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Volume 8, Number 1 Original Music for Movies & Television

Trek’s Over pg. 36

&The THE Best WORST Our annual round- of the scores, CDs and we loved

InOWN Their WORDS Shore, Bernstein, Howard and others recap 2002

DVDs & CDs The latestlatest hits hits ofof thethe new new year year

AND The of the year in an exclusive interview

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7225274 93704 $4.95 U.S. • $5.95 Canada v8n01 issue 1/28/03 12:36 PM Page 1

CONTENTS JANUARY 2003

DEPARTMENTS COVER STORY

2 Editorial 14 The Best (& the Worst) of 2002 Listening on the One of the best years for music in recent Bell Curve. memory? Or perhaps the worst? We’ll be the judges of that. FSM’s faithful offer their thoughts 4 News on who scored—and who didn’t—in 2002. Golden Globe winners. 5 14 2002: Baruch Atah Adonei... Round-up By Jon and Al Kaplan What’s on the way. 6 Now Playing 18 Bullseye! Movies and CDs in By Douglass Fake Abagnale & Bond both get away clean! release. 12 7 Upcoming Film 21 Not Too Far From Heaven Assignments By Jeff Bond Who’s writing what for whom. 22 Six Things I’ve Learned 8 Concerts About Film Scores Film music performed By Jason Comerford around the globe. 24 These Are a Few of My 9 Mail Bag Favorite Scores Ballistic: Ennio vs. Rolfe. By Doug Adams

30 Score 15 In Their Own Words The latest CD reviews, Peppered throughout The Best (& the Worst) of including: The Hours, 2002, composers Shore, Elfman, Zimmer, Howard, Film scores in 2002—what a ride! , Bernstein, Newman, Kaczmarek, Kent and 21 Narc, Ivanhoe and more. Goldenthal chime in on their 2002 efforts. By Jeff Bond 48 Pukas Work Sucks. FEATURES

10 God Almighty! We finally interviewed John Williams. 36 FSM Marketplace Enough said. By Jeff Bond

26 Where No Note Has Gone Before Bereaved friends and loved ones…let us not be mired in the death of the movie series, We’ve got a bad feeling about this. which the failure of the stinky Nemesis may very 26 well portend. Instead, let us celebrate life. Behold, this inspiring retrospective on the series’ music! By John Takis ON THE COVER: God Almighty!

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

FILM SCORE MONTHLY 1 JANUARY 2003 v8n01 issue 1/28/03 10:30 AM Page 2

EDITORIAL

Listening on the Bell Curve VOLUME 8 A love/hate relationship with “The Best & the Worst” NUMBER 1

ditorially speaking, I feel that the sentations (although I usually don’t mind if a EDITORIAL STAFF whole idea of “best” and “worst” is composer wants to tinker with his order) Editor & Publisher E somewhat misguided. It’s silly to qual- and I can enjoy a couple of pop songs here or LUKAS KENDALL ify a work of art (or a reasonable facsimile like there (especially if they’re high-grade pop like Departments Editor commercial filmmaking) as “best” without a “Come Fly With Me.”) JONATHAN Z. KAPLAN widely accepted empirical measure. It’s not like Managing Editor we’re measuring processor speed, gasoline ’ll bet you just guessed that Catch Me If You TIM CURRAN mileage—or safety. Film music, thankfully, is ICan was one of my favorite soundtracks of Senior Editor rarely life-threatening; of course, 2002. This makes this issue’s special JEFF BOND some might argue otherwise. guest, Maestro John Williams, a real Design Director As a member of the audience, I treat. We’ve devoted more ink in FSM JOE SIKORYAK can certainly report on my experi- to his music and work than just about Supervising Content Consultant AL KAPLAN ence going to the movies on a given anyone else, and now we get to quote Copyeditor Saturday night. But as a filmmaker him directly. As the article on page 10 STEVE GILMARTIN who has worked on a couple of stu- says so enthusiastically: WOW! Contributing Writers dent and independent projects, I But I was talking about my DOUG ADAMS take a different view. Frankly, you favorites of 2002. The others, in no STEPHEN ARMSTRONG haven’t experienced compromise particular order included: CQ, by JASON COMERFORD until you’ve worked on a project ACCEPT NO Mellow and Roger Neill (a spot-on ANDY DURSIN completely dependent upon the SUBSTITUTE: valentine to ’60s silliness); The Kid ANDREW GRANADE skill, cooperation, dedication and John’s the real deal. Stays in the Picture by ; STEVEN A. KENNEDY commitment of a bunch of Metropolis by Toshiyuki DARREN MACDONALD strangers. I tend to be a lot more charitable (Dixieland —in the “future”?); Far From JOHN TAKIS GENEVIEVE WILLIAMS toward the work of other filmmakers and Heaven by ; Signs by James CARY WONG composers after having suffered a few crush- Newton Howard; Unfaithful by Jan A.P. ing disappointments on the set or in the edit- Kaczmarek; Enigma by (the light ing room myself. hasn’t dimmed yet); Swordfish and Star Trek BUSINESS STAFF This experience makes it difficult for me to Nemesis (see previous remarks). rate and scores from best to worst. Of My favorites are chosen for the pure pleasure Editorial & Subscriptions course there are always a few clear-cut, merce- they provide, and are a varied bunch to be sure. 8503 Washington Blvd nary hackworks and pointless efforts that And despite my earlier remarks, I do like reading Culver City, CA 90232 PH. 310-253-9595 deserve to go to the bottom of the pile—but I other people’s best and worst lists of the year. FAX 310-253-9588 usually don’t waste my time watching them. Such lists are a good reminder of the pleasures E-MAIL [email protected] And those few magical convergences of creativ- of the past 12 months, or perhaps a reminder to Sales & Marketing Manager ity, zeitgeist, dumb luck and good timing that revisit a missed opportunity. As you delve into BOB HEBERT make a really good movie are few and far the varied and opinionated views of the Bros. 8503 Washington Blvd between. So what’s left, is the great big middle of Kaplan, Jason Comerford, Doug Fake, Jeff Bond Culver City, CA 90232 the bell curve. and Doug Adams, remember this: Whether you PH. 323-962-6077 Rather than trying to quantify the best and agree or disagree, we all love the music. It’s the FAX 310-253-9588 worst film scores of the year, I like to remember reason for FSM’s existence. Supervising Mail Order Handler the ones that gave me the most pleasure. And Here’s to a great film score year in 2003! MAILMAN AL often, that pleasure is dependent upon how Our Website Is updated five times weekly! much I liked the movie (unless it’s music written Point your browser at: by faves like or Christopher WWW.FILMSCOREMONTHLY.COM Young, who don’t get the projects worthy of their skill often enough.) I’m a big believer in film © 2003 Vineyard Haven LLC. scores as souvenirs of the movie-going experi- Joe Sikoryak Printed in the U.S.A. ence. So I like sequentially ordered score pre- Design Director, FSM

JANUARY 2003 2 FILM SCORE MONTHLY v8n01 issue 1/28/03 10:30 AM Page 3

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Like you, we love film music. If you’re eager to find the latest and The Intrada Special Collection the greatest film music on CD, visit www.intrada.com. We post Volume 9 updates as soon as new titles arrive and provide a capsule is now in summary of every album—not just tracklists, but lots more. We production. stock thousands of soundtracks from around the world: Browse Do you have for the newest releases, rare and hard-to-find imports, promos our entire series and out-of-print titles. We guarantee your satisfaction with 20 of classic film music featuring years of experience—serving collectors, fans, composers, film the works of music professionals and newcomers! Ordering is easy, and our Mancini, Horner, secure server keeps every transaction safe and sound. Poledouris, Sign up for our FREE weekly e-mail bulletin of all the latest Bernstein, Shire releases! Watch our site for exclusive offers! Make Intrada your and others ? one-stop shop for soundtracks. Act now, Visit: www.intrada.com supplies are limited! E-mail: [email protected] $29.99 $19.99 ea. Fax : 510-336-1615 Call: 510-336-1612

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

Rutherford-Miss Marple comedy- Goodwin scored some of Disney’s film themes. In 1994, producer Sir mysteries, both Village of the live-action comedies, and his final presented him with 1925–2003 Damned and Children of the score was for an animated feature the Ivor Novello award for Lifetime Damned, and had great popular called Valhalla. Achievement in Music. He is sur- opular English film com- success with the period adventure More recently, Goodwin toured vived by his wife Heather and his Pposer Ron Goodwin died comedy Those Magnificent Men in the world, a mixture of son Christopher. suddenly at his home near Their Flying Machines. , popular tunes and —Scott Bettencourt Reading, , on Jan. 8. He He also specialized in World War was 78. II adventures, his scores in that Goodwin learned to play the genre including , Grammys Return to the Big Apple at age 5, and at 15 he had 633 Squadron, Operation Crossbow already conducted his own orches- and Force 10 From Navarone. fter a four-year stint in Los Best Song Written for a Motion tra. He wrote for When Sir William Walton’s score for AAngeles, the Grammy Awards Picture, Television or Other bandleaders such as Stanley Black the epic Battle of Britain was telecast will make its return to New Visual Media and Ted Heath, and composed for rejected, Goodwin was hired to York City with the 45th annual cer- “Hero,” Chad Kroeger, ; radio broadcasts in the 1950s. write the replacement score, and emony staged at Madison Square Spider-Man An American producer signed both scores are featured on Ryko’s Garden on Feb. 23, 2003. The show “If I Didn’t Have You,” , him to score his first feature, soundtrack CD of the film. He sup- will be broadcast on CBS. The songwriter; Monsters, Inc. Whirlpool, in 1958; he would score plied another first-rate replace- film-music-related nominees are: “Love of My Life—An Ode to ,” more than 60 films over the next ment score for ’s Erykah Badu, Madukwu Chinwah, 30 years. His film career thrived Frenzy, when the master of sus- Best Score Soundtrack Album for Rashid Lonnie Lynn, Robert Ozuna, during the ’60s, when he worked in pense decided that Henry a Motion Picture, Television or James Poyser, & Glen seemingly every genre. He scored Mancini’s original score was too Other Visual Media Standridge, ; Brown Sugar all four of the Margaret Herrmann-esque. During the ’70s, A Beautiful Mind “May It Be,” Enya, Nicky Ryan & Roma and the Sorcerer’s Stone Ryan, songwriters; The Lord of the JOHN WILLIAMS Rings: The Fellowship of the Ring : The Fellowship of “Vanilla Sky,” Paul McCartney, songwriter; the Ring Vanilla Sky Monsters, Inc. RANDY NEWMAN Spider-Man Other categories whose nomi- nees included film composers or Best Composition film-related performances are: “Hedwig’s Theme” (from Harry Potter and the Sorcerer’s Stone) JOHN WILLIAMS Best Instrumental “Inspiration” KENNY WERNER Six Feet Under Title Theme “The Ride of the Doors” , arranger LOOKIT WHAT I GOT: Goldenthal shows off his trophy. (from Monsters, Inc.) RANDY NEWMAN Signs Main Title Best Musical Show Album Elliot’s Our Golden Boy Six Feet Under Main Title Hairspray THOMAS NEWMAN , producer es, it may be difficult to look beyond scary Sharon Stone’s desper- SCOTT WITTMAN, lyricist ate, psychotic and utterly unattractive cries for attention. And Y Best Compilation Soundtrack MARC SHAIMAN, composer and lyricist aging chain-smoker Lara Flynn Boyle’s fairy princess slut-fest may still Album for a Motion Picture, be a little too fresh in our minds. But there were a few prizes Television or Other Visual Media Best Rock Instrumental handed out at the strange affair that is the Golden Globe Awards. As far Dogtown and Z-Boys Performance as FSM readers are concerned, here are the ones that mattered most: I Am Sam Love Theme From The Godfather Best Original Score - Motion Picture , Six Feet Under SLASH, guitar Best Original Song - Motion Picture Standing in the Shadows of The Kid Stays in the Picture “The Hands That Built America,” Gangs of ; Music and : U2 Y Tu Mama Tambien (JEFF DANNA, composer) FSM

JANUARY 2003 4 FILM SCORE MONTHLY v8n01 issue 1/28/03 10:30 AM Page 5

pre-orders by mail: [email protected] (1968), remixed and restored to its Record Label Round-Up www.cinesoundz.com original glory, with an additional Citadel 49 minutes of music, all in spectac- NEWLY ANNOUNCED PROJECTS Due for an imminent release is ular stereo. AND INCOMING Sonny (). Next month: Music from today and www.citadelrecordsusa.com tomorrow.

Disques Cinémusique Due in March is the limited-edi- Available now Feb. 4: Shanghai 1M1 releases of The Big Sky (Dimitri tion, remastered, 2CD set of La Knights (various). Available now is the double-score Tiomkin, including the complete Révolution Française (The French release of Eliza Fraser and score from archival sources and a Revolution)—First and Second La-La Land Summerfield (both Bruce 36-page color booklet) and A Parts (1989; , per- Available now is Richard Band’s Smeaton). www.1m1.com.au Summer Place (Max Steiner, fea- formed by The British complete, remastered score for turing the complete score from and ). director Stuart Gordon’s H.P. Aleph magnetic tracks). www.disquescinemusique.com Lovecraft’s Re-Animator in stereo. Due in spring 2003 is The 540-635-2575; www.screenarchives.com The first 40 to order will get copies Hellstrom Chronicle. DRG autographed by Band and Gordon. www.alephrecords.com Cinesoundz Availabe now is Murder on the Forthcoming is Elia Cmiral’s score Upcoming are re-releases of the Orient Express (Richard Rodney from ’s They. All Score Media two classic Mondo Morricone Bennett). www.lalalandrecords.com Forthcoming is Pornorama—Bon albums, plus a third volume with Voyage (lounge music). lounge music by the Maestro. FSM www.allscore.de Also forthcoming: the German This month, as promised, we pres- Due in May is John Morgan and score-and-dialogue release of ent a pair of seafaring scores. The William Stromberg’s new recording BMG Mission Stardust—Perry Rhodan Golden Age Classic is Miklós of Tiomkin’s Red River, followed by The Caine Mutiny () (Anto Garcia Abril and Marcello Rózsa’s Plymouth Adventure a June release of a Max Steiner CD isn’t dead yet—stay tuned. Giombini); and the second vol- (1952), featuring the complete featuring two scores from Bette ume of the Morricone Remix score plus extensive suite of alter- Davis films: All This and Heaven Project. nate cues, all in mono. The Silver Too and A Stolen Life. Also on the Forthcoming are limited-edition tel: +49-89-767-00-299; fax -399; Age Classic is docket for 2003 is the first full-

NOW PLAYING: Films and scores in current release

25th Hour Hollywood Antwone Fisher Trauma City of God , ED CORTES Confessions of a Dangerous Mind Domo Darkness Falls Varèse Sarabande Deliver Us From Eva MARCUS MILLER Hollywood** Gods and Generals , Sony Classical The Guru DAVID CARBONARA Universal** A Guy Thing n/a How to Lose a Guy in 10 Days Virgin* Just Married n/a Kangaroo Jack TREVOR RABIN Hip-O* Lost in LaMancha MIRIAM CUTLER n/a Max DAN JONES n/a Narc TVT National Security RANDY EDELMAN n/a Nicholas Nickelby n/a P.S. Your Cat Is Dead DEAN GRINSFELDER n/a RANDY EDELMAN Hollywood* Spider HOWARD SHORE Virgin (France) The Recruit Varèse Sarabande The Wild Thornberrys Movie VARIOUS Jive* WXIII KENJI KANWI n/a *mix of songs and score **song compilation with less than 10% underscore

FILM SCORE MONTHLY 5 JANUARY 2003 v8n01 issue 1/28/03 10:31 AM Page 6

RECORD LABEL ROUND-UP

length, complete recording of film composer ’s Piano Korngold’s The Adventures of . The recording took place Win An Robin Hood, to commemorate the during the 1940s and features the film’s 55th anniversary. Available composer at the piano. Autographed now are Dracula and Other Film Music by Wojciech Kilar (re-record- ings) and Fall of Berlin/ Still forthcoming is Amerika (Basil Unforgettable Year 1919 (Dmitri Poledouris). www.soundtrackmag.com Shostakovich, re-recordings). www.hnh.com Rhino/ Rhino Handmade/Turner CD or Poster! Milan Available now from Turner Classic Available now is City of God Movie Music/Rhino Handmade (D’Antonio Pinto and Ed Cortes; are The Pirate (Cole Porter) and It’s Film Score Monthly Brazilian film, featuring ’60s/’70s Always Fair Weather (Previn); due and TVT Soundtrax , jazz and ). this month: Best Foot Forward (Ralph Blane, Hugh Martin), Good are giving you the chance Numenorean Music News (Blane, Martin, et al). Imminent is Dark Crystal (Trevor www.rhino.com, www.rhinohandmade.com to win an autographed copy Jones), featuring previously unre- leased material. Saimel of the NARC soundtrack www.buysoundtrax.com/ Forthcoming from Saimel are El with music by numenorean_music.html Caballero Don Quijote (José Nieto), Thieves After Dark Cliff Martinez Percepto (Morricone) and Cronaca di Una & Baby Namboos featuring Tricky Due Feb. 12 are Fear No Evil, Morte Annunciata (Piccioni). featuring the complete original www.rosebudbandasonora.com or a movie poster. underscore to this 1981 horror fave by writer/director/composer Screen Archives Frank LaLoggia and David Spear; Entertainment and The Busy Body/The Spirit Is Now in production for early 2003 Willing (Vic Mizzy). is a 2-CD release of Captain From www.percepto.com Castile (Alfred Newman). Also forthcoming is a 2-CD set of Night Perseverance and the City (1950), to feature both The inaugural CD from this new the score from the Internet-only company, an U.S. release and the Benjamin expanded promo score of score from the worldwide Bergeaud’s Valiant, is avail- release. www.screenarchives.com able now. Slated for a Feb. 20 release is John Gale’s score to the Sony 1972 Vincent Price classic Dr. Availabe now is the soundtrack for Phibes Rises Again, to be followed , featuring performances by the CD premiere of Denny by Renée Zellweger, Catherine Zeitlin’s 1978 Invasion of the Body Zeta-Jones, and Snatchers (including a 30-minute Queen Latifah. Oh, and a couple of interview with Zeitlin). big-band cues from Danny These titles are officially licensed Elfman, too. Enter now at from MGM/UA and are distrib- uted by Intrada. www.6942.net/pr Varèse Sarabande www.tvtrecords.com/contest/narc-fsm/ Due Feb. 11: Star Trek: Nemesis Pierian SACD Special Edition (Jerry Entries must be received no later than Friday, March 7, 2003 Recording Society Goldsmith); Feb. 25: Nicholas The Pierian Recording Society, Nickleby (Rachel Portman); Mar. 4: with support from the National (), Orchestral Association, has set Darkness Falls (Brian Tyler), The Mar. 1 as the release date for a disc Day the Earth Stood Still (Bernard that will include a recording of late (continued on page 44)

JANUARY 2003 6 FILM SCORE MONTHLY v8n01 issue 1/28/03 10:31 AM Page 7

Upcoming Assignments

FIND OUT WHO’ S SCORING WHAT FOR WHOM Mark McKenzie Blizzard (dir. Levar Rachel Portman The Human Stain. Burton, w/ Kevin Pollak, ). R A, B Elliot Goldenthal Double Down (dir. Joel McNeely The Holes, Jungle Graeme Revell Out of Time, Craig Armstrong Lara Croft: Tomb Neil Jordan, w/ Nick Nolte). Book 2, Ghost of . Chronicles of Riddick. Raider 2, Love Actually. Jerry Goldsmith Timeline, Looney Richard Mitchell To Kill a King Jeff Rona Shelter Island. Fast and the Furious 2. Toons: Back in Action. (w/ ). Assassination Tango. Adam Gorgoni Easy Six (w/ Jim Mark Mothersbaugh Envy (dir. Barry S,T Resistance. Belushi). Levinson, w/ and Jack Bringing Down the John Barry The Incredibles Black), Thirteen, Good Boy House (w/ ). (/Disney). H (Henson animation, voiced by Marc Shaiman Cat in the Hat Christophe Beck Confidence Denis Hannigan Recess: All Growed , Carl Reiner, (replacing Randy Newman), Marci (w/ ), Under the Down, Recess: Grade 5 (both ani- Kevin Nealon). X (songs), Down With Love. Tuscan Sun. mated, for DVD). David Newman Daddy Day Care. View From the Top Hellboy, & Randy Newman Meet the Fockers. (w/ Gwyneth Paltrow, Mike Myers). 3: Rise of the Machines, Cursed. Swimming Upstream Thomas Newman Finding Nemo Howard Shore LOTR: Return of the Terence Blanchard Dark Blue. (w/ ). (Pixar). King. The Locket No Other Country, : Coney Island Baby. (Hallmark). Sounder. The Great Vegetable Plot Van Helsing (dir. Velton Bunch This Much I Know David Holmes The Perfect Score. (Dreamworks). ), Identity (w/ (TV). James Horner Soul Caliber, The Actors. John Cusack), Pirates of the Gigli (w/ Ben Affleck, House of Sand and Fog (Jennifer Caribbean (dir. ; Jennifer Lopez). Connelly, Ben Kingsley), Beyond O-P from ride). Borders (w/ ). My Brother’s Keeper, Semih Tareen The Third Mortal C James Newton Howard X-Men 2. (co-composer). George S. Clinton Mortal Kombat 3: Unconditional Love, Dreamcatcher John Powell Stealing Sinatra, Agent The Domination. (dir. ), Peter Pan Cody Banks. W Elia Cmiral Son of . (Universal), Hidalgo (dir. Joe Gabriel. Avenging Angel, Coast to Johnston). Mervyn Warren Marci X. Coast. The Hot Sheet Craig Wedren Laurel Canyon. I-J- K Nigel Westlake Horseplay. D-E The Runaway Jury, The Mark Isham Blackout Michael Whalen Seasons of Life, Jeff Danna Yeltsin, Wrinkle in Time. Cooler. (dir. ). The Future Is Wild, Burma. Mychael Danna The Incredible Hulk Mind Hunters (dir. Zbigniew Preisner It’s All About John Williams : Episode III. (dir. ). ). Love. Alex Wurman Hollywood Homicide Matrix 2: Revolutions, Jan A.P. Kaczmarek Neverland (dir. Diego Navarro The Time’s Gate (dir: Ron Shelton, w/ Harrison Matrix 3: Reloaded, Long Time , w/ , (Spanish). Ford), Normal (HBO, w/ Jessica Dead, AniMatrix (Internet/ani- Dustin Hoffman). Thomas DeRenzo State of Lange). mated Matrix stories). Denial, The Eye Is a Thief. (w/Jim L Helen of Troy. Y,-Z Carrey, Jennifer Aniston), Raising Perry La Marca Invisibles (w/ Portia David Holmes Buffalo Soldiers. Cold Mountain (dir. Helen, Chicken Little (Disney). De Rossi; add’l music), 7 Songs. Gary Koftinoff Absolon. Anthony Minghella). Second-Hand Lions. Dirty Pretty Things Randy Newman Seabiscuit. Scenes of the Stephen Endelman It’s De-Lovely. (replacing ), Lilja 4- Van Dyke Parks The Company Crime (w/ ), , Danny Elfman , Ever, Prozac Nation. (dir. ). Devil and Daniel Webster, Shade, Spider-Man 2. And Now...Ladies James Venable Jersey Girl (dir. Madison (themes only). and Gentlemen (w/). Kevin Smith, w/ Ben Affleck & Tasso Zapanti Proudly We Served F-G Chris Lennertz Deathlands (dir. Josh Jennifer Lopez), Bad Santa, (w/ ). Ruy Folguera A Painted House (TV Butler). (w/ Billy Bob Thornton). Matchstick Men (dir. movie), The Kiss (w/ Billy Zane). Craig Wedren School of Rock ). Robert Folk Forty, Scout, Boat Trip M-N (dir. Richard Linklater, w/ (w/Cuba Gooding, Jr.). Mark Mancina Bears, Bad Boys 2. Jack Black). Get Listed! Step Into Liquid, Clint Mansell Rain, Suspect Zero, Enterprise Composers, send your info to Zachary Beaver Comes to Town. 11:14. (episode: “Judgment”). [email protected]. Vincent Gillioz Scarecrow. Gary Marlowe Lautlos.

FILM SCORE MONTHLY 7 JANUARY 2003 v8n01 issue 1/28/03 3:40 PM Page 8

SOUND Concerts cond.; Concert premiere of The Hours (Glass), TRACK FILM MUSIC Mar. 21, 22; Dallas S.O.; “Tribute to Maurice PERFORMED LIVE Jarre.” ALBUM Feb. 8, Mesquite and Carrolton, TX, Vertigo. RETAILERS Wisconsin Mar. 28-30, Milwaukee S.O.; The Hours (Glass), Specializing in premiere of 30-minute suite of music from the Arizona film with original piano soloist, conductor and SOUNDTRACK, Mar. 8, Tucson S.O.; “Ride of the Cossacks,” arranger on the film score, Michael Riesman. from Taras Bulba (Waxman). BROADWAY International and STUDIO CAST CD’s Feb. 13, Walnut High School S.O., Elmer Britain Bernstein, cond.; Kings of the Sun, Far From Mar. 19, , BBC S.O.; , DOMESTIC and IMPORT Heaven, Ghostbusters, Summer & Smoke, cond.; “Tribute to and Erich Magnificent Seven, I Love Lucy (Harold Korngold” (part of a TV documentary). RELEASES Adamson, Elliott Daniels), Friendly Persuasion Mar. 21, London, Royal Academy of Music; e-mail or write for your (Tiomkin). Prince Valiant (Waxman). FREE CATALOG Florida Canada P. O. Box 487-Dept. FS Feb. 15, Pensacola S.O.; “Tribute to Victor Mar. 23, Nova Scotia S.O., ,Vertigo New Holland, PA 17557-0487 Young.” (Herrmann). NEW e-mail: [email protected] South Carolina Feb. 20-22, Ottawa, National Arts Center. phone/fax: Feb. 14, 15, Charleston S.O., The Godfather Orchestra; Dr. Zhivago (Jarre). (717)351-0847 (Rota), Romeo & Juliet (Rota), Dr. Zhivago Visit our website at: (Jarre), I Love Lucy (Harold Adamson, Elliott Attention, Concertgoers www.soundtrak.com Daniels). Due to this magazine’s lead time, schedules ALL MAJOR CREDIT CARDS ACCEPTED Texas may change—please contact the respective Feb. 6 & 9, Dallas S.O., Richard Kaufman, box office for the latest concert news. FSM

SCREEN ARCHIVES ENTERTAINMENT Large selection of new domestic and import releases, older releases and out-of-print CDs Major credit cards accepted. Write for free catalog! PO Box 500 Linden, VA 22642 ph: (540) 635-2575 fax: (540) 635-8554 e-mail: [email protected] visit: www.screenarchives.com

JANUARY 2003 8 FILM SCORE MONTHLY v8n01 issue 1/28/03 10:31 AM Page 9

RANTS, RAVES & RESPONSES MAIL BAG TO READERS

Ballistic: Ennio vs. Rolfe when hopefully you’ll put out bottled up, I will now vent my was the best soundtrack. That just just wanted to say that FSM’s some more U.N.C.L.E. and I Spy thoughts about the poll (Vol. 7, No. did it for me. Polls such as these I“Top 40 Hit Makers” (Vol. 7, No. music. How about Johnny 8, p. 4) on “the greatest film sound- cannot possibly be taken seriously 7) was a good article. I enjoyed it, Williams’ Checkmate, too? track of all time,” a stupid and unless they are much more com- and, undoubtedly, John Williams Ronald Radjanowski meaningless phrase if ever there prehensive in scope, covering the belongs on top. Still, I thought , was one, since its scope would widest possible variety and age of should have have to include over 30,000 films. films. Any film music poll that been higher in the rankings, espe- Yeah, that end-titles thing makes us want Surely, no serious film music col- includes only four films made cially above people like to watch La Femme Nikita. Seriously. lector or enthusiast can really be before 1960 is a complete waste of (with all due respect to Kent). And you’re right, Williams’ Checkmate expected to believe that 30% of the time, and I’m surprised you even Ennio’s Malena, though it wasn’t a music is fantastic—we’ll put it on the “greatest soundtracks of all time” gave it space in your magazine. big money maker, was recognized wish list—even though it’s owned by a were written by John Williams. Thank you for allowing me to by the Oscars. That’s right. If your different studio than the ones we are That is completely ludicrous, and have my say. Your magazine is a list was 100% based on gross rev- working with currently. becomes even more so when one tireless campaigner for the promo- enue of the movies, David Arnold sees that John Barry accounts for tion of classic film scores, and you would be much closer to the top. Schoolboy Musings another 10%. deserve full support in taking a On a different note, I’m having any congratulations on How can a poll like this be given stand against pop pollution and difficulty finding the answer to MTim Curran’s splendid edi- credence when it contains only encouraging real film music. this question: Who has com- torial about the curse of four films before 1960—a stagger- Whatever my support is worth, posed the music for the most (Vol. 7, No. 8, p. 2), which is doing ing 63% of the films were made you have it. films? Is it John Williams? Could so much to give film music a bad after 1980, and an incredible 40% Christopher Tunnah it be someone like Henry name these days. I am with him after 1990! All this indicates is that England Mancini or or even 100% on this. I’ve admired the someone like ? classic film scores since I started Tim Curran responds: Thanks for venting, Any chance you have a list with collecting them as a schoolboy 40 Christopher. First, lest my editorial be mis- the number of movies by each years ago, and I loathe and detest construed, I feel compelled to clarify that composer? That would be great. pop music. For the past five years, my position is much less a hatred of pop Thanks. I have been writing a comprehen- music and more an indictment on the Keith Metzger sive reference work on film music way it’s used as a marketing tool in films [email protected] that is steadily (if slowly) heading these days. In fact, I’m a fan of quality toward completion. In the pop music, just as I am a fan of quality Keith! Try looking up your favorite com- Introduction to my book, I have film music. And as far as the poll is con- posers on the IMDB. Or purchase the Film written a scathing attack on this cerned, I think it goes without saying Composers Directory that we sell (pg.40.) sacrilegious pop pollution, which that every poll should be taken with a The answer’s probably Morricone, though. does nothing but contaminate the grain (or three) of salt. once illustrious world of classic As for the Michael Hennagin situation, The Wo(Man) From film music. Keep up the good you’re right, the timing doesn’t add up, U.N.C.L.E. work, Tim. You now have at least the people involved in the poll what with the film in question—Lilies of hanks for The Man From one more idealist here. have very limited viewing experi- the Field—being made in 1963. You’ll be TU.N.C.L.E. It brought back I now desire clarification on a ence, and merely confirms that happy to know that as a result of this memories of great music from a confusing statement in Jeff Bond’s many people have little or no factual abomination, our fact-checkers great show. I especially enjoyed article on Michael Hennagin (Vol. knowledge of classic film scores. have been sacked. hearing the different end titles. I 7, No. 8, p. 48). Bond states that There isn’t a single score there by hate watching major network Hennagin left Hollywood in June Rózsa, Korngold, Newman, The Eighth Sin shows nowadays because they 1965, and just after his departure Waxman, Friedhofer or Tiomkin. I was looking over the FSM web- replace end titles with coming from Hollywood, he received an think that speaks for itself. Also, I site and the liner notes for the attractions for whatever’s up next. offer, relayed by Jerry Goldsmith, interestingly, there isn’t a single CD and saw this: “FSM’s premiere Actually, all the cable networks do to score a film which had already Goldsmith... CD of The Seventh Sin features the the same thing. At least the Oxygen been scored by Goldsmith two I stopped believing in polls complete underscore followed by channel shows all of La Femme years earlier... when a 2001 “poll” held by the the film’s source music: a 17:28 Nikita with its end theme intact. Finally, since FSM’s Mailbag has British film magazine Empire suite of Chinese-styled I’m looking forward to 2003 advised me not to keep my feelings stated that the dire (continued on page 44)

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Well, we can all die happy. Over the dozen+ years of Film Score Monthly’s existence, it always seemed there were so many layers of people between us and John Williams that the odds were stacked against our ever interviewing him. Mr. Williams is busy, in demand, important—and well- protected by his people, as befits a national treasure. But Jeff Bond finally got him. So, without further ado:

ohn Williams is unfailingly polite, helpful and self- GOD effacing. When he called me 10 minutes late, undoubtedly because I’d provided someone with the ALMIGHTY! wrong office phone number, he apologized to me profusely. Naturally, I was nervous about doing Jthis interview, and when there were some odd hesita- tions in the conversation I started getting worried that the interview wasn’t going well. Finally, Williams stopped the interview, apologized for interrupting me…and started praising my command of the subject matter and asking where I went to school. Ah, how I love my job. Williams had a great year in 2002, and I just wanted to talk to him about how he approached tackling four huge films in the space of 12 months. Unfortunately, I forgot to ask him anything about Harry Potter, so you’ll have to find answers to your Harry Potter questions elsewhere. I did ask him one question that has been bothering people for years: Was he intentionally referencing 's “madness” theme from Psycho in Star Wars when Luke, Han and the gang emerge from under the floor of the Millennium Falcon just after they arrive on the Death Star. The answer: “No.”

FSM: You generally do one or two scores a year; in 2002 you did four scores, all for very major releases, including two huge franchise scores. Did you have an idea what you were getting into? John Williams: I knew that it was going to be a full and difficult schedule. The two franchise pieces, Star Wars and Harry Potter, to some extent I had a head start [on] although both have tremendously lengthy and difficult scores. Probably 50 percent of the material in both of them was original to this particular episode, so it wasn’t like starting from scratch as it was on the two Spielberg films. Having said that, with that slight leg up, it’s been a very busy year.

Times Have Changed FSM: You wrote a great love theme for Attack of the Clones that reminded me a little of your work on Jane Eyre. JW: It was certainly unique to have a love theme in a Star Wars film. I loved having the opportunity to do that; we rarely can write a sort of sweeping, dramatic and tragic love Portrait courtesy Jorge G. Avila Andrade theme in films these days. They’re difficult to do and they’re rewarding to try and create; these things are always in the FSM Finally Talks to great tradition of Romeo and Juliet and Tristan and Isolde, these love/death kinds of stories where the idea of love John Williams eternal is shared by the lovers beyond temporal life, hence this sort of tragic quality of the melody. It’s along these lines Interview by Jeff Bond

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that I tried to achieve that character. I particularly enjoyed Fortune and Glory that aspect of the score. I don’t know what George is writing FSM: It’s interesting how universal your music has for the , but I’m hoping that this kind of star-crossed become, to the point where you have to be one of the few lovers theme, which I called “Across the Stars” as a kind of composers who works in the concert world who actually play on words, will be something that can be revisited and has legions of fans. I know that you’re a very private person, developed further in the finale. We’ll see when we’re able to so how do you deal with the fact that you can actually be look at what George is preparing. recognized in public? FSM: You wrote an incredibly linear piece of chase music JW: In where I conducted the orchestra for 14 for that film, and you even put an electric guitar into it. years, there is a recognition factor there because I’ve done JW: I just basically think that we wanted a suggestion so much in the city on television and concerts all over the and a coloration to the orchestra of the pop-racket, traffic- place. Other than Boston, though, I think I’ve got anonymi- din effect that’s produced so much by contemporary music ty wherever I go physically, so I don’t really sense that. Mine created on , drum machines and probably not even played by electric guitars anymore—most of those are probably synthesized also. It was along those lines, to create a texture of the futuristic urban atmosphere depicted by the CG effects George’s people created. FSM: The first Star Wars film ended with an action sequence that was under 15 minutes long, and it was a very focused sequence with a clear goal: Blow up the Death Star. Now in the prequels there’s a lot of crosscutting, and you may be writing music for climactic action that’s spread across 30 or 40 minutes of the movie. How do you tackle that kind of job just from a logistical standpoint? JW: I usually construct these things in two- to four- sometimes five-minute segments, and I can’t say that I con- struct an arc for the whole 40 minutes at the beginning of that, but I’ll do that for each template of the 40 minutes, each musical cue. Normally I work from front to back, but not always. Sometimes I’ll do the finale segment first, so I’ll is a quiet working life, and although there’s a public aspect Catch Me know where I’m heading and I can sort of de-compose if a to it when I do conduct at the or some- melody or an aspect of musical development is completed thing, that’s one response. But another aspect is that any If You Can in some scene. I can then take that completed thing and conversation about this just underscores the power of film extract elements from it and present them in a somewhat and the reach that film has and the reach that music from was kind of fragmented way, so that as they come together in the end, film can have. We do concerts for two or three thousand there’s a sense of inevitability to it. That’s one technique. All people in a hall, and 15,000 people may be outside, but mil- a lark—we of the additive things that we can do in and in lions of people will go see Harry Potter and at least uncon- tempo play into it. sciously hear the music, and in the case of Star Wars prob- had brilliant To put it very simply, you could start at one tempo and ably many millions over the decades. So I marvel at what continually, gradually and imperceptibly increase that, and that says about communication and the time we live in. We players who at the same time go through a series of modulatory see examples of that every day, and I’m grateful about the processes that will move it up a third, down a fourth, up a opportunity presented to . None of our col- did a really fifth, down a sixth, this kind of manipulation of sonic mate- leagues in past epochs have had anything like what we can rial so that things are happening in an additive way that will enjoy in terms of the dissemination of our music while remarkable make the 40 minutes play sensibly we hope. It isn’t done as we’re alive, in the short time that we’re doing it and we’re purely by me in films as that may sound, because we also here. So I guess my bottom line is I’m pleased and happy job of playing have all the distractions of sound effects, and there may be and grateful that we’re in a medium that’s appreciated and a four-minute section within that 40 minutes where the disseminated so widely. And the quality of reproduction of something music will intentionally lay back and let the sound effects recordings we have now and the quality reach that film has take over. So it’s an almost ad hoc process, which is to say for people all around the world is wonderful. The other that seems that every one of those things has its own set of problems thing is, my conducting of the orchestra in Boston on tele- and opportunities and they’re all a little bit different. But I vision for so many years had something to do with that impossible, Portrait courtesy Jorge G. Avila Andrade think every composer, we use the tools we have, the tools of because it was a wonderful pulpit to bring forward not only texture, , tempo, key and loudness and speed and the film music, but contemporary music that wouldn’t be and made it variations of all those things to create as interesting a played in subscription concerts by our symphony orches- tableau as we can. But if you’re writing a 40-minute piece tras, but which can be beautifully done by a symphony sound easy for orchestra you probably wouldn’t do it the same way. The orchestra. Film music concerts around the country have noise of the film dictates so much of what we do—the col- become more and more popular around the world. and natural. lective racket of what’s going on—and that contributes FSM: You’ve worked with for more than quite considerably to what you do. a quarter of a century now, so is there really even anything

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to discuss anymore when you start working on another film the shark’s music when the shark is not present to suggest a with him? red herring perhaps or to signal the shark’s approach if it’s a JW: There’s a lot of personal visiting that goes along with long way away and we can’t see it—we can hear the music, A.I. was a it. It’s amazing for both of us to realize that this year we will which means we can feel its presence. I think there’s a sim- have been together for 30 years and I think 20 films in the ilar effect working in this film. When Frank Abagnale begins particularly course of that time. In any kind of collaborative field I think to weaken and give in to his addiction, it’s almost like a drug this is remarkable, for anyone to get along that well and addict going to the closet to find his fix, and they’re return- inviting don’t end up killing each other. It bespeaks in my mind so ing unstoppably to do something they perhaps don’t even many positive things about Spielberg. We all know the kind want to do. challenge, of philanthropic man he is, the kind of talented artist he is, FSM: You did something a little unusual with the jazz the gifted businessman that he is, and it’s kind of a worn- element, too, by eliminating any improvisation. somewhat out cliché but he’s also a wonderful family man and an JW: The saxophone and all the roulades and things that extraordinary person, and one of the luckiest days of my life he does, all of which are written—they sound like improv, like Close was meeting him. We get along extremely well, and I think but they’re written down. What that does is—in what can it would be hard for anyone not to. sound like an improvisation, we can plan the bass line with Encounters, it and construct a for it that’s more organized A Catchy Vibe than an ad-lib thing can ever be. The people who accom- with a FSM: With Catch Me If You Can you not only got back a lit- pany the ad-lib soloist don’t really know what he or she is tle to the jazz style of some of your ’60s scores, but you also going to do the next bar, so they will try to react to it or fol- considerable develop this really obsessive motif in the main title for Tom low a prearranged harmonic pattern. So this was kind of a Hanks’ pursuit of the Leonardo DiCaprio character. lark for me to do this, and we had this brilliant man, Dan amount more JW: I think “obsession” is a good word to use. Along Higgins, who played every note just as written, and every those lines and to achieve that, we were able to establish in note is traced on the vibraphone played by a young man freedom of a series of scenes that are well-paced and separated [from] called Alan Estes, who did a really remarkable job of playing each other enough to use a musical idée fixe, which is when something that when you look at it seems impossible, and musical a musical motif or identifying melodic phrase is used made it sound easy and natural. repeatedly to suggest the character or suggest the obses- FSM: You got to write the opening for a really wonderful expression. sive—a fixed idea is the literal translation I guess. The per- animated title sequence that goes back to something like fect example is the shark motif in , where we even have what Saul Bass used to do. JW: That was done deliberately in the ’60s style. The first thing that Steven suggested when he told me he was going to do this film, and he wanted to open it with one of those cartoons that opened the ’60s sleuth pieces. It’s a perfect recollection of the ’60s style in graphics and dress and color.

Sci-Fi Past and Present FSM: On Minority Report you got to go back to a style I real- ly hadn’t heard from you in a long time; you’ve done a lot of action films, but they tend to be more adventures like the Star Wars or movies and not harder-edged thrillers. This harkened back a little even to Jaws, I think, in that it was action with a much heavier psychological feel. JW: These two films this year were both of them to some extent anomalies in terms of the kind of thing we’ve done together. Minority Report is a very interesting film and a compelling one I think, with wonderful ideas about futur- ism and the pharmaceutical world of the future, to pick one aspect of it, all of it sort of wrapped in a setting. But it also has, not sentimental qualities, but the story of the lit- tle boy and the wife mixed in, which you wouldn’t have in a film noir piece, and they all seem to join the cat-and-mouse game and the sleuthing all in one way, and a fascinating way, I thought. FSM: I think you said in an interview once that Close Encounters was at least at the time the closest to your per- sonal composition style, rather than a style or sound you would adapt or work around for a specific film. Do you think you got back into some of that in Minority Report? JW: That’s possible. For Close Encounters it was a kind of harmonic idiom that to some degree was less tonal than

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what is usually required for these lighter pieces. So the that made it a very lyrical moment for me. idiom may be more dissonant. The connections you hear FSM: You’ve won five Oscars, you’ve received something are probably the result of thumbprint or handwriting, it’s a like 37 Oscar nominations, you’ve been nominated for mul- personal preference for certain textures. More than any of tiple films in the same year 10 times…do you ever get blasé that it’s a question of sitting and looking at the film and ask- about the Academy Award? ing yourself, “What should this one sound like?” There’s a JW: This thing about Oscar recognition is an amazing lightness to some of it. I think the mechanical spyder sec- success story—the concept of the Oscar. When you go tion, although it’s incisive and sharp and has a little levity to around the world people are interested in that—they may it also, I enjoyed working on that piece extremely. I was par- not know what an Emmy or a Grammy is, but they know ticularly fascinated by the character of Anne Lively, the what the Oscar is. We need a trained sociologist to explain long-ago-murdered woman, and I used a voice as a texture this phenomenon. For me, I’ve never been blasé about within the orchestra to evoke the memory of the moment of these things. The cliché has it that the nomination comes her death, which is referred to several times in the piece, from one’s peers and therefore has a little more gravitas and and is what we see and hear when the real culprit is revealed at the end of the piece. FSM: I have to ask you about A.I., which I thought was an incredible score and a very powerful film, but one that seemed very tough on audiences. JW: It’s a very unusual piece, haunted by Kubrick I think. I know Steven had a lot of contact with Kubrick about that. To some extent it was an homage to Kubrick by Spielberg. The one area that has any musical connection to Kubrick at all was the quote of Der Rosenkavelier as the car crosses over the tunnel going into Rouge City. The only thing Steven said to me was that we had to use the quote of Rosenkavelier somewhere because that’s the one thing that Kubrick said he wanted to use in the film. The problem was finding a place for it, but it seemed to fit and work in that special effects sequence. I think what I saw at least critically was fairly complimentary; I think critics seemed to think Steven was not resting on his laurels, that he was continuing to grow and that while the movie was not entirely successful in every way, it had some memorable and wonderful things about it. This is exactly in line with the way I felt about the piece. It was a particularly inviting challenge for me, in that sense somewhat like Close Encounters, because I felt like I had a finer set of brushes or opportunities and I was offered a considerable amount more freedom of musical expres- sion. So much of what we have to do in film is restricted by the length of the scene or the texture and style of what the music needs to be to really marry with the scene itself. In the case of A.I. it was a broader canvas that offered the opportunity to stretch a little more than usual, and where I had that opportunity I enjoyed it a lot. FSM: The ending of the movie is really devastating and also really open to interpretation. A lot of people thought it was a maudlin, happy ending about this robot boy being a little more weight to it, and I believe that that’s true and I reunited with its mother, but to me it was more like some- feel that. It’s something that’s a little like winning baseball thing out of Sunset Boulevard, where the boy may believe games, I think: It’s the one you’re playing that you want to it’s gotten what it wanted, but that’s based on its own pro- win, and wins and losses in the past sort of fade away. It grammed, warped perception of the world. bespeaks something of our perhaps flawed humanity that JW: The way I felt about that ending was that this little it’s something that we’re compelled and fascinated by. I automated creature who finally briefly finds his mother and think it’s a human thing that describes us—each time achieves a biological death with her, that he is then able to seems like the first time. I don’t think one gets blasé about die with her tells us that in the end he’s able to achieve a that—other people might find it a lot less important than measure of humanity. The two things we all share in com- those in the , but it seems to be something that mon are birth and death and those are things that ultimate- captures the imagination. FSM ly define our humanity as creatures, as animals. And his being able to slip off to the place where dreams are made Thanks to Hollywood Reporter editor Noe Gold; publicist Ronni Chasen; humanizes him in a way that nothing else is able to do, and Jeff Sanderson, and Jamie Richardson at Gorfaine-Schwartz.

FILM SCORE MONTHLY 13 JANUARY 2003 v8n01 issue 1/28/03 10:31 AM Page 14 THE BEST (& THE Baruch Atah Adonei, Eloheinu Melech Ha’olom! Jon and Al Kaplan Make Their Pronouncements

Wow. We thought last year was could have been if we hated everything. But 3. Star Wars Episode Two: Attack of the Clones good, but 2002 was the kind of year we we don’t. And we shouldn’t. Instead, we 4. Catch Me If You Can thought we’d never see again. Sure, the film- rejoice in the music of 2002. And as we do so, 5. Harry Potter and the Chamber of Secrets scoring scene is still an ocean of raging diar- we’ll still find plenty of things to insult along 6. Signs rhea, some of it as thick and black as ever. the way. We’ll try not to be as offensive as we 7. Road to Perdition That doesn’t take away from the fact that this were last year, where our comments upset at 8. Spider-Man is the first time in perhaps 15 years that we least two to three people. So put on your 9. Far From Heaven can compile a legitimate Top 10 list. reading glasses, grab a bag of popcorn and Nowadays, if we get two or three good scores kill your wife, because it’s time for Jon and Okay, we don’t have 10. But in a year, we’re happy. This year, we get to Al’s Best and Worst of 2002! nine is enough. Of course, if you wipe John present a list where all 10 scores actually Williams off the list, it’s just a fine year bol- deserve Top 10 status! stered by the remarkable Two Towers. Yes, that’s well and good, but it’s also cause The Top 10 of ’02 for concern. As we all know, critical writing is usually more entertaining when it’s negative, 1. Lord of the Rings: The Two Towers so maybe this article won’t be as funny as it 2. Minority Report Best Composer Ever Award This was John Williams’ most prolific year since 1989. A Star Wars score, The Two Towers Award Minority Report, a Harry Potter score, Catch Me goes to...Howard Shore If You Can. And what marvelous scores they are. Williams is almost singlehandedly keeping Howard Shore sure is doing a wonderful good film music alive. If only good film music job on this series. It pains us when we browse through movie could keep John Williams alive. Williams is a music news groups and read comments like “Howard Shore’s national treasure, and we find it deeply dis- music is good, but plenty of other guys could have written just turbing that he might eventually die. as good a score.” Really? Who? John Powell? Joel McNeely? BT? (We’d list about 40 other people here but we’re running out of people who are still willing to talk to FSM.) Outside of Howard Butcher of Bakersfield Award Shore and maybe four other guys, if anyone else had done LOTR, the resulting composer interview goes to... would have read: “Well, this scene was temped with Jerry Goldsmith so we decided to do an odd- meter thing. Jerry Goldsmith is so good with odd meters. So aggressive. I really like him a lot.” Mr. Lucas should be ashamed Perhaps the most important aspect of Howard Shore scoring Lord of the Rings is just that—it’s of what happened to the score for Attack of the Howard Shore’s Lord of the Rings. It’s not someone else’s inferior approximation of what John Clones, but he may not even realize how horri- Williams or James Horner would have done with it. We’ve already heard Williams’ and Horner’s bly it was treated. He certainly has the final takes on this kind of subject matter, so Shore’s is all the more welcome. And it’s as good as it is dif- say, but the true culprit here may have been ferent. The thematic cohesion that Shore is bringing to these films is fanatical. Thus, the albums sound designer/editor Ben Burtt or Williams’ get better and better with each listen—no matter how many times you hear them, you’ll find some music editor Ken Wannberg (or some combi- new nuance or relation between ideas. Shore’s Two Towers is teeming with subtlety and rivals his nation of the three). Regardless, someone original in thematic development. It boasts great new themes, but they spring naturally from treated this score like wrapping paper for a gift materials from Fellowship. And the original Fellowship themes are further developed. We, for two, that wouldn’t sit still, like a living puppy. can’t wait for Return of the King. Appalling. Especially on a Star Wars film.

JANUARY 2003 14 FILM SCORE MONTHLY v8n01 issue 1/28/03 10:31 AM Page 15 WORST) OF 2002

but we can’t find it. What a year for spiders! The Bad Timing Award Eight Legged Freaks is also about spiders. Why goes to...Jeff Bond does the Eight Legged Freaks score sound so Hebrew? There is no discernible connection Jeff finally got to interview John between Jews and large mutant spiders. Here is Williams—and that interview is in this very a story about Eight Legged Freaks: One day, issue. So if John Williams ever reads an FSM it’ll before the Attack of the Clones CD was probably be this one. One where we talk about released, Jeff Bond tried to download advance George Lucas murdering him (see previous sound clips of the score, but he had acciden- category for emphasis). We love you, John tally left Eight Legged Freaks in the computer’s Williams. We love you far more than you can CD player. As the Star Wars clips failed to load, love yourself. (And we know that even if you do the CD, unbeknownst to any of us, started read Jeff’s interview, you’ll never read this.) playing. So all of us stood there listening to How to Score a Conveyor Belt Scene The Spider Award Minority Report goes to...John Williams

It’s funny that such a gentle, Williams’ chromatic Minority sweet man like John Williams writes some of Report spyder music edges out his ball-busting the most aggressive action music ever commit- Harry Potter spider action cue. Elfman’s Spider- ted to film. In Minority Report, Tom Cruise and Man is a fine work, but no individual cue cap- Colin Farrell duke it out in a car factory as tures the essence of a spider as well as the Williams sectionalizes the orchestra into a jab- Williams pieces. Howard Shore’s score for bing, atonal frenzy of questions and answers. Spider might be available in other countries, Williams has said it before and he’s right: Scoring a good action scene is like writing for ballet. Watch this sequence and you can prac- Danny Elfman on Spider-Man tically see Spielberg and Williams dancing. The themes: “What proved most elusive was the fact that the theme I wrote for Spider-Man as a hero, I couldn’t make work for two of the six scenes I was using for my acid test—I pick any- How Not to Score a where between three and six scenes in a movie and those scenes carry the thematic material Conveyor Belt Scene that is the heart of the score, and if I can make the music work in these scenes I can write the Attack of the Clones whole score. The alternate side of the theme was fighting the more human side of Peter Parker, and it wasn’t quite working. I was banging my head against Williams’ original cue for the the wall until I found this ‘B’ section to the first theme; I was conveyor belt scene in Episode 2 was dead- trying to make one melody work for the two sides of his char- on— a whacked-out, mechanical jaunt written acter, but it became obvious that there needed to be two ele- for an insignificant set piece. But when George ments to the theme: one that played the superhero side and Lucas decided to add the important subplot one that played the human side. It was an incredibly simple where C-3PO’s head comes off, it became nec- solution in hindsight but not so simple getting there.” essary to track the scene with hacked and reordered excerpts from “Zam the Assassin,” Oscar buzz: “Scores are generally nominated by the Yoda’s theme, and whatever else Ben Burtt or genre and the type of movie, and it’s a difficult genre unless Ken Wannberg felt like dumping in. You’re it’s perceived as an epic—Lord of the Rings is kind of an right, 3PO. “It’s a nightmare.” Watch this exception. It has to do with people’s perception of the sequence and you can practically see George movie—very often they have to perceive the movie seriously in order to think of the score seri- Lucas strangling Williams with a piano wire... ously. It tends to put it a bit off in a non-serious or nonsensical category—but what do I know?”

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Eight Legged Freaks, trying to figure out how Clones. Here’s another bad thing we have to say Williams’ score never paid it true tribute. The the hell it could possibly be Star Wars. about Attack of the Clones: only thing flatter than Natalie Portman’s belly is her acting. Our friend Mike recently sent us a paparazzi photo of Natalie Portman The Spider-Man Award The Ronald Reagan Award vigorously digging at her own butt crack. Very goes to...Danny Elfman goes to...John Williams. unprincess-like. Still, if only she put the same enthusiasm in her Star Wars performances... Second runner-up for The In a recent Star Wars Insider, Spider Award, Elfman takes home 2002’s hotly John Williams declares that “Across the Stars” contested Spider-Man Award. A lot of people is the first love theme he’s written for a Star Best Main Title complained about a lack of a main theme in Wars movie. That’s right. Han and Leia were goes to...Sum of All Fears Elfman’s Spider-Man—strange because we just friends. Here are our lyrics for Han and counted two main themes for Spidey and Leia’s theme: “They’re friends; they’re not in This is a tough one. James Newton another one for the Green Goblin. Even Jeff love. They’re just friends; it’s not a love Howard’s main title for Signs is mind-blowing; Bond heard them (see Jeff Bond’s virtually theme. They’re friends, because John Wiiiil— savage and exquisitely naked in the film. When identical paragraph on page 20). If you didn’t liams says so, and it doesn’t maaaat—ter if it ends, it leaves you on such a high that you hear a theme in Spider-Man, please call (310) he’s wrong.” This is John Williams’ second don’t even notice that nothing happens in the 253-9595 and we will sing it for you. Ronald Reagan Award; he also won for The first two hours of the movie. (Just kidding—we Patriot (see FSM Vol. 6, No. 1). kind of like the movie.) Kudos to the short and despicable M. Night Shyamalan for creating the main-title sequence for the express purpose of Best Flat Belly Music showcasing Howard’s score. This is quickly goes to... becoming the most exciting director-compos- ing team since Chris Young and John Amiel What?! We never thought we’d (their inspired work on Entrapment has us give Lisa Gerrard an award for anything foaming at the mouth for The Core!). except retiring, but her deep, moaning, les- bianic voice is just perfect for the scene in Despite Signs, the year’s best Unfaithful where Paul Martel sucks on Diane main title is Jerry Goldsmith’s Sum of All Fears, Lane’s quivering belly. It captures all the a stunning choral piece that carries such emo- guilt, pleasure and primal lust of Lane’s char- tional heft it almost singlehandedly salvages an acter as she reminisces on the subway ride otherwise sucky, watered-down Tom Clancy home. Plus, it lends an odd, foreign “This thriller. The rest of the score pales in compari- can’t be happening” vibe to the sex act itself. son, but this opening cue (the last piece written We also make special note of Natalie for the film) is a stunner. Forget The Last The Sam Mendes/ Portman’s flat belly in Star Wars, but Castle—this is Jerry’s true prayer for 9/11. More Bad Things About Attack of the Clones Award Rolfe Kent on About Schmidt goes to...Sam Mendes

Sam Mendes should be com- The film: “The film is quite emotional, where the previous Alexander Payne films weren’t. The film mended for allowing Thomas Newman to is not a genre film. There’s something not cynical about it; it surprised me that Alexander responded carry so much of Road to Perdition, often omit- to it. There’s something very straightforward about translating emotions and humanity.” ting sound effects entirely in favor of music. The “Road to Chicago” scene is particularly The score as an album: “I can never tell how signifi- effective thanks to this. Mendes is one of the cant or not significant a piece of music is. Sometimes you few working directors who realizes that people work very hard to produce something you think is going to already know what a car sounds like when it really make a great statement and discover that it becomes drives down the street. But evidently we marginalized very easily, and the opposite exists as well. You haven’t seen enough Star Wars movies to know create something you think no one is going to notice and sud- what a spaceship sounds like when it whizzes denly it becomes very significant.” by, so, in most cases, John Williams lost out to Ben Burtt’s painstakingly detailed cacophony Oscar buzz: “Whatever happens, happens. I’m hardly for Attack of the Clones. Damn, Ben Burtt is a against that, but the point for me is the creativity, the art of talent! By the way, our mother can wave a film scoring. For me it is a question of seeing what I can toaster oven in front of a microphone too. She make of any one particular moment, and it doesn’t feel would like to supervise the sound for Star Wars complete until I feel like I’ve really invested something of me in the music. I don’t regard film Episode III: The Waste of Time. It seems we just scoring as a business; it’s very much a form of expression for me.” can’t say enough bad things about Attack of the

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Thomas Newman on Road to Perdition The Three Stinkers Award goes to...John Powell The film’s mythic approach: “Big scale was some- thing Sam Mendes was looking for, and the notion of refresh- Two Weeks Notice, Pluto Nash ment—with the big first act ending with the murders, that and that direct-to-video Stallone movie Eye See there would be a huge contrast in tone and feeling on their You (or, as we like to call it, Eye Suck). This is drive to Chicago—it wanted to be large and orchestral in its John Powell’s second consecutive win for the scope. The beginning was filled with lots of ambient tones, as “Three Stinkers Award.” He won last year for I like to do, so it piqued my interest in the music—how do you Evolution, Rat Race and Shrek (or I Am Sam, join the big with the small? How do you let music live behind take your pick). a scene without walloping it? Often when you’re with an orchestra, playing as quietly as you can, you still get a sense that something big is happening. When it comes down to The War Is Hell Award dubbing the movie and putting that behind dialogue, I designed tones and various small colors that goes to...James Horner could really significantly live well in the background and still maintain a kind of sophistication and interest without being a pounding commentary. I was never interested in blowing the nuances of Man, is James Horner in a rut actors’ performances either. I’m interested in the small scale: subtextualizing scenes or deepening with these big splashy war epics! Windtalkers their significance as opposed to commenting on their significance. It’s probably a lot of my dramatic is 77 minutes of boredom, and the Lisa sensibilities, what interests me going into a theater.” Gerrardian moanings of Four Feathers sound like Horner’s dragging the vocalist down a flight of stairs by her . Horner needs to get Elmer is still the best at it, it’s not like he’s years. And speaking of Mr. Kamen, why wasn’t back to doing what he does best. What that is, breaking any ground. It’s a nice throwback. It his work on Band of Brothers at least nomi- we have no idea. may even win the Oscar because it’s so flam- nated for an Emmy? All the worthless horrible, boyant and effective in the film. Should this horrible crap that’s written for TV, and they come to pass we will be thrilled for Elmer. In slight something that’s actually good. the meantime, we will continue to wait patiently for an album release of Elmer’s great- est unreleased work, Funny Farm. We Hate Jack Bauer’s Theme 24 has been really fun this year, The Wrong Composer Award and certain episodes even have decent Goldsmithian underscore (like one cue The Emperor’s Club is a fine where we started singing “I dis-cov-ered se- Thomas Newman score, loaded with the com- ven eight” along with the simplistic 7/8 sus- poser’s usual quirky tricks. The only problem is pense riff). But, the main theme of the show The “Nightmare at that Newman didn’t write The Emperor’s Club. is starting to kill us. It’s Bruce Broughton’s 20,000 Feet” Award James Newton Howard did. James, you old main theme from Shadow Conspiracy, goes to... John Williams stick in the mud! Shape up or we’ll be forced to which, interestingly, is a film about a presi- give you next year’s Joel McNeely award. Okay, dential-involved conspiracy. In Shadow This is for the scene in Catch there’s plenty in The Emperor’s Club that does Conspiracy, the theme is longer, played by Me If You Can where is deciding sound like Howard. But as soon as we’re ready real instruments and is much, much better. whether or not to open Leonardo DiCaprio’s to forgive the rip-offs, we find the cue in wallet to see if he’s been had. Musically, it’s where you can literally hear the the best psychological ribbing since Jerry temp track switch from The Phantom Menace Goldsmith taunted into look- to . For Christ’s sake. ing out the airplane window in Twilight Zone: The Movie. The Award goes to...Michael Kamen As we wrote this category, Tim The Everyone Else Loves Curran put on Terence Blanchard’s score to FAR FROM HEAVEN Award The Dead Zone aside, 25th Hour. What an amazing coincidence. It’s goes to...Everyone Else and Lethal Weapon are Michael Kamen’s best also the theme from Shadow Conspiracy! scores, and both of them saw legitimate CD Far From Heaven is a fine score. releases this year. Sequencing-wise, the Lethal Oh my God! We just found the It’s good old-fashioned Elmer writing in the Weapon album is a disaster. But despite this connection. 25th Hour! 25 comes right after 24! style he helped invent: the good old-fashioned and the needlessly repeated tracks, it does We had hoped that the second season of 24 Elmer style. Fifties soap music like A View From have the galvanizing “ would be titled 25, but instead we get 25th Pompey’s Head is not our favorite, so while Chase,” a cue we’ve been lusting after for 15 Hour! Remarkable!

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Not Too Far From Heaven Jeff Bond Is Less Cranky Than Usual About 2002

attention it’s received, prove that music can satisfying denouement. Even this unimpeach- still underscore a movie emotionally and able effort had its detractors, however, with move audiences with genuine melody. The someone on the Internet describing Howard’s fact that Bernstein, a composer who started Signs score as “hokey.” Excuse me: You wanted working in Hollywood around the time Far something more subtle and classy to under- From Heaven is set, was able to write the per- score the invading space ? If you can’t go fect music for this film while retaining his balls-out scoring a movie like Signs, we might essential style shows not that his music is as well shut this magazine down right now. dated but that it is timeless. If there’s any jus- tice at all, Elmer can cap an incredible career with an Academy Award for this score. Main Title of the Year The Sum of All Fears, Jerry Goldsmith Cue of the Year While the movie itself was a Score of the Year “The Hand of Fate,” Signs waste of time, hobbled by Ben Affleck’s ineffec- Far From Heaven, Elmer Bernstein James Newton Howard tual presence (more cutaways to Ben’s rela- tionship with his knockout girlfriend during Elmer Bernstein has never won Let’s face it: This is the sort of the nuclear crisis, please!), Goldsmith outdid an Oscar for Best Original Score. If that’s not music that hooked most of us on movie himself with the chilling, post-9/11 main title. a stunning indictment of humanity, I don’t scores. Howard’s Signs starts off with a bang, The composer has written plenty of choral know what is. Nothing made me happier this spends the bulk of the movie subtly, insidi- music in his day, but this is something differ- year than the acclaim Elmer’s Far From ously chipping away at your psyche, then ent—an eerie, operatic tune that really ham- Heaven score got. The movie is a tough sell: a launches this magnificent piece of redemptive mered home the terrifying implications of a ’50s about and homosex- wonder that has it all—suspense, propulsive loose nuke (and, strangely, worked pretty well uality, made in 2002. But the score, and the action, transforming awe and an incredibly as a pop song).

James Newton Howard on Signs Composer of the Year John Williams The main title: “The main-title sequence, which has attracted a fair bit of attention, is one of those unusual situations in that that was a piece of music that was written after Night storyboarded He didn’t write the most scores the movie for me. He hadn’t shot the movie yet, and I wrote that piece, and at the time he responded in 2002, but he wrote the most good ones. In to it very positively, but his concern and mine based on the storyboarding was that there didn’t seem recent years I’d actually lost a lot of interest in to be an obvious place for that level of intensity in the movie. But we kept it in the back of our minds Williams’ output, but 2001’s A.I. threw him hoping that somewhere later in the process we’d find a home for it. It was really his idea to use it as solidly back into focus, and 2002 showcased a the main title and cut the titles to the music.” seemingly rejuvenated Williams full of terrific ideas and execution. Attack of the Clones was Artistic success: “The most meaningful thing about the probably the most cohesive Star Wars score to Signs score to me is twofold—one has to do with the disci- date—a fact that annoyed many listeners who pline of the writing. I felt like I’ve come closer to succeeding expected the usual parade of showcase in using a minimum of thematic or melodic, motiphonal themes. Instead, Williams gave us a sweeping, resources and trying to make that feel like a singular work ambivalent love theme and some fantastically that has a life beyond the movie. The guy who did that more linear action music. That trend continued in effectively than anyone on earth was John Williams with Jaws, Minority Report, a fascinating blend of A.I.’s and he did it with two notes and it became part of the iconog- haunting futurism and Williams’ good old- raphy of the age. That kind of an achievement in film music is fashioned, rousing action writing. The fran- a spectacular thing and I don’t think I’ve ever come even chise sequel Harry Potter and the Chamber of close to it, but this work was closer. The other thing is that Secrets was impressively dense, but the real the most meaningful music in it really didn’t have anything to do with horror but with transformation gem of the year was Williams’ score to the through fear, of walking through fear and coming out the other side. It had to do with faith, but faith Spielberg caper Catch Me If You Can, an artful in a totally nonreligious sense, that somehow life was worth living and that hope springs eternal, and blend of psychology and bracing, jazzy fun, particularly in the age of anxiety we live in it was a good message. I was inspired by it.” with the most visually dazzling main-title sequence in years. (continued next page)

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Best Track Title Bullseye!FSM 20 CDs That Hit the Mark Douglass Fake listens to a lot of soundtracks—namely, all of them: old scores and goes to...Danny Elfman new scores. As proprietor and producer at Intrada, he writes the capsule summaries Only that lunatic Elfman would accompanying every album listed on the store website. Doug produces soundtracks and composes and conducts his own music, so if he deigns to give a particular title a cue “Tiger Balls.” The scene is from Red release a “bullseye!” we pay attention. Here’s a selected group of 20 of his worthies Dragon, where a blind Emily Watson unwit- from 2002, with a few excerpted comments thrown in: tingly (or, *gasp*, intentionally?) molests a sedated tiger’s most intimate of all areas. Sunset Boulevard album re-recording with London Cast a Giant Shadow FRANZ WAXMAN, 1950 Symphony Orchestra shares bill ELMER BERNSTEIN, 1966 Varèse 66316 (69:41) Complex, with actual L.A. film soundtrack Varèse VCL 0502 1008 (29:42) Captain Controversy Award brooding, exciting score gets sessions. What a premiere! Militaristic brass and percussion goes to...Danny Elfman detailed examination by conduc- mix with stately, impressive Signs tor Joel McNeely. themes. Not one but two major JAMES NEWTON HOWARD Has any composer been at- love themes highlight powerful, Zulu Dawn Hollywood 162368 (45:34) Tiny tached to as many controversial remakes as albeit brief album. Elfman? Psycho, , Red Dragon, ELMER BERNSTEIN, 1989 three-note motif digs, works, even- the upcoming movie, LLLCD 1001.5 (47:31) Rousing tually emerges a fortissimo horn Logan’s Run 2...That Danny Elfman sure is controversial! British music crosses with percus- figure to highlight the action cue JERRY GOLDSMITH, 1976 sive Zulu theme. Propulsive score of the year. FSMCD Vol 5 No.2 (74:18) Three full of rhythms built from a small, colors! Complex, chilling music The Stalking Moon descending motif. emphasizing strings trades with all- Quote of the Year , 1968 electronic interior music. Outside Mort D’Un Pourri RMDU 1 (57:01) Brooding, multi- the dome, dazzling orchestral col- This year, Hans Zimmer told PHILIPPE SARDE, 1977 layered score combines solo trum- ors take over. Single six-note theme Jeff Bond how he respects Jerry Goldsmith and Universal 017177 (France; 49:40) pet and strings with unusual col- binds them all together! started listing Goldsmith scores that he likes. Accordion adds wistful layer to a ors of the zither. He endearingly added “I even liked The Bear.” bittersweet, piquant album. Lust for Life The Night Walker (He meant .) Isn’t that sweet and MIKLÓS RÓZSA, 1956 Rebecca VIC MIZZY, 1964 funny? Zimmer protégé and Time Machine FSMCD Vol.5, No.1 (68:58) FRANZ WAXMAN, 1940 Percepto 009 (49:40) Scary movie composer Klaus Badelt must also like The Bear. Tortured, angular main theme Varèse 66160 (Cond. McNeely, gets surprisingly tonal orchestral mingles with rich “brotherly love” 54:32) Rhapsodic music gives score, featuring piano and bass. theme. Rózsa captures Van way to suspense. Intricate ideas Plethora of minor chords for organ The History of the Ring Award Gogh’s torment, the darkness in mingle with pretty ones. and brass a highlight. goes to...Howard Shore his life, glow in his work. Above and Beyond On the Beach/ The Shipping News Shore takes this award for his , 1952 The Secret of Santa Vittoria CHRISTOPHER YOUNG fine concert piece Heights, excerpted FSMCD Vol.5 No.11 (55:45) ERNEST GOLD, 1959/69 Milan 35983 (46:12) Rich, unfor- in Gangs of New York. It’s all great stuff and Proud, ascending -led FSMCD Vol.5 No.7 (71:01) Rich gettable main theme highlights sounds like Lord of the Rings in Manhattan. main theme highlights power- score avoids horror of nuclear sometimes nostalgic, sometimes house score. holocaust, plays to elegiac feel of interior score. the last days. “Waltzing Matilda” The “I Don’t Want The Sand Pebbles: plays to Australian locale while Film Music of : Deluxe Edition Someone Else’s Maid” Award warm love theme plays to the The Complete Edition Vol. 2 JERRY GOLDSMITH, 1966 goes to...Alan Silvestri heart. An expressive reading of the MASARU SATOH, 1956-64 Varèse VCL 0702 1010 (76:43) former with emphasis on silver Toho AK-0006/AK-0009 Single four-note motif grows one It pains us to think that Alan brings it all to a close. (Japan, 6-CD Box; 357:11) direction, becomes the gunboat Silvestri had to pass on Gore Verbinski’s The Incredible spread of music by theme, grows another direction, The Bishop’s Wife Ring so he could score Maid in Manhattan, Masaru Satoh, highlighted by the becomes the love theme! HUGO FRIEDHOFER, 1947 especially after their fine work together on dynamic Yojimbo and powerful BYU FMA-HF 109 (58:28) Festive Mouse Hunt. Silvestri’s Maid score is extremely High and Low scores. moods mingle with meaningful, catchy and harkens back to his enjoyable romp BRONISLAU KAPER, 1956 sometimes sad ones. -like Iris for (because he recently FSMCD Vol.5 No.9 (75:11) main theme a highlight. JAMES HORNER listened to the new Varèse album). But there Rousing opener, fierce fight music Sony 89806 (49:56) An abun- are films that are more deserving of his genius highlights dramatic score. The Fly Trilogy dance of beautiful melody high- than Stuart Little 2, Lilo and Stitch and Maid in PAUL SAWTELL/BERT SHEFTER The Fury: Deluxe Edition lights Horner’s most flowing score. Manhattan. Do you know why Ralph Fiennes Percepto 008 (2-CD set, 99:17) All JOHN WILLIAMS, 1979 got the lead in Maid in Manhattan? It’s three original Fly movie scores get Varèse VCL 0702 1011 because of his role in Schindler’s List, where his grade-A treatment. The first show- Read Doug’s latest comments (2-CD Set, 95:55) Two takes on love interest was also a maid. But one with a cases pathos over scares. every week at www.intrada.com. much smaller ass. See you next year! FSM brooding, powerful score. Original

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carries. Add some of Elfman’s most ferociously lessly qualifies as the bottom of the Trek barrel, Best John Barry Impression percussive action music in a long time and from its lame action sequences (which make Die Another Day, David Arnold you’ve got one of the year’s better scores. William Shatner’s Star Trek V look like Die Hard by comparison), rehashed plot elements, The latest movie cringe-inducing moments (what Trekkie really was a wild mixed bag, much of it rousing and Favorite Cue From an FSM Album wanted to watch Riker and Troi enjoy their funny, much of it annoyingly loud and ridicu- “The Alexander the Greater Affair,” wedding night?) and a box-office return that lous. Same thing goes for David Arnold’s score, ; The Man From U.N.C.L.E. threatens to deep-six the franchise. Goldsmith’s which channels the smooth Barry lyricism of score seems to be an experiment in seeing how the classic Bond films seamlessly, but too often To me Gerry Fried is the king of little he can do to accompany the film, but goes overboard in the action department. The television music; his style is instantly recogniz- despite a slow start his approach still works. opening action cue for Bond and his team surf- able, catchy and incredibly fun. The first time I While it surely lacks the meat and scope of ing into North Korea (not, of course, sampled on heard this wild, hilarious and suite Goldsmith’s first two Trek efforts, it does have the soundtrack album) is superb: lean, mean from the ’60s spy series episode, I almost had to far more energy and consequence than First and exciting. But as the film piles on effect after pull my car off the freeway because I was laugh- Contact or Insurrection. effect, Arnold’s music builds up the same epic ing so loud in sheer enjoyment. frenzy he brought to Independence Day. Barry’s Bond action music always emphasized how Best Goldsmith Reissue cool 007 was under fire, but ’s The Sand Pebbles, (admittedly more human) Bond is scored in a Varèse Sarabande CD Club way that suggests the super spy is just hanging on by his fingernails. Even ignoring FSM’s releases, fans of vintage Jerry had a great year in 2002: Runner-up Universal France’s long-awaited, expanded Enigma, John Barry Papillon supplied three extremely important missing tracks (including the gorgeous, Barry does repeat a love theme impressionistic “Catching Butterflies,” a high- on this album about 500 times verbatim, but light of the composer’s career); Studs Lonigan there’s a car chase and some suspense music provided a glimpse into a raucous, grind-house that recalls why this composer remains one of effort from the earliest part of his career, and the most distinctive and stylish voices in the Runner-up Prometheus’ The Swarm (despite disassem- film music canon—too bad he doesn’t work Everything on Logan’s Run, Jerry Goldsmith bling some of the more enjoyable action cues more. from their original LP versions) showed Jerry’s This album was a dream come ability to provide one of the worst movies ever true: one of those I-taped-the-whole-movie- made with a genuinely exciting score (preview- Best Comic Book Score off-my-television-20-years-ago things where I ing some of the effects later used on Ridley Spider-Man, Danny Elfman never really believed a complete score album Scott’s ). But the real treasure was Varèse’s would happen. Go, muscle! epic-length treatment of The Sand Pebbles, Here’s another score that finally bringing the full scope and depth of this received brickbats from some corners for “not great ’60s effort to listeners. having a theme.” Apparently Elfman’s distinc- Best Star Trek Score tive melody was just too subtle for some people Star Trek Nemesis, Jerry Goldsmith to hear. The composer, in fact, wrote what may Worst Musical Choice be the first interior-driven theme for a comic Jerry Goldsmith now has a Gangs of New York Opening Scene book hero, and it’s all about the inner matura- nearly perfect record of scoring every one of tion of Peter Parker (Tobey Maguire) and the the worst Star Trek movies (for me, even First It’s a knee-jerk reaction among mantle of responsibility his superhero costume Contact was a waste of time). Nemesis effort- film score collectors to bash any use of in a movie: To us, pop and rock are the enemy, period. But I try to be a little more Elmer Bernstein on Far From Heaven open-minded about these things. Neverthe- less, ’s choice of wailing rock Oscar buzz: “I’m stunned. I’ve always looked at a job as a job; I guitars (presumably U2) to underscore the love the job and the challenge and the idea of the next thing to do, pivotal opening gang fight of his epic Gangs of and I really never much think beyond that. I’ve just been stunned by New York almost destroyed the movie for me. the reaction; it is probably the biggest reaction I’ve gotten to anything The music singlehandedly drains this vital I’ve ever done. Obviously, from a purely selfish point of view, I’d love it sequence of every ounce of emotional weight to be nominated, but from a more important point of view I just think and turns it into what is essentially a period it would be nice if a purely melodic score were noticed for a change. I Mountain Dew commercial. Quite simply, it wish it would start something.” takes the viewer out of the movie at a vital junc- ture and just has nothing to do with anything

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else in the score. I have no idea what Elmer Bernstein wrote in his rejected score, but noth- Jan A.P.Kaczmarek on Unfaithful ing he did could have possibly damaged the picture more than this. The melancholy piano theme: (that drives the score). “It was born out of my interpretation of the drama between these three people, this marriage that was in crisis and the feminine crisis that leads to the love affair, which was also kind of going nowhere. I didn’t want to make any big dramatic Best Use of Music gestures; I thought it was much better to keep a quiet, com- From NFL Films: passionate presence, and I thought the theme would be right Pumpkin for this complex situation.”

Here’s the movie that will be The pivotal early scene: (in which an urban wind- forever drawn out as an example by anyone storm drives Diane Lane’s character into the arms of a questioning my taste in the future (“Yeah, but stranger). “The entire movie is shot so beautifully, so the he liked Pumpkin!”). Call me crazy, I found imagery was very inspiring at any moment, but this scene is much of this twisted comedy (the flip side of one of the most spectacular I would say—the most inspiring Far From Heaven, in a way) hilarious, and I scene, but also extremely difficult to score. You have this thought composer John Ottman did an ingen- intensity of wind, and wind itself being a hero. So I was trying ious job of finding a musical tone for the different approaches, and nothing worked at the beginning movie—a job that might have been the biggest because you were against this huge power of wind—it’s a demolishing power that also demolishes film-scoring challenge of 2002. The high point music, when you put those two elements together. I needed to find a way of writing that sort of com- of the picture’s music did not involve Ottman, plements the wind and survives the blows.” however: it was the choice of two of Sam Spence’s bombastic, ’60s-style football cues Oscar buzz: “I’m fully and completely submitting myself to fate. If this score is going to be recog- from the NFL Films documentaries to under- nized I’ll be overwhelmed with joy, but it already gave me so much satisfaction, I’m not really fantasiz- score a montage of sex and tennis and a fist- ing about what will happen.” fight between a handsome jock and a “retard.”

series on the perfect note of uncertainty. to John Williams for the wonderfully noble Best Strange Little Score “Fawkes the Phoenix” theme in his second Punch-Drunk Love, Jon Brion Harry Potter score. So mesmerizing was this Most Maddeningly melody that it got stuck in my head for a full I’m not exactly buying the idea Memorable Theme: week, often making me forget whether or not that Adam Sandler deserves an Oscar nomina- “Fawkes the Phoenix,” Harry Potter and the I’d shampooed during my morning shower. tion for slightly lowering the normal volume of Chamber of Secrets, John Williams Blast that John Williams… his screaming in this Paul Thomas Anderson picture, but Jon Brion’s score—a combination Every once in a while a film com- of abstract electronics and ethereal whimsy— poser writes one of these themes that is almost Best Re-recording successfully gets inside the character’s head. circular in construction—you literally can’t Sunset Boulevard, Franz Waxman think of the end of the theme without starting over at the beginning. This year the prize went Finally, we get the score and a Best Lord of the Rings Score DVD of one of my favorite movies of all time. The Two Towers, Howard Shore Waxman’s score starts off in operatic, Wicked- Best New Albums for Old Scores: Witch-of-the-West mode, then turns mar- Will it completely destroy my velously subtle in its interweaving of the char- reputation to admit that I wasn’t a huge fan of acter of Norma Desmond and her growing Howard Shore’s Fellowship of the Ring score? insanity, Joe Gillis’ breezy corruption, doomed Shore found the perfect tone for ’s love stories all around and the sublimely delu- gloom-and-doom epic, but for all the film’s sional finale. It’s still tough to get the Royal scope and action, I guess I wanted something Scottish Orchestra to sound like a 1950 showier. The Two Towers continues the feel of Hollywood recording, but Joel McNeely’s inter- the first score, but somehow this second effort pretation is spirited, and the result is a great seems more sure-footed, resonant and listen- Tron, album. able. The old themes undergo satisfying varia- Lethal Weapon, Michael Kamen tions, and the new ones (especially Shore’s Papillon, Jerry Goldsmith regal theme for the kingdom of Théoden and Studs Lonigan, Jerry Goldsmith Honorable Mentions the world of men) are rousing. Shore’s capper is The Sand Pebbles, Jerry Goldsmith daring: “Gollum’s Song,” warbled by Emiliana Ivanhoe, Miklós Rózsa Spirited Away, ; The Torrini in a style somewhere between Björk and King of Kings, Miklós Rózsa Four Feathers, James Horner; Unfaithful, Jan . It’s a chilling, strangely beautiful The Treasure of the Sierra Madre, A.P. Kaczmarek; About Schmidt, Rolfe Kent; The piece that ends this middle chapter in the film Max Steiner Rising Place, . FSM

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Six Things I’ve Realized About Film Music 2002 in Review by Jason Comerford

To begin with, I must make a enough anymore. I heard the score for Attack of the Clones before I saw the movie, and 2. Hey, hey, rock and roll confession: I don’t listen to what with all the advance press, I actually will never die. began to believe that the film might be By now the scheme is obvious: Whatever style much film music anymore. It worthwhile. The score itself was a great piece sells records on the Billboard charts, you can of music—the action cues were the best of guarantee it will pop up in a movie soon. Big takes an exceptional piece of the year, the love theme was stunningly gor- orchestral music isn’t, at the moment, sexy geous, and the finale, with the appearance of enough to move the units at Best Buy. So the music to make me sit up and and the bold segue into theory becomes, jam some backbeats in there the love theme, made my hair stand up. But and call it a score. Some of these scores that actually start to pay attention. then George Lucas got his mitts on it, and it feature rock and techno stylings can be pretty all went to hell. I hate to say it, folks, but the good: John Powell’s score for The I’m a traitor to the cause and a disgrace to the first two Star Wars films are looking more Identity wasn’t bad, and I give John Debney fine pedigree of FSM, I know, but even still, the and more like flukes every day. When a film props for trying to elevate an otherwise pedes- limitations of the form are becoming increas- comes out that’s as ice-cold and mechanized trian score for by tossing in ingly apparent, particularly in these times of as Attack of the Clones, one starts to under- some headbanger metal solos. I’m all for fus- committee moviemaking. stand that perhaps giving a director final cut ing styles and genres, but sometimes it gets a It’s a subject I frequently harp on, and it’s is not always the best idea. I’d go on a long little out of hand. Creating a deliberately also a subject that, short of a cultural revolu- rant about how inept and embarrassing the schizoid musical tapestry can work really tion, will always be there to argue about. But I film was, but I’ll shave it down to this: When well—check out Michael Nyman and Damon hear it everywhere; the bigger and more the best moment in the film (one word: Albarn’s deliciously gonzo score for Ravenous expensive the studio picture, the more obvi- Yoda) is, when you think about it, a tired if you don’t believe me—but when scores like ous it becomes. The state of pop music itself is cash-in on a recent movie trend, it’s time to The Scorpion King come along, the first thing I as bad as it has ever been, and the effect of that pack your bags and switch your allegiances think is that it was written by music executives lack of quality has started to worm its way into to the filmmakers who are showing everyone who’re trying to create chart-toppers in the film music. Film scoring is an exceptional art how it’s really done. most unlikely of places. David Arnold contin- form with the unlimited potential to encom- pass any style of composition, and yet why is it that so much of it is interchangeable? It’s the Howard Shore on The Two Towers apathy, that’s why, the apathy of the main- stream music fans who’ve come to believe that Creed, Britney Spears, J. Lo (or whatever she’s The theme for the World of Men: calling herself this week), Linkin Park and “You hear it the first time when Aragorn, Gimli, Legolas and whomever else is topping the charts represent Gandalf approach Eteris and are ushered into Théoden’s the ne plus ultra of what music can accom- chamber and you meet him and Wormtongue for the first plish. Sure, there are tons of bands and musi- time. It’s also heard on a Hardinger fiddle, which is a cians out there doing exceptional work, but Norwegian instrument and it gives you a feeling of northern only a select few are lucky enough to be Europe, so again we’re trying to create sounds and composi- branded “cool” by the MTV intelligentsia. tions that are particularly relevant to this culture.” Challenging and innovative music does exist—and it always will—but hunting it out is Gollum’s themes: “Gollum is a major character in this harder than ever. film. You see glimpses of things in the first film and now So I present to you six things I’ve realized they’re developed more fully. Gollum, by the nature of being schizophrenic, has two themes that are about film music in the last year, in no partic- very distinct. One of his themes is closely related to the Ring theme because Gollum is a character ular order (other than #1). In a nutshell: It ain’t who’s been just destroyed by having the Ring for so many years.” dead yet, but it’s sure starting to smell funky. Gollum’s song: “You hear it first with boys’ singing, and then with an instrumental version of the chorus, and then Emiliana Torrini sings ’s lyrics. We wanted a singer from northern 1. Star Wars is officially dead. Europe, again bringing some of those influences to the story. We had heard her recording ‘Love in the And it’s not John Williams’ fault. I bring this Time of Science’ and loved it.” subject up first for two reasons: 1) to get it out of the way straight off, and 2) to empha- Oscar buzz: “I’ll keep my fingers crossed. It would be an honor. It’s a great piece to work on and a size that big orchestral scores just aren’t great inspirational novel and a great world to work in. I feel like I’m completely absorbed in it.”

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ues to fuse orchestra with techno stylings with Elfman, however, took one look at the film and there were in fact several standouts. David his scores for the James Bond films; Die Another seemed to realize the inherent silliness of it all, Julyan’s moody score for Insomnia is an undis- Day was nothing new in that respect, and and went all out; his over-the-top score is prob- covered gem, despite the fact that Varèse although I have no doubt that Arnold was just ably one of the better ones of his career, slyly Sarabande’s otherwise comprehensive CD is doing his job, I wonder if he’s starting to run out satirical in its approach, with themes that stick missing the terrific log-chase cue. I enjoyed the of ideas. And with the proliferation of pop and in your head. It’s not a breakthrough piece of take-no-prisoners approach of James Newton

I LEARNED IT AT THE MOVIES: Red Dragon (3); The Scorpion King (2); and The Mothman Prophecies (4).

rock musicians who have moved into film com- music in any respect, but if you’re going to go Howard’s score for Signs—the main title, at position—Mark Mothersbaugh (Devo), Lisa full throttle, that’s the way it should be done. least. The rest of it was typical of Howard in that Gerrard (Dead Can Dance), Cliff Martinez (Red it was all exceptionally well-composed and Hot Chili Peppers) and the aforementioned orchestrated, but the self-important film it was Albarn (Blur and Gorillaz) among many, many 4. Minimalism is in, baby. attached to brought it down a notch or two. others—the trends are likely to pop up again It’s been gaining momentum for years—the Tomandandy’s ethereal score for Mark and again. Then there’s always Danny Elfman, first instance I can remember of the style pop- Pellington’s underrated The Mothman which leads me to... ping up is in John Williams’ “Schindler’s Prophecies deserves to see a release someday, Workforce” cue from Schindler’s List—but these but that seems unlikely. Other scores that I days it’s really picking up steam. Noted mini- thoroughly enjoyed included Jon Brion’s 3. Danny Elfman just keeps malist composers like and Michael Punch-Drunk Love and ’s getting better and better. Nyman have been doing excellent film work for tongue-in-cheek Ravel-inspired music for I’m like every other film-music geek who went years, but Don Davis probably did the style the Brian DePalma’s Femme Fatale. nuts over when it first came out, and best service by transposing large chunks of Elfman continues to be a whose tra- ’ Harmonielehre into his score for jectory fascinates me. He seemed to get a lot of The Matrix. This year, minimalist scores like 6. Howard Shore shows static from the fan community by branching off Cliff Martinez’s Solaris (one of the year’s best) us how it’s done. into more abstract directions for scores like A and Glass’ score for The Hours have gone a long Okay, it’s probably old hat by now to gush over Civil Action and ; I never dis- way toward making the style into a distinctively Shore’s scores for The Lord of the Rings, but I’ll liked the new direction he was taking so much filmic one. (Williams also gave it a good work- mention it again anyway. Suffice to say that as I wondered where he was going with it. out with Minority Report, an otherwise forget- Shore, with The Two Towers, took the astonish- Sometimes the approach worked beautifully, table film that critics inexplicably went gaga ing first part of Peter Jackson’s thunderous epic and sometimes it just seemed like a bunch of over.) I’ve always been a fan of minimalistic and developed it in fascinating new directions, noodling with percussion patterns and synth techniques in film music—often they can glue particularly in the stirring accompaniment for patches. Elfman, at the very least, had the brass a film solidly together—and this is a trend that the tortured character Gollum. Shore treated the balls to deliberately move away from a form of I’m pleased to see. Rock bands like Tortoise and all-CGI character as 100% flesh and blood, and musical composition that made him a rich The Swans have also done excellent work by the seamless emotional currents of his music man and try something new and different, incorporating ideas from Adams, Glass, Nyman really sold the experience. There’s really not regardless of whether or not it worked. I did my and —another indication of a trend much more to say other than...it’s going to be an civic duty and saw Spider-Man, opening night that’s evolving in fascinating ways. awfully long wait until The Return of the King. and all, and the music evaporated from my So there you have it—recollections on a year head the second the film was over—the only of film music by a fallen enthusiast. Budget and music I can recall with any clarity was the old 5. Big orchestral music location prevent me from seeing many of the TV theme that snuck into the end continues its decline.... films I’d really like to see—you’re no more likely credits. I started to wonder, and then I saw Red Throw a rock and hit 10 or 15 large-scale to see Y Tu Mama Tambien or City of God the- Dragon and thought, “Yes! He’s back!” The film orchestral scores (Ice Age, Reign of Fire, XXX, atrically in South Carolina than you are to wit- itself is about what you’d expect: slick and well- The Time Machine, et cetera, et cetera); only ness a gay pride parade at Bob Jones crafted enough, but with just enough big-stu- one or two of them are actually worth listening University—but I get by. Perhaps next year will dio pandering that it was instantly forgettable. to. Of the many that were written this year, bring some more nice surprises. FSM

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These Are a Few of My Favorite Scores By Doug Adams

superhero score ever—no sleekly gothic Naqoyqatsi Philip Glass Batman harmonies, no breakfast of champi- ons Superman Technicolor. In fact, Elfman’s Glass’ work on The Hours is approach almost purely avoids any overt man- going to get more attention from film critics, ifestations of heroism and leans, instead, but it was the uncompromising final third of toward simple sincerity. It’s music for a kid just the Qatsi trilogy that found the composer doing the best he can in the world—albeit with charting new territory. The Qatsi films have a pretty nifty bag of tricks. been one of film music’s great experiments. As Elfman’s writing is increasingly becoming a Glass has noted, while the films began with litmus test for those who actually listen to natural images and have moved into techno- scores and those who like to bathe in rehashed logical coolness, the scores have moved in an emotion-tropes. There’s enough sonic detail opposite direction. The projects have clearly and thematic mutation packed in this score for been important to the composer, and it’s great several Spider-Man movies. I can’t wait to see Next it was on to Spielberg’s to see him exit the series with the same clear- what he does for number two. Minority Report—and another score that occa- focused integrity with which he began. Every sionally feels more like Star Wars than the cur- stock Glass-ism is given a new spin, from the rent films. Actually, that’s not fair. Minority creative use of instrumentation to the outright Attack of the Clones Report is its own beast, and though it leans Romantic meditations of Yo-Yo Ma’s . Minority Report heavily on applied Williams-isms, it provides Spielberg’s film with a beating heart amongst Harry Potter and the the cluttered despair of modernity. Minority’s Spider-Man Danny Elfman Chamber of Secrets score seems deeper with each listen. Catch Me If You Can John Williams This was almost a no-win Harry Potter was Williams’ situation for Danny Elfman. No matter what he John Williams celebrated his biggest throwback of the year, and not just wrote, it was going to sound too much or too 70th birthday by reminding the world that, hey, because it sounds a bit like little like Batman. Once again Elfman proved he’s John Williams. His Attack of the Clones finally got his own Indiana Jones franchise. that’s he’s got more backbone than half the film score is more Star Wars-y than the film. As fans Potter was written fast. In fact, it’s remarkable industry and simply wrote what was right for lament the schism between original trilogy that Williams would even attempt this score the film. The result is one of his most themati- and the prequels, Williams neatly bridged the given his 2002 schedule. It lacks the linear cally diverse scores in years, with an old-fash- gap by melding the Leia theme around the focus of modern Williams, but it returns to the ioned sense of drama and bone-cracking style Luke rhythm and setting it all in a minor mode coloristically explorative voice of Williams in of action. Spider-Man may be the least sexy for the doomed love of the Skywalker parents. the mid-’70s—like one of those little Black Sunday gems that slips under the radar. There’s an orchestral playfulness in Potter, suggesting Elliot Goldenthal on Frida Williams never had time to second-guess him- self. While it may be somewhat less refined Live vocals in the score and film: “It’s true-to-life of life in Mexico. Even in the intellec- than the Williams of the ’90s and 2000s, it tual world, one can’t escape being in a situation where someone is either singing at you or singing tosses its orchestral palette around irresistibly. with you—any dinner will have a number of mariachi singers and any private party—you rarely hear boom boxes or canned music in Mexico even now. People are singing live music and families go out And then there’s Catch Me if on the lakes and take excursions and they hire little private bands to sing.” You Can. I wish that Williams had reverted to his old diminutive and been credited as Coordinating live performances: “There was a song called ‘Viva la Viva’ which is a very “Johnny” on this score. It’s probably the last traditional-sounding trio that I wrote, and that was sung during a scene in which boats were floating great Johnny Williams score—in fact, it’s prob- down the canals in the middle of Mexico City. It took huge coordination—almost like being a general ably the best Johnny Williams score. It’s slick in the army, where there were 20 boats that had to cross the camera at a certain point in the lyrics— and cool and somehow retro without being so you see the musicians singing at that same point where Salma and Fred, Frida and Diego, were period. There’s an easy lyricism to Williams’ crossing the camera at the same time, and music was blasting and the singers were singing and it writing, which is artfully laid against the film. was a wild scene.” Of all Williams’ Spielberg scores, Catch Me best retains its sense of musical architecture. It’s like Salma Hayek singing: “She’s got a wonderful voice, and when she walks around she sings the Scorsese approach—a counterpoint to the American torch songs from the ’40s with a gorgeous, low voice, so I knew she could sing.” film rather than a straightforward underscore. Critics have understandably had a hard time

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develop, the musical palette alters, Shore even Hans Zimmer on Spirit: Stallion of the Cimarron marshals bits of material from the first score that we didn’t know were major themes! Scoring a movie with no dialogue: The only thing dampening my enthusiasm “I was trying to reinvent that whole art form of the for the proposed all-inclusive 6-CD set is that score. I did the opening of the movie many times, and that eagle I don’t ever want there to be a time when I flying in the opening scene, I saw a lot of him. I did the first ver- can’t look forward to Shore’s next Lord of the sion and thought, ‘Hey, here’s the American West, let’s get a lot Rings score. Can someone please fast track of guitars in.’ Well the first time you heard a guitar you knew this The Hobbit? wasn’t the virgin land you were supposed to see, there were defi- nitely people in there. I didn’t figure that out until I put that up against picture. Then I thought, ‘Okay, if I don’t want any people Signs James Newton Howard in there I should go totally abstract and make it an electronic score.’ The score in the movie is pretty much that electronic score, except what happened is it got Signs is James Newton Howard’s really boring really quickly. What was hard was trying to figure out how to introduce real instruments best score to date. Say what you will about without making it sound like there were men hiding out there behind trees or something, like having director Shyamalan, whether he’s a Spielberg the Count Basie at the end of Blazing Saddles. When you have the characters talk, it pretender or a genuine visionary, he allows instantly gives you complete license to do anything you want musically.” Howard more room than any of his other col- laborators. The music in Signs is no mere gloss expressing the appeal of Catch Me, both as a house into a threatening collection of construc- on a pre-existing film—it’s kith and kin to the film and a score. It’s not deep. It never offers to tional soundscapes. Panic Room’s biggest sell- story’s themes. The score is a storytelling device, unearth some heretofore unarticulated truth of ing point was its single-set staging. In the pres- not a story-retelling device, and there’s a world human existence. It’s cinematic champagne. ence of basic archetypal characters, Shore of different in those two little letters. The music And though it’s fizzy and light, it also showcases brilliantly turned the set against the cast in a never stoops to say, look this family is scared. It Williams’ most progressively outside-the-box nightmare of floorboards and ductwork. Every articulates the ideas swarming in that middle- score since the mid-’80s. time Fincher and Shore leave the gate, they class living room. Where’s the line between I’m more than slightly eager to see what he seem to discover a new shade of black together. hope and threat? How much do we understand does for his 80th birthday! The Kid Stays in the Picture Jeff Danna

Robert Evans’ bio-documentary extravaganza should have cancelled itself out in a black hole of contradictions. It’s cartoony, but crushingly tragic. Nostalgic but sarcastic. Yet somehow the whole thing works. Jeff Danna’s score nailed the tone and tied it up with a bow. People tend to forget that film composing isn’t just how you write, it’s what you write. Kid was Shore also gave Cronenberg’s forces working in our lives, and how do we one of the year’s toughest calls, and Danna pro- Spider a sickly writhing chamber score, evoca- name them? The composition, like the film, vided just the right stroke of effortlessness. tive of a collapsed childhood. It’s the stuff of never reaches any solid conclusions but inti- Webern’s bleakest imaginings–a prickly exami- mates that in questions of faith, often the search nation of expressionism that seems unwillingly is the discovery. Not bad for a score based on Panic Room • Spider wrested from a tonal world. Upsetting, affecting three notes, huh? The Two Towers Howard Shore and potently intelligent. The CD is an abstraction of the plot: hints of the setting, the shifting emotions of discovery, Remember when Howard Shore Shore left 2002 by building upon and the promise and fulfillment of an epic con- was the secret pleasure of film score nuts and the momentum that thrust him into it. The Two clusion free of pat resolutions. Let’s hope Cronenberg aficionados? Somewhere in early Towers conclusively proved, to my ears at least, Howard’s music is afforded this degree of partic- 2002 that all came to an irreparably screeching that Shore’s work on the Lord of the Rings films ipatory respect in the future. halt. Lord of the Rings launched Shore into the will be regarded as one of the great epic projects rarified strata of name-brand composers of our time. There is an unbelievable level of instantly recognized by the general public. As a detail presented in these scores. Shore has Road to Perdition true artist, Shore has responded not by basking remarked that these films have provided a can- Thomas Newman in the acclaim, but by pushing himself harder vas that not even opera will allow, and he’s and harder. Panic Room is a masterpiece of played this unique opportunity to the hilt. Two When Thomas Newman first claustrophobic —the world’s first archi- Towers expands the world of Fellowship on both came on the scene, fans were forever clamoring tectural thriller, which turns the four walls of a the micro and macro levels. Character themes (continued on page 44)

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las, poor Star Trek. Between Enterprise’s sinking Star Trek II: The Wrath of Khan (1982) ratings and the way Nemesis stank up the box The Premise: TV villain Khan is transposed to the big screen, office, many fans and critics are calling the belea- where he channels his infamous wrath into a dastardly plot for guered franchise dead in space. Given this state of revenge. affairs, this retrospective might be considered a The Prognosis: With STII, Nick Meyer pulled an enormous wake of sorts. The Star Trek film series encom- rabbit out of a low-budget hat. Emphasis on submarine-style passes more than 20 years, stretching from the action and our heroes grappling with mortality make this the storied ’70s to the new millennium. As we cele- undisputed fan-favorite. A fantastic script and assured direction brate (or mourn) Trek’s 10th big-screen adventure, more than compensate for spotty special effects. Ricardo here’s a look back on the nine that came Montalban’s megalomaniac Khan has gone down in history. before…where they succeeded, where they failed, This is Star Trek at its best. and the composers who helped them along. The Music: Fierce action, a sense of real poignancy, and a A soaring main theme in the best adventure tradition. This is the Star Trek: The Motion Picture (1979) historic score that put James Horner on the map. While not as The Premise: Capitalizing on the success of Star Wars, the musically mature as Goldsmith’s original, Horner’s score made original crew reunites to face an alien menace. his reputation as a composer capable of broad emotional depth The Prognosis: Opinions vary widely, with the overall critical and rousing excitement. Many fans still consider this to be and fan response being negative. Most complaints focus on the Horner’s greatest work. A genuine classic. Where No Note Has Gone Before... The Trek film series gets a farewell salute (for now) By John Takis

somnambulant pace and lack of action. Still, this most cerebral Album Highlight: “Battle in the Mutara Nebula,” while owing of Treks garnered a loyal cult following within the Trek commu- much to Prokofiev, remains one of Horner’s most thrilling cues. nity (this author included), and ’s recent “Director’s Missing in Action: “Enterprise Attacks Reliant,” a short but Edition” of the film is inarguably superior. satisfying action cue: Tight suspense and crashing chords The Music: Frequently touted as a magnum opus, there’s no abound. denying the Mahlerian scope and grandeur of Jerry Goldsmith’s Score Rating: Oscar-nominated score. From the now-classic main theme (subsequently borrowed for Star Trek: The Next Generation), to Star Trek III: The Search for Spock (1984) the Klingon and Vulcan motifs, to the love theme for Ilia and the The Premise: Spock returns, Nimoy directs, and Christopher (musically related) ponderously menacing theme for Vejur, this Lloyd plays a villainous Klingon captain questing after the atom- score is a crown jewel in Goldsmith’s treasury. Sony’s composer- bomb-analog Genesis device. approved expanded edition fleshes out the original Columbia The Prognosis: While it suffers somewhat from unavoidable album nicely and is an essential part of any film music collec- comparison to its immediate predecessor, under Nimoy’s com- tion. petent direction STIII remains a lively and entertaining romp Album Highlight: “The Enterprise,” still the best-ever exposi- through the cosmos. Spock’s inevitable return is corny, of tion of Goldsmith’s famous main theme, and one of the mae- course, but thankfully doesn’t completely negate the continuing stro’s greatest cues, period. theme of mortality and change. Missing in Action: Several “Captain’s Log” cues, penned by The Music: There’s quite a bit of repeated material here Alex Courage and featuring his classic Star Trek TV theme. Trek from STII, but Horner also gives us a new (if somewhat limp) vet Fred Steiner also contributed material still unreleased (prob- theme for the Klingons and a fair dose of the bustling excite- ably because Goldsmith doesn’t want to take undue credit). ment that made his previous effort so noteworthy. The final Score Rating: track on the soundtrack CD is a hilariously dated pop

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arrangement of Spock’s theme. is weak, to say the least; the direction is choppy and confus- Album Highlight: “Stealing the Enterprise,” which again steals ing; gags come across as forced and unfunny. But repeat from Prokofiev, but is such fun you won’t care. viewings reveal a so-kooky-it’s-fun dimension that is actually Missing in Action: “A Fighting Chance to Live.” As the dying akin to much of the classic TV series. There are also some Enterprise blazes through the atmosphere, Horner’s music is genuinely effective character moments, such as McCoy’s sweeping, emotionally climactic and inexplicably left off the vision of euthanasia. Laurence Luckinbill, David Warner and soundtrack album. Perhaps this one was too similar to Prokofiev. George Murdock as “God” chew up the scenery in deliciously Score Rating: hammy supporting roles. The Music: Proving once again that bad films don’t neces- Star Trek IV: The Voyage Home (1986) sarily mean bad scores, Jerry Goldsmith’s music captures all The Premise: The crew must rocket back to the 1980s to “save of the energy, mystery and drama that the film fails to gener- the whales.” ate. While the original main theme and the Klingon theme The Prognosis: Lighthearted, funny and unapologetically return, we get a rich palette of new material—including a sad issue-conscious, STIV harkens back to the time-traveling, and mysterious (and sometimes violent) theme for Sybok, an hippie-friendly days of the classic Trek era. A critical darling, ennobling melody for Kirk, and a dreamlike theme for the even among non-Trekkies. This film achieved the kind of planet Sha-ka-ree—in addition to top-notch action writing. A effortless broad-based appeal that has eluded Trek movies four-note “God” motif would be borrowed and reframed in ever since. Goldsmith’s subsequent Trek outings. Often overlooked or

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The Music: , in fine fashion, provides a marginalized by association, STV ranks among Goldsmith’s score that is best described as “jubilant.” But the exuberant finest works. It is arguably his second-best Trek score after the main-title theme, with its wild brass tintinnabulation, is only original, and long overdue for expansion. a small slice of Rosenman’s diverse soundscape, which also Album Highlight: “A Busy Man” captures perfectly the mount- encompasses striking for the planet Vulcan, a care- ing tension and awe of Kirk and Co.’s descent to the God- free nautical fugue, and even a sprightly Russian-flavored jig. planet—perhaps too much so, since it may have played a role in Rosenman is an acquired taste, but if you’ve acquired it, this heightening audience expectations! Listen for the oh-so-clever is a great listen. It’s also the second (and, so far, last) Trek interpolation of the Klingon theme. score to be nominated for an Oscar. Missing in Action: “A Tall Ship” is a beautiful and uplifting Album Highlight: “The Hospital Chase.” A festive polka in a “sequel” cue to TMP’s “The Enterprise.” 1 Star Trek movie. Somehow, it works. Score Rating: /2 Missing in Action: “Spock”—a terrific, subtle variation on the main theme plays underneath our first glimpse of the Star Trek VI: The Undiscovered Country (1991) recuperating Vulcan. The Premise: For their final big-screen adventure, the end of 1 Score Rating: /2 the Federation/Klingon cold war draws the crew into a deadly galactic conspiracy. Star Trek V: The Final Frontier (1989) The Prognosis: Really more of a political thriller/murder mys- The Premise: Spock’s loony half-brother brainwashes tery than an outer-space adventure, STVI is still a fitting send-off assorted alien rebels into searching for God at the center of for the original crew: a pleasing blend of character humor and the galaxy. William Shatner directs a Star Trek movie. friendship, and high-stakes action/drama. Christopher The Prognosis: This film did such a good job of parodying Plummer is excellent and memorable as the Shakespeare- itself, Mad Magazine only took one page to spoof it. The plot spouting General Chang.

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Shinzon. Shinzon’s theme is based around a That unease progresses in “The Mirror” with Mission Terminus series of short descending runs, which Goldsmith further developments of Reman motifs, inter- uses as the key to unlocking the dark heart of the rupted by the family theme, then moving into a Star Trek Nemesis score, shaping a haunting requiem for Shinzon’s tense martial build-up. A pulsating , partic- nobler human side, then deconstructing it into ularly effective on piano, provides a warm-up for JERRY GOLDSMITH fragmented and barbaric riffs to represent his bru- the next track, “The Scorpion.” Here is the score’s Varèse Sarabande 302 066 412 2 tal Reman tendencies. first real balls-to-the-wall action cue—the maestro 14 tracks - 48:24 “The Box” continues the synthetic undercur- at his propulsive best. Trademark overlapping n Greek mythology, Nemesis is the entity sent rent. Ominous horn swells rise. A crest of electron- Goldsmith rhythms and percussion effects build by the gods to punish overreaching pride. ics and shimmering strings ascends mysteriously, underneath Shinzon’s theme. For the finale, mon- IAppropriately, and in spite of all the self-congrat- climaxes, then evaporates, replaced by pounding strous brass leads into a heroic statement of the ulatory hype, the 10th Trek movie is a woefully dread. Low brass growls out elements of main Trek theme. unpleasant affair. With a weak script, confusing Shinzon’s theme before dying away. The next two cues, “Lateral Run” and editing, convoluted plot and uninspired direction The four-note motif originally introduced in “Engage,” alternate between explosive action and ( employs such techniques as a grainy Goldsmith’s Star Trek V, and resurrected in every mounting tension. It all comes to a head in “Final yellow filter to represent an alien world), Nemesis one of his Trek scores since, returns in Nemesis Flight,” which kicks off with a whirlwind and never has become the least successful Trek at the box as a warm pastoral movement for the familial rela- looks back. This is Goldsmith’s most satisfying office, departing theaters long before this review tionships among the crew. “My Right Arm” is a action cue in ages, with jagged rhythms and makes print. Still, Nemesis carries two positive gentle exposition of this theme. pounding French horns, continually ratcheting up elements: First, its dismal reception (coupled with Spidery electronics and overlapping orches- the intensity, climaxing in a run of furious timpani Enterprise’s sinking ratings) may prompt tral textures represent an alien world in “Odds and and brass. Listen to this one with the volume up. The score’s denouement is equally effective. “A New Friend” is a touching and fragile reprise of the family theme…the quiet after the storm. “A New Ending” begins with a poignant quote of the jazz mainstay “Blue Skies” (the song Data sings early in the movie) before segueing into the end titles. If there’s one area of disappointment here, it’s that the end credits are a typical sandwich affair: Star Trek theme/Shinzon’s theme/Star Trek Paramount to give the tired franchise new leader- Ends.” The music builds to a deliberate action theme, with the first Trek rendition sounding more ship or put it to bed. Second: Jerry Goldsmith. sequence that is vintage Goldsmith, like the TV version. The credits version of Given the calculated attempt to infuse jumping all over the orchestra, and building to a Shinzon’s theme, however, is a real treat, with a Nemesis with new blood (Baird and Gladiator heroic peak. lengthy B-section melody that soars with tragic scribe John Logan), there were a lot of composer “Repairs” opens with a lovely atmospheric grandeur. This is only hinted at in the film and names flying around early last year. But the pow- mélange, giving way to the “family” motif. The absent from the rest of the album. ers-that-be wisely decided to stick with Goldsmith, orchestral and electronic combination works to Varèse Sarabande’s soundtrack is almost 50 perhaps recognizing his talent for consistently great effect here, distantly evoking Goldsmith’s minutes long—a record length for first-release Trek wringing dramatic sincerity out of absolute dreck. Vejur music from Star Trek: The Motion Picture. movie albums. The 20-odd minutes cut are inter- Sure enough, he remains true to form. We finally hear Goldsmith’s classic Star Trek esting but not essential, consisting mainly of One brief warning: Those who think theme, which leads us into intense, threatening atmospheric or redundant material. One point of Goldsmith and electronics shouldn’t mix might material representing the savage might of interest is that Goldsmith attempted to link want to exercise caution—synthetic effects are an Romulus and Remus, characterized by a slurred Nemesis to ST:TMP with quotes of musical mate- essential component of this score and might not descending half-step. The tolling, bell-like effects rial from “Leaving Drydock” and “The Enterprise.” be to everyone’s taste. That said… return for a smooth transition to the next track, These are left off the CD, and it’s just as well; it’s Nemesis on CD is an engrossing journey from “The Knife,” which further develops the score’s kind of depressing to hear these brilliant cues start to finish. “Remus” drops us into an alien ambient oppression. Goldsmith accomplishes just condensed into a few hurried seconds, and that landscape, with synthetic undertones appearing the right synthesis of foreboding electronic and they remind us of how lush and romantic Trek almost immediately. A melancholy fanfare leads orchestral textures, so that when Shinzon’s theme used to be doesn’t help this ugly, jerky film. into the familiar opening, but is presented with straight orchestra in the next Varèse is also releasing a SACD Special instead of segueing into the typical thematic rush, track, “Ideals,” we let our guard down, warming to Edition that will not contain any new music but we get martial percussion and an abstract reading his humanity even as Picard does in the film. And, will feature the score as recorded, in full DTS of Goldsmith’s principal new theme for the “neme- like Picard, we feel a deep sense of unease when surround sound. The disc will also work in nor- sis” in question: a young human clone named the Reman material resurfaces. mal CD players. —John Takis

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The Music: Cliff Eidelman’s darkly aggressive, Hailing Frequencies Open Holst-inspired score attracted a lot of notice, The Star Trek experience on CD which makes it especially surprising that he went on to devote most of his career to forget- THE TV SHOWS Star Trek III: The Search for Spock table romantic comedies. There’s a noble The Original Series HORNER • GNP Crescendo, GNPD 8023 melody for Kirk and the Enterprise, an ethereal Star Trek ALEXANDER COURAGE Star Trek IV: The Voyage Home theme for Spock, and (as was standard by this GNP Crescendo, GNPD 8006 LEONARD ROSENMAN • MCA, MCAD-6195 time) arrangements of Courage’s classic TV Star Trek, Vol. 2 SOL KAPLAN, GERALD FRIED Star Trek V: The Final Frontier theme. The score features alternately ominous GNP Crescendo, GNPD 8025 GOLDSMITH • Epic, EK 45267 and bombastic thematic material for the Star Trek, Vol. 3 FRIED, COURAGE Star Trek VI: The Undiscovered Country Klingons (including a !), and Eidelman GNP Crescendo, GNPD 8030 CLIFF EIDELMAN • MCA, MCAD-10512 departed notably from Trek tradition to use this Star Trek FRED STEINER, KAPLAN Star Trek Generations element for his main title. Nick Meyer returned Varèse Sarabande, VSD 47235 McCARTHY • GNP Crescendo, GNPD 8040 to write and direct, so it’s no surprise that this Star Trek, Vol. 2 Star Trek First Contact score’s closest Trek antecedent is STII. STEINER, , GOLDSMITH • GNP Crescendo, GNPD 8052 Album Highlight: “Star Trek VI Suite”—most of Varèse Sarabande, VSD 47240 Star Trek Insurrection the score’s best ideas in six minutes. Star Trek, Vol. 1 GOLDSMITH • GNP Crescendo, GNPD 8059 Missing in Action: “Guess Who’s Coming,” a DUNING, FRIED • Label X, LXCD 703 Star Trek Nemesis short but ominous cue, with great percussion. Star Trek, Vol. 2 JOSEPH MULLENDORE, GOLDSMITH Varèse Sarabande, 302 066 412 2 Score Rating: FIELDING, KAPLAN, SAMUEL MATLOFSKY Star Trek Nemesis SACD Special Edition Label X, LXCD 704 GOLDSMITH • Varèse Sarabande, 302 066 430 2 The Next Generation Vol. 1: “Encounter at Farpoint,” DENNIS McCARTHY GNP Crescendo, GNPD 8012 Vol. 2: “The Best of Both Worlds,” GNP Crescendo, GNPD 8026 Vol. 3: Three episodes by McCARTHY GNP Crescendo, GNPD 8031 Vol. 4: Seven episodes by GNP Crescendo, GNPD 8057

Star Trek Generations (1994) Deep Space Nine COMPILATIONS Star Trek: Deep Space Nine: The Premise: Kirk and Picard team up across Star Trek: The Astral Symphony “The Emissary,” McCARTHY • GNP Crescendo, time and space to battle a star-destroying mad VARIOUS • , 12958 GNPD 8034 scientist. Kirk signs off...for good. Symphonic Star Trek The Prognosis: This much-hyped “meeting of Voyager VARIOUS • Telarc, CD-80383 The Best of Star Trek the generations” never quite comes together. Star Trek: Voyager: “The Caretaker,” VARIOUS • GNP Crescendo, GNPD 8053 The plot is confusing, the characters aren’t CHATTAWAY GNP Crescendo, GNPD 8041 themselves—Picard in mourning and emotion- The Best of Star Trek, Vol. 2 chip-laden Data painfully unfunny—and Kirk Enterprise VARIOUS • GNP Crescendo, GNPD 8061 literally dies with a whimper, courtesy of Enterprise: “Broken Bow,” McCARTHY The Ultimate Star Trek Malcolm McDowell’s cheesed-off Dr. Soran. Decca 289 470 999-2 VARIOUS • Varèse Sarabande, 302 066 163 2 ’s prominent role as Guinan doesn’t do much to liven things up. THE MOVIES ODDITIES (partial list) The Music: Dennis McCarthy doesn’t really Star Trek: The Motion Picture Star Trek: Original TV Series deserve his reputation as a composer of sonic JERRY GOLDSMITH • Columbia, CK 36334 Sound Effects wallpaper—Trek’s tin-eared caretaker Rick Star Trek: The Motion Picture: 20th GNP Crescendo, GNPD 8010 Berman takes most of the credit. But for TNG’s Anniversary Edition Columbia/Legacy C2K Mr. Spock’s Music From Outer Space first big-screen outing, McCarthy was allowed to 66134; CK 65485/DIDP 096708 (with Inside • Varése Sarabande, expand and build on his music from the TV Star Trek, spoken word recording by Gene B0000014WR series. The result is a generally mediocre, occa- Roddenberry and original cast) The Transformed Man sionally pleasing score. Most of it sounds like his Star Trek II: The Wrath of Khan WILLIAM SHATNER• Varése Sarabande, television stock music, only more exciting... JAMES HORNER • GNP Crescendo, GNPD 8022 B0000014WS (continud on page 44)

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REVIEWS OF CDS

CLASSIC GREAT GOOD BELOW AVERAGE SCORE WEAK

Catch Me If You Can is more melancholy and less flashy of ruckus). than the main-title motive. It starts Now, after hearing the score, I JOHN WILLIAMS with a sax solo so jazzy you’d swear can safely say it’s one of Glass’ Dreamworks 0044-50410-02 you could see the cigarette haze best—if only in that he so skillfully 16 tracks - 62:26 hanging over your stereo as it binds the three different time peri- plays. ods without using period music. et in the swinging ’60s, One last motive requires men- His music is squarely early 21st- Steven Spielberg’s Catch Me tion: This “I-want-to-be-in- century modernist, and yet it SIf You Can is a well-acted America”-like theme is so light and doesn’t come off as anachronistic cat-and-mouse game between airy that it’s almost too cheerful in in the film. The cello and piano teenage con man Leonardo relation to the others. The theme is (beautifully played by David Arch) DiCaprio (think The Talented Mr. first heard in “The Float,” a stand- in the opening cue, “The Poet Ripley) and FBI agent Tom Hanks. out piece very close in shape to Acts,” feels so universal and time- This is less high-minded than “Harry’s Wondrous World” from less that it’s as though Glass’ entire Schindler’s List and obviously less Harry Potter. Much of this track (or history of musical experimenta- sci-fi than A.I. or . It’s all of it?) is missing from the film— tion has lead to this score. While more akin to something like it may just be a concert piece several cues are adapted from Always in that it doesn’t necessarily based on the theme. pieces written earlier in Glass’ fit the mold of a “Spielberg” film. Spielberg usually brings out the career, this is still his tightest film This is Williams’ fourth score of very best in Williams—this is a score. By the time you get to the 2002, and while it might be the score not to be missed. Scattered cathartic finale, themes and varia- lightest, it is by no means the least throughout the album are jazz and tions fit nicely in the muscular, important. After doing heavy- lounge source cues from the likes near-eight-minute cue “The weight writing for last summer’s of , Stan Getz and Hours.” The intensity in the last Minority Report (and let’s not for- Dusty Springfield. —Cary Wong half of this track is almost too get the extremely lengthy and much to bear. dense scores for Attack of the The Hours This score will likely please Clones and Harry Potter and the PHILIP GLASS casual film score fans, but Glass Chamber of Secrets), he contributes Nonesuch 79693-2 • 14 tracks - 57:41 fans may find it a turning point in a masterful effort for Spielberg’s his career. This could be the score second film in less than six or someone who’s often that moves him from esoteric to months. Freferred to as a minimalist booklet of a soundtrack being mainstream. Whether this is a I don’t know what I was expect- composer, Philip Glass has been filled with pages of excerpts from good or a bad thing...we’ll have to ing when I put on the Catch Me If associated with some maximum the book on which the movie is stay tuned. —C.W. You Can CD, but it definitely wasn’t projects. From operas like Einstein based.) The Hours had a difficult 1 what I heard. The opening titles on the Beach and Satyagraha to time making it to the big screen, Narc /2 begin with a vibraphone carrying a films like Kundun and the -qatsi and according to a New York maga- CLIFF MARTINEZ lilting, circular motive that creates trilogy, Glass’ driving music has zine article, one of the main bones TVT Soundtrax TV-6670-2 an air of suspense and intrigue. always been at the forefront of of contention was Glass’ score. 18 tracks - 42:16 With the addition of saxophone these projects, totally integral to Supposedly, honcho and snaps, we’re reminded of the their success. For The Hours, Glass Harvey Weinstein saw a rough-cut n Narc, two unstable detectives Bernstein jazz sound (both employs a more subdued score of the film and immediately Ihunt for a cop killer in the wintry Leonard and Elmer). From then that makes for interesting contrast wanted Glass’ score removed. streets of Detroit. Starring Ray on, the piece is an exhilarating col- to his higher-profile efforts. (Glass, by the way, replaced Liotta, Jason Patric and the inim- lision of ideas. The Hours is the movie version Michael Nyman, who had to bow itable Busta Rhymes, the film bar- Though more difficult to classify of the Pulitzer Prize-winning novel out because of schedule conflicts.) rages its viewers with gunplay, than most Williams scores, Catch by Michael Cunningham about the Producer Scott Rudin fought fights and death as it pays homage Me If You Can resembles Presumed lives of three women in three dif- Weinstein on this, and Glass’ score to classic police pictures like Innocent and The Accidental ferent eras. If ever there was a liter- was saved. Without hearing a sin- Bullitt, Dirty Harry and The French , especially during “The ary movie, this is it. (In fact, this is gle note of Glass’ score, I thought it Connection. Given its pedigree, Father’s Theme.” This “Father” idea the first time I can recall the CD was likely great (to cause that kind one might expect Narc to feature

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music that sounds tough and sure, however, are both rare and restored Christmas fanfares are a ers for quite a while. As always, dynamic; after all, in the “ultravio- fleeting. —Stephen Armstrong joy to hear. The previously unre- let’s hope it paves the way for lent” cop films of the ’70s, com- leased “Turtle Doves” is a real more two-disc Williams restora- posers like Lalo Schifrin and Isaac 2 highlight, with its wonderful harp tions. —Darren MacDonald Hayes pumped out hard pop and Lost in New York: and music box sound. funk arrangements to approximate The Deluxe Edition (1992) Disc two opens with “Christmas White Oleander 1/ 2 musically the threat of the city Star—Preparing the Trap.” The THOMAS NEWMAN street. For Narc, however, Cliff JOHN WILLIAMS segue from the carol to the per- Varèse Sarabande 302 066 417 2 Martinez uses electronica—much Varèse Sarabande VCL 1102 1014 cussion rhythm that kicks off 19 tracks - 34:40 as he did for Traffic—to generate Disc One: 17 tracks - 46:48 “Preparing the Trap” contains the same sort of cerebral concoc- Disc Two: 16 tracks - 53:17 some of the best canonic writing hen my sister-in-law tions that once distinguished “art of Williams’ career. Disc two also Wrecently finished Janet rock” outfits like Tangerine Dream his album will be of little inter- features the comedy pratfalls of Fitch’s extremely popular Oprah and King Crimson. As the press Test to those who are not Kevin’s booby traps in a couple of Book Club selection White release for this movie explains, Williams completists or big fans of lengthy tracks, and although Oleander, she turned to me and “The soundtrack takes the listener the Home Alone scores, but if you Matessino rightfully praises the wondered aloud: “How in the on a dreamlike, ambient journey enjoy the festive sound of Williams’ technical achievement of this very world did they make a movie out through the dark world of under- Home Alone music, do yourself a precise music, it is still the weakest of this novel?” I replied: “Judging cover narcotics that the film fol- favor and pick this one up. part of the score. For this type of by the reviews, by slapping lows.” The biggest draws are nearly 40 mickey-mousing comedy scoring, together a top-notch cast and crew Indeed, through the course of minutes of previously unreleased no one can compare with Carl and then letting them work against this “ambient journey,” Martinez material and much improved Stalling or Milt Franklin. The each other.” generally avoids traditional sound quality. The original album’s album finishes up with the several The book and movie concern melody-harmony arrangements, excess hiss always bothered me, emotional cues of the finale, and the relationships between a young preferring instead to operate with especially since the score for the then the formal Christmas carols woman and her various mothers, drifting rhythms, sonic textures first film was recorded digitally. As that Williams co-wrote with Leslie both foster and biological. and so forth. A characteristic track such, I was not surprised to learn Bricusse and recorded specifically Evidently the amount of emotional like “This Is It,” for instance, fea- that it didn’t use first generation for album presentation. Of these, angst generated on-screen by tures an electronic pulse, mean- masters. This album corrects that “Somewhere in My Memory” is a these relationships pushed dering footsteps, a gong and key- problem, and the result is stun- little weaker than the children’s Thomas Newman in the opposite board chords that rise and fall like ning. Even on the familiar tracks choir version from the first film, direction. He has crafted a score willow branches in the wind. you’ll hear subtle John Williams but the dramatic power of “Star of with so little tension that a single Similarly, “I’m Still Gonna Leave” nuances you hadn’t noticed Bethlehem” is unsurpassed by any pass through the brief album is a virtually static pool of sounds, before—a solo here, a wood- other recording. leaves the listener in a near-coma- which the composer slowly stirs wind and chime combo there. This album will likely remain in tose state. with the erratic screeches of an Producers Nick Redman and most John Williams fans’ CD play- Having enjoyed Newman’s inno- electric guitar. Michael Matessino should be vative scoring in the past, I looked Now and then Martinez tight- thanked not only for leaving the forward to hearing this. Now, after ens up the music a bit, as in “I original track titles intact (why several listens, I am inclined to Wanna Check This Place Out” and couldn’t they have done that for agree with the many critics who “Let’s Sit on It,” with a punching Star Wars?) but for including alter- wondered about the direction of bass-and-drums figure that leans nates and bonus tracks (like the the film. Newman’s score belongs heavily on the sound of Trent source musical score for the ficti- in the Brian Eno school of ambient Reznor’s Nine Inch Nails. And, tious gangster movie that serves as music—not a bad category to be occasionally, he allows actual a retread of a gag from the first in, but a strange choice for such a emotion to seep into the material. film, and would sound at home in powerfully emotional story. It A short keyboard cue like any Rózsa or Steiner noir score). seems to work at cross-purpose “Something to Do,” for example, They also rearranged the score with the movie, gearing up only at sets a pattern against a back- chronologically, which brings a the very end, when the film is ground of wind and echoes, creat- new touch to familiar tracks like winding down (even ing a sound that resembles the “To the Plaza Presto,” a wonderful “Rollercoaster” is calm, for good- romantic noise Brian Eno and scherzo incorporating ness sake). Daniel Lanois wrapped around Tchaikovsky’s “Marzipan” from The score is basically monothe- U2 in the ’80s. In fact, whenever and which now matic, revolving around the olean- Martinez (who used to play has a brand new opening. der theme presented in piano in drums for the Red Hot Chili “Arrival in New York,” “Plaza the first cue (“Oleander Time”). It’s Peppers) allows his rock-and-roll Hotel” and “Duncan’s Toy Store” serviceable but similar in every heart to beat, this score comes to each nearly doubles in running aspect to the reflective piano life. Such moments of self-disclo- length, and Williams’ newly theme from The Shawshank

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SCORE

Redemption. It weaves in and trasting cues: “The Arctic Warrior” Rebecca’s melancholy theme is around the tonic chord and never is brightly epic, and “I Saw a Little played contrapuntally against goes anywhere. This simple Girl” is atmospherically tender. For Ivanhoe’s. Other highlights include phrase, repeated several times, a score that’s heavy on the melo- “Torquilstone’s Castle,” with its recurs in many cues. drama, this is executed with a sur- military overtones, and the two It’s actually the other cues—the prisingly light touch. exciting and lengthy battle tracks ones that don’t rely as much on After a while the music does for the film’s climax. this theme—that are the only rea- fade into the background—it The material is based on and son to listen to the album. Playing jumps out at you from time to inspired by actual music of the with ambient textures, Newman time, sort of the musical equiva- period, thoroughly researched by uses subtly shifting tone colors to lent of the monster jumping out of Dr. Rózsa, including a ballad actu- add interest. And yes, he uses non- the closet. The middle of “Meeting ally attributed to King Richard the traditional instruments through- the Captain” is one such “boo!” Lionheart himself. Sound quality out, including a saz, cavaquinho, moment, presenting an abrupt is fine—the music is crisp and EWI and other synthesized shift from ambient, exploratory clear, though not quite sonically as sounds. Listen closely to how he music. This marks a turning point strong as other recent Rózsa balances high and low with barely in the album, ratcheting up the releases like Lust for Life and King any middle-register in “Not My tension as the film prepares to go of Kings. Although there are nine Type” or to the delicate shifts in for the gore. After this cue, the bits more tracks than in Bruce the various flutes in “Every Insult.” of daylight that Frizzell introduces, Broughton’s Intrada re-recording, These are small gestures, most such as “Francesca’s Theme” and this release is shorter by about likely lost on an audience in the the end of “Finding Gold” are established by the previous mate- three minutes, even including a theater (where there is so much more disturbing than comforting. rial. Program your CD player to two-minute alternate main title as else to see and hear), but gestures Especially since the next cue, skip it, and let the rest of the music a bonus track! Broughton must that nonetheless make the album “Work to Do,” starts off with a sim- creep you out. Because, overall, have taken his orchestra much experience worthwhile. ilarly light mood before diving into Frizzell has a fine ear for atmos- slower in general (sadly This is a minor letdown, but I’ll high-paced scares. The album phere. —Genevieve Williams in re-recordings). But given the still wait in anticipation for inevitably makes for an unsettling digital sound of Broughton’s strong Thomas Newman’s next effort. He and not completely uninteresting Ivanhoe (1952) work, this release of the original almost always offers something of listening experience. MIKLÓS RÓZSA tracks does not render Broughton’s interest, and I hope that his future However, as with many scores Rhino Handmade RHM2 7772 obsolete, as so often happens. projects are more fruitful in all for film that involve a lot of fast 27 tracks - 59:04 Incidentally, the track listing on facets of production. edits, the music is often disjointed. the back of the tray card is wrong. —Andrew Granade No clear themes emerge from vanhoe is a rich score from early There are 27 tracks, not 26, so refer what is, on the whole, a fairly Iin Miklós Rózsa’s historical-epic to the inside of the booklet for the Ghost Ship murky block of material. That’s not period at MGM, following closely correct track labeling. JOHN FRIZZELL meant as a negative observation; on the heels of Quo Vadis. Rózsa Act quickly, because my copy Varèse Sarabande 302 066 419 2 in fact, given the nature of the film, fans will not want to miss out on was numbered at 2478/2500! Okay, 39 tracks - 73:55 murkiness is entirely appropriate. this individually numbered limited they probably are not selling them It does mean that the recording edition. numerically and surely have more ohn Frizzell scored Steve Beck’s doesn’t really stand by itself as a Rózsa provides this epic film, than 22 left, but don’t delay. —D.M. JThirteen Ghosts, which is pretty coherent whole, even if its level of based on Sir Walter Scott’s novel, much the same film as their latest detail suggests that it should. with multiple themes and sub- Promise at Dawn (1970) collaboration, Ghost Ship—except Frizzell’s use of strings, in particu- motifs that his fans have come to this one takes place on a boat. lar, is decidedly granular, and his expect from his writing. In addi- GEORGES DELERUE Frizzell now seems to be making a favoring of the lower register—a tion to the main Ivanhoe theme, Disques Cinemusique DCM 103 career out of scoring this very spe- principal violist, cellist and bassist there is a theme for each of the 17 tracks - 35:15 cific genre film: the grim, tautly are credited, but no violinist—con- female leads, the love theme for wound, claustrophobic sort where tributes to this overall effect. Ivanhoe and Rowena, a theme for romise at Dawn, a French the cast members are killed off in The album’s main misstep is the the Saxons, a theme for the Pcomedy directed by an reverse order to the end credits. inclusion of a decidedly modern Normans, and, naturally, a theme American, , pleased That said, from The Rich Man’s bit of pseudo-goth, Marilyn for the villain. critics on both sides of the Atlantic Wife to Alien Resurrection to this Manson-ish dance music that Rózsa’s characteristic brooding when it appeared in 1970. latest offering, Frizzell always does sounds like it was ripped from the strings are present throughout, Unfortunately, it failed to attract a credible job. His Ghost Ship score club scene in . It’s hard to often passing the main theme audiences and “disappeared with- is suitably creepy and more subtle imagine where this track from to celli and back out a trace,” as Clement Fontaine than the film. While the overall belongs—definitely not in the again. There are also heaps of explains in this CD’s liner notes. impression is moody and dark, sequence in the film in which it Rózsa’s trademark counterpoint Recently, however, Disques there are some surprising, con- appears—and it shatters the mood writing, as in “The Rivals,” where Cinemusique resurrected and reis-

JANUARY 2003 32 FILM SCORE MONTHLY v8n01 issue 1/28/03 10:39 AM Page 33

FSMCD Vol. 6, No. 1 • Released by Special Arrangement with Music Plymouth Adventure by Miklós Rózsa M-G-M’s 1952 Plymouth Adventure was a sincere attempt to tell a vital piece of American history: the 1620 voy- age of the Mayflower. Spencer Tracy stars as the ship’s crusty Captain Jones, surround- ed by a game cast including Gene Tierney, Van Johnson, Lloyd Bridges, Barry Jones, Dawn Addams, Noel Drayton and . Producer Dore Schary aspired for historical accuracy and sought to redress misconceptions about the Pilgrims even as he concocted a colorful piece of Hollywood entertainment. The film has become a staple of Thanksgiving television broadcasts, and its production design (including a full-size Mayflower) and Academy Award-winning special effects still impress. Composer Miklós Rózsa researched period music for his score and based his main theme upon a Psalm setting which the Pilgrims would have known (Psalm 136). He composed the remainder of his themes “in the manner of the 17th Century lutenist composers” (his words), but not to the point where it would interfere with the drama. Composed at the beginning of his “historical” cycle (including Quo Vadis? and Ivanhoe), Plymouth Adventure is a magnifi- cent Rózsa effort capturing the spirit and tra- vails of the Puritan Separatists, with numer- ous melodies for the various characters. His thrusting cue for the Mayflower leaving har- bor (“The Mayflower”) is a virtual template for ships sailing forth, emulated in everything from Mutiny on the Bounty to Star Trek.

FSM’s premiere CD release of Plymouth Adventure features the complete score as heard in the film plus additional material: Rózsa recorded his score in seven sessions over six weeks (to match changing versions of the film), and alternate versions of many important cues are also included. Although originally recorded in stereo, the film’s master tapes were long ago trans- ferred to 1/4” tape and the music is thus pre- sented in the best possible monaural sound. $19.95 plus shipping

1. Prelude (Psalm 136)/Southampton 2:26 13. Land Ho/Old Hundred 2:11 22. After the Storm/Hunger*5:05 2. Embarkation 1:42 14. The Mayflower Compact 2:15 23. Despair/Hope/The Landbird* 6:45 ’’t Miss Don ’’s 3. John Sees Priscilla 1:57 15. Farewell/Landing/Decision 5:38 24. Old Hundred (alternate) 0:50 This Month 4. The Mayflower 3:14 16. Tragedy 1:44 25. The Mayflower Compact* 2:09 5. 2:24 17. 2:19 26. 5:53 Silver Age Classic The First Night/Mr. Brewster The Settlers Farewell/Landing/Decision* 6. Somber Thoughts 1:40 18. Plymouth Rock 3:02 27. Captain Jones’s Pilgrimage/ Ice Station 7. Prelude to Love/ Total Time: 47:00 Finale (Psalm 100)/ Zebra John and Priscilla 2:32 Confess Jehovah (original ending) 5:06 8. The Musket 0:29 Total Time: 32:35 by Michel Legrand 9. Nocturne 0:59 BONUS TRACKS Total Disc Time: 79:35 10. After the Storm/Hunger 4:54 19. Prelude (Psalm 136)* 2:05 *original version See inside back cover for details. 11. Misery 1:02 20. Tavern Music (Greensleeves) 1:15 12. Despair/Hope/The Landbird 5:53 21. The Mayflower* 3:14 Album Produced by Lukas Kendall v8n01 issue 1/28/03 10:40 AM Page 34

SCORE

sued the soundtrack, a breezy able to elicit strong emotions from part to other fine romantic scores. Ballistic: Ecks vs. Sever effort from Georges Delerue. some of us, it certainly won’t hurt The key here is that Marinelli’s (generously given) A love story, Promise at Dawn anyone’s ears. Music as pleasant as melody is interesting and heart- DON DAVIS chronicles the adventures of this is hard to dislike. —S.A. felt. I was continually impressed Varèse Sarabande 302 066 420 2 Romain, a young soldier who is by the harmonic variety coupled 23 tracks - 68:52 separated from his mother, a The Man From with unusual instrumentation. 1 Russian woman named Nina, Elysian Fields /2 Imagine a cross between George ow does a guy write The when he volunteers to fight for Winston and Paul Chihara, mixed HMatrix and then get stuck Free France during World War II. Varèse Sarabande 302 066 418 2 with a little John Barry. with Ballistic? Maybe on the sur- Set in Europe and peopled with 23 tracks - 36:52 Understand that the jazz in this face, an adult, Bond-style action immigrants and refugees, the film score is more in the vein of David picture with Antonio Banderas is also a sort of travelogue (as it nthony Marinelli has done Benoit, “New Age jazz” or world and Lucy Liu had some appeal. renders images of the Old World A programming on music. Further into the album, Underneath, it was nothing and from various points of view). films going back as far as Marinelli adds solo trumpet and a turned out to be a complete waste Similarly, Delerue’s score presents Starman. He’s also worked as an more highlighted jazz trio set. of time for everyone involved. No the musical sounds associated orchestrator on numerous proj- This is the plan Barry favored in doubt it was intended for the with these places and cultures. ects and was nominated in 1993 Playing by Heart, and if you find “young fu” audience. This older On a track like “Pursuit (To the for an Australian Film Institute yourself returning to that score, “fu,” your humble reviewer, wisely Chemistry),” for instance, award for his original music for this one will likely join it. decided to skip it. Delerue sets brass and strings to Flynn. The Man From Elysian It’s a mark of Varèse’s continued The opening “Main Title” is a galloping, drum-driven beat in Fields stars (really), devotion to film music that we get basically a rock number filled with order to mimic the sounds of Andy Garcia, the late James the chance to experience this electronic tricks of the trade, and Paris dance halls. In contrast, Coburn and a host of other famil- score. It’s one that could have eas- driven by a lousy vocal. (Is it just “The Sale of the Samovar” pays iar faces. The film, directed by ily slipped under the radar. me or has everyone begun to ask homage to Tchaikovsky—and, by George Hickenlooper (Dogtown), —Steven A. Kennedy for these wordless, plaintive extension, the Russian concert premiered September 2001 at the female vocals since Gladiator?) hall—as it captures the com- Film Festival and was The hard-rock approach passes as poser’s schizophrenic style, inter- also shown at Sundance in action music for the entire film. rupting a violent onslaught of January 2002. While it received This works fine when you at least horns with a somnambulant part good reviews, the film had a lim- have a thematic reference, as in for winds. And “Piekielny’s ited run in early October—if David Arnold’s three Bond scores. Theme,” which refers to the time you’re still interested you can Here it’s just noisy filler. Four min- when the mother and son live in probably find it in your local utes into the disc and it wears Poland, suitably makes use of an video store by now. Apparently, thin. “Severcam” provides a brief accordion. it’s a stylish comedy of manners respite with a little over a minute Several vocal pieces appear as with some darker overtones. of atmospheric electronic well. The prettiest of these is Before I get started on the sounds—this turns out to be the “Romain’s First Love,” in which a music, I have to point out that second “trick” of the score. But pair of ethereal sopranos sing a the arrangement of the cues is a soon the female vocals return...at cappella. And in “The Friend’s little unusual, with the “End this point I started hoping they’d Farewell,” a female voice shud- Credits” second and the “Main just put the poor woman out of ders above the lonely strains of Title” as the final track on the her misery. another accordion in a manner disc. The opening, “Like Your As the album is quite long, I that vaguely resembles “ Defects,” is an elegiac piece with held out hope that something Marlene,” the wistful ballad a piano melody captured by interesting would appear. And... Marlene Dietrich made famous strings and repeated in a gor- well, at least several tracks are in during WWII. In fact, the song geous arrangement. The “End different keys. Actual variety is evi- “I’m Greek,” which closes the Credits” begins with ethnic jazz dent only in the aforementioned album, pays its respects directly percussion and a guitar solo. cues based on more ambient elec- to Dietrich, as Melina Mercouri There is an interesting mix of tronic sounds. “Ecks Is Mobile” is (who plays the role of Nina) belts wordless vocals, and the orches- the standout cue on the disc—if out ironic lyrics with a scratchy, tration adds in unusual percus- there has to be a standout cue, that whisky-thick voice. sion à la Thomas Newman, along is. More orchestral, with little of the Eclectic, mannered and senti- with an ethnic flute sound (akin “techno-plague” of the previous mental, the score for Promise at to uilleann pipes). The disc relies tracks, it even has what might be Dawn probably won’t disappoint on guitar and string backgrounds considered a love theme. The same (or surprise) listeners who are harmonized with luscious thematic idea recurs in the very familiar with Delerue’s oeuvre. extended chords, which ulti- next track, and it’s too bad this And though this work may not be mately makes it a great counter- wasn’t a bigger part of the score.

JANUARY 2003 34 FILM SCORE MONTHLY v8n01 issue 1/28/03 10:40 AM Page 35

This disc does show Davis’ ver- sound is remarkably good for its of those great Hollywood medleys satility as a composer, but I hope age, and Jon Burlingame’s liner of jubilantly arranged source tunes this is not a direction he takes notes provide intelligent and used over extended montages, or very often. In all, the music pointed commentary that’s as suc- parade scenes such as this one. sounds like stylized but uninter- cinct as the scores represented. The dozen or so popular carols esting . Davis The recovering of this material is a and songs that follow the parade fans are advised to skip this one. labor of love and undoubtedly a music are primarily intimate Sometimes bad music is as bad as long, and at times tedious, music-box-like pieces. it sounds. —S.A.K. process. Newman fans should give Mockridge’s use of the familiar thanks for the efforts of all “Jingle Bells” as a musical device Down to the Sea in Ships/ involved here. —S.A.K. to tie things together is never Twelve O’Clock High (1949) banal or cloying. It cuts to the core Miracle on 34th Street/ of each scene, underlining with Come to the Stable amazing economy the humor or 1 Screen Archives Entertainment 0005 (1947/1949) /2 bittersweet character of the drama 30 tracks - 42:23 CYRIL J. MOCKRIDGE where music is needed. Percepto 011 Come to the Stable (16 tracks - creen Archives Entertainment 36 tracks - 63:02 30:34) is a welcome companion Scontinues its releases of Alfred score and rounds out the album Newman scores with this double- his Percepto release of two Fox nicely. It allows us to hear more of header featuring the other two Tholiday films came just in time Mockridge’s style, even as this “big” Fox films from 1949. Down to Oscar nomination for his role as for Christmas 2002. Miracle on score in particular bears great the Sea in Ships boasted an amaz- Frank Savage. The film received 34th Street (20 tracks - 32:26) is the resemblance to Newman’s The ing cast that featured Lionel three additional Academy Award better known of the two scores Song of Bernadette (1943). Still, Barrymore, Richard Widmark and nominations: Dean Jagger and actually appeared on the Mockridge is able to communi- a young Dean Stockwell. Critics received his for Best Supporting short-lived Sundance Film Music cate an amazing depth of emotion place Twelve O’Clock High as one Actor, and the film was awarded Series from Telarc, conducted by with the simplest of musical ges- of the greats among war films. another for Best Sound. David Newman (whose tempos tures. His string writing has For Down to the Sea in Ships (18 This is another short score, but are not far off from his father’s). European qualities that hint at his tracks - 25:17) Newman enlisted the little that’s here is excellent. Percepto has released that music English . The little scherzo, his favorite orchestrator, Edward Newman’s dramatic “Main Title” is in addition to other music used in “Driving Anthony Home” Powell, while assisted one of his finest. It opens with the film (all arranged/adapted by (deleted) and “Heading for New in writing lyrics for an original sea dark foreboding and then moves Alfred Newman). Newman’s song York” (the same music in a briefer shanty, “Ol’ Father Briny.” This is into a more sentimental theme. for Come to the Stable, “Through a setting) are wonderful pieces that not the same kind of seafaring “The Airfield” is a fascinating cue Long Sleepless Night,” also sound like amalgamations of chorus heard in Korngold’s more with a ghostly chorus that creates appears, sung first by an unidenti- Newman and Max Steiner. “Home familiar ocean pictures. Newman’s an unsettling feel as dissonant fied male vocalist, and later by an After the First Day’s Work” and meager score, coming in at under orchestral music flows underneath unidentified female vocalist. The “The Bishop Relents” are similar 17 minutes, stands comfortably the tuneful songs. Due to its song, with lyrics by Max Gordon, is to Steiner’s comedic scoring. This with other samples of his dramatic brevity, the true mark of how not terribly distinguishable from is not to say that Mockridge is scoring from the 1940s. The single Newman’s restraint is used in this other period Hollywood love merely a derivative product of his theme from the “Main Title” reap- film is likely best appreciated songs. time. He owes less to the conti- pears in various guises to enhance while absorbing the total film. Still, Cyril Mockridge rarely received nental European orchestral sound scenes and serve as background it is good to have this available in films that demanded extensive (via Wagner and Strauss) that was source music. “The Wide such amazing sound. The source scoring, so his “greatness” often the inherited music of Newman Missouri” is another example of cues are performed by Urban goes unnoticed in the annals of and Steiner. His approach to Newman adapting familiar folk Thielmann, also credited as the film music (other than to note his string writing favors a distinctively songs and allowing them to be arranger. To help bolster the run- involvement as an arranger for lighter sound. heard without additional orches- ning time of the CD, SAE also some amazing scores). In Miracle The liner notes, while not as tral trappings. The final track from incorporates an “Alternate Main on 34th Street, with its collection of extensive as releases on Screen the film does a wonderful job Title” and three versions of the arranged carols and folk songs, it Archives or Film Score Monthly, summarizing the human drama music used in the trailers for the can be hard to determine just how still serve their purpose. The CD and finishes with a rousing choral film. This should make com- much Mockridge contributed, but booklet includes the movie poster restatement of the sea shanty. pletists even happier. it’s safe to say that he wrote at least art in full color as well as a Twelve O’Clock High (12 tracks - SAE should be commended for 12 minutes of original music. His plethora of stills from both films. 17:06), directed by Henry King, continuing to plumb the depths of main-title music is particularly This is a worthy edition to the was another of Darryl Zanuck’s pet Newman’s lesser-known scores noteworthy, filled with the hustle library of anyone interested in the projects. It starred , from films familiar to an older and bustle of the big city. film music of the 1940s. It’s also who received his fourth Best Actor generation of moviegoers. The “Thanksgiving Day Parade” is one (continued on page 43)

JANUARY 2003 35 FILM SCORE MONTHLY v8n01 market 1/28/03 1:06 PM Page 36

We’re pleased to offer hard-to-find, unusual soundtrack-related products, including: Exclusive CDs; Books for music lovers; Books for composers; One-of-a-kind collectibles; and more! Order online, by phone or by mail: see contact info below. All CDs are $19.95 plus shipping & handling unless otherwise noted. FSMmarketplace NEW RELEASE: NEW RELEASE: Vol. 5, No. 20 Vol. 6, No. 2 Vol. 6, No. 1 / Ice Station Zebra Plymouth Adventure 7 Women MICHEL LEGRAND MIKLÓS RÓZSA HUGO FRIEDHOFER,/ Film released: 1968 Film released: 1952 ELMER BERNSTEIN Studio: M-G-M Studio: M-G-M Film released: 1959/1966 Genre: Military/Espionage Genre: Historical Epic Studio: M-G-M Silver Age Classics Golden Age Classics Genre: WWII/Drama CD released: Feb 2003 CD released: Feb 2003 Silver Age Classics Stereo • 79:20 Mono • 79:35 CD released: Jan.2003 This ’60s Cold War nailbiter Stereo • 73:46 is enhanced by Legrand’s Two Asian-flavored classics offbeat, epic scoring for a on one CD; Never So Few 75-piece orchestra. Remixed for superior sound, and resequenced Miklós Rózsa’s magnificent historical music for the 1620 voyage of (42:18) blends action and romance, while 7 Women (31:27) is more into film order, this dramatic score gets the deluxe treatment with the Mayflower. Includes the complete score as used in the film introspective and character-driven, with a big, exciting title theme over twice the music on the original LP—in stereo. $19.95 (47:00) plus a bevy of alternates (32:35). $19.95 for the Mongol horde. $19.95

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

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

Vol. 5, No 13 Vol. 5, No. 12 Vol. 5, No 11 Scaramouche Above and Beyond ELMER BERNSTEIN HUGO FRIEDHOFER Film released: 1952 Film released: 1969 Film released: 1952 Studio: M-G-M Studio: M-G-M Studio: M-G-M Genre: Costume Adventure Genre: Drama Genre: WWII Golden Age Classics Silver Age Classics Golden Age Classics CD released: Sept. 2002 CD released: Aug. 2002 CD released: Aug. 2002 Mono • 62:28 Stereo • 61:08 Mono • 55:44

The last of the Golden- This tale of barnstorming Age swashbucklers by skydivers contrasts robust, This combination of Rafael Sabatini (Captain action-oriented cues and wartime drama and Blood, The Sea Hawk, et al) gets a heroic and charming score sweeping Americana with softer, bittersweet melodies. CD fea- domestic struggle is driving by a stirring, progressive score, by the prolific Victor Young. This premiere release includes all tures complete underscore plus and marching band with one of Friedhofer’s greatest main titles. Complete, chrono- of the score, plus alternates, unused and source cues. $19.95 source cues. $19.95 logical score in best possible monaural sound. $19.95

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Vol. 5, No. 10 Vol. 5, No 9 Vol. 5, No. 8 I Spy The Prodigal Point Blank/ BRONISLAU KAPER The Outfit TV Produced: 1965-67 Film released: 1955 / Network: NBC Studio: M-G-M JERRY FIELDING Genre: Secret Agent Genre: Biblical Epic Film released: 1967, 1973 Silver Age Classics Golden Age Classics Studio: M-G-M CD released: July 2002 CD released: July 2002 Genre: Film Noir Stereo/Mono • 77:57 Stereo • 75:11 Silver Age Classics CD released: June 2002 Five episode scores for Complete stereo score for Stereo • 77:54 groundbreaking series gargantuan biblical epic Two films based on D.E. starring Robert Culp and starring Lana Turner fea- Westlake’s crime novels: Bill Cosby: “So Long, Patrick Henry,” “The Time of the Knife” tures male and female choruses, solos, source cues and thunder- Point Blank (39:38) is a landmark 12-tone score, ethereal and “Turkish Delight,” “The Warlord” and “Mainly on the Plains.” First ing symphonic glory. Includes unused alternate cues. $19.95 strange; The Outfit (38:16) features a dark, pulsating score punctu- three & theme in stereo; all OST, not LP recordings. $19.95 ated with unexpected melody. $19.95

Vol. 5, No 7 Vol. 5, No. 6 Vol. 5, No 5 On the Beach/ The Traveling 36 Hours The Secret of Executioner DIMITRI TIOMKIN Santa Vittoria JERRY GOLDSMITH Film released: 1964 ERNEST GOLD Film released: 1970 Studio: M-G-M Film released: 1959, 1969 Studio: M-G-M Genre: WWII/Spy Thriller Studio: Genre: Black Comedy Golden Age Classics Genre: Drama, Comedy Silver Age Classics CD released: May 2002 Golden Age Classics CD released: May 2002 Stereo • 66:41 CD released: June 2002 Stereo • 39:39 A taut, piano-dominated Stereo • 70:59 The main theme charming- score with an accent on Two scores from the films ly blends Americana, stealth—flamboyant, but of director Dixieland and circus naturalistic as well. This CD finally get released on CD. Beach is a gorgeous symphonic score sound, but the score touches all the bases, from bluegrass to premiere is remixed and remastered in stereo, doubling the play- ingenously interpolating “Waltzing Matilda”; Secret is a lyrical avant-garde to full-scale action. This first-release ever is complete, ing time of the LP including bonus tracks of vocals, piano demos, slice of “Italiana,” with one bonus cue. $19.95 with every note in excellent stereo. $19.95 and a jazz trio improv of the main title. $19.95

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

Vol. 5, No. 1 VOLUME 4, No. 20 Vol. 4, No. 19 Lust for Life Farewell, My Lovely/ Demetrius and the MIKLÓS RÓZSA Monkey Shines Gladiators Film released: 1956 FRANZ WAXMAN Studio: M-G-M Film released: 1975/88 Film released: 1954 Genre: Biography Studio: M-G-M Studio: 20th Century Fox Golden Age Classics Genre: Film Noir/ Genre: Biblical Epic CD released: Feb. 2002 Suspense Golden Age Classics Stereo • 61:51 Silver Age Classics CD released: Jan. 2002 CD released: Jan. 2002 Stereo • 61:51 Premiere release of Stereo • 73:48 Rózsa’s heartfelt, stirring Spectacular Waxman score accompaniment to the Farewell, My Lovely (33:06) for Biblical epic emphasizes tragic tale of Vincent van Gogh. A favorite of the composer, this CD is symphonic jazz score for '70s noir classic; Monkey Shines (40:41) romance, action and religion, interpolating themes from The Robe has been remixed from the three-track masters with bonus alter- is leitmotivic suspense score for George Romero monkey thriller. by Alfred Newman. Plus bonus tracks (11:06) and remixed cue from nate cues and more. One of the greatest film scores! $19.95 $19.95 The Egyptian (5:04). $19.95

Vol. 4, No. 18 Vol. 4, No. 17 Vol. 4, No. 16 John Goldfarb, Broken Lance The World of Please Come Home! Henry Orient JOHNNY WILLIAMS ELMER BERNSTEIN Film released: 1954 Piano Concerto Film released: 1965 Studio: 20th Century Fox by Kenneth Lauber Studio: 20th Century Fox Genre: Western Film released: 1964 Genre: Comedy Golden Age Classics Studio: United Artists Silver Age Classics CD released: Dec. 2001 Genre: Comedy/Drama CD released: Dec. 2001 Stereo • 38:41 Silver Age Classics Stereo • 71:32 CD released: Nov. 2001 Stereo • 40:32 This wacky comedy star- Disney’s workhorse com- ring Shirley MacLaine and Peter Ustinov is the earliest feature poser from the ‘30s (Pinocchio) provides a dark, rich Americana Bernstein’s “second-best” score for children (after To Kill a film soundtrack by John Williams available on CD. Johnny does score to this adaptation of King Lear set in the American West. Mockingbird) sports fabulous sound from the legendary Goldwyn Arab go-go music! $19.95 $19.95 scoring stage. Whimsical, melodic and magical. $19.95

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JOIN THE CLASSICS CHARTER CLUB Get every Classics release FIRST— automatically! See Vol. 4, No. 15 Vol. 4, No. 14 Vol. 4, No. 13 order form for details. Vol. 4, No. 12 Vol. 4, No. 11 Vol. 4, No. 10 The View From The Illustrated Man The Bravados Morituri/ The Best of Everything Voyage to the Bottom Pompey’s Head/ JERRY GOLDSMITH ALFRED NEWMAN & CHECK YOUR Raid on Entebbe ALFRED NEWMAN of the Sea Blue Denim HUGO FRIEDHOFER JERRY GOLDSMITH/ Song by Newman & PAUL SAWTELL ELMER BERNSTEIN/ Film released: 1969 Film released: 1958 ORDER ONLINE DAVID SHIRE , & BERT SHEFTER BERNARD HERRMANN Studio: Warner Bros. Studio: 20th Century Fox Visit our website at Films released: 1965/77 Perf. by Johnny Mathis Song by Russell Faith, Films released: 1955/1959 Genre: Sci-fi/Anthology Genre: Western https://secure.filmscore Studio: 20th Century Fox Film released: 1959 Perf. by Frankie Avalon Studio: 20th Century Fox Silver Age Classics Golden Age Classics Genre: WWII/Docudrama,TV Studio: 20th Century Fox Film released: 1961 monthly.com/store to Genre: Drama CD released: Sept. 2001 CD released: Sept. 2001 Silver Age Classics Genre: Drama/Romance Studio: 20th Century Fox Golden Age Classics Stereo • 42:02 Stereo (some bonus tracks in place an order on our CD released: Aug. 2001 Golden Age Classics Genre: Sci-fi/ CD released: Nov. 2001 mono) • 69:34 secure server. You will Stereo (Morituri)/ CD released: Aug. 2001 • Silver Age Classics The Illustrated Man is one Stereo • 75:15 Two Hollywood legends receive an automatic Mono (Entebbe) • 57:50 Stereo • 71:14 CD released: July 2001 • Stereo This pair of films by Philip of Jerry Goldsmith’s most collaborate for a rich, Morituri (41:46) is in Newman’s last Fox score is • 55:55 confirmation. All of your Dunne feature romantic, haunting sci-fi creations, handsome western score Goldsmith’s percussive ‘60s a romantic gem; think New Thundering B-movie hyste- intimate scores by Elmer with airy beauty, solo with a memorable, driving info is kept confidential style; Raid on Entebbe York at twilight. Complete ria plus soothing, romantic Bernstein (lovely female vocalise, early main theme and darkly and encrypted for your (15:29) features suspense, score (48:21) in stereo, plus undersea passages for the Americana) and Bernard electronics, strange brooding interior passages. protection. Save days pulsating action, and some bonus tracks in film that launched the hit effects and an aggressive Herrmann (“baby $19.95 and rest easy! Israeli song climax. $19.95 mono. $19.95 TV show. $19.95 Vertigo”). $19.95 climax. $19.95

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Vol. 4, No. 9 Vol. 4, No. 8 Vol. 4, No. 7 Vol. 4, No. 6 Vol. 4, No. 5 Vol. 4, No. 4 Vol. 4, No. 3 Between Heaven and / A Man Called Peter The French The Egyptian Untamed Hell/ Soldier of Fortune Ace Eli and Rodger of ALFRED NEWMAN Connection/ ALFRED NEWMAN & FRANZ WAXMAN JOHN WILLIAMS HUGO FRIEDHOFER the Skies Film released: 1955 French Connection II BERNARD HERRMANN Film released: 1955 Film released: 1974 Films released: 1956/55 JERRY GOLDSMITH Studio: 20th Century Fox DON ELLIS Film released: 1954 Studio: 20th Century Fox Studio: Warner Bros./20th Studio: 20th Century Fox Films released: 1969/73 Genre: Religious/ Biography Films released: 1971/75 Studio: 20th Century Fox Genre: Historical Adventure Century Fox Genre: WWII/Adventure Studio: 20th Century Fox Golden Age Classics Studio: 20th Century Fox Genre: Historical Epic Golden Age Classics Genre: Disaster/Irwin Allen Golden Age Classics Genre: (TV)/ Americana CD released: June 2001 Genre: Cop Thriller Golden Age Classics CD released: April 2001 Silver Age Classics CD released: July 2001 (feature) Stereo • 58:14 Silver Age Classics CD released: May 2001 Stereo • 65:43 CD released: Apr. 2001 Stereo • 73:00 Silver Age Classics CD released: May 2001 Stereo • 72:06 Stereo • 75:31 A superlative Hugo CD released: June 2001 Biopic of Scottish minister Stereo & Mono (I)/ At last: the classic 19th century African colo- Friedhofer doubleheader: Mono (Room 222)/Stereo & Peter Marshall receives Stereo (II) • 75:01 Newman/Herrmann col- nialist adventure starring Disaster masterpiece gets Between Heaven and Hell Mono (Ace Eli) • 71:37 rich, reverent, melodic Cop thrillers get pulsating, laboration for Fox’s histori- Susan Hayward receives premiere CD release, dou- (complete: 40:18) is a Room 222 (12:15) comprises score by Alfred Newman; dynamic, avant-garde cal epic. Original stereo thrilling adventure score bled in length from the LP. moody war thriller; Soldier theme and two episode CD features complete scores by jazz artist. First tracks were believed to be by Franz Waxman in first- Fantastic main title, climac- of Fortune (surviving scores for popular sitcom; score including source (37:52) includes unused lost or unusable, but this rate sound. Wonderful tic action cue; plenty of tracks: 32:41) an exotic, Ace Eli (59:21) an obscure music. $19.95 music; sequel (37:09) a bit CD features every surviv- main title, love theme. moody suspense and melodic jewel. $19.95 barnstorming movie. $19.95 more traditional. $19.95 ing note. $19.95 $19.95 romantic pop. $19.95

Vol. 4, No. 2 Vol. 4, No. 1 VOLUME 3, No. 10 Vol. 3, No. 9 Vol. 3, No. 8 Vol. 3, No. 7 Vol. 3, No. 6 How to Marry a Conquest of.../Battle for Beneath the The Stripper/ From the Terrace Batman The Undefeated/ Millionaire the Planet of the Apes 12-Mile Reef Nick Quarry ELMER BERNSTEIN Hombre ALFRED NEWMAN & TOM SCOTT/ BERNARD HERRMANN JERRY GOLDSMITH Film released: 1960 Theme by Neal Hefti / CYRIL MOCKRIDGE LEONARD ROSENMAN/ Film released: 1953 Film released: 1963/68 Studio: 20th Century Fox Film released: 1966 Film released: 1953 LALO SCHIFRIN Studio: 20th Century Fox Studio: 20th Century Fox Genre: Drama Studio: 20th Century Fox Film released: 1969/67 Studio: 20th Century Fox Film released: 1972/73 Genre: Adventure Genre: Drama /Action,TV Golden Age Classics Genre: Adventure/Camp Studio: 20th Century Fox Genre: Comedy/ Romance Studio: 20th Century Fox Golden Age Classics Silver Age Classics CD released: Dec. 2000 Silver Age Classics Genre: Western Golden Age Classics Genre: Sci-fi/Fantasy CD released: Feb. 2001 CD released: Jan. 2001 Stereo • 71:27 CD released: Nov. 2000 • Mono Silver Age Classics CD released: Mar. 2001 Silver Age Classics Stereo • 55:06 Stereo (Stripper)/Mono • 65:23 CD released: Sept. 2000 Stereo • 70:03 CD released: Feb. 2001 Fantastic undersea adven- (Quarry) 73:35 /Joanne Holy Bat-tracks! 1966 fea- Stereo • 72:33 Marilyn Monroe comedy Stereo & Mono (Conquest)/ ture score gets premiere Early Goldsmith feature Woodward soaper fea- ture produced at time of Western doubleheader: features period songs Stereo (Battle) • 74:44 release of original stereo (42:01, plus 21:06 bonus- tures tuneful, romantic ‘60s TV show features The Undefeated (w/John adapted as instrumental Final Apes films get vintage tracks, albeit with minor tracks)—is in romantic score by Bernstein. Rich Neal Hefti’s theme, Nelson Wayne, 47:33) is accessible underscore. “Street scores by Scott (38:47, deterioration. Lots of style. Quarry Americana music, sensi- Riddle’s Bat-villain signa- and symphonic. Hombre Scene” (5:36) conducted w/unused cues) and harps, “underwater” color, (10:27) is a TV rarity— tive romantic themes, tures, swingin’ underscor- (w/Paul Newman, 21:30) is by Alfred Newman opens Rosenman (34:43), plus TV seafaring melodies. $19.95 sounds like Flint music. haunting melancholy. ing and larger action set- moodier, sensitive—a quiet the movie and CD. $19.95 theme (1:13). $19.95 $19.95 $19.95 pieces. $19.95 gem. $19.95

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Vol. 3, No. 5 Vol. 3, No. 4 Vol. 3, No. 3 Vol. 3, No. 2 Vol. 3, No. 1 VOLUME 2, No. 9 Vol. 2, No. 8 A Guide for the Tora! Tora! Tora! Beneath the Planet Take a Hard Ride The Flim-Flam Man/ Rio Conchos Married Man JERRY GOLDSMITH of the Apes RON GRAINER JERRY GOLDSMITH JERRY GOLDSMITH JOHNNY WILLIAMS Film released: 1970 LEONARD ROSENMAN Film released: 1971 Film released: 1975 JERRY GOLDSMITH Film released: 1964 Title Song Perf. by Studio: 20th Century Fox Film released: 1970 Studio: Warner Bros. Studio: 20th Century Fox Films released: 1967/1975 Studio: 20th Century Fox Film released: 1967 Genre: WWII Studio: 20th Century Fox Genre: Sci-fi/Fantasy Genre: Western Studio: 20th Century Fox Genre: Western Studio: 20th Century Fox Silver Age Classics Genre: Sci-fi/Fantasy Silver Age Classics Silver Age Classics Genre: Drama/Americana Silver Age Classics Genre: Comedy CD released: May 2000 Silver Age Classics CD released: Mar. 2000 CD released: Feb. 2000 Silver Age Classics CD released: Dec.1999 Silver Age Classics Stereo • 54:45 CD released: Apr. 2000 Stereo • 65:39 Stereo • 46:38 CD released: Jan. 2000 • Stereo Mono/Stereo (combo) • 75:28 CD released: July 2000 Stereo • 72:37 (Flim-Flam)/Mono (Sooner) • Stereo • 73:10 Classic Goldsmith war score sci-fi Strange “blaxploitation,” 65:20 Early Goldsmith western enhances docu-drama take Second Apes pic gets atonal classic features one-of-a- foreign-produced western score is presented in com- Vintage score is “Johnny”’s on Pearl Harbor. Aggressive score by Leonard Rosenman kind symphonic/pop fusion gets wonderful symphonic A rural Americana double- plete form (55:43) in mono, most elaborate for a comedy, action music combined with with many avant-garde high- by the late Ron Grainer. score from Goldsmith; great header: Flim-Flam (34:37) with some cues repeated in with long setpieces, groovy avant-garde effects, lights. Includes complete Unforgettable themes, period main theme, action cues. stars George C. Scott as a stereo. Includes delightfully title theme, and orchestral Japanese instrumentation. original tracks (46:03) plus effects; great stereo sound Take a hard ride, indeed. Southern con man; Sooner bizarre vocal version of the underscoring foreshadowing $19.95 1970 LP re-recording with quality. $19.95 $19.95 (30:43) is smaller, sensitive main theme. $19.95 his dramatic works. $19.95 dialogue (26:34). $19.95 TV movie score. $19.95

Vol. 2, No. 7 Vol. 2, No. 6 Vol. 2, No. 5 Vol. 2, No. 4 Vol. 2, No. 3 Vol. 2, No. 2 Vol. 2, No. 1 / The Comancheros Prince of Foxes Monte Walsh Prince Valiant Patton/The Flight Leave Her to Heaven ELMER BERNSTEIN ALFRED NEWMAN JOHN BARRY FRANZ WAXMAN of the Phoenix JERRY GOLDSMITH ALFRED NEWMAN Film released: 1961 Film released: 1949 Film released: 1970 Film released: 1954 JERRY GOLDSMITH/ Film released: 1969 Film released: 1950/45 Studio: 20th Century Fox Studio: 20th Century Fox Studio: CBS Studio: 20th Century Fox Studio: 20th Century Fox Studio: 20th Century Fox Genre: John Wayne/Western Genre: Historical Adventure Genre: Western Genre: Historical Adventure Film released: 1970/65 Genre: Western Genre: Drama Silver Age Classics Golden Age Classics Silver Age Classics Golden Age Classics Studio: 20th Century Fox Silver Age Classics Golden Age Classics CD released: Sept.1999 CD released: July 1999 CD released: June 1999 CD released: May 1999 Genre: WWII/ Adventure CD released: Mar. 1999 Stereo • 47:44 Stereo • 46:39 Mono (1 trk. in stereo) 61:51 Stereo • 62:17 CD released: Nov. 1999 Silver Age Classics Stereo/Mono (combo) • 77:08 Mono (2 trks. in stereo) • 44:19 CD released: April 1999 Elmer Bernstein’s first of “Lost” Tyrone Power histor- Revisionist western gets Fox’s colorful 1954 adapta- Stereo • 76:24 /Raquel Welch Eve is a cinema master- many scores for John ical adventure gets exciting, vintage John Barry score 20 tion of the famous epic western gets explosive piece; the complete score is Wayne is a western gem, robust score by Alfred years before Dances With comic strip features stirring Patton (35:53) is complete score, heavy on Mexican col- appropriately theatrical, per- with rhythmic main title and Newman, newly mixed into Wolves. Song “The Good adventure score by Franz OST to WWII biopic classic. ors and guttural action. CD fectly drawn. Leave Her to high-tailing action music. stereo. Glorious main title, Times Are Comin’” per- Waxman in “leitmotiv” style, Phoenix (40:51) is a rare features score twice, in Heaven is more dramatic, Think in terms of “The stirring love theme. $19.95 formed by Mama Cass; a la Star Wars: hero, villain, album release for Frank De stereo and in mono with brooding film noir. $19.95 Magnificent Eight.” $19.95 many bonus tracks. $19.95 princess, mentor. $19.95 Vol, a rousing adventure/ slight variations. $19.95 survival score. $19.95

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VOLUME 1, No. 4 Vol. 1, No. 3 Vol. 1, No. 2 Vol. 1, No. 1 FSM-80125-2 FSM-80124-2 FSM-80123-2 The Return of Dracula/ The Paper Chase/ The Stagecoach/The Loner Mad Monster Party Deadfall The Taking of I Bury the Living/ LEONARD ROSENMAN Poseidon Adventure JERRY GOLDSMITH Film released: 1998 Film released: 1968 Pelham 1-2-3 The Cabinet of Caligari/ Film released: 1966 JOHN WILLIAMS Film released: 1966/1965 Studio: Rankin/Bass Studio: 20th Century-Fox Film released: 1974 Mark of the Vampire Studio: 20th Century Fox Film released: 1973/72 Studio: 20th Century Fox Genre: Animagic Genre: Heist caper Studio: M-G-M GERALD FRIED Genre: Sci-fi Studio: 20th Century Fox Genre: Western (film/TV) Percepto/Retrograde Records Retrograde Records Genre: Thriller Films released: 1958/58/62/57 Silver Age Classics Genre: Drama/Disaster Silver Age Classics CD released: 1997 CD released: 1997 Retrograde Records Studio: UA/ 20th Century Fox CD released: Sept. 1998 Silver Age Classics CD released: May 1998 Stereo 36:48 Stereo 40:23 CD released: 1996 Genre: Horror Stereo • 47:28 CD released: July 1998 Stereo (Stagecoach)/ Stereo & Mono • 30:55 Silver Age Classics Stereo/Mono (combo) • 75:53 Mono (Loner) • 45:25 The jazzy score by composer Barry scored this thriller in CD released: Jan. 1999 • Mono Sci-fi classic following Maury Laws, with lyrics by his most creative period. Hear David Shire’s Disc One: 61:06 Disc Two: 73:20 miniaturized sub crew The Paper Chase is eclectic Stagecoach is gentle Jules Bass, features the Features “Romance for Guitar unparalleled ’70s 12-tone inside the human body gets score for drama about law Americana score for remake vocal talents of Boris Karloff, and Orchestra,”; the title jazz/funk fandango for the Star Trek and The Man from of classic western. The U.N.C.L.E. composer gets 2- imaginative, avant garde students. The Poseidon Phyllis Diller and Ethel Ennis. song performed by Shirley 1974 subway hostage thriller CD release of creepy, early score; one of Rosenman’s Adventure is classic Irwin Loner includes theme and Features 16-page color book- Bassey, plus two unreleased, on FSM’s first album release. horror scores, packaged in signature works. Symphonic Allen disaster score. Also two episode scores for let with rare and unpublished alternates and vintage under- A sensational, driving, slimline case; same shipping yet thrillingly bizarre. $19.95 includes Conrack (1974), short-lived Rod Serling west- photographs and concept score. $16.95 pulsating score in a class by as one CD. $29.95 main title (6:07). $19.95 ern series. $19.95 drawings. $16.95 itself. $16.95

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The Click Book Comprehensive timing tables for synchronizing BOOKS FOR COMPOSERS music to film By Cameron Rose Composer provides click-tempo tables for 6-0 through 32-0 frame 2002 Film/TV Music Guide click-tempos. Each timing table covers beat 1 to beat 999 at the given From the Music Business Registry click-tempo. With large, easy-to-read click-tempo and metronomic Isn’t your career worth it? An exhaustive directory of record labels, music values at the top of each page, there are timing, frame and footage publishers, film/TV music depts., music supervisors, music editors, com- breakdowns for rhythmic subdivisions within each click-tempo— poser representatives, composers, clearance companies, recording stu- including compound meters. Includes a listing and tutorial of standard dios, performing rights societies, and music libraries—names, addresses timing-conversion formulas for 24 fps film speed, and a tutorial in and numbers. $94.95 SMPTE-to-absolute time conversion, plus frames-to-seconds conver- sion tables for U.S. and European film & video speeds. 430 pp. $149.95 Getting the Best Score for Your Film: A Filmmakers’ Guide to Music Scoring by David Bell BOOKS FOR MUSIC LOVERS The Score: Interviews with Film Composers by Michael Schelle Respected TV composer Bell (Star Trek: Voyager) wrote this book in 1994 This 1999 book uses a Q and A format to provide readers with a conver- to help producers and directors get the most out of film music. Aimed at sational look at contemporary composers, featuring lengthy transcripts filmmakers, this book also provides useful professional info to com- with Barry, Bernstein, Blanchard, Broughton, Chihara, Corigliano, posers and musicians—or any interested fan. Topics include spotting, Howard, Isham, Licht, McNeely, T. Newman, Shaiman, Shore, Walker and communicating, recording, budgeting and licensing, with explanations of C. Young. Written by a composer, who delves deeply and precisely into the personnel and entities involved in each; also includes lists of agents, each composers’ ideas. clearance companies, glossary terms and resources. Silman-James Silman-James Press, 432 pp., softcover. $19.95 Press, 112 pp., softcover. $12.95

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

The Album Cover Art of Soundtracks A Heart at Fire’s Center: The Life and Music of Bernard Herrmann by Frank Jastfelder & Stefan Kassel, Foreword by Saul Bass by Steven C. Smith This 1997 coffee-table book is a stunning collection of soundtrack The most influential film composer of all time, who scored , LP covers, many reproduced full-size. From westerns to blaxploita- Vertigo, Psycho and , Bernard Herrmann (1911-1975) wasas tion to sexploitation in every style, it’s a gorgeous dossier of vivid famous for his musical passion as his bad temper. This hard-to-find 1991 artwork, with covers both ubiquitous and rare. Take a trip down book is the definitive biography of the legendary composer, covering his memory lane, or experience these powerful images for the first film, television, radio and concert work as well as his personal life. It’s a time. Originally sold for $29.95—it’s now out-of-print, but we have brilliant of Herrmann and probably the best film composer a limited number of copies for our faithful readers. biography ever written. Edition Olms AG Zürich, 128 pp., full color, softcover. $24.95 Press. 416 pp., hardcover. $39.95

Hugo Friedhofer: The Best Years of His Life Dimitri Tiomkin: A Portrait Edited by Linda Danly, Introduction by Tony Thomas by The gifted musician of such Hollywood classics as The Best Years of Our This 1984 book is the authoritative study of legendary composer Tiomkin Lives, Above and Beyond and Soldier of Fortune was considered by his (1894-1979). Long out of print, a few copies have surfaced from the U.K. contemporaries to be the most sophisticated practitioner of their art. publisher, but when they’re gone, they’re gone! This treasured tome is Friedhofer (1901-1981) gave a lengthy oral history to the American Film divided into three sections: a biography, an overview of Tiomkin in an Institute, rife with anecdotes, opin ions and wit, which forms the center- historical perspective, and specific coverage of his major landmarks piece of this book. Includes a short biography by Danly, the eulogy from (Lost Horizon, , the Hitchcock films, Giant, and many more). Friedhofer’s memorial service by , a filmography, photographs Includes a complete filmography, 41 b&w photos, and 9 color plates. and more. The Scarecrow Press, 212 pp., hardcover. $39.95 T.E. Books. 144 pp., hardcover. $24.95

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

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

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

BACK ISSUES OF FSM films; Williams concert; Recordman at *#62, Oct. ’95 D. Elfman Pt. 1; J. Ottman editing minutia/trivia. TV CDs. the flea market. (The Usual Suspects); R. Townson *Vol. 2, No. 2, Mar./Apr. ’97 A. Clausen Vol. 3, No. 3, Mar./Apr. ’98 VOLUME ONE, 1993-96 #50, Oct. ’94 A. Silvestri (); (Varèse Sarabande); 10 Most Influential (); promotional CDs; /Horner essays, Best of 1997, M. Isham; sex & soundtrack sales; Scores; Goldsmith documentary. Congress in Valencia; Readers Poll ’96; Cinerama Rides Again, Remembering 24 pp. unless noted. Schifrin concert; Morricone Beat CDs; *#63, Nov. ’95 James Bond Special Into the Dark Pool Pt. 2 Greig McRitchie, Fox Newman Stage Asterisk (*) indicates photocopies. that wacky Internet; Recordman on Issue! Barry & Bond (history/ pics, Oscar noms. *#30/31, Mar. ’93 64 pp. M. Jarre, B. liner notes. overview); Serra on GoldenEye; essay; Vol. 3, No. 4, May ’98 Bruce Broughton Poledouris, Chattaway, J. Scott, C. *#51, Nov. ’94 H. Shore (Ed Wood), T. favorites; more. Also: History of (), D. Arnold (Godzilla); Young, Mike Lang; secondary market, Newman (Shawshank Redemption), J. Soundtrack Collecting Pt. 3; Davy Inside Close Encounters restoration; Morricone albums, Bernstein Film P. Robinson (Craven’s New Nightmare), Crockett LPs. Williams Buyers Guide Pt. 3; Score Music Collection LPs; 1992 in review. Lukas’s mom interviewed; music of *#64, Dec. ’95 Danny Elfman Pt. 2, Steve Internationale, Laserphile, Ed *#32, Apr. ’93 16 pp. Matinee temp- Heimat, Star Trek; promos. Bartek (orchestrator), Recordman Shearmur; Fox Classics reviews. track, SPFM ’93 Conference Report, *#52, Dec. ’94 E. Serra; M. Shaiman Pt. Meets Shaft: The Blaxploitation Star Trek music editorial. 1; Sandy De Crescent (music contrac- Soundtracks; Kamen Pt. 3; re-recording *#33, May ’93 12 pp. Book reviews, tor); Valencia Film Music Conference; House of Frankenstein. GET FREE GIFTS! classical/film connection. SPFM Conference Pt. 1; StarGate liner *#65/66/67 Mar. ’96, 48 pp. T. Newman; Film Score Monthly rewards its *#34, Jun. ’93 16 pp. Goldsmith SPFM notes; Shostakoholics Anonymous. Takemitsu; Robotech; Star Trek; 10 happy, loyal customers with a free award dinner; Orchestrators; Lost in *#53/54, Feb. ’95 M. Shaiman Pt. 2; D. Influential composers; Glass; Heitor Space; recycled Herrmann; C.Young; McCarthy (Star Trek); Sergio Bassetti; Villa-Lobos; songs in film; best of ’95; gift for spending over $50 on any one Pinocchio; Bruce Lee movie scores. Jean-Claude Petit & film score documentary reviews order, and TWO free gifts for spend- ing over $100. (Magazine subscrip- *#35, Jul. ’93 16 pp. Tribute to David in Valencia; Pt. 1; (Herrmann, Delerue, Takemitsu, “The tions, shipping and tax are not appli- Kraft; John Beal Pt. 1; scores vs. songs; rumored LPs; quadraphonic LPs. Hollywood Sound”). *Vol. 2, No. 3, May ’97 Michael Fine: cable towards the $50 or $100—but Herrmann Christmas operas; Film *#55/56, Apr. ’95 B. Poledouris (The *#68, Apr. ’96 D. Shire’s The Taking of Re-recording Rózsa’s film noir scores; Composers Dictionary. Jungle Book); A. Silvestri (The Quick Pelham One Two Three; C. Burwell reviews: , Mars Attacks!, everything else is, including backissues.) *#36/37, Nov. ’93 40 pp. Bob Townson and the Dead); J. Lo Duca (); (); gag obituaries; Apollo 13 Rosewood; Lukas’s & J. Bond’s reviews. (Varèse); Richard Kraft & Nick Redman Oscar & Music Pt. 2; Recordman’s promo/bootleg tips. *Vol. 2, No. 4, Jun. ’97 Elfman (Men in If your order applies, please scrib- Pt. 1; John Beal Pt. 2; reviews of CAM Diary; SPFM Conference Report Pt. 2. *#69, May ’96 Music in Plan 9 from Black), Promos Pt. 2, Martin Denny and CDs; of collectors interest; classic cor- Outer Space; Funny movie music glos- Exotica, Lady in White, the Laserphile ble your selection on the form or a ner; fantasy film scores of E. Bernstein. sary; Herrmann & Rózsa radio pro- on DVDs, Brian May obit, The Fifth separate sheet. yourself. The free gifts will, from time to time, include *#38, Oct. ’93 16 pp. John Debney grams; Irwin Allen box set; Bender’s Element . products we otherwise sell here at (seaQuest DSV); Kraft/Redman Pt. 2. “Into the Dark Pool” column. *Vol. 2, No. 5, Jul. ’97 Goldenthal the site, and some products we *#39, Nov. ’93 16 pp. Kraft & Redman Pt. *#70, Jun. ’96 Mancina (Twister), final (Batman & Robin), Mancina (Con Air, 3; Fox CDs; Nightmare Before desert island lists, J. Bond on summer Speed 2), Clinton (Austin Powers), don’t—although they may be avail- Christmas; Bride of Frankenstein. movies; TV’s Biggest Hits review. ASCAP & BMI nites; Crash, Lost World. able from other sources. *#40, Dec. ’93 16 pp. Kraft & Redman Pt. *#71, Jul. ’96 D. Arnold (Independence Vol. 2, No. 6, Aug. ’97 Schifrin (Money 4; Re-recording . Day); M. Colombier; Recordman Goes to Talks), J. Powell (Face/Off), Shaiman Here is the present line-up of available gifts: *#41/42/43, Mar. ’94 48 pp. E. Congress; J. 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If your order qualifies, it An intimate visit with the composer of Conan as well as dozens of behind-the-scenes and *Vol. 3, No. 2, Feb. ’98 Glass (Kundun), is your responsibility to ASK for a the Barbarian, , Starship Troopers and family photos, and appearances by wife Bobbie and Williams Buyers Guide Pt. 2 (The free gift—we won't send it automati- Lonesome Dove. Take a tour of his work and daughter Zoë. Discover the man behind the music, Reivers to Black Sunday), D. Amram cally. Thanks! lifestyle, from his methods of composing to his in a way you’ll never see on TV, or experience in (The Manchurian Candidate), Goldsmith love of sailing. The video runs 50 minutes and print. Specify NTSC (U.S.) or PAL (European) $19.95 on Varèse, Pendulum CDs; poll results,

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Shearmur; Fox Classics reviews. *Vol. 4, No. 8, Sept./Oct. ’99 Tribute to Vol. 6, No. 2, Feb. ’01 The Musical World (Spider-Man); Attack of the Clones Vol. 3, No. 5, Jun. ’98 Mark Snow (X- : interview (Jocelyn of Irwin Allen; Copland on Film (cond. (cue-by-cue analysis); M. Files), Classic Godzilla; J. Chattaway Pook) analysis (Eyes Wide Shut); Jonathan Sheffer); G.Clinton (3000 Miles Mothersbaugh (Welcome to (Maniac, Star Trek), Broughton Buyers review (Kubrick compilation); to Graceland); Douglass Fake of Intrada; Collingwood); Legend on DVD; Guide Pt. 1, Downbeat (D. Reynolds, Poledouris (For Love of the Game); How to Marry a Millionaire, more. Retrograde (ASCAP winners). McCarthy, Anne Dudley), SCL Goldsmith Buyer’s Guide Pt 5: Late ‘60s; Vol. 6, No. 3, Mar. ’01 Bigger, Better Vol. 7, No. 5, Jul. ’02 MURDER MUSIC: Conference Report. concert advice for Goldsmith. Scores: New RMA agreements; Don Ellis Film Noir; Williams (Minority Report); Vol. 3, No. 6, Jul. ’98 Trevor Rabin Vol. 4, No. 9, Nov. ’99 U.S. Postal and a life in 13/8 Time; Irwin Allen Goldsmith (The Sum of All Fears); M. (Armageddon), Barry’s London Concert; Service Composer Stamps; Papillion discography; R. Kent (Town & Country); Kamen; P. Schickele (Silent Running); (); retrospective; Peter Thomas; Inspector Italian Imports: You can’t beat BEAT. Laserphile: Summer Thrills; SCL Christopher Gordon ( Dick); Gadget; The Thomas Crown Affair; Vol. 6, No. 4, Apr./May ’01 J. Horner Conference pix, more. Debbie Wiseman (Wilde); ‘70s soul more); BMI awards night. Buyer’s Guide Part 1; Vol. 7, No.6, Aug. ’02 : soundtracks. Vol. 4, No. 10, Dec. ’99 Scores of Scores Returns, Swordfish; A Salute to Hoyt Past and present work by Miles Davis, Vol. 3, No. 7, Aug. ’98 South Park (Adam 1999: annual review roundup: anima- Curtin; Epics on DVD; Session Notes E. Bernstein, S. Clarke and T. 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Feltenstein (Turner Classic Movies’ VOLUME FOUR, 1999 Giant); Stu Phillips (Battlestar Vol. 5, No. 6, Jul. ’00 Summer Movie restoration man); 12-CD Wishlist by 48 pp.each Galactica); percussionist ; Round-up; D. Newman (Bedazzled, The of the Rings); R. Stein:Invasion of the Stavrakis & Bender; Omaha’s Orpheum *Vol. 4, No. 1, Jan. ’99 NFL Films (Sam ASCAP awards. Klumps); Film score agents, pt.3; Score Man; T.Jones (From Hell); Davis Theater; Holiday DVD reviews; more. Session Notes (debut); They Might Be Meets Williams (Jurassic Park III on Vol. 7, No.10, Dec. ’02 TOWERING Giants (Malcolm in the Middle); pocket DVD); M. Danna (Chosen, Hearts of ACHIEVEMENTS: H. Shore (The Two FSM: The Complete Collection—STILL AVAILABLE! reviews; Score Internationale. Atlantis); ST:TMP gets a DVD refit; Pukas Towers); P. Glass (The Hours); Ray Ellis Vol. 5, No. 7, Aug ’00 B.Broughton inter- comix debut . 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Cost: same as one rious, glossy mag beloved the world Retrospective; Requiem for a Dream; 48 pp.each back issue. over—you can have it all for one all- Session Notes (The Simpsons); Psycho Vol. 7, No. 1, Jan. ’02 The Best and the inclusive price: $189.95. (See above list- honored by NPR; “Cinema of Dreams”. Worst of 2001; Horner Buyers Guide Pt ings for contents and notations as to Vol. 5, No. 9, Nov./Dec. ’00 Special 64 3:1989-86; Zimmer (Black Hawk Down); which editions are xerox-only.) pg. double issue. 101 Great Film Scores Logan’s Overrun:expanded liner notes; on CD—FSM’s big list; & Yo-Yo Enterprise; Yann Tiersen. That may seem like a lot of money, but this set represents 13 years worth Ma (Crouching Tiger, Hidden Dragon); Vol. 7, No. 2, Feb. ’02 Happy Birthday, of film score passion, and has become quite expensive for us to produce (we Shore (The Cell); Silvestri (); Elmer Bernstein; Rózsa speaks! (Lust have to photocopy of the older issues). It comes in a big ol' box and is sure to retrospective. for Life); ; give many hours of reading pleasure, not to mention eyestrain. Downbeat (John Q,.Frailty); Laserphile (baseball & rites of passage DVDs). Shipping is FREE in the U.S. via USPS priority mail or UPS ground (your VOLUME SIX, 2001 Vol. 7, No. 3, Mar/Apr. ’02 J.Debney choice, but UPS is recommended). (Add $30 for air mail to Canada, $40 for 48 pp.each (The Scorpion King); Hook retrospective surface mail to the rest of world, or $80 air mail rest of world.) Vol. 6, No. 1, Jan. ’01 The Best of the (Williams);Dialect of Desire: Edda Worst:2000 in review; Our Town music Dell’Orso; Craig Armstrong (Moulin So ACT NOW! It is the COMPLETE COLLECTION of Film Score Monthly ! analysis; on DVD; Total Rouge; Oscar winners. $189.95 Recall redux; C. Martinez (Traffic); more. Vol. 7, No. 4, May/Jun. ’02 Elfman

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SCORE

(continued from page 35) overturned by a crescendo to a easygoing , a variation of the one of the rare releases of jubilant return of the main-title spiritual “Just a Closer Walk With Mockridge’s music in any medium. theme. Fortunately, moments Thee.” As the plot thickens and the —S.A.K. such as these are redeemed by action mounts—Sandra Locke in more delicate and sensitive tow—Fielding’s score grows into Miracle on 34th Street moments of musical interest, such familiar territory, with irregular (1994) as “A Big Fat Fake” and the lovely percussive patterns, queasy syn- BRUCE BROUGHTON “The Bellevue Carol.” thesizers, swirling strings and dis- Intrada Special Collection Volume 8 Okay, so maybe Broughton was sonant big-band brass, auda- 30 tracks - 67:50 correct in his assessment. Or ciously emboldened by the maybe my heart just grew three presence of Faddis and Pepper must be one big Grinch. Here it sizes while writing this review. jamming with the orchestra. I was, the holiday season, mistle- There is little new or original in One of the major set pieces toe and garlands competing for the score and it does push at my exemplifies Fielding as virtuoso attention beneath twinkling white emotional buttons a bit too hard, jazz arranger as well as film com- lights, and I was about to lay into a but it’s charming nonetheless. poser: The 4:41 title track is based special-edition score of a much- Next Christmas, maybe I’ll pull it on the final movement, “Solea,” loved Christmas movie. Even the out and put it in the CD changer from the classic Miles Davis album liner notes seemed to mock me by right next to . If Sketches of Spain. The connection ending with a quote from the com- that is not a high compliment, I is that trumpeter Faddis had poser: “It has one uncommon don’t know what is. —A.G. played with Gil Evans, the arranger 20th-century emotion in it: joy. No the score’s flavor. It consists of two and conductor on the seminal one is being pushed out a window, themes: the opening of “Joy to the The Gauntlet (1978) Sketches recording. Hearing the 1 no one’s being stabbed or shot or World” and a chime part reminis- /2 Spanish-flavored “Solea” dance run over. So when you hear the cent of “Carol of the Bells” (or a JERRY FIELDING along to the snare drums so com- music from beginning to end, it major-mode version of the Dies Warner Music France 9362-47882-2 mon in Fielding’s suspense work is just makes you feel good. And if Irae, a chant also Christmas-ized 10 tracks - 31:10 a sublime experience, one of the you’ve seen the movie, it makes by Danny Elfman in The highlights of Fielding’s oeuvre in you feel even better.” Nightmare Before Christmas’ he Gauntlet is one of the few the late ’70s, which was otherwise Try as I might, though, I could “Making Christmas”). The orches- TJerry Fielding scores released showing strain from the com- not understand why this score and tration throughout screams on vinyl at the time of the film. poser’s age, perfectionism and dis- its movie were even made. It’s not Christmas with a wordless choir, The reason why is obvious: Unlike illusionment with Hollywood. that I dislike Christmas melo- every conceivable bell, high wood- many of his prime ’70s dramatic The Gauntlet is an example of a drama and kitsch (I love my Henry winds, horns, harps and tremolo scores (The Mechanic, Bring Me “light” score in which twists and Mancini Christmas albums, after strings dominating the texture. the Head of Alfredo Garcia), The turns make it a whole lot deeper; all), but the only reason this 1994 This texture changes in the love Gauntlet blends his unparalleled case in point, “Exit Tunnel, remake of the 1947 classic was theme, where “Chestnuts Roasting avant-garde writing with a light- Roaring!” which starts as a bluesy crafted was to make money. Still, on an Open Fire” is strangely hearted tone that references blues duet and becomes a squealing, Bruce Broughton is a talented and transformed into a jazzy but woe- and jazz with the help of top- maddening piece of ’70s pursuit. often overlooked composer, and I fully incongruous love tune. notch soloists (trum- The Gauntlet abandons the single- am happy for this opportunity to The music is more manipulative pet) and Art Pepper (saxophone). minded bleakness of a minor mas- fill you in on his score, which was than Broughton’s usual fare, but The film features terpiece like The Mechanic, and not released when the film came that’s got more to do with the film (who also directed) as the anti- may seem dated by its ’70s jazz out (in favor of an album of pop than anything else. This is most Dirty Harry cop—a down-and-out elements; but make no mistake—it artists covering Christmas carols). evident in the “Case Dismissed” alcoholic given a seemingly mean- is the work of a wizard. Miracle on 34th Street opens cue, where the quiet desperation ingless assignment—and Fielding —Lukas Kendall with a main title that announces of the previous “Summations” is opens the score with a piece of FSM

Record Label Round-Up (continued from page 6) Still forthcoming is ’ score to . Herrmann; re-recording cond. Joel McNeely), The Advertise in FSM Quiet American (Craig Armstrong); Mar. 11: The Please note: Hunted (Brian Tyler). www.varesesarabande.com We endeavor to stay up-to-date with every com- Contact Bob Hebert pany’s plans, but sometimes bad things happen to 1-323-962-6077 Virgin good labels. Please bear with us if albums are not Forthcoming is Pinocchio (). released as announced. FSM

JANUARY 2003 43 FILM SCORE MONTHLY v8n01 issue 1/28/03 10:40 AM Page 44

or in a concerto? Is a man measured as a father combine world music tendencies with some Doug’s Favorite Scores or a son...or a professional killer? gaspingly beautiful full orchestral writing. (continued from page 25) Newman’s score for Road stretches these The score, like the film, maintains a dual exis- to see his unique voice applied to genre films, musical differences to their extremes, and the tence that holds together tonally even when just to see what would happen. I’d still be first score is richer for it. Stillness is utterly still. The it rationally shouldn’t. On disc, the score feels in line to pick up Thomas Newman’s score to active music rips through dissonant clusters more like a concert work, like some of Tan Alien 17, but I’d much rather have him working and polytonalities. The distance between Dun’s genre-bending pieces—though Danna on unconventional pearls like Road to introversion and extroversion seems to expand is more successful. He even manages to out- Perdition. Like much of his work, Newman’s as the score progresses, creating a satisfying Gorecki Henryk Gorecki with writing that’s Road is a study in contrasts—dense orchestral structure and building to some of Newman’s more expressive and soothingly aching than fireworks versus intimate solo work, giddy most creative writing. Easily the composer’s the Polish composer’s Symphony No. 3. Ararat rhythmic writing versus translucent stillness. best since Oscar and Lucinda. is 2002’s lost treasure, a painfully gorgeous Maybe that’s why so many of the films that Now bring on the digital fish! score that deserves more attention. Newman works on are tangentially about self- Danna’s leanings have kept him at examination. As Newman draws his material the perimeter of public consciousness, but through various scopes and settings, we even- Ararat Mychael Danna expect that all to change when Ang Lee’s tually discover the original kernels of his ideas Hulk hits screens next year. I don’t dare pre- and evaluate them in their unadorned simplic- In his most expansively scaled dict what it will sound like, but I can’t wait to ity. Is a single piano tone more beautiful alone score to date, Mychael Danna manages to find out. FSM

nobility, action, dissonant horror, suspense Album Highlight: “New Sight,” several min- Star Trek and even seduction, the score isn’t completely utes of absolutely lovely writing based around (continued from page 29) coherent, but that’s hardly cause for much Goldsmith’s Ba’ku themes. which isn’t really saying all that much. Still, complaint. The soundtrack CD includes the Missing in Action: “A Few Loose Ends” fea- there’s a nice main theme, and some effectively pop hits “Ooby Dooby” and “Magic Carpet tures haunting strains underscoring Picard’s ethereal choral music for the heavenly Ride.” discovery of a mysterious holographic ship, “Nexus.” The soundtrack CD contains a Album Highlight: “Main Title/Locutus,” a and its implications. 1 lengthy sound effects databank. grand presentation of Goldsmith’s magnificent Score Rating: /2 Album Highlight: “Star Trek Generations new theme in the horns, followed by our first Overture,” a concert presentation of the noble taste of Borg music. If you’re interested in learning more about main theme. Missing in Action: “Flight of the Phoenix,” a the music of Star Trek, in its first nine films and Missing in Action: “Armagosa Observatory,” pulsing action cue underscoring the film’s cli- first four TV incarnations, buy yourself a copy music for the unexpected discovery of dead max, originally slated for the album. of FSM staffer Jeff Bond’s indispensable refer- Romulans aboard an abandoned station. Score Rating: ence book: The Music of Star Trek—Profiles in 1 Score Rating: /2 Style, available at most bookstores or direct Star Trek Insurrection (1998) through Film Score Monthly. FSM Star Trek First Contact (1996) The Premise: Picard lectures his superiors The Premise: The Borg are back! Picard and gets on F. Murray Abraham’s bad side Special thanks to Andrew Demshuk must stop them from undoing humanity’s past when he defends the sovereignty of a kind of You can write the author at [email protected] before he succumbs to his desire for galactic “fountain of youth” planet. vengeance. The Prognosis: Really not as bad as you The Prognosis: An uninspired but gener- remember it, just sort of forgettable. Cheap Mailbag ally pleasing . Jonathan Frakes is a laughs and thin characterizations can’t match (continued from page 9) competent director, and the stylish set and the spirited fun of STIV, in spite of a similar pieces (written by Rózsa to emulate Hong costume design certainly don’t hurt. The emphasis on good old-fashioned moralizing. Kong records) and a waltz re-recorded from mediocre script can’t hold back fine per- Probably the TNG film most similar to its land- The Story of Three Loves (1953)...” formances from Alfre Woodard as love-inter- mark TV incarnation, in terms of overall feel. That waltz track may have been taken from est Lily and Alice Krige as the disturbingly The Music: Jerry Goldsmith returns yet The Story of Three Loves, but The Story of oversexed Borg Queen. again. His score for Insurrection isn’t on the Three Loves took it from Madame Bovary. The Music: Jerry Goldsmith returns to score same level as his first two Trek scores, but it’s Chris Sciabarra his third Trek feature. Due to time considera- still more than competent. The pastoral theme New York, New York tions, he brought on his son Joel to assist him. for the peaceful Ba’ku is beautiful, and a lurch- The Goldsmiths give us lots to chew on...a ter- ing six-note motif characterizes the well-writ- NOW IT’S YOUR TURN rific soaring “first contact” theme, a grim ten action cues. Once again, the main theme, You’ve read the mail, perhaps perused the issue— march for the Borg, and one driving cue after Klingon theme and four-note motif appear, what did you think?Let us know and write to: another. Three familiar themes return: but they are not overused. The score as a whole FSM Mailbag 8503 Washington Blvd., Culver City CA 90232 Goldsmith’s original main theme, his Klingon is fairly organic, topped off with just a touch of or e-mail: march, and the “God” motif from STV, here the mystery and awe that suffused Goldsmith’s [email protected] used as linking material. Darting between earlier Trek efforts.

JANUARY 2003 44 FILM SCORE MONTHLY v8n01 issue 1/28/03 10:40 AM Page 45

THE LASERPHILE Happy Digital New Year The “next big thing” is poised to explode. By Andy Dursin

nother new year has arrived and 2003 is look- A ing to be another huge one for DVD. Sales of DVD play- ers and software trounced VHS tape this past year, and the sole remaining benefit of the tape format—recordability—will

soon go by the wayside as DVD HEE HAW: Michael J. Fox was getting a little long in the tooth to play a high schooler in Back to the Future Part III. Recordable units are poised to be

the “next big thing” in the very near future. gy. The sequels, while not on the classic level of (and how the sequels had to be written to cover While some DVD-R machines are already on the original, remain worthwhile for separate for his absence). store shelves, many of them are still too high- reasons: 1989’s Back to the Future Part II is a There are some revealing moments in this end for most consumers, while manufacturers delirious, dizzying time-travel adventure with track, but getting to the tastier nuggets does, continue to bicker over format standards. a brilliant and underrated final third that takes admittedly, take awhile. The conversation is a Hopefully, these issues will be ironed out by an interesting spin on the events of its prede- little slow-moving, and none of the extra sup- the end of 2003, and those of us with prized cessor. For those who thought Part II lacked plements addresses the major themes of the VHS tapes will begin the time-consuming heart and romance, Part III reprised the first movie in quite as much depth. process of transferring our collections to DVD film’s endearing character interplay and The secondary commentary track by Bob (sure to be an all-day weekend hobby come brought the series to a perfect close. Gale and producer Neil Canton is interesting 2004, no doubt!). Universal’s package definitely makes for a but, unfortunately, pretty dry, and having to In the meantime, DVD product continues to solid Special Edition, even if it may be a case of pinpoint one minute out of several hours of be turned out at a rate that’s tough to keep up information overload at times. The meat of the supplementary material (a good deal of which with. Here’s a rundown of the recent and rec- extras can be found in a pair of commentary is spent on ridiculous topics like “what kind of ommended … tracks found on all three discs. manure did Tom Wilson step in?”) just to find First is a live Q&A session with director where a major topic is addressed—like Stoltz’s and writer/co-producer Bob casting—is easily one of the shortcomings of Classics New to DVD Gale, recorded at USC under the guidance of the ample material Universal and Bouzereau home video specialist Laurent Bouzereau. The crammed onto this set. Either some editing Back to the Future Trilogy track runs anywhere from 60 to 90 minutes on down of the Q&A track or a guide to where the (Universal DVD, $39.99) all three films, with the two filmmakers fielding important questions were raised would have niversal’s long-awaited three-disc Special questions read by Bouzereau from students. been a good idea. UEdition of the Back to the Future trilogy The two cover the bases from the (mis)casting The documentary featurettes turn out to be includes 1985’s highest-grossing film, along of Eric Stoltz in the original version of BTTF, to more disappointing. Each disc contains with its 1989-90 sequels, shot back-to-back. the infamous “To Be Continued” line that was approximately 15 minutes’ worth of new Anyone who grew up in the ’80s undoubted- added to the video release of the first movie. “Making of” material, featuring interviews ly saw the original more than a few times, and Along the way, they talk about Fox’s crazed with Michael J. Fox, Zemeckis and Gale. the good news is that the picture remains a joy- schedule, Spielberg’s involvement in the films, However, the lack of other participants and ful blast of entertainment, with wonderful per- and—most tellingly—Crispin Glover’s insane surprisingly short running times result in fluffy formances, smart writing and infectious ener- demands that lead to his ouster from II and III featurettes that only skirt the surface of the

FILM SCORE MONTHLY 45 JANUARY 2003 v8n01 issue 1/28/03 10:40 AM Page 46

BTTF trilogy’s legacy. In fact, nearly half of the the town once again with his Tony-winning, Part II documentary is spent talking about the show-stopping, acclaimed and beloved stage original film! adaptation of his first (and in many ways finest) Thankfully, there are other goodies that make , The Producers. up for that disappointment. Each film’s vintage The irresistible 1968 comedy stars Zero “Making of” featurette has been included, as Mostel as Max Bialystock, a struggling have a handful of deleted scenes from both Broadway producer who teams up with neurot- BTTF I & II. (Part III also has one lone [and ic accountant Leo Bloom (Gene Wilder) to pro- thankfully] deleted scene where Mad Dog duce an intentional misfire in an attempt to Tannen guns down Marshall Strickland.) screw their investors. The show, of course, is Outtakes are also included, along with trailers, Springtime for Hitler, and, of course, it turns multiple still galleries on each picture, music into a riotous hit! videos, shorter featurettes (including a look at This comedy classic needs little introduction the production design), an interview segment BIG HEAD: William Cameron Menzie’s stuff of to viewers, but MGM’s new DVD definitely with Fox on the original movie, animated “anec- nightmares created for Invaders From Mars. deserves some kudos. The 1.85 transfer is a huge dotes” that pop up à la VH-1 videos, and DVD- improvement on any previous video release, ROM content including the original scripts. scenes were some of the most memorable of even handily besting Criterion’s laserdisc. Visually, the 1.85 transfers are generally good, any ’50s sci-fi movie. Forget about Tobe Brooks participates in a documentary that exhibiting some grain at times but looking ade- Hooper’s misguided 1986 remake (whose end- touches upon everything from ’ quately sharp and colorful. However, Universal ing remains one of the worst in genre history), involvement to the success of the Broadway confirmed the suspicions of many viewers that and saddle up for some surreal and supremely show. Those interviewed include Gene Wilder, the transfers on the two sequels are badly mis- memorable thrills! Brooks and composer , though framed, resulting in a loss of intended picture It’s unfortunate that 20th Century-Fox didn’t sadly there’s no discussion of why Morris appar- area throughout both movies! (A mail-in hold the actual rights to the picture, since the ently had a falling out with Brooks after exchange offer has since been announced). The movie has had a checkered history of owner- Spaceballs. A deleted scene, photo gallery and 5.1 soundtracks aren’t as elaborate as your typi- ship—a problem that’s resulted in a slew of round out the special features. cal effects-heavy blockbuster from the last few erratic-looking video releases over the years. Morris’ wonderful score and adaptation of years, but Alan Silvestri’s scores still hold up as Wade Williams apparently gained control over Brooks’ songs also sound marvelously crisp in a some of his finest works. the film at some point, but the first DVD release new Dolby Digital remixed soundtrack. While Aside from the framing issues and the over- of Invaders From Mars was an utter mess, look- purists may still prefer the original mono track abundance of supplementary material, ing as if the film had fallen through the cracks of (also included), the new stereo mix is terrific Universal has done a solid job treating one of the public domain like too many old movies and puts the cap on a great, must-have release. their tent-pole franchises right on DVD. It may have in the past. have taken awhile, but the box-set is guaranteed Image’s new 50th Anniversary DVD is a good The Duellists (Paramount, $24.98) to please (most) every fan of the series. news-bad news situation. The bad news is that idley Scott’s first feature has been given a the print used for the disc isn’t in pristine condi- Rtremendous Collector’s Edition release Invaders From Mars: tion—there are still copious scratches and nicks courtesy of Paramount. Special Edition (Image Entertainment, $24.98) throughout the movie. On the other hand, genre and Keith Carradine play sol- hink ’50s sci-fi and one of the first titles to fans have commented that the colors are more diers in Napoleon’s army who instigate a series Tpop into mind is this seminal William accurate here than in any previous release and of duels that span some 30 years. Frank Tidy’s Cameron Menzies-designed and -directed clas- that, overall, this is the best-looking Invaders gorgeous lensing of the film’s locations and sic, which effectively taps into fears of ever released on video. Howard Blake’s atmospheric score complement Communist paranoia and childhood night- The Image DVD contains two cuts of the film: Scott’s visual sense, which even in 1977 was on mares like few others from the decade. the original U.S. version and a British edition full display in this highly acclaimed picture. Jimmy Hunt plays an average small-town kid that features an extraneous additional scene The Americans play second fiddle to a fine who spies a flying saucer land behind his house. and a badly recut ending, both of which turned contingent of British actors (Edward Fox, Robert Before you can say “gee whiz!” both of Hunt’s up in variant American prints throughout the Stephens, Tom Conti and “guest star” Albert parents turn into automatons, and the govern- years. A theatrical trailer and brief still gallery Finney), but The Duellists is more about visuals ment calls in the cavalry to dispose of the hos- are included, along with liner notes culled from and atmosphere than the picture’s lead per- tile extraterrestrials—whose leader, memorably, Image’s Special Edition laserdisc (though sadly, formances. Based on Joseph Conrad’s story is a big green head encapsulated in a glass case! not all of the laser’s supplementary features “The Duel,” this is a movie where each scene Although the budget for this independently have been retained). Wade Williams also pro- conveys a feeling or mood—still ranking as one financed film (released through Fox at the time) vides a confusing history of the movie’s tenuous of Scott’s most impressive aesthetic works. was modest, you wouldn’t necessarily know it ownership in a disc that’s highly recommended Paramount promised a bona-fide Special from the inspired production design that direc- to all sci-fi fans just the same. Edition with their DVD, and the disc delivers. tor Menzies utilized to great effect. The haunt- There are two full commentary tracks: one from ing music score—credited to Raoul Kraushaar The Producers (MGM, $24.98) Scott that’s insightful and filled with informa- but apparently composed by Mort Glickman— fter years of misfires (remember Life tion (as all of his commentary tracks have been was ahead of its time, and the interior spaceship AStinks?), became the toast of in the past), the other by composer Howard

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Blake that also includes his score isolated in late ’80s, and the -William Blake er about the use of music in movies. It’s an stereo! This bonus makes it a must-purchase for Herron script takes a few liberties with the origi- unusually candid segment that’s easily one of FSM readers right there. nal text—not necessarily a bad thing. Indie film- the best film-music-related supplements to A half-hour conversation between Scott and maker Liman handles action sequences adeptly, appear on DVD this past year. filmmaker Kevin Reynolds (Count of Monte while Oliver Wood’s cinematography vividly Cristo, Robin Hood: Prince of Thieves) is interest- captures the story’s European locales. Damon is : The ing and laid back, providing an analysis of Scott’s terrific in the lead and Franke Potente (Run Lola Complete Third Season (Fox, $59.99) direction, along with archival behind-the- Run) is equally good as an innocent bystander hile ’s smart, hip and excit- scenes footage from the shooting. Photo gal- swept up in the thrills. Wing show continues to run out of gas in leries, storyboards, the original trailer and Scott’s While the fact that the film was delayed for its seventh (and possibly final) season, Fox’s six- 30-minute first film, “Boy and Bicycle,” round nearly a year led many insiders to speculate that disc box-set of Buffy’s third season showcases out a fine assortment of special features. the movie was a disaster, a surprisingly robust the program at its finest. The 1.85 transfer, meanwhile, is superb and box-office take and positive reviews turned this The third year memorably introduced Eliza the 5.1 Surround re-mix is also good. All told, Bourne into a possible franchise. Universal’s Dushku’s troubled, sexy slayer Faith into the this is easily one of the year’s best “vintage” DVD offers a crisp wide-screen transfer and mix, while Buffy and Angel continued their trag- releases in the format. throbbing DTS and Dolby Digital soundtracks, ic relationship, and the town’s Mayor proved to setting off a solid score by John Powell. Extras be the season’s “Big Bad.” Spike (James The King of Comedy (Fox, $24.98) include commentary by Liman, deleted scenes, Marsters) also arrived back in town, trying to artin Scorsese’s acclaimed, almost inde- promotional featurette and a nearly two-year- enact revenge on Buffy and the Scooby Gang. A Mscribable 1983 black comedy was old trailer that lists Carter Burwell as composer. pre-lesbian Willow also tried her hand at arguably the most troubled shoot in the film- maker’s career—at least until the cameras rolled on Gangs of New York. After the film’s budget spiraled out of control and lead Harvey Keitel bowed out, Robert DeNiro replaced him as a would-be comic who kidnaps a talk show host (Jerry Lewis) in the hope that the host will make him into a star. Paul D. Zimmerman’s script is a biting, inci- sive look at celebrity and the crazy world of entertainment, with the performances of both DeNiro and Lewis spot-on. Scorsese’s film is a WHAT THE @#$!: Lewis scowls, DeNiro laughs and Damon shoots. kind of Taxi Driver Lite, with the movie too creepy to be deemed a traditional comedy, yet Signs (Buena Vista, $29.98) romance with Oz (Seth Green), only to find out far lighter than many of the auteur’s other works. . Night Shyamalan’s box-office smash that he, much like Angel, had his own supernat- Fox’s DVD offers a fresh new 1.85 transfer, Mmakes for a low-key and effective sci-fi ural curse to contend with. trailer, still gallery and an insightful new fea- thriller that’s as much the story of one man’s loss The writing, performances and energy in the turette, containing interviews with Scorsese of faith as it is about an extraterrestrial invasion. third season rank with the best Buffy had to and company that reflect upon a much-bally- As a farmer and former minister who watch- offer, though newcomers may want to start at hooed movie that, years after its initial release, es aliens descend upon the globe, the beginning to get caught up on all the action. gained the reputation it deserved all along. gives a marvelously restrained performance, Fox’s box-set offers a slate of supplemental while proves to be equally materials similar to the previous two sets: select- strong as his brother. The movie’s climax offers a ed commentaries, scripts, mostly promotional Recent—and Recommended neat culmination of narrative fragments (not featurettes, an interview with the creator-pro- The Bourne Identity (Universal, $26.98) unlike ), but Shyamalan’s char- ducer and a still gallery among other extras. The spy thriller that feels more like a good ’60s acters are warmer and more likeable than they transfers are fine, as is the Dolby Surround mix. Aespionage adventure than any of the were in either of his previous two pictures, and recent James Bond films, ’s exciting the slam-bang finale thankfully avoids the Frank Herbert’s Dune: Special Bourne Identity proved to be one of the more pseudo-New Age Field of Dreams and Aliens Edition (Artisan, $26.98) surprising successes of this past year. build-up one might have been anticipating. rtisan righted several DVD wrongs in 2002, Matt Damon stars as Jason Bourne, who One of the movie’s key assets is James Newton Ahaving remastered Total Recall, Basic wakes up on a fishing boat with no knowledge Howard’s outstanding music—my pick for the Instinct and the Trilogy with superior of his identity. He does, however, carry the num- best score of 2002. The DVD sounds better than new transfers and soundtracks. Another boon ber of a Swiss bank account in his body and it looks, but still boasts some fine supplements, was a lavish, three-disc “Director’s Cut” of the soon finds all kinds of enemies quickly wanting including a look at Howard’s score. 2000 TV miniseries of Frank Herbert’s Dune. to kill him as he runs through Europe trying to In addition to a handful of featurettes narrat- An additional 30 minutes have been added to uncover the truth about who he really is. ed by the director, there’s a terrific, eight-minute the show itself (footage that was cut for its U.S. Robert Ludlum’s novel was previously filmed segment on the music, featuring recording-ses- broadcast), while the transfer is now 16:9 as a Richard Chamberlain TV miniseries in the sion footage and comments from the filmmak- enhanced; there’s also a stronger DTS track

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included on the audio end. characters, and segments culled from features The Peter Sellers Collection Speaking of that, composer Graeme Revell like The Reluctant Dragon, starring Robert (Anchor Bay, $89.98) appears to talk about his score in an interesting Benchley. As with all of the Disney box-sets, ollowing closely on the heels of Anchor segment on the film’s soundtrack. Revell dis- Leonard Maltin appears to introduce each F Bay’s Collection comes a cusses his use of “ethnic” music, electronics episode and participate in some of the special strong collection of vintage British comedies and orchestra, plus the creation of the various features, which include a half-hour lay-of-the- starring the legendary Peter Sellers. motifs integrated in the score. It’s a nice bonus land at the studio, still galleries and an inter- However, while Guinness was the leading on a superior presentation of Dune that should view with animator Joe Grant. star of most of the Ealing films he appeared have been released this way the first time While Warner Bros. continues to frustrate in, this box-set contains a handful of terrific around. fans by stalling the DVD release of Looney films where Sellers was a key supporting Tunes shorts, Disney has met the hopes of ani- player: pictures like I’m All Right Jack and the mation aficionados by releasing proper retro- low-key, charming The Smallest Show on Box-Set Mania spectives of their studio’s classic cartoons. New Earth. Other titles in this six-disc set include interviews with animation icons Frank the droll satire Heavens Above!, Carlton- Walt Disney Treasures: Thomas and are included on Browne of the F.O., Two-Way Stretch and the Behind the Scenes and Mickey the four-hour-plus retrospective Mickey Mouse very strange Hoffman, a dated, rarely seen Mouse in Black and White ($33 each) in Black and White, a collection of Mickey 1970 “comedy” best recommended for afi- he second round of Disney’s numbered, shorts from 1928 to 1935. It’s a fascinating evo- cionados. Tlimited-edition box-sets (125,000 copies lution from Steamboat Willie to a character Supplements are limited in this set, which issued) showcases several behind-the-scenes closely approximating the Mickey of today. includes 1.66 (16:9) enhanced transfers on programs and a comprehensive overview of Both limited-edition boxes include booklet each film and reproductions of the original Mickey Mouse’s vintage short subjects. notes and lithograph reproductions, and one-sheets for chapter inserts. Definitely Behind the Scenes at the Walt Disney Studio much like the preceding Disney Treasures, will worthwhile for Sellers fans. FSM includes six episodes from Walt’s ’50s TV show, surely become prized consumer possessions— Andy Dursin can be reached at [email protected]. Read offering glimpses of animators at work, origi- several of last year’s sets are already out of print “The Aisle Seat” at Filmscoremonthly.com/aisleseat for nal cartoon drawing involving beloved Disney and in high demand. extensive DVD reviews and movie analysis!

JANUARY 2003 48 FILM SCORE MONTHLY v8n01 covers 1/28/03 2:25 PM Page c3

FSMCD Vol. 6, No. 2 • Released by Special Arrangement with Turner Classic Movies Music Ice Station Zebra by Michel Legrand

Ice Station Zebra (1968) is a Cold War thriller following a U.S. subma- rine and its mysterious British passenger on a top-secret mission to the North Pole. Based on a novel by Alistair MacLean, the film features fine performances by Rock Hudson, Patrick McGoohan, and an all-male supporting cast. The combination of realistic military proto- col and high-adventure espionage—as well as groundbreaking special effects and production design—won the film many admirers, among them the late Howard Hughes. Michel Legrand was best- known for pop-based scores like The Umbrellas of Cherbourg and The Thomas Crown Affair, but was no less creative and dynamic in the symphonic Hollywood idiom (The Three Musketeers). His score for Ice Station Zebra is at once epic yet also offbeat, with powerful main themes dressed in an intricate web of mystery and suspense. The film is first and fore- most a military story, but in Legrand’s hands it becomes almost like a Cold War ballet, with a polished, artistic sheen to its danger. Legrand himself provided the ter- rific and conducted the 75- piece orchestra in a five-channel stereo recording. Released on LP at the time of the film, the 30:14 soundtrack to Ice Station Zebra was reissued on CD by Pendulum Entertainment Group in 1997 (now out-of-print). FSM’s premiere release of the complete score runs 79:20 (includ- ing deleted cues), is resequenced into film order, and remixed from the original mas- ter elements for significantly improved sound. It is the definitive presentation of the Ice Station Zebra soundtrack.

$19.95 plus shipping.

1. Overture 2:48 7. Bring Her Up/Tigerfish 11. Jones Finds Detector 2:41 ’’tt MissMiss Don ’’s 2. Main Title/Satellite/ Hits Ice/Intermission Card 3:30 12. Anders Shot 3:17 This Month Jones Arrives/All Aboard 10:17 8. Entr’Acte/Crewman 13. Russian Paratroops Land 2:33 3. Voyage Starts/ Falls Into Crevasse/ 14. Vaslov Opens Capsule 2:38 Golden Age Classic Russian Trawler 7:25 Tigerfish Submerges 12:10 15. Ostrovsky and Ferraday Face Plymouth 4. Wrong Bunk/ 9. Jones Searches Each Other/Colored Smoke/ ózsa The Mysterious Rendezvous 6:39 Meteorology Lab 4:45 Balloon Explodes/ Adventureós R 5. Opaque 1:45 10. Unidentified Aircraft/ End Title and Credits 12:01 by MiklósMikl Rózsa 6. Under the Ice 4:58 Russian Planes 2:02 Total Time: 79:20 See page 33 forfor details.details. Album Produced by Lukas Kendall Bond FILM SCORE color ad 1/28/03 10:43 AM Page 1

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