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Volume 8, Number 6 Original Music for Movies & Television

Trek Songstress, pg. 47 Issue BEATING THE CURSE Harry Gregson-Williams SCORING SINBAD 11 Great Pirate Scores SWASHBUCKLING CDS

PLUS

The and Portman RACHEL’S NEW OPERA

Practically Perfect RICHARD AND ROBERT SHERMAN

06>

7225274 93704 $4.95 U.S. • $5.95 Canada FFV-AD_FSMconcert 7/28/03 9:09 AM Page 1

The World Awards are supported by:

Things are about to happen at the 30th Flanders International Festival - Ghent...

Moving Music The art of in concert composing

Moving Music, a unique book Patrick Doyle in concert at the The art of composing explained at Nicola Piovani conducts the (release September) with enthralling ceremony the Film Music Seminar on Aracoeli at the closing confessions by famous . on October 12. Enjoy his best-known October 13! An interesting workshop concert throughout scores of Innumerable years of film music scores. In the presence of Maurice hosted by made by , Nanni engagement expressed in 150 pages. Jarre, receiving his Lifetime () and young Moretti, . True Achievement Award and Klaus Belgian composers. Italian craftsmanship on October 18! Badelt, WSA Discovery 2002. Let the music do the talking.

More info on www.worldsoundtrackawards.com and www.filmfestival.be

Stay tuned! v8n6issue.qxd 7/28/03 10:51 AM Page 1

CONTENTS JULY 2003

DEPARTMENTS COVER STORY

2 Editorial 24 Shiver Me Timbres Scusi, lei parla Musica? FSM’s Editor-at-Large calls it his “most brilliant pun.” We call it our report on Media Ventures’ “no-triplets” approach 4 News to scoring the summer blockbuster Pirates of the Caribbean: The first online score The Curse of the Black Pearl. release, music (!) By Jeff Bond and more. 5 27 Avast, Ye Scurvy Collectors Round- In honor of our first-ever official Pirate Issue, check out this What’s on the way. round-up of 11 on compact disc.. 5 Now Playing By Joe Soundtrack Movies and CDs in 22 Aaarrrrr! release. 28 Siren Song 7 Upcoming Look, another pirate movie (sort of). Sinbad: Legend of the Assignments Seven Seas gives Harry Gregson-Williams the chance to write Who’s writing what his biggest orchestral score yet. for whom. By Jeff Bond 8 In Concert Film music performed FEATURES around the globe. 14 A Night at the Opera 8 Pukas took a break recently from scoring films to Like a Virgin. work on her first opera, The Little Prince. For those of you who missed it, here’s a report from the Houston Grand Mail Bag 9 Opera stage. [This is not a pirate opera, but Pirates of 14 Plink-plank-plunk! A Mighty Issue. Penzance is.] By Steven A. Kennedy 30 Downbeat Taken With Her Music. 18 Practically Perfect in Every Way The are the stuff of legend when it 32 Score comes to classic Disney songwriting. Here, Richard discuss- The latest CD reviews, es the duo’s early influences, working with , including: Hulk, Finding writing for the Broadway stage and more. [The Sherman Nemo, Brothers wrote the theme song to “It’s a Small World,” an Reloaded, lots of reissues attraction at . “The Pirates of the Caribbean” is and more. also an attraction at Disneyland...and thus completes our special Pirate Issue.] By Cary Wong Scuddy hoo, scudda hey! 36 FSM Marketplace 18

ON THE COVER: Ahoy, Mateys! Pirates of the Carribean ©2003, Peter Pan ©1953 Walt Disney; The Sea Hawk ©1941 ; Sinbad: Legend of the Seven Seas ©2003 Dreamworks.

Film Score Monthly (ISSN 1077-4289) is published 10 times a year (with double issues in May/June and November/December) for $36.95 per year by Vineyard Haven LLC., 8503 Washington Blvd, Culver City, CA 90232. Periodicals postage paid at Culver City, CA and additional mailing offices. POSTMASTER: Send address changes to Monthly, 8503 Washington Blvd, Culver City, CA 90232

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EDITORIAL

Scusi, lei parla Musica? VOLUME 8 Or, How FSM’s Design Director Spent His Summer Vacation NUMBER 6

y local cineplex runs an annoyingly well (in fact, he admitted to practicing his repetitive intro before starting the English—by reading FSM!). I completely relate to Editor & Publisher coming attractions. A series of voices his pleasure in combining a passion for film music LUKAS KENDALL M Managing Editor speaking various languages repeats the same and the visual arts. We shared a pleasant after- TIM CURRAN phrase: “The language of cinema is universal.” Cute, noon, swapping stories and dreams; as Bogie said Executive Editor but I hadn’t bet on experiencing the phenomenon to Claude Rains, this looks like the beginning of a JONATHAN Z. KAPLAN firsthand. beautiful friendship. Editor-at-Large Last month my wife, Debbi, and I embarked on As the trip progressed, I bought a few CDs for JEFF BOND our first trip to Europe, with stops in , my collection, but the exchange rate ($1.17 per Design Director Florence and . was euro—ouch!) kept me in check. JOE SIKORYAK hot, fun and staggeringly awe- Generally, the soundtrack sec- Supervising Content Consultant some— was cooler, more tions of European record stores AL KAPLAN sophisticated but still breath- (Disquerias) were no better Copyeditor taking. Even with only three stocked than the average U.S. STEVE GILMARTIN Contributing Writers principal destinations in as stores. But there were some DOUG ADAMS many weeks, our itinerary was differences: lots of “nice price” STEPHEN ARMSTRONG full. Still, I couldn’t pass up the remainder items that I’d ANDREW GRANADE opportunity to sample the film missed the first time around, LUKE GOLJAN music scene—in addition to well-stocked sections devoted STEVEN A. KENNEDY copious quantities of wine, to (duh!), and DARREN MacDONALD stinky cheese and gelato. I was some obscure titles in plentiful JOHN TAKIS on vacation—why not indulge? supply (La Chiesa by Keith IAN D. THOMAS Particularly since FSM has Emerson, anyone? Anyone?). CARY WONG ONCE UPON A TIME IN ITALY: Magazine made a few inroads into the designers Pietro and Joe read Colonne Sonore. I felt especially welcome at Editorial & Subscriptions international scene itself… the Cine Musique store in 8503 Washington Blvd Most U.S. readers are probably unaware there’s Paris, just a few blocks from the Louvre. Entering Culver City, CA 90232 a Spanish-language edition of Film Score, printed the store (where ’s main theme PH. 310-253-9595 in...Spain! Entitled Film Music, this bimonthly pub- to The Shadow Conspiracy was blaring), I spotted a FAX 310-253-9588 lication reprints many articles from the original handful of FSM CDs on the collectibles wall. This E-MAIL [email protected] FSM, along with new reviews and articles of its is not an experience often duplicated in any own devising. (FM has even bundled a music CD record store, so I was swooning. I introduced Sales & Marketing Manager on occasion, featuring samples from other myself to Luc Grandsimon, the friendly clerk BOB HEBERT —it’s a neat idea.) I correspond regularly behind the counter, and we muddled through 8503 Washington Blvd with the magazine’s director, Sergio Hardesmal, the language barrier, making ourselves reason- Culver City, CA 90232 making sure that he has all of the pieces and parts ably well understood. He was smiling, I was PH. 323-962-6077

FAX 310-253-9588 of our current issue, and one of these years we smiling, and the music played on. The language Photo by Deborah Hersh hope to meet—but, alas, not on this trip. of film scores is universal, n’est ce pas? Sales Associate I did stop in Florence (Firenze), an artsy town DYLAN MAULUCCI even by Italian standards. It’s also a short train ride his month FSM has something for everyone: PH. 818-404-5423 from Modena, home of Pietro Rustichelli. Pietro, Tsomething new (our unprecedented piratical for those of you who haven’t had the pleasure, is coverage), something classic (a conversation with Wiley Bit the designer of Colonne Sonore, Italy’s new film score Richard B. Sherman) and something MAILMAN AL magazine. The core group (including editor unusual (Rachel Portman does opera). Whatever Our Website Maurizio Privitera and a dedicated staff of cinema language you’re speaking, we hope that at least Is updated five times weekly! music lovers) met during a confer- one of our offerings speaks to you. Point your browser at: ence just last year. Now their first issue, 32 pages WWW.FILMSCOREMONTHLY.COM long, is generating nice buzz along the © 2003 Vineyard Haven LLC. Mediterranean. A second issue is due soon. Printed in the U.S.A. Pietro’s English is infinitely better than my Italian, and we were able to communicate rather Joe Sikoryak, Design Director

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Mr. Hobbs Takes a Vacation $19.99 $16.99 $14.99 by

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RECORD LABEL ROUND-UP

THE SHOPPING LIST • NOW PLAYING

UPCOMING ASSIGNMENTS NEWS IN CONCERT

that it “begin gathering evi- Here are the music nominees: dence and preparing lawsuits against individual computer users Music Composition for a illegally offering to share substan- Miniseries, Movie, or Special tial amounts of copyrighted music (Dramatic Underscore) over peer-to-peer networks.” Eloise at the Plaza BRUCE BROUGHTON Hitler: The Rise of Evil

NORMAND CORBEIL Reserved. What’s Up, Disc? The Lost World: Part 2 ROB LANE he Looney Tunes Golden Martin and Lewis ERNEST TROOST TCollection, a 4-disc DVD due Tennessee Williams’ The Roman Spring Oct. 28, will feature the following of Mrs. Stone cartoons with isolated scores: Disc 1: Seasoning, Rabbit’s Kin; Disc Music Composition for a Series Apple Releases First Online Score 2: Duck Amuck, Drip Along Daffy, (Dramatic Underscore) Rabbit Fire; Disc 3: Baton Bunny, Feed The Agency: “The Great Game” n a move that has raised more sites like Napster and Kaza. The the Kitty; Disc 4: Putty Tat Trouble, JON EHRLICH, JASON DERLATKA Ithan a few eyebrows in the biggest drawback to consumers: Speedy Gonzales, Enterprise: “The Expanse” soundtrack community, Apple Windows users can’t yet use the Broken Leghorn. DENNIS McCARTHY Computer has released its first iTunes software (though that will Disc 4 will also JAG: “Need to Know” STEVE BRAMSON film score via its exclusive change very soon). More specifi- contain audio Odyssey 5: Pilot LAURA KARPMAN online iTunes Music Service: The cally, a move toward download- samples of 24: “10:00 PM - 11:00 PM” League of Extraordinary Gentlemen, able files instead of tangible CDs actor Mel featuring ’ score and doesn’t exactly play to the sound- Blanc. two new tracks by African vocal track-collector audience. And Main Title Theme Music group Ladysmith Black Mambazo. what about the compressed Boomtown PHILIP GIFFIN For $9.99, consumers using nature of the files? Apple claims BLAKE NEELY Macintosh computers with the the compression of the digital Emmy Nominees Miracles JOSEPH S. WILLIAMS, MacOS X operating system can files is practically unnoticeable, W.G. SNUFFY WALDEN download the entire album. but film-music audiophiles may Announced Early reports claimed that the think different. his year’s Penn & Teller: Bullshit! GARY STOCKDALE Gentlemen score would be avail- T will air on Fox, Sept. 21, able exclusively through iTunes. from L.A.’s Shrine Auditorium. It’s Music and Lyrics Var èse Sarabande has since Aaarrrrr! sure to be the most exciting The Concert for World Children’s Day; announced (and released) a CD (Come on, it’s the FSM Pirate Issue; event ever [hey, who writes this?] (continued on page 48)

version—though it’s only avail- you’re gonna see that headline more Artwork ©2003 Century Twentieth Fox Film All Bugs Corporation, and Rights Bunny Reserved.. Elmer Bros. Fudd All ©Warner Rights able for order online, at than once.) www.varesesarabande.com. The he American Federation of Herschel Burke Gilbert 1918–2003 score is also available overseas TMusicians pledged its sup- omposer Herschel Burke Gilbert passed away on the Colosseum label. port of anti-piracy measures at CJune 8 in from complications From our standpoint, Apple’s the 95th AFM Convention in Las from a stroke. He was 85. After starting his career iTunes Music Service stands to Vegas in June. Delegates urged all as an orchestrator for the likes of revolutionize the way consumers music lovers to support and , Gilbert moved on to feature League of Extraordinary Gentleman League of Gentleman Extraordinary buy music; they can now pur- by “refusing to purchase pirated films and, later, to television. Career highlights chase and download volumes of CDs and by refusing to engage in included While the City Sleeps (dir. Fritz Lang; 1956), The Moon Is Blue music—whole albums at once, or unauthorized downloading of (dir. Otto Preminger; 1953) and Riot in Cell Block 11 (dir. Don Siegel; just one track. At the same time, copyrighted music files.” This 1954) He received Academy Award nominations for his score for The Apple plays the hero to the stance by the AFM coincided with Thief, the title song from The Moon Is Blue and as musical director for the recording industry, which claims a much more significant musical Carmen Jones. His television résumé included Adventures of to have lost multi-millions in announcement by the Recording Superman, The Rifleman, Gunsmoke, Gilligan’s Island and The Big Valley. revenues to free-downloading Industry Association of America Composer portrait by George Fields;

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Cinesoundz features another composer pre- RECORD LABEL ROUND-UP Due Sept.: The Ennio Morricone miere: the criminally underrepre- Remixes Volume 1, featuring elec- sented George Duning and Toys in NEWLY ANNOUNCED PROJECTS tronica artists Herbert, Swell the Attic (1962) from the Metro- AND INCOMING ALBUMS Session, Hird and Hosono. Volume Goldwyn-Mayer Inc. archives. 2 (2CD set) of the series is due Nov. Our Age Classic is the not- www.cinesoundz.com yet-exhaustively represented Jerry tel: +49-89-767-00-299; fax -399; pre- Goldsmith and three (count ’em, orders by mail: [email protected] three) scores to TV movies: 1M1 ten for a children’s movie. Hawkins on Murder (1973), Winter Kill Now in pre-production is Bruce Forthcoming are a full-length Columbia (1974) and Babe (1975). All releases Smeaton’s orchestral scoring and album from lounge band Available now is Masked and are remastered in stereo and fea- songs for John Gardner’s Grendel Pornorama and a soundtrack Anonymous (songs; ). ture bonus cues. Grendel Grendel (with Peter Ustinov compilation of Eastern Bloc fairy- Next month: Two previous LP releases get singing his own songs); coming tale movie scores. Diggler Records expanded CD re-issues. soon are The Last of the Mohicans and www.allscore.de Forthcoming is Melodies in Love—The Tom Sawyer (Simon Walker); The Erotic World of Gerhard Heinz. GDM/Hexachord Naked Country, Departure and Double BMG Coming in Aug. from the GDM CD Deal (); Bliss (Peter For those of you who remember Digitmovies (Italy) Club: I Giorni della Violenza (Bruno Best); and Brian May’s previously our mention of BMG’s Caine Available now is Stelvio Ciprianic’s Nicolai) and Sugar Colt (). unreleased score for The Killing of release last year, it has been post- score to ’s first Coming in Sept. are the premiere Angel Street. poned indefinitely. movie, Piranha II: The Spawning. releases in Hexachord’s Golden Age [email protected] • www.1m1.com.au www.bmgheritage.com of Italian Filmscores series. The first Disques Cinémusique two releases will be from Ennio All Score Media Brigham Young University Forthcoming is a series of ’70s and Morricone and Alessandro Due imminently are the well- Forthcoming is A Summer Place ’80s Canadian film music releases, Alessandroni. Details to come. known compilations Mondo (, featuring the com- starting this fall with Fantastica GDM/Hexachord titles are now being dis- Morricone and More Mondo Morricone, plete score from magnetic tracks); (Lewis Furey). tributed in the U.S. by Rotwang’s Music, which will be released in collec- and Battle Cry (Steiner, 1955, also www.disquescinemusique.com Auburn Hill, MI. tor’s editions on vinyl. Due Sept. is from magnetic tracks). www.hexacord.com • www.gdm.com Vier Freunde & Vier Pfoten, a score by tel.: 540-635-2575; FSM contact: Prof. Roberto Zamori hip-hop artist Phillipe Kayser writ- www.screenarchives.com This month’s Golden Age Classic tel./fax : +39-0574-625109

NOW PLAYING: Films and scores in current release

Bad Boys II Bad Boy** Legally Blonde 2: Red, White and Blonde ROLFE KENT Curb** Le Divorce RICHARD ROBBINS Grandstand Dirty Pretty Things n/a Garage Days DAVID McCORMACK, ANDREW LANCASTER, et al Mushroom* (import) The Housekeeper FREDERIC BOTTON n/a How to Deal DAVID KITAY Capitol** I Capture the Castle n/a Johnny English Universal Lara Croft: Tomb Raider: The Cradle of Life Varèse Sarabande The League of Extraordinary Gentlemen TREVOR JONES Varèse Sarabande Northfork STEWART MATTHEWMAN n/a Pirates of the Caribbean KLAUS BADELT, et al Disney Sinbad: Legend of the Seven Seas HARRY GREGSON-WILLIAMS Dreamworks Swimming Pool PHILIPPE ROMBI n/a Seabiscuit Decca/UMG Spy Kids 3D: Game Over ROBERT RODRIGUEZ Tattoo MARTIN TODSHAROW n/a Washington Heights LEIGH ROBERTS Rumba Jams** *mix of songs and score **song compilation with less than 10% underscore

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RECORD LABEL ROUND-UP

Image Marco Polo Over (Robert Rodriguez). from The Devil’s Backbone director Available now is the cast album Forthcoming is the first full- Guillermo del Toro and more. to ’s Tony-nomi- length, complete recording of Pacific Time Stay tuned for more details. nated Broadway musical Amour. Korngold’s The Adventures of Robin Due Sept. 2: Portraits of Grief www.percepto.com Hood to commemorate the film’s (Edward Bilous); Sept 16: Lawless La-La Land 65th anniversary. Max Steiner’s Heart (Adrian Johnston). Perseverance Due imminently: The The Adventures of Mark Twain will be www.pactimeco.com Available now is the CD premiere Worlds of George Pal: Volume One, released in early 2004, and both Percepto of Denny Zeitlin’s 1978 Invasion of featuring suites from The Time CDs will be released in 5.1 sound Available now is The Dreamer of Oz the Body Snatchers (including a 30- Machine, Atlantis: The Lost on DVD Audio. www.hnh.com (Lee Holdridge); forthcoming is a minute interview with Zeitlin). Continent, The 7 Faces of Dr. Lao, The pair of Mizzy scores from the This title is distributed by Intrada. Power, Doc Savage and Tom Thumb. Milan Don Knotts cache, an animated Due this month is The Abominable www.lalalandrecords.com Available now is Spy Kids 3-D: Game gem from the 1980s, a cult classic Dr. Phibes/The Shuttered Room (Basil Kirchin). www.perseverancerecords.com www.6942.net Varèse Sarabande Available now are The League of Extraordinary Gentlemen (Trevor Jones) and S.W.A.T. (). Due Aug. 19: Prometheus Passionada (Harry Gregson-Williams, various), Freddy vs. Jason (); Gigli (John Powell). Aug. 26: Lara Croft: Coming in Sept. is Bernard Tomb Raider: The Cradle of Life (Alan Silvestri), Jeepers Creepers 2 (Bennett Salvay). Herrmann: The CBS Years, Vol. 1: The Varèse Sarabande : A 25th Anniversary Celebration—Volume Two has been announced and will be available only until the end of the year. No orders will be accepted after Dec. 31, 2003. Not sure if you can live without it? Here’s the track Westerns, featuring the Western Suite listing to help you decide: (nine tracks); the Indian Suite (four tracks); the Western Saga (nine DISC ONE: DISC TWO: DISC THREE: DISC FOUR: tracks); a suite from the Have Gun, 1. Kings Row Erich 1. Deep Blue Sea 1. Triumph of the Spirit 1. Will Travel pilot episode, entitled Wolfgang Korngold 1:55 Trevor Rabin 2:47 Cliff Eidelman 2:23 Patrick Doyle 3:24 2. Mr. Destiny 2. Evolution John Powell 2:22 2. On the Beach 2. Dolores Claiborne “Three Bells to Perdido”; and a David Newman 5:04 3. The Burbs Christopher Gordon 6:33 5:14 previously unreleased suite (9:28) 3. Gold Diggers 4:10 3. The Last Butterfly 3. Pacific Heights from the Gunsmoke episode “The Joel McNeely 3:39 4. : 4:24 7:27 Tall Trapper.” 4. The Boy Who Could Fly A New Beginning 4. Crossing the Line 4. Bloodline Bruce Broughton 4:31 Mark McKenzie 4:49 Ennio Morricone 3:26 Ennio Morricone 2:47 5. The Adventures of 5. Amazing Stories: 5. And the Band 5. Bliss Rhino/Rhino Huck Finn 4:44 Played On Jan A.P. Kaczmarek 4:14 Handmade/Turner 6. Animal Farm John Williams 5:11 4:33 6. Cruel Intentions Available now are Broadway Melody 3:41 6. Sky Bandits 6. It’s My Party 2:17 of 1940 (Porter) and Gay Purr-ee 7. Paulie Alfi Kabiljo 3:56 3:19 7. Wild Things (Arlen & Harburg). www.rhino.com 6:48 7. Kull the Conqueror 7. Careful, He Might George S. Clinton 2:56 8. Mouse Hunt Joel Goldsmith 2:01 Hear You 8. Presumed Innocent www.rhinohandmade.com Alan Silvestri 2:39 8. Terminal Velocity Cook 3:59 John Williams 4:12 9. My Dog Skip Joel McNeely 5:43 8. Return to Paradise 9. Damage Rising Star Entertainment Bill Ross 3:21 9. Vertical Limit Mark Mancina 4:28 3:01 Available now is The Long Ride 10. Diamonds J.N. Howard 4:28 9. Instinct 10. The Stars Fell on Henrietta Home (Gela Sawall Ashcroft; Joel Goldsmith 1:51 10. Drop Zone Danny Elfman 3:06 4:18 11. Amazing Grace Hans Zimmer 4:14 10. The Tailor of Panama 11. Rich in Love Prague Philharmonic). and Chuck 11. The Watcher Shawn Davey 4:13 3:50 5:24 3:26 11. The Linguini Incident 12.The Stand Screen Archives 12.Bed and Breakfast 12.Alien 3 3:08 W.G. Snuffy Walden 6:00 Entertainment 2:42 Elliot Goldenthal 4:21 12.Mrs. Parker and 13.Golden Gate Forthcoming is a 2CD set of Night 13.Kimberly 13.Man On Fire the Vicious Circle Elliot Goldenthal 3:36 Basil Poledouris 2:37 John Scott 4:40 4:59 14. M. Butterfly and the City (1950), to feature both 14. Free Willy 3 14. We’re No Angels 13.Mobsters 2:01 the score from the Cliff Eidelman 4:04 3:59 Michael Small 4:46 15.Pavilion of Women U.S. release and the Benjamin 15.Welcome Home, Roxy 15.The Big Kahuna 14. Guilty by Suspicion 2:52 Frankel score from the worldwide Carmichael 6:10 James N. Howard 3:45 16. Tai Pan release. Coming late Thomas Newman 1:57 16. This World, 15.White Palace 3:48 16. I’ll Do Anything Then the Fireworks George Fenton 3:06 17. Othello Charlie Mole 3:13 summer/early fall are The Blue Bird Hans Zimmer 7:15 Pete Rugulo 3:24 16. Lover’s Prayer 18.Much Ado About Nothing and The Black Swan (both A. 17. War of the Buttons 17. Touch of Evil Joel McNeely 4:16 Patrick Doyle 4:19 Newman). www.screenarchives.com Rachel Portman 4:32 Henry Mancini 3:28 17. Lovesick 19.Christopher Columbus: 18.Lionheart 18.The Man Who Knew Philippe Sarde 5:58 The Discovery Silva Screen Jerry Goldsmith 8:34 Too Little 18.Zelly and Me Cliff Eidelman 7:27 Due Aug. 26: Rota: Essential Film Christopher Young 2:39 4:31 www.varesesarabande.com 19.Cool World Music Collection, a 2CD set Mark Isham 4:38 (continued on page 11)

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Clint Mansell Suspect Zero, 11:14, S-T UPCOMING ASSIGNMENTS The Hole. Cat in the Hat Wonderland. (songs). FIND OUT WHO’S Peter Melnick West of Here. Starsky & Hutch SCORING WHAT—FOR WHOM Home on the Range. (w/ Ben Stiller, Owen Wilson). Bryce Mitchell The Clock Is Ticking. Howard Shore King Kong John Morgan/William Stromberg (dir. Peter Jackson), LOTR: Return Starship Troopers 2. of the King. Mark Mothersbaugh Envy Alan Silvestri Van Helsing A-B Jerry Goldsmith Looney Toons: Back (dir. , w/ Ben Stiller (dir. Stephen Sommers). Eric Allaman Flash Flood, in Action, The Game of Their Lives and Jack Black), Thirteen, Good The Big Empty (starring Latter Days. (dir. David Anspaugh). Boy (animated, voiced by Matthew Jon Favreau), Timeline. Craig Armstrong Love Actually. Christopher Gordon (w/ Iva Davies Broderick, , Kevin The Stepford Wives (dir. and Richard Tognetti) Master and Nealon). Frank Oz, w/ Nicole Kidman). Commander: The Far Side of the V-W Diego Navarro The Time’s Gate Alex Van Bubenheim Shu B.T. Monster. World (dir. , (Spanish). (w/ Jean Claude Van Damme). Luis Bacalov Assassination Tango. w/ Russell Crowe). Randy Newman Meet the Fockers. James Venable Jersey Girl Resistance. Ricky Gordon Fight Knights. : (dir. Kevin Smith, w/ Affleck & Lesley Barber Uptown Girls The Great Vegetable Plot Lopez), Bad Santa, (w/ B. (formerly Molly Gunn; MGM). H (Dreamworks). Thornton), Scary Movie 3. (). & The Actors. Mervyn Warren Marci X. Cheaper by the Swimming Upstream, Shattered Craig Wedren School of Rock (dir. Dozen, Dickie Roberts, Saved. Glass (prod. ), O-P Richard Linklater, w/ Jack Black). Marco Beltrami Hellboy, Cursed. Iron-Jawed Angels (HBO). John Ottman My Brother’s Keeper. John Williams : Episode III, Trond Bjerknes Captain Sabertooth. No Other Country, Van Dyke Parks The Company (dir. Harry Potter and the Prisoner of Carter Burwell Intolerable Cruelty, Sounder. ). Azkaban, Harry Potter and the The Alamo. David Holmes The Perfect Score, Michael Richard Plowman Yakkity Buffalo Soldiers. Goblet of Fire. Yak (Nickelodeon). Caliber, House of C Rachel Portman The Human Stain, George S. Clinton Mortal Kombat 3: Sand and Fog (w/ Jennifer Y-Z Mona Lisa Smiles (w/ Julia Two Brothers (dir. J. The Domination, Catch That Girl. Connelly), Beyond Borders Roberts). Annaud). Elia Cmiral Son of Satan. (w/ Angelina Jolie). John Powell Stealing Sinatra, Mad Christopher Young Scenes of the Bill Conti Coast to Coast. Max: Fury Road (dir. George Miller, Unconditional Love, Peter Pan, Crime (w/ Jeff Bridges), Devil and w/ Mel Gibson), Happy Feet, Daniel Webster, Madison (themes D-E Hidalgo (dir. Joe Johnston). Paycheck, Mr. 3000. only), Runaway Jury. Spinning Boris (formerly Hans Zimmer Matchstick Men (dir. Yeltsin), Wrinkle in Time. I-J-K R R. Scott). Matrix 3: Revolutions, Mark Isham The Cooler, The Trevor Rabin The Great Raid. Long Time Dead. Blackout Murders (dir. Philip Graeme Revell Out of Time, Riddick: Get Listed! John Debney Raising Helen, Kaufman). Pitch Black 2, Freddy vs. Jason. Composers, send your info to Chicken Little (Disney). Carl Johnson ’s Big Movie. Shelter Island. [email protected] FSM Thomas DeRenzo State of Denial, Jan A.P. Kaczmarek Neverland (w/ Young Black Stallion. The Eye Is a Thief. , ). Patrick Doyle Secondhand Lions, Open Range, (w/ ), Against the Ropes (w/ Meg Ryan). The Galindez Mystery. Harald Kloser The Day After Connie and Carla. (w/ Dennis Quaid; prod. The Hot Sheet Vanity Fair. Dario Marianelli Cheeky. Danny Elfman Big Fish, Roland Emmerich). Shaun Davey Ella Enchanted. John Massari Seal. Spider-Man 2. Framed (w/ Rob Lowe, Intermission. Sam Neill; TNT), The Hitcher 2 (w/ John DeBorde Happily, Even After. Joe Delia Bought and Sold. David Newman Cat in the Hat F-G Jake Busey, Kari Wuhrer; Vincent Gillioz (score; replacing Marc Shaiman). Robert Folk Kung Pow 2: Tongue of Universal). TheCampusHouse.com. William Ross Ladder 49. Fury, In the Shadow of the Cobra. Harry Gregson-Williams Ryan Shore Richard Gibbs Zachary Beaver L The Rundown. (w/ Cassandra Wilson) Lift. Comes to Town, If You Were My Michel Legrand And Now...Ladies Joe Harnell V (new miniseries). William Susman Manhattan: A Girl, My Baby’s Mama. and Gentlemen (w/ ). Adrian Johnston If Only. Moving Picture Postcard. Vincent Gillioz Evansville, Scarecrow Chris Lennertz Tortilla Heaven (w/ Mark Mancina Mark T. Williams & Jeff Lippencott Slayer, Sonata. George Lopez). The Haunted Mansion (Disney). Boarding House: North Shore Taking Lives, Undertow. (WB reality show). Elliot Goldenthal Double Down (dir. M-N , w/ Nick Nolte). Mark Mancina Brother Bear.

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IN CONCERT FILM MUSIC PERFORMED LIVE ALL AROUND THE CLOBE Calling All Disc Jockeys Playing Games

he Games Convention 2003 of Honor (). Bunny on Broadway.” will host the first European Visit www.gewandhaus.de for details. T Connecticut symphonic concert to feature Aug. 16, New S.O.; original music written for com- Summer Music Festival, The Do you host a radio program that puter games. The concert takes Aug. 31, ; “The Godfather (Rota), The Addams features film scores, TV tunes or place on Aug. 20, in Leipzig, Broadway songs? If so, we’d like to Big Picture: Hollywood Family (Shaiman). Germany. The Czech National give your signal a boost, by listing it Musicals,” featuring West Side Symphony, under the direction here in the pages of FSM (and on Story (L. Bernstein)—first time Illinois of Andy Brick, will perform our website.) conducted to film, including Oct. 4, Chicago, Chicagoland Pops suites and themes from such Send us a brief (150 words max.) the opening, gym scene and Orchestra; The Mask of Zorro description of your program, plus games as Rainbow Six 3: “America.” (Horner), The Godfather. your frequency and hometown, and Ravenshield (Bill Brown), Sept. 14, Hollywood Bowl; we’ll do the rest. Headhunter and Headhunter: “ of China”; Chinese Thanks as always Send your info to extras editor Redemption (Richard Jacques), film music, possibly Crouching To John Waxman of Themes and Joe Sikoryak, c/o FSM, or e-mail him Primal (Bob and Barn), Merregnon Tiger, Hidden Dragon (). Variations for concert updates. directly: [email protected] II (Fabian Del Priore ) and Medal Sept. 20, Hollywood Bowl; “Bugs Visit http://tnv.net

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RANTS, RAVES & RESPONSES CONTENTSMAIL BAG TO READERS

A Mighty Issue just wanted to say thanks for the re-edit created some severe Subsequently, as the liner notes ’ve been a subscriber for more Ithe feature on the folks who continuity problems, which point out, returned Iyears than I can remember, worked on A Mighty Wind, Waiting prompted a few critics at the time to redo a couple of his avant- and I wanted to let you know the for Guffman and This Is Spinal Tap. to condemn the film for certain garde electronic compositions as latest issue (Vol. 8, No. 4) is one of Those are some of my all-time artistic flaws, not altogether symphonic pieces, but we suspect my absolute favorites. Why? The favorite films, so it was fun to unjustified. at M-G-M’s request, not Donald cover story alone would have put hear how those clever songs were Cammell had originally cast Cammell’s, as M-G-M executives it in the top-five category. You conceived and written. The article French actor Rene Assa in the role had decided to re-edit the film to have no idea how much I enjoy actually convinced me to re-sub- of Proteus; he had wanted the make it a much more conven- the Christopher Guest directed scribe to FSM. So pay no attention Proteus supercomputer to have a tional science fiction film. documentary-style comedies (I to the naysayers who think you “human face,” not merely to be a Becky and Sam Umland won’t use the other description in should cover movie underscore monitor filled with the abstract [email protected] deference to his dislike of the exclusively! expressionist colors actually used term), especially Waiting for John Griffin in the film (which Mazzola cut in [Rebecca and Sam Umland are authors of Guffman. (I realize Rob Reiner [email protected] using the footage he and Donald Cammell: A Life on the Wild Side, directed This Is Spinal Tap, but it’s Cammell obtained from San forthcoming from FAB Press (U.K.).] essentially Guffman, Best In Show Tim replies: Thank you both for the Francisco-based experimental and A Mighty Wind that tickle my kind words. We’re glad you enjoyed the filmmaker Jordan Belson). Giving L.K. replies: Thanks for this fascinat- issue—so did we! .) The behind-the-scenes Proteus a human form (if just an ing information on Demon Seed. We printed stills of Rene Assa in the film article on the restoration of the image in a monitor) gives the in the CD booklet without even realiz- classics took the issue Demon Secret ing it: See the image on p. 15 bottom up a few more notches. And then he new Silver Age CD fea- right and on p. 16 top left. We love it was topped off with detailed Tturing Soylent Green and finding out weird things like this! track notes for Thunderball and You Demon Seed is superb—thank you Only Live Twice. for releasing the scores to two of Reviving Rózsa (Dweeb alert. Dweeb alert.) One our very favorite ’70s sci-fi films! iklós Rózsa’s Knights of the question about Thunderball. You We have already listened to the MRound Table clearly demon- make several references to the album several times, and it’s been strates why he may have been alternate of “Mr. Kiss a true revelation. the greatest Golden Age compos- Kiss Bang Bang” as being from The liner notes to Demon Seed er. I hope FSM continues this the mono version of the LP, as are excellent, especially so since magnificent Rózsa series. I’m par- though it were exclusive to the you’ve rescued a very good Jerry ticularly anxious for the release of monaural edition. FYI, I have a Fielding score from undeserved Diane. I can’t thank FSM enough stereo version of the LP which neglect. Although Fritz Weaver for its groundbreaking film music also has that alternate version. I was fine in the film, you may be treasures. Who would have had already owned an early surprised to know that Marlon film’s central story a greater com- thought, 20 years ago, that all of stereo version of the soundtrack, Brando had in fact agreed to plexity, and makes the scenes in this would be possible. purchased when the movie was play—wanted to play—the part which Julie Christie walks about R. Eastman released, and years later found eventually done by Weaver. talking to an invisible, disembod- [email protected] another copy in the discount rack. M-G-M executives vetoed ied voice (at least in the existing I discovered shortly thereafter Brando’s participation [!] because cut of the film) much more inter- s a film music fan who that it contained a different they thought a Brando/Cammell esting, don’t you think? M-G-M’s Abecame hooked when I got arrangement of the last cut. Too team would be much too power- re-edit was done rather late, just my first soundtrack album at age bad I didn’t know what you were ful, creatively speaking. Moreover, prior to the film’s release. Much 12 (The Guns of Navarone, followed up to or you could have used my against Donald Cammell’s wishes, of Proteus’ (Assa’s) dialogue was closely by El Cid and Ben-Hur), I copy for the restoration (it’s M-G-M re-edited Demon Seed, rewritten by Roger Jaffe, at which just wanted to express my deep extremely clean as I only played shortening it by about a reel (this point actor Robert Vaughn was appreciation for the work you it once or twice and dubbed it to according to interviews with the brought in to re-dub the voice of have been doing. In recent cassette). film’s editor, and Donald’s fre- Proteus (uncredited), and Rene months, I’ve been in a blissful Terry Hartzell quent creative collaborator, Frank Assa’s contribution was, alas, state as I acquired fabulous scores [email protected] Mazzola). Among other problems, completely removed. from , Jerry

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MAIL BAG

Goldsmith and others I have long awaited Barry has slowed it down to become an omi- hearing on a legitimate release. The emphasis nous, tongue-in-cheek funeral dirge. on Rózsa and Goldsmith has been especially Take a look at the short scene where the fulfilling because they have always been my defeated Blofeld gets out of the monorail and two favorite composers. For many years, I had activates the volcano’s self-destruct switch. If an old 3/4” reel-to-reel recording of The Prize you sync the music to the DVD (starting right that I had compiled while watching the after Bond has blown up the capsule and movie with the recorder attached to the TV’s says, “Tiger, we’ve done it!”), the cue plays per- speaker leads. I made a feeble effort to edit fectly against Pleasence’s scene. It’s exactly the out dialogue and some sound effects to same length. In the film version, Barry under- obtain as much pure music as possible. At scores this with brief, straight-faced suspense that time (very late ’60s to early ’70s), ABC music, but I reckon the “Coda” was originally had the amazingly annoying habit of relocat- intended to fit here—a wry accompaniment ing the main titles of the movie to the end of to Blofeld’s “sore loser” moment. the broadcast. Then, to add insult to injury, Stephen Lister they would do voice-overs in the middle of [email protected] the credits to announce the late night or next evening’s schedule. Talk about frustrating! You’re right! That’s what it is. Thanks! So you can imagine my sheer delight at your choice of The Prize for the deluxe FSM treatment. Thank you so much for a wonder- ful job! Your releases of 36 Hours; The World, the Flesh and the Devil; Plymouth Adventure; Green Berets; Ice Station Zebra—I could go on and on— have just been fabulous. I buy everything and have rarely been disappointed. At worst, I find a score that is good but doesn’t grab me. Even with a score that I am somewhat familiar with, I can find new delights. It was great fun to listen to the Asian source music SOUND on The Green Berets and hear distinctive ethnic he Bond films were certainly the sound- music that at the same time was very “Rózsa.” Ttrack to the lives of so many who grew TRACK A real treat. up with the classic series. Thanks so much for Of course, for future projects, I’ll always be helping to release all the new tracks. Also, ALBUM happy with more Rózsa and Goldsmith, but it thanks for the superb articles about the would be nice to see Tiomkin get more atten- scores in the latest issue. Interestingly, A View RETAILERS tion. As for my most wanted unreleased to a Kill contains an incredible John Barry sec- score, it is still Elmer Bernstein’s Kings of the tion where May Day speeds off in the boat Specializing in Sun. I keep hearing rumors that he plans to with Zorin during the Eiffel Tower sequence. SOUNDTRACK, release it, but nothing firm (sigh!). Anyway, Too bad that’s not available. But what you thanks for indulging my long ramble and guys have done has made all the scores BROADWAY keep up the great work! brand new again, and even gives a fresh look Ray Worley at ’s Live and Let Die. and STUDIO CAST CD’s [email protected] Paul Scrabo DOMESTIC and IMPORT [email protected] Inside the Expanded Bonds RELEASES enjoyed Lukas Kendall’s article about the have just finished the interesting article e-mail or write for your Iremixing of the expanded Bond sound- Iabout soundtrack restoration and the FREE CATALOG tracks, and I look forward to the second part “Bond experience.” I know what Lukas means P. O. Box 487-Dept. FS (printed in Vol. 8, No. 5). I have a theory that when he says that using the visual presenta- New Holland, PA 17557-0487 may explain the humorous “Coda” that tion of the cues in Pro Tools helps when edit- NEW e-mail: [email protected] appears at the end of the “James Bond— ing cues. But my experience is in trying to phone/fax: Ninja” cue in the expanded You Only Live Twice undo some of these edits! Using a program (717)351-0847 CD. You’re right, it’s clearly a reference to the like Nero Wave Editor, which can also display exploding volcano—it’s an old English music audio files graphically, I have spent some Visit our website at: www.soundtrak.com hall song called “Hot Time in the Old Town time splitting up these longer cues and Tonight” (not to be confused with an arranging them into chronological order. ALL MAJOR CREDIT CARDS ACCEPTED American song of the same name). It’s nor- Alan Rogers mally sung at a much sprightlier pace; here, [email protected]

JULY 2003 10 FILM SCORE MONTHLY v8n6issue.qxd 7 /28/03 1 0:51 AM P age 11

My Letter friend. I am disgusted by life today. But I live ’m 52 and have always loved film scores. to get your magazine each month. How Record Label Round-Up IMy first favorite score was Picnic by George much for a lifetime subscription? (continued from page 6) Dunning. I was seven or eight when my Gary Perl mother bought it for me. She would listen to [email protected] featuring suites and themes from The it over and over. I found that I especially Godfather, The Godfather Part II, Romeo & Juliet, liked the theme for William Holden’s char- L.K. responds: Sorry, no lifetime La Strada, Taming of the Shrew, The Glass subscriptions...they’d cost us too much in the long acter, Hal. Mountain, Death on the Nile, La Dolce Vita, run! But thanks for your wonderful words and sup- I do not know how to read music. Your port. And thanks for being our friend! Roma, Casanova, Amarcord, Juliet of the Spirits magazine is written for people who have and more. some knowledge of the art and craft. But I A Few More Magnificent appreciate that you run a serious scholarly Movie Music Moments Tricatel (France) magazine, and I have learned something wanted to share some moments (see cover Available now is The David Whitaker Songbook, more about music thanks to you. When I Istory, FSM Vol. 8, No. 3), but I was deter- a compilation of recordings composed and got my Logan’s Run CD, I listened to the mined not to compile a boring, long-winded produced by the British composer. It music and read the liner notes at the same list and, instead, to choose just one. To help includes four cues from Run Wild, Run Free, time; I appreciate how enriched my listen- myself I decided that the definition of and one each from Hammerhead, Dominique, ing experience was by reading those notes. “moment” I’d use is that of a length of time and the acclaimed recent thriller With a So I am glad your magazine uses the jar- so short that it can be considered as a mathe- Friend Like Harry, as well as cues from the gon. I would not like it if it didn’t use some matical point. For example, as in the duration album Music to Spy By and more. of the language of the film score expert. of midnight. It worked: for me, this definition I want to thank you for giving me infor- narrowed the field to just one contender. White Line mation about new soundtracks. I would My “moment” is in Alex North’s Spartacus Available now is British Film Composers in have never known about Something Wild or score. It comes at the end of the body-paint- Concert, with Gavin Sutherland conduct- the longer versions of The Sand Pebbles and ing scene. Marcellus, the gladiator trainer, is ing the Royal Ballet Sinfonia performing The Omen [and] would not own The Four daubing Spartacus with different colored concert (non-film) pieces by Clifton Parker, Horsemen of the Apocalypse or The Challenge. And paints to indicate optimum points for crip- Leighton Lucas, Anthony Collins, Bruce let’s not forget your wonderful FSM releases. pling, mortally wounding, or quickly killing Montgomery and Eric Rogers. FSM I just received three more of those in the opponents. During this procedure Spartacus mail today. I own 27 of your titles, and I spots Varinia a few meters away, and love every one of them. Of those 27, most of Marcellus picks up on this. He berates them are by my favorite, Jerry Goldsmith. I Spartacus in front of the other trainee gladia- appreciate your growing Miklós Rózsa col- tors about being capable only of looking (at SCREEN lection. Thank you for The Illustrated Man, women), and sarcastically invites Spartacus to Fantastic Voyage, Point Blank and The Traveling have a good look. When Spartacus hesitates, Executioner, among others. I am very excited Marcellus says “Since all you can do is look at ARCHIVES about your future releases, and I know that girls, go ahead and look. I said look!” and I will be up-to-date with new releases pushes Spartacus’ head sideways with the ENTERTAINMENT thanks to you. And , FSM releas- paintbrush. During this scene, North’s cue es give you your money’s worth. Too bad features a downbeat version of the “slave” Large selection of Varèse doesn’t go for bonus tracks. Again, I theme, which winds down in the strings and new domestic and cannot thank you enough. I wish that I then climbs back in low woodwinds. could donate money to your child’s college For years I used to think there was a tiny import releases, fund as a token of appreciation. but definite pause between the winding down older releases and Lastly, when you listed the Top 40 film and the climbing back. Now, I’m certain there composers, you marked certain ones which is not. Heard in isolation, this magnificent out-of-print CDs were friends of your magazine and other moment is rather bland and certainly not who weren’t. Really, why should you lower noticeable, but with the images (or a recollec- Major credit cards accepted. yourself in that way? You publish the best tion of them) it is riveting. It is as though the Write for free catalog! film score magazine available. If some of music rather than the camera is focusing in PO Box 500 these guys don’t appreciate you, it’s too bad on that emotionally charged instant when the for them. As I mentioned earlier, you are paintbrush swipes Spartacus’ face. Most com- Linden, VA 22642 putting out a scholarly publication. You are posers would have done this with a small ph: (540) 635-2575 not any individual composer’s publicist. No arch or brief musical highlight. North does it one can agree with what you write all the not merely with an inverted arch but more of fax: (540) 635-8554 time. I don’t agree sometimes. But isn’t that a venturi, or “V,” or instantaneous “lowlight.” e-mail: [email protected] what you are all about? Please, if some film The best way I can describe the technique is composers aren’t fond of you because of as a musical cusp. I don’t think there is visit: www.screenarchives.com what you write about them, I will be your (continued on next page)

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anything in film music so subtly theme pauses as Rudy reads the should stay for him or go on with In Closing... potent. rejection, and then continues as her people. The music seems to n Cary Wong’s review of Varèse Anyway, that’s my Magnificent he gets up and walks away. mimic their “voices”—it starts out ISarabande: A 25th Anniversary Movie Music Moment, and I Poltergeist (Jerry Goldsmith) with the higher strings with a Celebration (Vol. 8, No. 5) he states regard its composer as the great- This is when the Freelings are simple, ascending line (Arwen), that Elmer Bernstein’s The Black est exponent of the art of film assembled in their living room, then brings in the lower strings as Cauldron has never been released music yet known—at least to me. have made voice contact with counterpoint (Elrond). Then, as he on CD. While it is true that the Les Jepson Anne and hear her being asks his daughter if he does not original film tracks have never [email protected] chased. The little girl screams as also have her love, the two lines been released (except as a crum- she is running, and as her voice merge together in thirds. my bootleg), Bernstein rerecorded Thanks for the moment, Les. We love trails off it’s picked up by Thank you for your wonderful 32 minutes of the score with the Spartacus as much as you do, and Goldsmith’s strings. The crossover magazine. I just discovered it a Utah Symphony Orchestra, and the scene in question (if not the spe- between her voice and the vio- few years ago, and after having this was released on CD—by cific music) is one of our all-time favorites. lins is almost imperceptible. been a film score fan since the Varèse Sarabande, in fact (VCD Return of the Jedi (John Williams) age of eight, I was thrilled to see 47441). The disc is long out-of- ello, everyone at FSM! I During the pause in Luke and that such a magazine existed! My print, however, and very hard to H know I’m a bit late on get- Vader’s lightsaber duel, Vader has love of film music is also what find. The cut on A 25th Anniversary ting back on this, but a couple just taken a bit of a beating while initially inspired my love of the Celebration is almost certainly from of issues ago you asked for peo- Luke is waiting for him to recover. symphony orchestra and eventu- the re-recording. ple to send in their top movie Vader is visibly unsteady but is ally led me to pursue degrees in John Takis music moments, so I thought I’d slowly advancing toward Luke, music performance as well. share a few of mine: and the high strings that accom- Monique Ledoux READY FOR YOUR FIFTEEN MINUTES? Rudy (Jerry Goldsmith) pany this echo the dark Jedi’s [email protected] The presses are rolling— just send us Unfortunately not on the CD, unsteady steps. a letter and you can be a star: this is the lovely moment when The Two Towers (Howard Shore) More good choices, Monique! Your FSM Mailbag, 8503 Washington Rudy is opening up his mail to Arwen and Elrond are having a Return of the Jedi is almost the same Blvd., Culver City CA 90232 as ours! And we almost included a or e-mail: find yet another rejection from bittersweet discussion about her Poltergeist moment as well. [email protected] Notre Dame. Goldsmith’s main love of Aragorn and whether she

JULY 2003 12 FILM SCORE MONTHLY v8n6issue.qxd 7 /28/03 1 0:51 AM P age 13

FSMCD Vol. 6, No. 12 • Released by Special Arrangement with Metro-Goldwyn-Mayer Inc. Toys in the Attic by George Duning

FSM SPOTLIGHTS A WONDERFUL GOLDEN Age composer seldom represented on CD: George Duning (1908-2000), a stalwart of (, Picnic, ) who later excelled in tel- evision (he scored the most romantic episodes of ). Presented here is one of Duning’s most outstanding dramatic scores, Toys in the Attic (1963), his only picture for . TOYS IN THE ATTIC WAS BASED ON A PLAY by Lillian Hellman and directed by George Roy Hill, starring Dean Martin as a perennial failure who retreats to his childhood home in New Orleans and spinster sisters (Geraldine Page and Wendy Hiller) when times get rough. The sisters actually derive great pleasure from comforting Julian, and it is the man’s success (both in busi- ness and with his new bride, Yvette Mimieux) that ironically leads to tragedy. DUNING’S SCORE IS MELODIC AND memorable, with a bluesy main theme (one of Duning’s finest) and sweetly nostalgic Americana for the loving (if problematic) personal relation- ships. The “Southern family” genre led to excep- tionally fine scores from composers such as Alex North (A Streetcar Named Desire) and Elmer Bernstein (Summer and Smoke), and Duning matches their sensitivity (using his own style) 1. Main Title/Bourbon 14. Evil Carrie/Miss Anna/ with rich and melancholy music, becoming disso- Street Beatnik/ Dock Rumble/ nant only as the characters themselves push into Lily Enters 5:20 Who Told Him?/ 2. Lily Phones 1:41 Get Out/I Heard Her 6:49 obsession and desperation. 3. Carrie Remembers 2:43 15. Goodbye Carrie/ 4. Carrie Excited 1:21 End Title THIS PREMIERE CD OF TOYS IN THE ATTIC 5. The Attic/Julian 1:51 (short version) 2:49 has been mastered from the original 1/2” three- 6. Lily and Julian 2:06 Total Time: 48:04 track tape, recorded at the famed Goldwyn 7. The Presents/ The Tickets/ BONUS MATERIAL Scoring Stage in Hollywood. The album pres- More Presents/ 16. Toys in the Attic (vocal) 2:37 ents the chronological assembly planned by the The New Ring/ 17. Additional Score Cues 4:18 composer and Tony Thomas but never commer- Why, Lily? 8:27 18. Attic Jazz/ 8. Lily Goes Home/ Attic Beguine 2:54 cially released, followed by jazzy source cues, a Motherless Child 2:43 19. Champagne Party/ brief suite of additional and alternate under- 9. Morning at Berniers/ Waltz for Carrie/ score, and a rare single (vocal and instrumental) I’m Sorry, Cyrus/ New Orleans Cafe/ Hey Gus/Lily Returns 2:31 Bourbon Street Twist 3:49 of the main theme. Liner notes are by Jeff Bond 10. Now/ 20. Strip Stuff/ and Lukas Kendall. $19.95 plus shipping Carrie Disturbed 1:40 More Strip Stuff/ 11. Carrie Listens/ The Stripper Blues/ Anna’s Accusations 2:14 Preservation Hall 3:17 12. Julian, Don’t Go 2:51 21. Blues for Charlotte 2:58 Don’t Miss This Month’s 13. Do It! 2:26 22. Toys in the Attic Silver Age Classic (instrumental) 2:18 Total Time: 22:23 Hawkins on Murder Album Produced by Lukas Kendall Total Disc Time: 70:27 Winter Kill • Babe See page 23?? for details. v8n6issue.qxd 7 /28/03 1 0:51 AM P age 14 a Nat ight Othe pera Rachel Portman takes on her first concert work, Saint-Exupery’s The Little Prince

In an era when appears to be in a malaise, make the cut come Oscar time. The Americana score for there is evidently room for one more new opera. Opera The Legend of Bagger Vance revealed the eclecticism of her has become the trendy night out for younger adults who style, as did her score for ’s dismal go more for the spectacle and recognition than for the remake of Charade, The Truth About Charlie. Her recent rela- music or story. Opera in the U.S. has been aided by the tive absence from the film world was due to her work on introduction of projected subtitles that bridge a children’s opera for the HGO based on Antoine de language barriers along with “reinterpretations” of stan- Saint-Exupery’s 1943 novel, The Little Prince. dard fare. Most of the attention-getting operas of the past The plot of The Little Prince, for those unfamiliar with it, couple of decades have come from a group of composers involves a pilot who is forced to land in the Saharan utilizing minimalist techniques in this large-scale form. Desert during a sandstorm, where he meets up with a John Adams perfected this with his political operas Nixon mysterious little prince who claims to be from another in China and The Death of Klinghoffer, but most contemporary planet. The prince relates his story and adventures as well fare tends to lie closer to the heart of neo-romanticism as the valuable lessons he’s learned along the way about with hints of the minimalist style. Composing music for love and seeking wisdom. Filled with allegory mas- the opera house seems almost an anomaly, but it happens querading as a children’s tale, The Little Prince manages to more often than most people realize. touch on materialism, greed, alcoholism, love, friendship The Houston Grand Opera has a long history of pre- and death. Portman has teamed with librettist Nicholas senting world premieres of contemporary operas, many Wright, author of the London hit Vincent in Brixton, now on by in particular, but other than Nixon in Broadway; this is the first opera for both of them. In her China none has really managed to find a wider audience. notes for the playbill, Portman comments, “The challenge The opera studio has produced the likes of Michael has been to communicate in music Saint-Exupery’s IDaugherty’s Jackie O and Robert Moran’s The Dracula Diary. insights into [the relationship between the adult world The HGO will be familiar to those who remember the and that of childhood] and in particular his universal Joplin revival in the 1970s and its Kennedy Center per- message that adults lose sight of the important things in formance of Treemonisha. And until a few years ago, the life as they lose the ability to see clearly the essence of HGO had the honor of creating one of the best recordings things.” It would seem that her style fits that challenge of Gershwin’s Porgy and Bess. With its history of staging well. Word has it she even took a trip to the Sahara for a modern American operas based in popular musical gen- little inspiration. res, it was appropriate that the HGO commission a new The Little Prince has provided Portman with the opportu- opera by Rachel Portman. nity to try her hand at extended vocal writing, though she Film lovers have grown to appreciate Portman’s music had previous experience at this on Disney’s Beauty and the for Emma (for which she received her Oscar) and The Cider Beast: The Enchanted Christmas (1997). Her interest in this House Rules. More recent projects have project was revealed in this June’s

been buried in films that didn’t By Steven A. Kennedy Opera News, where she discussed her Composer Portrait Stills and by Production George Hixton; ©2003 Houston Grand Opera.

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FANTASY TAKES FLIGHT: The Prince (Nathaniel Irvin, right) tells the Pilot (, left) about his endangered Rose; The Cranes (children’s chorus) guide the Prince on his travels; The Pilot explains why he became a pilot.

desire to add to the literature of children’s opera. She has when Portman’s characters delve into extended arias or been given amazing collaborative material to work with set pieces the music really shines. In fact, Ann Thompson’s in Wright’s evocative and powerful libretto. The libretto pre-opera lecture summed up the opera nicely in three design also allows for excellent narrative arcs, though adjectives: “melodious, intriguing and enchanting.” these play better in the first act than in the second, at least on the surface. In With the Old, In With the New A cursory glance at the -vocal score suggests large Most of those who come to see The Little Prince will be new swathes of static harmonic movement, tending toward to Portman’s music. Film music fans just have to be major-seventh chords for larger choral passages and a understanding that Hollywood and the arts may meet on heavy reliance on diminished-seventh chords to create occasion, but the disrespect or disdain that film music tension. This plays out better in full orchestral guise, even receives from the art world has always been there. So with the reduced pit orchestra employed in the produc- rather than think of the work as a crossover opera, it is far tion. The simplistic harmonic ideas serve the text well, and better to hear this opera as the first concert work by

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Portman. Film music fans will note definite drawing on a close, we meet the Geographer, who mirrors the the sound worlds of her film scores. But it would be more dependence on others for information, but is self- important to realize that perhaps we are just accustomed absorbed in a way that cuts close to the Lamplighter’s to her style enough to recognize her distinct voice. The focus. The first act moves quickly as it builds to a finale Little Prince is filled with music that fans of Emma, The Cider whose melodic contours are cousins to the main thematic House Rules, Chocolat and The Legend of Bagger Vance will surely idea from The Cider House Rules. be able to point to as reference points for its own musical Act 2 opens like the prologue with a Chocolat kind of language. The combination of what would seem disparate sound that becomes identified with the character of the film approaches does wonders for this fairy tale. Snake. The Snake’s aria slithers chromatically about in a

FLOWERS AND TREES: The opening “Prologue” is full of Emma-inspired great unsettling sequence that leaves us questioning The Roses awaken sounds. The is simply a magical extension of whether he is evil or good. The music that bridges scenes and greet the Prince; that sound world. The “Pilot’s Song” is a gorgeous high- 2 and 3 has a kind of impressionistic feel á la Debussy’s The Rose (Kristin light filled with beautiful soaring lines. There is plenty of Prelude to the Afternoon of a Faun. The tension is offset by the Reiersen) bids the magical music to fill the following scenes, including a seg- humorously choreographed, and audience-pleasing, Prince good morning; ment reminiscent of Elfman’s . Another Hunters’ chorus. The scene with the Fox and the Prince The giant baobab high point that allows Portman’s music to come to the has an overly long interlude supporting the stage action, trees threaten to overtake the Prince's fore is the wonderful musical interlude that plays while but the payoff is a great closing section that pulls in the planet.. the pilot and the prince watch a sunset. The connection to children’s chorus to emphasize, “There’s just one place the Lamplighter scene later in the act is wonderfully where beauty grows.” The following scenes move quickly accomplished as well. toward the finale, stopping off at a well for one of the The chief audience pleasers in Act 1 come from the finest choruses of the work, a tour-de-force that hammers baobab trees’ chorus. This will likely be a classic opera home the theme of searching, or following one’s heart. moment as the trees sing a delightful quartet, performing There are great musical touches that allow The Little in a kind of vegetative version of Dahl’s Oompa Loompas Prince to be an accessible fairy tale opera that deserves fur- from Willy Wonka and the Chocolate Factory. The Vain Man’s ther performances beyond Houston. It was apparent by aria, with his punctuated kazoo, is also an opportunity for following the score that there were some cuts made, per- audience participation by vain demand. The Crane cho- haps for length, and that the pure orchestral sections may rus, as with many of the children’s choruses, is delightful have been the first to go. That makes some sense given to hear and see. Portman also provides an opportunity for the smaller stage setting and the static set changes (made a humorous little basso profundo aria for the King. Those possible by a wonderfully designed multi-functional set familiar with Saint-Exupery’s life will appreciate the care that draws you in to the story from the outset). given to the symbolism of the rose (a reference to his wife, There were several empty seats in sections of the first some believe). The Prince’s song about his precious flower floor, perhaps the domain of opera patrons too blue- has some of the best literary writing in the opera, allow- blooded to attend a crossover opera. They missed a won- ing the deeper implications of the story to come across. derful evening of amazing music, a childhood classic come to life, and unbelievably creative costume design. I An Alcoholic, a Snake and a Geographer Walk Into a Bar asked a couple of younger people if they enjoyed the One of the things that struck me about the first act was opera and they were enthusiastic in their praise of seeing the circular route we travel in the opera. This is made in one of their favorite books brought to life. It would seem a kind of turning motif heard at the start of the whole that all concerned have managed to hit their target audi- work and reappears in different musical ways throughout. ence. My impression is that the second act, while shorter, There are parallel characters that illustrate important seems to drag. Perhaps it has more to do with the more themes for the opera and are lessons for our own age. We serious nature of the second act’s focus and the fact that have the Vain Man who is dependent on others to drive there are fewer scenes with new characters. But I was still his living, offset by the Drunkard who is driven by his caught up in the exciting build to the finale. FSM addiction and whose life, in turn, reflects that of the The Houston Grand Opera’s production was directed by Francesca Businessman. The Lamplighter’s cultural obsessions have Zambello and includes costuming designed by the late Maria Bjornson. much to say to our own busy world. As the act comes to The Little Prince ran in 12 performances through June 22.

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Richard Sherman talks about Practically the Sherman Brothers’ extraordinary Perfect in career writing hit songs Every Way for stage & screen. Interview by Cary Wong

CHANCES ARE, IF YOUR CHILDHOOD OCCURRED AFTER 1960, YOU GREW UP LISTENING TO AND SINGING SONGS WRITTEN BY THE SHERMAN BROTHERS. RICHARD AND ROBERT SHERMAN ARE RESPONSIBLE for some of the most beloved children’s songs of the last four decades. When they worked for Walt Disney, they wrote the songs for , the Winnie the Pooh series, and among many others, and their non-Disney works have also made significant impact with songs for movies like , which was based on an Ian Fleming book, and Charlotte’s Web. With all those accomplishments, however, their most famous song would have to be “It’s a Small World (After All),” a song written for a 1964 World’s Fair exhibit and still one of the most popular attractions in Disneyland. The Sherman Brothers came from a very musical family. Their father, Al, was the well-known songwriter of such songs as “No, No, a Thousand Times No” and “Now’s the Time to Fall in Love.” Al was the one who sug- gested that his sons collaborate on songwriting, and though they wrote many pop songs, it was their songs for Mouseketeer that caught the attention of Walt Disney. The rest, as they say, is history. I had a chance to talk to Richard, the younger of the two Sherman

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©1964 Walt Disney Co. All Rights Reserved.

Mary Poppins

©1968 Metro-Goldwyn-Mayer Inc.;

Chitty Chitty Bang Bang

THE BOYS WILL BE BOYS: Robert (left) and Richard hard at work on Composer portraits courtesy Photofest; (1976); and in Mary Poppins (1964).

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he was our real first mentor, instructor and the greatest critic we ever had. He would tell us if we were being trite and uno- riginal or on the nose. He constantly tried to steer us into writing an original way of saying something. FSM: Wasn’t it your father who challenged you and your brother to write songs? RS: Bob wanted to write the great American novel, and I wanted to write the great American musical. My dad recog- nized in the both of us the potential of a team. We’re not exactly identical in attitude. We’re yin and yang. We would complement each other. [Robert] would look at one side of the coin and I would look at the other, and together we would get a stereo look at something. Basically [my father] wanted to pool our ideas and talent, and by doing so, we came up with originality, and that gave us our break. FSM: How do you and your brother normally collaborate? RS: We sit in a room and throw ideas back and forth, and I’ll pound something on and get a rhythm going. Brothers (at age 75; Robert is 77). A CD of their songs, sung by We collaborate on lyrics, on ideas, and on music. There are Broadway singers, called Believe…The Songs of the Sherman Brothers three parts to a song. The most important part is why write it. was recently released by Fynsworth Alley. It includes many of The idea. If the idea is strong enough, then melody and lyrics their familiar children songs, chart-toppers like Annette follow very well, but the idea, the hook, is what it’s all about. Funicello’s “Tall Paul,” and a couple of songs from their stage musical collaborations. Their last movie project, in 2000, Shermans’ March to was providing songs for FSM: Tell us about those early years before Disney. the Disney film RS: I always wanted to write for musicals, whether it was The Movie, film or theater. Bob did, too, from the first time we started, which includes but no one wants to hire some unknown, fledgling writers, so another high- we had to pay our dues in the pop field. We wrote a lot of profile song, pop music, and in the latter part of the ’50s we started get- “Your Heart Will ting some big hits. Up until then we were just learning and Lead You Home” trying; finally we started to make some “Top 10” noise. The co-written and new album salutes three of those songs. sung by Kenny FSM: You wrote the hit, “You’re Sixteen.” Loggins. Though RS: Your age range may remember Ringo Starr, but Johnny they’ve written just Burnett actually introduced [the song] in the . We did a one Broadway string of hits with Annette [Funicello]. Her first big hit was show, the Andrew “Tall Paul.” She’s our lucky star; she’s a wonderful girl. She Sisters musical Over recorded 36 of our songs in a period of four years. She’s like Here!, the Shermans a kid sister to both of us. are now in the midst FSM: And that was the road to Disney? of a theatrical stage RS: The great blessing that came to us was that Annette MOUSE AND CAT: The brothers with boom. Not only is the Funicello worked for Walt Disney and he was very aware that Walt Disney (top); That Darn Cat! (1965, London stage version she was singing these little songs of ours. One day she was bottom) with Hayley Mills and Dorothy Provine. of Chitty Chitty Bang going to do a movie, and he said, “Bring those young guys Bang a hit (with an expected Broadway foray in the near future), who wrote those cute songs for Annette.” And, that’s how we preparations are under way for a stage version of Mary Poppins, met Walt Disney. which may hit the U.K. in 2005. In spite of this crazy schedule, the ever-youthful Richard shows no signs of slowing down. At the Dream Factory FSM: You were hired by Disney to be on his staff. Tell me about Following in Dad’s Footsteps that. Where did you actually work? FSM: Tell me about your father, , who was a great RS: The Disney lot is a large place. We were in the animation songwriter. building, which was the largest building on the lot back then. Richard Sherman: Dad wrote a lot of wonderful songs in Walt’s offices were just down the hall on the third floor, and we the ’20s and the ’30s and even in the ’40s. Our dad was a were about two lanes down from where he was. All the creatives gifted idea man; his natural talent was music. He was a great were up there: the writers, the head of the story department, the composer and he wrote beautiful melodic lines. His real forte producers. We were in close contact with Walt. was coming up with word sounds and ideas. FSM: What were your dealings with Walt Disney like? FSM: What was his influence on your career? RS: He was a very hands-on producer, he wasn’t just this leg- RS: When [my brother and I] got the bug to start writing, end who stood off in the corner and let people do all the work.

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He was involved in everything. He would have periodic meet- you want them to go to bed, it’s reverse psychology and that’s ings with the creative people, going through their work, and fun. Walt Disney loved “.” Our dear friend the that meant from the set decorator to the costume designers to writer A.J. Carothers was at the studio while we were working whoever. He was right on top of them all. And then he would on “Chim Chim-Cheree,” and he said, “You know, that’s the big look at dailies every day. He was the most total hands-on one,” and we asked, “Why would you say that? It’s just a chim- knowledgeable man I have ever met in my life. He was brilliant ney-sweep song.” He said, “That’s the one that gets to you. That’s in everything he did. the haunter.” FSM: What was he like as a boss? FSM: How did “Supercalifragilisticexpialidocious” come RS: He was Walt. He was incredibly special to us. We met him about? during the last six or seven years of his life. He had [already] won all the accolades and battles and [gone through] all of the disas- Believe…The Songs of the Sherman Brothers ters—coming back from almost being bankrupt to gigantic suc- ★★★★ cess. He had proven himself over and over again. He was in a Richard and Robert Sherman kind of benign period. He was this wonderful great Uncle Walt Fynsworth Alley 302 062 175 2 who was easy to love. He didn’t wear the bear suit and get angry 15 tracks – 50:03 at everything. With us he was very kind and understanding. comprehensive quality compilation of FSM: What was his input on your songs? A Sherman Brothers songs could run to RS: We were on the same wavelength. I must say this with 15 CDs at least, so to say that this collec- tion of excellent re-recordings by Broadway humility and with amazement, but we did seem to know singers is lacking is by no means a criticism. exactly what he wanted when we were given an assignment. Just a fact. What this CD does very well is to Rarely did we have to say, “Oh, we’ll do it again.” And when capture the diversity of the Sherman we did, we didn’t fight him. We would just say. “OK, we’ll take Brothers’ songwriting skills. From children’s movies to big another whack at it.” Ninety percent of the time we were hit- Broadway shows, this collection is beautifully produced with a ting homers. contemporary feel, but it is always respectful of the original source material. FSM: What was it like after Walt died? Liz Callaway’s “Feed the Birds” and Christine Ebersol’s “The RS: Walt Disney was a shining, brilliant man who Age of Not Believing” are the two standout songs, and I will understood abstractions. We’d play two lines of a song always have a special place for and he’d know if he wanted it or not. He’d say, “Yeah, fin- performed spiritedly by Susan Egan.Charlotte’s But, the Web’s biggest surprise ish it.” This is the brilliance of the man. He didn’t need would be “A Rock and Roll Love Story,” which is a medley“Chin Up,” of demonstration records with beautiful voices. I could just three of their pop songs, including the Annette Funicello song sit there and sing it to him, playing the piano. You don’t “Tall Paul.” It’s a nice contrast to the show songs and a lot of fun. For theater fans, there are also two songs from the musi- find too many people like that. Also, he had the power cal , which was derailed from Broadway when star to say, “Yes, do it.” And that would be the end of it. There broke his foot. Gary Beach and original cast were no groups meeting and discussing it. The most member prove that there could still be life in dangerous thing is to have a group of people who are these tunes post-Tune. all supposedly experts trying to agree on something. The album has liner notes by Richard Sherman, who provides You get all these egos saying yes, it’s good, or no, it background material on each song. His interesting anecdotes isn’t good. We had a board of indecision. A tremen- are a nice companion to this CD, which is for all ages. dous amount of wonderful projects were put on hold —C.W. or cancelled after Walt passed away because there was nobody that could say, “Yes, go.” It wasn’t the same. RS: We wanted a little hook, a special thing. We wanted a song, Best of the Best a little gift that Mary Poppins could present to the children when FSM: Many people consider Mary Poppins the best of the Disney they come out of this make-believe place, which was jumping movie musicals. A big reason would have to be the songs. Many into a chalk drawing. And they have an adventure. And when of them are standards now. you come out of a make-believe place you can’t come out with RS: Nobody was going for hits. We were just trying to make a tangible thing. You couldn’t come out with a rock or a starfish the story happen. And each one of these songs was all part of or a leaf or anything like that, you have to come out with a sou- an overall statement. We never thought of them as individual venir that was mental. And when we were little kids, we would songs. They were not in any way written for the popular mar- make up silly double-talk words—let’s create some super colos- ket. They were written to tell the story of Mary Poppins. The fact sal incredible word that’s really obnoxious and baffles every- that they became so popular and “Chim-Chim-Cheree” won the body, and that was half the battle. And what rhymes with pre- Academy Award, it was a cherry on top of the ice cream sundae. cocious and what rhymes with atrocious? Why not. We were just happy to write the ice cream sundae. FSM: And now the word is in the dictionary. FSM: “Chim-Chim-Cheree” won the Oscar for Best Song. RS: I know. It’s an incredible thing. It’s in many dictionaries. Why was that particular song singled out? It’s credited as a nonsense word, which I resent. [laughs] It’s a RS: Everyone had their favorites. I love “Spoonful of superlative superlative. And that’s what it’s supposed to be. Sugar”…well, I love all the songs. I mean if you have 14 children, FSM: Were any songs for Poppins cut? you love 14 children. My brother loves “Stay Awake” because it’s RS: Oh sure, but it wasn’t because the songs were no good; it so completely unexpected. To tell children to stay awake when was because the sequence was cut or it was running over time

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and we didn’t need it. We wrote over 30 songs for Poppins they need a theme song, we would talk about it. This was and only 14 were used, but we wound up using [the oth- how we did it when were on staff at Disney and even ers] in other places. One song we wrote for Poppins was now, when we occasionally do a song for them in the “ Sea,” and they were going to have an same way. They’d say, “Here’s our problem, we want to say adventure with Mary Poppins under the ocean. When we this, we want to have something that is mouthable, that NO WASTE: Songs that did Bedknobs and Broomsticks, we had the perfect opportu- can be played in the ’20s style but can also be played in didn’t make it into Mary nity because we wanted an underwa- the ’40s style.” The parameters are given to us to write it. Poppins found their way ter sequence. And so we changed a FSM: What were your thoughts on the Disney anima- into Bedknobs and few lines to make it fit the new show tion boom of the ’90s? Broomsticks (1971). and we had it. Nothing went wasted. RS: Marvelous. We had two brilliant guys, Howard FSM: You wrote so many songs Ashman and Alan Menken, who were a great songwrit- through the years. Were there any ing team in the real tradition of early Disney. Tell story songs you were worried might not with song. Make the song a part of the story. The kind of work? thing we used to do. They came and did it in that tradi- RS: The biggest song we ever tion and that’s why the revival came along. They were wrote, as is well-known, was “It’s a wonderful stories, and it started this whole boom. A new Small World After All.” We were wave of animation. And what with the age of troubleshooters on that particular computer animation, you could do it [now] without tak- song because they had this won- ing three years. You could do it in a year. I saw some stuff derful salute for the children of from the new Disney animated film called Brother Bear and the world that was sponsored by it’s wonderful. UNICEF for the World’s Fair, FSM: Tell me about your involvement with Beverly back in ’64–’65. This ride was Hills Cop 3. created and we walked through RS: John Landis was the director of that film. Bob and I this mockup, without the boat, went out to lunch with him, and he said, “I want you to of course. And there were these beautiful Audio- write the most Disney song you could possibly write for Animatronic dolls, and they were all singing national a make-believe Disneyland that can be sung over and We met anthems of the various countries. And after you walked over again. Do it as if Walt was saying, ‘Give me the best Walt Disney through it a bit, it sounded like a terrible cacophony, you Disney song you can ever do.’” We wrote “The couldn’t understand a single word. At one point, Walt Wonderworld Song,” and [Landis] loved it. during the last turned to the guy running the sound and said, “Stop.” And FSM: Is it true your brother is in the movie, but you’re six or seven years he looked at Bob and me and said, “You’re going to write not? us a simple little song that will carry through this whole RS: I was cut. Landis said, “You’re going to both be in of his life. He thing.” So we wrote, “It’s a Small World After All.” Were we the movies because I like to do things like that.” Bob was was wonderful worried? Yes. It’s repeated over and over again. My God, at the bar and had a line, and I was going to blow the it’s going to be so awful. But we got the greatest reviews whistle and start the big band when they’re doing the big great Uncle Walt because we had it in different styles and . Of parade at the end of the movie. And there I was in band who was easy to course people who have been stuck on the ride want to suit and my whistle and they cut me. [laughs] I felt so kill us. [laughs] shattered. I was in a movie before, in The Happiest love. He didn’t FSM: And it’s a great song. Millionaire; there’s a scene where Fred McMurray is singing wear the bear RS: It makes you feel good. It’s a prayer for peace. And an aria, and the flutist is me. these days with all this hatred going on, if only that FSM: How did the stage version of Chitty Chitty Bang suit and get thought would get through to people. Bang come about? angry at every- FSM: How did a ride at the World’s Fair end up in RS: Cubby Broccoli’s daughter, Barbara, and her half- Disneyland? brother, Wilson, are very much involved with the new thing. With us RS: Walt’s deal was if he created this ride—he had done James Bond films; they produced the past four or five of he was kind and four exhibits, including “The Great Big Beautiful them. And they approached us and asked if we would Tomorrow” that was featured in the GE Carousel of help with a stage version of CCBB, and we said absolutely understanding. Progress—and his deal was that he would own them once we would. The first question out of my mouth was “Can the fair was over. So both of those exhibits came back, the car fly?” And they said, “We’re going to make that car lock stock and barrel, to Disneyland. fly and knock everyone on their socks.” They’ve wanted to FSM: What other theme park rides did you write for? do it for years, and now they have the technology. It actu- RS: The original [Enchanted] Tiki Room, all the music in ally lifts off the stage, flies out into the audience, comes and the Imagination Pavilion—[including] “The One back and does it again. People are aghast! They just can’t Little Spark,” “The World of Innovations.” believe it. It’s so thrilling. FSM: What’s different in writing for an exhibit or a FSM: Are you working on anything new? ride? RS: I have several jewels bubbling around in my brain RS: We would sit with the creative people, the story that I have been working on with many gifted people, but people, who are called Imagineers at Disney. The it’s a bit premature to talk about stuff. I’m thinking stage Imagineers usually design and create these rides and if musicals now. FSM

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FSMCD Vol. 6, No. 13 •• ReleasedReleased byby SpecialSpecial ArrangementArrangement withwith TurnerTurner ClassicClassic MoviesMovies MusicMusic Hawkins on Murder withWinter Kill and Babe By Jerry Goldsmith

JERRY GOLDSMITH IS ONE OF THE GREATEST feature film composers of all time, but he has often returned to his roots in TV for memorable themes and scores, from The Man From U.N.C.L.E. to Star Trek Voyager. The early 1970s were an especially prolific time for Goldsmith in television, and this CD features three of his projects for M-G-M Television, two pro- duced by U.N.C.L.E.’s Norman Felton. HAWKINS ON MURDER (1973) WAS THE 90- minute pilot film for a short-lived series starring Jimmy Stewart as Billy Jim Hawkins, a canny West Virginia defense attorney. Goldsmith wrote an ener- getic theme featuring twangy Minimoog , emphasizing Hawkins’ country roots and the author- ity of the law. The balance of the 17-minute score features sympathetic strains for an innocent heiress played by Bonnie Bedelia, with acoustic guitar per- formances by Laurindo Almeida. WINTER KILL (1974) WAS A TWO-HOUR PILOT starring Andy Griffith as a small-town sheriff con- fronted with a vicious string of murders. Goldsmith wrote an exciting theme for ARP synthesizer, strum- ming guitars and orchestra, foreshadowing his score to Breakheart Pass (1976), along with moody, ambi- ent suspense and action cues including low-end Hawkins on Murder piano and tabla percussion. (Certain atmospheric 1. The Bodies/Main Title/ Babe cues are relegated to the bonus section of the CD.) No Tourist Attraction/ 11. Theme 2:27 A Stranger in the House/ 12. Babe/High Off the Hog 3:34 BABE (1975) WAS A STELLAR TV MOVIE The Beach/All That 13. The Team/Where Is It 2:54 about Babe Didrikson Zaharias, the greatest woman Can Be Done/ 5:12 14. Sick Nun 3:06 athlete of the 20th century. The production was one 2. No Worries/ 15. You Bet Ya/It’s Late/I Do 3:23 It Won’t Happen/ 16. Round Trip/ of the first biopics for television and one of the finest, A Couple of Kicks/ Morning Edition 2:12 with Emmy-winning efforts by actress Susan Clark Sarabande 7:02 17. On the Green/Can She?/ and Goldsmith. The score is a sensitive gem of 3. A Strange Freedom/ WPGA/Outpatient 2:00 A Second Time 3:30 18. No Changes/ melody and Americana, with a heartfelt main theme 4. Julia’s Confession/ Sudden Pain 2:33 often played by acoustic guitar, and lively accompa- End Title 1:05 19. Always a Winner 4:11 niment for Babe’s athletic achievements. Total Time: 16:51 Total Time: 26:41 THIS CD FEATURES GOLDSMITH’S COMPLETE Winter Kill BONUS MATERIAL 5. Number One 2:04 20. When You’ve scores to all three telefilms, remixed and mastered 6. Main Title/The Cigar 3:56 Gone Away (Babe) 4:47 from the original 1/2” stereo tapes. Liner notes are by 7. The Village/ 21. Missing Gun/Red / Number Three/ Which One/Number Two TV music authority Jon Burlingame. $19.95 plus shipping. Late Visit 3:22 (Winter Kill) 3:52 8. Late Arrival/ 22. More Clues (Winter Kill) 1:25 What’s in a Name/ 23. Final Victim/ I’m Worried/ Special Delivery A New Killer 4:35 (Winter Kill) 4:17 Don’’tt MissMiss ThisThis MonthMonth’’ss 9. Shootout 2:07 24. Main Title (Hawkins) 1:16 Golden Age Classic 10. Fatherless Child 1:41 Total Time: 15:49 Total Time: 17:58 Total Disc Time: 77:24 Toys in the Attic Album produced by Lukas Kendall See page 13 forfor details.details. v8n6issue.qxd 7 /28/03 1 0:52 AM P age 24

SSHIVERHIVER MMEE IMBRESIMBRES TTKlausKlaus BadeltBadelt leadsleads aa MediaMedia VenturesVentures assaultassault onon piratepirate moviemovie scoringscoring traditions.traditions.

ByBy JeffJeff BondBond

You know the formula: blasting broad- consistently successful action-movie producer around, and along with the hyper-real, MTV-and-commercial- sides, billowing sails, rolling ocean swells, inspired visuals and rapid cutting that mark his films regardless of director, there goes a distinct musical per- and a supersized full orchestra delivering sona that’s as far from the classicists of film scoring as you can get. “It’s just a rock and roll attitude toward film scor- row after row of brass triplets. It’s a ing, persuading the orchestra to play the Clash, don’t play Mozart. It’s just the orchestra playing with a slightly dif- seagoing tradition as old as the Warner ferent attitude,” Hans Zimmer says. He should know— Zimmer probably defined the Jerry Bruckheimer style in Bros. fanfare, and it initially looked to be a films like Days of Thunder, Crimson Tide and The Rock before the mega-producer even realized what it was. Zimmer big part of ’s mammoth was brought in as a musical consultant, supervisor and producer on Pirates of the Caribbean after Silvestri left the adventure film Pirates of the Caribbean: The project, and the mandate he received from Bruckheimer was to set sail in a completely different direction. Curse of the Black Pearl as Alan Silvestri pre- “The thing here was to not do the old pirate thing,” Zimmer explains. “The old pirate thing has been done pared a score that by all rights looked to very well by old pirate people who are probably all dead by now. Johnny Depp doesn’t play the main pirate in the rival his gargantuan effort for The Mummy style of Errol Flynn, either; he plays it in the style of Keith Richards, and I was trying to get everyone to take their Returns. But one factor wasn’t taken into cue from that. We tried to make music that sounds like clowns with chainsaws; that was one brief, and another account: the “Jerry Bruckheimer Sound.” was imagining Cinderella opening the doors to a ball- room and it’s a Metallica concert. Those were the leading Bruckheimer remains probably the most thoughts on this.” YJULY 2003 24 FILM SCORE MONTHLY v8n6issue.qxd 7 /28/03 1 0:52 AM P age 25

The Battle of Bruckheimer doing, and Jerry’s one of them.” “THE FIRST The man responsible for tackling the bulk of the scoring According to Badelt, Bruckheimer was clear about what duties and fulfilling this mandate was Klaus Badelt, who’d he did and didn’t want. “The first thing we discussed was THING WE already made a splash with big scores for The Time Machine Jerry saying that this is not a pirate movie,” the composer and K-19. Badelt himself insists he’s mystified by his rep- says. “I thought that was strange but I said okay, let’s have DISCUSSED utation as the new poster boy for rich orchestral scores, a look. I mean, if Jerry does a pirate movie, that’s quite off since his background is entirely in record production. But his usual average movie. He’s not the kind of guy who WAS JERRY with work on Gladiator and Pearl Harbor, plus scores like does a period piece and deals with that kind of hero. But Equilibrium and The Recruit, Badelt earned the chance to then you have Gore in the mix, who [also] can’t do a cliché SAYING work directly under the auspices of Bruckheimer. “Jerry is pirate movie—he has a certain kind of humor and witti- the most feared person, which is very interesting,” Badelt ness that’s a little off the path. When I heard that Gore was THAT THIS says. “People have told me, ‘Oh my gosh, you’re going to the guy who came up with the Budweiser frogs, I thought work with him? Good luck—it’s going to be the worst that guy must have the right humor for this one. And the IS NOT A nightmare of your life.’ One time I worked with Werner first time I saw Johnny Depp’s character enter you can see Herzog and people told me he was going to slaughter me. that at work. Johnny’s character is like the rock and roll PIRATE But he was a wonderful person, and he really understood star of the pirates—he’s like the anti-pirate. He lives in his the process. He was open and amazing. It was similar with own little world where everything around him is very MOVIE.” Jerry—it’s true that who’s working on a score to sound, and he’s very proud of being what he is. He’s very one of his movies, it will always sound like a Jerry much modeled after Keith Richards. So I thought maybe Bruckheimer movie, or you don’t get to finish it. But if you we could do something cool with the little time we had, try to keep some integrity, you can still do that and get the something within the genre that was a little bit different. kind of sound he likes. He has a very specific idea of the That’s what they wanted, anyway. They said this was not sound even though he’s not very musical in his terms. But a pirate movie and they didn’t want any triplets in it!” in a way he knows exactly what he’s talking about, and While most movies use a temp score as a guideline for he’s very honest about it and very precise. I love that. I the original score composed for the film, the opposite was respect people who have a certain vision and you can’t the case on Pirates. “There was a temp score in there that bullshit them or trick them—they know what you’re most of the time did exactly what they didn’t want,”

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Badelt points out. “I love Jerry Goldsmith and there was a lot of in short, breathy chants which I used as a tempo—I didn’t his music and some Michael Kamen. For a while I thought, this even have anything like that on my samples, so for the demo is really good—I don’t know what’s wrong with this. I had to ask I just recorded myself doing these breathing sounds and them what it was about this earlier approach that wasn’t work- sampled that.” Although Badelt was the primary composer, ing for them. Basically they said it was too close to the genre of the limited amount of time to compose music for the film the pirate movie, and they had the triplets in there and all these meant that the score had to be constructed in classic Media horn fanfares, and not only was Jerry [Bruckheimer] allergic to Ventures style. “There’s over a hundred minutes of music; the that but Gore didn’t want it either.” only way to do this was to have seven or eight orchestra- Badelt’s approach to constructing a score involves writing a tors/co-writers/arrangers—at the end I was playing things kind of miniature score from which he can draw material as he out on a piano and handing it to orchestrators with a string works. “I watch the picture once or twice and then I don’t look patch and describing what I wanted out of it for the final ver- at it all. I go write a suite of themes, and then I have another sion. In the last two weeks I was basically managing more look at the film and see if I wrote to the right picture or not. than writing.” With all the left and right turns in a picture you never really All Hans on Deck Badelt cites Zimmer as a key element in the overall supervision “THERE’S ONE of the effort. “Hans was helpful in many things: One thing was calming down Jerry, and he’s very good at that,” the composer ATTACK CUE laughs. “He knew Gore from The Ring so he was a good liaison— his title is producer on this and that’s very accurate. He could- WHERE n’t do this anyway because he was working on . He said, ‘If you want to do this, good luck.’ But I had lots of sup- THE MUSIC port and it was really all hands on deck.” Since an overpowering sound mix is as much a part of the ACTUALLY Bruckheimer aesthetic as anything else, Badelt found himself struggling to work around the film’s cannon fire and clash- DROWNS OUT ing swords. “There’s lots of sword fighting and cannons and ocean, and the sound mix is strong,” he admits. “There were THE CANNONS.” parts where I said, ‘I know if we write something here you’re not going to hear it.’ They said, ‘Just write it first and then we’ll take it out!’ There was a big storm scene where I thought think of the right vocabulary, you just react to what you’re see- there was no way I could cut through that noise and cannon ing, and I only had 18 days to do that. So if you don’t develop fire—even the dialogue wasn’t cutting through it. A sword the vocabulary first, it’s really hard to finish on time.” fight tends to be very rhythmical and it really sounds like Despite his suite-of-themes approach, Badelt says his Pirates of percussion, so I tried to incorporate my percussion into that. the Caribbean score may be less thematic than some of his previ- We were lucky because it turns out that all of these sword ous work. “I had one main theme for the curse and I had a fights work almost like click tracks—you just have to find the theme for Barbossa, the head pirate of the bad guys, a more right key to play in. But then there were the cannons, so it ominous, period kind of theme,” he says. “But [for] the curse, was always a trade-off. But Gore was very good on the stage actually all I did was a motive, not so much a real long theme. because he wouldn’t treat everything at the same time; he There’s one theme in there, too, which is used in the underwa- would pick his battles and say this was a moment where the ter march a lot. I had that and another theme I wrote for the music really needs to stick out and this was a moment that Johnny Depp character, which oddly enough wasn’t used that focuses on sound effects. There was one attack cue where the much—I thought that might be the most-used theme in the pic- music was so loud it actually drowns out the cannons.” ture. Then there was what we called the kick-ass theme, the Badelt had his own strategy for making his music heard. heroic theme, which was used both for Jack and the Orlando “What I did mostly to make the music cut through is that every- Bloom character, and came into play a lot when things were thing you hear, strings and brass, is doubled by analog synths— moving forward. The curse theme was overlaid with a lot of the you don’t hear them, really; you sort of feel them, and you’d other themes; and then of course we had the love theme, which notice if you turned them off.” Actually, that sounds like a pretty turned out to be an adaptation of the kick-ass theme, just good description of the “Jerry Bruckheimer Sound.” “That’s true, played a different way.” actually!” Badelt admits. “He doesn’t like it if you hear the bow Badelt tried to stray from the sound of a traditional orches- on the strings; he thinks that sound is old-fashioned. I told him tra as much as possible while the score was being arranged. that pop songs now sound old-fashioned, but I didn’t think this “We had a special percussion session and tried to use what did—but after a while I got what he meant. It’s the sound of an we thought might be pirate percussion, and used organic, orchestra alone in a room naked, and it wouldn’t have worked hard, low sounds a lot. And we tried to get a Caribbean in this movie. I had tons of percussion in this movie and I really sound without using steel drums or ethnic percussion,” he had a machine sound to a lot of it, and there were analog wave- says. “We had a lot of wood hitting on wood and big gong forms on top of the strings. It’s a little different from a ’90s con- drums, sort of half orchestral, half ethnic. The other thing we temporary Jerry Bruckheimer action score, and I really thought used was a big choir that wasn’t really singing but breathing Jerry was not going to go for a lot of it, but he loved it.” FSM

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AVAST, YE SCURVY COLLECTORS!

11 Pirates of the Compact Disc Compiled By Joe Soundtrack

e’re talking about pirates, not swashbucklers, or this list would be three times longer than it is. Here’s some scores to keep you W pillaging ‘n’ plundering long after you’ve walked the plank at the multiplex.

Peter Pan (1953) is full of rollicking nautical Planet (2002) (score) writing that puts most any James Newton Howard & Sammy other to shame. Walt Disney • 60799 Cahn et al. (songs) 17 tracks. 54:51 Walt Disney • 60958-7 Disney goes back to the well 22 tracks, 53:36 one time too many on this Even though the Styne, animated flop. Still, Howard Comden & Green Broadway manages to keep the flags fly- songs are arguably more ing with a supercharged score memorable, Wallace and Co. that mixes a big sound with (1935) bad that “Pretty Woman” had did a fine job on this Disney Celtic touches. to be there to spoil the fun. classic. And nobody’s a better Marco Polo 8.2223607 than Hans (1995) 6 of 22 tracks, 19:42 Pirates (1986) Conried! John Debney We must begin with a gener- Philippe Sarde Silva Screen • FILMCD 178 ous tip of the eye patch to the Varèse Sarabande 19 tracks, 70:23 wunderkind from Vienna. VCD 47265 • 18 tracks, 61:08 Beloved by some, reviled by Korngold made a huge splash directs others, this score isn’t as with his first original composi- Walter Matthau in a pirate good as it sounds. The tion for Warner Bros., full of movie. Enough said, me orchestral color is excellent, exciting, romantic music that ’hearties. has often been imitated, but there’s a lot of very busy rarely if ever equaled. writing, but like the movie it supports, there’s nothing at Lost at Sea: 10 its center. Aaarrrrr-gh! Pirate Scores The (1957) We’d Like to Elmer Bernstein Hear on CD DRG 19051 • 13 tracks, 41:04 With Yul Brynner as Jean The Black Swan (1942) Lafitte and Charleton Heston , as Andrew Jackson (both in David Buttolph et al. dueling hairpieces, no less), Shipwrecked (1991) Bernstein has to up the ante Patrick Doyle The Crimson Pirate (1951) considerably with his music— Walt Disney 60614-2 William Alwyn (1948) The Pirate which he does, in this bright 21 tracks, 37:55 Cole Porter (1954) and shiny re-release of the While this is a fine score by a Rhino Handmade RHM2 7762 David Buttolph original studio re-recording. composer operating near the 19 tracks, 68:37 top of his game, it’s become The Boy and the Pirate Okay, the pirate’s a make- something of a cult item (1960) Albert Glasser believe character, but we don’t because of a distribution often get to write about Cole screw-up. Relax—there’s lots Swiss Family Robinson Porter in this magazine. His of equally good Doyle music (1960) William Alwyn songs are red, hot and cool, to be had, at less than a Pirates of (1960) and popular with sailors, Princess’ ransom. Paul Sawtell, don’tcha know. Bert Shefter Hook (1991) Muppet (1996) John Williams Swashbuckler (1976) Hans Zimmer, Epic Soundtrax • EK 48888 Mysterious Island (1961) Harry Gregson-Williams 17 tracks, 75:24 Angel • 17 tracks, 51:33 The Island (1981) The pirate score comes full cir- Cloud Nine/Silva Screen Media Ventures’ warm-up for Ennio Morricone cle with the leading living pro- CAN 7017 • 12 tracks, 42:30 Pirates of the Caribbean ponent of everything that Nate and Hayes (1983) Pirates make a brief appear- sports a rousing score and Korngold stands for. Williams Trevor Jones ance (in a cue aptly entitled more annoying songs than writes heaping handfuls of the- “Pirates!”) merely to provide you can shake a scabbard at. Ice Pirates (1984) matic material, and applies the heroes with a getaway Bruce Broughton FSM vehicle. No matter, this score leitmotifs up the wazoo. Too

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hat if they gave a Sinbad movie and

nobody came? That’s the question WDreamworks may have been asking itself this July as Sinbad: Legend of the

Seven Seas became the latest high-

profile, traditionally animated

adventure film to crash on the rocks

of the high-pressure summer movie

season. “There might have been a

time when certain four-year-old boys

might have been able to picture

themselves as Sinbad,” composer

Harry Gregson-Williams says. “I don’t

think they appreciate the aesthetic of

someone of my generation where one

was brought up with cartoons—now

they’re bombarded by it on TV for

free in all manner of different styles, iren and something has to poke out like a Shrek or a Finding Nemo.”

S Sinbad hit about $10 million in box- ong office receipts on its opening week- end, following disappointing debuts

for Fox’s Titan A.E. and Disney’s

Atlantis: The Lost Empire and Treasure Harry Gregson-Williams scores S Planet, all of which indicate that the Sinbad: Legend of the Seven Seas. market for serious animated fantasy

films that has long existed in Japan

by Jeff Bond has yet to migrate to the U.S. “During

the course of making Sinbad I was

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aware that this was by no means a dead cert,” in the film), but after its initial high-energy Gregson-Williams says. “But I must say, $10 statements the theme plays out in a richer, million doesn’t sound too good. I’m sure it’ll more supportive guise as the film progresses. do all right on DVD, but it’s a shame.” The “When we first meet him he’s a bit of a loser, composer doesn’t have his own theory about really,” the composer says of the Sinbad char- why the movie has had hard luck finding an acter. “He can’t really get a girlfriend, he’s a audience, but he has been approached with thief and he’s not got much integrity. The arc some. “Someone said to me, ‘Where’s the of the film takes us to a place where he does cuddly funny animal?’ I asked what he get a girlfriend and, more importantly, does meant, but certainly there’s a question of do an honorable thing and puts his neck on why do you do a film like this animated? the line, literally, for his childhood friend. He Wouldn’t it be more fun to see and wouldn’t have thought of doing that at the Catherine Zeta-Jones slogging it out on the beginning of the movie. Within his theme I high seas for real? Usually there’s that kind of wanted to get this kind of blackheart charac- reason; in Shrek you have a green ogre and a ter who would bounce around doing any- talking donkey, and how do you do that in thing he liked but, toward the end of the live action? But the more I thought about score, would transform into something much that comment, the more I thought it hear- more honorable and noble.” kens back to Errol Flynn, really. It’s particu- One of the score’s central challenges was to larly disappointing to me because it feels like tackle the mythical Sirens, female apparitions a waste of seven or eight months of my life.” who lure sailors to their deaths with their Gregson-Williams wrote a full-bore voices. Gregson-Williams had to create a orchestral score for Sinbad: Legend of the Seven musical effect for these characters that would Seas, coordinating with the animation team both underscore and inspire the on-screen over the course of development of the film. action. “I wrote that about 18 months ago; it’s “There’s 80 minutes of symphonic music on one of those cues where supposedly the ani- Sinbad, so this was a new kettle of fish for me,” mators were going to animate to the music,” he points out. “If people are into film scores, he says. “Their idea was that these sirens then I suppose I can take consolation in that. would come out of the , and when a We did some nice stuff in Shrek, but it was siren was on-screen you’d hear a voice and more of a pastiche of a fairy tale. There’s not understand that the sirens were trying to a lot of pastiche on Sinbad, but there were entice Sinbad and his crew, entirely male obviously boundaries one didn’t want to except for Marina [Sinbad’s love interest, cross because it was supposed to be a swash- voiced by Catherine Zeta-Jones], off the boat buckling Sinbad adventure. So one didn’t and to their deaths. Consequently the only want to hear a synthesizer or anything like person who can take control of the situation that going on.” is Marina, and she shows some heroic ten- dencies and saves Sinbad and his crew. But I Playing It Straight wrote the cue and was playing catch-up the While both Atlantis: The Lost Empire and Treasure whole time—I had hoped I would write the Planet boasted comic sidekick characters in sequence and that would be it. They loved the Disney tradition, Sinbad strove to play it the music and it was just storyboards; I straight, and the result was an unusually couldn’t see where a siren jumped out of the strong dramatic score. “The thing one could water and where one didn’t, but I kind of try to do for a movie like this is forget that sprinkled the piece with these vocals. But these are cartoon characters and place the they’d animate a little bit and then toss it viewer in peril if that’s what the characters back to me, and of course they’d moved [the are in,” Gregson-Williams says. “When we place] where I thought a siren was going to started out on Antz, Jeffrey [Katzenberg] said, jump out of the water and where my vocal ‘Look, think of this more as Romancing the was and it would have to be changed. That Stone—we’ve got to forget we’re looking at went on until the bitter end. It’s brilliantly ants within 10 minutes of the movie opening.’ animated and probably my favorite scene in And although we weren’t looking at animals the movie, but it’s also the one that gave me in this one, we’re looking at Sinbad and the biggest headache. That’s the challenge Marina. But they are cardboard cutouts, so with animation; it’s such an ongoing process.” musically one’s got to take the serious line That challenge also comes with rewards, and say this is Sinbad, he’s a hero and try to since Gregson-Williams finds scoring anima- portray that musically.” tion one of the most involving processes a Gregson-Williams wrote a bustling theme film composer can experience. “With film for the Sinbad character (voiced by Brad Pitt (continued on page 48)

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DOWNBEAT

had music, but they haven’t really gone that far with it [since], basically, they’re developing the game now. It’s an Taken WITH online game and therefore one can never know what’s going to happen because it’s determined by the interac- tion between players. There can be up to a hundred thou- sand players online at any given time. So you talk to the HER Music creative team and get a sense of what each place or envi- ronment is like, and there are many places—the game is Prolific television composer Laura Karpman endless, and it’s really a world in and of itself. So you kind of score each location. There are no timings and no tackles sci-fi, including an online videogame. perimeters except the limits of your imagination and a

HIT AND MISS: The Taken miniseries garnered high ratings; Odyssey 5 was canceled after a handful of episodes.

aura Karpman has scored more than three basic guideline as to what the emotive qualities of any dozen television projects since 1989, but place might be. It’s really more like writing programmatic while it’s unusual enough to see a female film concert music than it is like writing a film score.” composer in this male-dominated field, In effect Karpman found herself writing environmental L Karpman is the first to admit that the major- music for a wide variety of situations. “What I’m doing is ity of her work has fallen into the “women’s picture” writing 60 or 70 minutes of orchestral music, most of it genre, with titles like The Sitter, The Broken Cord, Child Lost [for] these places, and there are also some action cues, dif- Forever: The Jerry Sherwood Story, A Mother’s Revenge, and ferent kinds of attacks and different things that will hap- Moment of Truth: A Mother’s Deception. But after working on pen. Then I’m going to do probably another 10 or 20 min- the Showtime sci-fi series Odyssey 5 in 2002, Karpman’s star utes of sound design cues, where I have a collection of has risen, and it’s gone meteoric with her work on the Sci- instruments and play around with those to create some Fi Channel miniseries Taken, a surprise ratings smash pro- digital environments for some other places. Altogether duced by . we’ll have about 90 or 100 minutes of music. You could go Based on the success of Taken, Karpman was brought on on and on and on. I could spend two years writing on this to score Everquest II, the second version of Sony’s massive but I’m not going to. Nobody knows how it’s going to multi-user online videogame Everquest. While scoring a develop because it hasn’t been done for an online game wide-ranging videogame with action totally determined before—it’s still a mystery how it will work; we’ll have to by thousands of online players might sound like an wait to see what happens.” impossible task, Karpman’s experience writing more than As in animation, computer gaming allows composers a seven hours of music for the Taken miniseries practically far more intimate working relationship with the creative made it a walk in the park. “It’s an interesting process personnel behind the project. “Creatively, it’s one of the because they have never really made music an important most fun projects I’ve ever done,” Karpman says. “These by Jeff Bond part of the game,” the composer says of Everquest. “They’ve people are fantastic to work with. You work very closely

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with the game developers so it’s very organic. in Taken was its own problem, Karpman says. don’t get a job; you only know why you do. It’s a huge area for composers, especially the “I had to write a tremendous amount of music It’s hard for me to look at what my career more orchestral they get. The people who are and I was still working on Odyssey 5, literally 16 hasn’t been. What my career has been is a lot gamers really like music. They printed out a hours a day every day, and I didn’t have a day of television movies of the week for many survey they had done on what people listen off for seven months. I would work on Taken years. I’ve always been capable of working in to, and the gamers listen to heavy metal and all day—get up really early in the morning— different genres and I’ve certainly been dying other stuff, but they also listen to classical and I would have an assistant at my second to, and dying to work with an orchestra and, music like Carmina Burana and a lot of 20th- studio set up cues for Odyssey, and then I like every other composer, to break out and century classical music. And they listen to a would come in and play on those and have do big features. I think I was able to get lot of fantasy film scores like Lord of the Rings her do sound design. I was writing insane started easily, actually, because I was a [and] a lot of John Williams scores; they’re numbers, just a huge amount of music every woman—I was able to get an agent and start really interested in music. And what’s inter- day. We recorded all of Taken in Los Angeles esting is there’s no dialogue; it’s not like a film and did a score a day, basically. I did episode score where you have the timings and one, episode 10 and episode nine all in perimeters of the scene to control your work; November. I was writing seven minutes of it’s really about imagination and atmosphere. music a day and we had very little time. There It’s a fabulous venue for composers and a new were certainly strategies like the ones I do for way for us to go.” Everquest; I would do 30 minutes of orchestral stuff in a score and then do smaller or sam- Crank up the Volumes pled stuff for the rest of the score.” In terms of sheer bulk of music, Everquest II still doesn’t compare with Karpman’s work on Breaking Away Taken, a project the composer bagged after After a decade of concert work in New York, DreamWorks music executive Todd Homme Karpman got a leg up in the film scoring heard her music for the pilot episode of world when she was invited to attend the Odyssey 5. “The pilot [used] 12 cellos, two con- Sundance Film Scoring Workshop, where she trabassoons, two basses, six French horns, and was shown the ropes by David Newman, a lot of sound design and samples I’d done in , David Raksin and Shirley my studio,” Karpman says. “I was just doing Walker, among others. “I had never done any my thing but doing it orchestrally, even with film music at all,” she recalls. “It was a that kind of small, weird orchestra. [Director] new world for me; I was blown away from David Carson and [series creator] the concept of music to picture, so I was in a hired me to do something different and peo- happy daze the whole time. A lot of my work ple liked it. I had done the pilot about two with them was on the technical aspect of years ago, and I met with Todd Homme in the doing that. David Raksin was a good friend fall of 2001. They asked me to do demos for of my teacher in New York, Milton Babbitt. working in movies of the week.” Taken, and I read the scripts and did a bunch was tremendously helpful in Nevertheless, prior to Odyssey 5 and Taken, of cues based on themes I was able to cull helping me get my conducting together. I Karpman had still found her role limited by from the script, with really no direction. I came from a jazz background too, and one of her gender. “I’ve been fortunate enough to don’t even know how much music there is in the great moments was com- make a living as a composer. I’m one of the Taken, frankly; I think there was about seven ing in with Dave Grusin and saying, ‘Hey, are very few women who’s done that in this field,” hours of music. There were 10 two-hour you the girl that wrote the cue in 5/4?’ And she says. “But I think I have been able to make movies, so it was huge.” David Newman was very encouraging about a living because they’ve been female-skewed With a story line (involving human contact just walking out on the plank and jumping projects, the kind of things where they don’t with extraterrestrials) that spans five decades in; I wasn’t going to conduct my own music, make anyone nervous that a woman is doing and four generations and involves three fam- and he said you have to just get out there it. I have found in my life that while I have ilies, Karpman had to score not only some and do it.” always wanted to work with more women bizarre sci-fi situations but a wide swath of Now that Karpman has done it, she’s producers and directors, that has not been the human drama. “I used largely mid-20th-cen- entered a realm very few women have occu- case for me—it has been mostly more enlight- tury music, a lot of Bartók, Berlioz, pied so far: scoring two high-profile sci-fi ened men who are either feminists or who Lutoslawski and people like that. I listened to genre series. From that vantage point, she’s don’t even see it as an issue. But I think we Copland and Leonard Bernstein for Taken too, more aware than ever that she and Shirley have to see it as an issue because if it weren’t because it’s such a big, American story. That Walker are practically alone as women tack- an issue then why aren’t there more [women]? sensibility, Bernstein of the ’50s, is something ling this kind of project. “Rachel [Portman]’s If I were able to ask who are the new genera- I’ve listened to a lot of my life and [it] seeped done eight great features but she hasn’t done tion of young guys coming up, you could cer- into Taken, especially the parts that took place any action; Shirley’s the only one who’s done tainly name 20 of them in two seconds. You in the 1950s.” that,” Karpman acknowledges. “The problem certainly can’t do that with women or African Tackling the sheer tonnage of musical cues with our business is you never know why you Americans.” FSM

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REVIEWS OF CDS

CLASSIC ★★★★★ GREAT ★★★★ GOOD ★★★ BELOW AVERAGE ★★ SCORESCORE WEAK ★

1 Hulk ★★★ /2 vocalizing (a hold-over element less effective, variations. desert that haunts the movie’s DANNY ELFMAN from Mychael Danna’s work on Like the film, the score slides physical and psychological land- Decca 80000633-02 the film), the Armenian (a between extended stretches of scape. The sudden stylistic shifts 19 tracks - 63:50 double reed instrument that introspective stillness and pro- were melded with the split-screen o, which nefarious specter of sounds roughly like an alto clar- tracted action sequences, so the images they were meant to Sthe past are we forcing Danny inet crossed with an ocarina), album lacks the clearly linear accompany. I finally heard Hulk as Elfman to face off against this stroked piano wires, bowed dramatic build of a Batman or, a fusion between Elfman’s long- time? Is he composing music for vibraphones and a dusting of more recently, a Sleepy Hollow. time passion for eclectic instru- classic, iconic characters with a pop-styled syncopations—the Elfman’s emphasis on exotic col- mentation (the composer has luggage rack full of pre-existing score begins to feel like an elabo- ors plays well to the unique built his own instruments and baggage? Is he working in a rate international ballet. In fact architectural form. It’s a total admires Harry Partch) with the genre in which he’s already the most obviously Hulk-ey immersion of sonic colors rather demands of depicting on-screen staked a sizable claim, competing ideas—pounding plus-sized than a pointed journey to a sin- action. Tuvan throat singing, with his own prior success? I drums, raging low-brass clusters gle cluster of events, but by Middle Eastern percussion, and think Elfman deserves some sort and Hulk-Smash-stings of disso- necessity a few moments are a bit the duduk mingle with a tradi- of award for tolerating his own nance—are all but absent. The ungainly. There are just enough tional orchestra, heavy brass and frequently malcontented fan base. writing never lacks size, scale or dramatic bumps to make the CD synthesized effects, creating a At the very least he should be impact, but the outbursts are manageable in a single listen, but mélange similar to the genetic recognized for time and time absorbed into a more graceful you’ll leave the table pretty and radioactive concoction that is again stepping into a minefield of narrative flow. There’s less ono- stuffed. —Doug Adams the Hulk. project choices and emerging matopoeic mickey-mousing in The “Main Titles” demonstrate with fingers, toes and career Hulk than in any of Elfman’s prior this mixture. The cue opens with intact. Hulk is Elfman’s fifth super- superhero work. a low, rumbling vocal accompa- hero film (sixth if you count TV’s As Elfman has depended more nied by strings. The ensemble ), and while each effort and more on ensemble color and grows in dynamic over 30 sec- has been an unmistakable Danny style as his scores’ unifying com- onds until the main theme enters. Elfman score in voice and atti- ponents, melody has receded into This idea, barely developed tude, they exist as separate cre- the background. This lends the beyond textural alterations, con- ative entities courtesy of Elfman’s writing an air of sophistication sists of a series of six falling clus- cumulatively expanding tech- and maturity and effectively ups ter chords and is presented here nique. Batman established his the ante on dramatic complexity. in a flute choir juxtaposed against rhythmically driving symphonic Forward-looking listeners should a rising trumpet line. palette strewn with arpeggiated find Elfman’s adjusted priorities And another take... Two other tracks deserve men- figures and dark, introspective to be an extension of his creative tion for their impact independent 1 orchestrations. Darkman compli- development, but those expecting Hulk ★★★ /2 of the film. “Captured” elegantly cated that sound, thickening the a prominent Hulk tune may find DANNY ELFMAN combines North African percus- counterpoint and further empha- themselves let down. Elfman sive patterns and vocals with a sizing orchestral details within the works with two primary blocks of heard Danny Elfman’s Hulk steady synthetic beat, brass hits greater ensemble. Spider-Man’s web thematic material. The first, a Ibefore seeing the movie and and string swells. “The Truth of percussive and synth effects sequence of six descending close- was intrigued but disappointed. Revealed” is one of Elfman’s most gave birth to a more contempo- voiced chords, acts as the primary The score felt disjointed and the haunting cues, merging the open- rary sound, merging world music motive and is bounced through- themes undeveloped. But after ing duduk melody with Atlas’ and techno tones with the sound out the orchestra, sometimes as experiencing the film, I returned wailing vocals to poignantly of the symphony hall. spindly, chilly woodwinds, some- to the album with fresh ears. depict Bruce Banner’s re-awak- Hulk comes across as a feisty times in a broader, more pene- Natacha Atlas’ Middle Eastern ened memories. amalgam of action tropes, trating brass voice. The second is vocals at first seemed incongru- Elfman’s Hulk had many film Bollywood musical, dance hall a mournfully tender rising line ous and so far outside Elfman’s score enthusiasts worried about and concert hall. Elfman’s tactile often heard in the duduk and current style that I thought them the outcome. But rest assured that sense of instrumentation remains, soprano—a second cousin of the a compromise between composer while it is a different sort of score but with the added touches—har- legend theme from Burton’s Planet and director. However, I now rec- for a different sort of comic book monic singing, Middle Eastern of the Apes—with subtler, but no ognize them as evocative of the movie, it is also a challenging and

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rewarding listening experience. are less interesting. albums). Regardless, this is noth- —Andrew Granade You should also be aware that ing we haven’t heard before. the music is often blended with David Arnold has done it for the Finding Nemo ★★★ mild sound effects (instrumental past three Bond films (quite well, THOMAS NEWMAN and otherwise), and there are I might add), and Harold Kloser Walt Disney 60078-7 even a few short snippets of dia- mixed into The 40 tracks - 60:16 logue (tracks 14 and 29). But don’t Thirteenth Floor; in both of these inding Nemo is a polished gem let this keep you away—special cases the combinations are more Fof a score. Following in the effects are integrated seamlessly successful. And that’s really the footsteps of his celebrated cousin into the fabric of the score and core problem with the music of Randy Newman, Thomas wholly complement Newman’s The Matrix: It represents two gen- Newman uses ambient textures approach. erally opposing schools/minds and colorful music to paint a Finding Nemo is a mature and coming together to try and create shimmering underwater world. enjoyable effort from a talented one perfect whole. With Arnold The approach couldn’t be more composer. Fans of the film, and of or Kloser’s efforts, it’s just one different from the straightforward, Thomas Newman, shouldn’t think person doing the composing, one melody-led scores of the four twice about picking it up. person regulating how much of previous Disney-Pixar outings. —John Takis which element comes to the fore- This isn’t the kind of score you front at any given time. can hum to yourself while you’re ★★★★ According to an interview in walking down the street. Nemo is DON DAVIS, VARIOUS EQ, Davis composed music to thematic in a different way, estab- Warner Sunset/Maverick 48411-2 “Mona Lisa Overdrive” is less “Burly Brawl” and sent it over to lishing a variety of moods for its Disc One: 12 tracks - 49:16 exciting after Dougan’s effort. As Watkins, who remixed it and large ensemble of characters and Disc Two: 7 tracks - 41:29 far as car chase music goes, it feels returned it to Davis to fill in spots locations—bubbly tranquility, isc one is fine for what it remarkably slow. It also serves as with orchestral flourishes. tropical exotica, menacing mod- Dis—the requisite song com- the best example of a scene Watkins admits to being incredi- ern tones and even cool surfer pilation for the summer’s block- where Davis could have done the bly excited to be able to tell a riffs. Somehow it all meshes, buster release—but the vast job better by himself. When his story with his music, while Davis working wonderfully in the film. majority of FSM readers will no trumpets blast in or the choir mentions how he was able to use Newman excels at this sort of doubt prefer I move right along explodes through the texture, it’s sounds unavailable through tra- thing; having expertly character- to disc two: Aside from some jar- infinitely more exciting than any ditional live performance meth- ized the sunny glow of The ring electronica moments, Don drum loop. Aside from one cool ods. Davis, however, appears to Shawshank Redemption and the Davis’ score is the perfect evolu- theme Watkins provides for the force much of his civility. He rainy blues of Road to Perdition, he’s tion of his Matrix music. Opening freeway, Davis’ punctuating bursts surely could have incorporated a natural fit to Finding Nemo’s with a overture that uti- of orchestral vigor completely techno elements on his own, and watery wonders. lizes every action motif from the eclipse the techno elements. was likely forced to work in tan- If there’s a weakness to this original film, the second CD of On the other hand, the much dem with a “name” techno talent. CD, it’s that it never really grabs this double album immediately ballyhooed “Burly Brawl” repre- To close out the second disc, your attention and holds it for kicks into high gear. “Trinity sents a decent fusion of the two Davis flexes his muscles in a 17:34 long. This is due less to the fact Dream” continues the frenetic styles. Still, it’s in no way as tight- “suite” of cues (perhaps combined that the score is spread out over pace, while “Teahouse” marks the ly constructed as Dougan’s track. because they were running out of 40 short cues—they flow togeth- introduction to the electronica- Moments of obvious remixing places to write track names on the er fairly well—and more to the orchestral fusion, but in a subtle dance throughout the track, and back of the CD—or to scare away generally carefree nature of the way. Ben Watkins (Juno Reactor) while much of it is buried under less-techno consumers who’d be music. That said, it’s pretty does a fine job underscoring the sound FX in the final film, it’s frightened by so many tracks much impossible to actively dis- teahouse fight scene in the same fairly successful on the album. written by someone they couldn’t like. It’s not boring—just light. fashion that Davis treated Neo The emphasis is on techno in the care less about). Davis takes every Most people will be happy to and Morpheus’ test battle in the beginning and orchestra toward idea from the original Matrix and simply pop the disc in their original film. the end—this only further proves kicks it into a higher gear, and player and immerse themselves Throughout the rest of the disc, that techno serves best as a adds some exciting new motifs as in the experience. the music takes drastic stylistic device (like any other) or basis for well (like the Herrmann-esque The tracks are not uniformly jumps. Not that this is necessarily other material to be layered on strings that underscore a danger- effective, of course. I particularly a bad thing. (aka top of. On its own, it often stands ous kiss 3:30 into the suite). Of liked the simple joy of “First Rob D., who provided “Clubbed out as a glorified click track. special note is the beautiful choral Day,” the tense undercurrent of to Death” for the first Matrix) Perhaps the Wachowski Bros. work, which seems only appro- “Lost,” and the hint of mystery takes the reins for the chateau or Reloaded producers believe the priate now that Neo is even more in “Scum Angel.” On the other battle and provides one of the fusion of orchestra and electron- of a Christ figure. Several key hand, pure action cues like “The most exciting pieces of music I ics in this film breaks new moments in the film are repre- Divers” and “Friends Not Food” have ever heard. ground (or that it sells more sented in this track, which offers a

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SCORE

fantastic overall listening experi- highlights to make it worthwhile. His latest film is a more senti- ence. My only regret is that it The music as a whole is exciting, mental, modern tale of a father slowly peters out at the end. vibrant and new. I can honestly and son who abandon farm life As an album, this is an incredi- say I’ve never heard anything to go to the big city to foster the ble buy. Besides the two discs of quite like what Rob Dougan has son’s talents as a violinist. While music, there are plenty of Matrix done here. Film music aficionados this is a departure for the director, Reloaded enhanced CD extras to are encouraged to give it a look. it’s obviously a very personal film explore. Davis’ music is excellent, —J.T. since he also co-wrote the script and the Rob Dougan track was and plays an important support- 1 more than a pleasant surprise. X2: X-Men United ★★★ /2 ing role as a violin teacher. —Luke Goljan JOHN OTTMAN In the liner notes, Chen talks Superb/Trauma TRM-74073-2 about growing up during the ★★★ 16 tracks - 60:09 Cultural Revolution, when ROB DOUGAN ello, Johnny. It’s nice to Western music was banned. A Reprise 48430-2 Hhave you back where you schoolmate was able to hide a Disc One: 15 tracks - 71:08 belong! Johnny is of course com- couple of records, and they Disc Two (instrumental versions): poser John Ottman, and the place would hold secret listening meet- 10 tracks - 53:35 where he belongs is collaborating ings before the records were dis- his is not a soundtrack with director on the covered and destroyed. This is Talbum, although it does have sequel to 2000’s hit The X-Men. incredibly reminiscent of the ties to film, with “I’m Not Driving Singer and Ottman (as composer Beijing portion of The Red Violin, Anymore” inspired by Scent of a and film editor) had collaborated and indeed, this fascination with Woman and “Clubbed To Death” on Singer’s first two directorial Western music is an interesting and “Furious Angels” being fea- outings, and many believed that subtext of the movie. tured in the Matrix trilogy. But as the high profile X-Men would give Obviously with a film like this, pop albums go, Rob Dougan’s Ottman the cachet and name classical music makes up the new Furious Angels has several recognition he deserved. And yet, bulk of the soundtrack, and it’s things that recommend it to film Ottman was unable to score The to Chen’s credit that he doesn’t music fans. X-Men due in part to his own rely on recordings of his chosen First of all, there’s the orchestra, directorial debut on Urban Legends: pieces—they are recorded espe- arranged and conducted by, Final Cut. Instead, X-Men’s compos- cially for the movie. The bulk of alternately, Nick Ingman and Will ing duties went to Michael the violin pieces are played by Li Malone. This isn’t just the orches- Kamen, who produced a service- X2,” which is essentially the end Chuanyun, himself a young tra/pop-beat blend fans know able but faceless score that lacked credits. The rest of the score is Juilliard-trained prodigy. I had a from Matrix Reloaded, but consists a strong main theme. With the almost as exciting, and fits the chance to hear Li play live of long stretches of pure sym- sequel, the dynamic duo of Singer film to a tee (specially the recently, and he is definitely the phonic sound. “Instrumental” and Ottman are back, and as a sequence involving the attack on real deal. Not overly flamboyant, sounds like it belongs in the con- gift for patient fans, Ottman the school). Getting back to my Li’s playing is dazzling during cert hall, and the opening “Will introduces a strong main theme main point, there are moments the two major set pieces of the You Follow Me?” wouldn’t be out for the cast of fighting mutants. throughout the score where the movie: Paganini’s Caprice No. 1 of place in a fantasy-adventure Unfortunately, it’s not used very X-Men theme evolves (excuse the and the finale of Tchaikovsky’s film. There’s even a reflective much in the film. In fact, I can pun) in small snippets—this had Violin Concerto. Both are emotional choir appearing from time to only recall it played twice in full me believing that it would come pieces and work especially well time. Readers of this magazine form: during the main and the full circle during the climatic in the film. will probably be more attracted end titles. Not since Jurassic Park: sequences at the dam. It never There is also some Chinese to disc two, which condenses the The Lost World has a composer had happened. Disappointing, but not music here, including Li’s beau- listening experience and omits such a beautiful theme at his dis- really damaging. As I’m a big tiful rendition of Chen Gang’s Dougan’s husky vocals, but disc posal and then declined to incor- Ottman fan, it’s great to see him “Sunshine Over Tashkorgan.” one includes some interesting porate significant chunks of it rise to the challenge on this big- And of course there’s the score, selections—including new varia- into the main body of the score. budget production. —Cary Wong by newcomer Zhao Lin, son of tions on “Clubbed to Death” (the One might conclude that Singer the renowned film composer, Kurayamino variation has a sur- was against the use of such an Together ★★★★ Zhao Jiping. Zhao’s contribu- prising concert piano solo) and overt theme (since Kamen’s score ZHAO LIN tions are a nice counterpoint to “Pause,” which is simply 31 sec- was also lacking in this depart- Milan M2-36016 the saturation of Western music, onds of silence—amusingly copy- ment). Whatever the case may be, 11 tracks - 50:38 and while there are only two righted. the X-Men finally do have a wor- hinese director is tracks, totaling just over five Not every track is a winner— thy theme, and, hopefully, it will Cknown for overtly political minutes, of his music on the CD, some of the beats and loops get be built upon in sequels. epics such as Farewell My Concubine they’re enough to demonstrate tiresome—but there are enough The CD starts with “Suite from and The Emperor and the Assassin. his talent for melody.

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While the title “Together” the scores in question mostly “Harris’ Story.” And in a piece like ostensibly refers to the love of the pre-date the use of magnetic film “Adams’ Nightmare,” he juxtapos- father and son, it could also have storage. Plus, they were never es metallic drums and synthesiz- something to do with director intended to be heard outside of ers to generate an outer-space Chen’s fusion of Western and the films anyway, so it’s a miracle noise that betrays the influence of Eastern music. —C.W. we have what we do. Glass’ occasional collaborator, This collection contains a . “Miller’s Theme,” in Max Steiner: The RKO Years, handful of little known gems contrast, borrows heavily from 1929–1936 from the Steiner canon, including the rhythms and sounds of Texas MAX STEINER Bird of Paradise and Sweepings and swing, electronically simulating FMA-MS110 lengthy suites from the classics the harmonica, the maracas and Disc One: 26 tracks - 77:22 Little Women and The Little Minister, the mariachi trumpet as a steel Disc Two: 23 tracks - 63:06 two early Katherine Hepburn guitar slides along like a snake. Disc Three: 23 tracks - 73:09 films. The best is saved for last: Remixed from the original ilm music owes Max Steiner long suites on disc three from The masters and freed for the first Fan enormous debt of grati- Lost Patrol and the Oscar-winning time from voice-overs and dia- tude. Steiner began his pioneer- The Informer. The Lost Patrol is a logue, Glass’ score now displays ing work at RKO with the advent great early adventure score, and the same sort of yearning sadness of sound pictures, mostly as a Steiner’s music evokes both the that characterizes quieter pieces conductor of musicals, which plight of the soldiers and the by Chopin, Prokofiev—even were so much in vogue at the Middle Eastern locale. The Informer . And while too time. The Best Picture-winning features a jaunty main theme that imagery and expressive cutting, much of this sort of music might western Cimarron (1931) boasted often turns dark and moody in the film actively challenges the trigger a depressive attack, small the first original film score for a this Irish Judas tale. The Informer inmate’s conviction, discrediting doses of it—of the blues, that is— “talkie,” consisting only of music easily stands beside Steiner’s later the state’s evidence as well as probably never killed anyone. for the opening and closing cred- noir work at Warner Bros. identifying the real killer. As a —Stephen Armstrong its. It was initially felt that music Steiner would eventually leave matter of fact, the filmmaker’s would not only interfere with the RKO for Warner Bros., where he case proved to be so convincing, Fame (1980) ★★ sound in non-musical “talkies,” spent the majority of the remain- Adams regained his freedom but would also confuse audiences der of his career (occasionally shortly after the picture’s 1988 Music/ (“Hey, where’s that music coming being loaned out for little projects release. Rhino Movie Music 73862 from?”). Producer David O. like Gone With the Wind). And while For the score, Morris hired 12 tracks - 46:46 Selznick (then at RKO) requested this later work, such as his many Philip Glass. As bleak as a visit to hose of us who follow(ed) a significant amount of dramatic scores for the films of , death row, this newly reissued T the Oscars with the hope underscoring for Symphony of Six is more famous, RKO was where opus demonstrates that reductive, that the best score will actually Million, another first for Steiner. Steiner developed most of the postmodern works can arouse win had a tough year in 1980. Audiences and critics were not techniques that continue to be a and augment emotions and ideas With such exciting scores as Tess, confused; instead, they felt the mainstay of film scoring today. just as well as other forms can. Altered States, The Elephant Man music enhanced the drama—and All of the proceeds from these Opening with “Adams’ Theme,” and The Empire Strikes Back all the rest is history. BYU releases go to the acquisition for instance, the album establish- nominated, it was a shock when During his tenure at RKO, and preservation of film music es a melancholy mood quickly as Fame’s Michael Gore walked Steiner would sometimes score elements, so continued support waves of lower-register notes roll away with the statue. It’s not more than a dozen pictures a for this series may just lead to back and forth relentlessly; and that Gore’s score was bad, but it year, including the ground-break- your own favorite score getting to though a trumpet materializes, was obvious that he won more ing King Kong, not included in this see the light of day. introducing a bright, contrasting for the infectious (and now collection. (Check out the —Darren MacDonald melody, it eventually dissolves, totally dated) songs than for his Stromberg-Morgan re-recording overwhelmed by the ominous underscore. When I heard there of Kong for the best CD presenta- Music From The Thin Blue Line rush of strings and horns. A simi- was to be an expanded, digitally 1 tion of Steiner’s complete master- (1988/2003) ★★★ /2 lar gloom permeates “Looking,” remastered version of Fame, I piece.) Instead, this new set con- PHILIP GLASS an elegy for strings, in which a was actually hoping to hear tains all of the surviving tracks Orange Mountain Music OMM0007 double bass, a viola and a pair of more of Gore’s work than the from Cimarron, Symphony and nine 19 tracks - 55:41 violins ascend and descend over single track from the first other features. The music is culled rrol Morris’ avant-garde doc- and over, mimicking human release. No such luck. primarily from acetate reference Eumentary The Thin Blue Line moans and sighs. I’ve always had a warm affec- discs saved by Steiner and others, focuses on the sad fate of Randall Now and then, though, Glass tion for Fame and its songs, which which are now a part of the Adams, a prisoner in the Texas shies away from strings, if not are a lot of fun and work well in Steiner collection at Brigham penitentiary system, wrongfully despair, and draws heavily upon the film. Chronicling the life and Young University. While these are accused of murder. Making use of the keyboard, as he does on travails of teenagers going not the optimum storage method, jailhouse interviews, symbolic tracks like “Boston Blackie” and (continued on page 43)

FILM SCORE MONTHLY 35 JULY 2003 v8n6mkt.qxd 7/28/03 10:57 AM Page 36

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

NEW RELEASE NEW RELEASE Vol. 6, No. 11 Vol. 6, No. 10 Vol. 6, No. 9 Vol. 6, No. 13 Vol. 6, No. 12 The Appointment Our Mother’s House/ The Adventures of Hawkins on Murder/ Toys in the Attic MICHEL LEGRAND, JOHN BARRY The 25th Hour Huckleberry Finn GEORGE DUNING Winter Kill/Babe & DON WALKER, STU PHILLIPS GEORGES DELERUE JEROME MOROSS Film released: 1962 JERRY GOLDSMITH Film released: 1969 • Studio: M-G-M Films released: 1967 • Studio: M-G-M Genre: Film released: 1960 • Studio: M-G-M Films broadcast: 1973, 1974, 1975 Studio: United Artists Genre: Drama • Silver Age Classics Gothic/WWII Comedy • Silver Age Classics Genre: Satirical Adventure Studio: M-G-M Genres: Crime, Biography Genre: Southern Family Drama CD released: June 2003 • Stereo • 77:06 CD released: June 2003 • Stereo • 58:49 Golden Age Classics • CD released: June 2003 Silver Age Classics • CD released: July 2003 Golden Age Classics • CD released: July 2003 Two ’60s albums reissued for the first Stereo and Mono • 59:58 Stereo • 70: 27 Stereo • 77:24 One movie, three scores: This tale of time on CD: Our Mother’s House (31:18) One of the giants of Americana scoring Three TV movie scores, all in stereo: obsessive love features music by a is the story of a family of orphans and writes a bouncy, rich score for Mark Hawkins (16:51) is a courtroom drama One of Duning’s greatest scores (and quartet of noted composers Legrand their deadbeat dad; The 25th Hour Twain’s classic tale. Huckleberry Finn featuring Jimmy Stewart; Kill (17:58) is one of his few on CD) is sensitive, rich (18:59); Barry & Walker (26:19); Phillips (27:31) follows one man’s tragi-comic was originally planned as a musical, a dramatic pilot for Andy Griffith; Babe and melancholy as befits the tangled (31:48).Remixed from the original search for his family during WWII. and our CD includes snippets of songs (26:41) is the Emmy-winning story of personal relationships of the film. CD stereo masters, it’s a one-of-a-kind trio. Delerue’s delicate, melodic scores are woven into the score as well as rare Olympic star Babe Didrikson Zaharias. features album sequence from Citadel Special price: $16.95 both remastered in stereo. $19.95 demos. $19.95 Includes bonus tracks. $19.95 LP followed by bonus tracks. $19.95

Vol. 6, No. 8 Vol. 6, No. 7 Vol. 6, No. 6 Soylent Green/ Knights of the Round All Fall Down/The Outrage Demon Seed Table/The King’s Thief ALEX NORTH FRED MYROW/JERRY FIELDING MIKLÓSRÓZSA Film released: 1962/1964 Film released: 1973/77 Film released: 1953/1955 Studio: M-G-M Studio: M-G-M • Genre: Sci-Fi Studio: M-G-M • Genre: Costume Genre: Drama/Western Silver Age Classics Adventure/Swashbuckler Silver Age Classics CD released: May 2003 Golden Age Classics CD released: Apr. 2003 Stereo • 79:49 CD released: May 2003 Stereo • 52:54 Two ’70s sci-fi scores on one Stereo • Disc One 70:31 • disc: Soylent Green (40:21) fea- Disc Two 78:21 Two complete scores by the great tures a mix of pop, classical and avant-garde sounds; Demon Seed Knights (86:25) is the complete Alex North: All Fall Down (38:24) is hushed, sweetly jazzy score to (39:28) is a wild blend of the electronic and symphonic. Stereo with film recording of Rózsa’s thunderous, epic score; Thief (56:47) is a family/coming-of-age drama. The Outrage (14:29) is spare music to a few mono alternates. $19.95 rousing swashbuckler in the Korngold mold. $24.95 western remake of Rashomon. $19.95 Vol. 6, No. 5 Vol. 6, No. 4 Vol. 6, No. 3 Green Fire/ THX 1138 Home From the Hill Bhowani Junction BRONISLAU KAPER MIKLÓSRÓZSA Film released: 1970 Film released: 1960 Film released: 1954/1956 Studio: Warner Bros, Studio: M-G-M Studio: M-G-M Genre: Science Fiction Genre: Drama Genre: Adventure/Drama Silver Age Classics Golden Age Classics Golden Age Classics CD released: Mar 2003 CD released: Mar. 2003 CD released: Apr. 2003 Stereo • 55:45 Stereo/Mono • 79:26 Stereo/Mono • 79:20 George Lucas’ first film is a star- Vincente Minnelli’s excellent Two exotic ’50s scores on one tlingly original vision of a dystopi- Southern family drama is high- disc: Green Fire is an adventure set in Colombia with a gorgeous an future. Composer Schifrin adds a fascinating score ranging from lighted by a masterful score by Bronislau Kaper, weaving together symphonic main theme; Bhowani Junction is a politically charged avant garde soundscapes to cheeky plays on Latin jazz. The CD romance, tension and violence. All of the music from the film is romance sporting indigenous, “world-music” source cues. $19.95 includes many unused passages and is entirely in stereo. $19.95 present, plus bonus tracks and alternates. $19.95

Vol. 6, No. 2 Vol. 6, No. 1 ■ Vol. 5, No. 20 Ice Station Zebra Plymouth Adventure Never So Few/7 Women MICHEL LEGRAND MIKLÓSRÓZSA HUGO FRIEDHOFER,/ Film released: 1968 Film released: 1952 ELMER BERNSTEIN Studio: M-G-M Studio: M-G-M Film released: 1959/1966 Genre: Military/Espionage Genre: Historical Epic Studio: M-G-M Silver Age Classics Golden Age Classics Genre: WWII/Drama CD released: Feb. 2003 CD released: Feb. 2003 Silver Age Classics Stereo • 79:20 Mono • 79:35 CD released: Jan. 2003 This ’60s Cold War nailbiter is Stereo • 73:46 enhanced by Legrand’s offbeat, Miklós Rózsa’s magnificent histor- Two Asian-flavored classics on epic scoring for orchestra. Remixed for superior sound, and rese- ical music for the 1620 voyage of the Mayflower, from his most fer- one CD; Never So Few (42:18) blends action and romance, while 7 quenced into film order, this dramatic score gets the deluxe treat- tile period of epic scoring. Includes the complete soundtrack as Women (31:27) is more introspective and character-driven, with a ment with over twice the music on the original LP—in stereo. $19.95 used in the film (47:00) plus a bevy of alternates (32:35). $19.95 big, exciting title theme for the Mongol horde. $19.95

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■ Vol. 5, No. 19 ■ Vol. 5, No. 18 ■ Vol. 5, No. 17 Tribute to a Bad Man The Man From U.N.C.L.E. The Seventh Sin MIKLÓSRÓZSA JERRY GOLDSMITH, et al MIKLÓSRÓZSA Film released: 1956 TV Produced: 1963-67 Film released: 1958 Studio: M-G-M Studio: M-G-M Studio: M-G-M Genre: Western Genre: Secret Agent Genre: Drama Golden Age Classics Silver Age Classics Golden Age Classics CD released: Jan .2003 CD released: Dec. 2002 CD released: Dec. 2002 Stereo • 50:30 Mono • Disc One: 77:05 Mono • 59:26 Rózsa’s rare western is sweep- Mono/Stereo Disc Two: 76:08 This reworking of The Painted ing, full of melody, and flecked The first hit spy series on Veil inspired Rózsa to apply three with the brooding melancholy American TV features varied, jazzy, high-energy music. All of of his signature sounds; film noir, exotic and epic film scoring expected of a mature “psychological western.” This fan favorite Goldsmith’s scores plus scores by six others (including Fried, techniques combine to create a unique and unmistakable score. has been remixed from the original stereo masters. $19.95 Schifrin, Scharf, Stevens) is represented on this 2-CD set. $24.95 Includes source music suite. $19.95

■ Vol. 5, No. 16 ■ Vol. 5, No. 15 ■ Vol. 5, No. 14 The Prize The World, the Flesh The Green Berets JERRY GOLDSMITH and the Devil MIKLÓSRÓZSA Film released: 1963 MIKLÓSRÓZSA Film released: 1968 Studio: M-G-M Film released: 1959 Studio: Warner Bros. Genre: Espionage Studio: M-G-M Genre: War/Adventure Silver Age Classics Genre: Science Fiction Silver Age Classics CD released: Nov. 2002 Golden Age Classics CD released: Sept. 2002 Stereo • 72:37 CD released: Nov. 2002 Stereo • 72:37 Stereo • 52:53 The first major U.S. film to The Prize is an early Jerry A rare Rózsa’s sci-fi score (Two address the Vietnam conflict Goldsmith action-suspense gem for a Hitchcock-styled thriller. CD men and one woman struggle in post-apocalyptic NYC), embell- features a stirring symphonic score, befitting an action movie features complete stereo score plus source music and vintage re- ishes end-of-the-world loneliness and doom with romantic splen- directed by and starring John Wayne. All of Rózsa’s music is here recorded LP cuts. $19.95 dor. Premiere release of complete stereo score. $19.95 (plus “The Ballad of the Green Berets”) in excellent stereo. $19.95

■ Vol. 5, No 13 ■ Vol. 5, No. 12 ■ Vol. 5, No 11 Scaramouche The Gypsy Moths Above and Beyond ELMER BERNSTEIN HUGO FRIEDHOFER Film released: 1952 Film released: 1969 Film released: 1952 Studio: M-G-M Studio: M-G-M Studio: M-G-M Genre: Costume Adventure Genre: Drama Genre: WWII Golden Age Classics Silver Age Classics Golden Age Classics CD released: Sept. 2002 CD released: Aug. 2002 CD released: Aug. 2002 Mono • 62:28 Stereo • 61:08 Mono • 55:44 The last of the Golden-Age This combination of wartime swashbucklers by Rafael This tale of barnstorming sky- drama and domestic struggle Sabatini (Captain Blood, et al) gets a heroic and charming score divers contrasts robust, action-oriented cues and sweeping is driving by a stirring, progressive score, with one of by the prolific Victor Young. This premiere release includes all Americana with softer, bittersweet melodies. CD features complete Friedhofer’s greatest main titles. Complete, chronological score of the score, plus alternates, unused and source cues. $19.95 underscore plus and marching band source cues. $19.95 in best possible monaural sound. $19.95

■ Vol. 5, No. 10 ■ Vol. 5, No 9 ■ Vol. 5, No. 8 I Spy The Prodigal Point Blank/ BRONISLAU KAPER The Outfit TV Produced: 1965-67 Film released: 1955 / Network: NBC • Genre: Secret Agent Studio: M-G-M JERRY FIELDING Silver Age Classics Genre: Biblical Epic Film released: 1967, 1973 CD released: July 2002 Golden Age Classics Studio: M-G-M • Genre: Film Noir Stereo/Mono • 77:57 CD released: July 2002 Silver Age Classics Five episode scores for ground- Stereo • 75:11 CD released: June 2002 breaking series starring Robert Stereo • 77:54 Culp and Bill Cosby: “So Long, Complete stereo score for gar- Two films based on D.E. Patrick Henry,” “The Time of the Knife” “Turkish Delight,” “The gantuan biblical epic starring Lana Turner features male and Westlake’s crime novels: Point Blank (39:38) is a landmark 12-tone Warlord” and “Mainly on the Plains.” First three & theme in stereo; female choruses, solos, source cues and thundering symphonic score, ethereal and strange; The Outfit (38:16) features a dark, pul- all OST, not LP recordings. $19.95 glory. Includes unused alternate cues. $19.95 sating score punctuated with unexpected melody. $19.95 ■ Vol. 5, No 7 ■ Vol. 5, No. 6 ■ Vol. 5, No 5 On the Beach/ The Traveling Executioner 36 Hours The Secret of Santa Vittoria JERRY GOLDSMITH DIMITRI TIOMKIN Film released: 1970 Film released: 1964 Film released: 1959, 1969 Studio: M-G-M Studio: M-G-M • Genre: WWII/Spy Studio: United Artists Genre: Black Comedy Golden Age Classics Genre: Drama, Comedy Silver Age Classics CD released: May 2002 Golden Age Classics CD released: May 2002 Stereo • 66:41 CD released: June 2002 Stereo • 39:39 A taut, piano-dominated score Stereo • 70:59 The main theme charmingly with an accent on stealth— Two scores from the films of blends Americana, Dixieland flamboyant, but naturalistic as director Stanley Kramer on one CD. Beach is a gorgeous sym- and circus sound, but the score touches all the bases, from blue- well. This CD premiere is remixed and remastered in stereo, dou- phonic score ingeniously interpolating “Waltzing Matilda”; Secret grass to avant-garde to full-scale action. This first-release ever is bling the playing time of the LP including bonus tracks of vocals, is a lyrical slice of “Italiana,” with one bonus cue. $19.95 complete, with every note in excellent stereo. $19.95 piano demos, and a jazz trio improv of the main title. $19.95

■ Vol. 5, No 4 ■ Vol. 5, No. 3 ■ Vol. 5, No 2 The Man Who Joy in the Morning Logan’s Run Loved Cat Dancing BERNARD HERRMANN JERRY GOLDSMITH JOHN WILLIAMS Film released: 1965 Film released: 1976 MICHEL LEGRAND Studio: M-G-M / Genre: Romance Studio: M-G-M / Genre: Sci-Fi Film released: 1973 Golden Age Classics Silver Age Classics Studio: M-G-M / Genre: Western CD released: Mar. 2002 CD released: Feb. 2002 Silver Age Classics Stereo • 46:33 Stereo • 74:18 CD released: Mar. 2002 Herrmann’s last completed stu- Stereo • 65:37 dio project is sweepingly This classic story of a dystopian A lost gem from Williams’ pre- romantic, surging with passion future gets the royal treatment blockbuster career, during which he wrote melodic scores for and haunting in its use of melody. The complete score in stereo by the master of speculative soundtracks. Jagged action cues, delicate dramas, plus Legrand’s unused, unheard take on the same from the original three-track recording with liner notes by Coplandesque nostalgia, bracing electronics and more in this material. A rare opportunity for collectors—all in stereo! $19.95 Christopher Husted, manager of the Herrmann estate. $19.95 restored, remixed, resequenced release! $19.95

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

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

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

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

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

■ Vol. 2, No. 5 ■ Vol. 2, No. 4 Vol. 2, No. 3 ■ Vol. 2, No. 2 ■ Vol. 2, No. 1 ■ VOLUME 1, No. 4 ■ Vol. 1, No. 3 Prince of Foxes Monte Walsh Prince Valiant Patton/The Flight 100 Rifles The Return of Dracula/ Fantastic Voyage ALFRED NEWMAN JOHN BARRY FRANZ WAXMAN of the Phoenix JERRY GOLDSMITH I Bury the Living/ LEONARD ROSENMAN Film released: 1949 Film released: 1970 Film released: 1954 JERRY GOLDSMITH/ Film released: 1969 The Cabinet of Caligari/ Film released: 1966 Studio: 20th Century Fox Studio: 20th Century Fox Studio: CBS Studio: 20th Century Fox FRANK DE VOL Studio: 20th Century Fox Mark of the Vampire Genre: Sci-fi Genre: Historical Adventure Genre: Western Genre: Historical Adventure Film released: 1970/65 Genre: Western 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 Studio: UA/ 20th Century Fox CD released: Sept. 1998 CD released: July 1999 CD released: June 1999 CD released: May 1999 Genre: WWII/ Adventure CD released: Mar. 1999 Stereo • 47:28 Stereo • 46:39 Mono (1 track. in stereo) 61:51 Stereo • 62:17 Silver Age Classics Genre: Horror Stereo/Mono (combo) • 77:08 Silver Age Classics CD released: April 1999 CD released: Jan. 1999 • Mono Sci-fi classic following “Lost” Tyrone Power histor- Revisionist western gets vin- Fox’s colorful 1954 adapta- Stereo • 76:24 Burt Reynolds/Raquel Welch Disc One: 61:06 Disc Two: 73:20 miniaturized sub crew inside ical adventure gets exciting, tage John Barry score 20 tion of the famous epic western gets explosive the human body gets imagi- robust score by Alfred years before Dances With comic strip features stirring Patton (35:53) is complete score, heavy on Mexican Star Trek and The Man from native, avant garde score; Newman, newly mixed into Wolves. Song “The Good adventure score by Franz OST to WWII biopic classic. colors and guttural action. U.N.C.L.E. composer gets 2- one of Rosenman’s stereo. Glorious main title, Times Are Comin’” per- Waxman in “leitmotiv” style, Phoenix (40:51) is a rare CD features score twice, in CD release of creepy, early horror scores, packaged in signature works. Symphonic stirring love theme. $19.95 formed by Mama Cass; a la Star Wars: hero, villain, album release for Frank De stereo and in mono with slimline case; same shipping yet thrillingly bizarre. $19.95 many bonus tracks. $19.95 princess, mentor. $19.95 Vol, a rousing adventure/ slight variations. $19.95 survival score. $19.95 as one CD. $29.95

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■ Vol. 1, No. 2 ■ Vol. 1, No. 1 ■ FSM-80125-2 ■ FSM-80124-2 ■ FSM-80123-2 The Paper Chase/ The Stagecoach/The Loner Mad Monster Party Deadfall The Taking of Poseidon Adventure JERRY GOLDSMITH Film released: 1998 Film released: 1968 Pelham 1-2-3 EXCLUSIVE VIDEO! JOHN WILLIAMS Film released: 1966/1965 Studio: Rankin/Bass Studio: 20th Century-Fox Film released: 1974 Basil Poledouris: Film released: 1973/72 Studio: 20th Century Fox Genre: Animagic Genre: Heist caper Studio: M-G-M His Life and : Western (film/TV) Percepto/Retrograde Records Retrograde Records Genre: Thriller Studio: 20th Century Fox An intimate visit with the composer of Genre: Drama/Disaster Silver Age Classics CD released: 1997 CD released: 1997 Retrograde Records Conan the Barbarian, Free Willy, Silver Age Classics CD released: May 1998 Stereo 36:48 Stereo 40:23 CD released: 1996 Starship Troopers and Lonesome Dove. CD released: July 1998 Stereo (Stagecoach)/ Stereo & Mono • 30:55 Stereo/Mono (combo) • 75:53 Mono (Loner) • 45:25 The jazzy score by composer Barry scored this thriller in Take a tour of his work and lifestyle, Maury Laws, with lyrics by his most creative period. Hear David Shire’s from his methods of composing to his The Paper Chase is eclectic Stagecoach is gentle Jules Bass, features the Features “Romance for unparalleled ’70s 12-tone love of sailing. The video runs 50 minutes and includes score for drama about law Americana score for remake vocal talents of Boris Karloff, Guitar and Orchestra,”; the jazz/funk fandango for the 1974 footage of Basil conducting and at work on synthesiz- students. The Poseidon of classic western. The Phyllis Diller and Ethel Ennis. title song performed by subway hostage thriller on er mock-ups of Starship Troopers, as well as dozens of Adventure is classic Irwin Loner includes theme and Features 16-page color Shirley Bassey, plus two FSM’s first album release. A behind-the-scenes and family photos, and appear- Allen disaster score. Also two episode scores for short- booklet with rare and unpub- unreleased, alternates and sensational, driving, pulsating ances by wife Bobbie and daughter Zoë. Discover the includes Conrack (1974), lived Rod Serling western lished photographs and con- vintage underscore. $16.95 score in a class by itself. man behind the music, in a way you’ll never see on TV, main title (6:07). $19.95 series. $19.95 cept drawings. $16.95 $16.95 or experience in print. Specify NTSC (U.S.) or PAL (European) $19.95

Getting the Best Score for Your Film: BOOKS FOR COMPOSERS A Filmmakers’ Guide to Music Scoring by David Bell Respected TV composer Bell (Star Trek: Voyager) wrote this book in 1994 to NEW!!! 2003 Film/TV Music Guide From the Music Business Registry help producers and directors get the most out of film music. Aimed at filmmak- Isn’t your career worth it? An exhaustive directory of record labels, music pub- ers, this book also provides useful professional info to composers and musi- lishers, film/TV music depts., music supervisors, music editors, composer rep- cians—or any interested fan. Topics include spotting, communicating, record- resentatives, composers, clearance companies, recording studios, performing ing, budgeting and licensing, with explanations of the personnel and entities rights societies, and music libraries—names, addresses and numbers. $94.95 involved in each; also includes lists of agents, clearance companies, glossary 8 terms and resources. Silman-James Press, 112 pp., softcover. $12.95 The Click Book Timing tables for music-to-film sync By Cameron Rose BOOKS FOR MUSIC LOVERS

Get click-tempo tables for 6-0 through 32-0 frame click-tempos. Each timing The Score: Interviews with Film Composers by Michael Schelle table covers beat 1 to beat 999 at the given click-tempo. With easy-to-read This 1999 book uses a Q and A format to provide readers with a conversa- click-tempo and metronomic values at the top of each page, there are tim- ing, frame and footage breakdowns for rhythmic subdivisions within each tional look at contemporary composers, featuring lengthy transcripts with click-tempo—including compound meters. Includes a tutorial of standard Barry, Bernstein, Blanchard, Broughton, Chihara, Corigliano, Howard, Isham, timing-conversion formulas for 24 fps film speed, and a tutorial in SMPTE-to- Licht, McNeely, T. Newman, Shaiman, Shore, Walker and C. Young. Written absolute time conversion, plus frames-to-seconds conversion tables for U.S. by a composer, who delves deeply and precisely into each composers’ and European film & video speeds. 430 pp. $149.95 ideas. Silman-James Press, 432 pp., softcover. $19.95

U.S. Soundtracks on CD: Scores for Motion Pictures and TV 1985-1999 Music for the Movies Price Guide by Robert L. Smith 2nd Edition by Tony Thomas FSM’s 2nd market-standard price guide contains 2,400+ album titles with com- The original film music book (1971), telling the stories of Hollywood’s most posers, label numbers, special collectible info and estimated values. Listings successful composers. Updated in 1997, shortly before the author’s death. are annotated to differentiate between originals and reissues, commercial Composers covered (many with photos) are Stothart, V. Young, Green, albums and promos. Learn what’s out there, what they’re worth, and how Newman, Tiomkin, Waxman, Kaper, Rózsa, Steiner, Korngold, Herrmann, much you should spend on your collection. Smith surveys the market and pro- Friedhofer, Raksin, Antheil, Thompson, Copland, North, Bernstein, Duning, vides a checklist for the top 50 collectible CDs. Vineyard Haven LLC, 154 pp., Rosenman, Goldsmith, Mancini, Schifrin, Scott, Shire, Broughton and softcover. $17.95 Poledouris. Silman-James Press, 330 pp., softcover. $19.95

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

Sound and Vision: 60 Years of Motion Picture Soundtracks Film Music and Everything Else! by Jon Burlingame Foreword by Leonard Maltin Music, Creativity and Culture as Seen by a Hollywood Composer by Charles Bernstein Journalist and historian Burlingame’s overview of movie music composers and Essays by the composer of the original Nightmare on Elm Street, Sadat, Cujo history, encapsulating the most notable people and events in clear and direct and others. Originally written for“The Score,” the quarterly journal of the prose. Largely comprised of composer mini-bios with reviews of their most Society of Composers and Lyricists. Topics include: melodies, “hummers,” notable works and photo portraits (from Golden Age titans to present-day mas- emotion and more. It’s a rare opportunity to read thoughtful opinions and ters), there is also a thorough overview of soundtrack album history (LP and musings from a film composer directed towards other practitioners of the art. CD), a section devoted to song compilation reviews, and a helpful movie music Turnstyle Music Publishing, 132 pp., softcover, limited to 500 copies. $18.95 bibliography. Billboard Books, 244 pp., softcover. $18.95

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The Music of Star Trek: Profiles in Style Stu Who? Forty Years of Navigating the Minefields by Jeff Bond of the Music Business The first-ever history of Star Trek scores, from 1966 thru 2000—by FSM’s by Stu Phillips editor-at-large. With interviews of composers Goldsmith, Courage, Fred Stu Phillips’s career encompasses groovy cult films (Beyond the Valley of the Steiner, Fried, , McCarthy, Chattaway, producer Robert Justman, Dolls) and virtually every Glen Larson TV show ever produced (Battlestar music editor Gerry Sackman and others, the book contains a complete list Galactica, Knight Rider). Stu Who? is his candid, breezily told memoirs full of of music written for four TV series; a guide to score tracking and credits; exciting stories from the worlds of arranging, music directing, record produc- Trek manuscript excerpts from the composers; and several cue sheets. ing, and film and TV scoring. Published Cisum Press, 304 pp., hardcover, illus- Lone Eagle Publishing. 224 pages, softcover, illustrated. $17.95 trated. $29.95

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

*#45, May ’94 R. Newman (Maverick); G. David Schecter: Monstrous Movie Revell (The Crow); Goldsmith concert; Music; Ifukube CDs Pt. 2; Miles CHECK YOUR ORDER The Magnificent Seven, Schindler’s List; Goodman obit. ONLINE Instant Liner Notes, film music books. *#74, Oct. ’96 Action Scores in the ’90s; HAVE YOU GOTTEN *#46/47, Jul. ’94 P. Doyle, J.N.Howard Cinemusic ’96 (Barry, Zhou Jiping); Vic Visit our web site at (Wyatt Earp), John Morgan (restoring Mizzy. YOUR FREE GIFTS? https://secure. Hans Salter); Tribute to Mancini; M. *#75, Nov. ’96 Barry Interview; J.Bond’s filmscoremonthly.com/store Nyman, collectible CDs. reviews; Recordman on War Pt. 2. FILM SCORE MONTHLY REWARDS to place an order on our secure *#48, Aug. ’94 Mancina (Speed); Chuck *#76, Dec. ’96 R. Edelman, Barry pt. 2, R. its loyal customers with a free gift server. You will receive an auto- Cirino & Peter Rotter; R. Kraft: aspiring Cooder (Last Man Standing); A. 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*Vol. 3, No. 2, Feb. ’98 Glass (Kundun), *Vol. 4, No. 8, Sept./Oct. ’99 Stanley (Duel, Kojak) more . Williams Buyers Guide Pt. 2 (The Reivers Kubrick: Jocelyn Pook, Eyes Wide Shut, VOLUME SIX, 2001 Vol. 7, No.7, Sept. ’02 FSM’S TOP 40: to Black Sunday), D. Amram (The CD compilation; Poledouris (For Love of 48 pp.each The most wanted composers in Manchurian Candidate), Goldsmith on the Game); Goldsmith Guide Pt 5: Late Vol. 6, No. 1, Jan. ’01 THE BEST OF THE Hollywood; ; L. Varèse, Pendulum CDs; TV CDs. ‘60s; concert advice for Jerry. WORST: 2000; Our Town; Hollow Man Schifrin; Signs; One Hour Photo (J. Vol. 3, No. 3, Mar./Apr. ’98 Titanic/ Vol. 4, No. 9, Nov. ’99 U.S.P.S.Composer on DVD; Total Recall ; C. Martinez Klimek) The Kid Stays in the Picture (J. J.Horner, Best of 1997, Cinerama, Greig Stamps; Papillion; Peter Thomas; (Traffic). Danna); 25 scary DVDs. McRitchie, Fox Newman Stage, Oscars. 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(continued from page 35) chamber orchestra feel with classic. The wizardry of Jim through their four years at the alternating solo instrumental Henson and Frank Oz has never prestigious High School for the lines. The cello and guitar been more apparent than in The Performing Arts in NYC, the with an overlaid recorder sound Dark Crystal, which features an movie was somehow gritty and lends a Renaissance vibe to the entire universe of races, wildlife, sanitized at the same time. proceedings. It’s actually an grotesque creatures and fabulous Tackling such taboo subjects as unexpected sound whose lighter landscapes, drawn from the fan- teenage homosexuality and feel soon gives way to a much tasy art worlds of Brian Froud underage pornography, there was more gothic and romantic and brought to vivid life by the still enough time for the whole orchestral one. “Main Title” has Henson team. Those who aren’t school to dance for joy on the its moments of darkness but, put off by the genre, or alienated streets of Times Square. As far as overall, tends to be more bitter- by the undeniable weirdness of the songs go, I especially liked sweet. the project, are apt to look upon the grand finale, “I Sing the Body There’s more hopefulness in the film as some kind of master- Electric,” with its audacious com- the music than one would piece. At the very least, its physi- bination of classical music, Walt expect, most of it communicated cal construction is genius—in this Whitman and late-’70s pop. Of through a delicate piano theme age of CG overkill, puppetry is course, the two hit songs (“Fame” that binds the score. In some becoming a lost art; Henson’s and “”) ways, this style is similar to the creatures may lack the fat-jiggle contributed to the album’s suc- writing in Poledouris’ Conan and highly muscular lips of cess on the Billboard charts. scores. But if you’re looking for a George Lucas’ prequel trilogy This expanded CD is a disap- devil-may-care pounding Omen aliens, but they have twice the pointment all the way around. sound, you will be disappointed. heart (and look more real). Not only are there no new score Fear No Evil is a score that tends To help the fantasy connect cues (although the holdover from toward the gentle and intimate, with audiences, is the original CD, “Ralph and even in its climactic moments. “grounded” in two ways. The first Monty,” is still a nice two-minute Whether it works in the film is the mythic archetype of the cut), there are no unreleased or not, Fear No Evil’s score pro- story, which will be familiar to songs that are actually heard in vides an enjoyable and interest- anyone with even a passing the movie. The only unreleased ing listening experience that will interest in the genre: underdog song is “Miles from Here,” which surprise many fans of the film. It hero must restore a magical arti- was cut from the film, and the is definitely worth seeking out. fact to its proper location, thus other two “extra” songs are the midst of a spate of similar genre —Steven A. Kennedy restoring balance to the universe. instrumental versions of “Fame” pictures that spawned the likes of The second is Jones’ music, which and “Out Here on My Own,” Halloween, Nightmare on Elm Street The Dark Crystal (1982) is incredible: powerful, romantic, 1 both of which were already and, of course, Friday the 13th. The ★★★★ /2 haunting, and frequently awe- available as B-sides. In other teen market was inundated with TREVOR JONES inspiring. I’ll throw out just two words, if you have the first CD, these films, some of which were Numenorean Music NMCD 003 of many examples. One: “The there’s no reason to have this rushed into theaters to take Disc One: The Original Album: Funerals/Jen’s Journey,” which one. advantage of what was thought 13 tracks - 40:45 begins with a pounding pipe- Michael Gore had another shot to be a short-lived trend. Many Disc Two: The Complete Film Score: organ à la Cesar Franck, gives at the Oscar a few years later were retooled by the studios that 28 tracks - 71:19 way to a solo flute, segues into a with , a better produced them, and this is espe- t’s about time! This, the cry of shimmering meditation, before example of his film scoring talent cially the case with Fear No Evil. Isoundtrack fans across the building to a full statement of and a much better score overall. LaLoggia wrote and directed globe, as after 11 years, Trevor the main theme. Two: Track 28 Now that I think of it, there’s a Fear No Evil, and in an attempt to Jones’ magnificent score for Jim on disc two, the film version of score CD (long out-of-print) in maintain some control over the Henson’s The Dark Crystal finally the finale, is apocalyptic in scope need of a reissue. —C.W. proceedings, he also composed sees the light of day on CD and runs the gamut of emotions the music with the help of David (albeit as a limited edition of from death to rebirth. Fear No Evil (1981) ★★★ Spear. However, the movie as I only 5,000 copies, via specialty But while Jones’ soundscape is FRANK LALOGGIA, DAVID SPEAR remember it used mostly rock outlets—act fast!). familiar enough to draw us in, it Percepto 013 • 16 tracks - 37:42 songs (a decision made by the There are good reasons why does not neglect the otherworld- ercepto continues to expand distributor, Avco, which recut the the demand for this score has ly elements of the film, making Pour musical horizons deeper picture and inserted the songs). been so high over the years. For use of light electronic textures, into the realm of So it seems there was a good one thing, it’s Trevor Jones’ mag- odd instruments (such as the music. Filled with demons, zom- half-hour or more of orchestral num opus, and an easy candi- double-flageolet, a kind of two- bies, archangels, the devil, music that was replaced in the date for one of the top fantasy pitched flute) and unearthly cho- teenagers and an awesome castle, film. film scores of all time. For anoth- ruses. Fear No Evil, was released in the “Prologue” has a new age er, the film is something of a cult The score is based around two

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principal themes. The main cues, including “Jen Enters with minor tracking and some better sound, or with some of theme, first presented in the Aughra’s Observatory,” “Skeksis awkward cue openings/closings. the bonus material Jones com- overture/main titles, is a master- Feast” and the greatly expanded Purportedly, this was unavoid- posed for the film’s promotion. piece, effortlessly sweeping the finale. able; the original master record- Also, while the packaging is nice listener away to a faraway world The album was originally ings are either lost or inaccessi- to look at, there are several of myth and magic. This theme available as a hard-to-find LP, ble (depending on which rumor unfortunate typos (e.g., crediting dominates the score without and the complete film score you believe). All we know for Amsel’s cover art to Brian Froud). becoming tired or overbearing— could be heard on the DVD as certain is that after a much The liner notes include an thanks to the tremendous variety an isolated music track. In both delayed—and by all accounts excerpt from an interview with of orchestrations (courtesy of the cases, extensive remastering has troubled—production, Trevor Trevor Jones from CinemaScore remarkable Peter Knight) and the been done to ensure the best Jones was not involved in the magazine. leadership of Marcus Dods (con- possible sound. Unfortunately, final release. Whether he had or Caveats aside, The Dark Crystal is ducting the redoubtable London the source for disc two of this chose to withhold the original a masterpiece. It’s probably Symphony Orchestra). Second, release is the same as that used masters or not, it’s a shame disc Jones’ finest work, and ranks we have the love theme—and I for the isolated score, complete two couldn’t be presented in alongside Goldsmith’s Legend and can honestly say that this is one North’s Dragonslayer as one of the of my favorite love themes of all great fantasy scores of the 1980s. time. It conveys a world of depth An Historic Conquest While we might hope for a bet- and passion, with just the right ter-sounding, better-presented 1 amount of wistful melancholy. Captain from Castile (1947) ★★★★ /2 release, it’s hard to be too picky. A complete rundown of the ALFRED NEWMAN Given the decade-plus wait, and score’s highlights would take far Screen Archives Entertainment SAE-CRS-0007 the fact that the current release too much space. From the fore- Disc One: 11 tracks - 39:33 • Disc Two: 14 tracks - 56:57 seemed to be constantly teeter- boding doom of “The Power aptain from Castile is the culmination of years of Newman scores for ing on the brink of cancellation, Ceremony” to the breathless Tyrone Power swashbucklers, which were Fox’s answer to the Errol we’re unlikely to see better any- energy of “The Landstrider CFlynn pictures at Warner Bros. a decade earlier (those had equally time soon. —J.T. Journey,” every cue is a winner. memorable scores by Korngold). Castile and the other Power films have In addition to the primary generally not stood the test of time as well as Flynn’s epics but, never- The Return of a Man Called themes, we’re given a plethora of theless, elicited grand and majestic scores from Newman, which were Horse (1976) ★★★★ secondary themes and motifs, usually far more accurate with regard to time and place than Korngold’s. most notably the slashing, rat- Newman researched Spanish and Aztec music of the period and incorpo- Varèse Sarabande (VCL 0403 1020) tling music for the beetle-like rated the idioms into a canvas strictly his own. 16 tracks - 59:14 Garthim monsters. Many of the The major characters and ometimes you can tell from secondary ideas are extensions of events of Castile get their own Sthe first few seconds of a the main theme, carefully modu- themes, including a bold and soundtrack that you’re in for lated to suit the opposing figures confident tune for Power’s treat. Such is the case with of the gentle Mystics and the Pedro, heard first in the “Main Laurence Rosenthal’s The Return of savage Skeksis. Jones also con- Title.” The love theme for Pedro a Man Called Horse. From the tributes significant source music and Catana is one of Newman’s opening fanfare of French horns, to the film: “Jen Plays His Pipes,” finest, a characteristic example even before the strings introduce the ethnic “Pod Dance” (which of the “Newman strings.” And, the main melody, you know it’s features some amazing flute of course, most memorable is going to be a winner. playing) and the breathy, word- “Conquest,” a stirring and stri- The Return of a Man Called Horse less “Gelfling Song.” dent march preceded by a is a sequel to 1970’s A Man Called Fans of the score are fortunate grand heraldic brass fanfare. “Conquest” accompanies the heroics of Horse and stars Richard Harris as in this release to receive both the Cortez, Pedro and the Spanish army’s invasion of the Aztec territory of an English aristocrat who original album, and the score as Central Mexico (naturally, the movie glosses over the fact that Cortez returns to the Sioux Indian tribe presented in the film. Each is was there to steal the Aztecs’ riches and demand tribute from what was that had captured and tortured indispensable: The album con- at that time one of the world’s most impressive and sprawling civiliza- him in the first film, but are now tains music cut from the film, tions). themselves under siege by hos- longer versions of some cues Also preserved on the score’s master tapes (mostly in stereo on high tile neighbors. In the earlier film, (and shorter versions of others) quality magnetic film) are the guitar source cues, performed and to a after his captivity, Harris’ charac- as well as terrific concert large extent written and arranged by Vicente Gomez, one of the early ter had an awakening and ulti- of the major 20th century’s premier guitarists. Gomez worked in tandem with mately became accepted by the themes. It also has superior Newman, and the resulting cues are gems, evoking the Spanish and tribe. Still, he is an Englishman, sound quality. The film score, on Central American locales and blending perfectly alongside Newman’s and this duality is central to his the other hand, while sounding underscore. This is another first-class effort from SAE and a must pur- character. somewhat pinched and distant, chase for Golden Age music fans. —D.M. This idea of living in two contains many unique stand-out worlds—that of the European

JULY 2003 44 FILM SCORE MONTHLY FFV-AD_FSMvote 7/28/03 9:17 AM Page 1

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All soundtrack and film music fans worldwide are asked to Send us your vote and you can win a two-day trip for two to this cast their vote for what they consider the best soundtrack of year’s Flanders International Film Festival – Ghent, including the past 12 months (for any film released between JULY 1st, admissions to the World Soundtrack Awards ceremony and 2002 and JUNE 30th, 2003). The soundtrack with the highest concert on October 12th. number of votes will receive the Public Choice Award at this year’s World Soundtrack Awards ceremony, as part of the For more information on the World Soundtrack Awards and Film Music Celebration in Ghent, on October 12th. WSA related events organized within the framework of the 30th Flanders International Film Festival – Ghent, please check: www.worldsoundtrackawards.com

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1 aristocracy and of the Sioux— Amour ★★★ /2 many beautiful songs—perhaps it plays itself out in Rosenthal’s MICHEL LEGRAND, JEREMY will find life in regional theaters. score. It is most easily heard in SAMS Legrand has announced that his “Morgan Haunted by His Sh-K-Boom 4003-2 •28 tracks - 74:09 next stage musical will probably Memories,” which starts with an f there were a musical equiva- be an adaptation of the 1967 authentic recording of a Lakota Ilent to a French cream puff, Jacques Demy movie musical Les chant (recorded by director Irvin it’d probably look like Amour, the Demoiselles de Rochefort (The Girls of Kershner). Low strings play transplanted French musical by Rochefort), for which Legrand behind the vocal chant and give film composer Michel Legrand wrote the original score. Let’s way to a reverberant piano that had a brief run on Broadway hope it’s given the care that sonata before returning to the in 2002 and is being released on Amour received. —C.W. chant. The track abruptly cuts to CD with the original cast. In an a religious hymn before ending English translation by Jeremy For a Few Dollars More (1966) 1 suddenly. It reveals the tug of Sams, the generically titled Amour Expanded Edition ★★★ /2 war within Harris’ character, and (in Paris it was called Le Passe ENNIO MORRICONE this juxtaposition of cultures is Muraille, loosely translated as The GDM 2038 • 22 tracks - 44:45 heard throughout the score. Passer-through-Walls) was too much t is insanely difficult to take There are several outstanding of a chamber operetta to com- Ithis CD out of your player. moments in the soundtrack, pete with the big guns of The melodies of For a Few Dollars including “The Massacre,” with Hairspray and La Boheme. More are so infectious you end up its wild, rapid-fire brass and Legrand, known for melan- humming (and, of course, crazed percussion. Unlike many choly love songs such as “What whistling) them long after the composers who create chaos Are You Doing the Rest of Your disc has run its 45-minute through noise, Rosenthal is able Life?” and “The Windmills of Your course. to maintain a musical direction Mind,” is the perfect composer to The sound quality of some of despite the seemingly random adapt Marcel Ayme’s fairy-tale the tracks is the only real weak- notes. “Preparation for the novel Le Passe Muraille to the stage, ness of this album: Some tracks Ordeal” is another standout for since his most famous work is are in mono, others stereo, and its introspectively slow strings likely the film musical The still others vacillate between the accompanied by subtle percus- Umbrellas of Cherbourg. Beautifully two. And certain tracks (like 6 sion and wonderful flute solos. melodic and charming in every and 8) not only go from mono to The cheerful melody of “Gifts for way, Legrand’s whimsical music stereo but include mixed-in the Yellow Hands,” with the keeps the show interesting, but it sound effects. Whether this was a unique sound of woodblock simply didn’t translate well to the conscious decision or one made and xylophone, is bound to American stage (at least not with of necessity (due to a lack of remind listeners of Copland. this odd translation by Sams). On original elements?), it’s at least However, the real highlight of CD, however, it plays like a musi- less annoying than you might this album is “The Sun Vow,” in calized radio drama and, interest- expect—the effects are limited which the main character, ingly, works much better. mostly to rustling and footsteps. Morgan, eats peyote and experi- The shy and lonely Dusoleil But, occasionally, a cheesy gun- ences hallucinations. Eerie, (Malcolm Gets) works in a dreary shot does find its way into the haunting tones are blended office in post-WWII Paris. He’s a proceedings. with Native American chants, hard worker and hopelessly Beginning with a minute-long while the piano sonata makes a infatuated with the married but show and Errico infuses it with intro featuring ambient sound return visit. Faint synthesizer lonely Isabelle (Melissa Errico). hope and innocence. Other high- and gunshots, the music picks up fills in and lends an experimen- One evening, Dusoleil discovers lights are Norm Lewis’ “Painter’s quickly with a whistling theme tal quality to the widely varied that he can walk through walls; Song” and the wonderful that segues into the now classic soundscape. he uses his newfound powers to “Overture,” hummed beautifully “GiddyYAP!” pulse. This is some- With almost a full hour of steal from the rich and give to by the entire cast. thing that’s ultra-familiar to us music, The Return of a Man Called the poor, play mind games with Sh-K-Boom Records should be nowadays, but was pretty much Horse is bound to please many a his tyrannical boss, and, ultimate- commended for recording this 180 degrees from the western film score fan. Its wide range of ly, woo Isabelle. album six months after the show sound when it was written. And musical ideas is never boring or Errico’s Isabelle gets the best closed, reassembling the original it’s the first of many Few Dollars predictable. Even if you haven’t songs of the score, since she usu- cast and featuring the meticulous themes that will stick in your seen the film, the score will play ally sings her ballads to herself as production values of Joel Moss head (if it’s not there already). the story out in your mind’s she tries to escape her shut-in life and Kurt Deutsch. It was obvi- The second theme appears in the eye. An outstanding and highly via magazine stories about the ously a labor of love for all very next track (“Seq. 2”)—a love- recommended release! rich and famous. “Other People’s involved. While Amour may not ly music box melody over —Ian D. Thomas Stories” is the best song of the be a successful show, there are strings. “Poker d’Assi” offers up

JULY 2003 46 FILM SCORE MONTHLY v8n6issue.qxd 7 /28/03 1 0:53 AM P age 47

some source music for the bar— Oscar time, but you will be hard- to most American film music they almost feel like a premature in stereo, interestingly enough, pressed to locate this one since it fans, even though this is his 15th beginning to the disc. The title since “Seq. 8”’s incredible organ received a very limited released picture. He studied with Michael track that follows does a fantastic music doesn’t get that luxury. in late March. Nowhere in Africa, Gibbs, Jerry Goldsmith and Ennio job of mixing and extending, Incidentally, this organ music taken from an autobiographical Morricone. But this score comes showcasing Reiser’s ability to introduces the third violently novel by Stefanie Zweig, relates late enough in Reiser’s output shape longer lines in satisfying memorable theme of the score. the story of a family escaping that everything he learned from arcs. “Journey Through Kenya” is As the album progresses, we Nazi Germany for Kenya around these masters is fully integrated a musical tour de force with hear less of the whistling melody 1938. The film has received into his own style. Kenyan percussion integrated and more of the dramatic numerous nominations and “Loreley” opens the disc with a with the more European orches- Phantom of the Opera-like theme awards. The score by Swiss com- brief orchestral prelude that lays tral material. This is the kind of first heard in “Seq. 8.” By the final poser Niki Reiser has not gone out a theme with exciting music that fans of Goldsmith tracks, the now fully developed unnoticed, having received an Kenyan chanting and rhythms lusted after in scores like Congo theme is presented in both award for Best Music at the that further punctuate the music and The Ghost and the Darkness. And Italian (mono) and English German Golden Lola awards. in the following track. Both these while I, too, like those scores, (stereo) and is beautifully per- Reiser will likely be unfamiliar earlier tracks are so brief that Nowhere in Africa manages to formed by singer Maurizio Graf. achieve more as a listening expe- As far as quality of music goes, rience. It’s a rare case when a this is an excellent album. Sound composer can bring together quality problems do hamper it in What Are Dabo Girls Made of? native elements without sound- places, and since the CD was ing clichéd (another example is produced in Italy, the track list- The Thrill of the Chase: A Jazz Cocktail Morricone’s superb The Mission). ings are in Italian. The album’s NEAL HEFTI, IRVING , RODGERS & HART, The music is sumptuously GEORGE GERSHWIN sound may seem like a very recorded by the Baset Symphony performed by Chase Masterson well-produced bootleg, but, rest Orchestra, with some artificial 10 tracks – 35:12 assured, it is not. For all the good mixing that allows certain musi- he Star Trek franchise has long boasted a spellbinding history of epic you get, there’s not much bad, Tadventure, bold characters, exotic alien worlds, explosive space cal ideas to be equalized without and very little ugly. —L.G. action…and terrible, terrible singing. Ever since Crewman Riley favored us with overwhelming any one part of his rendition of “I’ll Take You Home Again, Kathleen” in “The Naked Time,” ear- the texture. It is like a multi-lay- Nowhere in Africa ★★★★ splitting vocal shadings have been one of Star Trek’s stocks-in-trade. Leonard ered recording approach where NIKI REISER Nimoy got his ears wet with “Bitter Dregs” in the memorably humiliating balance can be manipulated as Higher Octave 72435-83955-2-5V “Plato’s Stepchildren,” while William an additional orchestral device. Shatner had the decency to keep his 22 tracks - 56:52 On this note, Reiser relies on an vocal stylings offscreen with his amaz- t was perhaps only a matter a ing album The Transformed Man. The amplified harp to cut through his Itime before producers of end of the original series didn’t put a walls of sound, serving as for- “world” music would begin tak- stop to the trend, either, and actors ward motion while the sur- ing an interest in film scores that from Star Trek: The Next Generation rounding textures remain stable. made use of ethnic instrumenta- and Voyager have cut albums since. This is done tellingly throughout tion and styles or, in some cases, As the author of The Music of Star “Ritual,” but the technique is Trek, it is my proud duty to present to ecological consciousness. Such revisited throughout the score. FSM readers an album from a Star has been true of a variety of Trek cast member (other than Brent “Poland Means Death” and IMAX film scores, released mostly Spiner) who actually can sing. Fans of “Grasshoppers” are the only two for their representative science Deep Space Nine will remember Chase Masterson as adorable “dabo girl” tracks not written by Reiser. They museums. But now the market Leeta, a nubile temptress who seemed to make the world safe for both geek were composed by Jochen for something that attempts a love and interspecies romance by marrying Ferengi barkeep Quark’s brother Schmidt-Hambrock. The first cue cross-cultural musical expression Rom. Masterson never got to sing on DS9 but she must have gotten some fits into a more traditional, dra- practice somewhere. For The Thrill of the Chase, a promotional album only is finding a larger home, since it matic European film-scoring available on her website, the doe-eyed brunette belts out 10 numbers from often crosses boundaries of pop, some legendary American , and does it in a style that slides com- model. The second is more classical and jazz genres. Higher fortably between Streisand, Judy Garland and Billie Holliday. Songs include Joe experimental, and while still eth- Octave enters the film music McCoy’s “Why Don’t You Do Right” (immortalized in Who Framed Roger nic sounding, it’s unlike anything arena this year with strongly cre- Rabbit?), ’s “After You Get What You Want” and “You’d Be else on the CD. It does make for dentialed scores to two critically Surprised,” Rodgers & Hart’s “Ten Cents a Dance,” and Davenport and an odd conclusion to an other- acclaimed films. Cooley’s “Fever,” among others. Bill Burchell’s arrangements and instrumental wise satisfying release. performances by the Sharp Sounds Big Band are smooth and atmospheric Nowhere in Africa (2001), a For those listeners out there enough to imagine Masterson serenading you personally, which is what I’d German film directed by Caroline imagine most of us lonely fanboys will be imagining while listening to this who are feeling underwhelmed Link, received this year’s Oscar album. If you’d like a break from loud pirate movie music, this is an excellent by the latest generic Hollywood for Best Foreign Language Film. diversion—and proceeds from the album sales go to a Ugandan AIDS charity, score, search out this excellent Period WWII films dealing with so you can feel good about yourself for purchasing it. —Jeff Bond release. —S.A.K. the Holocaust come in waves at Available directly from www.chasemasterson.com (continued on next page)

FILM SCORE MONTHLY 47 JULY 2003 v8n6issue.qxd 7 /28/03 1 0:53 AM P age 48

SCORE

Winged Migration ★★ of the film’s three Cesar nomina- insipid—at times it sounds as if tion of the score material as an tions (it won for editing) went to they’re being made up as the uninterrupted, meditative back- Higher Octave 82505 veteran French composer, Bruno music flows underneath. ground. But even if that had 19 tracks - 45:27 Coulais. The score now receives The underscore sections of the been the case, Coulais’ limited his score is endorsed by the this release on the world label album flow in and out of one musical ideas somehow seem TAmerican Birding Higher Octave, which is expand- another more seamlessly than the antithesis of a movie I Association—indeed, a rare ing its catalog to include foreign do the songs. Stylistically, much assume features a lot of aerial accolade for a composer. Winged film soundtracks. of the material has its roots photography. Sadly, the muted Migration (2001) was an Oscar This album features several firmly in the faux Renaissance score never soars, though “The nominee this year for Best songs, all composed by Coulais. music favored by new age Red Forest” comes close. Documentary. The film is Among them is the opening “To musicians. In addition, a variety On a completely different described by some as utterly Be by Your Side,” sung by Nick of sound effects (birds, ocean, note, the CD has a tremendous beautiful and by others as a col- Cave, and best described as a etc.) join the fray and add the amount of extras, which may be lection of mind-numbing, bor- new age folk piece along the (unintended?) effect of making it its highest selling point. There ing details on the migratory pat- lines of the Paul Winter seem like you are listening to are several links for bird-lovers terns of a variety of birds over Consort’s early albums. Robert one of those nature sound and a well-produced series of 40 countries and seven conti- Wyatt is featured on several recordings. If the vocal portions brief snippets and animations of nents. This four-year labor of other songs that have a similar of the CD had been grouped migratory patterns for several love is produced, directed and feel. Unfortunately, most of the together, it would have allowed bird groups—if you’re into that narrated by . One lyrics are rather banal and for a more satisfying apprecia- sort of thing. —S.A.K. FSM

Music Direction Medak; agent Robert Messinger; Doreen News (continued from page 4) 75th Annual Academy Awards BILL CONTI Ringer Ross, vice-president, Film/TV Relations Cher—The Farewell Tour PAUL MIRKOVICH at BMI; and music editor Adam Smalley. “Aren’t They All Our Children” Christmas in Washington IAN FRASER music by , Meredith Willson’s The Music Man MICHAEL KOSARIN Jarre Guest of Honor at WSA lyrics by aurice Jarre will receive a Lifetime The Fairly Odd Parents: “Love Struck”; “What Girls MAchievement Award at this year’s Love” Quick Takes World Soundtrack Awards in Ghent, Belgium, music by GUY MOON, lyrics by Sunday, Oct. 12. FSM BUTCH HARTMAN, STEVE MARMEL, SCOTT FELLOWS Composers Gather for Sundance Music Lab The Fairly Odd Parents: “Love Struck”; “It’s Great to he 6th Annual Sundance Institute Be a Guy” TComposers Lab took place July 22–Aug. music by GUY MOON, lyrics by BUTCH HARTMAN, 6 in Sundance, Utah. This year’s participants Siren Song (continued from page 23) STEVE MARMEL were Christopher Anderson-Bazzoli, Billy It’s a Very Merry Muppet Christmas Movie: “Everyone Childs, Courtney Von Drehle, Mark De Gli scoring it can be very much here today, gone Matters” Antoni, Ronit Kirchman and . tomorrow,” he explains. “You can be hustled music and lyrics by DESMOND CHILD, DAVITT During the two-week lab, they participated in in with 10 weeks or six weeks to go before SIGERSON workshops under the guidance of composers the final dub; in order to really feel like The Simpsons: “Dude, Where’s My Ranch”; “Everybody Carter Burwell, George S. Clinton, Stewart you’re part of the tapestry of the film, ani- Hates Ned Flanders” music by , lyrics Copeland, and Ed Shearmur; mation is really the way to go, unless you by IAN MAXTONE-GRAHAM, , president of Fox Music; music get hooked up with a Moulin Rouge or KEN KEELER supervisor Tracy McKnight; director Peter another movie that is two years in the musical making. With Shrek 2 I’ve already written a couple of things, and I start at Christmas on that score. I’m doing The Rundown, directed by , for Universal, and I just have to occasionally change my studio set-up and think Shrek for a few days. In many ways it really is quite fun because one does feel very involved throughout the process. And sometimes it does feel kind of anemic being wheeled in very very late and knocking out the score and then that’s it. But animation does quench a certain thirst within me to really get under the skin of a movie and get to know the filmmakers.” FSM

JULY 2003 48 FILM SCORE MONTHLY v8n6covers.qxd 7 /25/03 5 :48 PM P age c3

On August 19th, all of Hollywood will be reading music.

spotting editing composing orchestration contracting dubbing sync licensing music marketing publishing re-scoring prepping clearance music supervising musicians recording studios

Summer Film & TV Music Special Issue. August 19, 2003 Music adds emotional resonance to moving pictures. And music creation is a vital part of Hollywood’s economy. Our Summer Film & TV Music Issue is the definitive guide to the music of movies and TV. It’s part 3 of our 4 part series, featuring “Who Scores Primetime,” “Calling Emmy,” upcoming fall films by distributor, director, music credits and much more. It’s the place to advertise your talent, product or service to the people who create the moving pictures. So make a “sound” business decision. Place your ad today.

SPACE DEADLINE: July 31 • MATERIALS DEADLINE: August 6 L.A. - Judi Pulver, (323) 525-2026 • UK - John Kania, (44-207) 420-6144 FilmScore_04-03.qxd 7/28/03 8:50 AM Page 1

V ARÈ SE S ARABANDE 25 YEARS OF GREAT FILM MUSIC

VARÈSE SARABANDE: A 25TH ANNIVERSARY CELEBRATION Varèse Sarabande celebrates its 25th Anniversary! In the 25 years since 1978, Varèse Sarabande Records has released well over 1000 albums. Of those, nearly 900 are film scores. Averaging over fifty new soundtrack releases a year, Varèse Sarabande’s catalog features virtually every great name in film music. This four-CD set features over five hours of music and becomes the biggest compilation we’ve ever assembled. Please visit our website for news of a second volume of Varèse Sarabande classics — four more CDs — available for a limited time only. Help us celebrate! 302 066 460 9 302 066 481 2 302 066 501 2 302 066 482 2 ELLIOT GOLDENTHAL: S.W.A.T. MARCO BELTRAMI: TERMINATOR 3 JOHN POWELL: THE ITALIAN JOB Original Motion Picture Soundtrack Original Motion Picture Soundtrack Original Motion Picture Soundtrack 302 066 499 2 302 066 498 2 302 066 475 2 JOHN POWELL: GIGLI GRAEME REVELL: FREDDY VS. JASON JOHN DEBNEY: BRUCE ALMIGHTY Original Motion Picture Score Original Motion Picture Score Original Motion Picture Soundtrack

AVAILABLE AT RECORD STORES EVERYWHERE, BY PHONE AT 1-800-VARESE-4 (1-800-827-3734), OR ONLINE AT WWW.VARESESARABANDE.COM To join our new release update list, send your e-mail address to [email protected]