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ORIGINAL FOR MOTION PICTURES AND TV

V OLUME 7, NUMBER 2

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THE SCORE HISTORY ISSUE Composing with a touch of elegance MIKLMIKLÓSÓS RRÓZSAÓZSA Lust for Life in his own words DOWNBEAT DOUBLE John Q & Frailty PLUS The latest DVD and CD reviews HAPPY BIRTHDAY 50 years of film scores, 80 years of exuberance!

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scoring mixers Film & TV Music Series 2002 If you contribute in any way to the film music process, our four Film & TV Music Special Issues provide a unique marketing opportunity for your talent, product or service throughout the year.

Film & TV Music Spring Edition: April 23, 2002 Film & TV Music Summer Edition: August 20, 2002 Space Deadline: April 5 | Materials Deadline: April 11 Space Deadline: August 1 | Materials Deadline: August 7

Film & TV Music Fall Edition: November 5, 2002 Space Deadline: October 18 | Materials Deadline: October 24

LA Judi Pulver (323) 525-2026, NY John Troyan (646) 654-5624, UK John Kania +(44-208) 694-0104 www.hollywoodreporter.com v7n02 issue 3/13/02 5:16 PM Page 1

CONTENTS FEBRUARY 2002

departments

2 Editorial The Caviar Goes to Elmer.

4News Williams Conducts Oscar, More Awards.

5 Record Label Round- What’s on the way. There’s nothing like one artist’s Elmer Bernstein receives the first ever World Soundtrack Lifetime 6 Now Playing work to inspire another. Achievement Award, here with Sir and Jacques Dubrulle. Movies and CDs in page 20 release. features 8 Upcoming Film Assignments Who’s writing what 16 The Man With the Jazzy Sound for whom. As Elmer Bernstein his nears his 80th birthday, 9 Concerts FSM takes a look back at some of the legendary Live performances ’s influential scores, from The Man around the globe. With the Golden Arm to , as 10 Shopping List well as his LP compilations of movie themes. By Mark Hasan 11 Mail Bag Lord of the Bag.

20 His Lust for Life 13 Downbeat Bergman, Grant and Bennett In a previously unreleased interview from the mid- Saints and Sinners. make beautiful music together. ’70s, discusses his experience work- page 24 ing on the score to Lust for Life, one of FSM’s most 30 Score recent CD releases. The latest CD reviews, By Pav Pavelek including: An American Journey, Iris, Metropolis, and more.

24 A Touch of Elegance 45 The Laserphile A stylish and multi-talented composer whose Batter Up! And Grow Up! works include Murder on the Orient Express and Far From the Madding Crowd, Richard Rodney 48 Retrograde Bennett represents an orginal, if underrated, con- Snowtime for ASCAP. tributor to film music history. By James Phillips 9 Reader Ads

35 Marketplace There are a couple of Hitches to Criterion’s new DVD releases. page 45

ON THE COVER: HAPPY BIRTHDAY, MR. BERNSTEIN!

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

FILM SCORE MONTHLY 1 FEBRUARY 2002 v7n02 issue 3/13/02 5:16 PM Page 2

EDITORIAL VOLUME 7 The Caviar Goes to Elmer NUMBER 2 The Kaplans pay...uh...tribute to Elmer Bernstein. editorial staff

EDITOR & PUBLISHER h my god! Tim Curran is trying to force the result of counterpoint than traditional chord Lukas Kendall me to write this month’s editorial, but progressions within a given key. Either way, SENIOR EDITOR I can’t think of anything film music- Elmer proceeded to view the rest of the stu- Jeff Bond O related to talk about! That may be because I just dents’ clips, singling out for immense praise MANAGING EDITOR put all of those thoughts into my “Best of 2001” several flute-dominated cues. At the very end of Tim Curran column in Vol. 7, No. 1! Well...as you may or may class, to my surprise, Elmer announced to me, DEPARTMENTS EDITOR not know, this issue marks the 80th birthday of “And the caveat goes to you, my friend,” before Jonathan Z. Kaplan DESIGN DIRECTOR Elmer Bernstein! And as you almost certainly reiterating the comment about getting permis- Joe Sikoryak don’t know (or care), I had the pleasure of being sion from the director. At the time, I thought he CONTRIBUTING WRITERS in Elmer Bernstein’s class at USC in 1999 (the said, “And the caviar goes to you, my friend,” so Stephen Armstrong second-to-last year he would teach there). I had no idea what he was talking about. I went Andy Dursin What a swell guy that Elmer is! He’s great. For around asking people if they had ever heard the Jason Comerford those of you who will never meet Elmer or have expression “and the caviar goes to you,” but no Simon Duff the rare opportunity to one had ever heard of it. I thought Elmer meant Mark Hasan be taught by him, he has that my music sounded too snooty or upper- Steven A. Kennedy a full head of hair, a Santa class or something. The bottom line is...Elmer Nick Joy Claus-like tummy, and was right! In today’s climate, I’d be hard pressed Pav Pavelek an endearing semi- to find a director who would let me do anything James Phillips British accent, and his remotely creative. But I knew that...I was just Neil Shurley job was basically to come taking advantage of a chance to write film music John Takis in and talk about what- for a composer, not for a director. I got back a Cary Wong ever he wanted. For small dose of reality, and I thank Elmer for his COPYEDITOR instance, one time we words of wisdom! Steve Gilmartin had an interesting dis- THANKS TO cussion about which cur- ey, this is Al! I had Elmer the year after B.A. Vimtrup rent composers he most Jon did (Elmer’s last year!). I remem- UNCLE ELMA: Gentleman, teacher, admired; after his pro- ber my first class with Elmer. He business staff H scholar...and fan. tégé Cynthia Millar, his opened by asking what scores we liked that year. EDITORIAL & SUBSCRIPTIONS favorite is Thomas People raised their hands and gave the usual safe 8503 Washington Blvd Newman. A related note: Elmer hated Mychael answers: American Beauty, Cider House Rules, Culver City, CA 90232 Danna’s Ice Storm for its cold, Asian bells and etc. So I raised my hand and said South Park: PH. 310-253-9595 percussion instruments that supposedly mis- Bigger, Longer, and Uncut. A grin immediately FAX 310-253-9588 represented northeastern America. On the spread over Elmer’s face, and he began to laugh E-MAIL [email protected] other hand, Elmer loved Newman’s similarly uncontrollably. “Well, I’m glad to see this class styled American Beauty. That has good taste,” said Elmer. He then went on to SALES & MARKETING MANAGER sure can cast a spell! And Elmer was so dis- explain how much he loved the South Park score, Bob Hebert gusted with the score to eXistenZ that he fer- and that he especially enjoyed “Uncle Fucka” ADVERTISING vently maligned , but perhaps his after the score’s relatively harmless opening 8503 Washington Blvd views on Shore have changed since the more number. (No, Elmer did not actually say the Culver City, CA 90232 tuneful revelation of Lord of the Rings... words “Uncle Fucka”). I was impressed that a PH. 323-962-6077 It wasn’t simply spirited discussions taking legend like Bernstein had the balls to admit he FAX 310-253-9588 place in Elmer’s class. Elmer had to choose a cue could enjoy a seedy masterpiece like South Park, for the class to score for live players (about 12 regardless of, or perhaps because of, its profanity SUPERVISING MAIL ORDER HANDLER performers), so he had us all score the opening and the chances it took. At 80 years old, Elmer Mailman Al scene from HBO’s Introducing Dorothy still has a wonderful sense of humor and isn’t Dandridge, the film he himself was working on afraid to let his opinions be known. I admire that, OUR WEBSITE at the time. After the scoring session, Elmer even if he doesn’t like Howard Shore. Is updated five times weekly! watched all of our cues locked to picture. As he We hope you enjoy this old-fashioned issue Point your browser at: is a nice man, Elmer was very complimentary to chock full of treats about Golden Age favorites WWW.FILMSCOREMONTHLY.COM © 2002 Vineyard Haven LLC. just about every cue that was presented. After Elmer Bernstein and Miklós Rózsa, not to men- PRINTED IN THE U.S.A. we got to my piece and played through it, he tion the renowned Richard Rodney Bennett. started saying things like, “You’d better make sure you get a director’s permission before you use harmonic language like that.” I was con- fused, as I had written a pretty simple piece, though chords were built more on fourths because a lot of my harmonies tend to be more Jon Kaplan & Al Kaplan

FEBRUARY 2002 2 FILM SCORE MONTHLY v7n02 issue 3/13/02 5:16 PM Page 3

film score restorations from the Golden Age of on Marco Polo Film Score 8225148 - Objective Burma 8225037 - Mr. Skeffington Moscow Symphony Moscow Symphony Orchestra William T. Stromberg William T. Stromberg Excellent recording of an extremely axman was the first to Franz W Series influential score, parts of which were admit his stylistic debt to the reused in subsequent . As expected, great Russian composer Dmitri Waxman takes a far more austere and Shostakovich, and to Richard modern approach to scoring a war film Strauss as well, and that made him than the clich d norm. Restoration, per- the perfect choice to be the compos- formance, and sound are impeccable. er of this deliciouslyClassicsToday.com witty, vivacious score. — — Absolute Sound 8223399 Rebecca Other Waxman recordings include Czecho-Slovak 8990024 - Great Hollywood Epics Radio featuring: Taras Bulba, Airport and Symphony Prelude from Captain From Castile Orchestra 8990034 - Classic Film Scores (Bratislava) featuring: Katsumi Love Theme, Anna and Adriano The Medal of Honor Suite

Marco Polo is distributed by Naxos of America, Inc. 416 Mary Lindsay Polk Drive, Suite 509 Franklin, Tennessee 37067 www.naxos.com v7n02 issue 3/13/02 5:16 PM Page 4

NOW PLAYING • CONCERTS RECORD LABEL ROUND-UP UPCOMING FILM ASSIGNMENTS NEWS THE SHOPPING LIST

(They Might Be Giants); track new Kodak Theatre and cele- Award Season Roundup from: Malcolm in the Middle brate the unifying power of film [Restless; publishers: Fox Film in a year that, hopefully, will be Music Corp. and New Enterprises remembered as a time of Music] progress and healing,” Williams Best Musical Show said. The Producers; Hugh Fordin, produc- This will mark the third time er; , composer & Williams has conducted the lyricist (Original Broadway Cast orchestra, and With Nathan Lane & Matthew the first time for Watters. Broderick) [Sony Classical] Best Instrumental Composition Williams was music director in Cast Away (End Credits), 1972 and again in 1975. , composer; track from: Cast Away–—The And the Award Zemeckis/Silvestri Collection for the Best Award [Varèse Sarabande] Show Goes to... ired of the awards yet? Just Nascimbene Honored Tthink how bored you’d be if With Competition we decided to cover the DGAs, he Italian music company the PGAs, the WGAs and the TMusicarte is organizing the SAGs. Now, the Grammys: International Film Music Competition, dedicated to the Best Compilation Italian composer Mario for a Motion Picture, Television or Nascimbene, who died recently Other Visual Media in Rome. Nascimbene scored O Brother, Where Art Thou? over 300 films during his career (Various Artists); T-BONE BURNETT, in both Hollywood and his native producer [Lost Highway Records] Italy, including The Barefoot Best Score Soundtrack Album for a Contessa with Ava Gardner and Motion Picture, Television or Other Humphrey Bogart, the Visual Media Great, with Richard Burton and Crouching Tiger, Hidden Dragon; Claire Bloom, and A Farewell to , composer [Sony The Fellowship of the Ring; Arms, with Rock Hudson. Classical/ Soundtrax] Polishing the Bald Guy music and lyrics by , Participants are invited to sub- Best Written for a Motion e’re talking about the and mit a piece of original music Picture, Television or Other Visual Oscars, of course. Here’s “There You’ll Be”—Pearl Harbor; inspired by a scene from the W Media music and lyrics by how the nominations for the 2001 “Boss of Me” (from Malcolm in the Italian film Kapo, directed by Academy Awards shaped up: Middle); JOHN FLANSBURGH & Gillo Pontecorvo, a member of “Until”—Kate & Leopold; music and JOHN LINNELL, songwriters the international judging panel. Best Original Score lyrics by A.I. Artificial Intelligence “Vanilla Sky”—Vanilla Sky; music and lyrics by PAUL McCARTNEY A Beautiful Mind Williams in, Bill out Mann’s Chinese Tour ooks like ’s had his he Society of Composers and Lyricists Harry Potter and the Sorcerer’s announced recently that Emmy Award-winning Stone Llunch money stolen by that T JOHN WILLIAMS big bully John Williams. composer/ arranger/conductor is lead- : Williams will return to the Oscar ing a two-week tour of China, focusing on the cultural The Fellowship of the Ring podium for the first time in over aspects of the region’s music and film. Cities on the HOWARD SHORE a quarter century to serve as tour include Beijing, Xian, Kunming, Lijian and Monsters, Inc. music director for the 74th Shanghai. Participants will meet Chinese artists, Academy Awards on March 24. musicians, composers, filmmakers, and students; Best Original Song He will co-conduct with Mark visit theaters, art schools, music conservatories and museums; and see and “If I Didn’t Have You”—Monsters, Watters. “It’s a privilege to be hear the work of both traditional and contemporary Chinese artists. Inc.; music and lyrics by this year’s Oscar For more information contact Hummie Mann at [email protected] or 800-546-8611. RANDY NEWMAN

“”—The Lord of the Rings: orchestra as we inaugurate the OSCAR ™AMPAS® ARTWORK

FEBRUARY 2002 4 FILM SCORE MONTHLY v7n02 issue 3/13/02 5:16 PM Page 5

Other members include: audio sampler, and Ryuichi Record Label Round-Up Sakamoto’s score for Donald CARLO RUSTICHELLI Cammell’s Wild Side. (composer)—Italy All the you’ll be waiting for www.chromaticrecords.com (composer, Il Postino)—Argentina Cinesoundz MARCO WERBA LEGEND-ary Jerry a new recording of his score to Due end of March are (composer, Zoo)— ooks like the Legend Kings of the Sun. The recording Filmmuseum Vol. 2 (com- ERMANNO COMUZIO L Director’s Cut that fans sessions will reportedly be held pilation of German film music (film music authority)—Italy have been awaiting so eagerly is in Poland this year. from 1945-2000);due in May are For more details, contact Mr. Marco Werba: on its way—May 21 to be exact. www.elmerbernstein.com remixes of Franco Godi’s music Fax: 06 – 3222891, or email: To tie in to this anticipated from the Italian cartoon series [email protected] event, Silva America is re-issu- BMG Signor Rossi. ing ’s score, The first-time-on-CD release of tel: +49-89-767-00-299; which was thrown out in the The Caine Mutiny () fax: +49-89-767-00-399 Armstrong Wins U.S. version of the theatrical is forthcoming. pre-orders by mail: [email protected] for MOULIN ROUGE release and replaced with a www.cinesoundz.com hough his score for Moulin score from . TRouge wasn’t eligible for The re-issue will feature new Forthcoming is Max Steiner at Columbia Oscar consideration, that’s not artwork; the DVD will feature RKO, a 3-CD set with original has keeping Craig Armstrong from Goldsmith’s score restored to a tracks from Symphony of Six announced a soundtrack album gathering his share of awards at new director’s cut of the movie, Million, Bird of Paradise, to Spider-Man (), other notable shows. So far, he’s plus extras. Morning Glory, Little Women, Of due in stores April 16th. won both the Anthony Asquith Human Bondage, The Little However, no details were given Award for Achievement in Film 1M1 Minister and The Informer. It whether or not this is a Music at the recent British Forthcoming from this will also include a 72-page color song/score or song-only disc. Academy of Film and Television Australian internet-only label booklet. Also forthcoming is We’ll keep you posted. Arts (BAFTA) gala and the are The Celluloid Heroes, a pre- viously unreleased documen- Composer of the Year award. tary score by Nigel Westlake, FSM Classics For a complete list of BAFTA nominees and and Annie’s Coming Out (Simon Three composers, two scores! winners, visit www.bafta.org/3_film/ 3_WIN- Walker, 1984). NERS.htm. For details on the AFI awards, Pre-orders can be placed by email: returns to the FSM label in Joy visit www.afi.com. [email protected] • www.1m1.com.au In the Morning, the latest Golden Age soundtrack released by special arrangement with Turner Classic FREAKS AND GEEKS Aleph Records Movies Music. Joy is the 1965 starring Richard Chamberlain and Yvette Mimieux as a young Due April 9 on ’s Was Already Canceled couple struggling with careers, marriage—and sex. label is Return of the Marquis de Despite struggles of his own, Herrmann completed Sade. Schifrin is re-recording what would be his last successful studio assignment. and The The CD features the complete score , in stereo, includ- Amityville Horror this month in ing Chamberlain’s rendition of the title tune. Prague, Czech Republic; both will be released later this year. John Williams was making www.alephrecords.com the transition from comedies to blockbusters in the mid ’70s All Score Media with a succession of low-key dramas and revisionist west- Released March 4: Wigwam, erns when he scored The Man Cowboys, Roter Kreis—Original Who Loved Cat Dancing in 1973. Soundtracks from East German Called into a project in turmoil, he hit WB series Smallville Movies—3rd and last he composed a sometimes T recently asked us for per- volume. This features the tuneful, sometimes brooding mission to use a copy of Film DEFA-movies Apaches, score in just a week. This disc also includes the unused score to Cat Dancing Score Monthly Vol. 6, No. 10 as Tecumseh, Bloodbrothers, written and recorded by —unheard and unheard-of, until now. set dressing. We have no idea if Ulzana, Severino and others. This rare opportunity to compare two leading composers’ treatment of the the magazine will be visible in Compositions by Guenther same material has been remixed from the stereo masters. FSM the finished episode, but we're Fischer, Karl-Ernst Sasse, Peter thrilled to be asked. Maybe a Rabenalt and Hans-Dieter The Bishop’s Wife (Hugo Decca high school movie music fan Hosalla. Plus bonus-tracks sung Friedhofer), from the original Forthcoming is The Road to with evil composing powers will by GDR’s “American rebel” tracks in his collection at BYU. Perdition (Thomas Newman). be terrorizing Smallville? (Don't Dean Reed. look for Lex Luthor to be actual- www.allscore.de Chromatic Records DGG ly reading FSM —that would Forthcoming is Music From Available now is Previn make it a prop, not a set dress- Amber Records Hollywood: A Collection of Mark Conducts Korngold: The Sea ing, which is a background item Forthcoming from Elmer Mothersbaugh Film Music, The Hawk, also featuring Captain in a set.) FSM Bernstein and his record label is Chromatic Collection, a 5.1 DVD Blood, The and Pauper

FILM SCORE MONTHLY 5 FEBRUARY 2002 v7n02 issue 3/13/02 5:16 PM Page 6

RECORD LABEL ROUND-UP

and The Private Lives of Monstrous Movie Music Pacific Time Entertainment Elizabeth & Essex. Performed by Intrada The next MMM CD will be Due May 21: The Son’s Room the LSO. Due in March is the next Mighty Joe Young—a “ (), Frontiers Special Collection issue (Vol. 5): Harryhausen tribute” 1949’s (Edward Bilious); June 11: GDI ’s Silver Streak. Mighty Joe Young (); Wendigo (Michelle DiBucci). Imminent are The Mummy’s Now sold out is the 2-CD pro- 1957’s 20 Million Miles to Earth Pacific Time Entertainment Shroud (Don Banks) and Blood motional release of Bruce (Mischa Bakaleinikoff and has changed its address once From the Mummy’s Tomb Broughton’s Young Sherlock Columbia library cues by again: (Tristram Cary). Forthcoming is Holmes (1985). , Frederick Pacific Time Entertainment, PO Box 7320, Captain Kronos (Laurie Hollander, David Diamond, FDR Station, , NY 10150 Johnson). JOS Daniele Amfitheatrof, Max www.pactimeco.com Now available from composer Steiner, and Hexacord Productions/ John Scott’s label are The Final Werner Heymann); plus 1956’s Percepto Records GDM Music (Italy) Countdown (expanded score) The Animal World (Paul Forthcoming are a 2-CD set of Look for Tropico di Notte and a new recording of A Study Sawtell). This Island Earth will music from the 1950s’ The (Armando Sciascia) and Eva, La in Terror. follow. Fly/Return of the Fly/Curse of Venere Selvaggia (Roberto (800) 788-0892, fax: (818) 886-8820 the Fly (Paul Sawtell, Bert Pregadio), Rene la Canne Michael Whalen email: [email protected] Shefter); Miracle on 34th (Ennio Morricone) and the Available from Borders, ama- www.mmmrecordings.com Street/Come to the Stable (Cyril western Man of the East (Guido zon.com and Tower Records is Mockridge); Vic Mizzy’s never- & Maurizio De Angelis). composer Michael Whalen’s Numenorean Music before-released complete score score for the PBS documentary Available now from this new to The Night Walker, (featuring Hollywood Records The Shape of Life. label is John Harrison’s score for 60+ minutes of score, plus in- Due Mar. 26: The Rookie (Carter the 1985 zombie thriller Day of depth liner notes by William Burwell, various); Clockstoppers Milan the Dead, featuring bonus Castle and historian Dick (various); May 21: Bad Available April 9: The Mystic music and effects tracks, Thompson); a limited archival Company (, vari- Masseur (Richard Robbins and including “zombie munching release of original music from ous). Forthcoming is The Zakir Hussain). sounds.” Mmmmm. the 1960s TV classic The Extremists. www.numenoreanmusic.com (continued on page 10)

NOW PLAYING Films and CDs in current release

40 Days and 40 Nights n/a All About the Benjamins JOHN MURPHY New Line Records Birthday Girl n/a Crossroads n/a Dragonfly Varèse Sarabande Escaflowne YOKO KANNO, HAJIME MIZOGUCHI, INON ZUR JVC Frailty Oct Entertainment Hart’s War Decca How to Kill Your Neighbor’s Dog DAVID ROBBINS n/a Iris JAMES HORNER Sony Classical John Q AARON ZIGMAN n/a Kissing Jessica Stein MARCELO ZARVOS n/a Last Orders PAUL GRABOWSKY Varèse Sarabande Mean Machine JOHN MURPHY n/a Milan Queen of the Damned JONATHAN H. DAVIS, RICHARD GIBBS Warner Bros.* Resident Evil Roadrunner* Scratch VARIOUS Transparent** Scotland. PA ANTON SANKO n/a Shiri DONG-JUN LEE n/a Storytelling BELLE AND SEBASTIAN, Matador Super Troopers SPECIAL .38 TVT The Son’s Room NICOLA PIOVANI n/a The Time Machine Varèse Sarabande Time of Favor JONATHAN BAR-GIORA n/a Trembling Before G-D n/a We Were Soldiers NICK GLENNIE-SMITH Combustion Music *one track of score or less; **mix of and score

FEBRUARY 2002 6 FILM SCORE MONTHLY v7n02 issue 3/13/02 5:16 PM Page 7

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Warren Eig), The Greatest —I— Upcoming Assignments Adventure of My Life. Imposter (, dir. Gary Fleder), Goodbye Hello Who’s writing what for whom —D— (starring Dustin Hoffman, Susan Mychael Danna The Incredible Hulk Sarandon). —A, B— Dictionary. (dir. ), Ararat (dir. Atom Eric Allaman Elvira’s Haunted Hills, Cliff Bradley Undead. Egoyan). —K— Raven Warrior, Liberty’s Kids Bobbie’s Girl An Angel for May, The Jan A.P. Kaczmarek Unfaithful (dir. (animated). (Showtime). Book of Eve. , starring Richard Hysterical Blindness Bendikt Brydern Outpatient. 2&3, Long Gere). (HBO). Adaptation (dir. Time Dead. Rolfe Kent About Schmidt. Joe and Max, Conviction ), Simone. John Debney The Scorpion King. (Showtime). Joe Delia Bridget, Grownups. —L— Sideshow. —C— Killing Me Softly, Russ Landau Superfire (ABC Marco Beltrami The First $20 Sam Cardon Secret Keeper (Sony), Femme Fatale. miniseries). Million. Lewis and Clark: Great Journey Thomas DeRenzo Stir, The Michel Legrand All for Nothing Elmer Bernstein Gangs of New West (IMAX). Diplomat, The Commissar (starring James Woods). York (Leonardo DiCaprio & Gary Chang The Glow, Path to War Vanishes. , dir. Martin (HBO, dir. ). Tabloid. —M, N— Scorsese). George S. Clinton Austin Powers 3. Hummie Mann A Thing of Beauty. Simon Boswell The Sleeping Eric Colvin X-mas Short (dir. —E— Sheldon Mirowitz Evolution (minis- David Alan Earnest/Chris White eries about Charles Darwin), The THE HOT SHEET Recent Assignments Whacked. Johnson County War (miniseries The Gelfin. starring Tom Berenger). David Arkenstone James McVay The One-Eyed King Danny Elfman Spider-Man (dir. Sam Pete Moran Breaking the Pact. Cumberland Gap. (starring Armand Assante and Raimi), Men in Black 2. Death to Smoochy. Bond 20 Chazz Palminteri). Thomas Newman The Salton Sea City of Ghosts, Cynthia Millar Confessions of an —F— (starring Val Kilmer). Lonestar State of Mind, Love Ugly Stepsister. Christopher Franke Dancing at the The Hours (star- and Bullets. Colored Eggs. Harvest Moon. ring Nicole Kidman). Marco Beltrami I Am Dina. David Newman Life, Or Matthew Bennett Professional Something Like It. —G— —O, P— Kahlo (dir. Pumpkin (Christina Courtesy, The Smith Family: Michael Nyman 24 Heures dans ), Double Down (dir. Ricci), My Brother’s Keeper, For Better or Worse. la Vie d’une Femme (starring , starring ). Point of Origin, 24 Hours (dir. Steve Chesne Butterfly Man, The Kristin Scott Thomas). Jerry Goldsmith Sum of All Fears. Luis Mandoki, starring Charlize Jonathan Price Trip, No Turning Back, Dinner Avatar. Theron, and and a Movie. Will Richter Among Thieves, —H— Courtney Love), Eight-Legged George S. Clinton The Santa Altered Species. Todd Hayan History of the White Freaks (formerly Arac Attack!) Clause 2 (Disney). Frank Strangio Paradise Found House (documentary), Bokshu: Michael Richard Plowman No Elia Cmiral They. (starring Kiefer Sutherland as A Myth. Boundaries. Randy Edelman XXX. Gauguin), Young Blades, / One John Powell Outpost, Pluto Nash. Jerry Goldsmith : Dalkeith. Hour Photo (Fox). Between Nemesis. Mark Suozzo American Splendor. No Other Country, Strangers. Africa. Jason Graves Between Concrete Willard, Final —R— James Horner Four Feathers (star- Trevor Rabin Bad Company (for- and Dream (Enigma Pictures). Destination 2. ring Kate Hudson, Heath merly Black Sheep). Trevor Jones Crossroads, Michael Whalen Lake Desire (fea- Ledger). Equilibrium Dinotopia. ture), West Point, Shape of Big (Miramax), High Crimes (starring Gary Koftinoff Deceived (starring Life (both documentaries). Trouble (starring Tim Allen), Ashley Judd), Below (dir. David Judd Nelson and Louis Debbie Wiseman Before You Go (Disney ani- Twohy). Gossett, Jr.). (starring Joanne Whalley, Tom mated feature), Unconditional Nicholas Rivera Curse of the 49er. David Mansfield Divine Secrets of Wilkinson), Stig of the Dump Love. Earl Rose Masada (History the Ya-Ya Sisterhood. (BBC). Terry Michael Huud Angelique. Channel).

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FEBRUARY 2002 8 FILM SCORE MONTHLY v7n02 issue 3/13/02 5:16 PM Page 9

Film Music Concerts (Lai), and Jules et Jim (Delerue). FSM READER ADS Massachusetts SOMETHING WEIRD VIDEO! Scores performed around the globe May 29, New Your source for rare nostalgic Conservatory, Boston; exploitation and sexploitation films from the 1930s-1970s! (Herrmann). All videos $15 each! available! New York Send $5 for our complete catalog! April 26, Chappaqua S.O., Include age statement 18+ only! SWV, POB 33664, WA 98133, Michael Shapiro cond.; Vertigo phone 206-361-3759, fax 206-364-7526 (Herrmann), The Godfather www.somethingweird.com (Rota), Raiders of the Lost Ark March (Williams). FOR SALE

Texas Frank Malone, (650) 355-2652, May 24-26, Houston S.O.; [email protected], has for sale: Intermezzo (Provost/Steiner). Body —Barry; LTD-SCSE CD-1 INTERNATIONAL #627 Carl Davis Scores Jerry’s caliber” will take the Spain Shipwrecked—Doyle; Disney 60614-2 Harold Lloyd podium at the Gaylord May 3-5, Barcelona S.O.; “An A Whale for the Killing—Poledouris; LTD-Aries 951 omposer Carl Davis Entertainnment Center’s “Music Evening With Elmer Bernstein”; Crusades—Nieto Vinilo; Spain (Topsy-Turvy) has written of Hollywood With the LSO.” We’ll premieres include a suite from C VCD1002 Sphinx—Michael Lewis; a new score to the classic 1925 let you know who that will be as Summer and Smoke, a suite from promo Harold Lloyd vehicle The soon as we get word. The Grifters, an extended suite Starcrash/Until September—Barry; Freshman (pictured above), and from The Great Escape; a waltz Silva Screen FILMCD 085 he’ll conduct its performance medley including The Age of Freefall/Starcommand—Holdridge; June 1, 2002, at UCLA’s Pauley Innocence, The Incredible Sarah, promo. All originals, no CDRs. Pavilion with the April 21, Redwood S.O.; Summer and Smoke, From the Price: All nine for $500. Chamber Orchestra. The con- Shakespeare in Love (Warbeck). Terrace, Thoroughly Modern cert will also feature Davis’ new Millie; a “Jazz in Films” medley SEND YOUR ADS TODAY! scores to clas- Florida including , A Rage in Reader ads are FREE for up to five items. After that, it’s $1 per item. It’s sic shorts and other films. April 19, 21, Florida Orchestra, Harlem, Smell of that simple. Send to Film Score Tampa, Richard Kaufman, cond.; Success and Walk on Monthly, 8503 Washington Blvd, Culver Goldsmith Cancels “A Night in France,” featuring Side; and the European premiere City CA 90232; fax: 310-253-9588; music from Chocolat (Portman) of True Grit. [email protected]. Appearance and the world concert premiere erry Goldsmith has canceled of Scaramouche (); Attention, Concert Goers Space Ads for Individual Jhis appearance with the Gigi (Loewe), Candide Due to this magazine’s lead time, Collectors/Dealers Only $60 Symphony Orchestra (Bernstein), Victor/Victoria schedules may change—please con- For a 1/6 page space ad, simply send in Nashville, scheduled for April (Mancini); a French medley of tact the respective box office for the your list and information to the address 28, due to illness. However, the music from Umbrellas of latest concert news. above; you can comfortably fit anywhere Thanks as always to our friend John from 20 to 60 titles, but try to include event will go on, according to Cherbourg (Legrand), Moulin Waxman of Themes and Variations at less information per disc the more you promoter Jeff Brown, who says Rouge (Auric), A Little Romance http://tnv.net—He’s the go-to guy for list, or else the print will be microscopic. “an immediate replacement of (Delerue), A Man and a Woman concert scores and parts. FSM We will do all typesetting. Same deadlines and address as above. Tuck Everlasting. Carly Simon Winnie the Pooh ), : Send payment in U.S. funds (credit card Marius Ruhland Heaven (Miramax, (Disney animated). Episode Two, Memoirs of a OK) with list. Cate Blanchet & Giovanni Ribisi), Geisha, (dir. Anatomy II. —T,V— Spielberg), Harry Potter and the Schedule for upcoming issues: Patrice Rushen Just a Dream (dir. Semih Tareen Junk Drawer. Chamber of Secrets. Danny Glover; Showtime). tomandandy The Rules of Debbie Wiseman Before You Go Vol 7, No 3 ads due April 3 Attraction (starring James Van (starring Julie Walters, Joanne street date April 19 —S— Der Beek). Whalley). Robert Shapiro Megaplex. Brian Tyler Jane Doe (prod. by Joel Vol 7, No 4 Shark The Yard Sale. Silver), A Piece of My Heart (w/ —Y— ads due May 8 Ash Wednesday (dir. Jennifer Tilly, Joe Pantaliano). Cold Mountain (dir. street date May 24 Edward Burns). Joseph Vitarelli Partners of the Anthony Minghella). Howard Shore Spider, Lord of the Heart. Scenes of the It’s easy! Rings: The Two Towers, Return Crime (Jeff Bridges), The Country Don’t delay, contact us today! of the King. —W— Bears (Disney). Lawrence Shragge Due East Stephen Warbeck Gabriel. (Showtime). Nigel Westlake The Nugget (dir. Bill Get Listed! Alan Silvestri Macabre (dir. Robert Bennett). Composers, send your info to Zemeckis), Lilo & Stitch. John Williams Minority Report (dir. [email protected].

FILM SCORE MONTHLY 9 FEBRUARY 2002 v7n02 issue 3/13/02 5:16 PM Page 10

RECORD LABEL ROUND-UP

(continued from page 6) the MGM film library. In fact, score), Mutiny on the Bounty (Trevor Rabin), The Bionic Addams Family; and a they are stepping up production, (Bronislau Kaper), It’s Always Fair Woman () and a col- Rankin/Bass follow-up to Mad and are using FSM as an addi- Weather (Previn) and Shoes of the lection of music from the ’60s Monster Party. tional outlet for their scores. In Fisherman (). animated series Gigantor. www.percepto.com general, expect previously unre- www.rhino.com, www.rhinohandmade.com www.supercollector.com Screen Archives Varèse Sarabande Announcement Entertainment Available Mar. 19: Green Dragon of the Month Forthcoming are The Bishop’s (Jeff and Mychael Danna), Wife (), Max Dragonfly (John Debney); Mar. n March, Telarc released Jerry Steiner at RKO (3-CD) for BYU 26: The Time Machine (Klaus IGoldsmith: Christus Apollo, Music and the patriotic score for the Badelt); Apr. 16: Panic Room for Orchestra, and Fireworks, a world 1944 Darryl F. Zanuck produc- (Howard Shore). The three new premiere LSO recording featuring tion Wilson () on titles from the Varèse CD Club Goldsmith’s Christus Apollo: Cantata the SAE label. are (), Celebrating the Eighth Day of Creation www.screenarchives.com and the Promise of the Ninth, set to a text by Love Is a Many-Splendored Thing author Ray Bradbury. This is an album of “serious” (Alfred Newman) and The Long music from one of the indisputably great movie Silva Screen Hot Summer/Sanctuary (Alex composers—who deserves wider recognition In addition to the re-issue of North). Stay tuned for the among the general music-listening audience. Jerry Goldsmith’s Legend (men- relaunch of the Masters Film tioned on page 5), forthcoming Music series. Prometheus leased film scores from the ’50s, are Music From the Films of www.varesesarabande.com Imminent is an expanded version ’60s and ’70s to be released Michael Caine; and The Essential of Flesh and Blood (Basil through FSM, and a full slate of Collection. Poledouris), which will feature 68 movie musicals and selected www.silvascreen.co.uk Due Apr. 16 is Bruce Broughton’s minutes of score. ’s high-profile dramatic scores to www.soundtracksdirect.co.uk score to The Rescuers Down Masquerade is now tentatively set be released on Rhino and Rhino Under, which will reportedly fea- for late May and will reportedly Handmade, produced by Sony Classical ture new artwork and three feature approximately one hour of Turner's George Feltenstein. Due Apr. 30 is Star Wars: Episode songs off the original Rescuers music. Due Apr. 16: Silk Stockings II—Attack of the Clones (Some soundtrack. (Cole Porter, ). guy named Williams). Rhino Records/Turner Forthcoming are Ivanhoe (Rózsa), Please note: The recent appearance of Turner Treasure of the Sierra Madre Super Collector We endeavor to stay up-to-date with soundtracks on the FSM label (Steiner), Raintree County (Johnny Forthcoming are Spacecamp every label’s plans, but things hap- does not mean that Rhino is Green), Prisoner of Zenda (John Williams), Watership Down pen—so please bear with us. FSM slowing down their releases from (Salinger version of ’37 Newman (), Texas Rangers The Shopping List Worthy discs to keep an eye out for Soundtracks The Affair of the Necklace DAVID NEWMAN • Varèse 66318 (41:09) Return to Never Land JOEL McNEELY • Disney 60744 (53:55) Ali /PIETER BOURKE • Decca 016967 Six Feet Under THOMAS NEWMAN/VARIOUS • Universal 017031 (TV, 69:01 ) Black Hawk Down • Decca 017012 (67:01) The Shipping News CHRISTOPHER YOUNG • Milan 35983 (46:12) Brotherhood of the Wolf (Le Pacte Des Loups) JOSEPH LoDUCA The Son of the Bride (El Hijo De La Novia) • ANGEL ILLARRAMENDI JMB Virgin 11248 (70:39) 2041 (Spain) Buñuel and King Solomon's Table (Buñuel Y La Mesa Del Rey Salomon) Swordfish CHRISTOPHER YOUNG • CD 96010 (62:49, Promo) ROQUE BANOS • JMB 2043 (Spain) Tron WENDY CARLOS • Disney 60748 (58:57) Collateral Damage GRAEME REVELL • Varèse 66292 (35:25) Vidocq • Universal 014924 (France) (51:38) Cotton Comes to Harlem GALT McDERMOTT • Beyond 578253 Wasabi ERIC SERRA/JULIEN SCHULTHEIS • Universal 016444 (France) Count of Monte Cristo • RCA 63865 (53:01) Five on the Black Hand Side H. B. BARNUM • Beyond 578256 Compilations and Concert Works Friday Foster LUCHI DeJESUS • Beyond 578252 Dodge City/Oklahoma Kid MAX STEINER • BYU FMA-MS 108 (78:37) Gosford Park PATRICK DOYLE • Decca 470387 (51:07) The Emotion and the Strength • Milan 35980 Hart's War RACHEL PORTMAN • Decca 016886 (45:10) (2-CD set, 117:41) Human Nature GRAEME REVELL • Virgin 112229 (France) Film Music of Akira Kurosawa: The Complete Edition Vol. 2 MASARU SATOH In the Bedroom THOMAS NEWMAN • Varèse 66319 (30:40) Toho AK-0006/AK-0009 (Japan, 6-CD set; 357:11) James and the Giant Peach RANDY NEWMAN • Disney 60905 (reissue) The Importance of Being Earnest BENJAMIN FRANKEL • CPO 999809 Kate & Leopold ROLFE KENT • Milan 35982 (Cond. Albert, 67:13) Off Key (Desafinado) BERNARDO BONEZZI • JMB 2042 In the Heat of The Night/They Call Me Mister Tibbs (Spain, 2-CD set; 82:12) Beyond 578255 (reissue) Le Petit Poucet • Universal 014934 (France) The Monkey Hustle/Black Mama, White Mama Quartet JOE HISAISHI • Polydor UPCH 1105 (41:22, Japan) JACK CONRAD/ • Beyond 578251 Reines D'Un Jour ALEXANDER DESPLAT • Virgin 8114322 (France)

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READER RANTS, RAVES & MAILMAIL BAG BAG RESPONSES hell of a lot more important things to Lord of the Bag Rings.” Cue credits. A couple of ous and melancholy theme usu- put on than other incantations of your y article on “The Other weeks later, after no doubt sting- ally played by the strings and favorite theme. Here are a few: MLords of Middle-earth” ing criticism that the film turned seems to represent the ring itself, “Invisible Bilbo,” “Death of the Cave (Vol. 6, No. 10) contains a small off people thinking they’d paid to so, hopefully, it will feature more Troll” and “Boromir, Part One or Two.” misprint. The rating for Johan de only see half a movie, the two prominently on the albums for Meij’s first symphony should have scenes were reversed—so the film the sequels. John Takis responds even more: As 1 read /2. It should also be of ended on a high note of death and On the subject of the de Meij a huge fan of , I can interest to readers that the work destruction and ringing musical symphony, I was completely say with absolute confidence that was arranged for symphony triumph. unaware that it was written for “Chucky D’s” score was truly superior orchestra last year. This version I have no idea if other edits symphonic band until I bought to anything I would have composed. As to your second comment, Howard was recently released by Madacy were made at that point, or to the recent CD performed by the Shore has reportedly expressed inter- Label Group, with David Warble which version the current London Symphony Orchestra. It est in releasing a complete edition of conducting the London video/DVD release corresponds. was fully orchestrated in 2001 by his -length score. My best guess: Symphony Orchestra. That pedi- David Morgan de Meij himself I think (as no we’ll probably see it before the end of gree alone might sway some fans, [email protected] one else is credited with the the year, perhaps to help promote next but I still recommend Rene Joly in the liner notes December’s The Two Towers. If not, with the Ensemble Vents et John Takis responds: If memory anyway), and was recorded as if then maybe as part of a trilogy box-set Percussion de Quebec. Not only serves, the new DVD contains the re- it was a film score—very close- in 2003. Either way, I’m betting they’ll does Joly seem to have a better edit, ending the film as Gandalf, evi- miked. This is a great recording want to capitalize on the films when it grasp of the material, the new dently filled with glee, flings his sword of a very listenable and accessi- will do them the most good at the box into the sky. Look closely and you just office. For the record, I think Shore’s by Henk de Vlieger ble symphony (for those of you might see it pierce the gas-filled, over- F(ellowship)OTR (in its unabridged don’t really improve anything. The inflated head of , which form) was the best domestic presence of the string section floats in the clouds above. Or maybe score of 2001. seems obligatory, major solos like that was only a wonderful dream. The symphony orchestra version Gollum’s theme are unchanged, of de Meij’s first symphony was not and the whole thing still leans ext to the de Meij symphony, orchestrated by the composer but heavily on the brass. The sym- Nmy favorite Lord of the Rings by Henk de Vlieger, who is credited phony simply sounds more bal- music experience is from the old on the inside cover of the CD book- anced when performed as origi- Lord of the Rings Super Nintendo let. The LSO recording is technically nally written—for symphonic game, circa 1994. That music is superior to the reviewed ATMA CD, but both the new orchestration and band. And while the new CD con- credited to Charles “Chucky D” David Warble’s direction fall short tains a decent reading of Dukas’ Deenen. Although it’s completely of the mark. The Sorcerer’s Apprentice, the Joly electronic, it does feature good disc features two originals you reproductions of actual instru- probably don’t have—Van Der ments. For the most part, the I Am Not John Beal Roost’s Spartacus symphonic tone music has a strong folk element, reat to read Mark poem and Jutras’ A Barrie North with a lot of solo woodwinds and GIsham’s thoughts regard- Celebration. The LSO performance guitars. There are also suspenseful ing the influence of 20th/21st is competent, and gets for action numbers, including a well- century orchestral composers the quality of the material, but scored piece for a sudden on film music. He is loses half-a-star for interpretation. encounter with the Ringwraiths. I who cannot listen to Beethoven’s absolutely correct about the influ- John Takis won’t be popular for saying it, but Eroica, fear not). ence of Reich, Glass and the mini- East Lansing, Michigan I like it even more than Howard Darren MacDonald malists, and the new “orchestral Shore’s score. [email protected] palette” that has evolved from this ust a note regarding John Takis’ I also wanted to say that movement. However, I’ve never Jcomment on the editing of although I think the Shore album J.Z.K. responds: That Alan heard of Marecki and Tabner... Ralph Bakshi’s animated Lord of is a fine one, I’m going to be a typ- Silvestri-like favorite theme of yours is pretty sure Mark said “Gorecki” the Rings: on opening day at New ical soundtrack geek and bitch indeed more prominent in the film (as in Henryk Gorecki, the Polish York’s Ziegfeld Theater, the film’s about what was left off. My than on the album. But, it is repre- composer whose recorded sented on the album at least once. Had dramatic climax, the Battle of favorite theme of Shore’s was one Symphony No. 3 with Dawn it been there any more, they would Helm’s Deep and Gandalf riding to that I didn’t even notice the first have had to drop tracks from the CD. Upshaw as soloist was on the pop the rescue, preceded the actual time I saw the film, but the second What on earth could they drop, you charts in Britain) and “John ending, which had Frodo and Sam time I noticed it on several occa- ask? Well, they could have shortened Tavener” (as in Britain’s most pop- marching off to the mountains. sions. It appears on the CD only at or excised the “Lady of the Wood” ular classical composer, a neo- Then an ominous voice the end of “The Great River,” but material, which consists of slow, repet- Renaissance man.) These living, announced that it was “the end of in the movie it features promi- itive vocals. But had they gotten rid of breathing and recorded com- the first half of The Lord of the nently in the prologue. It is a sinu- this track, there would have been a posers are changing what we

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MAIL BAG know this because I played the site: www.malcolmmcnab.com. don’t want. I’d send them! trumpet solos, and if Cary had I am a long-time subscriber and Let me know what you think. think of as “contemporary classi- read the credits on the liner notes reader of FSM, and I enjoy the Juan-Luis Sanchez cal music,” and their composi- inside the CD case he would have magazine very much. [email protected] tions would be appreciated by seen the one that clearly said Malcolm Boyd McNab your readers. “Featured trumpet solos— Hollywood, California Lukas responds: Thanks for writ- Joan Beal Malcolm McNab.” ing and for offering these copies...I hope you don't throw out our babies! [email protected] In my career of over 30 years Well, your point is taken. But, trum- Unfortunately we can't really take and over 1,500 motion picture and pets are sometimes referred to as them back—we can't resell them once There are two ways we could handle horns. I remember my band teacher television soundtracks, I have they're "used" and we have plenty of this situation: We could deny any yelling at me, “Stop screwing around received only three screen credits office copies. Perhaps you could just wrongdoing and say that we can’t with your horn!” Actually I just made for my work: In Country, by James give them away or sell them cheap to believe that you, Joan Beal, have never that part up. But I’m...sure that’s what Horner; L.A. Confidential, by Jerry someone through our message heard of composers Marecki and Cary had in mind. Goldsmith; and The Last Castle, board? Tabner. Or, we could admit this gross error and be forever shamed. also by Jerry. It would have been Incredible Problem nice to be credited by John Barry s a subscriber for several hanks for writing. You'll be The Lonely Trumpet for my solo work in Dances With A years and a long-time T happy to hear that I was o you really have a reviewer Wolves, but that didn’t happen. buyer of FSM, I’ve built up a able to find a home for them— Dat your magazine who can’t The studio musicians who play on decent collection of issues. the Lucasfilm Research Library hear the difference between a these scores (the best ones are still During a recent move, I was up at Skywalker Ranch! horn and a trumpet? After all, we in Hollywood) are already largely forced to reflect on the fact that Juan-Luis Sanchez are talking about music here— ignored and anonymous. It is too although I’d love to keep some of aren’t we? bad that when one of them has a them, most of them I’ll never Hot under the collar? Got a cool In Cary Wong’s review of Jerry prominent solo voice on a score, look at again. All they do is take anecdote to share? Put it in writing: Goldsmith’s The Last Castle he the sound of their instrument isn’t up shelf space and they’re heavy writes, “Utilizing a horn as its cen- even identified properly in print. to carry. FSM Mail Bag terpiece at the beginning...” and If anyone is interested in what I don’t want to just throw them 8503 Washington Blvd. “Horns and drums predomi- scores I have recorded or more out, however, so I wanted to see Culver City, CA 90232 nate....” Jerry featured a solo trum- about this business from a session if anyone at the FSM office has or e-mail: pet throughout the entire score. I player’s view, please visit my web- any interest in the issues that I [email protected]

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DOWNBEAT

Aaron Zigman • John Q Saints and Sinners ny look at current film com- Checking in with the composers poser bios would seem to of JOHN Q and FRAILTY A indicate that every rock By Jeff Bond musician and record industry pro- ducer has composing for film as his or her ultimate goal; and for film score enthusiasts these new

recruits are often regarded with suspicion as people who don’t have the proper classical training to really tackle the job. Aaron Zigman, whose first film assignment was Nick Cassavetes’ John Q, at least comes by his film composition credits honestly. He was trained as a classical pianist and had teachers in theo- ry and harmony while attending college in Los Angeles. But he took a profitable detour into the record industry when he was hired as a songwriter in the early ’80s, writing songs for The Jets, Carly Simon and Natalie Cole, as well ROUTINE CHECK-UP: Zigman got the JOHN Q assignment after the director attended one of the composer’s concerts. as arranging and orchestrating string dates on records by Seal and Tina Turner. His arranging be a really positive experience, and I certainly very relatable to Nick because his daughter has skills led to film work on The Birdcage and got really good as far as plotting timings and a heart condition, and he said he really wanted License to Kill, but he didn’t win the job on John points and understanding the art of hitting to feel like he felt with his daughter in the hos- Q off of those accomplishments. Instead, he things and not hitting things. I learned a lot pital, which was an incredible feeling of anx- befriended director Cassavetes after a concert from Nick in the sense of what not to step on iety. He said this is one moment where he performance of one of Zigman’s original com- and the art of not telegraphing things.” really wanted me to tear it up, and that’s one positions. “He had actually come to a concert The subject matter of John Q is highly dra- of the big heavy cues in the movie. It’s kind of of mine, a 35-minute tone poem—dedicated matic, if not downright inflammatory: Denzel a wild, 20th-century classical, Flight of the when Yitzhak Rabin was killed—[for] 75-piece Washington plays a man who holds several Bumblebee-type thing.” orchestra that took me about five months to hospital workers hostage when he discovers Zigman’s early involvement with the score write,” Zigman explains. “Nick came to that that he doesn’t have the necessary insurance to meant he was able to develop from his initial event and was impressed and said, ‘Maybe get a heart transplant for his young son. With audition sketches and even contribute to the someday you’ll score one of my films.’” the potential histrionics of that situation, film’s temporary score, a rarity for a composer Zigman’s challenge was to support the film’s these days. “They brought me in early and had Break a Leg emotions without going overboard. “I’ve been me do 30 percent of the temp score,” Zigman Cassavetes had Zigman audition for the com- such a fan of movies for so long and acknowledges. “That was my gradu- posing post on John Q early in filming of the listening to different composers, and Zigman’s ate class, when I was with Nick hip drama. “He sent me the opening montage one of my pet peeves is people who and shoulder for a few months from a daily and said, ‘Here’s the six-minute step on emotions with music and early before we got a final cut, and they opening; I’d like to champion you to get the job really tell you how to feel,” the com- involvement had me do a lot of music for the pre- but I can’t guarantee it,’” Zigman recalls. “I poser says. “Once in a blue moon the view and wanted to test the waters went in with 55 people and wrote a vocal that’s cliché stuff you really need, but on enabled him further. Even though a lot of that similar to the one that’s in the movie, based on two of the most emotional scenes in music I had to completely rescore, it the Ave Maria text, and they were impressed the movie, we really played it dry to contribute made it very comfortable to me by and had me come on board.” While he had no because Denzel was so good you about one the time I got to the final cut real training in the timing and synchronization really didn’t want to step on his per- because it gave me a sense of what skills necessary for the work, Zigman managed formance. Then there were other third of the the colors were going to be. Nick had the task easily enough. “I just went by gut times when you really want to hit it temp score—a approved the cues in the sense of instinct and it felt pretty natural to me. It’s hard. There was one scene in partic- their genres before I tore them apart always a learning experience because you’re ular where Mikey falls to the ground luxury, these and rewrote them to the final specs. learning anytime you do anything. It was chal- and has his heart attack, and Nick days. That was challenging in itself to be lenging but it wasn’t daunting. It turned out to really wanted to hit that. The story’s on board for the actual preview.”

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DOWNBEAT kind of Samuel Barber-ish adagio piece to YA SIBYA: Composer Tyler confers with director Bill Paxton. commemorate their love. I had a friend Zigman says he finished the final score in who died a few years ago who was very about 10 weeks, after spending several months close to me, and who actually bore a great collaborating on the temp score before record- resemblance to Denzel. I had Denzel on ing the final version. “We recorded at Todd-AO the screen and I freeze-framed it for about studios, which is my favorite room in the a day and just wrote my lament for my world. I was really hoping we could do it in Los friend Jerry and tried to transcend that Angeles because I love the musicians here—so emotion. That’s the one thing about writ- many of them are my friends and it was one of ing ; as in all composers of those magical three-day experiences working our day, there’s always a story behind that here.” Using the building blocks from his audi- piece of music, and to know that story it tion sketch and material from the temp score, seems always to me so much more emo- Zigman compiled a score that addressed tive. Like in Mahler’s Ninth, he’s really say- familial, religious, and social issues inherent in ing goodbye to his family, so it’s like an the film’s text. “In the opening there’s a four- actor in a sense, you have to really tran- note quote from the Ave Maria that I wrote, scend yourself in that emotion to make it and I took that theme and interwove it through come across on-screen.” the score in different textures,” Zigman says. “I Zigman says that the most challenging stayed away from some of the more conven- aspect of tackling this first scoring assign- tional sounds and used different palettes of ment came in the final stretch. “If any- exotic percussion and imaging of guitars thing was daunting it was the essence of underneath the string writing I was doing to getting the organization together of the keep it kind of left-of-center since the story pre-records, dealing with computer had such an Americana flair to it. I didn’t want crashes and all the stuff that was making to make it generic, but certainly I gave various me a little nuts toward the end,” he says. people their themes. I gave Duvall his theme “I had some great programming assis- and probably the obvious cliché was to hit the tants on this, but even when you have the sniper and the ugly part of it, but for the most best guys working, stuff crashes and part I used this surreal, late-19th-century clas- that’s the hairy part, when you have tech- sical theme running throughout, using to nical problems when you’re ready to write or Brian Tyler • Frailty give it almost a religious tone overall.” at least technically ready to administer what you wrote.” Zigman notes that Cassavetes was fter a decade of serial killer movies that Misdirection and Manipulation pleased with the final results and plans to Adepict these dangerous killers as some- Part of John Q’s dramatic strategy involves mis- work with the composer again. And Zigman thing akin to supernatural monsters, Bill leading the audience at several key junctures points out that while this initial assignment Paxton’s Frailty takes a much more human into believing that Washington’s character would seem to have fallen into his lap, it was approach to the situation by focusing on the might be killed by police snipers or even by his really a matter of focusing his energies on the toll taken on a single-parent family when the own hand—sequences that provided some new career goal of getting into film compos- parent is driven to kill and brings his children scoring challenges for Zigman. “There’s one ing. “If I had to make a suggestion to anyone in on the acts. The result is a powerful psycho- scene where he’s gonna shoot himself, and I trying to get into this line of work—of course it logical thriller that is part Hitchcock, part To definitely lead you up to that point and then helps to have a relationship with a director Kill a Mockingbird. Composer Brian Tyler has the orchestra misleads you to the end and who’s working—but before I was even guaran- made such unusual fare a specialty, starting takes you there with this crescendo—you think teed that, I decided I was going to be a film out with the peculiar Six String Samurai and it’s really going to happen—and then cuts off composer and that was my mind-set. I decid- moving on to films like the William H. Macy abruptly,” the composer notes. “Then it segues ed to focus on that 24 hours a day and that I drama Panic and the upcoming, bizarre to this emotional part where his wife’s telling wasn’t going to do records anymore, at least Bubba Ho-Tep. Tyler says that he’s drawn to him they got the heart, and then I wrote this for a year.” these kinds of films. “It also becomes one of the things that cycles a little bit, too, because my music was temped in Panic and Frailty before I was on them. Panic had The Fourth Floor temped in it and that was temped into Frailty as well, and Panic was temped into Frailty too.” While personal relationships are often the best way for up-and-coming com- posers to win jobs, Tyler says his assignment on Frailty had nothing to do with that. “In Pick up issue 1 page 48 terms of Frailty, it was an out-of-the-blue sit- uation where I had no relationships with any- one on the movie but they heard my CD and there was a track they used for the main title track. I met with Bill Paxton and we hit it off right away. He started talking about all these strange musical directions he wanted to go in, and I had the script and started talking about

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odd combinations of things, combinations of start to mix, I always played one theme strange medieval music with things like under one character and one under the OUND Stockhausen. He’s really well-versed in other, but they do begin to blur as the film S music, both classical and contemporary. But goes on. It became a hazard that I knew the RACK he’s really into Stockhausen and is the only different twists that the story had, because T guy I know on the planet who has how much am I supposed to telegraph and LBUM Stockhausen records, and he couldn’t how much knowledge of this am I supposed A believe that I mentioned that. He wanted a to have (from a musical standpoint)? That ETAILERS biblical aspect to the score.” became a real challenge because I’d bring in R a theme and say, hold on, I’m not supposed Red Herring to do that yet because we don’t know this Specializing in about him yet. I’m not even sure at what Frailty opens very much as a standard serial SOUNDTRACK, killer film, with black-and-white photo images point the one son starts to believe his father and a moody, foreboding theme from Tyler. or starts to doubt him.” BROADWAY The melody is actually put to use far differently While movie flashbacks to childhood in than one might expect once the film segues everything from Prince of Tides to the recent and STUDIO CAST CD’s from a scene at an FBI office to a flashback to Hearts of Atlantis have a tradition of light- 1979. In the film, director Paxton plays the bathed and rich, nostalgic DOMESTIC and IMPORT father of two young boys who’s raising them music, in the case of Frailty the primal power RELEASES himself after the death of their mother. Paxton of many scenes between Paxton and the seems an ideal single dad until he enters the young actors playing his two children reads so e-mail or write for your boys’ room one night and tells them that an strongly that it was necessary to re-think the FREE CATALOG angel has appeared to him and ordered him to musical ingredients. “At the beginning we P. O. Box 487-Dept. FS begin slaying demons hidden in human form spotted it a lot more heavily than what ended New Holland, PA 17557-0487 on Earth—all with the help of his two young up being in there,” Tyler says. “Pretty early on I NEW e-mail: [email protected] started looking at certain themes, and either boys. “There’s a bit of a red herring dangled out phone/fax: there toward the beginning,” Tyler acknowl- Bill or I would suggest that we just stay out of (717)351-0847 edges. “But I think it’s pretty right on because it and let it play, especially in the 1970s there’s such a medieval, gothic, biblical strain scenes—because of the flashback mechanism Visit our website at: that goes from the beginning to the last scene. of the story, people get too aware that they’re www.soundtrak.com You have the wrath of God, Cain and Abel, in a movie and get pulled out a bit. What’s kind ALL MAJOR CREDIT CARDS ACCEPTED Abraham sacrificing Isaac and is the father of cool is that when they’re kids in 1979 you going to kill his own child, and I tried to have play it a little drier and give it almost a docu- the music play in a way that would make the mentary feeling, so you want to put music in viewer think the dad character in the movie is there where it’s really going to help. But silence crazy, kind of a zealot and an obsessed fanatic. is going to speak volumes, and I don’t really We definitely want to lead them down that need to score every emotion.” Tyler found that SCREEN road but at the same time any presence of even the film’s murder scenes didn’t require choir or anything patently spiritual in the the sort of powerhouse scoring one would ARCHIVES music should be giving you the hint that, hey, tend to expect. “There’s not that much literal this could be real. It’s not so atonal and crazy— on-screen violence, but people feel like there music like The Shining and that kind of thing— was, and that’s because it comes in these ENTERTAINMENT that [it] would lead you to believe, okay, dad is spikes out of nowhere, and there’s a lot of a complete lunatic and is killing people for no room in telling a real story. If you find the Large selection of reason. That was the idea of having a melodic moments where you want to make a signpost score, and we wanted the theme to be some- with, then hopefully there’s more impact for new domestic and thing that when played on the could be the audience.” import releases, a love theme for the father and son more than Once Frailty wraps up the full-length flash- just horror.” back that makes up the spine of the story, it older releases and A crucial element of the film involves the heads for a denouement that proved to be one point of view of several scenes and exactly of the biggest challenges for Tyler. “The whole out-of-print CDs what happens to the two boys as they grow climactic third act is one giant after into manhood in the aftermath of the expe- reveal, and it was tricky because initially I had Major credit cards accepted. rience. Part of Tyler’s job was to underscore scored this big reveal on the first reveal, and I Write for free catalog! the emotions without giving away some cru- thought, ‘Wow, I’ve got six more!’” Tyler cial plot twists. “The one kid is harp and the laughs. “‘Let’s save that one.’ Scaling back was PO Box 500 other kid is piano, and their themes are in a good lesson in how to be economical with Linden, VA 22642 kind of a faux waltz form. It keeps this kind the musical paintbrush, and we definitely of buoyancy going, but when played at the held back and did a lot more minimalism in ph: (540) 635-2575 low end with celli and all that guttural the beginning of that chain of events. Then at fax: (540) 635-8554 instrumentation it becomes a bit darker,” the end we were able to go all the way back to Tyler notes. “The identity of the brothers bringing in the full-blast big theme, because at e-mail: [email protected] becomes a little bit blurred, so the themes that point it felt appropriate. There’s quite a bit visit: www.screenarchives.com start the same and there’s a different section of space before the credits roll so the audience for the Fenton character; when the identities can kind of connect the dots.” FSM

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THE Man WITH THE Jazzy

ollowing Alex North’s land- Memories of Shelly How the mark 1951 score for A Streetcar Manne are equally joyous: “Shelly was Named Desire, a handful of Sound one of my favorite people in the whole composer composers made their mark by exploring the world. He had a great sense of humor, and he was always possibilities of writing traditional film music fun to be around. As a drummer he was very inventive. Let created within the jazz idiom. Throughout the decade, me put it this way: Generally, I tend to be rhythmically very worthy contributions were made by a number of active, and Shelly got a big kick out of that.” one Fup-and-coming composers, including Not surprisingly, Golden Arm begins with Shelly (Rebel Without a Cause) and Henry Mancini (Touch of Evil). Manne’s drum riff, followed by a chorus of belligerent unique With the exception of Mancini, who inaugurated a new brass, all quickly overtaken by the trumpets. Once kind of easy-listening jazz in the ‘60s (particularly with the Frankie’s cocky theme is heard several times, the score Peter Gunn television scores and his later film work for entire orchestra joins in, creating a nasty whirlwind—a director Blake Edwards), only Elmer Bernstein returned sensation that foreshadows Frankie’s abusive fall into drug after regularly to jazz music. Bernstein would write three hard- hell. As organized chaos comes to a edged jazz scores before 1960: The Man With pause, a trumpet solo guides us through another— the Golden Arm (1955), Sweet Smell of the city streets as we’re introduced to Success (1957), and Staccato (1959); Frankie: energetic, optimistic and sober. yet with each project, he would use jazz in Elmer The original Decca record ran 45 min- unique, creative ways, while furthering utes—unusually long among sound- maintained his own distinctive style. track albums—and contained a large In order to examine the many Bernstein’s body of score and source cues. Though a personal Bernstein jazz recordings released on the album master was imperfect from LP and CD at various times, it seems Cool Jazz the start (the old LP featured distortion style. natural to start with The Man With the in the high end), the importance of the Golden Arm. Scored in 1955 for produc- PART 1: THE ‘50s recording can’t be underestimated. er-director , it’s hard to Many of the score selections are imagine the film today with any other tightly edited together; not a good type of music. During the ‘30s and ‘40s, by Mark Hasan thing since the edits are imperfect, the norm would have been to use jazz and the album’s first cue, “Clark Street,” music only as source material, often play- jumps from the opening titles to the street section, then ing from a record player or radio, or heard during an on- hastily to juke box/big-band source. screen performance. The story of Frankie Machine, aspir- The score’s secondary theme, “Zosh” is characteristic ing drummer and heroin addict, would have been treated Bernstein—high strings playing a sensitive melody, while no differently, except Otto Preminger clearly wanted to the bass and celli play ascending/descending chords in the immerse the audience in the character’s world; because background. The layered strings eventually come to a deli- musicians live and breathe their music, the audience cate pause, and a carefully chosen instrument—, clar- would have to do the same. inet, sax, or, particularly, piano—takes over, often adding to Drummer and trumpet players Shorty the scene’s delicate mood. While the strings give us the Rogers and were therefore allowed an unusu- ambient emotions, the solo instrument conveys each char- al amount of space within select dramatic cues. Recalls acter’s emotional fixations; this ploy is one of several famil- Bernstein, “[Shorty] was a very cool guy, his ego was iar patterns in Bernstein’s calculated approach to scoring absolutely in the right place.” drama. “Zosh” ends with a short piano phrase—an incom- Bernstein’s musical childhood was influenced by his plete bass line—which appears as a warning to us: Frankie’s father’s love of jazz and plenty of jazz records spinning on going to fall big time, very soon. the turntable. In high school, Bernstein had a small band, Heard so forcefully over the opening titles, the familiar and though he played a great deal of jazz music, he knew thematic bars appear in “Frankie Machine,” only this time what a could contribute to his film score. Shorty Rogers gives us a soulful, lengthy solo, fluttering “Once I got the themes going where I wanted to go with it, over the band, while Manne taps an exotic rhythm, chasing I was somewhat dependent on Shorty; Shorty did not do all Rogers until he finally gives up, finally letting the mad of the arrangements, but he did a couple of them.” drummer show his stuff.

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The repetition of Frankie’s theme is important, particularly A variety of mood pieces add emotional balance to the album, during the bold scene where Frankie shoots up and begins his including “The Poor People of Brazil,” a light, fluffy and easy- path to sweaty euphoria. This time, however, Bernstein holds going piece of exotica. “—4 AM” is a classic Bernstein back on the brass, using the strings at a lower volume and creat- meditation, primarily consisting of solo trumpet backed by small ing a marvelous swirling effect. Once the poisoned pleasure hits orchestra. Smooth and breezy, Bernstein’s brief sax and guitar Frankie’s nervous system, the brass reappear, sadistically mock- passages wistfully allude to some of the more eccentric charac- ing him. ters in the composer’s evocation of Central Park. Frankie’s heroin high is punctuated by a sustained note on a With Shelly Manne active throughout the album, percussion rough-sounding organ, creating a strange and surreal effect. reigns supreme in “Wild and Crazy,” a furtive variation of “Return Rumbling percussion suggests Frankie’s inner torment, undulat- of the Man” that builds with maddening tension as the brass sec- ing constantly, until the main theme returns to close the cue as tion and percussion slug it out before a calming resolution. In horns blare furiously. “Smooth,” a young Andre Previn deftly performs a lively, albeit The film’s second and equally important theme is “Molly,” short solo, briefly dipping into classical patterns. The year 1956 composed for the woman who helps Frankie to the road of recov- would prove to be an important one for Previn and Manne too, as ery. A delicate theme played by piano and flutes, it’s another clas- the two stellar musicians would collaborate on a series of classic sic Bernstein composition, full of pity and affection, two qualities albums derived from stage plays, including My Fair Lady andWest Frankie is unable to find for himself. Side Story, for Contemporary Records. Some film composers are adept at writing only themes and songs, and require brilliant orchestrators to develop their materi- Sweet Sleaze al. Composers like Bernstein rise above these limited tunesmiths Bernstein’s next Decca soundtrack was Sweet Smell of Success, because they are blessed with a deeper understanding of musical scored in 1957. Produced by ’s partnership— construction. Having heard “Molly” in its most innocent form, Hecht, Hill and Lancaster—the film followed Sidney Falco (Tony one can hear how “Breakup” takes the tender theme and turns it Curtis), a sleazy press agent hired by New York’s powerful colum- on its end. Starting with a frenzied rhythm on piano, bass and nist J.J. Hunsecker (Lancaster) to find dirt on his sister’s fiancé to drums, Molly’s theme reappears in a more desperate assemblage: prevent their union. As the strings and woodwinds drag out the melody, the percus- Bold and brash describe Bernstein’s powerful score, immedi- sion seems to beat it away, making room for Frankie’s theme as he ately evoking a sense of sleaze, devious back-stabbing and the falls off the wagon again. omnipresent coldness of the city. Beginning with breezy drums Bernstein’s skillful writing deconstructs Frankie’s theme in and burlesque trumpet, “The Street”—the film’s main title—is “Desperation” as Frankie searches for another hit. As oboe, flutes formalized as a brutal group of brass, piano and percussion ham- and clarinet play sustained, warm notes, the strings move from mer out the film’s main theme. A brief respite comes from a more highs to brooding lows, followed by a sarcastic sax. The basic subtle group of trumpets, playing the main theme with restrained rhythm quickly appears—desperate, driven, harsh—only to cul- percussion, only to be forced back to the angry orchestra to con- minate in an explosion of drum riffs. Frankie’s hunger is then clude the title track. mocked by a hideous honky-tonk piano, and the cue drifts away “Hot Dogs and Juice” introduces the film’s secondary theme, with the theme’s bass line. also known as “Goodbye Baby.” Arranged throughout the score by A final cue worth mentioning is “Audition.” Though primarily a Bernstein, the theme is credited to Chico Hamilton and Fred source cue, it reveals Bernstein’s grasp of big-band arranging, and Katz, founding members of the Chico Hamilton Quintet, who in later years he would revisit the genre in television and film, par- also appear in the film. Drummer Hamilton and cellist Katz were ticularly in The Silencers (1966). revolutionary in the late ’50s for combining classical composition The Man With the Golden Arm would prove to be immensely with jazz, resulting in many avant-garde works; their writing was beneficial for all connected with the score. Armed with a power- unique, and though still clearly jazz music, it lends itself well to ful calling card and a best-selling album, Bernstein’s career was the film medium. set. The Decca LP would be reissued several times over the next Much of the score is based upon these two themes, and while 30 years, eventually making it to CD in Japan in 1992, and has just effective in the film, their placement on the Decca soundtrack been reissued as a Polygram import. album does, sadly, become repetitive in spots, often allowing Both Shorty Rogers and Shelly Manne would continue their three variations of Bernstein’s theme to follow in a row. That said, own busy careers, though in addition to session work on film the variations are sublime, often appearing as juke box, , scores, they would individually score television shows and the small combo and straight underscore. occasional feature. The more dramatic, functional cues reflect Falco becoming While Golden Arm was making the hit parade, Decca caught up in Hunsecker’s lying, cheating world, where devious- approached Bernstein and proposed a non-film album—and an ness is the means to achieving a byline. Indecision, inner torment unofficial sequel—using big-name musicians performing similar, and humiliation are often conveyed through Bernstein’s strings: big-band instrumentals. Titled Blues and Brass (currently high registers express extreme passion and tenderness, while the unavailable on CD), the 1956 album featured a collection of 12 lower strings allude to a darker force constantly pulling away at original Bernstein tracks that act as an interesting stylistic bridge Falco’s increasing guilt. between Golden Arm and Sweet Smell of Success, made the fol- Much like the records for ’s I Want to Live! score, lowing year. two albums were released by Decca. Both mono recordings are Using a familiar introductory piano phrase, performed with quite rare nowadays. The second album, featuring the jazz com- manic energy, “Return of the Man” clearly recalls Golden Arm’s bos, is worth mentioning, because it acts as an extension of the “Breakup: Flight” cue. “Blues at Five,” on the other hand, evokes a film score. The record has sizable source cues, and the second cold, nighttime walk down a bleak, empty street. Similar to Sweet side contains a 16-minute suite, of Jazz Themes, which Smell’s angry style, a series of gradual brass build-ups is repeat- summarizes the film in the recognizable, moody style of Chico edly ripped apart by a circular piano phrase, which maintains an Hamilton’s quintet, with ’s cello adding extra drama. even tempo and heightened level of tension. Both Katz and Hamilton would write a few film scores on their

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own: Katz’s brief film period would include scores for ’s Contemporary and Columbia Records, respectively. The best-known Little Shop of Horrors, A Bucket of Blood and Ski Troupe Attack!— re-recordings of the Staccato theme are by Buddy Morrow (recorded exploitation fare blessed with remarkably well-crafted music. Hamilton for RCA’s Double Impact, and recently reissued by RCA Spain) and would later score Roman Polanski’s first English-language film, Mundell Lowe (on RCA Camden’s More TV Action Jazz, currently Repulsion (1965), and score a handful of later films, including Mr. Ricco unavailable on CD). (1975), starring Dean Martin. Bernstein, however, would later take advantage of Staccato’s popular- Television offered many composers a chance at a little financial sta- ity in a subsequent compilation release, but for the original soundtrack bility, though Bernstein seemed busy enough not to have to worry too album, he chose to record light jazz combos with vibes, electric guitar much about dry periods. Amid the straight dramas, biblical epics and and lively percussion (such as “The Jazz at Waldo’s”), and some straight- war films, Bernstein also found time to produce three more non-film forward underscore (“Deadly Game”). jazz albums before the decade was up. Perhaps Bernstein felt the inclusion of a Themes and Variations few dramatic cues Considering the meteoric success of rock ‘n’ roll in the ’50s, it’s interest- would separate his ing to observe how a number of film composers produced light, film- work from the count- theme collections during this time—essentially recordings aimed at the less television sound- dinner party crowd. For RCA, Alex North released North of Hollywood, tracks that started to while Dimitri Tiomkin’s Movie Themes From Hollywood appeared on appear in record Coral Records. Alfred Newman produced Themes! for Capitol, and Victor stores. Even Nelson Young issued numerous orchestral albums for Decca. Riddle, master of After the success of The Ten Commandments albums, Elmer suave orchestrations, Bernstein produced two film theme collections for in 1958: radically toned down Love Scenes and Backgrounds for Brando. his Untouchables Though Newman’s Themes! album is incredibly schmaltzy, material for the 1960 Bernstein’s recordings have stood the test of time, with tasteful arrange- Capitol LP. Had SWEET ANDLOW: Curtis and Lancaster in UCCESSS ments for a number of commercial favorites: Gone With the Wind, , Bernstein been more (1957); Sinatra and Novak in GOLDEN ARM (1955). Raintree County and Around the World in 80 Days. Only The View From commercial-minded, Pompey’s Head is a Bernstein original. marvelous, driven Selections from films like , though clearly composed by cues like “Greenwich Franz Waxman, are distinctive Bernstein arrangements, with character- Village Rumble” and istic pauses, and piano solos reflecting the composer’s sensibilities. Even “Pursuit” would have purists would agree the various selections from different composers are remained in the pro- treated with extra care, and that may be an indication of how the young ducer’s closet. Besides, Bernstein was in awe of his peers. These two LPs are important foot- pro- notes because, years later, the composer would revisit some of these vided the composer veterans, re-recording some of their neglected works in the ’70s in 13 of with a better opportu- the 14 volumes that make up Elmer Bernstein’s Film Music Collection. nity to be “nice and Released in a fairly effective fake stereo format, selections from both light” in his next Dot albums were later reissued on one LP in straight mono by Hamilton, unusual release. a Dot subsidiary; Backgrounds for Brando was also reissued in England Paris Swings (cur- by Contour Records as Theme Music From the Great Brando Films. Sadly, rently unavailable on both LPs remain unreleased on compact disc. CD), starring “Elmer Unlike Henry Mancini, whose first feature score, Touch of Evil, led to Bernstein and the Swinging Bon Vivants,” was a lofty concept album, work in television, Bernstein had already composed music for several featuring popular standards and a few film themes (providing they had high-profile dramas and epics before his television period. Once some connection to things French). Mancini’s jazz music from Peter Gunn topped the music charts in 1958, “Now that was a dumb idea,” recalls an amused Bernstein. “That it seemed natural for television producers to approach Bernstein. was a really dumb idea, but boy, talk about hot people on an album.” Of his time with the small screen, Bernstein’s best work is found in In addition to regular all-stars like Shelly Manne and bassist Red Staccato, starring John Cassavetes as private detective and jazz pianist Mitchell, a young, “real hot pianist” named Andre Previn also per- Johnny Staccato. Originally released by Capitol Records and reissued on formed on several tracks. vinyl by England’s That’s Entertainment Records in 1982, the Staccato Why produce Paris Swings? Perhaps the idea stemmed from Michel album remains an outstanding work of stereo recording and engineer- Legrand’s classic 1954 album, I Love Paris. Columbia Records had ing techniques that begs a digitally unadulterated CD release. achieved much success with Legrand’s own French, Spanish, and Like Mancini, Bernstein wrote the show’s theme music, underscore, Brazilian-themed collections of esoteric standards, and Capitol may and source cues, using orchestra and small jazz combos. Staccato is also have toyed with their own series of dinner music exotica. While Legrand Bernstein’s third great jazz score of the ’50s. Though lighter in tone than focused on drippy orchestral presentations, however, Bernstein’s album Sweet Smell and Golden Arm, Staccato retains a potent edge. It’s hard not was better grounded, via small jazz combos. to compare Peter Gunn with Staccato, since both series spawned suc- Bernstein arranged two-and-a-half- and three-minute versions of cessful albums. A major difference, however, was Mancini’s decision to “Autumn Leaves,” “Paris in Spring,” “La Vie en Rose,” and the irresistible tone down his music. “I Love Paris.” The short album also contains two Bernstein originals: Smooth and upbeat, Peter Gunn began a trend of easy-listening “Adieux d’Amour” and “Souvenir du Printemps.” The latter, however, is jazz—mood music to play during a dinner party (or first date). Gunn’s a Spanish-flavored ditty that features some nice piano work, perky popular themes were also re-recorded many times in the following trumpets and marimba. The cue is also of note because it appears to be years, with only drummer Shelly Manne and trumpet player Joe an early draft of “Teresina,” a composition later used in Walk on the Wild Wilder offering harder interpretations on their own collections, for Side (1962). (continued on page 44)

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ince my childhood, I was interested in the fine arts, especially in painting, and museum- and Sexhibition-going very soon became my favorite HIS pastime. In my days in Budapest, where I went to school, and later in Leipzig, where I went to the conser- vatory, I went to museums every Sunday. However I LUST hadn’t seen much of so-called modern paintings.

I loved the 17th-century Dutch much more than the Renaissance , and later this became a personal hobby of mine. One day I saw a reproduction of the famous Sunflowers by a certain Vincent . It struck me as something entirely original, something entirely new and FOR something exceedingly forceful. I was fascinated. Then later in Paris, and especially in America, I was exposed to other Van Goghs and I admired them tremendously. I wanted to know more about this man, started to read up, read all the books which were available about him, including Lust for Life by . However, as brilliant as the book is, this is a romanticized and dramatized view of his life. Some of it is LIFE invented; most of it is true. So then I rather went to biographies (they were numerous) and then, finally, the fascinating letters from Vincent Reminiscences to his brother, Theo. So I got to know this man, and I was amazed to see the intensity— which was the cause probably why he later became insane—of this by Miklós Rózsa artist producing masterworks after masterworks, and not selling but one single painting in his whole lifetime. Even that went to a Dutch painting woman who was probably a friend of Theo (who was an art dealer) and bought it to please Theo, but that was all. And I asked myself, “Would I go on composing music if I would never have had any recognition in my whole life, if I would never have pub- lished anything because no one would have taken it, if it never would have been performed? Would I have gone on writing music?” Would any composer or any artist have done that if there were no hope that this is appreciated by the public? After all, we are writing for a public. Pictures are to be seen, to be admired, to shock (if you want to), to bring out emotions in people. And the same goes for books, sculptures and music. Would those people have done this? Would Schubert have written nearly 500 songs if those songs had not been sung? Would Bach have written that many cantatas if nobody would have asked for them? So this question was always in my mind when I thought of , who went on producing these works one after the other and probably never even thought about it, that this can be sold, this can be admired by other people, this could be exhibited. They weren’t. So when in 1955 (if I am remembering correctly) I was asked at MGM, where I was under contract, to write the music for Lust for Life, of course, I was overjoyed. I worked with both the director and the pro- ducer very closely before, and Norman Corwin, who wrote the screen- play, became a friend of mine. So it was more or less a “family gather- TRANSCRIBED AND EDITED ing” when I came to write the music for this picture. I went to see , who was surrounded by hundreds of paintings of BY PAV PAVELEK Van Gogh (reproductions, of course) in his office. He is a very shy and nervous man, who told me, “There is nothing we can discuss about the music, as it was with Madame Bovary (which we did together).” And he This article is compiled from tape recordings made is going off to Europe to shoot the picture and when he comes back, we can discuss the music. For the time being, his mind is on Vincent and at the composer’s summer retreat in he has no time to discuss music at all. This I understood perfectly, and I wished him good luck, and the company, including [producer John] Santa Marguerita Ligure, Italy, in the mid -’70s. Houseman, went to Europe. They went to the places where Vincent van Gogh lived. I heard many

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stories during production about the difficulties they had. For instance, his nephew, an engineer, was still alive. This was Theo’s son, who probably had the greatest collection of Van Gogh paintings, and he did not want to have anything to do with the film company. So Houseman [who] is a very intelligent man and speaks wonderful French, went to see this engineer and asked him why is he so antagonistic with this picture. He said, because he hated the book so much. So that was that. They couldn’t get any paintings to repro- duce from this collection. But they got everything from the Metropolitan, from the Louvre, from the National galleries in Washington, in London, and from private collections like Edward G. Robinson’s, who had very lovely paintings by him. These were all reproduced and shown in the picture. They went to Borinage where Vincent worked when he was a young man. It was a very impressive, lovely sequence—unfortunately very long—but the film (when I first saw it) was actually one hour longer than it is now. I think that it was a crime to cut out all these parts, because they were a part of the life of this great artist, very well done, excellently played by actor Kirk Douglas, who looked remarkably like Van Gogh.

he picture was probably three hours long—too long for commercial purposes, and they cut it down to two hours. It became a very good picture, commercially, but I believe that if the picture could T be restored (not for the public, for they are not interested) but for art students (and there are thousands of them all over the world) and museums, it should be shown in its original form. Then they went to France, of course the South, where he had his debacle with Gauguin and then to the insane asy- lum, which was not actually an insane asylum but a cura- tive place, where he committed suicide. Everything was done with the utmost research and seriousness. For instance, he has a painting of this asylum and he has a big tree in front of it. Now this tree is not there anymore as this happened 50 years earlier. So they got a big tree and re- planted it so that even that little detail did not escape their GET THE POINTILLISM: Kirk Douglas among the hundreds of Van Gogh works attention! reproduced for the film (above); Director Vincente Minnelli on location with his cast. Well, the company came home. The picture was in cut- ting for a long time, and I was looking for Vincente Minnelli to discuss the music. However he was not in the studio anymore. He had gone to another studio to do another pic- ture, which was the usual routine at that time. At the stu- dios the director was an employee. They went from one picture to another, one studio to another, and when some- body would say he should be supervising the music, he would have been laughed at. The music was turned over to Rózsa and that was it. Well, anyway, I did not have the luck to talk to him as I did with Madame Bovary, where before writing the great waltz, we had lunch every day for nearly a month, discussing nothing else but this four or five min- utes of music. Then I went to Houseman. Now Houseman was full of information, a very talented man quite unlike Hollywood producers, very intelligent. As you know, he became an actor. For a while he was a professor at UCLA, and he’s even advertising some kind of product on television [chuckles], IMAGES COURTESY AND © COURTESY IMAGES TURNER RENTERTAINMENT CO.ALL 1956 RIGHTS RESERVED. which I am not saying is in his favor! However, at that point he was a godsend because he knew the picture, he knew exactly what they wanted to

LUST FOR LIFE express, and we had several lunches at the studio where we

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Themes from Lust For Life by Miklós Rózsa—copied directly from his sketches. discussed what should be done. I remember I had asked “Brotherly Love” him, “What exactly is the main theme of the picture?” He thought for a moment and then he said, “Yearning!” This is a very good word. It expresses quite a lot—“yearning.” And that was the life of Vincent van Gogh: yearning. He was yearning to express himself. He was yearning to find love, which he didn’t find. He was yearning to find a better life, which he didn’t find. He was yearning to improve his paint- ing, which he did, and so on. In the beginning he was yearning to improve mankind, when he wanted to become a Protestant minister, and this one word struck me. I wrote a theme for Van Gogh which has this as a basis— yearning. And then Houseman used to come to my office. I had a bungalow with two rooms at MGM studios. It does- n’t exist anymore. They have taken it all down. I played him themes when I had finished them.

hat kind of music should one write about the “The Artist” life and works—because this is very impor- tant—the works, which we are going to see enlarged to an enormous screen, of Van Gogh? W What kind of music did he know in his life- time? Obviously, musical impressionism, which was born just around the time that he died, he did not know, no mat- ter how close this is, in a way, to his own work. He must have known the music of the post-Wagnerian period, much of Lizst, of César Franck, of Saint-Saëns and the cur- rent French Opera composers, if he knew music at all. I don’t know. Nobody knows. But this was unimportant. The important thing is what would express musically, tonally, the pictorial style of Vincent van Gogh. He was influenced by the impressionists, and impres- sionism starts in 1870 with an exhibition of a painting by Claude Monet, to which he gave the sobriquet L’Impressione. It was a lovely landscape of a harbor with “Gauguin” the sun going down, and it was an “impression” of it. Now this word was taken up by a critic who called everybody who painted this way an impressionist. So actually the word came pejoratively and not as something that was cre- ated by the artist himself. [The critic] did not think this would create a whole school, but it did. Van Gogh later was impressed by the pointillist style of “” paintings of his friend Pissarro, who got it from Seurat and Cignac. But again, a great artist—even if he takes over a style or a form of expression—he molds it into his own. The pointillist painting of Van Gogh has very little to do with the pointillist painting of Seurat, who is actually the inventor of this method. Everything [Van Gogh] touched became Van Gogh-ish, became original. So I was looking for a style, and I thought that the musi- cal impression that (as I said) comes 25 years later, around the end of the century when he died, is close to his own style. But then I wanted to take it through my own “brush,” “Madness” so to speak, and form a music which expresses, to my mind, the paintings and the man, Vincent van Gogh. None of the works I have written could have been writ- ten by Debussy, I assure you, but it has a Debussy-ish influ- ence. For example, The Orchards is one of the great paint- ings of Van Gogh. It is just like Debussy would have written it in music. So I tried to do something in that style which would express the painting of Van Gogh. Houseman was quite a great help. He came to my bun- galow, listened to the music and mostly approved of it. But sometimes he had a criticism, which if it was good, I gladly Music notation by Brian Satterwhite; [email protected]. accepted.

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The second very important man changed since. The picture was too early in the picture is Gauguin (played by for its period. It should have been pro- Oscar winner ). duced now when a lot of things could Now, he was an entirely different have been said which at that time could person. Van Gogh was a dreamer, a not have been said. For instance, the person who was going after the infi- whole episode with the cutting off of his nite, who wanted to express some- ear, at least what led him to this; it has thing that wasn’t expressed until been described in many books what now. But Gauguin was a very strong actually happened, but it had to be, at man, a stockbroker who left his that time, romanticized. And we just family, his wife and children, to found a madman who is upset by the become a painter. Now, these two words of his friend, Gauguin, and goes men meet in in southern and cuts his ear off. It didn’t make much France. We see Gauguin coming sense, because it didn’t happen that way. into a new place, and I thought we Anyway, the music was finally ready should give a musical atmosphere of new surroundings, the beautiful and the picture was cut, but they cut out (as I said) one hour, and the sunshine, new people, new music, new everything—and I wrote a picture became not terribly exciting for those people who did not know theme that was not something like [Van Gogh’s painting] L’Arlesienne the works of Vincent van Gogh (and these [who knew] were actually but something that every Frenchman would recognized this sounds very few at that time). So the picture was not a tremendous success in like. Houseman said, “That’s very nice but you’re illustrating the scenery the United States. It was much better received in Europe, especially in and not Gauguin, and he is our main actor at this point.” France. I was in Vienna at that time. It was playing in a special movie Well, he was right, so I wrote a very strong theme, just the opposite of house in about its third or fourth month! So it was not a flop (as they the highly romantic “yearning” Van Gogh, to play here and it worked say), but it was not a great success. very well. The audience understood that a very strong character (they “Roulin” y music was appreciated by didn’t know who this man was at those who have heard it, and I this point) was entering the scene. made a record of it, which sold When the picture was ready, the Mvery well. People liked it, and I usual thing in Hollywood was to give was rather satisfied with it. The main a sneak preview outside Los thing that I wanted to express was his Angeles, that the press shouldn’t works. There were many scenes where cover it, and put in a temporary we could see these, and it was beautifully music score. Well, this temporary done. For instance, for The Orchards they music has ruined a lot of pictures went to an orchard in France —a real because naturally this is not the “Yearning” one—and then this blended over into an music that actually should have interpretation of Van Gogh in the same been written for this picture. But scene. And there were many other scenes there was a specialist at MGM stu- with no dialogue, and music had to dios that knew the repertoire of explain with the power of tonal expres- what they had and he just used it. sion what we have seen with our eyes. So There was a scene with violence; he these were great moments for me. used “violence.” If there was a Then there was naturally the romantic love scene, he had that extremely dramatic scene with Van music, and so on. Well, another Gogh, with Gauguin, where Van Gogh place I once described [this] hap- wants to kill him, and he finally cuts off pened was in The Lost Weekend with his own ear. But for a while, we think that a horrible score put in for the pre- he is going to cut the throat of Gauguin! view, and what a success it became This was a very strangely and interest- with a proper score afterwards. ingly directed scene, very sensitively Now at this time, it [the tempo- done by Minnelli, and it gave me an rary score] was not that bad, but it opportunity to write very intense music. still didn’t belong there. The pre- I think the word “intense” is the key view was not a great success. They word to the whole score. This is also the usually gave out cards asking what key word of the work of Van Gogh. If you the people, the audience, think have seen his pictures, then you see that about the picture. Was it outstand- every work was done with the highest ing? Good? Fair? How were the emotion that there is, that you can bring actors? Well, the remarks were so- out with a paintbrush. Well, that had to so. It wasn’t bad, but really no one be translated into music, and I think this cared much about a mad painter is my most intense and emotional score. who cuts his ear off and finally Anyway, I was rather happy with it. That shoots himself. It was a very un- it did not get an Academy Award, that Hollywood story. goes without saying, and I think this This happened about 25 years speaks a little bit for its quality as well! ago and, of course, much has been FSM

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A TOUCH OF ELEGANCE THE FILM MUSIC OF RICHARD RODNEY BENNETT

ichard Rodney Bennett is a rare breed among his British this day. “I like to take an attitude to the film I do and contemporaries. A classical composer for the concert hall choose a specific orchestra, which makes it more interest- with a prodigious output ranging from opera to jazz, ing for me. I’ve often said to directors, my scores are not Bennett’s music derives from the rich, lyrical Romanticism going to be about that geographical area of the film. In Four of the English and French traditions of postwar Europe. In Weddings and a Funeral—which was a disaster musically a career spanning over 50 years, he has called New York his because they changed the whole score—I just wanted to do home for the last 22. A lifelong cat lover, he reminded me of music about the love affair between Hugh Grant and Andie the late Bernard Lee, the first M of the James Bond films. MacDowall because there was so much other music in the Bennett was born in Broadstairs, England, in 1936; his film. They found out from test screenings before I did the father was a lyricist, his mother a composer who studied music that they had a huge appeal to an audience under with . By the age of 14, he wanted to write like 30, so they filled the soundtrack with music that would and . Elisabeth appeal to audiences under 30, especially men. So at every Lutyens was a huge influence on his lyrical quality, but his possible moment, there were some pop thing going on, young career took a turn when, as a student in 1955, he was which had nothing to do with me, and I came out badly. introduced to the conductor , the most But I got paid for it. I don’t mind.” influential music director in British cin- A much better working relationship with directors ema at the time. Hollingsworth was occurred earlier when he met socially in impressed by Bennett’s well-received early London. “This was in the very early ’60s, and he knew a work, and he hired the 19-year-old to write friend of mine and asked me to do Billy Liar. I realized R the score for The World Assured, a docu- immediately that he was an extremely musical person who mentary produced by the British knows a lot about music, and his responses to music are Insurance Institute. Bennett then scored quite intelligent. I don’t know if he performs, but his back- the feature films Interpol (released by ground had a lot to do with music. United Artists in America as Pickup Alley), “When we did a picture called ,” Bennett remem- Face in the Night and The Safecracker, all bers, “Vanessa Redgrave portrayed a lady who played the before his 21st birthday. cello in a little country string orchestra, and that goes back He went on to score films for MGM, to my childhood. John is older than me, but I come from Twentieth Century-Fox, Woodfall and that sort of background where people make music, and he Cadogan Films. He worked for Terence did too, which was very near to his heart. He gave me Billy Fisher on a couple of Hammer Films and Liar, and that went well; Far From the Madding Crowd was admired the late ’s music. in 1967; and a film that we did for television, which went “When I started in the film world at 19, the nowhere, called The Tale of for Hallmark— budgets were relatively enormous,” [audiences] were horrified by the amount of blood and Bennett notes. “If you were doing a documentary film, you disgusting things that went on in that film. This film was could still have a full string section. In the ’60s, there was from the original story and not from the Stephen lots of money, so you could have big , lots of Sondheim musical.” recording sessions. And then the budgets started to In 1971, producer Sam Spiegel asked shrink. At that time, television was a poor relation; you if he would be interested in scoring Nicholas and Alexandra could only have three or four players.” since Bernstein scored for him. Bernstein In 1957, he received a grant to study with said that he wasn’t interested because of his commitment BY JAMES in Paris. This allowed him to develop a disciplined conducting the . Bernstein recom- approach to composing but the creative freedom to play mended Richard Rodney Bennett because Bernstein con- PHILLIPS piano in the popular jazz clubs, a passion that continues to ducted the premiere of Bennett’s Symphony No. 2.

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When it was confirmed that Bennett was going to do the because he was so talented. The main titles of Billion score for Nicholas and Alexandra, Jerry Goldsmith was “a Dollar Brain (directed by Ken Russell) are of computer bit standoffish towards me because he was hoping to do printouts about Harry Palmer (Michael Caine). So you saw the score,” Bennett remarks. He previously worked with all these machine-like happenings. I had recently seen a Franklin J. Schaffner ( and Patton), “but film that Michel Legrand did called The Bay of Angels, once we knew each other, everything was fine.” The film which is about gambling. He used a lot of piano keyboard- was one of the last major epics and recounts the last ing sounds, and I did steal that idea, so the title music has months of the Romanov dynasty of Russia. The score was three grand playing in front of an orchestra. I did influenced by Russian music of the late 19th century and not use any instruments that sounded sympathetic, like by Russian folk songs scored for a large orchestra. strings or flutes. I used a lot of percussion and brass, The 1970s was Bennett’s most productive decade in film, pianos, and this extraordinary French electronic instru- and although he received two Academy Award nomina- ment called an . It was a coloristic decision. tions for Best Original Score for Far From the Madding Billion Dollar Brain was fun in that kind of way. You often Crowd and Nicholas and Alexandra, he considers writing get a cue for a film from (a) something in the film itself and

ACROSS THE DECADES: Bennett landed all-star assignments in the ’50s, (INDISCREET, bottom left), ’60s (FAR FROM THE MADDING CROWD, below) and ’70s (NICHOLAS AND ALEXANDRA, left).

for the movies a form of “musical journalism,” not to be (b) from somebody else’s score, [but] I didn’t know John confused with his concert music—similar to the way nov- Barry’s score for the first film [The Ipcress File].” elist Graham Greene (The Third Man) would call his film Murder on the Orient Express and Equus were so differ- work, spy and mystery stories “entertainments,” separating ent in tone and structure that it was also a reflection of the them from his more literary work. relationship between Bennett and director . “My name had been given to Sidney Lumet by Stephen HOORAY FOR HOLLYWOOD Sondheim, who I knew slightly then. Sidney wanted a score “I was never really interested in the great Hollywood com- based on 1930s popular tunes: Cole Porter and so on. I posers,” says Bennett. “They never influenced me, went out to Elstree Studios to see the rushes, and I said, although I have enormous respect for that music. I admire ‘Please don’t have that kind of score.’ It’s such a cliché. Also, Leonard Rosenman, and Jerry popular music is not adaptable to the demands of a dra- Goldsmith, and people who were working before I just matic film in the same way as themes written for the cin- came along. Michel Legrand influenced me in the 1960s, ema. I could have done a creepy version of ‘It’s So Lovely,’ and used to be my idol in film music, but then he started to but why bother? Why not write a good theme? parody himself with these overblown scores. It’s a shame “So Sidney Lumet, who is wonderful to work with—and

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I have nothing but good to say about him—took my word for it the screen. So I did a very sober kind of score that was just for and let me loose on the film, and I had the best time in the world. violas and cellos and double basses. It was scored for low It was wonderful that the film was so obviously going to be a strings only to avoid the faintest touch of melodrama. Sidney, smash hit. We were all lit up about it.” When I mention Elmer Peter Shaffer and I were happy with it, but the hardest thing Bernstein’s anecdote about Bernard Herrmann interpreting about doing film music, apart from how the hell do you write Agatha Christie’s story as being about a “train of death and ter- that amount of film music in that short of time, is very often ror,” Bennett comments that he heard about it, but adds, “There understanding what the director is telling you. Sometimes you is nothing terrifying about Agatha Christie. It was about a bunch could get completely misled by a suggestion, which you try to of Hollywood actors having a good time.” He describes his follow through, and it doesn’t make any sense. method of doing a waltz for the train as a way of doing a different “I did a score for one of my favorite directors, Joseph Losey, type of train music, reflecting the fun and adventure with the called The Go-Between in 1971,” Bennett continues, “and I turning wheels of the Orient Express. worked for him before on two other films: Secret Ceremony (1968) “Equus,” Bennett continues, “was so drastically different from and Figures in a Landscape (1970). In the second film, I noticed the play in that it was set in real life—naturalistic settings. Now that through whole passages of the film, you could hear

THE TRAP IS SET: Bennett won multiple awards for his score to MURDER ON THE ORIENT EXPRESS (above) and a BAFTA nomination for EQUUS (top left); his original sketches for GORMENGHAST are typically complete.

the play had a very inter- falling or you could hear crickets chirping; that gave me the idea esting and frightening that the music could work in the same way, that it could make a score by Marc Wilkinson, continuous pattern through parts of the film. I wasn’t imitating which was right for the rain or crickets chirping. That suggested my orchestration, and stylized nature of the the color of the music, but for this film, he had some crazed idea play production, but I that he wanted modern jazz; and this film was set in beautiful didn’t want to do what turn-of-the-century England, with Julie Christie looking lovely. Marc had done. Jazz? What does he mean? The Go-Between is about how a love “Sometimes the hard- affair between two adults corrupts and destroys a child, as they est thing with a film use him as a go-between. score is telling the direc- “I thought I wanted to do a score about what Joe wanted, and tor what you’re planning to do, because often, the director I wanted to show the black side of this relationship at odds with doesn’t speak the language of music, and why should they? In what you saw on the screen. I did it completely wrong and they this context, I was trying to do something very drastic; I didn’t threw out the score. Joe very sweetly said that he knew he misled want to go with a melodrama. I wanted the music to stand me and he would have loved to give me another chance, but I was back and look compassionately at these frightening things on teaching in America that year, and I had to go back. He got Michel

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Legrand, who did another terribly wrong score. Prokofiev? I like directors who talk to you simply. Or like John “Bit by bit, film music became more commercial, and they wanted Schlesinger; he can refer you directly to a [specific passage in a specific] more and more themes and spin-offs from this and that, and budgets piece of music. for orchestras became smaller and smaller. Television, for me anyway, “When I was a child, my mother used to play for me the piano pieces by became much more interesting, because it wasn’t so commercial. And Debussy and Ravel, and I thought they were ravishing, and that was a huge so, the budgets were starting to measure up to what was available in influence on me. So Debussy is the most important composer in the world for films. You could do scores that were really interesting. I did Tender Is the me. [My mother] studied in London and knew most of the famous composers Night [based on the novel by F. Scott Fitzgerald] for the BBC, and a lot of at the time, and I grew up with a great love of English music between the wars. television plays. I had a really good time because I felt that I did not have I knew and and feel very tied to English a commercial dragon looking over my shoulder with the filmmakers music. I feel it more and more as I grow older.” wanting me to come up with a hit tune. This, to me, became the death When discussing the amount of music a composer should put in a of film music. Two years ago, I did the BBC production of Gormenghast film, Bennett feels that he is the opposite of most composers, “by put- (based upon the Groan novels by ), and I had the ting in as little music as possible. It’s not that I am lazy, but I try to be BBC Orchestra. It was like doing a film in the good old days. very specific and will not produce an endless trickle of music. On the “I’m a member of the motion picture Academy, and every year I get about 60 films to watch at the day’s end when I finish my OTION ICTURE CORES Blind Date (1959) work. I know it’s not a fair way to judge film, M P S The Angry Hills (1959) Swann (1996) but I notice that there’s been music playing The Devil’s Disciple (1959) Four Weddings and a Funeral (1994) all the way through, and I haven’t noticed The Man Who Could Cheat Death (1959) Return of the Soldier (1982) anything about the music or film, nor who Face in the Night (1958) Yanks (1979) Indiscreet (1958) the composer was—so faceless,” Bennett The Brinks Job (1978) The Man Inside (1958) says. “I think directors and producers are very Equus (1977; BAFTA nomination) The Safecracker (1958) much conditioned by film music, where Permission to Kill (1975) Interpol (1957) there is always a trickle of music going on. Murder on the Orient Express And this makes me very embittered, because (1974; Oscar nominee; Ivor Novello, FSTA ELEVISION CORES we, those who were working in the ’60s and and BAFTA Award winner) T S Gormenghast (BBC) Lady Caroline Lamb (1972) ’70s, spent so many years trying to find places Sweeney Todd (Hallmark) Nicholas and Alexandra (1971) to put music in, to find the perfect way of The Enchanted April (BBC/Miramax) Voices (1971) using music, the most effect, and so on. The Man Who Lived at the Ritz (Harmon/Gold) The Buttercup Chain (1971) These [contemporary] movies are drenched The Hiding Place: The Story of Anne Frank (CBS) Figures in a Landscape (1970) Strange Interlude (HTV) with music, like riding up and down an ele- Secret Ceremony (1968) Poor Little Rich Girl (ITC/NBC) vator. It has nothing to do with the movie, but Billion Dollar Brain (1967) Talking Pictures (BBC) there’s music going on. Television, particu- Far From the Madding Crowd The Charmer ( LWT) larly in England, in recent years has been very (1967; Oscar nominee) Murder With Mirrors (Warner Bros.) interesting, because I’m able to do things I The Devil’s Own (1966) Tender Is the Night (BBC/20th Century- feel are truly creative.” One Way Pendulum (1965) Fox/Showtime; BAFTA/Emmy nomination) The Nanny (1965) Knockback (BBC) ALL THAT’S FILM... Billy Liar (1963) The Ebony Tower (Granada; BAFTA nomination) Heaven’s Above! (1963) “When I compose for a film I would watch The L.P. Hartley Trilogy (BBC) Only Two Can Play (1962) the film a couple of times, sit at my desk and The Christians (Granada) Satan Never Sleeps (1962) Sherlock Holmes in New York (Fox/NBC) use speeds, which is a very sim- The Wrong Arm of the Law (1962) ple relationship, ” says Bennett. “So you set up a tempo, and you can work out where pieces of music would fit in a film. The timing, or synchronization, of album of Equus, we had to fill it up with Richard Burton’s speeches, film music is less technically frightening than most people think. I can because there wasn’t enough music. The album of Lady Caroline Lamb teach a room of students how that works in five seconds. I don’t like click contained on the second side of the record a restringing of the tracks, which a lot of people do, because I find that sound mechanical. sequences you heard on the first, called an Elegy for Lady Caroline The conductors I often use play my music to click tracks, and I don’t use Lamb. So I have never done, if I could help it, enormous music scores. a stopwatch. I was never a conductor. John Hollingsworth, who I men- On the album of Orient Express, I doubt if there were much more that tioned before for giving me my first film job, conducted my score, and you didn’t hear.” then I used Marcus Dods. When he died, I worked with Neil Richardson, Bennett composed the score for Nicholas and Alexandra in three and when he left the country, I used Angela Morley. I’ve never con- weeks with a large orchestra and male chorus. “I’ve always done my ducted. You must realize that the creative work in film music is not by the own orchestrations until Gormenghast came along, which was 96 min- conductor—it’s done in the control room and [by] the players. utes of music for the four-hour series. I got a friend of mine to make the “I like to have a friendly relationship with the sound engineer. We can then orchestrations for me based on very detailed notes. It was a lovely pro- talk to one another in shorthand, and you don’t have to ask his permission for cedure and worked very well. I’ve always enjoyed doing the orchestra- suggesting things. I’ve had wonderful relationships with sound engineers. tions so much, and never liked someone else doing it. It’s like me doing They’ve done so much for me. You could say to them that the sound should be the line drawing and somebody else coming in and coloring it in. I want more cozy or bleak, and they know what you are talking about. to put the paint on, but sometimes there just isn’t time.” Bennett points “If a director asks me to make this scene sound cozy or bleak, I know to Yanks as an example: “At the beginning there’s a sequence where the what he means. But if he says I want this to sound like Prokofiev, as Ken American army arrives in this small town in Yorkshire, and I’ve written Russell once said to me on Billion Dollar Brain, I want to say, ‘What the a march. We got a professional orchestrator to score it as a march. John fuck do you mean by that?’ It doesn’t mean anything to me. Which Schlesinger said that’s all wrong, and we were racking our brains how

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this march should sound. I carried this tune around in my from those films I was doing when I was 19. head, and bingo, we had it at the spur of the moment. It “There are lots of films I’ve done [that] for various rea- wasn’t real orchestration at all. sons haven’t come out on CD. I’ve done lots of films that “John Schlesinger is fantastically demanding. The mad had a kind of dubious reception, like Far From the thing is that he is always right. You can kick and and Madding Crowd, which I think is a marvelous film, and it ask him, ‘Do we have to do it?’ And when you do it, it’s just got a rather sniffy reception; but the film’s gone on, and the fine.” When asked if Schlesinger provided him with a temp music’s gone on, which came out about four times on CD, track, Bennett responds, “On Far From the Madding Crowd so I can’t complain. I think Nicholas and Alexandra got a he played Holst and Vaughan Williams, but that wasn’t rather snobbish reception at the time. [I’ve] always thought interesting because I know that kind of music. On Sweeney that recordings of my film music has been like a kind of Todd, he did something so elegant, considering that the gambling. Sometimes they stay on the market for two film was about multiple murders and cannibalism—he weeks and then disappear. Murder on the Orient Express played a harpsichord concerto, and I thought it was a won- has come out so many times, it’s like playing games. I don’t derful choice. I wanted to turn the music that I composed take it seriously.”

into a concert suite, and so I approached the people who did that film, and we kept getting no answer until I found ...AND ALL THAT JAZZ out that they thought that we were trying to get the rights Bennett’s interest in jazz has been crucial to his musical to ’s musical, as if Sondheim had development. “I’ve always had another side of myself,” he invented Sweeney Todd. We never did get the rights to using says, “which is being a pianist in jazz and cabaret. The first that score. It’s a great shame.” famous singer I worked with was . We did a lot of Bennett corroborates the stories of composers trying to work together in England. Prior to that, I was a pianist play- get copies of their work for concert productions, and being ing contemporary classical music, but I’m less interested in told that copies no longer exist because they were either that, because there are so many people who can do it well. thrown out, or burned. “Absolutely,” he says. “I don’t have In jazz and cabaret, every night is different. The concert at any of my early scores; they were destroyed. Far From the the Guggenheim Museum featured my classical and film Madding Crowd is more or less destroyed by the EMI music, and my performances in jazz. I worked with an library, until we found out that at Paramount, for reasons I excellent cabaret singer, Mary Cleere Haran. We’ve done 11 cannot explain at all, was a microsize copy of the score. weeks at the Cafe Carlyle, which is a major engagement. We They used to destroy everything as soon as it came in the did two concerts, and each night was completely different, door. It’s disgusting. Of course, all the instrumental mate- because the audience was different; not worse or better, rial. One of my dearest friends in England, John Wilson, a but different. In that kind of music, you respond very much conductor and orchestrator, is working on reconstituting to the audience, and you don’t in classical music. [With the great scores of , who wrote musicals. classical music] you hope for an audience which doesn’t But most of Salinger’s scores are now landfill under a golf fidget and cough all the way through in reasonably large course in Beverly Hills, and that is the truth. numbers, and hope that they clap in the end. “In the old days, photocopying was not nearly as com- “But doing cabaret, somehow you can do a simple ballad mon as it is now. You would have to saddle up to the record- very quietly, and the audience is beside themselves, or they ing engineer and maybe slip him ten pounds if he could might not react at all. We are dealing with Cole Porter, Duke make me a copy of my score. Casual recording and copying Ellington, Harold Arlen and . This is an was not a thing in those days. It was so much work and you inexhaustible treasure trove. I am not a songwriter; it’s a dif- didn’t bother, and you waited for the next film to come in. ferent talent. I love writing lyrics because I know what a “I remember particularly, films that were important to me good lyric ought to be, and I like the ingenuity of lyrics, but musically: East of Eden, On the Waterfront, and A Streetcar I don’t regard myself as a songwriter. I’ve written a few songs Named Desire, which was around the same time. which a few people have sung, but it’s not my strong point. Remember, that in Europe, there was a long tradition of Bennett was named a Commander of the Order of the using real composers, and almost all worthwhile composers British Empire by Queen Elizabeth in 1977; since then, he between the wars had all done film scores, so that was a has focused more on his classical compositions and play- good way to start. I was paid 100 pounds for my first film, ing in small venues with cabaret singers. Mr. Bennett is a which was manna from heaven, and I never stopped. Films musically accessible composer who still takes the occa- have been my financial life ever since I was 19 years old. sional film assignment, if his agent recommends it and he Nowadays, I don’t have to do it, and I don’t. But I get royalties finds it interesting. FSM

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FSMCD Vol. 5, No. 3 • Released by Special Arrangement with Music. Joy in the Morning by Bernard Herrmann

Joy in the Morning is one of the more 1. The Hallway 2:16 obscure films in Bernard Herrmann’s career. It is Herrmann’s 2. The Stairway 0:58 last successfully completed studio-era project—following 3. Main Title 1:38 Marnie (1964) and preceding his rejected score for 4. Waiting Room/Portico 2:11 5. The Cottage 1:12 (1966)—and took place during a trying time in the composer’s 6. The House 1:30 personal life: the divorce from his second wife. The film is a 7. The Bedroom 1:28 period love story starring Richard Chamberlain and Yvette 8. The Shower 1:04 Mimieux, aesthetically a last gasp of traditional Golden Age 9. The Rocking Chair 3:12 amidst more sexually permissive subject matter. 10. The Painting/ The Laundry Truck 1:16 Despite the troubles with his own 11. Bittersweet/Exit 3:01 12. The New Look 1:56 marriage, Herrmann keyed onto into the trials and tribulations 13. Assets/Anger 2:23 of young newlyweds with characteristic passion, utilizing the 14. The Book 0:35 strings-and-horns ensemble he brought to films such as Blue 15. Compassion 0:58 Denim (FSMCD Vol. 4, No. 15), Tender Is the Night and Marnie. 16. The Search for Love 1:26 As happened with Tender Is the Night (made by the same pro- 17. Ruth 0:58 ducer), Herrmann was given a title song to interpolate, “Joy in 18. The Card 1:40 19. Day by Day 1:37 Still photographs courtesy of Turner Entertainment Co. An AOL Time Warner Company Entertainment Co. An AOL Time Still photographs courtesy of Turner the Morning” by Paul Francis Webster and Sammy Fain, per- formed by Richard Chamberlain for the main and end titles; but 20. The Xmas Gift 1:49 unlike Tender Is the Night, the song is more akin to Herrmann’s 21. The Cradle 1:32 22. Absence 1:01 own sensibility, and he worked it into his underscore to a 23. The Shadow 1:01 greater extent, making its motives his own. 24. The Letter 1:04 25. Farewell 0:56 For all the fantasy, suspense and horror 26. Despair 1:22 which has made Herrmann famous—and despite the fury of 27. Reunion 1:10 his own personality—he was a romantic at heart. Joy in the 28. Delivery 1:45 Morning is a melodic, haunting effort surging with the passion 29. Coronation March/ End Title 2:38 of young love and despairing at its heartbreak. A 7:22 suite of the original soundtrack was previously released on Rhino’s 2CD Total Time: 46:33 ’s set, The Lion’s Roar: Classic MGM Film Scores, 1935–1965; Look for this month offering FSM’s CD features the complete soundtrack in stereo from the Album produced by Lukas Kendall Silver Age original three-track recording. Liner notes are by Christopher The Man Who Husted, manager of the Herrmann estate. Loved Cat Dancing by John Williams and Michel Legrand $19.95 plus shipping—available only from FSM! inside back cover. v7n02 issue 3/13/02 5:17 PM Page 30

REVIEWS BEST REALLY GOOD OF CURRENT AVERAGE RELEASES WEAK ON CD WORST SCORE RATINGS American Journey tively unremarkable on their own intellectual lights. A fellow at like embroidery, not only makes JOHN WILLIAMS merits. Slightly more impressive is Oxford, a philosopher, a novelist the music prettier, it also stitches Sony Classical SK 89364 “Sound the Bells,” an ebullient and, according to legend, one of the various parts together, imbu- 15 tracks - 60:45 “American greeting” commis- Jean-Paul Sartre’s ex-girlfriends, ing the score with a structural ohn Williams’ preeminence as sioned by the Japanese Royal Murdoch applied her powerful cohesion Horner’s material often Ja fundamentally American Family in 1993. brain to subjects ranging from seems to lack. composer invites comparison The inclusion of “ God to human rights, and demon- Toward the end of the sound- with and John Theme” for sponsor NBC News is strated before a worldwide audi- track, however, the composer Philip Sousa, so it’s not surprising perfunctory (though a new record- ence that women in the work- approaches destruction of this that his latest CD is titled ing), and “Summon the Heroes” place could and should share cohesion. As “Part 6” starts, for American Journey. It’s an apt has been lifted from Williams’ 1996 equal footing with their male col- example, a caterwaul of electronic description: if you were expecting Olympic CD as a bonus track. The leagues. When she was in her 70s, strings and bells pierces the suite an official Olympics CD to be album’s pièce de résistance is its however, doctors diagnosed like a knife, evoking the agony Iris multicultural in character, you’re opening (and the title of the CD’s Murdoch with Alzheimer’s dis- and her husband John must have mistaken. What you get here is an international release): “Call of the ease, and within a short time her suffered as the disease tore into hour of unabashed American Champions.” Zealously performed mental health had deteriorated so their lives. This bit of chaos ends patriotism. True, in one sense the and featuring the Mormon greatly that she could no longer quickly, though, and the remain- music of John Williams (Western , this “official remember how to dress herself. der of the score then assumes a in character as it usually is) tran- theme of the 2002 Olympic Winter Recognizing the human interest quieter, almost passive tone. Just scends national boundaries. But Games” features glorious choral present in this ironic and tragic as Murdoch’s energy left her, it the wake of Sept. 11 has brought writing—wordless, for the most scenario, director Richard Eyre— also leaves the music. This is not out a strong U.S.A. consciousness part, out of respect to the multilin- with a low budget—recently to say that the rest of the material in world affairs, which the choices gual nature of the Games. The turned Murdoch’s story into a is flat. Rather, it becomes increas- on this compilation reflect. exception is the Latin motto of movie. And James Horner, a com- ingly elegiac and commemorative, To start with, Williams’ score for Baron de Coubertin: “Citius, Altius, poser best known for working on a peaceful recognition of what’s the Spielberg montage-film The Fortius” [Swifter, higher, stronger]. sagas and blockbusters, was hired been lost. Similarly, the score’s last Unfinished Journey has been reti- Williams even thoughtfully threw to write the score. section, “Part 8,” also disrupts the tled American Journey for this in his own grace note: “Clarius,” Pensive and stirring, the score tranquil pattern established by the release—perhaps permanently. A which evokes intelligence and for Iris is made up of eight short preceding sections. Constructed six-movement essay, the piece is clarity of mind. This new composi- sections that function separately around an English folk song, the presented here on CD for the first tion is jubilant, with just a hint of and collectively, marking the soaring tones created by the musi- time. It is unmasked by narration, melancholy—more adventurous stages of Murdoch’s life from cians don’t blend perfectly with and while this will doubtless be a and buoyant than his previous youth, through adulthood and ’s thin, straining voice. source of joy for purists, the music Olympic themes (and more appro- then toward death. “Part 1,” for This disparity may have an impor- suffers somewhat when divorced priate for winter). Williams the instance, moves as quickly and tant symbolic function, however. from the starkly powerful images orchestrator is in top form here, nimbly as Iris’ brain and body That is, perhaps the nasally and dialogue which it was crafted giving us some of his most exciting must have moved in her early of the singer and the arching ges- to support. Williams largely part-writing since . days at Oxford. But after this burst tures of Bell’s violin are supposed eschews the grand thematic Most of the material on this disc of energy, the music becomes to clash, just as the lives Murdoch approach for which he is famous, is previously unreleased. Some of more complex, and the sound had before and after the onset of preferring a more subdued blend it borders on mediocre and will generated by Horner’s orchestra Alzheimer’s clashed. And if that’s of distinctly Copland-esque tex- only appeal to die-hard Williams grows increasingly somber and the case, the track is a superior, if tures and patterns to shape a fans. But the sheer volume of meditative, a reflection, perhaps, not aurally disturbing, . sonic landscape of Americana. music is difficult to ignore, and the of the changes Murdoch under- A score as fine as Iris proves Other obvious selections rewards make it a virtual must-buy went in her own life, as she began that Horner can develop and include the impassioned “Song for for soundtrack collectors and clas- to experience and understand manipulate music in a manner World Peace,” the brassy “Hymn sical music buffs alike. And as a heavy subjects—like philosophy, that triggers real emotions in his to New England” (neither of memento of the American spirit, art and love—with greater sophis- listeners. But, unlike Braveheart or which includes vocals), and the even the average listener will find tication. In these early sections as A Beautiful Mind (another mental postmodern Leonard Bernstein American Journey a worthwhile well, Joshua Bell’s violin is almost illness project), Iris shows that tribute “For New York” (alternate experience. —John Takis always present, providing sweep- Horner doesn’t always need a full title: “For Lenny!”). (Obvious ing passages that enrich the other orchestra or melodramatic omission: “America: The Dream Iris musical parts. Occasionally, Bell rhythms to achieve this effect. A Goes On.”) We also get “Jubilee JAMES HORNER separates his violin from the composer with a range like this, 350” and “Celebrate Discovery”: Sony Classical 89806 • 8 tracks - 49:52 orchestra in order to play a short, despite the various foibles that two obscure short works of ame Iris Murdoch was, by stripped-down melody, which have marked his prolific career, is sprightly orchestral activity that Dthe standards of many, one augments the score’s emotional hardly an unimaginative hack. will thrill completists but are rela- of the 20th century’s brightest impact. Moreover, Bell’s melody, Rather, like Iris Murdoch, he’s a

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light, and an extremely bright one otherwise gives the album the classic English aristocratic melody. innocent.” And so it is. Although at that. —Stephen Armstrong semblance of completion. The instrumental film cues the score is represented by only 20 Powell’s score is, in essence, a included on the album retain the minutes of Mothersbaugh’s music, 1/ 2 collection of skillfully put-together intimate English sound created for the selections give a decent repre- JOHN POWELL samples laid beneath abstract gui- the songs. Perhaps it’s the piano sentation of his work. Just listen to Varèse Sarabande 302 066 317 2 tar stylings. It puts you in the mind writing, played with bold brush the joy and fun of the seven- 19 tracks - 41:00 of Michael Kamen’s score to Jack strokes by Christopher Northam, minute opus, “Lindbergh Palace ne is tempted to assume that in that it’s essentially built out of that really sticks in the mind— Hotel Suite,” which is an inspired OSean Penn took the title role sounds that might be familiar to a those green and pleasant English goulash of cello, guitars, finger- of I Am Sam to recoup the losses seven-year-old, and in that mansions are never far away. snaps, Christmas bells and harp. from his 2000 film The Pledge, respect, it’s a good fit for the film. When small woodwind and string “Mothersbaugh’s Canon” is a sly which opened in the barren It’s focused and not overly sections blend around occasional take on the Pachelbel cliché, while January wasteland and made no emphatic, but as an album, it’s acoustic guitars and accordion, “Sparkplug Minuet” may be the money, despite the fact that it was best reserved for Media Ventures that’s about as close as the music best fractured fairy tale music ever one of the best films of the year. completists and Starbucks enthu- ever needs to go to reach an ele- composed. It’s tempting, because everything siasts. —Jason Comerford ment of suspense or surprise. It wouldn’t surprise me if that The Pledge was—skillful, unhur- ried, complex and disturbing—is everything that I Am Sam is not— maudlin, stunningly obvious and preten- tiously overheated. John Powell’s score doesn’t try to Throughout the film, the yank at heartstrings every few sec- Gosford Park music serves more as an elegant Mothersbaugh’s role model turns onds, but it doesn’t do much else PATRICK DOYLE and graceful backdrop. Patrick out to be Danny Elfman. Although either. On the whole, it sounds like Decca 470 387-2 • 24 tracks - 51:09 Doyle has written fine, ever so Mothersbaugh’s touch is lighter music you might hear wafting he story of Gosford Park is a “theatrical” music, full of intimate and simpler than his alt-band through the air at your local Tkind of Agatha Christie who- intrigue, wit and craft. counterpart, they both have a Starbucks, so if that’s your cuppa dunit viewed from the perspective —Simon Duff child’s glee in producing music for joe, tune in. “Starbucks and of both servants and masters. a non-mainstream sensibility. Hospital,” the disc’s five-minute Patrick Doyle’s music had to be The Royal Tenenbaums Even though Mothersbaugh is opening track, pretty much sums careful not to give too much away, beginning to score more up the rest of the album: George while fitting neatly with the Ivor MARK MOTHERSBAUGH Hollywood fare like The Doering and plink Novello songs used prominently in Hollywood 2061-62347-2 • 20 tracks - 58:51 Adventures of and away at jaunty guitar and uke pat- the film. It’s actually the faithful hen I think of director Wes Bullwinkle and the Rugrats terns as a smorgasbord of sound and intimate re-workings of six WAnderson, I always link movies, it’s his work with effects churn away underneath. Novello songs and Doyle’s own him with another directing Anderson that has showcased his There are nice moments, though. Novello-inspired tunes that Anderson: Paul Thomas. Both talent. While I was impressed with “Reading Together” slows the demonstrate the real skill on this have made three movies: a small his work on Rushmore, this is score’s over-caffeinated pace a lit- album. well-respected first (Wes: Bottle Mothersbaugh’s true breakout tle and allows for a brief bit of “Only for a While,” co-written Rocket, PT: Hard Eight), an impres- score and one of the year’s best. breathing room. The album also with , tells a sad sive follow-up (Wes: Rushmore, The rest of the album is filled takes a smooth tonal shift with love story of death, lust and PT: Boogie Nights), and a with rock songs that seem intru- “Sam Visits Lucy,” where a lovely intrigue. A small string section Hollywood-backed third movie sive at first, but do have a certain cello solo adds genuine emotion. winds around Abigail Doyle’s that didn’t compromise their sen- flow. Anderson chose fun, obscure Alas, the music, which by this pleading vocals and sad accordion sibilities. PT had Magnolia, and songs, so if you’re going to get a point has already been vaguely like refrains. It’s an accomplished work Wes has The Royal Tenenbaums, a CD full of songs, they might as a Thomas Newman minimalist that sits happily alongside the fairy tale of a talented family gone well be songs from the Ramones soundscape, eventually grows original Novello songs. “And Her bad in a mythical version of New (as heard in the ), Elliott slower and more self-important, Mother Came Too” and “What a York City. Even though the cast is Smith and Vince Guaraldi. with the solemn solo piano of Duke Should Be” are highlights, all A-list, Wes’ vision is still there; —Cary Wong “Annie’s Father” signaling Bad both sung with grace and that he’s a talented outsider who wants Times Ahead. Hints of optimism charming, essentially overdone, to show us the world as seen Metropolis color “Torn Away” and “Lucy, Calm polite Englishness by actor and through his eyes. Along for the TOSHIYUKI HONDA Down,” and, to Powell’s credit, he singer Jeremy Northam. The cen- ride is his composer collaborator, Domo 73003 • 20 tracks - 59:06 doesn’t go for the bombast—but terpiece of Doyle’s work is the Mark Mothersbaugh, a member of ’ve always felt that there’s some- given the film at hand, he might shimmering slow waltz love song the ultimate outsiders band, Devo. Ithing indefineably satisfying have been better off if he had. The “The Way It’s Meant to Be.” Softly In the liner notes, music super- about Dixieland jazz. It makes this album closes with “On the Stairs,” brushed snares and swinging bass visor Randy Poster is quoted as a difficult review to write. How which is too self-consciously “nice” lines fuse with playful piano to describing Mothersbaugh’s music best to capture in words such (as in, “what nice music...”), but keep the tempo bristling around a as “charmed, magical and sort of infectious appeal? A trumpet, a

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SCORE And then he gives us more. The performance by the music becomes more introspec- Standing sometimes in contrast, Metropolitan Queens Orchestra is tive and somewhat “romantic” as clarinet, maybe a , a sometimes in concert with the terrific. But the real stars are the the CD progresses. banjo, a piano, a tuba or trom- score’s jazzier side is a full sym- Metropolitan Rhythm Kings, the Even the briefly dramatic bone, a drum set. That’s your aver- phony orchestra. The sound is Dixieland ensemble that not only “Weather Rhymes” manages to age Dixieland ensemble. Back it comparable to early-nineties includes Honda himself — a virtu- hold interest. Throughout this fine with real musicians, performers Elfman — a deft blend of oso sax player — but the film’s score you will find yourself trans- with , who don’t need to grandiose action and textured director, Rintaro, on bass clarinet! ported through moments of reflec- explain Dixie, they just play it ... emotional passages. You can tell they’re enjoying tion and moments of dancing. it’s a beautiful feeling. If you’ve These disparate musical modes themselves: Daring and almost This is not a stylized pop-ish score never experienced it, I’m not sure reflect the diversity of ideas and questionably counterintuitive in à la Horner’s or even I can explain it to you. Not in any clash of styles within the film. the film, the score works even bet- Zimmer’s An Everlasting Piece. objective sense. Which means I Given that, it’s remarkable that ter on CD. Following the success Instead, Young manages to provide have no choice but to make this Honda’s score is so well-integrated of a limited North American the- deeply felt music that is interesting review unashamedly personal. I and cohesive. This is largely due to atrical run, we can be grateful that harmonically and melodically and love Dixieland. I always have. I careful thematic development. We a domestic soundtrack has been integrates all the elements of the love to play it. I love to experience have an insidious motif for the released (with slightly less extrava- story. If you need an extra Irish it. That’s part of the reason I assassin Rock; a jaunty Dixie pas- gant notes and packaging than kick now and then there is plenty tracked down the Japanese release sage for the lower city; a pulsating the Japanese release) on Domo of that to go around. In fact, “Dutsi of Metropolis in Spring of 2001. It’s minor-key motif for the massive Records. Don’t miss it. Metropolis Jig” comes as a bit of a shock after undoubtedly part of the reason and imposing Ziggurat. Most is innovative, compulsively fasci- the strangely moving “Deep the score has spent more time in importantly, we have a phenome- nating, and a vastly enjoyable lis- Down.” my CD player than any since. Part nal main theme: an extended ten. You won’t forget this music. It Though Young has plenty of his of the reason. melody which transcendes stylis- gets my highest recommendation. own individual touches to go Before I go any further, I should tic boundaries. Honda gives this One note of caution: as with around, The Shipping News is a give you a little background on the theme quite a workout, and you’ll any anime soundtrack, beware of kindred spirit to some of Burwell’s bootlegs! If you aren’t buying on music (Fargo immediately comes the KICA or Domo labels, you’re to mind). This is proved most buying an inferior product.—J.T. tellingly in “One Kite Better.” “Seal Flipper Pie” falls into the kind of The Shipping News music Young has been typecast CHRISTOPHER YOUNG into providing for other dramas, Miramax 56053 • 16 tracks - 46:12 but again it seems to go further he Shipping News, the latest here than in his other work. TLasse Hallström Miramax —Steven A. Kennedy film, is taken from the best-selling recent film. The anime Metropolis hear elements of it carefully devel- novel by Annie Proulx and fea- Charlotte Gray is a throwback to its 1926 prede- oped throughout the score, from tures the normal “Miramax STEPHEN WARBECK cessor; a socio-political fable that the full-blown opening to the end troupe” of actors...plus Kevin Sony Classical - SK89829 • 15 tracks - 49:25 pulls together robots, a corrupt title song “There’ll Never Be Good- Spacey. The film opened in limited fter seeing Cate Blanchett in city-state, and the myth of Bye,” which is performed by release in December so it would Awonderful supporting roles Babylon within the arena of cau- vocalist Minako Obata in the style be in the running for this year’s in four other 2001 films (including tionary science-fiction. The con- of . awards, and it snagged two Bandits and The Fellowship of the tinuing advancement of technol- The film makes use of two more Golden Globe nominations—one Rings), I looked forward to her ogy has cast a prophetic light on songs. The first is the Cab for Christopher Young’s score. only lead role of the year in the visions of , who Calloway classic “St. James Unfortunately for Miramax, they Charlotte Gray, a World War II directed the German original, and Infirmary,” performed here by the couldn’t spin the film some drama based on the book by Osamu Tezuka, famed creator of scratchy-voiced Atsuki Kimura. Academy Award nominations. Sebastian Faulks. Alas, Charlotte the manga on which the new film The second, not appearing on the “The Shipping News,” the main Gray is more of a Danielle Steel is based. It was advanced technol- album, and put to unorthodox use theme of the score, is an excellent novel than the historical drama I ogy that allowed the creators of in the film, is the Ray Charles’ bal- Celtic-laced track reminiscent of expected from director Gillian Metropolis (the same people who lad “I Can’t Stop Loving You.” This some of Shaun Davey’s work on Armstrong (Little Women, Oscar brought you Astro-Boy and Akira) is virtually all that is left off the Waking Ned Devine crossed with and Lucinda). Undermined by a to blend CGI with traditional cel album, which — apart from some the orchestral drive of Carter melodramatic script, Blanchett is animation to a previously ambient musical sound effects — Burwell’s Rob Roy. This is a fine still able to do a fine job creating a unheard of degree. All in all, an is actually longer than the score as piece of music, with an excellent believable portrayal of Charlotte ambitious film, demanding an heard in the film. This is due to second strain that appears about Gray, a Scottish woman who ambitious soundtrack. the brilliant cue “Propaganda,” halfway into the track. Young enlists as a courier to Nazi-occu- Honda delivers. He knows which only makes a brief appear- employs the normal share of uil- pied France during World War II in Dixie, in all its versatility, giving us ance in the movie, and which, leann pipes and accordions here order to find her lost lover, only to moods ranging from upbeat with its disturbingly cheery patri- and later in the score. It is an instead find a new one in resist- swing, to low-key rhythms, to otism and winks to Goldsmith’s effective ploy that helps suggest ance fighter Billy Crudup. funeralesque marches ... even a Patton, is the most effective satiric the story’s Newfoundland fishing Director Armstrong had used bizarre techno-fusion for the city’s piece of its kind since Poledouris’ locale. It is not the only musical Thomas Newman in her last cou- violent and disturbing “Zones.” Starship Troopers. solution to the drama since the ple of outings, and while Newman

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has written grand music before notes reveal that the composition cial tax breaks from Canada counts.) The key to a good theme (like the underrated The Horse of the film’s score was about as (where the film was being put often is how it’s superimposed on Whisperer), he seems to be leaning confusing as the film’s plot can together), the production hired subsequent appearances and rein- toward minimalism these days. be—so I’ll try to summarize this Canadian composer Rick Wilkins carnations. The composers dis- Stephen Warbeck, while an Oscar- briefly. There were three people for the project as well. His contri- cover a multitude of ways to make winner, is still a newbie in the film involved in composing music for bution in the film amounts to at this music interesting. score world, although non- The Changeling. Howard Blake, least 13 minutes of music and Howard Blake’s “Music Box American directors seem to who was initially commissioned includes the extended séance Theme” is a wonderful piano embrace his music. This may be for the score, is credited with the scene. He also provided assistance miniature that first appears a sixth why the Australian Armstrong took piano solo and matching music- in filling out Wannberg’s motives of the way into the disc and ends the chance, and it’s hard to argue box theme. Blake’s work on the and extending them a bit. (With abruptly as we return to the open- with the results. Warbeck has cre- film began early in 1979, before he places like Media Ventures active, ing theme. Later, the music box ated a haunting and stirring score even saw a print of the film. But he this practice of multiple com- plays along with the piano, creat- focusing on rich thematic writing soon found out that the score was posers seems less strange these ing a unique sound. “The Secret for piano and string orchestra. going to be done by someone else. days, but at the time it must have Door” is an interesting cue that After the light and airy Captain That someone turned out to be been awkward for all those hints at the “” chant. Correlli’s Mandolin, Warbeck has Ken Wannberg. Wannberg is better involved.) The film lists Rick Closer analysis may reveal that written a fully realized work that known today as a music editor, Wilkins as the composer with there is more to that connection outdoes his Oscar winning especially for John Williams’ music arranged and conducted by throughout the score (in the har- Shakespeare in Love. Since this scores. In fact, Wannberg used Ken Wannberg. Confused yet? monic choices that eerily pulsate movie aspires to (but rarely Williams’ music as a temp track Well, I don’t care who wrote the around the thematic material). achieves) the epic grandeur of a for The Changeling. (It would be “Main Title,” because it’s simply The extended cue for “The Doctor Zhivago, Warbeck’s decision curious to see exactly what he wonderful, managing to mix just Séance” is a hair-raising experi- to rival Maurice Jarre’s score in used for those temp tracks!) the right amount of tension; the ence but not in a hit-you-over-the- intensity, if not scope, was a good Wannberg’s contribution appears main theme that plays throughout head sort of way. Instead, it builds one. If only the filmmakers had ful- to have been in providing motives the score is reminiscent of the best slowly with choral interpolations filled their end of the bargain. and specific thematic cells, along horror themes. (Howard’s The and a gradual crescendo occurring Warbeck’s music acts as effective with substantial orchestrations. Sixth Sense comes immediately to over a nearly five-minute span. mood setting for war-torn, occu- This is where it gets a bit murky. mind, and as much as I love that That’s an incredibly long time to pied France, but his standout main Evidently, in order to receive spe- score, this one supersedes it on all maintain tension in a theme is a glorious, haunting “genre” scene that would other- theme for Charlotte that recurs wise fall terribly flat. You’re likely to with different intensity throughout Italian Spy Duo get goosebumps while listening to the score. The best cue is the 1/ this play out. Requiem for a Secret Agent (1967) 2 romantic but understated PIERO UMILIANI • GDM Music CD Club 7004 • 17 tracks - 50:12 Percepto has seen fit to bless us “Waiting,” which plays during a with four “bonus” tracks. Included 1/ perilous moment in the movie. Rebus (1968) 2 are alternate versions of “The The finale cue “My Name Is LUIS BACALOV • GDM Music CD Club 7003 •15 tracks - 43:00 Séance” and “End Title” as well as Charlotte Gray,” beautifully cap- he James Bond phenomenon of the 1960s spawned imitators worldwide, a cue titled “Carmichael’s Demise” tures the scope of the drama in a Tand GDM Music has resurrected a pair of Italian scores from such films. and a “Piano Solo.” Barry-esque way. —C.W. The better of the two is Requiem for a Secret Agent by the late Piero This limited release will please Umiliani. Umiliani captures the brassy, ballsy John Barry attitude, with cool gui- those who have long hungered for The Changeling (1979) tars, flute and brass, while injecting his own style. (In other words, it sounds The Changeling. The music overall enough like Goldfinger even though it’s different.) The main title, “Don’t Ever Let is an excellent mix that fans of KEN WANNBERG, RICK WILKINS, Me Go” sung by Lydia MacDonald, has a catchy “007”-type hook and slinky Goldsmith, Williams, Howard and HOWARD BLAKE shape (the album also includes a never-before-heard alternate version). There is perhaps even Sarde (Ghost Story in Percepto 006 (Limited to 1,000 copies) a healthy dose of source cues, but they maintain a high energy level while evok- particular) should not be without. 24 tracks - 73:25 ing various locales, à la ’s great scoring for I Spy. Umiliani’s stab at It is truly a classic of this genre. he Changeling is a stylish hor- the spy world overall is groovy, zesty and fun. The CD is largely in mono, with a Percepto’s site wisely has just Tror film from 1979 starring 6:08 concluding track of source music in stereo. Producer Roberto Zamori’s enough of a teaser to make even George C. Scott and directed by liner notes include an emotional remembrance of the composer in broken the most cynical a convert willing Peter Medak. One of the key English; frankly, I wonder why this label does not just print liner notes in Italian, to take the plunge. But fear not; it’s scenes of the film has Scott (play- or ask someone fluent in English to proofread. well worth it! —S.A.K. ing a gifted classical pianist) per- A ’60s spy movie with a less satisfying score is Rebus, starring Laurence This album is available through Percepto’s forming a difficult piece of music, Harvey and Ann-Margret. The film takes place in Beirut and the main theme is website at www.percepto.com. only to later discover that what he an upbeat go-go rock piece with Arab flourishes. Most of the score appears to thought was his own original com- consist of source music—casino jazz, easy listening—and even the underscore Goldsmith Conducts position is already playing on a interpolates what appears to be bluegrass, giving the score an airy, tongue-in- Goldsmith: Jerry Goldsmith music box he finds in a locked cheek flavor. The main theme is worked heavily throughout the suspense and Conducting the Philharmonia action music, but it is such a light melody that it doesn’t add up to much. There 1 dusty room. What follows is an Orchestra /2 intellectually stimulating ghost are two Ann-Margret vocals, “Take a Chance” (the main theme) and “Suddenly JERRY GOLDSMITH story in which music continues to the Rain” (lounge jazz), for kitsch value. The score is lovingly presented from the Silva Screen FILMCD336 • 12 tracks - 71:06 be an important part of the original mono tapes and should please fans of the film—although I see from the 15th Anniversary reissue of drama. Internet Movie Database the picture is “still awaiting 5 votes” to obtain a rating. ADeram’s release The Randall Larson’s excellent liner —Lukas Kendall Soundtracks of Jerry Goldsmith

FILM SCORE MONTHLY 33 FEBRUARY 2002 v7n02 issue 3/13/02 5:17 PM Page 34

SCORE decide whether the extra tracks are synth-based lick that again Dave Kehr, who contributes to the worth the difference. There’s sounds much more exciting than liner notes, explains as “most With the Philharmonia, Silva’s disc clearly a market for recordings of the images it accompanies. closely associated with Eastwood’s makes an interesting companion these live events; perhaps one day Nesmith begins adding new lay- career.” Morricone’s The Good, the piece to last year’s The Film Music they’ll release a disc of Jerry’s irrev- ers and instruments to the score as Bad, and the Ugly, for instance, of Jerry Goldsmith. However, while erent concert banter and anec- Swann arrives in the past. Swann with its strange hyena sounds and Telarc’s disc was a studio record- dotal commentary... —Nick Joy is still accompanied by his synth electric guitar, reminds us that the ing of Jerry’s concert with the LSO, motif, but Nesmith begins to add actor’s fame was at first a 1 this version was captured at the Timerider (1982) /2 touches of dobro and mandolin to European creation, a by-product Walthamstow Assembly Hall. So, MICHAEL NESMITH the mix, a nice choice that gives of ’s Italian interpre- while you’d expect the sound to Rio 7528-2 • 16 tracks - 32:11 the music an appropriately mixed tation of the American Old West. not be as good as the studio disc, imerider arrived in theaters feel as a man from 1982 meets up ’s “Theme for the this version actually captures the Tin 1982, not long after the with Old West stereotypes. Outlaw Josey Wales,” on the other atmosphere of the event and is similarly titled (and much worse) Swann of course meets a beau- hand, uses a melancholy fusion of remarkably clear thanks to its Time Walker. Somewhat of a cult tiful woman, and Nesmith scores pipes and drums to evoke the U.S. HDCD/Dolby transfer. favorite today, the movie plays as this scene with the first appear- Civil War—a gesture that reminds This is an excellent aide mem- a fairly routine fish-out-of-water ance of his love theme, a swirling us, perhaps, that by the mid-’70s oir of the “Goldsmith Roadshow” time travel story with a strong cast arpeggio that is cleverly suited to the Eastwood persona, like the that makes an annual global pil- and a clever setup that never quite the circular plot mechanics. (The Confederate vigilante in the film, grimage between cities. And pays off. Cross-country motorcy- same basic plot point would was as American as the Liberty because the concert program cle racer Lyle Swann gets lost dur- appear in The Terminator two Bell. A third masterpiece, Schifrin’s changes very little, the content on ing a desert race and ends up trav- years later.) The keyboards (played “Theme for Dirty Harry,” marks the disc will be relevant to most eling back to 1875 courtesy of an by David Mansfield) sound fairly one of the most important concertgoers, regardless of what experiment that just happens to outdated now, but were state-of- moments in Eastwood’s acting year they saw the concert, if ever. be going on at the same time and the-Casio-art back in 1982. Again, career—his transition from char- For example, 14 years separate the place as the race. The twist on this Nesmith’s use of rock guitar to acter actor to leading man, and premise is that Swann really anchor the score, with the from desert cowboy to city cop. never realizes that he’s keyboards serving a secondary Funk stripped down to the bone, traveled through time. He role, turned out to be a real bene- Schifrin’s music throbs with men- just thinks that the people fit to the score’s listenability today. ace—a metaphor, perhaps, for he meets are weirdos The album sounds great, espe- Harry Callahan’s sociopathic obsessed with stealing his cially as it’s 20 years old, and at just anger. In addition to other treats, motorcycle. over 30 minutes, it doesn’t wear like Tiomkin’s “Theme From Michael Nesmith pro- out its welcome. The packaging is Rawhide” and ’s duced and co-wrote the bare bones—no liner notes to splashy “Misty,” several composi- for Timerider speak of—but you’d do worse than tions penned by Eastwood also concerts on the Telarc and Silva and also composed the score, to take a chance on Nesmith’s find space on the album. discs, but they both have a core which has recently been released Timerider. It’s a shame he hasn’t Generally simple, pretty melodies, selection from Goldsmith’s music- on Nesmith’s Rio Records label had the chance (or desire) to score these themes are rich with a hall repertoire. This consists of the (distributed exclusively through more films. —Neil Shurley melancholy that’s so light it’s “Generals’ Suite” (Patton and Nesmith’s website, www.video- barely evident; and because of this MacArthur), a movie medley ranch.com). It’s a pleasant album Music for the Movies of Clint fragility, the songs can be taken (Chinatown, The Wind and the that will appeal especially to fans Eastwood seriously. “Big Fran’s Baby,” a piece Lion, etc.) and a TV themes compi- of ’80s electronic rock scores. Be , VARIOUS pulled from A Perfect World, is lation (Barnaby Jones, The Waltons, warned, however, that instead of Warner 9 48060-2 • 23 tracks - 78:20 probably the most interesting; a The Man From U.N.C.L.E.). relying completely on synths, he recent American Masters Cajun waltz at first, the song Goldsmith movie concerts have Nesmith scored the film primarily Tdocumentary Out of the abruptly turns into a silky fabric of almost become a rite of passage for a standard rock combo (elec- Shadows, first shown last fall on Williams-esque strings. for the soundtrack aficionado. It’s tric and acoustic guitars, bass, PBS, argues that, yes, indeed, Clint The rest of the CD belongs to not so much “Have you ever drums), with electronic keyboards Eastwood is a visionary, on the : An American been?” as “When did you first go?” serving as an accompaniment. screen and behind the camera. Filmmaker’s Suite. Commissioned or “How many times have you This decision actually helps keep Moreover, Music for the Movies of by the Museum of Modern Art, been since?” And because the the score from sounding as dated Clint Eastwood, the CD recording Eastwood’s friend and frequent themes and anthems are delivered as it could have. that accompanies the telefilm, composer Lennie Niehaus wrote by an orchestra that has presum- The opening track, “The Baja introduces the possibility that a and conducted the suite. In the ably played the music many times 1000,” accompanies the film’s third factor—the man’s interest in liner notes he explains his objec- before, that familiarity ensures opening POV of Swann rac- and understanding of music—has tives: “I wanted to give my feeling bold performances from all sec- ing through the desert. It’s a also contributed to his tremen- of Clint’s love for all types of music tions of the orchestra. straightforward rock instrumental dous commercial and critical suc- and his love for jazz in particular. I This Silva offering is more than number that works (as does much cess and to the likelihood that he didn’t want to get impressionistic, a “cover version” compilation, and of the music in the film) to help will be remembered, imitated and but there are parts in the suite that if you don’t have a Goldsmith con- speed up what is essentially a studied long after he retires. are his life, his past in the Army, cert in your collection, this is an pretty slow-paced movie. “Lost in Beginning with 12 songs culled and things that happened to him, excellent place to start. If you’ve the Weeds” introduces the from 12 movies, the first half of but basically it’s a piece of music already got one, you’ll have to action/motorcycle motif, a mostly this collection features tracks that (continued on page 43)

FEBRUARY 2002 34 FILM SCORE MONTHLY v7n02 issue 3/13/02 5:17 PM Page 35

Featuring music from the films The Piano, Gattaca, Wonderland and many more.

IN STORES NOW

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WELCOME, FILM SCORE AFICIONADOS! We’re pleased to offer hard-to-find, unusual soundtrack-related products, including: Exclusive CDs; Books for music lovers; Books for composers; One-of-a-kind collectibles; and more! Order online, by phone or by mail: see contact info below.

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NEW RELEASE: Vol. 4, No. 20 Vol. 4, No. 16 Vol. 5, No 4 Farewell, My Lovely/ The World of The Man Who Loved Monkey Shines Henry Orient Cat Dancing DAVID SHIRE ELMER BERNSTEIN JOHN WILLIAMS Film released: 1975/88 Piano Concerto by MICHEL LEGRAND Studio: MGM Kenneth Lauber Film released: 1973 Genre: / Film released: 1964 Studio: MGM Suspense Studio: United Artists Genre: Western Silver Age Classics Genre: Comedy/Drama Silver Age Classics CD released: Jan. 2002 Silver Age Classics CD released: Mar. 2002 Stereo • 73:48 CD released: Nov. 2001 Stereo • 65:37 Farewell, My Lovely Stereo • 40:32 A lost gem from Williams’ pre-blockbuster/post-comedy career, (33:06) is symphonic jazz score for '70s noir classic; Monkey Bernstein’s “second-best” score for children (after To Kill a during which he provided masterly, melodic scores for delicate Shines (40:41) is leitmotivic suspense score for George Mockingbird) sports fabulous sound from the legendary dramas, plus Legrand’s unused, unheard take on the same Romero monkey thriller. $19.95 Goldwyn scoring stage. Whimsical, melodic and magical. $19.95 material. A rare opportunity for collectors—all in stereo! $19.95

NEW RELEASE: Vol. 4, No. 19 Vol. 4, No. 15 Vol. 5, No. 3 Demetrius and the The View From Joy In the Morning Gladiators Pompey’s Head/ BERNARD HERRMANN FRANZ WAXMAN Blue Denim Film released: 1965 Film released: 1954 ELMER BERNSTEIN/ Studio: MGM Studio: 20th Century Fox BERNARD HERRMANN Genre: Romance Genre: Biblical Epic Films released: 1955/1959 Golden Age Classics Golden Age Classics Studio: 20th Century Fox CD released: Mar. 2002 CD released: Jan. 2002 Genre: Drama Stereo • 46:33 Stereo • 61:51 Golden Age Classics Herrmann’s last completed Spectacular Waxman CD released: Nov. 2001 studio project is a sweep- score for Biblical epic Stereo • 75:15 ingly romantic score, surging with passion and haunting in its emphasizes romance, action and religion, interpolating themes This nostalgic pair of films by writer/director Philip Dunne fea- use of melody. This is the complete soundtrack in stereo from from The Robe by Alfred Newman. Plus bonus tracks (11:06) ture romantic, intimate scores by Elmer Bernstein (lovely the original three-track recording with liner notes by and remixed cue from The Egyptian (5:04). $19.95 Americana) and Bernard Herrmann (“baby Vertigo”). $19.95 Christopher Husted, manager of the Herrmann estate. $19.95

Vol. 5, No 2 Vol. 4, No. 18 Vol. 4, No. 14 Logan’s Run John Goldfarb, The Illustrated Man JERRY GOLDSMITH Please Come Home! JERRY GOLDSMITH Film released: 1976 JOHNNY WILLIAMS Film released: 1969 Studio: MGM Film released: 1965 Studio: Warner Bros. Genre: Sci-Fi Studio: 20th Century Fox Genre: Sci-fi/Anthology Silver Age Classics Genre: Comedy Silver Age Classics CD released: Feb. 2002 Silver Age Classics CD released: Sept. 2001 Stereo • 74:18 CD released: Dec. 2001 Stereo • 42:02 Stereo • 71:32 The classic story of a The Illustrated Man is dystopian future gets the This wacky comedy one of Jerry Goldsmith’s royal treatment by the master of speculative soundtracks. Jagged starring Shirley MacLaine and Peter Ustinov is the earliest fea- most haunting sci-fi creations, with airy beauty, solo female action cues, Coplandesque nostalgia, bracing electronics and ture film soundtrack by John Williams available on CD. Johnny vocalise, early electronics, strange effects and an aggressive more in this restored, remixed, resequenced release! $19.95 does Arab go-go music! $19.95 climax. $19.95

Vol. 5, No. 1 Vol. 4, No. 17 Vol. 4, No. 13 Lust for Life Broken Lance MIKLÓSRÓZSA ALFRED NEWMAN & Film released: 1956 Film released: 1954 HUGO FRIEDHOFER Studio: MGM Studio: 20th Century Fox Film released: 1958 Genre: Biography Genre: Western Studio: 20th Century Fox Golden Age Classics Golden Age Classics Genre: Western CD released: Feb. 2002 CD released: Dec. 2001 Golden Age Classics Stereo • 61:51 Stereo • 38:41 CD released: Sept. 2001 Premiere release of Stereo (some bonus Rózsa’s heartfelt, stirring Disney’s workhorse tracks in mono) • 69:34 accompaniment to the composer from the ‘30s tragic tale of Vincent van Gogh. A personal favorite of the (Pinocchio) provides a dark, rich Americana score to this adap- Two Hollywood legends composer, this CD has been remixed from the 3-track mas- tation of King Lear set in the American West. $19.95 collaborate for a rich, handsome western score with a memo- ters with bonus alternate cues and more. $19.95 rable, driving main theme (by Newman) and darkly brooding interior passages (by Friedhofer). $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 n02 3/13/02 3:01 PM Page 37

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 rich, reverent, melodic score by Alfred comedy features period songs adapted as instrumental under- Morituri (41:46) is a suspense/action score in Goldsmith’s per- Newman; CD features complete score including source music. score. “Street Scene” (5:36) conducted by Alfred Newman cussive ‘60s style; Raid on Entebbe (15:29) features suspense, $19.95 opens the movie and CD. $19.95 pulsating action (“The Raid”), and Israeli song climax. $19.95 Vol. 4, No. 1 Vol. 4, No. 11 Vol. 4, No. 6 Conquest of.../Battle for The Best of The French the Planet of the Apes Everything Connection/ / ALFRED NEWMAN French Connection II LEONARD ROSENMAN/ Song by Newman & DON ELLIS LALO SCHIFRIN Sammy Cahn, Perf. by Films released: 1971/75 Film released: 1972/73 Johnny Mathis Studio: 20th Century Fox Studio: 20th Century Fox Film released: 1959 Genre: Cop Thriller Genre: Sci-fi/Fantasy Studio: 20th Century Fox Silver Age Classics Silver Age Classics Genre: Drama/Romance CD released: May 2001 CD released: Feb. 2001 Golden Age Classics Stereo & Mono (I)/ Stereo Stereo & Mono CD released: Aug. 2001 (II) • 75:01 (Conquest)/Stereo Stereo • 71:14 Classic ‘70s cop thrillers get pulsating, dynamic, avant-garde (Battle) • 74:44 Newman’s last score at Fox is a romantic gem; think New York scores by jazz artist Don Ellis. First film (37:52) includes much Final Apes films get vintage scores by Scott (38:47, with several at . CD features complete score (48:21) in stereo, some unused music; sequel (37:09) somewhat more traditional. $19.95 unused cues) and Rosenman (34:43), plus TV theme (1:13). $19.95 bonus tracks and some cues repeated in mono. $19.95

Vol. 4, No. 10 Vol. 4, No. 5 VOLUME 3 Voyage to the Bottom The Egyptian Vol. 3, No. 10 of the Sea ALFRED NEWMAN & Beneath the PAUL SAWTELL BERNARD HERRMANN 12-Mile Reef & BERT SHEFTER Film released: 1954 BERNARD HERRMANN Song by Russell Faith, Studio: 20th Century Fox Film released: 1953 Perf. by Frankie Genre: Historical Epic Studio: 20th Century Fox Film released: 1961 Golden Age Classics Genre: Adventure Studio: 20th Century Fox CD released: May 2001 Golden Age Classics Genre: Sci-fi/Irwin Allen Stereo • 72:06 CD released: Feb. 2001 Silver Age Classics Stereo • 55:06 CD released: July 2001 At last: the classic Stereo • 55:55 Newman/Herrmann collaboration for Fox’s historical epic. Fantastic Herrmann undersea adventure score gets premiere Original stereo tracks were believed to be lost or unusable, but release of original stereo tracks, albeit with minor deterioration. Thundering B-movie hysteria plus soothing, romantic undersea this CD features every surviving note. $19.95 Lots of harps, “underwater” color, seafaring melodies. $19.95 passages for the film that launched the hit TV show. $19.95

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

Vol. 4, No. 8 Vol. 4, No. 3 Room 222/ Vol. 3, No. 8 Ace Eli and Rodger of JOHN WILLIAMS From the Terrace the Skies Film released: 1974 ELMER BERNSTEIN JERRY GOLDSMITH Studio: Warner Bros. Film released: 1960 Films released: 1969/73 & 20th Century Fox SOLD OUT! Studio: 20th Century Fox Studio: 20th Century Fox Genre: Disaster/ Genre: Drama Genre: Sitcom (TV)/ Irwin Allen Sorry, all gone... Silver Age Classics Americana (feature) Silver Age Classics CD released: Dec. 2000 Silver Age Classics CD released: Apr. 2001 Stereo • 71:27 CD released: June 2001 Stereo • 75:31 Mono (Room 222)/Stereo & Disaster masterpiece Paul Newman/Joanne Mono (Ace Eli) • 71:37 gets premiere CD release, Woodward soaper fea- Room 222 (12:15) comprises theme and two episode scores for pop- doubled in length from the LP. Fantastic main title, climactic tures tuneful, romantic score by Bernstein. Rich Americana ular sitcom; Ace Eli (59:21) an obscure barnstorming movie. $19.95 action cue; plenty of moody suspense and romantic pop. $19.95 music, sensitive romantic themes, haunting melancholy. $19.95

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Vol. 3, No. 7 Vol. 3, No. 2 Vol. 2, No. 6 RON GRAINER The Comancheros Theme by NEAL HEFTI Film released: 1971 ELMER BERNSTEIN Film released: 1966 Studio: Warner Bros. Less than 150 left! Limit one Film released: 1961 Studio: 20th Century Fox Genre: Sci-fi/Fantasy per customer. First-time buyers Studio: 20th Century Fox Genre: Adventure/Camp Silver Age Classics of this CD only, please. Genre: John Silver Age Classics CD released: Mar. 2000 Wayne/Western CD released: Nov. 2000 Stereo • 65:39 Silver Age Classics Mono • 65:23 Charlton Heston sci-fi CD released: Sept.1999 classic features one-of- Stereo • 47:44 Holy Bat-tracks! 1966 a-kind symphonic/pop feature produced at time of ‘60s TV show features Neal Hefti’s fusion by the late Ron Grainer. Unforgettable themes, period Elmer Bernstein’s first score for John Wayne is a western theme, Nelson Riddle’s Bat-villain signatures, swingin’ under- effects; great stereo sound quality. $19.95 gem, with rhythmic main title and high-tailing action music. scoring and larger action setpieces. $19.95 Think in terms of “The Magnificent Eight.” $19.95

Vol. 3, No. 6 Vol. 3, No. 1 Vol. 2, No. 5 The Undefeated/ Take a Hard Ride Prince of Foxes Hombre JERRY GOLDSMITH ALFRED NEWMAN HUGO MONTENEGRO/ Film released: 1975 Film released: 1949 Studio: 20th Century Fox Studio: 20th Century Film released: 1969/67 Genre: Western Fox Studio: 20th Century Fox Silver Age Classics Genre: Historical Genre: Western CD released: Feb. 2000 Adventure Silver Age Classics Stereo • 46:38 Golden Age Classics CD released: Sept. 2000 CD released: July 1999 Stereo • 72:33 Strange “blaxploitation,” Stereo • 46:39 Western doubleheader: foreign-produced west- The Undefeated (starring ern gets wonderful sym- Tyrone Power historical John Wayne, 47:33) is accessible and symphonic. Hombre (star- phonic score from Goldsmith; great main theme, action cues. adventure gets exciting, robust score by Alfred Newman, newly ring Paul Newman, 21:30) is moodier, sensitive—a quiet gem. Take a hard ride, indeed. $19.95 mixed into stereo. Glorious main title, stirring love theme. $19.95 $19.95

Vol. 3, No. 5 VOLUME 2 Vol. 2, No. 4 A Guide for the Vol. 2, No. 9 Monte Walsh Married Man The Flim-Flam Man/ JOHN BARRY JOHNNY WILLIAMS A Girl Named Sooner Film released: 1970 Title Song Perf. by JERRY GOLDSMITH Studio: CBS The Turtles Film released: 1967/1975 Genre: Western Film released: 1967 Studio: 20th Century Fox Silver Age Classics Studio: 20th Century Fox Genre: Drama/ CD released: June 1999 Genre: Comedy Americana (feature/TV) Mono (1 bonus track in Silver Age Classics Silver Age Classics stereo) • 61:51 CD released: July 2000 CD released: Jan. 2000 Stereo • 73:10 Stereo (Flim-Flam)/ Lee Marvin revisionist Mono (Sooner) • 65:20 western gets vintage John Barry score 20 years before Dances Vintage “Johnny” Williams score is his most elaborate for a A rural Americana doubleheader: The Flim-Flam Man (34:37) With Wolves. Song “The Good Times Are Comin’” performed by comedy, with long setpieces, groovy title theme, and orchestral stars George C. Scott as a Southern con man; A Girl Named Mama Cass; many bonus tracks. $19.95 underscoring foreshadowing his dramatic works. $19.95 Sooner (30:43) is smaller, sensitive TV movie score. $19.95

Vol. 2, No. 8 Vol. 2, No. 3 Vol. 3, No. 4 Rio Conchos Prince Valiant Tora! Tora! Tora! JERRY GOLDSMITH FRANZ WAXMAN JERRY GOLDSMITH Film released: 1964 Film released: 1954 Film released: 1970 Studio: 20th Century Fox Studio: 20th Century Fox Studio: 20th Century Fox Genre: Western Genre: Historical Genre: WWII Silver Age Classics Adventure Silver Age Classics CD released: Dec.1999 Golden Age Classics CD released: May 2000 Mono/Stereo CD released: May 1999 Stereo • 54:45 (combination) • 75:28 Stereo • 62:17

Classic Goldsmith war Early Goldsmith western Fox’s colorful 1954 adap- score enhances docu-drama take on Pearl Harbor. Aggressive score is presented in complete form (55:43) in mono, with tation of the famous epic features stirring adventure score by action music combined with avant-garde effects, Japanese selected cues repeated in stereo. Also includes delightfully Franz Waxman in “leitmotiv” style, a la Star Wars: hero, villain, instrumentation. $19.95 bizarre vocal version of the main theme. $19.95 , mentor. $19.95

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

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Vol. 2, No. 1 Vol. 1, No. 3 Vol. 1, No. 1 100 Rifles Stagecoach/ JERRY GOLDSMITH LEONARD ROSENMAN The Loner Film released: 1969 Film released: 1966 JERRY GOLDSMITH Studio: 20th Century Fox Studio: 20th Century Fox Film released: 1966/1965 Genre: Western Genre: Sci-fi Studio: 20th Century Fox Silver Age Classics Silver Age Classics Genre: Western CD released: Mar. 1999 CD released: Sept. 1998 (feature/TV) Stereo/Mono Stereo • 47:28 Silver Age Classics (combination) • 77:08 CD released: May 1998 Stereo (Stagecoach)/ FSMmarketplace Burt Reynolds/Raquel Sci-fi classic following Mono (Loner) • 45:25 Welch dud gets explosive western score by Goldsmith, heavy miniaturized sub crew inside the human body gets imaginative, Stagecoach is gentle Americana score for remake of classic on Mexican colors and guttural action. CD features score avant garde score by Leonard Rosenman; one of his signature western. The Loner is Goldsmith’s theme and two episode twice, in stereo and in mono with slight variations. $19.95 works. Symphonic yet thrillingly bizarre. $19.95 scores for short-lived Rod Serling western series. $19.95

VOLUME 1 Vol. 1, No. 2 Vol. 1, No. 4 The Paper Chase/ CHECK YOUR ORDER ONLINE The Return of Dracula/ The Poseidon Visit our website at I Bury the Living/The Adventure https://secure.filmscoremonthly.com/store Cabinet of Caligari/ JOHN WILLIAMS to place an order using our secure server. You will receive Mark of the Vampire Film released: 1973/72 an automatic confirmation. All of your information (includ- Studio: 20th Century Fox Films released: ing your credit card #) is confidential and encrypted for Genre: Drama/ 1958/58/62/57 Less than 100 left! Limit one your protection. Save precious days that might otherwise Irwin Allen Disaster Studio: United Artists/ per customer. First-time buy- keep you from your music! 20th Century Fox Silver Age Classics Genre: Horror CD released: July 1998 ers of this CD only, please. Silver Age Classics Stereo/Mono SHIPPING INFO CDs/video: $3 first item, $1.50 each CD released: Jan. 1999 (combination) • 75:53 additional U.S./Canada. $5 first item, $3 each add’l rest of Mono • Disc One: 61:06 Disc Two: 73:20 Composer of Star Trek’s The Paper Chase is eclectic score for drama about law stu- world. Books: $5 each U.S/Canada, $10 rest of world. “” gets 2CD release of creepy, early horror scores, dents. The Poseidon Adventure is classic Irwin Allen disaster Backissues: Shipping FREE within U.S./Canada. $5 rest of packaged in slimline case; same shipping as one CD. $29.95 score. Also includes Conrack (1974), main title (6:07). $19.95 world per order.

melodies, screaming orchestra and WARNER HOME VIDEO wild percussion. It is the ultimate BOOKS FOR has led the way for video restoration combination of symphonic fury with with box sets of their most famous crazy ‘70s solos. A short CD was COMPOSERS films. Their soundtrack CDs have released in Japan; this newly been available only within the larger remixed and remastered disc fea- video packages—until now. FSM has tures the complete score (57:14) in limited quantities of CDs to sell via chronological order. $19.95 direct mail only to our readers.

of never-before published photo- graphs and concept drawings by Mad Magazine alumnus Jack Davis and Don Duga. A wacky, fun, blast from the past! $16.95

EXCLUSIVE VIDEO! Getting the Best Score for Your : Film: A Filmmakers’ Guide to The Exorcist His Life and Music Scoring The seminal horror soundtrack! Music by David Bell Fully restored, limited availability! William Friedkin’s 1973 thriller of An intimate visit Respected TV composer Bell (Star The classic Jerry Fielding score, in demonic possession is perhaps the Deadfall with the compos- Trek: Voyager) wrote this book in brilliant stereo, to the ferocious 1969 scariest film of all time, and it was Catch John Barry ’60s vibe! er of Conan the 1994 to help producers and directors western. This 76- enhanced by these frightening, avant First time on CD! Barry scored this Barbarian, Free get the most out of film music. It’s minute CD was meticulously restored garde compositions by Penderecki, 1968 Bryan Forbes thriller in the midst Willy, Starship aimed at filmmakers, but also pro- and remixed by Nick Redman for Webern, Henze and other modernist of his most creative period of the ’60s. Troopers and vides useful professional info to com- inclusion with the 1997 laserdisc of composers. This CD includes all of This CD features his 14-minute guitar Lonesome Dove. posers and musicians—or any inter- the film, with nearly twice as much the rejected music (14:14) which Lalo concerto, “Romance for Guitar and Take a tour of his ested fan. Topics include spotting, music as the original LP. $19.95 Schifrin recorded for the film—never Orchestra,” performed by Renata work and lifestyle, communicating, recording, budgeting before heard! (Regrettably, “Tubular Tarrago and the London from his methods of composing to his and licensing, with explanations of Bells” & “Night of the Electric Philharmonic; the title song “My Love love of sailing. The video runs 50 min- the various personnel and entities Insects” arenot on the disc.) $19.95 Has Two Faces” performed by Shirley utes and includes footage of Basil involved in each; also included are Bassey (“Goldfinger”), plus two unre- conducting and at work on synthesiz- lists of agents, clearance companies, leased, alternate versions (vocal by er mock-ups of Starship Troopers, as glossary terms and resources. MUSIC FROM Malcolm Roberts and instrumen- well as dozens of behind-the-scenes Silman-James Press, 112 pp., soft- RETROGRADE! tal)…not to mention vintage, dramat- and family photos, and appearances cover. $12.95 ic Barry underscore. $16.95 by wife Bobbie and daughter Zoë. The Taking of Pelham 1-2-3 Discover the man behind the music, The Click Book Ride this killer ’70s groove! Mad Monster Party in a way you’ll never see on TV, or Comprehensive timing tables for syn- Hear David Shire’s unparalleled ’70s 30th anniversary collector’s edition experience in print. chronizing music to film 12-tone jazz/funk fandango for the From Rankin/Bass (TV’s Rudolph the NTSC (U.S. Format) $19.95 Composer Cameron Rose provides Enter the Dragon 1974 subway hostage thriller. Part Red-Nosed Reindeer) comes the PAL (European Format $19.95 click-tempo tables for 6-0 through 32- Lalo Schifrin’s slugfest—expanded! disaster movie, part gritty cop thriller, original soundtrack to Mad Monster 0 frame click-tempos. Each timing Bruce Lee’s most famous film intro- Shire’s fat bass ostinatos and creepy Party. The jazzy score by composer table covers beat 1 to beat 999 at the duced him to mainstream American suspense cues glue it all together. A Maury Laws, with lyrics by Jules given click-tempo. With large, easy- audiences and cemented his super- sensational, driving, pulsating score Bass, features the vocal talents of to-read click-tempo values and star status. Lalo Schifrin scored this in a class by itself—experience the Boris Karloff, Phyllis Diller and Ethel equivalent metronomic values at the 1973 adventure with his greatest original for your self. $16.95 Ennis. The deluxe package includes top of each page, there are timing, fusion of funky backbeats, catchy a 16-page color booklet with dozens frame TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9598 • Fax 1-310-253-9588 • Online www.filmscoremonthly.com market n02 3/13/02 3:01 PM Page 40

values. Listings are annotated to dif- of composer mini-bios with reviews ferentiate between originals and reis- of their most notable works and sues, commercial albums and rare photo portraits (from Golden Age promos. Find out what’s out there, titans to present-day masters), there what your rarities are worth, and is also a thorough overview of sound- how much you should expect to track album history (on LP and CD), a spend on your collection. Smith also section devoted to song compilation surveys the present state of the mar- reviews, and a helpful movie music ket and provides a checklist for the bibliography. Billboard Books, 244 top 50 collectible CDs. Published by pp., softcover. $18.95 Vineyard Haven LLC, 154 pp., soft- cover. $17.95 The Album Cover Art of Soundtracks by Frank Jastfelder & Stefan Kassel, and footage breakdowns for rhythmic Foreword by Saul Bass subdivisions within each click- This 1997 coffee-table book is a stun- tempo—including compound meters. ning collection of soundtrack LP cov- ions and wit, which forms the center- Includes a listing and tutorial of stan- ers. From paintings to photographs to piece of this book. Also included is a dard timing-conversion formulas for designs, from westerns to blaxploita- short biography by Danly, the eulogy 24 fps film speed, and a tutorial in tion to sexploitation, it’s a gorgeous from Friedhofer’s memorial service by SMPTE-to-absolute time conversion, dossier of vivid artwork, with covers David Raksin, a , photo- plus frames-to-seconds conversion both ubiquitous and rare. Take a trip graphs and more. The Scarecrow tables for U.S. and European film & down memory lane, or experience Press, 212 pp., hardcover. $39.95 video speeds. 430 pp. $149.95 these powerful images for the first time. This German-published book originally sold for $29.95—it’s now out-of-print, to boot, but we have obtained a limited number of copies for our faithful readers. Published by Music from the Movies Edition Olms AG Zürich, 128 pp., full Film Music and Everything Else! 2nd Edition by Tony Thomas color, softcover. $24.95 Music, Creativity and Culture as The music book (1971) Seen by a Hollywood Composer from which all others followed, telling by Charles Bernstein the stories of Hollywood’s most suc- A collection of essays by Charles cessful—if hitherto unknown—com- Bernstein, composer of the original posers. This updated edition was Nightmare on Elm Street, Sadat, Cujo released in 1997, shortly before the and others. Most of the essays origi- author’s death. Composers covered nally appeared in “The Score,” the (many with photos) are Stothart, V. quarterly journal of the Society of Young, Green, Newman, Tiomkin, Dimitri Tiomkin: A Portrait Composers and Lyricists, a profes- NEW Updated Edition! Waxman, Kaper, Rózsa, Steiner, by sional organization for film com- 2001 Film/TV Music Guide Korngold, Herrmann, Friedhofer, This 1984 book by the late posers. Topics include: melodies, From the Music Business Registry Raksin, Antheil, Thompson, Copland, Christopher Palmer is the authorita- “hummers,” emotion and more. It’s a Isn’t your career worth it? An exhaus- North, tive study of legendary composer rare opportunity to read thoughtful tive directory of record labels, music Bernstein, Duning, Rosenman, Tiomkin (1894-1979). Long out of print, opinions and musings from a film publishers, film/TV music depts., Goldsmith, Mancini, Schifrin, Scott, a few copies have surfaced from the composer directed towards other music supervisors, music editors, Shire, Broughton and Poledouris. U.K. publisher and are now for sale, practitioners of the art. Turnstyle composer representatives, com- Silman-James Press, 330 pp., soft- but when they’re gone, they’re gone! Music Publishing, 132 pp., softcover, posers, clearance companies, cover. $19.95 A Heart at Fire’s Center: This 144p. hardback is divided into limited to 500 copies. $18.95 recording studios, performing rights The Life and Music of three sections: a biography, an societies, and music libraries— Bernard Herrmann overview of Tiomkin in an historical names, addresses and numbers. by Steven C. Smith perspective, and specific coverage of $94.95 The most influential film composer of his major landmarks (Lost Horizon, all time, who scored such classics as , the Hitchcock films, , Vertigo, Psycho and Giant, and many more). Also includes BOOKS FOR , Bernard Herrmann (1911- a complete filmography, 41 b&w pho- 1975) was also famous for his musi- tos, and 9 color plates. $24.95 MUSIC LOVERS cal passion, bad temper and out- U.S. Soundtracks on CD: bursts. This hard-to-find 1991 book is Scores for Motion Pictures and the definitive biography of the leg- Television 1985-1999 endary composer, covering his film, Price Guide by Robert L. Smith television, radio and concert work as The second edition of FSM’s market- well as his personal life. It’s a brilliant standard price guide contains over illumination of Herrmann and proba- 2,400 listings of album titles with bly the best film composer biography composers, label numbers, special ever written. Published by University collectible information and estimated The Score: Interviews of California Press. 416 pp., hard- with Film Composers cover. $39.95 Overtones and Undertones: by Michael Schelle Reading Film Music This 1999 book uses a question and Hugo Friedhofer: by Royal S. Brown answer format to provide readers The Best Years of His Life This 1994 book by longtime film music with a conversational look at contem- Edited by Linda Danly, Introduction columnist Brown is the first serious porary composers, featuring lengthy by Tony Thomas theoretical study of music in film and transcripts with Barry, Bernstein, This gifted musician scored such Sound and Vision: 60 Years of explores the relationships between Blanchard, Broughton, Chihara, Hollywood classics as The Best Motion Picture Soundtracks film, music and narrative, and chroni- Corigliano, Howard, Isham, Licht, Years of Our Lives, An Affair to by Jon Burlingame cles the aesthetics of it through sev- McNeely, T. Newman, Shaiman, Remember, One-Eyed Jacks. His Foreword by Leonard Maltin eral eras. Key works analyzed Shore, Walker and C. Young. The Golden Age contemporaries consid- Journalist and historian Burlingame’s include The Sea Hawk (Korngold), author is himself a composer, and the ered him the most sophisticated prac- Sound and Vision is his overview of Double Indemnity (Rózsa), Laura give and take pries deeply and pre- titioner of their art. In the 1970s movie music composers and history, (Raksin), Prokofiev’s music for cisely into the composers’ ideas. Friedhofer (1901-1981) gave a lengthy encapsulating the most notable peo- Eisenstein, Herrmann’s music for Published by Silman-James Press, oral history to the American Film ple and events in the author’s clear Hitchcock, and several scores for the 432 pp., softcover. $19.95 Institute, rife with anecdotes, opin and direct prose. Largely comprised films of Jean-Luc Godard. A supple-

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mental section features Brown’s certain shows were tracked and interviewed; music of Heimat, Star Trek; sary; Herrmann & Rózsa radio programs; probing interviews with Rózsa, credited; Trek manuscript excerpts promos. Irwin Allen box set review; Bender’s BUY MORE STUFF Raksin, Herrmann, Mancini, Jarre, from the composers; and several cue #52, Dec. ’94 Eric Serra, “Into the Dark Pool” column. Schifrin, Barry and Shore. University sheets. Lone Eagle Publishing. 224 Pt. 1, Sandy De Crescent (music con- #70, Jun. ’96 Mancina (Twister), final AND GET FREE GIFTS! of California Press. 396 pp., softcover. pages, softcover, illustrated. $17.95 tractor), Valencia Film Music desert island movie lists, Jeff Bond’s Film Score Monthly rewards its $24.95 Conference, SPFM Conference Pt. 1, summer movie column, TV’s Biggest happy, loyal customers with a free BACK ISSUES OF FSM StarGate liner notes, Shostakoholics Hits book review. gift for spending over $50 on any Anonymous. #71, Jul. ’96 David Arnold one order, and TWO free gifts for VOLUME ONE, 1993-96 #53/54, Feb. ’95 Shaiman Pt. 2, Dennis (Independence Day), Michel Colombier, spending over $100. (Magazine 24 pp. unless noted. Recordman Goes to Congress, Bond’s subscriptions, shipping and tax are

Asterisk (*) indicates photocopies. summer round-up. not applicable towards the $50 or FSMmarketplace * #30/31, Mar. ’93 64 pp. Maurice Jarre, #72, Aug. ’96 Ten Best Scores of ’90s, $100—but everything else is, Basil Poledouris, , John Thomas Newman’s The Player, Escape including backissues.) Scott, Chris Young, Mike Lang; the sec- from L.A., conductor , ref- If your order applies, please ondary market, albums, erence books, Akira Ifukube CDs. scribble your selection on the form Elmer Bernstein Film Music Collection #73, Sept. ’96 Recordman on War Film or a separate sheet. yourself. The LPs; 1992 in review. Soundtracks Pt. 1; Interview: David free gifts will, from time to time, #32, Apr. ’93 16 pp. Matinee temp-track, Schecter: Monstrous Movie Music; include products we otherwise sell SPFM ’93 Conference Report, Star Trek Ifukube CDs Pt. 2, obitu- here at the site, and some prod- music editorial. ary. ucts we don’t—although they may * #33, May ’93 12 pp. Book reviews, * #74, Oct. ’96 Action Scores in the ’90s; be available from other sources. classical/film connection. Cinemusic ’96 report (Barry, Zhou Here is the present line-up of * #34, Jun. ’93 16 pp. Goldsmith SPFM Jiping); Vic Mizzy interviewed. available gifts: award dinner; orchestrators & what * #75, Nov. ’96 Barry: Cinemusic Fever NEW BOOK! they do, , recycled Interview; Recordman on War Film 2000 Joe Delia thriller score on Memoirs of a Famous Composer— Herrmann; spotlights on Chris Young, Pacific Time label. Nobody Ever Heard Of Pinocchio, Bruce Lee film scores. McCarthy (Star Trek); Sergio Bassetti, Retail Price: $16.95 by Earle Hagen * #35, Jul. ’93 16 pp. Tribute to David Jean-Claude Petit & Armando Trovajoli Composer Earle Hagen (b. 1919) has Kraft; John Beal Pt. 1; scores vs. songs, in Valencia; Music & the Academy Giovanni Falcone had an outstanding career in several Herrmann Christmas ; Film Awards Pt. 1; rumored LPs, quadra- 2000 score on fields: as a big band trombone player Composers Dictionary. phonic LPs. Pacific Time label. with and Tommy * #36/37, Nov. ’93 40 pp. Bernstein, Bob * #55/56, Apr. ’95 Poledouris (The Jungle Retail Price: $12.95 Dorsey; as an arranger and compos- Townson (Varèse), Richard Kraft & Nick Book), Silvestri (The Quick and the Gone with the Wind er under the legendary Alfred Redman Pt. 1, John Beal Pt. 2; reviews Dead), Joe Lo Duca (), Oscar & 1959 Muir Matheson re-recording Newman and others at 20th Century of CAM CDs; collector interest articles, Music Pt. 2, Recordman’s Diary, SPFM of Max Steiner score on Fox; and as a composer/music direc- classic corner, fantasy film scores of Conference Report Pt. 2. Sonic Images label. tor for thousands of hours of televi- Elmer Bernstein. * #57, May ’95 Goldsmith in concert, Retail Price: $14.95 sion, including the acclaimed series I * #38, Oct. ’93 16 pp. John Debney Bruce Broughton (Young Sherlock Honolulu Baby Spy, The Mod Squad and The Andy (seaQuest DSV), Kraft & Redman Pt. 2. Holmes), Miles Goodman interviewed, 2001 Carlo Siliotto score on Pacific Additionally, he wrote * #39, Nov. ’93 16 pp. Kraft & Redman Pt. ’94 Readers Poll, Star Trek overview. Griffith Show. Time. the standard, "Harlem Nocturne," 3, Fox CDs, Nightmare Before Christmas * #58, Jun. ’95 Michael Kamen (Die Retail Price: $16.95 later used as the theme for The Mike and . Hard), Royal S. Brown (film music critic), Hammer Show, and authored two * #40, Dec. ’93 16 pp. Kraft & Redman Pt. Recordman Loves Annette, History of Soundtracks Pt. 2, Bond’s review col- Il Sole Anche di Notte technical books on film composing. 4; Re-recording . Soundtrack Collecting Pt. 1. umn. 1999 Nicola Piovani score on Memoirs of a Famous Composer— * #41/42/43, Mar. ’94 48 pp. Elliot *#59/60, Aug. ’95 48 pp. Sex Sells Too (LP * #76, Dec. ’96 Interviews: Randy Pacific Time. Retail Price: $12.95 Nobody Ever Heard Of is Hagen's Goldenthal, James Newton Howard, cover photos), Maurice Jarre inter- Edelman, Barry pt. 2, Ry Cooder (Last story, filled with charming anecdotes Kitaro & Randy Miller (Heaven & Earth), viewed, History of Soundtrack Collecting Man Standing); Andy Dursin’s laserdisc Notes of Love of some of the most famous person- Rachel Portman, ; Star Wars Pt. 2, Miklós Rózsa Remembered, film column, Lukas’s reviews. 2000 Franco Piersanti score on alities in movie music. Published by trivia/cue sheets; sexy album covers; music in concert debate. Pacific Time. Xlibris Corporation. 336 pages, hard- music for westerns; ’93 in review. #61, Sept. ’95 Goldenthal (Batman Retail Price: $16.95 cover. $34.95 * #44, Apr. ’94 Joel McNeely, Poledouris Forever), Kamen Pt. 2, Chris Lennertz VOLUME TWO, 1997 Shadow of the Vampire The Music of Star Trek: (On Deadly Ground); SPFM Morricone (new composer), Star Trek: The Motion First color covers! Issues 32-48 pp. Dan Jones score to acclaimed tribute & photos; lots of reviews. Picture, classical music for soundtrack * Vol. 2, No. 1, Jan./Feb. ’97 Star Wars Willem Dafoe film on Pacific Time. * #45, May ’94 Randy Newman fans. issue: Williams interview, behind the Regular Retail Price: $16.95 (Maverick), Graeme Revell (The Crow); * #62, Oct. ’95 Danny Elfman Pt. 1, John Special Edition CDs, commentary, cue The Secret of NIMH 2 Goldsmith in concert; in-depth reviews: Ottman (The Usual Suspects), Robert editing minutia/trivia, more. Also: Bond’s 1998 Lee Holdridge score to ani- The Magnificent Seven and Schindler’s Townson (Varèse Sarabande), Ten Most review column. mated film on Sonic Images. List; Instant Liner Notes, book reviews. Influential Scores, Goldsmith documen- * Vol. 2, No. 2, Mar./Apr. ’97 : Retail Price: $14.95 #46/47, Jul. ’94 Patrick Doyle, Newton tary review. (); promotional CDs; Howard (Wyatt Earp), John Morgan * #63, Nov. ’95 James Bond Special Congress in Valencia; Readers Poll ’96 & The Versace Murder (restoring Hans Salter scores); Tribute to Issue! John Barry & James Bond (his- Andy’s picks; Into the Dark Pool Pt. 2 Docudrama score by Claudio Henry Mancini; Michael Nyman music tory/ overview), Eric Serra on * Vol. 2, No. 3, May ’97 Michael Fine: Re- Simonetti on Pacific Time. for films, collectible CDs. GoldenEye, essay, favorites, more. Also: recording Rózsa’s film noir scores; Retail Price: $16.95 * #48, Aug. ’94 (Speed); History of Soundtrack Collecting Pt. 3, reviews: Poltergeist, Mars Attacks!, Turbulence 2: Fear of Flying Chuck Cirino & Peter Rotter; Richard Davy Crockett LPs. Rosewood, more; Lukas’s & Bond’s 2000 action score by Don Davis Kraft: advice for aspiring composers; * #64, Dec. ’95 Danny Elfman Pt. 2, Steve review columns. (The Matrix) on Pacific Time. classical music in films; new CAM CDs; Bartek (orchestrator), Recordman Vol. 2, No. 4, Jun. ’97 Elfman (Men in Retail Price: $16.95 Cinerama LPs; bestselling CDs. Meets Shaft: The Blaxploitation Black), Promos Pt. 2, Martin Denny and What's Cooking? #49, Sept. ’94 Hans Zimmer (The Lion Soundtracks, Kamen Pt. 3, re-recording Exotica, Lady in White, the Laserphile on 2000 family comedy/ Profiles in Style King), Shirley Walker; Laurence House of Frankenstein. DVDs, Brian May obit, drama score on Pacific Time. by Jeff Bond Rosenthal on the Vineyard; Salter in * #65/66/67 Mar. ’96, 48 pp. T. Newman, reviewed. Retail Price: $16.95 This is the first-ever history of Star memoriam; classical music in films; Takemitsu, Robotech, Star Trek, 10 * Vol. 2, No. 5, Jul. ’97 Goldenthal Trek soundtracks, from the original John Williams in concert; Recordman at Influential composers; Glass, Heitor (Batman & Robin), Mancina (, U.S. Soundtracks on CD Price series to the present—by FSM’s own the flea market. Villa-Lobos, songs in film, best of ’95, film Speed 2), George S. Clinton (Austin Guide: 2nd Edition Jeff Bond. Featuring interviews with #50, Oct. ’94 Alan Silvestri (Forrest score documentary reviews (Herrmann, Powers), ASCAP & BMI awards; plus: FSM's market-standard price composers Jerry Goldsmith, Gump), Mark Isham; sex & soundtrack Delerue, Takemitsu, “The Hollywood Crash, Lost World. guide featuring over 2,400 listings. , , sales; Lalo Schifrin in concert; Sound”). Vol. 2, No. 6, Aug. ’97 Schifrin (Money Regular FSM Price: $17.95 Gerald Fried, Ron Jones, Dennis Morricone Beat CDs; that wacky #68, Apr. ’96 David Shire’s The Taking of Talks), John Powell (Face/Off), Shaiman Please note! If your order quali- McCarthy, Jay Chattaway, producer Internet; Recordman on liner notes. Pelham One Two Three; Carter Burwell (George of the Jungle); remembering fies, it is your responsibility to ASK Robert Justman, music editor Gerry #51, Nov. ’94 Howard Shore (Ed Wood), (Fargo), gag obituaries, Apollo 13 Tony Thomas; Summer movies, TV for a free gift—we won't send it Sackman and others, the book con- Thomas Newman (Shawshank promo/bootleg tips. sweeps. automatically. Thanks! tains a complete list of scores written Redemption), J. Peter Robinson * #69, May ’96 Music in Plan 9 from * Vol. 2, No. 7, Sept. ’97 Zimmer vs. FSM for all four TV series; a guide to how (Craven’s New Nightmare), Lukas’s mom Outer Space; Funny movie music glos- (interview: Peacemaker), Marco

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Buyers Guide Pt. 1, Downbeat (David The Phantom Menace scoring session Time; Master of Disaster Part II: Irwin Reynolds, Dennis McCarthy, Anne report and analysis of Trilogy themes; Allen discography; Rolfe Kent (Town & Dudley), SCL Conference Report. Halloween H20 postmortem; Downbeat: Country); Italian Imports: You can’t beat Vol. 3, No. 6, Jul. ’98 Trevor Rabin Affliction, Free Enterprise, , BEAT. (Armageddon), John Barry’s London Election; Lots of CD reviews: new Vol. 6, No. 4, Apr./May ’01 Concert, (The Truman scores, , Morricone, TV, A King of the World: The James Horner Show), Christopher Gordon (Moby Dick), Simple Plan. Buyer’s Guide Part 1; Downbeat: The Debbie Wiseman (Wilde), ‘70s soul Vol. 4, No. 6, Jul. ’99 Elmer Bernstein: Mummy Returns and Swordfish; Yabba soundtracks reviewed. ; George S. Clinton: Dabba Crew—A Salute to Hoyt Curtin; Vol. 3, No. 7, Aug. ’98 South Park (Adam Austin Powers 2; Goldsmith Buyer’s Epics on DVD; Session Notes from Berry, Bruce Howell), Baseketball (Ira Guide: Early ‘70s; USC film scoring pro- Atlantis The Lost Empire. Newborn), Taxi Driver retrospective, gram; CD reviews: 1984, Sword and the Vol. 6, No. 5, June ’01 BMI & ASCAP dinners, Broughton Sorcerer, The Mummy, The Matrix, Tribute: The Man, The Buyers Guide Pt. 2, Downbeat (Schifrin, more. Music, The Films; Friedhofer and Fox; Bernstein, Legrand). Vol. 4, No. 7, Aug. ’99 Warner Animation Egon, Your Music: A retro- * Vol. 3, No. 8, Sept. ’98 Lalo Schifrin Scoring (Shirley Walker on Batman/ spective; and in Beltrami (Scream, Mimic), Curtis (Rush Hour), Brian Tyler (Six-String Superman, Bruce Broughton on Tiny Vol. 5, No. 3, Mar. ’00 Build the ultimate Downbeat; John Bender reports on the Hanson (L.A. Confidential); Laserphile; Samurai), Trevor Jones, John Williams Toons, more); Phantom Menace music; Phantom Menace CD at home; Readers Chiller Convention, and plenty of Bender: Film Music as Fine Art, concert premiere, ASCAP scoring semi- Michael Kamen (The Iron Giant); Stu pick the best of 1999; Music director reviews. Recordman. nar, Rykodisc CD reviews. Phillips (); percus- Mark Russell Smith on film vs. concert Vol. 6, No. 6, July ’01 * Vol. 2, No. 8, Oct. ’97 Poledouris Vol. 3, No. 9, Oct./Nov. ’98 Erich sionist ; ASCAP awards. music; C.H. Levenson’s “last” letter, A Whole Different Animal: Danny (Starship Troopers), Shore (Cop Land, Wolfgang Korngold: Biographer inter- * Vol. 4, No. 8, Sept./Oct. ’99 Tribute to magazine reader survey, and more. 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SCORE wonderful images captured on work behind him, surely any new Following on from The Bounty film for the BBC. project by is worthy of and 1492, Vangelis embarks on (continued from page 34) Fenton’s main theme has a great mention. In any event, this tran- another voyage of discovery. What with 10 different feelings, moods, deal of work to do—essentially it’s scends mere movie soundtracks; it a shame that the same approach or whatever.” Again, like the pieces the final advertisement and scene has the loftier ambition of being a wasn’t adopted when that sappy Eastwood composed, Niehaus’ setter for the show. Fortunately, soundtrack for the stars—specifi- song was chosen for Enterprise. It’s music lacks the violence and force the Magdalen College Choir from cally Mars, the Red Planet. not quite “Vangelis Unplugged” that used to be the actor-director’s Oxford University combine with Commissioned by NASA as a (now that would be interesting), trademark. Moreover, the suite’s the BBC Concert Orchestra to pro- theme to its 2001 Mars but the inclusion of acoustic jazz numbers sound a bit too slick. duce a majestic, pulsating and program (and there’s plenty to instrumentation reveals a wel- In the documentary, more than truly epic theme. In crude movie read about this in the copious come, previously unseen side to once we learn about Eastwood’s terms it’s Danny Elfman meets liner notes), has the dis- the synth maestro. —N.J. affection for Charlie Parker and Wagner and Hans Zimmer. tinction of keeping one foot in the Fats Waller, a pair of musicians who Sounds and images crash against past, with another in the future, Candyman 3: Day of the Dead knew firsthand about danger and one another—tones shift from and this makes for some intrigu- (1999) disappointment, and filtered this huge brass refrains to lilting wood- ing juxtaposition. The space pro- ADAM GORGONI knowledge into their music. When winds, and out of vocal gram is, by definition, a forward- Beyond/Flash Cut 398 578 218-2 Niehaus introduces references to chords come calm seas that fade looking exploration of the cosmos, 13 tracks - 33:38 these musicians, he likes to filter into towering waves and threat- yet by the Greek composer’s own andyman 3 was one of the their sounds through his own, ened ships. admission, his theme music is Cmore recent attempts to which is, by and large, more show- The album itself is held together rooted to his homeland’s rich stretch a franchise past its break- biz than jazz. The glitz, however, is musically (or conceptually) as each mythical heritage. ing point. As usual with such ven- subdued by the frequent appear- track broadly depicts the character And perhaps this is why the tures, the original creative team ance of Joshua Redman, a saxo- of an animal or place. “Turtles” music is so typically Vangelis— pretty much steered clear, leaving phonist who seems to understand owes much to John Barry, in ’60s- another rich fusion of modern some big shoes to fill. In this case, and wants to acknowledge jazz’s inspired spy mode. “Sharks” is an electronic passages that use composer Adam Gorgoni was hard-boiled, nightspot origins. altogether more frightening ancient musical structures Overall, Music for the Movies of prospect. Heavy cello and bass as their cue. As ably Clint Eastwood succeeds as an lines surge around violins and vio- demonstrated in 1492: aural portrait of the artist and his las, and texture, rather than Conquest of Paradise, the work; and from it we learn that the melody, does most of the work. composer has no qualms former mayor of Carmel has good The Jaws influences are perhaps in using contemporary taste, a good sense of what scores too obvious. “Spinning Dolphins” music for historical subject can do for both roles and story melodically dances around pan- matter, though this time lines, and the good fortune of hav- pipes and flamenco guitars before he uses a classical ing had more than one genius charming brass and strings take approach to underscore a contribute to his soundtracks. But center stage. “Surfing Snails” takes futuristic setting. The two time given the daunting task of follow- the question still lingers, perhaps. us on a humorous, modern, jazzy frames are interchangeable, and ing in the footsteps of Philip Glass, In the future, will Clint bass-centered journey. For the first ultimately the subject matter of whose Candyman music has long Eastwood—like Welles and Huston time we might be on dry land. But “discovering the unknown” is been a fan favorite (and only and Lang and Hawks—enjoy the essential canvas of Fenton’s timeless. recently released on CD). immortality? Regardless, the orchestral underworld carries Vangelis has taken the opportu- Unsurprisingly, Gorgoni made music from many of his films will through most of the work. “Deep nity in this project to branch out no attempt to duplicate Glass’ sig- endure. —S.A. Ocean” builds around a fusion of beyond his keyboards by employ- nature arpeggios. He did, however, arpeggiated synth layers, moody ing soloists and give a nod to the textures of the The Blue Planet: A Natural brass and dark percussion. The and the London original scores by including History of the Oceans album closes with “Killer Whales,” Metropolitan Orchestra. “The moments of wordless chorus over a respectful and deeply satisfying Introduction” is an intriguing his primarily electronic score. But BBC Worldwide WMSF 6043-2 tribute, illustrating the full spectac- series of beeps, whistles and tex- that’s where the similarities end, 16 tracks - 55:14 ular sound of the BBC Concert tures more suited to a sound for Gorgoni brought his own sen- usic always plays a key role Orchestra and the heartfelt orches- effects record, but then the project sibilities to the project, creating a Min nature films, taking the trations of Geoff Alexander. In all, takes flight with “Movement 1,” a surprisingly interesting album. viewer beyond the narrative and this is great writing from George grandiose fusion of 1492 and El Opening with a techno sound, smoothing over the passage of Fenton, one of today’s finest Greco but with the added accom- Gorgoni segues into a piano-based time. David Attenborough and orchestral craftsmen. —S.D. paniment of the orchestra. love theme that later returns on George Fenton have collaborated Arguably, the big orchestra sound guitar. He also layers odd and on a number of especially ambi- Mythodea might alienate fans who are interesting instruments over the tious natural history films over the Music for the NASA Mission: uncomfortable with the keyboard synth foundation, bringing a 1/ years. For their latest project, The 2001 Mars Odyssey 2 wizard delegating responsibilities depth and scope to what could Blue Planet, Fenton provides a VANGELIS to other musicians, but it’s a glori- otherwise pass as X-Files under- bold, colorful and ambitious Sony Classical SK 89191 • 11 tracks - 62:50 ous sound. And while “Movement score. These Latin-flavored sounds underwater ocean journey. The K, so Mythodea isn’t a movie 1” throws everything into the mix, (including what’s described as a composer has certainly been Oor TV score, which raises subsequent tracks feature the “death whistle”), performed by inspired by the beauty and cre- questions as to what it’s doing in orchestra, choir and soloists in dif- Sergio Ruiz, make for a promising ative force of the ocean and by the FSM. But with a solid body of film ferent capacities. first few tracks.

FILM SCORE MONTHLY 43 FEBRUARY 2002 v7n02 issue 3/13/02 5:17 PM Page 44

SCORE to have been recorded differently. primarily for acoustic guitar, fid- in on occasion to suggest an eerie At times there is a warmth to the dle-style violin and (surprise) syn- otherworldly presence. Yes, this is By the end of the relatively sound, but in declarative passages thesizers, Zimmer and Badelt formulaic writing, but it’s done short album, Gorgoni falls back on things get very dry. The final “A have concocted a more mellow with taste and good judgment. more typical chase Family” is quite poignant and fills version of the Media Ventures Actually, there’s plenty of good music, with lots of thumping, out a thematic element that trademark sound. stuff here. “In Love” is a delicate stings and pounding drums. Still, served previous cues in smaller This type of score works best in and romantic piece built around it’s an interesting journey and an cells of its development. But it, the film, where it provides a unify- solo voice and a lilting harp line. impressive attempt by Gorgoni to too, inhabits the sound from ing atmosphere to back up Jack The theme creates a deep sense of give the film a better score than it Howard’s aforementioned score. It Nicholson’s investigation into an longing for something dear and likely deserved. —N.S. just does not carry an equivalent ever-deepening mystery. And pure but just out of reach. And that’s as it should be; one of the “Cassie Walks Alone,” in particu- reasons Zimmer keeps getting lar, proves Daniel Licht can write hired is because his scores do the moving film music as well as any- job. As a separate listening experi- one in Hollywood today. But ence, Zimmer is hit and miss. there’s also a large helping of Like many other Zimmer pro- “influences” worth nothing. “The ductions, this particular CD is Accident” takes its cue directly structured as an unbroken flow of from Bernard Herrmann. Frantic, music. Fortunately, we are given stabbing brass doubles with individual tracks, so we can easily strings to produce the classic emotional pull. One could say that find a particular cue within the Psycho orchestral position. Other Don’t Say a Word 30 minutes is beyond adequate. record’s suite-like structure. passages rely on a healthy dose of MARK ISHAM I will admit that films of this However, there is less variety Ligeti and other standards from Varèse Sarabande 302 066 291 type seem to continue to receive between tracks than one might the 2001 soundtrack. 8 tracks - 30:51 the kind of score that Isham pro- expect. It’s all a sort of moody blur. A dramatic shift in the album on’t Say a Word, the worst vides. Other composers seem to Parts of this album could have comes with the arrival of the Dmovie Michael Douglas has employ similar techniques for been released on a Windham Hill drum-and-bass-influenced ever been involved with (including them at any rate. Clearly, the sampler record, especially the “Above and Underground.” Jewel of the Nile), could’ve been genre is in sore need of rejuvena- track “Ex Cop” with its mellow gui- Frantic techno drums and manic helped by a good score—but it cer- tion. There is little to distinguish tar over synths. In fact, the whole bass lines suggest madness close tainly couldn’t have been saved. Who this score from similar films. That album works on a new-agey level, at hand. But quickly the main can blame Mark Isham for...shall we does not mean that the music maintaining a consistently mes- six-note piano motif returns to say “lacking inspiration” when he itself is not of high caliber. merizing tone. It could probably haunt once again. Throughout, penned this effort? The cover notes that Ken Kugler function well as an alternative to the music manipulates the audi- “The Heist” opens the attempt and Jeff Beal provide orchestra- sleeping pills. —N.S. ence into a lull before the arrival with a rock-influenced underscore tional support. Beal is also listed of a violent storm. not unlike some David Arnold Bond as providing “programming and Soul Survivors The album closes with “The cues. The problem is that there’s no massive assistance.” There are DANIEL LICHT Other Side.” With vocals from discernible thematic element more folks listed for recording and Beyond/Flash Cut 398 578 220-2 Paul Hepker, it’s the culmination involved. The music sounds like filler mixing than I have seen in a long 14 tracks - 42:27 of most of the material condensed from a rock album, bolstered by time for a recording. That can aniel Licht’s previous scores into a gothic horror pop song. The string chords that rock back and mean any number of things. It Dinclude Children of the Corn sounds might have come from an forth, as in James Newton Howard’s could just be the way the choral, 2, The Final Sacrifice and epic Trevor Horn or Peter Gabriel . electronic and percussion ele- Bloodline—this is a composer well record production. Misty vocals The cue “Elisabeth” sounds like ments needed to be layered into in touch with the musical dark do a great job holding the song it pulls together sections that sup- the final mix. —S.A.K. side. His work on Soul Survivors is together, but in the end its poses port this particular character. You best summarized in the main are a little too predictable and the 1/ can’t fault Isham for the harmonic The Pledge 2 theme, which sets the tone for the emotional impact is lost. Think ideas he employs here. In fact, HANS ZIMMER/KLAUS BADELT entire album, where the horror is John Barry in horror mode meet- they are fascinating to listen to as Milan 73138-35977-2 • 16 tracks - 40:18 implied rather than in your face. ing Danny Elfman in Gotham City they develop. There are parts of he Pledge starts at one level Haunting , chiming bells, for a battle of the bands and you this cue that reveal a delicacy in Tand, except for a suspenseful drifting piano lines and pulsing have this album already in your piano writing, but nothing really modulation near the end, pretty strings work around a six-note head. —S.D. gels. In “Subway,” the brass seems much stays there. In scoring this motif, while synth textures weave FSM

BERNSTEIN JAZZ work, and a play, by 1960. of later film scores, it seemed that, for another (continued from page 19) Though the composer would write his best- decade at least, Bernstein would find great joy From 1955 to 1959, Elmer Bernstein known works in the next decade—The by combining the best of both worlds. FSM released three classic jazz soundtracks and Magnificent Seven, To Kill a Mockingbird and four collections of favorite film and non-film The Great Escape—he would continue to NEXT TIME: In Part 2, we'll look at the Bernstein's WALK ON THE music. Quite a feat, considering he had return to the world of jazz when the opportu- WILD SIDE and THE SILENCERS, his Ava compilation LP, which scored upward of 30 films, 12 TV series, three nity and project were just right. And though featured themes from THE RAT RACE, and other film and TV documentaries, nine short films, a concert the pop realm would inevitably affect the style productions.

FEBRUARY 2002 44 FILM SCORE MONTHLY v7n02 issue 3/13/02 5:17 PM Page 45

THE LASERPHILE

ith the doldrums of winter fading behind us, the Batter Up! Grow Up Too! W promise of spring brings Tackling ,BREAKING AWAY and other rites-of-passage epics about not just warmer weather but by Andy Dursin also the real beginning of the work

year for the Laserphile. Studios tend to release the great majority of their A-list several months into the new year, and 2002 is adher- ing exactly to form. This year, we’ve seen some interesting cata- log titles released by various studios to com- pensate for a lack of new Special Editions. For those who grew up in the ’70s and ’80s, several of these pictures are sure to create a rush of nostalgia since the films directly relate to that turbulent period called adolescence. While some of us may not want to relive growing up, can you think of a better way to open up the spring season than with a hun- gover Walter Matthau and his cooler full of suds? The Bad News Bears The Bad News Bears in Breaking Training MAKE UP TO BREAK UP: Stern, Quaid et al in BREAKING AWAY The Bad News Bears Go to Japan (left); O’Neal and Matthau in BAD NEWS BEARS (right). Astros major league game, but Devane (Paramount, $24.98 each) and a few big-league players incite the he ‘70s exemplar of the underdog sports since, on the surface, Ritchie’s film is a hilari- crowd to chant “Let them play!” and the big Tmovie may well have been Sylvester ous comedy with an appealing group of kids game conclusion ensues. Stallone’s Rocky, but the formula for a cine- (including loner Jackie Earle Haley and brash Breaking Training certainly doesn’t break matic team of rag-tag underdogs who rise to Tatum O’Neal as the team’s pitcher) and a per- any new ground, but it’s still a lot of fun, with the top and beat the odds was clearly set by fectly humorous score by Jerry Fielding, here Risky Business writer Paul Brickman’s script another 1976 box-office smash: Michael adapting Bizet’s . effectively recycling the elements that made Ritchie’s The Bad News Bears. Add the satirical subtext and you have a its predecessor a classic, and Devane turning Undoubtedly, if you were a kid back in ’76 or movie that’s irresistible entertainment for all in solid work as the team’s new manager. With saw the movie as a youngster in the ensuing ages, with an ending that’s bittersweet (the Bizet out of the mix, composer years on video, you have your own memories Bears lose a close one, but celebrate after- turned to Tchaikovsky’s 1812 Overture for of the Bears, the foul-mouthed little-leaguers wards) but more uplifting in its own way than musical inspiration, even using it as the cho- who defy the odds—with the help of their if the movie had adhered to the generic sports rus for the movie’s bouncy theme song (the

ARTWORK @1976 @1976 PARAMOUNT ARTWORK drunk, ex-minor-league-ace manager (a bril- movie finale. feel-good single “Lookin’ Good”). liant Walter Matthau)—in coming together Because of its broad appeal, The Bad News The box-office returns necessitated one last and making a championship run. Bears was a huge hit at the box office, spawn- big-screen follow-up, and 1978 would bring The great thing about The Bad News Bears, ing a pair of sequels in subsequent years and a forth The Bad News Bears Go to Japan, with especially if you haven’t seen it in a long while, short-lived TV series shortly thereafter. Michael Ritchie attached as producer and Bill BAFDNEWS BEARS is that it’s every bit as amusing for grownups as The Bad News Bears in Breaking Training Lancaster back contributing the screenplay. it is for kids. Bill Lancaster’s incisive script is as (1977) abandons much of the original’s profan- Unfortunately, the return of two key per- much a satire on children’s sports as it is a ity and strips the material almost completely of sonnel members from the original did little “children’s film,” with pointed observations its satirical edge, but despite that, this is easily more than add novelty value to this tedious about the obsession with winning and the the only follow-up to approach the original in sequel, which unwisely takes the focus off the needless pressure applied to kids by parents terms of laughs and entertainment. team (several of the kids smartly avoided this and other adults trying to live out their own Here, the Bears—made up almost com- one) and shifts it to struggling huckster-pro- fantasies—two themes still so relevant today, pletely of the original cast—drive to Texas moter Tony Curtis, who latches onto the Bears especially considering last year’s Little League where Jackie Earle’s estranged dad (William and their trip to Japan to play the overseas lit-

ARTWORK ©;1979 20TH CENTURY FOX; ARTWORK World Series fiasco (with an overaged pitcher Devane) becomes the team’s reluctant man- tle league champion. Even Jackie Earle Haley tossing shutouts for a team out of the Bronx ager for the Bears’ match-up with the Houston looks like he’s going through the motions here representing the U.S.). Toros in the Astrodome. It all culminates in a in an underdeveloped relationship with a local Those are the kind of issues that are often memorable finale where the umpires attempt geisha, while all of the scenes involving the

BREAKING AWAY lost on kids watching The Bad News Bears to call the kids’ skirmish due to a scheduled team feel arbitrary, lacking the charm of either

FILM SCORE MONTHLY 45 FEBRUARY 2002 v7n02 issue 3/13/02 5:17 PM Page 46

THE LASERPHILE ture’s success spawned a short-lived TV series actor, he starred in this almost-forgotten 1987 months after the film ended its theatrical run. comedy as a high school student who travels of its predecessors (’s Mikado- Another excellent growing-up story, Tony to the Caribbean and takes up with old salt adapted score also feels worn-out). And you Bill’s 1980 comedic-drama My Bodyguard, was Robert Loggia in a futile attempt to find his know a movie is in big trouble when cameos also the recipient of critical kudos during its girlfriend. Jerry and Ben Stiller co-star in this by Regis Philbin and figure skating gold theatrical run, launching the careers of Matt ridiculous piffle, which the actors must have medalist (and TV commentator) Dick Button Dillon and Joan Cusack among others. decided to make due to the filming location are the picture’s strongest suit! Alan Ormsby’s script focuses on the prob- (and who could blame them?), while trivia Paramount has released all three Bad News lems of a meek teen (Chris Makepeace, of buffs will note that it’s one of the few credits of Bears films in basic DVD packages, with no Meatballs fame) and his run-ins with the chief Tron filmmaker Steven Lisberger. special features to speak of. Disappointingly, high school bully (Dillon). Makepeace decides Paramount’s DVD features a colorful the widescreen transfers on the first two films to hire a bodyguard, well-played by Adam widescreen transfer and decent Ultra Stereo in the series are grainy and suffer from serious Baldwin (no relation to the infamous Baldwin soundtrack, sporting a synthesized score by edge enhancement (lines around background brothers). My Bodyguard is a colorful charac- the group Rareview (this was around the same objects that shake throughout), while only the ter study marked with a veteran supporting time that “Cinemascore” penned the music for original film offers a stereo re-channeling for cast, including Ruth Gordon, John Houseman Arnold Schwarzenegger’s urban actionfest 5.1 Surround. and Martin Mull. ’s low-key score Raw Deal). Nowadays, the closest we come to a The diminishing returns of Bad News Bears adds the perfect note to the drama, lensed on stable of composers working on a soundtrack Go to Japan would lead the team to the small location around the Windy City. is when Media Ventures gets an assignment! screen shortly thereafter, in a short-lived Both Breaking Away and My Bodyguard (though fondly remembered) series starring have been released by Fox as part of their Summer of ’42 (Warner, $19.98) Jack Warden. It’s been over 25 years since the “Family Selections” DVD line. Transfers for ew, if any, soundtracks recall the feeling of series began, and while many kids’ films and both films are perfectly acceptable, offering Flost love and fond memories better than sports pictures have used the original as a 1.85 letterboxed and full-screen presentations; Michel Legrand’s dreamy, moving score from blueprint for success, no picture has ever cap- both soundtracks have been remastered for Robert Mulligan’s coming-of-age tale Summer tured the humor and satire of the 1976 film. Dolby Stereo (the original mono soundtracks of ’42. Here’s hoping Paramount doesn’t feel the need are also included). Highly recommended! Written by Winds of War author Herman to go back to the remake well and produce a Raucher, director Mulligan’s sensitive story of politically correct, sanitized version that will Say Anything (Fox, $19.98) a boy (Gary Grimes) and his crush on a WWII never be able to measure up to a bona-fide ameron Crowe’s 1989 directorial debut bride (Jennifer O’Neill) manages to evoke nos- comedy classic. Cgets a splendid Special Edition treatment talgia for the “innocent” days of the early ’40s, from Fox, featuring and while probing a bit more maturely into a Breaking Away other extras. young man’s passage into adulthood than My Bodyguard (Fox, $19.98 each) Best remembered for its seemingly timeless most period films had up to that point in 1971. f The Bad News Bears offered a realistic, image of John Cusack holding up a boom box Warner’s DVD offers an acceptable Ihonest depiction of little league sports and and blaring Peter Gabriel outside the object of widescreen transfer but a severely com- growing up as a teenager, the marvelous Peter his affection’s window, Say Anything remains pressed mono soundtrack (the laserdisc Yates- coming-of-age comedy one of the top “teen” pictures ever made, sounds crisper), plus a theatrical trailer. Breaking Away is an equally honest, poignant thanks in large part to Crowe’s quotable dia- As melodramatic as the film is, Summer of story of four small-town guys struggling to logue and Cusack’s strong central perform- ’42 is still one of the screen’s most memorable move on after high school, and setting a seem- ance as Lloyd Dobler, an average guy who tales of growing up, and was followed by the ingly impossible goal for themselves—namely, decides to go after one of the smartest and entertaining (though unnecessary) sequel beating Indiana University students in a prettiest girls (Ione Skye) in his graduating Class of ’44, sporting a fine early score by cycling race. high school class. David Shire (to date unavailable on DVD or Dennis Christopher, , Daniel While the movie’s second half—focusing on laserdisc in its original Panavision ratio). Stern and ex-Bear Jackie Earle Haley are the Skye’s father (Frasier’s John Mahoney) and his four friends who become inspired to over- legal woes—is a letdown after the opening act, DISNEY TREASURES come the odds stacked against them, with Say Anything is still as smart and believable as s if Disney hasn’t produced enough Christopher a standout as a kid who decides any other film in this genre. The DVD is a cele- A“must-have” Special Edition DVDs for to emulate the Italian world cycling champion bration of that fact, featuring a new widescreen fans, the studio released no fewer than four by pretending that he actually is Italian (and transfer, a plethora of deleted/alternate deluxe packaged boxed sets late last year driving his parents—wonderfully played by scenes, commentary by Crowe and the actors, dubbed “Walt Disney Treasures,” each set Paul Dooley and Barbara Barrie—nuts). trailers and plenty more. focusing on classic archival material from the Tesich’s warm, funny script deservedly Disney vaults and limited to 150,000 num- copped an Academy Award for Original Hot Pursuit (Paramount, $24.98) bered copies (the sets retail for $32.98 each). Screenplay, while the movie itself became a rior to John Cusack’s appearance in Say For animation buffs, the studio’s Silly critical darling and one of the sleeper hits of PAnything, the actor starred in several silly Symphonies and Mickey Mouse in Living Color 1979. Today, Breaking Away holds up as a teen comedies with little dramatic merit to packages offer literally hours of vintage Disney charming film with big laughs and a lot of speak of. That’s not to say, however, that his cartoons—Symphonies featuring some 31 heart that examines the relationship between two collaborations with filmmaker-animator uncut cartoons in all (including six Oscar win- the protagonists (dubbed “cutters”) and the Savage Steve Holland aren’t semi-classics ners) totaling over five hours, while Mickey dueling college students, offering a fresh per- today (Better Off Dead and One Crazy gets his day in the sun with 26 original color spective on growing up. And just like The Bad Summer, which the Laserphile hopes will be shorts produced between 1935 and 1938. News Bears, Patrick Williams’ score is adapted on DVD in the near future). If you’re looking for more in the way of from numerous classical works, and the pic- Prior to Cusack’s attempts to mature as an sheer Disney nostalgia, more entertainment

FEBRUARY 2002 46 FILM SCORE MONTHLY v7n02 issue 3/13/02 5:17 PM Page 47

can be found in the terrific sets of Davy Two pictures starring sex symbol Brigitte Crockett, the seminal ’50s TV hit with Fess Bardot—the 1969 Poe anthology Spirits of the Parker and Buddy Ebsen (featuring all five Dead and the obscure 1973 Roger Vadim opus adventures as they originally aired), and Don Juan (or If Don Juan Were a Woman)— Disneyland U.S.A., which offers four TV spe- have joined the ranks of the “Classic cials chronicling the construction and open- Collection.” Both French-language films offer ing of the Anaheim tourist attraction, with new English subtitles but little else in the way plenty of celebrity appearances to boot. (Alas, of extras, though they’re priced to reflect that they didn’t include my favorite Disneyland TV at $29.98 each. special, with and the Osmond Spirits of the Dead (Histoires Extraordinaires) Brothers touring the park after dark. Look for offers three macabre tales as interpreted by it on the Disney Channel—pure camp worth Roger Vadim, and Federico Fellini, staying up for!) DVDs NOT LEFT WANTON: Carole Bouquet and with an international cast, including Jane and Each package includes two discs housed in Fernando Rey in THAT OBSCURE OBJECT OF DESIRE (above); Peter Fonda, Bardot, Alain Delon and Terence a collectible tin, with brief liner notes and a Cary Grant and Ingrid Bergman in NOTORIOUS (below). Stamp. However, the only tale really worth it is special lithograph. For bonus features, film Fellini’s Toby Dammit, a fascinating satire on critic and Disney historian Leonard Maltin celebrity and excess that caps the film, with a gives a brief overview on each release and score by and a fine performance introduces more specific material (i.e., indi- from Stamp. vidual cartoons and episodes) when appropri- The relatively obscure Don Juan (aka Don ate. For Disney freaks these four sets are Juan ’73) is a strange, kinky Vadim effort that is absolute musts and, hopefully, will be fol- best left for Bardot admirers, although the col- lowed by other limited-edition packages later orful cinematography and new remastered this year. transfer may make it worthwhile for lovers of early ’70s cinema. It’s more interesting as a NEW FROM CRITERION commentary on Bardot’s stepping away from n the heyday of laserdiscs, one name was her career than it is a stand-alone piece. Isynonymous with supplement-jammed, Speaking of obscure, Peter Medak’s utterly deluxe editions of classic and contemporary bizarre The Ruling Class ($39.98) has also been films. Of course I’m referring to the Criterion restored by the Criterion Collection. For the Collection, which amassed an incredible array first time in North America, you’ll be able to of vintage masterpieces, avant-garde and for- see Medak’s full-length cut of his 1972 cult eign films, as well as more recent acclaimed Hitchcock’s 1946 effort Notorious doesn’t classic, starring Peter O’Toole as the heir to the movies in their unique catalog of well-known receive the lavish presentation afforded to British throne who alternately believes he’s and oft-forgotten masterpieces. Rebecca, but Ben Hecht’s great script and the Jesus Christ and Jack the Ripper. Equal parts After a slow start on DVD, the company is performances of Ingrid Bergman and Cary comedy, thriller, social satire and musical, this back with a vengeance, not merely reissuing Grant nevertheless lift this spy thriller into a is not a movie for all tastes, but if you’re a fan, their catalog in the format, but releasing select category as one of the top films of the the new DVD is the way to go, with a remas- brand new titles in keeping with the com- ’40s. Once again, the new digital remastering tered transfer and audio commentary from pany’s taste for eclectic fare—once again makes for a sensational transfer considering the filmmakers making for a superb package. boasting something for every taste. past presentations of the movie on video, while Finally, admirers of foreign films will enjoy Perhaps the best exciting new titles are the Criterion again serves up some tasty extras: newly remastered presentations of two well- company’s deluxe editions of Alfred commentaries from scholar Marian Keane and known efforts from around the globe: Hitchcock’s masterpieces Rebecca and historian Rudy Behlmer, plenty of stills, Jiri Menzel’s 1966 Czech tragicomedy Notorious ($39.98 each).Fully remastered with excerpts of alternate endings and excised Closely Watched Trains ($29.98) receives a new copious extras, both movies have never scenes, newsreel footage, a 1948 radio adapta- digital transfer with improved English subti- looked better, thanks to transfers originating tion with Bergman and Joseph Cotton, por- tles, and while its tale of a train dispatcher’s direct from the original negatives. tions of the short story “Song of the Dragon” sexual misadventures during WWII boasts a Rebecca, Hitchcock’s first U.S. film for pro- (one of the source materials for the film), and harsh downer of an ending, it’s still worth a ducer David O. Selznick, rightly receives the an isolated music and effects track. look for international cinema buffs. double-disc treatment here, including an iso- A movie that holds its place in history as Finally, aficionados of Luis Bunuel will want lated music and effects track that gives Franz one of the top screwball comedies of all time, to seek out Criterion’s DVD of his final film, the Waxman’s classic score more of a chance to the 1936 classic My Man Godfrey ($39.98) has 1977 effort That Obscure Object of Desire stand on its own, commentary from author also received the deluxe treatment from ($29.98). Featuring a remastered transfer for Leonard J. Leff, screen and costume tests for Criterion. This William Powell-Carole 16:9 televisions (with new English subtitles), an actresses like Vivien Leigh, Loretta Young and Lombard comedy, the first to receive Oscar interview with Jean-Claude Anne Baxter for the role that Joan Fontaine nominations in both lead and supporting Carriere, the trailer and excerpts from a 1929 ultimately won, deleted scenes excerpted actor categories, offers rare outtakes, audio silent movie that was based on the same Pierre from the screenplay, hundreds of still photos, commentary from historian Bob Gilpin, the Louys book that formed the basis of Bunuel’s and nearly three hours of complete radio complete 1938 radio broadcast with Powell film, this is a well-produced package for a show adaptations, including ’ and Lombard, stills, and the original trailer. movie that probes deep into sexual desire, like 1938 Mercury Theatre broadcast, a 1941 pro- Those titles should be enough to satisfy the much of the filmmaker’s body of work. FSM duction with Ronald Colman and Ida Lupino, fan of Hollywood’s Golden Age, but if it’s more Don’t forget you can find extensive DVD coverage in Andy’s and a 1950 broadcast with offbeat fare that interests you, Criterion has Aisle Seat columns at www.filmscoremonthly.com/aisleseat and Vivien Leigh. plenty of oddball titles in store as well. All emails can be directed to [email protected]. ’Nuff said!

FILM SCORE MONTHLY 47 FEBRUARY 2002 v7n02 issue 3/13/02 5:18 PM Page 48

RETROGRADE

Snowtime for ASCAP Music and film pros collide at Sundance

he Music Cafe, produced by ASCAP (The American Society of Composers, Authors & Publishers) and spon- Tsored by ASCAP and Balance Bar, was part of the 2002 Sundance Film Festival at Park City, Utah, and featured numerous established and up-and-coming performers.

PERFORMING, PERIOD: India.Arie warbles a tune at the Sundance Music Cafe.

RUN RONNIE, RUN: and friends gather at the premiere: ASCAP’s Coogan (Dakota Pictures), Jen Perry, Troy Miller and Regan Matthews.

ROUNDTABLE @ THE MUSIC CAFE: ASCAP and the Recording Musicians Association (RMA) sponsored a roundtable discussion that covered a broad range of topics, including the latest on low-budget recording and soundtrack agreements. Pictured left to right: (top) ASCAP’s Kevin Coogan, composer Mark Adler, RMA’s , music contractor Sandy DeCrescent, RMA’s Phil Ayling, ASCAP’s Mike Todd, Sundance Film Music Program dir. Peter Golub and ASCAP’s Sue Devine. (bottom) Music Editor Joanie Diener, ASCAP’s Pamela Allen and RMA’s David Ewart.

SONGWRITERS IN THE ROUND: ASCAP hosted an intimate show by four performers, who performed in a “songwriters in the round” style, trading off on songs and joining in and accompanying each other. Left to right: John Doe (of punk band X), Rhett Miller, Patty Griffin, Claudia Church Crowell & Rodney Crowell.

PASS THE COCOA: ASCAP’s Randy Grimmett, Sue Devine and Loreta Munoz, Ken Levitan (Patty Griffin’s manager); Seated: ASCAP’s Tom DeSavia, Dave Matthews, Patty Griffin and Kathi Whitley (Patty Griffin’s manager). PHOTOGRAPHER: ERIK PHILBROOK

FEBRUARY 2002 48 FILM SCORE MONTHLY v7n2cov 3/13/023:03PMPagec3

Still photographs courtesy of Turner Entertainment Co. An AOL Time Warner Company The Man Who Loved CatDancing FSMCD Vol.5,No.4•ReleasedbySpecialArrangementwithTurner ClassicMoviesMusic. Plus UnusedScorebyMichelLegrand ly unreleased,butpreviously tures Legrand melodic Reivers, Rosewood larger symphonicrefrainsintheclassicWilliamsstyle. $19.95 ter. LinernotesarebyJohnWilliamswebmasterJeff Eldridge. guished composers CD isapricelessandrareopportunityto hear twodistin- minute jazzimprovisationonhismaintheme. Theall-stereo previously unreleasedscorefor FSM esque Americanaof succeeded withacrossbetweenthesymphonicCopland- Despite therushedschedule,Williams fame composers butstillafewyearsawayfrominternational then provinghimselfasthebrightestofhisgeneration decided togoinadifferentdirectionandhiredJohnWilliams, himself) andethnicinstrumentation.Thefilmmakersquickly an unusual,meditativescore Composer MichelLegrandhadbeenhiredbytheoriginaldirector, BrianHutton,andwroterecorded The backstagedramaevenextendedtothefilm MGM scramblingtomakethefilm’s releasedate. hernia whilefilmingafightsceneandhadtobehospitalized,leavingdirectorRichardC.Sarafian terious death(laterruledasuicide)ofMiles’manager/boyfriendonlocation.Later, Reynoldssuffereda shot westernandlovestory, BurtReynoldsandSarahMiles,werecalledtotestifyincourtafterthemys- its behind-the-scenesshenanigansthanforartisticaccomplishment.Theleadsofthisbeautifully In 1973 orable mainthemeinhisinimitable pre- based riffsof Dancing Liberty, ThePaperChase master atprovidingsparsebuteffective Jaws — ’ plus shipping — s CDfeaturesWilliams who had , includingdeletedandalternatecues.Italsofea- but post-comedycareer, duringwhichhewasa scores fordelicatedramassuchas The ManWhoLovedCatDancing ’ The MissouriBreaks s completerecordedscore one week ). ThescoreisalostgemfromWilliams ’ takeonthesamecinematicsubjectmat- The Cowboys — only fromFSM! and to writeandrecordhisscore. — The SugarlandExpress his firstforawestern unheard (1972) andthequirky, pop- The ManWhoLovedCat (1976), featuringamem- “ blue note — — not onlyprevious- ’ including asix- complete, — and always ” style( Cinderella — , with featuring Indianchants(performedbyLegrand The ’ made headlinesmorefor by MichelLegrand Music FromtheUnusedScore by JohnWilliams The ManWhoLovedCatDancing Album ProducedbyLukas Kendall 9 SiePr 8:26 11:13 6:16 2:17 Improvisation on1M1 20. SuitePart2 19. SuitePart1 18. 17. Main Title 3:12 1:46 16. Jay IntheSnow/Together Again 15. ILoveYou, Jay/ 14. LittleJohn 1:00 13. JayandCatherine/ 12. DawesandCatherine 11. 10. Deserted Hotel/ .TeAtrah1:59 3:08 2:23 2:09 9. Braiding/Just Whistle 8. The Aftermath 7. Billy 1:19 6. Bound Up 5. Moving 2:40 1:05 I 4. FollowThatHorse 3. TheTelegraph Pole 2. 1. Cat Dancing oa ie 37:17 Total Time: u nYu y 2:12 Mud inYour Eye oa ie 28:19 65:37 Total DiscTime: Total Time: 2:04 3:07 To Camp/TheCave The Mask What ’ m RunningAway Too/ ’ alEdTteEdCs 3:10 s Fall/EndTitle/End Cast ’ alBy ilB 2:38 s Fall/BoysWillBe ’ orFrtNm?2:48 s Your FirstName? ’ s scoring. by JohnWilliams

Joy in the Morning

Look for this month

Golden Age

yBernardby Herrmann

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offering

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