THE OUTSIDERS” Starring C
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01. STAY GOLD* 3:29 (Performed by Stevie Wonder) 02. FATE THEME 2:30 03. COUNTRY SUITE** 4:57 04. CHERRY SAYS GOODBYE** 2:21 05. INCIDENTAL MUSIC 1 1:13 06. FIGHT IN THE PARK 3:25 07. BOB IS DEAD 3:32 08. DESERTED CHURCH SUITE** 4:14 09. SUNRISE** 2:56 10. FIRE AT THE CHURCH 2:49 11. INCIDENTAL MUSIC 2* 3:11 12. RUMBLE VARIATION / DALLAS’ DEATH** 4:54 13. BROTHERS TOGETHER* 2:27 14. RUMBLE** 4:37 15. STAY GOLD (ALTERNATE)* 2:30 (Performed by Stevie Wonder) 16. THE OUTSIDE IN 2:41 (Performed by Bill Hughes) 17. STAY GOLD 2:28 (Performed by Bill Hughes) * Previously unreleased ** Contains previously unreleased music Total Time: 55:02 MUSIC COMPOSED BY CARMINE COPPOLA “THE OUTSIDERS” Starring C. THOMAS HOWELL MATT DILLON RALPH MACCHIO PATRICK SWAYZE ROB LOWE and DIANE LANE Co-Starring EMILIO ESTEVEZ TOM CRUISE LEIF GARRETT Music by CARMINE COPPOLA Production Designer DEAN TAVOULARIS Director of Photography STEPHEN H. BURUM A.S.C. Produced by FRED ROOS and GRAY FREDERICKSON Screenplay by KATHLEEN KNUSTEN ROWELL Based upon the Novel by S.E. HINTON Directed by FRANCIS COPPOLA SILCD1428 MCPS Ⓟ 1983 Pony Boy Inc. © Zoetrope Corporation. Under exclusive licence to Silva Screen Records Ltd. All rights reserved. the family livelihood was made. We literally said While he shared an Oscar with Rota that year our prayers for him to find success in the fields for The Godfather: Part II, Carmine’s stand that he aspired to. That had a big effect on me.” alone cinematic breakthroughs occurred in 1979 with Apocalypse Now and The Black Stallion. For one epic directed by Francis, and the other The younger Coppola’s own dreams also began in produced by the filmmaker’s Zoetrope Studios, music, proving himself talented enough as a tuba Coppola showed his stylistic range with a surreal player to earn a scholarship to the New York Military synthesizer score for the Vietnam War, then just Academy. Though his father would’ve rather that as dexterously held the reigns of a symphonically Francis studied engineering while enrolled at sweeping children’s fable. But for a prodigious Hofstra University as a theater major, Carmine artist who continued to write reams of concert still enthusiastically wrote and orchestrated music, perhaps no opportunity that Francis music for his son’s plays. Turning to film studies provided Carmine with was as gratifying as being at UCLA, Francis began his professional film asked to provide a completely new score for a career as an assistant to Roger Corman, reworking restoration of Abel Gance’s epic 1927 silent film the Soviet sci-fi film Battle Beyond the Sun into Napoleon, which premiered at Radio City Music proper exploitation, as well as filming additional Hall in 1981. Carmine returned to his old haunt, sequences for the German “nudie cutie” Tonight this time as the center of musical attention as the For Sure. Coppola found a way to give his father orchestral composer and conductor of note. composing and conducting credits as he diligently climbed the Hollywood ladder, even when Carmine had only made the smallest of contributions. “I “You guys are three of the bravest they attempt to find their way in an often-cruel credited both of us, because I never expected to see Carmine Coppola world. But perhaps no one understood this sound kids I’ve seen in a long time. What my own name as a film director,” Coppola remarks. better than a composer in the sunset of his years, are you guys? Professional heroes THE OUTSIDERS “It was more my wishes than reality.” a 72-year-old who not only pulled on his own or something?” decades of musically passionate angst, but also “Stay gold, Ponyboy. Stay gold.” on the unabashedly dramatic emotion of a nearly As Francis’ career grew, so did Carmine’s Though Francis Ford Coppola was by now known bygone era in Hollywood scoring history. Born in opportunities. With his extensive time conducting the world over for his large scale productions, a When you’re a kid from the wrong side of the tracks, 1910 in New York City, Carmine Coppola started at Radio City Music Hall and for Broadway, librarian’s assistant in Fresno, California named every emotion and action is amplified to operatic his career as a flutist during the Great Depression. Coppola’s show tune arranging talents for the likes Jo Ellen Misakian thought he’d be a perfect proportions. The bonds of friendship become lush, Furthering his studies at Julliard, The Manhattan of “Once Upon A Mattress” and “Kismet” came in choice to direct one of her students’ favorite lyrical poetry to be worn on leather sleeves, brawls School of Music and during private lessons with handy when helping Francis direct his first major young adult books, “The Outsiders.” In fact, the stuff of savage, tribal percussion, and death a Joseph Schillinger, Coppola envisioned his future film with 1968’s adaptation of the musical Finian’s its Oklahoman author Susan Eloise Hinton had soaring elegy, filled with anguish gained from the conducting and composing for the concert stage. Rainbow. After conducting Ronald Stein’s score written it when she was a fifteen-year-old high pointless hatred between cliques. Such was the While he’d help foster that career for his younger for Francis’s The Rain People, Carmine got his school student in 1965. Turning her observations turbulent adolescence that turned the small-scale brother Anton, Carmine reached his own peak biggest opportunity yet to write original music with of the clique battles between the poor “greasers” teen rumbles of 60s-era Tulsa, Oklahoma into epic in that rarified world as a flutist for the NBC The Godfather. While Nino Rota received an Oscar and rich “Socs” (pronounced as “So-shes”) of drama, their rites of social passage first envisioned Symphony Orchestra, playing under the baton of nomination for the film’s score, it was Carmine her Tulsa hometown into fiction, she had her in the words of a 16-year-old high school student, Arturo Toscanini. But when Coppola decided to who wrote all of the “source,” or live music that novel published in 1967 under the pen name of and then turned decades later into stylized imagery solely pursue composing in 1951, the instrument was played onscreen for the extended wedding “S.E. Hinton.” Though she feared that readers by one of the screen’s most famous directors. that brought him prominence as a child prodigy sequence that opened the 1972 Best Picture would be “put off” to know a girl was writing became his biggest hindrance as an adult. “The winner. That same year, Coppola wrote his first, such testosterone-filled characters, Hinton’s work The universal power of The Outsiders has flute was a great frustration to my father because full-length score for the sci-fi TV movie The People, resonated with millions of teenagers throughout continued to hold sway for new, misunderstood he felt it held him back,” his son Francis recalls. following it up for the small screen with 1975’s the world, turning the author into the foremost generations who hear a far bigger picture as “Ultimately, with three kids, the flute was the way western The Last Day. chronicler of male coming of age books. Francis Coppola was held in similar esteem Darren Dalton and teen singing idol Leif Garret melodic music he’d always had at his command. hymnal emotion when the Curtis’ rush into each by adults for the bloody, masculine bonding would comprise the rival Socs. others arms at the hospital where Ponyboy has of his Godfather films, even though it was his “You’d better wise up, Pony. You get tough been taken to after rescuing the school kids, the adaptation of The Black Stallion novels that made child-like use of bell percussion and flute once The Outsiders was budgeted at ten million dollars, Misakian (and later Hinton) think he’d be an ideal like me and you don’t get hurt. You look again showing Ponyboy as a kid at heart as a positively miniscule amount when it came to director for a film version of . In Dallas cradles his sleeping brother on the way The Outsiders Coppola’s other recent films. Yet he was sure to out for yourself and nothing can touch 1980, Misakian and eighth grade students at back home. employ state-of-the art filmmaking techniques you, man!” the Lone Star Junior High School sent him their for it, first shooting the movie on videotape petition (along with a copy of Hinton’s novel) to with his extensively rehearsed cast. Coppola With Francis remaining in Tulsa so he could Yet there’s also much darkness to Coppola’s the New York offices of Paramount Studios, who’d then moved the production to Tulsa, where he’d segue directly into production of his second S.E. approach for characters with dead-end futures. produced the Godfather pictures. While Coppola oversee shooting the movie from an equipment- Hinton adaptation Rumble Fish (which would star While “ticking clock” motifs filled the score to show hadn’t made a movie for them in years, he luckily filled Airstream trailer that he’d turned into a Outsiders alumni Matt Dillon and Diane Lane), time, or the end of it, relentlessly catching up with happened to be in Manhattan at the time, and video “control room.” Actors were given lodgings Carmine Coppola was left to compose back in Los them, these outsiders’ inevitable, and oft-times was touched enough by the students’ letter to to reflect their characters’ social statuses (while Angeles, basing his work on the musical ideas tragic destinies are fully expressed through the pass along the novel to his longtime production hopefully increasing their onscreen tension), with (many of which were notated into the script) that Fate Theme.