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MAX STEINER POTPOURRI Analysis by Bill Wrobel

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MAX STEINER POTPOURRI Analysis by Bill Wrobel MAX STEINER POTPOURRI Analysis by Bill Wrobel [This rundown draft commenced Xmas Day late afternoon, 2002] [Revised September 18, 2018 (images attached) ] The following are rundowns of various cues from various scores composed by the great Max Steiner. Next to Bernard Herrmann, Max is my favorite film composer. When I started to research his scores at USC (that Leith Adams pulled for me) back in 1989 (I believe), I first studied The Boy From Oklahoma and The Lion and the Horse. The last Steiner scores I studied a year or two ago was Springfield Rifle. I will in fact begin this potpourri on that Gary Cooper vehicle. Maximilian Raoul Walter Steiner was born May 10, 1888 in Vienna, and died December 28, 1971 in Hollywood . 1 Now: In an “Inter-Office Communication” at Warner Bros Pictures dated August 20, 1936, R.J. Obringer wrote: “We have borrowed the services of MAX STEINER, musical director and composer, from Selznick International Pictures, Inc., for our production “THE CHARGE OF THE LIGHT BRIGADE,” commencing August 17, 1936, with a 6 weeks guarantee at $1,250.00 per week, and we are not entitled to his services beyond 8 weeks without the written consent of Selznick International Pictures, Inc.” Then cc was to Mr. Wallis, Mr. Fornstein, and Mr. Booth. At the bottom of all such Inter-Office communication is the statement: “Verbal Messages Cause Misunderstanding And Delays (please put them in writing).” Does this mean “please put misunderstandings in writing”??!! : ) This movie was just the very first movie Max scored for Warner Bros in his long, long career with them. Max’s “Employee’s Starting Record” states that his career with Warner Bros officially started April 12, 1937. Soon thereafter Max received a customary (Flat Sum) average of $12,500 for each movie (sometimes as little as $8, 500 for Illegal and $15,000 or more for other movies). In Band of Angels (1957), another Inter-Office memo (dated June 25) made reference to Steiner’s compensation with that movie. It states: “Steiner has completed his assignment and, therefore, the final installment of $2000 is due. Also, Steiner wrote 22 minutes in excess of 60 minutes of music and is entitled to receive $200 for each additional minute, i.e., he is entitled to receive a further sum of $4400…” His guaranteed compensation was $12,500 for that movie. However, additional compensation for extra music was limited to not more than $5,000. Max received $10,000 for Fifteen Bullets From Fort Dobbs (later reduced to simply Fort Dobbs), also composed in 1957. Normally Max got paid in weekly installments, usually on Wednesdays for some reason. At one time he lived at 1012 Cove Way in Beverly Hills. At another time, he lived on 1091 Laurel Way in B.H.circa 1966. Incidentally, circa 1949 (according to more archival documents at USC), William Lava was simply given $350 a week (when he did King of the Rockies) as a staff composer! Same for H. Jackson (when he did McCarthy in Sweden). A copyist usually received $25 a day. The orchestra manager received $19.95 an hour. The Music Cutter received $125 a week; the arranger (Charles Maxwell) was paid $266; the Copyright Expert received $135 a week. The Synchronizer got as much as $200 a week or $125 (depending on seniority, etc). While Murray Cutter got $10 a page for orchestrating (labeled on the document as “Arranging”) for Max Steiner, Leonid Raab (who atypically—usually Cutter did almost all of Max’s scores in the later years-- orchestrated Max’s Distant Drums) got 2 $7.50 a page. Leo Shukin, Sid Cutner, M. De Pakh and Albert Sendrey also received $7.50 a page. Incidentally, Hugo Friedhofer (who orchestrated many of Max’s earlier scores for Warner Bros) got paid $10 for each page. So if he orchestrated all 481 pages of San Antonio that would be a nice income for that 1946 job! The Administrative Secretary received $96.25 a week! Musicians in 1949 received $39.90 a day (“recording”). The Contract orchestra (50 men) got $8,146.25 a week (for, I believe, Lady Takes A Sailor). The Music Supervisor got $260 a week. The recording costs for Steiner’s Helen of Troy (1955) was $68,359. The Arranging costs were $7,525, and the Copying was $9,832. Combined we have $85,716 back then (nearly 50 years ago). Tiomkin’s Land of the Pharaohs, incidentally, cost $103, 602 Recording, $5,026 Arranging, $10,348 Copying, and $18,000 Singers (total of nearly $137,000!). [End session 10:05 pm 12/25/02]….. [Resume Thursday, Dec 26 at 6:40 pm]… For Cash McCall, Steiner received the “Budget” of $10,000; the “Actual” column was also $10,000. The budget for the musicians was $18,000; the “actual” was $9,995. Here’s more: Budget Actual Arranging $3,000 $2,760 Copying $2,600 $930 Singers $360 -0- Synch $2,800 $2,267 Misc. $1,000 $200 Total $37,760 $26,152 Now: In terms of the inflation calculator (http://www.westegg.com/inflation/ ), Steiner’s $10,000 payment in 1960 would equal $58,429 today. Conversely, $10,000 today would buy you $1,711 in 1960. In 1936, $7,500 (what Steiner received for Charge of the Light Brigade) would be worth $93,140 today. Conversely, $7,500 today for an item would only cost you $604 back then. What cost $12,500 in 1960 would cost $73,077 in 2002. Conversely, $12,500 today would’ve been worth $2,139 back in 1960. Now for something completely different: Astrologically, Steiner died under strong stress aspects. Progressed Sun (key to life vitality) was 3 conjunct progressed Saturn (key to karmic consequences, Law & Limits). Progressed Moon was conjunct Pluto, and progressed Mars (key to self and health) was quincunx (150 degree stress aspect) progressed Pluto. Transiting Neptune was opposite Pluto. The combined aspects suggest (especially with the water factors involved) that Max had entered a period where he was indeed finishing a chapter in his life, and learning to let go. In this case, it was the final chapter of his incarnation, and he was letting go of the physical body. Neptune tends to cut off from physical expression anyway when strongly aspected. Saturn periods tend to be “Report Card” times, coming to a realization of what you can do, can’t do, and have to do under the limitations of your present state of development. Moon-Pluto also suggests a going within process, a withdrawal from outer manifestation, and an emotional purging & release. This is a double water combination that is very intense, sensitive, and vulnerable. Water represents emotion turned inward, and it is a key to the assimilation of experience (analogy: digestion of food, and sleep). Water represents, in certain terms, the great “unconscious” portion of your being. Natally, there is a tremendous concentration of planets in the sign of Taurus (Sun/Venus/Moon/Mercury/Neptune). Taurus is one of the aesthetic/artistic signs (along with Libra and Pisces). Taurus and Venus both relate to pleasure and can indicate a certain “laid-back” or relaxed kind of easy-going enjoyment or keynote of indulgence (“If it feels good, do it”). Taurus is the capacity to enjoy ourselves and the physical world. There was a basic orientation within Max’s psychological structure towards comfort and enjoyment. If he wants to smoke a cigar while conducting, then it’s okay! It’s not hurting anybody else! Venus (especially in its own sign of Taurus) in mythology was the goddess of love and beauty and comfort. I suspect strong tactile sensuality, strong appetites (but usually not to excess for Taurus types if it means discomfort). His Taurus strength suggests a great capacity to handle the physical/material material with a strong urge to produce or experience in tangible form. This artistically can mean productive activity in his music, being prodigious, enjoying the basic pleasure of sensory input (hearing music, say). Taurus power is also a Fixed quality (like Leo and Aquarius) so this concentration suggests a certain high degree of stubbornness, determination, persistence, and enduring self-will. Strong characteristic or ability to just keep on going till you get there! Mars conjunct Uranus (though in the cardinal sign of Libra) also adds to this inner resistance to be told what to do (“I am unique. I am independent, and I don’t want to be told what to do or be limited by anyone.” Very strong self-will. 4 The danger is some sort of misapplication of personal self-will. That Uranian side to his nature could help explain his genius with music and ability to compose easily, especially in his free-flowing ability to naturally create melodies or catchy tunes. Uranus is quite inventive and experimental and spontaneous and stimulating. Friendly type with the Libra sign but, once again, there is a Fixity here with Uranus (like Aquarius): Uranus types resist being told what to do! They resist pressure. If you start telling a Uranian type what to do, he’ll quickly put you in your place (or simply leave the scene). Strong streak of freedom of expression in his basic nature, and also a strong sense of individuality (expressing his own uniqueness or special ness). Highly original nature, innovative, and somewhat a nonconformist (although the Libra and the easy-going Taurus will tend to keep it in check). After all, Taurus types want life to be comfortable! Sun conjunct Mercury (key to communication and the mind) suggests a very bright mind, an ego-identification with the mind.
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