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ORIGINAL MUSIC FOR MOTION PICTURES AND TV

VOLUME 7, NUMBER 10

Spidey’s Man! page 20 TOWERING ACHIEVEMENTS scores the second Lord of the Rings MAN of THE HOURS writes for Virginia Woolf WILD SIDES Adaptation & Punch-Drunk Love SOUND of SILENTS The Alloy Orchestra chimes in CD REVIEWS Music you haven’t heard— or heard of!

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7225274 93704 $4.95 U.S. • $5.95 Canada FSMCD Vol. 5, No. 20 • Released by Special with Music

Never So Few by with by

Hugo Friedhofer and Elmer Bernstein worked only occasionally at M-G-M, but each scored a feature for the studio set in Asia. This CD fea- tures the premiere releases of (1959) and 7 Women (1966), respectively, each filled with exotic melody and instrumentation. Never So Few is a WWII romance/adventure starring as the leader of a U.S. army unit in Southeast Asia. Known as a “” production (it also starred ) and directed by , the film is perhaps most noteworthy for giving Steve McQueen his break on the silver screen. Hugo Friedhofer’s score features a dynamic main title with a throbbing ostinato followed by a mournful trumpet solo evoking the losses of war. Friedhofer was no stranger to the war genre and provided a brew of wartime suspense and also romance, as Sinatra romances the voluptuous . The setting is highlighted by enchanting, Thai-flavored colors. 7 Women is the last film directed by the legendary . Best known for his American westerns, Ford attempted an ambitious stretch for his final production: the story of women missionaries in 1930s China starring Anne Bancroft, Margaret Leighton and Sue Lyon. Elmer Bernstein’s haunting score features galloping passages (sounding akin to a “Chinese ”) but also intelligent and supple scoring of the conflicting emotions of the women, with saxophone, harpsichord and flute elegantly spotlighted. This CD features the premiere releases of the complete underscores for Never So Few and 7 Women, remixed in stereo from the original three- track masters. $19.95 plus shipping

NEVER SO FEW 7 WOMEN 1. Main Title/Parachute Drop 4:10 12. Farewell and Trek/ 19. Main Title 2:16 2. Observers/The Trap Is Set/Ambush Ubachi Airstrip 1:41 20. Lady Strange Love 2:34 2:52 13. Death of Nautang and Trek 1:58 21. Emma and Andrews 0:50 3. Like Man, It’s a Bad Scene 3:05 14. Over the Border 1:54 22. Dreams 0:57 iss 4. Carla (Nightclub Version) 3:13 15. Grim Souvenir 1:45 23. Baby Blues 1:04 Don’t M onth’s 5. On Leave/Salon Waltz 1:36 16. Death and Reprisal 2:04 24. Of Tunga Khan 3:55 This M 6. Carla (Salon Version)/Morning Ride 3:35 17. Carla Pleads 0:55 25. Plague/Tired 5:42 ge Classic olden A 7. Danny Goofs Off/Conservatory 2:23 18. End Title 1:01 26. Confession 2:45 G 8. Like Wow!/The Kiss/Parting/ Total Time: 42:18 27. Sky on Fire 2:10 Burmese Fanfare 4:07 28. Horsemen/Deal 1:27 Tribute to aa 9. Kachin Koncerto 2:08 29. Madness/Tag/Sweetener 1:52 ózs Bad Mans R 10. Tom Wounded 1:02 30. Preparation/Poison/Tag 5:33 ikló y M 11. Reunion 2:12 Total Time: 31:27 b produced by Lukas Kendall Total Disc Time: 73:46 See inside front cover for details. CONTENTS DECEMBER 2002

cover story departments

20 Towering Achievements 2 Editorial Howard Shore continues his epic scoring of Bond’s New Peter Jackson’s Lord of the Rings trilogy, aug- Assignment(s). menting his Oscar-winning Fellowship work with new themes, bolder instumentation and, 4News ultimately, an even better score. Film Music Society CDs. By Doug Adams 5 Round- 22 Two Out of Three Is Better! What’s on the way. 6 Now Playing 23 Themes of the Ring Movies and CDs in release. The final frontier: music for kidvid. 7 Upcoming Film page 20 features Assignments Who’s writing what 14 Man of The Hours for whom. On the heels of his almost mainstream-sounding score for the acclaimed The Hours, Philip Glass 9 Mail Bag discusses high and low art, South Park and sex. “I’m Sorry, Martin...” Seriously. By Daniel Schweiger 11 Downbeat Walk on the Wild Side.

18Here Comes Spidey’s Man 30 Score Truly a man behind the scenes, Ray Ellis has The latest CD reviews, spent the last 50 years producing and arranging including: Adaptation, for the top names in —and compos- Uncorked, Cremaster 3, a ing underscore and themes for over 25 Saturday batch of morning cartoon series. and more. Sound ideas from the silent era. By Jeff Bond page 25 46 Pukas Holiday Greetings. 25 Forging the Sound of Silents The Alloy Orchestra isn’t the only group of musi- 47 Book Review cians writing and performing scores for old, silent A Worthy Guide for . They are, however, the only ones doing it Music Lovers. with bedpans and radiator pipes. By Karl Pallmeyer

36 FSM Marketplace 28Reader Poll 2002 This is your chance to let us know what you thought of this year’s film music—and what you thought of this film music magazine. By You Decide who wins, and who loses. page 28

ON THE COVER: THE TREASURE OF MIDDLE-EARTH

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

FILM SCORE MONTHLY 1 DECEMBER 2002 EDITORIAL

VOLUME 7 NUMBER 10 Bond’s New Assignment(s) editorial staff Our senior editor gets restless.

EDITOR & PUBLISHER Lukas Kendall I’m leaving Film Score Monthly. Goldsmith (and yes, I like Star Trek: Nemesis), DEPARTMENTS EDITOR Jonathan Z. Kaplan but from the younger generation of James MANAGING EDITOR Just kidding! Actually, I am now in a spacious Newton Howard and Howard Shore, and rela- Tim Curran new office at Cinefantastique magazine, where tive newcomers like Rolfe Kent and Jon Brion. SENIOR EDITOR I have a spectacular view of the Roto-Rooter There’s more variety, craft and imagination in Jeff Bond across the street. I’m the new Executive Editor the scoring this year than we’re seeing in some DESIGN DIRECTOR at CFQ, as we syllabically-challenged staffers of the films themselves. Williams, cranking out Joe Sikoryak like to call it, as well as at Femmes Fatales mag- an amazing four blockbuster scores this year, SUPERVISING CONTENT CONSULTANT azine (where I’ll face the -sapping job of seems revitalized; Goldsmith still shows an Al Kaplan looking at and writing innate understanding of COPYEDITOR about beautiful women the drama of the Star Steve Gilmartin CONTRIBUTING WRITERS all day); and this month I Trek franchise and wrote Doug Adams got to do a bunch of sto- one of the most haunting Stephen Armstrong ries for the venerable main titles of the year for Martin Dougherty Reporter and The Sum of All Fears; Andrew Granade my avuncular editor Elmer Bernstein, at 80, Hugh Jampton there, Noe Gold. has written one of the Nick Joy In other words, I’m let- most critically praised Steven A. Kennedy ting FSM down, right? scores of his career, Kim Hyun Kyu Wrong! My sanity’s loss is for ; Darren MacDonald your gain, as the added Howard Shore has sur- Karl Pallmeyer Daniel Schweiger profile and prestige of passed his Oscar-win- Cary Wong these other gigs (well, ning work on Fellowship THANKS TO okay; maybe not Femmes of the Rings in The Two B.A. Vimtrup Fatales) give me a new Towers; James Newton level of access to Howard managed to both business staff Tinseltown’s elite. For the terrorize and inspire Reporter’s annual Oscar LOOKS GOOD ON PAPER: Jeff’s new audiences with his won- EDITORIAL & SUBSCRIPTIONS issue, I managed to talk arrangement promises more benefits for derful score to Signs. I 8503 Washington Blvd to more than a dozen FSM and...hey, wait a minute! can’t remember the last Culver City, CA 90232 leading , time I was excited by so PH. 310-253-9595 FAX 310-253-9588 including , Hans many different scores in a single year. E-MAIL [email protected] Zimmer, Howard Shore, Elmer Bernstein, Jan So the bottom line is, even though I have Kaczmarek, , , way too much work to do, I still get a kick out SALES & MARKETING MANAGER Jon Brion, , Philip Glass, Rolfe of writing for Film Score Monthly. Except pos- Bob Hebert Kent and others, plus the heads of most of the sibly for body paint application, film scoring is ADVERTISING studio music departments in town. Oddly still my favorite part of the movie-making 8503 Washington Blvd enough, some of these people even read Film process. It’s a miracle that this music, written Culver City, CA 90232 Score Monthly. The big treat, though, was talk- to prevent as many theater patrons as possible PH. 323-962-6077 ing to . Having John Williams from talking to each other during the movie, FAX 310-253-9588 apologize to you for calling you 10 minutes actually takes on a life of its own outside of the SUPERVISING MAIL ORDER HANDLER late is quite an experience. What an incredibly film and enriches our lives. Now before I start Mailman Al nice guy. And through the miracle of multi- sounding like Tiny Tim (that’s the Dickens char- purposing, odds are you’ll be seeing the results acter, not FSM’s uncompromising Managing OUR WEBSITE of my conversations with these luminaries in Editor Tim Curran), let me wish you all happy Is updated five times weekly! FSM soon. nondenominational holidays, and let’s look for- Point your browser at: What was particularly nice about talking to ward to a new year that’s at least as good as 2002. WWW.FILMSCOREMONTHLY.COM these people is that I liked every one of their scores this year. I don’t know how 2002 will © 2002 Vineyard Haven LLC. ultimately be seen in terms of the quality of its PRINTED IN THE U.S.A. films, but despite all the usual grousing from fans (my current favorite inane Internet mes- sage board thread: “Should John Williams and retire?”), we’ve gotten a huge Jeff Bond number of terrific film scores this year, not just Executive Editor, CFQ from the established masters like Williams and Senior Editor, FSM

DECEMBER 2002 2 FILM SCORE MONTHLY Do you have all of these classic Intrada releases? Only $14.99 each!

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NOW AVAILABLE: Intrada Special Collection Vol. 8 There are plenty of places on the internet to order music, but few Miracle on 34th Street (1994) by have the selection or expertise of Intrada. Like you, we love film music. If you’re eager to find the latest and the greatest film music Just in time for the holidays, Intrada releases a new album to an old classic. Well, not exactly on CD—try our website www.intrada.com. We post updates as old. 20th Century Fox’s 1994 remake of Miracle soon as new titles arrive (as often as 5 times a day!) And our on 34th Street features a magical score by Bruce secure server keeps every transaction safe and sound. Broughton. Broughton composed a score for massive orchestra, plus mixed choir and boys We stock thousands of soundtracks from around the world. choir. The result is a beautiful, heartfelt work, Browse our online catalog for the newest releases, rare and capturing the mystery, sentiment and power of hard-to-find imports, as well as promotional and out-of-print the Christmas holiday. Unlike the original album titles. We guarantee your satisfaction with 20 years of of with a brief orchestral suite, this new release showcases Broughton’s music alone and experience—serving collectors, fans, composers, film music runs approximately 68 minutes. $19.99 professionals and newcomers! Intrada Special Collection Vol.9 Sign up for our FREE weekly e-mail bulletin of all the latest COMING SOON: Collect the entire series. Act now, supplies are limited! $19.99 ea. releases! Watch our site for exclusive offers! Make Intrada your one- stop shop for soundtracks. Visit: www.intrada.com E-mail: [email protected] Fax : 510-336-1615 Call: 510-336-1612

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2220 Mountain Blvd. Suite 220, Oakland CA 94611 total______NOW PLAYING RECORD LABEL ROUND-UP UPCOMING FILM ASSIGNMENTS NEWS THE SHOPPING LIST the Darkness” (Bernard now the repository for both the Herrmann). Total running time is acetates and the tapes—as well 66 minutes. as the few surviving manuscripts When of original music, much of which was invited to archive the vast was apparently lost or destroyed collection of materials of the over the years—and is now in the now-defunct CBS Music Library, process of inventorying this col- the collection had already been lection. FSM

looted of many treasures, includ- MUSIC FROM CBS WESTERNS is a ing the original open-reel tapes limited-edition pressing, with only 1,000 of many classic scores. However, copies to be manufactured. If you’d like to acetate discs existed of much of become a member of The Film Music Society, the music recorded over three and get a copy of this CD, check out their decades at the network. newly revamped website at This album was drawn from www.filmmusicsociety.org several sources: “Stolen Horses” and “Harriet” came from surpris- The Quest for Oscar ingly well-preserved acetate Where’s Concerts? discs. “The Raid” was discovered he are “The Hands That Built America” intact on open-reel tapes, as was There are, to be sure, film music Tlurking around the corner, Gangs of most of “Six Weeks to Bent Fork” concerts planned around the and if the preliminary galas are Music/Lyrics: (although the long suspense cue globe in 2003; but that informa- “Here I Am” any indication, Elmer Bernstein near the end of the score could tion was not available in time Spirit: Stallion of the Cimarron ; only be located in acetate form). is a strong candidate for at least Music: Lyrics: for our holiday publication Similarly, “Knife in the Darkness” an Oscar nomination for his Bryan Adams/Gretchen Peters schedule. This feature will, how- score to ’ Far From “Lose Yourself” was intact on acetates. The ever, return to our news section Heaven. He took the Best 8 Mile Music/Lyrics: Eminem Special Collections Department next month. Music/Score award at the recent of the UCLA Music Library is L.A. Film Critics Association show; Philip Glass was runner- up for The Hours. Bernstein’s Film Music Society The Shopping List also been nominated for a Worthy discs to keep an eye out for Golden Globe. Now here is the CD Round-Up official (and sometimes puz- Soundtracks zling) list of Golden Globe nomi- he Film Music Society has Big (1988) HOWARD SHORE • Varèse CD Club VCL 1102 1015 nees in the music categories: begun offering a series of Castle in the Sky • TKCA 72436 (Japan, 60:56) T CDs presenting original film and Dolls JOE HISAISHI • Universal UPCH 1191 (Japan, 21:33) Haruka Nostalgy JOE HISAISHI • Wonderland WRCT 1004 (Japan) Best Original Score music. Music From Kaze No Bon JOE HISAISHI • Wonderland WRCT 1006 (Japan) Motion Picture CBS Westerns—a collection of Miracle on 34th Street (1947)/Come to the Stable (1948) Elmer Bernstein: never-before-released tracks CYRIL MOCKRIDGE Percepto 011 Far From Heaven from three CBS western televi- Miracle on 34th Street (1994) BRUCE BROUGHTON • Intrada Terence Blanchard: sion series produced and broad- Special Collection Vol. 8 (67:50) 25th Hour cast in the 1950s and ’60s—is the Porco Rosso JOE HISAISHI • TKCA 71156 (Japan, 49:02) : premiere release. Only members The Princess and the Pea ALAN WILLIAMS • AWCD 1001 (Promo, Rabbit Proof Fence 62:34) Philip Glass: of The Film Music Society will be The Racers/Daddy Long Legs • Masters Film Music The Hours eligible to purchase this CD; but SRS 2015 (50:26) Elliot Goldenthal: it’s a great organization, so pony A Scene at the Sea JOE HISAISHI • Wonderland WRCT 1002 up the cash. Get it? Pony. (Japan) Featured are suites from three Studs Lonigan JERRY GOLDSMITH • Varèse CD Club VCL 1102 1016 Best Original episodes of : “Stolen Home Alone 2: Lost In New York—The Deluxe Edition (1992) JOHN Motion Picture Horses” (), “The WILLIAMS • Varese CD Club VCL 1102 1014 (2-CD set, 100:05) “Die Another Day” Raid” (), and Die Another Day “Harriet” (); a Compilations Music: , Mirwais Super Orchestra Night 2001 • Wonderland WRCT 1005 (Japan) Ahmadzai; Lyrics: Madonna suite from Rawhide, episode “Six Film Music of Akira Kurosawa: The Complete Edition Vol. 3 “Father and Daughter” Weeks to Bent Fork” (Hugo IKEBE/TORU TAKEMITSU/VARIOUS • Toho (Japan, 8-CD set, The Wild Thornberrys Movie Friedhofer); and music from includes 2 discs each for (1980) and Ran (1985). Music/Lyrics: Paul Simon Cimarron Strip, episode “Knife in

DECEMBER 2002 4 FILM SCORE MONTHLY Record Label Round-Up All the you’ll be waiting for

Silva Screen’s Big Plans for 2003 oundtrack label Silva Screen is report- from magnetic tracks). Sedly putting the final touches on its 540-635-2575; www.screenarchives.com release of The Indiana Jones Trilogy, which will feature such cues as “The Raiders Cinesoundz March,” “The Map Room,” “The Basket Upcoming are re-releases of the two classic Game,” “The Mine Car Chase” and “Indy’s Mondo Morricone albums, plus a third vol- First Adventure.” Planned for a February ume release, the recording will feature perform- ances by the 82-piece City of Prague with lounge music by the Maestro. Also Philharmonic Orchestra and Chorus and forthcoming: the German score-and-dia- will include three symphonic suites con- logue release of Mission Stardust—Perry ducted by Nic Raine. Rhodan (Anto Garcia Abril and Marcello In addition, the label will be releasing Giombini); and the second volume of the several soundtracks from TV series scored Morricone Remix Project. by Barry Gray. The first, due in February, tel: +49-89-767-00-299; fax -399; pre-orders by mail: will be Thunderbirds. You can check out [email protected] www.cinesoundz.com mp3 samples and order the disc at www.sil- vascreen.co.uk. Citadel Due Jan. is Sonny (). 1M1 Imminent is the double-score release FSM of Eliza Fraser and Summerfield This month’s releases feature three scores on (both Bruce Smeaton). two albums: The Golden Age Classic is [email protected] • www.1m1.com.au ’s Tribute to a Bad Man (1956), remixed from original stereo masters; The Aleph Silver Age Classic is Hugo Friedhofer’s Never SCREEN Due in spring 2003 is The Hellstrom So Few (1959), paired with Elmer Bernstein’s Chronicle. 7 Women (1966), both remixed in stereo from ARCHIVES www.alephrecords.com the original three-track masters. Next month: a pair of seafaring classics. All Score Media ENTERTAINMENT Imminent is Croon-a-Roma, a compilation GDI of rare vocal titles from Italian movies of Still forthcoming is The Mummy’s Shroud Large selection of the ’60s and ’70s (featuring Gianna, Raoul, (Don Banks); also coming is Captain Kronos Franco Morselli, Mircha Carven, Paola Neri, (Laurie Johnson). new domestic and Maria Teresa, Giulia de Mutiis and Vania). import releases, On its heels will be Pornorama—Bon Voyage Hollywood (lounge music) and The Best of Edgar Due Jan. 14: 25th Hour (various); Feb. 4: older releases and Wallace, a limited-edition vinyl LP of the Shanghai Knights (various). CD of the same name, featuring the best of out-of-print CDs Peter Thomas and Martin Boettcher. Interscope www.allscore.de Available now is Gangs of New York (Howard Major credit cards accepted. Shore, various). Write for free catalog! BMG The first-time-on-CD release of The Caine Intrada PO Box 500 Mutiny () isn’t dead yet—stay Available now is Intrada’s Special Collection, Linden, VA 22642 tuned. Vol. 8, the limited-edition full-score release of Miracle on 34th Street (Bruce Broughton). ph: (540) 635-2575 www.intrada.com fax: (540) 635-8554 Forthcoming are limited-edition releases of The Big Sky (, including the La-La Land e-mail: [email protected] complete score from archival sources and a Due Jan.: From Beyond (remastered score visit: www.screenarchives.com 36-page color booklet) and A Summer Place by Richard Band). www.lalalandrecords.com (Max Steiner, featuring the complete score (continued on next page)

FILM SCORE MONTHLY 5 DECEMBER 2002 RECORD LABEL ROUND-UP • NOW PLAYING

Marco Polo Numenorean Music Rhino Records/Rhino ous, plus two tracks by Alan Scheduled for a 2003 release is Due for an imminent release is Handmade/Turner Silvestri). John Morgan and William Dark Crystal (), fea- Available now from Turner Stromberg’s new recording turing previously unreleased Classic Movie Music/Rhino Super Collector of Tiomkin’s Red River, as well as material. Handmade are The Pirate (Cole Forthcoming is Gigantor (combi- a Max Steiner CD featuring two www.numenoreanmusic.com Porter) and It’s Always Fair nation U.S. and Japanese sound- scores from Bette Davis films: All Weather (Previn); due in Jan.: Best tracks to the animated series). This and Heaven Too and A Stolen Percepto Foot Forward (Ralph Blane, Hugh www.supercollector.com Life. www.hnh.com Due Jan. is Fear No Evil, featuring Martin), Good News (Blane, the complete original underscore Martin, et al.). Varèse Sarabande Milan to this 1981 horror hit by www.rhino.com, www.rhinohandmade.com Due Jan. 28: The Recruit (Klaus Milan Entertainment and Warner writer/director/ Frank Badelt); Two Weeks Notice (John Music Group (WMG) have signed LaLoggia and David Spear; Saimel Powell); Feb. 11: Star Trek: exclusive long-term, worldwide includes a lavish full-color book- Forthcoming from Saimel are El Nemesis SACD Special Edition licensing and distribution agree- let with liner notes by Daniel Caballero Don Quijote (José (Jerry Goldsmith). ments. Under the agreements, Schweiger, as well as behind-the- Nieto), Thieves After Dark (Ennio www.varesesarabande.com WMG’s WEA Inc. will manufacture scenes photos, posters, lobby Morricone) and Cronaca di Una and distribute releases from Milan cards and concept art from the Morte Annunciata (Piero Virgin in the U.S., while WMG’s Warner film. Coming later in 2003: The Piccioni). Forthcoming is Pinocchio (Nicola Music International will market Busy Body/The Spirit Is Willing, www.rosebudbandasonora.com Piovani). and distribute Milan throughout from the Vic Mizzy catalog. the world excluding France and www.percepto.com Screen Archives Walt Disney Japan. The agreements are effec- Entertainment Forthcoming is Trevor Jones’ tive Jan. 1, 2003. Due Jan. 14: City Prometheus Now in production for early 2003 score to Dinotopia. of God (D’Antonio Pinto and Ed Available now are The Package is a 2-CD release of Captain From Cortes; Brazilian film, featuring (James Newton Howard) and The Castile (). Please note: ’60s/’70s soul, jazz and ). Swarm (Jerry Goldsmith). www.screenarchives.com We endeavor to stay up-to-date Forthcoming in 2003 is Amerika with every company’s plans, but Nonesuch (). Sony sometimes bad things happen to Available now is The Hours www.soundtrackmag.com Available now is the soundtrack good labels. As always, please (Philip Glass). for the Maid in Manhattan (vari- bear with us. FSM

NOW PLAYING Films and CDs in current release

25th Hour TERENCE BLANCHARDHollywood KRISHNA LEVY Rhino About Schmidt ROLFE KENT New Line Adaptation CARTER BURWELL Astralwerks Analyze That DAVID HOLMES TVT Antwone Fisher Trauma Catch Me If You Can JOHN WILLIAMS Dreamworks** , VARIOUS Sony Drumline JOHN POWELL Jive* Eight Crazy Nights RAY ELLIS, MARC ELLIS TEDDY CAASTELLUCCI Columbia* Empire RUBEN BLADES Motown* Evelyn STEPHEN ENDELMAN Decca Equilibrium , RAMIN DJAWADI n/a Extreme Ops NORMANDCORBELL n/a Gangs of New York HOWARD SHORE, VARIOUS Interscope The Hot Chick Hollywood* The Hours PHILIP GLASS Nonesuch Maid in Manhattan Epic** Personal Velocity MICHAEL ROHATYN n/a The Pianist WOJCIECH KILAR Sony Classical Pinocchio Virgin Solaris Superb Star Trek: Nemesis JERRY GOLDSMITH Varèse Sarabande : The Two Towers HOWARD SHORE Warner Bros. Two Weeks Notice JOHN POWELL Varèse Sarabande

* song compilation with one score cue or less; **combination of songs and score

DECEMBER 2002 6 FILM SCORE MONTHLY Upcoming Assignments —M, N— Who’s writing what for whom Mark Mancina Bears, Bad Boys 2. Houze (w/ ). Clint Mansell Rain, Sonny (dir. Theodore Shapiro View From the Nicolas Cage). Top (w/ Gwyneth Paltrow, Mike —A, B— Adam Gorgoni Easy Six (w/Jim Gary Marlowe Lautlos. Myers), Love in the Time of Fast and the Furious 2. Belushi). Mark McKenzie Blizzard (dir. Levar Money. Assassination Tango. —H— Burton, w/ Kevin Pollak, Howard Shore Spider, LOTR: Resistance. Denis Hannigan Recess: All Growed Christopher Plummer). Return of the King. The Incredibles Down, Recess: Grade 5 (both ani- Richard Mitchell To Kill a King (w/ Ryan Shore Coney Island Baby. (Pixar/Disney). mated, for DVD). Tim Roth). Alan Silvestri Pirates of the Just Married, Reinhold Heil & Johnny Klimek Mark Mothersbaugh Envy (dir. Barry Caribbean (dir. Gore Verbinski; Confidence (w/ Dustin Hoffman). Swimming Upstream (w/ Geoffrey Levinson, w/ Ben Stiller and Jack from Disney theme-park ride). Marco Beltrami Hellboy, Terminator Rush). Black). Semih Tareen The Third Mortal 3: Rise of the Machines. No Other Country, Meet the Fockers. (co-composer). Terence Blanchard Dark Blue. Sounder. Thomas Newman Finding Nemo Bruce Broughton The Locket —W— Soul Caliber, House (Pixar). (Hallmark). Gabriel, Secret of Sand and Fog (Jennifer John Nordstrom AFP: American This Much I Know Passage. Connelly, Ben Kingsley), Beyond Fighter Pilot (exec. producers (TV). Craig Wedren Laurel Canyon. Borders (w/ Angelina Jolie). Tony Scott, Ridley Scott). Carter Burwell Gigli (w/ Ben Affleck, Nigel Westlake Horseplay. James Newton Howard Julian Nott Wallace and Gromit: The Jennifer Lopez). Michael Whalen Seasons of Life, Unconditional Love, Great Vegetable Plot The Future Is Wild, Burma. —C— Dreamcatcher (dir. Lawrence (Dreamworks). John Williams : Episode III. Jeff Cardoni Where The Red Fern Kasdan), Peter Pan (Universal), —O, P— Confessions of a Grows (w/ Dabney Coleman), Hidalgo (dir. Joe Johnston). John Ottman My Brother’s Keeper, Dangerous Mind, Hollywood True Crimes: Crimes of Passion, —I, J, K— X-Men 2. Homicide (dir: Ron Shelton, w/ That Darn Bear. The Runaway Jury, The Nicola Piovani Pinocchio. Harrison Ford), Normal (HBO, George S. Clinton Mortal Kombat 3: Cooler. John Powell Stealing Sinatra. w/ Jessica Lange). The Domination. David Julyan Mind Hunters (dir. Basil Poledouris The Touch Elia Cmiral Son of Satan. —Y, Z— Renny Harlin). (Miramax). Avenging Angelo, G. Cold Mountain (dir. Jan A.P. Kaczmarek Neverland (dir. Nicholas Nickleby. Anthony Minghella). —D, E— Marc Forster, w/ Johnny Depp, Between Scenes of the Mychael Danna The Incredible Hulk Dustin Hoffman). Strangers. Crime (w/ Jeff Bridges), The (dir. Ang Lee). —L— —R— Core. Matrix 2: Revolutions, Perry La Marca Invisibles (w/ Portia Graeme Revell Below (dir. David Hans Zimmer Matchstick Men (dir. Matrix 3: Reloaded, Long Time De Rossi; add’l music), 7 Songs. Twohy), Daredevil (w/ Ben Ridley Scott). Dead, AniMatrix (Internet/animat- And Now...Ladies Affleck, Jennifer Garner). ed Matrix stories). and Gentlemen (w/Jeremy Irons). J. Peter Robinson Beeper. Get Listed! John Debney Bruce Almighty Chris Lennertz Deathlands (dir. Josh Jeff Rona Shelter Island. Composers, send your info to (w/, Jennifer Aniston), Butler). [email protected]. Raising Helen, Chicken Little Ray Loring Animals in Action —S,T— (Disney). (miniseries, The History Channel). Bringing Down the Killing Me Softly, Second-Hand Lions. HOT SHEET Newly inked deals National Security, Gods and Generals (w/ John Craig Armstrong Laura Croft: Nathan Larson Dirty Pretty John Powell Agent Cody Banks. Frizzell). Tomb Raider 2 (not Mark Things (replacing Anne Graeme Revell Out of Time, Mancina), Love Actually. Dudley), Lilja 4-Ever, Prozac Chronicles of Riddick. —F,G— Christophe Beck Under the Nation. Cat in the Hat Claude Foisy We’ll Meet Again Tuscan Sun. Clint Mansell Suspect Zero, 11:14. (replacing Randy Newman), (PAX). Marco Beltrami Cursed. Joel McNeely The Holes, Jungle Marci X (songs), Down With Ruy Folguera A Painted House (TV Bill Conti Coast to Coast. Book 2, Ghost of the Abyss. Love. movie), The Kiss (w/ Billy Zane). Jeff Danna Yeltsin, Wrinkle in Mark Mothersbaugh Thirteen, Alan Silvestri Van Helsing (dir. Robert Folk Forty, Scout, Boat Trip Time (replacing Lesley Barber). Good Boy (Henson animation, Stephen Sommers), Identity (w/Cuba Gooding, Jr.). Danny Elfman Big Fish, Spider- voiced by Matthew Broderick, (w/ John Cusack). John Frizzell Cradle 2 the Grave. Man 2, Starz! (theme for cable Carl Reiner, Kevin Nealon), A Mervyn Warren Marci X. Richard Gibbs Step Into Liquid, 101 channel’s new on-air graphics). Guy Thing (w/ Jason Lee, Julia David Williams Benedict Arnold Dalmatians 2: Patch’s Stephen Endelman It’s De-Lovely. Stiles, Selma Blair). (A&E). Adventure (video). Richard Gibbs Zachary Beaver David Newman Daddy Day Care, Christopher Young Devil and Vincent Gillioz Scarecrow. Comes to Town. How to Lose a Guy in 10 Days. Daniel Webster, Shade, Elliot Goldenthal Double Down (aka Jerry Goldsmith Looney Toons: The Actors. Madison (themes only). The Good Thief; dir. Neil Jordan, Back in Action. Rachel Portman The Human Tasso Zapanti Proudly We w/ Nick Nolte). David Holmes The Perfect Score. Stain. Served (w/ Ossie Davis). Jerry Goldsmith Timeline.

FILM SCORE MONTHLY 7 DECEMBER 2002 FSMCD Vol. 5, No. 19 • Released by Special Arrangement with Turner Classic Movies Music Tribute to a Bad Man Miklós Rózsa

Miklós Rózsa scored every kind of film during his long and storied Hollywood career: biblical and historical epic, romance, film noir, drama, science fiction—and even western. Tribute to a Bad Man (1956) is his uniquely “Rózsa-esque” take on the American plains for a CinemaScope “psychological western” directed by Robert Wise: James Cagney stars as an iron-willed horse rancher whose vigilante sense of justice threatens to destroy the personal relationships around him. Rózsa, far from his native Hungary, claimed to be uncomfortable in the uniquely American genre, but was more than capable of concocting the kind of grandiose and melodic strains associ- ated with the West. His main theme is a sweeping match for the gorgeous Colorado photography, and his smaller cues match the characters’ emotions while maintaining a sense of the 19th-century American frontier. Rózsa was not entirely on foreign (to him) ground: The female lead in the movie (Irene Papas) is a Greek immigrant, and Rózsa adapts a Greek folk song, “Pandrevoun,” to serve as the love theme, giving him an Eastern European hook in the otherwise American idiom. As the film takes on an aggressive, psycho- logical dimension toward its climax, Rózsa utilizes his film noir style of brooding anxiety, before returning to the American material in his soaring end title. Tribute to a Bad Man has long been a favorite score by Rózsa’s many admirers. It is here presented in its premiere release in complete form from the original stereo masters. $19.95 plus shipping

Album produced by Lukas Kendall 1. Prelude 2:33 13. Decision/Loyalty 1:46 onth’s 2. Gettin’ Acquainted 1:05 14. Promise 0:44 iss This M Don’t M ge Classic 3. Rodock’s Horses/Ranch 2:08 15. Punishment 1:33 Silver A 4. Earrings/Pandrevoun 2:32 16. Torture 1:11 fer 5. Conflict/Tracking 2:40 17. Exhaustion 1:24 dho 6. Return/Proposition 1:21 18. Agony 2:41 Frie Neverugo So Few 7. Jealousy 0:55 19. Homecoming 0:49 by H stein 8. Home 1:36 20. Agony/Climax/Homecoming (revised) 2:50 7 Womenern 9. Letter/Moonlight and Horses 4:15 21. Surprise 1:50 with er B y Elm 10. Hanging Fever/Rustlers/ 22. Alone 1:49 b Justice/Revenge 6:40 23. Finale/End Cast 3:10 See back cover 11. Barn 3:02 Total Time: 50:30 for details. 12. Stagecoach 1:11 READER RANTS, RAVES & MAIL BAG RESPONSES

“I’m Sorry, Martin. She’s So, is it just me, or does the idea a good score. may in some cases actually make Wrong.” (Pause) of The Bourne Identity practically Personally, I could do without a better argument for the music “No She’s Not.” on par with The Sand Pebbles pro- the star rating system all together. than having the whole thing. So, a duce a stabbing pain just behind I also think it necessary to develop critical choice should be made. id any of your contributing your left eye? Or, that Doug a new pool of regular contributors Review the score in one context Dreviewers read the editorial Adams’ lovefest for Signs leaves who can see the big picture, i.e., only: as an ingredient of the film “FSM Crackdown” in Vol. 7, No. 6? you wondering whether Jerry they can juggle 60 years of film or as a byproduct of it. The former In my estimation, they did not. Goldsmith could ever have reaped scores in one hand, 60 years of provides the wonderful opportu- Below is a summary of those such enduring critical success if film/film music trends in the nity to measure style over sub- scores deemed great to almost he articulated banalities as well as other while simultaneously bal- stance, while the latter classic in the past two issues. (I Mr. Howard does. Strictly speak- ancing the ephemeral qualities of would/should properly weed out 1 include /2-star ratings ing, applying to a score what constitutes accomplished lazy, derivative or badly written because they may as well be that opens with a rip of musical composition on their dramatic music. A reviewer . A half rating is a waffle; Goldsmith’s Invaders is counterin- nose (or, at least, recognizing that restricting his/her (where are the the sign of a vacillating fanboy; tuitive. a drone with a backbeat doesn’t hers, by the way?) vantage in this like an extra pat on the head, as And I still can’t get over your constitute an artistic stretch or way, and not mixing their assess- though one were wildly praising a justifications for the ass-kissing that a 90-plus-piece orchestra ment based on both variables, child for fear it might interpret the rating that was given to Williams’ does not necessarily always trans- might be the antidote to this epi- four-letter word “good” as a repri- Minority Report! late cinematic drama accurately). demic of stars. mand.) “It was written for a high-profile This respect for objective report- Guy Reid Spielberg/Williams collaboration.” ing would be comforting; other- Venice, Vol. 7, No. 7: (13 reviews—8 Okay, but if you’re like me and wise it’s just a lot of fanboy gush- deemed “Great” or “Classic”) you don’t bend over for Spielberg ing or, even worse, commercial Ack! We haven’t seen the word and Williams at the drop of a pandering. “fanboy” so much since Ford 1 /2 dime, is the score actually even Thaxton’s last newsgroup The Sand Pebbles as dramatically effective as his posting! Joe Versus the Volcano own Black Sunday score; let Your basic point here: Our alone an engaging listen past the ratings are too high. You’re 15-minute mark? That I thought right. We’d like some of ’em to Signs be lower (to show more diver- The Importance of Being Earnest Minority itself was a nonsensical, The Bishop’s Wife colossal bore of a film is beside sity). Quite a few of the above 1 the point. reviews you cite were actually /2 The Bourne Identity ...“given the complexity” (read: written and rated before our Insomnia tedious dissonance passages) memo was received. So we’re “and ambition of the work” working on it, but it’s still not Vol. 7, No. 8: (27 reviews—17 (read: it’s boring as hell but it easy. The main reason for this deemed “Great” or “Classic”) reads very Gramaphone)... is pretty simple. We can’t Ah, I see, so Williams writes afford to pay 10 professional 1 /2 works and not film scores any- and ambivalent writers to do The Fury more? all our reviews. Most of our The Night Walker And, just to satisfy your reviewers come to us because curiosity, I’d rate the soundtrack they love listening to and writ- Big Bad Love ing about scores. God forbid. Romeo & Juliet no more than , though Suspiria stars, a rating of “adequate,” is Of course I recognize that it is Guess this is the essence of fanboy- Reign of Fire more than sufficient for a score almost impossible to gauge a film hood. As it happens, some of these Hairspray that will never be mentioned in a score by just one criteria: the CD. people are extremely qualified, not Evolution discussion of great (almost classic) As we all know, many soundtracks only as experienced writers but 1 /2 film noir/sci-fi scores. Ever. What’s offer wholly dissatisfying listening ones with degrees in music compo- Red Dragon great to near-classic about a experiences yet work ideally sition. They’ll write negative Possession Jurassic Park 2: Lost World retread within the context of the film they reviews, but they’re admittedly The Amityville Horror (“Ludlow’s Demise”) like were written for; the reverse being more interested in reviewing the Il Mercenario “Anderton’s Great Escape”? true as well. But a reader’s famil- scores they actually like. On the Sunshine State other hand, when we did have South of Heaven, West of Hell Enough with the idol worship iarity with any film is not neces- The Dangerous Lives of already! Goodness, Lost World is a sarily a given, therefore denying someone consistently writing Altar Boys better score and a better listen. Of that reader a crucial proof to negative reviews, we had to stop The Prisoner Files 1–3 course, that doesn’t mean Lost properly weigh a review. accepting them because publi- The Wicker Man World is a great score, just that it is Moreover, 30 minutes of a score cists were putting so much pres-

FILM SCORE MONTHLY 9 DECEMBER 2002 MAIL BAG that doesn’t mean they are in terms of “artistic stretches,” Shores of Hell and Operation CIA is absolutely equal. Take that for what but calling a score a “work” is always ignored (as are the films sure on us. That’s the short it means. pretentious. about made before The answer. Now here’s the long On other fronts, your attack on Finally, there’s the exciting Green Berets). I found it funny answer. In good fun, of course. Minority Report is boring. See, that “where are the hers, by the way?” how episodes of The Outer Limits Let’s see if we can make the was easy! You called Minority We don’t know. There don’t seem to (“The Inheritors”), The Twilight response even longer than your Report a boring retread. It’s very be that many hers, do there? Maybe Zone (“In Praise of Pip”) and the letter: easy to say something’s boring. We you can tell us where they are. Or 1961 film Brushfire (with John Why the harsh and needless will now reiterate our belief that perhaps we should instruct Steven Ireland) went out of their way to attacks on half-star ratings? Minority Report is not boring. And A. Kennedy or John Takis to start avoid any reference to Vietnam. Virtually every rating system in is much better than Lost World. writing under a feminine alias. Wait Same thing with The Man From every major publication uses half- There. We’ve canceled out your a minute! Were you trying to tell us U.N.C.L.E., where every map on stars (or pluses and minuses), argument. that you’re keeping the female writ- the wall had Siam over Vietnam, because they help delineate good Then there’s your “ass-kissing” ers in your well, along with 15 and Cambodia. from very good from great, etc. rating comment. Do you seriously female A-list film composers? Some trivia—Robin Moore’s 1 Thus, you can take all the /2 think we doctor ratings for John book was published in hardcover reviews and wipe them from your Williams albums? Why would we do Cheese in 1964 but hit the best-seller list list. We didn’t label them great. You that? John Williams doesn’t care when released in paperback in did. And there wasn’t a single what ratings he gets in Film Score ow! I just received my ’65. The Army was so cheesed off review. So they actually Monthly...or any other publication, WGreen Berets CD—postage about Moore that they wouldn’t ranged from “very good” to “near for that matter. so quick it made my head spin. cooperate with the film’s produc- classic.” By the way, we grade your Are you more upset with our rat- Once again you’ve provided a tion until they were sure he’d 1 letter /2, so that should make you ing system, or the mere fact that superb album. Though you were have no involvement. I always both happy and angry. some people here still like film crippled by not being able to use thought the film would’ve been Yes, it can be hard to take when music? Your dislike for the scores any of the motion picture artwork, better received if Wayne or vomit like The Bourne Identity gets of both Signs and Minority Report the booklet was very well- someone went off to film it in a rating that’s even on the same makes us wonder if you’re simply designed. Mexico or the Philippines in planet as The Sand Pebbles. angry that we dare to even com- As for the music...the thrill of 1965. Both Wayne and Martha Unfortunately, the fact is that even pare any great new score to time- the opening titles led me back to Raye were made “honorary if The Sand Pebbles gets , tested efforts. You must know that days long ago, when the theater Special Forces troopers.” it doesn’t mean that 95% of all many musicologists think Jerry grew hushed as the drums beat Your excellent notes raise other scores have to start out with Goldsmith is a talentless hack and over the Warner Bros. Seven Arts questions. What were the other 1 a ceiling of a /2 just to show that The Sand Pebbles is crap. Does this logo, leading to rousing cheers as three pieces of source music not The Sand Pebbles is twice as good. disturb you? Are those people right “” appeared over used—vocal renditions by the We can’t rate everything that’s not because they’ve studied music the- Wayne Fitzgerald’s title design. talented Bach Yen? Why was classic as pure crap. It doesn’t work ory? We’ve studied it and say Miklós Rózsa’s score and Winton “Onward Christian Soldiers” cut? that way. You just have to accept they’re wrong. That doesn’t mean Hoch’s cinematography gave J.P.Young 1 that the /2 rating for The you have to agree with us. Or them. superb qualities to the film. Plus, Kirribilli, Australia Sand Pebbles is not as close as it Here’s a great quote: “Ah, I see, Mike “Tarzan” Henry’s single- 1 seems to the /2 for The so Williams writes works and not handed killing of five VC is one of L.K. replies: Thanks for your let- Bourne Identity. For one, that rates film scores anymore?” the best screen fights of the ’60s. ter and the neat factoids about Pebbles a “near-classic,” while it Yes. Let’s waste some time Hopefully, the controversy The Green Berets! This was an rates The Bourne Identity “very arguing that a film score is not a about the movie has long since oft-requested Rózsa work and we good.” If the rating bothers you so “work.” Then, a few paragraphs died down so it can be accepted as are thrilled provide it. To answer much, ignore it, and concentrate on down, you instruct us that “a a fine . I must admit your questions: The other three the text (which can be much more drone with a backbeat doesn’t I’ve also always liked Richard pieces of source music were irritating). A rating is just a general constitute an artistic stretch”! So LaSalle’s score for A Yank in Viet- indeed vocals by Bach Yen, two indicator. If two scores get , we’re allowed to talk of film music Nam, which along with To the versions of “Fleur de Lys” and one of “La Vie en Rose.” They were not in the movie and not germane to Rózsa’s score, so we left them off. I don’t know why the film did not use Rózsa’s brief interpola- tions of “Onward Christian Soldiers.” Thanks again!

As always, we encourage you to write. Unless you’re a boring fanboy, in which case we encourage you to get some fresh air, instead: FSM Mail Bag 8503 Washington Blvd. Culver City, CA 90232 or e-mail: [email protected]

DECEMBER 2002 10 FILM SCORE MONTHLY DOWNBEAT CARTER BURWELL Adaptation Walk on the Wild Side lthough he’s worked on films as commercial as Burwell and Brion take on this year’s more surreal fare. AConspiracy Theory and A By Jeff Bond Knight’s Tale, Carter Burwell’s long association with the Coen Brothers has established him as one of the leading composers of independent cinema in general and the inde- pendent mind-set in particular.

Well, movies don’t come more independ- ently minded than Spike Jonze’s Adaptation, the brilliantly disjointed result of screen- writer Charlie Kaufman () attempting to adapt writer Susan Orlean’s nonfiction book The Orchid Thief into a Hollywood movie. Kaufman essen- tially punts on the first page, brutalizing himself and his talents in an opening voice- over—and writing himself into the picture as its hapless protagonist, Charlie Kaufman (played by Nicolas Cage). Adaptation unrav- els as several movies: Kaufman’s true story DOUBLE TROUBLE: Nicolas Cage plays twin brothers (falsified with a twin brother also portrayed in the schizophrenic ADAPTATION. by Cage), a more-or-less faithful approach to film—the part of the movie that has car Orlean’s journalistic courting of the book’s not the only writer in the story, and there are chases and sex and drugs and all the things subject, an oddball orchid expert named multiple characters who experience loneli- Charlie said he wasn’t going to have in the John Laroche (Chris Cooper); and Kaufman’s ness; in particular, Charlie and Orlean have film—the question was whether the music paranoid visions of what Orlean’s and this feeling of being unable to attain their should be completely different there. We set- Laroche’s story might become as a motion dreams or even a modicum of happiness.” tled on a middle ground where the style of picture. The result is a reality club sandwich Director Spike Jonze’s unusual methods of the music would change and be more appro- and one of the strangest—yet most goofily working contributed to Burwell’s challenges, priate to car chases and mysterious intrigue, enjoyable—movies of the year. one of which was layering music into a rap- but the melodic themes would stay the same idly evolving and sometimes nonchronolog- so there’s a continuity to the score.” That’s Easy for You to Say ical story line. “The film wasn’t Burwell managed to bring out For Carter Burwell, however, there was one even finished when we recorded some interesting instrumental per- question: “What would the musical themes the music,” Burwell says. “The film The music formances. “We used a small string attach to in the film? Oftentimes in films had an extremely long post-pro- in the ensemble with English horns as your themes will attach to a plot element or duction. We recorded the music in our solo instruments, and this was a character or a place. In this movie, because such a way that even if changes first two to play the bald-faced emotion in there’s so much back-and-forth through were made in the picture, the thirds of the movie; we also had a gamelan time and through the levels of the story, we music would at least still have the and a variety of percussion instru- thought it would be especially important to same meaning.” Even with that in ADAPTATION ments to lend the score a character have music that sends a thread through the mind, Burwell had to adjust to that couldn’t be identified as easily film and sort of ties it together.” changes in the order of scenes late had to shift as the strings and horn do,” the Burwell found himself writing a remark- in the game. “The order is not the to suit the composer says. “There’s something ably subtle and textural, yet theme-driven order I originally intended; it has you can put your finger on in the score. “We decided we would have a theme been moved around a bit. And in mood swings music that will draw you into the that represents the writing process of Charlie the last third of the movie, where of the film’s emotional life of the characters— Kaufman, a theme that represents loneliness Donald’s character [Charlie that’s something Spike was very and unattainable dreams. Those were appli- Kaufman’s fictional twin brother] climax. concerned about because he was cable to multiple characters, too—Charlie’s takes over and starts driving the worried that the script might come

FILM SCORE MONTHLY 11 DECEMBER 2002 DOWNBEAT

SEEKING A TOP off totally as an intellectual exercise. He track albums where you can hear the music wanted to make sure you felt something for so clear without dialogue and sound effects, QUALITY these characters as real people with real and I hope people who listen to soundtrack dilemmas. So the traditional instrumenta- albums will enjoy it. Still, the music was writ- ORCHESTRA? tion gives that aspect at the same time that ten to this film and I don’t know how much the less traditional use of percussion is sense it will make without the film.” intended to draw you out of the familiarity of Burwell’s collaboration with the Coen KIRALY MUSIC NETWORK the strings so that you’re always aware that Brothers has been idling a bit in recent years, offers the best price for you’re not simply watching a Hollywood as both O Brother, Where Art Thou? and The movie. In a way you’re watching a movie Man Who Wasn’t There took more of a music your recording sessions for that’s about being a Hollywood movie.” supervision approach that didn’t require 30- to 90-piece orchestra: While Burwell’s Adaptation score is likely much work on the composer’s part. That will to be pushed for Academy Award considera- change, he says, with their next project, tion, the composer says that kind of recogni- Intolerable Cruelty. “It’s been a little frustrat- tion for his work is the furthest thing from his ing for me even though the films have been $1,111 per hour mind. “Hopefully, the score was written in wonderful,” he acknowledges. “You certainly such a way that it is integral to the film, and can’t fault O Brother,Where Art Thou? for the the idea of separating the music from the film musical choices. But it’s true there wasn’t a of rehearsal/recording time for is something I’m fairly ambivalent about,” whole lot for me to do, so I’m looking for- 30-piece orchestra, Burwell says. “I like the idea of having sound- ward to this.” conductor, studio, etc.

The renowned Hungary Philharmonics founded in 1907 • Excellent soloists • Buyout included • Digidesign ProTools system • Experienced conductor and record- ing producer • Reference: TV Spot for 2002 SLC GOT PUDDING?: Luis Guzman and that Sandler kid mix it up in PUNCH DRUNK LOVE. Winter Olympics • JON BRION both enthralled movie critics and drove Available mixed choir of Punch-Drunk Love some soundtrack mavens crazy with its professional multilingual singers focused, minimalistic approach to on Brion isn’t so much inter- Anderson’s multi-character saga, but any • thoughts that Brion might be a one-trick Flexibility and hospitality ested in being a film composer pony are dismissed by Punch-Drunk Love’s wildly quirky and imaginative score. With For more info see Jas he is being a Paul Thomas Sandler cast as a man-child with anger man- agement problems, Brion’s music seems to Anderson film composer. He’s col- emanate from inside the character’s mid- www.kiralymusic.com brain—it’s a mix of abstract electronics and laborated with the maverick direc- what sounds like echoes of cartoon music from the 1930s. or call (011) 36 20 922 5000 tor on three films (Hard Eight, “Everything I do is very much a reflection of things Paul is looking to do,” Brion says Fax: (011) 36 33 44 9000 Magnolia and now the Adam when asked about the score. “There’s a lot of Email: [email protected] what I’ve referred to as modular pieces, Sandler rehabilitation project sounds and themes that could be used over the top of other things, [that] were designed Punch Drunk Love). Magnolia to be interchangeable and work. There’s a lot

DECEMBER 2002 12 FILM SCORE MONTHLY of stuff in the movie that sounds like sound how they could basically be telling this movie every two and a half years, which is a design that was actually done by myself and whole other story that was going on and good output for me, and if I had to just have my music editor, Jonathan Karp. There were really be the subconscious of the characters, that be my career and do three movies for unorthodox things verging on sound design and that’s where we really got our greatest every Paul movie I did I don’t know if I’d like but were actually musical pieces that I waves of film composers. Paul’s is very dif- that. I don’t want to work for someone who would give to Paul and [editor] Leslie Jones ferent; there are times when we do both of doesn’t care so much about music, they just for them to place anywhere in the movie. But those things, but there are times when I’ll do care about it because it’s in their movie and they were designed modally to work with something that’s actually by most people’s they’re obsessed with their movie. I’ve whatever the pieces of music were.” account a much more classic sort of tasteful watched people who do this go through so way of being invisible and underscoring much from executives. Not that they can’t Hesitant Beginnings some of the subtext. And he will tell me to have good suggestions, but in terms of the Brion’s first scoring assignment was a collab- ignore that and ignore the subconscious day-to-day working process, it’s the direc- oration with composer Michael Penn on thing and just repeat this one thing and tor’s film, and that’s who I want to work with. Anderson’s casino tale Hard Eight (also really hammer away at it. He really likes the It would have to be somebody special who known as Sydney). Anderson asked Brion if sensation that if you’re going to be hit with just lives to do good stuff.” he wanted to continue their collaboration these colors and this sound, that it’s going to Those might sound like the words of a on other films, but Brion was ambivalent. “I put you in this particular space where he determined outsider, but when asked which told Paul then that I wasn’t interested in wants the audience to be. Sometimes you’re composers currently working in film he doing soundtracks, I was mainly interested neither playing to what’s on screen nor play- respects, he cites the most well known and in doing songs and records,” Brion says. “But ing to the subconscious—it’s more like popular composer in recent history: John Hollywood is the only place that subsidizes you’re some crazy big universal clock play- Williams. “I don’t know if people in general people writing music for orchestra. There ing the overall tone of the movie. It’s not are able to afford him the proper respect are very few grants given out each year, and even specific to the scene.” because he’s most famous for the very fan- they’re not given to lowly pop like farish things from the big-budget films, that myself. So I said to Paul that if he ever makes Auteurist Theory he would get hired to write another Star a movie where he wants that, that’s very Brion’s working arrangement with Anderson Wars-like fanfarish thing. But in truth, much in my field of interest. When Magnolia is so satisfying, in fact, that it may have watching how subtly he can underscore came around he said he wanted a lot of soured him on any other potential collabo- things is astonishing—there are few people really really big orchestra stuff in this. That’s rations. “If something else came up that was with that sort of mastery, and I think the when we really started working closely great, fine, but I don’t want to be a full-time public-at-large knows him for these more together.” film scoring guy,” he says. “Right now I do a grandiose things.” FSM Brion says that his special working rela- tionship with Anderson involves far more involvement on the production than most composers have. “I’ll watch the movie with Paul with the keyboard and we’ll write sitting together talking about it as it’s happening,” Brion explains. “More often than not Paul will find some element he likes and he’ll want it to repeat over and over. We sort of find what those things are and it’s a very close-knit process—not the average thing where someone is handed scenes as they’re edited and goes and works in private and then goes and has someone who’s fairly inar- ticulate making changes, and the composer goes home grumpy because they rejected half of it. And he does some more and then that’s accepted, and then they go to the ses- sion and a bunch of people who aren’t specifically involved in the movie-making process are sitting at the session making comments. That’s not the case with Paul; he’s fought for his sovereignty in his movie career, so it’s basically him and me at the sessions and not the suits.” While Brion acknowledges a psychologi- cal approach to scoring Adam Sandler’s character, he says that’s not the entire story behind the score. “Paul’s thing about music is very different from other people’s,” he says. “There’s the first generation of com- posers that learned how to play appropri- ately to picture, and then there’s the second generation of composers who discovered

FILM SCORE MONTHLY 13 DECEMBER 2002 An interview with Composer Philip Glass. ComposerPhilip with interview An Manhere’s little middle ground when it ofcomes to The Philip Glass. Either his minimalist style will T drive you up a tree, or you’ll be enthralled by compositions that find infinite variety within infinite

repetition. Indeed, few avant-garde composers have had such luck at maintaining a film scoring career with- out losing their pure voice. And Glass’ has barely changed since his first full-fledged movie score to 1981’s surreal travelogue . It’s an approach where the film almost seems incidental to the music that’s accompanying it. But that’s only if you’re expecting the music to tell you what’s happening on the theater screen. Philip Glass is all about playing what’s going on inside the image. And he isn’t afraid to say it out loud.

Whether it’s multimedia (1000 Airplanes on the Roof), operettas (), dance (Les Enfants Terribles), new scores to golden oldies (Jean Cocteau’s Beauty and the Beast), or current films (Kundun, Mishima, Hamburger Hill), Glass has distinguished himself as the hardest working man in high art. In his dozens of compositions, about a heroine driven mad by her daily rut will mirror the Glass has taken listeners on a melodic journey where rhythms rise and life of Laura Brown (Julianne Moore), a 1950s housewife fall with hypnotic fascination. Glass uses the pure, gonzo possibilities of with the perfect husband and child. But everything is far music like a mad scientist—voices, orchestras, electronics, ethnic from perfect for Laura, and neither is it perfect in the pres- instruments and any number of harmonic doodads playing out one ent for Clarissa Vaughan (Meryl Streep), an editor whose thematic intention with a single-minded, ritualistic force—finally goal of preparing a dinner party for her AIDS-afflicted ex- releasing his big idea in a blaze of melodic energy. As such, Glass’ com- lover (Ed Harris) mirrors the actions of the fictional Mrs. By Daniel Schweiger positional style is probably the closest music ever gets to sex. Dalloway. The Hours (available on Nonesuch) is all about this single-minded Leave it to Glass’ music to link these stories together, toward an emotional release. Yet Glass’ music is quieter here, a action from all three timelines taking place over a single day classically tuned string and score that’s more heartfelt, even nor- and night. Glass’ music is all elegant ennui, a sad, yet mov- mal. The Hours might be Glass’ most eloquent, interior score, providing ing score that would be right at home in a concert hall. But an emotional voice for characters who are screaming across time itself, the composer’s accomplishment is giving a kind of warmth yet can only manage a whisper of their desperation. to the depression on hand. And it is one element that peo- Much like the literate framework of Mishima, The Hours uses a cross- ple will surely take from The Hours—unapologetic music

cutting approach to tell the story about a writer whose work deeply rather than notes that move the images along. ARTWORK ©2002 PARAMOUNT PICTURES affects its future readers. Here the real-life author is Virginia Woolf Still, his use of repetitive themes has left Glass an easy tar- (Nicole Kidman), trying to hold onto her sanity as she pens the thoughts get for the likes of South Park and The Simpsons. You’d

that will become her novel Mrs. Dalloway. Decades later, Woolf’s novel expect that a person who’s made a name for himself in the THE HOURS

DECEMBER 2002 14 FILM SCORE MONTHLY stuffy art world might take offense. Yet Glass is anything but stuffy. A fast- Hourstalking guy who worked as an NYC cab driver before hitting it big in more rarified circles, Glass is refreshingly unpretentious as he talks about his art and about The Hours—a score for a “chick flick” unlike any other. FSM: You seem like an odd choice to score what’s essentially a “women’s picture.” How did you get to do The Hours? Philip Glass: I never ask why! (laughs) I live in New York, where I’ve scored a bunch of movies over the years—not as many as someone who lives in L.A. would. I’m involved with theater, opera and other things as well. Scoring movies is just one of the interesting things I do. And when a movie comes my way, I never ask why I got it. I just want to see what it looks like. And when I saw The Hours, I was bowled over by it. I

GIRLS, GIRLS, GIRLS: Meryl Streep as Clarissa, Nicole Kidman as Virginia and Julianne Moore as Laura fill THE HOURS.

thought it was a fantastic movie, and it appealed to me on a lot of lev- els. But most importantly, I knew how to score it. FSM: How did you know that? PG: Because I’ve been doing this for 40 years! (laughs) What can I tell you? The things I liked about The Hours was the complexity of it and the fact that music would be more than background here. The music would help to create the structure of the film, just like my score for Mishima did. So even though I came in late to the film, I had a tremen- dous amount of freedom with it. I basically sketched out the score to show Stephen Daldry the direction that I wanted to go in. He liked it, and the tone for the score was set from the beginning. FSM: Stylistically, this film reminded me a lot of Mishima, where multiple stories are being told around an author’s work. PG: That’s for a very good reason, because Mishima is also about dying. Virginia Woolf talks herself into suicide in much the same way Yukio Mishima did. Suicide was the grand accomplishment of his life. Japan has a tradition where all these different ways of self-annihilation are very much honored. So you can’t say that Mishima picked it up from Virginia Woolf, because it comes out of his culture. But both writ- ers ended up in an identical place. Isn’t that strange? But for The Hours, I treated the music very differently than I did in Mishima. When I first saw The Hours, the film was in its final stages of editing. I was con- cerned that it might appear chaotic, because the film involves three stories that take place during different times of the day. So I set out to have my music tie all of the stories together by carrying one theme through all of them. For Mishima, I used a big orchestra, a string quar- tet and an electric guitar to play the stories separately. FSM: The characters in The Hours are emotionally constrained. It’s often up to your score to express their feelings. PG: Yes. The music provides the emotional point of view of what’s going on. I thought there was enough separateness going on without having the music create more of it. So I was looking for the common- alities in the characters. FSM: There’s also a classical quality about how your score works here.

FILM SCORE MONTHLY 15 DECEMBER 2002 PG: That’s because The Hours is a bravura, literate film. It’s about important. It gives a piece an intensity and keeps the listener a book that resonates through three different periods of time. And focused on it. If the only thing I was doing in a piece was to repeat how many movies are made about books mattering, about them myself, then you wouldn’t be able to listen to the music. Your ear having a tremendous impact on peoples’ lives? The Hours is about wouldn’t accept it. how art formulates life rather than the other way around. That FSM: You’ve used many diverse orchestrations in your career. Do makes it a highly unusual movie in that way, don’t you think? you have a particular favorite? FSM: There’s always been a sexual quality to your music. Your PG: For The Hours, I used piano and strings, which I’d done cues begin like foreplay, move into intercourse, and then end with before with my piano . I like , especially because an orgasmic release of music. I can play the part myself. And while I don’t play the piano on my PG: You can really hear that in the Mishima score, because it’s an soundtracks, it is definitely me performing within The Truman orgiastic, erotic movie. As far as my musical structure goes, I Show! When I recorded the Dracula album, it only had strings that learned a lot from working in the theater, where you don’t put the were performed by the Kronos Quartet. But when I took the show finales at the end of the pieces. But when I’m writing a 25-minute out live, I added a piano part for myself. concert piece, you want the kind of razzmatazz ending where peo- ple will applaud for the soloists. My compositions for Koyaanisqatsi Greatest Hits and Einstein on the Beach also tended to begin quietly and then FSM: How did you end up in ? build dramatically somewhere after the middle. It’s a structure that PG: The director Peter Weir came to me. He had this idea that Ed

PIANO MAN: Glass regards some of his recent albums. works out very well for certain kinds of dramas. But for a drama like Harris’ director character Cristof was a Philip Glass fan, and had all The Hours, which is very interior and self-reflexive, you want the of my CDs. So when Cristof filmed Truman, he’d play my music as spectator to assimilate the music. So the music needs to build and if he were a deejay. Peter loved the idea of using a lot of my old end quietly, which it does in the end credits as well. music, and having me write some new pieces. Then he asked me if FSM: Your music doesn’t “hit” action in the conventional sense. I wanted to play myself in the movie, and I said, “Absolutely! You bet PG: I suppose not. But I’ve also done a lot of synchronization, I would!” So I went out there and wrote a piece of music for the particularly in my stage shows. And my music for Godfrey Reggio’s scene. Then he took all of that stuff back to Australia and had films is also synced up pretty much. I feel that in any given scene, Burkhart Dallwitz come in to write some additional music. The you only have to hit a sync point once or twice. And then you can soundtrack ended up being some old music of mine, some new let the music float between the spectator and the cinematic action. music of mine, and some not music of mine. Peter was convinced So once the listener is confident that my music is telling the story, that the music had to be done this way, so there wasn’t really a they’ll provide all the other sync points without me doing anything. choice. Yet no director’s ever told me what to do, even if they occa- That’s because we as human beings make sense of stuff, and I leave sionally make me re-write my music. it to the listener to figure out how the image and music go together. FSM: You have a reputation as an “art” composer. The Hours is And I do leave big clues along the way that indicate that it is actu- both an “art” film as well as a studio picture. Do you think this will ally happening. open doors for you to score more mainstream films in Hollywood? FSM: Your music is also about finding variety within repetition. PG: I don’t know. My sound producer who’s worked with me for PG: That’s the secret of it, of course, and you find that in the great 30 years said, “This really sounds like a film score! It even makes me as well. It’s the variations that keep things going. In want to get the soundtrack!” And what he meant by that was that I a way, being able to maintain a theme over a long period of time is helped to tell the story of the film while creating music you could

DECEMBER 2002 16 FILM SCORE MONTHLY listen to. The themes came from me without a lot of effort tive way of working that was very much like the way I worked because it was the right music for this movie. It’s not part of a in the theater, where your piece is the result of several authors strategy I’m employing to get more film work. The real strategy I working together. That’s rather different from the way most have is to treat each film uniquely. If The Hours is successful, it films are made. But when you’re working well with someone, it would please me very much. Because of all the mediums I work doesn’t matter what time you’re brought into the project. I also in, film is the one which reaches the most people. I discovered felt that way when I worked with Stephen Daldry on The that when Koyaanisqatsi played on television: Six million people Hours. were watching what had started out as an underground movie. FSM: Do you think you’ll be doing any live performances of And that was more than anyone who’s seen all of my operas your Naqoyqatsi score? added up together! So whether my music can be mainstream, or PG: I’m sure I will. It just takes a couple of years a little to the side of it, I don’t know. When I was doing the music until everyone settles down and gets the film for the original Dracula, I was trying to do something that would behind them. Then we begin to think about doing be an “art” score as well as something that would play the humor things live. I’ve tried to get other film companies of the movie. So I think that’s an accessible score as well. interested in live performances of older films, and FSM: One of your most “mainstream” scores, and a real I was successful with Universal on Dracula. favorite of mine, was for Candyman. It was a very successful FSM: Are there other classics that you’d like to “horror” film. take a shot at? PG: I did Candyman because the director Bernard Rose called PG:Well, Universal also offered me Frankenstein me up. I’d seen his last film, Paperhouse, and Bernard told me and The Mummy. I wanted to do all three, but that he was doing another odd film that he wanted me to look at. ended up picking Dracula because Bela Lugosi is So I took Candyman on the basis of Bernard’s talent. I didn’t such a fabulous character. Although I would go know what the film was going to be like, and it turned out to be back and do Frankenstein, I’m not so interested in quite a brutal movie, very far from the kinds of things you’d doing retreads of old movies so much now. I like expect me to do. But I liked Bernard, and said, “Let’s do this and doing accompaniments for films by people who see what happens.” Candyman did lead me in a direction I are still alive, like the shorts I did for Atom Egoyan wouldn’t expect, and turned out to be a very popular score. We and Peter Greenaway. just put the record out finally. FSM:: Would you ever try your hand at FSM: You’ve got a lot of great scores that haven’t been released Metropolis? yet. Any plans to? PG: The problem with Metropolis is that every- PG: I would like to make more compilations. There was also a one takes a shot at it. So I can promise you that I’m nice score that was done for a Brazilian movie that never got not going to do it! I feel much more committed to here, as well as a Canadian film called The Baroness and the Pig. issues that are alive in the world right now like I end up doing a lot of independent films like that, maybe Naqoyqatsi, which is a hard-hitting movie about because I’m in New York. People who make independent films the kind of violence and conflict that’s in everyday tend not to be very studio-oriented so they can get out of the box life. I think we need to address the present and the of the usual kind of film music. But, unfortunately, these movies future rather than going back to old work that’s don’t get seen very much. One of the best ones was The Secret safe and not challenging in a way. I’d rather do Agent, whose score did come out on Nonesuch. Now I want to something that has more edge to it. start doing archival recordings of my unreleased stuff. And I can FSM: Do you see yourself as a political com- make the records, because most of the scores are from inde- poser? pendent films where the music belongs to me. That’s on my PG: In many ways, I do. Many things that I’ve agenda of things to do. done are about social issues. How does society FSM: Could you talk about your Galileo opera? change? How do people change? I’ve always been PG: I had the idea for a piece that would play Galileo’s life in drawn to things like that, especially when it comes reverse. I happened to be in Chicago with Mia Zimmerman, who to the films of Reggio and . was directing an opera of mine called . I told her about the Galileo piece, and she said that she’d like to work with me on Sound Philosophy it. So Mia became the writer of the piece. We started with FSM: There’s a saying that the best kind of film Galileo as an old man and had him remember his life until he music is the score that you don’t “hear.” But your gets to himself as a young boy. So the opera goes literally from music is definitely big and noticeable. the dark to , because Galileo was blind when he died. PG: I don’t agree with that statement. When you I turned a story that would’ve been rather tragic into some- listen to Bernard Herrmann, you hear his music. thing that’s very joyful. And look at Elmer Bernstein’s scores. Very recently I was doing a panel with Elmer, where they showed Musi-Qatsi our film work. I realized how much I remembered FSM: Could you talk about your work with Godfrey Reggio? his themes with the images, whether it was from PG: It goes over a long period of time. We began in 1978, and The Man With the Golden Arm or To Kill a did three movies together, Koyaanisqatsi, and Mockingbird. I couldn’t separate the music from the Naqoyqatsi. Godfrey wasn’t a professional filmmaker when we images, and that’s the mark of the best scores. began, but he ended up one. And I think we innovated how FSM:What’s it like being a pop culture figure to film scores were done, because we were working on the films’ the point where you’re a cartoon character in South score at the very beginning. The images and the music were Park and The Simpsons? built together, scene by scene. And when a part was com- PG: Those were funny, weren’t they? And I’ve pleted, we simply moved on to the next one. So the movies appeared in cartoons in The New Yorker as well. I

were never completed until the music was. It was a collabora- think it’s very interesting that few composers who And hit to point a only you once or sync have twice. “In scene, given any cinematic the and spectator the between float music the let can you then story, the telling is music my that confident is listener the once So action. they’ll all provide the other sync points without me doing anything.”

FILM SCORE MONTHLY 17 DECEMBER 2002 ay Ellis is pretty good at hiding his tracks. As a producer the biggest-grossing film of the year. The first animated Spider-Man TV show premiered in September 1967 on ABC and arranger, he’s a legend, collaborating on albums with and was an immediate hit, at least partially thanks to an incredibly catchy theme written by Bob Harris and lyricist , Barbra Streisand, Connie Francis and Paul Francis Webster. The song’s electrifying arrangement— opening with an explosive blast of trilling horns and sailing . But what most people don’t know is that forward with tough, urban brass chords, percussion and R electric guitar—was vintage Ellis, and it set a style not only Ellis is responsible for some of the most familiar Saturday morn- for the show but for Ellis’ career in animation. ing animation music heard from the late ’60s to the early ’80s. Swinging Into Action Ellis, in fact, is still going strong as he prepares to enter his Ellis got the Spider-Man gig while working in New York in the ’60s. “That’s when I did the Spider-Man background music,” eighth decade; he just finished work on an album of songs by ex- the composer says. “I was doing little things that really didn’t mean very much. I did the Spider-Man background music game show host Peter Marshall. “Everybody still calls me,” the and part of the theme around 1965 or ’66, and then I started getting into animation. Bob Harris wrote the theme for composer says. “I just turned 79, and I’m running around like I’m Spider-Man, and I knew Bob—he was a composer and a good jazz piano player. I ran into him in New York, and he 20 years old. I never figured at this age they’d still be calling me.” said he was doing Spider-Man and wanted to know if I want- Here Comes Spidey’s

The work with Marshall takes Ellis back to his roots. “I ed to get involved in the underscoring. I used to read those Untying started out as an arranger,” he says. “I was very lucky; the comic books, and I knew who Spider-Man was.” first record date I did, the first time I walked into a studio, Ellis’ work on the show’s theme song led to him creating was with The Four Lads: ‘A Moment to Remember.’ I got an extensive library of equally indelible action and mood the very hot as an arranger and did ‘Standing on the Corner,’ music for the show: a gritty, often menacing series of cues ‘Know Not Much,’ and a lot of the early Johnny that accompanied the animated Spidey sailing Mathis things at Columbia; then I went over to through backgrounds that ranged from realis- Tangled the head of A&R at MGM and did the tic NYC skyscrapers to bizarre psychedelic Connie Francis thing. Then I went over environments conceived by animator to RCA and worked with Paul Anka Ralph Bakshi. “I did all the arrange- Web of for a couple of years and freelanced, Picture of Ray ments on the theme, and on the and worked with Streisand and on the way underscoring I did all the writing Lena Horne and you name it.” and orchestrated all that,” Ellis Composer Ellis’ work on the 1958 Billie recalls. “All Bob was interested in Holiday album Lady in Satin was the theme. I scored the first helped to create an acknowl- episode because they had that Ray Ellis edged classic. “I’m still getting done in rough form, and I also did calls about that,” Ellis admits. different versions, long and short “Billie could hardly sing at that ones, of all the cues I wrote for the BY JEFF BOND point but emotionally it came off. first episode. For the rest of the series, They’ve remixed it for CD; the last one they sent me some storyboards because they did, they made me the hero and I they hadn’t really shot it all yet, and they wrote part of the notes about the sessions. In had illustrations of him flying around. So I cre- the leaflet they made me more important than Billie ated library of different emotional situations: chases, Holiday. If you listen to that album, it sounds like it was sad, happy, sinister, and different timings. After that the done last week—it doesn’t sound dated.” music editor almost scored it. It was el cheapo in those days. For casual listeners, some of Ellis’ most distinctive and I think we just did the one year of episodes, around 26.” unforgettable music hailed from the mid-’60s and a little The composer cites as a big influence on ABC Saturday morning cartoon about a certain web-sling- his sound, with powerful, wild brass passages often playing ing crime fighter whose profile was recently raised a bit against bass guitars à la Peter Gunn to characterize the when Sam Raimi’s big-screen Spider-Man movie became bustling action of . “That’s what I was trying

DECEMBER 2002 18 FILM SCORE MONTHLY to do, to get the feel of flying around through all as the cues from the original series. But Ellis those tall buildings,” Ellis says. “It was recorded in recalls one luminary from the show that his New York, and I did it with a lot of the studio guys. music failed to impress. “I changed the theme for We did it in three tracks, as fast as possible, and the animated show, and the funny thing was that probably about 45 minutes of music total, in about and , who were the three sessions. We had guys like Mel Davis, Irving executive producers of , had a party Green on trombone, J.J. Johnson maybe. I had and Gene Roddenberry came over with his wife, good guys. We had a lot of echo when we mixed it and he never even noticed I changed the theme. down, too.” I said, ‘What do you think of the new theme?’ and Spider-Man was a huge hit for ABC despite con- he said, ‘What new theme?’” cern over the cartoon fisticuffs, shootings and vio- Ellis notes that he still gets requests for the Star lence that marked many of the action-adventure Trek animated show music as well as his Spider- animated series of the period. Ellis immediately Man underscoring, but he points out that the pos- got offers from both Hanna Barbera and a sibility of albums from those shows are unlikely at California animation company called Filmation, best. “To get those tapes from Hallmark [current run by Norm Prescott and Lou Scheimer. One of owner of the Filmation library] would be impossi- his earliest assignments was on a weekly cartoon ble; they don’t really care. It’s not like they’re going series based on the movie , and to make a lot of money on it, enough for them to Ellis immediately adjusted his jazz-based Spider- bother with it; that’s the problem. You’ve got the Man style to a more orchestral, epic-style palette, generation that grew up with that, and anyone who

UNLIMITED ANIMATION: Ellis segued from the 1966 version of SPIDER-MAN (left) to a slew of Filmation projects, including (from top) THE ARCHIES, STAR TREK, FANTASTIC VOYAGE, TARZAN, Man FAT ALBERT and the GROOVY GHOULIES.

writing involving, long-line adventure melodies wasn’t 10 or 15 years old in the ’60s or ’70s isn’t sprinkled with electronic effects. going to be interested.” Ellis even found himself working on live action Behind the Scenes shows in the late ’70s and early ’80s when Filmation went on to become one of the biggest Filmation began branching out from animation Saturday morning animation studios in with shows like The Mighty Isis and Space Hollywood, and Ellis’ music wound up on every Academy—and not entirely successfully. “It sort of network, but it’s rarely seen or heard today. “That fizzled out,” Ellis says. “We did Mighty Isis…those library’s been sold backwards and forwards and live action series were not that good. Those pro- upside down. They paid a lot of money for it, and ducers were not really good enough for live they haven’t been really using the catalog. I did 25 action. They didn’t have a good comedy director series for them: Batman, a Tarzan cartoon, The for things…when I read those scripts I was on the Lone Ranger, Fat Albert, The Groovy Ghoulies, a live floor laughing, and even when they shot it, but action thing called The , with Larry when they cut it together, they just didn’t have the Storch and Forrest Tucker from F-Troop. At one timing down. It’s like, when you throw a line, point I had about four or five of those things going you’ve got to give the audience the chance to on full network; every Saturday morning we laugh—they were stepping on the jokes.” owned the place. We recorded a lot of it at Larabee Ellis’ relationship with Bob Harris earned him a Studios in Hollywood. The biggest group we ever job on one theatrical release, Cauldron of Blood, a used was 15 or 20 guys. But that’s one of my fortes; low-budget produced in Spain. “Joseph I really know how to take a couple of guys and Harris, who was a big producer in B-movies, was make them sound really big.” doing that movie,” Ellis says. “He was Bob Harris’ It was Ellis who was the mystery man behind son. They shot it in Spain with Karloff and Viveca the familiar music of Filmation’s animated adap- Lindfors and Jean-Pierre Aumont, and I thought tation of Gene Roddenberry’s Star Trek, a surpris- hey, those are good people, that can’t be bad. In ingly sophisticated effort that won an Emmy those days you could shoot a film for less than a Award for writing after debuting on NBC in 1973. million dollars. Joe Harris would say, ‘Okay, we

©1967 MARVEL COMICS GROUP; COURTESY PHOTOFEST Ellis’ new version of the familiar Alexander need five hundred thousand.’ He was bankrolling Courage Star Trek theme and his sweeping and it, so then he’d say, ‘Ah, you can do it for a hundred churning underscoring for the series have and a quarter.’ No way could they finish it. He’d

SPIDERMAN become almost as familiar to longtime Trekkers (continued on page 48)

FILM SCORE MONTHLY 19 DECEMBER 2002 t’s July 2002. On one wall of Howard Shore’s New A World in the Balance York offices hangs a cheerful poster adorned with Just a few short months before, Shore was accepting his an Oscar statuette and hand-lettered, first Academy Award for Fellowship, but already it’s crunch “Congratulations from your neighbors!” A dry- time for Two Towers. In less than a month the composer erase board on the opposite wall lists cue titles such and his team will head back to London to record the sequel as “Fangorn Forest” and “Riders of Rohan,” some of Lord of the Rings score. Strike that. This is no sequel. “It’s which are labeled complete, most of which are Act 2,” asserts Shore, sounding proud as ever to be working demandingly blank. Stacked nearly a foot high on a nearby on the mammoth project. But talk about your tough acts to Itable are the conductor’s scores for The Fellowship of the follow. Fellowship set new standards as one of cinema’s Ring, computer engraved, finalized, complete. An adjacent most elaborately detailed musical worlds, complete with table holds a few scattered scores from the in-progress Two four distinct musical cultures and at least 18 interlaced Towers, dotted with hand-scrawled notes. The room is an themes and/or motifs. The opera concept seeped into odd mixture of recent glories and upcoming deadlines, all every minute detail of the score from the cast of perform- pertaining to the same project. ers to the Tolkien texts, the interrelated thematic material, This is the halfway point for Shore’s involvement on key relationships, foreshadowing of future installments, Lord of the Rings. One score down, a second composed, and so on. Each facet is deeply considered: When should but unrecorded, a third yet to begin. Clearly the pressure is the Shire/Hobbit music feature fiddle, whistle or clarinet? on, but here seems fazed in the least. Every mani- How will the Elf culture’s exoticism resonate against the festation of the project’s stress level is met with some music of greater Middle-earth? Where should the chains reminder of the good-natured passion that seems to color beat grand piano wires to represent the industrial waste- every aspect of the production. Ever pressed for time, the land of Isengard? The elaborate interrelation of thematic

AchievementsTowering Howard Shore Returns to Middle-earth for The Two Towers

crew has established a system to material in Fellowship is thought- alert Shore whenever a prospec- By Doug Adams fully patterned after the structure of tive cue has been uploaded to the Tolkien’s writing—sit sometime Net for Peter Jackson’s long-distance examination. As each and compare the opening of the Fellowship theme to the file is moved onto the server, Shore’s cell phone will ring similarly introduced Isengard theme; or the music for the just once to indicate its readiness but to inflict minimum evil seductiveness of the Ring to the plaintive allure of disruption. “It’s the One Ring,” he laughs when the phone home as represented in the Shire theme. By following the is signaled, emitting a single less-than-ominous phrase of construction of these worlds of literature, Shore is design- “Swanee River.” ing no less than an opera in reverse. “Operas are written ARTWORK ©2002 NEW LINE CINEMA ERS W THE TWO TO

FILM SCORE MONTHLY 20 DECEMBER 2002 first, then are directed onstage with lighting and gestures,” he explains. “It is a beautiful piece unfolding in front of you. This is an attempt to do that on-screen, so that it feels nat- ural and the music and cultures have a very classic flow, like watching an opera that’s a hundred years old.” And this literary-level detail was already in place when Shore expanded the canvas for the extended-edition DVD. “Ever if Peter added 10 seconds to a scene, I’d go back and re-record a couple minutes of the score in that section to put it all in seamlessly,” says Shore. “Our goal was to make it feel like a new film. It’s not the old film added to, but a genuinely new film. That’s why we went back and did the re-recording.” This routine, which will eventually be fol- lowed for an expanded Two Towers DVD, is representative of Shore’s level of commitment to these projects. In con- versation, the composer is just as likely to mention a new thematic idea as he is to discuss the hirsute appearance of female Dwarves or the potential repercussions should Gandalf ever claim the One Ring. Back in New York, ethe- real scenes of Rivendell dance across a screen and Shore sits transfixed. “I never get tired of watching it. It’s so beau- the lifeless corpses of strong first act operas that dead-end tiful. Look at that shot!” Though history is yet to be written, immediately thereafter. Fellowship’s success didn’t preor- it’s more than likely Shore’s legacy will forever be attached dain Two Towers’. For his part, Shore has planned ahead, to these films in some way. “By the time I started on Lord of composing each individual film with the requirements of the Rings, I’d had over 20 years of writing and orchestrating the next in mind. “I think of it as one piece,” says the com- and orchestras. It’s a good period for me to be poser. “I saw Return of the King at the beginning of this working on this, in terms of my age and the amount of year, so I’ve seen the third act. What we’re essentially mak- experience I have. I also have the energy to do it! We feel a ing, and I know I’ve mentioned this to you, is a 10-hour great responsibility for this. We feel that we’re all in service film. Peter, being the kind of visionary that he is, is holding of the Ring. All of us do. Peter, Fran, everybody. We just all of these things in his mind. want it to be as good as it can possibly be.” “Act 2 is incredibly different than Act 1. I want it to be as So far so good. But musical graveyards are littered with good as the first one, and, in a way, I want it to be better,

FILM SCORE MONTHLY 21 DECEMBER 2002 too. I want it to have progressed a bit and to be a bit bold. I music that the world of Two Towers is born. The story’s want to create new worlds—a new structure. The second main characters have been plucked from their insular exis- film gives the impetus for the third. Act 1 was the forming tences and thrust into a more complex world. A single of the Fellowship. The linear quality of the first one was quest has now fractured into several fronts, none of which very unique. It was always flowing in one direction. You is aware of the other’s progress. “The counterpoint is the were following Frodo and Sam and slowing picking up lines playing against each other. There’s more independ- characters. Act 2 follows the fragments of the Fellowship. In ence, if you will, in the music,” says Shore. “I think maybe Two Towers, you’re following three distinct stories all being that’s inherent in the splintering of the group.” told linearly now, so the complexity is multiplied by three.” At the end of Fellowship of the Ring, there’s a brief pas- Sonic Corruption sage in the strings that underscores Sam’s attempt to reach Nowhere does Two Towers present splintering more dis- Frodo, now departing the Fellowship in a lone boat. It’s a turbingly than in the fractured psyche of Gollum, the contrapuntal passage unlike anything else in the score, ruined Hobbit who once possessed the Ring. “Gollum is a befittingly matched to a scene of bittersweet conflict. “This schizophrenic character,” notes Shore. “He is Sméagol by counterpoint just seemed right for the complexity of it. I birth who becomes corrupted by the Ring and becomes didn’t use it too much in the film. It’s a little modern, quite the creature, Gollum. He’s constantly at battle—each side is different than anything else.” It’s within this 40 seconds of fighting the other. Sméagol is a little more reasonable than

from Fellowship is now more Two Out of Three Is Better explicit and often threatening as in the vocal passages of “The The Lord of the Rings: resents his latent malice and Passage of the Marshes.” The Two Towers caps the score proper with a And of course as the nuanced HOWARD SHORE wonderfully taunting sneer. The threats of Middle-earth grow, so Reprise 2-48408 • 20 tracks - 77:15 equine Riders of Rohan have a do the responses. Much of Two heroic brass fanfare—complete Towers is directed toward gar- he biggest compliment one could pay with a corresponding fiddle solo gantuan military action, and THoward Shore’s score to The Lord of the variation—that bears rhythmic Shore responds with appropri- Rings: The Two Towers is to say that it accom- similarities to the Fellowship ately rhythmic material that puts plishes exactly what it needs to. Meager praise? theme. The “Treebeard” track combines the the corners on the score and pushes it to explore Hardly. Shore’s work on The Fellowship of the ethereal choral work of the first score with an more angular territory. The action music is Ring was one of the most detailed and vibrant earthy bassoon solo and the best wooden per- carved in a brutal/elegant manner that’s regal, scores ever set to a fantasy film. It matched the cussion textures (featuring bass marimba and log exacting and overwhelming all at once. Unlike so story’s literary complexity with a treasure trove drums) since Indiana Jones traversed the jungles many other scores, Two Towers uses its action of interconnected thematic material, meeting the of Peru. The ghostly Lothlorien theme appears to create genuine drama, not a cheap show. The epic filmmaking with a sincere and affectionate both in its original Eastern-flavored setting and battle music is informed by and drawn from the musical voice that never once overplayed a transformed into a warrior’s clarion in “The complex musical world in which it occurs, so it scene for the sake of showmanship. The compo- Hornburg,” while the Orc/Isengard theme returns feels as if there are legitimate repercussions to sition itself was of the highest caliber, unique in more contrapuntally varied, sputtering out in waging war. Does this matter on a score on CD, its stripped-down counterpoint, its organic short nasty bursts while actively jumping separated from the film? Absolutely, for the melodic contour, and its mixture of ancient octaves. Even the Orc’s unnaturally tromping 5/4 same reason a Mahler symphony or a Puccini tropes and bleeding-edge modernism. But it was, ostinato is expanded upon and corralled into a opera achieves its heights effectively. Drama is as Shore himself often noted, an Act 1 score. Act militaristic charge. And, tellingly, the Evil of the context. When Shore’s battle music tears through 2 needed to be familiar, yet broader in every Ring theme becomes more omnipresent and his established material transforming and dis- sense of the word—more themes, more develop- driving, darkly slithering its way into the score at secting familiar themes, hurling them against ment, more colors, more featured soloists, more surprising moments. one another, layering them behind brass clusters unique instruments. It needed to extend the For Two Towers Shore cleverly places his and savagely propulsive cadences, it’s not just musical world of the first film—to feel like a logi- returning themes deeper into the orchestral good film music, it’s good art. The action, which cal progression of ideas, not a sequel. frame, indicating that the story’s quest has populates the last third of the CD, is a dramatic And The Two Towers’ score does exactly that, thrust characters into a more complex world. destination, not a diversion. in the highest possible style. Fellowship immersed the listener in one culture The Reprise Records album also features Shore’s concurrent work on all three Lord of at a time, but Two Towers commingles material, guest vocal performers: Sheila Chandra, the Rings films has resulted in an amazingly logi- notching up the thematic interplay considerably. Elizabeth Fraser (returning from Fellowship), Ben cal musical progression. This new score never Certainly Shore has maintained the notion of Del Maestro and Emiliana Torrini, who sings feels like a follow-up or a crass attempt at recre- separate and unique cultures—hobbits, elves, Shore’s “Gollum’s Song,” a creepy setting of ating the magic of the first film. It’s a continua- dwarves, orcs, multiple races of humans—but Gollum’s new tragic theme. All the performers tion, an authentic Act 2. When prior material there’s now the sense that each is more aware of acquit themselves nicely, but it will most likely be returns, it is touched by some fresh nuance, the neighbors. The sum of this added breadth Torrini’s evocatively twisted performance that whether it’s couched in a novel setting or inter- and density is a more fully realized and multifac- will get fans’ attention. On the instrumental side, acting with a new tune. For example, in addition eted Middle-earth. Appropriately, Shore’s writing the London Philharmonic is in excellent form, to his “pity” theme from the first film, Gollum is consistently more contrapuntal. While the with just the proper bit of bite in the playing. now has two new musical counterparts: a tragic quasi-ancient triadic homophony that so dis- Perhaps I should amend my introduction. Two theme that’s structurally related to the preexist- tinctly colored the first film is still at hand, Two Towers doesn’t do solely what it needs to. It only ing History of the Ring theme and a creepy- Towers is considerably more dissonant and tex- needed to be as good as Shore’s work on crawly motive (incorporating cimbalom) that rep- tural. Even the subtle use of dissonant textures Fellowship. It may be better. —Doug Adams

DECEMBER 2002 22 FILM SCORE MONTHLY too long. It’s even combined with the Shire The Themes of Fellowship of the Ring music to represent Bilbo in early scenes.

Fans of the Fellowship score have dedicated Two Wraith Ostinatos The Isengard/Orc Theme many an hour to parsing the dense world of the- The Descending Third motive and the Skip-Beat A nasty musical snarl, the flip side of the matic material. Here, with the help of the con- ostinato (named for its dodgy avoidance of Fellowship theme. ductor’s scores and the composer’s guidance, downbeats), both used in conjunction with the are the themes of Fellowship. Revelation theme and developed apart from it. The Isengard Five-Beat Pattern A clangorous ostinato in 5/4 time that repre- The History of the Ring The Danger of Mordor sents the industrial might of Middle-earth. Heard each time the One Ring changes hands. Essentially a third Wraith pattern, this theme is used somewhat more independently to repre- Lothlorien The Seduction sent the threat of Mordor from afar—e.g., A mysterious Eastern theme used for the other- of the Ring when Sauron reveals his Palantir stone. worldly Elves of Lothlorien and, more specifi- An ethereal incantation for boys’ chorus, first cally, for Galadriel. Note its heroic use in Two heard as Frodo and Sam leave the Shire. The Fellowship of the Ring Towers when the Elven archers arrive at Develops throughout the first film as the Helm’s Deep. The Evil of the Ring Fellowship is formed, falls into pieces once An Eastern-tinged theme that features the Moroccan rhiata; often does double duty rep- resenting the world of Mordor.

The Shire/Hobbits Appears in its Shire guise as a folksy fiddle ditty, underscores the Hobbits on whistle and clar- inet, and eventually becomes the solemn Gandalf is lost. The Fellowship theme hymn “In Dreams.” returns in Two Towers because the quest Rivendell to aid Frodo continues, even if the Shore uses arcing arpeggios to represent the The Hobbit Bass Line Fellowship’s original nine members do not. more human-friendly, yet still-exotic Rivendell. Underpins the Shire/Hobbits theme with a series of perfect fifths and fourths. These intervals Two Journey Themes Dwarves are interwoven and developed in the score’s Two bits of traveling music, one heard just There are two major ideas for the Dwarves, more Hobbity moments—e.g., the fireworks before Sam and Frodo arrive in the Shire’s one more melodic than the other. Shore’s music, Bilbo’s post-speech disappearance, etc. cornfield, the second (the Caradhras theme) grunting Maori choir sets a musical stan- as the Fellowship sets out from Rivendell. dard for Dwarf culture in general, while his The Revelation of the Ring Wraiths profound Dwarrodelf tune represents the Practically mono-rhythmic and without contour, The Pity of Gollum despoiled grandeur of the fallen under- this material portrays the Wraiths’ obsession A sad theme to represent the Gollum potential ground metropolis. FSM as a series of mounting D-minor clusters. present in any character that holds the Ring

Gollum. Sméagol trusts Frodo, Gollum doesn’t. Smèagol is harp, mandolin, open-string guitar and hammered dul- more needy and needs more care, Gollum is much more cimer all took their places beside more permanent orches- independent and deceitful. These two characters are fight- tral residents. “Because Sméagol was a river Hobbit, he ing each other in the one body. In Fellowship, the theme lived close to the Shire. I wanted to bring an instrument for Gollum was developed, but you didn’t really know who along from the Shire,” states Shore. So the cimbalom, a for- Gollum was. You just heard this piece of music when you eign relative of the hammered dulcimer, was chosen to got a fleeting glimpse of this character. Now that the char- represent Gollum’s primitive side. There’s a sort of sadness acter is being developed, it needs two pieces of music to in the pairing. Gollum’s animalistic side is scored by the work against each other, so I created another piece. It’s like instrument that most closely represents what he once was. Slinker/Stinker—it needed a piece to play off against the “It seemed like a good sound for a Hobbit that had been theme from film one. Then, the two themes are very inter- corrupted by the Ring. It had a sort of agitato feeling to it related to the Ring, because Gollum really holds the key to that Gollum has—that quivering feel.” the Ring. Gollum, in a way, knows more about the Ring than anybody. He’s been to Mordor. He knows where it’s Instrumental Sorcery headed. I don’t think anybody else has gone that route. Shore also fashioned a distinctive collection of instru- Gandalf might know it from his studies at Minis Tirith, but ments for the enchanted Fangorn Forest and its chief Gollum has had actual first-hand experience with it. So the denizens, the tree-like Ents. “I wanted wood sounds,” he music around Gollum is his two themes developed plus recalls. “There are wooden logs [log drums], bass marim- hints of the [History of the] Ring theme.” bas, bassoons and double basses—the wooden instru- Gollum earns yet another, somewhat onomatopoeic ments in the orchestra. That was the central lead with the motif—a slippery chromatic line matching the snaky orchestration.” Sprinkled through these wooden textures physicality of his creeping. In Fellowship Shore often are a few recurring motivic gestures, but in general it’s the infused his orchestra with a unique combination of folk palette itself that is most closely associated with the world instruments that depicted both the Hobbits’ diminutive of Fangorn. Again, there’s a Tolkien parallel to be found stature and their simple way of life. Fiddle, musette, Celtic here. The music, after all, represents a society of creatures

FILM SCORE MONTHLY 23 DECEMBER 2002 sounding, and the fiddle is a nice counterpoint to things like wooden flutes.” In keeping with the ancient European flavor, all choral lyrics for Rohan scenes were translated into Old English. Ostensibly this is a musical decision, though as the composer admits, there’s also an aspect of it that aids the performance. Shore always writes with the musicians’ performance specifically in mind. In Fellowship, for example, there are sections of the score that call for percussive patterns to enter several bars before they’re intended to be heard. Shore would cut these pre- amble measures out of the mix so that the first audible entrance would immediately have the energy of an ongo- ing performance. In Two Towers, the Old English passages are sung by the London Voices, a Covent Garden choir well versed in the ancient language, thus producing even more impassioned and authentic performances. In addition, Rohan earns a more overtly emotional B- theme—a cushioning chordal figure that plays to the vul- nerable side of mankind, though in a Rohan-specific vein. “It is part of Rohan, but it’s on a more personal level. It’s used around Eowyn and [for] her relationship with her uncle, the king, Théoden.” Shore also fuses the stylistic ten- dencies of the gilded Elf themes and the yearning mankind music to develop a few new thematic ideas for the ongoing Arwen/Aragorn relationship, but the filmmakers are care- ful not to arbitrarily apply themes to each and every new character that appears in Two Towers. Themes, like every other element of the score, must be earned by the story. that refuses to be classified apart from their surroundings. “I’m looking at the imagery and creating music, and then Fangorn’s knotty textures earn a great deal of Towers’ after I’ve written a few hours I can see what’s evolving in the aleatoric material, where performers are allowed to impro- writing and what’s required to do these scenes in the film. vise within set guidelines. “I loved that in Fangorn,” Shore Most of our themes are based on emotional emphasis. I recalls fondly. “It felt so beautiful there, once you’re in that want to feel something. Even after I’ve seen it on-screen, forest with those trees and the darkness and shadows. it’s not until I’m actually writing the music for those scenes There’s a lot of life to a group playing like that—a vitality that a theme starts coming out. When you see the refugees that I like.” Two Towers uses aleatoric devices quite a bit leaving Edoras on their way to Helm’s Deep you feel a cer- more than Fellowship did, but it suits the musical architec- tain pain. They’re leaving their homes; they’re on a danger- ture well. Fellowship was largely homophonic, Towers ous journey where anything could happen. They’re going largely contrapuntal, so the bubbling timbres conjured in to a fortress to defend themselves, 300 people against the aleatoric music creates an effective middle ground 10,000. They could be killed. You want to feel something for somewhere between singled-lined music and multiple- this great culture that could be completely wiped out, so lined music. It’s a unified sound formed by an abundance material develops from that. Then as I’m working on that I of independence. might see a relationship somewhere else in the film. If I Two Towers adds a new musical culture to the mix as don’t, then it doesn’t develop and that’s it. If I do, then I feel well. Fellowship dealt primarily in Hobbits, Elves, Dwarves that it was earned and not just stuck in there.” and Orcs, but it’s the world of men that is slowly taking the reins of creation. In film one, the culture of men was never Taking the Helm clearly articulated, musically speaking. It was presented as The last hour of Two Towers deals with the battle of Helm’s a series of inchoate musical ideas, coalescing most promi- Deep, the opening skirmish in the war that’s been building nently when Aragorn’s lineage is revealed in Rivendell and for a good five hours of storytelling. Here the London during Boromir’s lamentation at Lothlorien. Two Towers Philharmonic bares its teeth as Shore’s music transforms places the world of men at the center of the action as into a lurching collection of polyrhythmic colors. But the Isengard prepares to wage war with Rohan. “The Rohan writing remains rooted in the cultural sign posts and the- theme is such an important part of the film and, in a way, matic fabric of musical Middle-earth, contextualizing the is the theme to the second film. Peter, Fran and I worked on spectacle and earning its spot as an element of plot, not that continually. It’s really a piece for the grandeur and the mere eye-candy. “It’s very specific to what’s on the screen, faded glory of Rohan.” This heraldic tune is second only to but I try to find a very long shape to it,” Shore explains. “I’ll the Fellowship theme as a representation of Old World gal- look at the piece in five-, or six-minute sections, and then lantry, but there’s a softer side to the melody that speaks of I’ll write for those sections and try to find the longer lines. the valor and frailty of a kingdom under siege. Here Shore Some of the music in Helm’s Deep is incredibly specific introduces another featured instrument to his Lord of the spot-on action music, right to the moment, right to the Rings collection. “I use the hardinger, that Norwegian fid- frame. Other pieces go over action scenes in a more dra- dle with sympathetic strings,” he explains. “Rohan is essen- matic way. I go for the long thought, then start to work in tially a Northern European world, so I wanted to evoke the the moments. I find the significant points that I’m heading feeling of Northern . I wanted something old (continued on page 48)

DECEMBER 2002 24 FILM SCORE MONTHLY A Profile of The Alloy Orchestra by Karl Pallmeyer

uster Keaton might never have dreamed that his work would be underscored by a bedpan. But if he ever had the opportunity to view one of his films accom- Bpanied by the Alloy Orchestra, he would probably be pleased with the results. For a dozen years now, the Alloy Orchestra has been touring the classes—and then most students would likely duck out after the first world, bringing new audiences to old movies with its live musical back- reel. But today in most major cities, large crowds are turning up for ing to classics of the silent film era. Using electronic keyboards, accor- silent films. The draw is not necessarily the movie, but the music—per- dion, clarinet, banjo and an array of “junk percussion” that includes formed live as the film is projected. Film music historian/reconstruc- drums, chimes, gongs, cymbals, cake pans, cooking pots, metal sheets tionist Gillian Anderson tours the country, leading small pit orchestras and the aforementioned bedpan, the Boston-based trio helps bring the with resurrected vintage scores to such classics as Nosferatu and Wings. images on screen to life. Their music can be slapstick silly to mimic the Boulder Colorado’s Mont Alto Orchestra uses the vast catalog of mate- antics of comedians like Keaton, and Harold Lloyd, or rial composed by J.S. Zamecnik and others from the silent era to accom- take on an industrial bleakness appropriate to the futuristic world of pany the old films. Taking another approach, composer Carl Davis has Fritz Lang’s Metropolis. The supernatural creepiness of F.W. Murnau’s written original, but period-sounding, scores for D.W. Griffith’s Nosferatu and the dizzying montage of Dziga Vertov’s The Man With the Intolerance, the 1925 Ben-Hur and others. Movie Camera also have benefited from the Alloy touch. “There are a lot of groups and individual musicians who are playing The Alloy Orchestra is part of a renaissance in the popularity of silent traditional scores,” says Ken Winokur, who plays percussion and clar- films. Not too long ago, silents were rarely screened outside of film inet for the Alloy Orchestra. “On the other hand, there are a lot of peo- ForgingTHESoundOFSilents ARTWORK ©2001 LUCASFILM LTD. STAR WARS: EPISODE 1

FILM SCORE MONTHLY 25 DECEMBER 2002 ple playing modern ones. Oddly, there are a lot of people “It always surprises me that it seems to be necessary playing silent film scores nowadays. So we’ve never felt like for the band to have to [commission the print],” Winokur the fact that we are doing a modern score in any way says. “We put the money up from money we’ve made detracts from the fact that other people are doing well- playing gigs.” researched, traditional, historically appropriate scores. In Several DVD releases of silent films have been enhanced fact, what we do almost presupposes that that already is by an Alloy Orchestra score, including two discs of Fatty happening. As far as I can tell, there is no shortage of amaz- Arbuckle and Buster Keaton shorts available through Kino ing musicians doing that. I actually think there is a real sur- International. Image Entertainment has released Sergei plus right now of great musicians who are doing this.” Eisenstein’s Strike and the early stop-motion masterpiece “People have said to us, ‘Don’t you feel like there’s a The Lost World. Masters of Slapstick, a collection featuring rivalry with these guys?’” says Terry Donahue, Alloy per- works by Chaplin, Keaton, and Laurel and Hardy, is due cussionist who also plays accordion, banjo, guitar and out early next year from Image. Jane Gillooly’s Dragonflies, musical saw. “We come from the world of rock music the Baby Cries, a contemporary silent film that Winokur where there’s a zillion bands. Are they rivals? No, they’re produced, also is available on DVD. Copyright issues have just another band. If anybody succeeds, you’re happy for prevented any video release of other films in the Alloy’s them. If they don’t, then you feel bad. It’s not like anybody’s touring repertoire, and a recent reissue of Metropolis, with trying to squeeze anybody out. It’s art, and we’re thankful restored original score, has stopped the band from per- that more people are doing it.” forming along with that film. “The reality for us has been that private collectors have Making Silent Film Cool been remarkably cooperative, encouraging, willing to Regardless of whether performed using a traditional work with us and make the films very available in spectac- orchestra or synthesizer and tin cans, live music compli- ular prints for a really reasonable rate,” Winokur says. “The In an ments the screening of silent films, which were never studios, on the other hand, have not been like that. We average meant to be shown in silence. probably should leave it at that…” “To see these films without a proper live accompani- show, we ment is half of the performance,” Winokur says. “They The Off-Screen Show hit each were always made to have a live accompaniment. You’re Winokur and Donahue had played in the Bad Art Ensemble, a just not getting the impact you would have gotten if satiric lounge band, and the Concussion Ensemble, a seven- other with you’ve seen the show in the theater in the ’20s or teens or piece rock group that featured four percussionists. They later drumsticks whenever with live music. The films are paced that way. enlisted keyboardist Caleb Sampson and a mountain of metal People say, ‘Silent films are kinda slow and boring.’ There to found the Alloy Orchestra. 10, 20 or 30 actually is room in the silent films for musicians to be “We went through junk yards and brought in literally tons of times. adding information, emotion, interest, excitement and stuff,” Winokur says. “We spent three days setting it up. We had ideas into the mix.” 50 radiator pipes put in a fairly linear order so we had some con- Hopefully, “I think making it modern really helps,” Donahue says. text of relative tuning high to low.” we do it “It shows that it’s not a dusty old thing, it can stand up to the The group then received a commission from Boston’s test of time and be a contemporary piece of art. It’s live art.” Coolidge Corner Theater to write an original score for with Film critic Leonard Maltin, who introduced the Alloy Metropolis. The screening was a success and led to other films. the soft Orchestra during a screening of Douglas Fairbanks’ 1926 When the band began to perform outside of the Boston area, two-strip Technicolor romp The Black Pirate at the 2002 the junk percussion was paired down to the bare essentials. mallets. Telluride Film Festival, says the band enhances the enjoy- “Once we started working and touring, we realized we had to fly ment of the film. “People are coming for the experience,” with this stuff,” Donahue says. Maltin says. “It would be hard to get people to sit for a Watching Winokur and Donahue navigate the rack of junk silent film, or an early talkie. But with the music, it adds percussion sometimes can be more entertaining than the film. another layer and makes it more enjoyable. They’ve helped Both deny that they spend any time working on choreography make silent film cool.” to keep from literally butting heads during a performance. Film critic has called the Alloy Orchestra “We’ve gotten better at it,” Donahue says. “Early on, we “the best in the world at accompanying silent films” and stepped on each other a lot.” has again invited the band perform at his Overlooked Film “It’s a linear drum set and we stand next to each other,” Festival in Chicago in February 2003. Entertainment Winokur says. “Often, we want to be on the other side. Weekly listed the band among its “100 Most Creative There’s only one way, and that’s through the guy who’s there.” People in Entertainment.” A reviewer for a New Zealand “We often find ourselves intertwined,” Donahue says. paper suggested sound films never would have caught on “I would say, on an average show, we hit each other with if the Alloy Orchestra had been around back in the day. drumsticks 10, 20 or 30 times,” Winokur says. “Hopefully, we do it with the soft mallets.” Film Preservation “But it keeps it fun and it keeps it interesting for us In addition to the music, the Alloy Orchestra takes steps playing these things over and over again,” Donahue says. to ensure that what’s on the screen is in the best possible “The improv and the we play back on the condition, and often pays to have new prints struck. drum set really keep it fun, and that’s the bottom line. In Being subjected to old grainy copies or having the film any live performance situation, if you’re not having fun, shown at the wrong projection speed, which makes the the audience knows it.” film look jerky and unintentionally funny, can ruin the However, the band doesn’t wish to upstage what’s on the viewing experience. screen. “When you’re doing a silent film, the interaction of

DECEMBER 2002 26 FILM SCORE MONTHLY the band and the film should focus the audience’s atten- through a million ideas between the three of us,” Winokur tion back to the film,” Winokur says. “If we do it just right, says. “It’s hard to have three people compose. The improv- people aren’t paying attention to us, they’re paying atten- isation thing is a way where musicians are actually used to tion to the film.” coming up with ideas. I suppose that’s what a regular [film] Over the years, other instruments began to be added to composer does, but he’s sitting down usually by himself.” the percussive mix. To underscore a bar scene in the This collaboration ensures the music has a consistent German film Sylvester, Donahue picked up an accordion style and tone. “If Ken was doing the first scene and Terry for the first time. To mimic a horse laugh, Winokur began was developing the next, it would probably sound sort of to play the clarinet, and has since become quite proficient schizophrenic,” Miller says. “But we all do stuff. One of us on the instrument. Although keyboardist Roger C. Miller, might lead during a particular scene and we just all follow. who joined the band after Sampson’s death five years ago, But we’re always feeding off of each other.” plays a synthesizer, the ensemble keeps electronics to a “It also gives us a broader pool of ideas because we all minimum. “It just isn’t music, it’s programming,” Winokur have our different backgrounds and different strengths,” says. “I have a lot of respect for electronic musicians, but Donahue says. “With the eclecticism involved in writing all I’m a player. I have to be able to hit stuff or I’m not happy.” these different kinds of films, having three people with dif- Miller, who played in the cult rock group Mission of ferent ideas really helps move it along and gives you a Burma during the ’80s, has written the score for You Don’t broader palette to work from.” Know Dick: Courageous Hearts of Transsexual Men and The group sifts through musical ideas, developing the other documentary films. “It gives you a lot more free- best themes and abandoning those that don’t gel. Having WHOLE KEATON KABOODLE: dom,” he says of scoring silent movies. “You have a lot three members in the band means there’s at least a two- The Alloy Orchestra has more chances to step up and make some of that extra thirds majority if it ever has to come down to a vote on provided accompaniment noise, and really go out more than you ever could in a which musical avenue to pursue for a particular scene. A for the films of Buster sound film.” score is then written out: Miller uses traditional notation,

(ONE WEEK, 1925); Stan and Aside from silent film work, the Alloy Orchestra has con- while the percussionists have developed a system that Ollie (BIG BUSINESS, 1929); tributed music to Sesame Street, Errol Morris’ Fast, Cheap combines musical notes with storyboards and written Douglas Fairbanks and Out of Control, last year’s Oscar ceremonies, and directions. While the score is down on paper and timed (THE BLACK PIRATE, 1924) and numerous independent films, videos and commercials. to the film, there is still enough room to allow for improv- Bull Montana (THE LOST Miller tours and records in the avant-garde duo the Binary isation during performance. WORLD, 1925). System, Winokur has worked with the band Morphine, and “It keeps us on our toes, because you never know what Donahue also fronts a country band called the Gilmans. All the other guys are going to do,” Donahue says. “Even three have performed with Birdsongs of the Mesozoic and though it’s pretty scored out, at any given moment some- get steady studio work. body could go off in a different direction and you have to be ready to either reel ‘em back in or go with ‘em. You have Improvisational Scoring to go with the flow.” An initial scoring session begins as a jam session, with the “When the Black Pirate climbs up the mast, you have to three members of the orchestra playing to the film as it be there,” Miller says. “Someone’s got to be there.” unspools. Whether it’s an adventurous march for The Black “We improv basically everything from the beginning,” Pirate or mickey-mousing for the early Disney cartoon Donahue says. “We improv scene by scene and get basic Plane Crazy, the music has to fit the scene. “Ultimately, ideas. We record everything we do, and then we go back it’s playing what’s appropriate at any given point in and say, ‘Does this work?’ If it does, then we go back and time,” Donahue says. “That’s true no matter what kind of everybody works on their part. We score it and write it out music you play. If you’re in a rock band, you want to play at that point, but it all comes from improv.” what’s appropriate for that situation. For us, what’s “The improvisational thing actually allows us to cover a appropriate changes from film to film, which makes it lot of material really quickly in a rough fashion and run really fun.” FSM

FILM SCORE MONTHLY 27 DECEMBER 2002 What did you think of 2002, soundtrack-wise? Remember... Please participate in our Annual Readers Poll.

very year, Film Score Monthly turns to Eyou, dear reader, to help put the past year 6 Best New Album of Older Score FSM SELF-REFLECTION AWARDS in perspective (or in its place!). (i.e., reissue). Pick five, rank. Can be original Please clip or photocopy this page, or use a recording or re-recording. 10 Best FSM Article Interview, or separate piece of paper and number your Feature (What would you like to see more of?) responses. Or watch for notice on the FSM 1 website. Thanks in advance for your support! 1 2 HALL OF FAME AWARDS 2 3 1 Best New Score 3 Pick the five best scores to 2002 movies, 4 numbered 1-5 (from best to worst). Do not pick more than five; non-2002 movies will be ignored. 5 11 Worst FSM Article Interview, etc. (What would you like to see less of?) 1 7 Best New Compilation 1 2 Can be either original tracks or newly recorded. If it has three or more movies on it, it’s a compi- 2 3 lation. Pick three (albums, that is). 3 4 1

5 2 12 Best Writer (explanation optional)

3 1 2 Oscar Guesses Pick the score you think will win the Oscar for Best Score; this is not necessarily your favorite HALL OF SHAME AWARDS 13 Best Cover score, but the one you think will win. Pick as many as you want for these, although 1 is 1 1 sufficient. Some readers find this exercise to be in questionable taste; others have no compunc- 14 Instant Replay (What do you miss from tion about rudeness. Your choice. the old days of FSM—and would like to see again?) 3 Best Composers Not the best of all time, but the ones who had 8 Worst (or, Most Disappointing) New Score. 1 the best output in 2002. Pick three, rank them. 1 1 15 Creative Essay Question 9 Worst Record Label (2002 only). (optional). Feel free to make up your own cate- 2 gories and mention whatever you’d like (faves, 1 peeves, trends, etc.), but keep it concise. 3 2

4 Best Unreleased Score (2002 only). 3

1

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DECEMBER 2002 28 FILM SCORE MONTHLY

REVIEWS BEST REALLY GOOD OF CURRENT AVERAGE RELEASES WEAK ON CD WORST SCORE RATINGS Adaptation experimental. scores. On the downside, when ence. So when you hear Love and CARTER BURWELL When The Turtles’ version of things heat up, as in “Red Wine” Rockets’ “So Alive,” it actually Astralwerks B000071WXA “Happy Together” shows up at the and “Stilt Walk,” we head into brings you back to the seduction 19 tracks - 47:19 end of the CD, it returns us to waters well-explored by the likes scene with Paul (Ian Somerhalter) elcome back inside the reality and signals the end of a of the Media Ventures composers. and Sean (James Van der Beek). Wmind of Spike Jonze. The wild ride. Burwell’s music has But in these instances, it’s more of Yaz’s “Situation” is the overdose odd yet oddly likable director of always seemed “otherworldly,” an “influence” than all-out copy- scene and Harry Nilsson’s music videos follows his Oscar- even in movies like Raising ing. —Steven A. Kennedy “Without You” plays in the most nominated Being John Malkovich Arizona and Fargo. His style may striking and unbearable sequence with the equally bizarre not be for everyone, but it usually The Rules of Attraction in the movie. One song missing 1 Adaptation. Charlie Kaufman transports the listener to an alter- /2 from the CD is George Michael’s again writes the screenplay (this nate universe. And that often tomandandy “Faith,” which plays under a hys- time with brother Donald) about a makes sense in context of the Lion Gate LGR 007 terical hotel scene. screenwriter suffering from films he scores. —Cary Wong 15 tracks - 52:28 As for the score, the duo known writer’s block as he attempts to ret Easton Ellis’ 1987 novel as tomandandy offers hyped-up adapt a book into a screenplay. Uncorked (at Sachem Farm) Babout hypersexual, drug club music that’s fun and infec- 1 The screenwriter in the movie, /2 addicted, amoral kids in college tious. There are two set pieces that named Charlie Kaufman, is JEFF DANNA finally makes the leap to the big underscore the best scenes in the played by Nicholas Cage, who also La-La Land 1001 • 11 tracks - 29:32 screen, courtesy of director Roger movie, and, fortunately, both are plays Kaufman’s twin brother ohn Huddles’ Uncorked was a Avery, the Oscar-winning co- here. The first is their version of Donald. Add to this mix Meryl J1998 entry at the Toronto Film writer of . The Rules of “Carol of the Bells,” abbreviated Streep as the author of the origi- Festival and appeared the follow- Attraction bears a lot of resem- on the CD, part of an extended nal book in question and you get ing year at Seattle’s Film Festival. blance to that groundbreaking the quintessential Jonze film: It’s The film, starring Minnie Driver, film: innovative camera work, high-brow and low-brow, safely Sir Nigel Hawthorne and Rufus playing loose with time, and experimental, artistically accom- Sewell, ended up on cable in 2001. strange dialogue. But while Avery’s plished—and it has a high con- Starting with the opening “The collaboration with Tarantino centration of hip factor. Arboretum,” I was impressed by resulted in fascinating, off-beat The composer equivalent of the sheer variety of Celtic-flavored characters whom you care about Jonze has to be Carter Burwell. orchestration that continually (at least as much as you can care Witness his collaboration with the hints at the romance. The harps, about hit men), Ellis’ storytelling Coen Brothers and his scores for celesta, strings and solo winds style is less interested in character such eclectic fare as Three Kings beautifully carry the main theme. and more about attitude. As such, and Gods and Monsters—Burwell “Stilt Walk” follows with a more the movie, while inventive and seems to have a kind of symbiosis upbeat Celtic dance number com- seldom boring, ends up a point- with Jonze. And if you know the bined with more typical ethnic less mess. score to John Malkovich, then you percussion. As in Pulp Fiction, the music of more or less know Adaptation. Other highlights include a Rules takes on a life of its own. There are noises...and then beautiful guitar piece, “Ross’ While the film is set squarely in there are musical noises. In Concert,” a New-Age styled, folk- the present, the music is more of Adaptation, Burwell combines influenced solo work—it’s worth the ’80s, reflective of the book. these to keep you slightly off bal- hearing. “The Murder Pillar” And just as the mood of the ’70s ance during the film. On CD, opens with unusual string effects was prevalent in Pulp, the ’80s of without the visuals, you may be and combines a number of stan- Rules is organic to the style, nar- more lost than charmed by this dard tension-building sounds. rowing in on the decadence of the collision of ideas. His first cue, Overall, Uncorked is a warm, decade. “The Evolution of the romantic listen. The album is defi- The songs are important to the Sceenwriter,” introduces the main nitely a safe bet for those who love movie. This is refreshing since motif, a kind of ’50s B-horror flick Celtic music of a more intimate most song-driven albums have melody that’s occasionally punc- nature. The song “Love of Heaven” songs that aren’t even in the tuated by the actual sounds of even reminded me a bit of the movie or are played so quickly things crashing. Intermittently, a group Secret Garden’s work, albeit that they barely register in the traditional score cue will pop up filtered through more Renaissance scene at all, and yet we still have (“An Unashamed Passion,” which instrumentation. Most of Danna’s to sit through them on CD. Here, is romantic but not sentimental), tracks will also be of interest to each song is central to the scene but the bulk of the score skates those who enjoy Thomas it’s in, and thus makes a much somewhere between goofy and Newman’s more intimate earlier more rewarding listening experi-

FILM SCORE MONTHLY 30 DECEMBER 2002 1 prologue that introduces the char- Joint Security Area /2 Entertainment has put together a acters (along with Avery’s first cin- BANG JUN-SEOK fabulous Superbit presentation of ematic trick, which is to play cer- JIVE ZKPD-0016 the movie with excellent English tain scenes backward). The cue oint Security Area (2000) broke subtitles on DVD; it can be somehow has the feel of a song Jthe domestic box-office record ordered from www.YeonDVD.com being played backward, and yet in South Korea and greatly con- and www.DVDAsia.com (not to be still has a melody all its own. The tributed to the emergence of confused with the Hong Kong- other tomandandy bonanza is a Korean cinema as the next “Asian produced version, which is wild monologue by Victor (Kip wave” (following the decline of cheaper but has an inferior trans- Pardue), which captures Ellis’ Hong Kong cinema in the late fer). —Kim Hyun Kyu writing style perfectly (basically ’90s). The film’s title refers to a nar- The CD itself may be purchased through a an unemotional recounting). This row strip of land inside the demili- specialty store, or from Internet venues such goes on for four minutes, and tarized zone jointly patrolled by as www.pokerindustries.com or while I don’t usually endorse dia- North and South Korean soldiers. us.Yesasia.com. logue on score albums, this track The story concerns a South is better experienced with the Korean soldier accused of infiltrat- Tears of the Black Tiger 1 words intact. ing the border and killing two (Fa Talai Jone) /2 The score is represented by North Koreans—this event natu- AMORNPONG METHAKUNAWUT only 16 minutes, but this is one of rally threatens to become an inter- Milan 74321 91780 2 those rare song compilation national security risk. A female 13 tracks - 38:50 albums where the songs are just officer from Switzerland is sent to f westerns directed by Italians as effective and memorable as the discreetly investigate the incident. Iare collectively called score. Avery learned that valuable However, she soon discovers that “spaghetti westerns,” what do you lesson from Tarantino. —C.W. the accused soldier harbors a found in the simple but haunting call a Thai western? A pad-thai grave secret. Framed as a murder- cues adapted from the existing noodle western, perhaps. Well, 1 The Muppet Show /2 mystery, Joint Security Area com- music: The beautiful but heart- after Kurosawa’s Yojimbo became VARIOUS bines a polished, sophisticated breaking solo piano that accom- A Fistful of Dollars, it was only a Rhino R2 78119 • 27 tracks - 64:53 exterior with a passionate narra- panies scenes of the Korean sol- matter of time before the cycle he popularity of The tive that examines the true mean- diers frolicking like children is came full circle, and this Leone- T Muppet Show has endured ing of friendship and hatred, and from Henry Purcell’s minuet influenced cult western musical with the recent releases of the deals with the ultimate cost of liv- (“Story of the Soldiers”); the takes the western back East again. movies on DVD; the continuing ing under the constant threat of unforgettable “snapshot” that Forget Shanghai Noon, Rush Hour success of Sesame Street; and ran- warfare. ends the film is scored with a or other East-meets-West efforts, dom odd appearances by The score for Joint Security Area Russian folk song arranged for this is a true hybrid of both cul- Muppets in commercials. There’s is a similarly sophisticated effort. orchestra (“Those Who Are tures and is accompanied by a even been a Weezer rock video. Until recently, most Korean films Forgotten”). Bookending these soundtrack that’s as much Roy The first half of this Rhino album were scored almost exclusively diverse choices are two terrific Rogers as it is Morricone. release is made up of music from with endlessly recyclable “roman- folk-style songs (“The Song of a The first six tracks are songs, the TV show. The second half tic” music, dripping with saccha- Private” and “An Unsent Letter”) sung in native Thai dialect, but includes material from the rine sentiment. The title of “film by Kim Kwang-seok, whose sui- thankfully there are English trans- movies, including several Oscar- soundtrack” invariably meant cide and cult status among the lations of the lyrics in the liner nominated songs. There are no “compilation of pop tunes.” JSA conscripted soldiers in South notes. The remaining tracks are score cues. goes firmly against this trend. The Korea serve as a plot point. Even instrumental versions of the The Muppet Movie is one of supremely talented director Park though the lyrics are in Korean, songs, which in turn are camp those classics that charms from Chan-wook (who also directed Kim Kwang-seok’s songs are surreal parodies of traditional minute one, and while the Sympathy for Mr.Vengeance, pos- highly accessible. western fare. Imagine a Thai soundtrack was released years sibly the most extreme revenge Although not really a showcase Moulin Rouge by way of “Woody’s ago, it quickly disappeared and drama in movie history—it makes for an epic score, Joint Security Roundup” and you’ll have a good became a collector’s item. It’s se7en look like The Sound of Area is mounted with a sophisti- idea of what to expect. great to finally have “Rainbow Music) decided to forego monu- cated musical design that effec- Don’t expect to see the movie at Connection” and “The First Time mentalism of a symphonic score tively addresses the various genre- your multiplex, but do keep your It Happens” (from The Great and instead went for composer specific elements of the movie. eye out for this bizarre release— Muppet Caper) on CD. Plus, I’ve Bang Jun-seok’s fascinating blend And the album is a great represen- quite literally, you’ve never heard always had affection for The of ethnic music; intimate adapta- tation—the only component of anything like it before. But it’s Muppets Take Manhattan, the tions of classical and folk pieces; the score that’s missing from the probably just too niche for 99% of Muppets’ tribute to the Mickey and tense, spare incidental cues CD is the snare-drum-based, mili- soundtrack fans. —Nick Joy and Judy movies of the ’40s. that zero in on the emotional tur- tary-on-the-move material. Highlights from the TV tracks moil of the main characters. The The “enhanced” JSA album Strut! The Official Soundtrack include the infectious “Mahna main title, “Barricade,” “Reed comes with a preview trailer and Mahna” and Kermit’s gentle Forest” and other cues are pre- music video for “The Song of a ANTHONY NEWETT “Being Green.” While it would dominantly ethnic in flavor, with Private” that can be played in a Rittenhouse 1101 • 18 tracks - 42:46 have been nice to get full Sufi-like chanting and percus- CD-ROM drive. Both give away far trut! is a CD for those familiar releases of the film soundtracks, sion—these represent the “mur- too much about the story and are Swith the New Year’s this compilation is a good start. der-mystery” angle. The core not recommended viewing unless Mummers festival Small green steps. —C.W. identity of the score, however, is you’ve already seen the movie. CJ antics—musical purists of any SCORE on love themes from the last 26 minutes of appropriate music to releases, eschewing love-theme boot. Then again, we’re probably kind should run the other way. compilation standards such as not the true target audience of That said, there’s something Gone With the Wind, Dr. Zhivago this kind of release. Hopefully, if uniquely American here—ahem, and Casablanca. Still present, this is a series that is to continue, maybe it’s the representations of however, are champions includ- Varèse will be a bit more bold and early favorites like “O Dem ing Out of Africa, Unchained and generous in its choices. —S.A.K. Golden Slippers,” Mancini’s “Baby Romeo and Juliet, and up-and- Elephant Walk” and Copland’s comers like . The Album: Fanfare for the Common Man. The least interesting tracks are Music From the Films There’s even a rendition of “Join those from recent Oscar winners BRUCE MONTGOMERY AND ERIC ROGERS the Circus” from Barnum. Still, The English Patient and ASV White Line Digital Classics CD WHL 2119 what could have easily become Shakespeare in Love, two of the all 21 tracks - 51:12 horrible camp turns out as time least-deserving Best Score ith Cinephile’s release of respectful, though unique, reiter- winners. These lack memorable WRoy Budd’s ’70s scores ations “orchestrated” and per- melodies and make little impact. and Hammer’s uncovering of formed by Anthony Newett. However, it’s nice to listen to a things like Twins of Evil, fans of Newett turns out to be a near longer suite of Rota’s Romeo and British film music of the ’60s and one-man-band, serving as one of Juliet, which has a strong theme ’70s are likely to get spoiled. But, the vocalists while playing every- and more substantial additional excellent as the Budds are, no thing from banjo, percussion and material. release is as welcome or long brass to select woodwinds (not all The problem with this album, overdue as this winning compila- simultaneously, however). He’s which has generally fine perform- however the label turned up tion from Carry On, the greatest joined by saxophonists Mark ances, is that any soundtrack lis- several samplers, one of which comedy series the world has ever Brown and James Newett, along tener interested in any of these is Great Science Fiction know (recently released on DVD; with singers Alissa Newett and scores likely already has the origi- Blockbusters. see Laserphile in FSM Vol. 7, No. Dave Bracamonte. The level of nal soundtrack or the full re- Of the 12 tracks included, five 9). musicianship of all performers is recording. This is a compilation are from the original soundtracks One of the mainstays of British excellent. Listen to the classy strictly for the casual listener in (The Matrix, Total Recall, Aliens, cinema, the 31 Carry On films trumpet solos in “Do You Know need of some romantic mood Starship Troopers and The Abyss). have never really caught on with, What It Means to Miss New music all on one disc. On the “Main Title/Trinity Infinity” from nor even been understood by, Orleans?” or the sheer joy of “I’m technical side, the music has The Matrix was on the Phantom American audiences or critics. Looking Over a Four-Leaf Clover.” been mixed very loud so that my Menace compilation, and it’s one When actress Joan Hickson died a It’s also refreshing to hear real speakers often spewed static of the better cues from the score. few years ago, her L.A. Times obit- instruments instead of synths. when the orchestra swelled (par- The remaining disc excerpts have uary referred to the series as pop- This infectious album is perfect ticularly on the Horner tracks). appeared on other sci-fi compila- ular art-house satires, a curious for amusement park listening— And what’s with the cover graphic tions, but these choices are a bit label for a series best remem- maybe for a backyard party, too. that looks like a freeze frame out less common. There are samples bered for single entendres, sexual In some respects, the music of From Hell? from Varèse’s Star Trek, Back to the and racial stereotyping, crude harkens back to the early days of —Darren MacDonald Future and Battlestar Galactica puns, pratfalls and the frequent radio when almost any musical CDs. The last time the latter accidental exposure of real-life style could be heard bumped next Great Science Fiction appeared on a sci-fi disc was on a cockney gangster’s moll Barbara to another. If you’re looking for a Blockbusters Boston Pops disc on Phillips, Windsor’s breasts. Politically truly eclectic mix of standards, VARIOUS unless you count the numerous incorrect, distinctly hit-and-miss rags, Broadway show tunes and Varèse Sarabande 302 066 399 Silva incarnations. In addition, and about as subtle as a loud fart more, this is worth a look. An 12 tracks - 53:00 there’s the “Space Station in a Trappist monastery, the Carry unclassifiable CD if there ever was emember the early days Docking” from Goldsmith’s re- On films are a joyous and unique one. And one that no actual rating Rwhen “sampler” discs recording of Alex North’s 2001. part of British heritage, and if you system could do justice to. So if appeared like unwanted weeds? The other tracks have been lifted Colonials don’t see the joke, that’s you can find this album, at least Varèse put together some of from the yearly Hollywood series. your loss. do yourself a favor and give it a try. these (remember Hollywood If this is supposed to compete Along with its cherished —S.A.K. Backlot?) and in 1994 began on with Silva’s sci-fi compilations, it ensemble of British comic actors a more ambitious series of re- will only do so as far as price goes, (Sidney James, , Great Movie Love Themes recordings. The Seattle and in most cases with its slightly Bernard Bresslaw, Kenneth 1 /2 Symphony began the series and better performances. Connor, Charles Hawtrey, Joan VARIOUS was later replaced with the The programming of the album Sims, , Hattie Jacques, Varèse Sarabande 302 066 400 2 Royal Scottish National is at times neither chronological ), a previously 12 tracks - 52:44 Orchestra. Indeed, Varèse nor comprehensible. Was Judge unsung element of the series’ suc- his is a bare-bones Silva- seemed to have all but given up Dredd really a blockbuster? In cess and longevity is the enthusi- Tstyled repackaging of movie on the sampler format after some ways (and knowing the astic scoring by Bruce love themes culled from the last 1998, though there was the com- Varèse catalog), these choices are Montgomery and, for the later eight years or so of Varèse re- bination of newly recorded and a bit strange. Most FSM readers offerings, Eric Rogers. recordings, mostly conducted by OST tracks for their The could probably burn this same Montgomery’s output is pre- John Debney and Joel McNeely. Phantom Menace and Other disc using their own collection, sented on this album in an For the most part it concentrates Film Hits release. This past fall, and even add another 20 to 25 (continued on page 43)

DECEMBER 2002 32 FILM SCORE MONTHLY cues are as short as 20 seconds, Beyond the Black Hand Side and there’s no real ending—mak- Blaxploitation scores get a helping Hand By Lukas Kendall ing for frustrating listening. Finally, it took some cojones to 1 eyond Music and MGM have unnatural equalization. Many of release Friday Foster ( /2, 398 teamed up on a hearty dose of “blax- the cuts are quite short, as if 578 252-2, 13 tracks, 23:45) as a stand- Bploitation” titles, many of which they were only heard fleetingly alone disc. That total time is not a have never before been available. MGM in the film (i.e., as source music misprint—the album is not quite recently acquired the American International which was suddenly turned off), 24 minutes long, again in tinny Pictures film library, and most of the sound- and have abrupt fade-outs on mono sound. I’m hardly a stickler tracks are culled from that catalog. the albums. Worst of all, the vol- for CD length, and think many The best two CDs were previously ume level dips up and down— collectors are chumps for focus- released by Rykodisc during that label’s bad sound alone you can get ing on quantity of music rather MGM series, derived from the used to, but bad sound whose than quality—but 23:45? Why not record catalog: Across 110th Street level comes and goes calls a lot tack this onto the Monkey (, Beyond/ MGM Music Inc. 398 578 254-2, 18 of attention to itself. This is why Hustle/Black Mama CD? Or find tracks, 32:23) and In the Heat of the people generally do not release something else to put it with? Not Night/They Call Me MISTER Tibbs! albums from the music stripe of surprisingly, the track times are 1 ( /2, 398 578 255-2, 35 tracks, 69:44). Across the film’s three-track audio mas- not listed on any of the packag- 110th Street is highly tuneful and enjoyable, ter. (For old mono films, dia- ing; I’d be mighty annoyed if I with several songs by Bobby Womack & logue, sound effects and music spent $14.99 or whatever for 24 Peace, and the balance of the tracks by J.J. used to be mixed onto their own minutes of mono music, again Johnson; the Heat CD features the first two track and then folded down to with many brief tracks. It’s a “Virgil Tibbs” films, starring Sidney Poitier, one mixed track for release. The shame because the score by with classic music by —rural music track has by this time Luchi DeJesus is energetic and and bluesy for In the Heat of the Night and been edited and adjusted in fun, albeit marred by bad sound, urban and funky for MISTER Tibbs!, as befit- level for the finished film, so it abrupt fades and changes in vol- ting the settings. (Still unreleased is Gil sounds funny on its own.) The ume. DeJesus, besides having Mellé’s solid score for the third film in the grooves are there, but the pres- one of the coolest names of any- series, The Organization.) Annoyingly, entation is hugely annoying. one to write music for the Beyond has not availed themselves of the Five on the Black Hand Side movies, also contributed to Black 1 opportunity to remove the distracting dia- ( /2, 398 578 256-2, 18 tracks, 32:10) is Belt Jones, one of the best still- logue excerpts which Rykodisc included— a varied but forgettable score by unreleased blaxploitation scores, doing so would require studio time and a H.B. Barnum for the 1973 family with an insane main title. Friday new master—and the packaging is not as comedy-drama—a refreshing Foster is a 1975 film starring Pam good as Ryko’s. production from a time when Grier and a familiar cast of sup- (, 398 578 most black-themed films were porting actors; DeJesus’ music 253-2, 14 tracks, 34:42) is one of the earliest blax- filled with violence. The cuts are has flair (and neat vocoder ploitation films, dating from 1970. The energetic enough but direction- effects) but you’d really have to be music by Galt MacDermot (composer of less—and not helped by their a fan to invest in this CD. Broadway’s ) likewise pre-dates the brevity. Keisa Brown and Prime Cut sing the Finally, Beyond has released two compila- funkier riffs introduced by , title tune; Barnum himself contributes two tions with an impressive array of artists: Curtis Mayfield and others, opting for a vocals. MGM Soul Cinema, Volume 1 (, 398 more acoustic sound typical of R&B of the The Monkey Hustle/Black Mama, 578 202-2, 13 tracks, 37:51) and Volume 2 1 . Many of the cuts are on the upbeat, White Mama ( , 398 578 25102, 27 tracks, ( /2, 398 578 203-2), featuring cuts from chipper side, making for an ironic counter- 48:46) is a two-fer of previously unreleased the above Beyond releases plus tracks from point to the story line (two Harlem cops take scores. The Monkey Hustle is a 1977 inner- such films as Black Caesar and Slaughter’s on a preacher out to bilk the neighbor- city story (a late entry in the blaxploitation Big Rip-Off (), Blacula (Gene hood)—it sounds like a blaxploitation film cycle) starring Yaphet Kotto as a con-man Page and The Hues Corporation), Truck crossed with The Price Is Right. George trying to save his neighborhood from a free- Turner (Isaac Hayes), Coffy (Roy Ayers) and Tipton contributes the title vocal, and other way development. The score by Jack Conrad Foxy Brown (Pam Grier). All of these are contributing artists are Sakinah, Leta (who is also an actor, director, producer, excerpted from CDs already available on Galloway, Melba Moore and Denise jack-of-all-trades) is pulsating and funky other labels (there’s nothing previously Dillapena. The soundtrack was originally but pretty stock—also quite small in scale, unreleased); the films are generally from the available on a United Artists LP (reissued on sounding like a rhythm section with occa- AIP library, so even though the full albums vinyl by MCA), and stereo sound quality on sional strings and horns. Black Mama, are available on Polydor, RCA and other the CD is good. White Mama is a 1973 women-in-prison labels, Beyond has probably obtained the Next come several previously unreleased film starring Pam Grier (a remake of The compilation rights from MGM to collect scores—but with a major catch. The sound Defiant Ones), shot on location in the them. There’s nothing here previously unre- is not only mono but tinny and weird—as if Philippines; the score by is a leased, but with tracks this good, it’s pretty the only sources available were the music step up from The Monkey Hustle, with a big- easy to make a good mix—as various other stripes from the final, mixed films, which are ger orchestra and more varied approaches. labels have done in recent years. FSM alarmingly substandard on modern equip- It’s decent music, albeit schlocky, but the ment. Vocals especially suffer from the volume level noticeably rises and falls, some

FILM SCORE MONTHLY 33 DECEMBER 2002 We’re pleased to offer hard-to- find, unusual soundtrack-related products, including: Exclusive CDs; Books for music lovers; Books for composers; One-of-a- kind collectibles; and more! Order online, by phone or by mail: see contact info below. All CDs are $19.95 plus shipping & han- dling unless otherwise noted. FSMmarketplace NEW RELEASE: NEW RELEASE: Vol. 5, No. 18 Vol. 5, No. 20 Vol. 5, No. 19 The Man From Never So Few/ Tribute to a Bad Man U.N.C.L.E. 7 Women MIKLÓS RÓZSA JERRY GOLDSMITH, et al TV Produced: 1963-67 HUGO FRIEDHOFER,/ Studio: M-G-M ELMER BERNSTEIN Film released: 1956 Genre: Secret Agent Film released: 1959/1966 Studio: M-G-M Silver Age Classics Studio: M-G-M/Warner Bros. Genre: Western CD released: Dec. 2002 Genre: WWII/Drama Golden Age Classics Mono • Disc One: 77:05 Silver Age Classics CD released: Jan 2002 Mono/Stereo Disc Two: 76:08 CD released: Jan.2002 Stereo • 50:30 The first hit spy series on Stereo • 73:46 Rózsa’s only western is American TV features Two Asian-flavored classics on one CD; Never So Few (42:18) sweeping, full of melody, and flecked with the brooding melan- varied, jazzy, high-energy music. All of Goldsmith’s scores plus blends action and romance, while 7 Women (31:27) is more choly expected of a mature “psychological western.” This fan scores by six others (including Fried, Schifrin, Scharf, Stevens) introspective and character driven, with a big title theme. $19.95 favorite has been remixed from the original strereo masters. is represented on this 2-CD set. $24.95 same shipping as one CD $19.95 Vol. 5, No. 17 Vol. 5, No. 16 Vol. 5, No. 15 The Seventh Sin The Prize The World, the Flesh MIKLÓS RÓZSA JERRY GOLDSMITH and the Devil Film released: 1958 Film released: 1963 MIKLÓS RÓZSA Studio: M-G-M Studio: M-G-M Film released: 1959 Genre: Drama Genre: Espionage Studio: M-G-M Golden Age Classics Silver Age Classics Genre: Science Fiction CD released: Dec. 2002 CD released: Nov. 2002 Golden Age Classics Mono • 59:26 Stereo • 72:37 CD released: Nov. 2002 This reworking of W. Stereo • 52:53 Somerset Maugham’s The Prize is an early The Painted Veil inspired Jerry Goldsmith action- One of Rózsa’s rare sci-fi Rózsa to apply three of suspense gem for a scores (Two men and his signature sounds; elements of his film noir, exotic and epic Hitchcock-styled thriller. CD features complete stereo score one woman struggle in post apocalyptic New York City), film scoring techniques combine to create a unique and unmis- plus source music and vintage re-recorded LP cuts. $19.95 embellishes end-of-the-world loneliness and doom with roman- takable score. Includes source music suite. $19.95 tic splendor. Premiere release of complete stereo score. $19.95

Vol. 5, No. 14 Vol. 5, No 13 Vol. 5, No. 12 The Green Berets Scaramouche MIKLÓS RÓZSA ELMER BERNSTEIN Film released: 1968 Film released: 1952 Film released: 1969 Studio: Warner Bros. Studio: M-G-M Studio: M-G-M Genre: War/Adventure Genre: Costume Adventure Genre: Drama Silver Age Classics Golden Age Classics Silver Age Classics CD released: Sept. 2002 CD released: Sept. 2002 CD released: Aug. 2002 Stereo • 72:37 Mono • 62:28 Stereo • 61:08

This tale of barnstorming The first major American The last of the Golden- skydivers contrasts film to address the Age swashbucklers by robust, action-oriented Vietnam conflict features a stirring symphonic score, befitting an Rafael Sabatini (Captain Blood, The Sea Hawk, et al) gets a cues and sweeping Americana with softer, bittersweet action movie directed by and starring John Wayne. All of heroic and charming score by the prolific Victor Young. This melodies. CD features complete underscore plus nightclub and Rózsa’s music is here (as well as “The Ballad of the Green premiere release includes all of the score, plus alternates, marching band source cues. $19.95 Berets”) in excellent stereo. $19.95 unused and source cues. $19.95

Vol. 5, No 11 Vol. 5, No. 10 Vol. 5, No 9 Above and Beyond I Spy HUGO FRIEDHOFER BRONISLAU KAPER Film released: 1952 TV Produced: 1965-67 Film released: 1955 Studio: M-G-M Network: NBC Studio: M-G-M Genre: WWII Genre: Secret Agent Genre: Biblical Epic Golden Age Classics Silver Age Classics Golden Age Classics CD released: Aug. 2002 CD released: July 2002 CD released: July 2002 Mono • 55:44 Stereo/Mono • 77:57 Stereo • 75:11

This combination of Five episode scores for Complete stereo score wartime drama and groundbreaking series for gargantuan biblical domestic struggle is starring Robert Culp and epic starring Lana driving by a stirring, progressive score, with one of Bill Cosby: “So Long, Patrick Henry,” “The Time of the Knife” Turner features male and female choruses, solos, source cues Friedhofer’s greatest main titles. Complete, chronological “Turkish Delight,” “The Warlord” and “Mainly on the Plains.” and thundering symphonic glory. Includes unused alternate score in best possible monaural sound. $19.95 First three & theme in stereo; all OST, not LP recordings. $19.95 cues. $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. 5, No. 8 Vol. 5, No 7 Vol. 5, No. 6 Point Blank/ On the Beach/ The Traveling The Outfit The Secret of Executioner / Santa Vittoria JERRY GOLDSMITH Film released: 1970 Film released: 1967, 1973 Film released: 1959, 1969 Studio: M-G-M Studio: M-G-M Studio: United Artists Genre: Black Comedy Genre: Film Noir Genre: Drama, Comedy Silver Age Classics Silver Age Classics Golden Age Classics CD released: May 2002 CD released: June 2002 CD released: June 2002 Stereo • 39:39 Stereo • 77:54 Stereo • 70:59 The main theme is a Two films based on D.E. Two scores from the charming blend of Westlake’s crime novels: films of director Stanley Americana, Dixieland and circus sound, but the score enthusi- Point Blank (39:38) is a landmark 12-tone score, ethereal and finally get released on CD. Beach is a gorgeous sym- astically touches all the bases, from bluegrass to avant-garde to strange; The Outfit (38:16) features a dark, pulsating score punc- phonic score ingenously interpolating “Waltzing Matilda”; full-scale action. This first-release ever is complete, with every tuated with unexpected melody. $19.95 Secret is a lyrical slice of “Italiana,” with one bonus cue. $19.95 note written in excellent stereo. $19.95

Vol. 5, No 5 Vol. 5, No 4 Vol. 5, No. 3 36 Hours The Man Who Loved Joy in the Morning DIMITRI TIOMKIN Cat Dancing BERNARD HERRMANN Film released: 1964 JOHN WILLIAMS Film released: 1965 Studio: M-G-M MICHEL LEGRAND Studio: M-G-M Genre: WWII/Spy released: 1973 Genre: Romance Golden Age Classics Studio: M-G-M Golden Age Classics CD released: May 2002 Genre: Western CD released: Mar. 2002 Stereo • 66:41 Silver Age Classics Stereo • 46:33 CD released: Mar. 2002 A taut, piano-dominated Stereo • 65:37 Herrmann’s last completed score with an accent on studio project is sweep- stealth—flamboyant, but A lost gem from ingly romantic, surging naturalistic as well. This CD premiere is remixed and remas- Williams’ pre-blockbuster/post-comedy career, during which he with passion and haunting in its use of melody. The complete tered in stereo, doubling the playing time of the LP including provided masterly, melodic scores for delicate dramas, plus score in stereo from the original three-track recording with bonus tracks of vocals, piano demos, and a jazz trio improv of Legrand’s unused, unheard take on the same material. A rare liner notes by Christopher Husted, manager of the Herrmann the main title. $19.95 opportunity for collectors—all in stereo! $19.95 estate. $19.95 Vol. 5, No. 1 Vol. 5, No 2 VOLUME 4, No. 20 Lust for Life Logan’s Run Farewell, My Lovely/ MIKLÓS RÓZSA JERRY GOLDSMITH Monkey Shines Film released: 1956 Film released: 1976 Studio: M-G-M Studio: M-G-M Film released: 1975/88 Genre: Biography Genre: Sci-Fi Studio: M-G-M Golden Age Classics Silver Age Classics Genre: Film Noir/ CD released: Feb. 2002 CD released: Feb. 2002 Suspense Stereo • 61:51 Stereo • 74:18 Silver Age Classics CD released: Jan. 2002 Premiere release of This classic story of a Stereo • 73:48 Rózsa’s heartfelt, stirring dystopian future gets the accompaniment to the royal treatment by the Farewell, My Lovely (33:06) tragic tale of Vincent van Gogh. A favorite of the composer, this master of speculative soundtracks. Jagged action cues, is symphonic jazz score for '70s noir classic; Monkey Shines CD has been remixed from the three-track masters with bonus Coplandesque nostalgia, bracing electronics and more in this (40:41) is leitmotivic suspense score for George Romero monkey alternate cues and more. One of the greatest film scores! $19.95 restored, remixed, resequenced release! $19.95 thriller. $19.95

Vol. 4, No. 19 Vol. 4, No. 18 Vol. 4, No. 17 Demetrius and the John Goldfarb, Broken Lance Gladiators Please Come Home! FRANZ WAXMAN JOHNNY WILLIAMS Film released: 1954 Film released: 1954 Studio: 20th Century Fox Film released: 1965 Studio: 20th Century Fox Genre: Biblical Epic Studio: 20th Century Fox Genre: Western Golden Age Classics Genre: Comedy Golden Age Classics CD released: Jan. 2002 Silver Age Classics CD released: Dec. 2001 Stereo • 61:51 CD released: Dec. 2001 Stereo • 38:41 Stereo • 71:32 Spectacular Waxman score for Biblical epic This wacky comedy star- Disney’s workhorse com- emphasizes romance, action and religion, interpolating themes ring Shirley MacLaine and Peter Ustinov is the earliest feature poser from the ‘30s (Pinocchio) provides a dark, rich Americana from The Robe by Alfred Newman. Plus bonus tracks (11:06) and film soundtrack by John Williams available on CD. Johnny does score to this adaptation of King Lear set in the American West. remixed cue from The Egyptian (5:04). $19.95 Arab go-go music! $19.95 $19.95

Vol. 4, No. 16 Vol. 4, No. 15 Vol. 4, No. 14 The World of The View From The Illustrated Man Henry Orient Pompey’s Head/ JERRY GOLDSMITH ELMER BERNSTEIN Blue Denim Piano ELMER BERNSTEIN/ Film released: 1969 by Kenneth Lauber BERNARD HERRMANN Studio: Warner Bros. Film released: 1964 Films released: 1955/1959 Genre: Sci-fi/Anthology Studio: United Artists Studio: 20th Century Fox Silver Age Classics Genre: Comedy/Drama Genre: Drama CD released: Sept. 2001 Silver Age Classics Golden Age Classics Stereo • 42:02 CD released: Nov. 2001 CD released: Nov. 2001 Stereo • 40:32 Stereo • 75:15

Bernstein’s “second-best” score for children (after To Kill a This nostalgic pair of films by writer/director Philip Dunne fea- The Illustrated Man is one of Jerry Goldsmith’s most haunting Mockingbird) sports fabulous sound from the legendary ture romantic, intimate scores by Elmer Bernstein (lovely sci-fi creations, with airy beauty, solo female vocalise, early Goldwyn scoring stage. Whimsical, melodic and magical. $19.95 Americana) and Bernard Herrmann (“baby Vertigo”). $19.95 electronics, strange effects and an aggressive climax. $19.95

TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9598 • Fax 1-310-253-9588 • Online www.filmscoremonthly.com CHECK YOUR ORDER ONLINE Visit our website at https://secure.filmscoremonthly.com/store to place an order on our secure server. You will receive an automatic confirmation. All of your information (including your credit card #) is confidential and encrypted for your protec- tion. Save days and rest easy!

SHIPPING INFO CDs/video: $3 first item, $1.50 each additional Vol. 4, No. 13 Vol. 4, No. 12 Vol. 4, No. 11 Vol. 4, No. 10 U.S./Canada. $5 first item, $3 each add’l rest of world. Books: $5 each Morituri/ The Best of Everything Voyage to the Bottom U.S/Canada, $10 rest of world. Backissues: Shipping FREE within U.S./Canada. ALFRED NEWMAN & Raid on Entebbe ALFRED NEWMAN of the Sea $5 rest of world per order. HUGO FRIEDHOFER JERRY GOLDSMITH/ Song by Newman & PAUL SAWTELL Film released: 1958 DAVID SHIRE Sammy Cahn, & BERT SHEFTER Studio: 20th Century Fox Films released: 1965/77 Perf. by Johnny Mathis Song by Russell Faith, Genre: Western Studio: 20th Century Fox Film released: 1959 Perf. by Frankie Avalon Golden Age Classics Genre: WWII/Docudrama,TV Studio: 20th Century Fox Film released: 1961 JOIN THE CLASSICS CHARTER CLUB CD released: Sept. 2001 Silver Age Classics Genre: Drama/Romance Studio: 20th Century Fox Get every Classics release FIRST—Automatically! See Stereo (some bonus tracks in CD released: Aug. 2001 Golden Age Classics Genre: Sci-fi/Irwin Allen mono) • 69:34 Stereo (Morituri)/ CD released: Aug. 2001 • Silver Age Classics order form for details. Two Hollywood legends Mono (Entebbe) • 57:50 Stereo • 71:14 CD released: July 2001 • Stereo collaborate for a rich, Morituri (41:46) is in Newman’s last Fox score • 55:55 FSM COMPLETE COLLECTION handsome western score Goldsmith’s percussive is a romantic gem; think Thundering B-movie hyste- with a memorable, driving ‘60s style; Raid on Entebbe New York at twilight. ria plus soothing, romantic All magazine editions available main theme and darkly (15:29) features suspense, Complete score (48:21) in undersea passages for the for one low price. Price going up any day now— brooding interior pas- pulsating action, and stereo, plus some bonus film that launched the hit see offer on page 42 sages. $19.95 Israeli song climax. $19.95 tracks in mono. $19.95 TV show. $19.95

SOLD OUT! Sorry, all gone...

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 The Egyptian Untamed Hell/ Soldier of Fortune Ace Eli and Rodger of ALFRED NEWMAN Connection/ ALFRED NEWMAN & FRANZ WAXMAN JOHN WILLIAMS HUGO FRIEDHOFER the Skies Film released: 1955 French Connection II BERNARD HERRMANN Film released: 1955 Film released: 1974 Films released: 1956/55 JERRY GOLDSMITH Studio: 20th Century Fox DON ELLIS Film released: 1954 Studio: 20th Century Fox Studio: Warner Bros./20th Studio: 20th Century Fox Films released: 1969/73 Genre: Religious/ Biography Films released: 1971/75 Studio: 20th Century Fox Genre: Historical Adventure Century Fox Genre: WWII/Adventure Studio: 20th Century Fox Golden Age Classics Studio: 20th Century Fox Genre: Historical Epic Golden Age Classics Genre: Disaster/Irwin Allen Golden Age Classics Genre: Sitcom (TV)/ Americana CD released: June 2001 Genre: Cop Thriller Golden Age Classics CD released: April 2001 Silver Age Classics CD released: July 2001 (feature) Stereo • 58:14 Silver Age Classics CD released: May 2001 Stereo • 65:43 CD released: Apr. 2001 Stereo • 73:00 Silver Age Classics CD released: May 2001 Stereo • 72:06 Stereo • 75:31 A superlative Hugo CD released: June 2001 Biopic of Scottish minister Stereo & Mono (I)/ At last: the classic 19th century African colo- Friedhofer doubleheader: Mono (Room 222)/Stereo & Peter Marshall receives Stereo (II) • 75:01 Newman/Herrmann col- nialist adventure starring Disaster masterpiece gets Between Heaven and Hell Mono (Ace Eli) • 71:37 rich, reverent, melodic Cop thrillers get pulsating, laboration for Fox’s histori- Susan Hayward receives premiere CD release, dou- (complete: 40:18) is a Room 222 (12:15) comprises score by Alfred Newman; dynamic, avant-garde cal epic. Original stereo thrilling adventure score bled in length from the LP. moody war thriller; Soldier theme and two episode CD features complete scores by jazz artist. First tracks were believed to be by Franz Waxman in first- Fantastic main title, cli- of Fortune (surviving scores for popular sitcom; score including source (37:52) includes unused lost or unusable, but this rate sound. Wonderful mactic action cue; plenty tracks: 32:41) an exotic, Ace Eli (59:21) an obscure music. $19.95 music; sequel (37:09) a bit CD features every surviv- main title, love theme. of moody suspense and melodic jewel. $19.95 barnstorming movie. $19.95 more traditional. $19.95 ing note. $19.95 $19.95 romantic pop. $19.95

Vol. 4, No. 2 Vol. 4, No. 1 VOLUME 3, No. 10 Vol. 3, No. 9 Vol. 3, No. 8 Vol. 3, No. 7 Vol. 3, No. 6 How to Marry a Conquest of.../Battle for Beneath the The Stripper/ From the Terrace Batman The Undefeated/ Millionaire the Planet of the Apes 12-Mile Reef Nick Quarry ELMER BERNSTEIN Hombre ALFRED NEWMAN & TOM SCOTT/ BERNARD HERRMANN JERRY GOLDSMITH Film released: 1960 Theme by Neal Hefti HUGO MONTENEGRO/ Studio: 20th Century Fox CYRIL MOCKRIDGE / Film released: 1953 Film released: 1963/68 Film released: 1966 Genre: Drama Film released: 1953 LALO SCHIFRIN Studio: 20th Century Fox Studio: 20th Century Fox Studio: 20th Century Fox Film released: 1969/67 Silver 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 • Mono Silver Age Classics CD released: Mar. 2001 Silver Age Classics Stereo • 55:06 Stereo (Stripper)/Mono • 65:23 CD released: Sept. 2000 Stereo • 70:03 CD released: Feb. 2001 Fantastic undersea adven- (Quarry) 73:35 Paul Newman/Joanne Holy Bat-tracks! 1966 fea- Stereo • 72:33 Marilyn Monroe comedy Stereo & Mono (Conquest)/ ture score gets premiere Early Goldsmith feature Woodward soaper fea- ture produced at time of Western doubleheader: features period songs Stereo (Battle) • 74:44 release of original stereo (42:01, plus 21:06 bonus- tures tuneful, romantic ‘60s TV show features The Undefeated (w/John adapted as instrumental Final Apes films get vin- tracks, albeit with minor tracks)—is in romantic score by Bernstein. Rich Neal Hefti’s theme, Nelson Wayne, 47:33) is accessi- underscore. “Street tage scores by Scott deterioration. Lots of Alex North style. Quarry Americana music, sensi- Riddle’s Bat-villain signa- ble and symphonic. Scene” (5:36) conducted (38:47, w/unused cues) and harps, “underwater” color, (10:27) is a TV rarity— tive romantic themes, tures, swingin’ underscor- Hombre (w/Paul Newman, by Alfred Newman opens Rosenman (34:43), plus TV seafaring melodies. $19.95 sounds like Flint music. haunting melancholy. ing and larger action set- 21:30) is moodier, sensi- the movie and CD. $19.95 theme (1:13). $19.95 $19.95 $19.95 pieces. $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 CD. case; sameshippingas one scores, packagedinslimline of creepy, earlyhorror composer gets2-CDrelease Star Trek Disc One:61:06Two: 73:20 CD released:Jan.1999•Mono Silver AgeClassics Genre: Horror Studio: UA/20thCenturyFox Films released:1958/58/62/57 Mark oftheVampire The CabinetofCaligari/ I BurytheLiving/ The ReturnofDracula/ brooding filmnoir. to Heaven perfectly drawn. appropriately theatrical, piece; thecompletescoreis Eve Mono (2trks.instereo)•44:19 CD released:Nov. 1999 Golden AgeClassics Genre: Drama Studio: 20thCenturyFox Film released:1950/45 ALFRED NEWMAN Leave HertoHeaven All AboutEve/ his dramaticworks. underscoring foreshadowing title theme,andorchestral with longsetpieces,groovy most elaborateforacomedy, Vintage scoreis“Johnny”’s Stereo •73:10 CD released:July2000 Silver AgeClassics Genre: Comedy Studio: 20thCenturyFox Film released:1967 Title SongPerf.byTheTurtles JOHNNY WILLIAMS Married Man A Guideforthe

VOLUME 1 Vol. 2,No.7 Vol. 3,No.5 is acinemamaster- $29.95 TO ORDER: CallToll Free 1-888-345-6335 • Overseas 1-310-253-9598 •Fax1-310-253-9588 • Online www.filmscoremonthly.com and U.N.C.L.E. is moredramatic, , Leave Her No. 4 $19.95 $19.95 mentation. effects, Japaneseinstru- combined withavant-garde Aggressive actionmusic drama takeonPearlHarbor. score enhancesdocu- Classic Goldsmithwar 54:45 Stereo • CD released:May2000 Silver AgeClassics Genre: WWII Studio: 20thCenturyFox Film released:1970 JERRY GOLDSMITH Tora! Tora! Tora! bizarre. Symphonic yetthrillingly signature works. score; oneofRosenman’s imaginative, avantgarde inside thehumanbodygets miniaturized subcrew Sci-fi classicfollowing Stereo •47:28 CD released:Sept.1998 Silver AgeClassics Genre: Sci-fi Studio: 20thCenturyFox Film released:1966 LEONARD ROSENMAN Fantastic Voyage Magnificent Eight.” Think intermsof“The high-tailing actionmusic. with rhythmicmaintitleand Wayne isawesterngem, many scoresforJohn Elmer Bernstein’s firstof Stereo •47:44 CD released:Sept.1999 Silver AgeClassics Genre: JohnWayne/Western Studio: 20thCenturyFox Film released:1961 ELMER BERNSTEIN The Comancheros

Vol. 1,No.3 Vol. 3,No.4 Vol. 2,No.6 $19.95 $19.95 $19.95 main title(6:07). includes Allen disasterscore.Also Adventure students. score fordramaaboutlaw The PaperChase Stereo/Mono (combo)•75:53 CD released:July1998 Silver AgeClassics Genre: Drama/Disaster Studio: 20thCenturyFox Film released:1973/72 JOHN WILLIAMS Poseidon Adventure The PaperChase/ stirring lovetheme. stereo. Gloriousmaintitle, Newman, newlymixedinto ing, robustscorebyAlfred ical adventuregetsexcit- “Lost” Tyrone Powerhistor- Stereo •46:39 CD released:July1999 Golden AgeClassics Genre: HistoricalAdventure Studio: 20thCenturyFox Film released:1949 NEWMAN ALFRED ofFoxes dialogue (26:34). 1970 LPre-recordingwith original tracks(46:03)plus lights. Includescomplete with manyavant-gardehigh- score byLeonardRosenman Second Apespicgetsatonal 72:37 Stereo • CD released:Apr. 2000 Silver AgeClassics Genre: Sci-fi/Fantasy Studio: 20thCenturyFox Film released:1970 LEONARD ROSENMAN of theApes Beneath thePlanet

Vol. 1,No.2 Vol. 2,No.5 Vol. 3,No.3 Sorry, all gone...

SOLD OUT! Conrack The Poseidon is classicIrwin $19.95 $19.95 is eclectic (1974), $19.95 quality. effects; greatstereosound Unforgettable themes,period by thelateRonGrainer. kind symphonic/popfusion classic featuresone-of-a- Charlton Hestonsci-fi 65:39 Stereo • CD released:Mar. 2000 Silver AgeClassics Genre: Sci-fi/Fantasy Studio: Warner Bros. Film released:1971 RON GRAINER The OmegaMan ern series. short-lived RodSerling west- two episodescoresfor Loner of classicwestern. Americana scoreforremake Stagecoach Mono (Loner)•45:25 Stereo (Stagecoach)/ CD released:May1998 Silver AgeClassics Genre: Western (film/TV) Studio: 20thCenturyFox Film released:1966/1965 JERRY GOLDSMITH Stagecoach/The Loner many bonustracks. performed byMamaCass; Good Times AreComin’” With Wolves 20 yearsbefore vintage JohnBarryscore Revisionist westerngets Mono (1trk.instereo)61:51 CD released:June1999 Silver AgeClassics Genre: Western Studio: CBS Film released:1970 JOHN BARRY Monte Walsh

Vol. 3,No.2 Vol. 1,No.1 Vol. 2,No.4

Sorry, all gone... includes themeand SOLD OUT! $19.95 $19.95 is gentle . Song“The Dances The $19.95 $19.95 Take ahardride,indeed. main theme,actioncues. score fromGoldsmith;great gets wonderfulsymphonic foreign-produced western Strange “blaxploitation,” Stereo •46:38 CD released:Feb.2000 Silver AgeClassics Genre: Western Studio: 20thCenturyFox Film released:1975 JERRY GOLDSMITH Take aHardRide princess, mentor. a la Waxman in“leitmotiv”style, adventure scorebyFranz comic stripfeaturesstirring tion ofthefamousepic Fox’s colorful1954adapta- Stereo •62:17 CD released:May1999 Golden AgeClassics Genre: HistoricalAdventure Studio: 20thCenturyFox Film released:1954 FRANZ WAXMAN Prince Valiant Vol. 2,No.3 drawings. photographs andconcept let withrareandunpublished Features 16-pagecolorbook- Phyllis DillerandEthelEnnis. vocal talentsofBorisKarloff, Jules Bass,featuresthe Maury Laws,withlyricsby The jazzyscorebycomposer Stereo 36:48 CD released:1997 Percepto/Retrograde Records Genre: Animagic Studio: Rankin/Bass Film released:1998 Mad MonsterParty

Vol. 3,No.1 FSM-80125-2 Star Wars $16.95 : hero,villain, $19.95 TV moviescore. issmaller, sensitive (30:43) Southern conman; stars GeorgeC.Scottasa header: A ruralAmericanadouble- (Sooner) •65:20 Stereo (Flim-Flam)/Mono CD released:Jan.2000• Silver AgeClassics Genre: Drama/Americana Studio: 20thCenturyFox Films released:1967/1975 JERRY GOLDSMITH A GirlNamedSooner The Flim-FlamMan/ survival score. Vol, arousingadventure/ album releaseforFrankDe Phoenix OST toWWIIbiopicclassic. Patton Stereo •76:24 CD released:April1999 Silver AgeClassics Genre: WWII/Adventure Studio: 20thCenturyFox Film released:1970/65 FRANK DEVOL JERRY GOLDSMITH/ of thePhoenix Patton/The Flight vintage underscore. unreleased, alternatesand Shirley Bassey, plustwo title songperformedby Guitar andOrchestra,”;the Features “Romancefor his mostcreativeperiod. Barry scoredthisthrillerin Stereo 40:23 CD released:1997 Retrograde Records Genre: Heistcaper Studio: 20thCentury-Fox Film released:1968 Deadfall

OUE2, VOLUME Vol. 2,No.2 FSM-80124-2 (35:53) iscomplete Flim-Flam (40:51) isarare $19.95 $19.95 No. 9 (34:37) Sooner $16.95 main theme. bizarre vocalversionofthe stereo. Includesdelightfully with somecuesrepeatedin plete form(55:43)inmono, score ispresentedincom- Early Goldsmithwestern Mono/Stereo (combo)•75:28 CD released:Dec.1999 Silver AgeClassics Genre: Western Studio: 20thCenturyFox Film released:1964 JERRY GOLDSMITH Rio Conchos slight variations. stereo andinmonowith CD featuresscoretwice,in colors andgutturalaction. score, heavyonMexican western getsexplosive Burt Reynolds/RaquelWelch Stereo/Mono (combo)•77:08 CD released:Mar. 1999 Silver AgeClassics Genre: Western Studio: 20thCenturyFox Film released:1969 JERRY GOLDSMITH 100 Rifles itself. pulsating scoreinaclass by A sensational,driving, on FSM’s firstalbumrelease. 1974 subwayhostagethriller jazz/funk fandangoforthe unparalleled ’70s12-tone Hear DavidShire’s Stereo &Mono•30:55 CD released:1996 Retrograde Records Genre: Thriller Studio: M-G-M Film released:1974 Pelham 1-2-3 The Taking of

Vol. 2,No.8 Vol. 2,No.1 FSM-80123-2 $16.95 $19.95 $19.95

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

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

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

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

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

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

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

BACK ISSUES OF FSM tribute & photos; lots of reviews. *#57, May ’95 Goldsmith concert; B. Soundtracks Pt. 1; David Schecter: (Tomorrow Never Dies); J. Frizzell * #45, May ’94 R. Newman (Maverick); Broughton (Young Sherlock Holmes); Monstrous Movie Music; Ifukube CDs (Alien Resurrection); Neal Hefti (inter- VOLUME ONE, 1993-96 G. Revell (The Crow); Goldsmith con- Miles Goodman interview; ’94 Readers Pt. 2; Miles Goodman obituary. view); U-Turn & The Mephisto Waltz, cert; in-depth reviews: The Poll; Star Trek overview. *#74, Oct. ’96 Action Scores in the ’90s; Razor & Tie CDs; 1st issue of current Magnificent Seven, Schindler’s List; *#58, Jun. ’95 M. Kamen (); Cinemusic ’96 report (Barry, Zhou format. Instant Liner Notes, book reviews. Royal S. Brown (film music critic); Jiping); Vic Mizzy. #46/47, Jul. ’94 P. Doyle, J.N.Howard Recordman Loves Annette; History of * #75, Nov. ’96 Barry: Cinemusic (Wyatt Earp), John Morgan (restoring Soundtrack Collecting Pt. 1. 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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 Hereafter), Titanic‘s music supervisor, VOLUME FOUR, 1999 more); Phantom Menace; Kamen (The VOLUME SEVEN, 2002 readers poll, laserphile, Silvestri lec- 48 pp.each Iron Giant); Stu Phillips (Battlestar 48 pp.each ture, Rykodisc reviews. *Vol. 4, No. 1, Jan. ’99 NFL Films (Sam Galactica); percussionist Emil Richards; Vol. 7, No. 1, Jan. ’02 The Best and the * Vol. 3, No. 2, Feb. ’98 Glass (Kundun), Spence), Goldsmith at Carnegie Hall, ASCAP awards. Worst of 2001; Horner Buyers Guide Pt Williams Buyers Guide Pt. 2 (The Elfman (Psycho, Civil Action, A Simple *Vol. 4, No. 8, Sept./Oct. ’99 Tribute to 3:1989-86; Zimmer (Black Hawk Down); Reivers to Black Sunday), D. Amram Plan), Wing Commander game music, Stanley Kubrick: interview (Jocelyn Logan’s Overrun:expanded liner notes; (The Manchurian Candidate), books, Indian funk soundtracks. 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Dursin & D. retrospective; Peter Thomas; Inspector (The Scorpion King); Hook retrospec- Vol. 3, No. 4, May ’98 Bruce Broughton Adams; Wendy Carlos; Goldsmith Gadget; The Thomas Crown Affair; tive (Williams);Dialect of Desire: Edda (Lost in Space), D. Arnold (Godzilla); Buyer’s Guide Part 2: The ‘80s; Hammer more); BMI awards night. (Meet the Parents); Things To Come Dell’Orso; Craig Armstrong (Moulin Inside Close Encounters restoration; soundtracks on CD; Recordman; Vol. 4, No. 10, Dec. ’99 Scores of Soundtrack LP; The Goonies Rouge; Oscar winners. Williams Buyers Guide Pt. 3; Score Downbeat; ST:TMP CD review. Scores 1999: annual review roundup: Retrospective; Requiem for a Dream; Vol. 7, No. 4, May/Jun. ’02 Elfman Internationale, Laserphile, Ed animation, Morricone, horror, Golden Session Notes (The Simpsons); Psycho (Spider-Man); Attack of the Clones Shearmur; Fox Classics reviews. and Silver Age Hollywood, concert honored by NPR; “Cinema of Dreams”. (cue-by-cue analysis); M. Vol. 3, No. 5, Jun. ’98 Mark Snow (X- work CDs and lots more. Vol. 5, No. 9, Nov./Dec. ’00 Special 64 Mothersbaugh (Welcome to Files), Classic Godzilla; J. Chattaway pg. double issue. 101 Great Film Scores Collingwood); Legend on DVD; (Maniac, Star Trek), Broughton Buyers VOLUME FIVE, 2000 on CD—FSM’s big list; & Yo-Yo Retrograde (ASCAP winners). Guide Pt. 1, Downbeat (D. Reynolds, 48-64 pp.each Ma (Crouching Tiger, Hidden Dragon); Vol. 7, No. 5, Jul. ’02 MURDER MUSIC: McCarthy, ), SCL Vol. 5, No. 1, Jan. ‘00 Rhino’s reissue of Shore (The Cell); Silvestri (Cast Away); Film Noir; Williams (Minority Report); Conference Report. Superman:The Movie, film and cue Back to the Future retrospective. Goldsmith (The Sum of All Fears); M. Vol. 3, No. 6, Jul. ’98 Trevor Rabin sheet analysis; ’50s Superman TV Kamen; P. Schickele (Silent Running); (Armageddon), Barry’s London Concert; score; H. Shore (Dogma); Goldenthal, Laserphile: Summer Thrills; SCL (The Truman Show); Barber, Tyler, Debney and Robbins; VOLUME SIX, 2001 Conference pix, more. Christopher Gordon (Moby Dick); pocket reviews debut, Laserphile. 48 pp.each Vol. 7, No.6, Aug. ’02 : Debbie Wiseman (Wilde); ‘70s soul Vol. 5, No. 2, Feb. ’00 20th Anniversary Vol. 6, No. 1, Jan. ’01 The Best of the Past and present work by Miles Davis, soundtracks. Tribute to Jerry Fielding, conversation Worst:2000 in review; Our Town music E. Bernstein, S. Clarke and T. Vol. 3, No. 7, Aug. ’98 South Park (Adam with Camille Fielding; Top picks for analysis; Hollow Man on DVD; Total Blanchard; Chats with K. Badelt (K-19 : Berry, Bruce Howell), Ira Newborn 1999; ’s score-o-matic (Any Recall redux; C. Martinez (Traffic); more. The Widowmaker); G. Clinton (Baseketball), Taxi Driver retrospective, Vol. 4, No. 4, Apr./May ’99 F. Waxman: Given Sunday); obit; Vol. 6, No. 2, Feb. ’01 The Musical World (Goldmember); Louise Steiner in her BMI & ASCAP dinners, Broughton Scoring Prince Valiant ; 1998 Readers Score Internationale;1999 release stats. of Irwin Allen; Copland on Film (cond. own words; (Duel, Buyers Guide Pt. 2, Downbeat (Schifrin, Poll; Goldsmith Buyer’s Guide Pt 3: Late Vol. 5, No. 3, Mar. ’00 Build the ultimate Jonathan Sheffer); G.Clinton (3000 Miles ) more . Bernstein, Legrand). ‘70s; DIVX soundtrack festival report; to Graceland); Douglass Fake of Intrada; Vol. 7, No.7, Sept. ’02 FSM’S TOP 40: * Vol. 3, No. 8, Sept. ’98 Lalo Schifrin Barry bios reviewed; C.Gerhardt obit. How to Marry a Millionaire, more. We chart the most in-demand com- (Rush Hour), B.Tyler (Six-String Vol. 4, No. 5, Jun. ’99 Star Wars: The Vol. 6, No. 3, Mar. ’01 Bigger, Better posers in Hollywood; John Samurai); T.Jones; Williams concert Phantom Menace scoring session & Scores: New RMA agreements; Don Frankenheimer tribute; L. Schifrin birth- premiere, ASCAP scoring seminar, analysis of Trilogy themes; Halloween Ellis and a life in 13/8 Time; Irwin Allen day; Signs; One Hour Photo (J. Klimek) Rykodisc CD reviews. H20 postmortem; Affliction, Futurama; discography; R. Kent (Town & Country); The Kid Stays in the Picture (J. Danna); Vol. 3, No. 9, Oct./Nov. ’98 Erich Free Enterprise, Election; CD reviews: Italian Imports: You can’t beat BEAT. 25 scary DVDs; more. Wolfgang Korngold: Biographer inter- , Morricone, TV, A Simple Vol. 6, No. 4, Apr./May ’01 J. Horner Vol. 7, No.8, Oct. ’02 FALL FILM view and book reviews; Williams’s Plan. Buyer’s Guide Part 1; The Mummy ROUND-UP: E. Bernstein (Far From Tanglewood film scoring seminar; C. Vol. 4, No. 6, Jul. ’99 Elmer Bernstein: Returns, Swordfish; A Salute to Hoyt Heaven); E. Goldenthal (Frida); D. Burwell; S. Boswell; Citadel Records, ; Clinton: Austin Powers Curtin; Epics on DVD; Session Notes Elfman (Red Dragon); Goldsmith and Halloween laserphile. 2; Goldsmith Buyer’s Guide Pt 4: Early from Atlantis The Lost Empire. Williams concerts; S. Bramson (JAG); Vol. 3, No. 10, Dec. ’98 The Prince of ‘70s; USC film scoring program; CD Vol. 6, No. 5, June ’01 Sergei Prokofiev The Michael Hennagin story; 25+ CD Egypt (Zimmer, Stephen Schwartz), E. reviews: 1984, Sword and the Sorcerer, Tribute; Friedhofer and Fox; reviews; more. Cmiral (Ronin); Holiday Review Round- The Mummy, The Matrix, more. Ghostbusters retrospective; J. Danna, R. up: 50+ CDs; Downbeat (Elfman, Young, Vol. 4, No. 7, Aug. ’99 Warner Shore; Bender reports from Chiller, and Beltrami, Eidelman, D. Cuomo, Kamen.) Animation Scoring (Walker on Batman/ Phantom Menace CD at home; Readers plenty of reviews. Superman, Broughton on Tiny Toons, picks for 1999; Music director Mark Vol. 6, No. 6, July ’01 Elfman’s new Russell Smith on film vs. concert music; Planet of the Apes; Zimmer on Pearl C.H. Levenson’s “last” letter, reader Harbor and concert CD; Horner Buyer’s FSM: The Complete Collection—GET IT NOW! survey, and more. Guide Part 2; Goldenthal (Final Fantasy); Something we offer—that most maga- Vol. 5, No. 4, Apr./May ’00 Herrmann: 10 Shore (The Score); Williams (A.I.); more. zines do not—is the chance to buy Essential Scores of the ’50s and CD Vol. 6, No 7, August ’01 Quincy Jones every single issue of Film Score checklist, Journey to the Center of the Retrospective Part 1; Moulin Rouge; Monthly we’ve ever published. Earth retrospective; R. Marvin (U-571); John Morgan Reconstructing Golden From #1, the little one-page xerox J.Z.K. on Tora! Tora! Tora!; Film music Age Scores; Schifrin, Jones, Diamond Lukas Kendall circulated to 11 people in representation in Hollywood, pt.1. and Debney; Score Internationale; June 1990, to the present day—the glori- Vol. 5, No. 5, Jun. ’00 TENTH Random Play. ous, glossy mag beloved the world ANNIVERSARY ISSUE! Kendall remem- Vol. 6, No 8, September ’01 Angelo over—you can have it all for one low bers; An FSM Timeline; The Film Score Badelamenti (Mulholland Drive); The price: $99.95. (See above listings for con- Decade: who and what made it memo- North Carolina School of the Arts (for tents and notations as to which editions rable; 25th Anniversary CD film composing); Quincy Jones Pt 2; Vol. 7, No.9, Nov ’02 BOND TURNS 40: are xerox-only.) review; J. N. Howard (Dinosaur); Earle Hagen; Halloween DVDs; more. D. Arnold (Die Another Day, plus Sure, that’s a hunnert bucks, but we’re talking a stack of magazines a Goldsmith Buyer’s Guide Pt 6, more. Vol. 6, No. 9, Oct./Nov. ’01 H. Shore reviews and re-release news); W. Ross foot tall. It represents 12 years worth of film score passion. We keep it Vol. 5, No. 6, Jul. ’00 Summer Movie (Lord of the Rings); R. Stein:Invasion of (Harry Potter, Tuck Everlasting); George available because we want people to be able to have it. Round-up; D. Newman (Bedazzled, The the Score Man; T.Jones (From Hell); Feltenstein (Turner Classic Movies’ Unfortunately, the darn thing is so expensive for us to stock that we Klumps); Film score agents, pt.3; Davis Meets Williams (Jurassic Park III restoration man); 12-CD Wishlist by barely clear any money on it. This is not to mention the clerical nightmare it Session Notes (debut); They Might Be on DVD); M. Danna (Chosen, Hearts of Stavrakis & Bender; Omaha’s Orpheum is to keep 100+ editions in stock and in order. Giants (Malcolm in the Middle); pocket Atlantis); ST:TMP gets a DVD refit; Theater; Holiday DVD reviews; more. So here’s the deal: Effective January 31, 2003, the price is going to reviews; Score Internationale. Pukas comix debut . soar. Probably DOUBLE, maybe more. Who can say? Vol. 5, No. 7, Aug ’00 B.Broughton inter- Vol. 6, No. 10, Dec. ’01 Annual roundup Index How much stuff have we printed For the holidays, it is still $99.95, with FREE shipping in the U.S. via USPS view; Silverado analyzed; Shaiman CD reviews; Alejandro Aménabar (The in FSM? We’re not sure, but here’s a priority mail or UPS ground (your choice). (Add $20 for air mail to Canada, gives hell from the heavens; Agent Others); G. Yared; other Hobbit music; C. handy index of all reviews and articles $30 for surface mail to the rest of world, or $60 air mail rest of world.) History’s fiery conclusion; Laserphile Young, H. Gregson-Williams, R. Kent, M. through the end of 2001, compiled by So ACT NOW—don’t delay! It is the COMPLETE COLLECTION of Film (Autumn DVDs); .William Stromberg; Isham. Dennis Schmidt. Cost: same as one Score Monthly and it will never be this inexpensive again! $99.95 Elfman & mom at a scoring session. back issue. Vol. 5, No. 8, Sept./Oct ’00 R.Newman TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9598 • Fax 1-310-253-9588 • Online www.filmscoremonthly.com SCORE when the producer cut album. at Your Convenience (a surprise the size of the orchestra from the The superb disc includes music flop, the series’ first). The album (continued from page 32) composer’s preferred 40 players to from the four finest entries in the also features music from two of impressive seven-minute suite of a more economical 20. (Rogers’ series: Carry On Cleo (shot on the the worst entries: Carry On the first three entries in the death in 1981 naturally prevented discarded pinewood sets from Behind and Carry On Again series—the stirring Carry On him from scoring 1992’s disap- Cleopatra), Carry On Up the Doctor. However, if the films Sergeant, and the more overtly pointing Carry On Columbus, Khyber, (the proved increasingly inconsistent, sentimental Carry on Teacher and which went to John Du Prez.) Not biggest U.K. box-office hit of 1968, the music remained of a uni- Carry on Nurse—plus, surprisingly, it’s Eric Rogers’ out- beating such also-rans as 2001, formly high standard throughout. Montgomery’s Carry On theme put that dominates the rest of this Bullitt and Oliver!) and Carry On (The jaunty main theme from that continued as the series’ Behind was actually written by the anthem long after his departure. producer and built around the ini- Producer Peter Rogers has tials of his wife, Betty E. Box, the claimed that the late Weird But True producer of the rival Doctor films.) Montgomery’s strong attraction to Cremaster 3 Over the course of more than alcohol would often lead him to JONATHAN BEPLER 20 years, the Carry On series pro- rely on Eric Rogers (no relation to Bepler JB002 • Disc One: 10 tracks - 60:17 • Disc Two: 7 tracks - 45:12 gressed from the gentle good- Peter) to pad out his sketches. Masonic builder scales up an elevator shaft of New York City’s natured character-based comedy Therefore Rogers, always with a Chrysler Building and fills a lift with wet cement. Meanwhile, of the -scripted ready eye on the bottom line, fired Adown in the lobby, five Chrysler Imperials enact a demolition entries to the lavatory Montgomery and hired his assis- derby. On the top floor, the architect (played by Richard Serra) awaits a humor (literally in At Your tant to save needlessly paying two confrontation with the challenger in the lift. Intrigued? Convenience, set in a toilet fac- salaries for the same score. The With his three-hour film Cremaster 3, acclaimed U.S. artist Matthew tory) and sexual innuendo of the fact that classical music lover Barney has completed the epic five-film Cremaster cycle. Heralded as a Talbot Rothwell-penned films. The Peter Rogers had also commis- “masterpiece” by Variety, Cremaster 3 crafts an elaborate tale of cre- scores followed suit, with Bruce sioned and paid Montgomery in ation, hubris and destruction, a psychosexual odyssey of competing Montgomery’s warm comic cama- advance for a classical clarinet drives and desires, which shifts in time and space from the Chrysler raderie quickly giving way to Eric concerto that never materialized Building to the Giants’ Rogers’ boisterous and earthy only added to his resolve. Causeway. efforts—a veritable musical equiv- Prior to the Carry Ons, Eric With no dialogue in the alent of series mainstay Sid James’ Rogers had produced a number of film, the narrative is held memorably knowing cackle. incidental jazz and dance cues for together by a series of ges- However, both approaches are British films, as well as assisting tures, symbols, buildings and unified in their reliance on comic and transcribing songs for Lionel designs. In fact, the central musical references lost on both Bart (who, like Irving Berlin, was character is the Chrysler foreign audiences and, one sus- unable to read or write music). Building. In place of dialogue pects, younger British fans. Carry Rogers had nearly worked with come the personalized On Camping is punctuated with the producer back in 1958 on an noises that the characters pastiches of music hall pastoral original screen musical version of make. Much of the emotion “One Man Went to Mow and Oliver Twist starring Tommy and narrative is told through Meadow”; Convenience is driven Steele as the Artful Dodger, with music and sound FX. by the school playground favorite music and lyrics by Bart. However, Jonathan Bepler’s music “Oh Dear, What Can the Matter having made two films with the ranges from striking sound design and theremin-driven synth textures, Be? (Seven Old Ladies Got Locked difficult star, Peter Rogers refused to charged strings and jazz leanings, all the way up to modern-day rap in the Lavatory)”; and Again to work with him again under any posturing. His music shows a hunger to break rules and create new ter- Doctor skirts around working- circumstances and recommended ritories. Bepler has taken Matthew Barney’s vision and run with it. class staples such as “Riding they try the project as a stage “Giants Prologue” opens the album with Gaelic pipes and harps wind- Down to Bangor.” musical instead. ing around burbling, mythic children voices and alien vocal chords. In It’s surprising how subtle and Eric Rogers’ initial involvement essence, the element of conflict that Barney is after in the film immedi- detailed some of these scores in the series was almost acciden- ately comes through in the music. “Chrysler Chorale Overture” moves were; there’s even an occasional tal, coming about when he scored the action into the Chrysler Building and onto the drama of the demoli- intricacy that rivals the sheer a non-Carry On comedy for the tion derby. Deep bass theremin drones increase to higher frequencies busy-ness of Miklós Rózsa’s work producer. On completion, Call Me working around the noise of hideous colliding cars. It’s the Chrysler’s at MGM. Getting away from the a Cab was released as Carry On driving lift shaft air draft that fuels “Air Prelude.” A fusion of Gaelic slightly mocking pomp and cir- Cabby in order to capitalize on the tenor singing from Paul Brady and delicate harp lines both underpin cumstance of Cleo and Up the series’ early success. The original Barney’s and Bepler’s folk lament to an Anglo-Irish Masonic tension—it’s Khyber, there are also genuinely title can still be clearly discerned both confusing and disturbing. touching moments, most notably in the score, musically incorpo- The second disc shows off what might have happened if Miles the simple and affecting theme for rated in the harmonica line of the Davis had written with György Ligeti on a Jack Daniels-fueled ses- Sid and Joan’s unconsummated main title included on the album. sion. The surreal big-band sound serves to tell the Tower’s final love in Convenience. Rogers would score all but two bloody metaphor. A subdued harp line lays the foundation for the And the re-recordings them- of the remaining films in the final aching melancholy piano-and-fiddle line. In all, Bepler has given selves? If you heart sinks at the series (an impressive total of 23 heart and movement to the greatest art movie since Dali’s and sight of the dreaded credit of “City films) before refusing to score the Bunuel’s Un Chien Andalou. —Simon Duff of Prague Philharmonic all-but-unwatchable Carry on The CD is available at www.jonathanbepler.com. (continued on page 45)

DECEMBER 2002 43 FILM SCORE MONTHLY Pocket CD Reviews

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

A Bout de A Bout de Souffle (1959)—known in the U.S. as If you are fond of the film, grab this great package with Breathless—no, not the Richard Gere version—is 20:55 of Breathless. The remainder of the disc has Souffle 1/ 2 the spectacular kick-off to Jean-Luc Godard’s film selections from Solal’s similar-sounding scores (as in, you career and the French New Wave in general: a won’t be able to tell where one starts and the other MARTIAL SOLAL simple gangster film twisted into something much ends) to L’Affaire d’une Nuit (1960), Le Proces (1963, Universal 017 183-2 more. The score by French composer Martial Solal a.k.a. ’ ), Les Ennemis (1961), (France) is a swinging slice of ’50s/’60s compositional Echappement Libre (1964) and a piano-only version of 21 tracks - 48:50 jazz, effortlessly capturing the cutting-edge aes- Breathless. Part Anatomy of a Murder, part American TV thetic of early Godard even as it produces two music (’60s style), part Vince Guaraldi, all good stuff. memorable themes, a “danger” melody and a Liner notes by Solal reflecting on his work; sound quality swooning love theme. is good, part mono, part stereo. —Lukas Kendall

Adagio Paradiso: Here are nine selections culled from RCA catalog The cover art is attractive and the liner notes are above Romantic Movie albums dating as far back as 1960. Featured are average, especially for this kind of release. From a pro- Themes for the mostly bland cuts from some of Mancini’s re- duction standpoint, this is a competent release but one recordings (the Morricone cue from Cinema definitely geared toward the casual listener and not the Lover in You 1/ 2 Paradiso sounds sonically warped); a couple of soundtrack fan. Actually, the press release suggests tracks from Boston Pops releases (during Arthur that this album is aimed primarily at women who might VARIOUS Fiedler’s tenure); various excerpts from pop and pick this up while buying candles, I guess. Most women I RCA Victor 09026- classical albums by flautist James Galway; similar know are smarter than that! —Steven A. Kennedy 63973-2 efforts by clarinetist Richard Stoltzman; and ’60s 19 tracks - 74:37 Puccini recordings of Leontyne Price.

The Truth About Jonathan Demme’s latest film is a remake of the With artists such as Asian Dub Foundation and Angelique Charlie 1963 Cary Grant, Audrey Hepburn romantic Kidjo mixed with old-schoolers like Charles Aznavour, the thriller, Charade. Most critics scoffed at the cast- album recalls the funky and fun soundtracks of Demme’s RACHEL PORTMAN ing of Mark Wahlberg in the Grant role and con- past (Something Wild and Married to the Mob). A stand- Play-tone/ sider this a minor Demme effort. In any event, out song comes from Demme’s late brother, Ted—a reg- Demme re-teams with Beloved composer Rachel gae ditty called “Bigga Man.” Unfortunately, there’s only Epic EK 86629 Portman for the score. You could barely tell that a five-minute track from Rachel Portman, which starts 18 tracks - 74:45 from the album, but that’s not necessarily a bad off with a Chocolat-type melody, segues into a world thing. According to the print ad, this film has “the music-influenced middle, and ends with a sad French coolest world music soundtrack of the 21st melody. It sounds like what Portman might have written Century,” and I have to agree. had she scored Gladiator. —Cary Wong Tuck Everlasting William Ross is a respected conductor and orches- It’s easy to dismiss Ross’ scores since his touches seem trator (having worked on many Alan Silvestri so light, but like early Randy and Thomas Newman, the 1/ 2 scores), but he is also an underrated composer. music has weight. The gentle melodies are red herrings, One of his best scores was for the family film, My as there’s a lot more to the score—especially the action- WILLIAM ROSS Dog Skip, directed by Jay Russell. Tuck packed “Kidnapping” and the guitar-driven “Miles’ Walt Disney 60063-7 Everlasting, also by Russell, is based on the novel Story.” There’s a homespun quality to the music, most 22 tracks - 41:58 by Natalie Babbitt about a young girl who meets a enjoyably in “Jail Break.” —C.W. family of immortals.

Ahn Trio This classically trained trio of Korean sisters Nyman is back, adapting music from Prospero’s Book to Groovebox (Lucia, piano; Angella, violin; Maria, cello) has create “Yellow Beach,” a melodic and minimalist piece decided to travel the modern route to classical with an occasional flourish of intensity, easily the most music à la the Kronos Quartet. Although they have enjoyable work on the CD. ’s commission VARIOUS performed the standard repertoire, they favor con- is longer and denser. This four-movement, 25-minute EMI Classics 7243 5 temporary composers. Hence Groovebox, which piece entitled The Engadiner Suite, inspired by a valley they describe as “about contradictions and in Switzerland, is mostly pastoral and at times brings to 57357 2 0 fusion.” In addition to playing Astor Piazzolla and mind Jarre’s recent score for Sunshine. Although not 14 tracks - 74:14 the Doors, they’ve commissioned two film com- easily embraceable (the first movement is particularly posers to adapt film music or create new work for severe), it shows that at age 78, Jarre is not resting on them. Their last CD, Ahnplugged included a spe- his laurels. The Ahn Trio is up for the challenge and their cial arrangement of Michael Nyman’s The Piano. performance is resplendent as usual. —C.W.

Sweet Home This formulaic film harkens back to the star-vehi- ’s single score cue is an orchestral coun- (no stars) cle pictures of the past. Hollywood’s songtrack try piece that tends toward the romantic. It’s kissing GEORGE FENTON compilation features many of the top women in cousins to some of David Benoits’ set pieces from his American Landscapes album, and a gentle reminder of Hollywood pop music recently named in Rolling Stone. Songs by Jewel, SheDaisy, Avril Lavigne, Charlotte Fenton’s skill. Still, there’s no real reason for anyone 2061-62364-2 Martin, Sheryl Crow and even Dolly Parton, to reading this to own this CD. Though you may want to at 13 tracks - 48:59 name a few, are included here. Jewel updates the least give yourself a few minutes to “audition” the score (1 score track - 4:59) Alabama classic—as if it needed to be redone. cut in your local music store. —S.A.K.

FILM SCORE MONTHLY 44 DECEMBER 2002 SCORE You’ll flip over (continued from page 34) Orchestra,” don’t let it! This is a million miles away from the FSM’s B-sides Silva re-recording philosophy— visions of Czech musicians cru- Many of our Silver and Golden Age Classics elly penned up in unsanitary feature a second score—but you might not realize that by barns, being forced to churn out looking at the cover. Here’s some of our flip sides: 12 cues by lunchtime spring only too readily to mind. Thanks to conductor Gavin Sutherland, this is a truly outstanding re- recording without a single duff note—it genuinely captures the originals and the spirit of the Wendigo films. This is way up there with MICHELLE DIBUCCI Marco Polo’s The Egyptian and Pacific Time PTE 8534 the recent Georges Auric and 15 tracks - 35:28 Alan Rawsthorne compilations. arry Fessenden’s Wendigo is The Flight of the Phoenix Hombre What’s more, it’s also a lot of L a curious film. The thriller’s By Frank DeVol By David Rose genuine fun that can’t help but overall tone and grainy cine- w/ Patton w/ The Undefeated bring a smile of recognition to matography are likely to be FSMCD vol.2 no.2 FSMCD vol.2 no.2 your face. compared to The Blair Witch The only real minuses are the Project, but it owes more to inevitable omissions—and with German Expressionism. Like 31 films in the series, how could Blair Witch, it’s able to offer gen- there not be? Hopefully, a sec- uine scares that come more ond volume will see a suite from from showing terrified people Carry On Abroad (cinema’s most than any actual creatures. Unlike astute and incisive portrait of Blair Witch, however, Wendigo the British on holiday) and the delves into mysticism, the loss swinging party music from of innocence and the lasting Battle for the Planet of the Apes Soldier of Fortune Convenience that sporadically nature of anger. And it has a By Leonard Rosenman By Hugo Friedhofer reappeared in later entries. And score. w/ Conquest of the Planet of the Apes w/Between Heaven and Hell while it’s a shame that the origi- That score was composed by FSMCD vol.4 no.1 FSMCD vol.4 no.9 nal tracks for the title songs Michelle DiBucci, a recognized from Cowboy and Screaming are art music composer and profes- unavailable, this at least means sor of music and theater at that we don’t get Malcolm Juilliard, who has worked exten- McLaren’s execrable never-end- sively in theater, opera and film. ing title song from Carry On In her score for Wendigo, Columbus. DiBucci sets aside her training What we do get are three differ- in avant-garde theater, instead ent incarnations of the Anglo- turning to the New Age mysti- Amalgamated logo (AA was the cism embraced by the director. Raid on Entebbe Monkey Shines company responsible for the first Acknowledging their importance By David Shire By David Shire set of Carry Ons before they to the legend of the Wendigo, w/ Morituri w/Farewell My Lovely ditched the then hugely success- DiBucci wisely uses Native FSMCD vol.4 no.12 FSMCD vol.4 no.20 ful series to go respectable and American elements, including promptly went bankrupt when bamboo flutes, chanting, singing the multimillion-dollar Far From and drumming. Unfortunately, the Madding Crowd bombed). as with so many other movies Better still is a brief snatch of that incorporate such ideas, Bruce Montgomery’s non-Carry these instruments are used On entry, Raising the Wind (which merely as sound-producing he also scripted, based loosely on objects that conjure the idea of his own experiences at music col- an exotic culture—this, instead lege), an energetic orchestral fan- of creating a meaningful musical tasia that leaves you hungry for dialogue between Native The Outfit 7 Women By Jerry Fielding By Elmer Bernstein more. Throw in surprisingly well- American and Western w/ Point Blank w/Never So Few informed sleeve notes for good European musical practices. FSMCD vol.5 no.8 FSMCD vol.5 no.20 measure and the result is 51 min- DiBucci’s aim was the creation utes and 12 seconds of heaven. of a sound world through col- Supplies are limited—get yours today! —Hugh Jampton lage techniques able to express Call toll free 1-888-345-6335

FILM SCORE MONTHLY 45 DECEMBER 2002 SCORE theme is consumed by a Native poor selection, since the disc American chant accompanied consists mostly of odds and the complex emotions gener- by a rather mundane beat. It ends from the six years of Xena: ated on-screen. While the score eventually gives way to a new Warrior Princess. “Bonus Cues” rarely evokes any emotion guitar/vocal theme that sounds and “Special Requests” add up beyond fear, DiBucci was able to as though it stumbled out of a to a collection of mediocre create genuine tension and an Windham Hill recording session. tracks meant mainly for Xena extremely eerie atmosphere. In These collage sections, while fans. “Joxer the Mighty” is a fact, the primary reason to buy effective in the context of the laughably ludicrous and annoy- this score is for those dark movie, are a less-than-satisfying ing song performed by synthe- nights when you want to be separate listening experience sizer and male chorus. The best frightened and unsettled. and I would recommend stick- of the “Special Requests” tracks “Return to Stooky House” is an ing to the more straightforward release offers a good glimpse at is “Xena Main Title,” which com- excellent example of the mood cues. —Andrew Granade LoDuca’s enormous output. bines a female choir chanting DiBucci was able to create. The Most of the notable music over a full orchestra for a Conan cue opens with the main theme, Xena: Warrior Princess resides on the first disc, which is the Barbarian effect. a piano ostinato accompanied Volume Six categorized into episodes. The packaging of the disc is by a lilting violin melody— JOSEPH LODUCA “Fallen Angel” includes plenty of minimal—odd considering that something of a demonic waltz. Varèse Sarabande 302 066 255 2 full orchestral action and choir this album ends the Xena The melody is slowly taken over 53 tracks - 142:42 performances, such as “Battling release series. A brief message by a woman’s voice, which car- arèse Sarabande ends their Archangels” and “With the from producer Rob Tapert and ries it for the duration of the V popular series of Xena Angels.” The episode “God star Lucy Lawless is the only cue. releases with the lengthy 2-CD Fearing Child” receives a well- writing inside the eight-page DiBucci’s collage technique is Xena: Warrior Princess Volume assembled track entitled “End of booklet. Overall, Joseph most easily understood in the Six. According to the scant liner Days.” The track acts as a semi- LoDuca’s music has an orches- “Opening Titles.” The track notes, composer Joseph LoDuca suite from the episode, contain- tral quality not often found in begins with the same lyrical produced 134 hours of music for ing good choral and orchestral today’s television shows. theme, sung by a young girl the six-season show. The two action and dramatic underscore. —Martin Dougherty doubled with bamboo flute. This hours of music presented in this The second disc suffers from FSM

FILM SCORE MONTHLY 46 DECEMBER 2002 BOOK REVIEW his is not meant to be an exhaustive survey.There is a SOUND A Guide for Music Lovers brief chapter on how film scores are created, which will TRACK be interesting for those want- The Pocket Essential Film Music ing to have a bare-bones knowl- ALBUM edge of the overall process. Also PAUL TONKS included is a reference chapter RETAILERS Pocket Essentials, 2001 with suggested books, websites, 93 pages, $6.95-paperback and a list of “How to Build a CD Specializing in Library.” The choices in Tonks’ aul Tonks’ Pocket Essential list are fairly representative of SOUNDTRACK, P Film Music is a concise and what aficionados would select, comprehensive look at film music, though the more recent ones BROADWAY providing a good starting point both are a bit questionable. and STUDIO CAST CD’s for “film music geeks” as well as neo- As I read through the book, I phytes. It’s also clear that Tonks loves often found myself beginning DOMESTIC and IMPORT the music he is writing about. The conversa- to ask, “But what about ____”...only to have tional tone of his text makes for very easy that question usually addressed shortly RELEASES reading, and he has managed to avoid using afterward. Tonks’ approach is to address e-mail or write for your a great deal of technical terminology, focus- “pure” film music with an occasional com- FREE CATALOG ing instead on broad surveys of film music ment on the “songtrack” or pop-infused (primarily American, but including mention scores that have appeared. There is little or P. O. Box 487-Dept. FS of music from Great Britain and Italy). no discussion on film musicals, nor ani- New Holland, PA 17557-0487 The opening chapter provides a brief mated films or short features. The docu- NEW e-mail: [email protected] overview of the silent era of film music fol- mentary film music of and phone/fax: lowed by a chapter called “The Golden Age.” Virgil Thomson is also ignored. Perhaps that (717)351-0847 “Anything Goes” attempts to draw together only means that another brief book will Visit our website at: the music of what is called the “Silver Age,” address those areas in the future. www.soundtrak.com though it seems as if Tonks is simply using There is some attempt to write chrono- ALL MAJOR CREDIT CARDS ACCEPTED this term as loosely as the others who logically at the beginning, but the book employ it. But his overall emphasis, that becomes more diffuse as we move closer to there was a far more eclectic and experi- our own time, something most likely mental approach to film music beginning unavoidable. If I had the time, and the roughly in the mid-1950s, supports this money (!), Tonks’ book would make an Refresh your home page! approach and is borne out by his examples. excellent way to fine-tune an extended Tonks is careful not to apply many general- musicological study of film music, with each izations—this is hard to believe in such a chapter being expanded into a full-length short book, where such comments would be scholarly work. At the very least, he demon- Point your browser to: so easy to make. strates that such a work could be accom- An interesting survey of music from the plished. And, if someone had the time and 1960s in “The Commercial Age” helps piece energy, an accompanying CD (or imagine a together some of the changes that were then full score series) to this book would make it www.filmscoremonthly.com occurring in scoring choices. The impor- an invaluable tool for furthering one’s love tance of Williams’ Star Wars is lifted up in of film music in general! the chapter “Romance Ain’t Dead.” This sec- At $7, this book is a bargain. It may be dif- Our website is updated tion includes a look at the rise of genre scor- ficult to track down as it is evidently an ing in general and helps to put some per- import title requiring special orders on sev- spective on the different musical eral of the online sites I checked. —S.A.K. approaches that began appearing. five times a week with There’s inevitably a chapter that quickly This book can be ordered directly from surveys numerous composers of the ’90s. www.pocketessentials.com. There is much left out here, but Tonks is Comments regarding this review can be sent to careful to always mention in passing that [email protected]. news,reviews,opinion,

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The Cartoon Music Book Edited by DANIEL GOLDMARK, JUVAL TAYLOR, LEONARD MALTIN new FSMClassic CDs. Chicago Review Press, November 2002 336 pages, $17.95-paperback Serving the internet since 1997

FILM SCORE MONTHLY 47 DECEMBER 2002 (continued on page 48) they’re making “art” might be making the best someone who will ask me to do it! Philip Glass (continued from page 19) kind. And other people who think they’re mak- FSM: What challenge do you want as a film ing art might not be making anything at all. I’ve composer that you haven’t been offered yet? come out of the world of opera and dance end just seen too many people of talent who’ve PG: Comedy. up on Jeopardy or in crossword puzzles. It’s been uncategorizable. What do you do with FSM: And what would a Philip Glass com- wild! I really enjoy them. It’s great when people musicians like Charlie Parker or John Coltrane? edy score sound like? like you enough to make fun of you. They were complete geniuses, but weren’t rec- PG: I don’t know, but that’s the point. I think FSM: What’s the difference is between “high ognized as being great at first. Yet both made comedy is a high art. When I’ve written for art” and “low art”? tremendous contributions to our musical life, Shakespeare’s works, I’ve always found scenes PG: There is no difference, because men and and life in general. So I stay away from those of comedy in his darkest tragedies. That’s women of talent work in both areas. It’s really dichotomies. And that’s why I think it’s pretty because Shakespeare understood the high art all about how things are packaged, and I don’t good to be working on a bunch of projects at of comedy. And I’ve also had experience in see that much of a difference between the two the same time. I like to move fairly effortlessly dance and theater with comedy, but not in as other people do. Take a like Paul between the worlds of high and mainstream film. Just look at Verdi. He didn’t write a comic Simon. I think he’s as fine a composer as the culture, because what speaks to your heart can opera until he was 84. people who get played at Lincoln Center and come from anywhere. And one of my chal- FSM: What’s coming up for you? Carnegie Hall, and his music will be remem- lenges is that there are people who consider it PG: I’m doing two one-act plays for David bered long after other “classical” works have very déclassé for an opera composer to write a Henry Hwang, and then I’m staging some been forgotten. So the “high” and “low” stuff is film score. But who cares? I just like the fun of operas for ART in Boston. I have a new sym- just stuff. The fact is that talent is the most doing them. phony to write after that. And I’m working also democratic commodity that we have. You find FSM: So maybe we’ll see you score a car with Errol Morris on a new documentary it regardless of gender, ethnicity and aspira- chase one of these days. about Robert McNamara. So that’s enough to tions. People who might not be thinking that PG: That’s possible, but you’ll have to find keep me busy for this year! FSM

indiscriminately. It was bad. Finally they had they had the film on all week with my name Ray Ellis (continued from page 21) a screening in New York and usually you’re on it. I realized, though, as long as people are looking for big credits, and they had Boris talking about you, it doesn’t matter, good or give ‘em a hundred and what would happen Karloff and Viveca Lindfors and then this big bad.” Ellis was a master of strong melodies is they’d run out of money after a couple of credit for Ray Ellis, and there was blood drip- as well as , and he doesn’t see months and say we need another couple ping down the screen. So I called them and the same approach in today’s film and televi- hundred.” said it was terrible and I wanted them to take sion composers. “They’re involved in anoth- Joseph Harris eventually wound up with my name off the credits. They said, ‘Okay, it’ll er scene; they’re looking for sounds rather control over the entire project. “I went out to cost you a hundred and fifty bucks!’ I never than themes.” Spain and watched the filming, and it looked got back to them.” Nevertheless, Ellis himself remains in pretty good. So now I come back to New York Cauldron of Blood might not have been demand, and he’s up front about his ability and they sent me footage, all the timings, particularly scary, but it continued to haunt to handle the work. “I just did an animation and I recorded. In the middle of this whole Ellis after its release. “Now I come out to thing with Adam Sandler [Eight Crazy thing they have a big blowup, and he fires California and I want to do films—that’s one Nights],” he says. “The producers had some everybody. They bring in a new director and of the reasons I moved out here,” Ellis half-assed rock-and-roll score on it—he they recut the film, after I did all the music; explains. “So I bought a house, we just finally needed some real music, so they they had an editor just lay in all the music moved in and I turned on Channel 9, and called me!” FSM

Howard Shore (continued from page 24) down the line. “I know how great Return of that’s composition. A lot of people think the King is. I think it may be better than music is what they hear. Most composers towards and then I write towards them. Then I either of these two, just in terms of the reso- think music is what they see.” start to detail it and fill in and create all my lution of the story, and the pure spectacle of Eventually, Shore will quietly admit that, of rhythmic patterns based on what’s on-screen. it. It is just awesome.” But doesn’t writing course, his schedule is somewhat physically It’s very similar to the way Cronenberg and I four hours of intricately related music a year tiring, but he quickly sweeps the thought have worked. We’re working on a very broad eventually wear one down? “I read an inter- away. “It’s just my world, the world I’m in right canvas, then cutting it down and shaping it view with a good animator, and he said that now. It’s over two years that I’ve been working until we arrive at this piece.” he worked by always keeping the pencil on [Lord of the Rings]. I only have one more moving, and I thought that was good! I actu- year left and I want to take advantage of every Aftermath ally kept thinking of that all year. ‘Oh right! moment. I just want it to be as good as it can It’s now December 2002. Two Towers is in Just keep the pencil moving. As long as this possibly be. Everything all focuses on it.” wide release, and while Shore jets around the pencil is moving, that means you’re compos- Then, without even a hint of irony, he adds, “I globe to appear at various premieres, the ing.’ Composition is only the pencil on the feel like it’s a precious thing.” New York staff is already gearing up for the paper. You can have all those ideas in your To be continued... FSM next extended DVD (which Shore hopes to head, and you can play all these things on record in late winter/early spring) and for any instrument you want, but until that pen- Thanks to Jason Cienkus, Michael Tremante, Cathy Moore, Rings’ final chapter, Return of the King. Even cil actually goes on the paper, it’s not com- the tireless Chris Rinaman and the ever-generous Howard the downtime is busy, but the enthusiasm is posing. It’s only the act of that lead going on Shore. Doug Adams can be reached at running strong as ever. Shore smiles, looking that paper and putting those notes down [email protected].

DECEMBER 2002 48 FILM SCORE MONTHLY