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v7n4cov 5/31/02 11:44 AM Page c1

ORIGINAL MUSIC SOUNDTRACKS FOR MOTION PICTURES AND TV

VOLUME 7, NUMBER 4

TV Music page 10 SUMMER MOVIESHOWDOWN THEAMAZING ELF-MAN Our friendly neighborhood super-scorer ATTACK ON THE CLONES ’ score goes BOOM! LEGEND-ARY GOLDSMITH The fantasy returns on DVD ARTISTIC DEVOLUTION The indie life of Mark Mothersbaugh PLUS Lots of the latest CDs reviewed

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7225274 93704 $4.95 U.S. • $5.95 Canada v7n4cov 5/31/02 11:44 AM Page c2

The Symphony had almost no budget to design and produce a newsletter, but we thought it was important to publish one for subscribers and donors. Joe set an attractive, versatile template for us and provided basic trainingFSMCD in Vol. Quark 5, No.and 7newsletter • Golden designAge Classics so that now we're able to produce a quarterly newsletter in-house.We get lots of compliments on our newsletter,On The and we Beach/The love having the tools to do it ourselves. of Santa Vittoria by

FSM presents a film composer gravely unrepresented on CD with a doubleheader by Ernest Gold: On the Beach (1959) and The Secret of Santa Vittoria (1969), both films directed by Stanley Kramer, with whom Gold shared his most fruitful collaboration. On the Beach is an “event” picture dealing with the deadly aftermath of a nuclear war: Gregory Peck, Ava Gardner, Anthony Perkins and star as among the last survivors of humanity, waiting for a radioactive cloud to engulf them on the Southern coast of Australia. The film was the first to depict the serious consequences of nuclear war and cemented Kramer’s reputation as a “message” filmmaker. On the Beach was Ernest Gold’s first major picture after toiling on “B” movies for over a decade, and he responded with a gorgeous, symphonic score. He used as his main theme (per Kramer’s wish- es) the traditional Australian song “Waltzing Matilda,” but developed it into multiple, ingenious variations— everything from an anthem for humanity, to a love theme, to a dirge for the end of the world. The composer wrote two love themes for the film’s romantic subplots, and adventuresome, Herrmann-esque scoring for a sub- marine mission to the dead coast of . Ten years later, Kramer and Gold collaborated on The Secret of Santa Vittoria, a period comedy starring Anthony Quinn in which a rustic Italian village hides a million bottles of wine from the German

Still photographs courtesy of Metro-Goldwyn-Mayer Inc. All Rights Reserved. army during the closing days of World War II. Gold’s score is a melodic slice of “Italiana,” complete with a love theme (performed in Italian and English by ), joyous celebration cues, suspenseful Nazi march, and a mammoth setpiece (for the hiding of the wine). FSM’s CD premiere Album produced by LUKAS KENDALL features the stereo LP configu- ON THE BEACH rations of both On the Beach “Waltzing Matilda” Music by Marie Cowan, Lyrics by A.B. Paterson (for which the complete session 1. Main Title 2:53 8. Homecoming 2:39 2. Peter and Mary 3:36 9. Dwight’s Visitor 1:01 tapes are lost) and The Secret 3. The Desolate City 4:10 10. Take the Final Step 2:34 of Santa Vittoria (for which the 4. Let’s Call Moira 2:36 11. I Love You 4:21 original soundtrack exists only 5. Australian Summer Time 5:02 12. There’s Still Time 2:57 6. The Boat Race 2:19 Total Time: 37:02 in mono and would not fit on 7. The Mysterious Signal 2:24 the CD; the stereo LP is a re- THE SECRET OF SANTA VITTORIA recording faithful to the film “The Song of Santa Vittoria (Stay)” ). The Santa Music by Ernest Gold, English Lyric by Norman Gimbel, Italian Lyric by Sergio Franchi, Vittoria portion adds a previ- Vocals by Sergio Franchi; “Con lo Zigo Zigo Zza” by Renato Rascel 13. The Song of Santa Vittoria 20. Viva Bombolini 2:10 Look for this month’s ously unreleased instrumental offering version of the main theme. The (Stay) [Italian version] 2:39 21. The Streets of Santa Vittoria 2:47 Silver Age 14. The Big Fool Bombolini 2:45 22. The Search 2:56 24-page booklet includes 15. Con lo Zigo Zigo Zza 0:53 23. Bei Kerzenlicht 2:30 Point Blank detailed liner notes and rare 16. Love and Tears 2:47 24. Celebration 2:02 By color photographs from On the 17. Swastika 1:33 25. The Song of Santa Vittoria 18. Hiding the Wine 4:47 (Stay) [English version] 2:59 and The Outfit Beach (a black and white 19. The Song of Santa Vittoria Total Time: 33:56 By movie). $19.95 plus shipping (Stay) [instrumental] 2:39 Total Disc Time: 70:59 on the back cover v7n04 issue 5/31/02 4:00 PM Page 1

CONTENTS MAY/JUNE 2002

cover story departments

24 The Amazing Elf-Man 2 Editorial Our friendly neighborhood composer returns to Lightning Doesn’t super-hero land after more than a decade to bring Strike Back. his scoring sense to ’s Spider-Man. By Jeff Bond 4 News Not All Clones Are Alike; features Honored by BMI. 5 13 Legend Resurrected Round-up At long last, the Legend DVD is finally available. In What’s on the way. both a feature and an exclusive interview with DVD 6 Now Playing producer Charles de Lauzirika, FSM’s Laserphile Movies and CDs in Picking up where left off. takes an in-depth look at the movie’s release. page 24 controversial history, its two different scores and 8 Upcoming Film what it took to finally get the DVD done. Assignments By Andy Dursin Who’s writing what for whom. 9 Concerts 18 Episode Tunes: Live performances Attack on the Score around the globe. Reviews are still coming in for ’ lat- est installment of the Star Wars saga, but one 10 Downbeat thing’s for sure: The music took a beating, with Dinosaurs and Cowboys. massive edits made to John Williams’ score, as well as a large chunks of music tracked in from 30 Score The Phantom Menace and elsewhere. Here’s an The latest CD reviews, exhaustive look at the music, newly composed including Christus and otherwise, used in Attack of the Clones. Apollo, Panic Room, By John Takis Hart’s War, The Time Back to the future past. Machine and lots more. page 18

28 Artistic Devolution 46 Retrograde Once the frontman for the ’80s alternative band Winners and Dinners. Devo, Mark Mothersbaugh has evolved over the years into the go-to guy for quirky indie-style films, as well as some mainstream comedies—and 5 Reader Ads learned to accept the typecasting that comes with it. By John Allina 35 Marketplace

An “outsider” artist looks in. page 28

ON THE COVER: WEBSLINGER’S GOT THE DROP ON YOU; SPIDERMAN Monthly (ISSN 1077-4289) is published monthly for $36.95 per year by Vineyard Haven LLC., ©2002 COLUMBIA PICTURES; STAR WARS EPISODE II: ATTACK 8503 Washington Blvd, Culver City, CA 90232. Periodicals postage paid at Culver City, CA and additional mailing offices. OF THE CLONES ©2002 , ALL RIGHTS RESERVED. POSTMASTER: Send Address changes to , 8503 Washington Blvd, Culver City, CA 90232

FILM SCORE MONTHLY 1 MAY/JUNE 2002 v7n04 issue 5/31/02 12:56 PM Page 2

EDITORIAL

VOLUME 7 NUMBER 4 Lightning Doesn’t Strike Back The last remnants of the old magic are swept away. editorial staff

EDITOR & PUBLISHER Lukas Kendall f there’s one thing I’ve learned about Given the way Sony presented their SENIOR EDITOR just about everyone, score-collecting “Ultimate Edition” of The Phantom Menace Jeff Bond nerds or not, it’s that they’re all trying score, we may never know what Williams MANAGING EDITOR I to recapture whatever it was they liked when wrote for the climax of Attack of the Clones. Tim Curran they were 12. Star Wars (which I saw when I To some this is something akin to a war DEPARTMENTS EDITOR Jonathan Z. Kaplan was 16—though emotionally I was about 12 crime, while others wonder what all the fuss DESIGN DIRECTOR and have been ever since) had an incredibly is about—it’s not like this hasn’t happened to Joe Sikoryak lasting effect on a whole generation of kids other scores in other movies, including CONTRIBUTING WRITERS and would-be kids, and it would be stating other Star Wars movies. But since a huge John Allina the obvious to say that John Williams’ score part of the appeal of the Star Wars films is Jason Comerford got a huge percentage of John Williams’ scores (particularly to the Luke S. Goljan us hooked on film readers of this magazine), some of the anger Allan D. Hosack music. is understandable. One has to wonder what Nick Joy Whatever we may Williams himself thinks about this since Steven A. Kennedy think about Attack of the reportedly he hadn’t seen the final cut of the Neil Shurley Clones, something in its movie prior to its premiere. Chris Stavrakis story certainly inspired In retrospect, we probably can’t expect John Takis John Williams this time. Williams’ Star Wars prequel music to have Cary Wong Williams’ score is the same presence and impact as the origi- SUPERVISING CONTENT CONSULTANT motivic, driven by shift- nal trilogy music, just because of the way Al Kaplan ing, rhythmic patterns Lucas now finishes off these movies. Star COPYEDITOR and some impressive Wars’ climactic battle was Steve Gilmartin new themes (as well as around 15 minutes long and featured a THANKS TO more-than-welcome clearly defined goal and strong emotional B.A. Vimtrup reprises of many of the beats—a perfect situation around which a THE DARK SIDE OF DOLBY: old ones). It’s sweeping, composer could create a structured, satisfy- business staff Who’s that in the mixing booth? gorgeous, romantic and ing piece of music. In Jedi, Phantom Menace EDITORIAL & SUBSCRIPTIONS exciting as hell. I’ve seen and Attack of the Clones it’s too much to 8503 Washington Blvd a few gripes that this score isn’t “thematic” expect Williams to generate suspense and a Culver City, CA 90232 enough—don’t you believe it. The themes linear drive over 40 minutes of nonstop PH. 310-253-9595 are there to be found, and part of the fun is action. In this respect Williams’ music FAX 310-253-9588 seeing how they emerge out of dauntingly becomes just another element of an elabo- E-MAIL [email protected] complex passages or suggest themselves rate, frenetic sound mix—so it’s not surpris- before their full-blown orchestral state- ing that bits and pieces of his score are sliced SALES & MARKETING MANAGER ments appear. This is the kind of writing I and diced like sound effects. Bob Hebert like best from Williams: rich and thoughtful, So enjoy your Attack of the Clones CDs. If ADVERTISING showing him fully engaged by the movie in you haven’t yet seen the film, don’t expect a 8503 Washington Blvd front of him. richer listening experience in the theater Culver City, CA 90232 That’s the good news. The bad news is than the one you got spinning the disc at PH. 323-962-6077 Williams’ Attack of the Clones score is com- home. Talk about a disturbance in the FAX 310-253-9588 promised in the film, as John Takis discusses Force… in his amazingly detailed analysis this issue. OUR WEBSITE For whatever reason, the lion’s share of the Is updated five times weekly! action music in the film’s final 40 minutes is Point your browser at: tracked, either from earlier (and later!) WWW.FILMSCOREMONTHLY.COM moments of the Clones score or (mostly) from Williams’ Phantom Menace score. Jeff Bond, Senior Editor © 2002 Vineyard Haven LLC.

PRINTED IN THE U.S.A.

MAY/JUNE 2002 2 FILM SCORE MONTHLY v7n04 issue 5/31/02 12:56 PM Page 3 Dmitry SHostakovich one of the brightest stars in soviet film

Shostakovich was much more of a film professional than he may have wanted to admit. Completing nearly 40 soundtracks, including cartoons.

“Just like writing for the ballet, film scores kept my musical reflexes alert and my craftsmanship lithe and adroit ... SMCD5216 when I’ve finished a film, I’m, keen to The Overcoat 8553299 CBC Radio Orchestra start work on a The Gadfly Maria Bernardi Five Days-Five Nights symphony or a string quartet. National Symphony Orchestra of Ukraine My film music [had] a beneficial effect Theodore Kuchar on my other compositions. ” – Shostakovich

Recent Music for the Movies releases on CPO include: 999796-2 999809-2 Alfred Schnittke: Benjamin Frankel: My Past and Thoughts The Importance of Agony Being Ernest The End of St. Petersburg The Master and Margarita Queensland Symphony Rundfunkchor Berlin Orchestra Rundfunk-Sinfonieorchester Berlin Werner Andreas Albert Frank Strobel

Naxos, CBC and CPO are distributed by Naxos of America, Inc. 416 Mary Lindsay Polk Drive, Suite 509 ¥ Franklin, Tennessee 37067 www.naxos.com v7n04 issue 5/31/02 12:56 PM Page 4

NOW PLAYING • CONCERTS RECORD LABEL ROUND-UP UPCOMING FILM ASSIGNMENTS NEWS THE SHOPPING LIST Good Will Hunting and this sum- some of his works with the mer’s mega-hit Spider-Man, National Orchestra of Belgium. Elfman has most recently fin- Stay tuned to Film Score ished up work on Men in Black II. Monthly for full festival coverage. Among other awards he’s Tel: (+32)92428060 received are a Grammy for Best email: [email protected] Instrumental for Batman (and a website: www.filmfestival.be nomination for Apes), two Best Score Academy Award nomina- tions (Men in Black and Good Art Meets Will Hunting), an Emmy for the theme for The Simpsons, and a Film Music Saturn Award for Best Score for The Nightmare Before Christmas. razy as it sounds, there’s a Cfilm music symposium that focuses not on technology or World Soundtrack networking, but on the art of marrying music to film. It’s the Awards to Celebrate fifth annual School of Sound symposium, and it’ll be held 75 Years of Music April 23–26, 2003, so mark your calendars. According to the and Sound in Film School of Sound, its goal is to Not All CLONES Are Alike raise the profile of sound in he second annual World audio-visual media through its ou probably know this SK 89932 - Regular version (13 tracks) TSoundtrack Awards will cele- unique program that integrates Yalready, but it would remiss SK 89965 - Target version brate the 75th anniversary of practice with theory, and art with of us not to mention it: There is a (with bonus track) sound and music in film during entertainment. Previous instruc- longer version of the Attack of SK 89989 - Wal-Mart version this year’s Flanders International tors have included sound the Clones CD available in the (with screen saver) Film Festival in Ghent, Belgium, designer Walter Murch and com- U.S.—but only at Target stores. SK 89990 - Best Buy version October 8–19. poser Carter Burwell. And as a That’s right, Target. Its AOTC CD (with trading card) In October of 1927, The Jazz final selling point to those who contains the same packaging as Singer introduced mechanical need a breather from their com- the regular release but features a Now, go be a good consumer, sound and music synchronized puters and samplers, consider 14th cue, a lighthearted action support the economy and buy all with film, and to mark the occa- this statement: “The School of piece called “On the Conveyer 16 versions! sion the WSA Summit will feature Sound will not teach you equip- Belt.” This cue, which runs 3:07, different symposiums focusing on ment or software, but we will is not listed anywhere in the the current state of the industry, lead you along new paths booklet or back cover. In fact, the BMI Awards Elfman the future of the business and the through the creative use of only way to identify the Target working methods and sound in media and art.” Full release is the sticker on the jewel erforming tools of the modern film program details will be available box that reads “Includes P rights organi- composer. in Autumn 2002. Exclusive Bonus Track Only at zation BMI pre- The World Soundtrack Visit www.schoolofsound.co.uk for Target.” sented Danny Awards ceremony (nomi- more information. Meanwhile other retail chains Elfman with the nations to be are following suit, though with- Crystal Award for announced) will be fol- out the additional cue. Wal- Outstanding Career lowed by a film music Web Sightings: Mart’s version contains a screen Achievement at its concert. The first half will saver while Best Buy’s includes a annual Film/TV feature a musical tribute trading card. To add more confu- Awards dinner on to composer Georges sion, each of the aforementioned May 15 in Los Delerue, marking the ear RealAudio files of versions features four different Angeles. With an 10th anniversary of his HHoward Shore as he dis- covers—the AOTC poster, , eclectic career as a composer death. Composers Dirk Brossé and cusses his music for Lord of the Anakin and Padme, and Jango and for projects like Jean-Claude Petit will conduct. Rings: Fellowship of the Ring: Fett. So just to make sure you get Batman, Beetlejuice, Planet of the The second part of the concert will http://musicfromthemovies.com/ the version you want, here’s a Apes, Darkman, Back to School, feature composer George Fenton pages/shore_rings.html breakdown: The Nightmare Before Christmas, (Anna and the King) conducting FSM

MAY/JUNE 2002 4 FILM SCORE MONTHLY v7n04 issue 5/31/02 12:56 PM Page 5

Mothersbaugh Film Music, The Moscow Symphony Orchestra. Record Label Round-Up Chromatic Collection, a 5.1 DVD www.hnh.com All the albums you’ll be waiting for audio sampler, and ’s score for Donald Cammell’s Wild Side. Available now are The Importance Aleph Records www.chromaticrecords.com of Being Earnest (Charlie Mole) Kamen’s Lethal Due July 9 is Cincinnati Kid, and The Dangerous Lives of Altar which will be distributed Cinesoundz Boys (Marco Beltrami, additional Release through IDN in Upcoming are re-releases of the music by Joshua Homme). For 15 years, soundtrack fans the U.S. Forthcoming is The two classic Mondo Morricone have been pining for a CD Amityville Horror. albums plus a third volume with Monstrous Movie Music release of Michael Kamen’s score www.alephrecords.com lounge music by the Maestro; Though still pending a formal to Lethal Weapon. Well, we can also forthcoming is the world- release date, the next MMM CD all rest easy (for a limited time, of Amber Records music soundtrack to the African will be Mighty Joe Young—a “ course); the premiere release for Still in the works for Elmer road movie Anansi, featuring the Harryhausen tribute,” featuring Kamen’s Bacchus Records is the Bernstein and his record label is score by Roman Bunka and music from 1949’s Mighty Joe only fully authentic and officially a new recording of his score to songs by Shaggy and Jobarteh Young (Roy Webb); 1957’s 20 licensed release of the score in a Kings of the Sun. The recording Kunda. Million Miles to Earth (Mischa limited 3,000-copy run. While sessions will reportedly be held tel: +49-89-767-00-299; fax -399 Bakaleinikoff and Columbia the original LP release contained in Poland this year, pending pre-orders by mail: [email protected] library cues by , just 30 minutes of score, the CD Bernstein’s availability. www.cinesoundz.com features 65 minutes, including www.elmerbernstein.com FSM READER ADS music that didn’t appear in the Decca movie, as well as the popular BMG Due June 25 is The Road to SOMETHING WEIRD VIDEO! “ Blvd. Chase” cue. The first-time-on-CD release of Perdition (); Your source for rare nostalgic exploitation and sexploitation films Featured performers on the The Caine Mutiny () forthcoming is I Am Dina (Marco from the 1930s-1970s! score include guitarist Eric is forthcoming. Beltrami). All videos $15 each! Clapton, saxophonist David DVDs available! Sanborn and Kamen. Brigham Young University Dreamworks Send $5 for our complete catalog! www.michaelkamen.com Forthcoming is Max Steiner at Due June 18 is the soundtrack to Include age statement 18+ only! SWV, POB 33664, Seattle WA 98133, RKO, a 3-CD set with original Minority Report (John Williams). phone 206-361-3759, fax 206-364-7526 1M1 tracks from Symphony of Six www.somethingweird.com Forthcoming from this Million, Bird of Paradise, GDI Australian Internet-only label is Morning Glory, Little Women, Of Imminent is The Mummy’s WANTED Annie’s Coming Out (Simon Human Bondage, The Little Shroud (Don Banks); forthcom- Mr. W. Moore, Box 438, Brighton Le- Walker, 1984); due June/July: On Minister and The Informer. It will ing is Captain Kronos (Laurie Sands, Sydney, Australia, 2216, is look- Our Selection (Peter Best, 1995), also include a 72-page color Johnson). ing for Alive (), The True Story of Eskimo Nell booklet. Also forthcoming is the Fried Green Tomatoes (Thomas Newman), Radio Flyer () and Darkman (Brian May, 1975), Bliss (Best, original recording of The Bishop’s Hollywood Records (Danny Elfman). 1985), Caddie (Patrick Flynn, Wife (). Due July 2 is a second album for 1976), Harp in the South (Best) The Royal Tenenbaums (various FOR SALE and Poor Man’s Orange (Best). Chromatic Records artists); Aug. 20: TV’s Scrubs (var- Frank Malone, 650-355-2652, Pre-orders can be placed by email: Forthcoming is Music From ious artists); Sept. 17: Sweet [email protected], has for sale: Call [email protected] • www.1m1.com.au Hollywood: A Collection of Mark Home Alabama (various artists). of the Wild (Holdridge), Heidi (Holdridge), Scarface (Moroder, Germany) and Rio Conchos (Goldsmith, Intrada). Purchase Marco Polo all four for $50. FSM Classics Marks a Milestone! Due in June: The Maltese Falcon, Classic Scores for SEND YOUR ADS TODAY! his month marks the 50th release from Film Score (8.225169). Featuring music from Reader ads are FREE for up to five TMonthly’s Classics series: Since 1997, we have been Bogart films The Maltese Falcon items. After that, it’s $1 per item. It’s proud to present original music from 70 films and tel- and High Sierra, the that simple. Send to Film Score evision shows through the cooperation of Twentieth Monthly, 8503 Washington Blvd, Culver comedy George Washington Slept Century-Fox, Warner Bros., Metro-Goldwyn-Mayer City CA 90232; fax: 310-253-9588; Inc. and most recently, Turner Entertainment Co. Here, the foreign thriller The Mask [email protected]. We’ve got another dozen titles planned for the of Dimitrios and the Errol Flynn remainder of 2002, and a full slate expected next action-adventure Northern Space Ads for Individual year, so stick around for more great classic film music. Pursuit, this CD will include an in- Collectors/Dealers Only $60 depth 28-page booklet with pro- For a 1/6 page space ad, simply send your list and information to the address Four for the price of two! duction notes by author/film his- above; you can comfortably fit anywhere This month’s releases include two doubleheaders. First, Ernest Gold gets his torian Rudy Behlmer and rare from 20 to 60 titles, but try to include due on a double reissue of Stanley Kramer’sOn the Beach and The Secret of behind-the-scenes photographs. less information per disc the more you Santa Vittoria. These former LP releases, never before available on CD, are John Morgan has arranged suites list, or else the print will be microscopic. the best existing stereo versions of the scores and include one bonus track. from the original orchestrations of We will do all typesetting. Second, this month’s Silver Age Classic pairs Johnny Mandel’s Point Blank the scores for this recording, Same deadlines and address as above. with Jerry Fielding’s The Outfit. These two film-noir thrillers feature stereo Send payment in U.S. funds (credit card under the baton of William scores that have never been released before. FSM OK) with list. Stromberg conducting the

FILM SCORE MONTHLY 5 MAY/JUNE 2002 v7n04 issue 5/31/02 12:56 PM Page 6

RECORD LABEL ROUND-UP • NOW PLAYING

Frederick Hollander, David Prometheus Saimel Records Sony Classical Diamond, Daniele Amfitheatrof, Set for an imminent release is Forthcoming from Saimel are Available now is Spider-Man Max Steiner, and ’s Masquerade, which Tepepa and Maddalena (both (Danny Elfman). Werner Heymann); plus 1956’s The will feature 56 minutes of music. Morricone). www.sonymusic.com Animal World (Paul Sawtell). This www.rosebudbandasonora.com Island Earth will follow. RCA Super Collector (800) 788-0892, fax: (818) 886-8820 Available now is Windtalkers Screen Archives Forthcoming are Spacecamp email: [email protected] (James Horner). Entertainment (John Williams), Watership Down www.mmmrecordings.com Forthcoming are a combo CD (Angela Morley), Texas Rangers Rhino Records/Rhino featuring Down to the Sea in (Trevor Rabin), The Bionic Pacific Time Entertainment Handmade/Turner Ships and Twelve O’Clock High Woman (Joe Harnell) and a col- Due July 2: Wendigo (Michelle Forthcoming from Rhino (), The Bishop’s lection of music from the ’60s DiBucci). www.pactimeco.com Handmade is The Pirate (Cole Wife (Hugo Friedhofer), the patri- animated series Gigantor. Porter). Available now on Rhino is otic score for the 1944 Darryl F. www.supercollector.com Percepto Records an expanded, remastered release Zanuck production Wilson (Alfred Now available is a 2-CD set of of Ragtime (). Newman) and 1938’s Alexander’s Varèse Sarabande music from the Fox archives of Due June 18: Victor/Victoria Ragtime Band (Irving Berlin). Four new CD Club releases avail- The Fly/Return of the Fly/Curse of (Mancini/ Bricusse) and Yankee www.screenarchives.com able now include The Ballad of the Fly (Paul Sawtell, Bert Shefter) Doodle Dandy (George M. Cable Hogue (), complete with a 56-page (!) book- Cohan)—both albums containing Silva Screen Cast a Giant Shadow (Elmer let and Vic Mizzy’s never-before- previously unreleased material. Available now is the first digital Bernstein), The Virgin Queen released score to The Night Walker Forthcoming are Ivanhoe (Rózsa), recording of ’s complete () and Joe Versus (with 60+ minutes of score, plus Treasure of the Sierra Madre score to 1968’s Romeo and Juliet, the Volcano (). liner notes by historian Dick (Steiner), Raintree County performed by the City of Prague Due June 18: The Scorpion King Thompson). (), Prisoner of Philharmonic Orchestra & (score album; ). Coming later this year: writer/ Zenda (Salinger version of ’37 Chorus, conducted by Nic Raine, director/composer Frank Newman score), Mutiny on the and featuring liner notes by Nino Please note: LaLoggia's Fear No Evil and Bounty (Bronislau Kaper), It’s Rota’s daughter Nina. Due in June We endeavor to stay up-to-date with Miracle on 34th Street/Come to the Always Fair Weather (Previn) and is The Album, a every label’s plans, but things happen Stable (Cyril Mockridge). Shoes of the Fisherman (Alex boxed set of sci-fi film and TV that are beyond our control (and www.percepto.com North). music. www.silvascreen.com often, beyond the label’s control, as well!)—so please bear with us. FSM www.rhino.com, www.rhinohandmade.com

NOW PLAYING Films and CDs in current release

13 Conversations About One Thing ALEX WURMAN n/a About a Boy DAMON GOUGH BMG Circuit TONY MORAN n/a CQ MELLOW emperor Norton** The Cockettes RICHARD “SCRUMBLY” KOLDEWYN n/a Deuces Wild STEWART COPELAND n/a Enigma JOHN BARRY Decca Enough Varèse Sarabande Jason X HARRY MANFREDINI Varèse Sarabande The Importance of Being Earnest CHARLIE MOLE Milan Insomnia DAVID JULYAN Varèse Sarabande The New Guy RALPH SALL Sony* Maelstrom PIERRE DESROCHERS n/a The Mystic Masseur ZAKIR HUSSAIN n/a Nine Queens CESAR LERNER n/a A Shot at Glory MARK KNOPFLER Warner Bros. Spider-Man DANNY ELFMAN Sony, Columbia** Spirit: Stallion of the Cimarron HANS ZIMMER A&M Star Wars Episode Two: Attack of the Clones JOHN WILLIAMS Sony Classical The Sum of All Fears JERRY GOLDSMITH Elektra/Asylum Time Out JOCELYN POOK n/a The Triumph of Love JASON OSBORNE n/a Trouble Every Day TINDERSTICKS Beggars Banquet Undercover Brother STANLEY CLARKE Hollywood* Unfaithful JAN A.P. KACZMAREK Varèse Sarabande Very Annie-Mary Universal Vulgar RYAN SHORE OCF Entertainment * indicates song album with one track of score or less **combination songs and score

MAY/JUNE 2002 6 FILM SCORE MONTHLY v7n04 issue 5/31/02 12:56 PM Page 7

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Moonlight Mile. Jonathan Price Avatar. Upcoming Assignments Crossroads. —R— Who’s writing what for whom —K— Trevor Rabin Bad Company (former- Rolfe Kent About Schmidt. ly Black Sheep), The Banger —E— Wojciech Kilar The Pianist. Sisters. —A, B— Graeme Revell Equilibrium David Arkenstone The Cumberland The Gelfin, XXX. —L— (Miramax), Below (dir. David Gap. Danny Elfman Men in Black II, Red Russ Landau Superfire (ABC minis- Twohy), Daredevil. Craig Armstrong Quiet American. Dragon (dir. Brett Ratner). eries). Will Richter Among Thieves, Altered David Arnold (Bond —F— Nathan Larson Phone Booth. Species. XX). Christopher Franke Dancing at the All for Nothing (w/ Marius Ruhland Heaven (Miramax, Assassination Tango. Harvest Moon. James Woods). Cate Blanchet & Giovanni Ribisi), Tyler Bates City of Ghosts, Lonestar Anatomy II. State of Mind, Love and a Bullet. —G— —M, N— Jeff Beal No Good Deed (w/ Samuel Richard Gibbs I Spy (w/ Eddie Hummie Mann A Thing of Beauty. —S— L. Jackson). Murphy and Owen Wilson), Like Clint Mansell Rain. Marc Shaiman Hairspray (Broadway Christophe Beck The Tuxedo, Mike. Anthony Marinelli Lone Hero. musical). Stealing Harvard, The Skulls 2, Vincent Gillioz Psychotic. Joel McNeely Jungle Book 2. Ash Wednesday (dir. Interstate 60. Phillip Glass The Hours. James McVay One-Eyed King (w/ Edward Burns). Marco Beltrami The First $20 Kahlo (dir. Armand Assante and Chazz Howard Shore Spider, Lord of the Million, I Am Dina. Julie Taymor), Double Down (dir. Palminteri). Rings: The Two Towers. Matthew Bennett Professional Neil Jordan, w/ Nick Nolte). Cynthia Millar Confessions of an Macabre (dir. Robert Courtesy, The Smith Family: For Jerry Goldsmith Star Trek: Nemesis. Ugly Stepsister. Zemeckis). Better or Worse. Jason Graves Between Concrete Sheldon Mirowitz Evolution (minis- Frank Strangio Paradise Found (w/ Gangs of and Dream (Enigma Pictures), The eries about Charles Darwin), The Kiefer Sutherland as Gauguin), (dir. Scorsese, w/ Leonardo Affair (Lucasfilm/ Lego Johnson County War (miniseries Young Blades, Dalkeith. DiCaprio & Cameron Diaz). comedy short). w/ Tom Berenger). Mark Suozzo American Splendor. Simon Boswell The Sleeping Walter Murphy Colored Eggs. Dictionary. —H— David Newman Scooby Doo. —T,V— Carter Burwell Adaptation (dir. Spike Paul Haslinger Picturing Claire. Michael Nyman The Hours (w/ Nicole Semih Tareen Junk Drawer. Jonze), Simone. Todd Hayen History of the White Kidman), 24 Heures dans la Vie Brian Tyler Jane Doe (prod. by Joel House (documentary). d’une Femme (w/ Kristin Scott Silver), A Piece of My Heart (w/ —C— Lee Holdridge No Other Country, Thomas). Jennifer Tilly, Joe Pantaliano). Gary Chang The Glow. Africa. James Venable The Powerpuff Girls Steve Chesne Butterfly Man, The David Holmes Confessions of a —O, P— (feature). Trip, No Turning Back, Dinner and Dangerous Mind. John Ottman My Brother’s Keeper, Joseph Vitarelli Partners of the a Movie. Four Feathers (w/ Point of Origin, 24 Hours (dir. Heart. George S. Clinton Austin Powers: Kate Hudson, Heath Ledger). Luis Mandoki, w/ Charlize Theron, Goldmember, The Santa Clause 2 James Newton Howard Treasure Kevin Bacon and Courtney Love), —W— (Disney). Planet (Disney animated feature), Eight-Legged Freaks, X-Men 2. Willard, Final Elia Cmiral They. Unconditional Love, Signs (dir. M. Pinocchio. Destination 2. Kaveh Cohen Probable Cause Night Shyamalan), Dreamcatcher The Truth About Stephen Warbeck Gabriel. (Discovery documentary), (dir. Lawrence Kasdan). Charlie, Nicholas Nickleby. Mervyn Warren Marci X. Descendant. John Powell Outpost, Pluto Nash, Nigel Westlake The Nugget (dir. Bill Avenging Angelo, G. —I, J— Bourne Identity. Bennett). Goodbye Hello (w/ Zbigniew Preisner Between Michael Whalen Lake Desire, West —D— Dustin Hoffman, Susan Sarandon), Strangers. Point (documentary). Jeff Danna The Kid Stays in the John Williams Memoirs of a Geisha, Picture. THE HOT SHEET Recent Assignments Catch Me If You Can (dir. The Antoine Fisher Spielberg), Harry Potter and the Story, The Incredible Hulk (dir. Angelo Badalamenti Love, Sex, Adam Gorgoni Blue Car (Miramax, Chamber of Secrets. Ang Lee), Ararat (dir. Atom Drugs and Money (dir. Guy w/David Straithairn). Debbie Wiseman Before You Go (w/ Egoyan). Ritchie), Auto Focus. Gary Koftinoff Tribulation Force. Julie Walters, Joanne Whalley), Carl Davis An Angel for May, The Christophe Beck You Promised. Jon Kull The Real Old Testament. Stig of the Dump (BBC). Book of Eve. Christopher Farrell Shakedown Stuart Matthewman North Fork Don Davis 2: Revolutions, (w/Ron Perlman and Erika (w/Nick Nolte, James Woods). —Y— Matrix 3: Reloaded, Long Time Eleniak), The Haunting of Theodore Shapiro View From the Cold Mountain (dir. Dead. Slaughter Studios. Top (starring Gwyneth Paltrow, Anthony Minghella). Patrick Doyle Killing Me Softly, Louis Febre/John Debney Swimfan. Mike Myers). Christopher Young Scenes of the Femme Fatale. John Frizzell Ghost Ship. Alan Silvestri Stuart Little 2. Crime (w/ Jeff Bridges), The Core. Tabloid. Richard Gibbs Liquid. Semih Tareen Space Aces, Vincent Gillioz The Ghosts of Gambling Divinity (co-composer). Get Listed: Composers, send your info to Edendale. FSM [email protected]. FSM

MAY/JUNE 2002 8 FILM SCORE MONTHLY v7n04 issue 5/31/02 12:56 PM Page 9

Film Music Concerts SOUND Scores performed around the globe TRACK LBUM featuring: Sound the Bells, Cello Concerto A with soloist Yo-Yo Ma, The American Journey, ETAILERS California Rosewood, Heartwood for Cello and R June 29, 30, Pasadena Pops, Rachel Worby, Orchestra. Specializing in cond.; Bonanza (), Mutiny on the Bounty (Kaper), (Tiomkin), A Tennessee SOUNDTRACK, Place in the Sun (Waxman), Laura (Raksin), June 26, Nashville S.O.; Bride of Frankenstein Witness (Jarre), The Natural (Newman). (Waxman). BROADWAY

July 2-4, Hollywood Bowl, John Williams Texas and STUDIO CAST CD’s Salute to America, with James Taylor. June 28, 29, Ft. Worth S.O.; The Rocketeer (Horner), Star Trek (Courage). DOMESTIC and IMPORT Colorado RELEASES July 24, Vail, Rochester Philharmonic; July 15, 16, Houston S.O.; Vertigo Valiant (Waxman). (Herrmann). e-mail or write for your FREE CATALOG Illinois INTERNATIONAL P. O. Box 487-Dept. FS June 22, Glen Ellyn, Wheaton S.O.; Victor New Holland, PA 17557-0487 Young medley. Germany NEW e-mail: [email protected] July 8, Munich, Filmharmonic S.O.; The phone/fax: Kentucky Godfather (Rota). (717)351-0847 July 6, Louisville Symphony Orchestra; (Jarre). Attention, Concert Goers Visit our website at: Due to this magazine’s lead time, schedules may www.soundtrak.com Massachusetts change—please contact the respective box office for ALL MAJOR CREDIT CARDS ACCEPTED Aug. 3, Tanglewood; “John Williams 70th the latest concert news. Birthday Concert—Film Night.” Thanks as always to our friend John Waxman of Themes and Variations at http://tnv.net. He’s the go- Aug. 4, Tanglewood; “John Williams Night,” to guy for concert scores and parts. FSM SCREEN The Shopping List ■ Mondo Nudo TEO USUELLI • 143 ARCHIVES Worthy discs to watch for ()(Reissue, 70:50) ■ E Poi Lo Chiamarono Il Magnifico GUIDO & Soundtracks MAURIZIO DE ANGELIS • GDM 2034 (Italy - ENTERTAINMENT ■ Blood From the Mummy’s Tomb (1971) 1972 Western) TRISTRAM CARY • GDI 019 (UK, 66:15) ■ Rene La Canne (1977) Large selection of ■ Cet Amour-la ANGELO BADALAMENTI Hexacord 08 (Italy, 29:22) Milan 198659 (France, 47:10) ■ The Rescuers Down Under (1990) BRUCE new domestic and ■ Changing Lanes DAVID ARNOLD • Varèse BROUGHTON • Disney 60759 (reissue, Sarabande 66353 (39:48) 44:58) import releases, ■ The Drifting Classroom JOE HISAISHI ■ Rollerball (1975) /VARIOUS older releases and FLCF 3665 (Japan) Varese 66354 (Cond. Previn, 38:19) ■ Enterprise DENNIS McCARTHY • Decca ■ Rollerball (2002) ERIC SERRA • Virgin out-of-print CDs 470999 (49:28) 812161 (59:11) ■ Il Etait Une Fois... L’Espace (1981) MICHEL ■ Senso ‘45 ENNIO MORRICONE Major credit cards accepted. LEGRAND • Anime Classique LR-67004 ConcertOne 93492 (Italy, 43:22) ■ Hana-Bi JOE HISAISHI • Polydor 1672 ■ A Shot at Glory MARK KNOPFLER • WB Write for free catalog! (Japan) 48324 (37:59) ■ Honoo No Alpenroze JOE HISAISHI ■ Un Difetto Di Famiglia ENNIO MORRICONE PO Box 550 (TV Animation) TKCA 71917 (Japan) ConcertOne 93491 (Italy, 42:13) Linden, VA 22642 ■ Human Nature GRAEME REVELL • PLXM- ■ With Fire and Sword KRZESIMIR DEBSKI 001 (US release) Pomaton 98304 (Poland, 71:29) ph: (540) 635-2575 ■ Kiki’s Delivery Service JOE HISAISHI TKCA 71031 (Japan) Compilations & Concert Works fax: (540) 635-8554 ■ Legend JERRY GOLDSMITH • Silva 1138 ■ The Science Fiction Album Vol. 1 VARIOUS e-mail: [email protected] ■ The Light at the Edge of the World Silva 1139 (2 CD set) • GDM 7008 (Italy) ■ Concertos NINO ROTA • Chandos 9954 visit: www.screenarchives.com (61:53)

FILM SCORE MONTHLY 9 MAY/JUNE 2002 v7n04 issue 5/31/02 12:56 PM Page 1 0

DOWNBEAT view you really want to get the emotion into the picture by having the music make that transition.” Jones says that his avoidance of the fantasy Dinosaurs and Cowboys genre after The Dark Crystal was quite inten- tional. “When I do a project I find myself writ- ing myself out in a genre,” the composer says. Trevor Jones and Edward Bilous “If I’m doing my job correctly, I’ve explored all share their adventures in the wild the ideas and mined that theme, and when frontier of Televisionland people say, ‘Look, you’ve just done a sword and sorcery movie, here’s another one,’ the last by Jeff Bond thing I want to do is another sword and sorcery

movie. All my best ideas have gone. It took 20 A UTOPIAN VISION: After a series of dark assignments, composer Jones (right) gets to lighten up. years between Excalibur and Merlin, and I turned down so many sword and sorcery pic- tures, First Knight and everything, and I kept revor Jones first burst onto the film scoring scene in the early saying I wasn’t ready to do that. But over the years you’ll be sitting on a train and thinking ’80s with scores for Excalibur and the spectacular The Dark about the sword and the lady of the lake and suddenly something occurs to you. Merlin was Crystal, before eschewing large-scale fantasy epics for more real- just right for me; it came when I had sufficient time between Excalibur, and this [Merlin] was Tity-based fare like Alan Parker’s Mississippi Burning and Andrei a more mature take on the same subject.” Konchalovsky’s Runaway Train. By the late ence into its own reality,” Jones says, pointing Muppet Weirdness ’90s, Jones began making a return to fantasy out the plausibility of James The composer acknowledges that and science-fiction subjects, primarily by Gurney’s series of books set on an he’s taken something of the same scoring some highly ambitious Hallmark tele- Earth in which dinosaurs never DINOTOPIA track in the years between The Dark vision miniseries produced by Jim Henson, became extinct. “This could have harkens Crystal and Dinotopia. “The Dark starting with Gulliver’s Travels in 1996. He happened that this comet didn’t Crystal [represents] a weird period scored the striking science-fiction thriller wipe out the dinosaurs at that point conceptually in my life now that I look back on it, Dark City and returned to territory he had first in history and maybe man and the to working with Jim Henson,” Jones explored in Excalibur with Hallmark’s Merlin dinosaurs could have coexisted. says. “I had a lot of artistic freedom in 1998. Now Jones tackles Hallmark’s sprawl- And who’s to say they wouldn’t have THE DARK to work and develop and grow. What ing three-part adaptation of Dinotopia, a proj- evolved some way of communicat- CRYSTAL, people forget is that Dark Crystal ect that recalls the scope and imagination of ing with each other? It’s weird was a two- or two-and-a-half-year The Dark Crystal. because music really helps to bridge but with project. I did not only the movie but the gap between reality and fantasy; a fresh the making of the movie; we had Light and Bright it has that magical ability to put fashion shows in London, Paris, Jones’ Dinotopia music is almost surprisingly emotion into images that exist orchestral New York and Los Angeles; there bright and optimistic. “This is a kind of purely in the minds of the computer was an exhibition that toured the utopian world between the humans and the graphics guys. That’s part of the joy sound. world and went to Moscow and saurians, and you really want to suck the audi- of what I do; from a human point of everything; and all of these things

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had to have music in them, and we were in the British musicians at the time, and I’m trying to Urrskeks and so on, who were animatronic studio month after month recording music for pass that on to younger people now. and credible creatures that talked, in much the Henson organization to use at these “It’s only recently I suddenly thought to the same way that Dinotopia deals with crea- things. I’ve got hours of the stuff. It’s all copy- myself that Dinotopia is harking back to that tures that talk. I started mentally going back righted to Jim’s company, but it exists.” Jones is era where you’re dealing with humanoid to that Dark Crystal era, and I think, if any- currently looking into reissuing the long-out- creatures—in Dark Crystal it was Jenn and thing, you can begin to detect similarities of of-print Dark Crystal score on his own label. Kira, these animatronic puppet-like crea- ideas in the score from that period. I hope “I’d certainly like to take the album at least and tures (pictured, below left)—but still you’re I’ve moved on orchestrally and that it’s not a have a limited edition, because I did it in digi- dealing with the Mystics and Skeksis and regurgitation.” FSM tal, and it’s never been released in digital.” While The Dark Crystal was an epic sym- phonic work that was hugely popular among

SURVIVAL OF THE FITTEST: The educational series FRONTIER HOUSE required compose Bilous (above) to straddle genres—and musical styles.

dward Bilous has scored for motion pictures (including work on

NO STRINGS ATTACHED: Cast of THE DARK CRYSTAL. Mickey Blue Eyes and a short film written by Ethan Coen) and doc-

collectors, Jones thought at the time that he’d umentaries (the Academy Award-nominated Scottsboro), but for made little impact for all the effort he’d put into the project. “[I was] a writer in my mid- the phenomenal PBS program Frontier House that aired in 30s, and at that point you’re young and arro- E gant,” he explains. “I had this huge job and I April, the composer found himself straddling distant the narrators and editors and pro- thought the world must know I’m working on genres on a show that was part educational, ducers are and however little they want to this; you get paid for doing the job and for part scandalous “reality” T V. lead the audience, some of the subject mat- some reason you expect to get awards for it. On the program, which aired in three two- ter demands emotional settings.” And because nobody ever mentioned to me hour segments on consecutive evenings, Bilous says that spotting is one of the most that this was an outstanding score, I thought, three families go to Northern Montana to crucial decisions a documentary composer ‘What do I have to do to make a mark in this build and live in cabins for five months, living has to make. “One of the ways that documen- world?’ This was really good writing, I thought, exactly the way settlers would have in 1883. taries do differ is that there are layers of real- purely from an academic point of view. And According to the composer, crossing the lines ity that occur in them that are treated differ- then I thought maybe I’m writing too compli- between fact and fiction comes into play ently,” he explains. “For example, the cated music, that this was too complex for even when scoring straight documentaries. “I difference between an interview which may your regular listeners and they’re not into this think that more and more documentary simply be a talking head versus an enactment sort of thing, and I started looking at film scor- films are taking on some of the qualities of versus a shot of a map with a voice-over on ing totally differently. There was a big gear feature films in that they’re cut in a way that top of it offer three very different emotional shift change in my career then. shapes people’s emotional response to the states of being. The job is to decide which one “At that time I was working with some really material they see,” Bilous says. “The nature of these levels am I going to score and which wonderful people: Marcus Dods, a great con- of the voice-over and the script is selected in am I not. In my experience things like enact- ductor who was my mentor, and Peter Knight, a way that arouses certain kinds of reac- ments and footage from the scene tend to who’s a fantastic orchestrator. Peter wanted tions. Documentaries are not necessarily need the most emotional support, whereas me to shine, and he left all the orchestrations the kind of objective, scientific presenta- the talking head stuff and the voice-over stuff that I dictated, exactly what I needed, and he tions you might think they are or that they doesn’t—that’s left alone.” was a great support to me. But I was such a were at one time. There is a little of the lead- control freak about what I wanted to hear ing that can take place, and that’s something Burn the Little House Down orchestrally, and with these guys around me it that music does very well—it helps tell the When he was hired to do Frontier House, one was a great time to bounce ideas off people subplot. But even in the most objective of of Bilous’ first instructions was to avoid were such experienced film guys. They situations there are very emotional issues obvious—in other words, don’t make it Little taught me my craft and they were the best of that occur in documentaries, and however House on the Prairie. “We tried not to address

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DOWNBEAT aspect to the score. “This was supposed to as a composer might be to say, ‘Why is she this have a kind of American sound, and to me the way? There might be something in her life all the obvious stuff, which was that this was American sound is very much the sound that that’s making her act like this.’ So the audience Montana and this was the country, and uses world instruments and lots of interesting is seeing this nasty person and the score is instead focused on the broader human colors,” he notes. “I think most Americans telling them that maybe they should be a little issues,” the composer says. “So when they said wouldn’t think twice about hearing a tabla or empathetic as well. It’s much more of a chal- he didn’t want Little House, what an Egyptian rik or frame drumming lenge than scoring the obvious. Now some- they meant was they didn’t want in a piece of music. If you told them times I was allowed to do that and sometimes every bit of the score to sound like a Is this this instrument comes from South the producers and directors wanted me to be country thing, but instead to program a India, they might think, ‘What does more heavy-handed and obvious and under- address issues of hardship, of strug- that have to do with Montana?’ But line what’s already being said.” gle and of love and if that meant documentary, just listening to it in a track, I think stepping outside of the traditional a soap , they would find the color of it per- Enter the Dramatary folk genre then that was good. The fectly natural.” In the final analysis, Bilous points out that basic way that I constructed the or a lurid Part of Frontier House’s entertain- Frontier House occupies a middle ground score was to have sound elements reality show? ment aspect involves the infighting between documentary and drama. “It’s not that were 19th century but produced among several of the characters, really a documentary; it’s kind of this crazy in a 21st-century way and whenever The score including an overbearing wife from new medium that’s been invented,” he says. possible skip over the 20th century required Tennessee who has no patience “There are times when they’re sitting around altogether. For example, there are with the weaknesses of a wealthy talking about the difficulty of birth control in folk guitars, dulcimers, zithers and a little family from Southern California. the 19th century when it’s really documentary country fiddles that played on top of of each. Bilous acknowledged that he based, but then there are other times when composed tracks that I had, but then wanted to avoid throwing his weight they’re talking about difficulty in their rela- I used ProTools and edited them in as a composer behind the idea of tionships and divorce—that’s soap opera. interesting ways and reassembled them. So any of the characters as being inherently That’s why for me I think I tried to take the the kind of compositional and assembly and unsympathetic. “I find it much more interest- high road whenever possible and deal with production tools were very much the things ing when the musical score can function as a emotional human issues and let the show be you’d use to make a dance record, even counterpoint to the obvious,” he says. “If there the show.” FSM though the sound was acoustic and organic.” is this character who’s whiny or nasty and Bilous added percussion ensembles to a causing problems, I think it’s much more inter- Jeff Bond is the senior editor of FSM; you can forward your string-based orchestra to give a world-music esting for me to find another message; my job comments to [email protected]

MAY/JUNE 2002 12 FILM SCORE MONTHLY v7n04 issue 5/31/02 12:57 PM Page 1 3

LASERPHILE DELUXE LEGENDResurrected A look at the long-awaited Director’s Cut of Ridley Scott’s 1985 fantasy, plus an interview with DVD producer Charles de Lauzirika. by Andy Dursin

es, it’s really here: Ridley Scott’s long-promised, oft- delayed restored cut of Legend—once just a dream for Jerry Goldsmith fans in the U.S.—has been released. It’s out there right now, sitting on store shelves Y like the pot of gold Tom Cruise and his band of forest-dwelling friends find in Scott’s lavish 1985 fantasy.

Most of us know the legendary tales (no pun intended) of Legend’s troubled his- tory. How Scott took his original version with Goldsmith’s classic orchestral score and cut it down worldwide—how he didn’t have enough faith in himself to support his original vision. And, of course, how Scott went along with Universal execu- tives and cut the film down further for the U.S., going so far as to re-score the movie with jarringly inappropriate, new-age rock by Tangerine Dream—all of which essentially bastardized what Legend was intended to be. All of that has been rectified with Universal’s two-disc “Ultimate Edition” of Legend ($25), which features Scott’s restored 113-minute “Director’s Cut”—with Goldsmith’s score intact—along with the 89- minute American release version. The result is a phenomenal DVD package that gives the viewer the movie Legend should have been all along, plus the version most North Americans have been saddled with since its original domestic release. In no version of the movie, however, does William Hjortsberg’s script become as important as the film’s visuals. The characters remain rather stilted no matter how long the movie runs, and the story stays as simple as its premise: In an undefined time, a world of fairies and fantasy, the Lord of Darkness (Tim Curry) seeks to banish all light from the world by destroying a pair of unicorns that repre- sent purity and goodness. Into this scenario comes the noble, for- est-dwelling Jack (Tom Cruise), who attempts to set things right

IMAGES COURTESY PHOTOFEST after the naïve Princess (Mia Sara) unwittingly creates a trap • that Darkness’ goblin minions use to capture one of the mythi- cal creatures. The movie isn’t great drama but is a marvelously conceived and executed visual experience, with some of the most incredible sets ever produced. The plot is secondary to the world of deep, lush forests, dark blue lakes, swaying trees and rolling hills that Legend so dreamily conveys. Of course, that fantastic vision was compromised on its way to theaters. Editing removed Legend’s consistent pace, and Scott’s American version

ARTWORK ©1986 UNIVERSAL STUDIOS robbed the movie of its original intent. Character relationships and moti- vations were cut, condensed and often made confusing. In the U.S.

LEGEND version, scenes were clumsily altered to imply, for

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example, that Jack and Lili have sex, something tained in previous prints. What’s been added fights one of Darkness’ henchmen, since the that doesn’t jibe at all with the movie’s fairy-tale are the necessary elements that a movie needs temp score is still intact—meaning you’ll hear universe. Neither did Tangerine Dream’s syn- in order to breathe: in this case, background a familiar library cue by Tim Souster (best thesized score, which felt completely inappro- detail and atmosphere. known by some as the composer of the main priate and itself was subject to studio med- If you’ve seen either the American or title from Amazon Women on the Moon) and dling, with tracks shuffled around and Jon European versions of Legend, you likely the theme from Goldsmith’s own Psycho II Anderson vocals added to the movie’s climac- noticed gaps in the film where material was shortly thereafter. (For an explanation why, tic cue against the group’s wishes. cut, and you’ll instantly notice the new footage read my interview with the disc’s producer, Before diving into the specific changes in the in the Director’s Cut because it all originates Charles de Lauzirika, next page). There are still Director’s Cut, one must remember that from scenes that felt incomplete the first time sequences in which Scott and editor Terry Legend was cut down in all previous release around: the introduction of Princess Lili run- Rawlings took Goldsmith’s score out of context versions around the world. In Europe, audi- ning through the forest; a clearer outlining of (the “Main Title” plays several different times

ences received a 94-minute cut featuring Jerry Darkness’ plans to control the world; dialogue during the film, even where Goldsmith had Goldsmith’s music, while in the U.S., the film between Jack and Lili; and interchanges composed original music), but fortunately ran 89 minutes without it. Certainly the between the Goblins and Darkness that may there are fewer instances of this during the European version was closer to Scott’s not be integral to the plot—but are essential to Director’s Cut. Director’s Cut than the American release, but it the film. A longer tracking shot of the faerie While an appreciable improvement on the still felt abbreviated and did no favors to Oona waking up Jack in the now-frozen land- European audio mix, the score still doesn’t Goldsmith’s original score, which had been scape displays Scott’s keen visual eye, while make a major impression on the DVD’s diluted and dubbed down through all the edit- pertinent dialogue is restored between Lili and remixed DTS and Dolby Digital soundtracks. If ing room changes. Darkness as he attempts to seduce her, though Goldsmith’s score sounded pinched in the the scene still feels incomplete. As a downside European release, it certainly has more of a As the Director Intended...? to the additions, Legend may now feel a little presence here, but still lacks the punch that the After years of hopeful speculation on the part more sluggish because it takes its time setting music has on the album recording. (As de of the film’s—and the score’s—fans, Ridley the scene, but at least it’s a gorgeous scene that Lauzirika points out, the original music stems Scott has finally unearthed his preferred, 113- needs to be set. were gone, so the 5.1 remix had to be created minute Director’s Cut, and Legend has, in Musically, Goldsmith’s music gives Legend a from the existing 1985 stereo mix, limiting the effect, been reborn. lyrical sense of grandeur that was completely fidelity). Sonically, the new 5.1 soundtrack is The new version is a sumptuous, lyrical fairy missing from the Tangerine Dream score. In otherwise solid, with very effective use made of tale come to life, blessed with one of the Director’s Cut, you’ll now have a better the surround channels throughout. Goldsmith’s finest scores, rich cinematography understanding of how the Watching the Director’s Cut will only by Alex Thomson, and evocative set design by cues fit in the context of the film, and there are increase the disdain many already have for Assheton Gorton, constructed on the famed far fewer jarring edits and alterations than in the U.S. version, which is included in the 007 stage at Pinewood shortly before it burned the European version that did contain package’s second disc along with some excit- to the ground. While the film—even in its Goldsmith’s music. There are also some previ- ing special features. With alternate footage restored state—is still flawed (the pacing is too ously unheard passages (particularly at the (including shots of the Unicorn being revived slow in the second half), at least Legend now end of the film) that fans of the score will find not in any other version), a different ending, looks and feels like a genuine film. Both previ- fascinating to listen to for the first time. and restructured sequences, this Legend ous cuts of the film featured abrupt edits with Although this is the closest we’ll ever get to often feels like the work of another director, barely any character development and conver- hearing Goldsmith’s original work, the 113- with the entire mood of the film disrupted by sations that often felt completely arbitrary. minute cut still isn’t an ideal representation of Tangerine Dream’s contemporary score, aug- The 20 minutes of new footage are, unsur- the composer’s intent. Goldsmith never com- mented by a hideous Jon Anderson song laid prisingly, extensions of scenes already con- posed music for one sequence where Jack over the final scene. If anything, watching the

MAY/JUNE 2002 14 FILM SCORE MONTHLY v7n04 issue 5/31/02 12:57 PM Page 1 5

American version following the Director’s (which Goldsmith scored, albeit not com- Cut serves as a stinging indictment of how pletely with the music running under the Restoring LEGEND clueless studios can often be in assessing scene here), along with audio from the deleted what the audience wants, and also that Scott Faerie Dance sequence, set to storyboards and An interview with DVD producer handcuffed himself by personal indecision still photos. The unused opening, showing the regarding his own work. Goblins tracking light coming from the uni- Charles de Lauzirika That said, Scott does say the decisions that corns in the forest, seems to have been wisely lead to the Tangerine Dream score and the U.S. dropped, but it’s a fascinating scene to watch, harles de Lauzirika is Ridley Scott’s main edit were mistakes; the DVD supplements even in its very rough, incomplete stage here. man when it comes to DVD, having pro- thereafter focus primarily on the physical The fairy dance sequence is a more regrettable Cduced the Special Edition DVDs of , aspect of the film’s production—not studio loss, since it livens up the film’s staid tone (try- Gladiator, Hannibal, Thelma and Louise (due politics and editing room tampering. ing to solve a fairy riddle, Jack either dances or out domestically in the near future) and, now, dies trying), but at least the Legend. He also worked on the stellar DVDs of viewer can gain an apprecia- The Cell, Big Trouble in Little China and the tion of what was lost. upcoming Special Edition of Speed, and he cur- In addition to Scott’s audio rently has on his list of upcoming commentary on the projects. Director’s Cut (quite interest- FSM: Fans have been anticipating this DVD ing, as his commentaries for a long, long time (some of us hoped it would typically are), storyboards happen on laserdisc back in those days). When and a handful of still galleries did Universal really become interested in a are included, along with the Legend release—and when did you first become original U.S. and interna- involved in the project? tional trailers, neither of CL: Universal had been contacting Ridley’s which give an accurate indi- office for years, going back to those laserdisc cation of what the movie was days you mentioned. Apparently, Legend was all about (then again, Scott one of their most requested titles. It was going himself wasn’t sure at the to be one of their Signature Edition laserdiscs, time, either). Some ineffec- but Ridley didn’t have much interest in revisit- tive American TV spots, fea- ing his older films, especially one that had turing Bryan Ferry’s obnox- been as troubled as Legend was. It wasn’t really ious “Is Your Love Strong until the advent of DVD that Ridley started Enough?” single, are also warming up to the idea. I had been working on included, along with a must- the Alien DVD when Universal tried to interest Rich With Extras be-seen-to-be-believed of Ferry’s Ridley again, and this time, since he had J.M. Kenny’s fine hour-long documentary on ballad, heard over the U.S. version’s end cred- become interested in the possibilities that the making of Legend includes interviews with its. Tangerine Dream’s score has also been iso- DVD offered, he said yes, and since I was fin- Ridley Scott, William Hjortsberg, Mia Sara, lated throughout the U.S. version and is pre- ishing up work on Alien, he put me on the Terry Rawlings and co-star Alice Playten—plus sented as it was intended to be heard, with the Legend project. This was three years ago. nifty behind-the-scenes footage—though it cues—many of them alternates—included in FSM: What was the hold-up for the disc’s comes off as a little flat after years of anticipa- their original order. Because of this, there’s no release all these months? tion waiting for the disc’s release. representation of their work in the final 20 CL: When all is said and done, it was really Hjortsberg discusses his script and how minutes at all! about making the best Legend DVD possible. Scott veered off the path during production, Visually, the remastered transfer is gener- This entire project was about righting a wrong, but despite an amusing anecdote from the ally good on the Director’s Cut, with the or maybe several of them, as best as we possi- director about stoners ruining one of Legend’s American version looking grainier and more bly could. Since this isn’t the type of film that test screenings, there aren’t that many tasty washed out. Surprisingly, the best transfer of will get revisited over and over like a popular nuggets about Legend’s turbulent post-pro- Legend is Fox’s Japanese DVD of the blockbuster, it was very important to get it duction. Perhaps because Jerry Goldsmith is European cut, which is well worth tracking right the first time. still (understandably) touchy about what hap- down as an import. The colors are warmer The disc was first delayed in the fall of 2000, pened with his score, the composer does not and the contrasts more consistent than the because we took a long, hard look at the disc as appear, and there’s little discussion of his Director’s Cut — plus, even at 94 minutes, it was then and realized that it was lacking. music—there are also strikingly few comments the European version contains footage not Ridley convinced Universal to hit the emer- ever made about Tom Cruise’s involvement in included in any other cut. gency brake on everything so that we could the film. Editor Terry Rawlings and producer Viewers campaigned for years to see the improve the transfers and locate some of the Arnon Milchan basically state, as Scott does, fully restored cut of Legend not because they extras that had originally turned up missing. As that the movie lost a great deal through re-cut- wanted to unearth a masterpiece—which anyone involved could tell you, it was not a ting and re-scoring, but they’re pretty diplo- the film is not, even in the Director’s Cut— happy situation, but since so many compro- matic and refrain from finger-pointing, which but because the world Ridley Scott and his mises had been inflicted upon Legend in the may have been necessary for the release of this crew devised here is a cinematic experience past, it was time to stop compromising and fol- DVD in the first place but does take some fire like no other, necessitating the restoration of low through on the dream disc that the fans out of the information being presented. Goldsmith’s score and additional footage in had been waiting so long for. Legend is rich with extras. Two deleted order to fully come alive. I’m sure some people would say, “Why go to scenes are included in rough, unfinished form: Finally, after some 17 years, Legend has a all this trouble for a forgotten little cult film the movie’s original, excised Goblin opening happy ending after all. ■ that bombed?” Well, in all honesty, this DVD

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wasn’t made for those people. It was made for question, primarily the kitchen fight sequence, The technical services staff at Universal real- the fans who kept this film alive over the last 17 would play without music, so those scenes ly did the best they could with what little they years. And I think it shows a lot of vision and were never scored. As Ridley was cutting the had. But since much of the music in the film’s courage on Universal’s part to follow through film down and refining it, changing the pace, final minutes are actually songs by Jon with this disc, and a lot of generosity on their and so on, it became clear that the scenes Anderson and Brian Ferry, they were inappro- part for indulging us with this “dream disc.” needed music after all, so enter the dreaded priate for an isolated score track, not to men- FSM: We’ve heard various reported running temp track. Another unfortunate casualty in tion the headaches involved in clearing songs. times of other versions of Legend rumored over Legend’s troubled post-production hell. FSM: We first heard it was Universal’s deci- the years. The DVD runs 113 minutes—was FSM: I noticed on the European version of sion to dump Goldsmith’s score from the U.S. there a longer version ever shown? Legend that Goldsmith’s music was dialed version, but Scott has since said it was his own CL: There were two longer versions, neither down so much that it was hard to hear in decision to a certain extent. The 94-minute of which were intended to be seen by audi- places.Were you satisfied with how his music is European cut with Goldsmith’s music seems to ences. There was a 140-minute rough cut, represented in the new Director’s Cut 5.1 track? be evidence of this (as it was also cut down from which was then cut down to a 125-minute ver- CL: Unfortunately, Legend wasn’t extensive- the 113-minute version). How does Scott feel sion. Ridley thought the film was still running ly archived back in 1985, long before DVD and about the U.S. version now—does he look at it too long, so he had that ver- 5.1 remixes were a priority for as a different movie that he still feels proud of, or sion cut down to the 113- the studios. That’s just the way is it a compromise? minute Director’s Cut that it was for a lot of films. CL: The U.S. version of Legend is included appears on the DVD. The In this case, the original on the DVD as sort of the “ultimate deleted 113-minute version is the audio stems for the Director’s scene.” It’s there as a supplement, to show peo- longest version ever shown Cut were gone, so Chace ple what happened, much in the same way the to an audience, and it’s the Productions worked their “Love Conquers All” version of Brazil is includ- version that Ridley prefers magic to extrapolate a 5.1 mix ed along with Terry Gilliam’s final cut in the out of them all. from the existing stereo mix. Criterion release. But most importantly, it’s FSM: Where did you find As such, there wasn’t much there for the fans who demanded it. the 113-minute version, and control over the music levels. I don’t think Ridley is ashamed of the U.S. what condition was it in? It wasn’t an ideal situation, but version, but he does acknowledge it was the CL: After searching considering the built-in limi- wrong thing to do. I know Ridley is very happy Universal’s inventory and tations and the film’s age, I with the Director’s Cut of Legend, especially calling up several sources to think the 5.1 track sounds because of Jerry Goldsmith’s exquisite score, no avail, it wasn’t looking very good. and that this DVD sort of closes the book on good in terms of finding FSM: Was Jerry Goldsmith the whole thing for him. any longer versions, so for a asked to consult about the FSM: Were there additional supplements while there, we almost had to resort to includ- music for the Director’s Cut, or interviewed for that you wanted on the DVD that didn’t end up ing the European version on the DVD. While all the documentary? there? Any other footage you wanted to find but of this was going on and I was looking around CL: Jerry Goldsmith’s representatives were could not? What are your thoughts on how it L.A., I had been in contact with Garth Thomas, approached about getting him to participate in turned out? who worked on Legend as assistant director, the project, but it just wasn’t to be. I can only CL: It was a big disappointment that we and he wasn’t having much luck finding any- imagine Mr. Goldsmith still has some pretty weren’t able to find actual film footage of “The thing in London either. strong feelings about what happened with Faerie Dance” or the alternate [Goblin] open- One day, Garth found an unmarked print of Legend, and rightfully so considering what an ing. Perhaps with a bigger budget and more something in storage at Ridley’s London office absolutely beautiful score he created. resources, we could have gone to London and and decided to take a look at it. Turned out to FSM: FSM readers will want to know why really scoured every corner. But even then, it be a beautiful, pristine answer print of the 113- Goldsmith’s score isn’t on an isolated track… would be doubtful. I asked editor Terry minute Director’s Cut of Legend. CL: Isolated tracks on DVDs have become a Rawlings about all of this stuff, and he told me But just as we were about to have the print difficult topic for a lot of the studios, and due to he was pretty sure that most of it was long shipped here to L.A., Jeff Cava, who was work- legal issues with some composers in the past, gone. But considering all of that, I think we got ing for Universal at the time, called to let me most of the studios just want to drop isolated a lot of great extras onto the disc, not the least know he had found a print of the same version scores entirely, which is a shame. of which is J.M. Kenny’s wonderful documen- here in L.A., and this one was in even better From the beginning, isolated tracks for both tary on the making of the film. shape. In terms of remastering, there was a lot Jerry Goldsmith and Tangerine Dream were And as strong as the supplements turned of clean-up done, and some minor digital very important to us. After all, the different out, I’m most pleased that Ridley’s cut of the tweaking here and there. There were some scores are at the very heart of Legend’s mys- film has now been made available for people to unfinished temp effects in the Director’s Cut tique. I’m not privy to the specifics, but I know see. It’s really the whole reason we fought so that needed to be replaced with their finished in the end, Universal was unable to get the hard to make the DVD what it is, and I’m glad counterparts in the U.S. version, and, of clearances for an isolated Goldsmith track. people seem to be appreciating the final result course, we needed to create a 5.1 mix for the FSM: The final 20 minutes of the Tangerine and the effort that went into all of this. FSM Director’s Cut, which was produced over at Dream’s isolated score track is silent. How much Chace Productions. of their score was re-edited in the American ver- Thanks to Charlie for taking the time to talk during an espe- FSM: Even in this version, we have the Tim sion, roughly speaking? cially busy period, shortly before the DVD was released. Souster library music and a passage from CL: It’s difficult to say because, again, the Goldsmith’s own Psycho II. Did Jerry ever score original music stems were gone. That’s part of Andy Dursin can be reached at [email protected]. The music for those scenes? the reason why this project took so long. Laserphile appears bi-monthly in FSM and extensive DVD CL: It’s my understanding that Ridley and Things were cobbled together and massaged coverage can be found in his Aisle Seat columns at Jerry Goldsmith had agreed that the scenes in until they were presentable. filmscoremonthly.com/aisleseat.

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poorly on Lucas because one can’t help but contrast it to interviews THE PERSPECTIVE POLICE HAVE BEEN ON FULL where he speaks of the music in hallowed and reverent tones, going so alert these last few months. And with good reason—a new Star Wars far as to claim that the Star Wars films are really “silent movies” (as if his score is more highly anticipated than any other score could hope to be. love affair with sound effects didn’t speak for itself). This borderline The public subconscious is still ringing with the impact of the original, hypocrisy only underlines the key problems with the film: too much and sure enough, Attack of the Clones made a swift climb to the top of technical service and not enough heart. Still, where Phantom’s failings the charts this spring. Of course, success among the were merely uninteresting, at least Clones has the decency to be laugh- masses was a given. The real question is: How does AOTC stack up for ably bad in its worst moments (comic relief has never been so tasteless true film music aficionados? Sifting through the usual bellicose and obligatory—no, not even with Jar Jar). Along with the dilution of extremes (it’s the best/worst Star Wars music ever composed, and any- the music, this causes the film to suffer to the point where it can’t be one who thinks otherwise is Bantha called relentlessly successful. It’s a poodoo!), we find that it holds up reminder of why Lucas should never remarkably well. What Williams has ever be allowed to complete a script or given us is an aggressive and mature STAR WARS direct his own work. composition that puts much of The But to call the film a failure would be Phantom Menace’s transparent super- to shortchange its many positives. ficiality to shame. There’s an awful lot to enjoy in Attack of It’s simply impossible to fully digest the Clones, or at least to hold one’s inter- the cacophony of sound and motivic est. The controversy alone over such depth of Williams’ score on the first “advances” as an all-digital Yoda will pass. Repeated listens reveal a solid and EPISODE keep fans happily polarized for years to well-constructed album—certainly a come. Ian McDiarmid’s is far cry from the cobbled mess that was TUNES: masterful, Christensen and Portman Phantom’s OST. Williams strikes a nice almost succeed in making you forget balance between action, drama and you’re hearing George Lucas dialogue, romance. The centerpiece of the score and Ewan McGregor’s transformation is the ingenious “Across the Stars,” a into a younger version of Alec Guinness hugely successful tribute to the great is most impressive. Not to mention the love themes of bygone eras and a wel- indomitable Christopher Lee and his come addition to the Star Wars canon. ATTACK impeccable swordsmanship. And It’s quintessential Williams, perfectly despite its wretched post-production capturing all of the passion and angst ON THE treatment, John Williams’ music remains the film strives to attain. Plus, the one of the film’s highlights. theme is an obvious variation on the Here, then, is a comprehensive guide Star Wars main theme (though in triple to all the music currently available, meter, it’s a near rhythmic equivalent to where to find it in the film and where to Luke’s original theme). Now, for those find it on the soundtrack. Remember of us who care, this beautiful but trou- that your CD player read-out may vary bled Love theme for Anakin and by a few seconds. Timings may not be Padme, Luke’s parents, serves as a trag- SCORE exact. Some tracked cues are more ic foundation for Luke’s noble theme in JOHN TAKIS EXPLODES cleverly edited than others, so uniden- Episode IV. The remaining score is also tified repetitions are definitely possi- Williams in top form, firmly grounded CLONES AND PUTS IT ble. There are also unconfirmed reports in the Star Wars tradition, and dynamic of different prints containing different and original enough to be compelling. MUSICALBACK ENGRAVINGS TOGETHER. BY BRIAN SATTERWHITE tracked music. What’s disturbing is what happened after Williams wrote and recorded his Main Title (1:41) * OST Track 1 [0:00–1:40] score. As it turns out, the severe hacking and splicing, tracking and On the CD (and probably in the film) this is the same recording used for looping of The Phantom Menace was only a warm-up. For a director to The Phantom Menace, right down to the opening post-title strains, disrespect his film’s score is not at all uncommon. But I feel confident which flow into... in saying that a John Williams score has never been so shabbily treated as in Attack of the Clones. The digital age may have opened up valuable Ambush on Coruscant (2:32) * Unreleased (OST Track 1 is mislabeled) new worlds of visual possibilities, but Lucas’ ability—and tendency— A dark mysterioso passage underscores the Naboo flight’s passage to tinker with editing until the 11th hour has only increased. through the clouds of Coruscant and continues through the assassi- Consequently, Williams’ music is treated less like a vital narrative com- nation scene with some tragic horn writing. There is an unsettling ponent and more like cinematic wallpaper. This time around, the transition to... musical displacement grows so severe that the majority of the film’s final act is a Frankenstein patchwork of music from The Phantom The Councils Confer (2:47) * Unreleased Menace! Sure, the average theatergoer might not notice, but anyone More mysterioso strings as Palpatine confers with the Jedi Council musically attuned to the saga won’t fail to raise an eyebrow. Rest regarding the Separatists. We hear the first statement of the galactic assured, such disregard for musical continuity will only become more “Conflict theme” (Fig. 2), a dark seven-note figure (this theme, repre- obvious over time. senting much of the villainy in Clones, is actually a variation on the After all, music has always been the heart and of the Star Wars Love theme, using the same pitches over different harmonies). Hints of movies. In Attack of the Clones, Lucas has used and abused it like just the Main Title theme usher in the Loyalist Committee, followed by a another layer of artificial trimming. This treatment reflects especially lighter interlude as Yoda talks to Padme. The Conflict theme returns as

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they bring up Count Dooku. A passage foreshadowing the pure form of the Love theme follows, as we cut to... Departing Coruscant (1:44) * Track 5 Subdued horn fanfares open Anakin and Padme’s departure. This cue Old Friends (2:01) * Unreleased features an interesting figure (Fig. 4) oddly reminiscent of the Obi-Wan and Anakin arrive at Padme’s quarters, where they reunite “Approaching the Death Star” motif that opened . A with Jar Jar. The music is in the whimsical vein of Phantom’s lighter short quote of the Force theme appears. moments, and while Jar Jar’s theme is absent, there’s a nice quote of Anakin’s theme for his opening dialogue with Padme, just before the Dex’s Diner (source music) (2:03) * Unreleased music fades out. The “Dex’s Diner” scene is a tip-of-the-hat to Lucas’ American Graffiti

Unrequited Love (0:52) * Unreleased This brief passage includes a suggestion of the Love theme’s B-section (Fig. 1b) as Anakin bemoans Padme’s standoffishness. Cut to:

Jango and Zam (0:25) * Track 3 [0:00–0:25] Percussion and muted trumpets as Jango gives Zam her assignment. Cut back to:

Setting a Trap (0:57) * Unreleased Atmospheric strings underscore Obi-Wan and Anakin arguing about using Padme as bait.

Zam’s Probe Droid (0:15) * Track 3 [0:00–0:15] Tracked music from “Jango and Zam.” The first sure incidence of tracked music in the film. Definitely not the last. Zam the Assassin and the Chase Through Coruscant (14:53) * Track 3 [0:26–end] * Partially Unreleased This powerhouse cue is one of the film’s major set pieces. And it’s a mess to sort out, the first real victim of post-production editing. A few minutes of original music are unreleased: some tender music recalling Shmi as Anakin confides his dreams to his master; the slithery accom- paniment to the centipedes invading Padme’s room; and later, a brief bit where Zam shoots Obi-Wan down and hops on her speeder. Later in the chase, music is tracked and repeated, and the electric guitar that featured so prominently on the album is removed. Ultimately, a por- tion of Track 3 [4:20–5:25] on the OST didn’t make the final cut. Fortunately, the album experience of this cue remains thrilling and dynamic...some of Williams’ most inventive action-writing, harking back to and . The cue slows down toward the end (without losing tension), culminating with Zam’s death and the transition to the Jedi Council. A quote of the Conflict theme may have been tracked in for Jango Fett’s brief appear- ance. Ultimately, we can be sure of at least 12:00 of original music com- posed for this sequence.

Cue Breakdown: Unreleased [1:19] (Anakin’s bad dreams; centipedes slip in) Track 3 [0:26–2:32] • Unreleased [0:09] (Obi-Wan is hit; Zam takes off) • Track 3 [2:33–4:20] (no guitar) Track 3 [1:29–2:17] • No Music [0:04] (Zam in the tunnel) Track 3 [3:43–3:54] • Track 3 [5:26–10:16] • Unreleased [00:25] (Conflict theme— days—as close to a ’50s diner as you’re likely to find in the Star Wars might be tracked from “The Councils Confer”) • Track 3 [10:17–end] universe. A swingin’ bass vamp plays softly in the background.

The Greatest of All Jedi (1:41) * Unreleased The Jedi Archives (1:15) * Unreleased A quasi-sinister passage with a terrific Patriot-like trumpet melody Another dark, mysterioso piece, as Obi-Wan searches for answers at offers vague hints of the theme for Darth Sidious and the Dark Side, as the Jedi Archives. There is another extended quote of the Conflict the future emperor counsels his future apprentice. This is followed by theme (that might be tracked from “The Councils Confer”) before a atmospheric scoring as Obi-Wan shares his concerns about Anakin high-energy orchestral run as we cut to Anakin and Padme’s transport. with Yoda and Mace Windu. Forbidden Love and Yoda and the Younglings (3:55) * Track 4 ARTWORK ©2002 LUCASFILM LTD. Growing Up (2:37) * Unreleased The first minute or so of this cue covers Anakin explaining his broad The first 14 seconds of this cue are tracked from Track 10 [0:23–0:37]; definition of love to Padme. There’s a gentle motif for the opening

EPISODE 1I more subtle, atmospheric music for Anakin talking with Padme about transport scenes (Fig. 5). We hear the first phrase of the Love theme in Obi-Wan. Here Williams introduces the first formal presentation of the the reeds before a soft transition to the Jedi Temple, where Obi-Wan Love theme (Fig. 1), as an oboe solo. This is followed by an unusual off- interrupts one of Yoda’s lessons. After a quote of Yoda’s theme, there is

STAR WARS: beat fanfare for the transition to the shuttle-bus. a lovely wordless choir to accompany a holographic projection of the

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galaxy. The Force theme closes the scene, followed by a sweeping state- transition to the next scene. ment of the Love theme as Anakin and Padme arrive at Naboo. Padme’s Island Retreat (1:54) * Unreleased Entering Theed and Royal Counsel (2:17) * Unreleased This cue begins with a warm movement prefiguring the meadow Quiet underscore for Anakin and Padme’s consultation with Queen picnic scene. Anakin and Padme’s conversation turns romantic, and Jamilla regarding appropriate security measures. the pair share their first kiss to a bittersweet rendition of the Love theme (with harpsichord accompaniment) that blossoms and quick- Arrival at Kamino (1:51) * Film Version Unreleased * Track 1 [2:13–end] ly fades as Padme pulls away. There’s a sweeping musical transition A new fanfare for Obi-Wan’s arrival at Kamino. A short rising and for the cut back to the Kamino cloning facility. falling motif accompanies the stormy landing sequence (Fig. 6). There is a quote of the Conflict theme as Obi-Wan learns he is expect- Clone Army Revealed (1:55) * Track 9 [1:28–end] ed, followed by another new motif for the audience with the Prime A new five-note motif for Obi-Wan’s tour of the cloning facility (Fig. Minister Taun We (Fig. 7). This last passage is a different recording in 8). The music builds to a striking rendition of the Droid March from the film, with minor alterations. The Phantom Menace for his first view of the assembled troops, who are “superior to droids.” One of the measures in the march is looped. Audience With Taun We (0:37) * Unreleased The Taun We motif returns in a foreboding passage, as Obi-Wan is The Meadow Picnic (2:30) * Track 8 [0:00–2:30] informed of the existence of the clone army. This cue may have ini- An album highlight, this is a gentle pastoral movement for Anakin and tially been longer, since Track 1 [2:40–3:01] has been tracked as a Padme (Fig. 9). The music turns subtly serious for Anakin’s half-joking endorsement of dictatorship, then swells into a lovely 4/4 arrange- FIG. 1: “Across the Stars” (Love theme) ment of the Love theme for a “the hills are alive” moment. The climac- tic part of this cue was hacked up in the film, making for a jarring and exposed music edit. But worse, after this edit and the end of the phrase, much of the passage is looped again. The cue rounds off with a final statement of the Pastoral theme.

Kamino Storm (0:31) * Track 1 [1:41–2:12] An extended reprise of the Kamino fanfare (Fig. 10) opens an extended exterior view of the Kaminoan city, and the rising and falling “storm” motif from “Arrival at Kamino” returns briefly. (This is the scene with the giant flying whale.) The music fades directly into the next cue, as we are introduced to a young .

An Interview With Jango (2:13) * Unreleased Unsettling music gives way to the Conflict theme as Obi-Wan and Jango meet. A new motif (Fig. 11)—three notes rising, three notes falling, à la Vertigo, or merely a skeletal version of the Kamino storm motif—is introduced, and seems to represent mystery and descent. The Conflict FIG. 2: “Conflict” theme theme returns, but just before it does, we hear the low woodwinds play a subtle statement of the Dark Side theme—or perhaps it’s a nod to Boba Fett’s motif from Empire. Both revolve around a minor third.

Anakin and Padme (3:56) * Track 6 FIG. 3: “Coruscant Chase” Ostinato Flute-led variations on the Pastoral theme play beneath the dinner/fireplace scene. The tone turns serious, followed by a statement of the Love theme on synthesizer. The Love theme B-section (which represents the angst-ridden side) returns in an affecting passage dom- inated by the strings, as Padme rejects Anakin’s confession of love. A FIG. 4: “Departing Coruscant” final swell in the horns, for the transition back to Kamino, can be heard on the album but was replaced in the film with a less obtrusive cut from Track 6 [1:35–1:47].

FIG.5: “Aboard the Naboo Transport” Dark Mysteries (2:42) * Track 8 [2:31–end] * Partially Unreleased The six-note “mystery” motif returns and is developed while Obi-Wan informs his masters of the information he has uncovered. There are about 58 seconds of unreleased material that belong at [2:39], includ- ing a haunting quote of the mystery motif in the bells. The first four FIG. 6: “Kamino Storm” Motif notes of the eight-note horn figure that follows are looped once, as Yoda and Mace discuss their increasing weakness. There is a cut to Anakin’s nightmare, which is scored with frantic strings that anticipate his mur- derous frenzy. The music quiets as Anakin wakes. FIG. 7: “Taun We” Anakin’s Resolution (1:28) * Unreleased * TPM:UE Disc 2, Track 7 [0:14–1:26/3:40–end]/Track 8 [0:00–0:01] A lovely horn solo as Padme approaches Anakin about his nightmares

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and he resolves to find his mother. The open- Separatist gathering. The Trade Federation Count Dooku’s Offer (1:00) * TPM:UE Disc 2, Track ing lasts about 11 seconds and might be theme from TPM is reprised, followed by the 3 [0:07–0:38/0:50–1:05]; Track 12 [0:01–0:21] tracked. The rest of the cue certainly is...but Conflict theme, as Obi-Wan eavesdrops. Who knows if Williams composed original not from AOTC! This marks the first time in the music for this scene—Lucas didn’t use it. It’s score, but unfortunately not the last, that The Tusken Camp and been tracked with brooding music from TPM. music is taken directly from The Phantom Bringing Mother Home (5:54) * Track 11 Menace—not merely the same musical A darkly percussive rhythm accompanies New Authority (1:48) * Unreleased arrangement but an actual recording from Anakin sneaking into the Tusken camp. A trumpet fanfare returns us to the Galactic TPM’s score! There’s a tragic and tender passage for Senate. Noble music for Jar Jar’s proposal. Shmi’s death that is reminiscent of her music Another statement of the Conflict theme, with Jango’s Escape and Return to Tatooine from TPM. Tension builds to the tumultuous martial overtones, for Palpatine’s acceptance (3:48) * Track 7 (OST Track 10 mislabeled) strings of Anakin’s earlier nightmare as he speech. Roughly the first three minutes of this cue are begins his vengeful slaughter. The music pure action, revolving around a short ostinato keeps moving, but quiets down as Yoda, on Going to Rescue Obi-Wan (Fig. 12), as Obi-Wan battles Jango, who man- Coruscant, senses Anakin’s pain (and yes, (2:30) * TPM:UE Disc 1, Track 3 [0:27–1:13/1:19–2:02] ages to escape Kamino with his “son.” It’s typ- that’s Liam Neeson’s voice calling “Anakin, Tracked music for Anakin and Padme’s landing ical Williams: brass-intensive, with lots of Anakin, no!”). This is the score’s first state- on Geonosis. They sneak into the droid foundry. rushing strings and woodwind punctuations. The last third of the cue is earthy music for Anakin and Padme’s arrival on Tatooine, and has an Arabic flair.

A Visit With Watto (0:51) * Unreleased A bit of non-thematic dramatic underscore as Anakin learns that his mother has been sold. Bounty Hunter’s Pursuit (1:46) * Track 9 [0:00–1:27] * Partially Unreleased This exciting cue launches midway through the battle among the asteroids, winding down once Jango believes Obi-Wan has been destroyed. There are around 19 seconds of unreleased music at [1:17], as Jango lands and Obi-Wan leaves his hiding place. ment of . The tension The Droids Follow continues as Obi-Wan attempts to contact (0:39) * TPM:UE Disc 2, Track 12 [1:21—1:56] Secret Landing (0:41) his apprentice. Anakin bringing his mother’s A short motif for Artoo and Threepio as they An eerie and foreboding passage as Obi-Wan body home is scored with a low male chorus secretly follow Anakin and Padme, tracked lands on Geonosis. and descending horns. A section [3:11–3:24] from TPM’s “War Plans.” of this cue is looped. The Lars Homestead and On the Conveyor Belt (4:45) * Original Version The Search Montage (4:07) * Track 10 [0:00–4:07] The Dark Side Takes Root (2:42) * Unreleased (3:12) * Track 14 (Exclusive Bonus Track) The beginning of this cue employs a relatively An oboe solo underscores the beginning of a Before Lucas decided to add a horrendous light touch, underscoring Anakin’s reunion dialogue between Anakin and Padme, leading subplot involving Threepio and a battle droid with Threepio and his meeting with his new to Anakin’s confession. As he realizes the hor- swapping heads, this sequence was signifi- stepfamily. The six-note mystery/descent rific nature of his actions, and the hatred that cantly shorter...and presumably, Williams’ motif returns as Anakin learns from his stepfa- has taken hold of him, the Emperor’s theme original cue (as heard on the exclusive Target ther that his mother has been kidnapped by swells, with chorus. Anakin collapses to a pro- bonus track) fit perfectly. Alas, very little of the Tuskens. Anakin goes outside and stares into nounced statement of the Imperial March. A original, wackily percussive cue survived the Tatooine sunset. The scene parallels Luke highlight among the unreleased cues. intact—the middle section was thrown out in A New Hope, and the music clinches the like- entirely. Instead, music has been tracked from ness: Williams uses the exact same orchestra- Shmi’s Funeral and Crisis on Geonosis all over the place: “The Arena” (Track 12), tion—only instead of resolving the theme, he (4:03) * Unreleased “Yoda Strikes Back” (Unreleased), but mostly shifts into a minor mode and launches into Begins as a warm eulogy for Shmi, with promi- “The Chase Through Coruscant” (Track 3). “” for the subsequent search nent horn writing. Artoo interrupts with a Amidst it all, there sounds like there might be montage. It’s a new arrangement with some communication for Obi-Wan that turns vio- a few precious seconds of material that does- subtle electronic effects. Lucas must not have lent in an attack. Padme and Anakin resolve to n’t appear on the soundtrack or any other cue approved of the way Williams wound it down, go to his rescue. Meanwhile, Palpatine’s coun- in the film...but it’s too much of a mess to be because he spliced on a slam-bang finale from cilors gather with the Jedi. worth bothering about. The Phantom Menace (TPM:UE Disc 2, Track 27 [2:04–2:10/2:14–2:17]) that ruins the effect. Emergency Powers (0:40) * Unreleased Cue Breakdown: Track 14 [0:00–0:32] • Track 12 The Conflict theme plays underneath the sug- [6:10–6:28] • Track 12 [7:13–7:29] • Track 12 [6:10–6:18] Spying on the Separatists gestion to vote Palpatine emergency powers, Track 13 [0:09–0:21] • Track 14 [0:28–0:55] • Track 3 (2:48) * Track 10 [4:08–end] then the music builds through a cut to [1:53–2:06] • Unreleased [0:14] (tracked from “Yoda Sneaky music for Obi-Wan’s infiltration of the Geonosis and Obi-Wan’s imprisonment. Strikes Back” [2:22–2:36]) • Track 3 [1:29–2:18] droid foundry, where he comes across a Track 12 [7:40–7:48/7:57–7:59] • Track 3 [2:33–2:50]

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Track 3 [3:47–3:55] • Track 3 [6:22–6:24] • Unreleased [2:02–2:13] through a brief firefight, and ends with the cut [0:10] (Artoo lands) • Track 3 [2:38–2:50] • Track 3 Super Battle Droids Advance (0:04) * TPM:UE Disc 1, Track to Obi-Wan’s transport. Heavy brass chords [4:06–4:14] • Track 14 [3:04–3:07] • Track 14 [2:41–end] 9 [3:01–end] accompany the clone troopers. The Battle Begins (0:28) * TPM:OST Track 9 [1:58–2:26] Captured (0:37) * Unreleased Jedi vs. Droids (0:14) * TPM:OST Track 14 [0:50–1:04] Going After Dooku Light comic moment for Anakin’s Stolen Chariot (0:40) * SW:E1 RACER computer game— (1:50) * Track 12 [6:58–end] * Partially Unreleased lightsaber, then a brief conclusion as the cou- Podloop1.wav [0:01–end]/TPM:UE Disc 1, Track 33 This cue begins with high-speed chase music. ple are captured by Jango Fett. Transition to [1:44–end] There are about 23 seconds of music spliced the arena: The Battle Continues (0:32) * TPM:OST Track 9 [2:27–2:59] out of the soundtrack at [7:09], just before The Reek Charges (0:38) * TPM:UE Disc 1, Track 12 Padme gets knocked out of the Republic ship. Love Pledge and The Arena [0:09–0:41] Here the album resumes with a tragic state- (6:57) * Track 12 [0:00–6:57] Mace vs. Jango (0:04) * Unknown (a few looped notes) ment of the Love theme, as Anakin is torn A rumbling swell leads to the most impas- Mace Decapitates Jango (0:03) * TPM computer game— between love and duty. The Force theme is sioned version of the Love theme. It starts sqplayerdeath.imc woven in as Master Yoda senses a disturbance. softly during the pledge, then blossoms into a Jango Is Dead (0:02) * Unknown (a few timpani hits) This is followed by a fast-paced conclusion as magnificent, sweeping statement as the Count Dooku and Boba React (0:08) * TPM:OST Track 13 Dooku lands in his hangar and the Republic lovers are wheeled into the arena. There are [4:34–4:42] gunship is destroyed. some xylophone effects for the Geonosians Threepio Down/Aggressive Negotiations/Obi-Wan vs. The during a short passage that precedes a new Acklay (1:06) * TPM:OST Track 5 Confrontation With Count Dooku march for the arena monsters (Fig. 13). [0:26–0:45/0:19–0:24/0:46–0:49/0:55–1:25/2:20–2:30] (2:47) * Unreleased (OST Track 13 mislabeled) “This Is Such a Drag!” (0:20) * (Note: There appears to be some cross-over TPM:OST Track 9 [1:36–1:57] tracking within the following two cues.) A horn Surrounded (0:39) * TPM:OST fanfare announces Obi-Wan and Anakin’s Track 5 [1:51–2:23/2:29–end] entrance into Dooku’s secret hangar. The music for the ensuing duel is tense and per- THE BATTLE OF cussive, very dark. There’s a brief interlude GEONOSIS II (1:34) where Padme is seen recovering outside on The Droids Re-activate (0:02) * the dunes, and we hear the Love theme. The Unknown (timpani rumble) battle is rejoined, and a low chorus sounds a Imminent Execution (0:11) * note as Obi-Wan falls. The music intensifies as TPM:UE Disc 1, Track 14 [1:02–1:13] Anakin battles Dooku, the percussion building Send in the Clones (1:04) * in strength until Anakin’s defeat. An explosion TPM:UE Disc 1, Track 15 in the brass continues the cue, and there is a [0:03–0:29/0:51–0:58/1:01–1:38] segue to... A Most Peculiar Dream (0:08) * TPM:UE Disc 1, Track 14 Yoda Strikes Back (2:59) Developed over the next four minutes, the [1:00–1:08] A timpani roll fades into eerie, atmospheric fugal march is Rózsa-like, similar in style to Boba Mourns (0:08) * TPM:UE Disc 1, Track 3 [1:55–2:02] music for the arrival on the scene of the the droid march and the flag parade from The diminutive Jedi master. Dissonant music Phantom Menace. The middle portion of the THE BATTLE OF GEONOSIS III (1:41) sounds as Dooku challenges Yoda with Force march [2:38–5:55] has been cut out of the film, Underground Chamber (0:04) * Unknown (timpani swell) tricks. Crunchy brass and a chorus support the replaced by sparse use of what sounds like Dire Straits (0:13) * Conflict theme (probably tracked from ensuing lightsaber assault. When he can’t win, source percussion. The very end of the cue “The Councils Confer”) Dooku knocks a huge pillar toward the defeat- [6:53–6:57] has been chopped off. Republic Gunships (0:48) * TPM:OST Track 6 [0:03–0:48] ed Obi-Wan and Anakin. We’re treated to a From this point on, through the duration of Spider Walker (0:08) * TPM:OST Track 10 [4:02–4:10] forceful statement of Yoda’s theme in the brass the army battle sequences, it all goes to the “Attack Those Federation Starships” (0:14) * TPM:OST as the Jedi master abandons the fight to save Sith. There are dozens of edits and splices. Track 14 [2:27–2:41] his Jedi. There is a final eruption of brass as Almost all of the music is tracked from TPM. Reporting to Master Yoda (0:10) * TPM:OST Track 14 Dooku escapes. Ironically enough, most of it was written for [3:15–3:25] TPM, not actually used in TPM, and makes its Lord Tyranus Returns and Finale first film appearance in AOTC. Confused? THE BATTLE OF GEONOSIS IV (1:57) (6:04) * Film Version Unreleased * Track 13 [0:00–4:43] Understandable. Some of this music was The Ultimate Weapon (0:47) * Tracked from “Spying on This cue is a bit of a conundrum. Parts of it heard in the various TPM computer games. the Separatists” * Track 10 [6:45–6:50/6:08–6:51] (ends have been tracked over and extended in the with timpani-roll snippet) film, parts of it have been removed on the THE BATTLE OF GEONOSIS I (6:21) Wheel Tanks (0:10) * TPM:UE Disc 1, Track 5 [0:02–0:12] album. At least one part of it was entirely re- Mace Windu Arrives (0:06) * TPM computer game—sqdan- Droid Explosion (0:05) * TPM computer game—sqplay- scored. To begin with, Dooku’s flight has been ger1.imc erdeath.imc (a few extra timpani hits tacked on) tracked with music from Track 1 [1:54–2:00] Mace Ignites His Lightsaber (0:06) * Unknown The Conspirators Escape (0:26) * Tracked from “Arrival at (written for the stormy waters of Kamino). “This Party’s Over!” (0:06) * TPM:UE, Disc 1, Track 3 Kamino” * Track 1 [2:13–2:39] There are a few seconds of unreleased music [1:55–2:01] Concentrating All Fire (0:44) * Jedi Power Battles comput- as his interstellar glider unfolds, then a brief The Jedi Reveal Themselves (0:12) * TPM:UE, Disc 1 Track er game—Track 5 [0:15–0:59] statement of the Force theme and some tired- 4 [0:50–0:56/0:58–1:01/1:04–1:13] sounding music for Yoda, but these are almost Back to the Balcony (0:02) * TPM computer game—sqdan- Attack of the Clones(0:22) * Unreleased certainly tracked. The passage closes with an ger1.imc [0:08–end] (last note) A short bit of dramatic action music that edit from “Bringing Mother Home”—Track 11 Impossibly Outnumbered (0:10) * TPM:UE Disc 1, Track 3 begins as the sphere ship falls, continues [5:36–5:43]. At this point, the first 44 seconds of

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Track 15—which features a very nice, pained point in his favor. FIG. 8: “Kamino Tour” statement of the Force theme—have been replaced for no apparent reason, and to detri- Unsubtle Messages mental effect. What are we to con- The cue continues with a swirling motif, clude from all this? with chorus, for Dooku’s arrival on Coruscant “The Homing Beacon FIG. 9: “The Meadow Picnic” (this same idea opens Track 15 on the CD, and #54,” the official Star should have underscored Dooku leaving Wars newsletter, quot- Geonosis). There are some low string move- ed producer Rick ments as Dooku’s ship re-folds itself. Now we McCallum: “There’s a are at Track 13 [1:15] on the CD, and there is an massive amount of edit. The film features a statement of the Dark music, over 125 min- Side theme as Dooku’s ship travels over a hos- utes’ worth.” The FIG. 10: “Kamino Fanfare” tile, smoldering landscape to land in a secret same issue also men- hangar. The CD resumes...a chilling soprano tions that the LSO solo over delicate strings play as Dooku is included “110 players revealed as Darth Tyranus during his meeting per day,” which may with Darth Sidious. This is followed by a pas- explain recent reports sage of delicious foreboding as the Jedi from CNN and other attempt to discern what has taken place. The media outlets that FIG. 11: “Mystery/Descent” Motif music builds over scenes of clone troopers Williams composed marching off to war, rising to a grandiloquent only 110 minutes of statement of the Imperial March in all its glory, music for the film (the with hints of the Love theme woven in. latter being an obvi- Sources involved with the recording of the ous fallacy). If we FIG. 12: “Jango’s Escape” Ostinato score maintain that Williams had originally crunch the numbers, composed a magnificent “orchestral blowout” we find that between for these final scenes, and that the Imperial the film, the CD, and March was added as a re-score. The fact that a the known alternate few seconds of unreleased finale music cue, it all adds up to FIG. 13: “Arena Battle” March appear in the “Across the Stars” music video about 124 minutes of support this theory, as do the rather obvious original music. Given edits on the CD at [2:59] and [3:37]. the massive amount The finale closes with scenes of Padme and of tracking, it’s proba- Anakin’s wedding on Naboo. The Love theme bly a safe bet that hits full stride, building to a grand finish that Williams composed at bursts directly into the end credits. It’s not least a few minutes of music that didn’t make An Attack of the Clones: Ultimate Edition hard to argue that this is Williams’ best Star it into the film. We know from interviews that would certainly be welcome...but if handled Wars finale since Empire. the special effects had not been completed at as its predecessor was—with all the musical the time Williams recorded the score—if you edits, as detailed in this article, preserved End Credits (6:00) * Track 13 [4:43–end] find the music lacking in “inspiration,” per- intact on an official soundtrack CD—it would Insult on top of injury. After his slaughter of haps it’s because Williams was working with be beyond laughable. the score in the film, George Lucas neglected animatics and not actual footage—so it’s any- One of Sony Classical’s promotional lines to preserve Williams’ original end credits— body’s guess if original music was ever com- regarding TPM:UE was that they were giving again, for no apparent reason. Williams origi- posed for the film’s third-act battle sequences. the fans exactly what they asked for. Let’s nally composed for the credits: (1) the tradi- There are also issues surrounding the origi- make sure that this time, they know exactly tional main Star Wars theme (possibly the nal soundtrack album. It’s a fair representa- what we’re asking for. Just look over the “Battle TPM recording in the film); (2) an arrange- tion of the score, with great sound quality...but of Geonosis” edits again and decide if that’s ment of the Love theme very similar to his once again, there are no track times or liner what you want on your AOTC “complete concert suite “Across the Stars” (Track 2 on the notes beyond the obligatory paragraph from score” presentation. Then go online and visit CD), with significant alterations. To start with, Williams and Lucas. Sony Classical has missed www.jwfan.net, where you’ll find a link to a in “Across the Stars” the final movement fea- the boat in this regard—of all the scores wor- petition. Even better, you can write polite let- tures a harp solo; in the end credits, it’s a harp- thy of being written about, the Star Wars ters to: Sony Music Entertainment, Inc., 550 sichord. Then, instead of a conventional end- albums rank high. And then there is the “alter- Madison Ave., New York, NY 10022-3211. ing, we get an exquisite quote of Anakin’s nate editions” fiasco. Bonus features exclusive When soundtrack fans speak in great num- theme from a solo horn. It’s an incredibly to various stores (screensaver at Wal-Mart, bers, soundtrack producers listen! Rhino’s poignant moment—it feels like an elegy, a bonus track at Target, trading card at Best Buy) release of the complete original tracks to reminder of something that has now been and the “collectible covers” craze have helped Superman are an enduring testament to the lost. The final subdued passage insidiously reduce soundtracks to the level of trading power of the fans. Make your voice heard, and weaves together the Love theme and the cards. In some respects, film score fans should perhaps Sony Classical will show Williams’ Imperial March. A perfect ending, one that be happy to see soundtrack sales go up, but music the respect George Lucas failed to sums up the whole undercurrent of the film. one can’t help but feel slightly miffed at the demonstrate. FSM And Lucas simply cut it out. No conflicting missed opportunities to create higher-quality Special thanks to “elvisjones,” Jim Ware, “Indy Solo” and special effects, no time requirements—we can products. The lamentable The Phantom “Ordieth99” for their assistance. only assume that he didn’t like it. That’s not a Menace: Ultimate Edition is a prime example. You can write the author at: [email protected].

FILM SCORE MONTHLY 23 MAY/JUNE 2002 v7n04 issue 5/31/02 12:57 PM Page 2 4

It’s mid-March and Danny Elfman is at the Sony Studios scoring stage recording his music to Spider-Man when he reaches an unexpected impasse. Watching a shot of a concerned Peter Parker (Tobey Maguire) saying good- bye to would-be girlfriend Mary Jane Watson (Kirsten Dunst) on the moonlit streets of , Elfman finds

himself confronted by a fundamental question:

“Is he having spider-sense in this scene?” Nobody on the stage Your Friendly-Neighborhood Compos

is certain, so Elfman makes an emergency call to director Sam Raimi. Raimi arrives on the stage about 10 minutes later with three young women in tow.The puckish director introduces them to Elfman and then points to one of the girls and announces that she’s a budding violinist. “I don’t see any reason why she shouldn’t be allowed to play with the rest of the group,” he says with perfect deadpan sincerity. There’s a frozen moment on the stage when some of the surrounding technicians seem terrified that Raimi might actually mean it, but Elfman isn’t fooled. “I take very little of what Sam says seriously,” Elfman says later. The composer has known the director for more than a dozen years, ever since collaborating with Raimi on an earlier comic-book-style thriller, Darkman, in 1990. That same year Elfman scored the big-screen adap- tation of Dick Tracy and provided a title theme for the TV version of The Flash, all work he gleaned after setting the film music world on its ear with his blasting, Gothic scoring of Tim Burton’s Batman in 1989. After doing one more Batman film for Burton, Elfman largely left the comic-book-movie world behind, but Raimi talked him into return- ing for Spider-Man. Elfman acknowledges the pressure of finding a musical voice for the world’s most famous web-slinger without stepping into the bootprints of the Caped Crusader. “It was tricky because of

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Batman,” the composer says. “I had to be very careful that I did, because the heroic theme didn’t tone itself down because I didn’t want the two to be too close together. You’re and play Peter Parker well. Something was missing, and then dealing with two big action films, so half of each score is pure another thematic idea evolved and it seemed like he had two action music and there’s just no way to keep those from col- themes. One was Spider-Man flying through the air and the liding to a certain extent. You can only push frantic activity other really became the more important theme and was used along so many different ways with orchestra, so I found more,and that was the soul of Peter Parker becoming a man.” myself thinking, okay, the heart of the score is what matters. The 10-note, sympathetic “soul” theme proved even more Those themes I wanted to feel independent even though I crucial to the overall work than Elfman originally intended. knew I was dealing with two very defined comic book char- “The same theme wound up translating over to the stepfa- acters, Spider-Man and Batman.” ther [Uncle Ben played by Cliff Robertson] and his death and The composer found his salvation in the essential differ- every time his words came on the ences between the two comic

screen, and Peter deciding to move forward and become a hero,” Elfman says. “The first book icons. “The fortunate thing about part [of the original theme] worked but not enough to carry Spider-Man is he’s a much more American character, and I it; that was what I originally intended to use for Peter Parker, was able to move the music, for lack of a better term, in a and I found it didn’t work all the time; it didn’t have enough more Americana direction,” Elfman points out. “In Batman I soul. It had heroism but it didn’t have a yearning for some- was leaning much more towards my own Prokofiev, a bit of thing that wasn’t there or something that could play that lost poser Tackles Another Classic Comic Book Hero by Jeff Bond

Wagner perhaps, because of the dark, Gothic tone of that father aspect and his presence with Peter in his journey to movie. Even though I didn’t have a specific model for Spider- become a man. It all fell together after I came up with that, Man—I wasn’t listening to Copland or anything—I did find and I found that the heroic theme and the Peter Parker myself unconsciously moving in [the Americana] direction theme played off one another constantly; one almost for this character.” never played without The composer’s Spider-Man theme as heard in the film’s opening credits gradually builds in power and intensi- ty over the development of a main melody, but Elfman found that even this lengthy statement was insuffi- cient to flesh out Stan Lee’s conflict- ed teenaged superhero. “The hard part is that the first theme I wrote for Spider-Man was the flying, ‘heroic’ theme, and I was content with that,” the composer explains. “Then I wrote the Goblin theme and then there was the romantic theme. And then I started putting it all

ARTWORK ©2002 COLUMBIA PICTURES together the way I always do in the beginning: I pick the major scenes and try to figure out if I have all the pieces I

SPIDER-MAN need before diving into the whole score, and I wasn’t feeling

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ending with the other and vice versa. So there was a missing link the score just gets demolished because it’s just much easier to let the that I needed for Spider-Man that I didn’t need in Batman because sound effects go—you can only choose one screaming person in the that wasn’t the thrust of that story—Batman as a civilian was not the water and you can’t save both, and the music is always the one left heart of that story. Spider-Man as a boy actually was important and to drown.” led to his decision to become a man and a superhero—because it The composer also says that the “contemporary” effects in the was kind of an allegory and those two decisions were the same score were never intended to musically characterize the setting of thing—and that was very important to Sam. It was critical that I modern New York City. “I never pay any attention to that one way or caught that; more important musically than the heroism of Spider- another; it makes no difference to me whether it takes place on Man flying into a building and saving a baby was feeling the dif- Mars or New York,” he points out. “I didn’t modify anything because ficult coming-of-age [aspect]. I really felt that became the it was New York; I’m playing the energy on-screen—human energy, heart of the score, and that was the last thing I did. It often human heroism and human emotion—so in a sense it doesn’t mat- happens that way; you feel you have it nailed and you ter what the setting is. I tend to follow the characters and what the really don’t. You just have to keep going until these overall tone is.” Elfman hastens to add that his original perceptions things evolve.” of the 40-year-old Spider-Man comic book character never came into play when he was approaching the project. “I work the oppo- Secret Origins site of that—I try to forget any pre-existing ideas I have,” he says. “I While much of Elfman’s Spider-Man read Spider-Man as a kid but that had no bearing on me whatsoever. score incorporates contemporary When I look at the rough cut for the first time I find that the fewer effects, including some solo percussion, preconceptions I have, the better—I try to really be a blank. Because electric guitar and synths, the composer the tone of the film is the tone of the film, and whatever I bring to says the heart of the movie lies more in the that party is just going to wind up fighting because it’s something past. “The character stuff played like a clas- that I think of as Spider-Man or Batman and it’s not going to be the sic old film. Sam’s a real cornball at heart. He movie. I tried to forget everything I knew about these characters.” may be a great monster director and sci-fi fan, Elfman had the most fun scoring the film’s Green Goblin scenes. but he’s a real cornball, and it always comes “I always like writing for the villains most,” the composer says. through in bits and pieces of his work. I love that “Where I got most of my pleasure from the score was all the varia- about Sam. That part of the story, including the whole ending, really tions on Goblin’s theme. It’s just a weird 18-bar melody; it’s odd. It’s had an old-fashioned feel in terms of how we played the romance: not really a 16-bar melody—it’s like 16, plus change. So it’s long. I the lost romance and finally winning the girl, and then not yet being suppose it could become a waltz if you sort of turned it around. My able to have what he’s wanted and walking away—really to me the favorite part of the Goblin theme is where he’s talking to himself in whole ending was shades of Casablanca.” the mirror. They elected for some reason to play those internal The film’s kinetic and heavily percussive action music is one of Goblin scenes really low, which I think was to the detriment of the the highlights of the score, but Elfman still has mixed feelings about film—it really could have used that devilishness. But there was applying his skills to this discipline. “All my some decision to hold that back. In the bridge battle there’s a scene action music tends to be very high-energy where he’s first approaching on the wing and I take that weird, and that’s the part that kills me, and that’s twisted, devilish theme that I’d been playing primarily on light why I always say I don’t want to do these strings and tremolo and played it with the big brass. That was my anymore, because the way I write is favorite personal moment in the score.” incredibly work-intensive. More often than not I barely hear it in the movie and Where Heroes Dare to Tread I think, ‘Why do I bother?’ So half a One aspect the Batman character shares with Spider-Man is a dozen times I’ve said I’ll never do this highly memorable, kitschy TV theme from the ’60s. Tim Burton’s again because it kills me. The detail and 1989 Batman avoided references to the ’60s series like energy I put into it gets slammed by the plague, and Sam Raimi took the same approach—but the sound effects. I think [Spider-Man] came catchy theme song to the ’60s animated Spider-Man series still out better than most. There were moments shows up in the film’s closing credits and in a cover version on the I felt like I could have made certain sequences song compilation “soundtrack” album. Elfman says he never con- work more energetically, but that is the way sidered incorporating even a whiff of the cartoon theme in his films are.” music. “I would not touch the TV Batman or Spider-Man themes Elfman fought the usual battle to have his score with a 10-foot pole, and if they’d ask me I wouldn’t have done it,” read through a dense action movie sound mix. “I the composer insists. “The fact that they put it on the album is their would have liked to see more dynamics in the sound call, but I was glad I was never asked to do it for the movie, because effects, meaning if you’re going to have 50 explosions, they unlike Mission: Impossible, where the movie really did reflect a tone can’t all be big,” he notes. “If I were shaping the movie I from the show and carrying Lalo [Schifrin]’s theme into the movie would decide these are the big ones, these are the medium was correct, in both Batman and Spider-Man it was absolutely not ones and these are the small ones, and by having some small correct. One is a cartoon and one is a dead-on serious movie and ones the bigger ones sound bigger. That isn’t the reality of film mix- both themes are really fun, silly cartoon themes; I was real pleased ing, but at the same time I thought there was more attention paid to on Batman that Tim’s decision early on was that we never ever detail and the music and sound effects and [to] carving spaces than touch it, and Sam’s decision also was that we never touch it. So the most action movies I’ve worked on. They were also working under fact that it’s there, that’s marketing people. We didn’t want to lighten incredible stress and duress, so on one level there were things I the film by playing a frolicky cartoon theme from the ’60s. At that really wished would have been different and I would have done dif- point you’d be mocking the movie. The Batman TV theme is one of ferent, and on another level I was expecting things to be much the best ever, it’s a fantastic theme, so I’m not dissing either worse. They had to break in two dubbing stages, running things theme—I grew up on the Batman theme. But I still would not have simultaneously to finish the mix, and usually when that happens touched it in the film for anything.” FSM

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initial thematic material, but the gradual swelling of the initial ★★★★ notes of the Spider-Man theme, first in tremolo strings and Spider-Man finally in warm, mid-range brass, gets the point across: This is DANNY ELFMAN a youth growing into his powers. As the theme develops it 086681 CK /Sony Music Soundtrax builds in confidence and power, finally swelling’s and into the a choral audi- 15 tracks presentation that evokes both Peter Parker ence’s awe at the spectacle of Spider-Man. And unlike the t’s safe to say Danny Elfman invented the current idea of Superman and Batman themes, the Spider-Man theme can Dick Tracy, Sam comic-book scoring when he wrote’s music for Tim play in an almost casual, urban mode under percussion as the ’s 1989 Batman, Warren Beatty The Flash in Burton ’s take on web-slinger finally becomes a fixture in the landscape of New I and the theme for TV Raimi’s Darkman York. With this basic approach, Elfman layers on rhythmic 1990. The only previous template’ Supermanfor such pictures, an offshoot post-Adam of the support, enough percussion and pulsating synths to give the was John Williams West Batman score a contemporary sound without completely selling out, rich, Korngold-influenced comic-book approach he devel- and scintillating high-range strings that mimic the tensile, and, later, the Indiana Jones films.called The dark for oped for Star Wars s Darkman quivering feeling of web strands. ’s Batman and Raimi’ ’s love story is subtle, done with roots of Burton Elfman’s scoring of the film ’s simple something other than the sunny optimism of sympathetic, delicate string textures that never ’ music, however, and it fell to Burton to overwhelm Peter Parker Williams yearning for the seemingly unat- take the brilliant approachpreviously of signing known Oingo — tainable Mary Jane Watson.as in Theany Boingo’s Danny Elfman Pee — restraint works because only for Rota-inspired comedy scores like to —these two people are and Back to School— great love story Wee’s Big Adventure doomed by outside forces never to fully bring his agitated, fascinatingly retro musi- connect, never to fully reveal their feel- cal vision to Batman. ings to each other. Elfman mixed his psychotically hyped- ’s action finally opens up When the film up action scoring with the heavy, mania- and Peter embarks on a mission of cally focused nightmare sound, and of Batman revenge, Elfman provides some of the most for savage and ferocious action material of his the result was live-action cartoon’s off- career, catching not just the furious energy of music that clicked with Burton kilter, art-directed world. Elfman got the chase but Peter ’s panic and rage. the fun of Batman but also reinforced the Parker character’s essential darkness and vigilantism, creating a Elfman successfully fuses sheer action and score that was triumphant and unhinged at the same time. psychology in a demonstration of why The composer returned for one Bat-sequel and did the vivid Spider-Man works as well as it does: this’s far is before avoiding the genre for more than(the a lastdecade. part Dick Tracy Spider-Man a complex, conflicted character who That he would come back to tackle easier to relate to than a haunted million- ’s superhero triumvirate) seemed almost of America aire or an invulnerable being from another inevitable, and the unpredictable, elastic quality of the com- world. Elfman adds equal weight to his ’s greatest ’s first foe, Norman poser’s scrambling action music is a perfect match for the scoring of Spidey inhuman acrobatics and web-slingingscore of hasn Stan’t pleased Lee every- ’s Spider-Man Osborne (Willem Dafoe) in the guise of the creation. But Elfman Green Goblin. The Goblin theme’s psychologi- slithers one—early internet reviews of the movie slammed the score along under scenes of Osborne ” a major crime for the introduction of such an as “themeless, cal torment, doubling back on itself just as iconic character to the big screen. Osborne shuttlecocks between sanity and ’s plenty of thematic material on display in In fact, there score—it just may not be exactly what insanity, finally bursting forth in a virtuoso Elfman’s Spider-Man ’s film is wildly daring treatment for full brass as the Goblin arrives —there are some people were expecting. Sam Raimi for what he believes will be his final victory on’re ’re watching grown in its faithfulness to the Marvel Comics character the Brooklyn Bridge. This is’s juicyfirst stuffblockbuster if you —and it may strike ’t moments when you suddenly realize you ” a fan of Danny Elfman “hummable ’s written with a force we haven men in costumes punching each other scores, and it some as heresy to say that an instantly graspable,’t have been appropri- heard from the composer in a while.Planet Elfman of the spider-melody for the character wouldn ’s was the perfect choice to score theme or Elfman ate. But here goes: imagine Spider-Man’ Superman swinging in view to Apes, but in that case he was ultimately undone something akin to Williams ’s total lack of a cohesive’s able narrative to follow or well-con-his initial, : mature by the movie Spider-Man he Batman fanfare. By the time we got ourfaits first accompli views of those structed action. With icons on-screen, their characters were promising threads of material through to a satisfying conclu- superheroes debuting to an appreciative (Superman) or fear- sion. Sony’s album treatment cuts to the meat of the score in ful (Batman) public. But Spider-Man, particularly in this film, its 40-odd minutes, sacrificing the textural love story cues for is a character still in the process of growth. Peter Parker is ’s a perfect the visceral action material and the enjoyably playful early-J.B. becoming a man, making the decisions that will drive him to cues of Peter Parker discovering his powers.’ covers. It theme is all about. As he become (perhaps reluctantly)’s Spider-Man a costumed superhero. comic book package, sans multiple collectors That’s what Elfman discusses, he adds a more heart-tugging, soulful coda to his

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ark Mothersbaugh has few esoteric instruments into the mix—like birenbau carved out a unique niche percussion instruments and cellettes—that won’t be for himself in mainstream typical of an Oscar Peterson or Django Reinhardt quin- Hollywood—composing tet. And oddly enough, the Russo brothers have written music for quirky franchise N six scripts, each one set in a different part of Cleveland, films such as Rugrats while the whole series of which Mark would like to compose. maintaining his independ- And they’re sure not to make the initial mistake that ent stance in films by Wes derailed their first film, Pieces, by filling up the movie Anderson and in the upcoming Welcome to Collinwood, with unlicensed music because they were working on an O Mby the Russo brothers. independent budget.

As Mark peered out from behind triple-wide, silver- I framed glasses in his “tub toy” shaped studio, Mutato, we From the Outside In took a look at his indie credentials. It seemed logical to Flash back to Akron, Ohio—pre-Devo. It’s where we can start by asking Mark about his collaboration with Wes find Mark’s indie roots. T Anderson, all of whose movies he’s scored. The economy of Akron, the rubber capital of the “I was watching a screening of Bottle Rocket—Wes world, collapsed in the early ’70s, the result of a pre- Anderson’s first movie—and he had musical choices NAFTA shuttling of jobs off to Malaysia and South temped in that were much more esoteric and interesting America. Mammoth factories shut down, leaving an U and seemed less driven by MTV than by how they emo- army of largely uneducated workers, trained only in the tionally resonated with his picture. And I thought that’s manufacture of tires, milling around town. Toss in the pretty interesting, because you’re usually looking for hits, horror of students shot to death for protesting the L that whole mentality film companies get into, and they Vietnam War at Mark’s school, Kent State, a country Profile by John Allina John Profile by scare the director into it. Or the director has delusions of caught in the throes of a massive energy crisis, and grandeur and wants to have a hit song and wants to hang Akron was showing all the telltale signs of a post-apoca-

out with pop artists or something, and look for credibility • lyptic industrial wasteland. [that way]. So you end up with movies that have different, D-evolution—the governing philosophy of Devo— O tenuous stamps of pop culture in them that oftentimes are wasn’t just some childhood fantasy, it was a reality irrelevant to the movie, or do it a disservice. They’re dis- happening right outside Mark’s front door. And Mark tracting, or just plain awful, and don’t relate to it. And I’m chronicled the d-evolution not with a standard rock ‘n’

watching this movie, and notice that all these kids were V roll band setup, but by choosing electronics to rede- bored because there wasn’t any sex or tits or guns—there fine the vocabulary of pop music. “We were kind of wasn’t anybody getting killed. So they were just getting up antagonistic towards guitar hero concepts and were and leaving. So I asked if I could meet Wes.” looking for new sounds and new voices to express our- By Wes Anderson’s third film—The Royal Tenenbaums— E selves and our culture. Things that were more reso- the collaboration had gotten to the point where Anderson nant with the way we felt.” was sending Mark musical suggestions while he was writ- A lack of funds coupled with an interest in a low-tech ing the script. “It helps him see the scene and feel the approach started the Devo sound. “I bought Apollo syn-

whole movie.” French Impressionist music, George D thesizer parts for 60 bucks a module, so for around 300 Enescu, Ravel and Satie were all turned into musical dollars you had a synthesizer that was put together with sketches that Anderson temped into the movie while he alligator clips and bobby pins, but it could make noise. was still editing his first draft. We looked for sounds no one else was using that res- And Anderson even took on a bit of a musical education onated with us. We were always experimenting.” himself, using the tips he’d picked up in Mark’s studio, and Ironically, the low-cost approach led to troubles on the

having taught himself the guitar, to add some bass cues C road. “I remember taking broken equipment on tour and percussion to the Tenenbaums soundtrack. As pas- with us and telling the tech guys, ‘Whatever you do with sionate about the importance of music in film as Wes is, I it, don’t fix it.’ And having the problem that when some- Mark does have his limits. “I don’t know if I’d want every thing broke worse, we had to figure out how to fix it half- client to be like that either—so involved in the process— way,” he laughs. “There were sounds on our albums that

because it could be exhausting.” T you could only get with synthesizers that weren’t work- I asked if Mark had decided to work on Welcome to ing right.” So much for listening to Devo records and try- Collinwood—about five inept working-class types who try ing to figure out how to replicate their sound. to rob a pawnbroker’s safe—because it’s in the same vein Once the Devo sound was assimilated into the new- S as Wes Anderson’s movies. “I think of Wes Anderson and wave movement, the band dropped off the airwaves. A

the Russo brothers as optimists about the world. I think of I late-’80s switch from Warner Records to Enigma them as people who are making films that are non-cynical. Records, which soon folded, completed the fall of the And I guess I probably like those kind of films.” And what once-prominent band into musical limbo. about being drawn to the misfit and mismatched charac- But the stay was short. A clever advertising executive T ters in their films? “Yes, the characters. And the working made the connection between the robotic movements relationship with the director. It started off as one, and in Devo’s MTV videos and the robots featured in a then became the other. It became both.” Hawaiian Punch commercial. That commercial’s suc-

Although Welcome to Collinwood is set in a present-day R cess paved the way for Mark’s second musical career—as slum area of Cleveland, Ohio—Collinwood—the score will a composer for TV, film, interactive media and commer- be retro. While the Russos were looking for something like cials. As Mark made the transition from Devo front man a fast Oscar Peterson, bebop-flavored jazz score, with a to mainstream commercial composer, he took along a

dash of Django Reinhardt thrown in, Mark is bringing a A The indie side of Mark Mothersbaugh major musical influence—Mark Isham.

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“When I was doing TV, I bought these two CDs—Film Music (Ms. projects. So a balance was found. Mark looked for films that he could Soffel, The Times of Harvey Milk, Never Cry Wolf) and Vapor Drawings— put his imprint on and that would have a lasting positive effect, some- that melded electronics with orchestral instruments. Now a lot of what thing that in 20 years he could look back on and feel good about. And [Isham]’s done on those albums has been absorbed by the mainstream, those films have largely been indies. and you’ve heard them everywhere, but when he first wrote those two CDs, it really struck me how beautiful they were. Those two albums are Typecast Like the Rest of Us still very dear to me. And the funny thing is, in all these years, I’ve never But Mark is still typecast as a quirky, offbeat composer—which he met him.” accepts. “I think it’s just While Mark’s experience the nature of the business. working with Devo—a band From any field of the arts, I made up of two sets of think, there’s the rare per- brothers—provided for a son that manages to elude nice segue into the collabo- being typecast. Simply rative process of filmmak- because people always ing, doesn’t the medium look at one or two things limit his role in the process? you did and try and make Even if Mark is working on a judgment. And when an independent film, where one of the big studios is decisions tend to be made hiring a composer, you for artistic reasons rather know, somewhere in the than bottom-line business back of their heads, calculations? Not according they’re thinking, ‘Will I to Mark. “You’re looking at it lose my job if I hire this backwards if you think person, or get a promo- you’re cramped by it. You tion,’” he laughs. should look at all the oppor- But serious dramas tunities you get. I got to have escaped Mark. His write for big orchestras name regularly comes up because of movies. I didn’t for teen comedies and the get to do it because I was in like, but Mark doesn’t a rock band or because I want to have his legacy was a struggling artist who lost in “the cauldron of did gallery shows.” bachelor-party movies. But if Mark is fine with Maybe some day I’ll get to the dictates of his new- do my To Kill a found role as a composer, Mockingbird. I’m hoping

REVO-LUTIONARY: Mothersbaugh takes the road less traveled, from counter-popstar, why did he start Mutato—a to animation tunesmith, to composer with indie cred of a different sort. maybe Wes is my best multimedia powerhouse hope for that.” with its hands in film, tele- In the meantime, Mark vision, interactive media is indulging his habit of and commercials? “The buying instruments to business side of Devo was make different sounds. always handled so haphaz- “There’s this guy on eBay ardly that a lot of poten- who modifies children’s tially good memories were ruined for me, to the point where I look toys and turns them into these God-awful noisemakers. They’re so back on Devo albums and can only think about how unpleasant the amazing sounding. And they’re really inspirational too, when you business end of it was. I started Mutato as a way to take control of my want to just blow everything out of your head and hear something life.” And Mark signed on with agent Anita Greenspan, of Green Arts that just sounds angry and unrecognizable.” Management. Now we know where some of those unidentifiable sounds in Mark’s For a while, Mutato had the reverse effect of leaving Mark further scores come from. FSM removed from the actual art of composing. At one point, Mutato John Allina is a freelance writer living in Los Angeles. employed 18 to 20 composers simultaneously working on different He can be reached at [email protected].

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REVIEWS BEST ★★★★★ REALLY GOOD ★★★★ OF CURRENT AVERAGE ★★★ RELEASES WEAK ★★ ON CD WORST ★ SCORE RATINGS

Christus Apollo ★★★★ angrier piece that opens the returns for classical music. This Try as he might, however, Shore JERRY GOLDSMITH album. Some of the choral writing CD is for Goldsmith completists— is also handicapped by the restric- Telarc 80560 • 6 tracks - 51:17 is reminiscent of John Barry’s work and for those interested in 20th- tions of the film’s plot. Like the fter releasing their first Jerry in The Lion in Winter, but that’s century choral music or a more screenplay, the music is limited in AGoldsmith disc featuring a mainly because both works refer- exciting brand of 12-tone writing its range. This is precisely the mini-concert, Telarc follows up ence a common historical period. than otherwise found in the con- point of the movie, of course, and with an album of concert composi- As such, Christus Apollo is very cert scene. Otherwise, hope that it’s also its chief problem area. In tions by the master—performed by much a “period” work. Unlike the more accessible Fireworks Se7en, Shore created a score that the London Symphony Orchestra many classical recordings, the text shows up on a future compilation. provided both an urban sound- and conducted by Goldsmith, fea- is given great attention, cutting —Steven A. Kennedy scape and an emotional context; it turing Anthony Hopkins (narrator), through the orchestra. That said, told you who the characters were 1 Eirian James (mezzo-soprano) and the music begins to wear out its Panic Room ★★★ /2 while placing a clammy hand on the London Voices. welcome by the fourth movement. HOWARD SHORE the back of your neck. With Panic Music for Orchestra (1970, 8:16 Fireworks (1999, 8:32), written Varèse Sarabande 302 066 3462 Room, however, he’s basically running time) is a brief 12-tone for the L.A. Philharmonic’s series 9 tracks - 30:07 doing a turn-the-screws job. Cues orchestral showpiece that does not at the Hollywood Bowl, is an exu- anic Room is about as far like “Working Elevator” work fabu- show its age. (Although Goldsmith berant piece that takes its energy Pfrom ’s previ- lously in the movie because they himself notes that to contempo- from some of Goldsmith’s finest ous film, Fight Club, as you can have something of a context, but rary ears this music may seem a adventure scores. It marks a huge get, at least in terms of story in album format the restrictions of bit anachronistic.) It also makes and immediate contrast with both dynamics. The complicated, the film seem more apparent, and Music for testosterone-drenched fireworks it takes away some of the impact Orchestra and of Fight Club flew in every direc- of Shore’s musical ideas. Lighter Christus tion; Panic Room, on the other moments dance in and out of Apollo. It’s hand, is set almost completely in “Fourth Floor Hallway,” with the obvious that one location on one night. The string section building to an this piece was scenario (housebreakers chase a impressive finale, but by the written by a woman and her diabetic daughter halfway point of the album, you’ve very different into an impenetrable “panic essentially heard it all. (and current) room,” which houses the very loot While the Panic Room score Jerry the burglars are after) has only so does have the elements that Shore Goldsmith— many ways it can go. Look at it as a is known for, intelligent and lay- there are Hitchcockian nail-biter, or simply ered writing, it reveals that per- for an effortless introduction to great horn licks out of The Edge, a director showing off; a strong haps Shore’s talents may be better dodecaphonic writing—this is a along with rhythmic accents case could be made for either. suited to material that’s a little piece that is able to develop and recalling The Thirteenth Warrior (And a tip of the hat to whomever broader and more complicated in expand more fully than it likely and The Mummy. Unlike much of decided to pack into a scope. Even a film like Dead would have in a film context. the material on John Williams’ tight, low-cut top for most of the Ringers, which operated from Some will no doubt compare this American Journeys CD, this film. Bravo.) David Cronenberg’s typical “the to Planet of the Apes, but the simi- Goldsmith piece lies more along The spectre of Hitchcock is at horror comes from within” theme, larities are mainly only in the serial the lines of the music of Morton least dealt with right away, with a benefited from the sense of exqui- technique itself. A highlight of the Gould filtered through the rhyth- title sequence that updates, and site sadness that Shore’s music piece is the closing section, with mic vitality of 20th-century South pays witty homage to, North by provided. In trying to be a lean- its wonderful, punctuated ostinati American and Mexican com- Northwest in its Saul Bass-inspired and-mean thriller, Panic Room not unlike those in many posers. Of course, it’s all still pure design patterns. Howard Shore’s ultimately shows that the real tal- Goldsmith action cues. Goldsmith, and the piece is a bril- string- and brass-dominated score ents of its collaborators lie else- Christus Apollo (1969, 4 move- liant showpiece for orchestra. is also in on the joke, tipping his where. —Jason Comerford ments, 34:24) features a text by That Christus Apollo is the cen- hat to Herrmann with pulsating , which opens each tral and extensive piece on the disc horn chords and choppy string The Time Machine ★★★ of the four movements as narra- makes this album an important rhythms. Panic Room features a KLAUS BADELT tive. After a brief introduction read addition to 20th-century music scenario where the music almost Varèse Sarabande 302 066 337 2 by Anthony Hopkins, whispered discography. Like so many other has to function as a character 15 tracks - 57:37 voices accompanied by low gong contemporary works, however, itself, and Shore cleverly works don’t know whose idea it was to and other mallet percussion slowly this will probably not see any around this idea by creating both Itemp The Time Machine with grow into a religious choral sound additional recordings. The other an atmosphere and a tone. There Jerry Goldsmith’s The Edge, but the similar to The Omen. This is a two pieces may reappear, but are plenty of urgent string pas- result made an indelible mark on deeply spiritual and moving work that’s doubtful as well, considering sages and dissonant brass attacks the producer, director or Media that lies in stark contrast to the the market of rapidly diminishing (“Caution—Flammable”). Ventures’ latest prodigy, Klaus

MAY/JUNE 2002 30 FILM SCORE MONTHLY v7n04 issue 5/31/02 12:58 PM Page 3 1

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SCORE theme for the Eloi began to get on release is a double pleasure. Broughton chooses to let the my nerves—purely because it’s Broughton’s The Boy Who Could music soar truly effective. When it Badelt. The main Time Machine such a commonplace contrivance Fly was written for the obscure comes to underscoring flight, theme is virtually identical to that in the Media Ventures circle. Once and underappreciated Nick Castle Broughton is perhaps second only of The Edge—so much so that my this theme makes its appearance, tearjerker about family tragedy to John Williams. Cues like little sister was able to notice. the rest of the album walks a per- and miracles that happen to ordi- “Flying” and “Into the Air” repre- Perhaps whoever insisted on copy- ilously close to a traditional “sam- nary people. It came on the heels sent some of Broughton’s finest ing Goldsmith’s music believed this pled-drum-beats-under-a-wood- of Silverado, which established work in this area. We also get a few particular theme evoked the idea wind-theme” nightmare we’ve Broughton as a major industry tal- moments of comic levity—quasi- of a man of science out of his ele- heard so many times before. Yes, it ent, and Young , a military music that accompanies ment and exploring the world. sounds a bit like The Lion King, score which, according to Milly’s younger brother Louis’ To be fair, besides this Edge but more in than Broughton, “pegged me as an attempts to successfully navigate issue (and the first track sounding actual thematic content. I swear orchestral guy” and convinced the the perils of nasty dogs and neigh- a little like James Horner’s I’ve heard this Eloi theme in a producers to hire him. borhood bullies. Sneakers main title music), much Bahamas cruise commercial—or The “boy who can fly” is a When I reviewed Percepto’s of the score is original, rich and maybe it was on Survivor. teenager named Eric Gibb, whose release of The Haunted Palace/The symphonic in a way I definitely I ended up surprised with this parents were killed in a plane Premature Burial, I commented didn’t expect from someone out of album. Initially, I wanted to dislike crash. Eric believes that he can fly, on the impressive remastering, the Media Ventures mold. Rarely it, especially since it was clear after a fantasy which becomes a reality packaging and extensive liner do the synth trumpets rear their the first five seconds at the theater in his life and which places him at notes. The Boy Who Could Fly ugly heads here—and only during that the score was using some- odds with a world that does not upholds this tradition, placing action material does it begin to thing else as a paradigm. But fur- accept miracles. This fanciful Broughton and the film into his- sound like something we’ve heard ther listening reveals that the premise is subordinated, however, torical perspective, and giving us a thorough cue-by-cue analysis of the score. The CD, a promotional release, is only available from www.percepto.com. Only 500 were pressed, so don’t miss out! Coming in a summer filled with action and bombast, The Boy Who Could Fly is invaluable and promises to be one of the highlight releases of 2002. —John Takis

many times before, with jungle music only truly leeches off that to a more human relationship: Day of the Dead (1985) ★★ beats and synth brass accentuat- one Goldsmith theme. The score Eric’s angst-ridden romance with a JOHN HARRISON ing the main theme. Badelt offers does a fine job of conjuring up the local girl named Milly Michaelson. Numenorean Music NMCD 001 an attractive love theme; stirring, visual imagery of the film (for me, This relationship is the predomi- 11 tracks - 72:57 heavy strings for the tragic death that’s a good thing). Despite the nant concern of the film, and ohn Harrison is an extremely of Emma; and powerful choral movie’s flaws, I did have a fun time Broughton responds in ways that Jtalented man. A fine filmmaker work for the Morlocks and their eating my popcorn and watching are warm and sensitive. The score’s in his own right (having recently king (the beginning of track 13 is a its world evolve. This album cap- major theme is vintage written and directed the Sci-Fi highlight). And his presentation of tures that fun and excitement. And Broughton—catchy without being Channel’s Dune miniseries and co- the main theme always sweeps for all the rabid Goldsmith fans cloying, both magical and whimsi- written Disney’s Dinosaur), he has along grandly and intricately, out there, this plays as an excellent cal, and well developed. There’s a also composed original scores for especially during track 6 (which cover album. —Luke S. Goljan gentle fragility to his orchestral several George Romero projects also ends up being the most palate, which channels basic such as Creepshow, Tales From the noticeably similar to Goldsmith’s The Boy Who Could Fly (1986) human qualities through instru- : The Movie (which he theme—though it also sounds like ★★★★ ments like harp, flute, guitar and directed) and the third film in the “God Bless America” in places!) (along with a spare use of popular “Dead” series, Day of the The album contains virtually Percepto 007 • 1 7 tracks - 63:15 electronics). Strings and wood- Dead. Harrison’s score for this pic- every note of music I remember e’re undergoing a renais- winds dominate, giving the score a ture can best be described as a hearing in the movie, excepting a Wsance of Bruce Broughton light, airy feel. series of leitmotifs: deep basso final chase cue (which may actu- score restorations. Coming along- Under this approach, and given synth chords indicative of danger, ally have been track 11 or 14 side the promotional release of the subject matter, it would be an 8-note “dripping” motif for repeated) and the end title music, Young Sherlock Holmes and pre- easy to get lost in a wash of senti- mystery/madness, and Caribbean which nowadays, sadly, usually ceding a re-release of his classic mentality. Broughton avoids this overtones suggestive of hope. In only consists of a bunch of cues The Rescuers Down Under, by tapping into the film’s dark all, it is one of the finest original bumped together anyway. Another Percepto’s remastering of the com- undercurrent. Castle’s characters scores for an independent film of plus is that many tracks are in film plete original tracks of The Boy are vulnerable, and the music the 1980s. order, making for a flowing, enjoy- Who Could Fly is a welcome treat. responds to this, drawing out dis- To tie in with the 1985 release of able listening experience. On the The previously existing—and hard- sonant elements and adding just the film, Saturn Records offered a downside (besides sounding like to-find—1986 Varèse Sarabande enough melancholy weight to soundtrack album for Day of the The Edge), the use of an ethnic, CD is both incomplete and an infe- keep the score well grounded. This Dead, an unusual collection of African tribal chant-influenced rior re-recording, so this new makes the moments when vocal numbers by the band

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Modern Man, with only a few ever. I have given them two stars string-driven, though the soprano arranged thematically, so instead score cuts. “The Dead Suite,” a 20- merely for having the nerve to sax, harp, piano and previously of individual episodes being rep- minute medley of motifs from tackle this rejected classic despite mentioned trumpet solo all take resented by eclectic suites, the several scenes, is the most note- years of apathy. But Harrison center stage at different times. tracks focus on particular char- worthy piece. While appealing, the deserves better treatment than Oh, and thanks to some partic- acters. For example, “The Rev. album left many score-hounds this. Perhaps in the future some- ularly descriptive track titles, I Bem Wayist Theme” is a collec- craving more. As it was the only one will commission him to re- now know which character is shot tion of the “spiritual” music game in town, however, listeners perform the Day of the Dead score dead, which is railroaded, and that’s been used throughout the had to be satisfied with this in its entirety, and we’ll finally have who trades his life. Trivial perhaps, series to support the Magog release, which has since been the opportunity to savor a proper but completely avoidable, so avert priest. It’s an interesting bootlegged by seemingly every release of this excellent, over- your eyes from the rear of the approach that might disappoint fool with access to a CD burner. looked work. For die-hard collec- jewel case if you want to catch the those listeners who have a Hardcore fans of Harrison’s tors only. —Allan D. Hosack movie with plot twists intact. favorite episode and want it to music have finally been granted Portman’s Hart’s War represents be replicated as an isolated 1 the official Day of the Dead CD Hart’s War ★★★ /2 an atypical score from a composer score. On the plus side, it’s rare they’ve been waiting for. Sadly, RACHEL PORTMAN who’s daring to this disc, the first release by Decca 440 016 886-2 • 14 tracks - 45:03 venture into Numenorean Music, will likely s director Gregory Hoblit new territory — leave those loyal fans cold. Those A stresses in the disc’s liner beautiful and expecting a pure presentation of notes, Hart’s War is not a typical melodic, but the original score as conceived World War II film, nor is it a pris- possibly just too and performed by Harrison will be oner-of-war escape movie. heavy and lack- sorely disappointed. Following this line of thinking, ing in charm for The first six tracks on this new don’t expect the rabble-rousings Portman’s Jane disc are in fact the contents of of Bernstein’s The Great Escape or Austen/Miramax the Saturn release, shuffled into ’s whistling groupies. a new order. Though the liner theme from Bridge on the River —Nick Joy to see TV composers taking the notes mention digital remaster- Kwai. Indeed, banish any time to separate themes from ing, something suspiciously like thoughts of Clifton Parker’s The Gene Roddenberry’s the different episodes and com- 1 LP noise is apparent on at least Wooden Horse or Waxman’s Stalag Andromeda ★★★ /2 pile “best of” character suites for one track. As these cues have 17, because the setting of this MATTHEW MACCAULEY soundtrack release. long been available, the real movie is incidental rather than GNP/Crescendo GNPD 8077 For lovers of small-scale motif- meat of this disc would be the pivotal to the score. 25 tracks - 64:36 driven space opera, this is a solid five bonus tracks of previously Choosing Rachel Portman for NP Crescendo continues to release. Sure, it’s in a different unreleased material. Read the scoring duties must have been a Gmaintain its position as the place from those pesky Clones, description carefully: “Bonus hard sell to the producers. Her leader of the pack in the field of but ultimately this is the best pos- Music and Effects Tracks” is what exquisite work on Oscar-winning TV sci-fi soundtracks with this col- sible soundtrack album you could the insert states, and sure Emma and Chocolat is faultless, lection of cues from Tribune’s hope to get from the show. —N.J. enough, that’s what they are. but putting her on a Bruce Willis popular mix of heroics and hard- These bonus tracks seem to war movie is like...Glass scoring ware. And while some critics make The Long, Hot Summer/ have been lifted from a Disney? But if you’re prepared to unfair comparisons between Sanctuary (1958, 1961) music/sound effects audio mix drop your prejudices, you’ll see small-screen soundtracks and ★★★★ for the film. The only thing miss- this as a smart move, as Portman’s their movie counterparts, this disc ing is dialogue. Woven into this emotional score brings a feminine deserves to be judged against its Varèse Sarabande VCL 0202 1005 tinny selection of score cuts are a touch to what could have been a peers. As such, if you subscribe to 29 tracks - 76:06 plethora of zombie growls, shriek- “men’s only” testosterone-fest. the StarGate/Farscape school of arèse triumphs again with ing bats, clattering guns and shuf- Cutting straight into Andrew electronic underscore, you won’t Vthis CD club release, a pair of fling feet. There are also several Crowley’s lone trumpet solo, be disappointed. Alex North scores for a pair of warbles that sound like deterio- “Final Salute” is a gorgeous scene- Alex Lifeson (of the band Rush) William Faulkner adaptations. The rated audiotape, and some rough setter that might be evoking some kicks things off with the synthetic Long, Hot Summer starred a cut-and-pastes in mid-cue, obvi- pastoral vista of rolling hills. But main title for Season One; it is a young Paul Newman and his ously the result of removing we’re not in the countryside, we’re chronologically valid place to start soon-to-be-bride, Joanne unscored scenes from the record- in German enemy territory—so but is atypical of the other tracks Woodward, with a formidable ing. This amounts to a barely what gives? The answer is “emo- on the album. Instead, Orson Welles lending additional passable listening experience tion.” This score isn’t designed to MacCauley’s grandiose “High dramatic weight to a production similar to a karaoke-rip bootleg capture the mood of ’40s Europe Guard Theme,” which under- that won favor from both critics that an amateur might create on or to contextualize the regime of a standably accompanied the titles and audiences. Sanctuary, on the his home computer. camp; it’s here to externalize the in Season Two, is a more represen- other hand, featured Lee Remick, There is no doubt of Harrison’s internal hopes of the captives. tative cue, sitting somewhere Yves Montand and Bradford ability as a composer. If this was a This is more about catharsis than between Williams’ Superman and Dillman in a film that quickly van- review of his score alone, it would timpani or militaristic snare drum Stu Phillips’ . ished into oblivion. Both films merit high marks, as his composi- standards. Unashamedly fully Essentially, it’s Dylan (Kevin boast strong, melodic efforts from tions for this film are outstanding. orchestral, the music underlines Sorbo) Hunt’s theme and has an North that make their long- Numenorean’s handling of this the drama with a multi-layered epic “big music” drive to it. awaited debut on this disc. material cannot be ignored, how- score that is predominantly The rest of the album is The Long, Hot Summer opens

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SCORE few film composers who deserve at night in some out of the way Williams, who each provided stel- the appellation “genius.” place. There’s even a hint of David lar writing for war pictures. with a song (vocals by Jimmie —Neil Shurley Benoit or in more As for the compilation at hand: Rodgers) that introduces North’s laid-back style in the overall flow The complete score for John 1 love theme in a ’50s pop arrange- Last Orders ★★★ /2 of this substantial track. Huston’s The Night of the Iguana ment. The melody weaves PAUL GRABOWSKY It’s helpful that the main theme (1964) is the disc’s centerpiece and throughout the score, making Varèse Sarabande 302 066 330 2 from Last Orders is worth listening appears in its entirety for the first appearances on strings and piano, 17 tracks - 37:06 to...because it’s the main source time, assembled much like the its phrases pulled apart and aul Grabowsky has received for the improvisations in the rest materials on Bill Stromberg and reshaped to fit the needs of a par- Precognition for his work in of the tracks. If you do not find it John Morgan’s releases. Iguana is ticular scene. Throughout, North Australian film, but even as I see a interesting, the remaining music predominantly an intimate cham- maintains a sultry feel, all too good deal of “imported” cinema, I will fall flat. By the time we get to ber work with hints of Frankel’s appropriate for the film’s Southern have to admit to never having seen the six-minute cue “Goodbye atonal style in places like setting. Another primary motif anything he has scored. That’s Jack,” there is little else for “Shannon Shanghais the Coach.” arrives in track two in the form of about to change. Fred Schepisi’s Grabowsky to do but spin his As the score plays out, it becomes a strong, swinging jazz number— Last Orders, which premiered at theme for all it’s worth and extend evident that Frankel is a kindred this is a sheer pleasure, as North last fall’s Toronto Film Festival, the solos more substantially. As spirit to Alex North, at least in his really lets loose. looks as though it stars all the the cue takes off, it manages to specific dramatic style for films Other motifs wind their way British actors who were still avail- incorporate all the things we have like The Bad Seed and Who’s Afraid through the score, as do some of able after Harry Potter and Gosford heard earlier with more time to of Virginia Woolf? Each representa- North’s legendary modernist tech- Park raided the market. The film work them out. tive cue has individual surprises in niques—but they’re very subtle had a brief American release in Incidentally, Varèse spelled orchestration and shape that bear Grabowsky’s name end- repeated listening. This Frankel ing with a “y” every- standout is easily one of the best where but on the spine, scores of the early 1960s that the disc and the front deserves to be restored from its cover, where it ends in original sources. “i.” Let’s hope that they The Importance of Being Earnest release more of (1952) is a selection of music from Grabowsky’s music the film that may be orchestrated soon so that they can by Frankel, but there is no indica- correct all the spellings! tion who compiled the selections. —S.A.K. It is a lighthearted affair bearing some resemblance to French and not “difficult” (as some listen- order to qualify for Oscar time— Music for the Movies operetta or the work of Arthur ers characterize North’s music). no luck there—but it does feature ★★★★★ Sullivan. The brief “Pastorale” from North’s genius lies in the intertwin- an ensemble performance that BENJAMIN FRANKEL Curse of the Werewolf (1961) is a ing of modern and mainstream received much critical acclaim. CPO 999 809 - 2 • 23 tracks- 67:15 beautiful piece that is the only sensibilities, all to better service Several musicians are credited enjamin Frankel is perhaps tonal representative from an other- the film. No need to fear, however: on the back of the package— Bbest known in film music wise serial score that deserves a This score is entirely accessible to there’s good reason for this as they circles for his Golden Globe- new recording. even the most casual film score are asked to perform very exposed nominated score for 1966’s The Trottie True (1949) is a big aficionado, while still rewarding solos. Phil Todd’s beautiful bass Battle of the Bulge (available on change of pace. It is a true period the more serious listener. opens up the title track CPO 999 696). In classical circles, piece in keeping with the humor- Sanctuary also starts with a sul- with a wonderful melodic line he is a more peripheral com- ous, musical theater style scores of try song, well-performed by Julie supported by dark harmonies. poser, gaining his greatest recog- the 1940s (the opening “Gaiety London. Again, the song serves to This moves into a gorgeous dia- nition for an impressive body of Galop” would make a great con- introduce the primary melodic logue featuring John Parricelli on work during and immediately cert miniature, and Frankel’s skill ideas that North resets in numer- guitar, as other solo instruments after World War II. His explo- as a composer shines through in ous ways over the course of the gradually enter over a subdued ration of serialism is what no every bar). There’s hinting toward film. His orchestrations are typi- jazzy-urban beat with roots going doubt further removes him from a more “Hollywood” style of com- cally lush, with the occasional solo back to the 1970s. The gentle waltz the realm of the general public’s position in places, but Frankel instrument serving as counter- strains of “Rite of Passage” follow musical interest. But as he’s a raises the bar in a way that only point. “The Candy Man” intro- and recur with prominent vibra- composer of over 100 film scores, the likes of Alfred Newman were duces a jazz band feel, with muted phone and piano later in the score. it’s amazing that more of his able to do consistently. trumpets and -like sax Grabowsky continually finds har- music has not been explored in Incidentally, Muir Mathieson lines. These jazz lines fight with monically interesting things to do British “Pops” concerts. His served as musical director on this the love theme in the very next with the relationships between his music would be particularly picture for the Rank Organization. cue, “Sleep Little Lush,” a standout solo instruments. There are tracks enjoyed by those who love the For the music from Footsteps in example of North’s ability to create like “The Letter,” where different work of Richard Addinsell, the Fog (1955), E.D. Kennaway, the real tension. solo lines weave around one Malcolm Arnold, Alfred Newman reconstructionist/adapter for this With this North club release and another, innocently creating an and, to a degree, even Alex North. album, has pieced together four of last year’s Cleopatra, Varèse has unsettling effect. The “Love No doubt Frankel was overshad- the more romantic parts of the served collectors well, giving us a Theme” is akin to those smoky owed by the likes of William score. The music is reminiscent of great re-introduction to one of the jazz numbers one often hears late Walton and Ralph Vaughan the greatest Hollywood scores of

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this time and deserves far more though, Morricone separated ments, glides through the album, Here and there, the brothers De recognition than it has received. himself from the sound he cre- linking the various tunes that Angelis lift generously from “Lily Watkins Theme” is one of the ated. He continued to write prolif- range from soft pop numbers to Morricone’s early songbook, but great moments in film music from ically (to date he’s composed nightmarish fugues, one moment leave behind much of the swag- the 1950s. “Lowry’s Secret” is a more than 400 scores), but he also borrowing from Stravinsky, the ger. “Il Giorno dei Cavalli Bianchi more mysterious piece that bears cut himself off from several musi- next from disco. The most (alternate version),” for instance, comparison to some of Bernard cians—like Bruno Nicolai, thrilling piece, the “Icare” credits mimics the shimmering soprano Herrmann’s work from this era, Allessandro Alessandroni and theme, for instance, throws a sound of Edda Dell’Orso...with a though Frankel spends less time Edda Dell’Orso—who had helped splintered harpsichord riff against saw. “Don’t Lose Control,” a song focusing on small, repeating him write and perform his strange a dreamy fabric of winds, piano, sung in English by Gene Gorman, motivic cells. If by this point in the compositions. Ever since, electric bass and strings. recalls the gunfighter ballads Il disc you are not a Frankel convert, Morricone’s palette has been sim- Elsewhere, the score features Maestro wrote for Tessari and you are...unconvertible. pler and (for some) less interest- droning electric guitars, glossy Corbucci. Here, however, the Under normal circumstances ing. For others, the post-spaghetti synths, soaring female voices and singer strives to inspire rather this disc would be hard to find. scores are very satisfying because tapping typewriter keys. And than menace. Consider these CPO is a classical label, and in they often juxtapose conflicting though this musical goulash fails lyrics: “And soon you’ll smile/Love many CD stores the classical sec- musical styles and create sounds to produce a single track that rises will be here/ Dreams left tion is all but gone. So you may that seem to be stable and above the others, the sum of the behind/Now are here.” Moreover, have to find this online. Your chaotic at once. That is, these parts achieves a powerful unity of the one track in the collection that search will be worth the effort—for scores have more complexity effect—an anti-sentimental inten- sounds vaguely dangerous, “The this and for other discs in CPO’s and less bombast, and sound sity, apropos of the movie, thick Killer,” uses the same castanet- Korngold series. more like symphonies and less with paranoia and suspense. and-cello construction Morricone Werner Andreas Albert and the like song collections. E poi lo chiamarono il exploited in the Eastwood-Leone Queensland Symphony give their I...comme Icare exemplifies this Magnifico, on the other hand, is movies; but here, the composers all in this well performed and won- “clean” Morricone style. as light as a loaf of Wonder Bread. neutralize the death march with derfully recorded disc. The music Composed for a French re-telling Written for a 1973 slapstick tender violins. is performed as concert orchestral of the JFK assassination, the spaghetti western by Guido and Despite these excesses of soft- music, so purists may find things soundtrack flows as freely as a Maurizio De Angelis, this score ness, il Magnifico possesses some to quibble about here and there, Miles Davis record. The main slides along on silken strings, gen- charm. The main melody, for but this is an important addition to melody, a four-note pattern tly strummed guitars, cooing instance, though it sounds the film discography. This music played on a variety of instru- voices and a ubiquitous flute. (continued on page 43) has a little bit of something for fans of different periods and styles of film music and is intelligently pro- Play it Again, Silva movies. Of particular note is the inclusion of grammed. It provides an excellent “Vampire Hunter,” a track from Bernard’s last compo- overview of Frankel’s film music. sition, a score for a TV documentary. It’s not Hammer, Frankel seldom imitates styles— Hammer: The Studio That but it’s a welcome curiosity that at least adds some his music stands alongside the Dripped Blood ★★★★ value for fans who probably already have the main greats of Hollywood from this JAMES BERNARD, , DAVID WHITAKER et al. themes elsewhere in their collections. With 28 tracks period and deserves attention. At Silva Screen FILMXCD 357 from 19 films, this is an eclectic primer to the wider any rate, this is one of the first Disc 1: 14 tracks - 68:01 world of Hammer film music. However, those collect- great re-recording issues of 2002. Disc 2: 14 tracks - 68:46 ing GDI’s comprehensive original soundtrack issues —S.A.K. of Hammer scores will probably struggle to find Way Out West: The Essential Western Film something new. If you already own Silva’s Music From I...comme Icare (1979) ★★★★ Music Collection 2 ★★★ the Hammer Films, The Devil Rides Out, Vampire ENNIO MORRICONE ENNIO MORRICONE, ELMER BERNSTEIN, MAX STEINER et al. Circus or Dracula—Classic Hammer Scores compila- GDM CD CLUB 7005 • 19 tracks - 46:15 Silva Screen FILMXCD 356 tions you might want to check that you’re not dou- Disc 1: 19 tracks - 72:16 bling up too heavily on material. E poi lo chiamarono il Disc 2: 19 tracks - 67:52 And finally, does the world really need another Magnifico (1973) ★★ ilva Screen once again plunders its vaults and “essential” collection of western film music—and GUIDO & MAURIZIO DE ANGELIS re-packages its cover versions with these two who is this set aimed at? Perhaps this is designed as GDM 2034 • 18 tracks - 40:52 Sattractive double-disc sets. As always, the a birthday gift for the undiscriminating older rela- nnio Morricone is best known purists will balk at the use of the City of Prague tive who hasn’t been exposed to the original music Efor the spaghetti western Philharmonic, claiming that the orchestra lacks the in recent years. You see, The Good, the Bad, and the scores he wrote in the 1960s and punch of the original artists. However, the fact that Ugly, Bonanza and The Big Country are so well- the early 1970s. Often featuring Angelo Badalamenti thought they were good enough known that they are almost impossible to replicate oddball sounds like ticking for his Mulholland Drive score does at least show satisfactorily without differences being apparent. watches, coyote yowls and grunt- that they are carving out a niche in the film music The Hammer material was unfamiliar, whereas ing human voices, these composi- community, and the evidence here is that of solid, these anthems are regularly played everywhere tions smashed apart the orchestral competent performances. from TV ads to sports events. Technically, the tracks traditions erected by cowboy com- The Hammer collection is the strongest, featuring are fine, and Charlotte Kinder adds beautiful vocals posers like Tiomkin and Bernstein over 80 minutes of Bernard’s compositions, including to the Morricone pieces, but this full-price release in Hollywood, and begat dozens, his ubiquitous Dracula and Frankenstein themes. It’s is going to struggle in a marketplace where fistfuls maybe hundreds, of imitators. also pleasing to see the recently departed Mario of other western compilations are available for a After 1973’s My Name Is Nobody, Nascimbene represented by his three prehistoric few dollars less. — N.J.

FILM SCORE MONTHLY 35 MAY/JUNE 2002 market n04 5/31/02 4:01 PM 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 & han- dling unless otherwise noted. FSMmarketplace

NEW RELEASE: ■ Vol. 5, No 4 ■ VOLUME 4, No. 20 ■ Vol. 5, No. 8 The Man Who Loved Farewell, My Lovely/ Point Blank/ Cat Dancing Monkey Shines The Outfit JOHN WILLIAMS DAVID SHIRE JOHNNY MANDEL/ MICHEL LEGRAND Film released: 1975/88 JERRY FIELDING Film released: 1973 Studio: MGM Film released: 1967, 1973 Studio: MGM Genre: Film Noir/ Studio: MGM Genre: Western Suspense Genre: Film Noir Silver Age Classics Silver Age Classics Silver Age Classics CD released: Mar. 2002 CD released: Jan. 2002 CD released: June 2002 Stereo • 65:37 Stereo • 73:48 Stereo • 77:54 A lost gem from Williams’ Farewell, My Lovely (33:06) Two films based on the character of Parker from D.E. Westlake’s pre-blockbuster/post-comedy career, during which he provided is symphonic jazz score for '70s noir classic; Monkey Shines crime novels: Point Blank (39:38) is a landmark 12-tone score, masterly, melodic scores for delicate dramas, plus Legrand’s (40:41) is leitmotivic suspense score for George Romero monkey ethereal and strange; The Outfit (38:16) features a dark, pulsating unused, unheard take on the same material. A rare opportunity thriller. $19.95 score punctuated with unexpected melody. $19.95 for collectors—all in stereo! $19.95

NEW RELEASE: ■ Vol. 5, No. 3 ■ Vol. 4, No. 19 ■ Vol. 5, No 7 Joy in the Morning Demetrius and the On the Beach/ BERNARD HERRMANN Gladiators The Secret of Film released: 1965 FRANZ WAXMAN Santa Vittoria Studio: MGM Film released: 1954 ERNEST GOLD Genre: Romance Studio: 20th Century Fox Film released: 1959, 1969 Golden Age Classics Genre: Biblical Epic Studio: CD released: Mar. 2002 Golden Age Classics Genre: Drama, Comedy Stereo • 46:33 CD released: Jan. 2002 Golden Age Classics Herrmann’s last complet- Stereo • 61:51 CD released: June 2002 ed studio project is Spectacular Waxman Stereo • 70:59 sweepingly romantic, score for Biblical epic Two scores from the oeuvre of director Stanley Kramer finally surging with passion and haunting in its use of melody. Get the emphasizes romance, action and religion, interpolating themes get released on CD. Beach is a gorgeous symphonic score inge- complete soundtrack in stereo from the original three-track from The Robe by Alfred Newman. Plus bonus tracks (11:06) and nously interpolating “Waltzing Matilda”; Secret is a lyrical slice recording with liner notes by Christopher Husted, manager of remixed cue from The Egyptian (5:04). $19.95 of “Italiana,” with one bonus cue. $19.95 the Herrmann estate. $19.95

■ Vol. 5, No. 6 ■ Vol. 5, No 2 ■ Vol. 4, No. 18 The Traveling Logan’s Run John Goldfarb, Executioner JERRY GOLDSMITH Please Come Home! JERRY GOLDSMITH Film released: 1976 JOHNNY WILLIAMS Film released: 1970 Studio: MGM Film released: 1965 Studio: MGM Genre: Sci-Fi Studio: 20th Century Fox Genre: Black Comedy Silver Age Classics Genre: Comedy Silver Age Classics CD released: Feb. 2002 Silver Age Classics CD released: May 2002 Stereo • 74:18 CD released: Dec. 2001 Stereo • 39:39 This classic story of a Stereo • 71:32 The main theme is a dystopian future gets the charming blend of royal treatment by the This wacky comedy star- Americana, Dixieland and circus sound, but the score enthusi- master of speculative soundtracks. Jagged action cues, ring Shirley MacLaine and Peter Ustinov is the earliest feature astically touches all the bases, from bluegrass to avant-garde to Coplandesque nostalgia, bracing electronics and more in this film soundtrack by John Williams available on CD. Johnny does full-scale action. This first-release ever is complete, with every restored, remixed, resequenced release! $19.95 Arab go-go music! $19.95 note written in excellent stereo. $19.95

■ Vol. 5, No 5 ■ Vol. 5, No. 1 ■ Vol. 4, No. 17 36 Hours Lust for Life Broken Lance Film released: 1964 Film released: 1956 Film released: 1954 Studio: MGM Studio: MGM Studio: 20th Century Fox Genre: WWII/Spy Thriller Genre: Biography Genre: Western Golden Age Classics Golden Age Classics Golden Age Classics CD released: May 2002 CD released: Feb. 2002 CD released: Dec. 2001 Stereo • 66:41 Stereo • 61:51 Stereo • 38:41 A taut, piano-dominated Premiere release of score with an accent on Rózsa’s heartfelt, stirring Disney’s workhorse com- stealth—flamboyant, but accompaniment to the poser from the ‘30s naturalistic as well. This CD premiere is remixed and remas- tragic tale of Vincent van Gogh. A personal favorite of the com- (Pinocchio) provides a dark, rich Americana score to this adap- tered in stereo, doubling the playing time of the LP including poser, this CD has been remixed from the three-track masters tation of King Lear set in the American West. $19.95 bonus tracks of vocals, piano demos, and a jazz trio improv of with bonus alternate cues and more. One of the greatest film the main title. $19.95 scores! $19.95

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■ Vol. 4, No. 16 ■ Vol. 4, No. 11 ■ Vol. 4, No. 6 The World of The Best of Everything The French Henry Orient ALFRED NEWMAN Connection/ ELMER BERNSTEIN Song by Newman & Sammy French Connection II Piano Concerto by Cahn, Perf. by Johnny DON ELLIS Kenneth Lauber Mathis Films released: 1971/75 Film released: 1964 Film released: 1959 Studio: 20th Century Fox Studio: United Artists Studio: 20th Century Fox Genre: Cop Thriller Genre: Comedy/Drama Genre: Drama/Romance Silver Age Classics Silver Age Classics Golden Age Classics CD released: May 2001 CD released: Nov. 2001 CD released: Aug. 2001 Stereo & Mono (I)/ Stereo • 40:32 Stereo • 71:14 Stereo (II) • 75:01 Bernstein’s “second-best” score for children (after To Kill a Newman’s last score at Fox is a romantic gem; think New York Classic ‘70s cop thrillers get pulsating, dynamic, avant-garde Mockingbird) sports fabulous sound from the legendary at twilight. CD features complete score (48:21) in stereo, some scores by jazz artist Don Ellis. First film (37:52) includes much Goldwyn scoring stage. Whimsical, melodic and magical. $19.95 bonus tracks and some cues repeated in mono. $19.95 unused music; sequel (37:09) somewhat more traditional. $19.95

■ Vol. 4, No. 15 ■ Vol. 4, No. 10 ■ Vol. 4, No. 5 The View From Voyage to the Bottom The Egyptian Pompey’s Head/ of the Sea ALFRED NEWMAN & Blue Denim PAUL SAWTELL BERNARD HERRMANN ELMER BERNSTEIN/ & BERT SHEFTER Film released: 1954 BERNARD HERRMANN Song by Russell Faith, Studio: 20th Century Fox Films released: 1955/1959 Perf. by Frankie Avalon Genre: Historical Epic Studio: 20th Century Fox Film released: 1961 Golden Age Classics Genre: Drama Studio: 20th Century Fox CD released: May 2001 Golden Age Classics Genre: Sci-fi/Irwin Allen Stereo • 72:06 CD released: Nov. 2001 Silver Age Classics At last: the classic Stereo • 75:15 CD released: July 2001 Newman/Herrmann col- This nostalgic pair of films by writer/director Philip Dunne Stereo • 55:55 laboration for Fox’s historical epic. Original stereo tracks feature romantic, intimate scores by Elmer Bernstein (lovely Thundering B-movie hysteria plus soothing, romantic undersea were believed to be lost or unusable, but this CD features Americana) and Bernard Herrmann (“baby Vertigo”). $19.95 passages for the film that launched the hit TV show. $19.95 every surviving note. $19.95

■ Vol. 4, No. 14 ■ Vol. 4, No. 9 ■ Vol. 4, No. 4 The Illustrated Man Between Heaven and Untamed JERRY GOLDSMITH Hell/ Soldier of FRANZ WAXMAN Film released: 1969 Fortune Film released: 1955 Studio: Warner Bros. HUGO FRIEDHOFER Studio: 20th Century Fox Genre: Sci-fi/Anthology Films released: 1956/55 Genre: Historical Silver Age Classics Studio: 20th Century Fox Adventure CD released: Sept. 2001 Genre: WWII/Adventure Golden Age Classics Stereo • 42:02 Golden Age Classics CD released: April 2001 CD released: July 2001 Stereo • 65:43 The Illustrated Man is one Stereo • 73:00 of Jerry Goldsmith’s most A superlative Hugo 19th century African colo- haunting sci-fi creations, with airy beauty, solo female vocalise, Friedhofer doubleheader: Between Heaven and Hell (complete: nialist adventure starring Susan Hayward receives thrilling early electronics, strange effects and an aggressive climax. 40:18) is a moody war thriller; Soldier of Fortune (surviving adventure score by Franz Waxman in first-rate sound. $19.95 tracks: 32:41) an exotic, melodic jewel. $19.95 Wonderful main title, love theme. $19.95

■ Vol. 4, No. 13 ■ Vol. 4, No. 8 ■ Vol. 4, No. 3 The Bravados Room 222/ The Towering Inferno ALFRED NEWMAN & Ace Eli and Rodger of JOHN WILLIAMS HUGO FRIEDHOFER the Skies Film released: 1974 Film released: 1958 JERRY GOLDSMITH Studio: Warner Bros. Studio: 20th Century Fox Films released: 1969/73 & 20th Century Fox Genre: Western Studio: 20th Century Fox Genre: Disaster/ SOLD OUT! Golden Age Classics Genre: Sitcom (TV)/ Irwin Allen Sorry, all gone... CD released: Sept. 2001 Americana (feature) Silver Age Classics Stereo (some bonus Silver Age Classics CD released: Apr. 2001 tracks in mono) • 69:34 CD released: June 2001 Stereo • 75:31 Mono (Room 222)/Stereo & Disaster masterpiece gets Two Hollywood legends collaborate for a rich, handsome west- Mono (Ace Eli) • 71:37 premiere CD release, doubled in length from the LP. Fantastic ern score with a memorable, driving main theme (by Newman) Room 222 (12:15) comprises theme and two episode scores for popu- main title, climactic action cue; plenty of moody suspense and and darkly brooding interior passages (by Friedhofer). $19.95 lar sitcom; Ace Eli (59:21) an obscure barnstorming movie. $19.95 romantic pop. $19.95

■ Vol. 4, No. 12 ■ Vol. 4, No. 7 ■ Vol. 4, No. 2 Morituri/ A Man Called Peter How to Marry a Raid on Entebbe ALFRED NEWMAN Millionaire JERRY GOLDSMITH/ Film released: 1955 ALFRED NEWMAN & DAVID SHIRE Studio: 20th Century Fox CYRIL MOCKRIDGE Films released: 1965/77 Genre: Religious/ Film released: 1953 Studio: 20th Century Fox Biography Studio: 20th Century Fox Genre: WWII/Espionage Golden Age Classics Genre: Comedy/ Romance (feature)/Docudrama (TV) CD released: June 2001 Golden Age Classics Silver Age Classics Stereo • 58:14 CD released: Mar. 2001 CD released: Aug. 2001 Stereo • 70:03 Stereo (Morituri)/ Biopic of Scottish minister Famous Marilyn Monroe Mono (Entebbe) • 57:50 Peter Marshall receives comedy features period Morituri (41:46) is a suspense/action score in Goldsmith’s per- rich, reverent, melodic score by Alfred Newman; CD features songs adapted as instrumental underscore. “Street Scene” (5:36) cussive ‘60s style; Raid on Entebbe (15:29) features suspense, complete score including source music. $19.95 conducted by Alfred Newman opens the movie and CD. $19.95 pulsating action (“The Raid”), and Israeli song climax. $19.95 TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9598 • Fax 1-310-253-9588 • Online www.filmscoremonthly.com market n04 5/31/02 4:02 PM Page 38

■ Vol. 4, No. 1 ■ Vol. 3, No. 5 ■ Vol. 2, No. 8 Conquest of.../Battle for the A Guide for the Married Man Rio Conchos Planet of the Apes JOHNNY WILLIAMS JERRY GOLDSMITH TOM SCOTT/LEONARD Title Song Perf. by Film released: 1964 ROSENMAN/ Film released: 1967 Studio: 20th Century Fox Film released: 1972/73 Studio: 20th Century Fox Genre: Western Studio: 20th Century Fox Genre: Comedy Silver Age Classics Genre: Sci-fi/Fantasy Silver Age Classics CD released: Dec.1999 Silver Age Classics CD released: July 2000 Mono/Stereo CD released: Feb. 2001 Stereo • 73:10 (combo) • 75:28 Stereo & Mono (Conquest)/ Stereo (Battle) • 74:44 Vintage “Johnny” Williams score is his most elaborate for a Early Goldsmith western score is presented in complete form Final Apes films get vintage scores by Scott (38:47, with several comedy, with long setpieces, groovy title theme, and orchestral (55:43) in mono, with some cues repeated in stereo. Includes unused cues) and Rosenman (34:43), plus TV theme (1:13). $19.95 underscoring foreshadowing his dramatic works. $19.95 delightfully bizarre vocal version of the main theme. $19.95

■ VOLUME 3, No. 10 ■ Vol. 3, No. 4 ■ Vol. 2, No. 7 Beneath the Tora! Tora! Tora! / 12-Mile Reef JERRY GOLDSMITH Leave Her to Heaven BERNARD HERRMANN Film released: 1970 ALFRED NEWMAN Film released: 1953 Studio: 20th Century Fox Film released: 1950/45 Studio: 20th Century Fox Genre: WWII Studio: 20th Century Fox Genre: Adventure Silver Age Classics Genre: Drama Golden Age Classics CD released: May 2000 Golden Age Classics CD released: Feb. 2001 Stereo • 54:45 CD released: Nov. 1999 Stereo • 55:06 Mono (two tracks in stereo) • Fantastic Herrmann undersea adventure score gets premiere Classic Goldsmith war score enhances docu-drama take on 44:19 • Eve is a cinema masterpiece; Newman’s complete release of original stereo tracks, albeit with minor deterioration. Pearl Harbor. Aggressive action music combined with avant- score is appropriately theatrical, perfectly drawn. Leave Her to Lots of harps, “underwater” color, seafaring melodies. $19.95 garde effects, Japanese instrumentation. $19.95 Heaven is more dramatic, brooding film noir. $19.95

■ Vol. 3, No. 9 ■ Vol. 3, No. 3 ■ Vol. 2, No. 6 The Stripper/ Beneath the Planet The Comancheros Nick Quarry of the Apes ELMER BERNSTEIN JERRY GOLDSMITH Film released: 1961 Film released: 1963/68 Film released: 1970 Studio: 20th Century Fox Studio: 20th Century Fox Studio: 20th Century Fox Genre: /Western Genre: Drama (feature)/Action (TV) Genre: Sci-fi/Fantasy Silver Age Classics Silver Age Classics Silver Age Classics CD released: Sept.1999 CD released: Jan. 2001 CD released: Apr. 2000 Stereo • 47:44 Stereo (Stripper)/Mono (Quarry) Stereo • 72:37 73:35 • Early Goldsmith feature (42:01, bonus tracks 21:06)—his Second Apes pic gets atonal score by Leonard Rosenman with Elmer Bernstein’s first score for John Wayne is a western first for Franklin Schaffner—is in romantic Alex North style. many avant-garde highlights. Includes complete original tracks gem, with rhythmic main title and high-tailing action music. Quarry (10:27) is a TV rarity—sounds like Flint music. $19.95 (46:03) plus 1970 LP re-recording with dialogue (26:34). $19.95 Think in terms of “The Magnificent Eight.” $19.95

■ Vol. 3, No. 8 ■ Vol. 3, No. 2 ■ Vol. 2, No. 5 From the Terrace Prince of Foxes ELMER BERNSTEIN RON GRAINER ALFRED NEWMAN Film released: 1960 Film released: 1971 SOLD OUT! Film released: 1949 Studio: 20th Century Fox Studio: Warner Bros. Sorry, all gone... Studio: 20th Century Fox Genre: Drama Genre: Sci-fi/Fantasy Genre: Historical Adventure Silver Age Classics Silver Age Classics Golden Age Classics CD released: Dec. 2000 CD released: Mar. 2000 CD released: July 1999 Stereo • 71:27 Stereo • 65:39 Stereo • 46:39

Paul Newman/Joanne Woodward soaper features tuneful, Charlton Heston sci-fi classic features one-of-a-kind symphon- Tyrone Power historical adventure gets exciting, robust score by romantic score by Bernstein. Rich Americana music, sensitive ic/pop fusion by the late Ron Grainer. Unforgettable themes, Alfred Newman, newly mixed into stereo. Glorious main title, stirring romantic themes, haunting melancholy. $19.95 period effects; great stereo sound quality. $19.95 love theme. $19.95

■ Vol. 3, No. 7 ■ Vol. 3, No. 1 ■ Vol. 2, No. 4 Batman Take a Hard Ride Monte Walsh JERRY GOLDSMITH JOHN BARRY Theme by NEAL HEFTI Film released: 1975 Film released: 1970 Film released: 1966 Studio: 20th Century Fox Studio: CBS Studio: 20th Century Fox Genre: Western Genre: Western Genre: Adventure/Camp Silver Age Classics Silver Age Classics Silver Age Classics CD released: Feb. 2000 CD released: June 1999 CD released: Nov. 2000 Stereo • 46:38 Mono (1 bonus track in stereo) Mono • 65:23 61:51 • Lee Marvin revisionist Holy Bat-tracks! 1966 feature produced at time of ‘60s TV show Strange “blaxploitation,” foreign-produced western gets won- western gets vintage John Barry score 20 years before Dances features Neal Hefti’s theme, Nelson Riddle’s Bat-villain signa- derful symphonic score from Goldsmith; great main theme, With Wolves. Song “The Good Times Are Comin’” performed by tures, swingin’ underscoring and larger action setpieces. $19.95 action cues. Take a hard ride, indeed. $19.95 Mama Cass; many bonus tracks. $19.95

■ Vol. 3, No. 6 ■ VOLUME 2, No. 9 Vol. 2, No. 3 The Undefeated/ Hombre The Flim-Flam Man/ Prince Valiant HUGO MONTENEGRO/ A Girl Named Sooner FRANZ WAXMAN DAVID ROSE JERRY GOLDSMITH Film released: 1954 Film released: 1969/67 Films released: 1967/1975 Studio: 20th Century Fox Studio: 20th Century Fox Studio: 20th Century Fox Genre: Historical Adventure Genre: Western Genre: Drama/Americana Golden Age Classics Silver Age Classics Silver Age Classics CD released: May 1999 CD released: Sept. 2000 CD released: Jan. 2000 Stereo • 62:17 Stereo • 72:33 Stereo (Flim-Flam)/ Western doubleheader: The Undefeated (starring John Wayne, Mono (Sooner) • 65:20 A rural Americana doubleheader: Flim- Fox’s colorful 1954 adaptation of the famous epic features stir- 47:33) is accessible and symphonic. Hombre (starring Paul Flam (34:37) stars George C. Scott as a Southern con man; ring adventure score by Franz Waxman in “leitmotiv” style, a la Newman, 21:30) is moodier, sensitive—a quiet gem. $19.95 Sooner (30:43) is smaller, sensitive TV movie score. $19.95 Star Wars: hero, villain, princess, mentor. $19.95

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■ Vol. 2, No. 2 ■ VOLUME 1, No. 4 ■ Vol. 1, No. 2 Patton/The Flight The Return of Dracula/ The Paper Chase/ The of the Phoenix I Bury the Living/The Cabinet of Poseidon Adventure JERRY GOLDSMITH/ Caligari/ Mark of the Vampire JOHN WILLIAMS FRANK DE VOL Film released: 1973/72 Films released: 1958/58/62/57 Film released: 1970/65 Studio: 20th Century Fox SOLD OUT! Studio: UA/ 20th Century Fox Sorry, all gone... Studio: 20th Century Fox Genre: Horror Genre: Drama/Disaster Genre: WWII/ Adventure Silver Age Classics Silver Age Classics Silver Age Classics CD released: Jan. 1999 CD released: July 1998 CD released: April 1999 Mono • Disc One: 61:06 Stereo/Mono (combo) • 75:53 Stereo • 76:24 • Patton (35:53) is complete OST to WWII biopic Disc Two: 73:20 • Composer of Star Trek’s “Amok Time” gets 2CD The Paper Chase is eclectic score for drama about law stu- FSMmarketplace classic with famous march. Phoenix (40:51) is a rare album release of creepy, early horror scores, packaged in slimline case; dents. The Poseidon Adventure is classic Irwin Allen disaster release for Frank De Vol, an adventure/survival score. $19.95 same shipping as one CD. $29.95 score. Also includes Conrack (1974), main title (6:07). $19.95

■ Vol. 2, No. 1 ■ Vol. 1, No. 3 ■ Vol. 1, No. 1 100 Rifles Stagecoach/The Loner JERRY GOLDSMITH LEONARD ROSENMAN JERRY GOLDSMITH Film released: 1969 Film released: 1966 Film released: 1966/1965 Studio: 20th Century Fox Studio: 20th Century Fox Studio: 20th Century Fox Genre: Western Genre: Sci-fi Genre: Western (film/TV) Silver Age Classics Silver Age Classics Silver Age Classics CD released: Mar. 1999 CD released: Sept. 1998 CD released: May 1998 Stereo/Mono (combo) • 77:08 Stereo • 47:28 Stereo (Stagecoach)/ Burt Reynolds/ Sci-fi classic following miniatur- Mono (Loner) • 45:25 • dud gets explosive western score by Goldsmith, heavy on ized sub crew inside the human body gets imaginative, avant Stagecoach is gentle Americana score for remake of classic Mexican colors and guttural action. CD features score twice, in garde score by Leonard Rosenman; one of his signature works. western. The Loner is Goldsmith’s theme and two episode stereo and in mono with slight variations. $19.95 Symphonic yet thrillingly bizarre. $19.95 scores for short-lived Rod Serling western series. $19.95 JOIN THE CLASSICS CHARTER CLUB Send us your name, address and credit card info, and we will automatically send each CD upon release. You can return any disc for a full refund or credit within 30 days. Each CD costs $19.95 plus shipping ($3 U.S./Canada, or $5 rest of world); no charges until shipping. See order form for details.

WARNER HOME VIDEO has led the way for video restoration with box sets of their most famous films. Their soundtrack CDs have been available only within the larger video packages—until now. FSM has limited quantities of CDs to sell via direct mail only to our readers.

The Wild Bunch Enter the Dragon The Exorcist Fully restored, Seventies slugfest—expanded! The seminal horror soundtrack! limited availability! Bruce Lee’s most famous film This 1973 thriller of demonic pos- The classic Jerry Fielding SOLD OUT! cemented his superstar status. session is perhaps the scariest score, in brilliant stereo, to the Sorry, all gone... Lalo Schifrin scored this 1973 film of all time, enhanced by ferocious 1969 Sam Peckinpah adventure with his greatest frightening, avant garde compo- western. This 76-minute CD was fusion of funky backbeats, sitions by Penderecki, Webern, meticulously restored and catchy melodies, screaming Henze and other modernist com- remixed for inclusion with the orchestra and wild percussion. It posers. This CD includes all of 1997 laserdisc of the film, with is the ultimate combination of the rejected music (14:14) which nearly twice as much music as the original LP. $19.95 symphonic fury with crazy ‘70s solos. This remixed and remas- Lalo Schifrin recorded for the film—never before heard! $19.95 tered disc features the complete score (57:14) $19.95

MUSIC FROM RETROGRADE Before FSM’s limited-edition Classic series, there were a few commercial releases...

The Taking of Pelham 1-2-3 Deadfall Mad Monster Party Ride this killer ’70s groove! Catch John Barry ’60s vibe! 30th anniversary edition Hear David Shire’s unparalleled First time on CD! Barry scored The jazzy score by composer ’70s 12-tone jazz/funk fandango this 1968 Bryan Forbes thriller in Maury Laws, with lyrics by Jules for the 1974 subway hostage the midst of his most creative Bass, features the vocal talents thriller. Part disaster movie, part period of the ’60s. This CD fea- of Boris Karloff, and gritty cop thriller, Shire’s fat bass tures his 14-minute guitar con- Ethel Ennis. The deluxe package ostinatos and creepy suspense certo, “Romance for Guitar and includes a 16-page color booklet cues glue it all together. A sensa- Orchestra,”; the title song “My with dozens of never-before pub- tional, driving, pulsating score in Love Has Two Faces” performed lished photographs and concept a class by itself—experience the original for your self. $16.95 by Shirley Bassey (“Goldfinger”), plus two unreleased, alternate drawings by Mad Magazine alumnus Jack Davis and Don Duga. versions (vocal and instrumental) and vintage underscore. $16.95 A wacky, fun, blast from the past! $16.95

Hollywood EXCLUSIVE VIDEO! Composers Stamp Sheet CHECK YOUR ORDER ONLINE : conducting and at work on syn- Visit our website at https://secure.filmscoremonthly.com/store His Life and Music thesizer mock-ups of Starship by the United to place an order using our secure server. You will receive an auto- An intimate visit with the Troopers, as well as dozens of States Postal matic confirmation. All of your information (including your credit card composer of Conan the behind-the-scenes and family Service. Six #) is confidential and encrypted for your protection. Save precious Barbarian, Free Willy, photos, and appearances by Hollywood Composers on first- days that might otherwise keep you from your music! Starship Troopers and wife Bobbie and daughter Zoë. class stamps (33¢) in the Legends Lonesome Dove. Take a Discover the man behind the of American Music Series. We are tour of his work and music, in a way you’ll never see selling sheets of 20 stamps as lifestyle, from his methods issued by the USPS; each sheet CDs/video: $3 first item, $1.50 each additional on TV, or experience in print. SHIPPING INFO of composing to his love of has three Steiners, Korngolds, U.S./Canada. $5 first item, $3 each add’l rest of world. Books: $5 each NTSC (U.S. Format) $19.95 sailing. The video runs 50 PAL (European Format $19.95 Newmans & Tiomkins, and four U.S/Canada, $10 rest of world. Backissues: Shipping FREE within minutes and includes footage of Basil Herrmanns & Waxmans. Postage U.S./Canada. $5 rest of world per order. is free with any other item, $1.50 if ordered alone. $9.95

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BOOKS FOR Waxman, Kaper, Rózsa, Steiner, his major landmarks (Lost Horizon, Korngold, Herrmann, Friedhofer, High Noon, the Hitchcock films, COMPOSERS Raksin, Antheil, Thompson, Copland, Giant, and many more). Also includes North, Bernstein, Duning, Rosenman, a complete filmography, 41 b&w pho- Goldsmith, Mancini, Schifrin, Scott, tos, and 9 color plates. $24.95 Shire, Broughton and Poledouris. Silman-James Press, 330 pp., soft- cover. $19.95

recording studios, performing rights societies, and music libraries— endary composer, covering his film, names, addresses and numbers. television, radio and concert work as $94.95 well as his personal life. It’s a brilliant illumination of Herrmann and proba- bly the best film composer biography Getting the Best Score for Your BOOKS FOR ever written. Published by University Film: A Filmmakers’ Guide to of California Press. 416 pp., hard- Sound and Vision: 60 Years of Music Scoring MUSIC LOVERS cover. $39.95 Motion Picture Soundtracks by David Bell by Jon Burlingame Respected TV composer Bell (Star The Score: Interviews Foreword by Leonard Maltin Trek: Voyager) wrote this book in 1994 with Film Composers Journalist and historian Burlingame’s to help producers and directors get by Michael Schelle Sound and Vision is his overview of the most out of film music. It’s aimed This 1999 book uses a question and movie music composers and history, at filmmakers, but also provides use- answer format to provide readers encapsulating the most notable peo- ful professional info to composers with a conversational look at contem- ple and events in the author’s clear and musicians—or any interested porary composers, featuring lengthy and direct prose. Largely comprised fan. Topics include spotting, commu- transcripts with Barry, Bernstein, of composer mini-bios with reviews nicating, recording, budgeting and Blanchard, Broughton, Chihara, of their most notable works and licensing, with explanations of the Corigliano, Howard, Isham, Licht, photo portraits (from Golden Age various personnel and entities McNeely, T. Newman, Shaiman, titans to present-day masters), there involved in each; also included are Shore, Walker and C. Young. The is also a thorough overview of sound- lists of agents, clearance companies, author is himself a composer, and the track album history (on LP and CD), a glossary terms and resources. give and take pries deeply and pre- section devoted to song compilation Silman-James Press, 112 pp., soft- U.S. Soundtracks on CD: cisely into the composers’ ideas. Hugo Friedhofer: reviews, and a helpful movie music cover. $12.95 Scores for Motion Pictures and Published by Silman-James Press, The Best Years of His Life bibliography. Billboard Books, 244 Television 1985-1999 432 pp., softcover. $19.95 Edited by Linda Danly, Introduction pp., softcover. $18.95 Price Guide by Robert L. Smith by Tony Thomas The second edition of FSM’s market- This gifted musician scored such standard price guide contains over Hollywood classics as The Best Years 2,400 listings of album titles with of Our Lives, An Affair to Remember, composers, label numbers, special One-Eyed Jacks. His Golden Age con- collectible information and estimated temporaries considered him the most values. Listings are annotated to dif- sophisticated practitioner of their art. ferentiate between originals and reis- In the 1970s Friedhofer (1901-1981) sues, commercial albums and rare gave a lengthy oral history to the promos. Find out what’s out there, American Film Institute, rife with what your rarities are worth, and anecdotes, opin ions and wit, which how much you should expect to The Album Cover Art forms the centerpiece of this book. The Click Book spend on your collection. Smith also of Soundtracks Also included is a short biography by Comprehensive timing tables for syn- surveys the present state of the mar- by Frank Jastfelder & Stefan Kassel, Danly, the eulogy from Friedhofer’s chronizing music to film ket and provides a checklist for the Foreword by Saul Bass memorial service by David Raksin, a Composer Cameron Rose provides top 50 collectible CDs. Published by This 1997 coffee-table book is a stun- filmography, photographs and more. click-tempo tables for 6-0 through 32- Vineyard Haven LLC, 154 pp., soft- ning collection of soundtrack LP cov- The Scarecrow Press, 212 pp., hard- Film Music and Everything Else! 0 frame click-tempos. Each timing cover. $17.95 ers. From paintings to photographs to cover. $39.95 Music, Creativity and Culture as table covers beat 1 to beat 999 at the designs, from westerns to blaxploita- Seen by a Hollywood Composer given click-tempo. With large, easy- tion to sexploitation, it’s a gorgeous by Charles Bernstein to-read click-tempo values and dossier of vivid artwork, with covers A collection of essays by Charles equivalent metronomic values at the both ubiquitous and rare. Take a trip Bernstein, composer of the original top of each page, there are timing, down memory lane, or experience Nightmare on Elm Street, Sadat, Cujo frame and footage breakdowns for these powerful images for the first and others. Most of the essays origi- rhythmic subdivisions within each time. This German-published book nally appeared in “The Score,” the click-tempo—including compound originally sold for $29.95—it’s now quarterly journal of the Society of meters. Includes a listing and tutorial out-of-print, to boot, but we have Composers and Lyricists, a profes- of standard timing-conversion formu- obtained a limited number of copies sional organization for film com- las for 24 fps film speed, and a tuto- for our faithful readers. Published by posers. Topics include: melodies, rial in SMPTE-to-absolute time con- Edition Olms AG Zürich, 128 pp., full “hummers,” emotion and more. It’s a version, plus frames-to-seconds color, softcover. $24.95 rare opportunity to read thoughtful conversion tables for U.S. and Dimitri Tiomkin: A Portrait opinions and musings from a film European film & video speeds. 430 A Heart at Fire’s Center: by Christopher Palmer composer directed towards other pp. $149.95 Music from the Movies The Life and Music of This 1984 book by the late practitioners of the art. Turnstyle 2nd Edition by Tony Thomas Bernard Herrmann Christopher Palmer is the authorita- Music Publishing, 132 pp., softcover, NEW Updated Edition! The original film music book (1971) by Steven C. Smith tive study of legendary composer limited to 500 copies. $18.95 2001 Film/TV Music Guide from which all others followed, telling The most influential film composer of Tiomkin (1894-1979). Long out of print, From the Music Business Registry the stories of Hollywood’s most suc- all time, who scored such classics as a few copies have surfaced from the Overtones and Undertones: Isn’t your career worth it? An exhaus- cessful—if hitherto unknown—com- Citizen Kane, Vertigo, Psycho and U.K. publisher and are now for sale, Reading Film Music tive directory of record labels, music posers. This updated edition was Taxi Driver, Bernard Herrmann (1911- but when they’re gone, they’re gone! by Royal S. Brown publishers, film/TV music depts., released in 1997, shortly before the 1975) was also famous for his musi- This 144p. hardback is divided into This 1994 book by longtime film music music supervisors, music editors, author’s death. Composers covered cal passion, bad temper and out- three sections: a biography, an columnist Brown is the first serious composer representatives, com- (many with photos) are Stothart, V. bursts. This hard-to-find 1991 book is overview of Tiomkin in an historical theoretical study of music in film and posers, clearance companies, Young, Green, Newman, Tiomkin, the definitive biography of the leg- perspective, and specific coverage of explores the relationships between

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King), Shirley Walker; Laurence Influential composers; Glass, Heitor Crash, Lost World. Rosenthal on the Vineyard; Salter in Villa-Lobos, songs in film, best of ’95, film Vol. 2, No. 6, Aug. ’97 Schifrin (Money memoriam; classical music in films; score documentary reviews (Herrmann, Talks), John Powell (Face/Off), Shaiman John Williams in concert; Recordman at Delerue, Takemitsu, “The Hollywood the flea market. Sound”). #50, Oct. ’94 Alan Silvestri (Forrest #68, Apr. ’96 David Shire’s The Taking of GET FREE GIFTS! Gump), M. Isham; sex & soundtrack Pelham One Two Three; Carter Burwell Film Score Monthly rewards its sales; L. Schifrin in concert; Morricone (Fargo), gag obituaries, Apollo 13 happy, loyal customers with a free Beat CDs; that wacky Internet; promo/bootleg tips. gift for spending over $50 on any * #69, May ’96 Music in Plan 9 from one order, and TWO free gifts for

Outer Space; Funny movie music glos- spending over $100. (Magazine FSMmarketplace sary; Herrmann & Rózsa radio programs; subscriptions, shipping and tax are Irwin Allen box set review; Bender’s not applicable towards the $50 or certain shows were tracked and “Into the Dark Pool” column. $100—but everything else is, film, music and narrative, and chroni- credited; Trek manuscript excerpts #70, Jun. ’96 Mancina (Twister), final including backissues.) cles the aesthetics of it through sev- from the composers; and several cue desert island movie lists, Jeff Bond’s If your order applies, please eral eras. Key works analyzed sheets. Lone Eagle Publishing. 224 summer movie column, TV’s Biggest Hits scribble your selection on the form include The Sea Hawk (Korngold), pages, softcover, illustrated. $17.95 book review. or a separate sheet. yourself. The Double Indemnity (Rózsa), Laura #71, Jul. ’96 David Arnold free gifts will, from time to time, (Raksin), Prokofiev’s music for (Independence Day), Michel Colombier, include products we otherwise sell Eisenstein, Herrmann’s music for BACK ISSUES OF FSM Recordman Goes to Congress, Bond’s here at the site, and some prod- Hitchcock, and several scores for the summer round-up. ucts we don’t—although they may films of Jean-Luc Godard. A supple- VOLUME ONE, 1993-96 #72, Aug. ’96 Ten Best Scores of ’90s, be available from other sources. mental section features Brown’s 24 pp. unless noted. Thomas Newman’s The Player, Escape Here is the present line-up of probing interviews with Rózsa, Asterisk (*) indicates photocopies. Recordman on liner notes. from L.A., conductor John Mauceri, ref- available gifts: Raksin, Herrmann, Mancini, Jarre, * #30/31, Mar. ’93 64 pp. , #51, Nov. ’94 H. Shore (Ed Wood), T. erence books, Akira Ifukube CDs. Schifrin, Barry and Shore. U.C. Basil Poledouris, Jay Chattaway, John Newman (Shawshank Redemption), J. #73, Sept. ’96 Recordman on War Film Now Playing on Marco Polo Press. 396 pp., softcover. $24.95 Scott, Chris Young, Mike Lang; the sec- Peter Robinson (Craven’s New Soundtracks Pt. 1; Interview: David Sampler of John Morgan/William ondary market, Ennio Morricone albums, Nightmare), Lukas’s mom interviewed; Schecter: Monstrous Movie Music; Stromberg re-recordings on the Elmer Bernstein Film Music Collection music of Heimat, Star Trek; promos. Ifukube CDs Pt. 2, Miles Goodman obitu- Marco Polo label: The Roots of LPs; 1992 in review. #52, Dec. ’94 Eric Serra, Marc Shaiman ary. Heaven, King Kong, Another #32, Apr. ’93 16 pp. Matinee temp-track, Pt. 1, Sandy De Crescent (music con- * #74, Oct. ’96 Action Scores in the ’90s; Dawn, Gulliver's Travels, The SPFM ’93 Conference Report, Star Trek tractor), Valencia Film Music Cinemusic ’96 report (Barry, Zhou Egyptian, Objective: Burma!, The music editorial. Conference, SPFM Conference Pt. 1, Jiping); Vic Mizzy interviewed. Treasure of the Sierra Madre and * #33, May ’93 12 pp. Book reviews, StarGate liner notes, Shostakoholics * #75, Nov. ’96 Barry: Cinemusic All About Eve (8 tracks -37:55). classical/film connection. Anonymous. Interview; Recordman on War Film Gone with the Wind * #34, Jun. ’93 16 pp. Goldsmith SPFM #53/54, Feb. ’95 Shaiman Pt. 2, Dennis Soundtracks Pt. 2, Bond’s review col- 1959 Muir Matheson re-recording award dinner; orchestrators & what McCarthy (Star Trek); Sergio Bassetti, umn. of Max Steiner score on they do, Lost in Space, recycled Jean-Claude Petit & * #76, Dec. ’96 Interviews: Randy Sonic Images label. Herrmann; spotlights on Chris Young, in Valencia; Music & the Academy Edelman, Barry pt. 2, Ry Cooder (Last Retail Price: $14.95 Pinocchio, Bruce Lee film scores. Awards Pt. 1; rumored LPs, quadra- Man Standing); Andy Dursin’s laserdisc * #35, Jul. ’93 16 pp. Tribute to David phonic LPs. column, Lukas’s reviews. Kraft; John Beal Pt. 1; scores vs. songs, * #55/56, Apr. ’95 Poledouris (The Jungle Memoirs of a Famous Composer— Herrmann Christmas ; Film Book), Silvestri (The Quick and the Nobody Ever Heard Of Composers Dictionary. Dead), Joe Lo Duca (Evil Dead), Oscar & VOLUME TWO, 1997 by * #36/37, Nov. ’93 40 pp. Bernstein, Bob Music Pt. 2, Recordman’s Diary, SPFM Composer Hagen (b. 1919) has had an Townson (Varèse), Richard Kraft & Nick Conference Report Pt. 2. outstanding career: as a big band Redman Pt. 1, John Beal Pt. 2; reviews * #57, May ’95 Goldsmith in concert, trombone player with Benny of CAM CDs; collector interest articles, Bruce Broughton (Young Sherlock Goodman and Tommy Dorsey; as an classic corner, fantasy film scores of Holmes), Miles Goodman interviewed, arranger and composer under the Elmer Bernstein. ’94 Readers Poll, Star Trek overview. legendary Alfred Newman and others * #38, Oct. ’93 16 pp. John Debney * #58, Jun. ’95 Michael Kamen (Die at 20th Century Fox; and as a com- (seaQuest DSV), Kraft & Redman Pt. 2. Hard), Royal S. Brown (film music critic), poser/music director for thousands of * #39, Nov. ’93 16 pp. Kraft & Redman Pt. Recordman Loves Annette, History of hours of television, including the 3, Fox CDs, Nightmare Before Christmas Soundtrack Collecting Pt. 1. acclaimed series I Spy, The Mod and Bride of Frankenstein. *#59/60, Aug. ’95 48 pp. Sex Sells Too (LP Squad and The Andy Griffith Show. * #40, Dec. ’93 16 pp. Kraft & Redman Pt. cover photos), Maurice Jarre inter- He also wrote the standard, "Harlem 4; Re-recording The Magnificent Seven. viewed, History of Soundtrack Collecting The Secret of NIMH 2 Nocturne," later used as the theme * #41/42/43, Mar. ’94 48 pp. Elliot Pt. 2, Miklós Rózsa Remembered, film 1998 Lee Holdridge score to ani- for The Mike Hammer Show, and Goldenthal, James Newton Howard, music in concert debate. First color covers! Issues 32-48 pp. mated film on Sonic Images. Retail Price: $14.95 authored two technical books on film Kitaro & Randy Miller (Heaven & Earth), #61, Sept. ’95 Goldenthal (Batman * Vol. 2, No. 1, Jan./Feb. ’97 Star Wars composing. Memoirs of a Famous Rachel Portman, ; Star Wars Forever), Kamen Pt. 2, Chris Lennertz issue: Williams interview, behind the Composer—Nobody Ever Heard Of is trivia/cue sheets; sexy album covers; (new composer), Star Trek: The Motion Special Edition CDs, commentary, cue Hagen's story, filled with charming music for westerns; ’93 in review. Picture, classical music for soundtrack editing minutia/trivia, more. Also: Bond’s anecdotes of some of the most * #44, Apr. ’94 Joel McNeely, Poledouris fans. review column. famous personalities in movie music. (On Deadly Ground); SPFM Morricone * #62, Oct. ’95 Danny Elfman Pt. 1, John * Vol. 2, No. 2, Mar./Apr. ’97 : Published by Xlibris Corporation. 336 tribute & photos; lots of reviews. Ottman (The Usual Suspects), Robert (The Simpsons); promotional CDs; pages, hardcover. $34.95 * #45, May ’94 Randy Newman Townson (Varèse Sarabande), Ten Most Congress in Valencia; Readers Poll ’96 & (Maverick), Graeme Revell (The Crow); Influential Scores, Goldsmith documen- Andy’s picks; Into the Dark Pool Pt. 2 The Music of Star Trek: Goldsmith in concert; in-depth reviews: tary review. * Vol. 2, No. 3, May ’97 Michael Fine: Re- Profiles in Style The Magnificent Seven and Schindler’s * #63, Nov. ’95 James Bond Special recording Rózsa’s film noir scores; by Jeff Bond List; Instant Liner Notes, book reviews. Issue! John Barry & James Bond (his- reviews: Poltergeist, Mars Attacks!, This is the first-ever history of Star #46/47, Jul. ’94 Patrick Doyle, Newton tory/ overview), Eric Serra on Rosewood, more; Lukas’s & Bond’s U.S. Soundtracks on CD Price Trek soundtracks, from the original Howard (Wyatt Earp), John Morgan GoldenEye, essay, favorites, more. Also: review columns. Guide: 2nd Edition series to the present—by FSM’s own (restoring Hans Salter scores); Tribute to History of Soundtrack Collecting Pt. 3, Vol. 2, No. 4, Jun. ’97 Elfman (Men in FSM's market-standard price senior editor. Featuring interviews Henry Mancini; Michael Nyman music Davy Crockett LPs. Black), Promos Pt. 2, Martin Denny and guide featuring over 2,400 listings. with composers Goldsmith, Courage, for films, collectible CDs. * #64, Dec. ’95 Exotica, Lady in White, the Laserphile on Danny Elfman Pt. 2, Steve Regular FSM Price: $17.95 Fred Steiner, Fried, Ron Jones, * #48, Aug. ’94 Mark Mancina (Speed); Bartek (orchestrator), Recordman DVDs, Brian May obit, The Fifth Element McCarthy, Chattaway, producer Chuck Cirino & Peter Rotter; Richard Meets Shaft: The Blaxploitation reviewed. Please note! If your order quali- Robert Justman, music editor Gerry Kraft: advice for aspiring composers; Soundtracks, Kamen Pt. 3, re-recording * Vol. 2, No. 5, Jul. ’97 Goldenthal fies, it is your responsibility to ASK Sackman and others, the book con- classical music in films; new CAM CDs; House of Frankenstein. (Batman & Robin), Mancina (Con Air, for a free gift—we won't send it tains a complete list of scores written Cinerama LPs; bestselling CDs. * #65/66/67 Mar. ’96, 48 pp. T. Newman, Speed 2), George S. Clinton (Austin automatically. Thanks! for all four TV series; a guide to how #49, Sept. ’94 Hans Zimmer (The Lion Takemitsu, Robotech, Star Trek, 10 Powers), ASCAP & BMI awards; plus:

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reviews/overview, Jay Chattaway obit. Tora! Tora!; Film music representation in (Maniac, Star Trek), Bruce Broughton Vol. 4, No. 5, Jun. ’99 Star Wars: Hollywood, pt.1. Buyers Guide Pt. 1, Downbeat (David The Phantom Menace scoring session Vol. 5, No. 5, Jun. ’00 Our Tenth Reynolds, Dennis McCarthy, Anne report and analysis of Trilogy themes; Anniversary Issue! Kendall remembers; Dudley), SCL Conference Report. Halloween H20 postmortem; Downbeat: An FSM Timeline; The Film Score Vol. 3, No. 6, Jul. ’98 Trevor Rabin Affliction, Free Enterprise, Futurama, Decade: who and what made it memo- (Armageddon), John Barry’s London Election; Lots of CD reviews: new rable; 25th Anniversary CD review; Concert, (The Truman scores, , Morricone, TV, A J. N. Howard (Dinosaur); Final install- Show), Christopher Gordon (Moby Dick), Simple Plan. ment of Goldsmith Buyer’s Guide, more. Debbie Wiseman (Wilde), ‘70s soul Vol. 4, No. 6, Jul. ’99 Elmer Bernstein: Vol. 5, No. 6, Jul. ’00 Summer Movie soundtracks reviewed. ; George S. Clinton: Round-up; David Newman (Bedazzled, Vol. 3, No. 7, Aug. ’98 South Park (Adam Austin Powers 2; Goldsmith Buyer’s The Klumps); Film score agents, pt.3; Berry, Bruce Howell), Baseketball (Ira Guide: Early ‘70s; USC film scoring pro- Debut of Session Notes; They Might Be (George of the Jungle); remembering Newborn), Taxi Driver retrospective, gram; CD reviews: 1984, Sword and the Giants (Malcolm in the Middle); double Morgan on Reconstructing Golden Age Tony Thomas; Summer movies, TV BMI & ASCAP dinners, Broughton Sorcerer, The Mummy, The Matrix, dose of Pocket Reviews; Score Scores; Downbeat Deluxe: Schifrin, sweeps. Buyers Guide Pt. 2, Downbeat (Schifrin, more. Internationale. Jones, Diamond and Debney; Musical * Vol. 2, No. 7, Sept. ’97 Zimmer vs. FSM Bernstein, Legrand). Vol. 4, No. 7, Aug. ’99 Warner Animation Vol. 5, No. 7, Aug ’00 Bruce Broughton Mellifluousness in Score Internationale, (interview: Peacemaker), Marco * Vol. 3, No. 8, Sept. ’98 Lalo Schifrin Scoring (Shirley Walker on Batman/ interview; Silverado analyzed; Marc Random Play and more. Beltrami (, Mimic), Curtis (Rush Hour), Brian Tyler (Six-String Superman, Bruce Broughton on Tiny Shaiman gives hell from the heavens; Vol. 6, No 8, September ’01 The Madman Hanson (L.A. Confidential); Laserphile; Samurai), Trevor Jones, John Williams Agent History’s fiery conclusion; and His Muse: Angelo Badelamenti Bender: Film Music as Fine Art, concert premiere, ASCAP scoring semi- Laserphile (Autumn DVDs); Downbeat (Mulholland Drive); The North Carolina Recordman. nar, Rykodisc CD reviews. (William Stromberg); Danny Elfman and School of the Arts (for film composing); * Vol. 2, No. 8, Oct. ’97 Poledouris Vol. 3, No. 9, Oct./Nov. ’98 Erich his mom at a scoring session. The King of Hip 2 ( retro- (Starship Troopers), Shore (Cop Land, Wolfgang Korngold: Biographer inter- Vol. 5, No. 8, Sept./Oct ’00 Randy spective); Earle Hagen: He Wrote the The Game), Zimmer vs. FSM Pt. 2, Alloy view and book reviews; John Williams’s Newman (Meet the Parents); Things To Book; Halloween DVDs; more. Orchestra (scoring silent films), Golden Tanglewood film scoring seminar; Carter Come Soundtrack LP; The Goonies Vol. 6, No. 9, Oct./Nov. ’01 Learning New Age CD reviews. Burwell, Simon Boswell, Citadel Retrospective; Downbeat (Requiem for Hobbits: Howard Shore (Lord of the Vol. 2, No. 9, Nov./ Dec. ’97 Arnold Records, Halloween laserphile. a Dream); Session Notes (The Rings); : Invasion of the (), John Frizzell Vol. 3, No. 10, Dec. ’98 The Prince of Simpsons); Psycho honored by NPR; Score Man; Trevor Jones (); (), Neal Hefti (inter- Egypt (Hans Zimmer, Stephen Schwartz), “Cinema of Dreams”, and more. Don Davis Meets John Williams view), U-Turn & The Mephisto Waltz, Emil Cmiral (Ronin); Holiday Review Vol. 5, No. 9, Nov./Dec. ’00 Special 64 pg. ( III on DVD); Mychael Razor & Tie CDs; 1st issue of current for- Round-up: 50+ new CDs; Downbeat: double issue. 101 Great Film Scores on Danna (Chosen, Hearts of Atlantis); mat. Elfman, Young, Beltrami, Eidelman, D. CD—FSM’s big list; & Yo-Yo Ma ST:TMP gets a DVD refit; and Pukas Cuomo, Kamen. Toons, more); Phantom Menace music; (Crouching Tiger, Hidden Dragon); returns. VOLUME THREE, 1998 Michael Kamen (The Iron Giant); Stu Howard Shore (The Cell); Alan Silvestri Vol. 6, No. 10, Dec. ’01 Scores of Scores: Expanded format! Issues 48 pp Phillips (Battlestar Galactica); percus- (Cast Away); Back to the Future retro- Our annual roundup CD reviews; VOLUME FOUR, 1999 sionist Emil Richards; ASCAP awards. spective; and more.. Interviews with Alejandro Aménabar Vol. 3, No. 1, Jan. ’98 Williams Buyer’s 48 pp.each * Vol. 4, No. 8, Sept./Oct. ’99 Tribute to (The Others) and Gabriel Yared; The Guide Pt. 1 (Star Wars to Amistad), Stanley Kubrick: interview (Jocelyn Original Lords of Middle-earth: other Mychael Danna (The Sweet Hereafter), * Vol. 4, No. 1, Jan. ’99 Music for NFL Pook); analysis (Eyes Wide Shut), review VOLUME SIX, 2001 Hobbit music; Downbeat Deluxe: Titanic‘s music supervisor, readers poll, Films (Sam Spence), Goldsmith at (Kubrick compilation); Poledouris (For 48 pp.each Christopher Young, Harry Gregson- laserphile, Silvestri lecture, Rykodisc , Danny Elfman (Psycho, Love of the Game); Goldsmith Buyer’s Vol. 6, No. 1, Jan. ’01 The Best of the Williams, Rolfe Kent and Mark Isham, reviews. Civil Action, A Simple Plan), Wing Guide: Late ‘60s; Jeff Bond’s concert Worst:2000 in review; Our Town music and more. * Vol. 3, No. 2, Feb. ’98 Glass (Kundun), Commander game music, books, Indian advice for Jerry. analysis; Hollow Man score on DVD; Williams Buyers Guide Pt. 2 (The funk soundtracks. Vol. 4, No. 9, Nov. ’99 U.S. Postal Service Cliff Martinez (Traffic); Total Recall Reivers to Black Sunday), David Amram Vol. 4, No. 2, Feb. ’99 Goldsmith Buyer’s Composer Stamps; Papillion retrospec- redux; more. VOLUME SEVEN, 2002 (The Manchurian Candidate), Goldsmith Guide: The ’90s, The Exorcist (the lost tive; King of German schwing, Peter Vol. 6, No. 2, Feb. ’01 The Musical World 48 pp.each on Varèse, Pendulum CDs (interview & Schifrin score), David Shire (Rear Thomas; Downbeat (Inspector Gadget, of Irwin Allen; Copland on Film (cond. Vol. 7, No. 1, Jan. ’02 The Best and the reviews), poll results, TV CDs. Window remake), TVT sci-fi CDs, promo The Thomas Crown Affair, more); BMI Jonathan Sheffer); 3000 Miles to Worst of 2001: The whole FSM crew Vol. 3, No. 3, Mar./Apr. ’98 Titanic/Horner CDs, (Koyaanisqatsi). awards night. Graceland (George Clinton); Douglass weighs in on the year that was; The essays, Best of 1997, Cinerama Rides Vol. 4, No. 3, Mar. ’99 The Best of 1998: Vol. 4, No. 10, Dec. ’99 Scores of Scores Fake of Intrada interviewed; How to James Horner Buyers Guide part 3: Again, Remembering Greig McRitchie, Essays by Jeff Bond, Andy Dursin & 1999: our annual review roundup, includ- Marry a Millionaire, more. 1989-86; In The War Zone: Hans Zimmer Fox Newman Stage pics, Elfman Oscar Doug Adams; Wendy Carlos; Goldsmith ing animation, Morricone, horror, Golden Vol. 6, No. 3, Mar. ’01 Bigger, Better on Black Hawk Down; Logan’s Overrun: noms. Buyer’s Guide Part 2: The ‘80s; Hammer and Silver Age Hollywood, concert work Scores: How the RMA is helping to put expanded liner notes; Enterprise music, Vol. 3, No. 4, May ’98 Bruce Broughton soundtracks on CD, Recordman, CDs and lots more; plus our reader poll. more music on your soundtracks; Don Yann Tiersen interviewed, and more. (Lost in Space), David Arnold (Godzilla), Downbeat, ST:TMP CD review. Ellis and a life in 13/8 Time; Master of Vol. 7, No. 2, Feb. ’02 Happy Birthday, Inside Close Encounters restoration, Vol. 4, No. 4, Apr./May ’99 Franz Disaster Part II: Irwin Allen discography; Elmer Bernstein: The caviar goes to Williams Buyers Guide Pt. 3; Score Waxman: Scoring Prince Valiant (pho- VOLUME FIVE, 2000 Rolfe Kent (Town & Country); Italian Elmer on his 80th; Miklós Rózsa on Lust Internationale, Laserphile, Downbeat tos, musical examples); 1998 Readers 48-64 pp.each Imports: You can’t beat BEAT. for Life; Richard Rodney Bennett’s touch (Ed Shearmur), Fox Classics reviews. Poll; Goldsmith Buyer’s Guide Late ‘70s; Vol. 5, No. 1, Jan. ‘00 Inside Rhino’s reis- Vol. 6, No. 4, Apr./May ’01 King of the of elegance; Downbeat on John Q and Vol. 3, No. 5, Jun. ’98 Mark Snow (X- DIVX soundtrack festival report; John sue of Superman:The Movie score; film World: The James Horner Buyer’s Guide Frailty; Laserphile rounds up baseball Files), Classic Godzilla Barry bios reviewed; Charles Gerhardt and cue sheet analysis; ’50s Superman Part 1; Downbeat: The Mummy Returns and rites of passage DVDs; and more. TV score; Howard Shore (Dogma); and Swordfish; Yabba Dabba Crew—A Vol. 7, No. 3, Mar/Apr. ’02 To Rock or Not Downbeat: Goldenthal, Barber, Tyler, Salute to Hoyt Curtin; Epics on DVD; to Rock: The Scorpion King (John Debney and Robbins;pocket reviews Session Notes from Atlantis The Lost Debney); An Awfully Big Adventure: FSM:THE COMPLETE COLLECTION debut, Laserphile. Empire. Massive Hook retrospective (John Get every issue of Film Score Monthly Vol. 5, No. 2, Feb. ’00 20th Anniversary Vol. 6, No. 5, June ’01 Sergei Prokofiev Williams); Dialect of Desire: The erotic from 1990 to the present in one package. Tribute to Jerry Fielding, conversation Tribute: The Man, The Music, The Films; voice of Italian cinema, Edda Dell’Orso; with Camille Fielding; Top picks for 1999; Friedhofer and Fox; Egon, Your Music: A The Man Who Can-Can-Can (Craig The price for The Complete Collection (a $350.00 ’s score-o-matic approach Ghostbusters retrospective; Jeff Danna Armstrong); and the usual stuff, too. value) is $99.95 plus shipping. NEW CRAZY to Any Given Sunday; George Duning and Ryan Shore in Downbeat; John OFFER! U.S. readers get free shipping! Canadian obit; Score Internationale;1999 release Bender reports on the Chiller Index How much stuff have we printed readers: Add $20 for postage. Rest of world: Add stats. Convention, and plenty of reviews. in FSM? We’re not sure, but here’s a $35 for surface mail or add $60 for air mail. (Sorry, Vol. 5, No. 3, Mar. ’00 Build the ultimate Vol. 6, No. 6, July ’01 A Whole Different handy index of all reviews and articles but that's what happens when you live so far away Phantom Menace CD at home; Readers Animal: Danny Elfman’s new take on through the end of 2000, compiled by from FSM.) pick the best of 1999; Music director Planet of the Apes; Hans Across Dennis Schmidt. Cost: same as one back If you have specific shipping concerns or questions, email us at: Mark Russell Smith on film vs. concert America: Zimmer on Pearl Harbor and issue. [email protected], or call 1-888-345-6335 music; C.H. Levenson’s “last” letter, his latest concert CD; James Horner (overseas: 310-253-9598), fax 310-253-9588 or write: magazine reader survey, and more. Buyer’s Guide Part 2; Elliot Goldenthal FSM Complete Collection, 8503 Washington Blvd., Culver City CA 90232. Vol. 5, No. 4, Apr./May ’00 Bernard (Final Fantasy) Howard Shore (The If you already have some of the issues, we can create a customized set of Herrmann: 10 Essential Scores of the Score), John Williams (A.I.) and more. the issues you need at a prorated price. Contact us today! ’50s and CD checklist, Journey to the Vol. 6, No 7, August ’01 The King of Hip: Remember the soundtrack collector's favorite word: COMPLETE! Center of the Earth retrospective; Quincy Jones Part 1; A Spectacular Richard Marvin (U-571); J.Z.K. on Tora! Spectacular (Moulin Rouge); John TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9598 • Fax 1-310-253-9588 • Online www.filmscoremonthly.com v7n04 issue 5/31/02 12:58 PM Page 4 3

SCORE Como classic, “Papa Loves David Holmes’ earlier number, Debussy-inspired piano line, Mambo,” an Arthur Lyman inter- “Gritty Shaker” has all the essential drenched in a warm, glowing, dig- (continued from page 35) pretation of Ellington’s “Caravan,” parts of the rest of the score mate- ital reverb, starts the track before wretched on flute, is gorgeous on appearances by Elvis and Quincy rial here, and it is no less relent- the String Quartet of London the banjo. And the Nora Orlandi Jones, and a classic performance lessly unlistenable as the rest of its takes up the skeleton of the Chorus, whenever it appears, tran- of Debussy’s “Claire de Lune” with “newer” incarnations. “Tess” adds melody. Eventually the track edits scends the sticky arrangements the Philadelphia Orchestra. These some under-rehearsed strings and back into the full-blown, beat- that surround it. In other words, are not pieces that on their own manages to have some interest, driven, synthetic sound of the you might enjoy this score if, now would usually sell a soundtrack but that quickly wanes. original track. It’s hugely roman- and then, you can suppress your CD in this day and age. But the “Clair de Lune” appears in track tic, lush, and a pioneering gag reflex. selections are interspersed 20 as a kind of musical reward if moment in the golden era of the The marvel of a lot of Italian throughout the disc and offer a you have made it this far. British ’80s pop aesthetic. It’s great movie music is its frequent ten- welcome respite from the often If you are dency to try to sound hip—and by annoying score material. interested in “hip,” I mean “American.” The “Boobytrapping” is the first hearing a good influences of pop, rock, jazz and “score” cue. It is decidedly urban recent jazz folk are omnipresent. Yet these in its sound, with continued repe- score, check musical styles, filtered through tition like an accompanied rap out Joe conservatory-trained composers number without any texts. It dis- Hisaishi’s like Morricone and the De Angelis solves into dialogue and is fol- Brother or brothers, frequently undergo a lowed by a rap number featuring even David transformation, becoming bizarre Trugoy, Del Tha Funkee Homo Arnold’s Baby pastiches, often lovely and often Sapien, and the P Jays. The beatnik Boy. In the not. Eclecticism like this can make music for “The Plans” sounds like meantime, listening to these works a chal- a ’60s coffee house number given save your money. —S.A.K. to listen to the revisited track, lenge. They evade easy categoriza- the fact that dialogue once again which Dudley has updated with tion and description. They fre- appears on top of the music. This A Different Light: Anne Dudley an entirely reworked trumpet-fea- quently sound tacky, too. But bleeds into the num- ★★★★ tured ending. when the composers pull off their ber. The same thing happens in ANNE DUDLEY Elsewhere she explores a laid- weird alchemy, music like this several other places between the Angel EMI 7243 5 571582 1 • 11 tracks - 50:09 back modern jazz sensibility, and reaches the highest heights of score cues and tracked-in pieces. nside many a great film com- the John Barry/James Bond- beauty. Such is the case with both The fact that David Holmes’ I poser lurk ideas for his/her inspired “The Club With No of these collections, though one score works in this film is pointed own movie. Once a composer has Name” is one of her finest laps the other by a mile. out time and again by the dialogue started work on a film commis- moments. Her passion for instru- —Stephen Armstrong that appears here with the individ- sion, viewed every timecode point ments and music from North ual score cues. Herein, though, lies of a film in detail, talked into the Africa and the Middle East gets Ocean’s Eleven ★★ the problem. If you wanted to hear mind of the director and script, fused with swinging bass and DAVID HOLMES cues with dialogue, you could wait one could argue that they are as brass sounds. What makes it work Warner Sunset/Warner Bros. 48112 for the DVD and (egad!) burn your well qualified as anyone to move so well is the economy and disci- 21 tracks (including nine actual score tracks, own version. Shouldn’t a “music into movie production. Anne plined use of space. Dudley never but they fade into one another so that it is from” CD have MUSIC ON IT, by Dudley’s new collection of clutters her mixes with any over- often a continuous line) - 52:05 itself?! Perhaps Warner felt that the reworked film and non-film music due fuss or pomp. The album tephen Soderbergh’s Ocean’s sameness of the score would not demonstrates the scope of her ends with the neatest of ice-cool SEleven shows what can hap- provide enough of a listening huge imagination, even including modern piano tunes from that pen when an old Hollywood B- experience. It is also able to nod music she has written for an film Dudley has conjured in her movie is glossed over and buffed slyly at the roots of this remake imaginary film. She describes the imagination. —Simon Duff up with great stars under a great while creating a more contempo- album as a kind of “stock taking.” director. The only real criticism of rary, if mostly boring, sound. A chance to review, look back and The Black Stallion (1979)/ the film is that Soderbergh was Holmes has managed to create a reflect. Her modesty, ambition The Black Stallion Returns 1 “slumming.” So is it any wonder sound that uniquely matches the and courage are examples to all (1983) ★★★ /2 / ★★★ that the film still managed to get source material. However, each modern music makers. More CARMINE et al., to number one, get good word-of- cue says all it has to say in about important is her respect for past, GEORGES DELERUE mouth, and soon even found its 30 seconds or less and then man- present and future music. Prometheus PCD 151 • 25 tracks - 65:43 way onto some critics’ “Top 10 ages to repeat it seemingly ad The album includes new ver- his is one of those albums Films of 2001”? infinitum with little or no change sions from several of her movie Tthat makes a surprisingly per- The Warner Bros. release of for the remainder of the track. projects, including The Crying suasive case for the usually dubi- “music from” the film misleadingly As “Lyman Zerga” played out, I Game, American History X and ous virtues of film scoring by com- lists the non-score cues on its back kept waiting for something to hap- Fearless, as well as new visits to mittee. Many such scores written cover. I say this because the disc pen. I even checked to see if the some of her existing television these days tend to blend into a opens and closes with Percy Faith’s disc was stuck as it played on past and commercial work. However, sound-alike mishmash; The Black “Theme for Young Lovers” (which the 1:30 mark with little change in the centerpiece of the album is Stallion, on the other hand, comes appears excerpted underneath anything. Minimalist jazz can be the reworked version of the classic together remarkably well, dialogue in both places on the intriguing but not if nothing har- Art of Noise track “Moments in considering the circumstances in disc) and is not a full rendition of monically or even rhythmically Love,” a work that Dudley co- which it was scored. Seven that piece. There’s even the Perry interesting happens. In a nutshell, wrote back in the 1980s. A (continued on page 45)

MAY/JUNE 2002 43 FILM SCORE MONTHLY v7n04 issue 5/31/02 12:58 PM Page 4 4

Pocket CD Reviews Who did it? What’s it about? Should you buy it?

The Rookie Dennis Quaid stars in this G-rated Disney movie Instead of focusing on the mythological (James Horner’s ★★★ about a high school baseball coach who tries out Field of Dreams), Americana (Randy Newman’s The for the majors in his late 30s. This feel-good family Natural) or heroic (Basil Poledouris’ For Love of the CARTER BURWELL film, directed by John Lee Hancock, rarely breaks Game) sides of baseball, Burwell latches on to the home- Hollywood out of the sports movie formula but still manages spun, small-town aspect of the sport. With playful wood- 2061-62352-2 to avoid certain clichés. One thing Disney certainly wind and guitar, Burwell creates a leisurely if unmemo- 13 tracks - 51:31 avoids is the standard baseball movie score, rable score. Burwell is given only two cues on the sound- ensured by the hiring of Carter Burwell. track (totaling 10:25) and both feel like suites. The rest of the soundtrack is filled with folk and country tunes from the likes of John Fogerty, Steve Earle and Ryan Adams. —Cary Wong

The Cat’s Meow In The Cat’s Meow, Peter Bogdanovich revisits one Plenty of Jazz Age gems turn up in the mix, including of Hollywood’s greatest scandals: the mysterious two by Al Jolson, one with , and a stun- ★★★★ death of Thomas Ince. Who or what killed the cele- ning version of Mack and Johnson’s “Charleston.” The IAN WHITCOMB, brated movie producer? And did William Randolph soundtrack also features several numbers performed by VARIOUS Hearst have anything to do with it? A period piece Whitcomb and his backup band, the Bungalow Boys. RCA Victor 09026- set in 1924, the film strives obsessively to mimic These new arrangements of old standards (like “Ain’t We 63822-2 not only the look of the Roaring ’20s, but the Got Fun” and “A Pretty Girl Is Like a Melody”) twist and 16 tracks - 40:58 sound as well. To do this, Bogdanovich hired Ian shout with technical bravado. The staccato sequences of Whitcomb, an expert on early-20th-century music, piano, clarinet, accordion and violin (as in “April to select and arrange songs for the score. Showers”) sound as pleasant and capricious as a light rain looks when it falls on a bright green lawn. Nostalgic and fun, this score purrs along almost perfectly. —Stephen Armstrong

A collection of horror themes and cues produced Go for it. This is a splendid assortment. Standout cues are Pure Horror by Artisan Entertainment, presumably to tout Daniel Licht’s haunting theme to Soul Survivors, reminis- ★★★★ their prowess in producing “modern horror.” In cent of Jarre’s Jacob’s Ladder theme; Cora’s abstract, VARIOUS ARTISTS truth, it’s an excellent compilation, due in no atmospheric “The Cellar” from the Blair Witch Project; Beyond/Flash Cut small part to the use of original cues rather than and Burwell’s ominous, twitchy “Funny Farm” from Blair 398 578 217-2 re-performances. Containing an atmospheric Witch 2. Also included from BW2 is the brief “Dossiers,” a 11 tracks - 30:53 selection from six films (Stir of Echoes, Candyman cue not included on that film’s score CD. Pure Horror is a 3, Blair Witch Project 1 & 2, Wishmaster 2 and Soul bit pricey, listed at $17.97 retail, but buy it for the com- Survivors), this disc does a good job of blending posers, particularly the up-and-coming folks who are as esoteric works by the likes of Antonio Cora with deserving of recognition as the big boys. Great fun for comparable pieces by established composers such those who appreciate good, creepy scoring. as James Newton Howard and Carter Burwell. —Chris Stavrakis

E.T.: The 20th To coincide with the movie’s 20th anniversary re- This is capitalism at its worst. The three new tracks are Anniversary Release release in theaters, MCA issues yet another ver- inconsequential to the score (which is probably why they sion of the E.T. soundtrack. John Williams’ Oscar- were left out of the first re-release)—especially the noise (1982) ★★ winning score is one of the most beloved in his that makes up the main title cut. The other two cues JOHN WILLIAMS canon (the score itself, not counting this market- start with the main theme, which segues into moody MCA 088 112 819-2 ing, gets ★★★★★). This third CD release boasts material (interesting only as they contain the germ of an 21 tracks - 75:39 three unreleased cues: “Main Titles”(1:05), idea that might have lead to A.I. two decades later). If “Meeting E.T.” (2:05) and “E.T.’s New Home” (1:38). you’re new to the E.T. movie and score, then by all These three cues are added to the music found on means, you should get the most complete (so far, that is) the last re-release, which was, I thought, the most CD there is. Or just wait and get a used copy of the first definitive representation of the actual soundtrack re-release that we silly completist fools will be selling. (the first 1982 release being John Williams’ re- —C. W. recording of his score). I was wrong.

Mothman A supernatural thriller about a moth-like creature The back cover of the CD announces that “Original Score Prophecies whose appearances usually precede a tragic occur- Elements” are provided by , which should 1 rence, The Mothman Prophecies, starring Richard warn you about what this score will sound like. Their ★★ /2 Gere and Laura Linney, is, incredibly, based on a style of mixed with odd noises is appro- TOMANDANDY true event. Director collaborated priate for this movie and makes for an eerie listen as a Lakeshore LAK 33694-2 with Angelo Badalamenti for his previous film, CD. The score is broken into eight movements that are 8 tracks - 59:21 Arlington Road, and the vet would interchangeable in their creepiness. In this era of remix- have been at home with this movie. For whatever ers and DJs invading the film , tomandandy reason, Pellington hired the oddly Mothman-like are unique in that they actually composed their own composers known as tomandandy, an ambient-DJ score, as opposed to enhancing another composer’s duo (Tom Hajdu and Andy Milburn, get it?) who music. Still, a lack of thematic material makes this CD a composed their first full score for Keith Gordon’s little hard to sit through. —C. W. Waking the Dead a couple of years back.

MAY/JUNE 2002 44 FILM SCORE MONTHLY v7n04 issue 5/31/02 12:58 PM Page 4 5

Who did it? What’s it about? Should you buy it?

Ali II ★★★ Perhaps director Michael Mann has too much rev- The choices of source cues are both musically inter- erence for his lead character, or maybe he was try- esting and totally accessible, especially the beautiful ing to be politically correct in depicting the life of a “Papa,” by Salif Keita, the Mali musician known for his & controversial man who is still living, but Ali turns African-Western music fusion. Lisa Gerrard and Pieter PIETER BOURKE out to be more of a collage than a movie. All the Bourke’s score is only represented by 16 minutes of Decca 440 016 967-2 highlights are there, but the connecting tissue is music spanning five tracks. Add to that the one three- 11 tracks - 40:10 sorely missing. Closer to a true soundtrack than minute track in the Interscope release, and the music the earlier Interscope album, this Decca release doesn’t leave much of an impression. Evocative, includes more of the mood pieces that Mann incor- haunting and professional as the score is, Gerrard and porated into his vision (as opposed to just the Bourke’s chore seemed to have been to plaster over background songs). the holes between source cues. Musical filler is seldom memorable. —Cary Wong

The original Wishmaster was a fun movie, harken- Williams offers a surprisingly decent score for such a Wishmaster 2: ing back to the 1980s, when monster flicks reigned schlocky movie. While his main theme (“The Robbery”) Evil Never Dies supreme. Loaded with special effects and a mali- sounds a lot like John Frizzell’s Alien Resurrection ★★★ cious main character (a djinn who derives great theme, and motifs à la Horner, Manfredini and/or Richard Band are scattered throughout, it’s not bad at all. In fact, DAVID WILLIAMS pleasure from granting wishes in gruesome ways), it proved modestly successful and earned a follow- Williams seems to have concentrated on understatement Beyond/Flash Cut 398 up. The bad news for Wishmaster 2 is that bane of and restraint for the most part, letting the film’s visual 578 219-2 horror fans everywhere: a sequel/remake that imagery do the work without leaning too heavily on vol- 21 tracks - 44:47 retains only the most prurient aspects of its prede- ume. It’s appropriately atmospheric and eerie, with “End cessor while dispensing with style altogether. The of Djinn” standing out as a powerful piece. Little to no good news: David Williams’ score is one of the Middle Eastern flavor is apparent, despite the composer’s highlights of this disappointing redux. statement in the liner notes. Still, it’s a worthwhile listen and a reminder that even lame cinematic knockoffs can produce something appealing. —C.S.

Monster’s Ball Monster’s Ball chronicles the romantic relationship The composition’s early tracks make frequent use of that develops between a white prison guard and a electronic sounds that meander and blend into one ★★★ 1/ 2 black waitress in the Deep South. Its slow pace another. The subsequent cuts rely less on electronica ASCHE & SPENCER, allows director Marc Forster to flesh out his char- and more on traditional instruments like guitar, bass and VARIOUS acters’ contradictory personalities and layer the drums. Stronger rhythms and clearer melodies also Lion’s Gate 9608 story with tension, a strategy that keeps the movie emerge. This simultaneous scaling down and building up 16 tracks - 49:16 compelling all the way to its bittersweet end. further enriches the music, and toward the end of the Asche & Spencer’s score similarly relies on a slow score, a pure, moving sound develops, making the effort pace to build up to an emotionally satisfying con- to get there worth it. The album’s non-score pieces, on clusion. the other hand, deliver the goods quickly. Sad, beautiful and regional, these four tracks—from the Jayhawks, Red Meat and others—don’t fuss with elaborate maneuvers or high-tech machines. They just rock. —S.A. Six Feet Under This offbeat HBO drama about a family that runs a There are two remixes of Newman’s theme, and while I ★★★ funeral home was created by Alan Ball, the writer find it hard to believe anyone would want to dance to this of American Beauty, and the connections are obvi- thing at a club, one of the remixes (the Rae & Christian) THOMAS NEWMAN ous. Thomas Newman, American Beauty’s Oscar- is pretty catchy. Meanwhile, the rest of the CD includes Universal 440 017 031-2 nominated composer, provides the oddly catchy hip songs from the old school ( and a bonus 17 tracks - 69:03 title theme music, while Richard Marvin, whose track from Julie London) and the new (Beta Band and music for the film U-571 was one of 2000’s best P.J. Harvey). For a song album, this is fairly listenable. scores, pens the individual episodes. The CD, how- —C. W. ever, includes only Newman’s theme.

Score films, music is used fairly spar- film. Impressionistic textures are approach tends to work in this (continued from page 43) ingly, as a tool to enhance the film’s the guiding idea behind the island film’s favor. The characters and composers are credited, in par- environment as opposed to cues, and there are many fine relationships emerge slowly, and ticular and straight dramatic support. “The moments to savor: the spiraling, the score takes its time to develop. Shirley Walker. Despite the differ- Island,” a sparse cue credited to unnerving piano patterns of Coppola’s main theme is straight ences in approach, much of this four composers (!), uses flute and “Cobra Death”; the back-and-forth out of a children’s music box, and music stays in the memory. harp effects to create a gentle, see- flute-and-percussion dialogue in it’s used just enough without Coppola’s wistful main theme sawing mood. Music carries much “First Feeding”; the vaguely Middle becoming overly emphatic. And kicks off the album proper; time of the island-based portion of the Eastern exoticism of “Playing Tag & while the score’s second half, like has been good to it, and it’s still a film, and rightly so; Ballard is Magnificent Horse”; and the soar- the film’s, can’t quite match the melody that sticks. working in a nearly dialogue-free ing “The Ride.” first half, there is much to admire, Like many of ’s idiom for a large portion of the The deliberately non-thematic (continued on page 48)

FILM SCORE MONTHLY 45 MAY/JUNE 2002 v7n04 issue 5/31/02 12:58 PM Page 4 6

RETROGRADE Winners and Dinners Pictures from 2002 ASCAP Awards Dinner and Flanders International Film Festival Dinner

ASCAP Foundation Lifetime Achievement Award Winner Van Alexander, whose credits include TV’s BEWITCHED and HAZEL.

Composer Alan Silvestri, recipient of the Henry Mancini Award, is congratulated by his presenter, Robert Zemeckis. Their collaboration spans 19 years and 10 features.

Jan Rooney with legendary actor , star of five films (including THE ATOMIC At left, honorees Rick Marotta (EVERYBODY LOVES RAYMOND) KID, 1954 and ANDY HARDY COMES HOME, 1958) and Jay Chattaway (ENTERPRISE); Triple honoree John Debney scored by honoree Alexander; Johnny Mandel (right), honored for his scores for the hit films SPY KIDS, (POINT BLANK, 1967), and arranger/composer/ CATS AND DOGS and THE PRINCESS DIARIES. jazz bassist John Clayton (below), who presented to Van Alexander.

Honorees Russ Landau (SURVIVOR: AUSTRALIAN OUTBACK and SURVIVOR: AFRICA), David Bell (ENTERPRISE), with fellow composer Joseph LoDuca (XENA:WARRIOR PRINCESS).

MAY/JUNE 2002 46 FILM SCORE MONTHLY v7n04 issue 5/31/02 12:58 PM Page 4 7

Honored film producers Richard and Lili Zanuck, pictured here with festival secretary general he Flanders International Jacques Dubrulle (right). Film Festival’s annual Tdinner party honored film producers Richard Zanuck and Lili Fini Zanuck, who have produced films including Jaws, Cocoon, Rush, and the Planet of the Apes remake. Others attending the dinner included composers Mark Isham, Rolfe Kent, Music Branch of the Academy President, Arthur Hamilton, Nancy Knutsen of ASCAP, Frank Cappra III, Faye Kanin, Alan & Marilyn Bergman, Jacqueline Bisset, Arthur Hiller, Mike Stoller, and from the festival: Jacques Dubrulle (Secretary General), Marian Ponnet (Guest Officer), Christian DeSchutter Guests included Alan & Marilyn Bergman (left) and (Media & Industry Executive, Wim composer Rolfe Kent and director Arthur Hiller, (right). De Witte (Program Executive). The Flanders International Film Festival is the only interna- tional festival with a specific focus on film music. Advertise in FSM Reach a dedicated group of film music professionals and aficiaonados Contact Bob Hebert FSM sales representative PH. 323-962-6077 FAX 310-253-9588 [email protected]

FILM SCORE MONTHLY 47 MAY/JUNE 2002 v7n04 issue 5/31/02 12:58 PM Page 4 8

Score approach, Delerue’s unified com- Palast Orchester. doom (curiously reminiscent of (continued from page 45) positional style seems startling, This is Zimmer in Hannibal Shore’s The Silence of the Lambs but in the end it still comes mode (don’t forget that Badelt main theme), while the threaten- piano writing in “Chase Through together, with the score’s lengthy also composed “Gourmet Valse ing tone of “Master of the Occult” Town” and the stirring finale, culmination (“Finale: The Black Tartare” on that album) rather is conjured up by chorals and a “Flash Back & Winner’s Circle.” Stallion Returns”) ending the than the creator of the Afro-eth- brooding underscore that It’s a shock when the second album on a stirring note. —J.C. nic vibes of Black Hawk Down. becomes apparent when the half of this album rolls around The main title is a funeral dirge other instruments have fallen and leaves less of an impression. Invincible ★★★★ and sets the tone for an album away. The score section con- Georges Delerue’s score for the HANS ZIMMER & KLAUS BADELT that is lacking in levity. But since cludes with the short adagio sequel, The Black Stallion Milan 74321 89821 2 the movie tackles serious moral “Benjamin Believes,” having Returns, is written in Delerue’s 13 tracks - 49:01 issues of race, oppression and already peaked emotionally in the immediately recognizable oming hot on the heels of fascism, one shouldn’t expect preceding “The Unknown Just.” melodic style, but oddly enough, Ctheir work on The Pledge, this to be a barrel of laughs. This sober score must surely it lacks the impressionistic stay- Zimmer and Badelt’s latest col- While this all sounds dreadfully serve as a wake-up call to those ing power of the first film’s score. laboration is a grand classical heavy and depressing, there are who misguidedly believe that It’s still a fine piece of music, work from the school of tragedy. also flashes of hope. Zimmer is stuck in blockbuster however, with a typically lovely The movie, directed by Werner The nine score cues (totaling limbo. Given the right source pastoral theme in the great (Fitzcarraldo) Herzog, essays the 36 minutes) are neatly sequenced material he can soar, and this is Delerue tradition (“Alex and the journey of a young Jewish at the beginning of the album, an impressive requiem that dig- Black Stallion”). “Raj Comes strongman in ’30s Europe who with the remainder of the disc nifies the plight of the oppressed Home” features woodwind writ- performs in the circus as an taken up by the Raabe songs and in the turbulent Eastern Europe ing that conjures welcome Aryan hero. As expected, the the other music contemporary to of the early 20th century. My one echoes of Delerue’s work for score is rich in period orchestra- the movie’s setting. “The Journey,” fear is that this art-house movie Truffaut (in particular Love at 20 tion, and includes source cues which is structured around a will not get much exposure, and and ). There are also like the crackly 1928 recording of waltz, sweeps you into the sound- thus limit disc sales. But the ini- some choice action moments, in “Ombra mai fu,” a movement track, occasionally disclosing tiated will recognize a sure thing particular during “Meslar: Desert from Beethoven’s Third fragments of a carnival theme. when they see it. Zimmer meets Hero” and “Race and Escape.” Symphony and two “big band” “Siegfried, the Iron King” is a Herzog? It just has to be worth a Next to the first film’s grab-bag themes from Max Raabe and Das brooding string-driven portent of spin. —N.J.

MAY/JUNE 2002 48 FILM SCORE MONTHLY v7n4cov 5/31/02 11:45 AM Page c3

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Still photographs courtesy of Turner Entertainment Co. An AOL Time Warner Company Point Blank FSMCD Vol.5,No.8•ReleasedbySpecialArrangementwithTurner ClassicMoviesMusic. Two scoresavailableforthefirsttimeanywhere The Outfit Together with: 24-page booklet. (save “MightyGoodTimes”) and comeswithanillustrated FSM’s “Parker” doubleheaderisentirelyinstereo easily accessiblemelodicsideofthecomposer. passion tothe“Parker”aesthetic,andshow ararelyrepresented, performance bySteveGillette,thesongsadd asenseoffolksycom- film: anunusedmaintitleandtwosourcecues.Withcountry-styled three songs,noneofwhichareheardinvocalversionthefinished score toTheMechanic.Unusually, hisscorefor The Outfit genre, andforTheOutfit and jazzarranger’s skill,Fieldingexcelledatthehit-and-be-hit With hispulsatingrhythms,avantgardesensibilities Duvall as“Macklin.”TheOutfit In 1973M-G-MbroughtanotherParkernoveltothescreen: unused cues)alongwithsourcecuesandStuGardner’s “MightyGoodTimes” fromthefilm’s nightclubsequence. ships, thescorehasvirtuallynopeers.FSM’s premierepresentationfeaturesMandel’s completework(including particularly forwoodwinds(aMandeltrademark)andgorgeous,tonalvariationsWalker’s romanticrelation- cage inwhichWalker mechanicallybutartfullytearsthroughtheunderworld.Withchamber-style accompaniments system ofatonalcompositionnotforshocksbutemotioninthestyleAlbanBerg,creatingatypetrance-like film creditsincludeTheSandpiper Scoring through thecriminalorganizationthathaswrongedhim. bly arevengefantasy:Walker, shotandleftfordeadbyhisfriendReese(JohnVernon), awakenstowreakhavoc influenced bytheFrenchnewwave,turningbook’s simplestoryintoakind of avantgardefablethatispossi- steely, impersonalarchitectureofLosAngeles.AdaptedfromRichardStark’s crimenovel Point Blank Point Blank,starringLeeMarvinas“Walker” underthedirectionofJohnBoorman(Deliverance,Excalibur). adapted fromthefirstParkernovel,TheHunter Mob. ThecharacterwasmostrecentlyportrayedonscreenbyMelGibsonas“Porter”inPayback for DonaldE.Westlake) for40years:arelentless,unstoppablethieftypicallyseekingmoneyowedhimbythe (apenname The characterofParkerhasenduredinthecrimenovelsRichardStark Bunch, StrawDogs). Jerry Fielding,bestknownforhisworkSamPeckinpah( brother’s death.Thescorewasbyaveteranof‘70scrimethrillers: and naturalistic,asco-starsKarenBlackJoeDonBakerhelpMacklinfleecetheMidwest Mobandavengehis Point Blank is alandmarkof1960sAmericancinema,neo-noirthrillersetamidstthe drew uponhisearlier“shadesofblack” a onyMne,awdl clie opsradarne whose was JohnnyMandel,awidelyacclaimedcomposerandarranger is theblue-collar‘70scounterpartto and by JerryFielding MASH. Mandel’s scoreisasingularachievement:heusesthetwelve-tone by JohnnyMandel $19.95 (1962). However, TheHunter plus shipping. features The Wild Point Blank’s artysophistication:spare,gritty Performed bytheStuGardnerTrio Song: “MightyGoodTimes” byStuGardner, POINT BLANK 8 EndTitle 18. To FortPoint 17. ChrisScores 16. CountSource 15. 4 BacktoChris 14. ThePayoff 13. TheMoneyMen 12. Reese’s Wake 11. I’llSlipOutofSomething 10. .JyRd/ihyGo ie 2:34 ThisWay toHeaven 9. 2:03 ChristoReese’s Lair 8. 2:00 JoyRide/MightyGoodTimes 7. AttheWindow/TheBathroom 6. Nightmare 5. NostalgicMonologue 4. UnquestionedAnswers 3. Trackdown 2. Opening/MainTitle 1. starringRobert The Outfit, Total Time: ofral/es esHs5:08 Comfortable/Reese GetsHis was firstfilmedin1967as The Hunter,thefilmwas (1999), 39:38 2:13 4:32 1:07 1:33 1:41 1:53 3:09 0:53 2:23 1:40 0:43 2:01 0:50 2:38 9 Taxi intheRain/Parish 19. OUTFIT THE 6 “ICalledMyDaddy”/Laffin’ 26. 7 MansionGates/Assaulton 27. 4 OfficeScuffle/Kenilworth 24. HerMamaPassedAway 23. Eddie’s Funeral 22. HotelCorridor/BadRightEar 21. QuentinBlue 20. 9 Finale 29. AftertheBrawlIsOver 28. 25. Through theFieldsofSummer and Scratchin’/SheIsDead Priest/Eddie’s Dead lu rdcdb LUKASKENDALL Album producedby Total DiscTime: Total Time: Surprise WhileShaving Anti-Social Adversary/ Impregnable Fortressof Heist/Casino Heist 77:54 38:16 2:25 6:18 2:45 1:05 1:48 2:53 2:50 3:19 1:25 8:57 4:11

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