time classic score, which pro- really shines. Separate featurettes touch upon vides more dramatic and emotional presence the production and the abandoned, second TV than anything in the actual script—itself series, while all of the deleted or altered culled from what was supposed to be the pilot footage from both the original theatrical cut for a second, abandoned Star Trek TV series. and the expanded network TV showings are However, plagued by production woes—a also included. There is a full slate of mar- budget that went spiraling out of control, the velously entertaining trailers and TV spots, involvement of several special effects compa- most narrated by Orson Welles, and a great nies (one of which was seriously in over its audio commentary in which the filmmakers head), and a Christmas ’79 release date man- and Goldsmith, who also appears in the docu- dated by the studio—it’s a wonder that TMP mentary, discuss the late alterations to his ever became the box-office success that it did. score (with excerpts of his alternate scoring of The original theatrical release version was the “Enterprise” cue shown as well!). 8. Terminator: Special Edition hampered by too many effects and not enough Paramount has a deluxe edition of Star Trek (MGM, $29.98) ™1984 METRO-GOLDWYN MAYER character interplay, a result of the just-com- II lined up for May. After this release, many ne of several special edition reissues pleted special effects requiring that the scenes people won’t be able to wait! Ofrom MGM this past year, the remas- couldn’t be cut down. tered edition of James Cameron’s tremen- The new Director’s Edition of TMP seeks to 4. Trilogy (Fox, $29.98 each) dously exciting 1984 sci-fi thriller marked the

THE TERMINATOR rectify that situation, adding some of the previ- hese remastered, double-disc editions of sometimes muddy-looking film’s best-ever ously deleted footage that was restored for TV Tthe ever-popular Bruce Willis action appearance on video. Excellent supplemental showings, while cutting out some of the the- series manage to easily surpass their earlier material includes fascinating deleted scenes atrical version’s static shots of characters star- DVD packages in both transfer and sound and new documentary materials, courtesy of ing at a blue screen. The new version also adds departments. Fox adds loads of extras to Cameron’s Lightstorm Entertainment. new special effects shots and matte paintings, sweeten the pot, from frank commentary several of which aren’t an appreciable tracks, to deleted scenes and interactive edit- 9. Krull (Columbia TriStar, $24.98) enhancement over their original counterparts. ing workshops. ou’ve got to have a dark horse on your In all, the new cut has a slightly tighter feel, Ylist, and Columbia’s unlikely candidate ARTWORK ©2001DREAMWORKSSKG; like a refined second draft, and with the 5. Moulin Rouge (Fox, $29.98) for Special Edition treatment—’ plethora of new supplements, Paramount’s ox’s line of Five Star Collection discs this enjoyable 1983 comic-book fantasy—proved double-disc DVD ranks as a must for Trekkies Fpast year included the dynamite to be one of the year’s biggest surprises on and home theater aficionados. Cleopatra and a great package of The French DVD. With features ranging from documen-

ALMOST FAMOUS This comes in spite of the fact that the DVD Connection, but none came close to matching taries to an interactive Marvel comic-book,

FILM SCORE MONTHLY 47 DECEMBER 2001 v6n10 1-48 1/2/02 5:47 PM Page 48

this is a gorgeous presentation of a hokey but his shenanigans, it likely won’t be a problem.) LORDS OF MIDDLE-EARTH entertaining slice of ’80s escapism. If you liked the original, you’ll probably (continued from page 23) find this follow-up engaging enough and longer movements of the symphony, this 10. Shrek (Dreamworks, $29.98) enjoy the extra features even more. passage is designed to represent both the reamworks’ double-disc edition of their In addition to providing the usual DVD frantic confrontation with the spider Shelob Dfractured fairy tale is great fun on DVD. benefits like commentaries, deleted scenes and the final climactic sequence on Mount Offering a razor-sharp transfer, commentary, and trailers, the Infinifilm series offers on- Doom. De Meij skillfully builds Gollum’s and plenty of behind-the-scenes goodies, this screen text captions that pop up with neat madcap theme to the point where it is truly package is perfect for kids and adults alike. anecdotes about the movie. The viewer can frenzied and terrifying, moving recklessly out also access featurettes up to 10 minutes long of control and ending in chaos. Honorable Mentions offering a look at the production, visual “Movement IV—Journey in the Dark” is MGM’s Special Editions of Brian DePalma’s effects, and stunt coordination of the movie. divided into two segments: “The Mines of Carrie and Dressed to Kill, plus Fiddler on the Hopefully, New Line will use their Infinifilm Moria” and “The Bridge of Khazad-Dûm.” Roof; Fox’s Episode I: The Phantom Menace packaging for their upcoming Lord of the Low brass, timpani and a piano underscore and ’s “re-imagining” of Planet of Rings DVDs, which should make for delec- the initial passage through the mines, tor- the Apes; Anchor Bay’s terrific remasterings of table viewing for laserphiles of all ages. turously building in volume and tension to a The Beastmaster and ; and for violent eruption of brass. The music gives sheer entertainment, Paramount’s third-sea- Lalo Schifrin: Movie Music Man way to a Rózsa-like march for the advancing son DVDs of Star Trek: The Original Series. (Image, $19.98) Orcish horde. Following the bombastic cli- his 1993 profile on the versatile com- max is a subdued passage featuring NEW & NOTEWORTHY Tposer (executive-produced by Jane Gandalf’s theme, as the Fellowship laments Rush Hour 2 (New Line, $24.98) Seymour!) boasts highlights of a 1990 Schifrin the fallen wizard. ew Line continues to turn out one won- concert with the Orchestre National de Lyon A prolonged restatement of the opening Nderfully produced supplemental DVD at Cannes, including soloists Dizzy Gillespie, fanfare begins “Movement V—Hobbits,” after another, introducing this past year a line and Grady Tate. In between selec- which is set up as a tributary hymn to the of deluxe DVDs with the “Infinifilm” moniker. tions of Schifrin’s well-known themes from liberating spirit of the Hobbits in the form of Titles like the Cuban Missile Crisis docud- Bullitt and Mannix, the composer talks about a lengthy march. The passage is celebratory rama Thirteen Days and the his influences and compositional techniques, and jovial in character, with a brisk pace set effort Blow launched the series, while New including his creation of the main theme by the percussion. The march theme quiets Line finished off 2001 with an Infinifilm edi- from Cool Hand Luke. into a reflective section meant to describe tion of Rush Hour 2, which was—until Harry The hour-long British program, narrated by Gandalf and Frodo saying goodbye to Potter was released—the highest-grossing Steve Race, offers an overview of Schifrin and Middle-earth before their departure from live-action film in the U.S. his work in Hollywood, the concert hall, and the Grey Havens. This is followed by a more Director Brett Ratner’s brief (85 minutes the jazz genre, presented by Image in a nice grand statement of the march. The move- plus credits) follow-up to his unlikely 1998 transfer, with a 5.1 Dolby Digital soundtrack ment—and the symphony—concludes with smash offers more of the same—which turns and bonus discographies. FSM a final exposition on the Mithrandir chorale out to be less than the sum of its parts. Jackie and fanfare, in which we hear brief state- Chan’s stunts are still fun, but the predictable Don’t forget you can find extensive DVD coverage online ments of both Gandalf’s theme and the tirades of comic Chris Tucker grate on the with “The Aisle Seat” at www.filmscoremonthly.com/ music for Lothlorien, ending on a note of viewer after a while. (On the other hand, I’ve aisleseat. All comments and inquiries can be directed to gentle tranquility. never found Tucker funny, so if you can stand [email protected]. Happy New Year, everyone! Fans of Tolkien and great music in general will certainly want to track down a copy of de Meij’s symphony. Soundtrack fans will like- SCORES OF SCORES original printed observations about The wise appreciate the programmatic nature and (continued from page 31) Claim’s homage to Once Upon a Time in the accessible themes. Don’t be dissuaded by the unavailable track (“Miranda Previsited”) from West is acknowledged by the composer—he fact that the work is written for symphonic Prospero’s Books. Add to that some previously describes it as “Miranda [from Prospero’s band and not for orchestra. In fact, if you unavailable (in the U.K.) work from The Ogre, Books] meets Morricone.” haven’t yet been acquainted with great band The Diary of Anne Frank and the sublimely Even if you already own The Essential music, this is a terrific opportunity. There are beautiful Gattaca and you can see why this Michael Nyman Band compilation, this is an several recordings in existence, most notably shapes up as a definitive collection. The discs opportunity to be up-to-date or just reac- a 1992 recording by the Royal Military Band also feature tracks from The Piano, quaint yourself with his prolific output. The conducted by Pierre Kuypers, and a more Wonderland, The Claim, the erotically charged new discs also allow you to sample the various recent 1998 recording conducted by Rene Joly Six Days, Six Nights, Golden Globe-nominated incarnations of Nyman’s musicians, from the and the Ensemble Vents et Percussion de The End of the Affair, cannibal-fest Ravenous, Zoo Orchestra to the Michael Nyman Band Quebec (the reviewed copy is the latter Greenaway’s The Falls, A Zed and Two Noughts and Michael Nyman Orchestra. And while the recording). Don’t miss it! and the operatic The Cook, The Thief, His Wife, music is arranged chronologically, the music There are plenty of other musical “interpre- and Her Lover and . also segues between films, making the album tations” of Tolkien’s universe out there. If The composer’s anecdote-laced notes are a coherent whole. you’re familiar with any of them and would particularly enlightening. Did you know that Not since Elfman’s Music From a Darkened like to share your comments, please send “Chasing Sheep...” from The Draughtsman’s Theatre Volume 2 have we been treated to such them in to the FSM mailbag! FSM Contract was based on an interlude from generous suites on a “best of” compilation. Purcell’s The Fairy Queen or that Wonderland This minimalist composer gets maximum John Takis most recently wrote a career profile of was originally temped with The Piano? On a coverage from this two-and-a-half hour cele- Ronald Stein (FSM Vol.6, No 9.) You can reach the author via personal note, it’s gratifying to see that my bration of Mr. Nyman at the movies. —N.J. [email protected]

DECEMBER 2001 48 FILM SCORE MONTHLY v6n10cov1/2/025:44PMPagec3

Still photographs courtesy of Metro-Goldwyn Mayer Photo Archive. by DavidShire Lovely Farewell,My FSMCD Vol.4,No.20 by DavidShire Lovely Farewell,My FSMCD Vol.4,No.20 horror legendGeorgeRomero. Monkey Shines on aUnitedArtistsLP, andthefirst-everreleaseof of voices. ThealbumfeaturesthepremiereCDrelease scores byDavidShire,oneoffilmmusic’s brightest Inc., comesthisdoubleheadershowcasingtwogreat and of PelhamOne-Two-Three, AllthePresident’s Men scores asdisparate was inthemidstofaremarkablerunbrilliant Murder, My Sweet by RobertMitchum—inaremakeoftheearlier Philip Marlowedetectivecharacter—adroitlyplayed Farewell, MyLovely From theholdingsofMetro-Goldwyn-Mayer direction andfullrecordingcredits. detailed booklet—here24pages—with stellarart The CDpackagingincludesourcustomary sentation bythecomposer. has beenassembledintothispremiere albumpre- recorded byanon-unionorchestrainToronto and Monkey Shines and psychoticuncontrollableontheother. The theme whichislovelyandtenderontheonehand, cussion andatalentedflutesoloist,Shirewrote goes themosttransformation.Utilizingexoticper- but itisthemusicforEllamonkeywhichunder- leads—as wellasthe“madscientist”involved— memorable themesforthemaleandfemale and beastsoongoesoutofcontrol.Shirecreated dangerous drugs,andtheconnectionbetweenman hold chores—buttheanimalhasbeentreatedwith forced torelyuponacapuchinmonkeyforhouse- of ayoungmanparalyzedinfreakaccidentand Monkey Shines from the16-tracksessionmasters. leased music—whileremixingmostofthecues sequence—adding onetrackofpreviouslyunre- the 1970s.We havethereforeretained theLP expertly designedbyShireasoneofthebestLPs follow afilm’s chronology, Although weusuallyreshuffletracksto ed withmodern,avant-gardeeffects. like perfect complementtoMarlowe’s music,and,much The themeforCharlotteRampling’s characterisa the ’40swithdramaticsensibilityof’70s. haunting, andlovely—mergingtheLosAngelesof entire scoreispermeatedwithmelody—bluesy, as oneofthebestpiecesfilmjazzera.The Herrmann’s stands withJerryGoldsmith’s crafted awonderful,melancholymainthemewhich Farewell, MyLovely Chinatown The Hindenburg Taxi Driver , thesuspensefulmomentsaretreat- (1988), anOrionfilmdirectedby score—never beforereleased—was (1944). Atthetime,DavidShire is thesuspensefultale . For (1975), afilmnoirpreviously , andJohnBarry’s The Conversation,Taking Farewell, MyLovely resurrected the Farewell, MyLovely Chinatown $19.95 plusshipping , Bernard Body Heat , he was , AEEL YLOVELY MY FAREWELL, David ShireandLukasKendall Album producedby XEIETI FEAR IN EXPERIMENT AN MONKEY SHINES: 11. 10. 12. 13. 14. 15. 16. 18. 19. 20. 21. 22. 23. 24. 17. 8. 7. 2. 1. 9. 6. 5. 4. 3. Convalescence Montage Soprano saxsolo/DonMenza Marlowe’s Trip Tenor saxsolo/JustinGordon Orchestrated byJackHayes To theMansion Velma/Chinese PoolHall/ Alto saxsolo/RonnyLang Trombone solo/DickNash; Main Title Take MetoYour Lido Full Count Mrs. FlorianTakes the Knowledge/I AmCurious To Mrs.Florian’s/Car-nal Amthor’s Place Mrs. Grayle’s Theme Moose FindsHisVelma Guitar/Al Hendrickson Domanico; Drums/LarryBunker; Piano/Artie Kane;Bass/Chuck Cappy Lewis;Trombone/Dick Nash; Clarinet/Justin Gordon;Trumpet/ Three MileLimited oa ie 33:06 Total Time: End Title Main Title Enter Melanie/EnterElla Death ofaParakeet Double VisionI The Lab “That S.O.B.”/DoubleVisionII Campground Consummation Mind Games Asocial Climbing Geoffrey’s FinalTrip Double VisionUltimo Agon: ManVersusMonkey/ The ReascentofMan oa ie 40:41 73:48 Total DiscTime: Total Time: End Title (Geoffrey’s Theme)/ MroesTee 2:53 (Marlowe’s Theme) El’ hm)2:56 (Ella’s Theme) MroesTee 2:27 (Marlowe’s Theme) AlnsTee 3:35 (Allan’s Theme) 3:25 2:45 3:08 1:53 2:16 2:14 2:24 2:55 2:23 3:49 3:53 2:26 3:00 3:05 2:25 2:39 3:33 2:28 3:52 5:55 Monkey Shines Also Featuring Monkey Shines Also Featuring

Demetrius and the Gladiators

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yFranzby Waxman inside front cover.

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