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Home , 20th Century Fox Records, Alexandre Desplat, A Girl Named Sooner, Big Empty, Brian Tyler, Chase (instrumental)

Volume 10, Number 2 Original Music for Movies and Television

SINFUL! pg. 16 Major Changes Major Dundee rides again to the beat of a different drummer ...and more speak 25 Years Ago A great time for soundtracks 50 CDs & DVDs Reviewed and previewed

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FILM SCORE MAGAZINE 3 MARCH/APRIL 2005 contents March/April 2005

DEPARTMENTS COVER STORY

4 Editorial 28 Major Changes Score Magazine. Sam Peckinpah’s 1965 Civil War/ epic Major Dundee undergoes a major facelift, including a complete replacement of 6 News Daniele Amfitheatrof’s original score by relative unknown Mancini Plays it Cool. Christopher Caliendo. 7 By Jeff Bond Round- What’s on the way. 9 Upcoming Film 32 Who is Daniele Amfitheatrof... 22 A visit with someone old... Assignments And why are people saying bad things about his music? Who’s writing what for whom. 10 Now Playing FEATURES Scores in current release. 10 Concerts Film music played live. 16 Triplets of Sin Genre fans unite, as ’s comes to the big 11 Mail Bag screen, with music by , and director Blessed Art Thou, Cartoons! . By John Allina 12 Downbeat Alexandre Desplat and . 19 Music for a Darkened Hall Danny Elfman recently premiered his first piece of concert music 43 Score at ’s , and one of our own was lucky 12 Some notes on someone new... Elektra and 15 more enough to take it all in. recent releases. By Luke Goljan

49 Pocket Reviews 22 Max Memories, Part 2 58 Laserphile In this second and final installment, we continue our 1967 archi- Steppin’ Into the val interview with Golden Age legend Max Steiner. Twilight Zone. By Myrl A. Schreibman

62 Retrograde Feeling Fancy Free. 34 1980: A Very Good Year Where have all the good times gone, you ask? Well, for many film 53 FSM Marketplace music fans, the “good ol’ days” are the 1980s. A quarter-century later, take a look back at the year that started it all. By Scott Bettencourt 16 A peek at something blue.

Film Score Magazine (ISSN 1077-4289) is published six times a year for $36.95 per year by Vineyard Haven LLC., 8503 Washington Blvd, Culver City, CA 90232. Periodicals postage paid at Culver City, CA and additional mailing offices. POSTMASTER: Send address changes to Film Score Magazine, 8503 Washington Blvd, Culver City, CA 90232

FILM SCORE MAGAZINE 3 MARCH/APRIL 2005 EDITORIAL

Film Score Magazine Volume 10 • Number 2 Or as Carlos Beltran might say: The New FSM.

EDITORIAL STAFF t is my honor to welcome you to the first Pick of the Months,” singling out the must-have issue of the new and improved 64-page CD release from each issue. Or how about Scott Publisher —now known as Film Bettencourt’s brilliantly detailed analysis of LUKAS KENDALL Score Magazine, otherwise known as FSM. every important score released in 1980? You’re Executive Editor IThe good news is, our CDs are still monthly, so not impressed? Well believe me, there’s a hell of JONATHAN Z. KAPLAN we don’t mind if you continue to call us Film a lot more to come. Managing Editor Score Monthly if you really want to. On that Another substantial change around here TIM CURRAN note, the reader response to our revised edito- will be in the subscription renewal process, an Creative Director rial schedule has been positive so far, and your important clerical procedure that many read- JOE SIKORYAK understanding is much appreciated. While we ers unfortunately know little to nothing about. Editor-at-Large would have loved to be able to continue the The routine, which is quite interesting, JEFF BOND monthly format we maintained for almost 15 normally involves the application of hundreds Contributing Writers years, we are even more thrilled by the reality of address labels; hand-stuffing hundreds of JOHN ALLINA that this magazine still exists. Feel free to read envelopes; sealing those same envelopes; placing STEPHEN B. ARMSTRONG between that line. hundreds of stamps; and mailing the envelopes. SCOTT BETTENCOURT Anyway, as a result, everyone here at FSM is This process will now occur only six times MATTHIAS BUDINGER attacking the film music scene with renewed per year (as opposed to 10), but will naturally DAVID COSCINA vigor, hunting for the best writers, and hunger- involve several hundred more envelopes each ANDY DURSIN ing after the most interesting stories, no matter time. I bring this up not just because it is so LUKE GOLJAN how hard they are to track down. Sure there are interesting, but because for year after year, every ANDREW GRANADE still certain composers that will seldom speak single time I’m in the middle of doing subscrip- MARK GRIFFIN with us, but thanks to Jeff Bond’s tion renewals, I say to myself in all sincerity: STEVEN A. KENNEDY Reporter connection, a devastating or two, “FSM is not worth this. F-ck this. I quit.” That’s DARREN MACDONALD and our willingness to gut some critical writing how great they are. But I have to tell you, I’m so MYRL A. SCHREIBMAN from the pages of FSM, we are reaching a higher excited with the new state of the magazine that JOHN TAKIS percentage of big names than ever. Even John I don’t even mind doing subscription renewals IAN D. THOMAS Williams will talk to us on occasion. anymore! But if Jeff or Tim doesn’t help me JASON VERHAGEN For the many of you who were confused by from now on, I quit. CARY WONG last month’s editorial and thought that Vol. 10, Another thing: We’re committed to finally Copyeditor No. 1 was the new format, you’re in for an even getting the magazine back on schedule. We’ve DEBBIE NOTKIN bigger treat now. Vol. 10, No. 2 abounds with been chronically behind (a month or two) for changes, both drastic and subtle. You may notice years and have never been able to make that BUSINESS STAFF an intriguing new typeface, along with more time up. Right now we’re working overtime breathing room for graphics and text layout. You to put together these larger issues in an even Editorial & Subscriptions may also find that despite the expanded page shorter amount of time than our original edi- 8503 Washington Blvd. count, there are no extra advertisements filling torial schedule. One day...one day this year, our Culver City, CA 90232 the space. You, the reader, are simply getting extra street dates will align and you will receive an PH. 310-253-9595 content, and good content at that. This issue issue on time. FAX 310-253-9588 runs the gamut from the biggest current scores We all sincerely hope you enjoy this and every E-MAIL like Sin City, Hostage, Palindromes (remember, issue we release in 2005! FYI, Carlos Beltran is a [email protected] this is dead season for , so you can’t blame baseball player. Sales & Marketing us); to the conclusion of our shocking archival All the best, 8503 Washington Blvd. Max Steiner interview; to the fascinating Major Culver City, CA 90232 Dundee cover story that bridges the old with PH. 310-253-9595 the new. Behold as we welcome back a beloved FAX 310-253-9588 and much-requested feature of the past: Pocket Our Website is updated five times Reviews. And say hello to the brand new “FSM Jon Kaplan, Executive Editor weekly! Point your browser at WWW.FILMSCOREMONTHLY.COM

© 2005 Vineyard Haven LLC.

MARCH/APRIL 2005 4 FILM SCORE MAGAZINE Get ’em while you can at www.intrada.com $19.99 $19.99 Sold Out

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MARCH/APRIL 2005 4 FILM SCORE MAGAZINE Now Playing Concerts Record Label Round-Up news Upcoming Film Assignments and publishers of the (Jan A.P. Kaczmarek), some of our FSM CDs. biggest box-offi ce fi lm music and Girl With a Pearl Earring www.cinemaretro.com the most-performed television (Alexandre Desplat), music of the previous year. I ragazzi della via pal ur Quote of the () and OMonths comes from The Village (James Slate.com’s fi lm critic, Quick Takes Newton Howard). David Edelstein, regarding this year’s Oscars: he winners from the 17th he Hollywood TAnnual Sammy Awards were TReporter has released “Someday I’d like to meet ASCAP to Honor announced recently. The Sammys its Hollywood Music the person who devises the (named after lyricist Sammy Cahn) Industry Directory, music cues, to ascertain why Debney, Snow are awarded to just one category: 2nd Edition ($59.95). the sent [Morgan] fi lm music. They are also chosen Edited by the staff of Freeman off the stage to the ohn Debney and each year by one man: fi lm music Hollywoood Creative strains of the theme from will each receive major honors historian and author Roger Hall, Directory, the HMID provides Trek: The Motion Picture Jat the 20th annual ASCAP Film whose name you might recognize accurate, up-to-date contact listings (and The Next Generation). Was and Television Awards gala on April from the pages of this very for record executives, A&R staff, this a way of working in a tribute 27 in Beverly Hills. Debney will magazine. personnel, music to the late ? ” receive the Award, For this year’s winners (and all the publishers, music supervisors, which recognizes outstanding winners going the back to 1988), check recording studios and more. achievement in fi lm and television out www.hometown.aol.com/musbuff/ To order, visit hcdonline.com music; Snow will receive the page10.htm. Golden Note Award, bestowed he premiere issue of the upon “songwriters and composers ilm Music Journal, the only fi lm Tmagazine Cinema Retro, who have achieved extraordinary Fmusic magazine published in devoted to fi lms of the ’60s and milestones.” In Snow’s case, he has German, has given Joe Hisashi’s ’70s, is now available, with articles won in several different categories score to Howl’s Moving Castle on topics such as The Great Escape, for each of the past 20 years. The its 2004 Score of the Year award. Steve McQueen, Thunderball, and gala also awards the composers, Runners up were Finding Neverland Peter Cushing, as well as reviews of

Annemarie North (1940-2005) Mancini Institute Dearly Departed ANNEMARIE HOELLGER NORTH—WIDOW OF COMPOSER —died at her home in Pacifi c Palisades, , on March 4, Plays It Cool after a long battle with cancer. She was 64. Mrs. North enjoyed a musical career of her own; she managed the azz at and the Symphonie Orchester Graunke in Munich Germany prior to meeting JHenry Mancini Institute teamed Alex North and moving to the U.S. in 1967. In addition to being a up Feb. 21 for a gala event, which passionate supporter of music, and the arts in general, she worked featured the fi rst diligently to promote both fi lm music and the appreciation of her performance of the Henry Mancini husband’s music. Institute Alumni . On hand were several of the Mancini (1929-2005) Institute’s biggest names, including DRUMMER LARRY BUNKER DIED MARCH 8 OF COMPLI-cations Henry’s widow Ginny Mancini a stroke. He was 76. Bunker was a fi rst-call studio (pictured with who lent his talents to countless fi lm soundtracks, including Henry and ), artistic director Mancini’s Hatari, Charade, Breakfast at Tiffany’s and Peter Gunn; other Patrick Williams and executive fi lms included Stalag 17, and . director Dan Carlin. FSM

MARCH/APRIL 2005 6 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 7 MARCH/APRIL 2005 RECORD LABEL ROUND-UP Newly Announced Projects and Incoming

news Ritorno (). (Michael Perilstein). Due June 15 is Loch Ness (). Intrada Due April 12 is Hell and High Water Prometheus (), in stereo, with Available now is a 2-CD set of John alternate takes. Debney’s complete score for Cutthroat Island, including La-La Land alternates and original synth IT’S MY WAY OR THE... Benway Records, Venice CA. Available now is Mirrormask (Iain demos. Ballamy). Still forthcoming are Aleph Stammi Lontano Almeno Un Palmo Hitman/Hitman 2 (Jesper Kyd) and Rai Trade () Forthcoming from is (Gianni Ferrio) and Eugenie De The Big Empty (). Available now is Ma Quando his score for the 1981 comedy Sade ’70 (2-CD set; ). www.lalalandrecords.com Arrivano Le Ragazze? (Riz Ortolani). Caveman. www.schifrin.com Disques Cinemusique Naxos Saimel Now available are new recordings Available now is Red River (Dimitri Available now is Entre Vivir y Soñar Due imminently are Johnny Belinda of the scores Tiomkin, Stromberg/Morgan (Juan Bardem). and The Three Musketeers (both Rapture and Interlude. Both were production). This was never www.rosebudbandasonora.com/ Max Steiner). tel.: 540-635-2575 produced with digital sampling of officially released in the U.S.; now saimel.htm www.screenarchives.com acoustic instruments. it’s part of the budget-priced Film Music Classics series that includes Screen Archives Cinesoundz FSM reissues of other titles Entertainment Forthcoming are two DVDs and a From deep within the jungle comes (Les Miserables, 1934, Arthur Available now is Foxes of Harrow radio play of the British-German our Golden Age Classics Green Honnegger; Beauty and the Beast, (David Buttolph). Forthcoming is ’70s TV sci-fi series Star Maidens Mansions (1959, Bronislau Kaper), 1946, George Auric; Objective Son of Fury (A. Newman). (both with score by Berry Lipman). that legendary fusion of Burma, 1945, ; and www.screenarchives.com www.cinesoundz.com; Hollywood and Heitor Villa-Lobos. others). [email protected] For our Silver Age Classics release, Silva Screen we look to the skies with 633 Pacific Time Entertainment Available now are Essential Elmer Chandos Squadron (1964, Ron Goodwin) Due imminently are Fabled (Ari. S. Bernstein Film Music Collection (2- Available now is Parker: Film Music and with Submarine Kirschenbaum and Aaron Platt); CD set, new recordings by the City (featuring Clifton Parker selections X-1 (1969, Goodwin)—the former The Keys to the House (Franco of Prague Phil and the Nat’l Youth Treasure Island, Blue Lagoon, Sea of with remastered album tracks and Piersanti); Womb Raider (Randolph Jazz Orchestra); 2001: Music From Sand and more). an unreleased suite, the latter Scott); and Carlos Castaneda— the Films of Stanley Kubrick (a mastered from the composer’s own Enigma of a Sorcerer (Ralph Torjan repackaging of Dr. Strangelove... Commotion tapes. and Robert J. Feldman). Music From the Films of Stanley Available now is Nathan Larson Next month: A new-to-FSM www.pactimeco.com Kubrick with an added track), and Filmusik. Forthcoming is Are We composer revisits old territory for a Dear Frankie (Alex Heffes). Not Movies, a of fortnight, and two big names write Percepto film and television music by Mark themes for the small screen. Next up is Music for Robots, Classical Mothersbaugh. produced by famed Hollywood Due May 16 is : Episode www.arecordcommotion.com GDM sound experimenter Frank Coe and III—Revenge of the Sith (John Available now are Morricone Gold Forrest J Ackerman, editor of Williams); the release will include a Decca Edition (a 3-CD set, featuring Famous Monsters of Filmland and DVD of 16 Star Wars-related music Available now is The Ring/The Ring themes from so many Morricone Spacemen. This release will contain videos. Two (, Henning films we don’t have the room to list the complete original album, a Lohner and Martin Tillman). them here); Starblack (Benedetto never-before-released suite from Sony/NBC Ghiglia) and Gli Indifferenti Coe’s Music for Robots: Volume 2 Coming this summer is the 2-CD Digitmovies (Morricone). and more. www.percepto.com soundtrack to NBC’s American Available now are the Italian Dreams, with songs from seasons releases Piedone L’Africano (Guido Image (Italy) Perseverance two and three (music by Danny & Maurizio De Angelis), Amico, Available now is La Terra Del Available now is The Deadly Spawn (continued on page 9)

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

Special deal! Want one copy of every original edition still available (about 50 in all)? Get the FSM Complete Originals Collection for a flat-rate of $49.95 plus postage: $20 in the U.S. via USPS priority mail or UPS ground (your choice, but UPS is recommended). Add $30 for air mail to Canada, $30 for surface mail to the rest of the world, or $50 for air mail to the rest of the world. Hurry, they’re going fast!

Vol. 5, No. 3, Mar. ’00 PHANTOM Vol. 6, No 7, August ’01 Orchestra, Spy Notes (secret agent Chicago; The Shining. BACK ISSUES OF FSM MENACE CD; Reader pix ’99; C.H. PT. 1; Moulin Rouge; J. Morgan on discs). Vol. 9, No. 2, Feb. ’04 Levenson’s “last”. Golden Age; Score Internationale; THEN AND NOW; J. Debney; B.T.; VOLUME ONE 1993-96 Vol. 5, No. 4, Apr./May ’00 Random Play. Composers of South Park. 24 pp. unless noted. ; R. Marvin Vol. 6, No 8, September ’01 ANGELO VOL. EIGHT, 2003 Vol. 9, No. 3, Mar. ’04 JON BRIO/ (U-571); Tora! Tora! Tora!; Film score BADELAMENTI; N. Carolina School 48 pp.each AN TYLER BATES; The Bride of #50, Oct. ’94 A. Silvestri; M. Isham; agents, pt.1. of the Arts; ; Vol. 8, No. 1, Jan. ’03 ; Frankenstein; (Robin Hood x 2); The sex & soundtracks; Schifrin con- Vol. 5, No. 5, Jun. ’00 TENTH DVDs; more. Best & Worst 2002; film Music of the Christ; TheRza. cert; Morricone/Beat; the Internet; ANNIVERSARY! 25th Ann. CD; Vol. 6, No. 9, Oct./Nov. ’01 LORD OF THE scores. Vol. 9, No. 4, Apr.-May ’04 THE FALL OF Recordman/liner notes. J. N. Howard (Dinosaur); Goldsmith RINGS; Ronald Stein; T.Jones; Davis Vol. 8, No. 2, Feb. ’03 TROY; Forbidden Planet; B. Poledouris; Guide Pt 6. Meets Williams; M. Danna; Pukas HOW THE AWARDS WERE WON; J. ; Goldsmith on Apes. Vol. 5, No. 6, Jul. ’00 SUMMER SCORE comix debut. Williams & L. Slatkin; Jan Hammer, C. Vol. 9, No. 5, Jun.’04 THE SOUNDS OF VOL. TWO, 1997 ROUND-UP; D. Newman; Session Notes. Vol. 6, No. 10, Dec. ’01 Martinez, C. Pope, S. Walker. SUMMER: Stephen King TV; Dirty Harry 32-48 pp. Vol. 5, No. 7, Aug ’00 B. BROUGHTON; SCORES OF SCORES; Alejandro Vol. 8, No. 3, Mar. ’03 MAGNIFICENT on CD; Mr. Songtrack, Gary LeMel. Vol. 2, No. 6, Aug. ’97 L. Schifrin, J. Shaiman gives hell; Elfman & mom. Aménabar; G. Yared; Hobbit music; H. MOVIE MUSIC MOMENTS; Brian Tyler; Vol. 9, No. 6, Jul.’04 KEEPING IT REAL: Powell, Shaiman; Tony Thomas; Summer Vol. 5, No. 8, Sept./Oct ’00 R. NEWMAN Gregson-Williams, R. Kent. J.Ottman; D. Davis (Matrix Reloaded). Reality TV scores; John Morgan Re:Re- movies, TV sweeps. Things To Come; ; NPR Vol. 8, No. 4, Apr-May ’03 MEET THE recordings; George Bassman profiled. honors. FOLKS: (A Mighty Wind); M. Hamlisch; Vol. 9, No. 7, Aug.’04 JERRY Vol. 5, No. 9, Nov./Dec. ’00 64 pg. 101 G. Fenton (The Blue Planet); Bond GOLDSMITH 1929-2004: Tributes, retrospectives, imaginary chats and an VOL.THREE, 1998 GREAT FILM SCORES; (Crouching Tiger, reissues. VOL. SEVEN, 2002 unwritten letter. 48 pp. each Hidden Dragon); Shore; Back to the Vol. 8, No. 5, June ’03 48 pp. each Vol. 9, No. 8, Sept.’04 SCORE CAPTAIN Vol. 3, No. 4, May ’98 SCI-FI; B. Future. BOOM TIMES: SUMMER; Bond reis- Vol. 7, No. 1, Jan. ’02 THE BEST & Ed Shearmur; Last Goldsmith Buyer’s Broughton, D. Arnold; CE3K restoration; sues 2; Jan Hammer 2; Korngold DVD. THE WORST: 2001; Horner Guide Pt 3: Guide; Arthur Morton; Raksin Williams Guide 3; Ed Shearmur; Fox Vol. 8, No. 6, July ’03 Zimmer; Logan’s Overrun; Enterprise; remembered. Classics CDs. VOL. SIX, 2001 Yann Tiersen. THE PIRATE ISSUE: K.Badelt, H. Vol. 3, No. 10, Dec. ’98 THE OF Vol. 9, No. 9, Oct.’04 48 pp.each Vol. 7, No. 2, Feb. ’02 HAPPY BIRTHDAY, Gregson-Williams; R. Portman’s opera, 1922-2004: A Tribute; R. Kent’s EGYPT ; E. Cmiral (Ronin); 50+ CDs. Vol. 6, No. 1, Jan. ’01 THE BEST OF THE ELMER BERNSTEIN; Rózsa speaks!; The Sherman Bros. Sideways, M. Giacchino’s Incredibles, WORST: 2000; Our Town; Hollow Man ; John Q, Vol. 8, No. 7, August ’03 SEX, LIONS & more! DVD; Total Recall ; C. Martinez (Traffic). Frailty. AUDIOTAPE: P. Doyle; M. Kamen; Betty Vol. 9, No. 10, Nov.-Dec’04 SHORE VOL. FOUR, 1999 Vol. 6, No. 2, Feb. ’01 MUSICAL WORLD Vol. 7, No. 3, Mar/Apr. ’02 THE Comden, C. Lennerz; audio formats. SCORES: ; A. Badalamenti; 48 pp.each OF IRWIN ALLEN; A.Copland (cond. J. SCORPION KING; Hook (Williams); Edda Vol. 8, No. 8, Sept. ’03 LOVE THAT BOOB Arrested Development; Barbie, and more! Vol. 4, No. 7, Aug. ’99 WARNER Sheffer); G.Clinton; Douglass Fake of Dell’Orso; Craig Armstrong (Moulin TUBE; Staff picks; Jones and ANIMATION; Phantom Menace; Intrada; How to Marry a Millionaire. Rouge); Oscars. the Temple of Doom; M. Barwood. Battlestar Galactica); ; Vol. 6, No. 3, Mar. ’01 BIGGER, BETTER Vol. 7, No. 4, May/Jun. ’02 SUMMER Vol. 8, No. 9, Oct.-Nov. ’03 MATRIX ASCAP. SCORES: New RMA agreements; D. CONCLUSIONS; “Dumped”: 50+ cut VOL. TEN, 2004 BLOCKBUSTERS; M. Mothersbaugh; 48-64 pp.each Vol. 4, No. 9, Nov. ’99 COMPOSER Ellis; Irwin Allen discs; R. Kent (Town & & altered scores; The Gospel of Jeff Legend on DVD; (ASCAP winners). Vol. 10, No. 1, Jan.-Feb. ’05 BEST OF STAMPS; Papillion; Peter Thomas. Country); Italian Imports/BEAT. Danna. Vol. 7, No.7, Sept. ’02 FSM’S TOP 40 THE WORST; Max Steiner Memories Vol. 4, No. 10, Dec. ’99 SCORES OF Vol. 6, No. 4, Apr./May ’01 J. Horner Vol. 8, No. 10, Dec. ’03 SHORE COMPOSERS; ; Pt.1; J.N. Howard, A. Silvestri, C. SCORES: review compilation issue. Buyer’s Guide; Returns, RETURNS: At the Return of the King L. Schifrin; J. Klimek; The Kid Stays in Burwell, J.A.P. Kaczmarek; Tech Talk, Swordfish; ; Epics on DVD; sessions; Kamen Tribute; G. Yared; the Picture. The Magazine That Almost Wasn’t. Atlantis The Empire. Vol. 7, No.8, Oct. ’02 FALL FILM ROUND- Holiday DVD roundup. Vol. 6, No. 5, June ’01 SERGEI VOL. FIVE, 2000 UP: E. Bernstein; E. Goldenthal; D. Index What exactly have we printed in PROKOFIEV; Friedhofer & Fox; 48-64 pp.each Elfman; S. Bramson (JAG); Michael FSM? Here’s a handy index of all con- ; J. Danna. Vol. 5, No. 1, Jan. ‘00 SUPERMAN:THE Hennagin. VOL. NINE, 2004 tent through 2003, compiled by Dennis Vol. 6, No. 6, July ’01 PLANET OF THE MOVIE H. Shore; Goldenthal, Barber, Vol. 7, No.10, Dec. ’02 48 pp.eachVol. 9, No. 1, Jan. ’04 Schmidt. Cost: same as one back issue. Tyler, Debney, Robbins; Pocket Reviews APES; H. Zimmer; Horner Guide 2; TOWERING ACHIEVEMENTS: H. BEST OF THE WORST, 2003; Thomas debut. Shore. Shore; Ellis (Filmation); The Alloy Newman; A. Desplat; Williams’ in

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MARCH/APRIL 2005 8 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 9 MARCH/APRIL 2005 UPCOMING ASSIGNMENTS Who’s Scoring What for Whom?

Record Label Round-Up (continued from page 7)

Pelfrey and Greg Sill; performances A-B Layer Cake. for Nicholas. by Usher, Ashanti, Brandy, Hilary MARK ADLER Marilyn Hotchkiss’ Sky High The Fountain Duff, Liz Phair and more). Ballroom Dancing & Charm (Disney live action, w/ Kurt (dir. ). School, When Do We Eat? Russell, Bruce Campbell). Havoc. Sumthing Else Music Works CRAIG ARMSTRONG Asylum. The Libertas, Available now is the score for the Bond 21, Return Honeymooners. Sportman van de Euw. XBox game Fable (main theme by to Sender. VINCENT GILLIOZ Living With Danny Elfman; underscore by RICK BAITZ Hope and a Little Uncle Ray. Russell Shaw). Sugar. Partition. 2001 Maniacs. NICK GLENNIE-SMITH Love and The Hot Sheet Varèse Sarabande CHRISTOPHE The Perfect Honor. CRAIG ARMSTRONG Fever Available now are Dust to Glory Man, The Pink Panther. HARRY GREGSON-WILLIAMS Pitch. (Nathan Furst), Kung Fu Hustle BT Underclassman. The Chronicles of Narnia: The DAVID ARNOLD The Wild and (Raymond Wong), Sin City ANDY BUSH AND DAVID GALE Lion, the Witch and the Wardrobe Wycked World of Brian Jones, (Robert Rodriguez, John Debney, It’s Not Me, It’s Him. (Disney), Kingdom of Heaven (dir. Four Brothers. Graeme Revell). Coming April 19 ). TYLER BATES Goodnight. is The Interpreter (James Newton C The Three Howard). TEDDY CASTELLUCCI The H Burials of Melquiades Estrada. www.varesesarabande.com Longest Yard (w/ Chris Rock, JAN HAMMER Cocaine Cowboys. GARY CHANG Sam’s Lake. Adam Sandler), Rebound. CHRISTIAN HENSON Animal. JOSEPH CONLAN Mortuary. Warner Chappell (Italy) STEVE CHESNE Press Pass to the JAMES HORNER The Da Vinci JARED DEPASQUALE The Available now is I Tre Volti Del World. Code (dir. Ron Howard), Ask the Hiding Place. Terrore (Maurizio Abeni). GEORGE S. CLINTON Eulogy. Dust (dir. Robert Towne), The CHAD FISCHER Little Chumscrubber. . Whirled Music D-E HARRY GREGSON-WILLIAMS Available now is French Revolution Black, Where The Interpreter, Begins Domino. (Gary Pozner; 2005 History the Truth Lies (dir. Atom Egoyan). (w/ HANS ZIMMER). JAMES NEWTON HOWARD Channel production). JOHN DEBNEY Chicken Little. Freedomland (dir. ), www.whirledmusic.com Toyer (dir. I-J-K R.V. (). ). In Her Shoes (dir. NATHAN LANIER Invisible Please note: Nanny McPhee, ). Children, Officer Down. We endeavor to stay up-to-date Man to Man, New (dir. DAVID JULYAN Dungeons and PETER LUYRE Alchemy. with every company’s plans, but as Jean Beaudin), Harry Potter and Dragons II: The Elemental Might, JOHN MASSARI 24: Conspiracy we could tell you from first-hand the Goblet of Fire, Wah-Wah (w/ The Last Drop. (mobile phone video series). experience, sometimes bad things Gabriel Byrne). The Wedding ENNIO MORRICONE happen to good labels. Please bear Perfect Creature. Crashers. Leningrad (dir. Giuseppe with us if albums are not released Stealth (w/ DAVID KITAY Art School Tornatore). as announced. FSM BT). Confidential. MARK MOTHERSBAUGH CLIFF EIDELMAN The Sisterhood /REINHOLD Herbie Fully Loaded. of the Traveling Pants. HEIL The Cave. Where Love Reach the DANNY ELFMAN Charlie and Reigns. World of the Chocolate Factory (dir. Tim L NICHOLAS PIKE Desperation, Burton), ’s The Corpse NATHAN LARSON Down in the L.A. Riot Spectacular, Checking Soundtrack Bride (animated, dir. Mike Valley (w/ Ed Norton), The Motel. Out. Aficianados Johnson), Charlotte’s Web, A Day CHRIS LENNERTZ Sledge: The DANNY SABER Cruel World, With Wilbur Robinson. Story of Frank Sledge. Hillside Strangler. Advertise in JOSEPH Lo DUCA Devour. The Fly Film Score Magazine F-G Mozart and the (opera, premiering 2007). The Regulators, Whale. BRIAN TYLER The Greatest Call 310-253-9595 Bewitched (dir. ), Game Ever Played. to request a media kit Valiant (Disney, animated), Last M-N DAVID WILLIAMS Manticore, and more information. Holiday. MARK MANCINA Asylum. Planet Ibsen. CLAUDE FOISY Snake King. Suzanne’s Diary

MARCH/APRIL 2005 8 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 9 MARCH/APRIL 2005 ASSIGNMENTS

MARK MOTHERSBAUGH The R HOWARD SHORE War of the Worlds (dir. Spielberg), Ringer, The Big White, John The Great Raid. (dir. ), A History of Memoirs of a Geisha. Chapman. Slow Burn, Urban Violence (dir. David Cronenberg). JOHN MURPHY The Man. Legends 3: Bloody Mary. RYAN SHORE 212. Y-Z DAVID NEWMAN I Married J. PETER ROBINSON The World’s NIC. TENBROEK The Moguls (w/ a Witch (dir. Danny DeVito), Fastest Indian (w/ Anthony Jeff Bridges). Unfinished Life. Kicking & Screaming. Hopkins). Heart of (). V-W Summer, The Wendell Baker Story. The S-T JAMES VENABLE Deuce Bigalow: HANS ZIMMER Over the Hedge, (dir. Ron Howard, LALO SCHIFRIN The Bridge of European Gigolo, Happily N’Ever A Good Year, The Weather Man w/ Russell Crowe), Jarhead (dir. San Luis Rey, (w/ Robert DeNiro, After. (dir. Gore Verbinski), ). Kathy Bates), Abominable, Rush NATHAN WANG (w/ DAVID Batman Begins (w/ JAMES Hour 3. MANNING) Reefer Madness NEWTON HOWARD), O-P Aeon Flux (musical). Mission: Impossible 3. House of Wax, (w/ Charlize Theron), The Baxter Proof. Kiss Kiss Bang Bang, X-Men 3, (w/ Craig Wedren; dir. Michael ALAN WILLIAMS Suits on the Get Listed! Fantastic Four. Showalter). Loose, Crab Orchard, Ice Hotel. Composers, send your info to editor Flightplan. ED SHEARMUR The Skeleton Key JOHN WILLIAMS Star Wars: @filmscoremonthly.com FSM JOHN POWELL Mr. & Mrs. Smith. (dir. Iain Softley). Episode III—Revenge of the Sith,

NOW PLAYING: Films and scores in current release Concerts The Ballad of Jack and Rose MICHAEL ROHATYN not yet available Be Cool JOHN POWELL TVT* California D.E.B.S. CHRIS ANTHONY MILLER Lakeshore* May 13-15, L.A. Philharmonic, Dear Frankie ALEX HEFFES Silva Concert Hall, David Diary of a Mad Black Woman CAMARA KAMBON n/y/a Newman, cond.; “Music inspired Don’t Move LUCIO GODOY EMI (import) from films about L.A.”: Sunset Dust to Glory NATHAN FURST Varèse Sarabande Boulevard (Waxman), Rebel The Game of their Lives n/y/a Without a Cause (Rosenman), The Hide and Seek JOHN OTTMAN Kirtland Bad and the Beautiful (Raksin), The Hitchhiker’s Guide to the Galaxy JOBY TALBOT Hollywood The Grifters (Bernstein), Who Hostage ALEXANDRE DESPLAT n/y/a Framed Roger Rabbit? (Silvestri), Ice Princess Disney* (Rózsa), suite The Interpreter JAMES NEWTON HOWARD Varèse Sarabande from Chinatown (Goldsmith). The Jacket n/y/a Kung Fu Hustle RAYMOND WONG Varèse Sarabande A Lot Like Love Sony* May 7, BBC Concert Orchestra, , VARIOUS ** , John Wilson, cond.; Guns Millions JOHN MURPHY Milan of Navarone suite (Tiomkin), Miss Congeniality 2: RANDY MILLER, Lawrence of Arabia (Jarre). Armed and Fabulous CHRISTOPHE BECK Warner* May 12, Trinity College The Other Side of the Street GUILHERME BERNSTEIN SEIXAS n/y/a of Music, London; JOHN DEBNEY n/y/a (Herrmann). Palindromes NATHAN LARSON n/y/a The Ring Two HANS ZIMMER, HENNING LOHNER, MARTIN TILLMAN Decca May 15, Orchestre de la Robots JOHN POWELL Varèse Sarabande Swisse Romande, Geneva; Jerry Sahara CLINT MANSELL n/y/a Goldsmith tribute including Star Sin City JOHN DEBNEY, GRAEME REVELL, Trek: The Motion Picture, Masada, ROBERT RODRIGUEZ Varèse Sarabande “The Motion Picture Medley,” Steamboy Domo The Generals, Twilight Zone: The The Upside of Anger ALEXANDRE DESPLAT n/y/a Movie, Wild Rovers, Forever Young, The Wild Parrots of Telegraph Hill CHRIS MICHIE Catch a Rabbit Supergirl, The Others. FSM *Song compilation with less than 10% underscore; **Mix of songs and score

MARCH/APRIL 2005 10 FILM SCORE MAGAZINE Raves, Rants and Responses mail bag to Readers

Blessed Art Thou, Cartoons viewed the film not long before he because Elfman used a march. But whips out some A-game he’s never ’d like to second James Smith scored Return of the Jedi. all your marches sound the same. used before, there’s no way the col- III’s comments (FSM Vol. 9, No. They don’t just have the same fla- laboration will be anything other I Scott Hutchins 10, page 9) about the surprisingly vor, like Elfman’s scores do; your than you delivering the goods and [email protected] dynamic scoring for current and anthems for The Rock, Gladiator, him mucking them all up. I can recent cartoon series. I love film Prince of Egypt and Toys all sound only hope some of your incredible music, and I’ve noticed that many Similarly, Williams listened to the same. Everything heroic you talent rubs off on him. cartoons have been blessed with Earthquake before he wrote Close do sounds the same. You blew my Luke Goljan great underscore. I am indebted to Encounters. mind with The Ring and , you for your fine article on Warner when you went subtle and creepy. Bros. animation scoring and your Sorry the Sharks Aside from ripping off , Whither Goest tribute to Hoyt Curtin. Ate Your Spouse you created and Score Internationale? In recent years, I’ve seen a pen Water’s song “Isa Lei” new, without the aid of fake synth hat happened to your Score number of cartoons with stand- O(FSM Vol. 9, No. 9) is used brass you seem to think doesn’t WInternationale feature? out underscoring: Kim Possible, as a reference to the fact the two sound fake and crappy. Pierre Pouliot , and Invader real-life characters worked in Fiji, I know there’s no way you will Beauport, Quebec Zim ( Manthei is a phenom- and were on their way home when even pay attention to this letter at enal composer and this show, now the story took place. It’s a tradi- all, but I want to make it perfectly available on DVD, proves it). I’d tional farewell song, sung whenever clear that I know exactly what Well, it sort of just went away by like to challenge our readers to someone (mostly visitors) leave you’re going to do with this score default. But if John ’s still up check out these cartoons for their our shores. It is translated more as and how you’re going to screw it for it, we’d love to bring his column music. It also helps that the shows “sorry to see you go.” up before you even trigger a single back into the fold. themselves are entertaining. loop. You’re as predictable as the Chris Caine Hey Readers! Tor Y. Harbin [email protected] ow do you like FSM’s new, [email protected] Hexpanded format? We want An Open Letter to to give you the most bang for your Fitzwillied Hans Zimmer and buck, and to that end, we polled he album [recently James Newton Howard folks on our message board to see Treleased through Varèse ear Messrs. Zimmer what feature stories they’d most Sarabande’s Soundtrack Club] is Dand Howard, like to read in our expanded edi- the “original motion picture score” While I celebrate the decision tions. The most popular topics in the old sense of the phrase: It’s a to start injecting new blood into included (in no particular order): rerecording. The main title is much the superhero genre by not going livelier on the album than in the the traditional route of Williams, • Profiles of under-represented film. Williams was doing this way Elfman or Revell, I have great fear composers; before Jaws. Unfortunately, the film, when it comes to the score for • Behind-the-scenes of FSM CDs which is excellent, did not receive Batman Begins. Mr. Howard, you • More Buyer’s Guides; a release on VHS until the mid- certainly deserve a chance to do • More musical analyses; ’90s, and then the scope film was something like this, you’ve writ- • Tales of soundtrack collecting; released in pan and scan, except for ten some amazing music over the sunrise. When the film hits theaters • More Golden Age coverage; the credits. There is a great deal of years—material that could eas- and I can hum the theme before • How-It’s-Done: Explanations of music in the film missing from the ily live in a superhero adventure. having seen the film, I want to the scoring process, technically, album. I have to point out that one Mr. Zimmer, you could do as make sure everyone knows that I legally and procedurally. of the supporting characters has a much damage to Batman as Joel called it months ago. theme foreshadowing that of Jabba Schumacher did. I’m calling you Mr. Howard, I hope you are Tell us what you think. the Hutt. Considering this along out on the stupid heroic march the driving force on this score, Write us at FSM Mail Bag, with the resemblance of the main theme you use in every movie. because a Batman score composed 8503 Washington Blvd., theme to the Ewok theme, I have I know you want to use it for by you would be a dream come Culver City CA 90232 or always suspected that Williams Batman, because he’s a hero, and true. Unless Mr. Zimmer suddenly [email protected]

FILM SCORE MAGAZINE 11 MARCH/APRIL 2005 DOWNBEAT The Americanization of Alexandre Desplat Desplat is taken Hostage and manages The Upside of Anger. • By Jeff Bond

FRENCH TWIST: Composer Desplat (left) shows his range, from gunplay with to parental discourse with Joan Allen.

fragility and charm than if it was a perfect singer. ince he gained notice with his haunting score to ’s Girl With a Pearl The emotion comes from this little voice and you can almost see the little child it represents. Earring in 2003, French composer Alexandre Desplat has been seen as one When that comes from a very practiced, trained voice it takes me away from the film. In a concert Sof the most promising new composers in Hollywood—this despite the fact piece, sure, but in the movie it was very impor- tant that you relate the voice to a real child and that he hails from , France, and has over 80 films under his belt. His repu- not to some perfect singer.” Desplat employed two other instruments tation was solidified in America by last year’s unusual drama Birth with Nicole not normally emphasized in thriller scores: the electric and the recorder. “The electric cello Kidman for which Desplat wrote a pulsating and The Nest as well as two Tom Clancy Splinter was played by this fellow musician I’ve been conceptual score that’s a huge presence in the Cell videogames, but Desplat found that the working with for years who’s an amazing French film and one of the few examples of a composer filmmakers wanted to get away from the stan- cellist who trained at Yale and worked with successfully scoring against the action in a movie dard sound of thrillers in Hostage’s score. “The Janos Starker. We met while doing African music in recent years. The score to Birth was touted for first thing was that the music should be classical together and I was playing and he was play- Oscar consideration, and while it didn’t make in its color,” he recalls. “We didn’t want to have ing cello and now he does a lot of and the cut Desplat’s star continues to rise. any drum loops and electric textures, we wanted comes to and to play to go away from the thriller sound you hear most with bands, and he’s a very open-minded photo ©2005 New Line Cinema; All Rights Reserved. Bring ’Em On of the time now where it’s a mix of electronics musician. So we looked for textures with the This year, Desplat faces the ultimate test for any and drums and world instruments so we chose a cello, and in fact most of the time he’s doubling film composer: the Hollywood . In more classical approach like ‘Bernard Herrmann the cello parts and blending it with his electric

Hostage, Bruce Willis plays a former LAPD hos- meets Alexandre Desplat,’ I suppose. Beyond the sound. But with the guitar I kind of didn’t know The Upside of Anger tage negotiator haunted by a past mistake who’s elements we wrote in were the electric cello and what to do because of the bowing, the bowing taken a job as a small-town sheriff. When three a child’s voice who’s haunting Bruce’s memory. brings a very special quality, so here and there troubled youths hold a family hostage in their We wanted the vocal of the child to be like a he used sample pedals and we created little fortress-like Southern California home, Willis’ real child, not like a choirboy singing perfectly electric loops with delays and things that just character is forced to revisit his old career and in tune like he came out of a London , so blend the orchestra to break the classical color become far more deeply involved in the crisis in fact it’s my daughter singing—she’s a good of the London a bit.” Desplat played than he’d like. Director had singer but she’s not like a soloist. We heard her the recorder himself on the score in scenes that

directed two French thrillers, A Minute of singing and we thought that had much more focus on a young boy sneaking through the Hostage photo ©2005 Miramax Films;

MARCH/APRIL 2005 12 FILM SCORE MAGAZINE FSM102 house unbeknownst to the hostage takers. “This lyrical, which is why I can look back to as I said, character is like a little elf, he’s got this little funny Bernard Herrmann and even Jerry Goldsmith— face and I suggested that in this thriller, which is even though there are a lot of hits in the cues and not at all a period film or even set in the country- the cues really help in the action, but even then side, I thought that we could have this little elf-y a lot of the cues have these long with a sound and I think it fits the little boy.” very lyrical melody on the top, and I tried to link For the film’s heavies, a sound was developed all that both with melodies and the lyrical feel of that was as far from pastoral as possible. “We it. Florent [Siri] is a very lyrical person; he likes decided that the bad guys, the killers, would have when the music really has a heart, and I think a different color, and only they are electronic, that may be the main important aspect of the with Japanese bowls, so we tried to separate score, to always have this core element.” the whole score from them—each time they appear they’re a kind of misty, weird musical Off to a Great Start color, which is only linked once in a while to Desplat is probably one of the few composers the rest of the score—sometimes their theme who can claim to have a Bruce Willis action is in the orchestral version but in another scene, movie and a sensitive /Joan Allen not when it’s on them. With them it’s always this dramedy released in theaters in the same month gloomy, weird, floating music, almost new-age- (okay, he’s the only one). The Upside of Anger y, and it’s not like this ‘here come the bad guys’ follows divorcée Joan Allen, her thing; we’re playing another color I think.” (including Alicia Witt and Felicity’s Keri Russell) While the art project Birth allowed Desplat and Allen’s relationship with boozy former base- to engage in almost free-form scoring, writing ball player Costner. “It’s a very intimate, gentle, through long sequences without hitting the film’s beautiful emotional movie,” Desplat says. “The visuals specifically, Hostage offered the technical way [writer/director] introduced challenge of matching music to extravagant me to the movie was that it was a very sad but still action and visual dynamics, but Desplat insists light film. It’s a sad comedy or a “dramedy,” so we that these necessities didn’t force him to abandon talked about some of the Italian comedies of the classical construction in his score. “Of course it’s ’60s, how they were always hiding something a different kind of approach but many of the really sad or really dark, so I wanted the movie to pieces are still long and developed and also very have this melancholic touch to it. Then when it’s

FILM SCORE MAGAZINE 13 MARCH/APRIL 2005 DOWNBEAT light the smile is not complete; there’s always So Far So Good sense if you think about it, but the color of the a little thing that makes you understand that Desplat’s experience with Hollywood has been instrument does make sense. There’s a mandolin it’s not so light. There’s a main theme, and a entirely positive. “All the team on Hostage, from and we’re not in Venice but you forget about couple of characters’ themes (one for Kevin Arnold Rifkin to Mark Gordon, were very car- that because it’s connected with the rest of the Costner, and for all of the girls together), and ing. I sent demos very early in the process and I and it’s just the emotion that it to get this delicate tenderness and darkness at think they liked the demos and trusted us, and brings that’s important. The key word is really the same time, I used a with when they saw the movie and heard the score emotion, as much emotion as I can bring up very few woodwinds and not in all the cues, they understood what we were doing. I’m a bit with my score, that’s the best thing I think I can and there’s a mandolin and an African sanza surprised and I was expecting more pressure I achieve and that’s what I’m here for, to empha- that I played myself, this little thing you can must say. Even on The Upside of Anger it was size emotions or bring emotions that are hidden. play with your thumbs and you can tune it a great studio time with Mike Binder and his And there are many ways to do that—it can be up; it’s like little metal pieces that resonate brother. There was never one issue; even using done very subtly or it can be done with a very on a gourd. It’s an almost eerie sound and this African instrument on the Detroit story in lyrical theme played by an orchestra out loud, a bit out of tune because it’s not a tempered the house in the suburbs with this American like the opening of Hostage—I think the opening instrument.” woman and her four children doesn’t make of Hostage just pulls you in.” FSM

I, Palindromes, I From punk to pastiche, Nathan Larson talks indie film music. • By Jeff Bond

ndependent filmmakers don’t come more independent than ITodd Solondz, the man who made twisted heroes out of a socially chal- lenged teenaged girl in Welcome to the Dollhouse and a Ward Cleaver- like child molester in Happiness. And filmmakers don’t come much more commercial than Joel Schumacher, TAKE SOLONDZ: Alexander Brickel and Sharon Wilkins welcome a little happiness into their lives. who’s spent the past decade or so trying to make Nathan Larson: I was living in New York primary source of income and my full-time job, up for foisting Batman and Robin on the world. and I was in a rock band and came from that which was a real lifestyle shift. Somehow musician Nathan Larson, sometimes world and it was sort of a fluke to get into the FSM: Other than working in your band, what known in his guise as head of Shudder film stuff, but it happened that a lot of my kind of musical training did you have when you to Think, has found a way to work with both friends and a lot of fans of my band were film- got started scoring films? of these polar opposites in the world of film. makers or film students, and it was a pretty small NL: Exactly none. I came from the punk Beginning with Lisa Cholodenko’s low-key scene going back 10 or 15 years and it’s still kind rock school of just picking up an instrument lesbian drama High Art in 1998, Larson has of a small group with the Killer Films people and and banging on it, and as you start to get more applied music to some of the highest-profile and Todd Solondz, all these folks and more proficient, it’s funny I feel like I should independent art films of the past few years, working and making great, challenging stuff. I have gone to school sometimes especially when including Boys Don’t Cry, Tigerland, Prozac did something for a movie called First Love, Last I’m working with string players where you Nation, Dirty Pretty Things, Storytelling and Rights that nobody saw with Giovanni Ribisi really need to have everything notated. It leads The Woodsman. In our conversation with the and from then on it took off in a weird way. My to funny situations with me standing in the composer, Larson traces his connections back band did a movie called High Art, which was room giving them complete nonsense where to a group of young filmmakers working out just myself and this singer, and then I went on they don’t know what I’m talking about, which of New York. my own with Boys Don’t Cry and it became my I guess is why we have orchestrators. As these

MARCH/APRIL 2005 14 FILM SCORE MAGAZINE things came up I just learned how to deal with it But I think we also come from and I’m still learning as the technology changes similar backgrounds and we everything gets a lot simpler for everybody. Right have a lot of the same cultural now I’m doing a film called Little Fish with Cate references and come from the Blanchett, which is an Australian film and they’re same part of the country. In posting in Sydney, so none of us are really in the thinking about it, what really same place at the same time and I have an FTP made me want to pursue and site and I post the music and they post the film love was and we never have to even meet. when I saw Welcome to the Dollhouse for the first time FSM: I can’t imagine two people further and I thought it was a new apart on the artistic spectrum than Todd kind of moviemaking. There : Colin Farrell plays dogface in Tigerland. Solondz and Joel Schumacher. You did Tigerland was tremendous independent for Schumacher quite early in your career, and filmmaking in the ’60s and Schumacher was such a big name. ’70s, but in the ’80s with my NL: Joel’s great because Boys Don’t Cry had limited knowledge of film his- just played and we had no idea that was going tory I was blown away by it, so to turn into what it did, and when I came on to be working with a guy like the project it hadn’t been sold and their budget him is a fantastic thing. was miniscule. Then I suddenly had an agent, which was strange in itself, and he was calling FSM: How does he want me saying you have to go meet this guy Joel music applied in his films? Schumacher. All I’d heard of that he had done NL: I think initially, and I was Falling Down, which I really loved, it was the don’t know to what degree I’ve only movie I had really liked a moment where it could have gone either way affected this, but I think his conception of music in. I met Joel and he was this wonderful guy but and then he just goes ‘Great!’ In the middle of in the film was truly to be another element with a real blockbuster creator. He’s a hilarious guy that project—I was working on this really crappy which you can be sarcastic. Instead of exploring because he really plays the studios off of each eight-track thing and it was digital—and in the the idea of doing a kind of counterpoint thing other and he has four projects going at once and middle of that I realized it was not happening where you do something warm and emotional nobody knows what he’s doing at these studios, to synch it with the movie and there were some musically, it runs counter to what’s going on and he’ll be like ‘Oh, I’m tired of this one, I’m slightly action-oriented sequences and I had to onscreen—it’s just incredibly cynical. That was going to go to Ireland and work on the other do stuff I hadn’t had to do in Boys Don’t Cry, so sort of my goal with him when we worked one.’ Nobody knows where he is—it’s amazing I realized I had to get Pro Tools, which was the together at first; I didn’t work with him on that these guys can get into that position, but big thing everyone was talking about. I spent my Happiness, but one thing about Happiness that once you start generating that kind of money whole advance from Tigerland on this equip- really bugged me is: here’s this incredibly harsh you get a lot of freedom. ment and I had to kind of learn it; I don’t think I movie, it’s like give people a break—give people recorded anything for Tigerland on that system, some space to breathe. Even though he didn’t FSM: You did manage to get a lot of atmo- but I had to learn it in the midst of that project. I really want to, I wanted to inject some warmth sphere and a real authentic sound in the still do all my own engineering generally and try into this sort of cold universe that he operates Tigerland score on what must have been a small to play as many of the instruments as I can, bar- in. Because I know him and I know he is actually budget. ring strings and orchestral stuff, which I haven’t a very emotional guy and he wants people to be NL: It has a small feeling to it, but it was really gotten into at this point in my career other moved by these stories as well, so I hoped that I the biggest-budgeted thing even though you than small ensembles. I think the most players helped with that. wouldn’t know that by looking into it. That was I’ve had in a room is about 12. my big trial by fire, that project. I had to get over FSM: What’s the approach in Palindromes? the hurdle and I had no sense of professionalism FSM: You’ve done two projects now with NL: That was a pretty smooth project. or protocol or what it meant to be a composer Todd Solondz, who must be one of the most Nobody would touch that script, first of all, and when he said ‘when we get to the stage’ I uncompromising filmmakers working right even old friends in the New York independent didn’t know what that meant. What I delivered now. What’s your relationship like with him? film scene, producers and financiers wouldn’t to Joel initially was to my mind the finished NL: I think when we have to we can schmooze, come near it because of the political climate. score, and that did wind up in the movie even- but I think both of us are fundamentally sort This was in 2001 and the post-9/11 fear and tually but it was basically me hitting a drum and of antisocial, and we understand the need for the kind of fundamentalist views that arose in this Chinese guy I found in the subway playing solitude and respect and giving people space to our own country after 9/11, his script was just this ehru thing, all recorded in a rehearsal space do their thing and that’s the key component of a hot potato. So no one would touch it and in . There was a moment with Joel our relationship. He drives me nuts sometimes he decided to fund it with his own money, where he said ‘Well, this is fantastic and I love and it’s like any other relationship where we get which was an amazing thing because he risked it—it’ll really be great when you get to the scor- into this cycle where nothing I’m doing is good complete financial ruin. Luckily he sold the ing stage and record it.’ I had to say ‘Well, this is it, enough and we change it and change it and then movie, but there was a very good chance that he actually—this is what I had in mind.’ There was we wind up right back at the first thing I tried. (continued on page 52)

FILM SCORE MAGAZINE 15 MARCH/APRIL 2005 SIN Triplets inSin City ’s Score By John Allina Robert Rodriguez Multiplies

But when Robert Rodriguez’s wife, Sin City co-producer Elizabeth Avellan, asked if he needed any help writing the music—there was still a lot of money in the music budget—it sparked the idea for Rodriguez to use three com- posers for the Sin City score. “I said, ‘You know, I have three directors, I have three sto- A one-man moviemaking ries, maybe I should have three composers.’ I hadn’t written the themes for the other two main characters. There are three machine, Robert Rodriguez is the flip side of main characters, and each one has their own narration. So I thought that’d be really cool if even though the themes would , who early on had the clout all be the same, based on the Sin City theme, each one had their own composer identity as well.” to control every aspect of his productions. Based on Frank Miller’s series of graphic novels, Sin City weaves together three of the stories: The Hard Goodbye, The Rodriguez did so out of necessity, being a bare- Big Fat Kill and The Yellow Bastard. And it’s co-directed by Robert Rodriguez, Frank Miller and . bones, independent filmmaker. But Rodriguez has continued filling virtually every role on his Make It a Triple Initially, Rodriguez was faced with a unique challenge scoring productions, even though his reputation as a Sin City: how to write music for a movie with a film-noir look but modern-day sensibility. director can now secure him healthy, even over- “That’s actually what was exciting about doing it. I’d always wanted to do a , but I was afraid it would be too artwork ©2005 Miramax Films; All Rights Reserved. nostalgic. And when I read the Sin City books, I thought,

sized, studio budgets. Sin City

MARCH/APRIL 2005 16 FILM SCORE MAGAZINE ‘There’s nothing to worry about with these, they’re so mod- in the movie—The Yellow Bastard—the one that ended up ern and savage.’ Actually, the film noirs for their time period sounding the most orchestral because it had a more film-noir, were really savage. That’s what made this feel so modern and almost detective, feel to it. Originally, he’d planned on doing updated and new, is that you could play the conventions of everything with samples and not using real instruments— a film noir, but things going on onscreen are things you’ve Rodriguez is constantly adding to his library of sounds. “I never seen before in a movie. It really made it feel new. I wanted to keep it very new sounding and distorted, so it wanted to have the best of both by making something that wouldn’t be much use to real instruments, except for lead felt like it had its beginnings in film noir but was really turned instruments like saxophone and .” on its ear, and really more twisted up.” And then Rodriguez upped the ante in The Yellow Bastard To accomplish this blending of film noir and modern part. styles, Rodriguez took a saxophone, detuned it in post- He licensed a source cue from the ’30s by Mexican com- production, and made things sound subterranean and poser Silvestre Revueltas called The Killing of the Snake. “It’s dark, purposefully twisting them around so they didn’t a concert piece, but it sounds so much like a film-noir piece, have that sense of nostalgia, but felt like something I ended up using it as one of the main action builds. It plays modern. for almost five minutes at . And that’s where it gave me There was only a suggestion for what was playing in a the idea that I really needed to use more brass bar scene, and that was it. So Rodriguez shot some tests and put temp music on it, running it by Frank Miller.

Sin City takes their cues from the comics.

SEEN YOU IN THE FUNNY PAGES: The cast of

and strings in my episode, because it felt so right for that. But it’s played in 7/8 (and occasionally in 7/16) time, [with] a “Frank said, ‘Wow, I love that music,’ and I said, ‘Ah, that’s really strange use of instrumentation, and I wanted to use that 3, Frank.’ There was a private-eye section in that, and sort of idea throughout the score, especially in the episode I had a saxophone line, but it was playing real sort of sleazy. I did that had more orchestra to just make it unpredictable And then when I did the first opening sequence, I went ahead and feel free to be weird—and not play too much along the and scored it. This was about a year ago, and I just did some- conventions of a traditional film-noir score, but still have ele- thing pretty quick with that idea of descending into Sin City, ments of it so that people who love the genre as well feel a sort of these lines that keep descending lower and lower. I nod to it but don’t feel it’s just a remake of an old film noir. used saxophone and some loops and other weird tonal things It’s a great mesmerizing piece, and it’s perfect for my movie, to just make it really unnerving. And he loved that.” because that’s what that whole scene is about, going in and With Frank Miller’s nod of approval, Rodriguez went on killing this one guy, The Yellow Bastard. And it just sounds so and refined the Sin City theme. Rodriguez used baritone gui- epic and grand and weird. tars, and detuned saxophones from a tenor to a bass, with a baritone tuned down at times to almost fog-horn level. The theme is introduced in the first three short scenes along with Mortal Sin the main titles. It sets up a descending line, a tone that plays Then it was time to bring Graeme Revell and John Debney throughout the movie. aboard. The first story in Sin City, The Hard Goodbye, is Rodriguez had found himself attracted to the third story Mickey Rourke’s story. “His character is sort of like a modern

FILM SCORE MAGAZINE 17 MARCH/APRIL 2005 Conan. He’s born in the wrong century, so I thought something and Robert does that. He did a great job coming up with the themes really metallic and percussion-driven for him, with instruments that Graeme and I integrated into our scores.” that you don’t recognize would be perfect for Graeme, whom I’d In their own ways, Revell and Debney extrapolated from the worked with on .” main theme, creating their own character themes, ensuring a unify- Revell thrived with the leeway Rodriguez gave him. “Mostly it’s ing element to the score, so it didn’t sound like three separate scores. fun working on something that doesn’t predetermine the music. If Rodriguez made sure that, “Just like each person has their own nar- you work on a genre or action picture, the music is largely prede- ration, they would have their own musical identity.” termined. Within certain limits, you can experiment, but not very much, as a rule. This was so creatively shot and Robert was ask- Scripting and Scoring ing me to be so creative in the kind of soundscapes I was putting A largely self-taught musician, Rodriguez is proficient on saxo- together. I haven’t had so much fun in a long time.” phone, and guitar. He’d already worked on more rock-based There’s been a definite musical progression in Rodriguez’s scores for El Mariachi and Desperado, but it was Spy Kids that approach to film scores. And Graeme Revell easily picked up on it. brought him into the world of orchestral scores. “Robert just sort of developed a really funky “Spy Kids was going to be my first big orchestral score, and I asked Danny Elfman, ‘What do I do?’ And Danny was just like, ‘Why don’t you do the score?’ ‘Oh, yeah, like it’s that easy.’ But just the way he looked at me made it seem like I could do it. So I wrote a couple of big pieces for Spy Kids and got really inspired. Since then, I’ve tried to make myself do my own scores, so I’ll learn on the job. The best way to learn is make yourself the composer, and then the deadline’s coming up, and you’re like, ‘Oh, my , I’ve got to write a whole score!’” But it’s unusual for a director to score his own movies. Granted, Rodriguez is very hands-on in the movie process—directing, writing, editing, producing, designing—but the score is something handed over to someone else when there’s already a cut of the movie. So what’s the advantage of scor- 3 COMPOSERS, 2 DIRECTORS: Rodriguez and Miller on set, Debney and Revell on tap. ing his own movies? kind of approach to music “The dilemma is, a composer needs a couple of weeks just to get writing. It’s very interesting the way he puts elements their heads into the material that you’ve worked on for years. And together as well. And in this case, the Sin City ideas, he’s getting then they have only a few weeks to put out a score. There’s no way quite comfortable with samplers and what they can do, putting I’m gonna like everything they turn over in that amount of time, acoustic elements into samplers and changing notes around, and and there isn’t more time, that’s just the way post- schedules are.” using all the plug-in elements. He’s got great facility now to go along On Sin City, even before the main shoot was started, the main with his ideas.” theme, musical ideas and instrumentation had already been chosen. John Debney, who worked with Rodriguez on the first two Spy “As I’m writing the script, I’ll be getting ideas for what a person Kids movies, was handed Sin City’s second story—The Big Fat Kill. It sounds like musically, I’ll start writing ideas and store it away. When features Clive Owen as Dwight, a do-gooder for whom nothing goes it comes time to write the score, I’ve already got all the main themes, right, and incorporates a love story. “I just gave John that because it a lot of the cues already written, before I’ve even shot picture. So you had a great romantic sweep to it. And he could do something really get a much bigger jump ahead than you would if you were to hire a bold and different with that. He loves getting that kind of challenge. composer at the end. And then if you were to get a composer, well, ‘Hey, take this, and make it really screwed up.’ I’m de-tuning saxo- you’ve already got a lot of the work done to hand over to them. The phones and all kinds of weirdness, so he should feel free to make it music is such an important part of the movie that you don’t want to nontraditional and just weird.” have to rush a composer to come up with all of that.” Integration was at a premium on Sin City, with Debney even But film composers shouldn’t worry about their ranks thinning using a little of a theme Rodriguez and Revell wrote called “Old out any time soon. There aren’t a lot of directors who score their Town Girls” for a group of heroines in Sin City. Debney in fact own movies, but for the ones who do, John Debney is in favor of thinks what Rodriguez does best musically is come up with very it. “I think it’s pretty cool. We all do different things. I’m writing a nice melodies and motifs. “Robert really has a gift of finding nice, script right now. I think it’s part of being an artist. You always want rather simple, catchy phrases, motifs, and turning them into a score. to grow, you always want to try something different.” And on Sin There are a lot of really talented composers who can skillfully craft a City, three scores were better than one. FSM score, but there aren’t a lot of them that can write a catchy melody, John Allina is a regular contributor to FSM.

MARCH/APRIL 2005 18 FILM SCORE MAGAZINE MUSICfora DARKENED DANNY ELFMAN Premieres His First Concert Composition at HALL Carnegie Hall By LUKE GOLJAN “It’s not too late to leave,” quips Elfman nervously. “Remember Invasion of the Body Snatchers? I want to run, yelling ‘Get out! Get out while you still can!’” He glances around the room uneasily, smiling with all the conviction of a funeral attendee. The Heineken he’s holding seems like it must have been accepted as a gesture of politeness, since it’s only missing one sip. Though responsible for providing some of the most memorable film themes of all time, as well as helming a successful rock

FILM SCORE MAGAZINE 19 MARCH/APRIL 2005 band that used to play an annual Halloween away from Elfman himself, so I know the sound forth in full comedic sensibility. As it comes to a concert before throngs of devoted fans, Danny is going to be ideal. I glance down at the pro- close after seven minutes, with the restatement of Elfman seems completely out of his element. gram—there are six parts to Elfman’s piece, the the opening theme, it has encompassed a broad It’s Wednesday, February 23, 2005 at Carnegie first labeled “.” Quiet. Deep breath. range of emotion. Hall, and the American Composers Orchestra is about to perform the world premiere of , Elfman’s first composi- “Pianos” “Blue Strings” tion written specifically for the concert hall. The first notes begin. Expectedly, piano notes “Blue Strings” is next, beginning with low, Excepting his early musical theater work for Le echo slowly, then unexpectedly pick out a theme conspiratorial string lines and faint woodwinds. Grand Magic Circus, back even before the days entirely exciting and new…like nothing else Ver y Dolores Claiborne. There’s a sense of pro- of , Elfman has always had the heard in Elfman’s repertoire. Gently the wood- gression in the piece, as if it’s moving forward benefit of pre-existing visuals to fuel his music. toward some sort of discovery. Concentrating To Elfman, this must feel a bit like diving into fully on the strings this time, Elfman reveals Batman without first having had the chance to once more his love for Bernard Herrmann, with work on Pee-Wee or . dark melody and dissonant brass. Aside from the The orchestra has just performed Blanco, opening woodwinds, this brass is the only non- Azul, Rojo by Manly Romero and Dark string element of this 10-minute movement. Florescence: Variations for Two Guitars and There’s plenty of the foreboding mood of Sleepy Orchestra by Ingram Marshall. Blanco contains Hollow and , all the while pro- exactly the Spanish flavor of bright pelled forward by the strings, which from time melodies and dance rhythms you’d expect from to time dart into a gentle sawing of the Psycho its name, combined with Stravinsky-like dis- main titles. “Strings” never gets as urgent as sonance. Dark could easily have been penned “Pianos,” but carries much more definitive emo- by , the guitar blending into the tion. Easily an end-credits piece or score to a piv- orchestra as a sad, wailing instrument, instead of otal dramatic sequence, this is Elfman in filmic forcing itself into its own genre like a rebellious mode. The music could be telling a story…what teen. The elegiac wailing chirps over strings at story that is remains up to the listener. the close of the piece certainly left the audi- ence with something they’d remember besides Elfman’s composition. A more eclectic selection “A Brass Thing” of music would be difficult to assemble, and it It’s about time for a march, and “A Brass makes it a little easier to understand why Elfman NOT NERVOUS AT ALL. REALLY: Composer Elfman Thing” is more than willing to oblige, strut- is nervous. This is, after all, concert-hall music, flashes a trademark relaxed grin. ting forward with punctuating trumpets until and he writes music for films. launching into an almost overt statement of Tim Burton, on the other hand, strolls about winds join and becomes more frenetic, the theme from Psycho and then fading into a during intermission with Helena Bonham though still lively and bright. It swirls and dips wailing jazz trumpet. The pace keeps up for a Carter (Bonham Carter-Burton?), shaking the and suddenly the rest of the orchestra jumps in few minutes more before breaking down for a hands of fans and obliging with autographs. “As with rapid urgency, propelling the piece forward brief Vertigo-inspired interlude that curiously a fellow filmmaker, I’ve got to tell you, you’re from innocent beauty into serious drama. In a slips into ’20s jazz in one of the evening’s most such an inspiration,” I say to him, completely film, it’d be an action set-piece. It actually cre- memorable moments. Unlike “Pianos,” which blowing my chance of distinguishing myself scendos exactly the way you’d expect the “final shifted all over the place, “Brass” dances between from legions of other fans. “I’ve seen Batman countdown of the bomb” to do. Then it decides two different moods, subdued and action-ori- over 50 times,” I follow up with. Nicely done, I to abruptly turn left—and that’s when things get ented, a bit like one of those movie moments now appear completely psychotic…only hav- interesting. where shots of the hero fighting are intercut ing my attractive girlfriend in tow keeps me Elfman’s music has usually had to compete with scenes of other characters chatting away in from looking as utterly pathetic as the fan who with visual imagery. Both fueled by it and a blissful ignorance of the ongoing battle. “Brass” vigorously rubbed the spot on the ground where slave to it, the visual has been an integral and gently dances away into glissando strings and Elfman had paused to sign an autograph. irrevocable part of his inspiration. Here Elfman gentle woodwinds before culminating in a shrill “Well good luck with that—the filmmaking,” must command attention with music alone. And climax that fades into a woodwind restatement Burton smiles and against my better judgment no singing à la Boingo…he’s working with pure of the march. More concise than its predecessors, I stumble to Helena Bonham Carter, “Oh, and orchestra. So every moment isn’t necessarily it concludes after about five minutes. you were fantastic in Novocaine,” not wanting to about emotion this time. Now he can take an appear like the only work of hers I had ever seen idea and run with it, play with it and twist it, was Fight Club. She smiles politely. I should have fully exploring the possibilities without worry- “Quadruped Patrol” just gone for broke and told her I was rooting ing whether or not it matches against a movie. “Quadruped Patrol” marks the first movement for Marky Mark to kiss her the entire time I was “Pianos” does just that. The piano theme from of the evening to carry a name that beckons the watching Burton’s remake. No the opening sequence rapidly spreads out into listener to envision anything in particular. It also chance either of them would have forgotten that. the orchestra, other instruments jumping in marks the first appearance of the ACO Singers, The chime sounds and it’s time to settle back and out, the piano never getting a break. Here a welcome sight for fans of Elfman’s writing into our seats. I’m in a balcony about eight seats the piece becomes sleepy, bouncing back and for voice. Beginning fiercely and building

MARCH/APRIL 2005 20 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 21 MARCH/APRIL 2005 continuously, the voices punctuate the propulsive and bells toll as the piece finally slows and then melody ever forward as the beats becomes a restatement of “Quadruped Patrol.” A dramatically with an organ-like sound. This is soft string swirl takes the piece to completion, the only truly sinister movement of the evening, eliciting thunderous applause. amusingly juxtaposed with a seemingly cute title. After a several-minute-long standing ovation Horns bleatthe melody and the entire orchestra and a few bows, a beaming Elfman wanders jumps into a sudden crescendo, the strings off the stage. Later in the lobby, while speaking swirling about in an intense spinning motif until excitedly to his brother Richard, it’s clear his fears picking up one last time in staccato as the piece have been allayed. No one ran screaming. He’s slowly peters out. The shortest movement of the cleared another hurdle and proven himself in yet evening, “Quadruped” ends after only two-and- another arena. a-half minutes. There’s something about hearing concert music “I Forget” performed live that cannot be replicated in The highlight of the evening, “I Forget,” any way. Unlike pop concerts, where the entire marks the first time Elfman’s orchestral writing audience screams for the singer’s attention, in a has featured spoken words in the chorus. Usually concert hall everyone shuts up and listens to a limited to “oohs” and occasionally nonsensical unique performance echo about them. Elfman’s words as in , here the female chorus music sustained itself, played by an 80-piece sings sprightly Spanish to the accompani- orchestra without the aid of any enhancement. ment of alternately happy woodwinds and harp In an age of samples and midi, that’s very and suddenly crashing full orchestra. Beginning refreshing. He rose to the challenge with 40 min- with a statement of the theme over pizzicato utes of entirely new material and even ventured strings and , the first female vocal sud- into uncharted territory. denly slides in. Operatic and grand, her voice Flashback to the intermission, where I’m becomes another instrument, weaving back and embarrassing myself for the second time that forth from actual words into accentuating sighs. evening by mentioning Batman: “It was the The music dances about with a fervent mastery, first CD I ever owned! I can’t wait to hear your commanding full attention and progressing new piece—I’ll be reviewing it for Film Score beautifully, developing both the vocal motif Monthly,” I say. and orchestral flourishes in equal parts. It isn’t “You can still leave and save yourself,” replies an or a Batman or a Mars Elfman. Attacks, but rather something completely new. “I’m sure it will be incredible,” I say, neglecting Screen Archives To witness the exploration of new ground by again to say something memorable, more like: a masterful composer is a breathtaking experi- Track seven of The Frighteners is freaking amaz- Entertainment ence, and to hear him succeed on all levels is ing and gives me goose bumps every time I hear it. mind-blowing. “I Forget” is simply amazing, like I purchased my stereo based on how well it played nothing else Elfman has ever done, but with all track 13 on that album. In eighth grade I wrote Featuring a large selection of the elements he’s always used. A title has never a short story about inviting you, Tim Burton and been so ironic. Bob Kane over for dinner. It’s a tragedy that Jimmy new domestic and import Calicutt will never see the light of day, releases, plus out-of-print CDs. because your corporate song on that “Bells” was such an amazing intertwining We sell more than just FSM The final piece of the of the Psycho theme and clever titles—give us a try and you won’t evening, “Bells” begins with, lyrics. My girlfriend wants you to well, bells. A theme akin to compose a piece for our wedding. I be disappointed! Sleepy Hollow’s threads its don’t think to say any of this. But way through the orchestra- in the end, it doesn’t really matter. tion, in a manner befitting any Elfman is never going to forget Major credit cards accepted. of Elfman’s more recent film this evening, when he again dis- Write for a free catalog! projects. Though the move- played his virtuosity, this time ment remains mostly subdued, in a concert hall full of devoted P.O.Box 500, Linden, VA 22642 there is a sense of progression music fans. NOW SHE’S HIS FIANCÉE: ph. (540) 635-2575 throughout. Two minutes in, Luke’s attractive girlfriend. things get urgent, the strings Incidentally, later that night I fax: (540) 635-8554 saw as the brass wails over arpeg- proposed to my attractive girlfriend atop [email protected] giated piano and the theme of the entire piece the spinning The View lounge in Times Square, changes to a desperate one. Threatening and so chances are neither of us will ever forget that www.screenarchives.com serious, the female vocals wail back and forth evening either. FSM

FILM SCORE MAGAZINE 21 MARCH/APRIL 2005 Max Steiner: When it came to the Academy...this [Gone With the Wind] is a classic...and everybody won, the picture won, the director won, the writer won, Vivien won, Gable won, everybody won except me. memories of I am the only one who didn’t win. I lost... Myrl: What was the score that won that year? MS: Stagecoach. They had nine composers on that. They did all the western tunes. No one will ever understand what happened there. I had a player by the name...uh, Osborn I think, and he was a friend of mine from New York before I came out here. He used to play with me when I conducted in New York. You know I did musicals there. and all kinds of things. He was very very fond of me and we were very good friends. In fact we used to play cards together. I had him in my orchestra. You know what a viola is, don’t you? MAX Myrl: Yes...yes. MS: Well, one morning, towards the end...we did the end of the P A R T T W O first half when she talks the oath...you know when [Scarlett] says I will never be poor again...and he came to me and he said, “Max, this is such great music.” Myrl: This is the oath portion? MS: No, no, the score. He says, “You know it’s wonderful. If I have to die...I want to die playing in the orchestra with you.” Ten minutes later he dropped dead. Myrl: . MS: Yes. Myrl: Right after saying that? MS: Not right after...10 or 15 minutes later. Myrl: Even then, people playing that score must have loved that music. MS: Yes.

Too Many to Count Myrl: You have won two , haven’t you? MS: I won three. I won three and I won twice in Venice. Myrl: I know two of them, what was the third one? Have you won one since 1961? MS: No. They wouldn’t let me in anymore. You don’t know how they work in the Academy. I won one for The Informer, the first one. That’s the Oscar on the left over there on the piano. I won one for Now Voyager and for . The next thing there [on the piano] is the big statue from the , for Treasure of Sierra Madre. Myrl: Another wonderful film. MS: Then I got the Legion from France, the Gold Medal from Brussels. I have 26 nominations. And 14 years, the Exhibitor awards. Fourteen straight years. But I haven’t worked in the last two years. In the conclusion of this historic Myrl: Has any producer asked you to work? MS: No. Nobody wants me. No more. They don’t want me. They say interview conducted with that I am too ugly. [laughs] No, I had two eye operations and they didn’t work, so I don’t see very well, and I am colorblind now. I don’t care. I don’t want to work anymore. I have done 200.. Max Steiner in 1967, the legendary Myrl: —and 76. MS: No I couldn’t have done that much. Two hundred and...I would composer discusses music in general and say...let me see...over 36 years—212 or 213. You couldn’t wait...you had to do 10 pictures or so a year. Gone With the Wind in particular... Myrl: I have a book here: Films in Review of 1961, June and July. It says you have done 273 films. MS: No it means that—I didn’t do that many...No, it’s just publicity. BY MYRL A. SCHREIBMAN But they are counting musicals. Myrl: Yes. MS: I was a conductor of music and an orchestrator.

MARCH/APRIL 2005 22 FILM SCORE MAGAZINE Myrl: Yes, it says that. song and he goes back again and he has the music accompany MS: But I don’t count that. I only count my own work. him to...what we call a recitative. Myrl: Did you arrange Gone With the Wind also? It is something that sometimes goes no place you see. I said MS: Arrange? No one arranges my music. he would have made a great picture composer. But I don’t Myrl: I had come across other information that said there particularly care for his music. It’s too Nazi. You know he was were other arrangers working on it with you. a Nazi. He was one of the first Nazis. He used to hate the Jews. MS: Well, certainly. But it’s all from me. Nobody arranges I am a Viennese. I hope you know that. anything from me. They just orchestrate what I write down. Myrl: I know that. Myrl: I had that—Let’s see... MS: When I was a child I found out that his uncle was the MS: There were five of them. manager of the orchestra of the Imperial Opera house. That Myrl: , Adolph Deutsche, Morris Dupak, anybody who was a Jew was out. He wouldn’t even let them Bernard Kahn, and Reginald Bassett. play. MS: Hmm...I don’t remember him. Why sure, you got Myrl: Really? to have orchestrators. How are you going to write all that? MS: Oh yes. He was a son of a bitch. And she was worse [laughs] than he was. Cosima Wagner. You couldn’t do it. It’s done from score. You see, I write six Myrl: Was that his wife? lines, or eight lines. The original. They take it off and put it in score. It’s no great trick...I wish I had the books. But they are not here. They are at the studio because we are doing a new album of Gone With the Wind in New York. A new folio with all the pictures of the characters. I mean sheet music. A new record just came out from England, from whatcha call it...Readers Digest. Myrl: Uh-huh. MS: It’s very good. They have Jezebel in there...Now Voyager—Are you hot? Myrl: No, I’m all right. I had come across some information and from what you told me today, I am assuming you are a real lover of [composer] . MS: No. MS: Cosima Wagner? Oh sure. She was his wife. They don’t Myrl: You’re not? Well then I better not say that I came say that. You know. across it in my research. [very nervous laugh] I came across Myrl: I have a music professor who is a great lover of some information that said...one critic said you patterned Wagner. He is often quoting Wagner. much of your work after Wagner. MS: Well, Wagner was undoubtedly a great composer. MS: Oh well, this has nothing to do with being a lover of There is no question about that. I just don’t particularly care Wagner. I said— for his music. Some of his music. I lean towards Tchaikovsky Myrl: And he was— and [Rimsky-]Korsakov. I like French music better. I don’t like MS: Listen a minute...I said...see this is just like [then-Gov. Wagner much. Ronald] Reagan being misquoted. I said Richard Wagner MS: The reason I asked about Wagner was— would have been one of the greatest picture composers that MS: Well, was I right? ever lived. Because he was underscoring dialogue just like I Myrl: Yes, but critics have said that you wrote with a good do. They talk. They have these endless...uh...ad libs...if you deal of “round and balance melodies” whatever that means. know what I mean, you know....[he sings and hums a bit of MS: Well that means what we call . Leading Wagner]. melodies, that’s what it really means. I write that way. Why What the hell is that but underscoring? The same thing you sure. I studied Wagner in my youth and I think I learned a lot. write about. The same thing I was doing. He was underlining Puccini did the same darn thing. Any of the opera composers the whole action until he gets to a song and then he gets to a always carried their melodies and it came back and so forth. It

FILM SCORE MAGAZINE 23 MARCH/APRIL 2005 extras and they got $15 to lie down there. He had started on The old saying [goes], “Music in these dummies...a dummy lying there for a 10-minute scene was to be $30. [laughs] pictures should not be heard.” Now that is the silliest thing of Writing to Character Myrl: You said earlier that you wrote a theme for Scarlett. But course, that has ever been said it is not as evident. because if you have music in a MS: Oh...it doesn’t come off. It is only played about three times. That you can’t help. If it doesn’t fit, it doesn’t fit, in my picture that you don’t want to be opinion. Myrl: You associate Scarlett with Tara and the red earth heard, then why put music in? of Tara. MS: Well, certainly Scarlett is Tara. Myrl: Yet you wrote a theme for Scarlett? is hard to explain unless someone is a musician. Anyway, it is MS: I had another theme for Scarlett...but you cannot my way, which seems to have been successful. explain it. That’s just the way I write what’s in my mind. You Myrl: The critic also stated that you also wrote entirely in cannot explain it. I just didn’t think it belonged very well. I tempo. But that’s not entirely so. didn’t care. I had 14 themes I think. You can also in scores, MS: In tempo? What does that mean? Well certainly...What you can always theme yourself...if I can use that word. In other does that mean? words, you get too many themes and none of them come off Myrl: Entirely... because the people don’t remember. It’s too much. So I always MS: Oh for god sakes...Entirely!! try to get one or two that stick. Myrl: I know that’s ridiculous... Myrl: But do you think your audience watching the ALL THIS AND MS: I write 5/4, 7/8, 6/4, 2/4, cut times, what film and listening to the music will consciously remember HEAVEN P.U. [do] they call the other...anything you want. The this music (or associate this music) with this individual or Indians are always in 2/4 because they are always character? IN HIS INTERVIEW, MAX in a hurry because they want to go back to the MS: Oh I sure hope so. This is 28 years ago. The picture Steiner makes reference to reservation. In [3/4] they would never make it. hasn’t even opened up again yet. And I just got an invitation four of the 10 Oscar-nominated They would be dancing a Viennese waltz. from Tokyo to go there and conduct the Tokyo Symphony. My scores that were not to his Myrl: Something I want to ask you new records, the one I gave to you, are selling like hotcakes. liking. To which of these about—getting back to the Tara theme. And it And you ought to see the fan mail. They are waiting for the hackworks do you suppose he is also evident in the war theme. The Tara theme picture to open. I am too. I am anxious to see what they have might have been referring? sounds like a folk theme. done with it. I only hope they haven’t ruined it...or cut it too MS: It’s supposed to be. I was hoping for it. much. I hear they didn’t do anything. They cut any old way Alfie Myrl: You were? they want. They don’t care. I am talking about the powers that MS: I was hoping that it would be a folk be—the producers, the studios—they don’t care, a scissors Arabesque tune. Sure Tara is her [Scarlett’s] home. It’s her right through. They don’t care if it’s music or not. I hope it HENRY MANCINI plantation where she was born...her home where didn’t happen with this film. The she goes back [at] the finish. That’s your whole Myrl: In my notes that I have taken during my research TOSHIRO MAYUZUMI story right there. in listening to the score, it indicated that the first part of Born Free Myrl: That one theme? the score seemed to me to be objective. Colored for each MS: Yes, that one theme...that comes individual. For example, Ashley’s theme seems to be a quiet Fantastic Voyage back...’cause she goes back to it at the end. theme that emphasizes the beauty of his land. This is how it Myrl: This whole idea of using folk tunes for appeals to me. instance in the war segment. There is a passage MS: Uh-huh. Hawaii where you write “John Brown’s Body,” that song, Myrl: Now I don’t know if that was your intent with the ELMER BERNSTEIN and “Bonnie Blue Jeans.” score, but this is how it affected me. And the second part of Nevada Smith MS: Well look...there is...the scene where they the movie is more of a personal type of drama and the music ALFRED NEWMAN are all lying dead. There are Union soldiers, the is more personal and more subjective in terms of emotions The Russians Are Coming, Confederates...so I wove one into the other to and feelings. The Russians Are Coming! describe this moment where they are dead. There MS: Well, see, Ashley actually is a softie in the picture. Even is a funny story about that. These dead soldiers if he did go to war. Ashley was almost a fairy. The Sand Pebbles lying there, where you see thousands of them. Myrl: You mean Leslie Howard? JERRY GOLDSMITH Selznick had a great idea...getting dummies MS: No not him...Not Leslie, God love him. I adored him. Who’s Afraid of made and putting them in uniform and lying I mean the character Ashley was a weakling. Why Scarlett was Virginia Woolf? them down there. Each dummy used...they [the so anxious to sleep with him, no one will ever know. I mean ALEX NORTH rental company] wanted $30 dollars for, but as far as the story is concerned. Clark Gable was a he-man as the extras got paid $15. Selznick said to pay the Rhett Butler and Ashley was to me a softie and that is why extras $15 for lying down. So we used the real the music is like that. I was right the way I wrote it. Rhett

MARCH/APRIL 2005 24 FILM SCORE MAGAZINE Butler was a real he-man. “I print what I imagine.” Did he say that? Myrl: This is what I think is unique. A director can direct a picture one way and a composer can turn around and change the entire concept by doing something else with the music. A True Artist MS: Well if he does, he is a dead duck. He will fail. One Myrl: I gather you don’t like to listen to your music. of the reasons I am still somebody in the business, if I may MS: Oh I don’t want to hear it. Everybody comes here say so myself, is that I always subject myself to the film. I and they say let’s hear some of your music and I don’t want write what I see and what I hear and the way the character to hear it. affects me. That is why I have a rule I have had all my life. I Myrl: I didn’t say that. never...I never but never read a script. I have had one or two MS: Somebody calls me and says Charge of the Light bad experiences. I read a script and I think this is the greatest Brigade is playing tonight and I say, “So what?” I wouldn’t script I ever read and I see the picture and it is the most listen to it if you paid me. I don’t want to hear it again. horrible thing you ever saw. The characters are changing and Besides I am always disappointed because I always feel I you build up an image of characters when you read a script. could have done better. I am never satisfied. On the other hand I have read scripts that were so terrible I Myrl: That’s the sign of a true artist in my opinion. wouldn’t touch them. But when the picture came out, I loved MS: I have never heard a picture—lately when you hear it. So I decided I’d wait until I see the picture. I would never it on television—that I am satisfied. Something came on write...most producers never understand it. They say to me, the other day, Treasure of the Sierra Madre, and my wife and “Shall I send you the script?” and I say, “Hell no, I don’t want I would listen to it for about 10 or 20 minutes. And I said, to read it,” because I know it will steer me all wrong...good “Mama, do you want to hear this?” and she said, “No.” We or bad. turned it off. It’s like old hash. You know what I mean...it’s Myrl: So you never read the screenplay to Gone With the like warmed over. Wind? Myrl: Do you like the modern composers like Dimitri MS: No. Never. Tiomkin? Myrl: Did you read the book? MS: Modern? MS: No. That book is frightening. How long can you read? Myrl: Well, contemporary composer. [My professor It is too long. No, I saw the picture. He (Selznick) finished called him a modern composer.] it and then he called me. He borrowed me from Warner MS: Don’t call him a modern composer. He’s all right, I Brothers. I was under contract at Warner’s at the time. And I guess. No I am perfectly frank with you. I don’t understand came over and I saw it and I went crazy about it. Selznick and what they do now. What they are writing. A love scene I had been friends long before that. with bongo drums. I don’t understand it. I was asked in Myrl: From RKO an interview the other day on a Canadian broadcast and MS: Yes from RKO. Then I worked for him god knows... they asked me to comment on the modern scores that I Star Is Born, Tom Sawyer and Little Lord Fauntleroy and...let hear today. And I said that I cannot criticize anything that me see...I don’t remember. Then he borrowed me and I I don’t understand. To me, these new sound effect things, happened to have time because there was nothing for me they don’t mean anything. They are very destructive and to do at Warner’s, so I went over to do the picture. [For] disturbing. In many cases they ruin the picture. I can’t give Since You Went Away he borrowed me again. That was also a an opinion. I am not qualified. great picture I thought. It didn’t get anything [awards]...the I think that music in pictures should be for everybody. It Academy...not one award except me. In Gone With the Wind, should not be only for or, how should I say, the I was the only one who lost and with Since You Went Away I intellectuals. The music in pictures should be for my cook, was the only one who won. my chauffeur, my mother, my boy, my friend, whatever. Myrl: That’s very interesting that you don’t read a script. If I have to have a score that only the music students of MS: I don’t even bother. It doesn’t come off. When you UCLA can understand, that’s not for pictures. That’s not see a character and when you see it [the film], it is just the function of motion pictures. The function of motion the opposite of what you thought it was. [long pause] pictures is to entertain and the music should not disturb Anyhow, what do they say...that’s the story of my life. anybody, and these new scores are so, I won’t mention any That’s how I am. names, but I saw four pictures lately—I have been quite Myrl: The story of your life in a few minutes. Did you ill and I haven’t gone much—and I never heard anything write Gone With the Wind on more of an emotion than on an worse. All four of them have been nominated and I think intellectual thought? Did you just let it flow out? they just smell to high heaven. I am sorry, I hate to say it. MS: Myrl, I can’t answer that. I don’t know. I sit down, I Myrl: Well they have to be four of the five nominated. write whatever I can figure out...whatever comes to my mind. MS: No...10 have been nominated. I don’t understand Usually at night, in bed. it. I turned down five shows because I cannot write that Myrl: Yes I read that. And you wouldn’t be able to sleep way and I won’t. I will not. I write my way. All five shows and your wife would tell you to get up and write it down. I turned down because the people wanted a certain type MS: Oh yes. Sometimes I write some of my music in my of music—say modern—it isn’t modern. This is only for sleep, in my dreams, and then I get up in the morning and people who can’t invent. Most of these scores they have no write it down. There is no question of emotion. I don’t know invention at all. It is just noise and tricks. I don’t work that how to answer that. I write what I see...just like Da Vinci said, way. It will work out of it.

FILM SCORE MAGAZINE 25 MARCH/APRIL 2005 Music Makes the Movie fit the picture, but he thinks the tune is going to be a hit and Myrl: Bill Zeitan, who wrote the back of this [album] jacket he is going to get a “film” out of it. When he is liable to do cover...This is a quote: “Gone With the Wind would not be the the picture and keep on writing a little bit...Keep on at it...it’s classic it is without Mr. Steiner’s accompanying music, which murder. A composer has to submerge himself. The music creates a milieu in which the characters are more sharply should never be so obtrusive that it bothers you. That is defined, situations more deeply dramatic and the overall effect another version of the old saying, “Music in pictures should more completely stunning.” not be heard.” Now that is the silliest thing of course, that has MS: Well, that is very nice. He must be a nice guy if he says ever been said because if you have music in a picture that that about me. you don’t want to be heard, then why put music in? What do Myrl: Any comment about this statement? you mean? Why should music not be heard? It’s obvious...it’s MS: What should I say? Camarillo [State Hospital] where the insane people are. That’s Myrl: Well, basically he is saying that without your music silly. Music should not be heard! Well, then don’t put any the film would be a complete flop. music in, if it [the picture] is that MS: Oh no...no...that’s not so. bad. Do you follow me? Myrl, the music in the picture can Myrl: Uh-huh. never make it a . I am talking MS: But there is music that about it! A dramatic picture! But it annoys you. I don’t want to quote can never make it a flop. Gone With any picture, but there is one the Wind could have had the worst out right now that has the most score in the world and it still would annoying score I have ever heard have been a success. You couldn’t in my life. It spoiled the whole hurt that story and the characters picture for me and for everyone and everything. It is a classic. [With] else that I know of. It’s one of the music I think I helped and I am the big pictures. Terrible, terribly glad that people think so. And the obtrusive...annoying, repetitious success of the score, and too loud and so forth. [pause] recording—two more albums Oh...I have had [pause] my life and coming now. It is the same old thing To me, these new sound my career and I don’t care what they over and over again. That is the do anymore. reason record companies still record effect things, they don’t mean Myrl: But how do you feel that even after the composer your score Gone With the Wind has been dead for 50 years. But they anything. They are very stands up with the rest of the scores still play it again. This is the same that you have written? Do you, thing. No, no, don’t anyone ever fool destructive and disturbing. yourself, think it is the finest of themselves. Music will never make them all? a bad picture. It might help a little, In many cases they MS: Oh...finest? [whining] I don’t and a good score for a good picture know. I don’t know. It’s the biggest is the ideal combination. ruin the picture. picture that was ever made. There Myrl: Like Gone With the Wind! is no other picture that has lasted MS: Okay. A real good picture that long. I think it is a good job. I with a bad score will be a good picture. Anybody can kill am quite satisfied with it I think. It’s a good job. But there are themselves. That is my belief. [But] If you have [done] a good many other pictures that I have written that were good jobs, all-around job...It’s like building a house. The beautiful house too, but some of them fell by the wayside because of different outside, the inside is lousy—bad taste and so forth—it will circumstances. hurt the house. But the house still stands from the outside. Myrl: I am sure the score will go on to be a great classic. I You see what I mean. Now on the other hand, if it is an ugly have no doubt that it will. house that you wouldn’t even look at, when you go in it’s MS: Well it’s really used...thank God! I can eat again! beautiful and you say, “Ah, it’s beautiful,” but still you don’t Myrl: I think Gone With the Wind will keep everyone want to go outside and look at it. It’s the same thing. It’s a silly connected with that film famous in the history of the comparison, I know, but it is the only way I can explain. American motion picture...Mr. Gable, Ms. Leigh, Ms. De Myrl: It’s a very good explanation. And I understand it Havilland. completely. [pause] Do you remember this quote that you MS: I think it is the greatest picture that has ever been once said? [reading] “That composing music to suit yourself made, of its type. I don’t know of another one that has lasted without concern for the function that music should suit and as long, offhand. I don’t know. There may be something that serve the picture, it seems to be egotistical, irresponsible and I don’t remember. (pause) You sure I can’t get you anything artistic ignorance.” else? MS: Sure I remember it. And you can quote it again. Any Myrl: No, I am perfectly fine, and I appreciate the time you time a composer—and there are quite a few of them—they gave me for this interview. just write music for their own satisfaction. They don’t care This course I have at UCLA is concerning [me] right now. what goes on the screen. The guy may have a tune that doesn’t We are discussing music for the motion picture! When it is

MARCH/APRIL 2005 26 FILM SCORE MAGAZINE used and when it is not used. The professor said that you only use motion picture [music] in GOLD IS WHERE YOU FIND IT such-and-such a place to underline dialogue and action! To accent and to tie things together. A Selected Max Steiner Discography MS: Why, sure. Myrl: But I think there is more to it than just Unlike some of his contemporaries, Steiner seems reasonably well-represented on disc, at least until you that. There has to be more to it. For instance in consider his prodigious output (over 200 titles, not counting his contributions as department head.) Here’s your score of Gone With the Wind, there is more a list of mostly-available titles on CD. to it in the creation of the score...the combining of themes, the— MS: Even though the themes are popular  Steiner:  Now Voyager (1939)  The Treasure of the it’s written in symphonic style. I tried to be as The RKO Years (1929-36) (Classic Film Scores Sierra Madre (1948) musical as possible. It’s in itself a serious work, BYU FMA-MS 110 for ) Marco Polo 8.225149 in itself. The score is symphonic, even if it is in a mono • 3 CDs RCA 0422-2-RG stereo re-recording, popular vein here and there. 72 tracks - 3:33:37 stereo, C. Gerhardt cond. W. Stromberg, cond. Myrl: It can be played in a concert hall then? Steiner 8 of 12 tracks - 31:38 22 tracks - 60:17 MS: Oh sure. It has been. It has been played  King Kong (1933) everywhere. I played it with the New York Naxos 8557700  Gone With  Rhino Handmade RHM2 7773 Philharmonic. There was just another one with stereo re-recording, the Wind (1939) mono • 29 tracks - 54:05 the London Symphony, and now they are going W. Stromberg, cond. Rhino R2 72269 to do it in Tokyo. I am very interested to hear this, 72 tracks - 1:17:19 stereo • 56 tracks - 2:27:39  The Fountainhead (1949) The Tokyo Symphony. I have made a suite out BYU FMA-MS114 of it. That is what you hear here. [points to the  Rhino R275597  Virginia City (1940) mono • 29 tracks - 57:30 recording I brought with me] But this is a lousy mono (plus film dialogue) (incl. The Lost Patrol, record. I am going to give you a good record. If I 9 of 20 tracks - 24:00 The Beast With Five Fingers)  The Adventures can find one. Marco Polo 8.223870 of Don Juan (1949) Myrl: Oh, thank you.  Son of Kong/ stereo re-recording BYU FMA-MS106 MS: I didn’t do it, but [Muir] Mathieson did it The Most Dangerous 28 tracks - 1:16:58 mono • 20 tracks - 1:13:10 in London. It is a much better recording. He did Game (1933/32) a very good job. I wasn’t there. But he did a very Marco Polo 8.225166  All This, and  The Flame and good job and that’s the one that is selling. stereo re-recording, Heaven, Too (1940) the Arrow (1950) Myrl: This is just brilliant...this one I have W. Stromberg, cond. (incl. A Stolen Life) BYU FMA-MS102 here. I recorded it on tape for myself. 72 tracks - 1:17:19 Marco Polo 8.225218 mono • 20 tracks - 60:00 MS: But it is a lousy sound. stereo re-recording, Myrl: You see I didn’t know. I got this out of  She (1935) W. Stromberg, cond.  The Glass our music library at UCLA. BYU FMA MS104 19 tracks - 1:11:08 Menagerie (1950) MS: Oh you got it from the University, huh? mono • 19 tracks - 1:12:12 BYU FMA MS107 Myrl: Yes, we have a music library there. I  They Died With mono • 33 tracks - 1:17:48 want to thank you for this interview once again. The Three Their On (1941) MS: You are very welcome. Musketeers (1935) Marco Polo 8.225079  (1951) Myrl: I feel very honored.  Captain Blood stereo re-recording, (incl. My Girl Tisa, South of St. MS: Oh go on....don’t get maudlin. Naxos 8557704 W. Stromberg, cond. Louis, Cloak and Dagger) Myrl: I really do. stereo re-recording, 25 tracks - 1:10:07 SAE CSR-0001 MS: I’ll see if I can get you an album. W. Stromberg, cond. mono • 2 CDs Steiner: 6 of 22 tracks - 18:47  Casablanca (1942) 38 tracks - 1:43:07 Mr. Steiner gets up and walks into his study to Rhino R272911 retrieve an album as he mutters that if he doesn’t The Charge of the mono (with film dialogue)  Battle Cry (1955) have any, he will try to get me one. Light Brigade (1936) 20 tracks - 1:03:52 BYU FMA-MS113 As I was wrapping up the microphone and  Historical Romances mono • 2 CDs tape recorder, the great composer Max Steiner Marco Polo 8.223608  Classic Film Scores 42 tracks - 1:33:29 returned with the recording. He autographed stereo re-recording, for it for me, shook my hand and escorted me to W. Stromberg, cond. RCA 0422-2-RG  (1956) his door, wishing me great luck with my future Steiner: 7 of 14 tracks - 28:38 stereo, C. Gerhardt, cond. BYU FMA-MS101 career. On December 28, 1971, four years later, I Steiner: 7 of 12 tracks - 35:29 mono • 37 tracks - 1:05:32 cried when I heard that he had died. FSM  Dodge City (1939) (Includes The Oklahoma Kid)  (1947)  A Summer Place (1959) Myrl A. Schreibman is a film professor, filmmaker and BYU FMA MS 108 SAE-CSR-0002 BYU FMA-MS112 the author of The Indie Producer’s Handbook: Creative 30 tracks - 1:18:10 mono • 22 tracks - 53:29 mono • 32 tracks - 1:16:43 Producing from A-Z. He can be reached at via his website: www.indieproducing.com

FILM SCORE MAGAZINE 27 MARCH/APRIL 2005 A restored epic gets a new score 40 years after its debut.

MAJORBy Jeff Bond CHANGES

SAM PECKINPAH’S 1965 EPIC MAJOR DUNDEE OPENS WITH ITS CHIEF ANTAGO- nist, a warfaring Apache renegade named Sierra Charriba, facing a strung-up Union soldier, part of a cavalry outpost massacred by the warrior. “Who will you send against me now?” Charriba demands. The film’s main titles instantly supplies the answer: “Major Dundee”— Charlton Heston’s ambitious and uncompromising Union officer who sees the capture of Charriba as his next inevitable step in a ruthless march of military promotion. In the original version of the film that brazen, irony-loaded title card is accompanied by an upbeat song writ- ten by composer Daniele Amfitheatrof and sung by the Band, a successful if not exactly cutting-edge pop group of the era. No more. Or at least not in a new, extended cut of the film recently assembled at Sony for

MARCH/APRIL 2005 28 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 29 MARCH/APRIL 2005 MAJOR CHANGES

limited theatrical and DVD release. Now that title is the springboard men played by western veterans Joel McCrea and Randolph Scott. for a vaulting, violent orchestral motif that captures Heston’s ram- For Major Dundee Peckinpah was given a bigger budget and more rod-straight posture and Dundee’s tripwire temper, obstinacy and contemporary star power in Charlton Heston, James Coburn and ruthlessness, an immediate musical reply to the heavy’s challenge. —although he brought along some cast members It’s part of an entirely new score written by composer Christopher from Ride the High Country (R.G. Armstrong, L.Q. Jones and Caliendo in 29 days, recorded with a 31-piece orchestra at Capitol Warren Oates) in what would become almost a traveling company Records, and applied to a film that has held a four-decade reputation of regular players for his film work. Dundee’s biggest problem was as a milestone of lost potential. an uncompleted script that set up compelling characters but failed Dundee, as Peckinpah expert Nick Redman points out, is a to weave their fates together into the strong dramatic payoff that warm-up for the director’s masterpiece The Wild Bunch. Like the might have been expected. Peckinpah himself took over screenwrit- latter film, it concerns a dissolute group of military men and crimi- ing duties from the film’s original scribe, devising pivotal sequences nals, led by a man who’s both indomitable and deeply flawed; like and shooting them while on location while dealing with a combat- The Wild Bunch, its linear pursuit plot becomes mired in internal ive studio that wanted to eliminate scenes to save costs on a movie conflicts and arrested in an idyll in a Mexican village where drink- that was going over budget. ing and whoring take precedence over duty. And it all leads to a The final result pleased no one; Peckinpah abandoned the film

artwork artwork ©1965, 2005 Pictures Columbia In. Industries, All Rights Reserved. bloody, spectacular three-way showdown in which the hero’s goal is before it went into post-production. Redman, who has co-produced achieved at a terrible cost. The movie was Peckinpah’s follow-up to documentaries on the filmmaker and The Wild Bunch, points out Ride the High Country, a small film that was ill-treated by its studio that Peckinpah’s operating procedure on Major Dundee was part

Major Dundee Major but won awards and critical raves for its portrait of two aging gun- of a familiar pattern. “He started all his projects with the best of

MARCH/APRIL 2005 28 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 29 MARCH/APRIL 2005 SEX, VIOLENCE, SPECTACLE: Major Dundee had all of the elements of a great Peckinpah film—except, perhaps, an appropriate score! intentions and then things would go south and he would develop an Immel on the TV shows Dallas, Knots Landing and several western adversarial relationship with the producer, and almost invariably he projects. “I learned how effective a Jew’s harp could be and how to was gone before post-production took place. The same thing hap- work with a 20-piece orchestra,” Caliendo recalls. “Composers, once pened on Major Dundee; after he had prepared his initial long cut of we hear something it really stays inside us in our orchestral sound the film he was fired, barred from the lot, and the film was finished palette. I never forgot those television scores and we all take things without him.” The composer chosen by the studio for the film was into our own character, and Dundee was the first western score I got 64-year-old, Russian-born Daniele Amfitheatrof, a composer who’d to work on since 1991.” been working in film since the 1930s (Dundee was his last film Caliendo’s tenure on Major Dundee practically defines the score). “Presumably he was doing whatever he had been told to do concept of being in the right place at the right time. He met Sony by the studio, which was to turn this into a happy, jolly cinematic restoration executive Grover Crisp through a neighbor, befriended experience loaded with Mitch Miller songs and dramatically over- him and eventually persuaded him to let Caliendo score a scored in every possible way,” Redman says. “There is inappropriate called The Belle of Broadway. “I told Grover, ‘If you give me enough music just about through every dialogue scene.” The score was just of a budget to hire three musicians I can give you a real human score one of many aspects of the film Peckinpah complained about and and convince you that I can carry a picture.’ And he never forgot me disowned after the fact, although this too was typical of the direc- even though every three months I’d pester him and ask if he had tor, who met his ideal composer in but still lambasted another score I could do. I knew him for 10 years and I think he Fielding’s work on their first collaboration, The Wild Bunch, before wanted something that was more representative of what I could do later taking an ad out in Variety and praising the score. with a budget, and it took this long and Dundee came along.” Crisp, in fact, had been toying with the idea of providing an alter- nate musical score for Major Dundee since listening to Redman and Banking on an Unknown Paul Seydor comment on the inappropriateness of Amfitheatrof’s Major Dundee was eventually cut down from Peckinpah’s original original score during their DVD commentary for the extended cut version for distribution. Forty years later Sony’s Vice President of of the movie, and Crisp brought Caliendo together with Redman Film Restoration, Grover Crisp, spearheaded the assembly of an and Seydor to get a grounding in Peckinpah’s history and sensi- extended cut of the film with 12 minutes of additional footage, a bility, including his eventual collaborations with Jerry Fielding project strongly promoted at Sony by Michael Schlesinger, head (Peckinpah biographers and fellow documentarians Garner of the studio’s repertory film division. By far the most substantial Simmons and David Weddle also advised on the project with alteration of the movie involves the musical score, with composer Redman and Seydor). “Whether it changed my ideas I have to say Christopher Caliendo creating an entirely new score that has to not really,” Caliendo says of their discussions. With all respect, the operate within the aesthetic universe of 1965, support a young biggest problem was looking at a picture that’s previously scored, Charlton Heston and Richard Harris, and try to make some kind trying to , come up with a budget, a facility of musical of dramatic sense out of a film that Sam Peckinpah was never quite forces I should use—that was very difficult and the most challeng- able to complete. That would be a tall order for any well-estab- ing, and that was all alleviated when Grover sent three cassettes to lished, big-name Hollywood composer—quite another matter for me of the film stripped of music.” The composer says his reaction Caliendo, a musician who, despite some impressive commissions to the opening minutes of the film was immediate. “When Charriba (including one from the Vatican) and work in television still keeps looks at that soldier hung upside down at the beginning of the a day job at Manufacturer’s Bank. Sitting down with Redman in movie and says ‘Who will you send against me now?’ and you see an office on the Sony lot in a dark, tailored suit, Caliendo looks the the title Major Dundee come up, I heard the whole score. Although part of a banker but speaks in the precise, measured language of an funny enough, I never wrote that opening cue until the very end. extraordinarily sensitive artist. While his name may not be familiar But I never forgot the musical material and I knew right then I had to readers of this magazine he’s not a neophyte at film composi- everything metaphysical that I needed to explain in musical terms tion, having studied with Henry Mancini and worked with Jerrold the character of Charlton Heston as Dundee.”

MARCH/APRIL 2005 30 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 31 MARCH/APRIL 2005 Although he wrote an extensive score with around 80 min- utes of music for the 134-minute film, Caliendo realized from The Ballads of Sam Peckinpah his conversations with Redman and Seydor that the original version’s wall-to-wall overscoring was one aspect he needed A checklist of Peckinpah soundtracks on CD to avoid and that Peckinpah often preferred his action scenes to be unscored. “It made sense to infiltrate music and get out and let the actors work because they do a marvelous job, and this way I can let the story, which was somewhat clouded in the original version, breathe more. I wanted to be as tasteful as possible without hitting people over the head with it. The strong point about this film is the characters; they’re great.” In addition to the vaulting, powerful motif for Dundee, Caliendo introduced specific ethnic orchestration to accompany some of the film’s other characters. “You have an Irish immigrant so we used Richard Greene on minstrel , who’s a well- known studio musician of the Turtle Island String Quartet  Ride The High Country (1962)  Pat Garrett and and a master of the instrument’s sound; with an accordion GEORGE BASSMAN Billy the Kid (1973) squeeze box played by Frank Morocco who played accordion Film Score Monthly - FSM Vol. 7 No. 12 on the Godfather movies. For the Indian music, my friend Ride the High Country: Columbia - CK 32460 Sheridan Stokes plays all the recorders and bone —we 16 of 35 tracks - 32:25 10 tracks - 35:23 did a film up in Utah called Lakota Moon, which I worked on with Jerrold Immel [and] which introduced me to all the  Major Dundee (1965)  Bring Me the Head of different types of bone and wood flutes and Sherrie is just a DANIELE AMFITHEATROF Alfredo Garcia (1973) master at that. There are different Indians so we had to have DRG - DRG 19056 JERRY FIELDING different approaches—for Charriba we had to have a very 8 tracks - 38:30 Intrada Special Collection Vol. 13 harsh, aggressive, fierce sound, so we used shakuhachi, which Bring Me the Head of Alfredo Garcia: is the Japanese form of hammer tongue attack on the flute.  The Wild Bunch (1969) 18 of 28 tracks - 38:28 And then the old Indian who leads them to understand that JERRY FIELDING Charriba’s across the river, that had to be a very soothing and Warner Bros. (import ) - WPCR- 786  Jerry Fielding Film Music 3 calm Indian sound so we used a bass recorder, a very rare 10 tracks - 33:36 Bay Cities - BCD- LE 4004 instrument that’s quite big and you can only play up to a fifth  Screen Classics - SC- 3- JF Bring Me the Head of Alfredo Garcia: on it, and we came up with some very weird sounds but very 32 tracks - 74:30 1 of 3 tracks - 23:03 soothing in nature and very indigenous-sounding.”  Warner Home Video • 22 tracks - 75:48 Caliendo’s material for Dundee was a natural force to drive  The Killer Elite (1975) the score. “It was very clear to me that Dundee’s character  The Ballad of Cable Hogue (1970) JERRY FIELDING is prone to anger very quickly, so how do you capture the JERRY GOLDSMITH Screen Archives - JFC- 2 anger that quickly? It really had to be a motif and as I grew Varese Sarabande CD Club 27 tracks - 53:01 to the score the motif became metaphysical as the film does VCL 0502 1007 • 20 tracks - 37:02 and as Dundee’s character does—it’s almost Shakespearean  Bring Me the Head of Alfredo Garcia/ in a way because you have a man who’s a great tactician on Straw Dogs (1971) The Killer Elite any level ground, he can make decisions to his military and JERRY FIELDING Intrada Special Collection - Vol. 13 they respect him for it throughout the picture but they also  Jerry Fielding Film Music The Killer Elite: 10 of 28 tracks - 31:08 keep their distance, they fear him and respect him at the same Bay Cities - BCD - LE 4001/02 (2-disc set) time. You see that kind of character in many of these men- Straw Dogs: 9 of 37 tracks - 31:46  The Osterman Weekend (1982) of-action films, and Heston portrays that kind of character LALO SCHIFRIN very well. That theme is, above all, truly organic and grows in The Getaway (1972) Aleph - Aleph 010 many different directions because it has to take on the ribald JERRY FIELDING (rejected score) 16 tracks - 45:14 quality of man in war, the tension between man and man,  Jerry Fielding Film Music 3 French and Union, Confederate, it became much more than Bay Cities - BCD- LE 4004 Heston’s motif, so the colorization of that changed rapidly.” The Getaway: 1 of 3 tracks - 17:39 Over the course of Dundee’s pursuit of the Charibba character into French-occupied Mexico, he and his band raid a French garrison and wind up confronting the fallout in the form of an assault by French troops that comes on the heels of their final confrontation with Charriba’s band. After developing the varied musical approaches to Dundee, Tyreen and Charibba, Caliendo says finding a musical context for the French forces and the film’s bloody, climactic battle along a riverbed posed a particular challenge. “I look at the French as being consequential but very inconsequential; it’s not about

MARCH/APRIL 2005 30 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 31 MARCH/APRIL 2005 Dundee’s obsession with the Apache. It’s about an obsession but an homage to Richard Harris, but ultimately you’d feel that tension the film gets there somehow, so what is the meaning of that scene? as the Confederates look at Charlton Heston and feel that anger The meaning of that scene is Richard Harris and his character. At because they’ve just lost the best man among them. It’s important the end of the film, one of the weaker moments, psychologically, is but to me it doesn’t have as much value as Harris going off. That we return to these Confederate soldiers bloody, beaten up by war, was difficult to score and I decided to use American, “Star Spangled in absolute sorrow for their lost leader. And a memorial is scored as Banner”-type piccolo music. I took that and the actual opening

action music in a rather artless cacophony. Who is Daniele Amfitheatrof… If you want to hear the score, you’ll have to and why are people saying bad things about him? watch the movie…on video. The second track (“Are You El Tigre?”) is overwhelmed by a weird, wavering electronic Major Dundee (1965)  1/2 sion, interpolated with period tunes like “The effect that sounds more appropriate to sci-fi DRG 19056 • 8 tracks - 38.20 Son of God Goes Forth to War” (memorably like The Brain Eaters than a western. And a employed by in The Man Who three-note electronic crops ups distract- The Daniele Amfitheatrof Would Be King) and flavored with Mexican gui- ingly often, suggesting a clumsy attempt Project  tar to accompany Charleton Heston’s romance to mimic Morricone’s effects for the Sergio Label X LXCD 8 • 8 tracks - 42:10 with Senta Berger. Apparently the music is too Leone films. The aural anachronisms accrue heroic and upbeat for such a cynical, misan- as electric guitars wail through “Indian Battle,” SAM PECKINPAH WORKED WITH A FEW thropic tale, but apart from the film, it’s com- although these are more in character with composers over the course of his film career, pelling action music for a western. If you’re Amfitheatrof’s sensibilities. In a world where but other than Jerry Fielding, he never worked interested in hearing the score, the recently unmusical soundscapes are replacing tradi- with any composer more than once. In the re-issued soundtrack might seem like a logical tional soundtracks, Amfitheatrof’s full-blooded case of Major Dundee, the director was forced option. But beware. approach was probably thought likely to send to accept Columbia’s assigned composer, The album begins with “Major Dundee contemporary audiences running for the exits. Daniele Amfitheatrof, a journeyman composer March,” the first of three tracks featuring Mitch Too bad. for whom Dundee represented his last feature Miller and the Gang. Listeners of a certain age The unusual sounds in Major Dundee aren’t assignment. I never got around to seeing may feel a nostalgic pang for this boisterous, without precedent in Amfitheatrof’s oeuvre. On Major Dundee because I The Daniele Amfitheatrof Project knew Pecklinpah had dis- (released in 1994 and the only owned it, but I was curious other recording by the composer about the composer—so I available), there’s quite a bit bought the reissue of the of unusual instrumentation on score. The unjustly obscure display: His briskly mechanistic Amfitheatrof is rather poorly concert work American Panorama represented by two record- (1935) involves elaborate instruc- ings on CD. tions to the orchestra to simulate Born in in 1901, the sound of trains and ships, he suffered first under the and the ensemble includes sirens, Czarist regime and then anvil and railroad track. For The under the Bolsheviks, until Beginning or The End (1947), escaping to Italy in his early 20s. He stud- whistling men’s chorus belting out stanza after which depicts the Manhattan Project and ied with Respighi in and eventually stanza of lyrics like “Fall in / Behind the Major the building of the first A-Bomb, his suitably achieved some success in the concert hall as / Fall in / And I will wager / That the Major explosive music incorporates a jazz combo, a conductor and composer before arriving in will bring all of us back!” Yes it’s catchy, but it electronic strings and organ along with a huge Hollywood in the late 1930s. There, he gave becomes obnoxious through repetition (and I orchestra. Kudos to John Steven Lasher for many good years as a film composer, first even like the song from Guns of Navarone, so his attempts at preservation—but the ancient at M-G-M (for the likes of Son of Lassie, of I‘m not a Mitch Miller bigot). The third song recordings on this compilation are so murky which he was particularly proud) and Disney has nothing to do with the film and appears to that it’s often a struggle to discern the music. (Song of the South, for which he received an have been tacked on to the CD simply to offer Amfitheatrof won praise from a diverse Oscar nomination) among many others. Work a “bonus track.” Alas, the vocals are not this group of peers including Hugo Friedhofer, became more sporadic throughout the 1950s, album’s biggest problems. Jerry Goldsmith and the combustable Bernard and he eventually returned to Italy where he Apparently, stereo tracks were unavailable Herrmann, so “DA” was obviously doing lived until his death in 1983. when the original LP was prepared and two something right. We’ll never know exactly The orchestral score that Amfitheatrof of the five score tracks (4 and 7) are sullied what his directives on Major Dundee were, but wrote for Major Dundee is old-fashioned in by overlaid sound effects to mask the mono at least we’ll have his score retained on the the best sense, built around a strong central source. As a result, gunshots, screams and new DVD. That’s going to make for a fascinat- march powerfully played in brass and percus- horses combine with the otherwise terrific ing double feature. —Joe Sikoryak

MARCH/APRIL 2005 32 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 33 MARCH/APRIL 2005 Apache war scene and the low basses, I took the D major chords from C Troop and put them all together to make that music. As soon as I had that sound I incorporated it into all the battle scenes and it seemed to work because it suggested military, it suggested the ribald quality of man in war, it had the Dundee theme in it and it was just a consequence of scoring the picture up to that point.” For films of Major Dundee’s period, 50 players might be consid- ered a large group, compared to the 90 or more in action films today. Even that reduced figure was outside the boundaries of the budget Caliendo put together for the project. “We had 31 play- ers; there were a few moments where I wished I had 20 more brass, but I’m an old-fashioned man and maybe it was good luck that I got this picture because I know how instruments were recorded back then. I used [engineer] Les Brockmann who’s mixed a lot of my work and he’s an old-fashioned man, and we believe that you find spot in the cycle of acoustics and you place the micro- phone there and you play record and you’ll get a great recording. We used a situation where we can get as much analog type of sound as THE TROOPS: Caliendo (insert) and his modest ensemble of live players (no synths,sir!). we could to create as much sound as we could and as much warmth, because I only had 31 musicians and I wanted them to sound like record up to 15 minutes of music; for a low-budget you 50. You can do that a number of ways; compositionally first you can record more than 15. The greatest concern I had was that first have certain registers of sound, the very nadir of the lowness and day, because that was all of six hours of orchestra playing and I had the apogee of the high treble, so taking the French music you had 38 minutes of orchestra music to record. We recorded and finished high piccolos here and for the battle sequences where the music had 45 minutes before the six-hour limit.” to sound extremely loud, I made sure the registration high and low The accomplishment is all the more remarkable when Caliendo had no pockets in it, that it really was filled, and there were activities reveals that he didn’t score directly to picture. “I recorded at home like polyphonic writing, because when the human ear hears poly- to television with a pencil and paper, and what saved my life was phonic writing it sounds fuller. A lot of the times today you get these the Finale publishing software. Having a photographic memory, if typical chords, composers like to write these just chords of sound you look at my original scores, there’s nothing on the paper—just because they’re not trained to write polyphonic sound and the true quick sketches, and with full retention I could go to the computer, evolution of important music is polyphonic in nature. That’s one publish the score, orchestrate the score from memory and then creative decision I had to make, the score had to be very polyphonic. extract the separate parts to prepare for printing and get through The other one was the mixing one where less is best and ideally Les three minutes a day. It was funny because Grover at a certain point is very familiar with how my brain works. We used no tight miking, was receiving pressure because they found out I was a banker. They mics were kept at a great distance, fewer mics were used to create came to him and said ‘Do you mean to tell me you haven’t heard an old-fashioned analog sound, and between those two I think we the score yet?’” It turned out that Caliendo was not demo’ing his were successful.” work cue by cue as even the biggest name composers in Hollywood must today. “I was doing what I wanted to do, which was using an Working With the Best old-fashioned Max Steiner approach to scoring. So Grover came to Caliendo was able to record the score’s 80 minutes in two days, an me without warning, there was a knock on my door and it was four accomplishment he credits to the skills of Hollywood’s practiced or five days before I was to finish, and Grover comes in and says studio musicians. “It’s very hard for union musicians to get work ‘Can I hear something?’ I couldn’t tell him I didn’t have the time—I steadily in this town. When I was trying to come up with the budget needed that three or four hours to continue working.” Nevertheless, for this I said as an unknown composer with no voice, ‘What can Caliendo took five hours playing cues from the score from memory I do to have it done in town in a major studio with the best musi- to picture while an assistant stood by on the pause button of a VCR. cians in town?’ As much as I’m unknown I’m blessed with knowing The composer also came down with an airborne virus shortly some of the best musicians in the city and I’ve been working and before recording, another factor that made getting through touring with them for years, and these are top guys in their 50s and the score’s 77 individual cues that much more challenging. For 60s.” Caliendo went to Chris Millner of the American Federation Redman, who skeptically attended the scoring sessions only to of Musicians to get a proposal using the AFM’s low-budget agree- come away as a staunch defender of Caliendo’s music, the biggest ment; working with contractor Joe Soldo, he worked out a budget wonder of the project is that Caliendo was given the opportunity to for three different groups. “I said I need a big orchestra with 31 score the film at all. “There was a lot of pressure on Chris, but for musicians, one with 11 to 14, and one that was the mariachi band. Grover Crisp to have the courage to gamble and say ‘Here’s a guy He came up with a figure that was very specific, and that was the who works at a bank that I believe can write this score.’ That is quite best thing because they could not come back to me and ask me to rare and people don’t get plucked out of the air to score films like finagle the numbers and they knew this was what they were getting. this.” Redman, a longtime proponent of Peckinpah’s late composer- Too often people think cheap and they think Bulgaria, but that’s in-residence Jerry Fielding, even finds parallels between Caliendo’s the wrong mentality. Going out of town, you get third-world coun- accomplishment on Major Dundee and Fielding’s on The Wild tries and third-world instruments that are not familiar with all the Bunch. “The funny thing about Jerry Fielding’s The Wild Bunch is styles like these guys are. Technically in a three-hour period you can (continued on page 52)

MARCH/APRIL 2005 32 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 33 MARCH/APRIL 2005 1980 AVeryGoodYear

wenty-five years ago, Ronald Reagan was about to win a landslide victory in the Presidential election, Betamax was the video format of choice and the pub- lisher of this magazine was still in Montessori school. Twenty-five years ago, the art of film scoring was enjoying an upswing, bolstered by the success and popularityT of Star Wars. And so, with the perspective of two-and-a-half decades, FSM’s List Editor and Senior Oscar Maven Scott Bettencourt takes a look back at a time when soundtrack albums were relatively scarce and compact discs were yet to be invented; but the movies and music were arguably better. At least, we think so.

After the decline of symphonic soundtracks in the 1960s they would narrow the field of potential score nominees and ’70s (and the rise of pop song-based scores), the tradi- to 10, from which the five final nominees would be chosen. tional film score was enjoying a renaissance. Ironically, this But in 1980, just as scores were once again becoming more development was not recognized by the Academy of Motion interesting, varied and worthy of added scrutiny, the finalist Picture Arts and Sciences. From 1950 to 1979 the Music system was eliminated. Branch of the Academy used a “Finalists” system whereby In 1980, the nominees for Best Original Score were:

BY SCOTT BETTENCOURT

MARCH/APRIL 2005 34 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 35 MARCH/APRIL 2005 Altered States, by ; The Elephant Man, by tion, and Robertson returned to the music world (helping ; , by John Williams; and with the scores for several films for his close friend Martin Tess, by Philippe Sarde. The winner (of course!) was Fame, Scorsese), but the movie featured terrific performances from by . At that time, the Original Score category and Gary Busey (fresh from The Buddy Holly included songs, so Fame was perfectly eligible (if undeserv- Story) as well as a typically unusual (if that isn’t a contra- ing). As far as I know there was no flak over Empire Strikes diction) and memorable Alex North score. The soundtrack Back reusing Star Wars themes—that would become a whole LP (on Warner Bros.) featured North’s music on one side, new wrinkle in future Oscar confusion. including the rueful love theme “Remember to Forget” (co- But what if they had kept up the finalists system in 1980? written by North’s acclaimed orchestrator Henry Brant), and That question forms the basis for my “ranking” of the Robertson’s songs on the other side. Unusual for its time, the remaining film scores. For the imaginary “finalists,” I have cover credits all the score musicians, and North even played attempted to select scores that are not necessarily favorites piano on one of Robertson’s cues. The back cover features of mine (though many of them in fact are) but which would a priceless photo of North lighting Robertson’s cigarette as be the most likely candidates based on the popularity of the they stand outside a carnival facade. (This score has yet to films and their composers with Academy voters. And now— see a CD release.) on with the show! (“Show,” in this case, meaning “gratuitous excuse for another Oscar-related article.”) The Competition • LALO SCHIFRIN Joel Oliansky, writer of the excellent TV movie The Law The “Finalists” (and later screenwriter of Bird), made his feature directo- rial debut with this romantic comedy-drama about a piano Carny • ALEX NORTH competition. Richard Dreyfuss and Amy Irving played the This offbeat drama about carnival life was singer Robbie bland competitors/lovers (the talented Dreyfuss strain- Robertson’s post-The Last Waltz attempt at movie stardom. ing to seem boyish at age 33), with Sam Wanamaker (as a The film received little play and even less public atten- -ish maestro) and stealing the film in supporting roles. Lalo Schifrin’s warm score (not surprisingly featuring prominent use of the piano) spotlighted a love theme, “People Alone” (lyrics by ’s Slim Pickin’s for Collectors ), which earned him his only Best Song nomi- THIS WAS THE FIRST YEAR THAT nation. The score even featured one mildly thriller-ish cue, Varèse Sarabande released LPs The Elephant Man “The Defection,” while the on MCA was from major new films, and, in The Empire Strikes Back (2-LP set) dominated by score cues, with only a couple pivotal classi- contrast to the huge number of The Final Countdown cal pieces. The album was released on CD in Japan in the new score CDs we’re deluged The Formula mid-’90s but has yet to see an American CD release. (The with today, the following consti- Heart Beat Competition received two Oscar nominations.) tutes all the score LPs from 1980 Home Movies movies produced around the time Humanoids From the Deep of their films’ releases: The Island The Great Santini • ELMER BERNSTEIN It’s My Turn This family drama had already played on cable before Altered States a re-release garnered it much acclaim, especially for the American Gigolo The Long Riders unstinting performance of Robert Duvall as an Air Force The Awakening who treats his son (Michael O’Keefe) like a boot-camp Battle Beyond the Stars Nine to Five trainee. One review complained that the film was not only The Blue Lagoon Somewhere in Time set in 1962 but felt like it was made then too, and Bernstein’s Carny old-fashioned, broadly emotional score fit snugly in the The Competition Tess idiom of the era. Shockingly, none of the music has ever Dressed to Kill Zulu Dawn seen an LP or CD release. (The Great Santini received two Oscar nominations.)

MARCH/APRIL 2005 36 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 37 MARCH/APRIL 2005 Somewhere in Time • JOHN BARRY Now score nor as immediately gratifying as his work on Director Jeannot Szwarc used the clout he’d earned from Carrie, Donaggio’s lush, hypnotic music for DePalma’s the success of Jaws 2 to film Richard Matheson’s old-fash- engrossing, nonsensical thriller (his second rework- ioned, time-travel romance Bid Time Return, and though ing of Psycho) matched the visual sheen of Ralf Bode’s the film was largely ignored upon release it developed a cult photography, with his traditional wordless female vocals following when it reached cable. To this day its fans con- wryly depicting Angie Dickinson’s sex life in fantasy and verge at the hotel where it was filmed. The movie’s greatest reality. The score was released on LP and CD by Varèse, strength remains John Barry’s lush, gorgeous score (the kind though frustratingly missing the terrific recurring “sur- of unashamedly romantic music Oscar voters love), and the veillance” theme that depicts ’s attempts to soundtrack LP likewise became a smash after the film’s cable track down his mother’s killer. Before scoring Dressed to release. MCA released the original score on LP and CD, Kill, Pino Donaggio provided the music for DePalma’s and Varèse Sarabande released an expanded re-recording extremely low-budget comedy Home Movies, giving it a in 1998, conducted by John Debney. (Somewhere in Time jaunty score with some welcome self-parody. received one Oscar nomination.)

The Stunt Man • Adapting 1980 in Song Like The Great Santini, this dark comedy about mov- AS WITH THE ORIGINAL SCORE CAT- score had to be submitted for iemaking spent a long time on the shelf before getting egory, the Adaptation category stopped consideration by the composer, not later released to great acclaim (and, like Santini, disappointing using the finalists system in 1980, when than 60 days after the film’s opening in box-office results). Frontiere, reuniting with Freebie and the it was changed to simply Los Angeles. If fewer than Bean director , provided a jaunty march for the Best Adaptation Score. The 20 scores were submitted, film crew and a peppy chase theme, the latter providing the rules were as follows: then only three would be basis for a terrific theme song, “Bits and nominated. If fewer than four, Pieces,” lyrics by . 20th Century Fox Records “An adaptation score is there might be no award belatedly released a relatively brief score LP, which has yet a work consisting primarily given at all. The following to be released on CD. (The Stunt Man received three Oscar of thematic and connec- scores were submitted: nominations.) tive musical material based either on pre-existing musical material Hopscotch, or on musical material specifically cre- It’s My Turn, Patrick Williams More Outstanding Scores ated for the eligible film (not original Nijinsky, John Lanchbery with the adapter). The Adaptation must Ordinary People, The Blue Lagoon • be something other than a restatement Rough Cut, For his first smash hit film, Poledouris broke no musi- of selected sections in their original Xanadu, Barry DeVorzon cal ground, but his delicate, melodic score (at times, form and must include creativity by pleasantly reminiscent of Bernard Herrmann), combined expansion, contraction, reharmoniza- All of these scores were ultimately with Nestor Almendros’ lush Oscar-nominated location tion, or other alternatives in accom- judged ineligible, except for Rough Cut, photography, managed to make the film’s teen audience modating the material to the unique which was reclassified as an Original swoon over the romance of its vapid, scantily clad young and specific demands of the motion Score, so there were no nominations leads as if they were seeing something genuinely roman- picture. The mere selection, editing, for Best Adaptation Score that year. As tic. One mild danger cue for a shark sequence gave slight and use of material in its already exist- you may have noticed, the new cat- hints of the first-rate adventure composer Poledouris ing form shall not be considered a valid egory name dropped the words “Song would shortly become. The score CD was released on Adaptation—nor shall the Score.” In 1980, scores that qualified Southern Cross. and orchestration of such musical for Best Original Score included those material.” that consisted of “a substantial body of songs,” which is why Fame was eli- Dressed to Kill • PINO DONAGGIO Under the new rules, the adaptation gible, and in fact won the Oscar.  While neither as melodically strong as his Don’t Look

MARCH/APRIL 2005 36 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 37 MARCH/APRIL 2005 Raise the Titanic • JOHN BARRY The Rest of the Year Clive Cussler’s lively, trashy nautical thrillers seemed like ideal material for a -style movie franchise, The Big Guns and the book in question had the right high-concept hook Besides his beloved scores for Somewhere in Time and to inaugurate the movie series. The filmmakers spared no Raise the Titanic, John Barry gave the offensive Roger Vadim expense (reportedly $36 million, a staggering amount in psychosexual drama Night Games (in which a woman over- 1980) but forgot to include any Bondian action, mistak- comes the trauma of a childhood rape by having sex with enly turning the film into a lavish salvage drama and a mysterious man dressed in bird costumes) a much more adding an inappropriately cynical ending. However, John melodic and varied score than it deserved. He also provided Barry’s marvelous score managed to find miraculous vari- a subdued, touching score for the drama ety in this repetitive story, with memorable main themes Inside Moves (though only two Barry cues made it to the and varied cues to illustrate the film’s endless underwater soundtrack LP) and scored the little-seen Touched by Love, sequences. Because of the film’s failure, Barry didn’t even about a cerebral palsy victim helped by letters from Elvis submit his score for Oscar consideration and the film’s Presley (I did not make that up—it’s even based on a true original score tracks have never been released (and are story). allegedly lost). Still, over the last 25 years it’s deservedly The same year he scored the acclaimed Great Santini, become a favorite of film music fans, and Silva released a Elmer Bernstein cemented his reputation as Hollywood’s top faithful re-recording conducted by Nic Raine. comedy composer with his deft score for Airplane!, though much of his score (including repeated use of Williams’ Jaws Resurrection • MAURICE JARRE theme) went unheard in the final picture. He also provided This fantasy drama about a Midwestern woman who the “God Music” for The Blues Brothers, reuniting him with develops healing powers after a near-death experience director . He composed a rous- benefited from a score written during an especially cre- ing adventure score for the prequel Zulu Dawn, and wrote ative and satisfying period in Jarre’s long career, when an extremely offbeat score for ’s failed sci-fi he was assisted by ace orchestrator thriller Saturn 3. The director found it a bit too offbeat and and before he developed an unhealthy addiction to synth dialed much of it out, though a year later Bernstein recycled ensembles. The score has never been released in any the unused love theme as Taarna’s theme for his superlative form, but the main theme is especially lovely—I can still Heavy Metal. (Zulu Dawn was the only Bernstein score to remember it nearly 25 years after seeing the film. receive a score album release that year.) Lalo Schifrin had a prolific and unusually eclectic year. Besides The Competition, he scored Brubaker, an impressive, Tom Horn fact-based prison drama (his final score for Cool Hand Luke Passages director Stuart Rosenberg), though its restrained and effec- January 3 Steve McQueen’s penulti- tive music only recently received a soundtrack release (from Bernhard Kaun mate film, this downbeat west- Intrada) 23 years later; The Nude Bomb, the failed big-screen (last score: All Roads Lead ern was one of two simultane- version of Get Smart; Serial, the remarkably unhip satire of Home, German, 1957) ous projects about the famous Marin County life, which featured a cheesy theme song, tracker—the other was a mini- “It’s a Changing World”; The Big Brawl (released on LP in February 17 series, Mr. Horn (with David Japan), the first attempt to make an American movie star Jerry Fielding Carradine in the lead), which out of , 18 years before Rush Hour reunited (last score: boasted a William Goldman Schifrin and Chan; and When Time Ran Out, Irwin Allen’s Funeral Home, 1982) script and a Jerry Fielding final big-screen disaster epic, which reunited Schifrin with score. With his work for Used Rollercoaster director James Goldstone. July 6 Cars rejected, this was Ernest Along with providing a disappointing comedy score Frank Cordell Gold’s final big studio project, for the Chevy Chase/Goldie Hawn re-teaming Seems Like (last score: and he gave it a properly dra- Old Times (whose soundtrack LP was canceled at the last Trial by Combat, 1976) matic and elegiac score, still minute), Marvin Hamlisch adapted Pachelbel’s Canon for unavailable on LP or CD. the Best Picture winner Ordinary People. Hamlisch wrote a

MARCH/APRIL 2005 38 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 39 MARCH/APRIL 2005 letter to the Academy explaining how he adapted the piece, score for the little-seen horror flick Funeral Home, which in hopes of being considered eligible for a Best Adaptation wasn’t released until 1982. And for one of his final collabo- Score nomination (it didn’t work). rations with director Francois Truffaut, Georges Delerue Henry Mancini reunited with 10 star for the gave the overrated The Last Metro a lovely score dominated flat infidelity comedy-drama A Change of Seasons, which by a charming main theme. featured the memorable image of Derek making cable- movie love in a hot tub with Anthony Hopkins. Mancini also provided a charming period score for the remake of Comedy Little Miss Marker. John Morris continued his career as the composer for everyone in the universe. Along with The Elephant Man (produced by Brooks), he scored In God We Conspicuously Absent Trust, directed by Marty Feldman and featuring an original And where, you might ask, was Jerry Goldsmith in 1980? Randy Newman song. (Shockingly, he didn’t score Fatso, After having his Alien score butchered and then spending the directorial debut of Mrs. Mel Brooks, Anne Bancroft; a whopping six months on Star Trek: The Motion Picture, that job went to .) he certainly would have been entitled to a year off, but he Apparently no longer entrusted with dark thrillers like actually spent the year working on Masada, Inchon and The The Laughing Policeman and Two-Minute Warning, Charles Final Conflict, scores which would not be heard until 1981 Fox concentrated on comedy—Oh God! Book Two, Little and ’82. Regardless, Goldsmith was never one to slack off. Darlings, The Last Married Couple in America, and the smash hit Nine to Five, for which he wrote clever pastiche cues for the fantasy revenge scenes. And Michael J. Lewis The European Contingent wrote a typically hyperactive score for the enjoyable Roger Ennio Morricone wrote the score to the disastrous Peter Moore action thriller Ffolkes (known outside the U.S. as Benchley thriller The Island, providing a lovely main theme, North Seas Hijack). but the most conspicuous cue was a Wagner piece used inap- Patrick Williams scored a broad range of comedies, propriately during of the Coast Guard crew. including Hero at Large, a forgettable replacement score (Regardless, the reissue of the soundtrack LP on compact for ’ otherwise terrific Used Cars; and a disc this year was an almost instant sellout.) Morricone also jazzy score (orchestrated by the great Herbert Spencer) for scored the directorial debut of the superlative cinematogra- It’s My Turn. (Oh, and as for that original score to Used pher , Windows. The plot involved psychotic Cars? It was composed by Ernest Gold, seemingly unable lesbian Elizabeth Ashley hiring a man to rape Talia Shire, to channel his earlier comedy success from It’s a Mad, Mad, which is perhaps why the film received only a paltry release Mad, .) and hasn’t been seen since. Along with Resurrection, Maurice Jarre wrote an appropriately quirky and romantic score for the Joseph Wambaugh comedy (three words And the Winners Were... you never thought you’d see together) The Black Marble. He also scored the Disney kids adventure 1979/1980 Emmy nominees 1980 Grammy Nominees The Last Flight of Noah’s Ark, but all I can recall (Winners in bold) (Winners in bold) from that movie are the girls in the audience giggling at the sight of a nine-year-old Ricky Music Composition— Original Score—Motion Picture Schroeder in his tighty-whities. Series (Dramatic Underscore) or Television Special Michel Legrand provided a rousing adven- —Dallas MICHAEL GORE—Fame ture score for the Charlton Heston vehicle The (“The Lost Child”) —One Trick Pony Mountain Men, though one theme sounded JOHN CACAVAS—Eischeid —Stevie Wonder’s Journey distractingly like “Here Comes Mr. Bill’s Dog” (“Only the Pretty Girls Die, Through the Secret Life of Plants from Saturday Night Live’s seminal comedy skit. Part 2”) J.D. SOUTHER, et.al— He also scored Steve McQueen’s final film, The —Skag (Premiere) JOHN WILLIAMS—The Empire Strikes Back Hunter (but Charles Bernstein was brought in to —Paris (“Decisions”) score the big chase scene), and he wrapped the PATRICK WILLIAMS—Lou Grant Instrumental Composition year with Michelle Pfeiffer’s first film, Falling in (“Hollywood”) PATRICK WILLIAMS—An American Love Again. CHUCK MANGIONE —“Give It All You Music Composition—Limited Series Got”(1980 Olympic pop theme) Debuts and Farewells or a Special (Dramatic Underscore) JOHN WILLIAMS—“” broke into the scoring scene with —Moviola: The Silent Lovers (Darth Vader’s theme) an unusually authentic score for Walter Hill’s —The Last Convertible, JOHN WILLIAMS—“Yoda’s Theme” western The Long Riders. wrote a Episode One JOHN WILLIAMS—The Empire Strikes Back charming score for the sleeper hit My Bodyguard, —Salem’s Lot the directorial debut of actor-producer Tony Bill. JERRY FIELDING—High Midnight Unfortunately, Jerry Fielding wrote his final

MARCH/APRIL 2005 38 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 39 MARCH/APRIL 2005 Is (Nearly) Dead later they’d still be making films about Jason Voorhees—he followed his Oscar for Midnight Express wasn’t even the killer in the first film) with a distinctive, echo- with American Gigolo, which introduced the great Blondie ing motif (reminiscent of Goldsmith’s Coma) that’s become song “Call Me,” and Foxes, which was director ’s the indelible musical trademark for the series. Brian May feature debut and included the hit “On the Radio.” wrote a driving action score for the Australian import Mad Max, but without the haunting theme he later gave its sequel Fantasy and Sci-Fi The Road Warrior. And the band Queen wrote the oddly In the wake of Star Wars and its sequels, Hollywood con- popular songs for the lavish, campy remake, tinued to churn out a fair number of fantastic films. James but Howard Blake provided the effective incidental music Horner burst upon the soundtrack scene with his first two (both of which are on CD). wide releases: the tawdry monsters-raping-women thriller Known primarily for light-hearted jazz scores like Humanoids From the Deep, for which he provided a haunt- California Suite, Claude Bolling produced an impressive ing main theme and recycled an action cue (virtually note change-of-pace with his brooding orchestral score for the for note) from Goldsmith’s 1978 The Boys From Brazil; and Charlton Heston thriller The Awakening, a remake of the Battle Beyond the Stars, an engaging pastiche of Williams’ 1972 Hammer film Blood From the Mummy’s Tomb. He and Goldsmith’s sci-fi fantasy scores (despite Horner’s claims also provided a more traditionally Bolling-ish work for Paul that he never listens to film scores, only ). Mazursky’s flop homage, Willie and Phil. Both scores were paired on a GNP Crescendo CD in 2001. Thrillers Apparently, Wendy Carlos and added a creepy, non-melodic musical back- Cooking With Gas Rachel Elkind wrote a full score ground to the controversial thriller Cruising, and provided THE INESTIMABLE PAGE COOK WAS A for Stanley Kubrick’s unforget- authentic sounds of the beatnik era for the Jack Kerouac one-of-a-kind contributor to Films in Review table, visually staggering film of biopic Heart Beat. Meanwhile, Leonard Rosenman scored who employed, shall we say, an inscrutable The Shining, but the musically ’s directorial debut, the ’70s-style, fact-based method of evaluating film scores. Love meddling director replaced most drama Hide in Plain Sight, and provided the incidental music him or hate him, Cook was one of the few of it with heavy-handedly spotted for the remake of The Jazz Singer. columnists writing about soundtracks in classical pieces, only retaining two The producers of the Hercule Poirot films attempted to 1980. Here is his Best and Worst of 1980: cues of the original score, includ- continue the magic with an /Miss Marple ing an effective main title based vehicle, The Mirror Crack’d, and though the film flopped, Best Scores of the Year on that old warhorse . John Cameron’s score was lively and charming (if not up 1. Carny—ALEX NORTH ’s ghost story The to the high standard Richard Rodney Bennett and Nino 2. Pilate’s Easter—EDWARD DAVID ZELIFF Fog was scored by none other than Rota had set for Agatha Christie adaptations). Meanwhile, 3. Tess—PHILIPPE SARDE John Carpenter, and he gave it a provided satisfyingly dramatic orchestral scores 4. The Awakening—CLAUDE BOLLING Tubular Bells-ish main theme. for The Formula (with a love theme reminiscent of John 5. The Final Countdown—JOHN SCOTT John Scott took a rare venture Corigliano’s Altered States, released simultaneously) and into big-budget American cinema director John Cassavetes’ Gloria. Conti had a rare comedy Honorable Mention with the weak time-travel adven- smash with Private Benjamin, for which he wrote a comic The Elephant Man, ture The Final Countdown, giving march and some faux-Parisian music for the French scenes. The Long Riders, Tom Horn it tremendous energy as well as a catchy main theme. The spooki- For the Record Worst Scores of the Year est ghost story of the 1980s, The As rich a year for film scores as 1980 was, there’s still a high A Change of Seasons, The Competition, Changeling featured a lush orches- percentage of LP recordings that have yet to make the transi- Flash Gordon, The Formula, Heaven’s Gate tral score from Ken Wannberg and tion to , and a number of scores that have yet to (“rarely has such musical drool saturated Rich Wilkins. Both scores eventu- be released in any form. An enterprising record label could the screen”), Inside Moves, Raise the Titanic, ally made the leap to CD in 2001. do worse than release Carny, The Stunt Man or Tom Horn on Resurrection (“mindless meandering”), Harry Manfredini scored the their silver anniversary. We can dream, can’t we? FSM Seems Like Old Times, Somewhere in Time  very first Friday the 13th (who Portions of this article appeared as part of the “Not Even would have thought that 24 years Nominated” series on filmscoremonthly.com.

MARCH/APRIL 2005 40 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 41 MARCH/APRIL 2005 REVIEWS OF CDS SCORE reviews rate CLASSIC  the listening experience GREAT  provided by a soundtrack GOOD  on CD and do not BELOW AVERAGE  necessarily indicate WEAK  the music’s effectiveness score in the film. underlines the tragic element of There’s a delicacy about this track, to see his name attached to a her character. As presented in the in which the motive is passed romantic epic directed by Jean- “Main Title,” it gets things off around the orchestra in imitation Pierre Jeunet, who made a splash to a good start. The score moves style, contrasted by sparse piano a few seasons ago with Amélie. A into a cross between atmo- chords. After all of the kinetics in Very Long Engagement reunites spheric cues featuring Japanese the main body of this soundtrack, Jeunet with his City of Lost percussion playing even-meter a moving elegy was the smart way Children composer. Engagement rhythms (more convincingly to close the disc. is an ambitious, beautiful film, than Zimmer’s Last Samurai, Hopefully, Beck will get better and Badalamenti rises to the if that’s any consolation) and assignments for action writing in challenge with one of the most sublime electronic textures. the future. I hold Bowman’s direc- stirring scores of 2004. These elements actually establish torial tastes to blame for some of The movie, based on the novel Elektra  a suitable tone and definitely the choices made in the scoring of by Sébastien Japrisot, follows CHRISTOPHE BECK evoke images of the Orient and this film. Beck even mentions in the lovely Audrey Tautou as Varèse Sarabande 302 066 633 2 martial arts training. Tracks like an interview that he found him- Mathilde, whose fiancé is sent 21 tracks - 45:21 “Insomnia” also show Beck to self re-scoring the same scenes to war in 1917 and supposedly be sensitive toward subtleties in up to eight times. This, combined dies. The rest of the movie fol- hristophe Beck, most widely sound design. Fragments of the with a consistent type of “sound” lows Mathilde and her search for Cknown for his pulse-pound- orchestral sampling sessions can to the scores of each of Bowman’s this man whom she insists is still ing work on the television series be heard amidst Chinese zithers previous outings (although X- alive. Similar in theme and situa- and its and temple bowls. Files and Reign of Fire were scored tion to last year’s Cold Mountain, offspring Angel, tackles action on Where things go a little awry by two different composers) says the film is simply about hanging the big screen with Rob Bowman’s are on big action set pieces such it all. —David Coscina onto love in the face of war. film version of the popular Frank as “Ninjas” or “Kirigi,” where As I listened to the first track Miller assassin Elektra. Having Beck pumps up the volume with of the CD, the first name that been weaned on Miller’s seminal orchestral fireworks including the popped into my head was Ennio comic book work in the ’80s, now ubiquitous modernist brass Morricone, followed by a dash and having barely stomached clusters/whole tone trills and ale- of . Incorporating a the bastardization of Daredevil, atoric wind writing. Back when full orchestra, Badalamenti paints I refused to see Bowman’s latest Goldenthal first introduced these on a wide and emotional canvas. inept excursion into mass enter- techniques in the early ’90s on “Main Titles/The Trenches” is tainment. Accordingly, I expected scores like Demolition Man, they an especially heartbreaking elegy Beck’s music to follow suit. And were an interesting departure to war. The next cue, “First Love while this is no Superman, I must from the standard approach to Touch,” introduces the haunting admit there are good moments on action scoring. But after 12 years, love theme of Mathilde, which this disc. they’ve gotten tired. It’s too bad dominates the score. But the cue Beck revealed that, in the Beck didn’t stay with the percus- A Very Long Engagement that surprised me the most was early stages of scoring Elektra, he sive approach as found on tracks 1/2 “Kissing Through Glass,” the held sampling sessions with the like “Gnarly Gongs,” because a most unabashedly romantic piece orchestra wherein he would elec- lot of this score is Asian-flavored Nonesuch 79880-2 in the movie. tronically dissect and manipulate (which is a good thing) and to be 13 tracks - 47:32 Yes, the music may have at the resulting music. The result is thrust out of that into good ol’ times been over the top against sonically interesting, but let’s back European modernist techniques ngelo Badalamenti will the picture, and it may seem up for a moment. Elektra isn’t all is jarring. Aforever be associated with repetitive on the CD, but I have cool synth patches and slamming Luckily, Elektra ends on a strong director . When the to applaud Jeunet for trust- beats (although it does contain note with a lyrical rendition and composer does score non-Lynch ing Badalamenti with such an its fair share). The primary figure more-developed version of the films, they are usually set in simi- important movie. On a purely that represents the protagonist is a figure that was introduced in the larly dark, quirky or demented emotional level, the composer rising four-note motif that serves opening track and the melodic worlds, as in Secretary or Auto succeeds with flying colors. as the seed to a larger theme that material found on “The Kiss.” Focus. It was thus a nice surprise —Cary Wong

FILM SCORE MAGAZINE 41 MARCH/APRIL 2005 SCORE

Alias: Season 2  good chance someone will bring MICHAEL GIACCHINO up The Ring. But Young surpasses Varèse Sarabande 302 066 622 2 Zimmer’s effort (notably by not 23 tracks- 61:48 mimicking the Suspiria theme identically, a major weak point arèse’s recent release of of Zimmer’s score) and cre- VMichael Giacchino’s music for ates an organic atmosphere that the second season of Alias is a real breathes and pulses. This is the treat. As with the first season, the sound of dread, a territory that disc opens with creator J.J. Abrams’ seems to be inhabited exclusively title theme. Then it’s off into by Christopher Young. He’s not Giacchino’s heart-racing music. breaking any new ground, but If anything, the music for Season he’s proving that 20 years after he 2 leans more toward filmic sym- wrote his first horror score he’s still phonic underscore than its prede- at the top of his game. cessor. This is in keeping with the —Luke Goljan dramatic events that take place in the show. As an avid watcher of the Pranks (1980) 1/2 series, I found Season 2 to be the CHRISTOPHER YOUNG most intriguing, mostly due to the Citadel Limited LEC 8000 addition of Lena Olin’s stoic por- 17 tracks - 30:33 trayal of Sydney’s thought-to-be dead KGB mother, who turns her- the “Alias sound,” including tight 1/2 itadel has resurrected Chris self in to the C.I.A. in the season beats, agitato strings and pulsat- CHRISTOPHER YOUNG CYoung’s first foray into film premiere. With family dysfunction ing synths, leans more toward the Varèse Sarabande 302 066 623 2 scoring, and what a score it is! woven into the fabric of the elabo- dramatic side. Tracks like “Post 8 tracks - 42:29 Considering that this little-seen rate plot lines, Giacchino’s under- A-Mortem” marry the gravity of film deals with a crazed killer prey- score moved from supporting dramatic events with a hyper beat. he Grudge proves without a ing on college students, the score action packed situations to evoking Season 2 also offers more insight Tdoubt that Christopher Young eschews the staples of low-budget the high emotions. In essence, it into Giacchino’s abilities in mod- is perfectly at home writing for horror films from the early ’80s. became a character unto itself. ernist scoring tendencies. “Sloane’s both faces of horror, the tongue- Scored for string orchestra, mixed One has but to listen to “Mother Revelation” features amazing tex- in-cheek as well as the legitimately percussion, two pianos and bass of a Mother,” with its somber cello tures including quarter-tone choral scary. There are no stingers, sur- harmonica, Young’s freshman solo over Middle Eastern female utterances, string portamentos and prising considering how Young’s work sounds rich, organic and vocals to understand the anguish glissandi, all leading up to a massive stingers seem to get ripped off left most important, scary. It is easy to and mixed feelings of Sydney’s brass crescendo. and right; rather the music ebbs see the solid compositional chops character toward her estranged One doesn’t necessarily have to and flows with dark strings that that would lead the composer parent. Giacchino wisely plays the watch the show to enjoy listening saw ferociously when danger is on to projects like and drama in the show like an opera, to this disc. The musicality and imminent. Foreboding percussion Invaders from Mars in his early film assigning motives and themes, dynamism found in Giacchino’s takes the place of Young’s usually scoring days. What is more impres- even instruments, to characters music, along with the thematic over-the-top action writing. It sive is that although the instru- that will resurface throughout cohesion and continuity, tell their would be easy to go too far with mentation is similar to Bartòk’s the genesis of the season’s overall own story. Varèse’s disc includes music like this and turn it into a Music for Strings, Percussion and storyline. For example, on “Emily’s liner notes from the composer and noisy mess or lean too heavily on , a piece Stanley Kubrick Eulogy,” another somber piece that has a very healthy running time. synths, but Young blends every- used to eerie effect in The Shining, accompanies Sydney’s recollections I’ve heard complaints about the thing together so deftly that it Young never treads into exact pas- on the passing of Sloane’s wife Russian choral music not being becomes a dreamlike swirl. sages, instead coming up with an Emily, the cello is re-introduced included, but perhaps re-use fees The one negative aspect to the assortment of interesting textures in a solo passage amidst the elegy. governed its omission or else other score is that what was playing in and playing effects that stand on Even though Sydney is speaking more integral cues were required the editing room before Young their own. In fact, all of the tracks about Emily, the music reveals to lend cohesion to the soundtrack. came onboard is obvious. If you on this well-produced disc encom- her to be reflecting on her own I believe the latter, as the disc plays take one part Suspiria-like main pass a divergence from the mother. This kind of attention to out quite well—in fact, better than theme, add one part bellow- of the Romantic era, preferring to overall plot and character develop- Season 1. Regardless, it’s a treat ing drums, mix in some sawing root themselves in the modernist ment is part of the reason why to hear this kind of high-quality strings, and serve the result up mentality of shifting string clus- Giacchino’s talents were exploited orchestral writing in a television to an audience unfamiliar with ters, portamento effects, growling for ’s The Incredibles. series and even more enjoyable to the fact that the “ghost with hair bass harmonica, an occasional The tenor of this album, while listen to this great score on its own. in front of its face” is a Japanese Herrmann-esque still containing plenty of staples of —D.C. horror staple...well, then there’s a arpeggiation and sul ponticello

MARCH/APRIL 2005 42 FILM SCORE MAGAZINE tremolo effects. a good deal to recommend it as a Now buyer beware: Pranks fascinating entry in the Goldsmith FSM Pick of the Months doesn’t contain the warm sonori- canon, specifically, its unique ties of Young’s Murder in the blend of musical voices and styles. Invasion of the Body Snatchers (2003/1978)  First, nor does it have the lyrical (Goldsmith and Thompson had DENNY ZEITLIN sadness of Flowers in the Attic. worked together previously on The Perseverance PRD003 Although I wouldn’t say it’s as Chairman and The Reincarnation 19 tracks - 72:48 aggressive as Goldenthal’s Alien3, it of Peter Proud, and would later is a genre score filled with creepy reunite on King Solomon’s Mines. THE ’70S SAW THE RELEASE moments. But then again, tracks Thompson’s credentials as a like “Farewell to Brian” have a filmmaker are not exactly a hit of several great horror films, melodic lilt with the strings paired parade—Death Wish 4, any- including The Exorcist (1973), The down to a quartet in places while one?—but the director certainly Omen and Carrie (1976) and Phillip a celesta figure dances around the had excellent taste in composers, Kaufman’s remake of Invasion menacing low-string sforzandos. working with Tiomkin, Herrmann, of the Body Snatchers (1978). What is especially interesting is Barry, Williams and many others.) Starring , that this CD has been assembled Caboblanco is one of what I call Brooke Adams and Leonard Nimoy, this nightmare about pod people so the score plays like a concert Goldsmith’s “Third World” cycle of invading San Francisco combines expressionist camerawork, noirish piece. “Moonchill,” which follows scores that includes High Velocity, “Farewell to Brian,” recapitulates Under Fire and Medicine Man. lighting and eerie special effects to evoke an unusually unsettling atmo- the material from the previous These scores tend to showcase sphere of anxiety and dread. track in a variation, giving the flow a certain rustic tropical charm, For the film’s score, Kaufman recruited his friend Denny Zeitlin, a of the music a cohesion. which pops up immediately in psychiatrist/jazz composer whose innovative of elec- Ultimately, it’s hard to classify Caboblanco’s Latin American-fla- tronic and symphonic instruments had been drawing acclaim since this as a modern classic because vored “Main Title,” and which can the ‘60s. In the CD’s liner notes, the director explains: “When the of the film this score is attached be heard throughout the score. opportunity to do a score with him came up, I really thought that the to. However, Citadel is to be com- We also have a goodly amount film’s nature of paranoia was ideal for him. Rather than Denny as a mended for making it available. I of the swirling, dynamic action psychiatrist trying to cure paranoia, I thought he would be perfect to try wish Young would get larger-pro- writing that was so typical of the file projects. His compositional composer during the late ’70s and to create paranoia!” skills are solid, and his ideas are early ’80s. Cues like “The Diving Kaufman’s instincts were right. With few exceptions, Zeitlin’s imaginative and well-presented. Bell,” “The Drowning” and “Boat compositions throb with the same nervous energy that characterizes Special mention should be made Attack” don’t fail to get your blood Michael Chapman’s cinematography and W.D. Richter’s creepy script. of the great sound quality of this pumping. There was a time when “Main Title,” the album’s first track, for instance, is characterized by a limited-edition CD. It’s clear and Goldsmith seemed to be able to schizophrenic fusion of thudding drums, piercing strings, sighing horns sonically very detailed. The per- churn out this kind of savage bal- and electronic noises that scrape like rusty hinges. “Angel of Death,” in formances by the musicians are letic material in his sleep. There contrast, may be a much less violent work, but the piece’s piano part, first-rate, too. But you might want are two longer cues, “Jungle Run” to play this effective score with the and “Hide and Seek,” that, back to as it tiptoes over a bed of trembling strings, nevertheless suggests lights on and the doors locked. back, do an excellent job of captur- menace. Similarly, and despite its optimistic title, “Rescue” features a —D.C. ing a sense of mounting suspense tense mélange of moaning and screeching strings, while “Escape to and frenzied excitement. That said, Darkness” creates a phantasmagoria of brittle notes, lush tones and

Caboblanco (1980) 1/2 there’s no real dramatic payoff— distorted chirping noises. JERRY GOLDSMITH ”The Final Act Begins” and “The Occasionally, more lyrical passages materialize. On “Love Theme,” Prometheus PCD 127 End of Beckdorf” just wind down. for example, a flute and trumpet play the melody as a piano and drum Oddly, the score is suffused with 12 tracks - 39:19 sound quietly in the background. And a pipes-and-strings arrangement of a romantic element that hearkens “Amazing Grace” imbues the hoary old hymn with a mournful beauty. aboblanco takes its place back to Hollywood’s Golden Age. Camidst an explosively fruitful The Roy Noble standard “The Very The composer opts more often for vinegar than honey. Or he blends period of Jerry Goldsmith’s career. Thought of You” appears in three them, as he does with “Infiltration (Suite),” in which the melody from To say that it is probably the least cues, including the finale; and as “Love Theme” and an unpleasant electronic pulse are introduced of a run of scores beginning with if that weren’t enough, Goldsmith simultaneously. The Great Train Robbery, including throws in his own romantic ballad, Featuring a long, recorded interview with the composer, this com- Alien and Star Trek: The Motion “Heaven Knows,” with lyrics and a memorative disc should thrill aficionados. Fans of the film, however, Picture, and running through The performance by Carol Goldsmith may be a bit dismayed, as the music performed by the mysterious banjo Final Conflict and Masada is not (who penned and sang a number player doesn’t show up. Fortunately, the quality of Zeitlin’s score should necessarily faint praise! Indeed, of songs for her husband’s scores, Goldsmith’s third collaboration most notably “The Piper Dreams” make this omission easy to forgive. —Stephen B. Armstrong with director J. Lee Thompson has in The Omen). Listening to the

FILM SCORE MAGAZINE 43 MARCH/APRIL 2005 SCORE rapturously orchestrated “End most important of his generation. Credits,” one is put in mind of Nonetheless, it is easy to overlook Alfred Newman or, perhaps more the important place The Jungle appropriately, Max Steiner. Book occupies in Rózsa’s filmogra- The unlikely combination of phy as one of his personal favorite these elements gives the score its scores, and one that pushed him uniqueness and unfortunately, to new levels of fame and wide- also becomes the score’s major spread acclaim. This was due in shortcoming. The brash Golden large part to the concert suite Age romantic passages, fascinating Rózsa adapted from his score. as they are, don’t ultimately gel “The first American-made dra- musically with the more modern around the globe. Like its prede- Coleman: jazz master or abrasive matic feature motion picture to and harder-edged brunt of the cessor, Baraka features no dia- noisemaker? Obviously, you’ll have its music score re-recorded score, or with the earthier Latin logue and has only the soundtrack have to be able to dig Coleman’s for an album,” the suite’s success elements. When the CD ends, to help guide the viewer along a adventurous style (which he refers rivaled Prokofiev’s Peter and the one is left with a vague feeling journey that explores Man’s place to as “harmolodic” in the liner Wolf in the concert hall for a time. of schizophrenia. This may be on Earth. Composer Michael notes); if not, the soundtrack may This concert suite has been a consequence of the film, an Stearns (who also wrote the score become a little grating. available to Rózsa fans and unfortunate Casablanca rehash/ to Chronos), fuses recordings of Shore lays the groundwork with audiophiles since its incep- vehicle that was, indigenous music with his own dark for a smaller tion—first on LP, then on CD. by all accounts, something of a synth-based compositions. While ensemble which Coleman often A variety of recordings exist, mess. Nonetheless, Caboblanco on it might seem tempting to lump wails on top of. A few tracks also both with and without narra- CD is a worthy addition to any this score with all the “world present Ornette’s original compo- tion; the best and most accessible Goldsmith collection, especially in music” CDs out there and dismiss sitions and are the wilder cuts on of these was released by Varèse its current incarnation. I have not it, doing so would prove foolish. the CD. Sarabande (VCD 47258) in 1983. heard the exceedingly rare origi- What sets this soundtrack apart Again, the remastering puts a Approximately 30 minutes long, nal issue of this score, but I’m told from world music albums is the high-quality sheen on the original the suite is a noteworthy musical that Prometheus’ reissue (taste- quality and variety of the music. source material, and easily bests accomplishment by any standard fully dedicated to Goldsmith’s It also helps that all the musicians the original issue of the album and is a fair representation of memory) has significantly better featured sound genuine in their with more detail and a sweeter Rózsa’s remarkable score. But fair sound. performances—this ain’t a bunch top end. is not the same as comprehensive. —John Takis of hippie dudes in a drum circle, Both albums are recommended, For years, the original masters this is the real deal! Stearns does as long as you know what you’re being presumed lost, the true Baraka (1992)  add his analog synths to many getting into. Baraka takes you scope and dimension of this , VARIOUS of the tracks, along with sound on a musical trip around the Rózsa masterpiece were hidden to Milan M2-36109 • 12 tracks - 53:54 location recordings of people world without leaving your easy all, outside of obscure or decaying and nature, so tastefully that they chair, while Naked Lunch will prints of the actual film. Hidden, Naked Lunch (1991)  don’t distract from the overall either thrill you or make you run that is, until 1997, when a seren- HOWARD SHORE & presentation. screaming from the room. Other dipitous auction caught the eye ORNETTE COLEMAN The remastering has brought releases in Milan’s new series of Jeannie Pool—a box of acetate Milan M2-36110 • 18 tracks - 48:35 out a lot more detail in the include A River Runs Through It recordings that contained, among recordings, along with a more and Backdraft. other things, almost the entire oth Baraka and Naked Lunch robust bottom end. Sure, it’s —Ian D. Thomas original Jungle Book score. Seven Bare part of Milan’s new louder than the original CD, but years later, these recordings have Silver Screen Series, launched to the dynamics seem to have been The Jungle Book (1942) finally become accessible to the celebrate 25 years of soundtrack unaltered. A single bonus track  fan community through the Film releases for the label. After taking restores the opening cut from the Music Society—albeit as a very exception with their recent remas- film, which had been left off of Film Music Society FMS002 limited pressing of 1,000 discs, tering of Elmer Bernstein’s tribute the original pressing. Varied and 20 tracks - 53:59 many (if not all) of which will be to Bernard Herrmann (Bernard dynamic music with great record- sold out by the time this review Herrmann Film Scores: From ing quality—what’s not to like? irst, some perspective: Miklós sees print. Nonetheless, the pur- to Taxi Driver), I’m It seems an unlikely team- FRózsa’s The Jungle Book was pose of this review is to encour- pleased to see Milan get things ing, but Ornette Coleman and his 15th film score, his fifth (of age you, the discriminating film right with these two new reissues. Howard Shore both contribute nine) for the legendary Korda music consumer, to track down a Baraka is director Ron Fricke’s to David Cronenberg’s adapta- brothers; written during his mid- copy by any means necessary. follow-up to his cinematic tone tion of William S. Burroughs’ 30s, just five years into his career Certainly part of my enthusi- poem Chronos and follows the Naked Lunch. Whether you’ll as a film music composer. Rózsa asm stems from nostalgia. Korda’s same form, with glorious, striking like it or not really depends on was already an accomplished The Jungle Book, possibly the visuals shot in 70mm in locations your feelings toward Ornette concert composer, one of the darkest and most successful filmic

MARCH/APRIL 2005 44 FILM SCORE MAGAZINE SCORE

retelling of Kipling’s legendary ioned word to describe the score such as “The Lost City” and “The saga to date, captured my imagi- would be “Ravishing!” White Cobra.” There is also the nation at a very early age. It has In each of these areas of dis- haunting vocal version of “Jungle the distinction of being the first tinction, I am thrilled to report Lullaby.” score I remember being aware of, that the complete film score A few more points are worth the first score that remained con- exceeds the concert suite. Themes mentioning. First, Rózsa brings an sciously with me once the tape are extended, given more thor- exotic flavor of India to the proj- was out of the VCR. Today, many ough development, and heard ect, having thoroughly researched years later, the score continues to in new and exciting modes. One Hindu musical modes and inte- work the same magic on me, and example is the noble and gran- grated them appropriately. Of on all those I have the opportu- there is never a dull moment, diose theme for the elephants, a all Rózsa’s “Oriental” scores, this nity to share it with. never a cue that is less than abso- major-key theme whose minor- may be the best. Second, Rózsa’s What gives The Jungle Book lutely compelling. Third, Rózsa’s key variations were culled from is vibrant—in spite such lasting and universal music runs the gamut of human the suite. Being almost doubled of sound issues due to the age of appeal? It’s as simple as the basics emotion—the tears of a mother; in length, the complete score the recording, the energy of the of good music. To begin with, a the hot blood of wild youth; the remains no less or orchestra under the maestro’s veritable menagerie of melodies savagery of combat; the mystery exciting. The emotional palette, baton cannot be suppressed. that seizes and inspires the imag- and majesty of human civiliza- furthermore, is broadened—I Ordinarily, this score would ination—every character, every tion confronting the untamed am thinking here specifically of rank five stars. This release of the animal in the jungle, has a signa- world...Rózsa captures all this the dimension of cold-blooded score, however does not merit the ture theme and distinctive musi- and more with stunning boldness fear, entirely missing from the full rating, based on the pros and cal presence. Second, consistently and seemingly effortless grace. child-friendly concert suite, that cons of its presentation. The liner thrilling and exciting writing; An apt, appropriately old-fash- rises to prominence during cues notes are interesting and informa-

is hardly a dull subject, he was not as compel- Alex North, Academically Speaking ling a personality as Herrmann (but who is?). Nor is it an aesthetic or theoretical analysis of Alex North, Film Composer artistry without knowing how to North’s work the way Royal Brown’s Overtones 1/2 paint or operate a camera, it’s or Undertones is an historical study of film SANYA SHOILEVSKA another thing entirely to look music theory; again, the author is providing HENDERSON at a book of musical examples. information more than drawing conclusions. Foreword by JOHN WILLIAMS Even if you know music, you English is Henderson’s second language, McFarland & Company, Inc., 2003 have to set aside time to sit at a which makes this work all the more astound- ISBN 0-7864-1470-7 piano and figure it out. ing, but gives the prose a technically correct Hardcover, illustrated, That’s where the first half of but robotic quality. 264 pp., $48.50 this book saves the day: The I love this book—I am proud to have it biographical details, family and it has already proven useful in research- ALEX NORTH, FILM COMPOSER photographs and reproduced ing the North scores we recently released is a rare and welcome entry in artifacts—programs, correspon- on FSM. But, it’s kind of a joyless read—I the library of quality books about film music. dence, even school transcripts—are priceless. don’t know how to put it politely—which is The first half is a biography loaded with never- It is like getting the chance to go through odd as the author has surely demonstrated before-seen photographs, the second a series North’s attic and see the paper trail of his her devotion in its undertaking. If there were of musical analyses with notated examples: life—remember, North was 40 years old when books called John Williams, Film Composer, A Streetcar Named Desire (1951), Spartacus he broke into movies, and you used to have to Elmer Bernstein, Film Composer, et al. on my (1960), The Misfits (1961), Under the Volcano wonder what he did for the first half of his life. bookshelf I’d be thanking the heavens, so it (1984) and Prizzi’s Honor (1985). The book Wonder no more, as the book provides details shows us how far we’ve come just to have emerged out of a doctoral thesis by the author of his musical training, travels and work in the- Alex North, Film Composer, but the academic and is one of the most exhaustive tomes ever ater and dance. You don’t need to know any- origins of this book make it more a demonstra- produced about a single film composer. thing to see a photograph of North as a baby tion of labor accomplished than an entertain- That this will be a treasure trove for musi- with his family, then a shot of the children as ing experience. cologists goes without saying. I have a back- grownups in the same pose with their mother, Speaking of Williams, he provides a six- ground in such analysis but if you don’t, do not and think it’s cool. paragraph foreword. Oddly, the book is hard- feel ashamed, because it can be boring as hell. Two things the book is not: It is not a cover but without a dust jacket—the cover This is the main thing that has always dragged straight biography, like Steven Smith’s A Fire illustration is printed on the glossy binding down books about film music: While it can be at Heart’s Center on Bernard Herrmann. The itself. Don’t drop it. —Lukas Kendall engaging for anyone to browse books about biographical portion of this book is more an Order this book from the publisher at movie art or visual effects, and appreciate the objective recitation of events; and while North 1-800-253-2187; www.mcfarlandpub.com.

FILM SCORE MAGAZINE 45 MARCH/APRIL 2005 SCORE tive, but don’t say much about the above all, their teeth to terrorize actual music (this is somewhat and kill human beings. ’s compensated for by the final track Piranha appeared at the tail end of on the CD, a 22-minute interview the cycle and in the years since its excerpt with Rózsa by Rudy 1978 release, a cult following has Behlmer). Certain important developed around this low-budget cues are missing, not existing on picture, due, in part, to its gory the recovered acetate, although sense of humor, its campy special some music which was not heard effects and its cast of charismatic in the film has been rediscovered actors, including Kevin McCarthy and restored. (Invasion of the Body Snatchers) and The sound quality is at times The Adventures of Mark There’s a lot of other great mate- Barbara Steele (Black Sunday). atrocious, ranging from damaged Twain (1944)  rial here, with Steiner characteristi- For the score, the film’s execu- to merely ancient. I trust this MAX STEINER cally quoting period songs such as tive producer hired could not have been avoided, and Naxos 8.557470 • 29 tracks - 70:49 “Oh Susanna,” “The Battle Hymn Pino Donaggio, a Venetian com- that the remastering was as good of the Republic,” “Dixie” and “My poser, whose then-recent credits as could be expected. What could ohn Morgan and William Darling Clementine”—the latter included Don’t Look Now (1973) have been helped, on the other JStromberg are two of the great being either a clever take on Twain’s and Carrie (1976). Sounding more hand, is the way some tracks champions of film music, and real name, or just appropriate use like the music from an Italian simply snap on and off, where perhaps the greatest interpreters of of music to evoke time and place. than an American monster movie, others have been faded in or out. classic scores. Their latest, and pos- You decide! Steiner also provides Donaggio’s score is a strange fusion This can be jarring and disrup- sibly last, restoration is among their Twain’s wife and sweetheart Livy of orchestral material, Euro-pop tive during what is already a dif- very best. Steiner’s The Adventures with a fine theme of her own, but fluff and electronic dissonance. It ficult listening experience. In my of Mark Twain is in the tradition it’s used sparingly. offers more pleasures than many of opinion, since a certain amount of the many Americana film scores The sound quality ranks us might expect, however. of prominent hiss and back- that he wrote during that period, among the finest digital re-record- Consider, for instance, “Lost ground noise is unavoidable, an such as Gone With the Wind, They ings of Golden Age film scores River Theme.” The track opens unbroken constant should have Died With Their Boots On and available, with every shimmer- with an adagio arrangement of been maintained between cues. Virginia City. And it certainly ranks ing texture from the Moscow strings and a spray of chimes; a Fading away a track to nothing up there with the best of them, a Symphony clearly audible, and weird pulse from the synthesizer and fading in on the next cue is hidden gem from an all-but-for- William Stromberg getting fine follows; and then a sugary melody fine for a reasonably clear record- gotten film. performances from his soloists, materializes on piano and guitar. ing. When loud hiss fades away The score is largely based on down to the solo guitar, banjo and This cue, believe it or not, is as to silence—or worse, simply cuts one main theme, for Mark Twain occasional whistler. This is such an impressive as it is mawkish, thanks off—only to have more hiss fade himself, introduced in the “Main entertaining album that it makes to Donaggio’s ability to combine back in or snap back on, it seems Titles.” Despite the long running me sad that Naxos has ended this the grace of Vivaldi with the to serve no useful purpose. That time of the album, this theme series of classic film score restora- schmaltz of John Denver in a space goes double for a score as organic never gets tiresome, while show- tions. Indeed this album, despite that lasts less than 70 seconds. “No and flowing as The Jungle Book. ing up in virtually every cue. This being a first pressing and not a reis- Trespassing” is similarly eclectic, But these are minor quibbles is largely due to Steiner’s skill as a sue, was not released on the usual but much less pretty, as the com- in the long run. This CD of The composer. The theme is presented Marco Polo label, but instead on poser combines moaning strings Jungle Book can be considered in a different guise nearly every the discount Naxos label, and as and stark sequences of electronic an archival release—an act of time, passed from one section of such only costs about $6. Hopefully notes to develop a sound that preservation in line with the the orchestra to another, from a Robert Townson or someone else simultaneously evokes the tension Society’s mission, preventing plaintive violin solo to a resonating will be able to offer a home to of Bartòk and the unpleasant shrill the total loss of this wonderful as effortlessly as Twain seem- Morgan and Stromberg, so their of John Carpenter’s Halloween. music and recording. Imperfect, ingly wrote his own great works. fine work can continue. The moaning strings may yes, but until some heroic label Some of the better variations are —Darren MacDonald remind some of us, as well, of or producer can reconstruct the found in “Toy Shop,” with a music- Williams’ famous music from Jaws. original score and undertake box-style rendition of the theme, Piranha (1978)  “Fatal Rescue,” in particular, makes a definitive rerecording, this and “Public Shame,” which opens PINO DONAGGIO use of a seesawing cello, which is the best we are likely to get. with a threatening and nearly Varèse Sarabande VCL 0804 1031 Donaggio spikes with chimes, to I have certainly found it to be unrecognizable take on the theme. 16 tracks - 30:55 create a menacing rhythm that sug- indispensable, and recommend The main theme is brimming with gests the movement of swimming it unconditionally to all who are joy and exuberance, and if one is n the late ’70s, following the fish as they search for, find and able to get their hands on it. I do to believe the film and the score, Isuccess of Jaws, Hollywood then feast on their victims. “Yes, We not think that those who already Twain’s life was always happy and produced a spate of thrillers that Have No Piranhas” also simulates own and enjoy the concert suite carefree, with nary a dark chord to featured malevolent animals who the eating habits of these mean- will regret the purchase. —J.T. be found. use their stingers, their claws and, spirited creatures, these “wolves of

MARCH/APRIL 2005 46 FILM SCORE MAGAZINE the water.” a workout than in most thrillers, tion, are the icing on the cake of Donaggio’s affection for lighter with lines that don’t sound like this fine score. pop melodies also surfaces often they’re intended to be solos pushed Even with these riches, Varèse on this disc, particularly on tracks prominently to the fore of the mix. was not content to simply pro- like “Fatal Rescue” and “Summer There is very little action at all, vide the original score for your Dreams.” By and large, though, which helps the music fade into the enjoyment. A few years ago, Jerry this is a sinister recording, a sonic background, even with an enjoy- Goldsmith recorded The Agony and nightmare, and fans of macabre able main theme that surfaces from the Ecstasy with the Royal Scottish music ought to enjoy it. Finding time to time. Honestly, it’s a pretty National Orchestra. It is interest- Piranha, though, may prove to cool score, but then again, I liked it ing to compare that recording be difficult, as Varèse Sarabande the last 47 times I heard it in other with North’s original and notice only released 1,000 copies of this films. —L.G. how subtle changes like variations creepy thing last August; and it in tempi can give new, or at least has since sold out. —S.B.A. The Agony and the Ecstasy different, life to a score. But one (1965)  reason Goldsmith recorded the The Final Cut 1/2 ALEX NORTH score was that he wrote the music BRIAN TYLER Varèse Sarabande VCL 1104 1032 for the film’s prologue, a 12-minute Varèse Sarabande 302 066 615 2 21 tracks - 62:18 piece that commented and built 28 tracks - 62:00 on North’s work. That cue is also f you were to ask people with included on this recording, as well owhere is formulaic film Isome knowledge of film music as on the recent Jerry Goldsmith Nmusic more common than in to name one score composed by at 20th Century Fox box set. This the thriller. It seems that ever since Alex North, the near-universal album shows two masters working Christopher Young introduced response would be his rejected together across time, on one great his tinkling piano, the only other score to 2001. Even with last year’s score. Do yourself a favor and get innovation was the James Newton furor over Gabriel Yared’s rejected a hold of this recording before it’s Howard brand of electronics. So score for Troy, North’s original gone forever. when The Final Cut punches all the music for Kubrick’s space odyssey —Andrew Granade right buttons and delivers exactly as remains the best known and most expected, it oddly disappoints and celebrated (in the most ironic sense Helter Skelter  pleases at the same time. of that word possible) rejected MARK SNOW Borrowing a page from Bernard score of all time. It is a shame that BSX BSXCD1001 • 19 tracks - 60:15 Herrmann’s Hitchcock scores North’s name, and consequently his Italy. And by the score’s end, with and blending it with a bit of music, are saddled with that stigma. “Michelangelo’s Magnificent have to admit that I normally Goldenthal, the main title sets He was a pioneering composer, Achievement,” North has moved Iwouldn’t judge a CD by its cover, the proper mood right away. But knowledgeable and able to work in firmly into Catholic musical ter- but this one looked just awful. Take this is a mood that has been set a a wide range of musical styles, from ritory with a contrapuntal, unac- a look at it. Does that guy even million times before. Mysterious. modernist to Renaissance companied choir. By framing the look like Charles Manson? No, he Unsettling. Steal the piano dances. Heck, the guy even wrote score with this musical device, looks like an actor with a beard theme “Claire’s Nocturne” from “.” he creates a decisive musical-his- scowling into the camera. Manson In Dreams. Lift the same exact Hopefully Varèse’s limited deluxe torical commentary. He links Pope is crazy. This guy doesn’t look crazy. sound effect from Robin Williams’ edition of North’s score for The Julius II’s ideas on art and reli- This CD and I were off to a bad other creepy movie, One Hour Agony and the Ecstasy will erase the gion with the heresy that was the start. And it got worse... Photo. Throw in a hefty dose of 2001 stigma from some people’s Protestant church at the time, and The first thing you hear when the Herrmann-flitered-through- minds. North wrote some of his Michelangelo’s work with the glory you hit the start button is the Williams sound of Minority Report most beautiful and direct music of God as revealed in true Catholic world’s worst cover of the clas- and even A.I. Then add a final for the acclaimed film detailing music. It is a telling statement. sic Beatles’ track “Helter Skelter.” dash of Danny Elfman’s The Hulk. Michelangelo’s struggle to paint Further showing his range, I’ll try and be delicate here, so I The problem isn’t that the score is the Sistine Chapel. He cleverly took North scatters vernacular pieces don’t offend anyone: It basically bad—far from it. It merely treads his cue from the film’s themes of from the Renaissance throughout sounds like it’s being performed by ground we’ve all been over many art versus religion and the nature the largely symphonic score. In a Fabulous Thunderbirds tribute times before. There are no dips and of inspiration. The score’s first “The Medici,” he places a lively band playing a Tuesday night gig at lulls to the emotion; there is virtu- cue, “Prelude—The Mountains of dance melody on recorder over a the local brew pub out in the sub- ally no progression at all. Even as Carrara,” opens with a progres- consort of viols that conjure the urbs. It’s that bad. For the first time an album, this approach doesn’t sion of modal chords on organ. grandeur of Florence of the time, in my life, I wanted to grab the really work. It’s a bold move, especially con- and in “The Contessina,” he lays disc out of my machine and crush The instrumentation is as sidering that the result sounds like out a delightful lute solo. These it with my bare hands. From the expected, though the woodwind early German Protestant music little touches, planted amongst the crappy drum sounds and forced section does get a little bit more of written for a film set in Catholic vast spaciousness of his orchestra- vocals, to the pathetic guitar solo,

FILM SCORE MAGAZINE 47 MARCH/APRIL 2005 SCORE this track stinks like nothing else nor an innovative success, the 1968 of the score, leaving Fred to con- I’ve heard in quite some time. Warner Brothers-Seven Arts ver- tend with a somewhat rusty “When The next 18 tracks aren’t much sion of Finian’s Rainbow (a smash the Idle Poor Become the Idle better. The simply named “Titles” on Broadway way back in 1947) Rich.” Still, the elder Astaire man- starts with the latest cliché du jour: contains an equal measure of pleas- ages one hypnotic (non-musical) impassioned, pseudo-ethnic, word- ant surprises and quiet disappoint- moment in the film as an inebri- less female vocals. I don’t think I ments. Following suit, the newly ated Finian buries his gleaming pot have to say much more about how refurbished Rhino/Warner limited of gold by the light of that old devil tired we all are of this trend. Won’t edition soundtrack begins racking moon. someone put an end to it, once and up debits and credits right from the As directed by the youthful for all? get go. , Finian’s And “Sword” isn’t really music He’s a classically trained musician The previously unissued over- Rainbow is a visually uninviting as much as sound design. Creepy who studied at Juilliard, and has ture is really only a fleeting, indif- hodgepodge that seems to encap- sounds and drones that move since become one of the most suc- ferent instrumental sampling sulate the uncertain climate in about in a murky, dense reverb cessful TV composers in history. of “If This Isn’t Love” wrapped Tinseltown during the turbulent do not equal musical composi- Certainly at this point in his career around a dollop of “When I’m Not “Summer of Love.” Philip Lathrop’s tion. Adding in Penderecki-like he should have the clout to pick Near the Girl I Love.” It seems an Panavision cameras don’t seem to string plunks and plinks doesn’t and choose his assignments, and to oddly inauspicious way to send care for any of the featured play- help matters, either. It sounds work only with top-notch talent. off a zestful extravaganza boast- ers, who are all drably costumed like they were copied and pasted So why not push the boundaries? I ing the return of the legendary and frequently bellowing at one in because they’re, well, kind of just can’t imagine he’d be content , but there you have it. another as stridently as possible. creepy sounding. Just ask Stanley (despite his millions) to be known However, only moments later, all is The choreography by longtime Kubrick or , both only as Mark X-Files Snow. forgiven as launches Astaire collaborator Hermes Pan who used Penderecki’s music over A very disappointing and unin- into a magnificent version of “Look features an unfocused mélange of 25 years ago. spired CD, Helter Skelter can only to the Rainbow,” backed by the prancing hippies and more tradi- Sadly, the rest of the album be recommended for hardcore symphonic majesty of the Warner tional Broadway style razzmatazz. mostly sounds like you dragged an Mark Snow fans, or those who Bros. Studio Orchestra under the Whenever possible, Coppola stages empty bathtub to a construction need to hear exactly what’s wrong baton of the underappreciated Ray scenes outside and even employs a site, filled it with cooked oatmeal with soundtracks today. —I.D.T. Heindorf. The eternal optimist’s few bold cinema verité-type tech- and stuck your head in it. Scrapes, national anthem, “Look to the niques, but all of this only seems bangs, mechanical-type noises and Finian’s Rainbow (1968) 1/2 Rainbow” has been attempted by to undermine the otherworldly drones all awash in a dense fog of HARBURG/LANE everyone from aspects of the story. The last thing delay and reverb. “Come to Now” Rhino Handmade/ to , but it’s that a whimsical fantasy needs is news- is the worst, with about two min- Warner Music Group “Downtown” lass who most sensi- reel authenticity. Finian’s Rainbow utes of what sounds like someone 17 tracks - 53:04 tively and hauntingly conveys this should have been approached like shooting hoops in an empty air- song’s wistful idealism. Get a load lyricist E.Y. Harburg’s earlier mas- plane hangar. By the way, this score he late ’60s was one trippy of that perfect pitch, too. terpiece The Wizard of Oz or like was nominated for an Emmy. Ttime to be a movie musical Glasgow’s Ella Logan became Robert Stevenson’s Darby O’Gill Basically, Mark Snow is trapped in Hollywood. The too-encourag- something of a Great White Way and the Little People (1959), which in the ’90s. The entire sound pal- ing profits from blockbusters like legend primarily as a result of her really understood a thing or two ette he’s using is from the previ- My Fair Lady and The Sound of heartfelt rendition of “How Are about leprechaun culture. ous decade, and it really shows. Music opened the floodgates for an Things in Glocca Mora?” perhaps Apart from Clark, the best thing One track in particular, “Sunrise onslaught of sound-stage adapta- the best-remembered selection Finian’s Rainbow has going for it is Arrest,” is a full-on ’90s rave scene tions of Broadway triumphs. Some from the Finian’s score. Clark’s Harburg’s agile way with a lyric. A Chemical Brothers-type dance of these widescreen translations, have at it is certainly respectable gleefully glib case in point is “The floor number. Look, the story takes like Camelot and Sweet Charity, but here the performance is glazed Begat,” which includes a jaunty place in the 1960s, right? And the were opulently mounted or brim- with a Top 40 Dusty Springfield-ish romp through the Book of movie was made in 2004, right? ming over with show-bizzy dazzle veneer and, despite her best efforts, Genesis (“The Lord made Adam Snow’s approach doesn’t make any but obliviously out of step with the Petula’s version is just a trifle too / The Lord made Eve / He made sense at all. countercultural coeds lining up for Caesar’s Palace to evoke Killybegs, them both a little bit naïve.”) Normally, when I hear a score the likes of Easy Rider or Bonnie Kilkerry and Kildare. Despite the fact that Harburg that doesn’t work for me, I try and and Clyde. Migraine-inducers like Mr. Astaire was nearly 70 at the adapted his own for the consider the reasons why. Does it Paint Your Wagon and Song of time he was engaged to play Finian screen (along with collaborator just not work outside of the film? Norway were ill-equipped to entice McLonergan and in some ways, it’s Fred Saidy), it’s a crying McShame Did the director and producers the bra burners and flower children a bit painful to observe cinema’s that the movie never quite lives up push for a more homogeneous who preferred to see greatest hoofer executing a number to the reputation of the acclaimed sound? In short, I try to relieve the and Canned get down in of arthritic Irish jigs. What’s more, theatrical production. Alas and composer of guilt. But it’s hard to Woodstock. Clark, Don Francks and Tommy alack, where was absolve Mark Snow in this case. Neither a disastrous calamity Steele monopolize the lion’s share (continued on page 50)

MARCH/APRIL 2005 48 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 49 MARCH/APRIL 2005 Pocket Reviews Short Takes on Noteworthy CDs

The Specs The Story The Music

Shade  SURPRISINGLY, CHRIS YOUNG’S SCORE TO Themes don’t carry over from one track to the next, CHRISTOPHER Shade has a lot in common with The Grudge. and Young designed the album to play “like a ’70s jazz YOUNG Both are designed to conjure an atmosphere record.” But he can’t escape his trademark sound—sev- Intrada ISE 1002 around the listener, only here the atmosphere is eral cues echo with creepy undertones for a moment or 16 tracks - 49:37 far less threatening. Returning to his jazz roots, two before being spirited away. This is music for card Young delivers a smoky score that dances the sharks and criminals after all, and the sense of forebod- fine line between source and score, hitting all ing moves through the music, keeping the atmosphere the right emotions, but staying just outside the slightly off-kilter. This “signature edition” (limited to stereotypical vocabulary of modern film music. 1,000 copies) grooves along most appealingly. Perfect for brandy, cigarettes and double-crosses. —L.G.

Susan Egan— SUSAN EGAN WILL BE FAMILIAR TO This is the kind of album that was standard fare for pop Coffee House Broadway fans who will recognize her as the performers in the 1960s and ’70s—a variety album with  original Belle from Beauty and the Beast. She great songs and a few misses. It includes a song from VARIOUS was seen most recently in the film 13 Going on Jerry Herman’s Miss Spectacular. There’s also a with LML Music 180 30. Coffee House is a collection of songs from former Beast, Terrance Mann in ’s “Roses”—plus, 13 tracks - 41:29 to Jerry Herman and beyond. an and song cut from Hercules. Egan’s voice has that wonderful, pure Broadway Christopher McGovern’s arrangements tend to be guitar- sound and an ability to create a characterization driven, with occasional wind and string colors for a little for each song in a way often missing from stan- extra flavor. It’s an intimate production, deeply felt and dard pop albums. exquisitely performed. The album is available at www.LMLmusic.com. —Steven A. Kennedy

The Star Trek THIS TWO-DISC POPS PERFORMANCE FEA- While it is a great idea to have something from every Album  tures music from all of the films, all of TV series film and television spin-off, the repetitive nature of VARIOUS except for Enterprise, and even music from many of these tracks raises the question of why two Silva 6035 the Star Fleet Academy video game. Many of discs were necessary. Still, this might make a nice gift Disc One: 53:17 these recordings have been released previously, set for the uninitiated sci-fi fan or trekkie. For the rest Disc Two: 44:37 some several times before. This is the first con- of you, this is worth a listen if it is in a “2-discs for the glomeration of Silva’s catalogue recordings in a price of one” range. Though I am one of those film multi-disc set for this series. pops junkies, I would be hard-pressed to part with $20 or more for this set. —S.A.K. .

Dopamine  1/2 FIRST TIME DIRECTOR/WRITER MARK DECENA Four of Anagram’s tracks are included here and sound VARIOUS asks the question: What is love? Is it a chemi- similar to the electro female pop of the Sneaker Pimps or 1 50104-2 2 cal reaction causing emotions to stir or a real Client. Holland is backed up by a few other San Francisco 8 tracks - 63:37 situation that we all feel? Dopamine was filmed rock locals: Faith No More’s Bill Gould on bass, Steel Pole in San Francisco, so Decena called on some of Bath Tub’s Mike Morasky on guitar, I Am Spoon Bender’s the local musicians to create the soundtrack. Dustin Donaldson on drums, Jessica Congdon singing, Headlining is keyboardist Eric Holland, (Yerba Esther Reyes on cello, and Eric Schopmeyer on guitar, City ) who began his career in the cut-and-paste, among others. Dopamine mostly plays like a mediocre sample-heavy group Milk Cult. “Slow Twist” pop album instead of a dramatic film score. The instru- from Milk Cult’s Project M-13 album actually mental electronic pieces by Eclectic Electric and Eric makes this soundtrack. Holland’s current band Holland’s “A Lighter Shade of Koy Koy,” “Cello A,” “Cello is Anagram. It’s a completely different approach B” and the opener, “Dopamine,” are all interesting, but musically, sounding more like a real band with too short to maintain a musical flow. Only for die-hard live instruments and vocals. fans of the movie. —Jason Verhagen

FILM SCORE MAGAZINE 49 MARCH/APRIL 2005 Pocket Reviews Short Takes on Noteworthy CDs

The Specs The Story The Music

The Charlie THIS ALBUM CAME OUT IN 2003, BUT ANY Several of Guaraldi’s Peanuts themes are included: Brown Suite & Guaraldi Peanuts music is worth mentioning, “Peppermint Patty,” “The Red Baron,” “Happiness Is”— Other Favorites new or old. This is not an original soundtrack or along with his pop hit “Cast Your Fate to the Wind.”It’s  even a vintage Vince album—rather it is a col- positively strange to hear music that was intended for an VINCE GUARALDI lection of archival live performances, the twist intimate scale-piano, bass, drums-be expanded with other Bluebird being that the addition of orchestral accompani- colors. Eventually you may think it is too much and that 82876-53900-2 ments. That’s right, listen along to “Linus and the original performances were correct, but it’s fun getting 10 tracks - 52:38 Lucy” with what sounds like private-eye horn there. Liner notes are by son David Guaraldi and Peanuts backgrounds and layered strings. animation producer Lee Mendelson. —L.K.

The Abominable LIKE A LOT OF HORROR FILMS OF THE EARLY Basil Kirchin, a noted jazz musician, created a terrific, Dr. Phibes (1971) ’70s, the Dr. Phibes films were largely comic unconventional sound for the first Phibes. It’s a deeply  1/2 affairs, but these stories of a vengeful, dis- romantic theme for strings and horns put through varia- BASIL KIRCHIN figured madman were played very broadly tions and punctuated by improvisational riffs to accom- Perseverance with gruesome scenes highlighting the gothic pany the horrific moments. This is a score for people who PRD004 goings-on. Thirty years later, these films still hate horror movie scores. The music was severely trun- 14 tracks – 39:51 have a dedicated following, thanks in large cated in the final release print, leaving Kirchin unhappy part to their star, Vincent Price. In the first, The to this day. While the CD restores most of his music, the Abominable Dr. Phibes, the title character re- resulting disc is very repetitive, with variable sound qual- Dr. Phibes Rises creates the Ten Plagues of the bible and visits ity and a surfeit of fuzzy source cues that do not provide Again (1974) them upon a team of doctors responsible for the relief (Mr. Kirchin, I feel your pain).  1/2 death of Mrs. Phibes. In the sequel, Dr. Phibes Dr. Phibes Rises Again is a far more enjoyable experi- JOHN GALE Rises Again, Price’s character travels to Egypt ence, despite its more conventional approach. This score Perseverance PRD002 to find an elixir to resurrect his dead spouse, by library music composer John Gale (who contributed 29 tracks – 45:12 leaving a trail of mayhem wherever he goes. the first film’s lost “Vulnavia’s Theme”) is more operatic Call the films “camp” if you will, but the music in tone, starting off with organ, solo female voice and was mostly played straight. Alas, the scoring small but full-bodied orchestra. Price himself warbles process on the original was also horrific, leav- “Somewhere Over the Rainbow,” in what is arguably ing a disgruntled composer, discarded cues and the most memorable musical moment of the series. lost master tapes in its wake. An unsatisfying Packaging is enthusiastic, with copious notes and artwork LP was released in 1971, consisting mostly of (but were four alternate covers for Abominable really Paul Frees performing celebrity burlesques and necessary?). Fans will want both discs, but unfortunately, six minutes of underscore. Perseverance proves only the second film gets the treatment it deserves. worthy of its name by reconstructing these long —Joe Sikoryak sought-after soundtracks.

A Slipping-Down TONI KALEM MADE HER DIRECTORIAL DEBUT The songs are penned by the likes of Ron Sexsmith, Life (1999)  based on Anne Tyler’s 1970 novel. Nominated Robyn Hitchcock, Vic Chestnutt and Joe Henry. They all VARIOUS for a Jury prize at Sundance, its chief critical have the kind of sound that should appeal to Commotion CR002/ notice came for Lili Taylor’s performance as Eve the younger crowd. Pearce does have a good singing Koch 5755 Drecker. The soundtrack is a collection of songs voice for this style of music, and he carries the album 11 tracks - 45:38 performed by Guy Pearce, who portrays the fairly well. —S.A.K. singer/ Drumstrings Casey in the film.

to this revamped soundtrack is should be encouraged to have other nent release of Coppola’s film on Score (continued from page 48) the inclusion of some liner notes surviving participants share their DVD, ponder whatever happened Stanley Donen when we needed penned by Petula Clark. The star’s memories in the name of posterity. to Tommy Steele and follow the fel- him most? off-screen anecdotes are both In the meantime, Finian’s low who follows the dream. One very welcome addition enlightening and endearing. Rhino Rainbow fans can await the immi- —Mark Griffin

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film is flawed and the score makes it worse, and Major Changes therefore there could be no harm done replacing (continued from page 33) the music from Peckinpah’s point of view. With that in mind, Grover commissioned Chris to do that that was his first major film score. He knew the score and in our opinion Chris took the film that the producers of the movie did not want and made it a better movie. But we did know him and the studio didn’t know who he was; that there would be a purist reaction that people Sam was fighting for him and Fielding was would be crying foul and thinking this would funneling all the ideas that would become syn- now happen to every movie.” onymous with Jerry Fielding scores but were not New director’s cuts of the Star Wars films before The Wild Bunch. All that had to explode and that have been designed in that one moment and he had a crisis because to supplant the original theatrical versions in Peckinpah told him he hated the music when the public mind notwithstanding, Redman he was writing it, so he really struggled. I felt is quick to emphasize that unlike in those there’s a similarity with what Christopher did instances, the original theatrical release of on Major Dundee and what Jerry Fielding did Major Dundee and its Amfitheatrof score will on The Wild Bunch, which was to take a lot of not be buried forever by the rescored version. experience that had been in his mind but that “Grover at Sony is very specific and said that OH SHEET: Caliendo (right) and contractor Joe he hadn’t had the opportunity to apply. The the original shorter version of the film is not Soldo review the score between takes. reason that Fielding couldn’t was because he had being tampered with and it will always have the been blacklisted all those years and was crawl- Daniele Amfitheatrof score. We’re creating a new ing back into the business. The year before The On Revisionist Filmmaking version of the film, it has a new score, and it’s a Wild Bunch he was scoring a Laurel and Hardy The rescoring of older pictures isn’t entirely different film with a different presentation. But documentary. Christopher did something that without precedent, but in nearly all cases involv- on the DVD you’ll have the new version in 5.1 actually is a continuum if you like in the Sam ing non-silent films it’s been done when licenses and the original in mono, which is the way it Peckinpah canon of music—consciously or not to songs or other original music haven’t been always was, and it’ll be there for you to choose.” he’s taken things, forms, concepts that are true retained. To rescore a film of such near-legendary In fact, the time, money and thought put to Peckinpah’s work and they are now part of status as Major Dundee, and for a highly touted into the extended cut of Major Dundee are Major Dundee whereas they weren’t before. One theatrical re-release, does break new ground— the exception rather than the rule of studio of the things this has done is remind us that and Redman is well aware that many will see the handling of their vintage output, and Redman Major Dundee is actually set in the Civil War; removal of Amfitheatrof’s 40-year-old music as believes that the sheer effort and concentration the first version you’d think it was set in some nearly sacrilegious, particularly when it involves necessary to pull off such a feat will prevent other time, but this is actually a Civil War film.” a man who’s been at the forefront of some of the such instances from occurring with any fre- Caliendo acknowledges the enormity of the most visible efforts at film music preservation quency in the future. “I can’t imagine someone task he faced. “We’re not just composing the of the past few decades. According to Redman, doing this on a whim. Grover never once con- sound, we’re taking on the entire experience when Grover Crisp began to seriously consider sidered this in any kind of business or financial of Sam Peckinpah, all the psychological factors replacing Major Dundee’s score he approached way; he thought we could make Major Dundee of war, the historical attributes of the score, the Redman and Paul Seydor about the idea. “David better. He hasn’t made it a perfect creature, Indian cultures, and in 29 days try to create a Weddle [another Peckinpah expert and consul- that’s impossible and you’d have to re-shoot to symbol of excellence where both people like tant on several documentaries on the filmmaker] do that. But it is better and I don’t think that Nick with a great understanding of Peckinpah and Paul Seydor made the case that this was quite there are too many executives out there who and lay-people can appreciate the film, and that’s appropriate because they felt that the original are going to think we can make Psycho bet- a lot of things for a score to do.” music really hurt the film,” Redman says. “The ter by putting in a rock and roll score.” FSM

ment to it because the lead actor changes every NL: We all had the same problem which Nathan Larson (continued from page 15) 10 minutes, and it sounds like it wouldn’t work was we had to make this child molester sym- but for some reason it does. And the purpose pathetic without being ridiculous and without wouldn’t. In terms of our collaboration it was of it I can’t really articulate, but it has this very insulting people who’d been through that. I very smooth; he had a really good sense of what emotional effect on you. At one minute it’s do seem to be drawn to this kind of subject he wanted musically and we were sort of aping this really fat African-American girl, the next matter. I find that musically it’s such a chal- the Rosemary’s Baby soundtrack, which was one minute it’s this gorgeous, modelesque actress, lenge to sort of walk the line, and my goal in of my favorites. We talked about that and we and the next minute it’s Jennifer Jason Leigh. these situations isn’t to do all this sort of dark liked the fact that there was the baby tie-in and FSM: Another really tough project you did music where I’m making everything seem that sort of female vocal spooky thing worked is The Woodsman; you wrote this warm and really horrible, but to add a sense of warmth as really nicely with the imagery he had, so that sympathetic piece for guitar to characterize the well. I did this classical guitar piece not unlike held from the first try. That and the soundtrack Kevin Bacon character who’s a kind of reformed something from The Deer Hunter, so it’s not from Valley of the Dolls, those were the two big child molester, and it must have been incredibly like I’m making a horror movie out of it, but ones for us. There’s sort of a magical, unreal ele- difficult to approach this guy musically. I’m not making it really cloying either. FSM

MARCH/APRIL 2005 52 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 53 MARCH/APRIL 2005 We’re pleased to offer hard-to-find, unusual soundtrack-related products, including: Exclusive CDs; Books for music lovers; Books for composers; One-of-a-kind collectibles; and more! Order online, by phone or by mail: see contact info below. All CDs are $19.95 plus shipping & handling unless otherwise noted. FSMmarketplace

 Vol. 8 No.4  Vol. 8, No.3 /Submarine X-1 Green Mansions RON GOODWIN BRONISLAU KAPER Films released: 1964/1969 Conducted by Charles Wocott; Special music by Heitor Villa-Lobos Studio: • Genre: WWII Action Films released: 1959 Silver Age Classics Studio: M-G-M CD released: April 2005 Genre: Adventure/Fantasy Stereo/Mono • Disc One: 46:36 Golden Age Classics Disc Two: 51:05 CD released: April 2005 • Stereo • 79:36 Disc one presents the quintessential WWII aviation score, prepared The studio’s dream to employ noted South American composer from the original album masters—with a bonus suite of previously Villa-Lobos led to an unusual—but fruitful—collaboration with unavailable music (8:24). Disc two premieres Goodwin’s suspenseful, Kaper that resulted in a fascinating Hollywood score. This dramatic potent music from Submarine X-1. $24.95 soundtrack includes selected source music and unused cues. $19.95

2-CDs 3-CDs  Vol. 8 No.2  Vol. 8, No.1  Vol. 7, No. 20  Vol. 7, No.19  Vol. 7, No. 18  Vol. 7, No.17  Vol. 7, No. 16 Atlantis: The Lost The Thing From Another Kelly’s Heroes The Subterraneans Penelope/ Valley of the Kings/ Mutiny on the Bounty Continent/The Power World/Take the High LALO SCHIFRIN Bachelor In Paradise Men of the Fighting Lady BRONISLAU KAPER RUSSELL GARCIA/ Ground! Films released: 1970 Films released: 1960 JOHNNY WILLIAMS/ MIKLÓS RÓZSA Film released: 1962 MIKLÓS RÓZSA DIMTRI TIOMKIN Studio: M-G-M Studio: M-G-M HENRY MANCINI Films released: 1954 Studio: M-G-M • Genre: Films released: 1961/1968 Films released: 1951/1953 Genre: War/Comedy Genre: Drama Films released: 1966/1961 Studio: M-G-M Historical Epic Studio: M-G-M Studio: RKO/M-G-M Silver Age Classics Golden Age Classics Studio: M-G-M • Genre: Comedy Genre: Action-Adventure/ Silver Age Classics • CD Genre: Sci-Fi/Fantasy Genre: /Drama CD released: January 2005 CD released: January 2005 Silver Age Classics • CD Wartime Drama released: November 2004 Silver Age Classics Golden Age Classics Stereo • 79:02 Stereo • 79:36 released: December 2004 Golden Age Classics Stereo • Disc One: 79:15 • Disc CD released: March 2005 CD released: March 2005 One of ’s most One of the best jazz soundtracks Stereo • Disc One: 79:54 • CD released: December 2004 Two: 79:01 • Disc Three: 79:53 Stereo • 76:04 Mono/Stereo • 78:42 popular films—a WWII com- gets an expanded CD. Previn Disc Two: 69:15 Stereo • 67:39 FSM’s 100th Classic Series Two soundtracks Tiomkin’s roaring, bellicose music edy-caper—finally gets the enlisted Carmen McRae, Shelly Two swinging ‘60s comedies on Two-fisted archeological action Release. This legendary pro- on one disc! Atlantis (46:19) is a features unusual instrumentation full soundtrack it deserves. Manne and others to augment a 2-CD set. Penelope includes in the Indiana Jones mold! This duction features a remarkable full-blooded action-adventure and is as terrifying as ever. The FSM’s CD includes Schifrin’s his own film scoring skills to cre- the complete underscore, bonus CD includes the underscore epic score—now presented score in the mode of The Time mono sound is good and includes expansive underscore (54:08, ate a hybrid jazz and symphonic tracks and the original LP re- from Men of the Fighting Lady in its entirety for the first time, Machine. The Power (29:39) is some primitive stereo tracks. The mostly unavailable and partly score. All of the original LP recording. Bachelor in Paradise, (22:52), a Korean War pilot plus a virtual “alternate score” an offbeat blend of noir, fantasy Thing (26:50) is paired with Take unheard!), plus three songs and tracks are here, plus the entire is a jazzy outing by Mancini with saga. Both scores are remixed of unreleased takes and revi- and suspense and is the defini- the High Ground! (51:47) a lively, if the original LP album tracks remaining underscore, remixed bonus tracks. Both scores are from the 35mm masters. Plus: sions, plus most of the source tive presentation of the surviving more conventional military drama (24:48). $19.95 from 35mm masters, plus source in stereo from the original 35mm the trailer music from King cues—nearly in all! score (both in stereo). $19.95 (in stereo). $19.95 cues (some in mono). $19.95 masters. $24.95 Solomon’s Mines (mono). $19.95 $34.95—and worth it.

Don’t miss these and other great “B-sides” that are part of the FSM Classics Collection. Read the titles carefully: nearly one third of our CDs offer one or more bonus titles, at no extra charge!

2-CDs  Vol. 7, No.15  Vol. 7, No. 14  Vol. 7, No.13  Vol. 7, No. 12  Vol. 7, No.11 Saddle the Wind The Man From U.N.C.L.E. I’ll Cry Tomorrow Ride the High Country/Mail Cimarron ELMER BERNSTEIN/ Vol. 3 ALEX NORTH Order Bride FRANZ WAXMAN JEFF ALEXANDER JERRY GOLDSMITH, Film released: 1955 GEORGE BASSMAN Film released: 1960 Film released: 1958 DAVE GRUSIN, ET AL. Studio: M-G-M • Genre: Films released: 1962/1964 Studio: M-G-M Studio: M-G-M Series Broadcast: 1964-68 Biography Studio: M-G-M Genre: Western Epic Genre: Western • Golden Age Studio: M-G-M Golden Age Classics Genre: Western Golden Age Classics • CD Classics Genre: Secret Agent CD released: October 2004 Silver Age Classics released: August 2004 CD released: November 2004 Silver Age Classics Stereo • 75:53 CD released: August 2004 Stereo • 79:37 Mono • 75:53 CD released: September 2004 A first-rate biopic based upon Stereo • 76:54 This remake of Edna Ferber’s This dark tale of gunslinging Mono • Disc One: 77:21 • Mono/ the life of Lilian Roth, starring Bassman contributed a warm, novel was one of the last brothers (scripted by Rod Stereo Disc Two: 77:03 Susan Hayward in a power- wistful and melodic score to attempts to present a big, Serling) features an early score FSM completes its trilogy of house performance. Equally Sam Peckinpah’s first master- sprawling epic of the old West. by Elmer Bernstein and a title albums with music from the strong is North’s jazz-infused piece, Ride the High Country The sumptuous score includes song performed by Julie London. original series and its 1966 spi- score featuring a memorable (32:35). Two years later, he the stirring title song, European The CD also includes an earlier noff, The Girl From U.N.C.L.E. main theme. The CD includes all reworked the same material folk song and a spiritiual—not score by Jeff Alexander which Eight composers are repre- of the dramatic underscore, plus into his score to Mail Order to mention the thunderous Land went unused. A rare, unex- sented, including 37 minutes source cues and three vocals Bride (44:28). This CD premieres Rush cue. This is the definitive pected pairing, heard here for of Goldsmith music (by Hayward) presented in both scores in stereo. $19.95 presentation! $19.95 the first time! $19.95 in stereo. $24.95 chronological order. $19.95

TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9598 • Fax 1-310-253-9588 • Online www.filmscoremonthly.com To Order Call Toll Free: 1-888-345-6335 Mon.-Fri. 10:30 a.m. - 5 p.m. EST / FAX: (540) 635-1154 • Go Online At: www.filmscoremonthly.com  Vol. 7, No. 10  Vol. 7, No. 9  Vol. 7, No. 8  Vol. 7, No.7  Vol. 7, No. 6 2-CDs  Vol. 7, No.5  Vol. 7, No. 4 Born Free Big Wednesday The Fastest Gun Alive/ The Shoes of the The Swan Logan’s Run (TV Series) JOHN BARRY MIKLÓS RÓZSA BASIL POLEDOURIS House of Numbers Fisherman BRONISLAU KAPER , et al. Film released: 1966 Film released: 1953 Film released: 1978 ANDRÉ PREVIN ALEX NORTH Film released: 1956 Telecast: 1977 • Studio: M-G-M Studio: Columbia Studio: M-G-M Studio: Warners Film released: 1956 Film released: 1968 Studio: M-G-M Genre: Science Fiction Genre: Wildlife Adventure Genre: Shakespeare/Epic Genre: Surf Epic Studio: M-G-M Studio: M-G-M Genre: Romantic Drama Silver Age Classics Silver Age Classics Golden Age Classics CD Silver Age Classics Genre: Romantic Drama Genre: Political Thriller Golden Age Classics • CD CD released: March 2004 CD released: July 2004 released: July 2004 CD released: June 2004 • Golden Age Classics • CD Silver Age Classics released: April 2004 Stereo • 79:55 Stereo • 39:55 Mono & Stereo • 68:05 Stereo • 78:29 released: June 2004 CD released: April 2004 Stereo • 49:54 Suites from all scored episodes The original pop sensation has This premiere CD features the One of the great orchestral Mono • 76:10 Stereo • Disc One: 77:09 The complete, original sound- by Rosenthal, Bruce Broughton, been remastered and released complete powerful score, with a scores of the 1970s, available for Two potent scores penned for Disc Two: 74:50 track remixed from three-track Jerrold Immel (Dallas) and Jeff on CD for the first time!$16.95 wealth of extras. $19.95 the first time anywhere. $19.95 director Russel Rouse. $19.95 Complete score and more. $24.95 masters plus LP cues. $19.95 Alexander. $19.95

 Vol. 7, No.3  Vol. 7, No. 2  Vol. 7, No.1  Vol. 6, No. 21 2-CDs  Vol. 6, No. 20  Vol. 6, No. 19  Vol. 6, No. 18 Diane Khartoum/ The Prisoner of Zenda Where Eagles Dare/ Moonfleet McQ On Dangerous Ground MIKLÓS RÓZSA Mosquito Squadron ALFRED NEWMAN Operation Crossbow MIKLÓS RÓZSA ELMER BERNSTEIN BERNARD HERRMANN Film released: 1956 FRANK CORDELL Film released: 1952 RON GOODWIN Film released: 1955 Film released: 1974 Film released: 1952 Studio: M-G-M Films released: 1965/1969 Studio: M-G-M Films released: 1968/1965 Studio: M-G-M Studio: Warner Bros. Studio: RKO • Genre: Film Noir Genre: Historical Drama Studio: United Artists Genre: Swashbuckler Studio: M-G-M Genre: Swashbuckler Genre: Police Thriller Golden Age Classics Golden Age Classics • CD Genre: Epic/WWII Espionage Golden Age Classics Genre: WWII Espionage Golden Age Classics Silver Age Classics CD released: November 2003 released: March 2004 Silver Age Classics CD released: February 2004 Silver Age Classics CD released: January 2004 CD released: November 2003 Mono • 48:24 Stereo Disc One: 71:36 CD released: February 2004 Mono • 58:21 CD released: January 2004 Stereo • 77:11 Stereo • 49:24 Herrmann’s only film noir runs Stereo & Mono Disc Two: 77:43 Stereo • 78:55 A robust adaptation of Stereo • Disc One: 74:04 A moody tale with a richly Combines a traditional sympho- the gamut from furious chases Plus cues from Plymouth Adventure Two military-themed scores Newman’s original score (by Disc Two: 78:37 melodic score and a lovely main nis with ’70s for a unique, to heartfelt warmth.. Produced (7:48) & Moonfleet (12:10). $24.95 from stereo LP masters. $19.95 Conrad Salinger). $19.95 Two entire film underscores. $24.95 theme—plus alternates. $19.95 swaggering sound. $19.95 from acetate recordings. $19.95

 Vol. 6, No. 17 2-CDs  Vol. 6, No. 16  Vol. 6, No. 15  Vol. 6, No. 14  Vol. 6, No. 13  Vol. 6, No. 12  Vol. 6, No. 11 The Man From U.N.C.L.E. The Brothers Karamazov Wild Rovers The Cobweb/ Hawkins on Murder/ Toys in the Attic The Appointment Vol. 2 BRONISLAU KAPER JERRY GOLDSMITH Edge of the City Winter Kill/Babe GEORGE DUNING MICHEL LEGRAND, JOHN JERRY GOLDSMITH, et al. Film released: 1957 Film released: 1971 LEONARD ROSENMAN JERRY GOLDSMITH Film released: 1962 BARRY & DON WALKER, Series Broadcast: 1964-68 Studio: M-G-M Studio: M-G-M Films released: 1956, 1957 Films broadcast: 1973, ’74, ’75 Studio: United Artists Studio: M-G-M • Genre: Spies Genre: Literary Adaptation Genre: Western Studio: M-G-M • Genres: Drama Studio: M-G-M Genre: Southern Family Drama Film released: 1969 Silver Age Classics Golden Age Classics Silver Age Classics Golden Age Classics Genres: Crime, Biography Golden Age Classics Studio: M-G-M CD released: Oct. 2003 CD released: Oct. 2003 CD released: Sept. 2003 CD released: Sept. 2003 Silver Age Classics CD released: July 2003 Genre: Drama Mono • Disc One: 77:54 Mono • 79:10 Stereo • 79:14 Stereo • 51:54 CD released: July 2003 Stereo • 70: 27 Silver Age Classics Mono/Stereo Disc Two: 76:29 A rich and varied score for one A favorite score gets the defini- Two early scores by one of Stereo • 77:24 One of Duning’s greatest scores CD released: June 2003 With music by Fried, Shores, of the greatest works in litera- tive treatment including film cinema’s most distictive voices, Three complete TV movie is sensitive, rich and melancholy. Stereo • 77:06 Riddle and more. $24.95 ture. $19.95 tracks & LP recording. $19.95 from film and LP. $19.95 scores plus bonus tracks. $19.95 $19.95 Three scores on one CD. $16.95

 Vol. 6, No. 10  Vol. 6, No. 9  Vol. 6, No. 8  Vol. 6, No. 7 2-CDs  Vol. 6, No. 6  Vol. 6, No. 5  Vol. 6, No. 4 Our Mother’s House/ The Adventures of Soylent Green/ Knights of the Round Table/ All Fall Down/The Outrage Green Fire/ THX 1138 The 25th Hour Huckleberry Finn Demon Seed The King’s Thief ALEX NORTH Bhowani Junction LALO SCHIFRIN GEORGES DELERUE FRED MYROW/ MIKLÓS RÓZSA Film released: 1962/1964 MIKLÓS RÓZSA Film released: 1970 Films released: 1967 Film released: 1960 JERRY FIELDING Film released: 1953/1955 Studio: M-G-M Film released: 1954/1956 Studio: Warner Bros, Studio: M-G-M Studio: M-G-M Film released: 1973/77 Studio: M-G-M Genre: Drama/Western Studio: M-G-M Genre: Science Fiction Genre: Gothic/WWII Comedy Genre: Satirical Adventure Studio: M-G-M • Genre: Sci-Fi Genre: Costume Adventure Silver Age Classics Genre: Adventure/Drama Silver Age Classics Silver Age Classics Golden Age Classics Silver Age Classics Golden Age Classics CD released: Apr. 2003 Golden Age Classics CD released: Mar 2003 CD released: June 2003 CD released: June 2003 CD released: May 2003 CD released: May 2003 Stereo • 52:54 CD released: Apr. 2003 Stereo • 55:45 Stereo • 58:49 Stereo and Mono • 59:58 Stereo • 79:49 Stereo • Disc One 70:31 Two complete scores: a hushed, Stereo/Mono • 79:20 Includes many unused pas- Both delicate, melodic scores A giant of Americana writes a Two ’70s sci-fi scores on one Disc Two 78:21 sweet, family drama and a west- A symphonic score coupled with sages from an avant garde are remastered in stereo. $19.95 bouncy, rich score.$19.95 disc. $19.95 Two complete OSTs. $24.95 ern remake of . $19.95 “world-music”cues. $19.95 masterpiece. $19.95

To Order Call Toll Free: 1-888-345-6335 Mon.-Fri. 10:30 a.m. - 5 p.m. EST / FAX: (540) 635-1154 • Go Online At: www.filmscoremonthly.com  Vol. 6, No. 3  Vol. 6, No. 2  Vol. 6, No. 1  VOLUME 5, NO. 20  Vol. 5, No. 19  Vol. 5, No. 18 2-CDs  Vol. 5, No. 17 Home From the Hill Ice Station Zebra Plymouth Adventure Never So Few/7 Women Tribute to a Bad Man The Man From U.N.C.L.E. The Seventh Sin BRONISLAU KAPER MICHEL LEGRAND MIKLÓS RÓZSA HUGO FRIEDHOFER/ MIKLÓS RÓZSA Vol. 1 MIKLÓS RÓZSA Film released: 1960 Film released: 1968 Film released: 1952 ELMER BERNSTEIN Film released: 1956 JERRY GOLDSMITH, et al Film released: 1958 Studio: M-G-M Studio: M-G-M Studio: M-G-M Film released: 1959/1966 Studio: M-G-M Series Broadcast: 1964-68 Studio: M-G-M Genre: Drama Genre: Military/Espionage Genre: Historical Epic Studio: M-G-M Genre: Western Studio: M-G-M Genre: Drama Golden Age Classics Silver Age Classics Golden Age Classics Genre: WWII/Drama Golden Age Classics Genre: Secret Agent Golden Age Classics CD released: Mar. 2003 CD released: Feb. 2003 CD released: Feb. 2003 Silver Age Classics CD released: Jan .2003 Silver Age Classics CD released: Dec. 2002 Stereo/Mono • 79:26 Stereo • 79:20 Mono • 79:35 CD released: Jan. 2003 Stereo • 50:30 CD released: Dec. 2002 Mono • 59:26 All of the music from the film is Offbeat, epic scoring for orches- Rózsa’s magnificent historical Stereo • 73:46 Rózsa’s rare western is sweep- Mono • Disc One: 77:05 This reworking of The Painted present, plus bonus tracks and tra, with over twice the music on music for the voyage of the Two Asian-flavored classics on ing, full of melody, and flecked Mono/Stereo Disc Two: 76:08 Veil combines film noir, exotic alternates. $19.95 the original LP—in stereo. $19.95 Mayflower. $19.95 one disc. $19.95 with brooding melancholy. $19.95 Seven composers! $24.95 and epic film scoring. $19.95

 Vol. 5, No. 16  Vol. 5, No. 15  Vol. 5, No. 14  Vol. 5, No 13  Vol. 5, No. 12  Vol. 5, No 11  Vol. 5, No. 10 The Prize The World, the Flesh The Green Berets Scaramouche The Gypsy Moths Above and Beyond I Spy JERRY GOLDSMITH and the Devil MIKLÓS RÓZSA ELMER BERNSTEIN HUGO FRIEDHOFER EARLE HAGEN Film released: 1963 MIKLÓS RÓZSA Film released: 1968 Film released: 1952 Film released: 1969 Film released: 1952 TV Produced: 1965-67 Studio: M-G-M Film released: 1959 Studio: Warner Bros. Studio: M-G-M Studio: M-G-M Studio: M-G-M Network: NBC Genre: Espionage Studio: M-G-M Genre: War/Adventure Genre: Costume Adventure Genre: Drama Genre: WWII Genre: Secret Agent Silver Age Classics Genre: Science Fiction Silver Age Classics Golden Age Classics Silver Age Classics Golden Age Classics Silver Age Classics CD released: Nov. 2002 Golden Age Classics CD released: Sept. 2002 CD released: Sept. 2002 CD released: Aug. 2002 CD released: Aug. 2002 CD released: July 2002 Stereo • 72:37 CD released: Nov. 2002 Stereo • 72:37 Mono • 62:28 Stereo • 61:08 Mono • 55:44 Stereo/Mono • 77:57 An early Jerry Goldsmith action- Stereo • 52:53 A stirring symphonic score, The last of the Golden-Age A sweeping Americana score This stirring, progressive score, Five episode scores for ground- suspense gem for a Hitchcock- A rare Rózsa’s sci-fi score set in (plus “The Ballad of the Green swashbucklers with alternate, plus and marching includes one of Friedhofer’s breaking series—all OST, not LP styled thriller.. $19.95 post-apocalyptic NYC. $19.95 Berets”). $19.95 unused and source cues. $19.95 band source cues. $19.95 greatest main titles. $19.95 recordings. $19.95

 Vol. 5, No 9  Vol. 5, No. 8  Vol. 5, No 7  Vol. 5, No. 6  Vol. 5, No 5  Vol. 5, No 4  Vol. 5, No. 3 The Prodigal Point Blank/The Outfit On the Beach/ The Traveling Executioner 36 Hours The Man Who Loved Cat Joy in the Morning BRONISLAU KAPER JOHNNY MANDEL/ The Secret of Santa Vittoria JERRY GOLDSMITH Dancing BERNARD HERRMANN Film released: 1955 JERRY FIELDING ERNEST GOLD Film released: 1970 Film released: 1964 JOHN WILLIAMS Film released: 1965 Studio: M-G-M Film released: 1967, 1973 Film released: 1959, 1969 Studio: M-G-M Studio: M-G-M • Genre: MICHEL LEGRAND Studio: M-G-M / Genre: Biblical Epic Studio: M-G-M Studio: United Artists Genre: Black Comedy WWII/Spy Film released: 1973 Genre: Romance Golden Age Classics Genre: Film Noir Genre: Drama, Comedy Silver Age Classics Golden Age Classics Studio: M-G-M Golden Age Classics CD released: July 2002 Silver Age Classics Golden Age Classics CD released: May 2002 CD released: May 2002 Genre: Western CD released: Mar. 2002 Stereo • 75:11 CD released: June 2002 CD released: June 2002 Stereo • 39:39 Stereo • 66:41 Silver Age Classics Stereo • 46:33 Epic features choruses, solos, Stereo • 77:54 Stereo • 70:59 This score touches all the bases, A taut, piano-dominated score CD released: Mar. 2002 The complete score: romantic, source cues and thundering Two tough films based on D.E. Two LP scores reissued on one from bluegrass to avant-garde with an accent on stealth—and Stereo • 65:37 surging with and haunt- symphonic glory. $19.95 Westlake’s crime novels. $19.95 CD, with one bonus cue. $19.95 to full-scale action. $19.95 double the length of the LP. $19.95 A rare two for one! $19.95 ing in its use of melody.. $19.95

 Vol. 5, No 2  Vol. 5, No. 1 n VOLUME 4, No. 20  Vol. 4, No. 19  Vol. 4, No. 18  Vol. 4, No. 17  Vol. 4, No. 16 Logan’s Run Lust for Life Farewell, My Lovely/ Demetrius and the Broken Lance John Goldfarb, The World of Henry Orient JERRY GOLDSMITH MIKLÓS RÓZSA Monkey Shines Gladiators Please Come Home! ELMER BERNSTEIN Film released: 1976 Film released: 1956 DAVID SHIRE FRANZ WAXMAN Film released: 1954 JOHNNY WILLIAMS Piano Concerto by K. Lauber Studio: M-G-M / Genre: Sci-Fi Studio: M-G-M Film released: 1975/88 Film released: 1954 Studio: 20th Century released: 1965 Film released: 1964 Silver Age Classics Genre: Biography Studio: M-G-M Studio: 20th Century Fox Genre: Western Studio: 20th Century Fox Studio: United Artists CD released: Feb. 2002 Golden Age Classics Genre: Film Noir/Suspense Genre: Biblical Epic Golden Age Classics Genre: Comedy Genre: Comedy/Drama Stereo • 74:18 CD released: Feb. 2002 Silver Age Classics Golden Age Classics CD released: Dec. 2001 Silver Age Classics Silver Age Classics This classic story of a dystopian Stereo • 61:51 CD released: Jan. 2002 CD released: Jan. 2002 Stereo • 38:41 CD released: Dec. 2001 CD released: Nov. 2001 future gets the royal treatment A favorite score of the compos- Stereo • 73:48 Stereo • 61:51 Disney’s workhorse composer Stereo • 71:32 Stereo • 40:32 in this restored, remixed, rese- er, remixed, with bonus alternate Jazzy Noir & rhythmic thrills. $19.95 Spectacular Biblical epic. $19.95 from the ‘30s goes West. $19.95 Wacky Arab go-go music! $19.95 Bernstein’s “second-best” score quenced release! $19.95 cues and more. $19.95 for children, sounds great! $19.95

To Order Call Toll Free: 1-888-345-6335 Mon.-Fri. 10:30 a.m. - 5 p.m. EST / FAX: (540) 635-1154 • Go Online At: www.filmscoremonthly.com  Vol. 4, No. 15  Vol. 4, No. 14  Vol. 4, No. 13  Vol. 4, No. 12  Vol. 4, No. 11  Vol. 4, No. 10  Vol. 4, No. 9 The View From ’s The Illustrated Man Morituri/Raid on Entebbe The Best of Everything Voyage to the Bottom Between Heaven and Hell/ Head/ Blue Denim JERRY GOLDSMITH ALFRED NEWMAN & JERRY GOLDSMITH/ ALFRED NEWMAN of the Sea Soldier of Fortune ELMER BERNSTEIN/ Film released: 1969 HUGO FRIEDHOFER DAVID SHIRE Song by Newman & PAUL SAWTELL HUGO FRIEDHOFER BERNARD HERRMANN Studio: Warner Bros. Film released: 1958 Films released: 1965/77 Sammy Cahn. & BERT SHEFTER Films released: 1956/55 Films released: 1955/1959 Genre: Sci-fi/Anthology Studio: 20th Century Fox Studio: 20th Century Fox Film released: 1959 Song by Russell Faith, Studio: 20th Century Fox Studio: 20th Century Fox Silver Age Classics Genre: Western Genre: WWII/Docudrama,TV Studio: 20th Century Fox Film released: 1961 Genre: WWII/Adventure Genre: Drama CD released: Sept. 2001 Golden Age Classics Silver Age Classics Genre: Drama/Romance Studio: 20th Century Fox Golden Age Classics Golden Age Stereo • 42:02 CD released: Sept. 2001 CD released: Aug. 2001 Golden Age Classics Genre: Sci-fi/Irwin Allen CD released: July 2001 CD released: Nov. 2001 One of Jerry Goldsmith’s most Stereo (w/ some mono) • 69:34 Stereo (Morituri)/ CD released: Aug. 2001 Silver Age Classics Stereo • 73:00 Stereo • 75:15 haunting sci-fi creations. $19.95 Two scoring legends collaborate Mono (Entebbe) • 57:50 Stereo • 71:14 CD released: July 2001 A moody war thriller, and an Two films by Philip Dunne. $19.95 for a rich western score. $19.95 Suspense! Action! ! $19.95 Newman’s last Fox score. $19.95 Stereo • 55:55 $19.95 exotic, melodic jewel. $19.95

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 Vol. 4, No. 8  Vol. 4, No. 7  Vol. 4, No. 6  Vol. 4, No. 5  Vol. 4, No. 4  Vol. 4, No. 3  Vol. 4, No. 2 Room 222/Ace Eli and A Man Called Peter The French Connection/ The Egyptian Untamed The Towering Inferno How to Marry a Millionaire Rodger of the Skies ALFRED NEWMAN French Connection II ALFRED NEWMAN & FRANZ WAXMAN JOHN WILLIAMS ALFRED NEWMAN & JERRY GOLDSMITH Film released: 1955 DON ELLIS BERNARD HERRMANN Film released: 1955 Film released: 1974 CYRIL MOCKRIDGE Films released: 1969/73 Studio: 20th Century Fox Films released: 1971/75 Film released: 1954 Studio: 20th Century Fox Studio: Warner Bros./20th Film released: 1953 Studio: 20th Century Fox Genre: Religious/ Biography Studio: 20th Century Fox Studio: 20th Century Fox Genre: Historical Adventure Century Fox Studio: 20th Century Fox Genre: Sitcom / Americana Golden Age Classics Genre: Police Thriller Genre: Historical Epic Golden Age Classics Genre: Disaster/Irwin Allen Genre: Comedy/ Romance Silver Age Classics CD released: June 2001 Silver Age Classics Golden Age Classics CD released: April 2001 Silver Age Classics Golden Age Classics CD released: June 2001 Stereo • 58:14 CD released: May 2001 CD released: May 2001 Stereo • 65:43 CD released: Apr. 2001 CD released: Mar. 2001 Mono (Room 222)/Stereo & Biopic receives rich, reverent, Stereo & Mono (I)/ Stereo • 72:06 A thrilling adventure score in Stereo • 75:31 Stereo • 70:03 Mono (Ace Eli) • 71:37 melodic score; complete. Stereo (II) • 75:01 The original stereo tracks first-rate sound. $19.95 Premiere CD release, doubled in Period songs adapted as Two light and lyrical scores. $19.95 including source music. $19.95 Two classic cop thrillers. $19.95 resurrected! $19.95 length from the LP. instrumental underscore. 19.95

 Vol. 4, No. 1  VOLUME 3, No. 10  Vol. 3, No. 9  Vol. 3, No. 8  Vol. 3, No. 7  Vol. 3, No. 6  Vol. 3, No. 5 Conquest of.../Battle for Beneath the 12-Mile Reef The Stripper/Nick Quarry From the Terrace Batman / Hombre A Guide for the the Planet of the Apes BERNARD HERRMANN JERRY GOLDSMITH ELMER BERNSTEIN NELSON RIDDLE / Married Man TOM SCOTT/LEONARD Film released: 1953 Film released: 1963/68 Film released: 1960 Theme by Neal Hefti JOHNNY WILLIAMS ROSENMAN/LALO SCHIFRIN Studio: 20th Century Fox Studio: 20th Century Fox Studio: 20th Century Fox Film released: 1966 Films released: 1969/67 Title Song Perf. by The Turtles Film released: 1972/73 Genre: Adventure Genre: Drama /Action,TV Genre: Drama Studio: 20th Century Fox Studio: 20th Century Fox Film released: 1967 Studio: 20th Century Fox Golden Age Classics Silver Age Classics Golden Age Classics Genre: Adventure/Camp Genre: Western Studio: 20th Century Fox Genre: Sci-fi/Fantasy CD released: Feb. 2001 CD released: Jan. 2001 CD released: Dec. 2000 Silver Age Classics Silver Age Classics Genre: Comedy Silver Age Classics Stereo • 55:06 Stereo (Stripper)/ Stereo • 71:27 CD released: Nov. 2000 CD released: Sept. 2000 Silver Age Classics CD released: Feb. 2001 Premiere release of original Mono (Quarry) 73:35 Soaper features tuneful, roman- Mono • 65:23 Stereo • 72:33 CD released: July 2000 Stereo & Mono (Conquest)/ stereo tracks, albeit with minor Early Goldsmith feature w/bonus tic score; Rich Americana, sen- Holy Bat-tracks! 1966 feature A Western two-fer: one brash, Stereo • 73:10 Stereo (Battle) • 74:44 $19.95 deterioration. $19.95 tracks)— plus a TV rarity. $19.95 sitive romantic themes. $19.95 expands TV themes. $19.95 one quiet—both gems. $19.95 “Johnny”’s best comedy! $19.95

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 Vol. 3, No. 4  Vol. 3, No. 3  Vol. 3, No. 2  Vol. 3, No. 1  VOLUME 2, No. 9  Vol. 2, No. 8  Vol. 2, No. 7 Tora! Tora! Tora! Beneath the Planet Take a Hard Ride The Flim-Flam Man/ Rio Conchos All About Eve/ JERRY GOLDSMITH of the Apes RON GRAINER JERRY GOLDSMITH A Girl Named Sooner JERRY GOLDSMITH Leave Her to Heaven Film released: 1970 LEONARD ROSENMAN Film released: 1971 Film released: 1975 JERRY GOLDSMITH Film released: 1964 ALFRED NEWMAN Studio: 20th Century Fox Film released: 1970 Studio: Warner Bros. Studio: 20th Century Fox Films released: 1967/1975 Studio: 20th Century Fox Film released: 1950/45 Genre: WWII Studio: 20th Century Fox Genre: Sci-fi/Fantasy Genre: Western Studio: 20th Century Fox Genre: Western Studio: 20th Century Fox Silver Age Classics Genre: Sci-fi/Fantasy Silver Age Classics Silver Age Classics Genre: Drama/Americana Silver Age Classics Genre: Drama CD released: May 2000 Silver Age Classics CD released: Mar. 2000 CD released: Feb. 2000 Silver Age Classics CD released: Dec.1999 Golden Age Classics Stereo • 54:45 CD released: Apr. 2000 Stereo • 65:39 Stereo • 46:38 CD released: Jan. 2000 Mono/Stereo (combo) • 75:28 CD released: Nov. 1999 Score balances aggressive Stereo • 72:37 Sci-fi classic features one-of-a- Strange “blaxploitation,” west- Stereo (Flim-Flam)/ Presented complete (55:43) in Mono (2 trks. in stereo) • 44:19 action with avant-garde Complete film score plus LP re- kind symphonic/pop fusion, and ern gets wonderful symphonic Mono (Sooner) • 65:20 mono, with some cues repeated Eve is a true classic: Heaven is effects. $19.95 recording and FX tracks. $19.95 unforgettable themes. score, great main theme. $19.95 An Americana duo. $19.95 in stereo. $19.95 brooding film noir. $19.95

To Order Call Toll Free: 1-888-345-6335 Mon.-Fri. 10:30 a.m. - 5 p.m. EST / FAX: (540) 635-1154 • Go Online At: www.filmscoremonthly.com  Vol. 2, No. 6  Vol. 2, No. 5  Vol. 2, No. 4  Vol. 2, No. 3  Vol. 2, No. 2  Vol. 2, No. 1  VOLUME 1, No. 4 The Comancheros Prince of Foxes Monte Walsh Prince Valiant Patton/ 100 Rifles The Return of Dracula/ ELMER BERNSTEIN ALFRED NEWMAN JOHN BARRY FRANZ WAXMAN The Flight of the Phoenix JERRY GOLDSMITH I Bury the Living/ Film released: 1961 Film released: 1949 Film released: 1970 Film released: 1954 JERRY GOLDSMITH/ Film released: 1969 The Cabinet of Caligari/ Studio: 20th Century Fox Studio: 20th Century Fox Studio: CBS Studio: 20th Century Fox Studio: 20th Century Fox Mark of the Vampire Genre: John Wayne/Western Genre: Historical Adventure Genre: Western Genre: Historical released: 1970/65 Genre: Western GERALD FRIED Silver Age Classics Golden Age Classics Silver Age Classics Golden Age Classics Studio: 20th Century Fox Silver Age Classics Films released: 1958/58/62/57 CD released: Sept.1999 CD released: July 1999 CD released: June 1999 CD released: May 1999 Genre: WWII/ Adventure CD released: Mar. 1999 Studio: UA/ 20th Century Fox Stereo • 47:44 Stereo • 46:39 Mono (1 track. in stereo) 61:51 Stereo • 62:17 Silver Age Classics Stereo/Mono (combo) • 77:08 Genre: Horror • Silver Age Elmer Bernstein’s first score “Lost” historical adventure gets Revisionist western gets vintage Colorful 1954 adaptation of the CD released: April 1999 Full of Mexican colors and gut- CD released: Jan. 1999 • Mono for John Wayne is a western exciting, robust score, mixed in Barry score 20 years before epic comic strip features stirring Stereo • 76:24 tural action. CD presents two Disc One: 61:06 Disc Two: 73:20 gem. $19.95 stereo. $19.95 Dances With Wolves. $19.95 score a là Star Wars. $19.95 Two OSTs on one CD. $19.95 versions of score. $19.95 2-CDs of creepy music. $29.95

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 Vol. 1, No. 3  Vol. 1, No. 2  Vol. 1, No. 1  FSM-80125-2  FSM-80124-2  FSM-80123-2 automatically. Or choose Fantastic Voyage The Paper Chase/ Stagecoach/The Loner Mad Monster Party Deadfall The Taking of Pelham 1-2-3 between all Golden or all LEONARD ROSENMAN The Poseidon Adventure JERRY GOLDSMITH MAURY LAWS JOHN BARRY DAVID SHIRE Silver Age titles. Film released: 1966 JOHN WILLIAMS Film released: 1966/1965 Film released: 1998 Film released: 1968 Film released: 1974 Studio: 20th Century Fox Film released: 1973/72 Studio: 20th Century Fox Studio: Rankin/Bass Studio: 20th Century-Fox Studio: M-G-M Be among the first to hear Genre: Sci-fi Studio: 20th Century Fox Genre: Western (film/TV) Genre: Animagic Genre: Heist caper Genre: Thriller our premiere releases Silver Age Classics Genre: Drama/Disaster Silver Age Classics Percepto/Retrograde Records Retrograde Records Retrograde Records of Hollywood’s best film CD released: Sept. 1998 Silver Age Classics CD released: May 1998 CD released: 1997 CD released: 1997 CD released: 1996 Stereo • 47:28 CD released: July 1998 Stereo (Stagecoach)/ Stereo 36:48 Stereo 40:23 Stereo & Mono • 30:55 scores, monthly! Sci-fi classic gets imaginative, Stereo/Mono (combo) • 75:53 Mono (Loner) • 45:25 30th Anniversary edition score Vintage underscore, Concerto Crazy, funky, thrilling ’70s action (well, every five weeks...) avant garde score; a signature Two scores plus the Main Title Film score plus TV theme and features vocals by Boris Karloff for Guitar and Orchestra, and score—a one of a kind must work. $19.95 to Conrack (1974). two episode scores. $19.95 & Phyllis Diller. $16.95 multiple vocal tracks. $16.95 have! $16.95 See order form for details.

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Film Score Magazine Memoirs of a Famous The Score: Interviews U.S. Soundtracks on CD: Stu Who? Forty Years of The Music of Star Trek: Basil Poledouris: His Life is liquidating its stock Composer—Nobody Ever with Film Composers Scores for Motion Pictures and Navigating the Minefields of Profiles in Style and Music (VIDEO) of film score books. Heard Of by Earle Hagen by Michael Schelle TV 1985-1999 the Music Business by Jeff Bond Visit with the composer of Hagen (b. 1919) played trom- Q&As with Barry, Bernstein, Price Guide by Robert L. Smith by Stu Phillips Encompasses Trek scores, from Conan the Barbarian, Big While they aren’t neces- bone with ; Blanchard, Broughton, Chihara, 2,400+ album titles with stats, His career encompasses 1966-2000. With interviews Wednesday and Lonesome sarily going out of print, worked at 20th Century Fox; Corigliano, Howard, Isham, collectibilty data and estimated groovy cult films and virtually of composers Goldsmith, Dove. The 50 minute video they soon won’t be avail- and composed thousands of Licht, McNeely, T. Newman, values—annotated to every Glen Larson TV show Courage, Steiner, Fried, Jones, includes footage of Basil con- able here. So what are hours of TV (including I Spy, Shaiman, Shore, Walker and differentiate originals, reissues, ever. His candid, breezy mem- McCarthy, and others; a guide ducting and at work on Starship you waiting for? It’s time The Mod Squad and The Andy C. Young. commercial albums and oirs are full of exciting stories to score tracking; manuscript Troopers, as well as scenes for gift-giving, to a friend Griffith Show) This is his story. Silman-James Press, promos. Vineyard Haven LLC, of the music & film industries. excerpts; and more. Lone of home and family. A unique or to yourself. Xlibris Corporation. 336 pages, 432 pp., softcover. $19.95 154 pp., softcover. $17.95 Published Cisum Press, 304 pp., Eagle Publishing. 224 pages, musical portrait. Specify NTSC hardcover. $34.95 hardcover, illustrated. $29.95 softcover, illustrated. $17.95 (U.S.) or PAL (European) $19.95

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To Order Call Toll Free: 1-888-345-6335 Mon.-Fri. 10:30 a.m. - 5 p.m. EST / FAX: (540) 635-1154 • Go Online At: www.filmscoremonthly.com THE LASERPHILE LASERPHILE

Help, I’m Steppin’ Into The Laserphile springs ahead into the new season • By Andy Dursin

ONE MORE TIME: ’s legacy gets the best possible treatment, once and for all.

h, the familiar sounds of The Twilight Zone...the inevitable twist, the moody vides a great read, even for people who have not watched the individual episodes. photography and the feeling that things are just a bit off-kilter. For many In fact, some of the research Zicree con- ducted for his book in the late ’70s—includ- Aof us who grew up post-1959—whether it was back in the ’60s during its ing interviews with cast members like Anne Francis and writers Richard Matheson and Buck initial run, or in the ’70s and ’80s via reruns—The Twilight Zone was always Houghton—is included here as supplemental audio tracks, along with new commentaries worth visiting. Rod Serling’s classic television anthology—a show that embraced from Kevin McCarthy and Rod Taylor among others, plus full isolated score tracks. sci-fi, fantasy, horror, satire, a bit of whimsy and way to go for die-hard fans. All the episodes have As any film music fan knows, the original often the political paranoia of its era—remains been treated to new remastered transfers, which Twilight Zone provided a golden opportunity one of the all-time classic series to grace the tele- look fresh and only a bit grainy, with the origi- for talented composers, both established artists vision airwaves. Whether the show scared you, nal monophonic soundtracks also appearing in like Franz Waxman and Bernard Herrmann, repelled you, made you think or simply enter- satisfactory condition. What’s more, Serling’s and then-fledgling newcomers like Jerry tained, Serling’s show (which ran on CBS from “Next Week’s Twilight Zone” promos have been Goldsmith. Image has included no fewer than 1959 to 1965) was scripted and produced by an retained, some of which are as amusing as the 21 isolated scores in this first-season set (some abundance of talented writers, actors and direc- episodes themselves. of them tracked with library cues), including: tors, far more capable of delivering the show’s “Where Is Everybody?” (Bernard Herrmann), intended message than nearly anything we see Isolated Score Tracks! “The Sixteen-Millimeter Shrine” (Franz on the airwaves today. Combining all 36 first season stories (quite a Waxman), “Walking Distance” (Herrmann), Image Entertainment celebrated The Twilight single-season number by today’s standards), “The Lonely” (Herrmann), “A Stop at Zone in the final week of 2004 by releasing a pair including classics like “Time Enough at Last,” Willoughby” (Nathan Scott), “The Chaser,” “A of new DVD sets: “The Definitive Edition” First “The Lonely,” “The Monsters Are Due on Maple Passage for Trumpet” (Lyn Murray), “Perchance Season of the original Twilight Zone (1959- Street” and “A Stop at Willoughby,” the six-disc to Dream” (Van Cleave), “And When the Sky 60), and the intriguing, though ultimately disap- “Twilight Zone: Definitive Edition” is packed Was Opened” (Leonard Rosenman), “What pointing, Twilight Zone (1985-86) revival with extras, including a specially packaged edi- You Need” (Cleave), “The Four of Us Are in the mid ’80s. tion of Marc Scott Zicree’s outstanding Twilight Dying” (Goldsmith), “Third From the Sun,” The original Zone has been released in a vari- Zone Companion. Zicree’s book includes synop- “A World of Difference” (Cleave), “The Big ety of flavors on video, laserdisc and DVD, but ses of all episodes along with interviews with Tall Wish” (Goldsmith), “A Nice Place to Visit,” there’s no doubt Image’s new set is clearly the writers, directors and cast members, and pro- “Nightmare as a Child” (Goldsmith), “The

MARCH/APRIL 2005 58 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 59 MARCH/APRIL 2005 THE LASERPHILE LASERPHILE

Hitch-Hiker,” “The Purple Testament” (Lucien see. Here, in its worst moments, the better about the Grateful Dead’s Moraweck), “Elegy” (Cleave), “Mirror Image,” the revival simply feels like bad eclectic, but unsatisfying, musical and “The Monsters Are Due on Maple Street” ’80s genre TV—more like Tales contributions). William Friedkin’s (Rene Garriguenc). From the Darkside than Serling in “Nightcrawlers” is the most impres- Additional audio tracks include classroom tone and spirit—with often subpar sive visual piece of the series, while lecture tapes with Professor Serling at work and special effects. Ellison’s “Paladin of the Lost Hour” even several recently produced Twilight Zone One of the other strange and manages to transcend its creaky radio dramas, including a remake of “The After unsettling aspects to the series is visuals with a satisfying premise Hours” with Kim Fields and narrator Stacey how it routinely used children and incisive dialogue. Keach (talk about an oddball pairing!). as victims, with one episode For other supplements, Image has included (“”) showing a Commentary Worth Hearing a full slate of special features on the sixth young boy executed for being too Speaking of Ellison, he contributes DVD. The original version of the pilot episode intelligent, another young protago- many fascinating and hilarious “Where Is Everybody?” is included, sporting nist (in Joe Dante’s “The Shadow commentary tracks throughout alternate Serling narration, commentary from Man”) strangled at the hands of Image’s box set, no more so than producer William Self, and a 1975 Sherwood a fictional comic book character, on “Paladin,” where he calls direc- Oaks College lecture. There are also bloopers, and a Stephen King adaptation tor Gil Cates (operating under sales pitches, a segment of the game show “Liars (“Gramma”) featuring Barrett the “Alan Smithee” ) a Club” hosted by Serling, photo galleries, bill- Oliver being tormented by his dev- “hack” and talks about how “self- boards, Emmy Award clips, a portion of a Drew ilish grandmother. There are other ish” star was during Carey Show episode that paid homage to “Time instances (“The Burning Man,” shooting. Moments like these make Enough at Last,” and an issue of the 1963 TZ “Children’s Zoo,” “A Little Peace you treasure commentary tracks comic book in Adobe Acrobat format. and Quiet”) where kids either meet where filmmakers are candid about a grisly end or are at least viewed what really went on, and while such The Zone Revisited as obstacles to the happiness of the tracks are atypical on DVD, all of After five seasons on the CBS airwaves, The protagonists—something that, no the commentaries here are fasci- Twilight Zone retreated to a long, successful ten- wonder, made the series an unbe- nating and add plenty of insight ure in rerun syndication. Along the way, Steven lievably unsuitable choice for view- into the series’ production, failures Spielberg opted to produce an anthology “Zone” ing at 8:00 p.m. on Friday nights. and successes. feature film in 1983. Twilight Zone: The Movie (As producer Phil DeGuere notes Tellingly, most of the com- was a box-office flop and an ultimately disap- in one of his audio commentaries, mentaries are included on the first pointing film, dominated by misguided changes the producers were guaranteed by three of the set’s six discs, perhaps to its source material and only redeemed par- CBS that the show would air at because the second half of the tially by George Miller’s concluding segment 10:00 p.m., but ultimately to no first season episodes offers little and Jerry Goldsmith’s sensational score. avail.) Regardless, the tone of most to discuss. Other extras include Though far from a commercial success, the of these shows would leave a bad a 15-minute interview with Wes movie paved the way for The Twilight Zone to taste in the mouth at any hour. Craven, discussing his favorite return to the air in 1985, alongside other genre There are, however, some superb moments from the show, and brief anthologies like NBC’s Amazing Stories and the episodes sprinkled throughout the animated “bumpers” that CBS ran revival of Presents. disappointments—though only in-between segments of the series. Unfortunately, while Amazing Stories was enough that a 2-disc “Best Of” compilation The transfers, meanwhile, often look exces- front-loaded with talent and high production likely would have suited most viewers. sively grainy, but this was a product of how the values (and as such hasn’t dated badly), the 1985 Director was responsible for show was shot (even though my recollections of Twilight Zone feels very much like a product of the few standout shows from the Zone revival, the show’s original run are based on my days in its time. The grainy look of the series (which is including “Her Pilgrim ,” a lyrical tale of fifth and sixth grade, this is how I recall them how it originally appeared) and mostly pedes- love lost and found, beautifully scripted by appearing on CBS in the mid ’80s). About half trian musical scores by “Merl Saunders and Richard Matheson; “Dealer’s Choice,” with of the soundtracks are in stereo while the others The Grateful Dead” only enhance the often and M. Emmett Walsh are in mono, and they’re all acceptable (again, disappointing stories assembled by producer playing cards with the devil; and “,” not as elaborate as the rich stereophonic mixes Phil DeGuere and consultant , a Harlan Ellison story about a businessman Amazing Stories had, but still passable for their among others. (Bruce Willis) whose conflicting personas ulti- time). Going through all six discs of Image’s mately clash with one another. Ironically, it took until the final days of 2004 Twilight Zone circa 1985, I was struck by how Other solid episodes include the excellent to see two of the best DVD packages of the the new show often lost sight of what Serling’s “A Message From Charity,” about the unlikely, year released. Both sets are exceedingly well- original series was all about. Many stories offer sensitive and moving connection between a girl produced, stockpiled with extras, and at least a shocking twist, but unlike the original, there’s in Puritan Massachusetts and a modern teen- the original Twilight Zone ranks as an essen- usually no subtext or point to them. Serling’s age boy, sporting a Basil Poledouris score that tial purchase for any respectable sci-fi/fantasy series often had a message that transcended sticks out like a sore thumb in comparison to aficionado. Submitted for your approval, and the creatures and alien invaders you’d routinely most Zone revival soundtracks (the less said, highly recommended!

FILM SCORE MAGAZINE 59 MARCH/APRIL 2005 LASERPHILE

Ventura and Daniel Cauchy, as well as com- fascinating curio Tout Va Bien (also $30), a Criterion Corner poser Jean Wiener. “new wave” 1972 effort with “Hanoi Jane” Fonda A collection of independent works, foreign The comparatively more melodramatic teaming up with director Jean-Luc Godard and films and new titles from Merchant-Ivory Casque D’Or, meanwhile, offers a 1963 inter- Jean-Pierre Gorin to comment on consumer- highlights recent releases from The Criterion view with star Simone Signoret, commentary ism and capitalism. Yves Montand co-stars as Collection. from critic Peter Cowie, and behind-the-scenes Fonda’s French director husband in this intrigu- Fans of filmmaker Jules Dassin will be thrilled footage of Becker at work among other extras. ing, though dated, effort, which includes a new by the Collection’s new editions of Night and interview with Gorin. the City and Thieves’ Highway (approx. More Merchant-Ivory $39 each). New to Criterion’s on-going Merchant- Richard Widmark’s performance as an Ivory Collection are Special Editions of The Classic Musicals Collection American hustler trying to make it in the Deceivers, Howards End and the little-seen Warner Home Video has struck gold again with London underworld makes Night one of the 1990 production A Perfect Murder ($20 their latest wave of classic M-G-M musicals, all most-remembered film noir examples of the each). remastered with bonus materials, commentaries ’50s, and the crisp black-and-white cinema- stars in The Deceivers, one and other goodies in a five-disc box set ($60). tography looks remarkably fresh in the new of the most action-oriented of all Merchant- Two of M-G-M’s greatest productions, The Criterion presentation. The film may be a bit Ivory films. The 1986 release features Brosnan Band Wagon and Easter Parade, have melodramatic, but the performances and direc- as an English lieutenant assigned to infiltrate each been treated to double-disc presentations tion maintain their hold on the viewer even the ranks of the Thugee cult in India during in their DVD debuts. Easter Parade offers com- today (unlike the disappointing 1992 Robert the 1820s. Nicholas Meyer helmed mentary by Ava Astaire McKenzie DeNiro/Jessica Lange remake). the picture. John Scott’s fine score and John Fricke, while The Band works well, but the movie is heavy- Wagon includes a talk with Liza Two Films, Two Scores handed and not entirely believable Minnelli and Michael Feinstein. Among the extras is a superb featurette, “Two despite its location filming. New featurettes accompany both Films, Two Scores,” narrated by Christopher Stellan Skarsgärd’s performance films. Richard Schickel’s superb Husted. Featuring a comparison between is one of the few positive elements PBS special The Men Who Made Franz Waxman’s atmospheric American score in the muddled Indian mystery A Movies: Vincente Minnelli is among and Benjamin Frankel’s comparatively inferior Perfect Murder (not to be confused the Band Wagon supplementaries, soundtrack for the English version, this terrific with the 1998 Michael Douglas- with the excellent, Emmy-winning 25-minute featurette boasts alternate footage Gwyneth Paltrow thriller of the American Masters profile of Judy from the British release, and shows the stylistic same name), though the restrained, Garland contained on the second differences between the two scores. It also dem- eloquent English period piece disc of Easter Parade. onstrates how the film was tightened up and Howards End represents the com- Outtake footage is also present improved for its American release. pany’s formula at its best. The per- on both films (including the “Mr. There’s also a great commentary track from formances of Anthony Hopkins and Monotony” number from Easter online DVD reviewer Glenn Erickson, who Emma Thompson highlight this Parade and “Two Faced Woman” provides a thoughtful analysis of the picture, 1992 adaptation of E.M. Forster’s from Band Wagon), along with plus a vintage interview with Dassin. Thieves novel, which rightly copped three Warner’s new editions of Bells Highway, the last film Dassin made in America Oscars (for Thompson, art direc- Are Ringing and Brigadoon. before he was blacklisted, offers a superb com- tion and adapted screenplay). Each benefits from new, remixed mentary from author Alain Silver. Supplements are light on The 5.1 Dolby Digital soundtracks Among other noir classics made elsewhere Deceivers and A Perfect Murder, and additional featurettes on both in the world during the period were Casque though Howards End boasts two titles. (Brigadoon also appears d’Or and Touchez Pas au Grisbi ($30 new Making Of featurettes, a pair appreciably improved from its each), both efforts from French filmmaker of vintage featurettes, a remas- previous DVD release.) Bells Are Jacques Becker. tered transfer and (as with all of Ringing also boasts a handful of Touchez is the more intriguing of the duo. Criterion’s discs) new liner notes. alternate takes, while Brigadoon Becker’s Parisian-lensed thriller is a superb, Other new Criterion discs includes no fewer than one deleted richly textured tale of honor among thieves, include highlights from elsewhere audio outtake and three excised sporting an excellent central performance by around the world: Seijun Suzuki’s scenes: “Come to Me, Bend to Me,” as an elder gangster coming to 1960s efforts Fighting Elegy “From This Day On” and “Sword the end of his career, who after making a few and Youth of the Beast ($30 Dance.” errors in judgment, finds his “last big score” each), both feature new and Not an M-G-M property but challenged by an upstart young drug dealer improved English subtitles, while also included in the box set is the who learns of his secret. This French film offers ’s first film La DVD debut of Finian’s Rainbow, ample atmosphere and fully developed char- Commare Secca [The Grim an early 1968 effort from Francis acters, a fascinating comparison with Dassin’s Reaper] sports an exclusive Ford Coppola. films and other, domestic noirs. Extras include interview with its director. Coppola contributes a fascinat- contemporary interviews with actors Lino Last but not least there’s the ing audio commentary and new

MARCH/APRIL 2005 60 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 61 MARCH/APRIL 2005 ALL IN THE FAMILY: Liza and Judy span the generations with Bobby and Fred.

introduction to his film, which he admits was a Edition packages courtesy of Sony. The Fifth on-screen trivia track, the set’s second disc offers problematic attempt at fashioning a ’40s musical Element is a sprawling, candy-coated sci-fi three new featurettes that fans should enjoy. piece (with admittedly beautiful songs) into the fantasy that remains one of Besson’s best films, “Natalie Portman: Starting Young” contains post-Civil Rights era of the late ’60s. His discus- not to mention one of his most successful at the a recent interview with the actress, reflecting sion of working on the film, its challenges and worldwide box office. back on her still-discussed, career-making role his overall satisfaction with the picture make The new 2-disc Special Edition includes the in Besson’s 1994 film. “: The Road it a must for all Coppola buffs, while the 16:9 previous SuperBit DVD release on disc one: to Leon” offers likewise recent comments from widescreen transfer and new 5.1 Dolby Digital a breathtakingly gorgeous 2.35 widescreen the international star, while the 25-minute “10 soundtrack are also outstanding. transfer, in addition to a dynamite 5.1 DTS Year Retrospective” includes comments from soundtrack superior to the disc’s other 5.1 Portman, Reno and other cast/crew members, Dolby Digital mix. Though reportedly not a with the notable omission of Besson. Also New and Recommended new transfer, the SuperBit release is regarded as The one of the finest that the DVD medium has to Bambi: Film Collection (MGM, $50) offer, so why fix something that’s not broken? Disney Platinum Edition (Disney, $20) This four-film box set offers the debut DVD Disc two offers two hour’s worth of new Disney’s restoration work on its all-time clas- Special Edition packages of the filmmaker’s featurettes. “The Visual Element” kicks things sic Bambi is a joy to behold: Looking brighter, New York, New York and Raging Bull, along with off with a 20-minute featurette examining the sharper and more colorful than ever, one of Scorsese’s Boxcar Bertha and the previously influence French comic book designers like Walt’s greatest achievements has been lovingly released DVD of The Last Waltz. Möbius had on the picture’s visual design, while brought to DVD for the first time. The remixed New York, New York is largely comprised of “The Digital Element” looks at Digital Domain’s 5.1 soundtrack is likewise superlative, and a bevy MGM’s superb laserdisc box set, sporting nearly CGI work on the movie. “The Alien Element” of extras—from recreations of Disney’s story a half-hour of deleted/extended sequences concentrates on the eclectic design of the vari- meetings (hosted by Patrick Stewart) to a pair (including a different ending) and commentary ous aliens in the story (one of which was excised of deleted scenes and some interactive games— with Scorsese and critic Carrie Rickey. What’s from the film), and “The Star Element” includes make this wonderful, limited-time-only DVD new is an introduction by Scorsese, a remastered comments from Bruce Willis, Chris Tucker and release a must-have for all ages. transfer and 5.1 Dolby Digital sound. Milla Jovovich, with audition footage of the Raging Bull, meanwhile, offers more in the latter on-hand. “The Fashion Element,” mean- Ray (Universal, $20) way of exclusive extras, from three commen- while, dissects the costume design, while a look ’s deservedly acclaimed performance tary tracks (including Scorsese, John Turturro, at “The Diva” (one of the film’s most striking as carries a typically overlong Taylor composer Robbie Robertson and Paul Schrader images) profiles the blue-skinned extraterres- Hackford film, with a boisterous soundtrack among others), newsreel footage of the real Jake trial from the picture’s climax. A brief poster chock full of the late artist’s hits and numerous LaMotta, and other goodies. gallery and an on-screen Trivia Track rounds special features. You can watch the film in its the- Though die-hard Scorsese fans will certainly out the disc, which lacks only a commentary atrical version or with an additional 25 minutes want the box set, other viewers may want to pick and the movie’s theatrical trailer. that were cut from theaters, view uncut musical up the titles individually, as they retail for $15 Fewer special features are found in Columbia’s performances, or hear Hackford’s commentary in each elsewhere. latest edition of Besson’s Leon The Professional, a superb Universal Special Edition package. FSM

Artwork Artwork ©1977 MGM All Rights Reserved. though for the money the disc is still a winner. The Fifth Element Again utilizing the previous SuperBit release Andy Dursin can be reached at [email protected] Leon, The Professional (Sony, $25 each) for its content on disc one (meaning a beautiful Visit Andy’s new website, www.andyfilm.com, for Two of ’s most entertaining and 2.35 widescreen transfer with DTS and Dolby weekly reviews and analysis!

New York, New York New York New York, successful films receive well-deserved Special Digital soundtracks) with the addition of an

MARCH/APRIL 2005 60 FILM SCORE MAGAZINE FILM SCORE MAGAZINE 61 MARCH/APRIL 2005 RETROGRADE Feeling Fancy Free Now more than ever, Hank’s our kind of guy • By Matthias Budinger

ast year, 2004, was Henry Mancini’s year. The incomparable composer of river, there is a sweetheart tree. But Mancini also underscored and Lee Remick on unforgettable movie scores and songs passed away a decade earlier. On their very dark odyssey through alcoholism, and the horror of experiments in terror and waiting LApril 16 of last year, Hank would have turned 80, only two weeks after the until dark. There is this inimitable Mancini way of deal- late ’s 80th birthday, as well as Doris Day’s. Now more than ever, ing with all these trials and tribulations: He subtly held back his musical forces, in respectful under- there’s reason to listen to Mancini and think about his timeless, magical music. standing of the drama and with an awareness of the danger of interfering with it. Nevertheless, Readers of Soundtrack! magazine and the he is not only effectively heard when he raises early Film Score Monthly issues may remember his musical voice, he is also loved for what he that I’m as great an aficionado of Mr. Mancini has written. So, paradoxically, Mancini’s music as there possibly can be. This man and his music becomes memorable almost involuntarily and are a part of my life, of my body and soul, ever sub-consciously, as a by-product of his mere since I tried to overcome my adolescent exis- scoring of the respective scenes. tence in a small German town in the mid-’70s That naturally leads us to Mancini’s proto- (with the whole accompanying programme of Italian sense of melody. I listen to a lot of differ- pimples that would have made me first choice ent kinds of music, from Mahler to Doris Day, for horror movies, insecurity, fear, all that from Bach to Iggy Pop. I would say that I am Summer of ’42 stuff—by the way, a great Michel musical, that I have an impulsive appreciation of Legrand score). music. So it is with some credibility that I suggest Anyone trying to write about the music of that Hank’s melodic instincts are one-of-a-kind. Henry Mancini from a more general, almost He never mistreated his audience or forced them philosophical viewpoint has profound reasons musically, he didn’t beat you with his originality. to begin with the man himself. Henry Mancini The music is just there. The melody seems to was that all too rare kind of person who was compose itself, it seems to know where only to a mensch, a human being endowed with the great sense of humor and irony, a sympathetic go, and the result is a natural, almost Schubert- milk of human kindness. He had a distinct, fine innocence and naiveté in his personality, along like beauty and simplicity far from any kind of and easy, sensitive and always respectful way of with a youthful freshness, in later years mixed dullness. It’s more like the product of a sculptor dealing with others. He was a man who was with an almost Visconti-styled aristrocracy. who takes away everything redundant in order concerned, who cared and felt responsibility. I Now, how does this admittedly enthusiastic to maintain the clarity of his creation. only need to mention his support of Quincy praise connect with the music? It’ s simply all It’s so uplifting to see Monica Mancini, one Jones, who had trouble being recognized as an there in the music, too. Richard Wagner may of Hank’s twin daughters and a formidable African-American film composer in the oh-so- not have been a guy you would want to have singer, giving new life and a heartfelt “familiar- liberal 1960s. coffee with, Beethoven may have been a difficult ity” to some of Hank’s most beautiful songs in A man with this kind of incredible success person, but true artists are what they create, her concerts and on her recordings. She really and wealth could easily have become arrogant and Henry Mancini was no different. He was loved her father, and in an absolutely convincing and bourgeois. Yet Mancini never forgot his his music: the charm, the elegance, the purity, “goose-pimple” way communicates this deep proletarian background and always felt thank- the freshness, the melancholy, the sensitivity, love to her audience. There isn’t anything left for ful to the powers and persons that “made” him. the sentimentality, the sensuality, the irony, the me to add to my appreciation of Henry Mancini He never took anything for granted, he never humor, the love of life, the beauty and the dark- other than quoting from Monica’s rendition of exploited and misused his position. His record- ness. It’s all there when you listen to the incred- the love theme from The Molly Maguires (text ing contract with RCA records and his over- ible amount of Mancini compositions that make by Will Jennings, the song is called “Music on powering success, though, forced him to think you forget the ugliness of the world. the Way”): sometimes too commercially and make choices In the Mancini world there is Audrey When the whole world goes wrong that he would regret in later years. But one only Hepburn singing about a strange river, there is The magic of your song creates a place has to watch and listen to his original movies to David Niven giving a cocktail party, Peter Sellers Here in my soul understand what an abundantly talented, dra- making us disbelieve in any order of the world; Where hope can stay. matic composer Henry Mancini was. He had a there are baby elephants on their way to a moon FSM

MARCH/APRIL 2005 62 FILM SCORE MAGAZINE GOLDEN AGE CLASSICS • FSMCD VOL. 8, NO. 3 • RELEASED BY SPECIAL ARRANGEMENT WITH MUSIC Music Composed by Bronislau Kaper Conducted by Charles Wolcott • Special Music Created by Heitor Villa-Lobos

GREEN MANSIONS (1959) IS ONE OF THE MOST unusual soundtracks created during Hollywood’s Golden Age. Based on a novel by W.H. Hudson, the film stars Audrey Hepburn as Rima, the mysterious “bird girl” of the Venezuelan rain forest who romances a political refugee played by Anthony Perkins. The film was directed by Mel Ferrer (Hepburn’s husband at the time) and shot with great expense in South America as well as at M-G-M’s Culver City studios. M-G-M HAD ATTEMPTED TO LAUNCH GREEN Mansions for several years, and one constant was their desire—which they eventually realized—to enlist for the soundtrack one of the greatest composers of the Americas: Heitor Villa-Lobos (1887-1959). Villa-Lobos was known for his “jungle music” for the concert hall as well as his flamboyant personality, and M-G-M succeeded in bringing him on board in a rare film venture. WHEN THE EXIGENCIES OF FILM COMPOSITION proved too much for Villa-Lobos, the studio relied upon their venerable Bronislau Kaper—who was already providing the love theme for the picture—to adapt Villa- Lobos’ score to fit the nuances and timings of the screen action. The result was an unusual synthesis of Villa- 1. Main Title/Chase/River Boat 5:24 12. The Young Man 3:01 Lobos’ gorgeous, impressionistic writing with Kaper’s 2. Abel and Jaguar 3:38 13. Nevertheless/Avoc, Didi/Marake 6:57 3. Dead Jaguar/The Village 2:23 14. Which Way? 2:03 sturdy film presence. 4. My Name Is Abel/Kuako 1:57 15. Escape 2:27 5. At the Pool/First Visit 4:04 16. Natives Return/Natives Foiled 3:28 VILLA-LOBOS PROCEEDED TO ADAPT HIS GREEN 6. Rima’s Face/Rima/Nameless Chord 2:30 17. Nuflo’s Story 2:08 7. The Snake 3:04 18. You Will Go/Ruins/The Cave/Digging 10:08 Mansions score for a concert hall work, “Forest of the 8. Where Is Your Mother?/Vultures/ 19. Fire/Dead Fawn 3:29 Look/The Flower 7:42 20. Fight 2:20 Amazons,” which has been recorded on LP and CD. 9. It’s Gold/The Shuttle 2:24 21. End Title 3:03 However, this CD marks the premiere release of the film’s 10. Is It You?/The Prayer 5:37 Total Time: 79:53 11. Riolama 1:26 Album Produced by Lukas Kendall original soundtrack itself, featuring Villa-Lobos’ music as adapted and expanded upon by Kaper. Some cues are pure Villa-Lobos, others pure Kaper; most fall somewhere in-between, making a fascinating listening experience. THIS CD FEATURES THE COMPLETE DRAMATIC score as heard in the film, with selected source music and unused cues. Due to missing masters, the Anthony Perkins vocal source cue is not included. Liner notes by Bill Whitaker and Jeff Bond chronicle the behind-the-scenes odyssey of Villa-Lobos’ involvement, and the precise use of his music in the finished film. $19.95 plus shipping Film Score Monthly—dedicated to bringing you new releases of classic film scores, monthly! SILVER AGE CLASSICS • FSMCD VOL. 8, NO.4 Composed and Conducted by Ron Goodwin

ON THE HEELS OF FSM’S RELEASE OF WHERE Eagles Dare/Operation Crossbow (FSMCD Vol. 6, No. 21) comes another 2-CD set of classic Ron Goodwin war soundtracks: 633 Squadron (1964) and Submarine X-1 (1969). Both of these films are United Artists releases of Allied missions (led by North American commanders) during World War II to attack Axis positions in Norweigian fjords—one by air, the other by sea.

633 SQUADRON IS ONE OF RON GOODWIN’S FINEST war scores, with a magnificent “chattering brass” theme that captures the exultation of flight. (Goodwin ingeniously com- posed the theme to reflect the “633” of the title, with alternat- ing bars of six and three beats.) The film stars Cliff Robertson as the leader of a squadron of Mosquito bombers, with George Chakiris his comrade operating behind enemy lines. Goodwin’s score is full of action and triumph, as well as a love theme for the film’s romantic subplot. SUBMARINE X-1 IS A LESSER-KNOWN PRODUCTION starring James Caan as the leader of three experimental midget submarines in a mission to sink a German battleship. The film is a no-nonsense

“mission procedural” and DISC ONE: 633 SQUADRON the score features moody 1. Main Title—633 Squadron 1:51 DISC TWO: SUBMARINE X-1 suspense and action for 2. Memories of Norway 2:54 3. Love Theme 2:13 1. Main Title 4:39 its underwater battles. 4. The Attack Begins 3:06 2. Secret Arrival 1:05 Goodwin also provides a 5. Murder Mission 4:31 3. Training Begins 5:41 6. Crash Flight 3:04 4. Quentin’s Rescue/Quentin’s soaring, nautical British 7. Love Theme 1:57 Bolt/Bolt Hits Mirror 2:29 8. Escape From Norway 3:20 5. Air Raid 1:10 anthem amongst gentler 9. Peace and War 3:11 6. X-Craft Introduced/X-Craft moments, and his octatonic 10. Apprehension 4:35 Dives/X-3 Through Net 4:50 11. End Title—Love Theme— 7. X-3 Hits Net 2:50 “underwater” colors will 633 Squadron 3:58 8. X-3 Recovered 1:10 12. Public House Jazz 2:54 9. German Parachutist 2:00 thrill fans of his distinctive 13. Bonus Suite 8:24 10. Defeat 1:03 adventure writing. Total Time: 46:36 11. Bolton Defeats Parachutist 1:13 12. Operation Jonah 1:36 DISC ONE OF THIS RELEASE FEATURES 633 SQUADRON: Reissue Produced by Lukas Kendall 13. Jonah’s Journey/Minefield 3:52 14. X-1 Escapes 2:10 first the album program (as previously released on LP and CD, 15. Sognefjord 2:07 16. E-Boat Patrol 3:53 remastered for the best-possible stereo sound), followed by a 17. Depth Charge Attack 4:35 suite of additional cues from a 1/4” monaural tape in Goodwin’s 18. Target Directly Above/ Hesitation 1:55 possession. Disc two features the complete score of 19. Homeward Bound— End Titles 2:18 Submarine X-1 (minus one brief cue), mastered from Goodwin’s Total Time: 51:04 personal 1/4” stereo tapes. $24.95 plus shipping

Film Score Monthly—dedicated to bringing you new releases of classic film scores, monthly!