Contents J Anuary 1998

Home , Deep Rising, High Incident, High on Me, Tony Fennell

CONTENTS J ANUARY 1998

Features Departments 23 Titanic’s First Mate 2 Editor’s Page Come with us below decks with New year’s resolutions Music Supervisor Randy Gerston By Doug Adams 4News Grammy & Golden Globe award nominees, 24 Williams’ List Goldsmith makes a In our first Buyers’ Guide, we examine the bequest, rumors, and output (from 1977 to the present) of the most lots more popular composer working in films today 5 Record Label By Andy Dursin & Jeff Bond Round-up 28 The Essential CDs What’s on the way There’s more to the music of The 15 recordings no self-respecting 7Concerts Titanic than Goldsmith and Enya Williams fan can be without Live performances homages page 22 32 Aw, Do I Have to Buy These? around the world The 10 rarest Williams recordings on CD 8Now Playing Movies and CDs in release 24 Man of a Thousand Phrases 10 Upcoming Film Mychael Danna is making a name for himself Assignments composing for offbeat films. He discusses his Who’s writing what latest assignments, Ang Lee’s The Ice Storm 12 Events and Atom Egoyan’s The Sweet Hereafter. An evening with By Doug Adams Alan Silvestri

14 Mail Bag Reviews Tomorrow Tries Harder FSM presents a close encounter 18 The Laserphile: with twenty years worth of John An Uncertain Future 36 Score Williams’ music page 24 This month, we turn the visi-screen on Tron, Pocket reviews of Logan’s Run, Walkabout, Evita, and some Titanic, Mad City, troubling developments L.A. Confidential, By Andy Dursin Anastasia, and the final confrontation over Tomorrow Never Dies 44 Ryko Rocks On As the Salem, Massachusetts label begins its 46 Reader Ads deep dive into the MGM/UA vaults, we review four new releases. 47 Retrograde By John Bender The Readers Strike Back

Mychael Danna helps thaw the chill in The Ice Storm page 34

Film Score Monthly (ISSN 1077-4289) is published monthly for $29.95 per year by Lukas Kendall. 5455 Wilshire Blvd., Suite 1500, Los Angeles CA 90036-4201. Application to mail at periodicals postage rate is pending at Los Angeles, CA. POSTMASTER: Send Address changes to Film Score Monthly, 5455 Wilshire Blvd., Suite 1500, Los Angeles, CA 90036-4201

Film Score Monthly 1 J ANUARY 1998 EDITORIAL

V OLUME 3, NUMBER 1 J ANUARY 1998 New Year Resolutions STAFF IT SEEMS AS THOUGH THE THREE TOPICS THAT YOU EDITOR & PUBLISHER SHOULDN’T DISCUSS IN PUBLIC ARE SEX, POLITICS, Lukas Kendall AND YOUR FAVORITE SOUNDTRACK COMPOSER MANAGING EDITOR Jeff Bond DESIGN DIRECTOR Joe Sikoryak wo events have influenced my recently resonated with me: the re-open- CONTRIBUTING WRITERS thinking for the better regarding ing of the Newman Stage at 20th Century Doug Adams TFSM and the new year. Fox, in a ceremony and reception on Jack J. Bailey One was an intense stream of scrutiny January 8. There were more Newmans at John Bender on the Internet, in our readers poll (see this event than you can count, and John Brent A. Bowles pg. 47), and from personal correspon- Williams gave the opening “benediction” Tony Buchsbaum dence. You would think that film-scoring (full report next issue) with more enthu- Andy Dursin fans are such a small bunch, they’d have siasm and detail than I’ve ever heard Jeff Eldridge homogeneous tastes. Not so: we’ve got from him, recollecting what it was like to R. Mike Murray fans of new soundtracks, fans of old play for Alfred Newman 40 years ago. soundtracks—fans of Morricone, fans of What struck me about Williams’s PUBLISHING CONSULTANT Horner, fans of Korngold—fans who like a demeanor, and the general attitude of the Digital Film & Print, Inc. good irreverent yuk, and fans easily crowd, was how transcendentally mellow upset. it was. From reading the Internet you THANKS TO With us, it’s not just the content but might think that composers would wring B.A. Vimtrup the form that has some people bitterly each other’s necks if given the chance, but divided, although happily still purchasing here were top-notch composers who com- CONTACT INFO this newly glossed rag for the news. pete for jobs, rivaling agents, and oppos- What’s striking is how politicized people’s ing studio personnel, and it’s like, who EDITORIAL OFFICE tastes are: some composers and industry cares? Have a cocktail. The reality is, out- 5455 Wilshire Blvd professionals don’t like to see anything side of a handful of crybabies, most suc- Suite 1500 criticized by a non-pro (talk about cessful people are aware of the merits and Los Angeles, CA square), and some fans feel equally demerits in most things they do, and 90036-4201 threatened by a disrespectful word—all appreciate a variety of opinions. PHONE 213-937-9890 the while, young punks like me egg on the So, for those of you who groan at the FAX 213-937-9277 quirky asides. letters column and feel the need to defend E-MAIL lukas@ Given the choice of a magazine with no the honor of your favorite composer— filmscoremonthly.com opinions and a magazine with many dif- don’t. Join FSM on the more interesting ferent opinions that might alienate peo- journey not of being offended, but of ADVERTISING & MARKETING OFFICE ple, I will choose the latter. It’s more fun, absorbing all viewpoints in a quest for Digital Film & Print, Inc. and in the long run people will respond to knowledge, spiritual fulfillment, and a 5455 Wilshire Blvd the passion, even if they disagree, and the utopian society of self-improvement in the Suite 1500 debate that is provoked will be education- best Gene Roddenberry tradition. Los Angeles, CA al. Rest assured: I love film music. I think I urge everybody to take a lesson from 90036-4201 it’s a fascinating aspect of media and cul- John Williams and chill. (Meanwhile, we PHONE 213-932-5606 ture, as well as music, and I love listening pick apart 20 years of his CDs on pg. 24.) FAX 213-932-6111 to it. In the long run it will be studied as Happy new year, a legitimate art form, and this magazine THE SOUNDTRACK HANDBOOK will be used as a journal of record. A six-page listing of mail I take seriously any criticism of this order dealers, books, societies, magazine, and the reason I answer these etc. Free upon request. concerns with tempered nonchalance now is in part due to the other event that’s Lukas Kendall OUR WEB SITE Is updated five times weekly! Point your browser at: WWW.FILMSCOREMONTHLY.COM

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J ANUARY 1998 2 Film Score Monthly ACCIDENTAL TOURIST (JOHN WILLIAMS) $75.00 MICHAEL J. LEWIS-FILM MUSIC (PROMO, ORIGINAL SCORES, 1 CD) $35.00 ALL CDs ADVENTURES OF THE GREAT MOUSE DETECTIVE, THE (HENRY MANCINI) $15.00 MISSISSIPPI BURNING (TREVOR JONES) $15.00 ALWAYS (JOHN WILLIAMS) $15.00 MOM AND DAD SAVE THE WORLD (JERRY GOLDSMITH) $15.00 LISTED TO AMAZING GRACE AND CHUCK (ELMER BERNSTEIN) $20.00 MOON OVER PARADOR (MAURICE JARRE) $35.00 THE LEFT ANOTHER 48 HOURS (JAMES HORNER) $50.00 MR. WRONG (CRAIG SAFAN, PROMO) $30.00 APOLLO 13 (JAMES HORNER), REAL MCA PROMO COPY, NO DIALOGUE) $125.00 MY LEFT FOOT/DA (ELMER BERNSTEIN) $25.00 ARE FOR AROUND THE WORLD IN 80 DAYS (BILLY GOLDENBERG) $20.00 NIGHTMARE ON ELM STREET I & II (C. BERNSTEIN/C. YOUNG) $40.00 SALE AT ARTICLE 99 (DANNY ELFMAN) $40.00 NO MAN’S LAND (BASIL POLEDOURIS) $50.00 THE BABYLON 5 (CHRISTOPHER FRANKE, SIGNED & NUMBERED, 1ST ISSUE) $75.00 OFF LIMITS (JAMES NEWTON HOWARD) $35.00 BASIL POLEDOURIS-HONOR AND GLORY (PROMO, VARIOUS FILMS) $175.00 ONCE AROUND (JAMES HORNER) $15.00 MARKED BAT 21 (CHRISTOPHER YOUNG) $75.00 ORCA (ENNIO MORRICONE) $25.00 PRICE BERNARD HERRMANN CONCERT SUITES (MASTERS FILM MUSIC, 4CD & BOOK) $375.00 PAPERHOUSE (HANS ZIMMER) $20.00 BETRAYED (BILL CONTI) $30.00 PINO DONAGGIO-SYMPHONIC SUITES (VARESE CLUB, NUMBERED) $100.00 BOURNE IDENTITY, THE (LAURENCE ROSENTHAL) $25.00 PIRATES (PHILIPPE SARDE, VARESE ISSUE) $20.00 BOXING HELENA (24K GOLD CD, LIMITED TO LASER DISC BOX SET) $150.00 PRESUMED INNOCENT (JOHN WILLIAMS) $25.00 BUCCANEER (ELMER BERNSTEIN) $25.00 PURE LUCK (DANNY ELFMAN & JONATHAN SHEFFER) $15.00 BUFFALO GIRLS (LEE HOLDRIDGE, PROMO, ORIGINAL ISSUE) $40.00 QUEST FOR FIRE, THE (PHILIPPE SARDE) $25.00 www.supercollector.com BURBS, THE (JERRY GOLDSMITH, VARESE CLUB, NUMBERED) $150.00 QUILLER MEMORANDUM, THE (JOHN BARRY) $50.00 CABLE GUY, THE (JOHN OTTMAN, PROMO) $75.00 RACE FOR THE YANKEE ZEPHYR/THE SURVIVOR (BRIAN MAY) $30.00 CALL OF THE WILD (LEE HOLDRIDGE, PROMO) $25.00 RAGE IN HARLEM, A (ELMER BERNSTEIN) $50.00 CASUALTIES OF WAR (ENNIO MORRICONE) $40.00 RAIDERS OF THE LOST ARK (JOHN WILLIAMS, POLYDOR ISSUE) $35.00 CATCH ME IF YOU CAN (TANGERINE DREAM) $25.00 RAMBLING ROSE (ELMER BERNSTEIN) $15.00 CHASE, THE (JOHN BARRY) $50.00 RAMPAGE (ENNIO MORRICONE) $15.00 CHERRY 2000 (BASIL POLEDOURIS) $400.00 RANDY MILLER-MUSIC FOR FILM (PROMO) $35.00 COLD FEET (TOM BAHLER, VARESE) $15.00 RAZOR’S EDGE, THE (JACK NITZCHE) $25.00 COMPANY OF WOLVES, THE (GEORGE FENTON) $25.00 RED HEAT (JAMES HORNER) $40.00 CRIMES OF THE HEART (GEORGES DELERUE) $25.00 RELIC, THE (JOHN DEBNEY, PROMO) $40.00 CROSSING DELANCEY (PAUL CHIHARA) $15.00 RETURN TO OZ (DAVID SHIRE) $35.00 CUTTHROAT ISLAND (JOHN DEBNEY, ORIGINAL NU. MILLENNIA ISSUE) $75.00 RICHARD BAND: MUSIC THROUGH THE YEARS (PROMO) $30.00 CYBORG-VAN DAMME (KEVIN BASSINSON) $30.00 RICOCHET (ALAN SILVESTRI) $25.00 DAD (JAMES HORNER) $30.00 RIVER, THE (JOHN WILLIAMS) $20.00 DAY THE EARTH STOOD STILL, THE (B. HERRMANN, 24K LIMITED, EXTENDED) $75.00 ROBERT FOLK-SELECTED SUITES DEAD, THE (ALEX NORTH, VARESE) $25.00 (2 CD PROMO) $125.00 DECEIVERS, THE (JOHN SCOTT) $25.00 ROBOTECH-THE PERFECT COLLECTION (ORIGINAL SINGLE CD ISSUE) $50.00 DON’T LOOK NOW (PINO DONAGGIO) $25.00 ROSE TATTOO, THE (ALEX NORTH, DREAMSCAPE (MAURICE JARRE) $40.00 VARESE CLUB, NUMBERED) $75.00 EGYPTIAN, THE (ALFRED NEWMAN & BERNARD HERRMANN, VARESE) $125.00 ROXANNE (BRUCE SMEATON) $20.00 FEDORA/CRISIS (MIKLOS ROZSA, VARESE CLUB, NUMBERED) $35.00 SEA WOLF, THE (CHARLES BERNSTEIN, FILM MUSIC OF ALFRED NEWMAN (VARESE CLUB, NUMBERED) $35.00 BAY CITIES) $45.00 FOG, THE (JOHN CARPENTER, ORIGINAL US RELEASE) $50.00 SELECTIONS FROM FANTASIA & OTHER DISNEY (VARIOUS, PROMO) $15.00 FORBIDDEN ZONE (DANNY ELFMAN) $30.00 SERPENT AND THE RAINBOW, THE(BRAD FIEDEL) $450.00 FRED KARLIN COLLECTION, THE (PROMO) $40.00 SHIPWRECKED (PATRICK DOYLE) $75.00 GRIFTERS, THE (ELMER BERNSTEIN) $15.00 SOPHIE’S CHOICE (MARVIN HAMLISCH) $15.00 HEAVYWEIGHTS (J.A.C. REDFORD, PROMO) $40.00 SPACECAMP (JOHN WILLIAMS, JAPANESE) $50.00 HELLO AGAIN (WILLIAM GOLDSTEIN) $15.00 SPIES LIKE US (ELMER BERNSTEIN) $25.00 HOPE AND GLORY (PETER MARTIN, VARESE) $45.00 SPIRIT OF ST. LOUIS, THE (FRANZ WAXMAN) $20.00 HORSE SOLDIERS, THE (DAVID BUTTOLPH, JAPANESE IMPORT) $125.00 STAGECOACH/TROUBLE WITH ANGELS (JERRY GOLDSMITH) $15.00 HOT SHOTS (SYLVESTER LEVAY) $25.00 STARS ‘N’ BARS (ELMER BERNSTEIN, VARESE CLUB ISSUE, NUMBERED) $125.00 HOT SHOTS! PART DEUX (BASIL POLEDOURIS) $30.00 STEWART COPELAND-FROM RUMBLE FISH TO GRIDLOCK’d (PROMO) $75.00 HOUR OF THE GUN (JERRY GOLDSMITH) $35.00 SUMMER STORY, A (GEORGES DELERUE) $75.00 HUMMIE MANN-MUSIC FOR FILM (PROMO) $75.00 SUNCHASER (MAURICE JARRE, LIMITED PROMO, VERY RARE) $300.00 I KNOW WHAT YOU DID LAST SUMMER (JOHN DEBNEY, PROMO) $150.00 SUPERGIRL (JERRY GOLDSMITH, VARESE ISSUE) $50.00 IN HARM’S WAY (JERRY GOLDSMITH, JAPANESE ISSUE) $150.00 SUPERMAN (JOHN WILLIAMS, JAPANESE ISSUE, EXTENDED) $75.00 INCHON (JERRY GOLDSMITH) $50.00 SUPERMAN II & III (JOHN WILLIAMS/KEN THORNE) $175.00 JAGGED EDGE (JOHN BARRY, VARESE CLUB, NUMBERED) $125.00 TEMP, THE (FREDERIC TALGORN) $20.00 JERRY GOLDSMITH-SUITES AND THEMES (MASTERS FILM MUSIC SERIES) $175.00 TEMPLE OF DOOM, INDIANA JONES AND THE (JOHN WILLIAMS) $30.00 KRAFT-BENJAMIN SAMPLER (PROMO, VARIOUS) $100.00 TEXAS (LEE HOLDRIDGE, PROMO) $35.00 LAST STARFIGHTER, THE (CRAIG SAFAN, SOUTHERN CROSS) $25.00 THEY LIVE (JOHN CARPENTER) $40.00 LAST UNICORN, THE (JIMMY WEBB) $30.00 THOSE SECRETS (THOMAS NEWMAN, MASTERS FILM MUSIC) $35.00 LAURENCE ROSENTHAL-FILM MUSIC (PROMO, 2 CD) $50.00 TOO LATE THE HERO (GERALD FRIED, PROMO) $25.00 LAWRENCE NASH GROUP-THEMES & MAIN TITLES (PROMO) $50.00 TRANSFORMERS: THE MOVIE (VARIOUS) $20.00 LEGEND (JERRY GOLDSMITH, ORIGINAL ISSUE, DIFFERENT COVER) $75.00 TREASURE ISLAND (CHRISTOPHER L. STONE, PROMO) $20.00 LIGHTNING JACK (BRUCE ROWLAND, AUSTRALIAN) $20.00 TURBULENCE (SHIRLEY WALKER, PROMO) $150.00 LINK (JERRY GOLDSMITH, VARESE ISSUE) $125.00 TUSKEGEE AIRMEN (LEE HOLDRIDGE, PROMO) $45.00 LIONHEART-JEAN-CLAUDE VAN DAMME (JOHN SCOTT) $25.00 VIBES (JAMES HORNER, VARESE CLUB, LIMITED & NUMBERED) $250.00 LITTLE GIANTS (JOHN DEBNEY, PROMO) $40.00 VIEW TO A KILL, A (JOHN BARRY) $40.00 LITTLE SHOP OF HORRORS (ALAN MENKEN) $15.00 V-THE FINAL BATTLE (DENNIS McCARTHY, PROMO) $20.00 LOGAN’S RUN (JERRY GOLDSMITH) $75.00 WEEDS (ANGELO BADALAMENTI) $30.00 LONDON SESSIONS VOL. 2, THE (GEORGES DELERUE, VARESE) $20.00 WHITE FANG 2 (JOHN DEBNEY, PROMO) $25.00 MAJOR PAYNE (CRAIG SAFAN, PROMO) $30.00 WHITE MISCHIEF (GEORGE FENTON) $15.00 MAN IN THE MOON, THE (JAMES NEWTON HOWARD) $15.00 WHITE PALACE (GEORGE FENTON) $15.00 MASADA (JERRY GOLDSMITH, VARESE) $75.00 WHO FRAMED ROGER RABBIT? (ALAN SILVESTRI) $50.00 MASTERS OF THE UNIVERSE (BILL CONTI, ORIGINAL VARESE ISSUE) $45.00 WISDOM (DANNY ELFMAN) $30.00 MATINEE (JERRY GOLDSMITH) $15.00 WITCHES OF EASTWICK, THE (JOHN WILLIAMS) $150.00 MEMOIRS OF THE INVISIBLE MAN (SHIRLEY WALKER) $30.00 ZELLY AND ME (PINO DONAGGIO) $20.00 SUBSCRIBE NOW TO SOUNDTRACK! MAGAZINE U.S. & CANADIAN RESIDENTS START YOUR SUBSCRIPTION NOW TO THE OLDEST SOUNDTRACK MAGAZINE STILL IN PUBLICATION. PACKED WITH COMPOSER INTERVIEWS, NEW SOUNDTRACK RELEASES LISTED FROM AROUND THE WORLD, REVIEWS & MUCH MORE. ASK FOR A SAMPLE ISSUE WHEN ORDERING FROM SUPER COLLECTOR OR WRITE FOR A SAMPLE ISSUE (ADDRESS BELOW). TO SUBSCRIBE TO “SOUNDTRACK!” SEND $20.00 (U.S.) PAYABLE TO SUPER COLLECTOR FOR YEARLY SUBSCRIPTION

COMING SOON (MARCH ‘98) SUPER COLLECTOR FROM SUPER TRACKS MUSIC 16547 BROOKHURST ST. Fountain Valley, CA 92708 USA (714) 839-3693 “KRULL” FAX (714) 839-8263 THE COMPLETE SCORE E-MAIL: [email protected] LIMITED 2 CD SET OVER 93 MINUTES ONLINE CATALOG: www.supercollector.com EVENTS • CONCERTS RECORD LABEL ROUND-UP UPCOMING ASSIGNMENTS NEWS THE LATEST FILMS

It’s That Time of the Year... King) and Best Rap Solo “Men In Black” Angeles Times recently, in articles by (Will Smith). Awards will be given on journalist Jon Burlingame. The 12/18/97 February 23. paper had a feature on David Arnold’s Awards, Ho! Kundun by Philip Glass was voted the new James Bond albums, and the best score of the year by the Los Angeles 12/27/97 edition had an article on the use Critics Awards, with the runner-up being of Broken Arrow music in Scream 2 (it ere are this year’s Golden Globe Horner’s Titanic. had been used in the temp track), quot- Hmusic nominations: ing Scream’s Marco Beltrami, Broken Best original score: Gattaca Arrow’s Zimmer, as well as FSM’s Jeff (Michael Nyman), Kundun (Philip Film Music in the News Bond. Glass), L.A. Confidential (Jerry hannel 4 in Britain aired a program James Horner was on NPR’s Weekend Goldsmith), Seven Years in Cabout the music of James Bond on Edition on December 27 and 28, dis- Tibet (John Williams), Sunday, December 28. It focused on cussing Titanic, and on PBS’s various Titanic (James Horner). David Arnold’s recent efforts but also news and entertainment coverage on Best song: “Go the interviewed were John Barry, George January 14, with footage from the Mask Distance” from Hercules Martin, conductor Nicholas Dodd, and of Zorro dubbing sessions. (music by Alan Menken, Hal David. New film score recordings such as lyrics by David Zippel), Our own R. Mike Murray and his alter Titanic, Amistad and The Wings of “Journey to the Past” from ego Recordman appeared on the 1/5/98 the Dove have been reviewed in Anastasia (music by Stephen edition of “Personal FX,” aka The Entertainment Weekly as well as a little Flaherty, lyrics by Lynn Ahrens), Collectibles Show, on the Fox cable chan- newspaper called The New York Times. “Once Upon a December” nel, FX. He discussed his recent book on The February/March issue of Filmfax from Anastasia (Flaherty/ Disney records. (#63/4) will have a long interview by Ahrens), “My Heart Will Go The February ’98 Sci-Fi Entertainment Charlie Mitchell with director Jack Hill, On” from Titanic (music by magazine has an article on “Sci-Fi’s including discussion of the music for James Horner, lyrics Alien Soundtracks” by Jeff Berkwits of Hill’s pictures. by Will Jennings), Asterism magazine, covering the most French magazine Positif will run two “Tomorrow Never Dies” influential scores in the genre. extensive dossiers on film music in their from Tomorrow Never Dies Film music has been in the Los April 1998 issue, with interviews with (music and lyrics by Sheryl Crow, Mitchell Froom).

...And the Grammys Rumor Central Here are the three most rumored upcoming albums: The 1997 Grammy Nominations for Best Tomorrow Never Dies, Volume 2. David Arnold had to record his score in such a way Original Soundtrack that he was not done with the second half of the film when the album was produced. Album for Motion Pictures or Television: He has wanted to release a second disc of score music including most of the The English Patient (Gabriel Yared), The Vietnamese stuff—and said as much in our coverage last issue—but it has yet to get Lost World: Jurassic Park (John off the ground. Williams), Men in Black (Danny Elfman), Selena (Dave Grusin), and Seven Years in Titanic, Volume 2. Buzz began for this almost immediately. James Horner is signed to Tibet (John Williams). a recording contract with Sony Classical, and people have speculated that he would Best Original Song Written for Motion do a symphonic work based on the score as a “Titanic Volume 2”—or Braveheart Pictures or Television: “Father of Our Volume 3, as it were. Again, there is no confirmation. PolyGram’s Braveheart Volume Nation” from Mandela (Gradus Samson), 2 disc took a year to be released (it features extra score music as well as dialogue and “For the First Time” from One Fine Day traditional Scottish music) so relax. (Jud Friedman, James Newton Howard, Allan Rich), “I Believe I Can Fly” from Scream 1 & 2 score album Latest rumors are that this Marco Beltrami compilation Space Jam (R. Kelly), “How Do I Live” would come out on Varèse Sarabande around June—without the Danny Elfman from Con Air (Diane Warren), “A Song for “Cassandra” piece from Scream 2, and certainly without the Broken Arrow Mama” from Soul Food (Babyface). (Zimmer) guitar music tracked into the sequel. Other film music related nominations These albums may or may not happen. Check our web site’s Friday news column, include: Best Engineered Album: www.filmscoremonthly.com, for latest info. (I’d place my money on the Scream disc Classical: Herrmann: The Film Scores happening more than the others.) (the Esa-Pekka Salonen album, Richard

J ANUARY 1998 4 Film Score Monthly Maurice Jarre and the late Toru Bestselling and Pee Wee’s Big Adventure Takemitsu, and profiles of many of (Elfman, July 24). today’s top composers. Soundtracks Warner Home Video has CA’s 2CD set also embarked on a deluxe Rof Star Wars DVD of Superman: The Personal Appearances Special Edition has Movie (1978) for release in ames Newton Howard autographed gone gold, with certi- early 1999. Projects of this JPostman CDs at Creature Features in fied sales of over 250,000 magnitude require 6-8 months Burbank on January 4. units. Total sales are esti- lead time so there is no specifics as Signed copies are available through the mail: mated to be at 350,000 and to content or release date. 1802 W Olive Ave, Burbank CA 91506; climbing. ph: 818-842-9382. Sony Classical’s soundtrack to Titanic, helped by its Celine Dion vocal, has blasted Promos Goldsmith its way to #11 on the Billboard 200 chart of he next Laurence Rosenthal promos bestselling albums—past the Spice Girls!— Tproduced by Intrada for the composer Donates Sketches for the week of January 17, 1998. are Meteor and Becket, with only a few hun- dred copies of each available to collectors. erry Goldsmith has donated his origi- DVD Watch They’ll also release Money for Nothing by Jnal, handwritten sketches for more Craig Safan. than 100 films since 1957’s Black Patch to arner Home Video continues its Turner Classic Movies recently put the Academy of Motion Picture Arts and W march of progress with isolated music together a promo CD of tracks on recent Sciences’ Margaret Herrick Library in tracks on their DVD releases, the most Rhino CDs called The Sounds of TCM. Very Beverly Hills. The most recent entry is noteworthy being L.A. Confidential (April), nice packaging; no unreleased music. Congo; sketches to new films will be which will also have introductory commen- Score albums circulating in L.A. for added two years after their completion. tary by Jerry Goldsmith. Also forthcoming Academy consideration include limited The library already has film music mate- with isolated scores: Camelot and The Man pressings of George of the Jungle (Marc rials by Alex North, Max Steiner, Erich Who Knew Too Little (March 24), Midnight Shaiman) and Good Will Hunting (Danny Wolfgang Korngold and others, all avail- in the Garden of Good and Evil (April 21), Elfman). In each case, the commercial album able to qualified scholars by appointment. The Shawshank Redemption (April 28), only had a handful of score cuts. FSM

The Latest, the Greatest, the Newest, the Oldest Surround. They will not play (1972), with new packaging on regular CD players without and one new track, making it Record Label Round-Up the expensive DTS decoder. the complete score.

Arista There will be an complete score plus outtakes GNP/Crescendo Crescendo’s Koch Due in April is a new expanded edition of Close (47 min. total). Forthcoming is Godzilla CDs (original sound- Miklós Rózsa concert album Encounters of the Third Kind Goblin’s Roller. The CDs can tracks) should finally be com- (cello concerto and piano con- (John Williams, 1977) released be ordered in the U.S. from ing out; this is the first U.S. certo); due May is a new commercially (i.e. in record Shocking Images, PO Box release of most of this music. recording of Franz Waxman stores, not within the laser 601972, Sacramento CA 95860, Volume 1 is imminent (films chamber music (St. Clair Trio), package) at the time of the ph/fax: 916-974-0175; from 1954-1975), volume 2 including many film pieces. new laserdisc of the film. Like http://www.apexonline.com/si. (1984-1995) will be out in late Expected later in the year is a the expanded E.T. CD, this will February/early March. new Erich Wolfgang Korngold be a complete-score edition Citadel Due over the course of Most likely the next Star film music album (Juarez, The remixed by Shawn Murphy. 1998 are four volumes of Trek album will be a Jay Sea Wolf, The Sea Hawk, Also coming up is an Shostakovich film scores newly Chattaway Star Trek: The Elizabeth and Essex), recorded expanded edition of Taxi recorded in Moscow. Next Generation CD (including in New Zealand. On Driver (Bernard Herrmann), his score for the ride at Las the slate to be in stereo, produced by Didier DRG Due February is The Best Vegas’ “Star Trek: The recorded are albums Deutsch. of Goblin, Volume 2 (various Experience”), followed by a of Rózsa: chamber films, one CD, not 2CD set as Deep Space Nine Volume 2 music for piano, and Castle Communications Coming previously announced). (“Trials and Tribblations” and Korngold: complete from this English label are CD “Way of the Warrior” by music for piano, respectively. reissues from the Pye catalog, Fifth Continent Rescheduled for Dennis McCarthy). including Roy Budd scores to 1998 are the DTS CDs of The Label X Germany Forthcoming is be determined. Night Digger (Bernard Hollywood Forthcoming is Les Dance of the Vampires (1967), Herrmann), The Best Years of Miserables (new film, Basil aka The Fearless Vampire Cinevox Now available from Our Lives (Hugo Friedhofer, Poledouris). Killers, Krzysztof Komeda’s Italian label Cinevox is a new expanded), and King Kong music to Roman Polanski’s CD of Keith Emerson’s music (Max Steiner, 1976 recording JOS Being re-released in June horror-comedy. for the Dario Argento horror cond. Fred Steiner, no relation) on John Scott’s label is his film, Inferno (1980), with the remastered in DTS 5.1 Digital score to Antony and Cleopatra Marco Polo Here’s the latest on

Film Score Monthly 5 J ANUARY 1998 RECORD LABEL ROUND-UP • CONCERTS the new recordings done in Cole Porter and George this Belgian label is a score www.rhino.com. Moscow by Bill Stromberg Gershwin songs heard in the album to Wild America (Joel and John Morgan: film. McNeely, 1997 children/ani- Rykodisc Upcoming in The Imminent if not out is King mal/adventure film). Deluxe MGM Soundtrack Kong (Max Steiner, complete Pendulum Due in February are Series: 73 minute score). Due in two more reissues from the Razor & Tie Due June 2 are February 24: The Great February is Alfred Newman: Columbia Records catalog: What’s Up Tiger Lily? and Escape (Elmer Bernstein, Hunchback of Notre Dame Sophia Loren in Rome (John You’re a Big Boy Now (two 1963), Return of the (approx. 50 minutes), Beau Barry, 1964 television special) soundtracks by The Loving Magnificent Seven (1966 Geste (20 minutes), All About and Watership Down (Angela Spoonful, on one CD) and a album recording of The Eve (3-4 minutes). Garden of Morley, 1978). reissue of A Fistful of Dollars Magnificent Seven done at Evil (Bernard Herrmann, (Ennio Morricone). time of Return of the Seven plus 13-minute suite from Play It Again Now set for Correction: The review of sequel, Elmer Bernstein), In Prince of Players) is now set February is a 2CD set of rare Razor & Tie’s Lost Horizon the Heat of the Night/They for April. John Barry arrangements (Bacharach) CD last issue Call Me Mr. Tibbs (Quincy Out over the rest of 1998 from 1959-64, The Hits and speculated that the disc Jones, 1967/1970), Paris are: Philip Sainton’s Moby the Misses. A fourth volume might have been mastered Blues (Duke Ellington, Dick score (1956), including of The A to Z of British TV from an LP. The CD was in 1961), Some Like It Hot cues not used in the film; Themes will be out in March. fact mastered from a 1/4” (Adolphe Deutsch, various, Victor Young: The Uninvited, Geoff Leonard and Pete reel-to-reel tape. 1959). Gulliver’s Travels (1939), Walker’s book, Bond and April 7: After the Fox (Burt Bright Leaf, main title march Beyond: The Music of John RCA Victor February 10: Spy Bacharach, 1966), The from The Greatest Show on Barry, has been pushed back Tech, music for a new docu- Knack... And How to Get It Earth; Devotion (Erich again and will not be out mentary on the Discovery (John Barry, 1965), The Wolfgang Korngold); and Mr. until June at the earliest. See Channel by Joe Taylor, plus a Whisperers (John Barry, Skeffington (Franz Waxman). www.auracle.com/pia. new recording of the James 1967), Thomas Crown Affair They Died with Their Boots Bond theme (Michel Legrand, 1968), Here On (Max Steiner) will be PolyGram Due February 3 and narra- We Go Round the Mulberry recorded in Moscow in April. from PolyGram Classics and tion by Bush (various rock, 1968). Jazz is Valley of the Dolls Roger June 9: Never on Sunday Milan February 10: The Real (songs by Andre Previn, Moore. (Manos Hadjidakis, 1960), Blond (various), Mrs. Dalloway adaptations by John Judgment at Nuremburg (independent film). March Williams, same music as LP). Restless Coming this spring is (Ernest Gold, 1961), Last 10: Polish Wedding (Luis Michael Kamen’s new com- a new expanded/restored edi- Tango in Paris (Gato Bacalov). April 7: Gettysburg pilation on Decca, Michael tion of Ennio Morricone’s Barbieri, 1972), The Living (fifth anniversary deluxe 2CD Kamen’s Opus, will be out masterpiece Once Upon a Daylights (John Barry, 1987). reissue in Digipak). March 17. This includes Time in America (1984), pro- (The two Fellini titles have newly recorded music from duced by Nick Redman, with been postponed.) Motor Coming up in April Highlander, Die Hard, newly discovered alternates July 14: Equus (Richard from this German label is Robinson Crusoe (premiere), and outtakes. Rodney Bennett, 1977), A Latin Lounge, a compilation Mr. Holland’s Opus, Don Funny Thing Happened on of tracks by jazz vibesman Juan de Marco, Winter Guest Rhino Due this year are Fred the Way to the Forum Gary McFarland, including (new Alan Rickman film), Astaire and Ginger Rogers at (Stephen Sondheim, 1966), his themes from the films 13 Circle of Friends, and Brazil. RKO (2CD set) and Mario How to Succeed in Business (aka Eye of the Devil) and Kamen has signed a new Lanza at M-G-M. Rhino does Without Really Trying Once We Loved. Both are recording contract with Decca not have any classic M-G-M (Frank Loesser, 1967), Irma from McFarland’s Verve LP and will also record his score reissues planned at the la Douce (Andre Previn, Soft Samba Strings and have Concerto for Electric Guitar moment. 1963), Man of La Mancha never been released on CD. and Orchestra (initially writ- To be released later this (Mitch Leigh, Joe Darion, ten for Eric Clapton, to be year is a 4CD compilation cele- 1972). Nonesuch Due February 4 is a recorded for the album by brating Warner Bros.’ 75th None of the albums will be new recording of Humoresque rock guitarist Hotei anniversary, with tracks culled expanded from their original (London Symphony Tomoyasu), and The from the Warner Bros. LPs, but they will have dia- Orchestra, Najda Salerno Millennium Symphony Records catalog. This will fea- logue excerpts included dis- Sonnenberg, (another non-soundtrack ture many songs, but also creetly on separate tracks, as cond. work). score tracks from long out of well as CD-ROM extras and Andrew John Barry’s new non- print LPs. fold-out poster booklets. This Litton), fea- soundtrack work, The A Volume 2 is in the works series is drawn from the turing the Beyondness of Things, will be of The Simpsons: Songs in the United Artists film and violin pieces out in April. Key of Springfield (Alf record catalogs and post- composed and arranged by Clausen), to be released in 1987 MGM films; MGM films Franz Waxman, as well as the Prometheus Due next from March or April. See prior to 1987 are the domain

J ANUARY 1998 6 Film Score Monthly of Rhino Records through a Scannan Newly recorded by Spencer’s Mountain, The Silva Screen Upcoming U.S. deal with Turner. Of this writ- this U.K. label (City of Flame and the Arrow, Dark releases include more newly ing, there are no further plans Prague Philharmonic at the Top of the Stairs, recorded compilations: to reissue any of the James Orchestra, cond. Kenneth Mildred Pierce, Ice Palace, February: Alien Invasion (fol- Bond soundtracks up to and Alwyn) for release in early Now Voyager, The FBI Story, low up to Space and Beyond), including Moonraker, as those 1998 is Max Steiner: Great Life with Father, Sergeant U.S. edition of Nosferatu (new are tied up in an arbitration Warner Bros. Film Music, York, The Hanging Tree, score by James Bernard for hearing with EMI. with selections from Parrish and Johnny Belinda. silent German film). March:

Film Music Live Around the World Thailand Orchestra,” will receive its February 12 Bangkok s.o.; first public performance in Victor Young Medley, Romeo and years by the Los Angeles California Kill a Mockingbird (Bernstein). Juliet (Rota), Love Is a Many Philharmonic (cond. Esa-Pekka February 6, 7 Pacific Sym., April 9 Dallas Sym., Splendored Thing (Fain/Webster), Salonen) on March 26 and 27, Santa Ana; Shane (Young). Greenville, Richard Kaufman Flashdance: “What a Feeling” 1998. Also on the program are February 7 San Francisco Sym.; cond. ; Goodbye Mr. Chips (Moroder). Shostakovich: Piano Concerto Bride of Frankenstein (Waxman). (Addinsell), Airplane! (Bernstein), #2, Mendelssohn Symphony No February 26 Walnut High Man in the Moon (Howard), Gigi Doyle at Carnegie Hall 4 and Copland:“El Salón School, Elmer Bernstein cond.; (Previn), Gone with the Wind A new concert work by México.”“Music for Orchestra” The Great Escape, The Sons of Dances (Steiner), Songs for Patrick Doyle, “The Face in the is a modern work (approx. eight Katie Elder, To Kill a Audrey (Mancini), The Robe Lake,”will have its world pre- minutes) placing some of Mockingbird (all Bernstein). (Newman), The Raiders March miere at Carnegie Hall on Goldsmith’s aggressive Planet March 8 California Lutheran (Williams), Theme from Dallas February 21, 1998. It was com- of the Apes and Mephisto Waltz Univ., Thousand Oaks; Sunset (Immel). missioned by Sony Classical for writing in a concert setting. Boulevard (Waxman), Kings Row April 12 Dallas Sym., Lee Park, a recording involving a number Call 213-850-2000. (Korngold), Best Years of Our cond. Richard Kaufman: Out of of composers writing new Lives (Friedhofer), Gettysburg Africa (Barry), similar program as pieces around folk tales from Barry Back in Action (Edelman). above. various countries. John Barry will make his first concert appearance in decades Delaware Australia A Whole Lalo Schifrin at The Albert Hall with the February 6, 7 Delaware s.o., February 13, 14 Sydney s.o.; The American Composers English Chamber Orchestra (87 Wilmington; The Godfather Romeo and Juliet: A Renaissance Orchestra in New York will per- pieces) on April 18, performing (Rota), Born Free (Barry), The Timepiece (Nino Rota). form “La Repression” from James Bond music as well as Raiders March (Williams), Around February 14 Adelaide s.o., Lalo Schifrin’s new score to the premiere of his new tone the World in 80 Days (Young), Perth; Prince Valiant (Waxman), Tango (for symphony orchestra poem, The Beyondness of more—all film music concert. Vertigo (Herrmann). and 80-voice women’s chorus) Things (to be released the week on March 8, 1998.This is a part before on Decca). Indiana Canada of the ACO’s Sonidos de los March 18 NW Indiana s.o., February 2, March 9, 11, 12 Americas: Argentina Festival. McNeely in Scotland Munster; Psycho (Herrmann), Vancouver s.o., British Columbia; Schifrin just completed a set of Joel McNeely will conduct Gone with the Wind Dances Mission: Impossible (Schifrin). concerts in January in Europe; the Royal Scottish National (Steiner). February 19 Calgary s.o.; for updates on his appearances, Philharmonic, Royal Concert March 20 Marion s.o.; Marnie, Jonathan Livingston Seagull see www.schifrin.com. Hall, Glasgow in a film music Psycho (Herrmann). (Holdridge). concert on May 8, 1998. Kamen at Carnegie Hall Pennsylvania Germany Michael Kamen will conduct Due to the lead time of this mag- April 17, 18, 19 NE Penn. s.o., February 17, 18 a concert of his film work at azine, it is possible some of this Avoca; Souvenir to Perry Waltzes Brabant s.o., Eindhoven; Once Carnegie Hall on March 24, information is too late to do any (Waxman), French Medley (arr. Upon a Time in the West, Once featuring an orchestra from the good. Addison). Upon a Time in America Juilliard School of Music and This is a list of concerts with film (Morricone). special guest performers.The music pieces. Contact the orches- Texas February 28 performance will benefit Mr. tra’s box office for more informa- February 12, 15 Dallas Sym., Freiburger s.o.; The Raiders Holland’s Opus Foundation, tion. Thanks go to John Waxman cond. Richard Kaufman; March (Williams). Kamen’s non-profit organiza- of Themes & Variations Goodbye Mr. Chips (Addinsell), tion dedicated to providing and (http://tnv.net) for this list; he My Geisha (Waxman), Samson Japan maintaining musical instru- provides scores and parts to the and Delilah (Young), Two for the February 12 New Japan Phil., ments for students. orchestras. Road (Mancini), Friendly Tokyo; Carmen Fantasy For a list of silent film music Persuasion (Tiomkin), Tribute to (Waxman). Jerry Goldsmith’s concerts, see Tom Murray’s Victor Young (arr. Mancini), An February 20 Osaka Phil.; Music for Orchestra web site: Affair to Remember (Friedhofer). Carmen Fantasy (Waxman). A 1970 concert work by http://www.cinemaweb.com/lcc. March 27, 28 Garland s.o.; To Jerry Goldsmith, “Music for

Film Score Monthly 7 J ANUARY 1997 RECORD LABEL ROUND-UP • NOW PLAYING

Cinema Classic Romances. Adventurer (Charles Fox, new SouthEast Due in February Forever Amber (David Raksin, M April/May: Cinema Choral TV show), Dr. Quinn, Medicine from this Dutch label is Within 1947) and a musical to be Classics 2, and compilations Woman (William Olvis). April the Rock (Rod Gammons and announced for the end of 7: The Blood Oranges (Angelo Tony Fennell, enhanced CD), February; and Prince Valiant Badalamenti), Scene of the followed by Fear No Evil (Franz Waxman, 1954) and Crime (Jeff Rona, music from (Frank Laloggia, David Spear, another title in April. based on the films of Mel Homocide and High Incident). enhanced CD). Due 1998 in the Film Gibson, Sean Connery and Classics series (Royal Scottish Kevin Costner, respectively. Sony Now out from Sony Super Tracks Due around March National Orchestra, conducted May/June: Superheroes and Classical are Nino Rota: Music is a 2CD limited edition of the by the composer unless noted) Godzilla Screen Monsters. for Films (new compilation) complete score to Krull (James are Torn Curtain (Bernard and The Education of Little Horner, 1983), including all Herrmann, cond. Joel Sonic Images Forthcoming from Tree (Mark Isham). The Red the music on the hard-to-find McNeely), The Magnificent Seven (Elmer Bernstein), The Great Escape (Bernstein), and NOW PLAYING Citizen Kane (Herrmann, cond. Films and CDs Currently in Release McNeely). The next Jerry Goldsmith recordings of Alex Amistad John Williams Dreamworks North scores are The Agony An American Werewolf in Paris Wilbert Hirsch Hollywood* and the Ecstasy and Viva As Good as It Gets Hans Zimmer Columbia Zapata! The Boxer Gavin Friday, Maurice Seezer MCA Bruce Kimmel’s newly Fallen Tan Dun recorded collection, The Firestorm J. Peter Robinson Musical Adventures of Flubber Danny Elfman Walt Disney Cinderella (various produc- The Full Monty Anne Dudley RCA Victor tions, including the Disney Good Will Hunting Danny Elfman Capitol** material), will be out in the Half Baked Alf Clausen MCA* first week of March. Hard Rain Christopher Young Milan The second pressing of Illtown Brian Keane Starship Troopers features a Jackie Brown n/a A Band Apart* new red cover and disc-face Kundun Philip Glass Nonesuch design, incorporating a L.A. Confidential Jerry Goldsmith Restless, Varèse revised artwork campaign on Mousehunt Alan Silvestri Varèse Sarabande the part of the studio. This Oscar and Lucinda Thomas Newman Sony Classical will be used on all subsequent The Postman James Newton Howard Warner Bros. pressings, making the origi- Scream 2 Marco Beltrami Capitol* nal blue cover a collector’s Star Kid Nicholas Pike Sonic Images item. The Sweet Hereafter Mychael Danna Virgin Titanic James Horner Sony Classical Virgin Upcoming are two Tomorrow Never Dies David Arnold A&M soundtracks to popular com- Wag the Dog Mark Knopfler Mercury puter games, music by Robyn Welcome to Sarajevo Adrian Johnston Miller: Riven (February 24) The Wings of the Dove Edward Shearmur Milan and Myst (March 24). The Winter Guest Michael Kamen Varèse Sarabande Imminent is the first official CD of The Keep (Michael *song compilation **combination songs and score Mann film), specially prepared by Tangerine Dream. See the TD web site at http://www.net- Christopher Franke’s label, Violin (John Corigliano; expanded 79 min. SCSE edi- store.de/tadream/news.html for now distributed by MCA: Joshua Bell, violin) will be out tion and 10-15 minutes unre- information on some of the January 18: Star Kid (Nicholas at the end of 1998. leased music on top of that. band’s upcoming re-releases Pike, new kids feature). Due this spring from Sony and special editions. February 10: The Outer Limits Legacy is the expanded 65- TVT Due in February is Dark (new show, John Van minute issue of Star Trek: The City (Trevor Jones with three Walt Disney Pinocchio and Tongeren, various). February Motion Picture (Jerry pop tracks). In the planning Fantasia will be out in repack- 24: The Sentinel (Steve Goldsmith), a 2CD set with an stages is La Femme Nikita aged editions next July or Porcaro). March 10: The Lost expanded edition of Inside (various artists). August, along with the first World: Jurassic Park (Michael Star Trek (Gene Roddenberry- release of the soundtrack to G. Giacchino, interactive narrated ‘70s documentary) on Varèse Sarabande Coming up in the 1973 animated Robin Dreamworks game), Conan the disc two. the Fox Classics series are Hood. FSM

J ANUARY 1998 8 Film Score Monthly MUST-HAVEMUS& IC John Barry’s Deadfall First time on CD! John Barry scored this 1968 Bryan Forbes thriller in the midst of his most creative period of the ‘60s. It features his 14-minute C guitar concerto, “Romance for Guitar and Orchestra,” performed by Renata Tarrago and the London Philharmonic; the title song “My Love Has O Two Faces” performed by Shirley Bassey (“Goldfinger”), plus two never- before-heard alternate versions of same (vocal by Malcolm Roberts and instrumental); and vintage, dramatic Barry underscore. Deadfall was O released on LP at the time of the film’s release and has been unavailable ever since. Liner notes by Jon Burlingame. • $16.95 L The Taking of Pelham 1-2-3 First time anywhere! David Shire’s classic ’70s 12-

tone jazz/funk for the 1974 subway hostage thriller. C Part disaster movie, part gritty cop thriller, Shire’s fat bass ostinatos and creepy suspense cues glue it all together. A sensational, driving, pulsating score in a O class by itself. Liner notes by Doug Adams. Less than a dozen of this First Edition remain! • $19.95 L Soundtracks on Compact Disc Price Guide Hear sound clips from these CDs

on the Internet! Point your browser L By Robert L. Smith. This essential first edition has titles, catalog numbers, and at www.filmscoremonthly.com/ prices for 1500 CDs from 1985-1994. Less than a dozen copies remain! • $29.95 retrograde.html E

item single unit total

M-m-m! Must have! C John Barry’s Deadfall $16.95 Please rush me The Taking of Pelham 1-2-3 $19.95 the following: Soundtrack Price Guide $29.95

Add for shipping: U.S./Canada $3.00 first item, $1.50 each add’l T Rest of World $5.00 first item, $3.00 each add’l

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Who’s Writing What for Whom novel), Instinct (Anthony Hopkins). Lee Holdridge Family Plan (Leslie Nielsen), Stephen Endelman Shakespeare’s Sister, Two for Texas (Turner cable), The Secret of Ready for Musical Chairs? Tempting Fate. NIMH 2 (animated, MGM). George Fenton Dangerous Beauty James Newton Howard A Perfect Murder erry Goldsmith is replacing Rachel Tyler Bates Denial. (formerly Courtesan), Object of My (Michael Douglas, Gwyneth Paltrow, JPortman on the Disney animated film Roger Bellon The Last Don 2 (CBS mini- Affections (Jennifer Aniston). remake of Dial M for Murder, d. Andrew Mulan, because Portman is having a baby. series). Frank Fitzpatrick Players Club (Ice Cube). Davis), Snow Falling on Cedars (d. Scott Goldsmith had to drop out of Lost in Space for Richard Rodney Bennett The Tale of Mick Fleetwood 14 Palms. Hicks). scheduling purposes, and although a replac- Sweeney Todd (d. John Schlesinger). Robert Folk Major League 3, Jungle Book 2 James Horner The Mask of Zorro (d. Martin ment composer has yet to be signed, of this Elmer Bernstein (Disney), Robert Folk 1. Campbell), Mighty Joe Young, Deep writing Mark Isham is rumored to be the Deep End of the Ocean David Michael Frank A Kid Impact. “frontrunner.” (The trailer music to Lost in (Michelle Pfeiffer), Twilight in Aladdin’s Court, The Prince, Søren Hyldgaard Island of Darkness (hor- Space is the piece Goldsmith wrote for the (formerly Magic Hour, Paul Perfect Target, The Family ror/thriller, Denmark-Norway), Skyggen trailer to Judge Dredd—an orchestral re- Newman, Gene Hackman). Bloom (Penelope Ann Miller), (The Shadow, futuristic action thriller, recording is available on the Varèse album Chris Boardman Payback (Mel The Staircase. Denmark), The Other Side (action-adven- Hollywood ‘95—another movie he had to Gibson, d. Brian Helgeland, John Frizzell Jane Austen’s ture, d. Peter Flinth), The Boy and the drop for time reasons.) remake of Point Blank). Mafia (Jim Abrahams). Lynx (Finland/U.S.), Help I’m a Fish (with John Barry has had his score rejected Simon Boswell Photographing Richard Gibbs Music from songs). from Roland Joffe’s Goodbye Lover—after Fairies, American Perfekt, Another Room, Mark Isham The Scarlet Letter, perhaps a favor—and is Dad Savage, Perdita Durango. Doctor Dolittle (Eddie Murphy, The Gingerbread Man being replaced by John Ottman. And Oscar- Bruce Broughton Fantasia Continues (tran- Fox), Dirty Work. (d. Robert Altman), Blade winning Gabriel Yared, who was replaced by sitions), Krippendorf’s Tribe (Disney), One Philip Glass The Truman Show (New Line). Ed Shearmur on the acclaimed Henry James Tough Cop (d. Bruno Barretto). (Jim Carrey). Adrian Johnston I Want adapatation Paint Drying, I mean The Wings Paul Buckmaster The Maker (Matthew Nick Glennie-Smith Man in the You, Divorcing Jack. of the Dove, has also had his score removed Modine, d. Tim Hunter). Iron Mask (musketeer movie, Trevor Jones Dark City from the new production of Les Miserables. Carter Burwell Big Lebowski (Coen Bros.), MGM). (Alex Proyas), The Replacing Yared there is Basil Poledouris, Gods and Monsters. Elliot Goldenthal Sphere (d. Mighty (d. Peter who is moving to London for three months to Teddy Castelluci The Wedding Singer Barry Levinson, sci-fi, Dustin Chelsom, Miramax, col- write and record his score. (Adam Sandler). Hoffman), The Butcher Boy (d. Neil laborating with Peter Gabriel), The new Mel Gibson film Payback (former- Edmund Choi Wide Awake (Miramax, youth Jordan, ‘60s Irish setting), Blue Vision Desperate Measures (d. Barbet ly Parker, a remake of Point Blank with Lee comedy). (Dreamworks, horror, also d. Neil Jordan). Schroeder, Michael Keaton), Talk of Marvin) was reportedly temp tracked with Ray Colcord Heartwood (Jason Robards). Jerry Goldsmith Deep Rising, Legend of Angels (Miramax), Frederic Wilde (Fox, some of the coolest ‘70s action/cop sound- Michel Colombier Woo (romantic comedy). Mulan (Disney animated; songs by d. Richard Loncraine), Plunkett & tracks like The Taking of Pelham One Two Eric Colvin Setting Son (d. Lisa Satriano), Matthew Wilder, music, and David Zippel, MacLaine (PolyGram, d. Jake Scott— Three and Dirty Harry. Chris Boardman will Flight from Dhaharan (Showtime). lyrics), U.S. Marshals (The Fugitive 2), Ridley’s son), Titanic Town (d. Roger be scoring the film for director Brian Bill Conti The Real Macaw, Wrongfully Small Soldier (d. Joe Dante), A Small Michel), Merlin (Isabella Rosselini). Helgeland (co-writer of L.A. Confidential). Accused (replacing David Bergeaud). Miracle (aka Owen Meaney, Disney). Michael Kamen The Avengers (Uma Patrick Doyle is nearing completion of Michael Convertino Shut Up and Dance. Joel Goldsmith Reasonable Doubt (d. Thurman), From The Earth to the Moon his course of treatment for leukemia, which is Stewart Copeland Randall Kleiser, Melanie (TV, Tom Hanks), Lethal Weapon 4. in full remission. He has completed his score Four Days in September Griffith). Brian Keane Illtown (d. Nick Gomez), for the Warner Bros. animated film, Quest for (d. Bruno Barretto), Little Harry Gregson-Williams Stephen King’s Night Flier (d. Mark Pavia, Camelot. “Thank God you’re well” cards can Boy Blue. Deceivers (Renée Zellweger), New Line). be sent c/o Air-Edel Associates, 18 Rodmarton John Corigliano The Red The Borrowers, The Rolfe Kent Us Begins with You (Anthony Street, London W1H 3FW, England. Violin (Samuel L. Jackson). Replacement Killers (Mira Edwards). Your updates are appreciated: call 213- Mychael Danna 8 Millimeter Sorvino, Chow Yun-Fat). William Kidd The King and I (Morgan 937-9890, or e-mail Lukas@ filmscore- (d. Joel Schumacher), Greyboy Allstars Zero Creek, animated). monthly. com Regeneration. Effect (Castle Rock; Bill Philipp Fabian Kölmel Cascadeur: The Chuck D (from Public Enemy): Pullman, Ben Stiller). Amber Chamber (Germany, action-adven- Mark Adler Ernest Joins the Army, Stanley An Allan Smithee Film. Guy Gross Welcome to Woop Woop (replac- ture). and Livingston (Hallmark), The Rat Pack Alexandre Desplat The Revengers (U.K.) ing Stewart Copeland). Russ Landau One Hell of a Guy, Telling You. (HBO). Gary DeMichele Ship of Fools (d. Stanley Larry Groupé Storm of the Heart, Sinners Brian Langsbard Johnny Skidmarks. David Arnold Godzilla (Emmerich/Devlin). Tucci, Campbell Scott). (w/ Kenneth Branagh), Sleeping with the Simon LeBon/Nick Wood Love Kills (d. Luis Bacalov Polish Wedding, B. Monkey. Patrick Doyle Quest for Camelot (Warner Lion, Making Contact, Raven’s Blood (d. Mario Van Peebles). Angelo Badalamenti The Blood Oranges Bros. animated), Stepmom (Julia Roberts). Molly Smith), Defiance (Showtime). Chris Lennertz The Art House (parody; also (October Films, d. Philip Hass). Anne Dudley American History X (New Line). Dave Grusin Hope Floats (Sandra Bullock). music supervisor), Lured Innocence Lesley Barber A Price Above Rubies. The Dust Bros. Orgazmo. Chris Hajian Chairman of the Board (Dennis Hopper, Talia Shire). Danny Barnes The Newton Boys John Du Prez Labor Pains. (Carrot Top). John Lurie Clay Pigeons (prod. Ridley Scott). (d. Linklater, with music by Barnes’s band, Randy Edelman 6 Days/7 Nights (d. Ivan Richard Hartley Victory, Curtain Call (U.K.), Mader Little City (Miramax), The Wonderful The Bad Livers). Reitman, Harrison Ford/Anne Heche). All the Little Creatures (U.K. independent). Ice Cream Suit (Disney), Too Tired to Die. John Barry Mercury Rising (Bruce Willis, Cliff Eidelman Montana. Richard Harvey An Inch Over the Horizon Hummie Mann The Rescuers Part II Alec Baldwin, mystery/suspense). Danny Elfman Superman (d. Tim Burton), (Bob Hoskins). (Paramount), The Unknown Cyclist (Lea Steve Bartek Meet the Deedles (Disney). American Psycho (film of Bret Easton Ellis Todd Hayen Waking Up Horton. Thompson), Broke Down Place

J ANUARY 1998 10 Film Score Monthly

EVENTS

a feather floats down to rest he has been following her An Evening with Alan Silvestri at the feet of Forrest as he’s career, and even her personal seated at a park bench), he life, for some time. Hurt then Report By Jeff Bond rushed home and quickly reveals that he knows about composed the film’s opening the message sent by the n Tuesday evening, Silvestri stated that his piano piece, which became aliens from Vega and has October 10, 1997, thought-process in the run- the theme of the picture. found the secret to decoding OASCAP presented ning sequence centered on Robert Zemeckis immediately their document. “The music another of its series of inter- exactly where would be the approved of the theme when had to get across the strange- active lectures by prominent most effective moment for the Silvestri played a demo ver- ness of the John Hurt charac- film composers, this time fea- music to begin. There were a sion of it, and the composition ter, the potential threat of turing Alan Silvestri. After an number of obvious choices: survived virtually intact from him. There was a kind of introduction by SCL the point at which the bullies Silvestri’s original sketch. “I James Bond aspect to his President Jay Chattaway, begin to taunt Forrest; the thought I had it made!” character. And when Jodie Silvestri recalled. “I’d come sees these images of herself up with the main theme for that he’s put together, there’s the movie in no time and the a threatening aspect, like director liked it. This was she’s been stalked. At the going to be easy!” same time, there’s Jodie’s Unfortunately, the composer excitement that this man has soon realized that he had a found the answer to the prob- problem. “It didn’t work in lem she’s been trying to the running scene. Then it solve, which is the key to was like, ‘Well, it doesn’t understanding the alien work here...it doesn’t work transmission.” here...it doesn’t work here... To get across the dual What I realized was, I had agendas of the scene, Silvestri scored the feather; I had got- actually composed two differ- ten the essence of that ent pieces of music. “There’s moment, which really a dramatic underscore that’s Alan Silvestri, flanked by summed up the film, but was- acoustic and then I have this Nancy Knutsen and Bill McRae n’t appropriate for the other electronic music playing Silvestri took the stage and at his recent interactive lecture, scenes in the movie.” The against it with a completely proved himself an engaging, sponsored by ASCAP piano theme that opened different rhythm. Sometimes and one might even say inspi- Forrest Gump consequently when you have conflicting ele- rational speaker. point at which the first rock did not appear again until the ments of a scene that have to The centerpiece of the com- thrown hits him in the head; feather takes off at the end of be pointed out, the answer is poser’s presentation was two the point when Jenny yells at the film, bookending the to write two completely differ- film clips, one from Forrest Forrest to run away; the story. Silvestri then had to ent cues and combine them. Gump, the other from last point at which Forrest actual- compose a great deal of new They really don’t have to summer’s Contact. Each was ly starts running; the point material to flesh out the relate to each other musically presented first without music, when the footage changes to film’s actual events. at all.” then as scored by Silvestri. slow motion; and when The Forrest Gump cue Forrest’s crutches break away From Earth to the Heavens Then, A Word from the Audience showed Forrest as a child, (this was the point during the The sequence from Contact After discussion of the two escaping from childhood bul- spotting when Zemeckis said involved Jodie Foster meeting film scenes, Silvestri took lies (and his leg braces) by “You’re going to play here, the mysterious philanthropist questions from the audience, running away at super-Gump right?”). Silvestri found that played by John Hurt. In con- which consisted mostly of velocities. Silvestri’s commen- the most effective point for trast to the Gump scene, composers. One of the key tary focused on spotting, i.e., the music to begin was when which focused on the tran- questions was how one han- where would the music begin Forrest actually began to feel scendent moment of Forrest dles making changes or hav- in this scene? In characteriz- the freedom of running, discovering the feeling of run- ing cues (or even scores) ing his relationship with something completely irre- ning, the Contact sequence rejected. Silvestri responded director Robert Zemeckis, spective of his flight from the had to hit a number of dra- that he had gotten much bet- Silvestri emphasized that bullies. matic “beats,” according to ter at heading off these kinds Zemeckis rarely specifies Regarding Forrest Gump, Silvestri. In the scene, Foster of communication problems exactly where he wants music Silvestri was asked how meets with Hurt’s character over the years. He recalled to stop and start, but at some important it was to come up on an expensive, high-tech his first major job, writing point during spotting sessions with a central theme for the private jet. Hurt’s character music for the television series he will inevitably hear movie. The composer related is mysterious and peculiar, CHiPs: “It was the beginning Zemeckis say, “You’re going to how, after seeing the opening and he first shows Foster a of the second year,

play here, aren’t you?” sequence of the film (in which presentation indicating that (continued on page 46) PHOTO: LESTER COHEN

J ANUARY 1998 12 Film Score Monthly Film Score Monthly presents a unique behind-the-screen experience...

BAHISSIL LIFE POLEDOURIS AND MUSIC

Basil Poledouris: His Life and NOW Music is an intimate visit with AVAILABLE the composer of Conan the Barbarian, Big Wednesday, Free Order Willy, Starship Troopers and Your Lonesome Dove. Take a tour of Copy his work and lifestyle—in his own words—from his method- Today! ology on composing to his love of sailing and the sea. The video runs 50 minutes and includes footage of Basil conducting and at ances by wife Bobbie Poledouris and daughter work on synthesizer mock-ups of Starship Zoë. Discover the man behind the music, in a Troopers, as well as dozens of behind-the- close-up way you’ll never see on commercial scenes and family photos, and special appear- TV, or experience in print.

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U.S. Dealers: Visa/Mastercard accepted for international (non-U.S.) customers only—send your card#, your name Inquire with FSM on the card, and exp. date. Checks payable to Film Score Monthly, U.S. funds only. ph: 213-937-9890 fx: 213-937-9277 Name Overseas Dealers: Contact Screen Address Archives Entertainment City/ State/ Zip/ Country ph: 202-364-4333 fx: 202-364-4343 Send Orders to: Film Score Monthly, 5455 Wilshire Blvd, Suite 1500, Los Angeles CA 90036-4201 READER RANTS & Horner Misses the Boat ames Horner has finally FEEDBACK Jpissed me off. In Titanic, MAIL BAG Horner managed to come up with three themes. That’s good. domain that should be reserved “Pay him any amount of But, the opening track sounds TOMORROW by those who know how to sing money he wants!” like it’s right out of Braveheart, a Bond song. (Exception: Tina Michael Zatz and the Enya-like tracks sound TRIES HARDER Turner, who was given a bad Glendale, New York cheesy with the fake vocals. he soundtrack for the latest song to sing.) In fairness to Ms. [email protected] Track 9 (“The Sinking”) T007 film has arrived. As com- Crow, “Simply the Best” is not sounds like it belongs in Apollo posed by David Arnold, a good song either. It tries to omorrow Never Dies is the 13 (which also took from Tomorrow Never Dies at least emulate the power and intensi- T first non-Barry score to numerous other Horner does not sound like the last ty of the Bond films, in particu- use the James Bond theme to scores). Track 10 (“Death of entry in the series. While it has lar Goldfinger. Note to film a great extent, and it even fea- Titanic”) has a direct musical gotten back to the full orches- producers: You don’t have to tures a whole new version of phrase from Apollo 13—it’s the tral sound, I often thought I knock the audience over the it, aside from Moby’s terrific melody that sounds like was listening to Michael head in order to get your point new arrangement. My only Schindler’s List—and track 13 (Lethal Weapon/Die across. Look at the Bond songs problem with the theme’s (“An Ocean of Memories”) has Hard/License to Kill) Kamen, “From Russia with Love,” “You usage is the beginning of the a direct phrase from Casper. or Danny (Batman/Darkman/ Only Live Twice,” “Nobody second track, “White Knight”: Other composers can write Mission: Impossible) Elfman, Does It Better” and “For Your its opening for the gun-barrel music without stealing from with a little of Max (King Eyes Only.” sequence leaves out certain themselves—why can’t Horner? Kong) Steiner. Conversely, I was happy to expected phrases—including If you hear a John Williams Listening to the CD, I often hear k.d. lang’s version of the the theme on electric guitar! score, it sounds like John wondered where Arnold was David Arnold/David McAlmont The rest of the score is top- Williams, but it doesn’t sound going. Saxophones and bongos song “Surrender (Tomorrow notch, with some great roman- like any specific other Williams came in, to remind us that this Never Dies).” With lyrics by tic music accompanying “Paris score. Horner copies from him- is a hero created in the ‘60s, Don Black, this is the song you and Bond”—reminiscent of self way too often and doesn’t but they don’t lead to anything. will remember. Ms. lang has got Barry, but also with a hint of deserve much (if any) recogni- The score sounds like any Independence Day. I also tion for Titanic. other “This can fit any caught references to From Chris C. Tilton action genre film out Russia with Love’s main titles [email protected] there” music. and some of the music from In the moments when Thunderball. Even the techno ames Horner’s recent work the James Bond theme music sounds great. Jhas been unremarkable. He appeared, I thought I was As for the songs, the Sheryl has provided the films he’s hearing the usual boring Crow song has really started to worked with only the barest concert arrangement. I grow on me. Although some of necessity of what “works” to would like to hear an the lyrics are impossible to support the drama. Shooting on updated orchestral understand, it has become the video may “work” to tell a arrangement like the one best Bond song since “A View to story, but it’s hardly on par that appeared in the teas- a Kill.” k.d. lang’s song, on the with film. A filmmaker with er for GoldenEye and can other hand, is an instant classic, any self-respect wants to also be partially heard on easily the best of the end title assemble the best production the Interactive CD, The songs, and the first that could team possible to bring the James Bond Dossier. The also be the main title song. script to life. I would never hire one exception was the cue It is also great to hear instru- Mr. Horner because I feel his titled “Company Car.” mental versions of the k.d. lang music is detrimental to the This started off like vintage enough lounginess in her voice song pop up throughout the story (any story). His music has Barry with those wonderful wa- to complement the melody, not score. David Arnold has mas- become so predictable as to be a wa horns. Then it turned into overpower it. I wonder what tered the John Barry method of distraction. That is why his some Manciniesque creation Shirley Bassey or even Celene scoring a Bond film. If Barry is recycling is so annoying and that seemed to fit a Pink Dion would have done with it. not available for Bond 19, no unforgivable. His music does Panther film. Unfortunately, I don’t think one else but Arnold should not bring anything new to the To the songs: We are once this will get the radio/MTV air score it. This is the first time I films. It just sits there and does again subjected to the market- play that the Sheryl Crow song have ever said this about any the obvious. Other composers ing morons who insist that the will. other Bond composer. have done the obvious but have Bond films must keep in touch In conclusion, I hope the film William Kanas also provided new themes sepa- with “youngsters” by subject- producers will try to persuade [email protected] rate and distinct from their ing us to the vocal stylings of a John Barry to return to the Response to Tomorrow Never Dies has been previous work. pop/rock artist, in this case films that I personally consider widely positive—we received several let- It boggles the mind that any- Sheryl Crow, who is treading in my introduction to film music. ters praising David Arnold’s work. one could listen to Braveheart,

J ANUARY 1998 14 Film Score Monthly Legends of the Fall, Apollo 13, in modern (i. e. pop) music. I (1994) and Down on the Upside heard so few good film scores in etc. and claim this man is on assume Mr. Bender is basing (1996). Admittedly, examples of recent years. Music today feels the same level as John Williams his opinion upon whatever he worthwhile modern music are like it is created out of a necessi- and Jerry Goldsmith. You may hears on the local radio sta- few and far between, but those ty of entertainment, as part of call these prejudices (which is tion—bad idea. Like film music, that do exist vault above their the filmic package sales pitch. incorrect as the word means “to most of the great stuff goes contemporaries with their abili- The upshot of this is that we pre judge,” and these opinions unheard by the general public, ty to affect me emotionally, as should not be too worried are based on Horner’s work) because it’s not written to be do my favorite film scores. about the lack of inclusion of but one must approach art with consumed on a mass market Brian M. McVickar film scores in the classical a critical but objective view. level and its goals are beyond 112 NC 54 Bypass, Apt G-5 genre. Instead, we should bring Observe the work done by most bands’ wishes to “amuse Carrboro NC 27510 music greater acknowledgment Danny Elfman, Howard Shore, and/or entice.” within the film industry. Film Christopher Young, Patrick A favorite score of mine is music does not ultimately Doyle and George Fenton. Each Logan’s Run, an incredibly belong to the classical genre. It has his own style, but not one coherent work, but most people may overlap, just as it does has committed blatant plagia- will never hear it or appreciate with lots and lots of other rism. Horner is too consistent. its subtleties. A favorite rock musical styles, but it is huge, Why would I hire a man whose album of mine is Wings of Joy, not a sub-genre of anything. It work is always the same? I may by the band Cranes: It is a dense, is the biggest genre that exists hire Bo Goldman to write dark work, with unusual usage in music, and one of the rea- because of his use of character of piano, drums, bass and lead sons it’s so great is its diversity. or Conrad Hall to shoot guitar, and an eerie, child-like Proper interpretation and because of his talent at using vocal. Again, I believe it to be an analysis of music in a film may light. Each of them has a dis- incredibly focused work which require too much integration of tinctive style, but it is what will never attain greatness film and music theory for any they bring to every new film among the masses because of its classical scholar’s taste and that makes their talent an odd-meter rhythms, depressing expertise. John Bender gives a asset. Horner has not brought tone, and avoidance of accepted convincing argument for the anything new to the films he’s pop-song structures. They are best film scores to be considered done in a long time. both High Art in their respective as fine art regardless of any Obviously not everyone in genres, but saying that one is omparing classical with film would-be classical status. I’m the industry agrees with this closer to Fine Art because it is Cmusic is made difficult by the satisfied to leave it there. view as Horner gets a lot of orchestral is a rash judgment; lack of a decent definition of the Andrew Goldsbrough work. One need only look close- they both have separate musical former. Film music is... er, andrew.goldsbrough@ ly at the types of films and film- agendas and textures, yet both music used in a film. Classical magd.ox.ac.uk makers he works with to decide exceed expectations. music seems to be anything if steady work results in quality. A second argument to sup- that is fine art and orchestrally May Be Missed Corey C. Witte port my view concerns emo- based (i.e. other formal ensem- was saddened to hear of the Los Angeles, California tion—melancholy, or comfort. I bles are allowed too). Ideath of Australian composer I think Horner continues to plagiarize accept it when I sense it is a Ballets and operas are the Brian May (Vol. 2, No. 4). Some because so few people notice or care. I’d true expression of the emotion, closest things to film music in of his scores are the finest ever become so fed up with him that I’ve avoid- not fabricated and worn by the the classical genres. However, written for Australian cinema. ed his albums for several years; upon hear- composer and/or performers like these have different guidelines At the same time I was out- ing Titanic, I was surprised how much of it borrowed overalls. There is deep and formal structures than film raged by the news that the ses- was “new,” because it was an aggregate of intensity in music categorized as scores. Composers are simply of sion masters to his classic Mad things I hadn’t heard. If I can be that disin- Fine Art, and I find it in greater importance to ballets Max 2 have been destroyed by terested, imagine the average moviegoer. “Retreat” from Goldsmith’s The than they are to movies (in some ignorant recording studio! (The wholesale rip-off of Enya’s “act” is Blue Max, “Paranoid Android” most cases). This is why film Maybe it was an act undertak- another thing.) from Radiohead’s third album music, in general, is not consid- en by the Society for the OK Computer, and in “Riders of ered close enough to pure music Prevention of Film Music? John Bender as Fine Art Doom” from Poledouris’s to enter the classical genre. The curious thing I remem- ohn Bender’s statement in Conan the Barbarian. This is not to mention the ber about Mad Max Beyond J“Film Music as Fine Art” Mr. Bender should not dis- 20th century arguments sur- Thunderdome was the trailer, (Vol. 2, No. 7), “Most pop is cre- miss rock, not until he hears rounding artistic intelligence. which mysteriously featured ated specifically just to amuse the delicate chimes and soaring Hollywood is commercial (in the what appeared to be original and/or entice,” is a generaliza- guitar lines in the aforemen- extreme) and film is a popular music that smacked of the pre- tion. If one is comparing rock tioned album OK Computer medium. Simply put, large vious Mad Max scores. It sure with classical, one could con- (1997), the layered sound of hordes of consumers are not to sounded like May, and whet clude that the latter is obvious- The Sundays on their first two be trusted with artistic opinions. my appetite for what might ly High Art, but there is High albums, and the thick muscu- It is not really possible to argue have been. Also worthy of note and Low Art in classical music, larity contrasted with aching that anything resembling fine was his noble score for the High and Low Art in film vulnerability seeping through art emanates from Hollywood superb Australian mini-series music, and High and Low Art Soundgarden’s Superunknown today. This is why we have The Last Outlaw, about the

Film Score Monthly 15 J ANUARY 1998 MAIL BAG The problem starts when a beautiful score to The Lost write in and ask—as well as links to film is wallpapered with music Boys? What’s the deal with numerous fan sites. that at times can ruin the albums with songs that were life of notorious Bushranger- movie. The best example of not in the film, and on top of need to subscribe to FSM in cum-folk hero Ned Kelly (for- this is Face/Off by Media that, the best songs in the film Ithe braille version for the get the 1970 Mick Jagger Ventures’ John Powell. The aren’t even on the soundtrack? blind, or the signed issue for the thing), which to my knowledge affair starts superbly with a Although I love the songs on deaf, because I seem to be miss- has never been repeated since fine merry-go-round sequence, Scream album and the decent ing something in the normal its original airing in 1980. then it becomes intrusive: did four minutes of score, they left English translation. Stephen Harris the church confrontation need off the best music, which was on Example 1: Vol. 2, No. 7, 28 Bundanoon Road a choir, bells, and all the ele- the final credits: the song “I page 6: Record Label Round- Woronora Heights NSW 2233 ments of a “holy” thing? Don’t Care” by Dillon Dixon Up, under Fifth Continent: Australia Silence would have been bet- with the accompanying music “they will not play on CD play- ter. I cracked up here along by Marco Beltrami. ers without a DTS decoder.” Zimmer Zapped! with other people watching They produced a score album to What the hell is that? Am I e were very disappointed the film, as step-by-step it was the film Mimic and put the Dillon the only one of your vast read- Wwith your recent interview made ridiculous by the mas- Dixon song that was on during the ership who remains unin- with Hans Zimmer (Vol. 2, No. sive sound. final credits on the album. Why formed? 7-8). Not that we are concerned Alex Zambra didn’t they do that with Scream? Example 2: Same issue, page about such a limited composer 5644 Lawndale Eric I. Saitzyk 9, under Sony: “Jerry (as he showed so clearly with his Houston TX 77023-3840 4198 Rockcreek Ct. Goldsmith had final approval noisy score for The Peacemaker), Danville CA 94506 over what would be added to because we are accustomed to Waiting for Gusto There was a score album to Mimic but not ST:TMP, which is why it’s still hear the great composers like he solution for the emer- Scream because Mimic was recorded non- going to exclude cool cues like Williams, Goldsmith, Barry, Tgence of essential 2CD pre- union in Toronto, while Scream was record- the first meeting with V’Ger Herrmann, Horner, etc. sentations such as North’s ed union in Los Angeles. To put a union and the space station music.” Perhaps you need to look Cleopatra is for Fox to buy back score on CD requires the re-payment of the This makes no sense, and down on these masters just to their titles from PolyGram. In musicians’ salaries. As for what makes it on you display absolutely no inter- look nice to Mr. Zimmer, but case this proves futile, record the a song album like Scream or Scream 2, that est in explaining why this is so! you make every good film music anew, faithfully, with can be determined by the record company, The least you could do is to say, music enthusiast angry with authentic sound. Not like the artists’ contracts, and commercial considera- “I don’t know!” your poor remarks about the Starlog/Varèse Laurie Johnson tions. Those are also big teen movies where I have no idea where you “nerds who like...” album of Herrmann’s North by the producers do not want a score-only were 18 years ago, but I was in It’s very sad when Northwest or album to compete on the marketplace with a movie theatre, sitting a film music maga- Don’t sit on the side most recently the song compilation. Late news: there will through ST:TMP simply to zine uses its space to grinding your teeth; Varèse’s be a Scream 1 and 2 score album from hear one of the most incredible say bad things about Send your wit and Patton—both Varèse this year. musical scores ever composed. other composers or witticisms to: with digital con- Today I own a copy of the listeners. Really good FSM Mail Bag cert hall If I Were King of the Universe laserdisc, because it is the only composers don’t 5455 Wilshire Blvd ambiance and have two constructive sugges- avenue available to enjoy the need to say bad Suite 1500 recorded at such Itions for your magazine: entire score. things about their Los Angeles CA 90036, low and distant (1) For each interview you Chris Kinsinger contemporaries or to mailbag@ sound levels that publish, include with it a short 2205 North Second Street because they are filmscoremonthly.com much of the biography of the subject with Harrisburg PA 17110-1007 doing something bet- instrumentation, year of birth, place of birth and I’m sorry I didn’t offer lengthier explana- ter with their time: good music! especially percussion, is barely places of musical study. You are tions, although I’ve discussed both of these André Augusto Lux audible. At least Varèse was becoming the magazine of in my Friday news wrap-up on the FSM web Rogério Ferrari, Brazil astute enough to issue the ana- record for film music, and it is site, www.filmscoremonthly.com. [email protected] log version with superior sound hard to find this information, The Fifth Continent CDs are coming out When Jeff Bond and I insult film music of North by Northwest. The especially regarding many of in DTS sound, a high quality surround for- fans, it is out of sheer love, and self- strength and gusto of the younger composers. mat that requires a special proprietary incrimination. In the case of the Zimmer Goldsmith’s masterwork is oblit- (2) How about a once-a-year decoder to make the CD play—that’s all. interview, we felt it was better to present erated by an unwise sound deci- round-up of the extant film In the case of Star Trek, Jerry Goldsmith as much of the conversation as possible sion—what a waste! music societies? I continue to is being a sourpuss who doesn’t want the unedited. Robert M. Eastman be amazed how many are out entire score included on the expanded CD. Troy, Michigan there, with semi-regular Usually for soundtrack reissues the compos- edia Ventures indeed About Fox buying back titles from newsletters and the like. er does not have final approval of content, Msounds like a factory and PolyGram, easier said than done. Noah Trudeau but in this case, he did. the dawning of the “corporate 1021 Newton Street NE Goldsmith is very sensitive about his soundtrack.” Zimmer’s work is hy are some crappy scores Washington DC 20017 soundtrack albums and feels like too much brilliant at times: House of the Wto crappy films released We’ll aspire to do the former where possi- of his music is lying there naked, without Spirits, Driving Miss Daisy, when a lot of the best scores are ble. As to the latter, see our web site for an the movie, for everybody to dissect. (Some and Millennium are among not? For instance, where are online version of The Soundtrack composers don’t care.) He’s right of course, the best as music and also as Young Guns, Vamp, The Handbook—a free list I send to anyone because that’s the nature of the beast. In film scores. Program, Se7en, and Newman’s upon request of soundtrack resources, just any case, Goldsmith has used this opportu-

J ANUARY 1998 16 Film Score Monthly nity to allow around 25 minutes to be added to his ST:TMP album, but no more. If you want to complain, don’t pester FSM, or Sony, or Paramount, but the guy who was responsible for creating the whole thing in the first place. Subscribe Don’t Dis Rosenman n response to Rory Monteith (Vol. 2, No. Now I6), I do not agree that Beneath the Planet to the Leading Magazine of of the Apes would have been a better film with a Jerry Goldsmith score. His comment struck me as another example of the casual dismissal that the work of Leonard Motion Picture and Rosenman so often receives. Did Rosenman not figure greatly in the changes to film music in the 1950s? Along with Alex North and Elmer Bernstein he helped modernize Television the sound of films. One cannot argue that Goldsmith’s Planet of the Apes is incredible, and much else pales in comparison. However, Rosenman wrote some fine music for the Apes series, even as the films became more Music and more laughable. Beneath is a reason- ably intelligent film with a good score in which atonality is still important. Battle for Appreciation the Planet of the Apes is well into uninten- tional laughs territory, but still has an excellent score, with an exciting march over the main titles. in theWorld. Rosenman’s more recent film music is not on a par with classics such as Cobweb, the James Dean films, Fantastic Voyage and The Whether you’re a Lord of the Rings. However, I find much of worth in his recent works, such as RoboCop soundtrack collector, 2, and am surprised by the vehemence with which these scores are discussed. Iain Herries a music professional, 32 Beechwood Terrace Leeds, West Yorkshire LS4 2NG a filmmaker or a movie England buff, Film Score Monthly And the Winning Letter Is... our Basil Poledouris video was outstand- has something for you. Ying. The most striking aspect of it was the fact that it was told by Basil himself. I hope for future videos that you do the Don’t miss a single issue! same: no narrators, no interviewers; no one but the composer and his family. It provides a genuine personal quality which is very Yes! I want to subscribe to Film Score Monthly. I have enclosed... direct. I just liked hearing Basil and Bobbie ■ U.S. Subscription $29.95 for one year talk about their relationship and history. (Save 24% off newsstand price!) At first, I was a little disappointed by the ■ Canada/Mexico $35.00 absence of film clips, but hearing Basil per- ■ Rest of World $40.00 form on the piano more than made up for it, and was an absolute joy. I would definitely Visa/Mastercard accepted for international (non-U.S.) customers only—send your card#, pay for a CD of this recording. So keep up your name on the card, and exp. date. Checks payable to Film Score Monthly, U.S. funds the good work! The magazine is great, the only. video is great, so life must be good for you. Dan Ward Name [email protected] Readers, this is our favorite type of letter. We’re very proud Address of our Poledouris documentary and think it’s something people will enjoy. Here’s to word of mouth! (And of course, if City/ State/ Zip/ Country you’d like to check out the video for yourself, the order form Send Orders to: is on page 13.) FSM Film Score Monthly, 5455 Wilshire Blvd, Suite 1500, Los Angeles CA 90036-4201

J ANUARY 1998 17 Film Score Monthly THE LASERPHILE

ponents, so don’t expect any Spielberg- directed or produced film to be seen on The Uncertain Future DVD. The first results of Spielberg’s decision were seen when Men in Black was By Andy Dursin canceled on DVD, and several Amblin films from his Universal days (Back to the Future, Jurassic Park) that were anticipated to appear in the new format were never announced. DIVX represents another stumbling block to DVD, and yet another wildcard to add into the unpredictable home-theater race as the millennium approaches. In the meantime, laserdisc product continues to be turned out by numerous manufactur- ers (and prices are dropping, in response to DVD), while DVD owners seem to be happy with their format, even in its early stages. Where all of this will lead, however, is anybody’s best guess, though we can fathom this much—if you haven’t invested in laserdisc, now’s a great time, as there are titles and special editions available that will never be reissued in another format. That, combined with the dropping prices, makes laserdisc an attractive format even as the promotion of DVD reaches a fever pitch over the first few months of the new year. Only HE NEW YEAR IS FINALLY HERE, AND I WOULD BE LYING TO YOU IF I SAID I WAS TOTAL- after that time will we be able to make an educated guess as to where all of this will LY SURE AS TO WHAT DIRECTION THE ENTIRE HOME THEATER INDUSTRY IS HEADING. eventually lead.

HDTV LOOMS LARGE AS THE BASIS FOR A NORTH AMERICAN TECHNOLOGICAL OVER- NEW LASERDISCS T Walkabout (Criterion, $49.98) HAUL, BUT IT ALWAYS SEEMS AS IF IT IS SEVERAL STEPS TOO FAR DOWN THE ROAD FOR ANYONE hen someone says to you, “they Wdon’t make movies like that any- TO TAKE MUCH INTEREST IN. OVER THE PAST 18 MONTHS, HOLLYWOOD BEGAN TO TURN OUT more,” in response to the oft-mention of a 1930s picture, what they really ought DVDs as a means of luring the casual watch it as many times as you want for 48 to do is take a glimpse at a handful of VHS consumer into collecting movies in a hours, then have to call (via a films made in the 1970s that higher-definition format. Turned off by modem in the DIVX player) a would never be turned out laserdisc’s loyal but—let’s face it—small number to see it again, and be We turn today. Nicolas Roeg’s exquis- niche market, studios gave high-end home charged an additional fee. While itely shot, surreal “adventure” theater technology one more shot before the specifics of this format are the visi-screen film Walkabout is one of those the advent of HDTV, and DVD seems to be still being worked out (i.e. how on Tron, special pictures that came out paying off thus far—at least in terms of much will it cost per-view, which of the decade, a movie that hype and industry promotion. Criterion’s films can you buy to own, etc.), Logan’s Run, tells a story in such an unique, recent announcement of releasing DVD the prospect of DIVX is, to both original manner that it is as software is the first indicator that virtual- laserphiles and DVD owners, Walkabout, fascinating for what it doesn’t ly all studios and companies are behind alarming to say the least. Evita, tell us as it is for its gorgeous the format—albeit to various extents— Current DVDs will play on the locales and magnificent cam- which is crucial as fourth-quarter ‘97 DIVX machines, though not vice and some era work. DVD sales are analyzed to death. versa, hence requiring invest- Roeg directed and shot the The big problem now for DVD, aside ment in yet another new piece troubling acclaimed film, which relates— from its Jekyll-and-Hyde visuals (some of hardware in order to watch developments in the form of a childhood mem- DVDs look superior to laser, others vastly DIVX films. ory—how a pair of well-off inferior), is DIVX, a format that is being While DIVX sounds like a bad Australian children (Jenny

propagated by the home-electronics chain idea to many (you can get pay-per-view off Agutter and Roeg’s son Lucien John) end COPYRIGHT ©1976 METRO-GOLDWYN-MAYER PHOTO Circuit City and a firm called Digital cable or satellite, and be able to tape the up isolated in the outback, where an Video Express. DIVX is essentially a Pay- movie as well), Dreamworks, Fox, Disney, Aborigine teen (on his Walkabout, or rite- Per-View, DVD-based system (call it a and apparently Universal are all behind of-passage into adulthood) guides them

“Disposable DVD”)—you buy it for $5, it. Steven Spielberg is one of its main pro- back to civilization. Roeg’s treatment of LOGAN’S RUN

J ANUARY 1998 18 Film Score Monthly the subject matter never romanticizes the score is a dynamic, challenging taining and durable spectacle Aborigine’s life, nor does it make judg- effort, filled with liftable num- than some of the current, card- ments on the characters and the culture bers (“Don’t Cry for Me board “blockbusters” that have clash that inevitably ensues; it simply Argentina,” “High Flying visited multiplexes in recent shows us how similar everyday life can be Adored”) and an irresistible col- years. Thanks in no small part to regardless of the separation (geographical lection of styles, ranging from Jerry Goldsmith’s marvelous or otherwise) between cultures. What Latin tango rhythms to flat-out score (one of his all-time best) Roeg does so effectively in this adaptation rock and classically-oriented and appealing performances by by Edward Bond of James Vance ballads. the leads (yes, Jenny Agutter Marshall’s novel is illustrate all the prob- Criterion’s gorgeous, THX- again, and her clothes fall by the lems and pleasures that are inherent in rendered, and supplement-laden wayside one more time), you can the life experience, with looking backward disc is CAV, featuring a fascinat- see why this movie has held up a crucial element to the journey. ing commentary from Parker. over the years—what it lacks in John Barry’s lyrical score is one of the Unfortunately, the rest of the drama, it makes up for in its film’s highlights, being one of those Barry extras are less interested in Carlos’s ambitions and, by and large, works characterized by long, flowing detailing Webber and Rice’s cre- challenging competent execution. melodic lines, and a particularly good use ation and how it worked on The laserdisc, the first special of chorus (the use of Stockhausen’s stage as they are in providing a score for edition turned out by Image “Hymnen” is striking, especially when wealth of historical material under their new licensing part- framed against the untouched outback). about Eva and Juan Peron, with Tron was nership with MGM/UA, has It’s a shame Barry’s score was never com- archival newsreel footage and altered, but a plenty of goodies, including a mercially released (and also that Time magazine articles included promotional short that features Criterion did not isolate his music here), for good measure. All of that is new disc David Hasselhoff modeling but the treatment of Walkabout itself relevant, but I would rather Richard Jordan’s costumes in a since its original release is just as regret- have seen a discussion on the restores Logan’s Run “fashion show”! table—the movie was out-of-circulation differences and challenges that unreleased Other highlights include several for years, with this restored “Director’s the show’s authors and Parker trailers (featuring clips from the Cut” marking its first-ever appearance on faced during production; a material deleted opening sequence), video. Criterion’s disc includes an insight- “Making of Evita” documentary, script excerpts of scenes relegat- ful commentary from star Jenny Agutter included here but previously seen only in ed to the cutting room floor, still-photos of and Roeg, offering observations on the Europe, features brief footage of Webber the production and cast, and liner notes filming and the story itself, but the great working on the soundtrack (disagreeing from author William F. Nolan. A nice thing about Walkabout is that, ultimately, with the producers about the sound!) and package all around. its subjective meaning is left in the eyes of commenting on his differences with the viewer, for you to interpret and dis- Parker, the sort of thing that there should Tron (Disney/Image, $99.98) cuss. Truly a movie to savor. have been more of in this set. ike Logan’s Run, Tron was one of those Lgenre films that arrived with a lot of Evita (Criterion, $124.98) Logan’s Run hype, and while it promised more than it ndrew Lloyd Webber and Tim Rice’s (Image Entertainment/MGM, $69.95) ultimately delivered, it certainly has dated Astage-musical becomes a cinematic ommentary from Michaels York and far less than many of its counterparts from extravaganza under the direction of Alan CAnderson, along with a crisp new digital the early ‘80s. Parker, who breathtakingly captures the transfer and remastered Dolby Surround/ This expensive 1982 Disney production, spectacle, decadence, and irony Dolby Digital sound- filled with underwritten characters but of Eva Peron’s rise from peasant tracks, are the main awesome special effects, brought an girl and tramp to Argentina’s components behind arcade-crazed nation inside a computer, political and spiritual icon dur- this enjoyable where a sort of electronic version of ing the 1950s. “Special Edition” of “Spartacus” ensues between the good Naysayers sought to dismiss the once-ballyhooed, “users” and the evil “Master Control” Madonna right from the get-go, now semi-respected program that governs the system. While but she’s tremendous here, 1976 sci-fi epic. Bruce Boxleitner is functional in a role singing the score as written, While many have that someone like Michael Douglas could and perfectly capturing the arti- always dumped on have effortlessly conveyed (and we won’t fice that was Eva Peron. the film’s plastic, discuss his charmless then-wife and on- Antonio Banderas is likewise disco-era look and screen love interest, Cindy Morgan), Jeff electric as Che, the narrator of creaky dramatic sit- Bridges makes for an engaging everyman the piece, which is fascinating uations (the ice sucked into this lavish adventure. It’s for its often cynical, pointed robot “Box,” voiced funny how Tron was so heavily criticized lyrics, words that never roman- by Roscoe Lee for its cardboard story and “insistence on ticize the historical figure (quite Browne, looks right bringing the video game experience to unlike how a lot of people who out of an Irwin life” at the time of its release. Maybe haven’t seen the show or film Don’t cry for Allen TV show), because so many movies we see today PHOTO COPYRIGHT ©1982 WALT COPYRIGHT ©1982 PHOTO DISNEY PICTURES believe it does). As a through- her, DVDers... Logan’s Run is at more closely resemble a Nintendo game

TRON composed musical, Webber’s least a more enter- than Tron—with its somewhat hazy but

Film Score Monthly 19 J ANUARY 1998 THE LASERPHILE intriguing comments on humanity—this tional extras include an amusing “love Elite had planned a November bow for movie is far more enjoyable than a lot of scene,” complete with a “break out the vio- their Special Edition of Evil Dead 2: today’s special effects-laden pictures. lin” treatment of the Tron theme, where Dead by Dawn ($49.95), with all sorts of This “Disney Archive Collection” box- Cindy Morgan’s wardrobe morphs into supplements, but problems locating pris- set is not a new release, but is certainly what can best be described as an early ver- tine source elements have delayed the worth mentioning for its isolated music- sion of the aquatic E.T.s from The Abyss; title into 1998. and-effects track, fun commentary (reveal- tons of trailers; excerpts from “Making ing that a tipsy Peter O’Toole once wanted Of” specials; and lots on the movie’s still Bargain Laserdiscs to play Tron!), excellent behind-the-scenes amazing FX work. The transfer, an early Folks searching for excellent second-hand supplement, and deleted music outtakes. THX effort, is also state-of-the-art, perfect- laserdiscs should punch up Sight & Sound Wendy Carlos’s challenging score, ly capturing the full Super Panavision 70 (www.ilovelaser.com, 617-527-7324) for blending electronics with chorus and frame in all its neon-tinged glory. their extensive, unbeatable catalog of used orchestra, is still one of the best of the titles. If you’re into bargain-priced new 1980s—the end credit music, utilizing Quick Takes discs, do yourself a favor and check out pipe organ with the synths and symphony, New Line’s Austin Powers laserdisc Ken Crane’s Laserdisc (www.kencranes. creates a fascinating pseudo-religious fab- ($39.95) and DVD ($29.95) both feature com/laserdiscs, 1-800-624-3078), as they ric that strikingly equates the computer outtakes, including a cut scene with Rob have an outstanding sale going on with world with our own society and civiliza- Lowe and several “alternate” endings (one rare items at unheard of prices. tion. For all her efforts, Disney did alter of which is superior to what was used in the the music somewhat in the finished prod- finished film). Commentary from director DVDs uct, though this disc allows you to hear Jay Roach and star/writer Mike Myers is Warner’s DVD of Cabaret (due for a 25th Carlos’s original musical conception in also included in both versions. All right Anniversary theatrical re-release) has. two restored sequences contained in the baby, it’s high-end home theater fun, yeah! been canceled for the time being. supplemental section. No extras are included, but Columbia Columbia TriStar also had to recall, “for Carlos’s discarded music from the TriStar’s The Fifth Element ($39.95) major pressing problems,” many of their “lightcycle sequence” is the main attrac- laserdisc is a knockout—one of the best mid-November releases, most of which tion here, with the disc enabling you to iso- laser transfers ever. Unlike many CTS should be correctly repressed and in late the music in full stereo (this cue is not lasers and DVDs, this was pressed by stores by the time you read this (this sort on the soundtrack album); her complete Pioneer, not Sony—hence the flawless of thing has been going on with CTS “End Title,” sans Journey’s head-bashing look to the visuals. laserdiscs for years). ‘80s power rock, is also included. The addi- The Dune die-hards have won a partial In addition to the handful of Warner victory as MCA will release titles expected to include isolated music David Lynch’s 1984 sci-fi soundtracks, DVD goodies planned for bomb on laserdisc in mid- the beginning of ‘98 include a much- December (THX, Dolby needed remastered edition of The Man Digital, $39.95). This will Who Would Be King ($24.95), complete be the widescreen laser with a production featurette and eight premiere, though it will trailers. Also exclusive to the new format not contain any additional is a Frank Darabont commentary to his footage—not even from the acclaimed The Shawshank Redemption “Alan Smithee”-directed, ($24.95), and a letterboxed version of “Judas Booth”-scripted Bullitt ($24.95). A rumored “Director’s expanded TV cut (which Cut” of Little Shop of Horrors (1986), turned up in an elaborate complete with the discarded, disliked Japanese laserdisc box-set FX-filled ending, has been discussed on not long ago). the Internet, but nothing official has Future letterboxed been announced. titles from the MGM Image hits the DVD marketplace vaults include Return of with the first letterboxed editions of a Man Called Horse Monty Python’s The Meaning of Life ($39.95) and a remastered and John Carpenter’s They Live version of The Thomas ($24.95 each), with laser versions more Crown Affair ($34.95); than likely to follow. Widescreen Paramount reissues include Elvis’s Next Time... Blue Hawaii ($29.95) and Terry Gilliam strikes back, as Criterion Urban Cowboy ($39.95); issues deluxe laserdiscs of Monty Python’s and Warner will issue Life of Brian and Time Bandits. Plus: their previously DVD-only Everything you need to know about the widescreen edition of “yes, this is supposedly the last home Blazing Saddles ($29.95), video version” of the Star Wars Trilogy also with Mel Brooks’s Special Edition. A watershed, or a waste? commentary. Find out next time! FSM

J ANUARY 1998 20 Film Score Monthly IN PRINT

IDEOH OUND’ S S OUNDTRACKS: Stop, Look, Then Listen... M USIC FROM THE M OVIES, VBROADWAY AND TELEVISION HAS 2 NEW RESOURCES FOR CD AND LP COLLECTORS TO BE A LABOR OF LOVE ON THE PART OF

EDITOR DIDIER C. DEUTSCH—THE AMOUNT ers have done an efficient job outlining feel the same. Where Gramophone is the content of albums. For example, ran- heavy on the adjectives, but light on the OF TIME AND EFFORT IT MUST HAVE TAKEN domly picking Didier Deutsch’s review facts, VideoHound is, thankfully, the for Angelo Francesco Lavagnino’s other way around. TO AMASS THIS MUCH INFORMATION IS STAG- Othello we will find the score described as “dark and frequently disturbing”; that it Just the Facts GERING. INCLUDED WITHIN ARE REVIEWS has been influenced by North African, Actually, VideoHound’s factual informa- Elizabethan, and medieval musics; and tion is probably the biggest plus in the FOR OVER 2,000 IN-PRINT CDS ARRANGED that there are choral sections and some guide. While not every review is a rivet- dissonant writing to be heard. The ing read, there is a sizable accumulation BY “MOTION PICTURES SOUNDTRACKS,” review also tells us a bit about of information to be found. Beyond the Lavagnino, about the film by Orson reviews themselves there are short com- “BROADWAY & SCREEN MUSICALS,” “TELE- Welles, and that this CD is a recreation poser bios and film music quotes drawn by the Chicago Symphony Orchestra and from the press scattered throughout. I’m VISION SOUNDTRACKS,” AND “COMPILATION the Chicago Lyric Opera. There’s also a sure many hours went into researching brief comparison with the Charlie Mole and double-checking facts. SOUNDTRACKS.” THERE’ S ALSO A score to the most recent film version of So far I’ve only found a couple of mis- Othello. It’s a nice job of putting every- takes. In Deutsch’s review for The Great comprehensive index arranged by title, thing in layman’s terms and quickly Muppet Caper, he lists the proper compos- composer, performer, etc. and 8 pages of describing overall impressions, but with- er and statistics, but reviews the wrong introductions and explanations. Preface out skimping on content. On its own, the score (The Muppet Movie, an easy mis- included, the volume clocks in at 1,032 bone rating system wouldn’t tell us any- take). And Charles Granata’s review of pages, and there’s even a CD included of thing subjective about the scores, but the Capitol soundtrack album to Elmer recent tracks on Hollywood Records with some musical specifics included, it’s Bernstein’s True Grit, while complaining (nothing previously unreleased). possible to decide whether about the forgettable The reviews themselves are roughly or not you would agree with nature of the music, 150- to 200-word capsules written by a the reviewer. fails to point out that staff of knowledgeable soundtrack Just like the Gramophone this is in fact a pop fans/writers, including four FSM regu- Film Music Good CD Guide recording that bears lars: Jeff Bond, Andy Dursin, Lukas before it, there are probably little resemblance to Kendall, and Paul Andrew MacLean. too many good reviews in the actual movie score Included for each CD is a “bone” rating this book. The Gramophone (which was re-recorded (i.e., stars: 5 bones is good, 0 or “woof” guide was a far worse along with Bernstein’s is bad), catalog information, credits offender in that regard, but The Comancheros for (orchestra, engineer, conductor, etc. part of the problem in get- Varèse Sarabande’s where applicable), track titles, and the ting people to write about pair of John Wayne review itself. A collection like this has their area of expertise is albums). I’m sure been a long time in coming, for no mat- that they tend to be fond of things like that will be ter how much information a soundtrack most of the material. corrected in future vol- fan has on his mental rolodex, there’s Hence, there are an awful VideoHound’s Soundtracks: umes. In fact, the always that early Thomas Newman lot of 4 and 5 bone reviews. Music from the Movies, biggest hurdle this book score, or obscure Ennio Morricone JFK’s 4 bones seem about Broadway and Television will need to overcome is album with which we’re not quite famil- right; should The Lost that people are going to iar. And there are always people who World really get 5? Should EDITED BY want future editions want to broaden their horizons beyond The Land Before Time real- DIDIER C. DEUTSCH, before they’re possible. Golden Age scores, or 1980s scores, or ly be up there with the 5- FOREWORD BY LUKAS John Williams scores. In other words, no bone King Kong and The KENDALL To Protect and Serve? matter how much you know, there’s Magnificent Ambersons? Visible Ink Press/Gale Research While it’s always something in this book to make it useful But, again, the writers have (1997) seemed to me that the for you. wisely incorporated enough ISBN 1-57859-025-6 simplest way to hear a factual information in their Soft-cover, 1,024 pp. score is to go rent the Making Every Review Count reviews, that we can decide $24.95 movie, this book will While space is at a premium, the review- whether or not we would probably save people a

Film Score Monthly 21 J ANUARY 1998 IN PRINT lot of trips to the video store. Say I didn’t derful, beautifully produced book, The companies, and not simply by pho- want to go see Malice, but I like Album Cover Art of Soundtracks, by tographing used record covers. Goldsmith’s Basic Instinct and had heard Frank Jastfelder and Stefan Kassel. the Malice was very similar. Well, here on One thing taken for granted by most No Genre-Bending! page 268 is the 2-bone review. during the vinyl record days was the cover While the book is not divided into special “Textureless monotony”? I think I’ll art, displayed as large, 12” x 12” photos or sections, the authors have grouped the pass—and hope I wasn’t in the minority artwork, which served to attract con- works of several artists and photogra- of listeners who feel the opposite! If noth- sumer interest. It may sound strange to phers together, e.g. the fantastic LP art- ing else, the book saves an audience of buyers of CDs only, who are, alas, bound work of ex-E.C. Comics staffers Jack Davis film music fans from having to sit by what LP collectors consider sub-stan- and Frank Frazetta; “jazz” covers by Bill through some horrible pictures. For that dard, postage-stamp size artwork, but Claxton and Bob Willoughby, as well as alone, I’d recommend it. many albums were often bought (and now some from David Stone Martin, Richard —Doug Adams collected) merely for the gorgeous cov- Avedon and many others. Moreover, ers—as film memorabilia, groups of certain genre soundtracks are as well as for the music on together: detective/spy films; action films; The Album Cover Art the record! ‘60s era pop-art covers; sexy cover of Soundtracks The large expanse of the art/photos (including Panic Button); BY LP cover allowed truly “kiss” covers; surf films; cartoon covers; FRANK JASTFELDER framable reproductions of westerns; “blaxploitation” pictures; biker & STEFAN KASSEL, some of the finest film art- films and many others. FOREWORD work and graphics of the BY SAUL BASS day, produced by outstand- Size Does Matter Little, Brown & Company ing designers and artists. One outstanding feature of the layout uti- (1997) In this regard, it is appro- lizes the book’s 12”x 12” size, which not ISBN #0-316-48240-4 priate that the late Saul so coincidentally is the size of an LP Soft-cover 12” x 12” Bass, premier graphic soundtrack—each odd-numbered page 128 pp. artist, has provided the reproduces a full-size LP cover, 56 in all, $29.95 foreword to The Album and the even-numbered pages each show Cover Art of Soundtracks. four smaller-sized reproductions (about Mr. Bass was responsible for the classic ad CD size), approximately 228 of these A Feast for the Eyes campaign artwork and LP covers to many gems. The covers are primarily of U.S. ori- while back my friend, Recordman, soundtracks we all have in our collec- gin. Some of the outstanding and rare art- attempted to explain the longtime tions: e.g. The Man with the Golden Arm, work includes most of the Bass covers; Amystique of the collectibility of LP Exodus, The Big Country, Anatomy of a Yesterday, Today and Tomorrow, Baby soundtrack cover art to the new CD gen- Murder, In Harm’s Way and many more. Doll, Funny Face, Richard Diamond, The eration (see: “The Paper Chase: He also did the animated title sequences Swimmer, Billion Dollar Brain; framable Recordman on LP Album Covers Part I”; for Vertigo and Psycho, choreographing reproductions of the outstanding covers to FSM #44, April 1994). As this was in the the shower scene of the latter through his Bullitt, The Fox, Anatomy of a Murder and ancient black and white days of FSM, and storyboard designs. Many of the Bass A Fistful of Dollars; the Our Man Flint due to size limitations, no appropriate cover designs are flawlessly reproduced in covers; Casino Royale; the rare “mosaic” photos could be reproduced. However, the full color here. To the authors’ credit, the cover to Peter Gunn; and many, many glory and beauty of many classic sound- beautiful photo reproductions in this more. The selections are well thought out track artwork/photo covers have now book appear to have come from original and colorful, though I personally would been strikingly documented in the won- negatives in the archives of the music have liked to have seen more of the rarer items included and reproduced full sized. Special List • CDs Only For Trade The Fog (Carpenter) Germany Once Upon a Forest (Horner) RCA My only real quibble is the use of the sec- Glengarry Glen Ross (Newton Howard) Pastime (Holdridge) Bay Cities ond-pressing “mannequin” cover to I have a want list that I’ll give you after The Cardinal (Moross) Preamble Elektra Pirates (Sarde) Varèse receiving your reply. If you’re interested Classical Hollywood II Great Epic Film Music (Tiomkin/Rózsa) Planet of the Apes (Goldsmith) Intrada Experiment in Terror instead of the origi- in anything on this list, please send your (Herrmann/Shire/Gold) Bay Cities Cloud Nine Poltergeist II (Goldsmith) Varèse nal and highly sought-after Lee Remick postal letter (not calls) to: The Collector (Jarre) Mainstream Hoffa (Newman) Fox Red Heat (Horner) Virgin Curly Sue (Delerue) Giant Records Hollywood Spectacular (Rózsa) The Robe (Newman) Fox “headlights” cover. Jordi Fortes Serra Dama y el Vagabundo (Disney) Spanish Bay Cities Scalphunters/Hang ‘em High a Av. Sant Antoni M Claret, Desperate Hours (Mansfield) Varèse Julia and Julia (Jarre) Varèse (Bernstein/Frontiere) MGM-EMI Run, Don’t Walk 318, Pta 30 Dick Tracy (Elfman) Warner —autographed! Scarlett (Morris) Polydor 08041 Barcelona, Spain Dirty Dozen/Hannibal Brooks Lionheart Vol. 1 & 2 (Goldsmith) Sleeping Beauty (Disney) Japan The book is a visual delight, encompassing (De Vol/Lai) MGM-EMI Varèse - Germany Spies Like Us (Bernstein) Varèse CD Club over 40 years of soundtracks. Buy two: Alive (Newton Howard) Hollywood Dominic and Eugene (Jones) Varèse The Living Daylights (Barry) Warner Stars ‘N’ Bars (Bernstein) one for your archives to show what glori- Accidental Tourist (Williams) Warner Dreamscape (Jarre) SonIc Atmospheres Man on Fire (Scott) Varèse Varèse CD Club Amazing Grace and Chuck (Bernstein) —autographed! Masters of the Universe (Conti) Varèse Supergirl (Goldsmith) Varèse ous soundtrack covers once were, and one Varèse Dust Devil (Boswell) Varèse Max and Helen (Young) Bay Cities Suspect (Kamen) Varèse for you to cut and paste from to hang Arachnophobia (Jones) Hollywood - more The Eiger Sanction (Williams) Varèse Misery (Shaiman) Bay Cities The Temp (Talgorn) Varèse music Eight Men Out (Daring) Varèse Moon Over Parador (Jarre) MCA Tom and Viv (Wiseman) Sony favorites on your walls... it is that pretty! Batman (Prince) Batcan The Egyptian (Newman/Herrmann) Murderers Among Us (Conti) Bay Cities Used People (Portman) Big Screen It would cost you several thousand dollars Batteries Not Included (Horner) MCA Varèse Near Dark (Tangerine Dream) Varèse Warning Sign (Safan) Southern Cross to get originals of these covers. Don’t let The Black Cauldron (Bernstein) Varèse Excessive Force (Ch. Bernstein) Noble House (Chihara) Colosseum The Whales of August (Price) Varèse The Blue Max (Goldsmith) Varèse Bay Cities El Nombre de la Rosa (Horner) Weeds (Badalamenti) Varèse this book pass you by, even if you’ve never Body Parts (Loek Dikker) Varèse Felidae (Dudley, orchestral) Atlantic PDI - Spain Willow (Horner) Virgin - Germany even owned an LP! The Buccaneer (Bernstein) Varèse Five Corners (Newton Howard) Varèse Off Limits (Newton Howard) Varèse Year of the Comet (Mann) Varèse —Mike Murray

J ANUARY 1998 22 Film Score Monthly James Horner. James Cameron. Those are two pretty big names in films and film music. It’s little wonder TTitanic’sitanic’s that, in the minds of most fans, they’re the

“headliners” of the music in Titanic. But what we may not be realizing is that there’s a third leg to this cre- FirstFirst MateMate ative team, music supervisor Randy Gerston. Doug Adams takes us below decks with A former record executive and frequent Cameron collaborator, Gerston, currently Senior Vice President of Music Supervisor Randy Gerston Music at Rysher, first joined the Titanic team over two years ago when he was asked, in keeping with the hyper- me on to them. I hired a composer [John Altman] to detailed approach to the film, to uncover the actual music arrange and produce those songs for me.” The four Irish from the ship’s doomed voyage. Gerston began his tunes that would be used were performed by a Los research at the UCLA Music Archive Library, but discov- Angeles band named Gallic Storm, which Gerston discovered the real breakthrough when he located materials ered at an Irish festival hosted by a local race track. from the Titanic’s (the actual ship) parent company, Cameron dictated that the Irish music be “authentic, and White Star Lines. real, and raucous. That was one of the hardest things I “We were able to find a copy of what’s called the White was coming up against in finding an Irish band; most of Star Line official play list,” he recalls. “It had 352 songs them were a little bit too polite. Finally I found this band, on it, and each band, including the band that played on which was a rollicking Irish band. You know, beer the Titanic, had to memorize all 352 songs. The band drinkin’, loud, obnoxious—and that’s what we wanted leader would call out the song by number, not even by because we thought that’s what would be happening title, they would just say, ‘number 52, gentlemen,’ and down there in steerage class. It’s really juxtaposed to the then they would just start immediately.” Gerston selected first-class pretension.” Eventually both bands portrayed songs for the scenes of the film as requested by Cameron, their historical counterparts in the film. TOP Cameron directs with the idea of using that music MIDDLE The boat which would have actually been The Peacemaker does its thing played on the boat; of the 352 in Once the project reached the post- BELOW Kate Winslet the catalog, he provided 50 to 60, production phase, it was Gerston and Leonardo of which about 25 ended up in the whom James Horner approached to DiCaprio get gooey movie. “Jim Cameron’s a stickler for authenticity, and I am, too.”

Music for the Clueless Another consideration of the source music was its emotional content. Cameron “wanted most of the period music to be very light—like music to dine by. Everybody knows what’s going to happen at the end of this movie, in terms of the boat, so he used the period music as a sort of juxtaposition to the disaster of the story, so that we really got a sense of how elegant and upper- crust first class really was.” express his interest in the project. “They had In contrast to the aristocratic, first class section of the worked together on Aliens, but it wasn’t the boat was the steerage class, occupied by immigrants who greatest experience,” relates Gerston—on that were flooding into America. The White Star Line didn’t project, the tight post-production process led to provide entertainment for these passengers, so the immi- Horner composing the majority of his score in grants entertained themselves with their own instru- mere days. “I was instrumental in getting them ments. Says Gerston, “The way we depicted that was, back talking. There is a tremendous amount of music in basically, as an Irish band.” the movie, but it’s also a tremendously long movie. Once all the music had been discovered, Gerston need- There is a lot of music, but there are many places where ed to find the appropriate groups to perform the selec- there’s no music. James Horner knows what he’s doing. tions. For the first-class band, he located a Swiss string And Jim Cameron definitely knows what he wants with quintet by the name of I Salonisti, who were specialists in music in his films. He’s a very astute director when it this style of light music. “They record for PolyGram, and comes to music.” FSM somebody who works for PolyGram, Leslie Lewis, turned (The Titanic CD is reviewed on page 40) TITANIC PHOTOS COPYRIGHT ©1997 TWENTIETH COPYRIGHT ©1997 PHOTOS TITANIC CENTURY FOX & PARAMOUNT PICTURES

Film Score Monthly 23 J ANUARY 1998 ohn Williams is one of the few film composers to be known by even the most casual movie-fan, through his oft-played themes from the Star Wars and Indiana Jones Jfilms, E.T., Jaws, and Superman. Lesser known by the masses is that Williams has also written many superb dramatic scores which seldom get the attention they deserve, and yet show how effective Williams’s music can be at its most intimate and restrained. With a filmography that spans over four decades, and a wealth of outstanding scores available, one could debate what’s the “best” Williams score seemingly forever. That’s not what we are attempting to do here. What we are trying to accomplish is to compile a Buyer’s Guide for the casual soundtrack listener, one that he or she can use in determining the true cream from the crop of many excellent Williams albums. With one exception (Monsignor), every Williams score since 1977 to be released commercially is available on CD, and only one Williams-scored film since that time has never been issued at all (Heartbeeps). Therefore, there are many Williams soundtracks out there, and trying list the Top of the Top is indeed a daunting task.

Thankfully for you, we have gone through, racked our brains, listened, re-listened, researched, and come up with unbiased yet critical reviews of the available Williams albums, along with chronologically placed other works of interest to the Williams fan. Some of these scores may work better than others in regard to their theatrical setting, but keep in mind that this is a layman’s analysis of the albums themselves, and whether or not they deserve to be in a film-music listener’s library. Opinions are subjective, but between Andy Dursin, Jeff Bond, Recordman, Paul Andrew MacLean, Lukas Kendall and the inestimable Doug Adams, all possible human points of view are incorporated. Subsequently, what we have done in compiling this list is not to rate the albums as we usually do—if reviewed in “Score,” many would be 4’s or 5’s—but rather to grade them in the context of each other. We did this by setting a 1-4 rating system under the fol-

J ANUARY 1998 24 Film Score Monthly lowing guidelines: moving through various dark passages that recall the moodier sections of Empire of the Sun and Jurassic Our first ●●●● A must-have Park. Unfortunately, the score’s high points don’t One of Williams’s finest works that belongs in match the lyricism of those earlier works; this is after Buyer’s Guide every soundtrack listener’s collection. all a courtroom drama. In a way this reveals some of ●●● Highly recommended the limitations of Williams’s indelible style: rather features the A strong, solid score with noteworthy moments, than fitting his style to the movies, Williams, like and an album out of which you’ll get a great deal John Barry, has created an approach around which (arguably) of replay mileage. movies must be fit. While the regional African vocal most popular ●● Recommended—with some reservations and instrumental elements are mounted with taste This is a work that belongs in every Williams col- and intelligence, they’re really just overlaid on a tra- composer lector’s library, and has some moments that will be ditional John Williams score. Williams evokes the of interest to the average soundtrack collector if, for geography of the movie well enough, but rarely the working in films example, he or she has some extra cash at hand. time; this could be a score for a contemporary movie. ● For Williams collectors only —Jeff Bond today. Here are Not a significant work musically; only Williams “completists” will find it to be of much value. Seven Years in Tibet ●●● (1997) twenty years of Sony SK-60271 • 14 tracks - 65:53 While the reviews are written by individuals, the This is an easier album to digest than Schindler’s CDs rated from final rating represents an average of the grades of List, with the similarities between the two themes all the contributors. What does it mean when we more complementary than anything else. Often too the pop rate highly a score that has never been released? It subdued in the film (and marred by an unflattering means you have to watch the movie, get some finan- sound mix), Williams’s haunting score gets a chance breakthough cial resources together and make an album. to shine on the album, where Yo-Yo Ma’s superlative cello solos (most of which were replaced in the movie of Star Wars Filmography/Discography by source cues) and Williams’s finely hued, textured Film and television scores are listed in chronologi- score can be best appreciated. Again, this illustrates through Amistad.

—PART ONE—

cal order from the most recent to the most ancient. how restrained Williams’s scores can be, and how Compiled by ScoresW available on illiams’LP or CD are identified and supremely effective they are; the main theme,List heard reviewed, along with important other works. Let the over the end credits, is simultaneously a beautiful Andy Dursin journey begin... piece representing the majesty of Tibet and the per- and Jeff Bond sonal journey of Brad Pitt’s protagonist. Saving Private Ryan (1998) —Andy Dursin with invaluable It ain’t out yet. assistance from The Lost World ●● (1997) Amistad ●● (1997) MCA MCAD-11628 • 14 tracks - 68:58 Jon Burlingame, Dreamworks-DRMD-A-50035 • 14 tracks - 55:51 Williams’s first adventure score in the past four For all the blood and thunder promised by Steven years makes intentional homage to Maurice Jarre’s Paul Andrew MacLean, Spielberg’s Amistad, you’d expect the soundtrack to Lawrence of Arabia overture and Max Steiner’s Skull Doug Adams, sound something like The Fury, but Williams’s fourth Island music from King Kong. It proves the composer score of 1997 (his highest output since 1974) is his still knows what he’s doing in this field, but as an R. Mike Murray, most subdued, opening with a traditionally sung, life- album it’s hamstrung by the ill-conceived movie and and Jeff Eldridge affirming anthem (“Dry Your Tears, Afrika”) and is for all practical purposes over by the time track 4 is

Film Score Monthly 25 J ANUARY 1998 Williams’ List finished. Since the “Island Adventure Theme” will Stone’s tiresome tirade about Richard M. Nixon’s life certainly appear on future compilations, you’re better and times, which means this score is a disappointing off sticking with the original Jurassic Park CD. —J.B. affair that falls short of Williams’s previous two efforts for the filmmaker. After a stunning, thundering open- Rosewood ●●● (1997) ing (actually the movie’s specially-composed trailer Sony SK-63031 •15 tracks - 49:32 music) that makes you think Lord Vader is walking A last-minute replacement for Wynton Marsalis’s down the hallway of the White House, the bulk of the original score (controversially dropped from John score settles into a dissonant collection of rambling Singleton’s well-made but broad retelling of the real- cues that endlessly punctuate the would-be conspira- life 1920s Florida incident), Williams’s score is the cies and relationships in Nixon’s world. Die-hards may best part of the movie. With a down-home, bluesy feel want the album due to its 5-minute CD-ROM interview that recalls his work on The Missouri Breaks and with Williams and Stone, which is superior to most Conrack, and the dissonant portions of The Cowboys, interactive material found in these packages. —A.D. Williams’s mournful score offers a pair of original spirituals that, while often used in inappropriate spots Sabrina ●● (1995) in the film (“The Freedom Train” is more than a lit- A&M 540456-2 • 13 tracks - 51:13 tle heavy-handed), make for a superb dramatic effort, Sabrina is a casual and relaxing work from Williams, with a great deal of restraint. —A.D. who here dabbles in the romantic comedy genre. The main theme for piano and orchestra is a lovely piece Sleepers ●● (1996) that sounds like the elegant portions of The Accidental Philips 454988-2 •13 tracks - 56:24 Tourist. Williams also worked with Alan and Marilyn A lot of listeners seem to love or hate this score, but Bergman in writing a pair of original songs, one of there’s no questioning its dramatic impact in Barry which (“Moonlight”) is a superior cocktail-lounge bal- Levinson’s otherwise disappointing film. Williams ven- lad, despite having been performed by the too-mod- tures into a complicated musical landscape marked by ern Sting. Very pleasant all around. —A.D. dark, brooding underscore, yet punctuated by overpowering moments (“The Football Game”) and lyrical Schindler’s List ●●● (1993) lines (“Reunion and Finale”) that make this a diverse MCA MCAD-10969 (Gold CD MCAD-11313 - 1995) and well-rounded work. The use of chorus, synthesiz- 14 tracks - 64:36 er, electric guitar, and orchestra combine to make an It’s arguable whether Steven Spielberg’s brilliant, unsettling yet satisfying “serious” score. —A.D. documentary-style epic about the Holocaust needed a . score, and in fact Williams’s music, while often gor- Summon the Heroes ●●● (1996) geous and moving, sometimes pushed the more senti- Sony Classical 62592 • 12 tracks - 58:50 mentalized aspects of the story over the top (particu- Williams composed a number of stirring themes for larly in the tear-jerking “I could have done more” the Olympic Games over the years. Williams’s rousing sequence). Predictably, it’s a downer of a listen, “Olympic Fanfare and Theme” for the 1984 Los although cues like “Making the List” and the painful Angeles Games is perhaps the best-known, having been choral treatment of Nazis burning the bodies of mur- used on network broadcasts and montages of the dered Jews transcend the more subdued ethnic read- Olympics ever since. In 1988, Williams composed a ings for woodwind and Itzhak Perlman’s violin. The more march-like fanfare for NBC Sports (“The vocal treatment of the traditional “Jerusalem of Gold” Olympic Spirit”), used in their coverage of the Seoul is one of the highlights. —J.B. Olympics. (A shorter version—by about four bars—is available on the Arista CD 1988 Summer Olympics Jurassic Park ●●● (1993) Album: One Moment in Time.) For the Atlanta Games MCA MCAD-10859 • 16 tracks - 70:21 in ‘96, Williams wrote a lengthy, more complicated In the wake of The Lost World, JP is looking more work (“Summon the Heroes”) that incorporated disso- and more like one of the composer’s most enjoyable nant material before turning into the kind of tri- works of the ‘90s. Like most Williams albums, it’s a umphant fanfare one usually associates with Olympic- chronological jumble (with the cue identified as themed pieces. While available on the out-of-print, offi- “Welcome to Jurassic Park” actually the end title cially-licensed 1984 CBS Olympic album, Williams’s music). Williams’s infamous helicopter music (“Trip “Olympic Fanfare and Theme” is also included (in to the Island,” with its Silverado-like adventure superior performances) on both the Philips compilation theme for the park) is laughably overdone in the By Request... and this Sony Classical album, Summon movie, but makes for a great romp of an album cue, as the Heroes, though the latter omits the piece’s opening does the spine-tingling scoring of the film’s first dino- in favor of Leo Arnaud’s “Bugler’s Dream.” His themes sighting, as Sam Neill and Laura Dern share a classic from ‘88 and ‘96 are also available on Summon the Spielberg Moment with a brachiosaurus. Equally good Heroes, making the album a must for Williams fans, are the action moments, which feature some staccato and the disc to get for his Olympic music. —A.D. brass enjoyably reminiscent of “Johnny” Williams’s old Time Tunnel theme. The only groaner is the JFK-sat- Nixon ●● (1995) irizing “Stealing the Eggs” cue. The propulsive, high- Hollywood Records HI-62043 • 13 tracks - 47:23 energy climax, “T-Rex Rescue & Finale” blows away Williams here is confined to underscoring Oliver the lumbering conclusion of The Lost World. —J.B.

J ANUARY 1998 26 Film Score Monthly Home Alone 2 : Lost in New York ●●● (1992) magical, almost Christmas-flavored feel throughout Fox 11002-2 • 19 tracks - 63:33 its lengthy 75-minute running time. A favorite to With all of the principal players back in front of and behind For enough John Williams information to make this article read like a cereal box, the camera, Williams returned to write several new, pleasant visit The John Williams Web Pages at http://www.geocities.com/Vienna/7285 Christmas-themed tracks (the rousing “Merry Christmas, Merry Christmas,” the refined “Christmas Star”), some fans, it’s too showy and nuts for others; there’s and provide another seasonal score. Many of something wrong when the most coherent piece, as Williams’s original themes returned as well, includ- with Nixon and Sleepers, is the music for the trailer ing “Preparing the Trap,” a neat Yuletide variation (track 1). Reportedly, Williams adapted several on “The Shark Cage Fugue” from Jaws. Nothing songs (one of which was shot, “When You’re Alone”) innovative or strikingly noteworthy, but it’s an he wrote for a Spielberg Peter Pan musical in the engaging soundtrack, and a strong follow-up to one 1980s (with lyrics by Leslie Bricusse), which became of Williams’s most popular works. (Buyer watch Hook after Spielberg (as he did with 1941) didn’t closely: A song compilation was also released at the have the courage to go through with making an time of the movie.) —A.D. entry into that genre. (One of the unused songs, “Childhood,” used as an instrumental theme in Far and Away ●●● (1992) Hook, has been published in a piano/vocal collection MCA MCAD-10628 • 19 tracks - 69:14 of Bricusse songs.) —A.D. Williams got the opportunity to realize another of his goals—the chance at writing original Irish Home Alone ●●● (1990) music—in this amiable Ron Howard epic. The results CBS SK-46595 • 19 tracks - 57:02 of their collaboration are a deliriously enjoyable, love- People have always discussed how Williams has a ly score, sweeping in its depiction of the Oklahoma penchant for picking projects that turn into unbeliev- land rush, and intimate in establishing the relation- able phenomena, and he was right on the money when ship between Tom Cruise and Nicole Kidman’s char- he decided to score this potent John Hughes blend of acters. The Irish themes are bold and beautiful, per- sentiment and slapstick. While the movie itself works formed by the Chieftains (who else?), and the lengthy as a superior family comedy, Williams’s score puts it “End Credits” suite is one of the shining moments in into that realm of “movie magic.” His enchanting main Williams’s career. Although not everyone has warmed theme, “Somewhere in My Memory,” gave the compos- up to it—the movie itself is Far and Away Too Long— er the chance to fulfill a long-standing desire to com- it’s my candidate for the score of the ‘90s. —A.D. pose original Christmas music, which the remainder of this enchanting score (including the frantic JFK ●●● (1991) Tchaikovsky-modeled passages) successfully incorpo- Elektra 61293 • 18 tracks - 64:16 rates from start to finish. —A.D. Williams’s second entry into Stone’s twisted world of political paranoia results in another marvelous Presumed Innocent ●● (1990) dramatic score. Dominated by two central thematic Varèse Sarabande VSD-5280 • 14 tracks - 43:49 ideas—the percussive “Conspirators” theme (since Williams’s foray into the musically thankless genre copied in more movies and trailers than any cue writ- of the courtroom thriller sports a memorable main ten this decade), and the bold, triumphant “Theme theme for French horn, piano, and orchestra, but the from JFK”—Williams’s score doesn’t pack the punch remainder of the album is comprised of unremarkable of his earlier Born on the Fourth of July, but it comes dramatic underscore that doesn’t work outside of its close. On the album, Williams’s music is surrounded theatrical context. A lot of this consists of dense, dark by poorly chosen source material that doesn’t mesh orchestral tracks, with a surprising use of synthesizer well, yet the memorable and impressive quality of sprinkled into its predominantly dissonant tone. Williams’s work—a brilliant musical solution for There just aren’t enough musical hooks to grasp onto, Stone’s bizarre multimedia tirade—comes out of the particularly by Williams standards. —A.D. mire. —A.D. Stanley and Iris ●●● (1990) Hook ●●● (1991) Varèse Sarabande VSD-5255 • 12 tracks - 28:58 Epic EK-48888. • 17 tracks - 75:27 Proof that Williams is as adept at scoring inti- Steven Spielberg’s bloated but somehow enjoyable mate character dramas as he is at gigantic block- spectacle of a grown-up Peter Pan returning to Never busters, Stanley & Iris is one of those gems that a Never Land often looks like an amusement ride at lot of listeners have overlooked. With a nice com- Disneyworld, but it stays afloat thanks to Williams’s plement of themes and poignant passages, joyful score. The lengthy track underscoring Peter’s Williams’s score floats for the entire length of this recollections of his youth (“Remembering brief Varèse CD like a leaf falling from an October Childhood”) contains one of Williams’s most lyrical tree; that warmth fills this score with a delicacy melodies, and its subsequent symphonic arrangement that few of his works have ever attempted. It pays really soars; the majority of the score maintains that off splendidly, with a low-key, restrained tone that

Film Score Monthly 27 J ANUARY 1998 Williams’ List perfectly suits the setting. —A.D. messenger of the Vietnam horror, and subsequent personal redemption, of paralyzed vet Ron Kovic. The Always ●● (1989) score, which features an elegiac orchestral finale, is MCA MCAD-8036 • 18 tracks - 68:20 one of Williams’s most amazing dramatic works, and Up until The Lost World, Always was generally enabled the composer to venture into the more emo- deemed director Spielberg’s softest film, and also one tionally muddled, complex landscapes of films like of John Williams’s least memorable scores. While nei- Sleepers and JFK in the ‘90s. —A.D. ther the movie nor the music live up to the standards set by both men elsewhere, there isn’t anything par- Indiana Jones and the Last Crusade ●●● (1989) ticularly egregious: the movie is a gentle, forgettable Warner Bros. 25883 • 13 tracks - 59:00 romantic fantasy, and the music is a lightweight Williams’s last Indiana Jones score to date

as a “John Williams fan.” microwave... This was available on an Arista CD (ARCD 8365) in the late ‘80s; The Essential CDs Jaws (1975) MCA MCAD-1660 Varèse’s currently available version includes Although an expanded album would be nice, the composer’s “Theme to Close Encounters,” Don’t call yourself a fan without ’em this (along with the original E.T. album) is a a kind of Geoff Love dance tune that was peerless example of Williams turning a lot included with the original LP as a single. he following list resulted when Jeff Bond of disassociated programmatic cues into a and Andy Dursin were locked in a steel cohesive and developed work. If you want to Superman (1978) Warner Bros. 3257-2 Tcage armed only with jagged shards of demonstrate your superior taste with the (missing two tracks, “Growing Up” and “Lex empty jewel boxes and their bare fists. Then cognoscenti, you may prefer Williams’s later Luthor’s Lair,” available on Japanese issue we considered the advice of Doug Adams, Jaws 2. WPCP-3859) Paul MacLean, Williams sage and Boston While not the fiasco the Arista CE3K album Pops arranger Kevin Kaska, and Lukas. Star Wars (1977) RCA Victor 68772 was, two LPs were still not enough to get the Then we ignored their advice. Remember Duh. If you really miss Ken Wannberg’s mul- lion’s share of great music from Williams’s that this is a list of scores available on CD; tiple segues and the opening “overture” (i.e., romantic adventure masterpiece. Is it too do not write us and tell us that Images is a Main and End Titles) from the original much to ask that one of the emotional center- better score than Far and Away. It is, but album, at least have the decency to buy the pieces of the movie, the helicopter rescue, be it’s not available on CD. If you don’t own all great-sounding 4CD box set Star Wars included? I’d give fifty takes of “March of the of these CDs you should add a sarcastic little Trilogy: The Original Soundtrack Anthology Villains” to have that on CD... Nevertheless, snort every time you say “I’m a John (Arista 11012-2), which retains about 98% of this still makes for one wonderful ride. If only Williams fan.” These babies are listed in the original album on its first disc with a few Williams had scored Superman II afresh... chronological order: interesting additions, and separates much of the additional material on disc four. The Empire Strikes Back The Reivers (1969) Legacy CK-66130 Otherwise, for a great, chronologically- (1980) RCA Victor 68747 In a perfect world, you should own the Varèse arranged presentation, the new Special Everyone remember the Polydor single-disc Masters Film Music (SRS 2009) limited edi- Edition 2CD set will do just fine. Empire Strikes Back album? That crime was tion, but at least break down and shell out largely avenged with the release of the Star nine bucks for the Sony Legacy reissue. Close Encounters of the Third Kind Wars Trilogy anthology, and the recent (1977) Varèse Sarabande VSD-5275 Special Edition double CD finished the job. Jane Eyre (1970) Silva Screen FILMCD-031 Man, oh man, does this album blow. The orig- The soundtrack equivalent of a Thanksgiving How dare we put a rare, hard-to-find CD on a inal Arista LP is just the skeleton of one of meal: it’s really too much, but you will finish it. must-have list? We dare because you have no Williams’s most powerful and evocative rights under Ape Law. If you have Williams’s works, but even in this emasculated form it’s Raiders of the Lost Ark compilation album Pops Brittania with the a must-have until an expanded edition is (1981) DCC DZS-090 Jane Eyre suite you only have to roll your available. Then it’s time to see what The recent DCC expanded CD is a god- eyes slightly every time you identify yourself happens to CDs when you put them in the send... but do I really have to buy DCC’s

excursion that sounds like the “Fortress of Solitude” eschews the brassy heroics of Raiders and the music from Superman at several points. —A.D. crushing, over-the-top hysterics of Temple of Doom to deliver an almost soothing classical Born on the Fourth of July ●●● (1989) affair, with occasional bursts of highly melodic MCA MCAD-6340 • 14 tracks - 57:27 action writing (“Scherzo for Motorcycle and While there is only 25 minutes of Williams’s music Orchestra”). The only Indiana Jones score to take on MCA’s soundtrack album (otherwise filled with advantage of the CD format on its initial release, every ‘60s standard imaginable), all those minutes are it marks a transition from the more sharp-edged quality ones. This typically overwrought Oliver Stone action writing of the late ‘70s and early ‘80s (still biopic gets a much needed shot in the arm thanks to represented by cues like “Belly of the Steel Williams’s powerful score, which utilizes Boston Pops Beast”) and the more congruent, smooth Williams member Tim Morrison’s trumpet as the mournful sound of the ‘90s. —J.B.

J ANUARY 1998 28 Film Score Monthly The Accidental Tourist ●● (1988) The Witches of Eastwick ●●● (1987) Warner Bros. 25846-2 •12 tracks - 40:49 Warner Bros. 9 25607-2 • 14 tracks - 49:34 Williams responded to Lawrence Kasdan’s inti- A glib and uneven Hollywoodized adaptation of mate character study by creating a haunting, lovely John Updike’s satirical novel, The Witches of main theme for piano and orchestra that captures Eastwick sports a buoyant, energetic score from the hang-ups and relationships of its title character. Williams that’s far superior to the film it accompanies. That said, the remainder of the album is more or Williams’s playful score is marked by the delirious less of the functional variety, with the emphasis on “Dance of the Witches,” featuring a staccato beat that solo piano and limited orchestra. It’s an impressive enables the orchestra to engage in a frenzied tango “small” score, but one that doesn’t necessarily make with evil that nicely contrasts with the more evoca- for the most compelling listening as an album, the tive, lush cues (“The Ballroom Scene,” replaced in the main theme notwithstanding. —A.D. film by an opera aria) that represent the decadence of Jack Nicholson’s “horny little Devil.” Best known for Empire of the Sun ●●● (1987) the hundreds of dollars it snaps up at collector auc- Warner Bros. 25668-2 • 13 tracks - 54:36 tions [see sidebar, pg. 32], this is a crisp-sounding, Evocative in conveying both a child’s eye view of early CD soundtrack. —A.D. WWII and the scope of the conflict itself, Williams’s ultimately triumphant score for Steven Spielberg’s SpaceCamp ●●● (1986) most underrated film is one of the best in their SLC SCC-1016 (Japan) •14 tracks - 49:47 lengthy collaboration. There are a number of styles Never released on CD in the U.S., this marked the in Williams’s challenging score, such as the tradi- high point of Williams’s mid-‘80s showpiece style—as tional pieces (“Suo Gan,” “The British evidenced by his 1984 Olympic Fanfare and NBC Grenadiers”), and the soaring “Cadillac of the News theme—with its atmospheric repeating figures Skies,” perhaps the best-known cue. While a few of in brass and woodwinds and a gorgeous, rhapsodic these tracks are context-heavy, Williams’s end cred- waltz that figures in several cues, notably “In Orbit.” it choral composition, “Exsultate Justi,” remains At least one of the suspense cues harkens back to one of his most impressive pieces—the ideal emo- Williams’s spirited sea-shanty-style writing for Jaws tional release needed to conclude one of Williams’s and Jaws 2. One disco-style tune (“SpaceCamp”), finest dramatic works. —A.D. buried in the first couple of tracks, underscores the “training montage” in which a bunch of bratty kids

audiophile 2LP set to get the extra five Home Alone (1990) CBS SK-46595 has some memorable minutes of “Well of Souls” music? In order America will be reeling from the reign of concert hall-tailored to please everyone, Nick Redman should Macaulay Culkin for decades, but at least pieces, and introduced a have put the original LP “Desert Chase” at we’ll have this beautiful Christmas-time whole new generation to the end as a hidden track. Or maybe the music to soothe us. Williams’s music. entire original album (Polydor 821583-2) as a hidden track. JFK (1991) Elektra 61293 Something... A must-have for two reasons: Williams’s Serious E.T. The Extra-Terrestrial “JFK” theme, a glorious blend of optimism We’re going to choke in (1982) MCAD-11494 and regret that is alone worth the price of our inability to come up Andy and Jeff agree: the MCA original the album, and the staccato “Conspirators” the definitive recent issue (MCAD 37264) makes for a far better music, the most ripped-off piece of film Williams “mature” effort. Many of these are listening experience. But Doug Adams music of the ‘90s. Even Williams himself by definition subdued, and almost inter- grouses that “there’s an embarrassing couldn’t resist ripping it off in Jurassic changeable save the rotating ethnic/period amount of Hanson in this thing” and Park. The meatiest of the Oliver Stone palette. Of the two other Stone scores, Born prefers the dark moments of the original scores—though there’s a good deal of non- on the Fourth of July (1989) has a powerful score cues, as issued for the first time last Williams music on the CD. elegy for the journey Tom Cruise’s character year (MCAD-11494). undertakes, and Nixon (1995) is a technically Far and Away (1992) MCA MCAD-10628 accomplished masterpiece of brooding drama. Empire of the Sun A controversial choice, but Andy Dursin and Of the Spielberg scores, you can’t overlook (1987) Warner Bros. 25668-2 Paul MacLean argued so passionately for this Itzhak Perlman’s violin performances on Not the most cohesive work Williams ever as one of the best scores of the ‘90s that we Schindler’s List (1993); Amistad (1997), wrote (the Oriental effects have nothing couldn’t ignore their pleas. Williams cap- while good, is probably the least of the efforts to do with the score and come off as dis- tured the spirit of this period would-be mentioned here. There’s also the contempo- connected, aimless atmosphere), but this romantic romp better than Ron Howard did. rary-sounding Sleepers (1996), Andy’s has some of the most gorgeous lyrical favorite, and the gospel-inspired, rural writing Williams ever produced. Fans of Jurassic Park (1993) MCA MCAD-10859 throwback Rosewood (1997), Lukas’s Horner’s Glory: please take a listen to It lacks that great, unified narrative quality favorite. Seven Years in Tibet (1997) is pretty this one. of the Jaws through E.T. blockbusters, but thematic too. Take your pick.

Film Score Monthly 29 J ANUARY 1998 Williams’ List quickly learn how to fly the space shuttle. —J.B. rural setting of the picture, and contrasts nicely with some poignant ensemble moments (“Pony Ride,” per- Liberty Weekend (1986) haps the album’s most pleasant track) and one sweep- Fanfares and bumpers for ABC-TV broadcast ing Americana cue (“The Ancestral Home”) which has The actual music recorded for ABC was never since become a staple in movie trailers (notably 1993’s issued, but the “Liberty Fanfare” was recorded by The Babe). One of Williams’s many Oscar-nominated Williams with the Boston Pops for the Philips compi- efforts, the album has a sort of fragmented feel, yet the lation, By Request... (420 178-2). standout moments make it worth revisiting. —A.D.

Amazing Stories (1985) Indiana Jones and the Temple of Doom ●●● TV theme and scores, never released on album. (1984) Polydor 821.592-2 (Japan) • 11 tracks - 40:16 Spielberg’s sequel to Raiders of the Lost Ark boasted a superheated visual style, Heartbeeps is one of those enchanting scores that is distinctively breakneck pacing, some of the most gasp- inducing stunts and action sequences ever the work of its composer, having been written in Williams’s filmed... and an abominable script by the geniuses behind Howard the Duck. sweeping romantic vein, a close relative to Close Encounters and E.T. Williams’s score is the final effort of his blockbuster phase, opening with an auda- cious take on “Anything Goes” (sung in In addition to writing the short-lived NBC pro- Chinese) and segueing into a series of almost non- gram’s memorable opening fanfare and end credits stop, frantic chase cues. Williams really treated this (●●●●), Williams scored the two first-season episodes effort as a comedy, exaggerating everything along directed by executive-producer Spielberg. The first, with the director, which is jarring once the brutal “Ghost Train”(●●), was the program’s debut episode, underground mining sequences begin. The most and offered an unremarkable Williams score that went enjoyable cues develop the composer’s charming along with the “been there, done that” tone of the theme for Short Round, while the least enjoyable show itself. The second effort, “The Mission” (●●●●), advance his confoundingly annoying love theme. It is a totally different story—a driving, thrilling should be pointed out that Williams scholar Kevin Williams score for the show’s most memorable episode. Kaska considers this to be a great score (and Spielberg- Dominated by a marvelous dramatic cue for the climax hating Pauline Kael loved the movie), which means all of this rare hour-long show (itself marked by a throb- of us at Film Score Monthly need to take a good bing, march-like beat and a slowly building brass long look at ourselves. —J.B. motif), Williams’s score is sensational, culminating in an uplifting finale that, while itself being totally unbe- Return of the Jedi ●●● (1983) lievable (hey, the show was called “Amazing Stories”), RCA Victor 68748 (2CD set, 1997) packs a punch. There’s enough music here to fill an Disc 1: 15 tracks - 73:16, Disc 2: 12 tracks - 74:47 album, which would certainly be desirable to collectors Although it has some great moments, this is the and listeners everywhere. —A.D. least essential of the three Star Wars scores, and often a maddening rehash of material from the first two NBC Nightly News theme (1985) films. Most of the important music not included on TV news broadcast, ongoing. the original Jedi LP and CD can be found on the Williams wrote four self-contained pieces, one very Fox/Arista Star Wars Trilogy boxed set; the relevant familiar, others less known: “The Mission” (for the additions here are the jaunty Rebel Fleet music Nightly News), “Fugue for Changing Times” (used for (heard at the end of “Death of Yoda” and continuing a short-lived Roger Mudd/Connie Chung news-maga- through “Rebel Assembly”), most of the final space zine), “Scherzo for Today” (for the Today Show; used battle cues, and Williams’s newly-written world music for a few years, then dropped), and “The Pulse of take on the “Victory Celebration.” —J.B. Events” (used for special reports and lately as the theme for Meet the Press). He also recorded several Monsignor ●●● (1982) bumpers based on these themes, and another set of Casablanca NBLPH-7277 (LP only) • 10 tracks - 37:22 bumpers in 1989. Williams recorded a suite called The most recent Williams score not to receive a CD “The Mission” (largely based on his Nightly News release, this is a strong dramatic underscore for the music, not to be confused with Amazing Stories) on laughable Christopher Reeve soaper, a follow-up by the aforementioned Pops album, By Request... director Frank Perry to his equally insipid Mommie Dearest. Williams’s mournful main theme, performed The River ●●● (1984) by French horn and backed by the formidable pres- Varèse Sarabande VSD-5298 • 11 tracks - 37:10 ence of the London Symphony Orchestra, sets the Williams’s fourth and most recent collaboration tone for this intriguing effort, one which includes an with filmmaker Mark Rydell, The River features a expansive, gorgeous rendition of the “Gloria” strange mixture of styles, yet it makes for a satisfying arranged by the composer for the movie’s Vatican album with some wonderful moments. The gently backdrop. Casablanca’s 37-minute LP is unsurpris- propulsive, backbeat-laden main theme establishes the ingly a collector’s item these days. —A.D.

J ANUARY 1998 30 Film Score Monthly Yes, Georgio ●● (1982) verts Williams’s original album presentation (available London PDV-9001 • Two cuts by Williams. on Polydor 821583-2, 9 tracks - 41:42, if you can find While Williams only worked on one piece for this it). I vote for the former. There is so much great music Franklin J. Schaffner-Luciano Pavarotti teaming, his here: the lengthy opening which moves from moody collaboration with lyricists Alan and Marilyn Bergman foreboding to brilliant, frenzied action; the flight to (“If We Were in Love”) is easily the high point of the Nepal; the gorgeous, Easternized melody for the head- soundtrack. An overpowering operatic ballad natural- piece of the Staff of Ra; the thundering, staccato flying ly tailored for Pavarotti, yet marked by a delicate wing fist fight; the brassy fanfares of the German sub- melody more easily heard in Williams’s instrumental marine cue; and a lot more. And I still prefer the com- treatment of the theme, it’s a great tune that later plete version of the truck chase to the edited version on received an Oscar nomination, the sole memorable the Williams LP. If there’s a downside here it’s the aspect of a movie otherwise scored by Michael J. Lewis Indiana Jones march itself, which is catchy as hell but and filled with Pavarotti performances (including “I a bit too good-natured and obvious to stand the test of Left My Heart in San Francisco”!). The instrumental time. (Annoying postscript: DCC also released a 2LP arrangement can also be found on the Boston Pops set in 1995, with 5 minutes added to “The Well of the compilation Aisle Seat. —A.D. Souls” which wouldn’t fit on the CD.) —J.B.

E.T.: The Extra Terrestrial ●●●● (1982) The Empire Strikes Back ●●●● (1980) MCAD-11494 (expanded, 1996) 18 tracks - 71:21 RCA Victor 68747 (2CD set, 1997) Williams’s legendary score is as notable for its Disc 1: 11 tracks - 62:43, Disc 2: 12 tracks - 61:44 poignant, intimate moments as it is for its operatic, A superb packaging of the complete score to The classic 15-minute final cue (“Adventure on Earth”). Empire Strikes Back, beautifully remastered from One could go on at length about how Spielberg cut the the original elements and sequenced in chronologi- ending of his film around Williams’s magnum opus, cal order by Nick Redman and Michael Matessino, but who doesn’t know that by now? Recent discus- with fabulous sound and a presentation that should sions about the score have centered around MCA’s please even the most tenacious nit-picker. In the expanded 1996 CD reissue (organized by laserdisc annals of Williams’s epic scores, this stands as the producer Laurent Bouzereau, catalog number above) most elaborate, hard-hitting work, its lyrical of Williams’s original soundtrack (MCA MCAD 37264, moments all the more powerful for emerging out of 8 tracks - 40:12), which throws out the cohesive a chaotic, agitated background of battle music and sequencing of the initial album (and some of its most spooky atmospheric cues. —J.B. effective, arranged-for-album tracks) and adds a lot of contextual material which simply bloats the running 1941 ●●● (1979) time. Throw in an alternate, slower version of Varèse Sarabande VSD-5832 • 9 tracks - 38:05 “Adventure on Earth” (included in place of even its Like Hook, this is an example of cyclical Spielberg film arrangement), and the new CD is one of those hubris, an all-stops-pulled-out physical comedy about rare occasions where the original makes for a far post-Pearl Harbor WWII paranoia in Hollywood. superior listening experience. —A.D. Williams’s score is as overbearing as the movie, but it does have a couple of gorgeous, rapturous moments Heartbeeps ●●● (1981) (particularly the opening of “The Battle of Never released. Hollywood”). Primarily important because it was pro- Thrown away by its studio, Allan Arkush’s robots- duced during the early height of the composer’s block- in-love comedy Heartbeeps boasts a sensational buster period, it was also the first time Williams pre- Williams score that’s a close relative to Close miered a movie theme of his own composition with Encounters and E.T., though with an infectious ener- the Boston Pops. This was originally released as a for- gy all its own. With its lively use of synthesizers and eign pressing on Alhambra and later by Bay Cities charming themes, Heartbeeps is one of those enchant- (BCD 3005), but they’re all the same music; to hear ing scores that is distinctively in the sweeping the complete score, get MCA’s deluxe laserdisc, which Williams romantic vein, though variety can be found has it isolated in stereo. —J.B. in his pulsating, mad theme for the “Crimebuster” robot, which sounds like a lighthearted variation on Dracula ●●●● (1979) Darth Vader’s march. Due to the film’s financial fail- Varèse Sarabande VSD-5250 • 11 tracks - 36:40 ure (exacerbated by Universal’s butchering of the Williams’s elegant take on the vampire legend is movie down to a scant 79 minutes), MCA’s album was as far from Wojciech Kilar’s thundering, Holst- canceled at the time of its theatrical release; if this inspired score for Bram Stoker’s Dracula as you can wonderful score isn’t part of Varèse’s next batch of CD get. Like Williams’s The Fury, this was an unex- Club releases, they might as well hang it up. —A.D. pected exploration of dark territory from a composer who, at this point (1979), was expected to produce Raiders of the Lost Ark ●●●● (1981) brassy adventure scores only. Oddly, Williams often DCC DZS-090 (expanded,1995) • 19 tracks - 73:30 was able to apply the sort of mock baroque/classical Fans seem divided over whether this restoration by style he used here (and in the earlier Jane Eyre) to Nick Redman is the ultimate presentation of this clas- contemporary films like Jaws and The Eiger sic adventure score or an example of overkill that sub- Sanction. But while the menace of Frank Langella’s

Film Score Monthly 31 J ANUARY 1998 poser’s better albums, atmos- Aw, do I have to buy these? pheric and lyrical with con- stant, busy textures. A toughie The Ten Rarest Williams CDs to find—it was both an import and a 1,000-copy limited edi- here are two reasons to collect CDs played better tion—but this should be worth T(three if you count annoying Jerry unscored). the effort for fans of Williams’s Goldsmith): to hear the music, and to be Wor th pick- lyrical writing. able to brag to other collectors later on that ing up, but you have them (and possibly profit too). you might Stanley and Iris The problem with the latter is that you run want to wait a few years and see if this Varèse Sarabande VSD-5255 • $25 the risk that the album will be reissued, thing ever gets an expanded treatment. Low key but enjoyable, this may not sit well making your investment valueless. But The above catalog number refers to a with those who have preconceived notions since good music has no freshness date, Japanese import, now out-of-print; there of the Williams sound. There may still be people who buy albums just because they was also an identical reissue from edel in some copies floating around. like the music will always be happy. Most Germany. of these releases were initially put out in the mid-‘80s at the dawn of what historians Jane Eyre The Witches of Eastwick will surely refer to as the CD Age, and Silva Screen FILMCD-031 • $200 (there’s been at Warner Bros. 25607-2 • $200 never reprinted. The collector mentality least one confirmed sale at $700!) The Holy Grail for Williams completists, decrees that CDs that are in short supply A bona fide masterpiece, richly thematic but I find this among the least listenable of are automatically masterpieces, but are and gorgeous. Some may be put off by the all of Williams’s albums.The title theme jig there really compelling musical reasons opening love theme for piano, which is is insanely catchy, and other cues (the to seek out the following discs? Follow Jeff unashamedly romantic, but Williams’s fur- movie’s actual opening, the tennis match Bond’s instructions below; to assist you in ther development of this material is master- and the unused balloon/pool sequence) are your bartering, Dr. Robert L. Smith (author ful, and the lush, moody opening is unfor- lovely, but this is dominated by heavy- of our 1995 book, U.S. Soundtracks on CD: gettable. Equally good is “Restoration,” the handed, cartoony action cues and unpleas- The First Ten Years, see pg. 9) has provided composer’s ode to English pastoral music. ant dissonances. If you’re obsessive enough current estimated values. Williams has often described this as one of already to have a DVD player, but not so his favorite scores.Yes, you have to buy it. obsessive that you have to have original The Accidental Tourist issues of everything, the Warner Home Warner Bros. 25846-2 • $90-100 Raiders of the Lost Ark Video DVD of Witches features the complete The composer’s title music for this Polydor 821 583-2 (original pressing) • $25 score as heard in the film isolated in stereo. introspective character piece from If you have to have the thundering, chopped- Lawrence Kasdan is down take of the truck chase, this is the one And also... lovely; quirky without to get, but I’ll still take the expanded It’s not an original Williams score, but the being self-conscious release. Again, catalog number refers to Japanese CD combining Superman II/III and annoyingly cute. Japanese import. (Warner Pioneer WPCP-3860) is long out-of- Unfortunately, the rest print and has an estimated value of $100. of the album is too sub- The Reivers This features Ken Thorne’s adaptations of dued and downbeat to Masters Film Music SRS 2009 Williams’s original Superman: The Movie generate much inter- (original pressing) • $50 music, including some bits (like the pro- est; hopefully the title Value plummeted after the Sony Legacy logue) that were not on the album to the music will show up on reissue in 1995. The original release was first film. Similarly, the Japanese edition of a collection some- only available through mail order, is slight- Superman: The Movie (WPCP-3859), con- where. Give it a miss. ly shorter, and features different (though not taining all the tracks from the 2LP set, is necessarily superior) sound quality. hard-to-find on these shores, and retails on Indiana Jones and the Temple of the primary market for $30; among collec- Doom Polydor 821 592-2 • $75 Presumed Innocent tors, that’s more like $75. In case you’re Undeniably the most frantic and assaultive Varèse Sarabande VSD-5280 • $20 wondering, Alexander Courage’s adapta- of all Williams’s adventure scores.This has While this is Presumed Rare, I just saw a tion of Williams’s music for Superman IV: its moments: there’s the charming theme couple copies at the Virgin Megastore in The Quest for Peace has never been for Short Round, worked engagingly into L.A. But do you really want to sit through this released in any format. the end title march and some exotic travel- thing over and over? There are a couple of ing cues, the stupendous battle march brief enjoyable moments—and it’s a temp- A tip: the next generation of collectible “The Slave Children’s Crusade,” and the track favorite in Hollywood—but this makes Williams CDs will surely be the reissues of out-of-control “Anything Goes” production The Accidental Tourist sound like Raiders of MCA albums Varèse did in 1990-91: Jaws 2, number. And that Thugee heart-removal the Lost Ark.For obsessed collectors only. Dracula, The Eiger Sanction, The River ceremony is genuinely frightening. But and Earthquake. These are still around, but many of the action cues (divorced from the SpaceCamp out-of-print; one day everyone will wake up film) come off as just plain frenzied, partic- SLC SCC-1016 (Japan) • $175-200 and they’ll be gone. Jaws 2 and Dracula in ularly the airplane escape and the climactic Although it does have one hepped-up drum- particular—from that key late-‘70s period— mine car chase (which would have probably machine cue, overall this is one of the com- are sure to be in demand.

J ANUARY 1998 32 Film Score Monthly Dracula was properly accentuated in several eerie some of the most rapturous passages in his career, Williams’ List passages, Williams and director John Badham con- keenly balancing gorgeous lyrical sentiment (“For centrated on the vampire king as an undead Gillian”) against heart-pounding tragedy (“Gillian’s Lothario, leading to several rapturous romantic pas- Escape”) and thundering orchestral doom (“The sages. There’s also a rousing chase (“To Scarsdale”) Vision”). The Varèse CD added one cue to the LP (as in the spirit of Jane Eyre’s “To Thornfield,” and the did the identical German pressing, on Alhambra), an deliciously eerie, malevolent “The Storm.” —J.B. alternate take on “Death on the Carousel”—but the calliope-based film version is creepier. —J.B. Superman: The Movie ●●●● (1978) Warner Bros. 3257-2• 14 tracks - 72:28 Close Encounters of the Third Kind ●●●● Japanese CD, WPCP-3859, 16 tracks - 77:21, includes (1977) Varèse Sarabande VSD-5275 • 11 tracks - 44:06 two tracks, “Growing Up” and “Lex Luthor’s Lair,” This runs neck and neck with Superman as the deleted from the U.S. CD but included on the original Williams score most in need of a major restoration. 2LP set. The original Arista LP (later an Arista CD, ARCD One of Williams’s greatest albums of the ‘70s, this 8365) was at some point intended to be a double CD is jam-packed and still falls short of capturing album, but was brutally whittled down to the current the scope and depth of what still stands as probably 40-minute version, slicing and dicing numerous cues his greatest epic work. Though it’s structured exact- together into something that only dimly captures the ly like his opening theme to Star Wars, Williams’s power, mystery and lyrical heights of this score. While Superman title march blows the Lucasfilm opus out its dark undercurrents and dissonance may turn off of the water with its propulsive drive and melodic some listeners, it coalesces into some of the most beau- power... but the version on the CD is still missing the tiful tear-jerking moments in the Williams oeuvre. The haunting, nostalgic curtain music that leads into the piece. This score has everything: one of the composer’s best love Close Encounters runs neck and neck with Superman as the Williams themes, wonderful Coplandesque cues for Clark Kent’s boyhood in Kansas, spectac- scores most in need of a major restoration—if that comes to pass, ular action and an emotional pull (derived from the great romance between the existing albums would make excellent microwave fodder Superman and Lois Lane) that’s often missing from the Star Wars and Raiders scores. Bring on the restoration! —J.B. Varèse CD includes a disco version of the theme which was included with the LP as a separate 45. You might Jaws 2 ●●● (1978) want to wait for an expanded edition which is rumored Varèse Sarabande VSD-5328 •14 tracks - 41:20 to be either included with, or released at the same time Williams has always shown a knack for writing fresh as, an upcoming Ultimate Edition laserdisc. For the new material for sequels, and Jaws 2 is no exception. 1980 Special Edition release of Close Encounters, With a wealth of infectious sea-shanty motives for its Williams recorded an all-new finale in Boston, released teen characters, and several throbbing action cues, on the Pops album, Pops in Space, and later on By Jaws 2 is one of Williams’s most enchanting and enjoy- Request... —J.B. able scores. Williams doesn’t simply recycle material from his classic score (though the “Orca” theme is Star Wars ●●●● (1977) deftly interpolated in the opening track), with the RCA Victor 68772-2 (2CD set, 1997) “Jaws” theme used only infrequently. Coupled with a Disc 1: 13 tracks - 57:35, Disc 2: 11 tracks - 48:16 gorgeous “End Title” that remains one of Williams’s A magnificent presentation of Williams’s signature best, this is a score that I highly recommend to anyone score, a brilliant pastiche of Holst, Stravinsky and who only owns the most popular Williams soundtracks Korngold filtered through the composer’s own sensi- (Star Wars, E.T., Raiders, etc.); in several respects, it’s bilities that is thrilling even after 20 years. Using the a more cohesive, superior album than its predecessor. London Symphony Orchestra for the first time, [This score rated a 3 from everyone on our panel Williams established a gigantic, epic but modern film except Andy, who gave it a 4. However, Williams schol- sound out of nowhere and launched the era of big, ar Kevin Kaska agrees that this is better than Jaws, so retro-romantic film scoring. The chronological assem- circle gets the square.] —A.D. blage by Nick Redman and Mike Matessino is brilliant, recreating the emotional ride of the film completely. The Fury ●●● (1978) Highlights for the newest release include an alternate Varèse Sarabande VSD-5264 • 10 tracks - 43:39 “Binary Sunset” cue and the flawless editing of the From its swaying, foreboding waltz-like title music complete Death Star battle, music that can still raise to its spine-chilling bravisimo conclusion (with John goosebumps of pure film-score geek ecstasy. —J.B. Cassavetes blowing up real good), The Fury is a tour de force for the dark side of Williams, even if he’s seem- Next Issue: Williams’s works from the 1950s through ingly co-opting an unavailable Bernard Herrmann for 1977, including sidebars on his TV projects, compilation would-be-Hitchcock Brian De Palma. De Palma’s over- albums, concert commissions, the myriad Star Wars heated style allowed Williams to drench the movie in recordings, and his favorite foods!

Film Score Monthly 33 J ANUARY 1998 Mychael anadian-based composer Mychael Danna has interesting work... well, maybe it doesn’t happen there, Danna has made his mark by scoring knotty adult dramas but it could happen! [laughs] Just in the sense that Cand art films. Danna has repeatedly been nom- there’s money available to supply the kind of technical won acclaim inated by the Academy of Canadian Cinema and requirements of having big bodies of musicians brought Television and was awarded the Genie for Best Music together. In studying history it seems that the music of for his Score for his work on Exotica (1994). Some of the pro- an age will be centered in the place where the money to jects he’s been associated with have received nods at pay for it is. ongoing Cannes, most recently frequent collaborator Atom In other words, it seemed really artificial and working Egoyan’s The Sweet Hereafter (1997). Danna’s unique against nature, in a sense, to think of the [government] association style has also been heard in Allan King’s Termini commissioning. I assume it’s similar in the U.S. as it is in Station (1989), Vic Sarin’s popular Cold Comfort (1989), Canada, that new music is commissioned by government with director and on television in Gross Misconduct (1992) and Road agencies and various endowments for the arts, which are to Avonlea. His music is a kind of post-world music generally run by artists given grants of money from the Atom blend of... well, just about anything. Indonesian game- government. It seems like a completely bizarre and lans, Iranian ney flutes, Gregorian chant, American unnatural way to have music caused to be written. Egoyan, minimalism, fiddle-based waltzes, synth techno, Indian So, it was a conscious decision [to look for work as a kanjiras, pakhawajs, and bansuris each figure promi- film composer]. You look around and film is where the for his nently into his scores. It’s a fascinating glimpse of money is to pay for original music. If you’re a composer music’s power to enhance a film without the aid of at this time, it just seems like a very logical decision to unique familiarity. In creating these amalgam ensembles, end up writing music for film. Danna is composing without the safety net of hoary tra- Doug Adams: Was that your plan from the start? blend of dition. MD: It wasn’t from the start. When I was younger I Danna began his musical career with what he refers don’t think it ever crossed my mind, because when you’re world music to as a “standard Western background” of piano lessons, younger and you’re being trained, you’re being trained in historical styles. I was learning styles of people who styles, were paid by churches, or kings. So, in a sense, those were the models I had in my mind. Then, when I was foisted upon the real world, I looked around and saw that there really were no more kings or churches with any power and money. Obviously there had to be someone else. I don’t want to make it sound as if money is my goal, because it’s pretty far from that. Otherwise I’d be living in Los Angeles and having a completely different and his willingness to tackle tough subject matter. What’s next? organ and choir experience through church, and compo- career path. I guess money is a symbol to me, in the sense sitional training at the University of Toronto, where he that it’s where the power and the interest are. It’s where developed an interest in ethnomusicology. From there the creative fire is. It’s the workshop; it shows where he went on to compose several environmentally inspired things are happening. I don’t want to make it sound like albums of instrumental music, and work as the compos- I’m looking for the money because I’m not at all. Interview er-in-residence for the McLaughlin Planetarium. DA: Well, you’ve got to eat, too. Eventually, his interests turned to the world of film MD: You do have to, and certainly that does come into by Doug composition... it. I always wanted to be a composer since I was a little kid. Of course, when you’re a little kid growing up and Adams Mychael Danna: When I started writing music you’re reading about famous composers of the past, the and studying the history of where music comes from in whole idea of poverty is almost held up as a rite of pas- any given age, it just seemed that the main patron com- sage. It’s a very romanticized thing. I don’t think pover- missioning original instrumental music in the late 20th ty or lack of money was anything that I was afraid of; in century is film. That’s where, I think, a lot of the most a sense, it was almost celebrated by the things that

J ANUARY 1998 34 Film Score Monthly you’re taught—the you’re going to use in a project? TOP Mychael Danna past models. MD: I just feel that different instruments, MIDDLE The amazing That’s a concept like different people, have their own, complete- Christina Ricci and that’s important to ly original and unique characteristics. It’s the redoubtable me; I don’t know if it same with music from different places and Kevin Kline play is to other people, but music from different times. They all have a house in The Ice having an idea of character that you can’t find in any other Storm. BELOW The where you stand in thing. So, if you have a theme and you want to brittle Sigourney the whole history of get across a certain idea with that theme, Weaver resurrects making music, that is the ’70s really important to me. That’s a sense that I carry into the work that I do as well. I try to be very aware of music from different places and from different times. I feel perfectly able and like I have the right to use those in my music-making and draw from them at any point.

It’s a Small World After All DA: How did you first become interested in using all these instruments from all over the world? MD: They just struck my ear. Toronto is a very multicul- tural city—like a lot of places in North America, but Toronto is really quite an extreme example. Even when I travel around North America now, [Toronto is] still, one of the most multi- cultural cities. The communi- ties here have thriving little arts cultures. It’s very easy to go out—tonight I’m going to hear some South Indian dance. You can hear anything maybe a 100-piece orchestra play- or see anything from any culture. Most cities are getting ing late Romantic style is the right that way, but Toronto’s been that way for a long time. choice, but maybe it’s not. There’s So, I hear those things. Those people are around, those no reason why it needs to be. If you players are here. I just never thought there was a rea- want to get across the idea of a son not to [use these instruments]. tiny, tight, very homogenized com- And the other thing is, I’ve always been annoyed by munity, well, medieval music is a the kind of patronizing and ignorant film-scoring uses of nice place to start, maybe. So, it’s these musics. When you see a film that’s about Middle very dependent on the theme. I Eastern terrorists and you hear tablas and sitars, things hope that they’re not random like that really get on my nerves. It’s just ignorance. It’s choices, and I hope that they don’t something that I wanted to make sure that I wasn’t seem that way. doing. You can do that if you have a reason, but if your DA: Oh, no. Actually, it seems reason is that you just don’t know any better, that’s not like a lot of the choices you make a good reason. I think, having some knowledge and some deal very closely with dramatic subtexts of the film. Are understanding of those cultures, what the music means those the kind of things that you find interesting? to them, and how it’s used is important. It doesn’t mean MD: Absolutely. Yeah, that’s exactly where I want to that you have to follow that all the time, but I think that start. There doesn’t seem to be any point in repeating you should be knowledgeable. If you’re going to stretch what the drama is already saying on the screen. It’s the boundaries or bend the rules, you should know that already there, so why be redundant? That I find a very you are doing that. As opposed to doing it by accident. patronizing sort of film scoring because it’s almost DA:You’ve made some amazing choices as far as pair- assuming that people are so stupid that they don’t know ing these instruments with films and stories. What’s your what’s going on. And I think people sense that. They may method of operation when deciding what instruments not understand why they find music kind of irritating in ICE STORM COPYRIGHT ©1997 FOX PHOTOS SEARCHLIGHT PICTURES; MYCHAEL PHOTO DANNA BY JAG GUNDU

Film Score Monthly 35 J ANUARY 1998 some films and in some moments, nature that I end up doing. But I guess people do hear but I think people are smarter something, some character in what I’ve done that seems than some filmmakers and com- to be right with things that are dark and complicated. I posers give them credit for. So, don’t know what that says about what I’m doing. [laughs] people can sense when the music I think it might disturb me if I thought about it too much. is saying something that’s not on But, no, I don’t [seek these films out]. If anything, for the screen that makes them think watching things, I’m attracted to quite the opposite. about things in a different way. On the other hand, I have worked on films that are They may not be conscious, exact- very different from, say, The Sweet Hereafter or Ice ly, of what’s going on, but I think Storm, and I have to admit, they aren’t as fun to do. I love that is what I like to play with. doing period music and things like that, but really, I feel DA: It seems like you’ve like it’s not what I should be doing. It feels like it’s too worked pretty extensively on films easy. I mean, I did this series—I did a few episodes where Sex is the key to that cover a lot of mature and it was a period thing and it was really fun to do. But, I Kline and Joan sometimes heavy themes. It’s not kid’s stuff. Do you active- felt... I can’t quite think of the word. I want to say Allen’s party games ly seek these kinds of projects out, or do you think that “cheap,” but it just felt... filmmakers are hearing something in your music that DA: Not challenging enough? they equate with maturity of some sort? MD: Exactly, yeah. I knew as soon as I saw the picture MD: That’s an excellent question. I’ve wondered that exactly what to do. I didn’t have to think about it. It was myself. Amusingly enough, often when I go see films, I go easy and painless and fun. And I felt really guilty at the see films that are completely the opposite of what I end end of it. up scoring. DA: Is that “easy” in musical terms or in dramatic DA: Oh, really? terms? MD: Yeah, and I definitely don’t pursue films of the MD: Both, I guess. It was operating on a certain level

night, that one of the characters freely twisting and placidly is electrocuted by a downed uncontrollable. The fact that power line. The body is discov- they’re so unmetered speaks of ered and brought home just as their naturalism—they’re not the sun rises, and the ice begins governed by human “organiza- to melt—an obvious death/re- tion.” (Obviously, they are, but Evaluating the Sound and Fury of The Ice Storm birth allusion. At this point, here the implication is noted.) in the new world, one of the The gamelan music, on the ng Lee’s film The Ice Storm sure. The children are forced to main characters breaks down other hand, is rhythmic and Atakes place during late deal with not only their own ado- and cries: the first show of true controlled. It’s man-made and November, 1973 in a climate lescent changes, but with the adult emotion in the film and rigidly synthetic in its organiza- primed for political and social fact that the world they were the first sign of regret, acknowl- tion. A gamelan is not a single upheaval.The film is set up as a promised by their own childlike edgment, and an emotional instrument but an orchestra of diorama of upper class parents will never materialize. rather than physical adulthood. long, thick slabs of metal which Connecticut families and their None of these characters can are tuned to a specific, but non- trials and flounderings. On a adapt, so they live in a kind of Opposition by Design Western scale. Gamelan music surface level, the story is about suspended animation where Composer Mychael Danna’s is constructed much like swingers (or swinger wanna- they grind down their own score for The Ice Storm is as American minimalism where bes) coming to grips with the moral fibers without any real intelligently conceived as any overlapping phrases are repeat- fact that they have to grow up consequence or pleasure— this year. The two primary ele- ed and slightly altered over a and lay their bed-hopping days they’ve become numb to their ments are an Indian flute period of time. This loop-like to rest. But beyond that, it’s a own indulgences. Their interac- melody, and the sound of quality of the gamelan music is fascinating study of how alien tions have been reduced to Indonesian gamelan music.The a perfect representation of this we can become when we have purely physical relations, blank flute seems to be the sound of all society’s inertia. It also has a outlived our ability to fit into a stares, or clumsy attempts at that is natural. It’s like the song crystalline element to it which changing world. The characters conversation. They attempt liv- of the land speaking to tradi- prefigures the storm to come. are wildly out of sync with the ing at extremes to shock them- tions more established and hon- Danna often weaves midrange world; they’ve become so selves back into an emotional orable than these trendy helots woodwinds or pizzicato strings wrapped up in their own syn- reaction, but to no avail. Their can understand. There’s a into the gamelan orchestration thetically manufactured habits souls are hung on hooks in a somber, sad quality to the to create a more personalized, that they’ve lost their places in frozen world that continually flute’s short phrases, which are Western-influenced color. life. The adults are unable to recycles itself, waiting for often dressed up with the The flute and gamelan are come to grips with the fact that something to jar it out of its rut. accompaniment of tribal shak- used against each other in the the 1960s did not permanently During the final act of the ers and low drums. Other times score to create much the same alter the course of modern soci- film, the eponymous ice storm a blanket of strings falls behind sort of out-of-sync feeling as in ety, and that they do not live begins and effectively immobi- the soloist, or the lines are imi- the story. There is never any under a permanently protective lizes this world. It is in the after- tated by a solo oboe or clarinet. attempt made to reconcile blanket of inconsequential plea- math of this storm, during the The flute solos themselves are them, and while they do exist

J ANUARY 1998 36 Film Score Monthly and the music needed to just be late-19th century what- music, how did those first come into your mind? ever. I love doing stuff like that; I love writing period- MD: Well, the process of working with a director, style music. But, I think it’s more challenging to try and especially somebody I hadn’t worked with before like Ang mix up period-style music with other things and take it Lee, was to try and understand what he really was want- somewhere where it’s not necessarily supposed to be—or, ing to say—what his main theme, if you could sum it up it hadn’t normally been. in one sentence, was. It actually was a long process with DA: If you had complete autonomy over these choices, Ang because he’s very subtle and a man of very few do you think you’d still be doing the same kinds of films expressive moments. There’s a lot going on in his mind, or would you be getting into the lighter side of things? but he doesn’t necessarily communicate in a way that is If I look in MD: Like I said, I ended up doing this kind of film really obvious. So, it took quite a while. It took a matter really by accident. It wasn’t a kind of filmmaking that of months to really understand what he was trying to say my files, attracted me at the beginning. In a funny way I actually in the film. would almost prefer mainstream, lighter films. I love We started out in a completely different direction. We there are Disney animation and things like that. But, I don’t know actually started out kind of plastic and synthesized, and if I could write something for it. I guess I could. But when we ended up coming full circle. It comes back to the idea like 18 I’m watching those films I’m actually not conscious of the that the plastic and synthesized thing is really what’s music at all. Whereas when I’m watching something going on in the film—what the surface is. But under- different that’s a bit darker and deeper, I start thinking about neath is the element of nature and man’s relationship to what I might want to do. I guess they’re very inspiring to nature and how, in that period of time [the film’s setting, versions of music, the projects I’ve been involved in. 1973 Connecticut], man was very disjointed from the natural world and man’s own past. That theme meant to me The Ice The Ice Storm that it would be kind of interesting to remind the viewer DA: Let’s talk a little bit about The Ice Storm. The in a subtle way about nature, and that nature was right Storm choices that you made for that—the gamelan and the flute outside the door. The sound of a Native American flute was just the perfect sound for that, for me. You that I was side by side, they’re not exactly rises in intensity or volume. see these shots of these goofy prefabricated happy neighbors. It’s a bril- It’s almost a case of pitch being houses in the middle of this hardwood forest writing liant instance of using musics used as a texture. Instead of which, only a few generations before, had which purposely do not gel for generating melodies and lines, native peoples living in a completely different music for. dramatic effect. the score pro- way. I guess that was something that I thought The differing duces a tinted about when I was watching the film. And the In a sense, elements bump stillness power of nature eventually reasserts itself in up against one where neither the film. that’s every another, or are purely textural The gamelan ensemble is the same thing. layered on top of nor purely It’s a music that, to our Western ears espe- composer’s each other, but melodic music cially, seems more closely related to nature— they are never would suffice. natural, elemental almost. Also on a central worst consolidated It is a bit level, the sound of brass pots being hit into any kind of reminiscent reminds me of ice. nightmare. single-minded of Thomas DA: Yeah, it has a very brittle sound. How statement. They Newman’s did you go about spotting this film? I loved the simply rub each approach, but way that there was a very unified approach other raw. Danna is his own composer rather than a scene-by-scene type of thing. The Ice Storm’s score also with a unique voice. MD: The film was in flux a great deal while contains Western orchestral The score is just as effective I was working on it. It was very, very chal- writing, notably near the end of on disc (Velvel/Reel Sounds lenging to work on because Ang was really the film. Wisely, the composer VEL-79713, 12 tracks, 51:22), wrestling with the film, trying to come to some does not trot out some sort of although hampered by the fact kind of a structure that he felt comfortable weepy, elegiac now-we-can-cry that only the first two tracks, with. If I look in my files, there are like 18 dif- type writing for the death. This “Shoplift” and “Finale,” are ferent versions of the film—something like music, scored for strings and Danna’s (totaling 11:42). The that—that I was writing music for. In a sense, woodwinds, is remarkably non- majority of the disc is period that’s every composer’s worst nightmare. On emotional while remaining pop songs, which although fun the other hand, in this case I think what hap- quite tonal and expressive.That (especially Frank Zappa’s pened was we nailed it really carefully because may seem like the smallest of “Dirty Love”), aren’t much we had such an intimate understanding of compliments, but do you real- more than a postcard from the every moment in the film. ize how difficult it is to write early 1970s. Alex Steyermark You know, music came and went in all kinds unemotional tonal music in a did a fine job of choosing tunes of scenes. It wasn’t spotted the way it ended Romantic vein? The solution to appear in the film, but they up. But, the way it ended up, I think, is very here involves some wafting, were more effective in evoking effective and it makes sense—like you say, the minor (and a few major) chords the age when heard in referen- uniformity of it. There were themes attached which slowly pass from one to tial snippets. to certain ideas within the film, but because the next without any serious —Doug Adams the structure of the film really rings true,

Film Score Monthly 37 J ANUARY 1998 those musical structures also make a lot of sense. pretty awful.” They were kind of up-front about that. So, DA: This is more of a logistical question, but how did I just kept that in mind and worked with it so that I used you go about dealing with all the different tunings as far pizzicatos a lot with the gamelan, which is sort of an as using the gamelan against woodwinds? That had to be unpitched thing anyway. a nightmare! The woodwinds against the gamelan were the thing MD: You know, you’re the first person who’s asked I was most worried about. As you know, the tunings that. That, probably, was the biggest source of stress for are really different. But, somehow it just kind of me as a composer. Nobody else understood that, of course, works. I guess it was a matter of keeping in mind how and I wasn’t about to tell them! [laughs] I did mention to different they were, and if parts were duplicating each them that my samples that they were listening to were other in the Western and Eastern orchestras, they not going to sound exactly the same [when played by a live were sounds that would not be really discordant. Not ensemble]. And I think there was a sense of shock at the sustained sounds. session when the gamelan ensemble was playing. There DA: The first thing I thought when I heard that was, was certainly a sense of shock on their part. There was for “Boy, they had to have either carefully selected these me too. It was just one of those things where I really felt instruments or digitally changed the pitch.” that it should work together. The funny thing was I talked MD: No, we didn’t. I have [done stuff like that]. In to the guys in the gamelan ensemble and they said, “You fact, today I am digitally tuning some medieval instru- know, we’ve played with orchestras before and it sounds ments I recorded that are really hurting my ears. On [Ice

obsession finds Danna dabbling in a more formed by obviously synthesized drums) Western vein. The main theme is a kind of which remind the audience of the underlying classical/minimalist waltz for a handful of dominance of nature. There are also a few winds, strings, piano, and vibraphone. The bits of melancholy orchestral writing, but orchestration immediately draws us into its the real juxtaposition in this score is The Composer’s Film Music on CD textures by using some small ensembles and between the instruments and the styles, the little doubling of instruments. This chamber score and the images. Reviews by Doug Adams orchestra instrumentation and the minimal- Overall, an effective and well varied disc. ist phrasing aren’t so much a juxtaposition as Music for the Films of Atom Egoyan ★★★★ they are a synthesis of opposing styles. The Exotica (1994) ★★★ Varèse Sarabande VSD-5674 classical approach is Varèse Sarabande VSD-5543 16 tracks - 56:01 carried on in a piano 14 tracks - 49:43 One of Mychael Danna’s most concerto Danna com- Music for the Films of Atom Egoyan was fruitful collaborations has been posed for the film, the originally planned as a companion piece for with Canadian filmmaker Egoyan. slow movement of this CD of Danna’s score to Egoyan’s This disc is a sampler of some of which is represented on Exotica. The film is a complicated snarl of their earliest work together. disc. It’s a gentle work repressed lust, tragedy, and again, a kind of that bears a slight regaining or restructuring of humanity. The Adjuster (1991) melodic relation to Large portions of the film take place in a Egoyan’s film concerns an insur- Beethoven’s Piano high-priced strip club, so much of the score ance adjuster’s plight to care as Sonata No. 8 in C walks between source and non-source music much for his own life and family minor. The flip side to for the club. Ever one to try something new, as he does for his clients’. Danna’s score, this can be heard in “Talk Show,” a piece of Danna has fused Hindustani and North represented by five tracks, has a home-and- pure Reich-ish minimalism full of dampened Indian gat-toras and ghazals with electronic hearth gone wrong, remorseful warmth to it. vibes and panning synths. How interesting techno beats. As conceptual as that might There is a juxtaposition of intimacy and that the story, a sort of love triangle, would sound, the result is a clever amalgamation of vastness present in the score that seems to have three distinct musical elements: classi- the physical and the mental. However, it fit the story extremely well. Augmented har- cal, minimalism, and their combined progeny. helps if you already have a familiarity with monies in moody synth patches are at times the different styles used, lest this score be interspersed with pointed phrases from Family Viewing (1987) heard as neither apples nor oranges. If noth- Indian wind instruments or folksy waltzes. This film is a kind of anti-technology allego- ing else, this project should be historically There are also instances where it sounds like ry about a young man reclaiming his familial interesting as one of the first uses of tech- Danna toys with the EQ and reverb on the identity. Here Danna toys with some of the no/dance music in a non-song based score. electronics which, in layman’s terms, means dramatic ideas that would return in The Ice It’s a bit more satisfying on disc than in the that some of them sound like they’re spa- Storm (1997), namely man’s self-imposed film where, although there are some cious and distant, and some sound like removal from nature. The young man in the moments of repose and reflection in Danna’s they’re dry and up close. These seem to be story is losing his family memories when his signature lonely piano soli, one gets the feel- the sort of musical and dramatic dichotomies father records over videotapes of his ing that the music is often more of an ele- that Danna most enjoys examining. deceased mother—technology encroaching ment of the physical setting than of the sto- upon and disrupting a natural order. The rytelling. Still, fans of The Fifth Element’s Speaking Parts (1989) music is largely formed around tribal drum- sexed-up mixture of Euro pop with an This story of abused hegemony and spurned ming and percussion patterns (tellingly per- Eastern twist should love the disc.

J ANUARY 1998 38 Film Score Monthly Storm] it was just a matter of—we recorded the gamelan MD: Again, that’s a really interesting observation. and we recorded the orchestra. I took the two tapes You’re right, I found that last scene very difficult to do home, put them up, just held my breath, and they because, in a sense, that scene is so emotional. The worked. So we actually recorded them separately. I really music needed to respond to it, but there was a line I did- can’t explain it! We didn’t tune a thing. n’t want to cross at all. So it was a matter of being DA: Amazing. expressive and yet, holding back. I guess it’s just the MD: Yeah, it was just a bunch of natural instruments simplicity of the intervals. It’s not very rich orchestra- all together and luck, I guess. tion. I mean, we had all the players sitting there. If DA: I also noticed the orchestral music that under- they’d all been playing, it would have been really kind of scores that last section. It’s really expressive, but it seems maudlin. So it was matter of selectively holding back to be expressive in a non-emotional way. It’s very reserved. melodically. But, like you say, the strings are actually It almost feels like a texture that’s based on orchestral playing pretty expressively. On the floor, when we were writing more than anything that’s strictly melodic. When recording, we sort of coaxed that out of them a bit extra. you’re composing a cue like that, do you think it’s the But, I think in the composition itself there’s a line that’s choices that you make (the string and woodwind orches- not crossed. I guess it’s the simplicity, really. tra and the lack of any sudden dynamic shifts) that cre- DA: So, it’s just not over-scoring it? ates the sound, or is it more an application or an execution MD: It’s not over-orchestrated and it’s not overwrit- of those kinds of choices? ten. I think that was something I was very conscious about

Kama Sutra: A Tale of Love (1997) ★★★1/2 probably still need some familiarity with The Sweet Hereafter (1997) ★★★★ TVT Soundtrax 8101-2 • 23 tracks - 53:43 Indian styles to catch everything that’s hap- Virgin 7243 8 44955 2 7 Yes, this is a film based on the ancient pening. 15 tracks - 52:12 Kama Sutra book, a treatise on all things sen- This score, for Egoyan’s most recent film, sual. Its various lessons get wedged in Lilies (1997) ★★★ is structured after the dualities in the nar- between various exploits meant to reveal and Varèse Sarabande VSD-5868 rative. (See the interview for a discussion of extol the virtues of female sexual indepen- 18 tracks - 43:06 the project.) Just as the film jots between dence. Most critics hated Mira Nair’s film, Director John Greyson’s Lilies deals presenting a literal drama and a mythic, which never seemed to come up with much in with homosexual love among young men almost representative level, the score moves the way of plot or characters, just so long as training for the priesthood. Danna’s between the songs Danna composed (with no one wore clothes very often. But, they intriguing choice for this film was to com- occasional assistance from actress Sara were pretty unanimous in their praise of pose original pieces of Gregorian Chant, Polley) and his underscore featuring the Danna’s rich score. Again, he composed large- parts of the Ordinary and Proper sections Toronto Consort and Hossein Omoumi on ly for Indian instruments, but with less of a of the Mass, and parts of a Requiem Mass. the Iranian ney flute. It’s the same real- Western bent than in Exotica. Of course, The choral music was performed by the world-versus-fable-world metaphor. It does- Danna is mainly called upon to write alluring Hilliard Ensemble and was recorded in the n’t sound like it should work, but the two siren’s songs (and with track titles like 12th Century Boxgrove Priory near compositional styles seem to move largely in “Come Paint My Breasts with Sandalwood” Chichester, England. The reverb was then parallel motions thanks to the cross-pollina- you can tell he was aware of his... uh, position manipulated to resemble that of the prison tion of small ensemble writing and moods. in this film), but he does manage to come up chapel in which most of the film takes The songs are composed in a kind of sad, with some effectively sultry cues. The most place. Also included are a solo cellist and a folk-rock style with bass, guitar, pedal steel interesting music on the disc, however, is that solo trumpeter. The gist of it all is that, guitar, drums, cello, and harmonium back- which again combines Indian tendencies with although these young men’s desires are ing Polley’s wistful vocals. They create the a European dance music regularity. It’s actu- against the grain of the Catholic church, same kind of low-key intimacy as the score, ally more effective than they are still religious, which is largely based around ancient Exotica because Danna has God-fearing individuals. European styles and a single Middle chosen electronic and acoustic The music represents the Eastern element—the ney. This music is sounds which better comple- film’s “refusal to be sac- conversely atmospheric and rhythmic, but ment each other. For instance, rilegious,” in the direc- always with a sense of deep introspection. in “Examining, Examining,” tor’s words. Stated differ- In a way, the songs and the score seem to be sampled and live tablas coagu- ently, it’s a stand-in for each others’ equivalent, simply transported late into a cohesive percussive the ultimate piety of the to different ages. Both go a long way to sug- lattice. And in “Biki Is characters, despite their gest that the film is saying as much about Insulted,” some of the Indian shunned inclinations. On us as it is about the characters in the film; it instruments are played back- disc, this is a pretty liter- shows that our human struggles and our wards so that they are al representation of this longings transcend the ages and any single processed and indigenous at the same time. ancient music (even though the modern event. This is possibly the best CD of My first listening to this score left me with trumpet and cello seek to subvert that). Danna’s music yet and it’s an excellent the impression that it was pretty thoroughly Though notable as a rare choral-based example of his ability to boil down the Indian, but a closer listen proves that that’s score and very well written, it’s probably essence of a story into the right combination just a testament to Danna’s attention to most recommended to those who are of moodiness, musical innovation, and emo- detail. However, a word of warning: one will already fans of the sacred music genre. tional honesty.

Film Score Monthly 39 J ANUARY 1998 with that scene—both those things had to be held back. I DA: Have you ever had a project where it’s hard to find don’t know, I’m really afraid of that line. That line is some- that kind of parallel story arc? thing I’m always aware of and I think, more than any- MD: Yeah. thing, it would bother me if I ever crossed it. DA: How do you deal with that? MD: I usually turn them down. I guess that’s a bit of The Sweet Hereafter a problem, really. Well, and like you noted, that’s why I’ve DA: Let’s also talk about The Sweet Hereafter. What ended up doing the films that I do. Because it’s hard to was your basic approach to this score? I know it features find an alternate line in a lot of mainstream films. the ney flute. They’re not really saying anything. It’s just a story about MD: The Sweet Hereafter is a story that lust or greed, and that’s it. I don’t know how you would takes place in a small, Northern community. get up day after day and work on that. The thing that There’s a terrible tragedy that happens and gets me sitting in my chair is the sense of discovery and a lawyer from outside comes and tries to finding connections that weren’t there originally. It’s seduce the people into a big class action law- really exciting to me. I don’t know if I know how to work suit. Throughout the film there’s the legend on things that don’t work on some other level as well. of the Pied Piper of Hamelin. It’s sort of a DA: Well, again I think it’s served you well; you’ve got- thread throughout the film. The Robert ten to work on some great projects. And maybe, who Browning story/poem is read throughout the knows, the mainstream stuff will start coming around to film in little pieces. And it’s almost like the having a little bit more depth to it. underlying, analogous story. So that story MD: I think it is. Of course there will always be mind- became the focus of the music. The Pied less action flicks... which I happen to like, actually! I Piper story, as you know, takes place in a enjoy them, but I don’t know if I would be able to offer medieval, tiny town. Then the exotic, nasty, anything to them—at least one that didn’t have some Middle Eastern piper [comes]. So, really that other depth to it. But, there are a lot of interesting films was the choice of the music right there. It being made these days. I think it’s a good time for film- was early music instruments on one hand, making in that way. and then an Eastern ney from Iran. An DA: Who is on your wish list of people you’d like to I just find Iranian ney player was actually brought in from work with? Europe. He was this master whose name is Hossein MD: You know, I wouldn’t say anything because I had it really Omoumi. And we used an early music ensemble. So a wish list in the past, and in fact I’ve ended up talking to those were the two [elements]. them about something. Really, it’s project by project, boring to There’s one other theme that’s going on in the movie. because if I see something by a director that I love, it The main character is a singer and she is in this band, doesn’t mean that the next thing they do I’m going to reinforce so, with the actress who plays her, we wrote some songs love and find some connection with. So I don’t know if I’d and she actually sings them in the film. We did a couple say there’s a wish list. There are some people that obvi- what’s of covers and we did some original things as well. In fact, ously do things that are more likely to be something that we just found out that we were nominated for the I’d be able to offer something to. But, look at how differ- already on Canadian Film Awards. Both the score and one of the ent Oliver Stone’s films are from the last two or three. songs were nominated. Some of those might be more interesting to me than oth- the screen. DA: Well, congratulations. I’ve read a lot of reviews of ers. So, I wouldn’t name any names, really. this film that say the music gives it a very “fairy tale”-type DA: Okay, the final, general question: Do you think It’s kind of feeling. That’s not exactly the term I’m looking for, but that there is such a thing as a Mychael Danna sound, and it seems to feel like more of a “story” than a straightfor- if so how would you describe it? of a ward drama. How was that approach decided upon? MD: Um... MD: I guess again it was the whole philosophy of look- DA: I know that’s difficult since drawing from all these patronizing ing for something the music can do that [draws] a paral- varying sources is almost part of what you have to offer. lel line to the story that’s there. I just find it really boring MD: Well, if you’re living in a building and you’re approach, to reinforce what’s already on the screen. And like I said looking out of it, you don’t necessarily know what it before, it’s kind of a patronizing approach, assuming the looks like. You can start putting it together, maybe, by assuming audience is rather stupid. So, this story which is read in what other people’s reactions are. I don’t know if there this poem-style, and the pictures from the book, these old- is [a Mychael Danna sound] or not. I’m told there is. I the style Kate Greenaway pictures from the book of all these hear a lot of the same descriptive words over and over people in medieval garb (and very “fairy tale”-ish as you again from people saying, “Oh, your music is so audience say) seemed like a great place for the music to start and ‘blank’.” I guess that’s the impression that it makes on get people thinking “community” and how the townsfolk people. It’s not something that I’ve really thought is rather are so much like the Pied Piper townsfolk. So, when we’re about. I just do what’s fun and what’s exciting to me. I looking at the modern-day townsfolk, we’re hearing this don’t know, I’d have to leave that to other people to stupid medieval kind of “fairy tale” music. It doesn’t come off, I decide, I guess. FSM think, as fairy tale music, but it just is suggestive of another time and another place. I don’t even know if people are Thanks to Mychael Danna and Vasi Vangelos. consciously aware, if they come out going, “Oh, yeah, I get Doug Adams can be reached at it.” But, I think at a deeper level they might be. I hope 18624 Marshfield, Homewood IL, 60430. they are. E-Mail: [email protected] THE SWEET COPYRIGHT ©1997 FINELINE HEREAFTER PHOTOS FEATURES

J ANUARY 1998 40 Film Score Monthly ★★★★★ REVIEWS Best Really Good ★★★★ OF CURRENT Average ★★★ RELEASES Weak ★★ ON CD Worst ★ SCORE RATINGS ple insist that the Enya-like Williams refuses to simply uti- Titanic ★★★ material bears no resemblance lize native choirs and percus- JAMES HORNER to the group’s “Book of Days” sion to dress Western orches- Sony Classical 63213 single from Far and Away. tral music in African colors for 15 tracks - 72:23 People, think for a moment: this latest collaboration with Cameron used the Enya music Steven Spielberg. “Dry Your ames Horner’s in early trailers for the movie, Tears, Afrika,” with lyrics from JTitanic seems des- attempted to either purchase a poem by Bernard Dadie, is a tined to rival his the original Enya music or joyous chorale layered in the Braveheart album as employ the singer on the film, distinctively African rhythms a popular touchstone, and was turned down. Later, and syncopations that served in and considering the Horner arranged music that part as the basis for American elements at work, it’s sounds remarkably similar to jazz. Following a haunting solo no wonder. James “Book of Days,” even hiring a by mezzo soprano Pamela Cameron’s determi- sound-alike Norwegian vocalist, Dillard, whose presence on the nation to appropriate Sissel. album suggests the Enya, while brazen, is a hall- towards the Titanic’s stern is Of course, there are the mother/child dialogue between mark of the director’s uncanny solid and exciting (like usual self-borrowings which native Africans and their home- reading of his audience. Not Goldsmith’s The Edge, it was stand out like red flags; if land (“Crossing the Atlantic,” surprisingly, the breathy new- actually included in the film’s that’s his style, so be it. “Going Home”), children’s voic- age quality of the Enya-derived trailers). All in all, Titanic is Horner’s continued appropria- material stands comfortably one of the most consistently tion of material from other alongside the more familiar ele- enjoyable Horner efforts in composers is much less defensi- ments of Horner’s style. years. So, what’s not to like? ble. In this case it’s a subtle Horner’s love theme ranks as One could ask for a little coher- moment (and one largely one of his best, leagues beyond ence, I suppose. What’s the buried in the film’s sound mix), the whiny “Somewhere Out relationship between the love just before the iceberg collision, There,” and as warbled by theme and the Enya material? when a blatant lift of Celine Dion it makes for the The Enya material and the Goldsmith’s Capricorn One perfect schmaltz-laden anthem action music? The action music ostinato occurs. On the bright for VH-1 (holy “The Morning and Jerry Goldsmith’s ostinato side, it’s nice to know someone After”!). from Capricorn One? The love out there still appreciates Cameron’s strength as a theme and the Gaelic pipes left Capricorn One. The strangest director is only rivaled by his over from Braveheart? part of the score is the whole es belt out the main theme clumsiness as a crafter of dia- If you’re a die-hard Horner Gaelic pipes aspect, which together with strings; punctu- logue; it’s an Achilles Heel that fan, those questions are irrele- seems to have something to do ated by clacking percussion and has gone largely unnoticed in vant, but even in an unabashed- with the Titanic’s Irish passen- perfect-fifth brass fanfares, the action movies like the ly romantic work like Titanic, gers, a minor part of the story. piece is a rousing opening to Terminator films or Aliens, or there ought to be some develop- Ultimately, Horner’s Titanic, the score. within the jargon of The Abyss. ment, some kind of commen- much like the film itself, suc- The slave revolution aboard But Titanic sinks or swims on tary beyond what is overtly ceeds on a purely populist, crit- La Amistad is quelled by colo- the strengths of its characters, stated on-screen by the charac- ic-proof level. I’m still at a loss nial forces (“Sierra Leone, 1839 and here the director/writer’s ters. However, there’s very little to explain the popularity of and the Capture of Cinque”), leaden hand at reproducing the unstated in Cameron’s screen- Braveheart, but Titanic should which Williams unsettlingly cadences of human language is play (particularly with the addi- appeal to anyone bowled over scores with thundering laid bare. But the popular and tion of an aged narrator), and by that effort. -Jeff Bond rhythms in the low brass and critical success of the film Horner’s score has little to do strings allegorically suppressing seems to make the point moot; other than add to a romantic Amistad ★★★★ the mournful choral lines. To like Horner’s music, it achieves atmosphere already fully laid- JOHN WILLIAMS even more effect, Williams its end through sheer, irony- out by dialogue, art direction DreamWorks DRMD-50035 inserts a brief Baroque solo for free determination. and cinematography. 14 tracks - 55:51 harpsichord (mixed very low Horner’s action music for the Inevitably, the Titanic score beneath high strings and syn- iceberg collision and the pre-cli- turns into a patchwork of bor- nlike many past African- thesizers) suggesting the intru- max rush of passengers rowings. Amazingly, some peo- Uflavored scores, John sion of “civilization.” Cinque,

Film Score Monthly 41 J ANUARY 1998 SCORE choir (child and dramatic a capella reading by adult) emerges Dillard and the choir, juxta- with “Dry Your posing elements of the mater- the slave leading the revolt, is Tears, Afrika.” nal theme, Cinque’s theme, given an elegiac motif “The Long Road to and the chorale. An energetic (“Cinque’s Theme”), arranged Justice” offers a motif reprise of “Dry Your Tears, in three-note clusters (with a for the slaves’ defenders Afrika” brings this wonderful midsection that cleverly recalls (including ex-President score to a close. the final lines of the chorale) John Quincy Adams), –Brent A. Bowles and performed first by flute which is performed with and harp, later by tutti orches- exquisite clarity by trum- L.A. Confidential ★★★★ tra. “Cinque’s Memories of peter Tim Morrison. JERRY GOLDSMITH Home” features Dillard singing While quite beautiful in a rich istic than the chorale and Varèse Sarabande VSD-5885 a melody for Mother Africa, statement by orchestra in “Mr. maternal theme. (In the movie, 11 tracks - 30:01 ripe with blue notes and sharp Adams Takes the Case” and Adams’s summation is scored syncopations. This maternal “Adams’s Summation,” its ris- virtually wall-to-wall, causing ere’s a little show business theme appears again in “Middle ing, modulated chords are remi- critics and even film music fans Hmiracle: Jerry Goldsmith’s Passage,” orchestrated with niscent of other Williams to complain about that “intru- percussive L.A. Confidential sampled voices and electronic themes (especially the finale to sive music.”) score gets its own release percussion from which the full Sleepers) and is less character- “Going Home” features a months after the film (and its

Point/Counterpoint lang’s sultry reading of Don Black’s lyrics that makes the film worse is when it and you get nothing less than an instant becomes a two-man (er, with one woman) Tomorrow Never Dies ★★★★/★★ classic. wrecking crew: Michelle Yeoh’s Asian DAVID ARNOLD Arnold expertly weaves the “Surrender” operative is a complete bore. All Bond A&M 31454 0830 2. 15 tracks - 53:59 theme and the Barry/Norman Bond theme movies have a point at which the audience into cues that are smart, thrilling, and turns off. In Thunderball, it’s when Bond Manna from Heaven magnificently pleasing. He even drops the does scuba recon for a half hour. In heryl Crow ain’t no Shirley Bassey. orchestra for a cue, “Backseat Driver,”opt- Diamonds Are Forever, it’s on the offshore SDavid Arnold, however, may just be the ing instead for a mainly synth arrange- oil refinery.But at least, those are the end- next John Barry, at least as far as Bond fans ment with orchestral support. Where ings! Tomorrow Never Dies collapses at the are concerned. His score for Tomorrow Serra’s take on similar territory left us all end of its first act, continuing with 90 min- Never Dies arrives like manna from lost and thristy, Arnold’s shows us the way utes of chopsocky gunplay which is, sin of Heaven for those of us who registered and quenches our thirst. And it even goes sins, expensive and boring. The editing is unprecedented disappointment upon hear- the disc’s final track, Moby’s alternative- an AVID nightmare, and the villain is right ing Eric Serra’s limp stab at a score for style “James Bond Theme,” one better. out of The Naked Gun. GoldenEye two years back. Is Tomorrow Never Dies the best Bond As time went by, John Barry slowly Arnold takes everything we love about score? No. But it’ll give your favorite— removed the “wah-wah” embellishments his work—big orchestrations, catchy whatever it is—a run for its money. of his initial Bond scores in favor of a more themes, and well-timed restraint—and -Tony Buchsbaum sustained sound—by Moonraker (good for brings them to Bond with a vengeance. different reasons) the transformation was From the moment the score begins, with complete. David Arnold has resurrected “White Knight” (track 2), we know we’re in Oh, Cheese Whiz! the cocktail craziness of the early ‘60s good hands. The Bond theme is there, then omorrow Never Dies will be regarded Bond but completely missed the point of there, then there. We know we’re listening Tas another Licence to Kill:a Bond movie the underscoring. All Barry/Bond scores in on the world of 007, and it’s an oh-so with no memorable attributes. One has a happened at a slower pace than the movie, happy thing to hear. rocket that shoots under a truck, the other the effect being of entering a giant sports Arnold has infused his freshman Bond many rockets. For all the hubbub made arena. Any sporting event is full of delays, score with a fascinating mixture of styles: about David Arnold’s score returning to but it is the entire environment—the archi- the brass and strings signature that the Barry tradition, the majority of it more tectural structure, the crowd, the sense of became Barry staples in the ‘60s, high- closely resembles Michael Kamen: noisy, something larger-than-life, happening in concept action cues that have become busy and humongous. time—that makes it memorable. And Arnold staples in the ‘90s, and a taste—just The movie is making a mint, but seem- though sports leagues repeat themselves a taste—of driving-beat synths that feel ingly at the expense of the franchise. It year after year, teams change, and build- right for Bond when presented in the right starts off with the worst superhuman goofi- ings get old, they’re still fun. Why? way. ness and gadget-escalation of the Moore Because the game sticks to its rules. Thematically, Arnold wisely ignores the films, but strips them of whatever moody GoldenEye, for all its faults (like the lame Sheryl Crow title song and instead dignity they had left—Moore, remember, music), honored enough of the Bond tradi- lifts phrases from his own title song, which was physically inadequate in action tion to make it fun, and a hit. Tomorrow is used over the end credits. As performed scenes and so his films stayed away from Never Dies expands on all the wrong by k.d. lang, “Surrender” is a Bond song of them. Not so Pierce Brosnan, who is remit- things: the action sequences, the bad epic proportions, complete with wailing ted for his agility by having to become a jokes, the sheer camp. It becomes not a brass and ballsy orchestrations. Add to that one-man wrecking crew. The only thing time-honored event (mass experienced)

J ANUARY 1998 42 Film Score Monthly 97% song soundtrack album). Confidential were rare opportu- Mad City ★★★★ Goldsmith’s similar City Hall nities to witness Goldsmith at THOMAS NEWMAN score didn’t generate much work on sophisticated, uncom- Varèse Sarabande VSD-5887 interest at the time of its promising movies more akin to 23 tracks - 39:03 release, but that effort paved the gritty, thoughtful films of the way for L.A. Confidential, the ‘70s than the shallow pot- homas Newman is in fine and it’s no coincidence that the boilers of the ‘90s. Both prove Tform with this veritable tough, edgy sound of both that there are few composers melting pot, Mad City. The CD accompanies the first genuinely more adept at dealing with the not only presents 40 minutes of adult movies the composer has underbelly of human nature trumpet and flugelhorn. complete, uninterrupted score, worked on in quite a while. than Goldsmith. The rough and From the first cue in the film but it also tells the intriguing While City Hall’s On the intricate L.A. Confidential, (“Bloody Christmas”) the music story of Newman’s experience Waterfront homage got ponder- with its fascinatingly ambiva- is a coiled signifier for the on this film. We get to hear the ous, L.A. Confidential main- lent protagonists, allows uncontrolled vigilante aspect of “original” versions of several tains a brisk, inexorable pace Goldsmith free reign to con- the L.A.P.D. that bursts forth in cues (“Mic Tap,” “Big John”), that stands more comfortably struct a tough, even brutal frenzied violence: the repeating which are presumably those alongside the score it’s doomed underscore of low end piano, electronic figure at the opening later rescored by Philippe to be compared to, Goldsmith’s steely percussion and synthe- of the cue is like a vein pulsing Sarde. Plus, there are first, sec- 1974 Chinatown. sizers, leavened occasionally by in an angry cop’s temple before ond and even third versions of Both The Edge and L.A. the melancholy sound of solo he lets go with a nightstick. one cue, “Max Goes Out,” as The howling assaults of director Costa Gavras—pre- “Bloody Christmas” and “The sumably—played around with but a haunted house Photos” spot the vigilante focus the approach he wanted. The (individually experi- on Bud White (Russell Crowe), style of each version sums up enced) revised with whose unleashed fury is vented Newman’s own approach to the louder and gaudier on wife-beaters, accused cop- project, as he jumps between thrills. Or, in another beaters and rapists before being new and uncharted originality metaphor, it becomes redirected at his ambitious and ideas already developed in not an immovable cohort on the force, Ed Exley two preceding scores, American object, larger than (Guy Pearce). Buffalo and The People vs. the audience, but a Goldsmith’s technical power Larry Flynt. whizzing insect, some- in these sequences is matched “Version 1” makes spellbind- how smaller.The struc- only by his skill at creating ing use of a distorted drum- ture is all screwed up— insinuating percussive machine loop (Newman does the bad guy is instantly rhythms: when these dark licks funk!) underneath tablas and identified, woman #1 of piano and drums click it’s guitars—the results are some is somebody Bond once knew, and woman #2 becomes his part- like a machine that can’t be of the freshest sounds heard in ner—and the orchestral cues (the majority of the score) are ‘90s turned off, and it’s perfect to a while, but with loops and equivalents of the bad Monty Norman quasi-library music so illustrate the mix of righteous samples credited to four musi- ineffective in Dr. No: loud, hysterical, conventional. Not Bond. justice and pure male hostility cians, that’s no surprise! The The segments featuring the straight Bond theme are disturbing that drives Los Angeles’s unfet- guitar riffs of “Version 2” are for another reason: they’re used like wallpaper, creepily tered police force. distinctive enough to recall the shoplifted from another era. (On the plus side, they’re bril- It’s ironic that this score was more successful moments of liantly recorded.) initially judged by the single Buffalo, along with a Main Ironically, the score’s best moments are those which out- cue heard on the Restless song Title piece, “Channel,” which is Serra GoldenEye’s Eric Serra: the techno loops heard in the park- compilation (simply titled “L.A. remarkably similar to that of ing lot chase and in “Hamburg Break Out.” They “update” the Confidential” on that CD; here the earlier film. Larry Flynt’s sound of the series while providing momentum in a way Serra titled “The Victor”). After cre- influence can be heard in the never bothered. Because they occur in anticipated patterns, ating such a compelling mood pizzicato strings and percussion they recollect the best of the Barry scores, creating that impor- of brutality, Goldsmith himself of both “Version 3” and “Feds tant environment of shared familiarity. seems unconvinced by the Fly In,” one of the score’s liveli- Otherwise, the Tomorrow Never Dies score is ID4+007 cheese. film’s strangely upbeat finale, est cues. Elsewhere, the piano, Let’s hope the next film goes back to making Bond a spy, not an in which the trumpet theme strings and submarine flute of action hero. He should sneak around hotels and seduce wafts upward over a bed of “Catfish Corner” produce a strangers. Deflate his abilities, not to make him human (nobody ticking synthesizers. Listened moment of subtle and delicate needs that!), but to enable actual audience identification. For the to in context with the rest of emotion, while a number of score, obviously Barry is preferable, but techno-Arnold-on-vali- the score the cue works a little pieces create a quietly mysteri- um would be sublime. There’s something wrong when the most better, but it’s still somewhat ous atmosphere using sustained Bond-like scene this December showed up in Titanic, when out of place in this dark brew. lower strings and the occasion- young Jack (Leonardo DiCaprio) was a guest at a first-class din- L.A. Confidential doesn’t make al breath of a native flute. ner and slyly matched wits with the aristocrats. Between for an uplifting album experi- Like Unstrung Heroes before machine guns and product placements, today’s Bond is created ence; it’s more like a stumble it, Mad City somehow embodies from cynicism. If he was created with some thought, they’d into the mud. But I’ll take it the style that belongs to make even more money. -Lukas Kendall over warmed-over Enya any Newman alone, although there day of the week. -Jeff Bond is almost too much going on

J ANUARY 1998 43 Film Score Monthly SCORE dear. I can vouch for this: most of my friends here to digest in one sitting. All have children and sever- the more kudos to him then, as RYKO ROCKS ON al of these little ones the prevailing tone aptly love the film on video reflects just what it should: a by John Bender (they are capable of lov- city gone mad. ing it over and over and -James Torniainen alem, Massachusetts- over again!). based label Rykodisc has Though I am by no Anastasia ★★★ Sbegun its deep dive into means a connoisseur of STEPHEN FLAHERTY the MGM vaults, releasing on musicals I can confess to & LYNN AHRENS (songs) CD many titles from the old being taken by the joyful DAVID NEWMAN (score) United Artists Records cata- innocence and sweet Atlantic 83053-2 log. Their first disc, exuberance of the Sherman makers suffered temporary 16 tracks - 57:13 Octopussy, was reviewed last bros.’ songs. The numbers bouts of insanity and tried to issue; out at the same time as which include the two children repeat It’s a Mad, Mad, Mad, ith all due respect to this magazine should be are particularly endearing. The Mad World’s formula with, at WAlan Menken, this is Rancho Deluxe, Ned Kelly, title track, both instrumental best, mixed results: Casino superior to the Mouse’s not-bad Lenny and Across 110th and vocal, is a part of we baby Royale stinks, and Spielberg’s but disappointing Hercules Street. All of the new albums boomers’ group consciousness. 1941 can’t be called a bullseye, from earlier this year. feature lavish packaging, but at least his dart hits the Broadway show scribes enhanced-CD extras, and board. Flaherty and Ahrens have liner notes, most from the If you don’t already know, teamed to write a haunting, FSM staff. the plot of Mad World involves sweeping song score that incor- a whole gang of basically dis- porates two memorable tunes Chitty Chitty Bang Bang connected individuals who are (the slowly mounting ballad ★★★1/2 in a crazed 200-mile dash to “Journey to the Past” and the RICHARD M. SHERMAN and reach a buried treasure under waltz-like “Once Upon a ROBERT B. SHERMAN the big W. It’s a silly movie, but December”) in its otherwise (1968) just beneath the surface lurks conventional fabric. The RCD 10702. 23 tracks - 39:58 a rather nasty reality—cold arrangements are typically lush hard greed. Though mildly and, while lacking perhaps that an Fleming began writing sublimated, and tempered with “glossy” Disney production IChitty Chitty Bang Bang in Added to this digital release, sympathy through Spencer sheen, the song performances 1961, partly in critical over the original LP, are six Tracy’s character, it still per- of Liz Calloway (singing in response to Beatrix Potter’s snippets of dialogue (including meates the whole narrative. place of Meg Ryan) and Kelsey Squirrel Nutkin, which he dis- Chitty speaking!) and the Probably the most profound Grammar give the music some liked, and partly, I’ve always film’s trailer accessible via contribution of the film’s musi- distinguishing characteristics. assumed, to self-help his fallen computer. Fantasmagorical! cal score is to counteract this David Newman’s underscore, spirits during recovery from a unpleasantness generated of which takes up about half of major heart attack. Fleming It’s a Mad, Mad, Mad, Mad the human equation. Ernest the album, mainly reprises the produced three books about World ★★★★ Gold’s heavily worked main song motives, but does so in a the magical car and its eccen- ERNEST GOLD (1963) theme, though frequently rau- graceful, elegant manner with tric inventor, Caractacus Potts. RCD 10704. 24 tracks - 46:07 cous and frenzied, manages to few “cartoony” Carl Stalling- Although the film’s plot maintain a benevolent and modeled passages. It’s always bears little resemblance to was around when, in 1963, congenial tone, and this is listenable and, more often Fleming’s stories, it does have IIt’s a Mad, Mad, Mad, Mad vital. It’s his fine music that than not, surprisingly sophisti- connections to the author’s World splattered onto theater single-handedly allows for the cated for a project like this. secret agent alter-ego via the screens like a 2000-pound comedy to be likable, even lov- As usual these days, there James Bond films; from the pizza, and one not topped with able—an example of a wonder- are several “pop” performances Bond series Chitty shares the deli condiments but with come- ful score amplifying a good film sprinkled throughout the following talent: Albert dians. Perhaps my youth was a into a classic. album, though only the Broccoli (producer), Gert Frobe contributing factor, but to this In addition, I found it to be a Richard Marx-Donna Lewis (Goldfinger himself), Roald day I have yet to laugh longer pleasure to listen to a richly pairing “At the Beginning” Dahl (You Only Live Twice, or harder for a film—I almost conceived and masterfully holds any interest (it’s the only screenplay) and Ken Adam wet my Levis! arranged instrumental score; original song not performed in (production designer for many The guiding principle no electronics, no ambient the film). It all makes for a of the Bond films). Only mod- behind the project was simply dronings or noisy percussive functional, and occasionally erately successful when origi- “Everything and the kitchen attacks on my patience. Scores above-average score. nally released, the film has sink!” During its 188 minutes from this period typically deliv- -Andy Dursin gone on to earn a secure place everything possible happens to ered glorious gobs of fully NEXT ISSUE: The mother of among the ranks of movies just about every looney actor fleshed themes, numerous rich all Scores, with dozens of long- that each new generation of in Hollywood, and miraculous- melodies and boldly character- awaited reviews. children discover and hold ly, it works! A few other movie- ized music that was always

J ANUARY 1998 44 Film Score Monthly doing something communica- working at extreme edges of music as a weightless sound had said: “I never had any tive and rewarding. I’m not their respective mediums; it is effect representing Carrie’s ter- intention of writing rock saying that scores of this type almost mystical when one con- rifying telekinesis. music. I always wanted to have disappeared, but an siders that their partnership In keeping with their neo- compose more serious music upswing in their frequency succeeds because of the prox- tradition of including snippets and have it be performed in would be nice. Probably, given imity of their individual points of dialogue, Rykodisc has concert halls, but I knew no the freedom to do so, some of of excess. For instance, just inserted five short cues of dra- one would play it. So I figured our currently active com- when De Palma might be on matic highlights; they are that if anyone was ever going posers, both in television and the verge of dragging a scene tracked autonomous of the to hear anything I composed, film, would naturally gravi- over the edge with a wonder- score and therefore are non- I’d have to get a band together tate to the production of pre- fully self-indulgent directorial intrusive. and play rock.” cisely this brand of a more device, Donaggio’s music will Truly a serious musician, generous and substantial reach out and catch it, and will 200 Motels ★★★★ Zappa has had his works per- musicality in their work. hold it steady by actually being Frank Zappa (1971) formed by orchestras under a delicately crafted caricature RCD 10513/14 the direction of men such as Carrie ★★★★ of the familiar traditions and Disc one: 19 tracks - 42:12 Zubin Mehta and Pierre PINO DONAGGIO (1976) nuances of film music. Disc two: 20 tracks - 49:57 Boulez. Zappa, who died in RCD 10701. 18 tracks - 38:04 Donaggio has written some 1993, was America’s premier of the most beautiful tracks of f you’ve never heard of Frank musical satirist and he sure he coming together of Brian IZappa, this will surprise you; as hell never held back his TDe Palma and Pino Donaggio if you’ve previously only been tongue (pen). I personally am on Carrie represented a cre- aware of him, then 200 Motels, not offended by his biting ative cinematic marriage of his- a filmed opera, four years in and sometimes scurrilous toric significance, as substan- the writing, will not be what- wit. I laughed out loud at lit- tive as other such collabora- ever it is you could be expect- tle plums such as “I’m tions: Hitchcock/Herrmann, ing. The work is semi-autobio- Lonesome Cowboy Burt— Fellini/Rota, Morricone/Leone. graphical in that the charac- Speakin’ atch’ya! Come smell Both men are blessed/cursed ters, places and events are my favorite shirt—Reekin’ with almost overwhelming styl- loosely based on Zappa’s expe- atch’ya!”; and, following a istic tendencies. De Palma has riences touring with his band, highly developed atonal as his obsessive focus the lan- The Mothers of Invention. All intermezzo, a redneck is guage of film. For this director of the music was performed as heard to mutter “What the it could never have been the past decade, and his the cameras rolled, so essen- enough to merely have had a “Theme from Carrie” is a good tially the film is a record of a career politely telling stories; example of his skill with a ten- live performance involving The his fascination has always been der melody. The Carrie theme Mothers, The Royal the uniquely outlandish ways is a perfect reflection of the Philharmonic Orchestra with in which one can communicate romantic idealism our society dancers, performers and cho- using the motion picture cam- has built around the condition rus. Also on board were Ringo era. De Palma is a supreme of a girl’s virginity; for what Starr and his chauffeur, and stylist. it’s worth, the piece must be stage and screen actor Pino Donaggio, initially seen the ultimate “virgin’s Theodore Bikel. The complexi- as a potential successor to anthem.” There are two songs, ties of the project pushed Bernard Herrmann for his both gently performed by Katie Zappa beyond the studio time work on Don’t Look Now, iron- Irving, that also speak for allotted him by his producers, ically employs an approach Carrie, one being the voice of so he finished the film using that is formally the opposite De her longings, “Born to Have It post-production animation— Palma’s. Whereas all plots and All,” and the other of her shades of a Yellow Sub! f*** was that?” character must succumb to De dreams fulfilled, “I Never Although having a raucous But, of course, there are Palma’s need to luxuriate in Dreamed Someone Like You “pop forms” libretto comprised always those who can’t stand the meatiest of available cine- Could Love Someone Like Me.” of arias, recitatives and cho- the heat. Not long after the matic mannerisms, Donaggio The incidental music for the ruses, there are also several release of 200 Motels, Zappa possesses a compositional pro- movie’s moments of horror and extended divertimentos that sued The Royal Albert Hall on tocol that involves his efforts suspense seem more restrained are of a very different and the grounds of censorship, for fully capitulating to the inher- when heard separated from the severe nature. Overall the canceling a planned concert ent natures of the people and visuals. From the title music is cunning and merci- performance which was to fea- events which form the fabric of “Collapse of Carrie’s Home” lessly energized with Zappa ture The Mothers playing with the films he scores. His sound- one would think track 15 skillfully and fearlessly shift- The Royal Philharmonic. It tracks exist as models of the would be orchestrated out of ing through several genres— seems The Hall was afraid of distilled essence of film music, granite and mortar shells, but rock, jazz and electronics— Zappa’s “vulgar shenanigans.” which frequently renders them instead the piece manages to while his passages of imposing Of all the vulgar shenanigans precariously close to the abyss be simultaneously powerful 20th century classicism specifi- I’ve known and loved over the of the cliché. and elegant. “Bucket of Blood” cally seem to bear the influ- years censorship is my least In Carrie both men are is marvelous—it’s not so much ence of Edgar Varèse. Zappa favorite. FSM

Film Score Monthly 45 J ANUARY 1998 Silvestri (continued from page 12) Silvestri Show,” the composer pointed out. “Unfortunately, this guy knew absolutely the show was very successful, and I felt “You have to remember that your job is to nothing about writing music, so he called great because I had a steady job. So when collaborate and make what’s on the screen me up and asked me if I wanted to do it.” I did the first episode of the second year I work better, not just to show off what you Silvestri had no composition experience at just went all out and wrote something can do musically.” the time. “I had to have a meeting with the that I thought was spectacular, really Silvestri’s description of how he got movie producer the next day, so I went to a great.” At the recording session, Silvestri started in scoring was one of the highlights book store and asked for every book they played his first cue back for the show’s of the evening. The job was the result of a had on writing music for a movie. Well, producer, certain that he was about to be case of mistaken identity. A man Silvestri there was only one, by Earle Hagen. It was showered with praise. The piece was was working for (Silvestri was just a gui- $75, which was more than I could afford, greeted with a lengthy silence, after which tar player at the time) was asked to but I had to have it so I bought it, and I the producer tactfully informed him that write music for a low budget film, The spent all night reading it. And the next day he needed to remember that CHiPs Doberman Gang. “He did what anyone I watched the film with the producer and starred Erik Estrada and Larry Wilcox, out here does in a situation like that: sat down with him and kind of amazed not Alan Silvestri. “It’s not the Alan he said yes,” Silvestri remembered. myself because I actually had something to say and had ideas for what I wanted to do.” READER ADS The film was ultimately successful and Silvestri began to get other offers. WANTED Michael Bean (824 Avenida Cuarta #201, Clermont FL Robert Knaus (320 Fisher St, Walpole MA 02081; ph: 34711; [email protected]) has the following The Final Fandango? 508-668-9398) wants on CD: A Walk in the Clouds (Jarre), used, mint-condition CDs for auction: Fedora/Crisis (VSCD The composer’s first orchestral score Alien3, Batman Forever, Interview with the Vampire Club #2), Jagged Edge (VSCD Club #13), Around the World proved to be an equally serendipitous (Goldenthal), Batman: Mask of the Phantasm, Escape from in 80 Days (B. Goldenberg), SpaceCamp (SLC CD Club), experience. “I had done Romancing the LA (Walker), Hot Shots! Part Deux, Lassie (Poledouris), Toys (Robin Williams film). Mail bids accepted through Feb. Stone for Bob Zemeckis, and he met these Carlito’s Way, Into the West (Doyle), The Shawshank 28. Auction closes March 15 at 12AM. people who had done a student film called Redemption, The War (T. Newman), Don Juan de Marco, Chris Williams (18 Plummers Lane, Haynes, Beford Fandango. They were looking for some- Jack, 101 Dalmatians (Kamen), Dave, The Fugitive MK45 3PL, England) would trade all the following LPs and one to score their movie and Bob was real- (Howard), Untamed Heart (Eidelman), Sabrina (Williams), CDs: Nine Hours to Rama (LK4527), Rhapsody of Steel ly high on me after Romancing the Stone Rudy (Goldsmith). Have many cassettes for sale, cheap! (ADUC0804), Body Heat (LXSE 1002), Dragonslayer (LXSE and he recommended me. I screened the Write or call for list. Also can provide tape dubs of many 2001 box set), Spellbound 10” (CCL7505), Ransom movie and they had tracked it with classi- hard-to-get, unreleased and rare scores. (Goldsmith, Arts 56376), Fantasy Movie Themes (R. Budd cal orchestral music, Shostakovich.” It Lars Blondeel (Nieuwpoortsesteenweg 44-46, 8400 CD), Batman (Batcan Prince with booklet); for any three was made clear to Silvestri that the film- Ostend, Belgium; ph/fax: 32-59 80 67 74) wants on CD: mentioned CDs: Knights of the Round Table, Witches of makers wanted music equivalent to the Raggedy Man (Goldsmith, Varèse Club), Wild Rovers/Great Eastwick, Flesh + Blood, Blood In, Blood Out, Cherry 2000, classical pieces they had chosen. “I was so Train Robbery (Goldsmith, Memoir), Honor and Glory Alan Silvestri Selected Themes Vol. 1 & 2. All records and intimidated, I put off writing forever. I (Poledouris, promo). Has for trade: Serpent and the CDs in mint to excellent condition. mean, I was down to the last second on Rainbow (Brad Fiedel, Varèse), Under Fire (Goldsmith, Scott Hutchins (1504 East 83rd Street, Indianapolis IN this thing, and I was literally going to tell Warner-Japan). 46240-2372; [email protected]) has the following CDs for sale them that I couldn’t do it. I was going to at $25 each: Tie Me Up! Tie Me Down! (sealed, Morricone), Jason quit the business, and it was to the point FOR SALE/TRADE Goes to Hell: The Final Friday (Manfredini), Soapdish (Silvestri). where if I would have quit there was no Auggie Ong (PO Box 47, Hanover, NH 03755) has the Also two copies of the video The Emerald City of Oz (Gerald way they’d have time to hire somebody following CDs for sale: A Tribute to El Greco (Vangelis, Petterton, Tim Reid, 1987) in low-fi for $7.00 each. Very rare 1991 else, so I was really going to cause a disas- Limited Ed., $400), Curly Sue (Delerue) $50, A Time of anime The Wizard of Oz. $15.00 for LP version (1 copy), $10.00 for ter for everybody concerned.” Silvestri Destiny (Morricone, $50), Ramblin’ Rose (Bernstein, $40), EP version (2 copies). Please contact before attempting purchase. explained that the electronic and r&b Fear Is the Key (Budd, $50). Richard Miller (10478 Stark Rd, Livonia MI 48150) has compositions he had created for CHiPs Gordon Lipton (2808 East 11 St, Brooklyn NY 11235; CDs for sale: Angie (Goldsmith, $10), Body Parts (Dikker, and Romancing the Stone had never chal- ph: 718-743-2072) has CDs for sale. All are in mint condi- $15), Class Action (Horner, $15), Crossing the Line lenged him to think in the “vertical” way tion. $75 each, includes postageand insurance. We're No (Morricone, $12), Dark Half (Young, $12), Dressed to Kill that an orchestral composer does. Angels (#51) (Fenton), The 'Burbs (#123)(Goldsmith), Race (Donaggio, $9), Desperate Hours (Mansfield, $12), “Finally, the last possible night, I just for the Yankee Zephyr/The Survivor (May), DigitalSpace Cliffhanger (Jones, $6), Color of Night (Frontiere, $8), started writing out of sheer desperation. (VCD 47229), Sky Pirates (May). Around the World in 80 Days (Goldenberg, TV, $10), Shadow And the first thing I wrote seemed okay. Michael Mueller (701 S University Blvd, Apt K-354, of the Wolf (Jarre, $8), Nothing But Trouble (Kamen, $6), So I wrote some more. And I kept writing Mobile AL 36609; ph: 334-414-1417) has the following The Ref (Stewart, $6), I’ll Do Anything (Zimmer, $8), Johnny all night.” Silvestri eventually finished the CDs for sale/trade: Anastasia (Alfred Newman, Varèse, Guitar (Young, $10), Leprechaun 2 (Elias, $8), Blue Skies complete score on time. “My wife was sit- $40), Ghost (Varèse, $30), Mutiny on the Bounty/Taras (Best of Bing, $8), Radio Flyer (Zimmer, $15), Dennis the ting there in the soundstage the day we Bulba (EMI, $30), Raiders of the Lost Ark (Polydor, Japan, Menace (Goldsmith, $8), School Ties (Jarre, $8). recorded the first cues. The music was $50). Wanted on CD (buy or trade): Poltergeist II (Intrada, performed and there was a look of shock expanded reissue). Fee Info: Free: Up to five items. After five items, it’s $5 for on her face—she had no idea I was capable Phil Lehman (10012 Colesville Road, Silver Spring MD up to 10 items; $10 for up to 20 items; $20 for up to 30 items, of anything like that. She just took one 20901; ph: 301-681-7016; [email protected]) has an origi- and add $10 for each additional (up to) 10 more items. look at me and said... ‘We’re rich!’” nal copy of SPFM Tribute to Jerry Goldsmith (CD numbered Send U.S. funds only to Film Score Monthly, 5455 Wilshire Silvestri proved an energetic, highly 028) with original gold sticker in right hand top corner as Blvd Suite 1500, Los Angeles CA 90036-4201. No bootleg personable speaker. He communicated his given to the attendees of the 1993 Career Dinner for titles! You can send your ad by e-mail: Lukas@ enthusiasm about the film scoring process Goldsmith. filmscoremonthly.com while displaying a refreshing sense of humor and humility. FSM

J ANUARY 1998 46 Film Score Monthly RETROGRADE The Readers Strike Back

GROUCHO MARX SAID HE WOULDN’T JOIN ANY CLUB THAT WOULD HAVE HIM AS A MEMBER. WHERE DO YOU FIT IN WITH THE SOUNDTRACK ENTHUSIASTS THAT READ FSM?

By Jack J. Bailey

big “thank you” to the 127 soundtrack fans To Kill a Mockingbird 6% who responded to the FSM Reader Poll. The Psycho 6% Atime and attention that went into your Under Fire 6% replies is appreciated. Star Trek: The Motion Picture 5% To test the poll’s statistical significance, responses Receiving less than 5% of the total were separated into two different groups—the first votes were: King Kong (Steiner), versus the second half received. Favorite soundtracks Poltergeist, Spartacus, Superman, and composers were similar in each independent half, The Adventures of Robin Hood, which means the poll results are probably statistical- The Best Years of Our Lives, Body Heat, ly significant Citizen Kane, Glory, Goldfinger, Kings Row, Lawrence of Arabia, North by How Old Are You? Northwest, Once Upon a Time in the The optional age question was answered by almost all West, Schindler’s List, Spellbound, respondents. There seemed to be a fairly even distrib- and The Ten Commandments. ution of age groups: 8% of respondents were in their teens; 25% in their twenties; 23% in their thirties; Favorite Soundtrack of the ’90s 27% in their forties; 14% in their fifties; and 3% in Schindler’s List 17% their sixties. The youngest was 15 and the oldest was Dances with Wolves 14% 68. The average age was 36. Jurassic Park 13% Alien3 10% Soundtrack Collection Size Edward Scissorhands 10% The sizes of your soundtrack collections were surpris- Basic Instinct 9% ing; some of you have pretty big collections! Collection StarGate 9% size was: Less than 100 (13%); between 100 and 299 The Shawshank Redemption 8% (31%); between 300 and 699 (26%); between 700 and First Knight 7% 1,499 (20%); and 1,500 and over (10%). The smallest Gettysburg 6% collection was 13 and the largest was 8,000. The aver- The Last of the Mohicans 6% age collection was about 530 soundtracks. Bram Stoker’s Dracula 6% (Considering that my collection is less than 100, I Mission: Impossible 6% obviously have an excuse, or maybe even a duty, to go Apollo 13 5% out and start buying more soundtracks. Go ahead and Braveheart 5% tell that to my wife.) Note: percentages below do not Rosewood 5% add up to 100% because readers could vote for more The Nightmare Before Christmas 5% than one. The Specialist 5% Tombstone 5% Favorite Soundtrack of All Time Twister 5% Ben-Hur 24% Receiving less than 5% of the total votes were: The Empire Strikes Back 18% Backdraft, Black Beauty, Forrest Gump, Hook, JFK, Vertigo 15% Legends of the Fall, The Rocketeer, Air Force One, Raiders of the Lost Ark 13% Batman Returns, Cutthroat Island, Little Women, Star Wars 13% Much Ado About Nothing, The Age of Innocence, The E.T. 11% Grifters, The Piano, The Usual Suspects, Total Recall, Planet of the Apes 9% and Wyatt Earp. The Big Country 8% Batman 7% Favorite Composer of All Time Conan the Barbarian 7% Jerry Goldsmith 64% El Cid 7% John Williams 57% Jaws 7% Bernard Herrmann 48% Star Wars Trilogy 6% Miklós Rózsa 32% The Magnificent Seven 6% John Barry 29%

Film Score Monthly 47 J ANUARY 1998 RETROGRADE

Danny Elfman 19% Adrian Messenger, Our Mother’s House, mal and humorous writing style (3), and Elmer Bernstein 19% Scrooged, Species, Superman IV, Tess, The centerfolds and pictures of naked women Erich Wolfgang Korngold 16% Challenge, The Journey of Natty Gann, (3). Yes, we really did get that suggestion. James Horner 16% The Omega Man, The Poseidon Excerpts from some of the comments: Max Steiner 14% Adventure, The Satan Bug, The Swarm, “I love and practically cherish FSM. Ennio Morricone 13% Twilight Zone: The Movie, and Wait Until But please, more reviews! Would love Alfred Newman 9% Dark. [Temple of Doom is on CD, it’s just more articles on composers and/or film Alex North 9% a hard-to-get import. -ed] scores of the past.” Dimitri Tiomkin 9% “Enjoy chatty almost flippant writing Favorites of Younger vs. Older Readers style and would hate to see it become Receiving less than 9% of the total One reader thought it would be interest- staid.” votes were: Franz Waxman, Alan ing to report favorite soundtracks of “Either come out on time or change Silvestri, Basil Poledouris, Georges younger versus older readers. This proved the name to Film Score Bi-Monthly!” Delerue, Nino Rota, Henry Mancini, interesting, as I separated younger read- “It is a world-wide magazine. It should Patrick Doyle, Christopher Young, Hugo ers between 15 and 25 and older readers, help a lot of soundtrack lovers know Friedhofer, John Carpenter, and Lalo age 50 and up. more about their composers and artists.” Schifrin. All-time favorites of younger readers “Full centerfold of desirable female include: The Empire Strikes Back, composers.” Favorite Composer of the ’90s Raiders of the Lost Ark, Batman, Ben- “I pray that you step up information Danny Elfman 42% Hur, E.T., Glory, Star Wars, Conan the about the Internet addresses of dealers John Williams 33% Barbarian, Vertigo, and Schindler’s List. and collectors.” Jerry Goldsmith 32% Older readers chose: Ben-Hur, Vertigo, “Include a new column: What inspired James Horner 28% El Cid, Star Wars, The Big Country, Gone me to appreciate film music.” Thomas Newman 20% with the Wind, Spartacus, The Best Years “Reviews of old vinyl releases which Patrick Doyle 18% of Our Lives, The Magnificent Seven, and don’t have a CD equivalent to show fans Elliot Goldenthal 17% To Kill a Mockingbird. what to search for in second-hand stores.” Bruce Broughton 13% Favorite soundtracks since 1990 named “Let me interview John Williams.” John Barry 13% by younger readers include: Schindler’s Alan Silvestri 12% List, Alien3, Jurassic Park, Mission Surprises James Newton Howard 11% Impossible, Bram Stoker’s Dracula, Over one-fifth of the responses came David Arnold 10% Batman Returns, Dances with Wolves, from foreign countries, including Hans Zimmer 9% The Shawshank Redemption, Edward Argentina, Australia, Austria, Canada, Scissorhands, and The China (Hong Kong), England, Receiving less than 9% of the total votes Nightmare Before Christmas. France, Germany, Greece, Italy, were: Basil Poledouris, Howard Shore, Older readers chose: Dances The typical The Netherlands, and Spain. Carter Burwell, Randy Edelman, Shirley with Wolves, Braveheart, Of the U.S. responses, Walker, Rachel Portman, Christopher StarGate, Schindler’s List, FSM reader is California, New York and Young, Mark Isham, Ennio Morricone, Tombstone, Bram Stoker’s most likely a Texas led the way. Mark Mancina, Elmer Bernstein, John Dracula, Edward Scissorhands, From looking at the names on Debney, Michael Kamen, Zbigniew Gettysburg, Little Women, The fan of the responses, it appears that Preisner, Alan Menken, Lee Holdridge, Last of the Mohicans, and The Ben-Hur, most (if not all) were from Michael Nyman, and Robert Folk. Piano. males. If so, then guys, you may Favorite soundtracks with Vertigo,& find that trolling the sound- Soundtracks Readers Want Released widespread age appeal include: track aisles of your favorite One question asked: “What soundtracks Ben-Hur, Vertigo, Schindler’s Schindler’s music store isn’t the best place currently not available, or only available List, Dances with Wolves, Bram List, among to go looking for a future mate. on promo or bootleg CD, would you like to Stoker’s Dracula, and Edward see on legitimate CD?” The results were: Scissorhands. others The Final Tally I hope you have enjoyed reading Die Hard 7% Suggestions to Improve FSM this as much as I did putting it together. Predator 6% Results here refer not to percentages but Learning the favorites of other film score Young Sherlock Holmes 6% total number of comments in each area: fans has led me to discover a number of Cleopatra 5% More reviews (28), FSM is great “as is” great soundtracks! I have kept my pur- Fly Away Home 5% (26), more articles on older soundtracks chases to a reasonable limit, and hope my Tron 5% (22), fewer attacks on composers (12), bank agrees when I get my next charge- Indiana Jones and the Temple of Doom 4% more composer interviews (10), less pro- account statement. Raise the Titanic 4% fanity (7), more photos of composers on There were many great soundtrack Dead Presidents 3% cover and in magazine (6), more articles choices that space didn’t allow to mention. Monsignor 3% on composers and soundtracks outside the See the FSM web site (www.filmscore- The Black Hole 3% U.S. (6), issues should be sent on time (5), monthly.com) which should include more more authoritative reviews (5), more detailed poll results by the time you read Receiving less than 3% of the total votes interviews with up and coming composers this article. were: Batman and Robin, Jaws, List of (4), more reader surveys (4), keep infor- Thanks again to all respondents. FSM

J ANUARY 1998 48 Film Score Monthly FSM Back Issues #73, September 1996 Recordman on Vol. 2, No. 4, June 1997 Danny Elfman War Film Soundtracks Part 1; (Men in Black), Promos Part 2, Martin Volume One, 1993-96 posers; classical music in films; new Part 3, Davy Crockett LPs. Interview: David Schecter: Monstrous Denny and Exotica, Lady in White, the Issues are 24 pp. unless noted. Most 1993 CAM CDs; Cinerama LPs; bestselling #64, December 1995 Danny Elfman Part Movie Music; Akira Ifukube CDs Part 2, Laserphile on DVDs, obituary: Brian editions are now xeroxes only soundtrack CDs. 2 (big!), Steve Bartek (orchestrator), Miles Goodman obituary. May, The Fifth Element reviewed. #49, September 1994 Hans Zimmer (The Recordman Meets Shaft: The #74, October 1996 Action Scores in the Vol. 2, No. 5, July 1997 Elliot Goldenthal #30/31, February/March 1993, 64 pp. Lion King), Shirley Walker; Laurence Blaxploitation Soundtracks, Michael ‘90s (big intelligent article); (Batman & Robin), Mark Mancina (Con Maurice Jarre, Basil Poledouris, Jay Rosenthal on the Vineyard; Hans Salter Kamen Part 3, re-recording House of Cinemusic ‘96 report (John Barry, Zhou Air, Speed 2), George S. Clinton (Austin Chattaway, John Scott, Chris Young, in memoriam; classical music in films; Frankenstein. Jiping); Vic Mizzy interviewed. Powers), ASCAP & BMI award photos; Mike Lang; the secondary market, John Williams in concert; Recordman #65/66/67, January/February/March #75, November 1996 John Barry: Reviews: Crash, Lost World. Ennio Morricone albums, Elmer at the flea market. 1996, 48 pp. Thomas Newman, Toru Cinemusic Interview (very big); Vol. 2, No. 6, August 1997 Lalo Schifrin Bernstein Film Music Collection LPs; #50, October 1994 Alan Silvestri (Forrest Takemitsu, Robotech, Star Trek, Ten Recordman on War Film Soundtracks (Money Talks), John Powell (Face/Off), 1992 in review. Gump), Mark Isham; sex and sound- Influential Composers; Philip Glass, Part 2, Jeff Bond’s review column. Marc Shaiman (George of the Jungle); #32, April 1993, 16 pp. Temp-tracking track sales; Lalo Schifrin in concert; Heitor Villa-Lobos, songs in film, best #76, December 1996 Interviews: Randy remembering Tony Thomas; Jeff Bond Matinee, SPFM 1993 Conference Ennio Morricone Beat CDs; that wacky of ‘95, film music documentary Edelman, John Barry part 2, Ry summer movie report, TV sweeps. Report, angry Star Trek music editorial. Internet; Recordman on liner notes. reviews (Herrmann, Delerue, Cooder (Last Man Standing); Andy Vol. 2, No. 7, September 1997 Hans #33, May 1993, 12 pp. Book reviews, arti- #51, November 1994 Howard Shore (Ed Takemitsu, “The Hollywood Sound”). Dursin’s laserdisc column, Lukas’s Zimmer vs. FSM (big interview, cles on classical/film connection. Wood), Thomas Newman (Shawshank #68, April 1996 David Shire’s The Taking review column. Peacemaker cover), Marco Beltrami #34, June 1993, 16 pp. Goldsmith SPFM Redemption), J. Peter Robinson (Wes of Pelham One Two Three; Carter (Scream, Mimic), Curtis Hanson (L.A. award dinner report; orchestrators & Craven’s New Nightmare), Lukas’s Burwell (Fargo), gag obituaries, Volume Two, 1997 Confidential); Andy Dursin: Laserphile, what they do, Lost in Space, recycled mom interviewed; music of Heimat, Apollo 13 promo/bootleg tips. New color cover format! Issues 32-48 pp. John Bender: Film Music as Fine Art, Herrmann; review spotlights on Star Trek; promos. #69, May 1996 Music in Plan 9 from Recordman. Christopher Young, Pinocchio, Bruce #52, December 1994 Eric Serra, Marc Outer Space; John Walsh’s funny Vol. 2, No. 1, Jan./Feb. 1997 First in new Vol. 2, No. 8, October 1997 Basil Lee film scores. Shaiman Part 1, Sandy De Crescent movie music glossary; Herrmann and format! Star Wars issue: John Williams Poledouris (Starship Troopers), Howard #35, July 1993, 16 pp. Tribute to David (music contractor), Valencia Film Rózsa radio programs; Irwin Allen box interview, behind the Special Edition Shore (Cop Land, The Game), Hans Kraft; John Beal Part 1; scores vs. Music Conference, SPFM Conference set review; John Bender’s “Into the CDs, commentary, cue editing minu- Zimmer vs. FSM Part 2 (interview), songs, Herrmann Christmas operas; Part 1, StarGate liner notes, Dark Pool” column. tia/trivia, more. Also: Jeff Bond’s Alloy Orchestra (scoring silent films), Film Composers Dictionary. Shostakoholics Anonymous. #70, June 1996 Mark Mancina (Twister), review column. Golden Age CD reviews. #36/37, August/September 1993, 40 pp. #53/54, January/February 1995 Marc final desert island movie lists, Jeff Vol. 2, No. 2, Mar./Apr. 1997 Alf Clausen: Vol. 2, No. 9, November/December1997 Elmer Bernstein, Bob Townson Shaiman Part 2, Dennis McCarthy Bond’s summer movie column, TV’s The Simpsons (big interview); promo- David Arnold (Tomorrow Never Dies), (Varèse), Richard Kraft and Nick (Star Trek); Sergio Bassetti, Jean- Biggest Hits book review. tional CDs; Congress in Valencia; John Frizzell (Alien Resurrection), Neal Redman Part 1, John Beal Part 2; Claude Petit and Armando Trovajoli #71, July 1996 David Arnold (Independence Readers Poll 1996 and Andy’s picks; Hefti (interview), U-Turn and The reviews of CAM CDs; collector interest in Valencia; Music and the Academy Day), Michel Colombier, Recordman Into the Dark Pool Part 2 by John Mephisto Waltz (long reviews), articles, classic corner, fantasy film Awards Part 1; rumored LPs, quadra- Goes to Congress, Jeff Bond’s summer Bender. Razor & Tie CDs; begins new format. scores of Elmer Bernstein. phonic LPs. movie column. Vol. 2, No. 3, May 1997 Michael Fine: Re- #38, October 1993, 16 pp. John Debney #55/56, March/April 1995 Basil #72, August 1996 Ten Best Scores of ‘90s, recording Miklós Rózsa’s film noir (seaQuest DSV), Richard Kraft and Poledouris (The Jungle Book), Alan Thomas Newman’s The Player, Escape scores; reviews: Poltergeist, Mars Nick Redman Part 2. Silvestri (The Quick and the Dead), Joe from L.A., conductor John Mauceri, ref- Attacks!, Rosewood, more; Lukas’s and #39, Nov. 1993, 16 pp. Richard Kraft and Lo Duca (Evil Dead), Oscar and Music erence books, Akira Ifukube CDs. Jeff Bond’s review columns. Nick Redman Part 3, Fox CDs, Part 2, Recordman’s Diary, SPFM Nightmare Before Christmas and Bride Conference Report Part 2. of Frankenstein review spotlights. #57, May 1995 Jerry Goldsmith in concert, #40, Dec. 1993, 16 pp. Richard Kraft and Bruce Broughton on Young Sherlock Yes! I want to complete my collection of Film Score Nick Redman Part 4; Re-recording The Holmes, Miles Goodman interviewed, Monthly. Please send me the issues that I have checked: Magnificent Seven for Koch. 1994 Readers Poll, Star Trek overview. ■ ■ ■ ■ ■ #41/42/43, January/Feb./ March 1994, 48 #58, June 1995 Michael Kamen (Die Hard), Volume 1 40 52 64 75 7 Best Value! pp. .Elliot Goldenthal, James Newton Royal S. Brown (film music critic), ■ 30/31 ■ 41-43 ■ 53/54 ■ 65/66/67 ■ 76 ■ 8 ■ 1993 Howard, Kitaro and Randy Miller Recordman Loves Annette, History of ■ 32 ■ 44 ■ 55/56 ■ 68 Volume 2 ■ 9 (#30-40) (Heaven & Earth), Rachel Portman, Ken Soundtrack Collecting Part 1. ■ 33 ■ 45 ■ 57 ■ 69 ■ 1 Index ■ 1994 Darby; Star Wars trivia/cue sheets; sexy #59/60, July/Aug. 1995, 48 pp. Sex Sells ■ 34 ■ 46/47 ■ 58 ■ 70 ■ 2 ■ (Thru (#41-52) album covers; music for westerns Too (sexy LP covers, lots of photos), ■ ■ ■ ■ ■ ■ overview; 1993 in review. Maurice Jarre interviewed, Miklós 35 48 59/60 71 3 Vol.2 No.7) 1995 #44, April 1994 Joel McNeely, Basil Rózsa Remembered, History of ■ 36/37 ■ 49 ■ 61 ■ 72 ■ 4 (#53-64) Poledouris (On Deadly Ground); SPFM Soundtrack Collecting Part 2, film ■ 38 ■ 50 ■ 62 ■ 73 ■ 5 ■ 1996 Morricone tribute report and photos; music in concert pro and con. ■ 39 ■ 51 ■ 63 ■ 74 ■ 6 (#65-76) lots of reviews. #61, September 1995 Elliot Goldenthal #45, May 1994 Randy Newman (Maverick), (Batman Forever), Michael Kamen Part I’m enclosing $3.50 for a single issue, $3.00 each for two or more, $2.50 for six or 2, Chris Lennertz (new composer), Star Graeme Revell (The Crow); Goldsmith more, or $2.00 each for twelve or more; or, $18 each for the whole year deals. in concert; in-depth reviews: The Trek: The Motion Picture (analysis), (Checks payable to Film Score Monthly, U.S. funds only.) Total enclosed: ______Magnificent Seven and Schindler’s classical music for soundtrack fans. List; Instant Liner Notes, book reviews. #62, October 1995 Danny Elfman Part 1, #46/47, June/July 1994 Patrick Doyle, John Ottman (The Usual Suspects), Name James Newton Howard (Wyatt Earp), Robert Townson (Varèse Sarabande), Top Ten Most Influential Scores, John Morgan (restoring Hans Salter Address scores); Tribute to Henry Mancini; Goldsmith documentary reviewed. overview: Michael Nyman music for #63, November 1995 James Bond Special films, collectible CDs. Issue! John Barry and James Bond City/ State/ Zip/ Country #48, August 1994 Mark Mancina (Speed); (history/overview), Eric Serra on Send Orders to: Chuck Cirino & Peter Rotter; Richard GoldenEye, essay, favorites, more. Film Score Monthly, 5455 Wilshire Blvd, Suite 1500, Los Angeles CA 90036-4201 Kraft: advice for aspiring film com- Also: History of Soundtrack Collecting