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Home , Adolph Deutsch, Bruce Smeaton, Burkhard Dallwitz, Elia Cmiral, Ernest Gold (composer), EuroTrip

Volume 9, Number 5 Original Music Soundtracks for Movies and Television

CD Contest PG. 6

Sounds OF Summer HOTTEST HITS ON A SILVER PLATTER King-Sized Television The Trouble With Harry Shrek... and Friends Singing for Williams & Shore Gary LeMel, Mr. Songtrack PLUS: THE LATEST CDS REVIEWED

$4.95 U.S. • $5.95 Canada v9n05COV.id 2 7/2/04, 4:41:41 PM contents JUNE 2004

DEPARTMENTS FEATURES

2 Editorial 16 The Trouble with Harry We’re Fine, Thanks. You? Catching with , we find out that he’s got a lot more going on than just the long-awaited, recent release 4 News of his seminal score to 1971’s Dirty Harry. AFI’s 100 Songs. By Nick Joy 5 Record Label Round-up What’s on the way. 5 Now Playing 19 In the Service of Two Masters Movies and CDs in Boys choir director Michael McCarthy discusses the toils, 14 It’s a bird... release. troubles and triumphs of creating choral soundscapes for 7 Upcoming Film the likes of and . Assignments By Karen Rugg Who’s writing what for whom. 8 Concerts Film music performed 22 Song Sung around the globe. As head of Warner Bros. music for nearly two decades, Gary LeMel has seen and heard it all. And even as the 9 Mail Bag practical inventor of the modern-day soundtrack, he pushes Troy. for traditional scores more often than you’d think. By Jeff Bond 11 Pukas He’s in heaven.

14 Downbeat 27 When Harry Met Shrek....and Friends 27 It’s a cat... King-Sized Television. Harry Gregson-Williams has had more than his share of success since breaking away from Media Ventures. But his 30 Score relationship with a gazillion-dollar giant green has New releases including: really put him on the map. The Black Swan, The Chase, By Jeff Bond Basic Instinct (expanded), and the entire Harry Potter series up to and including the next, unreleased film.

45 Reissue Corner A Masterpiece Restored!

36 FSM Marketplace

16 It’s Scorpio!

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 JUNE 2004 EDITORIAL We’re Fine, Thanks. You?

Volume 9 • Number 5 Summer brings out the average in all of us.

t’s 2:00 on Wednesday afternoon, June 30. I’ve also seen Harry Potter and the Prisoner of EDITORIAL STAFF I’m sitting here in the pink Film Score Monthly Azkaban. Some of it I liked, but most of it made Editor & Publisher Ioffices in shiny Culver City, pondering the me wish I was watching a movie other than LUKAS KENDALL fact that this issue is supposed to be done by Harry Potter and the Prisoner of Azkaban. Williams’ Executive Editor of the day and I have yet to write the score was expectedly great. JONATHAN Z. KAPLAN editorial. I’m also wondering why I thought a I refuse to see The Terminal because of the way Managing Editor sandwich-bag of grapes and dry cereal would is craning his neck on the poster. TIM CURRAN suffice for lunch. But enough about that. Let’s talk about Film Design Director The truth is, I’ve been spending the last couple Score Monthly. This issue, we’re offering a little JOE SIKORYAK of days finishing the issue and trying to come of what you’re expecting, and hopefully a lot Supervising Content Consultant up with something to say. Something relevant, of what you’re not. We like to think of it as AL KAPLAN our “Summer Counter-Programming Issue,” Editor-at-Large JEFF BOND what with Lalo Schifrin/Dirty Harry coverage, Copyeditor Morricone’s The Good, the Bad and the Ugly re- STEVE GILMARTIN issue, and even an interview with an industry Contributing Writers exec, Warner Music’s Gary LeMel. On the other STEPHEN B. ARMSTRONG hand there’s Harry Gregson-Williams’ Shrek 2 SCOTT BETTENCOURT and Christopher Gordon’s Salem’s Lot, along with WILLIAM FLANIGAN Harry Potter and even Lord of the Rings thrown in LUKE GOLJAN for good measure. A little something for every- MARK GRIFFIN SUMMER IN L.A.: Adequate to be alive. one, we hope. But as always, we’d love to know NICK JOY or remotely interesting. I’ve got nothing. I’m what you think of this and any other issue we’ve STEVEN A. KENNEDY still excited about ’s rejected Troy put together. Frankly, it’s tough to get a response DARREN MACDONALD BRUCE R. MARSHALL score, but the fervor of that topic has died down, out of you people. We ruffled a couple feathers KAREN RUGG so why belabor it? If what we’ve heard about with our Passion of the Christ coverage (Vol. 9, No. JOHN TAKIS walking off Spider-Man 2 after 3), but not near as many as we expected. CARY WONG massive re-edits were made to film is true, it rep- Well, maybe nobody wants to write in and resents a cool reversal of what just happened to participate in lively film-music debate. Fine. If BUSINESS STAFF Yared. But nobody’s willing to go on the record you won’t write to us, maybe you’ll write for about what really happened, so if there is a story us. That’s right, I said it. If you think we should Editorial & Subscriptions there, we’ll probably never know. be covering other topics, or interviewing other 8503 Washington Blvd. Michael Moore’s Fahrenheit 9/11 just had the , or desecrating other deities, maybe Culver City, CA 90232 biggest opening weekend box-office gross ever you’d like to participate in the magic that is Film PH. 310-253-9595 FAX 310-253-9588 for a documentary. (And what a score!) While Score Monthly. Think we need more coverage of E-MAIL [email protected] I don’t always agree with Moore’s inability to Golden Age material? You’d like to see more subjugate his fervor and for the good of his musical analyses of your favorite film score? Sales & Marketing Manager films, I do think that if this movie can somehow Maybe you even have access to a who BOB HEBERT push moviegoing non-voters to the ballot box under normal circumstances won’t let Lukas or 8503 Washington Blvd. in November and send G.W. back to Crawford, Jeff Bond within 20 feet of him. Anything’s fair Culver City, CA 90232 then it’s done its job. Sadly, I don’t think it will. game. Heck, you’ll get your name in print, and PH. 323-962-6077 The previous paragraph was an attempt to we’ll even compensate you with free Film Score FAX 310-253-9588 convince you that I’m an intelligent person Monthly subscriptions and FSM CDs. You’ll also who pays a modicum of attention to world have our gratitude, for what that’s worth. All Supervising Mail Order Handler issues, and that I’m not just another sucker who we ask is that your sentences generally contain MAILMAN AL Our Website believes every morsel of marketing propaganda both nouns and verbs. Email me with your Is updated five times weekly! tossed his way. Now, whatever success I may ideas: [email protected]. Now, on Point your browser at: have had doing will be destroyed with this with the rest of this incredible summer! WWW.FILMSCOREMONTHLY.COM single admission: I have paid to see The Day After © 2004 Vineyard Haven LLC. Tomorrow, The Stepford Wives and Dodgeball. I am Printed in the U.S.A. not proud of it, and I most certainly would be sleeping better at night if I hadn’t done it. But I did, and that’s that. Tim Curran, Managing Editor

JUNE 2004 2 FILM SCORE MONTHLY EDITORIAL Don’t Miss a Single Release! www.intrada.com $11.99 $16.99 $17.99

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JUNE 2004 2 FILM SCORE MONTHLY Concerts • Now Playing Record Label Round-Up The Shopping List Upcoming Film Assignments “Pukas” • On the Air newsKeep Falling on My Head,” #23; courses will help achieve those Foreign Exchange, a 26-part chil- “Arthur’s Theme,” #79), goals. In addition, each applicant dren’s television series. (“Goldfinger,” #53), should prepare one demo item (“Gonna Fly Now,” #58), Marvin that best illustrates his or her • Gary Smith is scoring an Hamlisch (“,” talent. Examples include, but American series called Roar of the #8; “Nobody Does It Better,” are not limited to, a recorded Wild. #67), Leigh Harline (“When You demo, a lesson plan or a busi- Wish Upon a Star,” #7), James ness plan. All applicants must be • Clive Harrison, vice presi- Horner (“My Heart Will Go over the age of 18, and applica- dent of the AGSC, is composing On,” #14), (“The tions must be postmarked prior music for an animation series Windmills of Your Mind,” #57), to August 15, 2004. Complete for Kidszonetv out of Brisbane, (“,” information about the scholar- Queensland. (continued on page 8) #4), (“Suicide ship program can be found at Is Painless,” #66; “The Shadow www.berkleemusic.com/scholarships. of Your Smile,” #77), Giorgio Good Godfather! Moroder (“,” #55), (“,” Scoring News here’s a budget-priced import #75), (“Unchained Tof a CD called The Godfather Melody,” #27—but for Ghost, not From Down Under Collection hitting stores right now. Unchained), and It’s stylishly packaged, contains a (“,” #25). • The Australian Screen “SBM Gold Disc” (which might be —Scott Bettencourt Directors Association celebrated a fancy way of saying CD-R) and its third awards ceremony held is performed by “The at St. Patrick’s College overlook- Studio ,” which is inter- Berklee Announces ing Sydney Harbor. Director Peter esting because it sounds mostly Weir was special guest speaker, like “one guy and his crappy syn- Online Scholarships and also in attendance were thesizer.” But there’s one track AFI List Christopher Gordon and Iva that doesn’t, and that makes this erkleemusic.com, the online Davies, two of the three compos- release worth a listen. It’s the Sets It Straight Bextension of Berklee College ers on Weir’s last film Master and “Marcia Religioso” from Godfather of Music, is seeking scholarship Commander: The Far Side of the World. III. If you have the G3 OST, you he applicants for its online music know that the huge arrangement Thas announced its list of the program, which offers Internet- • The Australian Guild of Screen of the march for choir and organ “top movie songs of all time,” based coursework in composing Composers (AGSC) and the sounds TERRIBLE…the distortion encompassing both songs written and arranging, producing and Australasian Performing Right is so bad it’s virtually unlistenable. for the screen and pre-existing music business, among others. Association (APRA) are gearing To the best of my knowledge, this ones associated with films (e.g., Film- and TV-specific scholar- up to produce the 2004 Screen strange new CD contains the only “As Time Goes By” for Casablanca), ships are backed by, and named Music Awards to be held in rerecording in existence of this though some of their picks are after, Berklee alums composer Alf November in Sydney. awesome cue (Silva’s Godfather pretty shaky—why is “Aquarius” Clausen, and film and television collection places “Marcia Religioso” from Hair a “top movie song”? It scorer/songwriter . Some recent scoring assignments: under the G3 heading, but it’s the was already a hit thanks to the Scholarships will entitle standard instrumental arrange- cast and the pop single, recipients to participate in • has just ment from Godfather II). This new and the movie was neither a Berkleemusic.com continuing- started scoring the European version isn’t perfect by a long shot commercial hit nor a critical education courses for a one-year feature Anja’s Angel by Swiss (it’s not nearly grand enough), smash. ’s rendition of period, and include all required writer-director Pascal Verdosci. but it sounds 10 times better “Somewhere ” Berklee Press books. To apply He is also preparing to score than what’s on the OST. Die-hard from The Wizard of Oz took the top for a scholarship, each appli- the two-part miniseries A Love in Godfather fans are advised to spot. cant should submit an original Saigon for German broadcaster check it out. Now if only someone The work of several film score 750-word essay outlining career SAT1. would do a decent rerecording of composers made the list, includ- goals and providing information “The Halls of Fear.” —John Takis ing (“Raindrops about how Berkleemusic.com • David Cheshire is scoring

JUNE 2004 4 FILM SCORE MONTHLY FILM SCORE MONTHLY 5 JUNE 2004 RECORD LABEL ROUND-UP Newly Announced Projects and Incoming Concerts • Now Playing Record Label Round-Up The Shopping List Upcoming Film Assignments “Pukas” • On the Air

Next month: Three scores on two Disques Cinémusique discs, featuring afternoon weap- Available now is A Walk With onry, nuptials by post and a Love and Death (; generation-spanning land grab. 1969). www.disquescinemusique.com GDM/Hexachord Available now are India (Fran- FSM cesco De Masi) and Footprints in SCORES OF SCORES: Rasputin Records, Berkeley, California. takes a stab at the (). (Roman) Empire in the form of www.hexacord-america.com, 1M1 Cinesoundz his score to Julius Caesar (1954). [email protected] Still forthcoming is a special- Forthcoming are reissues of This Golden Age Classic release edition release of Bliss (Peter scores for the Italian animated includes the complete score in Hollywood Best) and The Naked Country classics La Linea and Signor Rossi mono, plus alternates and pre- Available now is King Arthur (Bruce Smeaton). (Franco Godi) on white-and- recordings (some in stereo). John (). Due July 27 [email protected] • www.1m1.com.au orange vinyl and CD. Barry’s double-Oscar-winning is The Village (James Newton www.cinesoundz.com; music to Born Free (1966) is finally Howard). [email protected] released on CD, as this month’s Forthcoming are The Fountain- Silver Age Classic. This is strictly Harkit head, Johnny Belinda and The Three Decca a reissue of the album tracks, Available now is music from the Musketeers (all ). Available now are Two Brothers digitally remastered and sport- ’60s British TV crime series Man tel.: 540-635-2575; () and Door in ing extensive new liner notes by From Interpol (Tony Crombie). www.screenarchives.com the Floor (Marcelo Zarvos). Jon Burlingame. (continued on next page)

NOW PLAYING: Films and scores in current release Around the World in 80 Days Disney The Chronicles of Riddick Varèse Sarabande Dodgeball: A True Underdog Story THEODORE SHAPIRO n/a The Door in the Floor MARCELO ZARVOS Decca De-Lovely COLE PORTER Sony* Dopamine ERIC HOLLAND to One Facing Windows (La Finestra di Fronte) ANDREA GUERRA RCA () Fahrenheit 9/11 JEFF GIBBS n/a Garfield: The Movie n/a Imagining n/a King Arthur HANS ZIMMER Cutting Edge Napoleon Dynamite n/a The Notebook AARON ZIGMAN Varèse Sarabande Salem’s Lot (TV) CHRISTOPHER GORDON Varèse Sarabande Spider-Man 2 DANNY ELFMAN, ET AL. Sony* Starship Troopers 2: Hero of the Federation (Video) JOHN MORGAN, WILLIAM STROMBERG Varèse Sarabande The Stepford Wives n/a The Terminal JOHN WILLIAMS Decca Touch of Pink n/a Two Brothers STEPHEN WARBECK Decca Van Helsing: The Assignment (Video) JOHN VAN TONGEREN Decca What the #$*! Do We Know? CHRISTOPHER FRANKE n/a White Chicks TEDDY CASTELLUCCI n/a *song compilation with less than 10% underscore

JUNE 2004 4 FILM SCORE MONTHLY FILM SCORE MONTHLY 5 JUNE 2004 RECORD LABEL ROUND-UP UPCOMING ASSIGNMENTS Who’s Scoring What for Whom? Intrada 2: Angels of the Apocalypse (Colin history, including in-depth and In Nome del Popolo Italiano Available now is Intrada Special Towns) and Agents Secrets (Bruno interviews, photos, produc- (1971). Collection Vol. 15, The Enemy Coulais). www.milanrecords.com tion artwork and more. Forth- Below (1957; Leigh Harline, cond. coming are The Reluctant Astronaut Screen Archives Entertainment ; 1,000 copies). Pacific Time Entertainment (Vic Mizzy) and Vic Mizzy—Suites Due imminently is Keys of the www.intrada.com Due imminently is Billibong & Themes, Vol. 2. Kingdom (A. Newman, 2-CD (Dorian Cheah). www.pactimeco.com www.percepto.com set); forthcoming are Foxes of La-La Land Harrow (David Buttolph) and Son Coming soon are a 50th Play Time Prometheus of Fury (Newman). anniversary collector’s edition of Available now is the French Due imminently is an expanded www.screenarchives.com Godzilla music (Akira Ifukube), release Confidences Trop Intimes edition of Cherry 2000, coupled a 2-CD set of music from (Pascal Esteve). with No Man’s Land (both Silva Screen videogames Headhunter and ). Due shortly Forthcoming is Thunderbirds 2, Headhunter: Redemption (both Percepto thereafter is Prometheus’ 19th the second CD of Barry Gray’s Richard Jacques), and The Big Due imminently is David club album, Amerika (Poledouris original music from the popular Empty (Brian Tyler). Newman’s complete score for miniseries score). 1960s British adventure show. www.lalalandrecords.com The Brave Little Toaster (1986). Also www.silvascreen.co.uk due this summer is Percepto’s SPIPOTH092628V01464024_r0409347 6/25/04 5:52 PM Page 1 Rhino/Rhino Handmade Marco Polo deluxe release of the 1988 cult Available now from Rhino Universal France Due imminently is Max Steiner’s classic Killer Klowns From Outer Handmade is Finian’s Rainbow Available now are Inquietudes The Adventures of Mark Twain, Space! This world-premiere, lim- (Burton Lane and E.Y. Harburg). () and Music which will be released in 5.1 ited edition showcases every www.rhinohandmade.com by Georges Delerue for the Films of sound on DVD-Audio (note: note of composer John Massari’s www.rhinorecords.com Alain Corneau and Andrzej Zulawski, DVD-A will not play in standard CD sinister synth score, plus the featuring Police Python 357 (three players). www.hnh.com popular theme song by ’80s Saimel tracks), L’Important, c’est d’Aimer punk fave, The Dickies. The CD Available now are two Carlo (five tracks), Paul Gauguin (three Milan also includes a 24-page full- Rustichelli scores on one disc: tracks), Quelques part, Quelgu’un Available now are Crimson Rivers color booklet detailing the film’s Zanna Bianca alla Riscossa (1974) (three tracks), (continued on page 8)

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FILM SCORE MONTHLY JUNE 2004 6 FILM SCORE MONTHLY 1/2 PAGE - H/NB FILM SCORE MONTHLY 7 JUNE 2004 7.5” x 4.75” B/W

BLACK YELLOW MAGENTA CYAN SPIPOTH092628V01464024_r0p1.pgs 06.25.2004 20:55 FINAL UPCOMING ASSIGNMENTS Who’s Scoring What for Whom?

A-B Thompson, Colin Firth), Man to Man, L John Powell Mister 3000, Bourne (w/ Gabriel Yared) Shall We New France (dir. Jean Beaudin). Joseph Lo Duca Saint-Ange, Boogeyman. Supremacy, Mr. & Mrs. Smith. Dance? Tristan & Isolde. Deborah Lurie Whirlygirl. Beautiful Country. Alejandro Amenabar Mar Adentro (dir. Surviving Christmas, Karl Preusser Spymaster. Amenabar). Stealth (w/ BT), Son of the Mask, Miss M-N David Arnold Bond 21, Return to Sender. Congeniality 2. Mark Mancina (w/ Adrian Lee) The R The Dust Factory, Bride of Cliff Eidelman Sexual Life (w/ James Reckoning (w/ Willem Dafoe). Trevor Rabin The Great Raid, Exorcist: the Sea. LeGros). Wicker Park (w/ Josh The Beginning (replacing Christopher Evilenko, Napola Danny Elfman Charlie and the Chocolate Hartnett). Young). (themes), A Very Long Engagement, Factory (dir. T. Burton), ’s Noel (dir. C. Palminteri). Graeme Revell Catwoman (w/ Halle Dark Water. The Corpse Bride (animated, dir. M. Richard G. Mitchell A Good Woman (w/ Berry and Sharon Stone). Lesley Barber Being Julia, We Don’t Live Johnson). Helen Hunt, Tom Wilkinson). William Ross Ladder 49. Here Anymore (w/ Naomi Watts and Libertas, Fateless, Peter Krause). F-G Sportman van de Eeuw. S-T Steve Bartek Carolina. George Fenton Stage Beauty, The Last Mark Mothersbaugh The Life Aquatic (dir. Lalo Schifrin The Bridge of San Luis Rey, Christophe Beck Birth of the Pink Panther, First Kiss, The Regulators. W. Anderson), Lords of Dogtown. (w/ , Kathy Bates). Little Black Book, Without a Paddle. Claude Foisy Snake King, White Noise. Ira Newborn E-Girl. Team America (dir. Parker Cursed. Chad Fischer Garden State (w/ Natalie I Married a Witch & Stone). Terence Blanchard She Hate Me Portman). (dir. D. DeVito). Michael G. Shapiro Home Room. (dir. S. Lee), : Trinity (w/ Wesley Constantine, Layer Cake. (animated). Ed Shearmur Sky Captain and the World Snipes, co-composed with The RZA). The Incredibles. The of Tomorrow, The Skeleton Key Chris Boardman In Her Shoes Vincent Gillioz Chupacabra. (dir. R. Howard, w/ ), (dir. I. Softley), Wimbledon. (dir. C. Hanson). Undertow, Partition. Lemony Snicket’s A Series of The Tollbooth. Jon Brion I Heart Huckabee’s. Nick Glennie-Smith Love and Honor. Unfortunate Events. Howard Shore King Kong (dir. P. Mickey’s The Three The Game of Their Lives Adam Norden The Defender. Jackson), (dir. M. Musketeers (Disney; video). (dir. ), Empire Falls (TV). Libertine (w/ Johnny Scorsese). BT Underclassman, Stealth (w/ Randy Harry Gregson-Williams Bridget Jones: The Depp). The Polar Express (dir. R. Edelman). Edge of Reason (w/ Renée Zellweger), Zemeckis). Kinsey. Madagascar (animated, DreamWorks), O-P William Susman Oil on Ice, Native New The Lion, the Witch and the Wardrobe Cellular, Imaginary Heroes Yorker. C (Disney). (main theme), House of Wax, Kiss Brian Tyler The Big Empty (starring Jon Sean Callery Nine Lives (w/ Wesley Kiss Bang Bang, X-Men 3. Favreau), Paparazzi, Sahara. Snipes). H Basil Poledouris Under Siege 3, King Teddy Castellucci Deuce Bigalow: Howl’s Moving Castle (ani- Conan: Crown of Iron. V-W European Gigolo. mated, Disney). Because of Winn Dixie, Alexander (dir. O. Stone). George S. Clinton Mortal Kombat 3: The David Holmes Ocean’s Twelve The Manchurian Candidate. James Venable Year of the Yao. Domination, Dirty Shame (dir. S. Soderbergh). Stephen Warbeck The Oyster Farmer. (dir. J. Waters), Glory Days. The Da Vinci Code John Williams : Episode III. Elia Cmiral Species 3, Resident Evil 2. (dir. R. Howard). The Hot Sheet Debbie Wiseman Freeze Frame. Kaveh Cohen American Tragedy: American The Village Airlines Flight 191 (History Channel), (dir. M. Night Shyamalan). Teddy Castellucci Rebound. Y-Z Beyond the Wall of Sleep. The Last Shot. Gabriel Yared (w/ John Altman) Shall Bill Conti Lou. I-J-K Rob Lane Red Dust. We Dance? Normand Corbeil Napola. Crash, Racing Stripes, Duma. Peter Melnick West of Here. Hide and Seek, Adrian Johnston Piccadilly Jim. Richard Marvin Eulogy (w/ Unfinished Life (dir. L. Hallström). D-E Jan A.P. Kaczmarek Finding Neverland (w/ Romano). Aaron Zigman Heart of Summer, The Vanity Fair, Black. Johnny Depp, Kate Winslet). Sheldon Mirowitz The Wendell Baker Story. The Pacifier (Disney, w/ Vin Tuomas Kantelinen Mindhunters (dir. Woodcutter, The Living Machine. Hans Zimmer Collateral, Thunderbirds ), Princess Diaries 2. ). Trevor Rabin Mr. Ripley’s Return. (dir. J. Frakes), Spanglish, Shark Tale. Alexandre Desplat Hostage, The Upside of Rolfe Kent (dir. A. Payne). Alan Williams Crab Orchard. Anger, Birth. David Kitay Elvis Has Left the Building. Debbie Wiseman Arsène Lupin. Get Listed! Pino Donaggio Toyer (dir. Brian De Palma, Harald Kloser Alien vs. Predator. Hans Zimmer Over the Hedge, A Composers, send your info to w/ Juliette Binoche). Penka Kouneva The Connecticut Kid. Good Year. [email protected] FSM Nanny McPhee (w/ Emma

JUNE 2004 6 FILM SCORE MONTHLY FILM SCORE MONTHLY 7 JUNE 2004 RECORD LABEL ROUND-UP CONCERTS Film Music Played Live Around the Globe

Sept. 5, Hollywood Bowl; “The Cantata,” from The Man Who Knew Big Picture: The Films of M-G- Too Much. M, Salute to , Pink Panther.” Missouri Sept. 8-11, San Francisco S.O., Aug. 13, St. Louis Philharmonic, opening night, cond. Michael Robert Hart Baker, cond.; Spirit of Tilson-Thomas; Vertigo suite. St. Louis Suite (Waxman), Julius Sept. 10, 11, Hollywood Bowl Hunter narrates. S.O.; “A Night in the Tropics.” Sept. 11, 12, Pasadena Pops S.O.; “Rhapsody for & International Orchestra” from The Paradine Case (Waxman). Finland Sept. 21, Hollywood Bowl, Aug. 28, Helsinki S.O.; Raiders of , cond.; Lord of the the Lost Ark March (Williams). LSO Heads West Rings Symphony in Three Movements elebrating “the powerful 100- —Sat. Sept. 18 (Shore). Norway Cyear relationship between Cleveland—Sun. Sept. 19 Sept. 1, Bergen S.O.; Psycho music and the movies,” the —Mon. Sept. 20 Indiana (Herrmann), Where Eagles Dare London Symphony Orchestra will For more details and to purchase tickets, Aug. 28, South Bend S.O.; (Goodwin). FSM embark on a North American film visit www.musicofhollywood.com. Hoosiers (Goldsmith). music tour in September, hitting Thanks to John Waxman of Themes and 15 cities in 17 days: Variations (www.TNV.com) for assistance Aug. 14, Tanglewood, John in preparing this listing. Concertgoeres, Dallas—Fri. Sept. 3 Williams, cond.; “Mancini & call your local orchestra to confirm play- Houston—Sat. Sept. 4 California Herrmann”; “Storm Clouds dates and schedule! San Antonio—Sun. Sept. 5 July 24, Lake Tahoe; July 25, Atlanta—Tue. Sept. 7 Ironstone Vineyards; Aug. 1, Raleigh—Wed. Sept. 8 Villa Montavio; Russian National Royal Treatment Nashville—Fri. Sept. 10 Orchestra, Carlo Ponti, Jr., cond.; News This just in from film music St. Louis—Sat. Sept. 11 Dr. Zhivago (Jarre). (continued from page 4) historian Royal S. Brown: “It’s Indianapolis—Sun. Sept. 12 Aug. 20, 21, Hollywood Bowl; official: Scarecrow Press will be Cincinnati—Mon. Sept. 13 “: 75 Years of Music.” • Roger Mason is scoring the publishing a selection, probably Columbus—Tue. Sept. 14 Aug. 27, 28, Hollywood Bowl, new comedy feature film enti- running about 350 pages, of Pittsburgh—Thu. Sept. 16 John Williams, cond.; “Olympic tled The Extra. my ‘Film Musings’ column, the Detroit—Fri. Sept. 17 Fever.” Compiled by Art Phillips—President, working title of which is Film Australian Guild of Screen Composers Musings: A Selected Anthology.”

BMI Winner Announced Score Beltrami). Due Aug. 3: Some Like Quick Takes The BMI Foundation has (continued from page 6) It Hot (), The announced that Jon Ophoff and Jamais plus Toujours (two tracks), Misfits (Alex North) and Man on Jerry to Compose Mark Petrie are the winners of Les Aveux les plus Doux (one track), Fire (Harry Gregson-Williams). A Real Space ? the 16th Annual Pete Carpenter Malpertuis (one track) and Paul et www.varesesarabande.com In a recent interview, Ray Fellowship, a competition open Virginie (three tracks). Bradbury mentioned that he to aspiring film and TV compos- Please note: is working on a “grand opera” ers under the age of 35. Varèse Sarabande We endeavor to stay up-to-date called Leviathan 99, based on Available now are The Clearing with every company’s plans, but his own play about Dick Got News? (Craig Armstrong) and (TV sometimes bad things happen in outer space. And he says he Send notice of upcoming events that are soundtrack; ). Due July to good labels. Please bear with wants Jerry Goldsmith to write of interest to the film-score community 20: The Bourne Supremacy (John us if albums are not released as the music. Stay tuned… to TimC @filmscoremonthly.com. FSM Powell), I, Robot (Marco announced. FSM

JUNE 2004 8 FILM SCORE MONTHLY FILM SCORE MONTHLY 9 JUNE 2004 RECORD LABEL ROUND-UP

Rants, Raves & Responses to Readers

mailTroy What should have beenbag matches the film’s gritty, moody, most of the melodic material is [The following letter was written before one of the great epic scores of on-location cinematography. based on three themes—for the the release of our Troy issue, FSM Vol. all time has been reduced to Sean McDonald Monster, Pretorius and Bride— 9, No. 4.] skimpy, repetitive and forget- [email protected] ignoring completely such set- saw Troy on opening day and, table mush. Where is the ghost Unbridled Fury pieces as the forest pastorale and Iwith the notable exception of of Max Steiner when you need iscovering an article about the villagers’ triumphal march, the music, was not disappointed. him, or, for that matter, Hans Done of my favorite scores each boasting its own unique Granted the filmmakers took Zimmer? (“The Bride Revisited,” FSM Vol. 9, strain. Nor is any mention made poetic license with the classical Lewis M. Greenberg No. 3) was a pleasant surprise; of the hushed, haunting mood authors, but that’s Hollywood. In Deerfield Beach, Florida reading the piece itself was a Waxman established for the any event, I waited to see what mixed blessing. Authors Miller- Monster’s graveyard rampage. FSM had to say about the score Are you implying that Hans Zimmer Phillips and Essman make many The scope of a Mail Bag letter before penning this missive, and should die and come back as a ghost? eloquent points and share many doesn’t permit delving further just as I thought, James Horner valid insights, but the essay as a into such lapses, but in the final composed his score in just two Recent Deaths Lead to whole reads like a school assign- analysis what left this reader weeks—and it shows. Praise of Klute ment written by reluctant stu- with a bad taste in the mouth The music, such as it is, is haven’t heard too much of dents who are not all that fond was the authors’ dismissal of shallow, anemic, derivative and IFred Karlin’s work, but what of the assigned topic. Sometimes Waxman’s early masterwork as plagiarized—and those are its I have heard I’ve found delight- they seem to forget the film good program music of only good points. Horner insists upon ful. Up the Down Staircase is a gem. scene for which a selection was historic interest that fails to re-using a clanging motif that’s That score alone says so much written. To cite just one example, reward repeated independent all too familiar from II, about how good he was. So it’s the agitated music following listening. I can only say that Aliens, Willow and Enemy at the sad to now realize that he’s no the minuet is not intended by for decades this moody, excit- Gates, not to mention its original longer with us. A damn shame. Waxman “to complement the ing, colorful score has always classical . Moreover, he That was an excellent, generous storm” but to accompany a delighted me on countless revis- plagiarizes another theme, this obituary you wrote for him (FSM montage of flashback images itations, with or without Whale’s one from the fourth movement Vol. 9, No. 4). cinematic accompaniment. of Shostakovich’s Symphony No. While we’re on the subject, Curiously, while Miller-Phillips 5, using it as background fare I, too, mourn the passing of and Essman close by announc- for Achilles’ exploits. We don’t Michael Small. It was quite star- ing the new DVD edition of the even get a love theme for tling to hear of his death. He left film, they never once mention and Helen! The us too soon. Love his work on the continued availability on sounds like a cross between Comes a Horseman, Black Widow, The Silva CD of a very good re- Lawrence of Arabia and a concerto Star Chamber and my personal recording of the score conducted for drums. John S. Walsh should favorite, Klute. This film, although by Kenneth Alwyn. be very proud. [Remember John a thriller, manages to be more Preston Neal Jones S. Walsh? See next paragraph.] frightening than any straightfor- Hollywood, CA Whatever the “powers that be” ward , at least to me. were thinking, Gabriel Yared’s The New York depicted in this Christ and Incorrect score certainly could not have film reminds me of the gothic Otherworldly Noises been worse. New York in Rosemary’s Baby thoroughly enjoyed FSM Vol. Horner’s effort for Troy only or Wait Until Dark. The final 15 with which Whale was remind- I9, No. 3. My compliments to adds insult to injury when one minutes of Klute are as gripping, ing his audience of the story Kyle Renick (“For Christ’s Sake”) remembers that John S. Walsh sick and terrifying as anything from Frankenstein. (Waxman and Jason Comerford (“The had the effrontery to substitute I’ve ever seen, and with very cleverly varies the tune from his Horror of Faith”) respectively, Horner for Miklós Rózsa as one little violence shown. Michael minuet so as to be reminiscent for their insightful reviews on of the 10 most influential film Small’s music definitely helped of Mendelssohn’s Midsummer Mr. Gibson’s magnum nopus, composers (FSM #65-67, Winter make Klute all the more scary. Night’s Dream scherzo; instead of S&M Christus flick, The Passion of 1996, p. 18). Walsh’s rationale for His theme for the killer is eas- fairies, Mary Shelley is about to the Christ. Well done, gentlemen. touting Horner does not make ily one of the most haunting of reveal the demons who dwell in Before I sign off, however, I am up for the fact that bad film the ’70s. Though quiet, it has an her “pits of Hell.”) obliged to advise that Messrs. music is still bad film music. awesome, sinister presence that The authors claim that Miller-Phillips and Essman are

JUNE 2004 8 FILM SCORE MONTHLY FILM SCORE MONTHLY 9 JUNE 2004 MAIL BAG incorrect in stating that Franz time in my life, is a visceral idea The publication’s wit and sense True, Ron, just as it did with Pirates of Waxman incorporated the ther- of what the Passion consisted of humor (and penchant for the Carribean and Shrek before it, the emin and ondes martenot in of. That his film is superficial lame puns) is one of the reasons public has once again proven itself a his score for Bride of Frankenstein. in terms of the surrounding I got into the mag in the first most astute judge of art and history. I have with me correspondence message...is, I suppose, not the place. But I found the mock-up Kyle Renick and Jason Comerford will be from Mr. Waxman dated June point. This is not a sermon or of the crucifixion completely burned at the stake shortly. 1962, in which he advises that a homily, but a visualization of tasteless, and the “Devil and Mr. the instruments in question the central event in the Christian Debney” photo completely tact- Color Correction were actually the flexitone and religion.” less. True, I’ve had many good n your current issue (Vol. 9, harmonium. The made I can understand the opposite laughs at equally tasteless and INo. 3), the article “Welcome its first Hollywood appearance perspective—that Gibson went tactless gags at the expense of, Back to Sherwood!” by William in Robert E. Dolan’s score for too far; that the gore was, as critic say, James Horner. But you’ll Flanigan, Ph.D. states that The Lady in the Dark (1944). The ondes David Ansen wrote, “self-defeat- forgive me for observing that Adventures of Robin Hood was the martenot was not used on a ing.” But I find myself closer to James Horner is not Jesus Christ. only color film that Korngold Hollywood soundstage until Ebert’s position. The idea in my For many, the crucifixion (if they scored. In fact, there was one first employed it mind, as a Christian, is that God believe it happened at all) is just more: The Private Lives of Elizabeth in the 1960s. saw the worst of human hatred another distant historical event, and Essex in 1939, a year after J.S. Lasher and suffering, and humbled if an unusually influential one. Robin Hood. Thought I would Blayney, NSW, Himself to experience our utmost But for millions like me, it is a mention it for the record! vulnerability. The Creator of All deeply felt reality—something Andrew Knowles An Affront to God came with a message of love, vital and deeply sacred. Monty United Kingdom ’m sure FSM is going to get and for this underwent suffer- Python aside, there’s no room Thanks for the correction. Ilots of letters about their ing that I, who contribute to the for good humor on the cross. I Passion coverage, so I’ll try to be evil in humanity, can’t imagine. never thought I’d be asking this The Pleasure of Horns brief. I was given an opportunity Whatever others may think, I of my ribald chums at FSM—but ust by chance I read Doug to contribute my thoughts on believe this happened. Will I in the future, please show a little JAdams’ November 2003 the film in last month’s issue, turn my face away? Will I shut more sensitivity and class. At the review of Howard Shore’s Return but failed to make the deadline. my eyes to it? If I’d been there very least, you risked alienating a of the King soundtrack. I was Now I’m in the awkward posi- 2,000 years ago, I don’t know if I good portion of your readership. recently listening to the CD tion of trying to fit them into could have watched. I certainly John Takis at work, when I happened to the letters column, and I don’t wouldn’t want to. But it’s impor- [email protected] google Adams’ piece (see FSM have space to point out the tant to me to try to understand. Vol. 8, No. 10). many things I liked about the I’m fortunate not to live in a Thanks for the thoughtful comments, I can’t agree more with what film—some of them the very part of the world where these John. We sensed we might be crossing Mr. Adams has written about the things FSM reviewers hated! things are still a part of daily life, the line for a few or our readers, but, Gondor theme, aka “The White The depiction of evil in the and self-abuse is certainly not a frankly, it stirred the pot a bit, and that’s Tree.” I remember very, very well androgynous Satan figure, for viable option. But for some rea- what we were setting out to do—more the summer of 1976, when I fin- example. (And I liked the music!) son it feels important to know than to offend anyone. ished reading Tolkien’s trilogy Yes, the film was flawed, and more about the kind of suffering for the first time. I was 16, and I agree with many reviewers’ (I believe) Christ underwent than An Affront to God, Revisited my dad had been for many of points. But overall I found it a books and my imagination can ’ve heard of freedom of his years a French horn player, work of sound artistic merit and tell me. Mr. Gibson’s film gave Ispeech and the press but first in the Air Force and then profound theology. I don’t feel me the opportunity to make that I feel Kyle Renick and Jason around town in various semi- like I’m on a guilt trip or a sado- visceral connection, and for that I Comerford and their attitudes pro and quartets. I masochistic orgy. How, then, can am deeply grateful. One reviewer toward ’s master- knew about Lizst’s Les Preludes I gainsay those reviewers who wrote that the film reflects only piece, the magnificent Passion of and Rossini and music that “told claim The Passion is pornographic, the worst of . But the Christ, reflect ignorance on a story.” But what devastated me a “valentine” to torture, reaction- without a suffering Christ—a both their parts of the subject was discovering Wagner, espe- ary and exclusionist—for them, Christ who lived those terrible, matter and the reason for the cially Der Fliegende Hollander. Wow! perhaps it was—except to relate relentless hours of bloodshed, suffering. They’ve followed along This was it! This was Aragorn my own experience of the film, abuse and unbearable gore— with all the other liberal leftist arriving at the defense of Minas which I found brutal, disturbing, there IS no Christianity. Not as I elite in the media. Obviously, Tirith by the corsairs’ ship, flank- horrific, an imperfect work of understand it. So that’s my two the public has more of a critical ing the battle at the Pelennor cinema...and ultimately, a chal- cents. eye and a sense of what Gibson Fields! (Other young people lenging meditation on divine Finally, I’m going to lob some wanted to achieve than these discover sex at age 16, but here love. Does that mean I’m “luxu- criticism at the powers that be bright lights who get paid to I was having steamy dreams riating in the horror of faith”? (who are kind enough to publish review art. about German romantic music Roger Ebert wrote: “What Gibson me!). I have always loved FSM’s Ron D’antonio and fantasy characters.) has provided for me, for the first flippant, devil-may-care attitude. [email protected] Howard Shore has done that

JUNE 2004 10 FILM SCORE MONTHLY FILM SCORE MONTHLY 11 JUNE 2004 MAIL BAG

to me all over again, now at the The correction is for I am older and wiser, having ten. I’m glad they got punched up age of 44. Here’s music my old James Venable’s Upcoming listening to Goldsmith’s record- for the film. dad can cry over, as he once did Assignments listing. Ugly ing of North’s score many times, So this puts the icing on the to Strauss and Brahms. And I, American(s) was the previous title it is absolutely delicious to work ‘60s North mega-spectacle score along with him, am especially for the already-come-and-gone out how North incorporated cake, coming after Cheyenne smitten by the lovely and effec- Eurotrip. Okay. That cares of that. so much of the 2001 score into Autumn, Cleopatra and The Agony and tive use of horns through all of Chris Walsh Shoes. I liked it so much and the Ecstasy (the redo anyway), even Shore’s compositions. [email protected] didn’t even know he was recy- if we’ll never get Spartacus. It’s a Liz Calhoun cling some of his tunes. glorious listen; Thanks, guys! Ann Arbor, MI Thanks for the correction! We’re always The sound quality of the Kevin F. Dick Why Not? grateful and willing to remove entries release is excellent for the era, [email protected] ello, FSM denizens. First, from Upcoming Assignments. and since this is a score that Hbutt-kissing! The latest deserves to be heard loud, so Errata: Trading Off Ratings issue of the magazine (FSM Vol. We’re the Balm much the better. The liner notes Reviewer Jon Aanensen meant 9, ust when I think you guys are sumptuous as always. I to give David Helpings Trade Offs No. 3, “Jon Brioan ”) Jhave satisfied all my Silver appreciate all the references to four stars, not the two-and-a- made me smile and taught me Age soundtrack dreams, you where the 2001 material kicks in, half it received (FSM Vol. 9, No. stuff. I appreciated the glorious manage to outdo yourselves although I had trouble reconcil- 4). The body of the text remains smart-assedness of it. Meaty again. After listening to Shoes of ing where he re-used the “Trip largely correct. articles, too, as usual. Keep it up. the Fisherman for the umpteenth to the Moon” cue. I wish I had the budget to be time since I got it, I decided to You guys are the balm of the Join the party! Write us: buying FSM CDs on a regular send a note. completists. I had the LP and FSM Mail Bag basis, because a full-on CD of I wore out the LP when I was CD version of Where Eagles Dare, 8503 Washington Blvd. Shoes of the Fisherman is too good a kid, blissfully ignorant of any and the source cues for Shoes Culver City, CA 90232 to pass up. Thank you, and I’ll connection to an aborted 2001 are appreciated, but the “lounge or e-mail try to see if/when I can get that score from the same year, coin- music” arrangements of the Zebra [email protected] and others. cidentally enough. But now that themes are quite an amusing lis- We’ll be glad you did.

JUNE 2004 10 FILM SCORE MONTHLY FILM SCORE MONTHLY 11 JUNE 2004 DOWNBEAT

King-Sized Television Two large-scale Stephen King projects with scores to match. • By Jeff Bond

sion and choir, rather than the usual way of having the choir out front with the orchestra in the background. I was interested in just using the choir as another instrument. They work very much from inside the orchestra and it was great to have them perform with the orchestra, and there were all sorts of clusters and moans and groans and all sorts of things going on in there.” Vocal performances were in fact a more important element in the mix than Gordon had anticipated; singer/composer Lisa Gerrard and composer Patrick Cassidy had already cre- ated a piece of music called “Salem’s Lot Aria” for the telefilm and the filmmakers were keen to use Gerrard’s well-known vocal stylings in the miniseries score. “Lisa and Patrick did that CLASSIC HORROR: Christopher Gordon was unafraid to use a mostly traditional orchestra for Salem’s Lot. theme before I came on and in fact they deliv- ered that theme, the Aria, at exactly the same his year has been a Stephen time I went over to spot the film,” Gordon King miniseries blowout as two Gordon’s Lot says. “I asked her to come and do some vocals ustralian composer Christopher later on so I composed the score in such a high-profile, long-form King Gordon has taken advantage of his way where I would leave gaps for her voice, T reputation as a “film composer work- because Lisa’s way is to ad-lib her voice over projects hit the small screen: First there A ing on television projects,” with acclaimed the top of whatever she’s contributing to, and was the 13-episode Kingdom Hospital, scores for projects like the Patrick Stewart- I knew that so I wanted to leave areas open. an Americanized remake of Lars Von starring remake of Moby Dick and the 2000 I thought her voice worked particularly well update of On the Beach. While the 2004 version to express Ben Mears’ horror of the Marsden Triers’ Riget (The Kingdom), originally aired of Stephen King’s Salem’s Lot is another remake, house in particular, so when he’s driving past in in 1994. Then came another Gordon had to break new ground on the the house or when he’s finally going to go remake, of King’s own story Salem’s Lot, project as he had never done a straight horror inside that’s when we hear her voice. Once film before. “I did do a children’s movie with he’s confronted that fear, near the end of the originally filmed as a four-hour mini- Christopher Lloyd [2001’s When Good Ghouls Go film, I attached her voice more to the power series by director Tobe Hooper in 1979 Bad] that had a horror element to it but it was of the main vampire, and consequently on aimed at 8-12 year olds so they didn’t want the album you get a cue called ‘Converting with James Mason and David . it to be all that scary.” The Salem’s Lot remake, the Priest,’ which is a wonderful scene where Both projects required unusual musi- which stars Rob Lowe, Donald Sutherland Rutger Hauer is converting the priest played and Rutger Hauer as the scabrous vampire by James Cromwell to evil. So after I recorded cal scores, with Gary Chang’s work for originally portrayed by Austrian actor Reggie the orchestral sessions, Lisa flew in to Sydney Kingdom Hospital taking a more post- Nalder, was filmed in Australia, leading and spent a morning in the studio putting her modern approach (one of the recurrent producer Mark Wolper and director Mikael extra vocal lines down on top and then Mark Salomon to seek an Australian composer to Wolper had a couple of other suggestions, so supernatural characters in this story is score the film. “Particularly they were looking Lisa did a couple of very short pieces that we an anteater, after all) while Christopher for scary, atmospheric music, something quite could lay in wherever we wanted.” textural perhaps rather than melodic, but they Gerrard gets composing credit on three Gordon’s Salem Lot hearkens back to also wanted choir in some places, which was of the Salem’s Lot album tracks. “She basically more of a classic horror mode, com- in the temp, and I was happy to provide that composes what she’s singing. I took a different because I was interested in writing for voice. approach to how we’re used to hearing her in plete with sophisticated writing and I’ve always wanted to use choir as part of the Gladiator and so on; I wanted her to sound like

ethereal effects. orchestra—strings, brass, woodwind, percus- she was just out of the corner of your eye or All Rights Lot Reserved. Bros. Artwork ©2004 Salem’s Television, Warner

MARCH 2004 12 FILM SCORE MONTHLY FILM SCORE MONTHLY 13 JUNE 2004 standing behind your shoulder; I didn’t want hour of music out of sort of collage, by mix- that hero’s theme and that’s what wound up you to be able to put your finger on where ing up the various ideas I had.” in the film. I think it really needed it at that she was. So at times she becomes part of the While Salem’s Lot is a horror film, Gordon point. I think sometimes it’s very appropriate choir and at times she emerges out of the choir, says there was another strong emotion that for a cue to take hold of a film and the so consequently her voice sounds a little bit shaped his approach to the work. “Sadness film, and sometimes I think that’s what people different than the way you’re used to hearing is a very important part or depression if you get scared of.” her. I only had sixteen singers in the choir, like; there’s a great cloud of depression over The composer believes the end result might and because I used a lot of clusters and had the whole town I think, and there’s something have been different had Salem’s Lot been remade to subdivide, you might have only one singer going wrong for every character. In some as a feature film. “I do think a difference has on each note. So as a result of that you might occasionally feel like you’re hearing another voice in addition to Lisa but it’s really just part of the choir. I also had a young boy called David Bruce who only appears briefly on the album but he sings a little nursery rhyme on the track called ‘Mike Ryerson.’”

Pencil to Paper Gordon’s own writing for the film is both forward-thinking in its application of vocal textures and refreshingly old-fashioned in its expressive string playing, avant-garde CRAZY, SEXY, GHOUL: Rob Lowe, Samantha Mathis and James Cromwell get cross. effects and straightforward dramatic writing. Although there are some electronic effects in instances it’s very related to vampires or the developed between feature film and high-end the score, the composer achieved most of his Marsden house, but in other characters it’s television, in that there’s still the possibility sounds acoustically. “I had a palette of three more just general sadness going on in their in high-end television to use more melodic or four synthesized sounds that I used. Just lives, so I found that very important aspect. ideas, whereas in features it’s very much being about everything is orchestra. There are a few Probably most of the score was providing pushed toward the whole atmospheric sound electronic sounds you hear at the beginning tension, but a quiet tension that you can do effects area and not to have any great presence of the cue “Jerusalem’s Lot,” and I only used under dialogue.” and being at all noticeable. That’s one of the them sparingly; you might hear them 10 or In one of the climactic cues, “Approaching great things about doing high-end television 15 times during the whole movie and that’s it. the Mansion,” the composer was able to drive is that even though the budgets may not be Everything else is orchestra and choir and that a scene where Lowe’s character and his com- very high, in some ways there are less restric- was part of the attraction of the job to me, the patriots finally take steps to infiltrate the home tions and there are more creative things that chance to experiment with different sounds that has cast a pall of fear over all of them you can do.” you can get out of an orchestra and choir. since their childhoods; the music is pulsing “There are all sorts of things—sliding around and heroic rather than simply atmospheric. Breaks With the Past on the strings, rattling of keys on the wood- Gordon says the filmmakers didn’t dissuade Composer scored the original wind instruments, use of quite a few percus- him from taking this approach although he Salem’s Lot miniseries, but Gordon admits he sion instruments like bowed chimes which does admit that he hedged his bets during the never watched the original and in fact hasn’t give a very high-pitched, deafening sound if process. “They very much liked some of the read any of Stephen King’s novels. “I hadn’t you’re right next to it. more straight melodic moments. I occasionally seen the original miniseries and as in the case “A technique that I used was partly check the temp to see what direction they were of doing On the Beach and Moby Dick, I avoided because of time and partly because of going but on the whole I stayed away from it seeing the original films—I saw Moby Dick much budget—I couldn’t see how I could do 115 and just wrote what I thought was appropriate later. I thought Moby Dick was good; I’m not minutes of score with orchestra and choir. for the images. When the four male characters quite sure about Gregory Peck being Ahab So I wrote 85 minutes of score in the usual are approaching the mansion they had some but John Huston is a great filmmaker and the way with pencil and paper, and that was very quiet, eerie, atmospheric music tracked score by Philip Sainton is very good. When I written and recorded, but very early in the there and I really wanted to write something was first watching it over the first 25 minutes process I also composed these modules that would be as close as the score would get I thought, ‘Oh, this score is much too big for which might be one- or three-bar ideas for to a hero theme; I thought the film needed the film,’ and eventually it draws you in and different instruments in the orchestra and that moment of the humans taking hold of becomes part of the whole operatic feel of the recorded them in different combinations things and getting on with fixing the problem. movie. But I try to avoid watching any other and also with choir, and I have this great I was so worried that I thought I better write interpretations when I’m doing something like list of modules that are recorded and then two versions, so I wrote one version with the that because in the end the composer has to while I was composing I would mark that sort of hero’s theme, which is what you hear deal with what’s given to him.” I would use this particular module on top on the album, and then I wrote something Gordon dealt with what was given to him of particular sections of music, but it also more atmospheric as an alternate, and when on Peter Weir’s Master and Commander: The Far Side meant I was able to make up that extra half it came to recording sessions Mark really liked of the World, collaborating with concert violinist

MARCH 2004 12 FILM SCORE MONTHLY FILM SCORE MONTHLY 13 JUNE 2004 DOWNBEAT Richard Tognetti and Iva Davies (leader of the Australian band Icehouse) to create a musical landscape for the adventure film that ranged from classical source cues to ethnic percussion and the interpolation of Ralph Vaughan Williams’ Fantasia on a Theme by Thomas Tallis. While some might have expected a more traditional swashbuckling score, Gordon says he knew when he signed on to the project that such an approach wouldn’t fly. “Peter has a very specific feeling for how music works in his films and I think that’s part of the reason why his films are like they are, whether or not you agree with a particular musical decision at any given moment, it all adds up. He’s very hands-on in that he’ll say that he likes this or he doesn’t like that, and I remember he said SISTER CHRISTIAN: Bad things happen to good people in ABC-TV’s Kingdom Hospital. once that what he was interested in was not so much the relationship between the main characters played by Russell Crowe and Paul Gary’s Kingdom two people in the music industry, painters Bettany, which is what everyone thinks the ingdom Hospital isn’t Gary Chang’s first and plumbers,” he says. “A film composer movie is about because the books are so about collaboration with Stephen King: He has to be both of those things, but the thing the characters’ relationship. He was much Kalso scored the King miniseries Rose Red that’s difficult is how you present yourself. If more interested in the life aboard ship and he and Storm of the Century. The length of Kingdom you present yourself as someone who can do really felt like he was making a documentary. Hospital was something Chang hadn’t encoun- anything then people ask you to do scores So that informed his decisions. He also felt a tered in his previous projects, however. “You where anything happens, and you end up little like he was filming in a space capsule, this might say it’s a series from a presentation with scores that aren’t very stylistic—you lose tiny little ship in the middle of the ocean, so in point of view, but from a conceptual point the ability to put your signature on a piece terms of the film, we just drop into their lives of view it’s actually like a very large minise- and to create a musical entity that has its for a little while and observe how they live and ries,” Chang says. “Kind of to the detriment of own personal identity. My relationships with then drop out again. what you would call the basic promotional and Craig Baxley and Very roughly you would say that Iva Davies scenario of television, the show really has a all the people I’ve done many movies with was involved in most of the drumming and lot of expository information in the first two are all based on the fact that they all know electronics; I wrote most of the orchestral or three episodes. Just like a big feature film, I’m looking at this like an artist and it isn’t music and Richard Tognetti was in charge of the story starts off kind of slow, but the next like ‘oh, you need —I’ve got your most of the source music. Having said that, four or five episodes escalate so incredibly so rock music here.’ I do what I do and over the there was a lot of cross-referencing—we would it’s quite an amazing project.” last 18 years I’ve evolved my musical style to meet and comment on everybody’s work and Chang got his Masters degree in compo- incorporate a lot of things I never thought I those comments would have an influence.” sition at the California Institute of Arts and would use.” The composer does admit he presented since then has worked on over 60 film and some ideas that were not used early on in the television projects. “If I were to personally Absent Friend process. “When we first got together we vari- describe who I am as a musician I’d say I’d Chang’s longest professional relationship was ously put together ideas and took them over be a cross between a jazz musician and a with director John Frankenheimer, the man to a computer and made a CD based on that, conceptual artist,” Chang says. “I’m very influ- who made the classic (and recently remade) and from there on we thought we knew pretty enced by 20th-century music and the kind of The Manchurian Candidate and who until his much where we were heading and what our downtown scene of avant garde and contem- death in 2002 kept busy doing prestigious material was, but before that we came up with porary chamber music. Part of that comes films for television like Andersonville, George some quite different things. There was one from my graduate studies at Cal Arts where Wallace and Path to War, all of which were cue Iva did where Hollom commits suicide I studied with an incredible array of 20th- scored by Chang. “I worked in the ‘80s with very early on and that’s how it stayed the century composers, but getting out of school, John and I would consider him a mentor of entire time.” Gordon says the working process how does that apply to Hollywood? I felt a lot mine; he chose me from a cattle call to do 52 makes it difficult for him to quantify which like a Martian out of my field, but ironically Pick-up in the mid-’80s, and we kind of sepa- sections of the film best reflect his musical the one thing all my professors thought I was rated for a while. Then I came back to do Dead contributions. “The only way I can say it is I crazy to pursue was computer music—I was Bang for him, and then not long after I had wrote most of the orchestral music, but never a closet case computer musician—and that done Under Siege I hooked up with him again entirely—there was always something that really helped me in film work eventually.” in the ‘90s and we did six or seven more proj- came from someone else and in the end it After garnering work doing synthesizer ects, several of which won .” really was a collaboration.” You can read more programming and electronic cues on films After making some important films in the about Gordon’s work on Master and Commander like Thief of Hearts and The Color of Money, 1960s such as Manchurian Candidate, Seconds at christophergordon.net. Chang began to find his niche. “There are and Seven Days in May, Frankenheimer had

JUNE 2004 14 FILM SCORE MONTHLY FILM SCORE MONTHLY 15 JUNE 2004 something of a fall from grace, and despite his text with specific pop-music choices that ented. But Chang says he’s tried not to change working consistently from the 1970s through often played ironically against some rather the way he approaches his own music. “I 1990s, the director’s theatrical films were bizarre action. “The music more or less reflects think that I’m still very much a thematic often ignoble efforts like the 1996 remake of Stephen’s taste. In the first episode you have writer; [today] you have these huge - The Island of Dr. Moreau with Marlon Brando. ‘Red Dragon Tattoo’—that was scripted. At first ings full of people who are only involved in Some might have seen the director’s move it’s strange to read a script and download a taking the product to the public, and when to television projects as a humiliation, but tune from the Internet and say ‘okay, that you stand out on the street and listen all the Chang learned an important lesson from the goes there.’ But after a while you find a certain music has a beat to it and a lot of it is familiar director: “You do what you do where you dyslexic logic to the choices of source music grooves from something that was thematic can. I remember we had just done The Burning that are made. The music that I’m writing I 20 years ago but now has been mixed down Season for HBO and I said to John, ‘How do feel comfortable with because I feel at home to a drumbeat that someone is rapping to. I you like working for HBO?’ John turned to writing in this genre now. What’s interesting still believe that the core of film music is still me and said ‘If what you’re asking is would about working on Stephen King things as very thematic-based. It’s interesting because I rather be working for Paramount, yes I’d opposed to other kinds of horror things, is when I first got in the business and did Shock rather be working for Paramount, but you that Stephen uses demons and things kind of to the System, a lot of people would have said have to go where the work is.’ He was saying the way a war novelist uses war. It’s not really I was not a very thematic writer at the time. you have to go where you can do your best about the horror and the supernatural—what That does seem thematic compared to what’s work. At the time he was on his way back to they’re about is personalities and the choices invoked now. If you look at the best films having peer group acknowledgement and he that real people make as the result of witness- that are being made I’d still say more than had just received an Emmy the year before ing things like this. It’s an external force that 50 percent of them have scores with a strong for Attica. The significance of John is he had forces the hand of people and reveals the thematic identity.” While his relationship with a faith in my understanding of film and my true colors of people. I think to a large extent John Frankenheimer is now over, Chang looks craft as a composer, that he just threw things Stephen King’s work revolves around an forward to doing more Stephen King projects at me that typically people would be inse- examination of people and personalities.” and finds an equally rewarding relationship cure about doing. We had done The Burning Far from being put off by the amount of with the horror writer. “I feel like the music Season, which is a contemporary score, and he popular songs in the miniseries, Chang says I’ve written in the second half of my career turned to me and said ‘The next movie we do the presence of the pop tunes made his job is far more significant than what I did before, is going to be a Civil War movie.’ If it weren’t easier. “Regarding the amount of source, the which I guess is what we all hope for.” FSM for John Frankenheimer I probably wouldn’t thing that’s neat about that is it allows the have realized that I’m actually pretty good at score to perform consistently—if there’s a place that, and it’s like the classical gestalt. I very where there’s just absolute slapstick humor, much enjoyed being pushed into new places and we put a piece of source music in there, and away from the contemporary music situ- it’s one more thing the score doesn’t have to ation, and it really changed my career.” do—it can remain poker-faced, and the story- teller doesn’t have to put on a clown suit just Kindred Spirits to get the gag through; we have a piece of Chang says Frankenheimer’s personal source music that does that. In a lot of ways was often unfit for the typical Hollywood it’s judicious and we’ve found a lot of ways of production, and he compares the director’s dialing in irony by making unusual choices, work with Stephen King’s television projects and it allows the score to maintain a consis- in terms of them both presenting a compara- tent persona that adds to its value. As far as tively uncompromising vision. “I never really the instrumentation goes, a lot of the sound saw John win that many battles on feature design that I dial into my music comes from films, whereas he won every single battle my music background. I can put things into in cable. He got to do John Frankenheimer the movie that make a significant difference movies on cable, and it’s significant that on to me but it’s not something people ask for, Kingdom Hospital and the four shows I’ve done like ‘give me that incredible ambient open for Stephen King is that the screenplays are dark thing.’ They just hear the music on the written by Stephen King, so if there’s some- soundstage and go ‘that sounds great.’ A lot of thing wrong at the end of the movie Stephen the contemporary music I thought in the ’70s King’s there to rewrite it, and he’s the 500- was just going to disappear has blended into pound gorilla on those projects just like John the mainstream; look at Philip Glass doing was on his projects. These films are the vision film scoring.” of the creator and they’re much more like a One of Chang’s first big scores was for the classic film production than a committee call oddball Michael Caine drama 1990’s A Shock and studio notes and so on. I’ve been fortu- to the System, and his score was a memorable nate that I’ve had these opportunities to work concoction of quirky jazz-fusion. In the inter- with these kinds of filmmakers.” vening years the composer has seen the shift To update Kingdom Hospital from the origi- away from such distinctive efforts to scores nal Lars Von Triers version, King sprinkled that are more ambient and sound-design-ori-

JUNE 2004 14 FILM SCORE MONTHLY FILM SCORE MONTHLY 15 JUNE 2004 The Trouble with Harry AS LALO SCHIFRIN’S FUNKY COP SCORE FINALLY GETS A COMPLETE release by Aleph Records, 33 years after the movie opened, the composer explains that the new recording would be more accurately described as “Cleaned-Up Harry” rather than “Dirty Harry.” He also comes clean about his latest film and concert projects.

To many, Dirty Harry is one of the scores of the 1970s. A fusion of urban jazz, drum beats and haunting wordless vocals, Lalo Schifrin’s score typifies the disco/symphonic fusion that was to dominate the first half of a decade. Dirty Harry went on to spawn four sequels, and it was only with the release of 1983’s Sudden Impact that two tracks from the original movie became avail- able on an album. Aleph Records released the more comprehensive Dirty Harry Anthology in 1992, which dropped ’s tracks from The Enforcer and added five more Dirty Harry cues, bringing the total to just under 15 minutes. So, it’s with a huge sigh of relief that Dirty Harry fans are finally getting the complete score, including revised and alternate takes. FSM: Lalo, as a fan who has wanted the full Dirty Harry soundtrack for so long, I have to ask you why Detective Callahan’s first score took so long to get released. Were there any obstacles to its release? Lalo Schifrin: You know, I’m trying to release on CD as many of my soundtracks that I can, especially the ones that have become “classics.” I know that some people will ask, “Why are you releasing that old film music?” but as Herrmann used to say, “There are no such things as film music composers, only composers.” Film music is as relevant as classical work, particularly if the score has made a real contribution to the movie by being very distinctive. I feel very lucky to have been involved in such popular projects as Bullitt, Enter the Dragon and the Dirty Harry movies, and to want to share them. FSM: The new CD has a very clear sound. You’ve really benefited from returning to the session masters rather than using the monaural mix. LS: Yes, and this is because we had an excellent recording engineer for the film. It was an excellent recording and, objectively

speaking, it sounds great. Dirty Bros., Harry Artwork ©1971 All Warner Rights Reserved.

JUNE 2004 16 FILM SCORE MONTHLY FILM SCORE MONTHLY 17 JUNE 2004 Lalo Schifrin interviewed The Trouble with Harry by Nick Joy FSM: Dirty Harry was your third film with Don Siegel (after Coogan’s LS: Oh yes, that is a shared passion. When I first met him at the time Bluff and The Beguiled) and your fourth with Clint Eastwood. Because you of Coogan’s Bluff, he was really shy and didn’t want to play in front of me. had an established relationship with both the director and star of the But, later on, he started to open up, and he plays very well. I remember movie, did they let you get on with things with Dirty Harry? that 10 years ago I was a member of the jury at the Cannes Film Festival LS: I was impressed by the film when I saw it, and working with and Clint was the president of the jury. There was an Italian filmmaker, Don Siegel was always a stimulating experience. He was very bold in Pupi Avati, who loved jazz, and he directed a movie called Bix about his ideas and it was a very interesting time discussing how the score Bix Beiderbecke, the famous jazz musician. On that same jury was would work. used to instrumental scores, and I told him that I Kazuo Ishiguro, the British writer of the original novel of The Remains wanted to take a different kind of approach. of the Day, and he played jazz also. So, we all FSM: You mean the vocals by Sally Stevens went to Clint’s place—he had a piano in his to represent Scorpio’s deranged mind? suite, as did I—and we just played and played LS: Exactly! When I said that I was going to jazz. I didn’t know if I was in a film festival or use voices in the score and an eerie sound for a jazz festival! Scorpio, the villain, he asked me why. He was FSM: Your scores in the Dirty Harry movies surprised when I told him that he himself had not only provide dramatic underscore for the set me up to this way of thinking. Think back characters, they also give a musical identity to to the film and what’s so incongruent about the city of San Francisco. Does the city have the fact that Scorpio is a mass murderer; Don any special meaning to you? chose to do a special close-up of his belt that LS: I love San Francisco. Don’t forget that I had the universal “peace” sign on it. A mass left my heart there! [laughs] Seriously, I have murderer with a peace sign? That’s crazy. “This a lot of happy memories of the place, and guy must be hearing voices, so let’s hear them my relationship with it is very close. Before too,” I explained, and Don accepted it. He didn’t I became involved in the film industry, I know exactly what I was going to do with the was playing with Dizzy Gillespie and we voices, but thankfully he liked the results! played many times in and around the city. FSM: Clint Eastwood is now an established I made many friends there, and even now I composer in his own right, having most sometimes go out with my wife to Chinatown recently written the score to Mystic River. Did for the evening. Of course, I did Bullitt there he show an interest in soundtracks when you before Dirty Harry, but they are very different were recording Dirty Harry? characters in very different stories. They’re both LS: When he was an actor, Clint didn’t get cool characters, but Bullitt is more introverted involved with the scores, he left that to the where Harry is more outspoken and shows his director. But when he directed one of the anger. That is reflected in the scores. sequels, Sudden Impact, he called me up to do the music. He said that Sequel Music he liked to work with me and he trusted me. Even with The Dead Pool, FSM: Dirty Harry was a great success for Warner Bros., and Magnum Force where there was another director [Buddy Van Horn], I remember Clint followed. Were you the automatic choice to score the sequel? came to the spotting session and shared some ideas. He was very clear LS: I was invited back to do all the sequels, but sadly I couldn’t do in his ideas, which were very similar to mine, and so there was never The Enforcer because I was in doing The Voyage of the Damned, and a real difference of opinions. that’s the only one in the series I didn’t do. [The Enforcer was scored by FSM: What were your ideas for Sudden Impact? Eastwood’s other regular ’70s composer, Jerry Fielding.] LS: I remember one particular idea, which I’m glad made it to the FSM: Did you go back to the original score each time? final cut. The beginning of the movie is set at night; I wanted to mix LS: There are some recurring elements, but the Dirty Harry movies my music into the city noise of San Francisco. But there was no noise were all so different that I had to come up with very different scores. other than the ocean! However, there are scenes where Clint Eastwood It’s not like a TV show where you keep repeating the same theme every is talking on the police radio—“2211, officer in trouble,” or something week, although I did have a kind of motif that I used for Harry. You like that. So, I directed Clint Eastwood, which is quite ironic, and told could argue that it isn’t a real theme—it’s a sad piece for piano that I him that I wanted to use this in my music. He then called a friend of use whenever Harry is disgusted with the system, or realizes that he his who was a real detective in the Hollywood Police Department, and has to clean the sewers of society. It’s not like Gone With the Wind, just got him to help out. So, I integrated the score with police radio—and something subtle and recurring. I’m very happy with the result. FSM: Can we expect similar full-CD special treatments for your other FSM: Besides Dirty Harry, Clint and you share another love…jazz. Dirty Harry scores—Magnum Force and Sudden Impact? I know that many

FILM SCORE MONTHLY 17 JUNE 2004 fans would also like the score from The Dead Pool? working on that you can tell us about? LS: Magnum Force and Sudden Impact are possibilities, but I must say LS: I just did a movie called The Bridge of San Luis Rey with Robert De that I am only the musical advisor for Aleph Records. My wife is the Niro and Kathy Bates. It hasn’t been released yet. It’s a British movie president, and she has to make the decisions, so you would have to ask directed by an Irish lady, Marion McGuckian. I was also honored by her, not me. Releasing The Dead Pool is going to be more difficult because the Cannes Film Festival and played a concert there. At the moment I this would be the first ever soundtrack release of that score, and the am working on a film that my youngest son, Ryan, is making, called musicians’ union would require re-use payment; I don’t know if Aleph Abominable. It’s mixed with horror and suspense thriller. Records has the budget to do that. I would really love it to get a release FSM: You’re very busy. because I was very satisfied with it. The other Dirty Harry scores have LS: There’s more! I’m also writing a piece for the Lincoln Center already been on a compilation, and the re-use payments for the musi- in 2005, for their chamber orchestra, called Letters From Argentina. I’m cians have already been made, so that makes them more likely. working on a piece with the Adelaide Symphony in Australia, including a double concerto for piano, trumpet and orchestra. At the end of this Staying Current year, the New Jersey Symphony is going to premiere my Triple Concerto FSM: Many DJs have sampled your classic scores. Are you happy that for Viola, Clarinet and Piano. In Germany they are going to give me a life your music is being used in this way? achievement award at their International Film and Music Festival in LS: Yes, it’s like a bridge across time between and Bonn. Last time, they presented the award to Ennio Morricone. It is theirs. That’s great because it shows I can communicate with their a great privilege, but these awards can be dangerous. This is very generation and they respect my older work. Almost every day a request flattering, and it’s nice to look back on the past, but I don’t want to comes in for licenses to use my work, and I’m very happy with that. sleep in my glory. I’m very much focused on the future. Other than FSM: You were also a conductor in front of Hannibal Lecter in Red that, I have nothing to do! Dragon, where one of your orchestra members was eaten for playing a FSM: Is there any more news on Rush Hour 3? bum note. Was that fun? LS: They are talking about that but I cannot confirm it. You know, LS: You know, I played a conductor on screen before. I did a British when you call up [director] Brett Ratner, his answering machine has a movie called Something to Believe In and conducted my own music [Piano recording of the Enter the Dragon soundtrack. That’s what he wanted for Concerto No. 2]. The problem with doing movies is that it takes so long, the Rush Hour movies. and you have to be patient because the director has to do so many FSM: In 1971, when Dirty Harry was released, you were credited with shots and angles. It becomes very repetitive for someone who is used to a total of nine films that year. You seem just as prolific today. moving continually. I don’t over-rehearse because usually I’m working LS: Yes, I’m busy—maybe I’m a workaholic. But I have a lot of with a really good orchestra, and it’s bad for their morale to keep energy and things to say, so that’s what I do. I have plenty of ways to playing something that they are playing well already. relax—reading, playing chess and swimming, or spending time with my FSM: Coming back up-to-date, what other projects have you been family. Perhaps I might start taking up golf? FSM Feel Lucky, Punks Dirty Harry (1971) ★★★★ material—and, indeed, what other The producers have gone back to the LALO SCHIFRIN action cop score can you remember original multitrack session master Aleph 030 • 22 tracks - 43:04 where the villain gets a theme to rival tapes rather than the monaural mix FORGET THE AFFECTIONATE RETRO PASTICHES THAT TRY that of the hero? That said, Harry is tused in the previous Dirty Harry to emulate the sounds of the ’70s; make your day and not abandoned by the composer; he CDs. Every section (apart from the revisit the granddaddy of ’em all, Dirty Harry. Why the gets his own slow-tempo theme that strings) has its own track, resulting complete release of Lalo Schifrin’s remarkable score has debuts in “Dawn Discovery,” plays in a dynamic sound that reveals taken 32 years to see light of day is a mystery that even out the end titles and becomes a hitherto hidden textures. Harry Callahan would find hard to crack, but let’s just be recurring motif in three of the four sequels Schifrin wrote. The release is rounded off by four bonus tracks that grateful that the composer has got the recording out to Arranged chronologically, the CD features both offer alternate takes on “The Swimming Pool,” “City Hall,” the public. underscore and source music tracks. However, instead of “Floodlights” and “The School Bus.” Album producer Nick The previous Dirty Harry compilations have only offered using potential chart toppers from “the next big thing,” the Redman provides some welcome background information up to 15 minutes of score from the first film. And what producers opted to use Schifrin’s own songs. So, if you and a track-by-track breakdown in the liner notes, which a revelation this soundtrack is when given the room to ever wondered just what was playing in the radio when also includes stills from the movie and two rarer shots of breathe. Scored three years after his seminal Bullitt and Harry’s hot dog is interrupted by a bank raid, or in the car the composer and Eastwood. The final track is fun, if only four years before the iconic Starsky and Hutch, Dirty when he delivers his iconic “Do I feel lucky?” line, here’s to hear Sally Stevens hit the wrong note and burst into Harry is the very definition of early ’70s funky cool, with a the opportunity to find out. “Scorpio Takes the Bait” is a laughter at the most inappropriate time. driving title theme that buzzes with a frantic drum kit, tabla fantastic cue, starting innocuously with a light funky groove As I am a longtime Dirty Harry fan who once recorded and dueling guitar. Not surprisingly, it’s Scorpio’s theme until Scorpio bites…then, pow!, the guitars kick in and the score live from in front of the TV before upgrading to that makes the greatest impact on the listener. Haunting percussion pounds the walls of the recording booth. vinyl and CD, it’s inevitable that my love of it will influence ethereal vocals by Sally Stevens (with whom Schifrin These are relatively short cues, with the longest on the this review. But please look past my ramblings and previously collaborated on his Oscar-nominated The Fox) album only stretching to 3:30. However, the movie itself recognize that this is an essential purchase for fans of are layered over painful discordant instrumental wails, avoids the wall-to-wall approach, instead using the score Schifrin, Eastwood or Dirty Harry. And if enough of us pick mirroring the killer’s schizophrenic psyche. sparingly to heighten the tension. One of the reasons that up a copy, there’s Magnum Force, Sudden Impact and The It’s this collision of opposites that adds richness to the this score sounds so good is that it...well, sounds so good: Dead Pool all ripe for similar deluxe treatment. —N.J.

JUNE 2004 18 FILM SCORE MONTHLY FILM SCORE MONTHLY 19 JUNE 2004 Boys choir director Michael McCarthy has enjoyed a FSM: First, how did you get these jobs? unique experience of which most performers can only Michael McCarthy: I founded the Schola in 1996 dream. And it can be a little infuriating because he talks when I was asked to go to a Catholic preparatory school to about it in a somewhat aloof, composed and careful English start a boys choir. It was to be a liturgical choir, and I knew voice when I really want to hear him shout, “Yes, it was the we would have a lot of time on our hands because there most incredible and existentially mind-blowing thing I ever was only one service to sing a week rather than a hundred. did!” That won’t happen. I knew we’d have to head off in another direction, possibly BDuring the first part of the new century, Michael and his as a concert choir. Being a singer, I was already recording a London Oratory School Schola (boys choir) were hired to lot of soundtracks and, when my contractor realized I had perform on the soundtracks for two film trilogies—one a a boys choir, that was the string to their bow. There aren’t sure thing (Harry Potter) and the other an unknown quantity many boys choirs that would be available at such short (). Both jobs were recorded at Abbey Road notice, or that would have a program whose boys were of Studios, sometimes just days apart and often just one room a standard where they could work quickly. In studio work, apart. FSM readers may remember a mention of the Schola the most important thing is to work as fast as you can. in Doug Adams’ article “Seven Days in September” (FSM FSM: Jumping right in, was that the case for LOTR? Vol. 8, No. 10). MM: We would get five to six days’ notice and then But what Michael reveals about the subtle realities of we would be in the studio. Sometimes they would be able what it takes to do the job—and do a good job—holds nearly to fax music the night before because they were working as much power. The realities of time, money, and the need during the night. I would meet with my kids every morn- to deliver what the composer wants generate their own ing at 8:00. If there wasn’t any music on the fax machine, unique pressures. As much as the process of delivering we would just wait for it at the studio. The kids would be music written by two of cinema’s most highly respected booked for a three-hour session at a time. We’d get the composers—John Williams and Howard Shore—was the cues, note-bash them and put them down as a track. same in structure, it was entirely different in feel. Peter [Jackson] took a very hands-on approach to the Michael left the Schola at the end of 2003 to come to the editing, so that prevented Howard from having a complete U.S. as the new director of music and principal choirmaster look at what he was writing music for. Well, not prevent- at Washington National Cathedral in Washington, D.C. It ing really, but everything had to happen very much at the was here that I caught up with him to ask if he would share end of the editing process. Howard picked up the score in

Harry Harry Potter Bros. Artwork ©2004 Pictures, Warner All Rights Reserved. his observations of these particular recording experiences. August. We were usually booked on the second or third

IN THE SERVICE OF TWO MASTERS Singing the Praises of Williams and Shore Michael McCarthy interviewed by Karen Rugg

JUNE 2004 18 FILM SCORE MONTHLY FILM SCORE MONTHLY 19 JUNE 2004 week of September, with probably one more [session] to finish off his hotel room in London. It was all being recorded and then fed the first week of October. Then everything was edited down and back to him there. He had to write a lot of music. Poor fellow was mastered by the end of October. Those guys had to work fast. recording during the day and writing during the night. Literally The music itself was technically fairly straightforward. I’d be talking with his score people in the middle of the night as Sometimes knitting it into the rest of the orchestration was not the night shift was coming on. always obvious, and Howard was very specific in the noise that The team for all three films was the same. Although the work he wanted. A lot of the takes we performed were to ensure that occurred a year apart for each film, we’d know within an hour or he got exactly the noise he was after. so what to do. We could just pick up where we were the previous FSM: The “noise”? year in terms of what would provide the right feel. MM: By “noise” I mean that the choirs I train up have a certain For the last film, I’d run the session with the kids and the engi- characteristic noise. Every choir does—a noise that is characteristic neer and the producer. When we had what we thought was close of its director. The idea is for the boys to be able to be flexible to what Howard wanted, we’d contact him back at the hotel room enough to change that sound to suit the employer. where he was working, interrupt him, and play the track. Then Howard had in his ear a sound that he wanted to hear. What he would just tidy up what he wanted. The orchestral score was you have to do is to refine or moderate the noise the kids make already down. We just set our stuff on top. All the vocals tended into something that he will like. Suppose the noise that my kids to go on last, with Renee [Fleming] put on even later. We tended make is a slightly brighter, more Italianate noise; Howard prefers to sing to orchestral tracks, not a temp track with clicks. it to be a little more flutey—a little more rounded. [Work on] the first film was very much discovering the sound. [In LOTR], the boys represented the innocence of the Hobbits. Subsequent films were more [about] refining.

HOWARD’S A VERY CEREBRAL, THINKING PERSON WHO USES A VERY PERSONAL APPROACH. EVERYTHING BELONGED. ALL MUSIC CAME FROM THE SAME PARENTING BUT WASN’T A REHASH. EACH NOTE WAS AS CRAFTED FROM FILM ONE TO FILM THREE.

Howard had a full male/female chorus as well, making their own FSM: Discovering the sound was critical to maintaining a very distinctive impressive sound. He really wanted the boys’ tone musical continuity throughout all three films. Howard wanted to be separate from that so as not to sound like an extension this, right? of the choir. Each of the choirs—each of the sound fields if you MM: Absolutely. For example, on the first film there was a like—had their own representative bit. solo in the credits at the end by a boy named Edward Ross [“In Dreams”]. Edward came very much out of the first session that we INCREDIBLE INVESTMENT did. Howard had just come across the boys an hour earlier, and FSM: Many of us have already read about the incredible chal- immediately we had to decide who would do the solos. lenges in assembling the LOTR scores, the time, distance and many Edward was my selection because he was very flexible and sleepless nights. Was this your experience? very quick. There were a lot of changes going on at the end of MM: Howard was very much involved in the first one. He was “In Dreams.” Edward was going to have to be very fast at being Artwork ©2001 New Line Cinema, All Rights Reserved. at all of the sessions, explaining what he wanted and directing the dictated notes, writing them in and regurgitating them the right boys. As the sessions went on, he handed more of the directing way ‘round. And he did a very good job of it. over to me because he could see how I’d treat the boys. When we did the first film, Edward was approaching the end

For the last film he didn’t attend any of the sessions. He was in of his career. By the time we came around to do Two Towers we The Lord of the Rings

JUNE 2004 20 FILM SCORE MONTHLY FILM SCORE MONTHLY 21 JUNE 2004 had to find a boy who could best continue that specific “noise” of and is very economic with time. We had three or four tries at Edward’s and that was Ben [del Maestro]. this school song, some orchestrated, some not, and then we were FSM: You mention a number of changes for “In Dreams.” Did done. And we’ve heard no more about that. this process of discovery and rewriting happen a lot? We also recorded a witchcraft-type song [“Double Trouble”] that MM: I hope Howard would agree with this. Howard has a I know is in the for the third movie. The typical “hubble- more organic way of developing film scores than some other bubble we’re in trouble” stuff; it was a lot of fun. The piece asked [composers] who have a very clear sense [that] “this is what I want, the kids to be very characterized, not choir boys but real, sort of, we’ll be here for half an hour and off we go.” Neither is right or louts. This was more a -type of noise. wrong; neither is better or worse. That’s just the way Howard FSM: The Schola is considered a premiere concert choir, both works. Howard is very accessible to input. He was interested in when you were directing and now. How does the music you per- exploring, and he was able to galvanize his own view on what he form on a concert stage compare to the music you perform on wanted the boys choir to represent in the score. the scoring stage? From that point of view, [this recording project] was very MM: My school studies included an entire year on film score refreshing. And, because of his approach, Howard got a very composition, so I know that the whole point to film scores is good result out of the kids. to not notice them. The film score is supposed to enhance what FSM: What kind of exploration would Howard do? you’re watching. To compare it to a concert situation, well, there MM: Sometimes until you assemble the final cue, there are is no comparison. effects you can try. For example, you could put this line up an The use of the boys choir in LOTR was [to provide] very much octave, or put one boy up an octave and keep the rest below. You an ethereal, transcendent feel. That was our function. Our small may get some type of build-up effect that you like or don’t like. contribution was to be that transcendent element. That was our It takes really exceptional musicians to have a complete sym- stereotype, if you like. We weren’t trying to be all the actors in the phonic score in their head and to know if every instrument is at film; we just had a small little nugget. the right pitch or if the melody goes up that way or down that You have the opportunity to be creative in your own right. And way. It is a sort of genius to have that facility. Sometimes genius Howard did come up with many [creative pieces] while we were can get in the way. If you think you know exactly what you want, hanging around waiting for Edward’s tune to happen. There were then it may stop that sort of organic process from happening. three or four additional good components to that. But the role of Looking at Howard, that’s where the success of the score lies. a film composer is to be supportive and not to be Beethoven or People go into the studio and work it, instead of going into a stu- Brahms or Mozart. dio, opening up the score, playing it and going home. FSM: To be transcendent, in a way. MM: There is a strong religious pang to the trilogy. And the BACK TO SCHOOL boys were the purity. It had to be there. That’s what Howard had FSM: Let’s shift gears a moment to Harry Potter. to get. That’s the noise. Not some mini-kids opera chorus going MM: Actually, for the first film we were just asked to record on, but something very clean and tidy and pure. what sounded like a school song. But that didn’t appear in the Come to think of it, Renée [Fleming] was a “Mary” [as in the film. That was all we were asked to do. mother of Jesus]—an influence. I just thought of that. If one takes a I remember at the time that we were recording we didn’t know religious angle, when I hear a track on which Renée sings, I can see if J.K. Rowling had approved the text of the song. Since they were the link between what we were doing and how she was used. just starting off on the venture, they may have thought having a FSM: I come back to the question of how much you were school song would be handy. aware at the time that you were involved in something special, That was a very experimental session. We were only there for at least with LOTR? half an hour. John Williams is very much someone who knows MM: What was odd that week was that it was a Sunday night exactly what he wants from the outset. He’s a very efficient studio in Abbey Road, Studio 2. We had just been doing Harry Potter in man. That’s not to say Howard’s not, but the two methods are Studio 1 three days earlier. The feel of the first [LOTR] session felt completely different. John Williams is very clear on what he wants (continued on page 48)

JUNE 2004 20 FILM SCORE MONTHLY FILM SCORE MONTHLY 21 JUNE 2004 song by Jeff Bond sung Warner Bros. head of music Gary LeMel talks candidly about the other kind of soundtrack. FSM readers are used to seeing song compilation soundtrack albums as the enemy— and they are! But there’s no denying that it’s these albums of popular music that drive the “soundtrack” album market, and that mega-selling orchestral score albums are the exception that prove the rule. Gary LeMel has been head of Warner Bros. music for the past 17 years and has earned the title “Godfather of soundtracks” for his roles in initiating some of the most successful movie-related albums of all time, including the compilation albums from The Big Chill, The Main Event, Ghostbusters, St. Elmo’s Fire and The Bodyguard. He also coordinates with film composers and, as he points out, will push for a traditional score over a collection of songs more often than readers might think. LeMel started singing at the age of 17 and still has a career as a crooner, although his more traditional vocal stylings (and those of other singers, from Jack Jones to Tony Bennett) were admittedly pushed aside when made it big in the ’60s. With his background in music and record production (he even wrote a few scores for B-movies), LeMel has been able to take the long view and bring a seasoned perspective to his job, so join us as we look at the soundtrack business from the other side.

JUNE 2004 22 FILM SCORE MONTHLY it started with the songs lot of film composers around the same period; some of fsm: How does one become head of music at Warner the biggest names in that field, and a lot of them work- Bros.? ing in television from the early ’70s, all felt like they were gl: Well, you just take it. You’re dealing with film no longer going to have a career—probably until John people who don’t know much about music for films so Williams got big toward the end of the decade and there you have a jump already. was more of a return to a traditional sound—but it really fsm: You got started with a singing career; you still put everybody out of work. do that, right? When I started at Columbia in 1984, the reason I got gl: Yes; I actually got started as a bass player when I the job was because the young directors were asking for was in high school. One thing led to another and I real- contemporary composers and they didn’t even care if ized I couldn’t really make a lot the guys could read or write; if of money as a bass player. I think they had a name and a sound I wanted to leave my hometown that they thought was right for or something, and I was play- their film, then that’s who they ing for Anita O’Day, who came wanted. And it was actually a lot through town when I was the of trying to convince them to go house player at a jazz club in with the traditional composers Tucson. She heard me sing and and not just try and be hip for she encouraged me. That’s how it the sake of being hip. got started. fsm: The discipline you came fsm: And you were a big out of is sort of the last period Bobby Darrin fan—do you try in film where you could mix a and emulate him in your per- contemporary style of pop music formance? with film composition—you could gl: No; we were friends and actually write a score around jazz I was actually working in Vegas and have a song emerge out of when he was headlining, and we that and emerge organically out used to go see each other; that of the score, and that’s really not was in the early 1960s. He was the case anymore. such an amazing talent, to be gl: That’s exactly right. the singer that he was and the writer that he was and to get an up from scoring Academy Award nomination as fsm: What’s the first film-related an actor is pretty wild. job you got, and were you familiar with the traditional fsm: Your singing career essentially got torpedoed aspects of film scoring or did you have to learn about when the Beatles changed the landscape of popular that? music, right? gl: I did actually score some films. The films I scored gl: Yes. were all B-films, nothing I would be proud of. I did a fsm: Do you ever feel a little bitter about that when string of really bad films, done in a pretty traditional you have to license one of their songs? way with five strings acting like 20 and no budget, and gl: I did at the time. It was like being blindsided we recorded them at a studio in Van Nuys called Sound by something that neither I nor my musician friends City that became famous later for Fleetwood Mac doing understood. We all said it was going to go away in a their albums there. I knew the owner and they were all few months and now it’s 40 years later. It changed music package deals where they would say here’s $10,000 to immediately, and people like me and Jack Jones and Vic score the whole movie. Damone, even Tony Bennett, had a tough time—our fsm: Did you orchestrate? music was just out of vogue. That’s when I decided to gl: No, I wasn’t really an arranger, so I worked with a get a job in the business on the other side of the desk guy named Jimmy Green, and he conducted for me also. because I realized that most of the people running record We did a movie once where we wrote 18 songs, too. My companies and publishing companies didn’t know any first real job on an important film was on A Star Is Born, more about this music than I did; it was new to them and I was brought in by a company called First Artists, too. I thought I was young enough to pull it off. I started which was owned by five huge stars, one of them Barbra in music publishing and then I went to A&R; I never told Streisand. The company wanted somebody to help con- anybody that I was a singer, and a jazz singer at that. trol the costs and also point her in the right direction It’s interesting to me that it was putting people like musically because they were afraid she was going to do Sinatra out of jobs, and the same thing happened to a stuff that was too old; at that time she never did any-

FILM SCORE MONTHLY 23 JUNE 2004 thing contemporary, even though she was young. They started there and if I can’t pull this off I’ll look ridicu- were afraid it was going to be something like a “Papa lous.” He said if I got them to give him $25,000 he would Can You Hear Me?” kind of thing against rock and roll. put the album out. We did that and the rest is history; I was just dealing with songs because the score was a they hardly pressed any records, and when the movie minimal part of the music since both characters were opened, people were running to the record store look- singers. So it was introducing her to people like Leon ing for it, and there were very few albums in stores. He Russell who were very hip and outside in those days. We caught up really fast though. had a ritual where every Saturday I’d bring somebody fsm: That was an example where I’m assuming to her ranch just so we could see how they hit it off Lawrence Kasdan had his own ideas of what songs he personally, and then she would start to collaborate with wanted in the film. them and it worked. The film was a big success and the gl: Not really of all the songs; he wanted a Stones record was a huge success—the record did six or seven song, which was too expensive and we couldn’t get, and million units, and we initiated a new marketing strat- I pointed out an alternative for him. His wife was really egy where we took all the money that was earmarked instrumental in the choice of material. I thought this for radio, and then some, and gave it to some really was great and the way it always should be; of course it strong promotion guys and let them get “Evergreen” didn’t always go that way. on the radio way in advance of the film because we fsm: Nora Ephron is a great example of someone knew that would be a big factor in opening the film, who has very specific ideas for what songs she wants in and it worked. That was a formula that was then used her films, but is that relatively rare and do you have to over and over until it was beaten to death, and I’m as get involved in suggesting songs for movies? much to blame for that as anyone else. The pressure of gl: It is rare—Nora had a lot of great ideas and she a director or producer saying “God, whatever they did was very open to me bringing anything in I thought on A Star Is Born, I want to do that”—even though their was good in that genre. On You’ve Got Mail she maybe picture had nothing to do with A Star Is Born. picked three or four things and the rest were things we fsm: That was such an early job for you, and I’m brought to her. But she has a great ear for that. assuming Streisand had at least some of the clout she fsm: Another big movie you worked on was has today; so how did you deal with winning her Ghostbusters, and in that case you were actually almost over? working at odds with the director, Ivan Reitman. gl: I had a lot of help from Jon Peters who was dat- gl: He wanted a hit single in front of the film, but ing her at the time and who definitely had a vision when he heard the Ray Parker song he didn’t really about the music; whenever we got close to that vision want that. I knew it was a smash and I thought I’d he would convince her to do it. And of course when get a lot of support from Clive Davis because Ray was the record and the film did what it did he became even on Clive’s label, and I thought of all the people in the more important to her taste, and we went on to do The world Clive’s gonna get it. After I sent Clive the demo Main Event, which he also spearheaded and it was good. he called me back and said, “You guys are crazy. I’ll put If she was on the fence about something, he could it out as a favor to you, but it’s not a hit.” Then two days push her over—but I don’t think that could be done later I was driving off the lot and I’m tuned into KISS- anymore! FM and there it was; they had a million requests and it was all over the country. That’s one of the rare times understanding pop music that Clive didn’t hear the hit. fsm: Was the next big thing you did The Big Chill? fsm: That was actually during the early days of MTV, gl: Yes —that was one of the first things I did at too, and there was a video for that song, which was Columbia as head of music. I took over from a guy very popular. who was primarily a conductor; he had worked his gl: The video’s a classic. We didn’t really know what way up through the department and they were get- to do with that because it was the beginning of MTV, ting a lot of complaints from contemporary directors but we thought it would be a great way to get more free who said he didn’t understand pop music, and that’s advertising. So we went around the lot at the Burbank how I got the job. The Big Chill was just starting filming Studios when Columbia and Warner Bros. were here, when I got there, and my biggest contribution to The and went to every single soundstage and got every Big Chill was making the record deal, which was almost star we could get, anyone who was recognizable, to say impossible because Motown, the label that had most of “Who you gonna call?” and pieced it together from that. those songs—the head of Motown was an old friend of It’s really a classic video because it was so innocent, so mine who had actually assigned me to V-Jay Records in unplanned and so cheap—it was probably like $10,000. the’60s. He said, “You’re out of your mind; why would On the Will Smith movie Wild Wild West, the video cost anyone make a record deal? We have all these songs $3 million, just to give you an idea. on a million different compilation albums.” I just knew that younger people who didn’t know all this music, settling scores and even older people, would want it on an album fsm: You did Batman in 1989, and this is one of the first altogether from the movie. He didn’t agree at all, and examples I remember where you had a song compila- finally I pulled the friend thing and said, “Look, I just tion come out, but people were also very interested in

JUNE 2004 24 FILM SCORE MONTHLY FILM SCORE MONTHLY 25 JUNE 2004 the score to that movie; this was the first major Danny trailers and spots. There were a lot of examples where Elfman score. the marketing guys would always go for really well- gl: That was the deal, to be honest with you—Tim known songs, and their justification was that people Burton made that part of the deal that if we put this would always rate these things higher if they knew the song album out we also had to put out Danny’s score, music. I would say, “Yeah, anyone would know that, which in retrospect was a terrific thing for the director but does that mean it works in the spot?” So there was to do. constant arguing about it. I’m happy to say I don’t go fsm: How involved do you get with that aspect of to those meetings anymore. the business? Obviously your area of expertise is songs fsm: Have fees for those songs been driven up for and their application to movies, but there are definitely songs like that? points where you’re going to become involved with the gl: Yes, you wouldn’t believe it—some of them are composer or involved with the album that’s going to over a million dollars. include the actual score from the movie. fsm: I think you were discussing in one of your gl: I used to be involved in that quite heavily. Even interviews that you were going to try to come up with though I was known primarily for putting songs in a song based on one of James Horner’s themes from The movies, I was a big advocate of the score. I have great Perfect Storm, and I’m wondering how often you actually friends who are composers, and because we had such get to work with a film composer and get a song that’s great relationships over the years I was very sensitive actually related to material from the score? to the material, and I would always opt for the score gl: Not that often. To me it’s the perfect thing, and over songs if it was a toss-up. I always felt you needed James has certainly proved that with . But it seems a really great score to bring a film off. If a song makes to me if you’re going to hear a melody throughout a

“...you have a producer who’s looking for every angle he can have and insisting on having a song at the end of a

film, and the studio not really caring one way or the other. It always got

down to us versus the producer and how much you want to really push.”

sense, that’s great, but it got to the point where people film and it’s going to culminate in a song, that’s a very were putting songs in everything and that killed it organic thing. Many times when we’ve tried to do that again, and that’s what Hollywood always does. either the director didn’t like it or it wasn’t good enough fsm: I think what people react against a lot of the or you couldn’t get the artist to do it because they didn’t time is when there are no songs in the movie and then want to perform something someone else wrote. There’s all of a sudden there are 50 songs in the end credits so a million reasons. The only artist that can sell records they can get an album out of it. who doesn’t write is Celine Dion, so you really limit gl: Right, which is just ridiculous, or the albums are yourself. It’s a great thing to do and there aren’t many “inspired by.” We got caught in that quite a bit, again of the Burt Bacharachs in the world who are younger because you have a producer—more so than a direc- composers who can also write hit songs. tor—who’s looking for every angle he can have and fsm: Can you think of examples of guys who can do insisting on having a song at the end of a film, and the that? To me it’s much more rare that you have guys who studio not really caring one way or the other. It always write great tunes now. got down to us versus the producer and how much you gl: It is rare. There was a time when there were guys want to really push. like that could do that. Now I don’t fsm: It’s very easy to get a reaction out of an audi- know; I don’t know who I could reach out to who ence with a song they’re familiar with, and because use would have composer chops and who could also write of songs is so prevalent there are certain songs that get me a hit song. It’s a good question and I haven’t had used a lot, even in movie trailers—I’m thinking specifi- to think about that for a long time, but it would prob- cally of the song “We Are Family” and “The Boys Are ably be a hip-hop production team like the people that Back in Town” where they’re in every movie trailer. worked on films; if you used them to score a Have you ever tried to talk someone out of using a film, they could obviously write you a hit. song that’s being overexposed? fsm: Yeah, the Matrix albums are very interesting to gl: Oh, yeah. When we were part of marketing meet- me, too, because it’s a mix of these techno club songs ings, which we are not anymore, but there was a period that have a wide appeal alongside what to me is some when we were considered not just a music department pretty difficult, almost concert-like music. On the first but also a marketing tool, so I would go to marketing movie those albums were separate, but they combine meetings and that’s when they’d play the rough cuts of them in packages for the sequel, at least the first one.

JUNE 2004 24 FILM SCORE MONTHLY FILM SCORE MONTHLY 25 JUNE 2004 Do you think that was a successful experi- [Harry Potter and the Chamber of Secrets] and the ment? same thing happened. I’m going to England gl: No. I don’t think the films were suc- soon and I’m going to meet with the direc- cessful. They did make a lot of money, but tor—we’re just starting 4 [Harry Potter and the the truth is they were not that inspired. Goblet of Fire]. And Mike Newell’s the director, The first one was brilliant; the second and who’s a pretty commercial guy, and I think third were not, and that kind of bummed by now they’ve made so much money that everybody out. Nobody really got inspired would it really matter? Why not do it? I’m to write anything that great in the song not going to give up until they get through department, and a lot of those songs never 4 and if they pass, they pass. appeared in the film. The [Wachowski] Brothers always wanted the music to be the future released, but we never knew until the very fsm: What’s your involvement in Warner end what was being used and what wasn’t Bros. Records? because they kept a very tight rein on any- gl: It’s quite a bit because we have our one knowing anything. In those cases it’s own label, and most of our soundtracks go very difficult; you’re so far removed from through Warner/Sunset. the process. Joel Silver was the producer fsm: What’s your sense of the overall and he knew what was going on most of state of the industry? When I talk to stu- the time and would relay stuff to us, but it’s dio people they tend to put all the ills and just not the same. It’s stuff like that that has problems that the record industry is having made it less personal in the last few years on piracy, which is certainly a problem, but as compared to the way it was. Sometimes do you think that’s the only problem? you’re just frozen out of the process. This gl: No, it’s not the only problem. Part job went from a super-creative job to a very of the problem is not developing artists—I administrative job in the last 15 or 20 years, think that’s a big part of the problem. I grew and I’m hoping that the worm turns and up in the record business where you looked all things change and we go back to being down the road and said, “Where do you a little more creative. I’m not saying it’s not think they’ll be on the third album?” Now if more that way on independent films, where you don’t deliver immediately, you’re out of they’re much more collaborative than in there, so a lot of great artists are out on the studio films. streets looking for record deals and won- dering what happened. I think a lot of the one that got away problems are related to that and, yes, down- fsm: You worked on Harry Potter 3; that’s a loading and burning and all that stuff is a case where you’re sort of barred from doing big problem and will be for a while until anything song-wise, right? they figure out what to do. It’ll never be the gl: Well, it’s funny, and I think this is same, though; the fact that we just sold our known a little bit, but prior to the first record company is just unbelievable to me. movie I got a demo from , I’m not saying it wasn’t the thing to do as a and he wrote this amazing, beautiful song, business person, but it was the centerpiece a smash, for his little boy, who he used of what Warner Bros. was all about going to read the Harry Potter books to. So it back to the Steve Ross days. If you’d said to came from one of the great artists, who Steve Ross that they were going to sell the was totally inspired, and the message was, record company in 10 years, he would have “Look, you’re probably not going to use any said you were out of your mind. songs, but I just had to do this and here fsm: Do you know how that will affect it is; do whatever you want with it.” The what you do? dilemma was, you had Bruce Springsteen gl: Well, they have right of first refusal on and the bad news was there was no way all of our stuff for the next five years, so for she [J.K. Rowling] was going to allow a song, five years it’s going to be the same. It won’t and she’s a big fan of Bruce. be the same, though—they’re not going to go fsm: I would think you could still almost the extra mile for us the way they did before. do videos and singles that aren’t part of the If we had to have something they would give film soundtrack. it to us because we were family, but we’re gl: She wouldn’t allow that and everyone not going to be family anymore. FSM was scared to death on the first one of trying to be politically correct and all that, so no Editor-at-large Jeff Bond is also one would dare even think of asking her or executive editor for Cinefantastique even debating it with her. We got through 2 and a contributor to The Hollywood Reporter.

JUNE 2004 26 FILM SCORE MONTHLY FILM SCORE MONTHLY 27 JUNE 2004 When Harry Met Shrek ...and Friends Composer Gregson-Williams gets busy with Bridget Jones, Denzel and a large green ogre. By Jeff Bond

Harry Gregson-Williams’ studio in Venice is kind of like age from the Renée Zellweger comedy on a screen located the Doctor Who TARDIS—it doesn’t look all that big on the over his mixing and editing board. To look at and hear the outside but when Gregson-Williams takes you on a whirl- scene—an entirely appropriate, multi-layered and impeccably wind tour of its various levels, mixing rooms and even a mixed piece of music playing under the action—you’d think sizable recording stage, it never seems to end. You might be that Gregson-Williams’ work was finished. But this is only reminded of another studio located in Santa Monica—Hans the composer’s demo, a mix of synthesizers and sampled Zimmer’s Media Ventures—but while Gregson-Williams got instruments, all intricately handcrafted to fit the action. “For his start there with a number of other composers, he has something like this there’s a little string section in the middle since made a name for himself on his own. He scored a there and I’ll probably replace that,” Gregson-Williams says. number of Dreamworks animated features with composer “But it’s still early days on the movie and I’m still trying to John Powell, including Antz, Chicken Run, of Egypt and the find my feet. I haven’t really written a decent tune yet, so all original Shrek, but he worked without Powell on last year’s the rest can wait for later—I’ve got to write a killer tune for Sinbad: Legend of the Seven Seas. Gregson-Williams’ full-blooded this movie and I’m not sure I can reinvent the wheel. It’s a Horchestral score for Sinbad was a triumph, but the film was a romantic comedy and they temped the thing with a lot of box-office disappointment that became another nail in the my music from Passionada and a bit of Bridget Jones 1, and it’s rather large coffin of traditional cel-animated adventure films okay—it doesn’t really do much, but then it doesn’t really have that neither Dreamworks nor Disney has been able to sell to to do much. Renée’s pretty funny and Hugh Grant is excellent an increasingly CG-loving public. in it. I’ve got a little bit of time to see if I can find a language Gregson-Williams had better luck on Shrek 2, which has for the film that will keep us in the place we want to be, which officially become the highest-grossing animated film ever. is not to draw attention to itself by being cooler-than-thou. Gregson-Williams tackled Shrek 2 on his own (incorporating It’s different with every job; the last movie I did was Man on some material originally written by Powell), and this year Fire, and part of the requirement for Tony Scott is to experi- has also scored Tony Scott’s revenge thriller Man on Fire and ment with sound against his flickering pictures, and the goal is now at work on Bridget Jones: Edge of Reason. Ensconced in his posts are really anywhere you want to put them to begin own personal work space, the composer carefully eyes foot- with—and then, obviously, time constraints and 120 minutes of

JUNE 2004 26 FILM SCORE MONTHLY FILM SCORE MONTHLY 27 JUNE 2004 music come into play. But with this I’ve got another seven or eight Shrek 1: the fairy tale one, which really I wrote, and the Shrek theme, weeks to score it with orchestra if I’m even going to use orchestra, which I used a couple of times [and] which John and I co-wrote. I and I’m just trying to see where I can go with it. There’s certainly called John about using that and he said, ‘Sure, go ahead—just make tons of songs in here as well, so you have to duck and dive around sure my name’s on the cue sheet.’” that, and they’re not preset yet—the music supervisor still has a job ahead. The director’s slapped on a few songs and they’ll probably A Fairy Tale Beginning come off and the record company will get involved, so there’s quite Gregson-Williams’ “fairy tale theme” from the first Shrek was one a lot of considerations apart from just me.” of its most enchanting elements, and its wistful notes play as an Gregson-Williams has done his share of action films and com- introduction to Shrek 2. “It’s really Fiona’s theme and that’s how we edies, but he says Bridget Jones is his first experience in the romantic differentiate it from the first movie,” the composer says. “Where I

comedy genre. “I’ve done a few sort of romantic comedies that really got to use Shrek’s theme is later in this movie. There’s a quite weren’t that romantic and not that funny actually. I wanted to see tricky arrangement of ‘Holding Out for a Hero,’ and it never really what it was like, and I don’t want to make a complete career out worked—we used the original Bonnie Tyler version, which had of that, but it’s going to be interesting to see if I can find a subtext really cheesy arrangements with weird little plastic synth sounds; in the music, and I’m not sure I can. Because the music’s got to say, it’s horrible, it kind of dragged on a bit and it’s the denouement ‘Bridget’s in love,’ or it’s got to say, ‘Bridget’s in deep shit,’ and there’s of the movie where Shrek is battling his way into the castle to get not much in between. I’ve been looking for that and maybe I’ll find to his girl. As soon as I had the liberty to start throwing Shrek’s it, but the job of the music is such a soundscape—there’re a lot of theme into his actions as he was breaking in it started to work. songs and quite a bit of score, but it’s just got to have its place and Fiona’s theme was the theme that really echoed in the first movie, let the movie get on with it. and I’m not sure whether it reverberates the same way in this On a movie like Man on Fire, it’s larger than that—not necessarily movie. Movies with a lot of songs in them need quite a lot of that its role is larger but my job is larger, because with Tony Scott, engineering in them technically to allow the score to have some together with his editing of the film, we really have to paint a pic- air and some voice yet not interfere with what’s going to happen ture together. I’m not saying I can be out of sync with a movie like with the songs.” Bridget Jones, but it’s a different task.” As he did on the original Shrek and on Sinbad, Gregson-Williams While animated film schedules can be quite long for compos- found himself working on some material very early in the produc- ers, when it gets down to crunch time in post-production they’re tion of Shrek 2. “Usually you’re brought in maybe a year earlier on approached very much like conventional films. For Gregson- an animated film. There were a couple things like that on Shrek 2. Williams, Shrek 2 was an additional challenge due to the fact that They preset some of the songs, but many were swapped out; like he was tackling the sequel solo and because of the close proximity on Bridget here, I’m pretty sure I know where the songs are going of Man on Fire. “Shrek 2 is a really great movie; there’s more score of to be, but they’ll probably swap them out, and some of the song it than there was on the first one and it was a bit more of a job. choices are old-fashioned at the moment. It’s always evolving, the And since there were two of us on the first film it was full-on on song part of the soundtrack, right up to the dub. You just know this one. Animation movies are always full-on but every one is so where the song’s going to be.” The Shrek 2 score not only moves in different. Shrek 2 and Man on Fire sat rather precariously on top of and out of pop songs but also incorporates some arrangements each other because their release dates were similar, their dub dates directly into the underscore. “You don’t necessarily incorporate the were pretty damn similar, and their scoring dates were frighten- song into the score but you have to come out of the score into a ingly similar. I’ve never worked on more than one movie at a time, song, so it’s handy if you’re in the right key. So if the song changes, but in this case I didn’t want to let go of my relationship with that can affect what you’re doing and you have to play catch-up. either one. So I had two, and in the end I wriggled through both But I don’t think there were any train wrecks in Shrek 2.” Director of them. It’s awkward when schedules collide like that because it’s Andrew Adamson (who co-directed Shrek 2 with Kelly Asbury very important to me, Sinbad being the first one I did without John and Conrad Vernon) contributed a number of specific song ideas

Powell; on Shrek 2 I was able to reuse a couple of themes we did for for the film, including using the Steven Greenberg ’70s standard Pictures, Shrek 2 All Artwork ©2004 Rights Reserved. Dreamworks

JUNE 2004 28 FILM SCORE MONTHLY FILM SCORE MONTHLY 29 JUNE 2004 “Funkytown” as introductory music for the film’s takeoff on Beverly worked with [Bridget Jones 2 director] Beeban Kidron. It certainly Hills, Far Far Away. “Chris Douritas was the music supervisor and helps if you know the players. I think people overestimate our obviously had a lot to do with the song choices, but I imagine even importance as composers, so it’s not that surprising that compos- before he came on the film Andrew and his team had some ideas ers are rejected. I did a score on ’s Phone Booth and about song choices and what would be fun. I think ‘Funkytown’ I was replacing a score there; my score was very ambient, and it works very well; it’s so funny.” was clear why the previous score had been tossed—because he’d The composer went in an entirely different direction for a pivotal obviously been badly directed by the director. The last thing you dinner scene that features a waltz straight out of Strauss. “I think wanted there was a ticking clock, some sort of a time bomb under during the dinner scene they had tracked something like Eine the character in that film.” Kleine Nachtmusik, something very serious. I decided to go towards The composer says the process he learned while working at a waltz thinking that when it really took off and when the music Media Ventures still serves him well. “Once I have my melody really comes to the fore toward the end of the scene that it would and harmony, something that’s rubbed off on me from Hans is be really funny and more effective to be in 3/4 time. I listened to he always believed that to really completely let the filmmaker into some serious Strauss, and I got beaten up about that a lot actu- your world as a composer you could do a cheap little demo on ally; it wasn’t quite as straightforward as I’d hoped. The idea of the synth or drums, bass and guitar, or even a pretty demo on piano, waltz was fine with the filmmakers, but time and time again I was and ask the director to imagine what it’s going to sound like with warned off being too demonstrative and maybe saying too much a full orchestra; but why not go to the next step and actually do and not letting the characters do what they have to do on-screen. that? As far as time goes, it’s pretty because you need a lot There was a lot of compromise; there always is on all scores. On of detail to make these synth demos sound convincing, and it’s Shrek 2 it was all working fairly well, and what they didn’t need become part of my writing process—to write a seven- or eight-min- me to do was to make too many large statements in the music ute cue, to listen to my demo, it’s identical in its substance to the “Movies with a lot of songs in them need quite a lot of engineering in them technically to allow the score to have some air and some voice yet not interfere with what’s going to happen with the songs.”

that detracted from the humor. Obviously, I wasn’t going to just sit final cue. It’s not an orchestra, but when my music is transcribed back and bland out behind the dialogue, so we had to fight a little from my demo, a clarinet or harp isn’t added as an afterthought bit about how much I could actually say, and sometimes there are when it comes to orchestration; if it isn’t in my demo it’s not in scenes without dialogue or montage scenes where the music was the final piece. I have full orchestration of what’s going to happen. clearly going to tell the story. But [Eddie Murphy character] Donkey On any given cue, if you have an oboe playing the melody and never stops talking for two hours and there’s a lot of dialogue that the rest is a string accompaniment, at a certain point you have the needs respect, and that’s the battle—to find something emotional to director sitting in your studio hearing it, and if he says, ‘There’s say without taking away from the dialogue.” not quite enough weight in this middle section,’ we can double For Shrek 2 Gregson-Williams found himself writing shorter cues that section with some trombones or make other changes and with a lot more variety than he might have mustered on a straight demonstrate them to him right there instead of throwing the baby adventure story. “On something like Sinbad—which was 80 minutes out with the bathwater and just saying this needs to be rewritten. of score that I probably wrote a couple of times—being an adven- Since the technology’s right at one’s fingertips, why not do that? It ture, it lent itself more to continuous, large, five- or eight-minute does let the director into your world, and it means that there are cues of swashbuckling music bubbling away even when we’d spot- no surprises on the scoring stage. When a bunch of people play a ted moments to be silent. I’d choose to keep moving through those piece of music, there’s going to be a different energy, but as far as sections into the next cue.” who’s playing what or the weight or the color of certain sections, that’s going to be there. It’s alarming the speed at which your music WYSIWYG can change with people using Avids [digital video-editing worksta- Gregson-Williams is part of a new breed of composers more at tions], so you have to be ready to make changes.” home in the high-stakes, digital environment of contemporary With Shrek 2 having quickly broken box-office records, Gregson- film composing than some of the grand old men who still write Williams now prepares to head off into territory more familiar to to paper. With the adaptability afforded him by sophisticated fans of the Lord of the Rings films as he tackles The Chronicles of Narnia: musical and communications equipment, Gregson-Williams The Lion, the Witch and the Wardrobe, a live- to be directed constructs demos that closely resemble what his final score will by Shrek’s Andrew Adamson and shot in , where Peter sound like, and he can make changes almost instantly. The result Jackson’s Lord of the Rings trilogy was spawned. “Andrew has sort of is that Gregson-Williams is probably in far less danger of having animated the movie already in storyboards, so I actually have the a score tossed than some of his contemporaries, a situation that movie and some of it’s CG animation that he’s put together. There’s the composer also ascribes to the relationships he’s forged with a couple of characters including a half-man, half-beast who plays a directors and producers. “The more I go along, the more I’m not pipe and lures people into a trance, and there are scenes where he working with strangers; I’ve done six or seven animation films for puts a pipe in his mouth and plays, so there are pre-records I have Dreamworks now, and I don’t think Jeffrey Katzenberg is going to to have put together in the next month.” Gregson-Williams also has fire me; if he does there’s been a massive communications break- another animated film, the comedy Madagascar, with the voices of down. I’ve worked a lot with Tony Scott and Jeffrey; I’ve never Chris Rock and Ben Stiller, due in 2005. FSM

JUNE 2004 28 FILM SCORE MONTHLY FILM SCORE MONTHLY 29 JUNE 2004 REVIEWS OF CDS

CLASSIC ★★★★★ GREAT ★★★★ GOOD ★★★ BELOW AVERAGE ★★ score WEAK ★ Harry Potter and the to the occasion, creating a score ing from the Chamber of Secrets. Next which actually end up giving the Prisoner of Azkaban ★★★★ of striking beauty and power. The comes “The Whomping Willow,” impression of musical blasts of JOHN WILLIAMS melodies are breathtaking, the which occurs much later in the light piercing through a storm. Warner Sunset/Nonesuch/ action cues are consistently thrill- film—someone must have decided I haven’t even mentioned the Atlantic 83711-2 • 21 tracks - 68:36 ing, and even the atmospheric the album was ripe for an action otherworldly “Patronus Light” s Harry Potter and the Prisoner of cues shine. The score is packed cue at this point. The cue is brief chorus, the pizzicato bustle of IAzkaban the definitive John with endlessly distinct ideas that but terribly exciting, and does “Chasing Scabbers” (not in the Williams score? Certainly it’s an are individually great and add well paired with “The Snowball film), the slow-building pulse of amazing pastiche of just about up to a superb whole. This is Fight,” which is pure fun. “Saving Buckbeak,” or the mind- everything he’s ever done: Jane Williams on top of his game. The next three tracks further bending “Forward to Time Past,” Eyre, Catch Me If You Can, Temple The album can be roughly develop the versatile “Double which features a ticking clock of Doom, Close Encounters, Jurassic divided into three chunks. The Trouble” theme. “Secrets of the and a backwards orchestra. Now Park...the list goes on. Yet, some- first five tracks are the set-up. As Castle” comes first and is my I have mentioned them. This is a how, it never seems less than with each film in the Potter series, favorite. Performed on misterioso score of staggering diversity. fresh. In my review for Harry the CD begins with a reprise of bells, it never fails to send chills Finally, we reach the end “Hedwig’s Theme.” It continues down my spine. The second half in “Mischief Managed,” which with the delightfully Rossini- of this track, written for an earlier begins with the best musi- esque “Aunt Marge’s Waltz,” which transitional scene in the film, is cal ending to any Potter film so strikes just the right balance of positively brilliant. It’s great to far—an infectiously fun quote of pomp and comical discord. This is see the inclusion of some of these the Nimbus 2000 and Hedwig followed by the pure orchestral/ shorter, but important, bits of themes, launching into a devil- Dixieland bedlam of “The Knight score on the album. “The Portrait ishly orchestrated passage based Bus,” the terrifying “Apparition Gallery” is a more quirky and on the new “Double Trouble” on the Train,” and, finally, the unstable variation of the “Double theme. And it’s this last track that new song “Double Trouble,” Trouble” theme, whereas “Hagrid opens the door to my negative cleverly based on the lyrics to the Professor” takes the material criticism of the score, both in the Shakespeare’s famous Macbeth and gives it classic British folk film and on the album. scene. The melody of this last instrumentation. I’ll start with the music itself. Potter and the Sorcerer’s Stone, I wrote: piece serves as the film’s predomi- It’s here where the album really It’s a brilliant Williams score, “We, for all our sophistication nant theme. gets cooking. “Monster Books possibly the best of his Potter and experience, long for that The next portion of the album and Boggarts” is light enough efforts so far—I love his new sense of discovery in a familiar serves to further develop the action, a combination of shorter themes. But I also loved the old world—something we might “Double Trouble” theme and cues from earlier in the film. Then themes. And apart from a few not find in Williams’ umpteenth introduce the score’s two other we’re right into “Quidditch, Third appearances of and exciting exposition on ‘the magic of flight.’” main themes. “Buckbeak’s Flight” Year,” a furious, stormy cue with variations on Hedwig’s theme But something in POA—perhaps opens with the fiercest percus- fugue-like layering of motives and and the lone Nimbus 2000 quote, Alfonso Cuarón’s fantastic direc- sion since “Sand People Attack” rhythms (and the album’s only they’re M.I.A. The Hogwarts tion or Michael Seresin’s gor- and blossoms into the aforemen- appearance of the “Grim” motif). theme? Gone. Harry’s Wondrous geous cinematography—certainly tioned flying theme. This six-note “Layered” and “complex” describe World? Gone. Voldemort? Not in inspired Williams, because flying theme and variations appears most Williams action cues, but the film. And the new memory cue, number umpteen-and- just twice in the film (the second his POA set pieces are particularly theme appears to have simply one, “Buckbeak’s Flight,” feels time, for Sirius Black’s escape, well-rendered, especially in com- replaced the old one. It’s hard as new as ever. POA is, in this has been criminally left off the parison to the previous two Potter to complain, since POA works so reviewer’s opinion, the best of the album). “A Window to the Past” scores. Dissonant beds of orchestra well on its own terms and feels a Potter films to date: tighter, more features a new theme for memo- and choir, jagged brass and shift- lot fresher, but fans ought to be assured and better acted (Michael ries of Harry’s long-dead parents. ing counterlines make for some aware. Gambon, stepping in for the late Carried mainly by the flute, the amazing action and suspense The score as heard in the Richard Harris, is a revelation as gentle melancholy sound fits the cues. Things come to a head in film is hit and miss. On the Dumbledore; Gary Oldman is pre- Potter world like a glove. This is the tremendous “The Dementor’s plus side, for scenes like the dictably great), and Williams rises something that was sorely miss- Converge” and climactic “Finale,” Boggart practice, or the Shrieking

JUNE 2004 30 FILM SCORE MONTHLY FILM SCORE MONTHLY 31 JUNE 2004 REVIEWS OF CDS Shack, Williams’ writing is of 12 minutes is revealed as con- CARTER BURWELL CLASSIC ★★★★★ an organic part of the sound taining 10 minutes of cues that Hollywood 2061-62433-2 GREAT ★★★★ design, expertly intertwined have already been heard on the 26 tracks - 55:48 GOOD ★★★ with sound effects and source soundtrack album! That it more t’s too early to declare Carter BELOW AVERAGE ★★ music. However, while the score or less works as a recap of the IBurwell’s score to The Alamo the WEAK ★ is arguably mixed a bit better score’s main ideas is undermined best of the year, but I can safely than in Chamber of Secrets, it’s still by the fact that I could have say it’s Burwell’s best ever, and painfully quiet during most dia- made it myself in five minutes that includes the superlative work logue scenes. And more impor- on my computer. In fact, there is he has done on Fargo, Rob Roy and tant, the music is dialed down less than an hour of unrepeated Gods and Monsters. The influences of during some of the film’s final score on this CD, possibly due to these three scores are strongly felt moments (where there isn’t even the “bonus” addition of an abso- in The Alamo. Fargo is there in the any dialogue or sound effects to lutely worthless screen saver and military percussion; Rob Roy comes compete with). There are other desktop. I curse the soundtrack through in the Celtic flavors; and glaring flaws—such as the editing executive who initiated these Gods and Monsters shares the nos- of “Buckbeak’s Flight,” tainting “added value” supplements. For talgic sadness. There’s so much what might be one of the most the above reasons, I cannot give good writing on this album, you’ll gorgeously filmed scenes I have the CD the extra half-star which be faced with the terrible choice ever seen in a movie; or the first the score merits. Nevertheless, of either immediately re-listening time Harry uses the Patronus unless you happen to hate John to an incredible cue, or simply charm on the Dementors, where Williams or Harry Potter, this moving on to the next, which the melodic line is completely soundtrack belongs in your col- may actually prefer the second might be even better! cut out. The film version of lection. Buy it and enjoy. for its pace and breadth. It lacks The story behind the making “Quidditch, Third Year” is also the hint of sadness and some of of The Alamo eerily parallels some missing music, including a quote Harry Potter and the the fun of the first score, but it of the circumstances surrounding of the “Double Trouble” theme. Revising Reviewer ups the mystery quotient for a the actual tragedy in 1836. The Finally, the album has some Here’s a quick recap of my great listen. film was supposed to be directed strikes against it. First, the chro- thoughts on the previous two Album highlights: “Fawkes by , but exorbitant nology. As Frankensteins go, Potter scores: the Phoenix,” “The Chamber budget costs were too much for it’s quite listenable, but as with of Secrets,” “The Flying Car,” the studio to shell out, so Howard Howard Shore’s LOTR scores, Harry Potter and the “Meeting Tom Riddle” left (to direct The Missing) and the when one becomes used to the Sorcerer’s Stone ★★★★ Great unreleased cues: The command was given to relative narrative shape of the story, The verdict: Like the film, this unique variation on Hedwig’s newcomer John Lee Hancock, it becomes difficult to listen score feels a bit stretched out and theme that accompanies the whose only other major film to cues all out of order on the at times redundant. The music transition to the greenhouse; was the modest The Rookie. With soundtrack. Readers are recom- ranges from stunning to banal, any of the many cues for scenes the movie complete, the studio mended to visit www.jwfan.net for but is overall quite magical. The where people are discussing the was still unhappy since it was a comprehensive look (written breathtaking array of themes and Chamber in hushed tones. over-budget and way too long, by this reviewer) at what goes moods are what carry this first And finally... and so started the film-opening where. The album scores points entry in the Potter series. shuffle. Finally, in the spring of for including some music not in Album highlights: “The Harry Potter and the 2004, a shortened version opened the film, but loses points for not Quidditch Match,” “The Library Goblet of Fire ★★★★ to little fanfare and was left to including nearly enough music, Scene,” “The Face of Voldemort,” The prediction: Williams fend for itself against other more period. It would have been nice, “Hedwig’s Theme,” “Harry’s will forget all about “Double publicized films. It died a hor- for example, to have heard “A Wondrous World” Trouble” and compose a great rible death. But, from the ashes, Winter’s Spell,” the other song Great unreleased cues: “Goblet” theme. We will hear Burwell’s score survives. Williams wrote for the film. It’s “Olivander’s Wands,” “Voldemort the Hogwarts theme again. The genius of this effort is that virtually inaudible in the film in the Dark Forest,” the real ver- Voldemort’s music will return Burwell downplays the action (listen during Harry’s excursion sion of “Entry Into the Great Hall” with a vengeance—in fact, he’ll music. It’s probably the most to Hogsmeade) and nowhere get another new theme. The melancholy action score in recent on the album. Likewise, Peter Harry Potter and the album will be the most out-of- times. The main motive, heard in Pettigrew’s eight-note harpsi- Chamber of Secrets ★★★★ sequence yet. all its orchestral glory in “What chord motif, important and fully The verdict: This score has really Album highlights: “Quidditch We’re Defending,” is a lovely mel- developed in the film, never grown on me. The new themes World Cup” will rock our world. ody, haunting when it needs to appears on the CD. The “Finale” is for Fawkes the Phoenix and the The climactic cue will be awe- be, inspiring, and elegiac in many severely abridged, the most nota- eponymous Chamber are amaz- inspiring. of its appearances. ble exclusion being “Sirius Black’s ing (although Gilderoy Lockhart’s Great unreleased cues: If the “The Visitation of Saint Ursula” Escape.” To add insult to injury, bumbling march is still tiresome), film is as long as the book, most and “The Last Night” are my what first appears to be an origi- and for a rush-job that borrows of the score! —John Takis favorite cues because of their nally composed end-credits suite heavily from the first score, I The Alamo ★★★★ collective build-up to a full

JUNE 2004 30 FILM SCORE MONTHLY FILM SCORE MONTHLY 31 JUNE 2004 SCORE emotional release in a pivotal premiere, this overheated “con- moment of the movie. Some may temporary” western hasn’t been quibble with the first cue, “Flesh rediscovered and rescued from and Honor,” with its flute melody obscurity by film critics or schol- sounding remarkably like Howard ars, and it probably never will be. Shore’s Shire theme from The The same cannot be said about Lord of the Rings, but I think that the picture’s soundtrack, however. any Celtic solo flute will have Thanks to Sony Legacy, listeners this reference to contend with can now enjoy a remastered copy for years to come. It was totally of John Barry’s score, which the appropriate for the scene, which label has released to commemo- shows the aftermath of the battle, rate the English composer’s 70th before flashing back to events birthday. leading up to it. Another wonder- Alternating between classical ful cue is “Deguello de Crockett,” arrangements and more popular containing a traditional military ones, the material that makes tune that Mexican General Santa up this collection generates a Ana had his band play during the multitude of moods, ranging early attacks to wear down the from gray depressions to joie de soldiers in the fort. Burwell was vivre. On a track like “What Did then called on to add an original I Do Wrong?” for example, Barry melody on top of the piece for surrounds a melancholy flute the scene where Davy Crockett figure with strings that roll up joins in on his violin to show that VSD-5360. The new album is pre- It builds to an orgasmic climax, and down like waves in a barren music can be a healing tonic as sumably remastered (not that the matching what we see in Paul sea, creating an intensely gloomy well. This had to be done in pre- first disc had bad sound) and con- Verhoeven’s film. and fragile sound. In contrast, production, and the scene became tains 30 more minutes of music. Is this CD a necessary pur- “Call That Dancin’?” is a gorgeous the emotional high point of the This score definitely ranks chase? No. But if you don’t yet slab of , which juxtaposes movie. among Goldsmith’s finest achieve- have this score in any form and a muted trumpet and a narcotic The CD says that the music is ments in the crime/detective are thinking of buying it, by all organ to produce a sound that the Original Score to The Alamo, genre, every bit as accomplished means buy this new expanded is sexy, dreamy and hopeful all which leads me to believe that as L.A. Confidential and Chinatown, or release instead of the original. If at once. And “Saturday Night Burwell’s score was severely even the telefilm Contract on Cherry you already own the old one, it Philosopher,” a rock and roll altered during the massacre of Street. This certainly is a genre that contains all of the highlights of tune, features swaggering bass the original cut. Still, I enjoyed brings out the best in Jerry. The the score (discussed in the pre- and horns that zoom around the music in the movie as much “Main Title” sets things off with vious paragraph) and is a fine each other as confidently as jet as I do on the CD, and I can’t Jerry’s celebrated main theme, listen on its own. The longer disc fighters in a summer sky. recall any important music from which is sly, slinky and sexy. does have a few pretty good new But as fresh as much of this the film that’s not included on This main theme and a second- tracks, but this material is by no music is, there are passages that the album. I always felt Burwell ary motive provide most of the means essential and will not be betray the influence of other com- could score a big epic film just running time for the new mate- enough to justify the purchase posers. Consider the track called as effectively as he does quirky rial on this album (both ideas of this album for those with the “Look Around.” With its seesaw- experimental films like Adaptation are presented in many different original. —Darren MacDonald ing rhythms and “easy listening” and Intolerable Cruelty. So in clos- variations). The music seduces ambience, the composition tips ing, I ask you to “Remember the the listener just as Sharon Stone’s The Chase (1966)  its hat to Mancini. And on “The Alamo,” or at least give it a try. Catherine Tremell seduces Michael JOHN BARRY Chase Is On,” one of the album’s You won’t be disappointed. Douglas’ Nick Curran. Sony Legacy CK 89265 most exciting pieces, Barry devel- —Cary Wong Jerry Goldsmith’s adept action 16 tracks - 56:05 ops a tense and suspenseful scoring also comes to the fore ith a script by the great arrangement of strings, which he Basic Instinct (1992)  in tracks like “Night Life” and WHorton Foote and a cast quickly disrupts with a strain of JERRY GOLDSMITH “Roxy Loses,” which feature the that includes Marlon Brando, mariachi notes and an onslaught Prometheus XPCD 154 composer’s trademark percussive, Jane Fonda and Robert Redford, of horns and drums, a tactic that 26 tracks - 74:34 mixed- and asymmetric-meter The Chase could have been and he may have borrowed from rometheus, having already writing. And then there’s “Pillow should have been a hit, or at Tiomkin’s themes for both Rio Pprovided us with many pre- Talk,” Goldsmith’s famous scoring least a strong movie. But Arthur Bravo and Rawhide. One wonders viously unavailable Goldsmith for the movie’s equally famous Penn’s 1966 soap opera about if perhaps Barry, in 1966, wasn’t scores, now releases a complete sex scene between Douglas and love and betrayal in Texas flopped also familiar with Morricone and chronological version of Basic Stone. This thrustingly rhythmic commercially and critically. his pop-inflected scores for Sergio Instinct, originally released in music is anything but romantic, And over the course of the four Leone’s spaghetti westerns. shorter form on Varèse Sarabande and is in fact rather penetrating. decades that have passed since its But these imitations—or allu-

JUNE 2004 32 FILM SCORE MONTHLY FILM SCORE MONTHLY 33 JUNE 2004 SCORE sions, if you will—only enrich the the ship, given a virtuoso treat- the music. work. In other words, because ment by the principal trumpet That the music fails to leave a of Barry’s eclecticism, his score is on numerous tracks. The main lasting impression at all is espe- interesting—and charming. Few theme is, of course, first heard in cially unfortunate, given that film composers, in fact, have ever the “Main Title,” where Newman everyone involved seemed to been as fun as Barry. And few provides a great choral rendition have such a great time on this ever will be. that not only serves to introduce project. The director/writer enthu- —Stephen B. Armstrong the story, but also (with lyrics siastically praises the composer by Charles Henderson) acts as a with the standard “The first time The Black Swan (1944)  great sea shanty in the tradition I heard the music, it was like...,” of “Strike for the Shores of Dover” and Newman himself had several Screen Archives Entertainment from Korngold’s The Sea Hawk. weeks to write it, with complete SAE-CRS-010 • 17 tracks - 68:25 No score of this type would trust from the director. La-La Land hen villainy wore a be complete without a little even thanks the “Newman genes” “Wsash and waved a cut- romance and a giant, climactic for another “brilliant” (an annoy- lass!” declared posters for The Black finale. Newman provides the right ingly overused word in filmmak- Swan. Naturally, the film came dose of love in the lengthy “Lady ing) composer. Given this sort of from a time when Hollywood Margaret’s Pillow” and “Jamie praise heaped upon the score, pirate films were more concerned Kidnaps Lady Margaret.” Only you’d think you were going to with the exploits of a dashing (if in old Hollywood do rational hear another The Natural thunder somewhat flawed) hero and heaps women fall in love with their kid- out of the speakers from the very of swashbuckling adventure than nappers, so it takes a characteristi- moment you pressed play until they were with realistic portrayals cally passionate Newman love the last moment you wipe the of gritty pirate life—not that these theme to make it at all convinc- hear the occasional squeaky chair tears from your eyes and remove films are much more realistic ing. Then, the whole orchestra is from the orchestra. —D.M. the CD from its cradle. today. That said, Alfred Newman’s used to its fullest extent in the 15- Well, if you’re crying at the end score for The Black Swan is rousing, minute final track, which scores Stealing Time  of this disc, it’s probably because swashbuckling music that also the battle on the coast and aboard you felt every single second of has a sense of fun, similar to Erich the pirate ship. The main themes LLLCD 1018 the 43-minute run time. After you Wolfgang Korngold’s The Sea Hawk for the hero and the pirates battle 25 tracks - 43:19 hear the first track, you might as or Captain Blood. It’s the kind of back and forth on the soundtrack, If only all CDs were put well turn it off, since the next 24 music that a filmmaker of any era just as the characters duel it out together like this one. It has sound almost identical. The lim- should be happy to have in his on screen. everything—extensive liner notes ited budget shows in just about swashbuckler. Sound quality on this release is from the producer, director, writ- every way imaginable. The music The score is as thematically rich not quite as good as Dragonwyck ers and the composer himself, is percussive; there are prominent as one might expect, with themes or Down to the Sea in Ships. But, as bonus cues, and what seems to string samples; the tone is obvi- for the main characters, for the always, it’s still great to have this be the entire score. Tragically, the ously matching a direct-to-video ship The Black Swan, for the vil- music in the best presentation only downside of Stealing Time (no crime something-or-other about lain, etc. One of the highlights is possible, with the music having pun intended) is what some may a bunch of 20-somethings that the wonderful danger motif for been remastered well enough to consider the most important part: make pouty faces on the color- washed and grainy box cover and argue about relationships in Hollywood Music New York, along with phone numbers and between the caper. Maybe it’s the Industry Directory websites for most airlines. While the informa- material Newman was given to Premier Edition 2004  tion is geared for those interested in making work with, or maybe its simply STEVEN ATINSKY, ed. connections or looking for a volume that col- that his impressive credentials Hollywood Creative Directory, 2004 lects everything in one place, this is a superb stem more from his appellation 318 pages, $59.95—softcover beginning. In today’s digital lifestyle, perhaps than actual talent, but this CD is a CD-ROM of the same thing could be made a total waste of time. I’ve heard a FOR YEARS THE HOLLYWOOD available. It is not entirely clear how compre- dozen scores that sound just like Creative Directory has been hensive the volume is, and it would be dif- this in a dozen other bad movies a valuable source of informa- ficult to be on top of every possible business that deserved them. Think Hans tion for the film industry. Now or agency. A sheet that allows a business to Zimmer or one of his cronies sim- comes a volume that focuses solely on the music submit their information for a free listing is provided. ply phoning it in and you’ll have industry. Listed here are record companies, represen- Books like this can often run the risk of quickly an idea of what to expect. Late tation, recording studios, clearance information and becoming out-of-date, but this volume has plenty of night Showtime. much more. resources for anyone interested in further pursuing This album isn’t so much music How useful is this volume? Well, it even lists their career in the industry, or even someone doing as much as one long groove ses- screening rooms, hotels and dining places in LA and research. —S.A.K sion with no semblance of pro- gression whatsoever. Yes, there

JUNE 2004 32 FILM SCORE MONTHLY FILM SCORE MONTHLY 33 JUNE 2004 SCORE are themes, but there are no as an album is a mark of the variations on them. Yes, Newman composer’s skill. This score should gets the honor of ripping off appeal to a good cross section of “Swimming” from Waterworld for science-fiction film connoisseurs, the 18th time, but no, he doesn’t especially Battlestar Galactica fans. even try to disguise it. Yes, the —Steven A. Kennedy production quality is slick, but no, it doesn’t fool you into think- Between Heaven and Earth ing there was an orchestra pres-  ent. Not every film needs a full A.R. RAHMAN symphony orchestra backing it Sony SK 92494 • 15 tracks - 51:14 up, but of late it seems that any “Theme From A Summer Place,” that release will give us something a rom the young composer joker with a bunch of samples rose to number one on the pop little bit easier to like. —S.B.A. Fof the recent Broadway and the ability to use a computer charts. Arranged by Percy Faith hit Bombay Dreams comes this 1 gets to call himself a composer. and performed by his orchestra, Battlestar Galactica  /2 orchestral suite of music depict- Newman’s background as a this lushest of numbers is a stan- RICHARD GIBBS ing the walk along the historic drummer shows through here— dard on oldies and easy listening La-La Land 1015 • 26 tracks - 68:26 Silk Road. A.R. Rahman has but just because he commands stations, and its melody, a percus- ichard Gibbs has had a busy been composing for Indian an excellent sense of rhythm does sive line of notes played by violins Rfew years scoring a variety cinema with phenomenal suc- not mean that he can write music and piano shows up regularly in of comedies. His Oingo Boingo cess, and his songs have sold as well. And you don’t have to be television and radio commercials days led to a variety of television in the millions internation- named “Newman” to be able to even today. Faith didn’t compose scoring jobs and a full schedule ally. This work is his “Western” rip off Thomas Newman. There this famous song, however. The of what would become money- debut. Those who managed to are plenty of people out there immortal Max Steiner did. making hits. Things seem a bit catch the film Lagaan (a 2002 who are making a fine living Unfortunately, the hack con- glibber more recently, but scor- Oscar nominee) may recognize doing just that, so Joey doesn’t ductor’s breezy treatment of the ing the Sci-Fi Channel’s update Rahman’s name. And Tolkien earn any points for doing so with master composer’s theme surfaces of Battlestar Galactica was at least a fans take note—he is at work on reckless abandon here. regularly throughout this score, great chance for Gibbs to flex his a stage musical version of The That this is Joey Newman’s first poisoning it like a compositional skill. Gibbs’ essay Lord of the Rings. major effort gets him a little slack, wind. And though fans of the in the accompanying CD booklet If you are enthralled by orches- but not much. Following in the track should enjoy this newly suggests that he had a different tral works that incorporate Asian footsteps of four composers who remastered material, those who idea than that of the producers, musical elements, this will be an have such distinct voices, a sam- loathe it, no matter how much but still met their challenge well. enjoyable disc. Rahman’s music ple-based percussive bit of noth- they enjoy Steiner, will want to Rather than the swashbuck- is filled with a tunefulness that ing that could have been com- leave this disc alone. Still, there ling genre score that one might makes it instantly appealing to posed with Apple’s “Soundtrack” are some nice moments here. “A have expected from this remake those who hunger for melody. program was not the best way Filthy Word,” for instance, com- miniseries, Gibbs was asked to The opening track, “The Golden to go. The latest addition to the bines a brooding strings figure provide a much more minimal- Era,” is followed by a Hindi ver- Newman clan may indeed have with a jewelry box melody to ist score that mixes taiko drum- sion of “Warriors in Peace” (an something to offer, but it sure produce a sound that’s simultane- ming, orchestra, synth sounds and English version concludes the can’t be found here. —Luke Goljan ously quaint and tense; and the wordless vocalizations—in other disc). It, along with several other cue titled “Harlot of a Mother” words, the present and immediate musical ideas, is derived from 1 A Summer Place  /2 manages to a memora- future of film music. One might Rahman’s work on the Chinese MAX STEINER bly creepy mood with an erratic say that Gibbs was asked to sim- film Warriors of Heaven and Earth Brigham Young University FMA-MS112 montage of brass notes. Steiner’s ply write the kind of non-score (2003). The music takes us on a 32 tracks - 76:43 arrangement of “Liebestraum” for score that seems to accompany all journey from China to Turkey. elmer Daves may be one the organ is also deliciously sad. the Sci-Fi Channel’s movies of the Along the way we are treated to a Dof the least remembered Yet Faith’s theme always seems week. Somehow, though, Gibbs mix of specific ethnic music, cou- directors from the era of the to materialize just as the score’s has produced something closer pled with Western orchestration. Hollywood studio system, but two more compelling passages start to to the more lyrical Star Trek: The This works most of the time. of his pictures still enjoy popular- develop emotional depth. Next Generation sound. The music Taken as a whole, the piece is ity: the Dark Passage and Brigham Young University, the is instantly attractive when in more on the pop side of orches- A Summer Place, a romantic melo- official home of Max Steiner’s this vein, but less so in torturous tral writing. Tracks are short and drama. Featuring Sandra Dee and papers, produced this CD, dress- tracks like “Starbuck Buck Buck” don’t always get to breathe. As a Troy Donahue, this sudsy story of ing it up with a clean sound, with its mix of Middle Eastern collection of brief pieces, the disc teen lovers sold a lot of tickets on detailed liner notes and pretty chanting and a slow techno succeeds in communicating that its release in 1959, thanks in part promotional photos. Their backbeat. Still, the fact that Gibbs’ Rahman is a talented composer to its quasi-erotic content. efforts and achievements, in restraint met the demands of the capable of expansive melodic writ- It didn’t hurt, either, that the this respect, are admirable. Let’s filmmakers while writing some- ing and masterful orchestration. film’s score yielded a single, hope, though, that their next thing that’s occasionally listenable (continued on page 43)

JUNE 2004 34 FILM SCORE MONTHLY FILM SCORE MONTHLY 35 JUNE 2004 SCORE A Hero’s Format The Adventures of Robin Hood John Morgan and the first audio-format menu (if there is one) is DVD-Audio  orchestration/conducting at the beginning. by Mr. William Stromberg While each of the three DVD audio Marco Polo 5.220501 using an audio process formats puts the listener in the virtual 26 tracks/chapters - 82:43 that envelops the listener middle of the orchestra, the high-end DVD-Audio format: 5.1 in six discrete channels of DVD-A format enables you to clearly (48 kHz sample rate, 24-bit resolution) sound. More of these are perceive instruments that are barely DVD-Video audio formats: on the way. discernable or “not there” in the com- Dolby Digital 5.1; dts 5.1 The multi-authored DVD- pressed DVD-V formats. In stark con- A booklet is suburb. But it trast to the DVD-A format, subwoofer THIS IS THE DVD-AUDIO (DVD-A) VERSION OF is, essentially, identical to response (the “.1” in 5.1) is murky, Erich Wolfgang Korngold’s The Adventures of Robin the CD booklet (again, see FSM Vol. 9, No. 3). lacks definition, and is not so “sub” for both DVD-V Hood (TAORH), 1938, first released by Marco Polo as Video content includes a succession of abstract formats. Overall, the sound field is richer, broader, CD 8.225268 (see FSM Vol. 9, No. 3). The original stills in “slide-show” fashion (one slide per track/ deeper and, well, “surrounder” in the high-resolution, recording was made in high-resolution, digital audio chapter), black and white photographs from the book- DVD-A format. with six discrete channels of sound. Using the DVD-A let, and a format menu. The slide show is there to format, Marco Polo has provided us with the finest ensure the disc conforms with the strict DVD-V speci- MARCO POLO’S “MIXED-DOWN” CD IS NOW THE commercially available electronic reproduction of fication that requires sound to be accompanied by modern reference re-recording of TAORH both musi- Korngold film music available—and this is not an picture. This type of video presentation also occupies cally and artistically. But it’s still a CD, and CDs use overstatement. It leaves CDs as well as the highly close to zero bandwidth, and, hence, it has become a two-channel recording technology more than 20 compressed, DVD-Video (DVD-V) Dolby Digital and dts the preferred, standards-compliant option for high- years old. However, back-to-back, track-by-track audio formats in the digital dust. I’ll get back to this end audio productions. comparisons of the CD and DVD-V audio formats “format fandango” in a minute. DVD-A discs typically contain all three DVD audio (repeated using several DVD players and sound sys- While a compelling argument can be made for the formats, which makes for a very user-friendly product. tems) proved to be revealing if not darn right embar- CD version of TAORH being definitive, unbelievably, TAORH follows the norm. The default audio setting of rassing (and reassuring?). To my ears, and despite this is no longer the case. The DVD-A goes it one bet- your DVD player and/or receiver/amplifier(s) is cued the engineering specifications, the ancient CD format ter by including the original theatrical trailer music! up automatically. This means the disc will work with consistently beat out the modern, highly-compressed This disc is the first recording of Korngold’s film just about any DVD player. There is a trade off, how- DVD-V audio formats. DVD-V sound may make the music using the ear-blowing DVD-A format. It also ever. The menu for changing your default format is at grade for films, but it sure doesn’t for film-score presents the first restoration/orchestration of Mr. the end of the disc in contrast to DVD-Vs where the recordings. —William Flanigan

DVD-A logo—see above—on the faceplate). It may also domain (the disc is digital, but it’s encrypted digital Making the Leap require a new receiver (or additional amplifying com- which becomes decrypted analog right off the disc, Is DVD-A worth the hassle and expense? ponents) and further calibration of your speaker give or take a few electronic circuits). Can this be all system. DVD-A is not compatible with other that bad, since our ears are analog and our SO WHY BOTHER WITH DVD-AUDIO (DVD-A)? THE optical audio formats (you can’t play a speakers must be likewise? Well, by con- short answer is because it sounds far better, trounc- DVD-A on a CD player or hear the DVD-A verting sound to analog from the outset, ing all other optical audio formats (with one excep- format on a DVD-V player). Since DVD-A audio processing is subject to the noise, tion—see below). Now, the long answer: The DVD-A delivers up to six separate channels of artifacts and distortions inherent in the format provides audio fidelity that far exceeds that analog sound (that’s right, analog, not A analog domain, which is not what we of CDs and the audio of DVD-Video (DVD-V). It is the digital), it requires six additional (RCA-con- want to hear (but have been since the 19th closest thing yet to the real thing with “closest” being nector type) cables between player and receiver. Century). Bottom line: Use the shortest RCA-con- defined in turns of sampling frequency (measured Then there is something called “bass manage- nector cables you can get away with. in kilohertz [kHz] or thousands of samples per sec- ment” (BM). Unlike DVD-V audio, DVD-A delivers bass If all this seems needlessly technical and dif- ond) and bit rate (or the size of the chunk of ones to all audio channels. BM, however, insures that bass ficult to follow, it may be the reason why sales of and zeros that are sampled together). As you might is delivered only to the subwoofer channel. Most DVD- DVD-A (and SACD) discs remain moribund. Even expect, for each number, higher is better for your ears. A players on the market do not have this feature. traditional vinyl records outsell DVD-A discs six to This is because original analog sound can be more To add to the fun, DVD-A has a high-resolution com- one. And both high-end formats have been around accurately represented digitally on a disc as the num- petitor in the form of Super Audio CD (SACD). SACD since 2000. If having two competing, high-quality bers go up. Audio encoded on CDs has a sampling also requires six additional connecting cables. Some audio formats seems something like Beta versus frequency of 44.1 kHz and a 16-bit sampling rate; for DVD-A players are “universal” in that they will play VHS redux, guess again. Neither format may sur- DVD-A, it can be as high as 192 kHz and 24-bits. (I’ll both DVD-A and SACD discs (as well as CDs and many vive this time. Video appears to be killing off audio try hard to limit the techno-babble from now on.) other audio/video formats). No SACD players will play in general, and high-resolution audio in particular. For those still with me, here’s a bit (no pun DVD-A discs. The size/shape/quality of the home-video picture intended) more to help you to decide if you should Why all the cables? Because the recording industry seems to be taking precedence over the quality of take the plunge now, later or ever. To start with, DVD-A has mandated it to be so. They fear digital copying. So sound. Ever notice how puny the speakers are in a will likely require a new DVD player (unless you have unless you are doing the mix/remix on a soundstage, typical home-theater set up? They’re just right for replaced yours very recently with one that has the film-score enthusiasts are banished to the analog listening to low-resolution DVD-V audio. —W.F.

JUNE 2004 34 FILM SCORE MONTHLY FILM SCORE MONTHLY 35 JUNE 2004 We’re pleased to offer hard-to-find, unusual soundtrack-related products, including: Exclusive CDs; Books for music lovers; Books for composers; One-of-a-kind collectibles; and more! Order online, by phone or by mail: see contact info below. All CDs are $19.95 plus shipping & handling unless otherwise noted. FSMmarketplace  Vol. 7, No. 10  Vol. 7, No.9 Born Free Julius Caesar JOHN BARRY MIKLÓS RÓZSA Lyrics by ; Vocal by Matt Munro Film released: 1953 Film released: 1966 Studio: M-G-M Studio: Columbia Genre: Shakespeare/Epic Genre: Wildlife Adventure Golden Age Classics • CD released: July 2004 Silver Age Classics Mono & Stereo • 68:05 CD released: July 2004 • Stereo • 39:55 A terrific soundtrack in its own right, this score and song One of Rózsa’s most powerful scores: dark and dramatic became pop sensations; Barry and Black won Academy yet full of melody. This premiere CD features the complete Awards for both song and score. Now, the original LP score, in mono, with a wealth of outtakes, and pre-record- recording has been remastered and released on CD for ings, including several tracks in stereo. $19.95 the first time! Special price: $16.95

 Vol. 7, No. 8  Vol. 7, No.7  Vol. 7, No. 6  Vol. 7, No.5  Vol. 7, No. 4  Vol. 7, No.3  Vol. 7, No. 2 Big Wednesday The Fastest Gun Alive/ The Shoes of the The Swan Logan’s Run (TV Series) Diane Khartoum/ BASIL POLEDOURIS House of Numbers Fisherman BRONISLAU KAPER , MIKLÓS RÓZSA Mosquito Squadron Film released: 1978 ALEX NORTH Film released: 1956 et al. Film released: 1956 FRANK CORDELL Studio: Warners Film released: 1956 Film released: 1968 Studio: M-G-M Telecast: 1977 • Studio: M-G-M Studio: M-G-M Films released: 1965/1969 Genre: Surf Epic Studio: M-G-M Studio: M-G-M Genre: Romantic Drama Genre: Science Fiction Genre: Historical Drama Studio: Silver Age Classics Genre: Romantic Drama Genre: Political Thriller Golden Age Classics • CD Silver Age Classics Golden Age Classics • CD Genre: Historical Epic/WWII CD released: June 2004 Golden Age Classics • CD Silver Age Classics released: April 2004 CD released: March 2004 released: March 2004 Espionage Stereo • 78:29 released: June 2004 CD released: April 2004 Stereo • 49:54 Stereo • 79:55 Stereo • Disc One: 71:36 Silver Age Classics Mono • 76:10 Stereo • Disc One: 77:09 The Swan was Grace This short-lived TV series Stereo & Mono • Disc Two: 77:43 CD released: February 2004 One of the great orchestral Two potent scores by a Disc Two: 74:50 Kelly’s penultimate film, borrowed props and ideas Lana Turner’s final film at Stereo • 78:55 scores of the ’70s, avail- wunderkind: The Fastest FSM’s premiere 2-CD set eerily foreshadowing her from the feature film, with M-G-M gets a lush score of Two military-themed scores able for the first time. From Gun Alive (37:36) sports features the complete, own destiny as Princess new music by Rosenthal, beauty and grace. Disc one on one CD: Khartoum (41: simple folk tunes to mag- quintessentially American massive underscore on Grace of Monaco. This Bruce Broughton, Jerrold presents the underscore; 46) is a sweeping epic with nificent orchestral swells, string writing; House of disc one; Disc two collects premiere features the com- Immel (Dallas) and Jeff disc two includes alter- British and Arabian colors; Poledouris’ feature debut Numbers (38:34) is a crime source and alternate cues, plete, original soundtrack Alexander. Includes suites nates and source cues Mosquito Squadron (37:08) is epic in every sense. thriller with appropriately plus demos from Ice Station remixed from three-track from all nine episodes of (57:45), plus unreleased includes aggressive action Includes aternate takes over-the-top music. In best Zebra (9:47) and LP record- masters, as well as brief original music, remixed material from Plymouth writing and a noble, patriot- and source cues (21:24), possible monaural sound ing of Where Eagles Dare passages recorded for the from three-track masters, Adventure (7:48) and ic theme. Both scores from all in stereo. $19.95 (as recorded). $19.95 (40:39), all in stereo. $24.95 ’50s LP. $19.95 in stereo. $19.95 Moonfleet (12:10). $24.95 stereo LP masters. $19.95

 Vol. 7, No.1  Vol. 6, No. 21  Vol. 6, No. 20  Vol. 6, No. 19  Vol. 6, No. 18  Vol. 6, No. 17  Vol. 6, No. 16 The Prisoner of Zenda Where Eagles Dare/ Moonfleet McQ On Dangerous Ground The Man From U.N.C.L.E. The Brothers Karamazov ALFRED NEWMAN Operation Crossbow MIKLÓS RÓZSA ELMER BERNSTEIN Vol. 2 BRONISLAU KAPER Film released: 1952 Film released: 1955 Film released: 1974 Film released: 1952 RON GOODWIN JERRY GOLDSMITH, et al. Film released: 1957 Studio: M-G-M Films released: 1968/1965 Studio: M-G-M Studio: Warner Bros. Studio: RKO TV Produced: 1963-67 Studio: M-G-M Genre: Swashbuckler Studio: M-G-M Genre: Swashbuckler Genre: Police Thriller Genre: Film Noir Studio: M-G-M Genre: Literary Adaptation Golden Age Classics Genre: WWII Espionage Golden Age Classics Silver Age Classics Golden Age Classics Genre: Secret Agent Golden Age Classics CD released: February 2004 Silver Age Classics CD released: January 2004 CD released: November 2003 CD released: November 2003 Silver Age Classics CD released: Oct. 2003 Mono • 58:21 CD released: January 2004 Stereo • 77:11 Stereo • 49:24 CD released: Oct. 2003 Mono • 48:24 Mono • 79:10 Stereo • Disc One: 74:04 Mono • Disc One: 77:54 This colorful remake of the A moody tale of smug- Herrmann’s only film noir A rich and varied score for 1937 swashbuckler sports Disc Two: 78:37 glers directed by Fritz Elmer Bernstein combines runs the gamut from furi- Mono/Stereo Disc Two: 76:29 A 2-CD presentation of two Because you demanded one of the greatest works a robust adaptation of Lang. The score is richly his traditional symphonic ous chase music to heart- in literature—composed by classic scores: The entire it: Another 2-CD set of the Newman’s original score melodic with a particularly approach with ’70s funk felt warmth. Presented in one of the novel’s greatest (by ). The underscore (not the LP lovely main theme. FSM’s for a unique, swagger- classic TV series scores, complete, chronological including music by Fried, fans. Kaper draws upon score is brimming with re-recording) from Where premiere album release ing sound. This premiere order with a bonus suite of Shores, Riddle and more. Prokofiev, gypsy melodies Wagnerian leitmotifs for Eagles Dare, and the pre- includes the complete album release includes the rehearsal outtakes. NOTE: Two unused versions of the and his natural gift for dra- the major characters, and a miere release of Operation score plus numerous alter- complete score from the This CD was produced matic writing to create a Crossbow, plus source and theme and music from the rousing underscore for the nates and source cues. original scoring elements. from acetate recordings of feature films are included. classic soundtrack. $19.95 alternate cues from Eagles. climactic duel. $19.95 $19.95 $19.95 varying quality. $19.95 $24.95 $24.95

TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9598 • Fax 1-310-253-9588 • Online www.filmscoremonthly.com  Vol. 6, No. 15  Vol. 6, No. 14  Vol. 6, No. 13  Vol. 6, No. 12  Vol. 6, No. 11  Vol. 6, No. 10  Vol. 6, No. 9 Wild Rovers The Cobweb/ Hawkins on Murder/ Toys in the Attic The Appointment Our Mother’s House/ The Adventures of JERRY GOLDSMITH Edge of the City Winter Kill/Babe GEORGE DUNING MICHEL LEGRAND, The 25th Hour Huckleberry Finn JOHN BARRY Film released: 1971 JERRY GOLDSMITH Film released: 1962 GEORGES DELERUE JEROME MOROSS Films broadcast: 1973, ’74, ’75 & DON WALKER, Studio: M-G-M Films released: 1956, 1957 Studio: United Artists Films released: 1967 Film released: 1960 Studio: M-G-M Genre: Western Studio: M-G-M • Genres: Drama Genre: Southern Family Drama STU PHILLIPS Studio: M-G-M Studio: M-G-M Genres: Crime, Biography Silver Age Classics Golden Age Classics Golden Age Classics Film released: 1969 Genre: Gothic/WWII Comedy Genre: Satirical Adventure Silver Age Classics CD released: Sept. 2003 CD released: Sept. 2003 CD released: July 2003 Studio: M-G-M Silver Age Classics Golden Age Classics CD released: July 2003 Stereo • 79:14 Stereo • 51:54 Stereo • 70: 27 Genre: Drama CD released: June 2003 CD released: June 2003 Stereo • 77:24 Silver Age Classics One of Duning’s greatest Stereo • 58:49 Stereo and Mono • 59:58 Two early scores by one Three TV movie scores: CD released: June 2003 A favorite score gets the scores (and one of his Our Mother’s House (31:18) A giant of Americana scor- Hawkins (16:51) is a Stereo • 77:06 deluxe, definitive treat- of cinema’s most distictive is the story of orphans and ing writes a bouncy, rich courtroom drama featuring few on CD) is sensitive, A tale of obsessive love fea- ment from FSM: This CD voices: The Cobweb is the their deadbeat dad; The score for Mark Twain’s clas- Jimmy Stewart; Kill (17: rich and melancholy as tures music by a quartet of includes the never-before- first 12-tone score for mov- 25th Hour (27:31) follows sic tale. Originally planned 58) is a dramatic for befits the tangled personal noted composers: Legrand released film recording ies; this release features one man’s tragi-comic as a musical, our CD Andy Griffith; Babe (26: relationships of the film. CD (18:59); Barry & Walker (39:47); the expanded LP the complete score in journey during WWII. Both includes snippets of songs 41) is the Emmy-winning features album sequence (26:19); Phillips (31:48). recording (35:59); plus stereo (36:41). Edge of the delicate, melodic scores in the score as well as rare story of Olympic star Babe from Citadel LP followed by Remixed from the original bonus vocal tracks, all in City is a reprise of the thrill- are remastered in stereo. demos. $19.95 Didrikson Zaharias, plus bonus tracks. $19.95 masters, it’s a one-of-a-kind stereo. $19.95 ing mono suite originally $19.95 bonus tracks. $19.95 trio. Special price: $16.95

GIVE A GIFT SUBSCRIPTION Try a year of FSM for a friend! Does your film score pal have his (or her) own subscription to Film Score Monthly? Give the gift that keeps giving ten times a year. You’ll have something new to talk about on a regular basis, not to mention  Vol. 6, No. 8  Vol. 6, No. 7  Vol. 6, No. 6  Vol. 6, No. 5 Soylent Green/ Knights of the Round that YOUR copy will stay and sound All Fall Down/ Green Fire/ Demon Seed Table/The King’s Thief at home where it belongs... The Outrage Bhowani Junction FRED MYROW/ MIKLÓS RÓZSA ALEX NORTH MIKLÓS RÓZSA JERRY FIELDING Film released: 1953/1955 Film released: 1962/1964 Film released: 1954/1956 Film released: 1973/77 Studio: M-G-M WHY WAIT AND WONDER? DON’T MISS A RELEASE... Studio: M-G-M Studio: M-G-M Studio: M-G-M • Genre: Sci-Fi Genre: Costume Adventure/ Genre: Drama/Western Genre: Adventure/Drama Silver Age Classics Swashbuckler Check Your Order Online! Join the CLASSICS CHARTER Club Silver Age Classics Golden Age Classics CD released: May 2003 Golden Age Classics If you’ve got internet access, then visit You can subscribe to the Silver Age CD released: Apr. 2003 CD released: Apr. 2003 CD released: May 2003 Stereo • 52:54 Stereo/Mono • 79:20 Stereo • 79:49 https:/secure.filmscoremonthly.com/ Two ’70s sci-fi scores on Stereo • Disc One 70:31 Series, Golden Age Series—or both! Get Two complete scores by Green Fire (51:04) is an one disc: Soylent Green Disc Two 78:21 store to place an order on our secure every Classics release FIRST—auto- the great Alex North: All adventure set in Colombia (40:21) features a mix of Knights (86:25) is the server. You will receive an automatic matically! Your credit card will not be Fall Down (38:24) is hushed, with a gorgeous symphonic complete film recording of sweetly jazzy score to main theme; Bhowani pop, classical and avant- confirmation. All of your info is charged until we ship your order. Plus, Rózsa’s thunderous, epic family/coming-of-age Junction (27:52) is a garde sounds; Demon kept confidential and encrypted for Seed (39:28) is a wild blend score, including bonus receive discounts on multi-disc sets drama. The Outrage (14:29) politically charged romance of the electronic and sym- tracks; Thief (56:47) is a your protection. Save days and rest and other member surprises! is spare music to western sporting indigenous, “world- phonic. Stereo with mono rousing swashbuckler in easy! See order form for details. remake of Rashomon. music” source cues. $19.95 alternates. $19.95 the Korngold mold. $24.95 $19.95

 Vol. 6, No. 4  Vol. 6, No. 3  Vol. 6, No. 2  Vol. 6, No. 1  VOLUME 5, NO. 20  Vol. 5, No. 19  Vol. 5, No. 18 THX 1138 Home From the Hill Ice Station Zebra Plymouth Adventure Never So Few/ Tribute to a Bad Man The Man From LALO SCHIFRIN BRONISLAU KAPER MICHEL LEGRAND MIKLÓS RÓZSA 7 Women MIKLÓS RÓZSA U.N.C.L.E. Vol. 1 / JERRY GOLDSMITH, et al Film released: 1970 Film released: 1960 Film released: 1968 Film released: 1952 Film released: 1956 Studio: Warner Bros, Studio: M-G-M Studio: M-G-M Studio: M-G-M ELMER BERNSTEIN Studio: M-G-M TV Produced: 1963-67 Genre: Science Fiction Genre: Drama Genre: Military/Espionage Genre: Historical Epic Film released: 1959/1966 Genre: Western Studio: M-G-M Silver Age Classics Golden Age Classics Silver Age Classics Golden Age Classics Studio: M-G-M Golden Age Classics Genre: Secret Agent CD released: Mar 2003 CD released: Mar. 2003 CD released: Feb. 2003 CD released: Feb. 2003 Genre: WWII/Drama CD released: Jan .2003 Silver Age Classics Stereo • 55:45 Stereo/Mono • 79:26 Stereo • 79:20 Mono • 79:35 Silver Age Classics Stereo • 50:30 CD released: Dec. 2002 Mono • Disc One: 77:05 George Lucas’ first film is a Vincente Minnelli’s excel- This ’60s Cold War nailbiter Miklós Rózsa’s mag- CD released: Jan. 2003 Rózsa’s rare western is Stereo • 73:46 Mono/Stereo Disc Two: 76:08 startlingly original vision of lent Southern family drama is enhanced by Legrand’s nificent historical music sweeping, full of melody, a dystopian future. Schifrin is highlighted by a master- offbeat, epic scoring for for the 1620 voyage of the Two Asian-flavored clas- and flecked with the America’s first hit spy TV adds a fascinating score ful score by Bronislau orchestra. Remixed for Mayflower, from his most sics: Never So Few (42: brooding melancholy series features varied, ranging from avant garde Kaper, weaving together superior sound, and rese- fertile period of epic scor- 18) blends action and expected of a mature jazzy, high-energy music. soundscapes to cheeky romance, tension and quenced into film order, ing. Includes the complete romance, while 7 Women “psychological western.” All of Goldsmith’s scores plays on Latin jazz. The violence. All of the music this dramatic score gets soundtrack as used in the (31:27) is more introspec- This fan favorite has been plus scores by six others CD includes many unused from the film is present, the deluxe treatment with film (47:00) plus a bevy of tive, but with a big, excit- remixed from the original (inc. Fried, Schifrin, Scharf, passages and is entirely in plus bonus tracks and over twice the music on alternates (32:35). $19.95 ing title theme for the stereo masters. $19.95 Stevens) are represented stereo. $19.95 alternates. $19.95 the original LP—in stereo. Mongol horde. $19.95 on this 2-CD set. $24.95

TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9598 • Fax 1-310-253-9588 • Online www.filmscoremonthly.com  Vol. 5, No. 17  Vol. 5, No. 16  Vol. 5, No. 15  Vol. 5, No. 14  Vol. 5, No 13  Vol. 5, No. 12  Vol. 5, No 11 The Seventh Sin The Prize The World, the Flesh The Green Berets Scaramouche The Gypsy Moths Above and Beyond MIKLÓS RÓZSA JERRY GOLDSMITH and the Devil MIKLÓS RÓZSA ELMER BERNSTEIN HUGO FRIEDHOFER Film released: 1958 Film released: 1963 MIKLÓS RÓZSA Film released: 1968 Film released: 1952 Film released: 1969 Film released: 1952 Studio: M-G-M Studio: M-G-M Film released: 1959 Studio: Warner Bros. Studio: M-G-M Studio: M-G-M Studio: M-G-M Genre: Drama Genre: Espionage Studio: M-G-M Genre: War/Adventure Genre: Costume Adventure Genre: Drama Genre: WWII Golden Age Classics Silver Age Classics Genre: Science Fiction Silver Age Classics Golden Age Classics Silver Age Classics Golden Age Classics CD released: Dec. 2002 CD released: Nov. 2002 Golden Age Classics CD released: Sept. 2002 CD released: Sept. 2002 CD released: Aug. 2002 CD released: Aug. 2002 Mono • 59:26 Stereo • 72:37 CD released: Nov. 2002 Stereo • 72:37 Mono • 62:28 Stereo • 61:08 Mono • 55:44 Stereo • 52:53 This reworking of The The Prize is an early The first major U.S. film to The last of the Golden- This tale of barnstorming This combination of Painted Veil inspired Jerry Goldsmith action- A rare Rózsa’s sci-fi address the Vietnam con- Age swashbucklers by skydivers contrasts robust, wartime drama and Rózsa to apply three of suspense gem for a score (Two men and flict features a stirring sym- Rafael Sabatini (Captain action-oriented cues and domestic struggle is his signature sounds; film Hitchcock-styled thriller. one woman struggle in phonic score, befitting an Blood, et al) gets a heroic sweeping Americana with driving by a stirring, pro- noir, exotic and epic film CD features complete post-apocalyptic NYC), action movie directed by and charming score by softer, bittersweet melo- gressive score, with one scoring techniques com- stereo score plus source embellishes end-of-the- and starring John Wayne. the prolific Victor Young. dies. CD features complete of Friedhofer’s greatest bine to create a unique music and vintage re- world loneliness and doom All of Rózsa’s music is This premiere release underscore plus nightclub main titles. Complete, and unmistakable score. recorded LP cuts. $19.95 with romantic splendor. here (plus “The Ballad includes all of the score, and marching band source chronological score in Includes source music Premiere release of com- of the Green Berets”) in plus alternates, unused cues. $19.95 best possible monaural suite. $19.95 plete stereo score. $19.95 excellent stereo. $19.95 and source cues. $19.95 sound. $19.95

 Vol. 5, No. 10  Vol. 5, No 9  Vol. 5, No. 8  Vol. 5, No 7  Vol. 5, No. 6  Vol. 5, No 5  Vol. 5, No 4 I Spy The Prodigal Point Blank/ On the Beach/ The Traveling 36 Hours The Man Who BRONISLAU KAPER The Outfit The Secret of Santa Executioner DIMITRI TIOMKIN Loved Cat Dancing TV Produced: 1965-67 Film released: 1955 JOHNNY MANDEL/ Vittoria JERRY GOLDSMITH Film released: 1964 JOHN WILLIAMS Network: NBC Studio: M-G-M JERRY FIELDING Film released: 1970 Studio: M-G-M • Genre: MICHEL LEGRAND Genre: Secret Agent Genre: Biblical Epic Film released: 1967, 1973 Film released: 1959, 1969 Studio: M-G-M WWII/Spy Film released: 1973 Silver Age Classics Golden Age Classics Studio: M-G-M Studio: United Artists Genre: Black Comedy Golden Age Classics Studio: M-G-M CD released: July 2002 CD released: July 2002 Genre: Film Noir Genre: Drama, Comedy Silver Age Classics CD released: May 2002 Genre: Western Stereo/Mono • 77:57 Stereo • 75:11 Silver Age Classics Golden Age Classics CD released: May 2002 Stereo • 66:41 Silver Age Classics Stereo • 39:39 Five episode scores for Complete stereo score CD released: June 2002 CD released: June 2002 A taut, piano-dominated CD released: Mar. 2002 Stereo • 77:54 Stereo • 70:59 Stereo • 65:37 groundbreaking series for gargantuan biblical The main theme blends score with an accent on starring Robert Culp and epic starring Lana Turner Two films based on Two scores from the films Americana, Dixieland and stealth—flamboyant, yet A lost gem from Williams’ Bill Cosby: “So Long, features male and female D.E. Westlake’s crime of director circus sound, but the score naturalistic. Remixed and melodic, pre-blockbuster Patrick Henry,” “The Time choruses, solos, source novels: Point Blank (39: on one CD. Beach is a touches all the bases, from remastered, this CD dou- career, plus Legrand’s of the Knife” “Turkish cues and thundering 38) is a landmark 12-tone gorgeous symphonic score bluegrass to avant-garde bles the playing time of the unused, unheard take on Delight,” “The Warlord” symphonic glory. Includes score, ethereal and ingeniously interpolat- to full-scale action. This LP including bonus tracks the same material. A rare and “Mainly on the Plains.” unused alternate cues. strange; The Outfit (38:16) ing “Waltzing Matilda”; first-release ever is com- of vocals, piano demos, opportunity for collec- First three & theme in ste- $19.95 features a dark, pulsating Secret is a lyrical slice of plete, with every note in and a jazz trio improv of tors—all in stereo! $19.95 reo; all OST, not LP record- score punctuated with “Italiana,” with one bonus excellent stereo. $19.95 the main title. $19.95 ings. $19.95 unexpected melody. $19.95 cue. $19.95

 Vol. 5, No. 3  Vol. 5, No 2  Vol. 5, No. 1  VOLUME 4, No. 20  Vol. 4, No. 19  Vol. 4, No. 18  Vol. 4, No. 17 Joy in the Morning Logan’s Run Lust for Life Farewell, My Lovely/ Demetrius and the Broken Lance John Goldfarb, BERNARD HERRMANN JERRY GOLDSMITH MIKLÓS RÓZSA Monkey Shines Gladiators LEIGH HARLINE Please Come Home! DAVID SHIRE JOHNNY WILLIAMS Film released: 1965 Film released: 1976 Film released: 1956 Film released: 1954 Studio: M-G-M / Studio: M-G-M / Genre: Sci-Fi Studio: M-G-M Film released: 1975/88 Film released: 1954 Studio: 20th Century Fox Film released: 1965 Genre: Romance Silver Age Classics Genre: Biography Studio: M-G-M Studio: 20th Century Fox Genre: Western Studio: 20th Century Fox Golden Age Classics CD released: Feb. 2002 Golden Age Classics Genre: Film Noir/ Genre: Biblical Epic Golden Age Classics Genre: Comedy CD released: Mar. 2002 Stereo • 74:18 CD released: Feb. 2002 Suspense Golden Age Classics CD released: Dec. 2001 Silver Age Classics Stereo • 46:33 Stereo • 61:51 Silver Age Classics CD released: Jan. 2002 Stereo • 38:41 CD released: Dec. 2001 This classic story of a dys- Premiere of Rózsa’s heart- CD released: Jan. 2002 Stereo • 61:51 Stereo • 71:32 Herrmann’s last studio Disney’s workhorse topian future gets the royal felt, stirring accompani- Stereo • 73:48 Spectacular score for project is sweepingly composer from the ‘30s This wacky comedy treatment by the master of ment to the tragic tale of Biblical epic emphasizes romantic, surging with pas- Farewell, My Lovely (33:06) () provides a starring Shirley MacLaine speculative soundtracks. Vincent van Gogh. A favor- romance, action and reli- sion and haunting in its use is symphonic jazz score for dark, rich Americana score and Peter Ustinov is Jagged action cues, ite of the composer, this CD gion, interpolating themes of melody. The complete ‘70s noir classic; Monkey to this adaptation of King the earliest feature film Coplandesque nostalgia, has been remixed from the from The Robe by Alfred score from the original Shines (40:41) is leitmotivic Lear set in the American soundtrack by John bracing electronics and three-track masters with Newman. Plus bonus three-track recording with suspense score for George West. $19.95 Williams available on CD. more in this restored, bonus alternate cues and tracks (11:06) and remixed liner notes by Christopher Romero monkey thriller. Johnny does Arab go-go remixed, resequenced more. One of the greatest cue from The Egyptian Husted. $19.95 $19.95 music! $19.95 release! $19.95 film scores! $19.95 (5:04). $19.95

TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9598 • Fax 1-310-253-9588 • Online www.filmscoremonthly.com  Vol. 4, No. 16  Vol. 4, No. 15  Vol. 4, No. 14  Vol. 4, No. 13  Vol. 4, No. 12  Vol. 4, No. 11  Vol. 4, No. 10 The World of The View From The Illustrated Man Morituri/ The Best of Everything Voyage to the Bottom Henry Orient Pompey’s Head/ JERRY GOLDSMITH ALFRED NEWMAN & Raid on Entebbe ALFRED NEWMAN of the Sea HUGO FRIEDHOFER JERRY GOLDSMITH/ Song by Newman & PAUL SAWTELL ELMER BERNSTEIN Blue Denim Film released: 1969 Piano Concerto by , & BERT SHEFTER ELMER BERNSTEIN/ Studio: Warner Bros. Film released: 1958 DAVID SHIRE Kenneth Lauber Perf. by Johnny Mathis BERNARD HERRMANN Genre: Sci-fi/Anthology Studio: 20th Century Fox Films released: 1965/77 Song by Russell Faith, Film released: 1959 Film released: 1964 Films released: 1955/1959 Silver Age Classics Genre: Western Studio: 20th Century Fox Perf. by Frankie Studio: 20th Century Fox Studio: United Artists Studio: 20th Century Fox CD released: Sept. 2001 Golden Age Classics Genre: WWII/ Film released: 1961 Genre: Drama/Romance Genre: Comedy/Drama Genre: Drama Stereo • 42:02 CD released: Sept. 2001 Docudrama,TV Studio: 20th Century Fox Golden Age Classics Silver Age Classics Golden Age Classics Stereo (some bonus tracks in Silver Age Classics Genre: Sci-fi/Irwin Allen The Illustrated Man is CD released: Aug. 2001 CD released: Nov. 2001 CD released: Nov. 2001 mono) • 69:34 CD released: Aug. 2001 Silver Age Classics one of Jerry Goldsmith’s Stereo • 71:14 Stereo • 40:32 Stereo • 75:15 Stereo (Morituri)/ CD released: July 2001 most haunting sci-fi cre- Two Hollywood legends This pair of films by Mono (Entebbe) • 57:50 Newman’s last Fox score Stereo • 55:55 Bernstein’s “second-best” ations, with airy beauty, collaborate for a rich, Philip Dunne feature is a romantic gem; think score for children sports solo female vocalise, handsome western score Morituri (41:46) is in Thundering B-movie hyste- romantic, intimate scores New York at twilight. fabulous sound from the early electronics, strange with a memorable, driving Goldsmith’s percussive ‘60s ria plus soothing, romantic by Elmer Bernstein Complete score (48:21) in legendary Goldwyn scoring effects and an aggressive main theme and darkly style; Raid on Entebbe (15: undersea passages for the (lovely Americana) and stereo, plus some bonus stage. Whimsical, melodic climax. $19.95 brooding interior pas- 29) features suspense, pul- film that launched the hit and magical. $19.95 Bernard Herrmann (“baby sages. $19.95 sating action, and Israeli tracks in mono. $19.95 TV show. $19.95 Vertigo”). $19.95 song 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 Room 222/ A Man Called Peter The French Connection/ The Egyptian Untamed Hell/ Soldier of Fortune Ace Eli and Rodger ALFRED NEWMAN French Connection II ALFRED NEWMAN & FRANZ WAXMAN JOHN WILLIAMS HUGO FRIEDHOFER of the Skies Film released: 1955 DON ELLIS BERNARD HERRMANN Film released: 1955 Film released: 1974 Films released: 1956/55 JERRY GOLDSMITH Studio: 20th Century Fox Films released: 1971/75 Film released: 1954 Studio: 20th Century Fox Studio: Warner Bros./20th Studio: 20th Century Fox Films released: 1969/73 Genre: Religious/ Biography Studio: 20th Century Fox Studio: 20th Century Fox Genre: Historical Adventure Century Fox Genre: WWII/Adventure Studio: 20th Century Fox Golden Age Classics Genre: Police Thriller Genre: Historical Epic Golden Age Classics Genre: Disaster/Irwin Allen Golden Age Classics Genre: Sitcom (TV)/ CD released: June 2001 Silver Age Classics Golden Age Classics CD released: April 2001 Silver Age Classics CD released: July 2001 Americana (feature) Stereo • 58:14 CD released: May 2001 CD released: May 2001 Stereo • 65:43 CD released: Apr. 2001 Stereo • 73:00 Silver Age Classics Stereo & Mono (I)/ Stereo • 72:06 Stereo • 75:31 Biopic of Scottish minister Stereo (II) • 75:01 19th century African colo- CD released: June 2001 Disaster masterpiece A superlative Hugo Mono (Room 222)/Stereo & Peter Marshall receives At last: the classic nialist adventure starring Friedhofer doubleheader: Mono (Ace Eli) • 71:37 rich, reverent, melodic Cop thrillers get pulsating, Newman/Herrmann collab- Susan Hayward receives gets premiere CD release, Between Heaven and score by Alfred Newman; dynamic, avant-garde oration for Fox’s historical thrilling adventure score by doubled in length from Hell (complete: 40:18) is a Room 222 (12:15) com- CD features complete scores by jazz artist. First epic. Original stereo tracks Franz Waxman in first-rate the LP. Fantastic main moody war thriller; Soldier prises theme and two score including source (37:52) includes unused were believed to be lost sound. Wonderful main title, climactic action cue; of Fortune (surviving episode scores for popular music. $19.95 music; sequel (37:09) a bit or unusable, but this CD title, love theme. $19.95 plenty of moody suspense tracks: 32:41) an exotic, TV series; Ace Eli (59:21) a more traditional. $19.95 features every surviving and romantic pop. $19.95 melodic jewel. $19.95 lyrically-scored barnstorm- note. $19.95 ing movie. $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 Theme by Neal Hefti HUGO MONTENEGRO/ ALFRED NEWMAN & / BERNARD HERRMANN JERRY GOLDSMITH Film released: 1960 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 Films released: 1969/67 Golden Age Classics Studio: 20th Century Fox Film released: 1972/73 Genre: Adventure Genre: Drama /Action,TV Genre: Adventure/Camp Studio: 20th Century Fox CD released: Dec. 2000 Genre: Comedy/ Romance Studio: 20th Century Fox Golden Age Classics Silver Age Classics Silver Age Classics Genre: Western Stereo • 71:27 Golden Age Classics Genre: Sci-fi/Fantasy CD released: Feb. 2001 CD released: Jan. 2001 CD released: Nov. 2000 Silver Age Classics Stereo • 55:06 Stereo (Stripper)/ Mono • 65:23 CD released: Mar. 2001 Silver Age Classics Paul Newman/Joanne CD released: Sept. 2000 Stereo • 70:03 Mono (Quarry) 73:35 Stereo • 72:33 CD released: Feb. 2001 Fantastic undersea adven- Woodward soaper fea- Holy Bat-tracks! 1966 Stereo & Mono (Conquest)/ Early Goldsmith feature feature produced at time Western doubleheader: comedy Stereo (Battle) • 74:44 ture score gets premiere tures tuneful, romantic features period songs release of original stereo (42:01, plus 21:06 bonus score by Bernstein. Rich of ‘60s TV show features The Undefeated (w/John adapted as instrumental Final Apes films get vintage tracks, albeit with minor tracks)—is in romantic Americana music, sensi- Neal Hefti’s theme, Wayne, 47:33) is underscore. “Street scores by Scott deterioration. Lots of Alex North style. Quarry tive romantic themes, Nelson Riddle’s Bat-villain accessible and symphonic. Scene” (5:36) conducted (38:47, w/unused cues) and harps, “underwater” color, (10:27) is a TV rarity— haunting melancholy. signatures, swingin’ under- Hombre (w/Paul Newman, by Alfred Newman opens Rosenman (34:43), plus TV seafaring melodies. $19.95 sounds like Flint music. $19.95 scoring and larger action 21:30) is moodier, sensi- the movie and CD. $19.95 series theme (1:13). $19.95 $19.95 setpieces. $19.95 tive—a quiet gem. $19.95

TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9598 • Fax 1-310-253-9588 • Online www.filmscoremonthly.com SOLD OUT! Sorry, all gone...

 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 The Omega Man Take a Hard Ride The Flim-Flam Man/ Rio Conchos Married Man JERRY GOLDSMITH of the Apes RON GRAINER JERRY GOLDSMITH A Girl Named Sooner JERRY GOLDSMITH JOHNNY WILLIAMS Film released: 1970 LEONARD ROSENMAN Film released: 1971 Film released: 1975 JERRY GOLDSMITH Film released: 1964 Title Song Perf. by The Turtles 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 • Mono/Stereo (combo) • 75:28 CD released: July 2000 Score balances aggres- Stereo • 72:37 Sci-fi classic features one- Strange “blaxploitation,” Stereo (Flim-Flam)/Mono Early Goldsmith western is Stereo • 73:10 sive action with avant- Complete film score (46:03) of-a-kind symphonic/pop western gets wonderful (Sooner) • 65:20 presented complete (55:43) “Johnny”’s most elaborate garde effects, Japanese plus 1970 LP re-recording fusion, and unforgettable symphonic score, great An Americana double- in mono, with some cues comedy underscore. $19.95 instrumentation. $19.95 and FX (26:34). $19.95 themes. 19.95 main theme. $19.95 header. $19.95 repeated in stereo. $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 All About Eve/ The Comancheros Prince of Foxes Monte Walsh Prince Valiant Patton/The Flight 100 Rifles 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 FRANK DE VOL Studio: 20th Century Fox Genre: John Wayne/Western Genre: Historical Adventure Genre: Western Genre: Historical Adventure Genre: Western Studio: 20th Century Fox Film released: 1970/65 Silver Age Classics Golden Age Classics Silver Age Classics Golden Age Classics Silver Age Classics Genre: Drama Studio: 20th Century Fox CD released: Sept.1999 CD released: July 1999 CD released: June 1999 CD released: May 1999 CD released: Mar. 1999 Golden Age Classics Genre: WWII/ Adventure Stereo • 47:44 Stereo • 46:39 Mono (1 track. in stereo) 61:51 Stereo • 62:17 Stereo/Mono (combo) • 77:08 CD released: Nov. 1999 Silver Age Classics Mono (2 trks. in stereo) • 44:19 “Lost” Tyrone Power Revisionist western gets Colorful 1954 adaptation An explosive OST, full of Elmer Bernstein’s first CD released: April 1999 Eve is a cinema master- historical adventure gets vintage John Barry score of the epic comic strip Stereo • 76:24 Mexican colors and guttur- score for John Wayne is a piece: Heaven is brooding exciting, robust score, 20 years before Dances features stirring score a la Two complete OSTs on a al action. CD presents two western gem. $19.95 film noir. $19.95 mixed in stereo. $19.95 With Wolves. $19.95 Star Wars. $19.95 single disc . $19.95 versions of 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/ Fantastic Voyage The Paper Chase/ The Stagecoach/The Loner Mad Monster Party Deadfall The Taking of I Bury the Living/ LEONARD ROSENMAN Poseidon Adventure JERRY GOLDSMITH MAURY LAWS JOHN BARRY Pelham 1-2-3 The Cabinet of Caligari/ Film released: 1966 JOHN WILLIAMS Film released: 1966/1965 Film released: 1998 Film released: 1968 DAVID SHIRE Studio: 20th Century Fox Studio: Rankin/Bass Studio: 20th Century-Fox Studio: 20th Century Fox Film released: 1973/72 Film released: 1974 Mark of the Vampire Genre: Western (film/TV) Genre: Animagic Genre: Heist caper Genre: Sci-fi Studio: 20th Century Fox Studio: M-G-M Genre: Drama/Disaster Silver Age Classics Percepto/Retrograde Records Retrograde Records Films released: 1958/58/62/57 Genre: Thriller Silver Age Classics Silver Age Classics CD released: May 1998 CD released: 1997 CD released: 1997 Studio: UA/ 20th Century Fox Retrograde Records CD released: Sept. 1998 CD released: July 1998 Stereo (Stagecoach)/ Stereo 36:48 Stereo 40:23 Genre: Horror • Silver Age Classics CD released: 1996 Stereo • 47:28 Stereo/Mono (combo) • 75:53 Mono (Loner) • 45:25 30th Anniversary collector’s Features “Romance for Stereo & Mono • 30:55 CD released: Jan. 1999 • Mono Classic western film plus Disc One: 61:06 Disc Two: 73:20 Sci-fi classic gets imagina- Two complete ’70s scores edition features score and Guitar and Orchestra,” & title Unparalleled ’70s 12-tone jazz/ theme and two episode 2-CD release of creepy, early tive, avant garde score; a plus the main title (6:07) to the vocal talents of Boris song by Shirley Bassey, plus funk fandango on FSM’s first scores for TV series. $19.95 horror scores. $29.95 signature work. $19.95 Conrack (1974). $19.95 Karloff & Phyllis Diller. $16.95 two rare alternates. $16.95 album release. $16.95

Getting the Best Score for Your Film: BOOKS FOR COMPOSERS A Filmmakers’ Guide to Music Scoring by David Bell NEW!!! 2003 Film/TV Music Guide From the Music Business Registry A respected TV composer, Bell wrote this book in 1994 to help producers and Isn’t your career worth it? An exhaustive directory of record labels, music pub- directors get the most out of film music. Aimed at filmmakers, this book also lishers, film/TV music depts., music supervisors, music editors, composer rep- provides useful info for pros—and fans. Topics include spotting, communicating, resentatives, composers, clearance companies, recording studios, performing recording, budgeting and licensing, with explanations of the personnel and enti- ties involved in each; plus lists of agents, clearance companies, glossary terms rights societies, and music libraries—names, addresses and numbers. $94.95 and resources. Silman-James Press, 112 pp., softcover. $12.95 8 Sound and Vision: 60 Years of Motion Picture Soundtracks BOOKS FOR MUSIC LOVERS by Jon Burlingame Foreword by Leonard Maltin The Score: Interviews with Film Composers by Michael Schelle Journalist and historian Burlingame’s conducts an overview of film compos- This 1999 book uses a & A format to converse with contemporary composers, ers and history in clear and direct prose. Comprised of composer mini-bios, featuring lengthy transcripts with Barry, Bernstein, Blanchard, Broughton, Chihara, with reviews of their most notable works and photo portraits, there is also Corigliano, Howard, Isham, Licht, McNeely, T. Newman, Shaiman, Shore, Walker a thorough overview of soundtrack album history (LP and CD), a section and C. Young. Written by a composer, who delves deeply and precisely into each devoted to song compilation reviews, and a helpful movie music bibliogra- composers’ ideas. Silman-James Press, 432 pp., softcover. $19.95 phy. Billboard Books, 244 pp., softcover. $18.95

TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9598 • Fax 1-310-253-9588 • Online www.filmscoremonthly.com The Music of Star Trek: Profiles in Style by Jeff Bond Stu Who? Forty Years of Navigating the Minefields of the Music Business by Stu Phillips The first-ever history of Star Trek scores, from 1966 thru 2000—by FSM’s editor-at-large. With interviews of composers Goldsmith, Courage, Stu Phillips’s career encompasses groovy cult films (Beyond the Valley of Fred Steiner, Fried, Ron Jones, McCarthy, Chattaway, producer Robert the Dolls) and virtually every Glen Larson TV show ever produced (Battlestar Justman, music editor Gerry Sackman and others, the book contains a Galactica, Knight Rider). Stu Who? is his candid, breezily told memoirs full of complete list of music written for four TV series; a guide to score tracking exciting stories from the worlds of arranging, music directing, record producing, and credits; Trek manuscript excerpts from the composers; and several and film and TV scoring. Published Cisum Press, 304 pp., hardcover, illustrated. cue sheets. Lone Eagle Publishing. 224 pages, softcover, illustrated. $17.95 $29.95

Overtones and Undertones: Reading Film Music Memoirs of a Famous Composer— Nobody Ever Heard Of by Earle Hagen by Royal S. Brown Composer Hagen (b. 1919) has had an outstanding career: as a trombone player The first serious theoretical study of film music explores the relationship between with ; working under Alfred Newman at 20th Century Fox; and as movie, music and narrative, chronicling the its aesthetics through several eras. a composer/music director for thousands of hours of television, including I Spy, Key works analyzed include The Sea Hawk, Double Indemnity, Laura, those of The Mod Squad and The Andy Griffith Show. He wrote the standard, “Harlem Prokofiev and Eisenstein, Herrmann and Hitchcock, and several scores for Jean- Nocturne,”and authored two books on film composing. This is Hagen’s story, filled Luc Godard. Also features probing interviews with Rózsa, Raksin, Herrmann, with charming anecdotesand some of the biggest names in movie music. Xlibris Mancini, Barry and Shore. U.C. Press. 396 pp., softcover. $24.95 Corporation. 336 pages, hardcover. $34.95 Hugo Friedhofer: The Best Years of His Life A Heart at Fire’s Center: Edited by Linda Danly, Introduction by Tony Thomas The Life and Music of Bernard Herrmann by Steven C. Smith The gifted musician of The Best Years of Our Lives, Above and Beyond and Soldier The most influential film composer of all time, who scored Citizen Kane, Psycho of Fortune was considered by his peers to be the most sophisticated practitioner of and Taxi Driver, Herrmann (1911-1975) was as famous for his musical passion as their art. Friedhofer (1901-1981) gave a lengthy oral history to the AFI, rife with anec- his bad temper. This hard-to-find 1991 book is his definitive biography, covering his dotes, opinions and wit, which is the centerpiece of this book. With a short biogra- film, television, radio and concert work as well as his personal life. It’s a brilliant NEW softcover ed. illumination of Herrmann and probably the best film composer biography ever NEW lower price! phy by Danly, the eulogy from Friedhofer’s memorial by , a filmography, photographs and more. The Scarecrow Press, 212 pp., softcover. $24.95 written. University of California Press. 416 pp., hardcover. $39.95

U.S. Soundtracks on CD: Scores for Motion Pictures and TV 1985-1999 Music for the Movies 2nd Edition by Tony Thomas Price Guide by Robert L. Smith The original film music book ( written in 1971, updated in 1997), tells the stories FSM’s 2nd market-standard price guide contains 2,400+ album titles with of Hollywood’s most successful composers. Composers featured (many with composers, label numbers, collectible info and estimated values. Listings are photos) include Stothart, V. Young, Green, Newman, Tiomkin, Waxman, Kaper, annotated to differentiate between originals, reissues, commercial albums and Rózsa, Steiner, Korngold, Herrmann, Raksin, Antheil, Thompson, North, Bernstein, promos. Smith surveys the market and provides a checklist for the top 50 collect- Duning, Rosenman, Goldsmith, Mancini, Schifrin, Scott, Shire, Broughton and ible CDs. Vineyard Haven LLC, 154 pp., softcover. $17.95 Poledouris. Silman-James Press, 330 pp., softcover. $19.95

Film Music and Everything Else! Music, Creativity and Culture as Seen by a Hollywood Composer by Charles Bernstein Essays by the composer of Nightmare on Elm Street, Sadat, Cujo and others. Originally written for the quarterly journal of the Society of Composers and Lyricists, topics include: melodies, “hummers,” emotion and more. It’s a rare oppor- tunity to read opinions and musings from one film composer directed toward his peers. Turnstyle Music Publishing, 132 pp., softcover, limited to 500 copies. $18.95

BACK ISSUES OF FSM • VOLUME ONE, 1993-96

24 pp. unless noted. CDs; Nightmare Before Christmas. #50, Oct. ’94 A. Asterisk (*) indicates photocopies. *#40, Dec. ’93 16 pp. Kraft/Redman 4; Re- Silvestri; M. Isham; sex & soundtracks; Collecting 3; Davy Crockett LPs. *#30/31, Mar. ’93 64 pp. M. Jarre, B. recording . Schifrin concert; Morricone/Beat; the *#64, Dec. ’95 D.Elfman Pt. 2, S. Bartek, VOLUME TWO, 1997 Poledouris, J. Chattaway, J. Scott, C. *#41/42/43, Mar. ’94 48 pp. E. Goldenthal; Internet; Recordman/liner notes. Recordman/Blaxploitation; Kamen 3; re- First color covers! Issues 32-48 pp. Young, Morricone albums,1992 in review. J.N. Howard; Kitaro & R. Miller; R. *#51, Nov. ’94 H. Shore; T. Newman; J. P. recording House of Frankenstein. *Vol. 2, No. 1, Jan./Feb. ’97 Star Wars: *#32, Apr. ’93 16 pp. Matinee temp-track, Portman; ; Star Wars trivia; sexy Robinson; Lukas’s Mom; music of Heimat, *#65/66/67 Mar. ’96, 48 pp. T. Newman; Williams interview; Special Edition CDs. SPFM ’93 Conf., Star Trek editorial. LP covers; ’93 in review. Star Trek. Takemitsu; Robotech; Star Trek; 10 *Vol. 2, No. 2, Mar./Apr. ’97 A. Clausen; *#33, May ’93 12 pp. Book reviews, *#44, Apr. ’94 J.McNeely; B. Poledouris; *#52, Dec. ’94 E. Serra; M. Shaiman; Influential composers; Glass; H. Villa- promo CDs; Congress in Valencia; Readers classical/film connection. SPFM: Morricone. Sandy De Crescent; Valencia Film Music Lobos; songs in film; best of ’95; film score Poll ’96; “Into the Dark Pool” 2 *#34, Jun. ’93 16 pp. SPFM: Goldsmith; *#45, May ’94 R. Newman; G. Revell (The Conference; SPFMPt. 1; StarGate; documentary reviews. *Vol. 2, No. 3, May ’97 Michael Fine: Orchestrators; Lost in Space; Herrmann; Crow); Goldsmith concert, Schindler’s List; Shostakoholics Anonymous. *#68, Apr. ’96 The Taking of Pelham One Re-recording Rózsa; Poltergeist, Mars C.Young; Bruce Lee scores. Instant Liner Notes. *#53/54, Feb. ’95 M. Shaiman Pt. 2; D. Two Three; C. Burwell; gag obituaries; Attacks!, Rosewood; Lukas/Bond reviews. *#35, Jul. ’93 16 pp. David Kraft; John *#46/47, Jul. ’94 P. Doyle, J.N.Howard; McCarthy; Sergio Bassetti; Jean-Claude Apollo 13 promo/bootleg tips. *Vol. 2, No. 4, Jun. ’97 D. Elfman, Promos 2, Beal Pt. 1; scores vs. songs; Herrmann J.Morgan (on H. Salter); Mancini tribute; Petit & ; Academy *#69, May ’96 Plan 9 from Outer Space; M. Denny & Exotica, Lady in White; Brian Christmas; Film Composers Dictionary. M. Nyman, collectibles. Awards Pt. 1; rumored & quad LPs. Movie music glossary; Herrmann & Rózsa May obit, The Fifth Element. *#36/37, Nov. ’93 40 pp. Bob Townson ; *#48, Aug. ’94 M. Mancina (Speed); C. *#55/56, Apr. ’95 B. Poledouris; A. Silvestri; on radio; Irwin Allen; “Into the Dark Pool.” *Vol. 2, No. 5, Jul. ’97 E. Goldenthal, M. R.Kraft & N.Redman; ; CAM CDs; Cirino & P. Rotter; aspiring composers J. Lo Duca; Oscar & Music 2; Recordman’s *#70, Jun. ’96 Mancina, desert isl& lists, Mancina, G.S.Clinton, ASCAP & BMI nites; E. Bernstein fantasy scores. advice; CAM CDs; Cinerama LPs. Diary; SPFM Conf. 2. summer movies; TV’s Biggest Hits review. Crash, Lost World. *#38, Oct. ’93 16 pp. J.Debney; Kraft/ *#49, Sept. ’94 H. H. Zimmer; S. Walker; L. *#57, May ’95 Broughton; M. Goodman; ’94 *#71, Jul. ’96 D. Arnold; M. Colombier; Vol. 2, No. 6, Aug. ’97 L. Schifrin, J. Powell, Redman 2. Rosenthal; H.Salter; J. Williams; record Readers Poll; Goldsmith concert. Recordman/Congress; summer round-up. Shaiman; Tony Thomas; Summer movies, *#39, Nov. ’93 16 pp. Kraft/Redman 3; Fox flea market. *#58, Jun. ’95 M. Kamen; Royal S. Brown; *#72, Aug. ’96 10 Best Scores of ’90s; TV sweeps. Recordman/Annette; History of Soundtrack T. Newman; Escape from L.A.; cond. J. *Vol. 2, No. 7, Sept. ’97 Zimmer vs. FSM, Collecting. Mauceri; ref. books; A. Ifukube CDs. M. Beltrami, ; Film Music as EXCLUSIVE VIDEO! *#59/60, Aug. ’95 48 pp. Sex Sells; M. *#73, Sept. ’96 Recordman on War ; Fine Art, Recordman. Basil Poledouris: His Life and Music An intimate visit Jarre; Soundtrack Collecting 2; Rózsa Monstrous Movie Music; Ifukube CDs 2; *Vol. 2, No. 8, Oct. ’97 Poledouris, Shore, with the composer of Conan the Barbarian, Big Wednesday Remembered; film score concert debate. Miles Goodman obit. Zimmer vs. FSM 2, Alloy Orchestra; Golden and Lonesome Dove. The 50-minute video includes footage *#61, Sept. ’95 E. Goldenthal, Kamen 2, C. *#74, Oct. ’96 ’90s Action Scores; Cine Age CDs. of Basil conducting and at work on synthesizer mock-ups of Lennertz; Star Trek: TMP, Music ’96 (Barry, Zhou Jiping); Vic Mizzy. Vol. 2, No. 9, Nov./ Dec. ’97 D. Arnold; J. Starship Troopers, as well as behind-the-scenes and family for film score fans. *#75, Nov. ’96 Barry Interview; J.Bond’s Frizzell; Neal Hefti; U-Turn & The Mephisto photos, and appearances by wife Bobbie and daughter Zoë. *#62, Oct. ’95 D. Elfman; R. Townson; J. reviews; Recordman on War 2. Waltz, Razor & Tie CDs. “Meet” the man behind the music, in a way you’ll never see on Ottman; 10 Influential Scores; Jerry video. *#76, Dec. ’96 R. Edelman, J. Barry 2, R. TV, or experience in print. Specify NTSC (U.S.) or PAL (European) $19.95 *#63, Nov. ’95 James Bond Special! Cooder; Laserphile, Lukas’s reviews. (continued next page) J. Barry; E. Serra; History of Soundtrack

TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9598 • Fax 1-310-253-9588 • Online www.filmscoremonthly.com (‘60s); concert advice for Jerry. Guide; The Mummy Returns, Swordfish; D. Arnold (Die Another Day); W. Ross Vol. 8, No. 8, Sept. ’03 LOVE THAT BOOB VOLUME THREE, 1998 Vol. 4, No. 9, Nov. ’99 COMPOSER Hoyt Curtin; Epics on DVD; Atlantis The (Harry Potter, Tuck Everlasting); George TUBE: Alias, Carnivale, Penn & Teller’s Expanded format! Issues 48 pp STAMPS; Papillion; Peter Thomas; Lost Empire. Feltenstein (Turner Classic Movies); CD Bullshit! & Boomtown; Staff picks; Indiana *Vol. 3, No. 1, Jan. ’98 Williams Buyer’s Inspector Gadget; The Thomas Crown Vol. 6, No. 5, June ’01 SERGEI PROKOFIEV; Wishlist; Omaha’s Orpheum Theater. Jones and the Temple of Doom; M. Guide 1, M. Danna, Titanic‘s music super- Affair; BMI awards. Friedhofer & Fox; Ghostbusters; J. Danna, Vol. 7, No.10, Dec. ’02 Barwood on Dragonslayer & *batteries visor, Silvestri lecture, Rykodisc CDs. Vol. 4, No. 10, Dec. ’99 SCORES OF R. Shore; Bender at Chiller, more. TOWERING ACHIEVEMENTS: H. Shore not included. *Vol. 3, No. 2, Feb. ’98 Glass, Williams SCORES: animation, Morricone, horror, Vol. 6, No. 6, July ’01 PLANET OF THE (The Two Towers); P. Glass (The Hours); Vol. 8, No. 9, Oct.-Nov. ’03 MATRIX Buyers Guide 2, D. Amram, Goldsmith on Golden & Silver Age Hollywood, concert APES; H. Zimmer; Horner Guide 2; Ray Ellis (Filmation cartoons!); The Alloy CONCLUSIONS: D.Davis; “Dumped”: 50+ Varèse, Pendulum CDs; TV CDs. work CDs. Goldenthal; Shore; Williams. Orchestra, Spy Notes (secret agent discs); cut & altered scores; The Gospel of Jeff Vol. 3, No. 3, Mar./Apr. ’98 Titanic/ Vol. 6, No 7, August ’01 Adaptation & Punch-Drunk Love. Danna; M. Isham; LOTR concerts. J.Horner, Best of 1997, Cinerama, Greig PART 1; Moulin Rouge; J. Morgan on Vol. 8, No. 10, Dec. ’03 SHORE RETURNS: McRitchie, Fox Newman Stage, Oscars. VOLUME FIVE, 2000 Golden Age Scores; Schifrin, Jones, At the Return of the King sessions; Final Vol. 3, No. 4, May ’98 B. Broughton, D. 48-64 pp.each Diamond & Debney; Score Internationale; VOLUME EIGHT, 2003 tribute to ; G. Yared (Cold Arnold; CE3K restoration; Williams Guide Vol. 5, No. 1, Jan. ‘00SUPERMAN:THE Random Play. 48 pp.each Mountain); Holiday DVD roundup. 3; Ed Shearmur; Fox Classics CDs. MOVIE CD reissue: film, cue sheet Vol. 6, No 8, September ’01 ANGELO Vol. 8, No. 1, Jan. ’03 JOHN WILLIAMS *Vol. 3, No. 5, Jun. ’98 M.Snow, Classic analysis, ’50s TV score; H. Shore (Dogma); BADELAMENTI (Mulholland Drive); N. INTERVIEWED (finally!); The Best & the Godzilla; J. Chattaway; Broughton Buyers Goldenthal, Barber, Tyler, Debney, Robbins; Carolina School of the Arts; Quincy Jones Worst of 2002; Star Trek film scores. VOLUME NINE, 2004 Guide; D. Reynolds, D. McCarthy, Anne Pocket Reviews debut, Laserphile. Pt 2; Earle Hagen; Halloween DVDs; more. 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Berry, B.Howell), I. Newborn; Taxi Driver, Vol. 5, No. 3, Mar. ’00 How to burn Phantom Vol. 6, No. 10, Dec. ’01 SCORES OF SCORE (The Hunted, Children of Dune); J.Ottman Vol. 9, No. 2, Feb. ’04 JAMES THEN AND BMI & ASCAP dinners, Broughton Guide Menace CD at home; Readers picks for reviews; Alejandro Aménabar (The (X-Men 2); D. Davis (Matrix Reloaded). NOW; James Horner’s first FSM interview; 2; Schifrin, Bernstein & Legrand. ’99; Film vs. concert music; C.H. Levenson’s Others); G. Yared; Hobbit music; C. Young, Vol. 8, No. 4, Apr-May ’03 conclusion of the Horner Buyer’s Guide; *Vol. 3, No. 8, Sept. ’98 L.Schifrin; B.Tyler; “last” letter, reader survey. H. Gregson-Williams, R. Kent, M. Isham. MEET THE FOLKS: H. Shearer & M. J. Debney (The Passion of the Christ); B.T. T. Jones; Williams premiere, ASCAP semi- Vol. 5, No. 4, Apr./May ’00 McKean (A Mighty Wind); M. Hamlisch; (Monster); Composers in South Park. nar, Rykodisc CDs. BERNARD HERRMANN: 10 Essential G. 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TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9598 • Fax 1-310-253-9588 • Online www.filmscoremonthly.com SCORE (continued from page 34) a fascinating adagio centered Thematic lines generally display a around a lyrical melody that plays distinct Indian flavor, but there are over a variety of military trumpet Western influences. There are also calls and responses. several percussion sequences that This is one of those scores reveal the source film material. that’s a necessity for all serious Like similar concept albums, there film music collectors. There are is little emphasis on development great depths to explore, beyond of ideas beyond a couple of min- the familiar title piece. On the utes. There are moments when a downside, the sound quality distinct voice shines through and is far inferior in the previously other times when the gestures are unreleased tracks, with distortion typical of film music. For some being a problem. Still listeners, the eclectic nature of these extras are worth hearing the music will be very appeal- and are welcome additions to this ing, but for those less familiar expanded edition. with soundtrack albums, it may Unlike more recent Morricone be difficult to follow the musical re-releases, this one does not threads. include alternate versions (if any The score is ably performed notable ones exist at all). The DVD by the Czech Film Orchestra release is also worth checking out and Chorus conducted by Matt for some of its extras, which will Dunkley. Sony’s recording is crisp, include a featurette with the com- with a great ambient orchestral authenticity unmatched by pops The Good, the Bad and the Ugly: poser and a segment on the audio 1 sound and a chorus that’s brought orchestras, since many of the Expanded Edition (1966)  /2 re-recording (see our feature on to the forefront. —S.A.K. musicians “moonlighted” in the ENNIO MORRICONE page 35). —S.A.K. studio orchestras. In each of these Capitol • 21 tracks - 55:03 Miklós Rózsa Conducts performances, we get concert t’s been about 40 years since The Longest Day: The Ultimate World His Epic Film Scores  endings where appropriate, but Ithe world was introduced War Movie Theme Collection  MIKLÓS RÓZSA mostly re-recorded set pieces to Ennio Morricone’s distinc- HANS ZIMMER, PAUL ANKA, VARIOUS DRG 19060 • 15 tracks - 58:44 from the represented scores. The tive score for the final chapter of Prime Time TVPMCD 812 RG has been skimming the music should all be quite famil- Sergio Leone’s epic western trilogy. Disc One: 14 tracks - 56:27 DCapitol Records catalog the iar to Rózsa fans, but something This May, MGM released a 2-DVD Disc Two: 12 tracks - 62:16 past year or so with some inter- about these older performances Collector’s edition of the classic Disc Three: 13 tracks - 63:33 esting reissues of a variety of film gives them an edge over later 1966 Eastwood film, The Good, the Disc Four: 14 tracks - 62:04 scores. Now they have managed recordings, even though they Bad and the Ugly, and EMI/Capitol ilva Screen has repackaged to license a classic recording of might be more polished and follows up with an expanded Sa “new” four-disc set (using Miklós Rózsa’s epic film music to note-perfect. The subtlety in the CD of the complete score. This the Prime Time label) of war film Ben-Hur, El Cid, King of Kings and performance of “Mother’s Love” re-release features 10 previously music commemorating the 60th Quo Vadis?, along with a perfor- from Ben-Hur is particularly exqui- unavailable tracks and has been anniversary of D-Day. The chosen mance of the Spellbound Concerto site. The brass in some cues are remastered in 24-bit sound. title is reminiscent of an early with Leonard Pennario on piano. stretched, but there is a constant European readers take note that single disc release from 1994. All The recordings were all done enthusiasm present that exceeds this is the American release of a 20 tracks from that CD are redis- with Rózsa himself conducting the overall brashness. At the price, CD that appeared overseas a few tributed over the four discs here. the Hollywood Bowl Symphony this is an excellent introduction to years ago. Silva’s 2000 compilation Hollywood Orchestra in the mid-1960s, Rózsa’s finest music. The classic main title opening, Goes to War is also revisited here, except for the concerto, which The production is equally fine. while still suffering from poor as some of that disc’s content was released in 1960. Some of The discussion of the music is original recording techniques, has came from scores for World War the disc’s selections (primarily concise but still exemplary for far greater detail in this transfer II films—in fact, all of disc two those for El Cid and King of Kings) a release of this type. The fold- than in past versions. The music and roughly half of disc one of appeared on an EMI/Angel reis- out booklet features one panel itself is, of course, a marvel. One that release are duplicated. And sue a few years ago, coupled with of photos for each film and an can scarcely help but revel in if you’ve purchased Silva’s Jerry music composed and conducted attractive, eye-catching front Morricone’s amazing mixture of Goldsmith, Bernard Herrmann, by Alfred Newman. This specific cover. It would have been nice to distinctly baroque orchestral writ- , Alfred Newman, suite from Quo Vadis? appears on have included the original cover ing with more pop and avant- John Williams, Disaster or British CD for the first time. notes (if there were any) but this garde ideas. Everything that is film music discs, then you already The Hollywood Bowl was, and is a minor carp. If you missed the great about Morricone’s style for own most of these tracks. still is, the premiere orchestral earlier EMI release, this release is this genre finds its way into The There are also odd inclusions, body performing Hollywood worth adding to your collection. Good, the Bad, and the Ugly. “Il Forte” like music from Lifeboat, and film music with a kind of —S.A.K. is an amazing piece, filled with excerpts of classical pieces used

JUNE 2004 36 FILM SCORE MONTHLY FILM SCORE MONTHLY 43 JUNE 2004 SCORE in war films that shouldn’t have than a bunch of military marches. Montgomery Clift’s affections). Warren-Jack Brooks classic “That’s been necessary considering all the Hats off to whoever chose the None of these tabloid tidbits have Amore” from the movie The Caddy great original war music out there. general flow of each disc, because done anything to obscure Martin’s (later memorably employed over One track even cuts together per- there is enough variety and inter- popularity or detract from his the main titles of Moonstruck). Dino formances from two completely est to make for a pleasant listen. status as one of the most beloved seems right at home singing the different orchestras and conduc- The discs will sell for $30 to $40; entertainers of his generation. praises of gay tarantellas and tors! At least Jerry Goldsmith’s a fair price for the average music As audio tributes go, this pasta e fagioli while a sprightly Philharmonia recording of the browser, to whom this set will Capitol compilation is welcome chorus joyfully echoes his senti- “General’s Suite” is here (it was likely appeal the most. —S.A.K. but by no means definitive. The ments. Five years later, Martin also on a reissue released one roster includes most of Martin’s would captivate listeners with year ago). Dino: The Essential greatest hits, though apparently “Volare,” a lyrically nonsensical 1 As someone who generally  /2 no efforts were made to include but melodically gorgeous hymn stomachs “pops” performances, VARIOUS any rare or previously unreleased to life above the clouds (the title— I often enjoy Silva’s film music Capitol • 30 tracks - 78:00 recordings that would have which was Dino’s idea—is actually compilations. Of course, the ith pre- been a boon to Dino’s die-hard the Italian infinitive for “to fly”). performances range from great Wparing a big screen biopic admirers. The collection kicks Comparisons to Crosby and to frustrating. The good news is of quintessential hipster Dean off with “Powder Your Face With were inevitable as that many of the choices here Martin, the time seems right for Sunshine,” and Martin sounds Martin often sounds like one or are from some of Silva’s better Capitol Records to roll out Dino: like a dead ringer for his pop the other. It’s a shame that Dino performances, and those that fea- The Essential Dean Martin, a collec- predecessor Bing Crosby. Even as wasn’t entrusted with weightier, ture the infamous City of tion of the crooner’s most success- early as 1949, the suave stylings more introspective material such Philharmonic are from newer ful chart toppers. Since his death and mellifluous tone are already as the type of ballads Sinatra tack- recordings. And even though the in 1995, Martin has been the sub- in place, not to mention that led in Only the Lonely or September recordings must span a decade, ject of several biographies which irresistible, easygoing demeanor of My Years. Martin was certainly they have all been excellently have reported their fair share of that would eventually become talented enough to handle more recorded and mastered. juicy revelations (Dino’s cozy con- part of Martin’s winning on-stage challenging assignments, and This four-disc set features 53 nections to the mob, chronic phi- persona. this collection would have been selections and over four hours of landering, fondness for Percodan, By 1953, Martin would hit immeasurably enhanced music, which is a whole lot more being the object of matinee idol kitsch paydirt with the Harry (continued on page 48)

JUNE 2004 44 FILM SCORE MONTHLY FILM SCORE MONTHLY 45 JUNE 2004 SCORE REISSUE CORNER A Masterpiece Restored Ennio Morricone and Sergio Leone’s classic team-up is back!

By Bruce R. Marshall

he Good, the Bad and the

Ugly is one of the most Tfamous films ever made. It has been endlessly imitated and

parodied; its title has become part

of the vernacular, its five-note theme

instantly recognizable, and its dia-

logue famously quotable (“When

you have to shoot, shoot! Don’t

talk!”). Yet, its artistic merits have

often been overlooked. Classified, MADE OUR DAY: Eli Wallach and Clint Eastrwood face off .

derogatorily, as a “,” the film especially, For a Few Dollars More had a unique sizes action over dialogue. Several lengthy is, on the surface, a tale of greed, gold and style and sound. No other film scores sounded sequences are clearly edited to music (“Ecstasy six-guns. But underneath the shootouts and even remotely like them. GBU has a boldness of Gold” was shot to prerecorded score). The action is one of the most powerful anti-war and textural richness that goes beyond those last 15 minutes of the film is practically an statements ever put on film. It is this thematic innovative efforts (for example, compare the opera without the singing. element that raises Sergio Leone’s film to the employment of soprano Edda Dell’Orso in Emotional Impact Morricone is a conser- level of a great work of art. FAFDM’s “Vice of Killing” with her use here). vatory-trained musician with great technical And it’s great fun, too! While musicologists may detect the influ- facility. Yet he writes music that is aimed more The last two years have been a time of ence of Rodrigo or Varèse in some passages, at the heart and soul than the intellect. No answered prayers for fans of the score and I maintain that Morricone comes as close as is other score makes my heart pound with such film. First, GDM/Hexacord of Italy released an humanly possible to being a true original. excitement. When I hear “Main Title,” “Ecstasy expanded edition of the soundtrack contain- Only the great Bernard Herrmann rivals of Gold” or “Trio,” I literally jump out of my ing never-before-released music. Then, a new his genius for orchestration. In addition to a seat and conduct an imaginary orchestra! He print of the film was released theatrically that standard orchestra, Morricone regularly uses is a master at creating tension and suspense contained scenes that had previously only chorus, female solo vocal, male solo vocal and through the employment of long pedal points— appeared in the non-dubbed Italian version. whistler, electric guitar, electric bass, acoustic often ending them with a charging, repeating Now, a domestic version of the CD and a guitar, castanets, amplifier noise, electric organ, three-note “horses hoof” beat (e.g., “Main Title”). DVD of the longer film version are coming to harpsichord, ocarina, Jew’s harp, harmonica, At the other end of the emotional spectrum are a store near you! piano and more. the heartfelt “horror of war” pieces; “Death/ Variety This is not a standard “theme and Ballad of a Soldier” moves the soul. The Music variations” score. There is an amazing variety Listenability This is simply a damn enter- A huge reason for the success of the film is of thematic material (see below). Plus, the the- taining soundtrack: exciting, humorous (a rare the magnificent music of Ennio Morricone. I matic variations and motivic transformations commodity), scary, suspenseful, sad. Mournful consider The Good, the Bad and the Ugly to be the are endlessly inventive (e.g., how Morricone ballads and rousing action-packed tracks greatest score ever written for a motion picture. transforms the four-note piano ostinato to coexist. About the only thing missing is a love Hyperbole? Consider these factors: acoustic guitar in “Trio”). theme (this is understandable since the only Originality Morricone’s music for the pre- Importance Has any non-musical film ever prominent woman in the story is a prostitute vious Leone westerns A Fistful of Dollars and, relied more on its score? Leone’s style empha- who is gang-raped and beaten). The music is

JUNE 2004 44 FILM SCORE MONTHLY FILM SCORE MONTHLY 45 JUNE 2004 REISSUE CORNER not background or underscore. It is an up-front rus over Morricone’s distinctive bed of strings. and crucial element in the drama. Morricone an alternate score? Then the theme from “Ballad of a Soldier” doesn’t write programmatic, literal (i.e., “mickey (discussed below) appears on horn. Another mousing”) music. Even though the score and long sequence carried by the mournful music, action are so intertwined in the film, the music it is one of the saddest sequences ever filmed. still stands on its own away from the film. Unforgettable. “The Ecstasy of Gold” Can anyone doubt The Original Soundtrack Album the genius of the Leone/Morricone collabo- Released in the U.S.A. in 1968, the album ration after this? What can I say about this soon went gold. It was one of the few monumental fusion of image and sound? soundtracks to do so without being associated On the Film Score Daily message board, web with a hit song. And the album has always posters have cited “Ecstasy of Gold” under the remained in print. following self-explanatory topics: “Main Title” This was a Top 10 hit for “Most Perfectly Scored Scene Ever” Hugo Montenegro and has been covered by “Nailing the Moment” numerous rock bands. However, you have not “Singular Theme for a Singular Scene” heard it if you haven’t heard the film version. “Movie Tunes You Just Can’t Get out of Your Head” Morricone’s orchestration is innovative and “Favorite Moment from a Score” inimitable. The middle section, where the “What Is Your Favorite Cue of All Time?” trumpets do a complicated call and response, IF YOUR APPETITE ISN’T SATISFIED BY THE “Best Film Score Moments on Screen” has never been duplicated in any cover version. expanded CD of GBU, you might want to check Pay particular attention to the trumpet playing out Morricone’s great score for Sergio Sollima’s I love how Morricone punctuates (Morricone himself is a trumpeter). Extremely La Resa dei Conti (The Big Gundown). Written in ostinato with a single strike of the tubular bells. difficult passages are rendered superbly. The a style very similar to GBU (with a different female It’s flourishes like these that make his music so composer layers on the sound in a manner vocalist), it is probably Morricone’s best western memorable and open to repeated listens. that never sounds cluttered. And the percus- score outside the Leone films. In fact, it is just “The Trio” Morricone’s unsurpassed gifts as a sion drives it all home, leaving you breathless. possible that some of the music for this film was musical dramatist are showcased in this mag- Kudos to conductor Bruno Nicolai for weaving indeed originally composed for GBU (there is even nificent, multi-part epic. I have seen GBU many so many musical elements—orchestra, electron- a track entitled “The Desert”). The dates match, times, and I still get goose bumps every time ics, chorus—into a stunning whole. and Leone had publicly stated that Morricone I see/hear the beginning of this scene. As in “The Sundown” A quiet Spanish-flavored wrote a lot of music for him that he ended up “Desert” and “Ecstasy,” the music starts off sub- piece featuring acoustic guitar over a bed of rejecting, and that later turned up in other direc- dued. The woodwinds play a simple melody strings. Notice how the guitar arpeggios and tors’ films! GDM has issued an expanded CD of La outlining the chord progression—lasting only trills quicken when Angel Eyes (Lee Van Cleef) Resa dei Conti. At the least, I would recommend eight measures, but somehow perfectly set- moves into the frame (in extreme close-up, of the Intermezzo Media import, which also includes ting the stage for the showdown the film has course). A classic Leone touch. Morricone’s excellent score for Sollima’s Faccia a been leading to for over two-and-a-half hours! “The Desert” This is the first of Leone’s Faccia (Face to Face). —B.R.M. Subsequent bars introduce flamenco guitar, sequences (containing minimum dialogue) castanets and then, unexpectedly, mariachi that relies heavily on music to carry the action create a far-away, echoing quality. (I wonder if trumpet. This last addition reinforces the visual and convey the emotion. After a subdued pas- Jerry Goldsmith was inspired by this to use the metaphor of gunfight as bullfight. The tension for strings, a brief atonal melody appears echoplex in Patton?) “Carriage” takes the same is built as rhythmic strings and chorus are on piano. As Blondie (Clint Eastwood) makes basic material from “Fort” and adds the other- added. Frequent modulations help keep us on his painful trek across the desert, more and worldly, siren-like voice of Edda Dell’Orso to of our seats. And then, just when we more instruments are added, including a stab- create a dream-like, hallucinatory effect, perfect think we can’t take anymore, the music stops! bing electric bass. The music becomes more for the surreal action on the screen: an out- An interlude. A glockenspiel plays a tune simi- elaborate, building suspense superbly. You of-control horse drawn carriage mysteriously lar to the “pocket watch” from For a Few Dollars can feel the burning sun and sand—a veritable appearing in the middle of the desert. More. Weird staccato, electronic sounds mim- symphony of suffering. You might need a glass “March/March Without Hope” “March” icking gunfire, produced by rapidly flicking a of water after this! (misnamed “Marcia” on the album) is switch on an amplifier (I recognize this sound “The Fort/Carriage of the Spirits” The Morricone’s theme for the infantry man. Its because I used to do it myself, playing with my Civil War makes its first musical appearance first incarnation is appropriately scored for father’s amp—another source claims this sound in “The Fort” (misnamed “The Strong” on harmonica and whistling chorus. This is a very is made by plucking the strings of an electric the album). This track, from a sequence cut catchy tune and you just might find yourself guitar at the bridge). Thunderous timpani rolls. from the U.S. version (see sidebar: The Film whistling it after the movie is over. “March Then the full orchestra and chorus return to Restoration), accompanies Angel Eyes’ visit Without Hope” features the same melody shake us out of our seats. Think about it: For to a destroyed Confederate fort. Tellingly, the slowed down and sung by a male chorus in seven straight minutes the screen is filled with same music reappears later when Blondie and vocalese. A military snare drum is added for a little more than the glaring visages of three Tuco (Eli Wallach) visit a Union encampment haunting effect. killers. Yet, because of the brilliant music (and by a river. Morricone uses directional effects “Death of a Soldier” “Death” starts out with editing) we sit transfixed, mesmerized by the for the bugles (or trumpets, in simulation) to the melody from “March” sung by male cho- unfolding drama. Who needs dialogue and

JUNE 2004 46 FILM SCORE MONTHLY FILM SCORE MONTHLY 47 JUNE 2004 action when you have music like this? is a variation on “The Desert.” It is in the film. viously discussed themes and two new pieces: The second part, a jokey take on the main title, “Sentenza,” the music for the early scene where The Expanded CD Soundtrack was not used. It was probably written for the Angel Eyes slaughters a Mexican family; and When I was young and naive I often won- “shooting gallery” part of the sequence where “Two Against Five” the eerie, atmospheric dered why people would buy the more Tuco steals a gun. writing that accompanies Blondie and Tuco’s expensive import versions of albums avail- “The Bandit Manco” Only the first few bars shootout with Angel Eyes’ gang in a bombed- able domestically. are used. The rest of this track was intended for out town. Now I understand. the scene where Manco searches through the So, there you have it. This music is as fresh The new, expanded CD of GBU, taken from building where Tuco is bathing. In the film this and exciting as ever. It took 35 years to get a the Italian master tapes, has far superior sound is unscored. comprehensive version of the score, but was it quality. Tracks with complex instrumentation The new CD also includes variations on pre- ever worth the wait! FSM such as “Ecstasy” jump out of the speakers. On the flipside; the new material is from the original film elements and thus is in mono. However, it is not marred by any sound effects the film restoration like some other recent Morricone re-releases (For a Few Dollars More, Diabolik). I do wish the mono tracks had been grouped together instead of integrated, chronologically in the sequencing. You may have to adjust the vol- ume when they play. The real cause for celebration is that now all the wonderful themes written for the film are represented!

New Themes “Padre Ramirez” The most glaring omission from the OST is now rectified. A lovely lament for Spanish guitar and strings. At the coda, it segues into a rousing version of the main title theme, the gritty electric guitar providing a stark contrast to the earlier acoustic guitar. “Pursuit” Another disappointment with the OST was its lack of any of the great alter- I WAS FORTUNATE ENOUGH TO SEE THE RERELEASED VERSION OF THE GOOD, THE BAD nate arrangements of the title tune. This ver- and the Ugly in San Francisco last summer. How great it was to see a new, clean print after years of suf- sion, accompanying Tuco’s pursuit of Blondie, fering through ragged prints at revival houses. Leone’s style demands to be seen on a big screen. His is a quieter, simpler, but very enjoyable take compositions favor close-ups and long shots, and the Techniscope process, which uses less than half the on the famous theme. 35mm film frame, is not well-suited to the small screen. “The Trio” The interlude and coda were not This new version of the film contains scenes that were only included in the Italian release. To insert included on the original and are joined with them into the U.S. version, the actors had to dub their lines into English for the first time. Lee Van Cleef is it here (see above). no longer with us, so a voice actor filled in, and did so very well. Eli Wallach and Clint Eastwood dubbed “Ballad of a Soldier” If I have one real their own voices, and maybe in Eastwood’s case an impersonator might have been a better idea. His criticism of this expanded CD, it concerns this raspy, modern-day voice just does not match his mid-’60s one, making his new scenes a bit jarring. track. The version here is the one played in One of the new scenes, where Tuco recruits gunmen to kill Blondie, was never even in the Italian ver- the film, during the brutal beating of Tuco by sion. It should have stayed out. However, the scene where Angel Eyes visits a Confederate fort seeking a camp guard. This is source music and is not information about the missing gold cache was a welcome addition. supposed to sound too good; it is played in Now we get to the crux of the matter. One of my big beefs with these restorations is the treatment of the film by an amateur band. Plus, it under- the soundtrack. GBU has a mono soundtrack. In a situation analogous to the colorizing of black-and-white scores a rather lengthy sequence, replete with films, film companies feel a need to soup up older soundtracks with Dolby Digital overkill. The gunshots cross-cutting, and comes across as padded. in this new version sound like cannons going off. Panning sound effects are produced by dropping out The rerecorded, stereo version on the original a speaker à la the old Perspecta sound system. And do we really need the voices bouncing all over the soundtrack album is much more satisfying. screen as characters move about? At least the Surrounds were kept to a minimum, only noticeable when Why couldn’t they have included both ver- the bridge was blown up. Artwork ©1967 MGM/UA. All Artwork ©1967 Rights MGM/UA. Reserved sions? This is a truly inspired piece of music. A I don’t really mind them stereo-izing the music, especially with such a great score. However, that too lovely, waltzing melody is joined with poetic, can pose some problems. First you need the music in stereo, then it has to sync up. In this instance, only anti-war lyrics to create a stunningly power- some of the scenes could overlay new stereo music tracks. ful musical moment. Unfortunately, this trend seems to be with us to stay. The best we can hope for is that the DVD retains Two new album tracks didn’t appear in the original mono soundtrack (done with Leone’s Once Upon a Time in the West) as an optional alternate the film: to the “remastered in 5.1” track. —B.R.M.

The Good, the Bad and the Ugly “Rope Bridge” The first part of this track

JUNE 2004 46 FILM SCORE MONTHLY FILM SCORE MONTHLY 47 JUNE 2004 doesn’t work so well, let’s just go and rewrite to say you simply show up and rewrite the Two Masters (continued from page 25) a bit more.” I hadn’t come across that and the same tunes again. Howard just isn’t like that. kids hadn’t come across that. The first session Howard’s a very cerebral, thinking person who very different from the Harry Potter session, was much slower; Howard had us there for uses a very personal approach. Everything which was still being separated in the other three hours. You wouldn’t normally expect to belonged. All music came from the same studio. get more than two or three cues done, and we parenting but wasn’t a rehash. Each note was Harry Potter was already in the kids’ imagina- did 10. Typically, the amount of singing that a as crafted from film one to film three. I was tions. The books were doing their thing; mak- boys choir would do on a disc wouldn’t require always, always aware of that. ing films of them was just a matter of time. more than one three-hour session for an entire Although he used the same material, the They certainly weren’t saying that of LOTR; the movie. We must have done seven or eight ses- attention to detail never wavered. He never books were so old. But there was certainly a sions with Howard for just the first film. That gives thought, “Oh, that’s good enough.” It was never different feel—to say a vocation would be the you an idea how much more investment was a question of being good enough. wrong word—when we walked into a studio made and how much more open to explora- FSM: So do you hope to bring this where there were a lot of people who’d been tion it was [on LOTR]. soundtrack recording legacy to your new boys working together for an awfully long time. This FSM: Because Howard needed to “discover and girls choirs here in Washington? was a big project, but one didn’t quite know the sound”? MM: We may do some scores here. The fact how big. I’m not sure whether they knew. We MM: For a trilogy you are going to use the of the matter is, however, that Williams, Shore didn’t feel as if we were entering into some- same ideas, so you have to take the time in [and] Elfman are still going to London to do thing huge, because it was the first session that the first film to figure out what the musicians [much of it]. Whilst they’re there, they’ll use a we’d ever done. And also because the [record- can do, what you want them to do, and to set studio choir in London. But they know where I ing process] was organic, trial and error—“This out the score for the next two films. That’s not am, and they can give me a ring! FSM

long-held, poorly kept, highly duced Vegas clatter. Even saddled opportunity to test his mettle in Score (continued from page 44) portentous secret: Dean Martin’s with this kind of self-defeating more challenging projects like by the inclusion of a legitimate on Reprise!”). The 10 tracks from formula, Martin managed a No. The Young Lions (opposite Clift and dirge amid so many superficial Reprise that round out this collec- 1 hit with “Everybody Loves Marlon Brando) and Some Came songs. With substantive sheet tion are marred by a vastly infe- Somebody” before descending Running (alongside pals Sinatra music before him, Martin is at rior audio quality when compared into maximum obnoxiousness and Shirley MacLaine). What a his most polished and assured. to the preceding Capitol sessions. with tripe like “I Will” and “In The thing of beauty it would have Dino delivers the goods with These tired final offerings follow a Misty Moonlight.” been if Dino had been entrusted two Broadway-based tracks, well-worn pattern: Martin warbles After years of being shackled to with the Hit Parade equivalent of “Standing on the Corner” from a mushy but up-tempo song an overbearing Jerry Lewis in one these potent pictures—just a tune ’s The Most Happy backed by a coed chorus with an strained “comedy” after another, or two that could honestly be Fella and the Comden and Green arrangement mired in overpro- Martin was finally allowed an termed “Essential.” —Mark Griffin classic “Just In Time” from Bells Are Ringing. (Martin would appear 1 as playwright Jeffrey Moss in Popular Music and Film  /2 rock and roll films, musical choices in science director Vincente Minnelli’s effer- IAN INGLIS, ed. fiction (focusing on Hardware, 1990), the vescent 1960 film version, which Wallflower Press, 2003 • 205 pages, $22—softcover soundtrack album as concept, the role of black also starred the enchanting Judy pop divas in film, and the use of previously Holliday.) POPULAR MUSIC AND FILM’S COVER, LUSH composed songs (The Big Chill). For a recording billing itself as red and featuring a still from Baz Luhrman’s The authors are looking at popular culture “Essential,” there are a couple of Moulin Rouge, immediately sets the tone for the in new ways. Sometimes their language is sim- notable omissions here. Martin’s dozen essays included in this volume. While categorized plistic, but none of it descends into sheer banality. There superb, smooth-as-silk rendering under “Film Studies,” the backgrounds of the authors are a couple of articles that try too hard to be taken seri- of Cole Porter’s “True Love” (from contributing to the volume are a mixture of musicology, ously, using terminology that blurs points for the average Crosby’s High Society) didn’t make sociology, film, dance and visual art studies. The primary reader. It is hard not to smirk while reading an analysis the cut and neither did Johnny focus on popular music automatically shifts the target of dance motions in a film like Dirty Dancing, but at least Mercer’s “In The Cool, Cool, Cool audience to those readers more interested in the use the points are clear. The article that deals with a film fea- of the Evening,” precisely the kind of popular song or artists in film. For instance, the book turing Jimi Hendrix in concert is perhaps the best of the of freewheeling, devil-may-care features an article on ’s acting career as it relates set. As you glance over the essay titles, you cannot help ditty just made for Dino (“If I to his rock music persona. It’s the sort of thing one finds but wonder at the humorous overblown self-parody inher- can find the right sock by eleven at professional academic conventions, but in that type ent in trying to make pop culture academically feasible. o’clock, tell ’em I’ll be there...”) of venue, such “papers” are rarely taken seriously and Remarkably, each of the authors here manages to do so, In 1963, Martin decided to are looked down upon by those studying “real” subject and the volume is helpfully rounded out by an excellent part company with Capitol and matter. However, in the case of most of the articles in bibliography and an index. While some of the subject jumped ship to sign with Sinatra’s this text, said people would be missing out on some fairly matter is still too current to see how these articles will Reprise label (the Billboard ad solid scholarship. Additional topics include discussion on further research into the topic, this volume is a worthy trumpeting Dino’s arrival would the Beatles, the use of music in (2000), Finnish addition to any good research library. —S.A.K. playfully make reference to “a

JUNE 2004 48 FILM SCORE MONTHLY GOLDEN AGE CLASSICS • FSMCD VOL. 7, NO. 9 • RELEASED BY SPECIAL ARRANGEMENT WITH TURNER CLASSIC MOVIES MUSIC Composed and conducted by Miklós Rózsa

M-G-M’S 1953 JULIUS CAESAR IS ONE OF THE FINEST screen adaptations of William Shakespeare, featuring a stellar cast in Marlon Brando, James Mason, John Gielgud, Louis Calhern, Edmond O’Brien, Greer Garson and Deborah Kerr among others. The film was produced by John Houseman and directed by Joseph Mankiewicz, filmed in stark black-and-white and using no additional dialogue beyond Shakespeare’s text.

SCORING JULIUS CAESAR WAS M-G-M’S PREMIERE DRAMATIC composer, Miklós Rózsa, who faced a unique challenge. The story is set in Roman times, yet musical fidelity to ancient would be inappropriate for a Shakespearean tragedy with its origins in the Elizabethan era. At the same time, evoking stage music of 16th-century England would have also been wrong. Rózsa instead decided to score the film as a universal drama: “I wrote the same music I would have written for a modern stage presentation: interpretative incidental music, expressing with my own musical language for a modern audience what Shakespeare expressed with his own language for a modern audience 350 years ago.”

THE RESULTING SCORE IS ONE OF RÓZSA’S MOST powerful, shot through with dark and dramatic moods but a constant sense of melody. The score’s twin main themes evoke the characters of Caesar (Calhern) and his disciple Marc Antony (Brando), whose theme is martial and stern, and Brutus (Mason), the pivotal character in the play, who is given a more reflective through-line. These themes dominate the score, finally merging in the musical climax. Rózsa also provides secondary thematic material for Cassius (Gielgud) and specific dramatic moments, as

well as judicious Roman marches and source cues (including a 1. Overture 3:04 BONUS MATERIAL 2. Preludium/Idle Creatures 2:57 12. Preludium (stereo)/Idle Creatures (alt.) 2:57 haunting use of voice). 3. Caesar’s Procession 2:40 13. Roman Holiday (pre-recording) 0:40 4. Flavius Arrested/Feast of Lupercal/Flourishes/ 1 4. Scolding Winds (short version)/ THIS CD FEATURES RÓZSA’S COMPLETE SCORE, INCLUDING Caesar and His Train 1:56 Brutus’ Soliloquy (short version) 3:15 a comprehensive bonus section of alternate versions and pre- 5. Scolding Winds/Brutus’ Soliloquy/Brutus Awake 7:11 15. Nenia (short version)/Black Sentence (film version) 2:53 6. Brutus’ Secret/They Murder Caesar 2:17 16. Black Sentence (short version) 2:04 recordings. Unfortunately, while the film itself is in stereo, only 7. Warning of Artemidorus/Ides of March 4:01 17. Nenia (pre-recording) 3:39 monaural session elements survive for Rózsa’s classic score. The 8. Nenia/Black Sentence/ 18. Black Sentence (intermediate version) 2:51 Brutus’ Camp/Enter Cassius 6:05 19. Now, Oh Now I Needs Must Part (pre-recording) 1:07 climactic “Caesar, Now Be Still” is presented in stereo, due to fact 9. Heavy Eyes/Now, Oh Now I Needs 20. Finale (stereo) 0:56 that its various components were recorded as overdubs; and the Must Part/Gentle Knave/Ghost of Caesar 4:21 Total Time: 20:41 10. Most Noble Brutus/Cassius’ Farewell/ Total Disc Time: 68:05 film’s “Preludium” and “Finale” are duplicated as bonus tracks in Cassius’ Departure/Prelude to Battle/ stereo from the finished film’s soundtrack. Liner notes interpolate Battle of Phillippi 3:05 Album produced by Lukas Kendall 11. Titinius Enclosed/Caesar Revenged/ Rózsa’s own comments on the score. $19.95 pl\us shipping. Caesar, Now Be Still/Rites of Burial/Finale 9:17 Total Time: 47:23

Don’t miss this month’s Silver Age Classic Born Free by John Barry See back cover for details SILVER AGE CLASSICS • FSMCD VOL. 7, NO.10 • RELEASED BY SPECIAL ARRANGEMENT WITH TURNER CLASSIC MOVIES MUSIC Composed and conducted by John Barry Lyrics by Don Black, Vocal by Matt Munro

BORN FREE (1966) WAS A HUGELY SUCCESSFUL wildlife film about Elsa, an orphaned lion cub in Africa who is nursed to adulthood by a husband-and-wife team of nature enthusiasts (Virginia McKenna and Bill Travers). Based on the true-life account by Joy Adamson (whose husband George was a game warden), the film was the rare family adventure that was adored by audiences and critics alike, and has maintained a sterling reputation over the years.

KEY TO THE FILM’S SUCCESS IS ITS FAMOUS score by John Barry. Barry was red-hot from his work on James Bond films and Zulu (1964), and Born Free would cement his reputation as one of the most vibrant composers of the 1960s—if not of all time. Barry’s main theme—given lyrics by Don Black and sung by Matt Munro—became a pop sensation and one of the world’s most recognizable movie songs, a veritable cultural landmark. THE SONG “BORN FREE” HAS BEEN SO successful that it has overshadowed the rest of the score, which is a thoroughly satisfying, romantic and dramatic work. Barry maintains the predominant tone of Disneyesque charm but ranges from dark, suspenseful passages (for the hunting of a man-eating lion) to buoyant setpieces for Elsa’s development, and a heartbreaking finale as Elsa is returned to the wild. The sound is symphonic, but with ethnic African touches (in Barry’s inimitable style); the score is a far more serious and diverse work than most people realize.

BARRY WAS RUSHED IN HIS FILM RECORDING 1. Main Title—Born Free 2:39 8. Holiday With Elsa 2:47 Reissue produced by Lukas Kendall of Born Free and at his insistence performed it again 2. The Hunt 3:13 9. Flirtation 4:07 for album release (on MGM Records). This premiere CD 3. Elsa at Play 4:36 10. Warthog Hunt 2:20 release presents the 39:55 LP program, remastered from 4. The Death of Pati 3:34 11. Fight of the Lioness 2:37 1/4” stereo tapes. New, authoritative liner notes by Jon 5. Waiting for Joy 1:57 12. Reunion/Born Free 5:51 Burlingame tell the heretofore unknown story of the film’s 6. Killing at Kiunga 2:35 7. Born Free (vocal)—Matt Monro 2:48 Total Time: 39:55 development and production, and feature new interview material with Barry and Black.

Special lower price! $16.95 plus shipping

Don’t miss this month’s Golden Age Classic Julius Caesar by Miklós Rózsa See inside back cover for details