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Music Soundtracks for Motion Pictures and Television

V OLUME 4, NUMBER 9

Williams’s Award Page 48 GoldenGolden AgeAge GreatsGreats HollywoodHollywood composerscomposers onon postagepostage stampsstamps! PPAPILLONAPILLON REVISITEDREVISITED GoldsmithGoldsmith doesdoes Devil’sDevil’s IslandIsland PETERTHOMASPETERTHOMAS MeetMeet thethe kingking ofof GermanGerman schwingschwing CDREVIEWSCDREVIEWS TheThe latestlatest releasesreleases

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$4.95 U.S. • $5.95 Canada FSM Presents Silver Age Classics • Limited Edition CDs Now available: FSMCD Volume 2, Number 8 The Complete Unreleased Original Soundtrack came into his own as a creator of thrilling scores with 1964’s Rio Conchos,a hard-bitten action story that starred Richard Boone, Stuart Whitman and Tony Franciosa. Rio Conchos was in many ways a reworking of 1961’s The Comancheros (FSMCD Vol. 2, No. 6, music by ), but it lacked the buoyant presence of John Wayne and told a far darker and more nihilistic tale of social outcasts thrown together on a mission to find a hidden community of Apache gun-runners. It was the dawn of a new breed of grittier, more psychologically hon- est westerns, and Jerry Goldsmith was the perfect to provide these arid and violent tales with a new musical voice.

Goldsmith had already scored several westerns before Rio Conchos, including the acclaimed contemporary west- ern Lonely Are the Brave. But Rio Conchos saw Goldsmith marshal- ing his skills at writing complex yet melodically vibrant action music, with several early highlights of his musical output contained by Jerry Goldsmith within. The composer’s title music is characteristically spare and One-Time Pressing of 3,000 Copies folksy, belying the savage intensity of what is to follow, yet his main theme effortlessly forms the backbone for the score’s violent set- pieces and provides often soothing commentary on the decency and nobility buried beneath the flinty surfaces of the film’s reluc- tant heroes.

Goldsmith’s psychological approach to action extends to some vicious, Stravinsky-like rhythmic music associated with the Richard Boone character and his violent hatred of the Apache, as well as an alternately exciting and brooding fanfare for the Native Americans. The composer’s action music ingeniously plays off both folk-based rhythms (translated to the powerful forces of the full orchestra) and Spanish influences as the action travels South of the Border.

FSM’s new CD features the original soundtrack— never before released—as recorded for the film at 20th Century Fox in 1964. (The existing release of Rio Conchos is a re-recording conducted by the composer for Intrada Records in 1988. ) This recording is complete, in chronological order, and in excellent mono sound with eleven cues not included on the Intrada CD, including a great deal of moody, flamenco-based material for Tony Franciosa’s character and a lengthy, bravura action cue (“Drag Race”) written almost exclusively for percussion. Bonus tracks include a seldom-heard vocal version of the title theme and five score tracks remixed in stereo, from the action-packed climax. Order on page 41 $19.95

Rio Conchos Track Listing

1. Main Title 2:37 13. Lassiter Remembers/The Lance 1:37 Title Song 2. The Prisoner 0:19 14. Wall of Fire 2:15 24. Rio Conchos (performed 3. Get Me Out 0:39 15. Lonely Indian 3:11 by Johnny Desmond) 2:36 4. The Exterminator 0:32 16. Cantina 1& 2/A Change of Luck 4:26 Stereo Bonus Tracks 5. Where’s the Water 1:52 17. The Captive 0:57 25. Main Title 2:37 6. The Fuse 1:00 18. Big Deal 1:20 26. River Crossing 4:21 7. Bandits Ho 6:03 19. Chief Bloodshirt 2:36 27. Drag Race/The Corral 4:01 8. Smoke Signals 0:54 20. Drag Race/The Corral 4:01 28. Special Delivery 5:41 9. The River 1:53 21. Free Men/The Intruder 5:02 29. Cast Credits 0:29 10. Unlucky Lover 0:55 22. Special Delivery 5:41 11. River Crossing 4:21 23. Cast Credits 0:29 Total time: 75:28 12. The Aftermath 2:09 Album Produced by Jeff Bond & Nick Redman

Composers for Upcoming Releases:We’re not exactly sure yet—but we have some fantastic scores lined for 2000. Stay tuned! CONTENTS NOVEMBER 1999

cover story departments

2 Editorial 24 Stamps of Approval An opinion The Golden Age of film music gets the philatelic double header treatment courtesy of the USPS and several hard-working, tireless enthusiasts. 4News By Jeff Bond Farewell Frank, millennial madness, 26 The Old Man and the Stamps and more Dmitri Tiomkin gets a separate salute in the 5 Record Label Lone Star state. Round-up What’s on the way 6Now Playing Big cheeses salute even bigger downbeat Movies and CDs stamps at the . in release page 24 7 Concerts 15 Dragons, Gadgets and VR Live performances An unusually wide-ranging overview of recent around the world and upcoming composing assignments, including 10 Upcoming Film chats with , Mark McKenzie, Assignments Peitor Angell and others. Who’s writing what By Various

11 Mail Bag retrospective Jerry Goldsmith and the Meat Within

28 Float Like a Butterfly A look back at Jerry Goldsmith’s remarkable 36 Score score to Papillon, as well as his fruitful Pocket reviews of The Take a musical journey from collaboration with director Franklin J. Schaffner. Sixth Sense, Iron Giant, The Planet of the Apes to By Guy Mariner Tucker The Devil’s Island. page 28 Trilogy, An Ideal Husband, and more interview

48 Retrograde 20 Also Sprach Peter Thomas You’ve Got Awards! Edgar Wallace Escapes from the Torture Chamber of FBI Man Jerry Cotton; or, How I Spent My Summer Vacation Digesting the Fab 37 Marketplace Sounds of die Wunderkind. By John Bender 43 Reader Ads

It’s payback time for BMI’s stable of and songwriters. page 48

ON THE COVER: ILLUSTRATIONS BY . STAMP DESIGNS ©1999 U.S. POSTAL SERVICE. USED WITH PERMISSION. Monthly (ISSN 1077-4289) is published monthly for $36.95 per year by Lukas Kendall. ALL RIGHTS RESERVED. 8503 Washington Blvd, Culver City, CA 90232. Periodicals postage paid at Culver City, CA and additional mailing offices. POSTMASTER: Send Address changes to Film Score Monthly, 8503 Washington Blvd, Culver City, CA 90232

FILM SCORE MONTHLY 1 NOVEMBER 1999 EDITORIAL VOLUME 4 Lick This, Kid! NUMBER 9 NOVEMBER 1999 ...THE NEW HOLLYWOOD COMPOSERS STAMPS, THAT IS

hen the U.S. Postal Service decided to although at least one educator who tried to introduce editorial staff devote six stamps to composers from them to this music and provide a frame of reference W the Golden Age of film music, they beforehand got this response when she asked a kid EDITOR & PUBLISHER broke a long-standing embargo on recognizing the how the music made her feel: “Uh... boring?” Lukas Kendall contributions to American culture of men like Max Perhaps when that child grows up and becomes MANAGING EDITOR Steiner, , , Bernard more sophisticated, she can be more open to music Jeff Bond Herrmann, and Erich Wolfgang that might be difficult for a ten-year-old to digest. DESIGN DIRECTOR Korngold. While film music has gained greatly in The fact is, film music is the only kind of orchestral Joe Sikoryak popularity, and has enjoyed a commensurate music most people are likely to encounter today. DEPARTMENTS EDITOR increase in concert hall performances, it has a long And there’s still a great deal of resistance to the Jonathan Z. Kaplan way to go before being acknowledged as “legiti- idea of film music being taken seriously in the con- CONTRIBUTING WRITERS mate” art by some arbiters of culture. It’s no sur- cert hall world. Against this background, it’s a mir- Doug Adams prise that athletes, statesmen, leaves and birds acle that film music preservation and recognition is John Bender found their way on postage stamps long before film thriving as much as it is. Fortunately for us, the Jonathan Broxton composers did. film score world is bursting with new recordings of Jason Comerford The September 16th unveiling of the new film scores from several music labels, releases of Jason Foster Hollywood Composers stamps at the Hollywood never-before-available original movie scores, sever- Eric Lichtenfeld Bowl presented selections of music from The al magazines devoted to the subject... about the Harry H. Long Adventures of Robin Hood, Vertigo, Taras Bulba, only things missing are film composer action fig- James Torniainen Gone with the Wind and other famous scores to an ures. Any takers? Jesus Weinstein audience of appreciative studio personnel, film music COPYEDITOR mavens and several thousand schoolchildren. What Steve Gilmartin the kids made of this presentation is anyone’s guess, Jeff Bond THANKS TO B.A. Vimtrup other contacts Who’s Who, Who’s New ASSOCIATE PUBLISHER THE STAFF OF FSM TOILS FOR THEE Chelo Avila EDITORIAL & SUBSCRIPTIONS here’s little time for growing pains when relative of Alfred Newman. He wears two hats: 8503 Washington Blvd you’re on a monthly schedule. Not a week “Mailman Jon,” our Supervising Mail Order Culver City, CA 90232 T goes by where we’re not trying to meet a Handler (see last issue’s editorial), and Departments PH. 310-253-9595 deadline of some sort for a magazine or CD (usual- Editor. This means he has to listen to the CDs that FAX 310-253-9588 ly more than one), and any changes we make cast no one else will touch. Hello Random Hearts! E-MAIL [email protected] far-reaching ripples. That’s because every project is Steve Gilmartin is our copyeditor. Hell if I a culmination of months of activity, and a week lost know what else he’s done. (I go to lots of movies and SALES & MARKETING MANAGER in July becomes a delay felt in November. notice, increasingly, that they have music in them. Bob Hebert This is exactly what happened when we moved in I’ve also noticed that discussions of cues, temp ADVERTISING mid-summer, but we have several new people on tracks and underscores is sadly missing in the other 8503 Washington Blvd board who are taking us above and beyond our past publications I work on.—Steve). Our design director Culver City, CA 902326 levels of success. Want to meet them? found him. PH. 213-382-8512 Chelo Avila is our new Associate Publisher Speaking of whom, this magazine would not be FAX 310-253-9588 and comes to us after several years at Filmmaker still running today if not for Joe Sikoryak, who magazine (our old office mates on Wilshire Blvd.). designs every issue and every CD we do—plus the SUPERVISING MAIL ORDER HANDLER She will be answering our toll-free order line and Price Guide. If you need a freelance art director, Mailman Jon making sure your subscriptions and orders are email [email protected]—and don’t worry if handled correctly. Feel free to write her at you’re not in his neighborhood. FSM is produced in OUR WEB SITE [email protected] (pronounce her name while Joe resides in Oakland—we see Is updated five times weekly! like the instrument). She’s also teaching us barbar- each other maybe twice a year. Let’s hear it for Point your browser at: ians the finer points of interoffice communication. modern communications! WWW.FILMSCOREMONTHLY.COM Bob Hebert is our Sales & Marketing Finally, as to our established staff, everybody Manager; if you have ever considered advertising in knows and loves bleary-eyed Jeff Bond (above). FSM, even for an instant, you have to talk to Bob! Check out his work at www.eonmagazine.com—if © 1999 Vineyard Haven LLC. He will also be figuring out how to get the rest of you like really long sentences. the world interested in our cool little corner of PRINTED IN THE U.S.A. music and cinema. Jonathan Z. Kaplan is not the director of Bad Girls and Truck Turner but he is a very distant Lukas Kendall

NOVEMBER 1999 2 FILM SCORE MONTHLY Now available!The only Price Guide devoted exclusively to soundtracks on CD! Expanded and updated with over 2,400 entries!

FILM SCORE MONTHLY’s U.S.SOUNDTRACKS ON CD is the first collector’s guide dedicated exclusively to film and television music on compact disc. First published in 1995, this latest edition has been greatly expanded and annotated to include over 2,400 releases from the dawn of compact discs. This guide is an essential tool for any soundtrack collector, providing information about the production, availability,release history and current values of soundtrack titles. In today’s explosion of film music releases, SOUNDTRACKS ON CD is a must have for every serious collector, music buff and film afficionado. 154 pages, softcover. $17.95

Use the handy order form between pages 40-41, or buy online at www.filmscoremonthly.com SoundtrackOrder retailers: call for wholesale orders 1-888-345-6335yours(Remember, it makes a greattoday! holiday gift... ) EVENTS • CONCERTS RECORD LABEL ROUND-UP UPCOMING ASSIGNMENTS NEWS THE LATEST FILMS Millennial Madness FAREWELL, FRANK Williams, Bernstein tunesmithing Composer DeVol Dead at 88 for the turn of the century The Ballad of Josie and The e sure to ring in the 21st Glass Bottomed Boat. B century by watching television: “The Unfinished Journey” is a 17-minute Tube Treasures and Film Fun film directed by with DeVol was probably most famil- music by which will premiere iar to television viewers for his on CBS on the night of December 31. is the producer; memorable television themes, President Bill Clinton is the narrator. including title tunes for My Longtime radio producer (a regular collaborator of Three Sons, Family Affair and at CBS) is writing/producing a half-hour National The Brady Bunch, for which Public Radio program to commemorate the Millennium, with narra- DeVol wrote a song that has tion by Walter Cronkite and music by Elmer Bernstein. gained particular cultural cur- Honor the new millennium by spelling it correctly: two l’s, two n’s! rency after decades of reruns FSM and two satirical hit movies based on the original series. The exciting adventure scores for The Frisco Kid. He had a regu- Brady Bunch theme earned Robert Aldrich’s masculine lar role as the ironically named DeVol one of five Emmy nomina- adventures like The Dirty Dozen, band leader Happy Kyne on the tions, and it remains the music The Flight of the Phoenix and Norman Lear-produced talk for which he is best remembered. Emperor of the North Pole. DeVol show lampoons America 2-Nite DeVol had a gift for light comedy also became familiar to television and Fernwood 2-Nite, playing and effortlessly scored vehicles viewers as an actor, appearing in opposite Martin Mull and Fred for Doris Day and several episodes of Petticoat Junction, Willard. “Herbie the Love Bug” films for I’m Dickens, He’s Fenster and ilm and television com- Walt Disney, but he was equally The Betty White Show, and in Behind the Screen poser Frank DeVol died capable of providing tuneful, the films The Parent Trap and Born in Moundsville, West F October 27 at a nursing Virginia and raised in Canton, home in Lafayette, of Ohio, DeVol started in show congestive heart failure. He had business playing violin at the been in failing health for sever- age of 14 in his father’s orches- al years. Often credited in his tra for silent films and vaude- television work simply as DeVol, ville acts. He married dancer the composer was the model of Grace Agnes McGinty and a hard-working and versatile moved to California in the ‘30s whose work graced and became an arranger and more than 50 motion pictures. musical director for a number His early film career included of radio stars. He furthered his the development of a lengthy big band career arranging professional relationship with music and orches- director Robert Aldrich, for tras that featured vocalists like whom DeVol scored World for Doris Day, Rosemary Clooney, Ransom, Kiss Me Deadly, The Tony Bennett, Vic Damone and Big Knife, Whatever Happened Ella Fitzgerald in the ‘40s and to Baby Jane?, The Flight of the ‘50s. Later, he was the arranger Phoenix and The Dirty Dozen, and conductor for Nat King among others. He received Cole’s classic hit “Nature Boy.” Oscar nominations for his His first wife died in 1989, scores to Pillow Talk, Hush... Hip Happening Flashback after which DeVol married for- Hush, Sweet Charlotte, Cat The team responsible for celebrated documentary Genghis mer big band vocalist Helen Ballou and Guess Who’s Blues (about Tuvan throat singing, now on video) gathered at the O’Connell; she died in 1993. Coming to Dinner, and also pro- ASCAP-sponsored Music Cafe, part of last winter’s Sundance DeVol is survived by two daugh- vided memorable scores for the Music Festival. From left: Kongar-ol Ondar (subject of the film), ters from his first marriage and John Wayne romp McClintock! filmmaker Roko Belic, blues singer Paul Pena, filmmaker Adrian two grandsons. FSM and the Doris Day comedies Belic, and ASCAP’s Sue Devine.

NOVEMBER 1999 4 FILM SCORE MONTHLY Saraband for Dead Lovers, The Chapter III has signed a deal Dancing Fleece, Where No with Turner to reissue on CD a Record Label Round-Up Vultures Fly, The Cruel Sea, West great number of MGM Records All the albums you’ll be waiting for of Zanzibar and Lease of Life. titles, including many which were previously available only on vinyl. Chapter III Due January 11 The CDs will start in early 2000; are two James Bond CDs: a more titles to be announced. Airwolf Planned for Christmas Film Themes of complete version of the from the Airwolf Appreciation (Gold cond. Symphony Tomorrow Never Dies feature Cinesoundz Due Association is a 2CD set of Orchestra). The label’s second score () and the December/January from this Airwolf TV music by Sylvester CD will be the 1965 RCA record- original score to the Tomorrow German soundtrack production Levay and Udi Harpaz. The first ing of Gold’s Ship of Fools Never Dies Playstation game company: Kikujiro’s Summer disc features 23 cues adapted and (Arthur Fiedler cond. (Tommy Tallarico, electronica/ (aka Kikujiro No Natsu, Joe performed on synthesizers from Pops). techno). Hisaishi), European edition; and various episodes, and the second These may be available ahead of time Berliale 2000, two volumes (Vol. features composer Sylvester Atlantic Due January 18: Any on the Chapter III website (www.bond- 1 Scores, Vol. 2 Songs—plus a Levay’s own, suite-form adapta- Given Sunday (various, Oliver music.com or www.chapteriii.com). limited 2CD set edition) for the tions of his music. Stone football movie). International Berlin Film The release is limited to 500 copies; Festival’s 50th Anniversary, write Mark J. Cairns, 246 Comber BMG Classics Due December including previously unreleased Road, Lisburn, County Antrim BT27 14: Cradle Will Rock (David Jerry Rides Again material. 6XZ, Northern Ireland; Robbins). Due February: The Due in July is an Ennio [email protected]; or see Closer You Get (Rachel Portman). Morricone remix CD (various http://www.airwolfthemes.com. artists, including Cowboy BMG Spain Imminent from Junkies). Aleph Due in February is a the Spanish arm of BMG—but so Der Kommissar (Peter VHS and DVD release of Lalo far only the Spanish arm—are Thomas, German “krimi” classic Schifrin’s Latin Suite (non- several CDs from the label’s TV show) has been postponed. film composition). Due in March back-catalog, many previously Write Cinesoundz, Lindwurmstr 147, is a new recording of The Fox available only on vinyl: The 80337 Muenchen, Germany; fax: +49- (1968) which Schifrin conducted Night of the Hunter (Walter 89-767-00-399; www.cinesoundz.de. in London. Due in May is a big Schumann, with narration), band compilation, Jazz Goes to Band of Angels (), Cinephile Due next April from the Movies (recorded in The Cardinal (Jerome Moross), this English label: Tomorrow Germany), featuring all Schifrin The Spirit of St. Louis (Franz Never Comes, The Internecine compositions, including six Waxman), Advise and Consent Film Score Monthly Project/Foxbat/Something to vocals. Forthcoming but without (), Peyton Place Now available in our Silver Hide, Get Carter Deluxe Edition a date is Voyage of the Damned (Franz Waxman), Summer and Age Classics series is a com- (all ), The Wanderers (1976). Smoke (Elmer Bernstein), plete Jerry Goldsmith western (various), Tonite Let’s Make Love See www.alephrecords.com or Marjorie Morningstar (Max score: Rio Conchos (1964). in London. www.schifrin.com. Steiner), The World of Suzie We’ve gone all-out to bring you Wong (), the complete score in mono, CPO Due by mid-2000 is a new Angel/EMI Elmer Bernstein Arrivederci Baby! (Dennis plus a seldom heard vocal ver- recording of Benjamin Frankel’s will record his guitar concerto in Farnon), The Helen Morgan sion of the theme and several score to Battle of the Bulge. London in January for release Story (musical), Oh Dad, Poor crucial tracks repeated in next spring; soloist is Christopher Dad (Neal Hefti). newly remixed stereo. It’s one Decca Due December 7: Parkening. of Goldsmith’s earliest action Falling on Cedars (James Brigham Young scores and a dynamic precur- Howard). January 25: Arabesque Due in February University BYU’s next classic sor of what was to come. Isn’t She Great? (Burt 2000 is Reel Life: The Private score restorations are Broken Coming next month is Bacharach). February 15: Agnes Music of Film Composers, Arrow () and another Goldsmith disc, a dou- Brown (Paddy Maloney, The Volume 1, a new recording of King Richard and the Crusaders bleheader from the Fox Chieftains). chamber music by film com- (Max Steiner). archives coupling an admired posers. Featured are Michael Order from Screen Archives, see feature score from the ‘60s Dreamworks Due January 11 Kamen, Rachel Portman, below. with a TV movie effort from is a score album to American , , the ‘70s. And then in two Beauty (). Bob James and ; Chandos Due in February months we kick off our 2000 the CD is produced by composer 2000 is a new recording of music slate with a prominent unre- East Side Digital Michael Whalen. by Alan Rawsthorne (Rumon leased sci-fi score that people Forthcoming but without a date Gamba cond. BBC have requested ever since we on ’s label is a CD Artemis This new label will Philharmonic). Represented films began our series. of Tron. See www.wendycarlos.com. release in December or January include Burma Victory, The Send us your suggestions for the 1963 Decca stereo recording, Captive Heart, Uncle Silas, the future; contact info, pg. 2. EMI Due next year are reissues

FILM SCORE MONTHLY 5 NOVEMBER 1999 RECORD LABEL ROUND-UP • FILMS IN RELEASE

of all the EMI-controlled James Hollywood January 11: Play John Morgan and William Fall of Berlin (complete original Bond soundtracks: Dr. No, It to the Bone (various). March: Stromberg’s series of new record- version), with suite from The From Russia with Love, Mission to Mars (Ryuichi ings are a Roy Webb CD featur- Memorable Year 1917. Goldfinger, Thunderball, You Sakamoto). ing music for Val Lewton films Only Live Twice, On Her (The Cat People, I Walked with a Milan Due December 14: The Majesty’s Secret Service, Intrada Imminent from Intrada Zombie, Bedlam, The Seventh Third Miracle (Jan A.P. Diamonds Are Forever, Live and is a limited promotional CD of Victim, The Body Snatcher); and Kaczmarek), Holy Smoke (Angelo Let Die, The Man with the P.T. Barnum (, a more complete recording of Badalamenti), Simpatico Golden Gun, The Spy Who A&E TV-movie). Forthcoming are Ghost of Frankenstein (Hans J. (Stewart Copeland). January 11: Loved Me, Moonraker, and pre- two promos: The Salter), filled out with cues from Santitos (Carlo Nicolaut), Girl sumably A View to a Kill. The Faculty and Deep Water. Man-Made Monster and Black Interrupted (Mychael Danna). titles will be newly mastered See www.intrada.com. Friday, and all of the original January 25: Onegin (Magnus and released with better pack- music composed for Sherlock Fiennes). February 8: Cotton aging; however, there is no Koch Pushed back to January is Holmes and the Voice of Terror Mary (Richard Robbins). information as to previously the film (Frank Skinner). Coming next April: Passion of unreleased music. music album (Juarez, The Sea Planned for later in 2000 are Mind (Randy Edelman), Wolf, Elizabeth and Essex) record- The Treasure of Sierra Madre Sunshine (), Miss GNP/Crescendo Coming ed in New Zealand. Also due that (Max Steiner) and Objective Julie (). next year is a second Best of Star month is the Franz Waxman Burma (Franz Waxman). Trek TV collection, featuring chamber music CD (St. Clair Forthcoming from Swiss pro- Monstrous Movie Music episode scores “All Good Trio), Old Acquaintances, includ- ducer/conductor Adriano in This label—dedicated to re- Things...” (TNG, Dennis ing many film pieces. December: Georges Auric: Suites recording classic genre film McCarthy), “Way of the Warrior” Coming next April is Dersa for Films by Jean Cocteau music—has three new albums (DS9, McCarthy), “Bride of Usala, a new recording of music (Orphée, Les parents terribles, forthcoming. The contents of the Chaotica” (Voyager, David Bell), to Kurosawa films. To be sched- Thomas l’imposteur, Ruy Blas) third are still secret, but the first and a classic series episode score uled is a CD of Korngold songs; and Auric: Suites from Lola two will feature: Mighty Joe to be determined. to be recorded is a Korngold CD Montez, Notre-Dame de Paris, Young (1949, Roy Webb); Still forthcoming is Fantastica featuring the composer’s com- Farandole. And next year: Auric: Creature from the (Russell Garcia ‘50s space music plete music for piano. Suites from Rififi, La Symphonie (1954, containing all the previ- concept album—not a sound- Pastorale, Le Salaire de la Peur; ously unreleased cues by a track). Marco Polo Due next June in and Dmitri Shostakovich: The (continued on page 8)

NOW PLAYING Films and CDs in current release

*American Beauty Thomas Newman DreamWorks** (2 albums) Anywhere But Here , Various Atlantic/20th Century Fox** Being John Malkovich The Bone Collector Craig Armstrong Decca Boys Don’t Cry Nathan Larson Loch Bringing Out the Dead Elmer Bernstein Sony Columbia* Dogma Howard Shore Maverick* The End of Days John Debney Geffen*, Varèse Sarabande The End of the Affair Sony Classical Felicia’s Journey Mychael Danna Milan Fight Club The Dust Brothers BMG/Restless Flawless Bruce Roberts Jellybean The Insider , Pieter Bourke Sony/Columbia** La Grande Illusion Joseph Kosma Light It Up Harry Greggson-Williams, Various Elektra* Cliff Martinez, Various Lightyear** Man on the Moon , , Warner Bros.** Mansfield Park Lesley Barber RCA Victor The Messenger: The Story of Joan of Arc Eric Serra Sony of the Heart Mason Daring, Various Sony/Epic* Pokemon: The First Movie Manny Corallo Atlantic Princess Mononoke Jo Hisaishi BMG/Milan Ride with the Devil Mychael Danna Atlantic Sleepy Hollow Danny Elfman Hollywood The Straight Story Walt Disney Toy Story 2 Walt Disney The World Is Not Enough David Arnold Radioactive/MCA *song compilation **combination songs and score

NOVEMBER 1999 6 FILM SCORE MONTHLY be playing Goffredo Petrassi’s lit- box office; call local information or FILM MUSIC CONCERTS tle music for strings on upcoming look on the Internet. concerts; Petrassi was Ennio Sometimes we get concert information Soundtrack performances that Morricone’s teacher and also a too late to put in this list, so we you can attend—all around the world film composer from the 1940s announce it on our website: www.film- through the ‘60s. scoremonthly.com. Stay tuned!

Amsterdam Alert The fol- on the program. Jerry Goldsmith Composer Arizona December 31, Phoenix lowing film music concerts are Goldsmith will return to S.O.; Addams Family Values scheduled to take place at Glass Down Under Philip London’s Barbican Centre for (Shaiman). Amsterdam’s “De Beurs van Glass’s Symphony No. 5 (Choral) concerts of his film music on May Berlage” concert hall in The will be performed at the Festival 22 and 23 at 7:30PM. Florida December 27, Florida Netherlands: of Perth Lotteries Opening See www.lso.co.uk. Orchestra, Tampa; Currier & Ives February 9, 10: “From Concert on January 29 at Sir Goldsmith will be with the Suite (Herrmann). Hitchcock to Spielberg”: James Mitchell Park, South Perth Symphony next June 1-4 January 2, 3, 4, Florida American film music by Bernard Foreshore. Performances of for five concerts in all—“Pops Orchestra, Tampa; To Kill a Herrmann (, Vertigo, North Glass’s film work, including Goes Hollywood.” Mockingbird (Bernstein), by Northwest) and John Williams Koyaanisqatsi, Powaqqatsi and Visit www.detroitsymphony.com. President’s Country (Tiomkin), (Schindler’s List, E.T., Indiana Dracula will take place in and Motion Picture Medley Jones); the Dutch Philharmonic around Perth from January 20 to John Williams On February (Goldsmith), Born Free (Barry). Orchestra. 29, along with other pieces in his 19, 2000, the Plymouth Music March 11, 17: “From Ivens to non-film repertoire. Series will perform Williams’s Haanstra”: Music from Dutch song cycle “Seven for Luck” in cinema by Otto Ketting, It’s All Goodwin Ron Minneapolis’ Orchestra Hall. Part Heppener, Jurre Haanstra, Goodwin will conduct the of their annual “Witness” concert Hanns Eisler; the Dutch Bournemouth Symphony honoring Black History Month, it Chamber Orchestra cond. Orchestra in four Christmas con- will be conducted by Phillip Alexander Liebtrich. certs this holiday season: Brunelle. April 12, 13: The December 17 at Colston Hall, See www.plymouthmusic.org or call perform music from the 1930s Bristol (ph: 0117-922-3683); 612-624-2345. shorts of and Laurel December 18 at Wessex Hall, & Hardy. Poole (ph: 0120-268-5222); A recent “Jazz May 6, 7: “Metropole Goes December 21 at Guildhall, at the Movies” concert Lalo Hollywood”: Film music by Ennio Portsmouth (ph: 0170-582-4355); Schifrin conducted with the WDR Morricone (Once Upon a Time in December 22 at Winter Gardens, Big Band will be broadcast on the West) and Maurice Jarre (Dr. Bournemouth (ph: 0120-245-6456). WDR 3’s “Das Konzert” next Zhivago, A Passage to India); the Goodwin will conduct a concert January 15, starting at 20.05 Metropole Orchestra cond. Dick of his film music in celebration of hours. His upcoming appearances Bakker. his 75th birthday next February include: 12 at Winter Gardens, January 22: Esperanto Concert Morricone Many Bournemouth, to benefit the Philharmonie, Cologne, Germany. months ago we announced that Bournemouth Orchestras January 26 & 29: Jazz Meets would be per- Benevolent Fund. the Symphony Concert at December 31, Long forming in concert in Montreal in Huberman Auditorium, Tel Aviv, Island Phil.; Perry Mason the fall of 1999. We were never Playing Fast and Israel. (Steiner), Bonanza (Livingston & able to provide further details— Toulouse If you live in March 23 & 25: Film Music Evans). because the concert never hap- Toulouse, France and like film Concert at Philharmonic Hall, February 24, 25, 26, Syracuse pened. However, several events music or related concert music by Reykjavic, Iceland. S.O.; Valiant (Waxman). are confirmed for early 2000 dur- film composers, you’re in luck: March 31 & April 1: Jazz ing the Montreal High Lights fes- January 19: The Toulouse Meets the Symphony Concert at Nebraska January 18, Lincoln tival, February 11 to March 4: National Chamber Orchestra per- Auditori de Barcelona, Barcelona, S.O.; Carmen Fantasy (Waxman). February 11, Place des Arts forms Michael Nyman’s On the Spain. (Opening Gala): Jessye Norman Fiddle for solo violin and strings. Montana February 5, sings . March 17-25: Alternating Concerts by Location Bozeman S.O.; Swashbuckler February 24, 25, 26, Place des Italian-language and French-lan- The following are concerts featuring (Addison), Wild Wild West (TV, Arts: World concert premiere of guage performances of Nino film music pieces as part of their pro- Markowitz), Rio Bravo the score from Anima Mundi by Rota’s operetta, Il Capello di grams. Thanks go to John Waxman of (Tiomkin), Psycho (Herrmann), the Ensemble. paglia di Firenze (The Straw Hat Themes & Variations (http://tnv.net) The Godfather (Rota), Addams March 4, Molson Center: The of Italy) by the Orchestre du for this list; he provides scores and Family (Mizzy/Shaiman), Witness Violin () per- Capitole de Toulouse, concurrent parts to the orchestras. (Jarre). formed by the Orchestre with a tribute to at the Due to the lead time of this magazine, Symphonique de Montreal and Toulouse Cinémathèque. it is possible some of this information Pennsylvania December 31, Joshua Bell, cond. Charles Dutoit. Additionally, the Toulouse is too late to do any good. Always con- Redding S.O.; Witness (Jarre). Corigliano’s piano concert is also National Chamber Orchestra will firm the concert with the orchestra’s (continued next page)

FILM SCORE MONTHLY 7 NOVEMBER 1999 RECORD LABEL ROUND-UP • CONCERTS variety of composers—Salter, thing heard in the movie (over an tions: Ally McBeal: Heart and Townson’s Film Classics series, Mancini, Stein, et al.—for a hour of previously unreleased Soul (Vonda Shepard) and The including selections from “kinder, gentler” Creature suite); music) plus rare alternates and Sopranos (HBO). (John Williams), Peyton Place 20 Million Miles to Earth (1957, unused cues. December 21: Bicentennial (Franz Waxman) and Marnie Columbia “” score by See www.rhino.com. Man (James Horner, featuring (Bernard Herrmann). Joel Raksin, Steiner, Duning, others); “Then You Look at Me” per- McNeely has returned as conduc- Tarzan (1934-42, cues from MGM Rykodisc Coming next year formed by Celine Dion). tor. However, it may be some time productions by Axt, Snell, are For Your Eyes Only (Bill February 29: : 20th before albums like the above are Amfitheatrof, Stothart, Levy); Conti, 1981), with previously Anniversary Celebration (The released; Townson will make sev- The Animal World (1956, Paul unreleased music, as well as Piano, Il Postino, Shakespeare in eral trips to Scotland during the Sawtell’s music from Bring Me the Head of Alfredo Love, Life Is Beautiful, etc.). year during which the recordings Harryhausen dinosaur sequence Garcia/The Killer Elite (Jerry Finally available in the U.S. are added to and completed. of Irwin Allen documentary); and Fielding, 1974/1975), in stereo. is the limited edition 2LP of Star Coming next in the Fox The Alligator People (1959, Irving See www.rykodisc.com. Wars: Episode 1—The Phantom Classics series, overseen by Bruce Gertz, featuring electric violin). Menace. Kimmel and produced by Nick Producers David Schecter and Screen Archives See http://www.sonyclassical.com/ Redman, is Anna and the King of Kathleen Mayne promise lots of Entertainment SAE’s next music/61816. Siam (Bernard Herrmann). “bonus” tracks and exhaustive classic score restorations are Also released by Sony is Coming from Kimmel in liner notes. Pursued (Max Steiner) and The Wynton Marsalis’s rejected score February 2000 is the first in three See http://www.hilux.com/mmm. Court-Martial of Billy Mitchell to Rosewood, under the title volumes of music from the origi- (Dimitri Tiomkin). Reeltime and part of a larger nal Adventures of TV Pacific Time Contact Screen Archives Marsalis series. show. Producer Paul Mandell has Entertainment Due January Entertainment at PO Box 500, See http://www.sonyclassical.com/ tracked down the various library 25: De Eso No Se Habla (I Don’t Linden VA 22642; ph: 540-635-2575; music/51239. See http://www.sonyclas- music used in the episodes, and Want to Talk About It, Nicola fax: 540-635-8554; sical.com/music/soundtracks_idx.html. the sound quality is reportedly Piovani). February 15: Il http://www.screenarchives.com. superb. The first CD will feature Camorrista (Nicola Piovani, Super Collector Forthcoming the original opening narration Italian mob film). March 7: Caro Silva Screen Due January is a is a promotional CD of Splash! and other surprises. Diario (Dear Diary, Nicola sci-fi TV themes collection (new (1984, ). A fifth Franz Waxman: Piovani, with bonus tracks from recordings). Due February is The See www.supercollector.com. Legends of Hollywood CD will be Palombella Rossa and La Messe e’ Ninth Gate (Wojciech Kilar). recorded for future release (cond. Finita). TVT Forthcoming but unsched- Richard Mills). Sonic Images Due January uled is the Buffy: The Vampire Prometheus Forthcoming is a 25: Gene Roddenberry’s Earth: Slayer TV soundtrack. Soundtrack Dealers complete-score CD of Bite the Final Conflict (Maribeth Solomon Look for some of the rare and obscure Bullet (, 1975), in & Mickey Erbe), suites of music Varèse Sarabande Due items mentioned in these pages from stereo. from all three seasons, represent- December 14: A Christmas Carol the soundtrack specialty dealers: ing six or seven episodes. (Stephen Warbeck) and End of Screen Archives (540-635-2575), Rhino Moved up (for a change) Days (John Debney). Intrada (510-336-1612), STAR (717- to February 15 is the 2CD set of Sony Classical Coming on The Royal Scottish National 656-0121), Footlight Records (212-533- Superman: The Movie (John Sony Classical on December 14 Orchestra has recorded more film 1572) and Super Collector (714-636- Williams, 1978), featuring every- are two TV soundtrack compila- music for release in Robert 8700) in this country. FSM

CONCERTS Nazareth (Jarre), 1492 Carmen Fantasy (Waxman). of Frankenstein (Waxman), A (continued from page 7) (Vangelis), January 31, Japan Place in the Sun (Waxman), (Morricone), The Hunt for Red Philharmonic; Carmen Fantasy Sunset Boulevard (Waxman), Massachusetts December 26, October (Poledouris), Edward (Waxman). Vertigo, 27, 28, 29, 30, Boston Pops; The Scissorhands (Elfman), The (Herrmann). Holly and the Ivy (M. Arnold). Lion in Winter (Barry), Much Germany January 14 & 15, January 30, February 5, February 12, Lexington S.O.; Ado About Nothing (Doyle); call Gewandhaus Orchestra, cond. Cardiff Philharmonic; Romeo & Juliet (Rota). 206-363-1100. John Mauceri; Sunset Boulevard Independence Day (Arnold), (Waxman), A Place in the Sun Psycho (Herrmann), Mission: South Dakota December Belgium January 15, (Waxman), “Eternal Love” from Impossible (Schifrin), It’s a 31, Black Hills S.O., Rapid City; Chamber Music Society of Thief of Baghdad (Rósza). Wonderful Life (Tiomkin), Braveheart (Horner). Mons; Psycho (Herrmann). Shakespeare in Love (Warbeck), Wales January 19, BBC The Bride of Frankenstein January 7, 8, Dallas France January 2, 27, Orchestra of Wales; The Mighty (Waxman), Raiders of the Lost S.O., cond. Richard Kaufman; Orchestra Cologne, Paris; (Trevor Jones), Spartacus Ark (Williams). Music of . Lawrence of Arabia (Jarre), (North), Taras Bulba (Waxman), Mask of Zorro (Horner). The Magnificent Seven For a list of silent film music con- Washington February 27, (Bernstein). certs, see www.cinemaweb.com/lcc. Choral Society; Jesus of Japan January 5, Tokyo S.O.; January 21, BBC S.O.; Bride FSM

NOVEMBER 1999 8 FILM SCORE MONTHLY Jerry Goldsmith The Hollow Man (d. Paul Takayuki Hattori 2000. Verhoeven), Reindeer Games (d. John Todd Hayen The Crown, The Last Flight. Upcoming Assignments Frankenheimer, Miramax), The Yard. John Hills Abilene. Joel Goldsmith Diamonds (Miramax). Peter Himmelman A Slipping-Down Life (Guy Who’s writing what for whom Joseph Julian Gonzalez Price of Glory. Pearce, Taylor). Joel Goodman Cherry (romantic comedy, Lee Holdridge Family Plan (Leslie Nielsen), Shalom Harlow). No Other Country, Africa. Stanley Clarke Marciano, Romeo Must Die Tangental Music Adam Gorgoni Candyman 3: Day of the The Grinch Who Stole (prod. Joel Silver). Daniel Lanois, , Bono, John Dead, Extreme Alaska. Christmas (Jim Carrey), Freedom’s Song Elia Cmiral Six Pack (French). Hassell, Bill Frisell performed the semi- Mark Governor Blindness (d. Anna Chi). (TNT film), Bicentennial Man (d. Chris Serge Colbert Red Tide (Casper Van Dien). improvisational score for The Million Dollar Stephen Graziano Herman, U.S.A. Columbus). Michel Colombier Dark Summer, Pros and Hotel (d. Wim Wenders). Dave Williams Supernova. Richard Horowitz Pavilion of Women, Any Cons, Foolproof. Harry Gregson-Williams Earl Watt (Pate Given Sunday (one of several different com- Eric Colvin Lifesize (Disney). Upcoming Assignments Bros.) posers; d. Oliver Stone). Inferno (Jean-Claude Van Damme). - A - Rupert Gregson-Williams Virtual Sexuality. Snow Falling on Stewart Copeland Made Men (independent), Mark Adler The Apartment Complex, Ed Grenga Catalina Trust (d. Will Conroy). Cedars (d. Scott Hicks), Dinosaurs (Disney Simpatico (Jeff Bridges, Nick Nolte), Sunset Chase. Andrew Gross Be the Man (MGM, Super animated). Strip. Eric Allaman Breakfast with Einstein, The Last Dave movie), Unglued (Linda Hamilton, Steven Hufsteter Mascara (Phaedra Ent.). - D - Act, Lumanarias, Is That All There Is?. quirky independent film). David Hughes & Mary Jane’s Jeff Danna Boondock Saints, O (modern-day Ryeland Allison Saturn. Larry Groupé Sleeping with the Lion, Last Dance. telling of Othello). John Altman Town and Country (Warren Deterrence (Timothy Hutton, d. Rod Lurie), Terry Michael Huud Children of the Corn 666 Mychael Danna The Confession (Alec Baldwin, Beatty), Vendetta (HBO, d. Nicholas Meyer). Four Second Delay, Peter York, Contenders (Nancy Allen, Stacy Keach). courtroom drama), Girl Interrupted (Winona - B - (d.. Rod Lurie), Early Bird Special. - I - Ryder). BT Under Suspicion. Gentleman B. Pat Irwin But I’m a Cheerleader. Loran The Last Prediction (inde- Woman on Top. Jay Gruska Belly Fruit. Mark Isham Where the Money Is, Imposters pendent). Isn’t She Great?. Steven Gutheinz Trois (independent). (Miramax, d. Gary Fleder), Rules of John Debney Komodo. Angelo Badalamenti A Story of a Bad Boy - H - Engagement. Joe Delia Time Served, Ricky 6, Fever. (co-composed with Chris Hajian), Holy Richard Hartley Peter’s Meteor, Rogue Trader, - J - David DiIorio Lethal Premonition, Smoke, Forever Mine, The Beach (d. Danny Mad About Mambo, Victory. Alaric Jans State in Maine (David Mamet). Cheerleaders Must Die. Boyle, Leonardo Di Caprio), Untitled John Richard Harvey Captain Jack (Bob Hoskins). Maurice Jarre Sunshine (Ralph Fiennes), I Pino Donaggio Up in the Villa (Kristin Scott- Lee Hancock Project. Chris Hajian Lowlife (d. Mario Van Peebles), Dreamed of Africa. Thomas). Rick Baitz Life Afterlife (HBO feature docu- Story of a Bad Boy. Adrian Johnston The Debt Collector, The mentary). East and West (d. Regis Lesley Barber History of Luminous Motion Wargnier), Love’s Labour’s Lost (Kenneth THE HOT SHEET n ew assignments (Good Machine). Branagh, musical comedy). Nathan Barr Hair Shirt (Neve Campbell), Anne Dudley The Bacchae, Monkey Bone. The Angel The Boiler Room. Ray Loring Secrets of Lost Empires (PBS Hangman’s Daughter. - E - David Arnold The Patriot (Mel Gibson). multipart documentary). Thomas the Tank Engine. Randy Edelman The Gelfin, Passion of Nathan Barr Red Dirt, Beyond the Mat Anthony Marinelli Time Code 2000 (co- Steve Bartek Another Goofy Movie (Disney), Mind. (wrestling documentary). composed with dir. Mike Figgis). Snow Day. Evan Evans Tripfall (Eric Roberts, John Steve Bartek Snowday. Barrett Martin Lush (Laura Linney). Thick as Thieves (Alec Ritter), Newsbreak (Michael Rooker, Beyond City Limits. Mark Mothersbaugh and Baldwin), Coming Soon (Mia Farrow). Judge Reinhold). Christophe Beck Cheer Fever (Kirsten Bullwinkle (Jason Alexander, Robert Marco Beltrami Scream 3, The Crow 3. - F - Dunst). DeNiro). Peter Bernstein Susan’s Plan. Shayne Fair & Larry Herbstritt Tequila Christopher Brady Passport to Paris. If These Walls Could Talk Edward Bilous Minor Details, Mixing Mia. Bodyshot. Carter Burwell What Planet Are You 2 (HBO). Howard Blake My Life So Far (Miramax). Anna and the King (Jodie From? (d. Mike Nichols). John Powell Le Visitor. Chris Boardman Bruno (d. Shirley MacLaine). Foster, Fox), Chicago: The Musical Teddy Castellucci Deuce. Graham Revell Mars: The Red Planet, Simon Boswell Alien Love Triangle, Warzone (Charlize Theron, d. Nick Hytner). Elia Cmiral Battlefield Earth. Buddy Boy. (d. Tim Roth), The Debtors (Michael Caine, Allyn Ferguson Back to the Secret Garden Stewart Copeland Down to You. Richard Robbins Cotton Mary. Randy Quaid). (German theatrical, Hallmark release) Jerry Goldsmith The Kid (d. John David G. Russell The Phantom Eye (prod. Christopher Brady Castle in the Sky (Disney David Findlay Dead Silent (Rob Lowe). Turtletaub). Roger Corman), The Nest, Wicked Spring. animated), Hal’s Birthday, The Legacy Frank Fitzpatrick Lani Loa (Zoetrope). Larry Groupé The Contender (Joan Allen, Mission to Mars (IMAX). Ruy Folguera Picking Up the Pieces ). (Disney, d. Brian De Palma). Michael Brook Getting to Know You, Buddy (, Sharon Stone). Frank Ilfman Intruder. The Replacements. Boy. Robert Folk Inconvenienced. Mark Isham Navy Divers (Robert De Raymond Torres-Santos Richport, Bruce Broughton Jeremiah (cable biblical David Michael Frank The Last Patrol. Niro), Rules of Engagement. Millennium, Menudo... My Loving Years. epic, theme by Ennio Morricone). John Frizzell The White River Kid (Antonio Adrian Johnston The House of Mirth Michael Wandmacher Drunken Master 2 Paul Buckmaster Mean Street. Banderas). (Gillian Anderson), About Adam (). Carter Burwell Hi Fidelity (Disney). - G - (Miramax). Wendy & Lisa The Third Wheel (Ben - C - Craig Stuart Garfinkle Gabriella (replac- Wojciech Kilar The Lord of the Rings Affleck). Sam Cardin Olympic Glory, Return to the ing ). Trilogy (Peter Jackson). Alan Williams Santa and Pete (Hume Secret Garden. Gregory’s Two Girls. Daniel Licht Untitled Muhammid Ali biopic Cronin, James Earl Jones). Wendy Carlos Woundings. Richard Gibbs Book of Stars. (HBO). Debbie Wiseman The Guilty. Gary Chang Locked in Silence (Showtime). Elliot Goldenthal Titus Andronicus (Shakespeare, d. Julie Taymor). Wonderboys.

FILM SCORE MONTHLY 9 NOVEMBER 1999 UPCOMING FILM ASSIGNMENTS

Darkest Light, The Last Yellow, Old New (Minnie Driver, James Spader), Fifteen Steve Porcaro Wayward Son Elements (Rob Morrow). Borrowed Blue, Suicide Club. Minutes (, Ed Burns). (Harry Connick, Jr.). BC Smith Mercy (Peta Wilson). Trevor Jones Frederic Wilde (d. Richard Gary Marlowe Framed, Mondschatten Rachel Portman Untitled 20th Century Fox Neil Smolar The Silent Cradle, Treasure Island, Loncraine). (Moonlight Shadow, d. Robby Porschen). Irish Project (comedy, from producer of Full A Question of Privilege, Deadly Benoit Jutras Journey of Man (IMAX). Jeff Marsh Burning Down the House, Wind Monty), The Closer They Get. . - K - River (Karen Allen). John Powell Fresh Horses (DreamWorks), Darren Solomon Lesser Prophets (John Jan A.P. Kaczmarek Aimee and the Jaguar Phil Marshall Rupert’s Land, Gotta Dance, , Outpost. Turturro). (Germany, d. Max Faerberboeck), Lost Kiss Toledo Goodbye, Temptation. Zbigniew Preisner Dreaming of Joseph Lees. William Stromberg Other Voices (dark come- Souls, The Third Miracle. Brice Martin Indian Ways (d. Tom Hobbs), Jonathan Price Sammyville (Chase dy). Laura Karpman Annihilation of Fish. Chaos (d. Chris Johnston). Masterson), Rustin’s Glory (indie drama), Mark Suozzo Londinium. Brian Keane The Babe Ruth Story (HBO). Cliff Martinez Wicked (d. Michael Steinberg). Vampire Night, Dog Story (action). - T - Rolfe Kent Don’t Go Breaking My Heart Richard Marvin U-571 (Matthew - R - Michael Tavera One Special Delivery (Penny (Anthony Edwards), Oxygen. McConaughey, d. Jonathan Mostow). Trevor Rabin Whispers (Disney). Marshall), American Tail IV (direct to video). - L - John Massari Emma, 1947. Robert O. Ragland Lima: Breaking the Blessed Art Thou, John Kenneth Lampl Fight the Good Fight (Burt John McCarthy Boy Meets Girl. Silence (Menahem Golan). Henry. Young, d. Bret Carr), Games Without Stuart McDonald Diaries of Darkness. Kennard Ramsey Trick Baby. Mark Thomas The Big Tease. Frontiers (John Mulcahy, d. David Knappe), Mark McKenzie Dragonheart 2 (direct to Alan Reeves To Walk with Lions. Mary & Jesus. The Tour (d. Tim Joyce). video). Graeme Revell Gossip, Titan A.E. (aka Planet Joel Timothy Waiting for the Giants. Brian Langsbard First of May (independent), Gigi Meroni The Good Life (Stallone, Ice, Fox animated). Colin Towns Vig. Frozen (Trimark). Hopper), The Others, The Last Big David Reynolds Warlock (sequel), George B, John Trivers, Elizabeth Myers Norma Russ Landau One Hell of a Guy, Love and Attractions. Love Happens. Jean, Jack and Me. Action in Chicago, Totally Irresponsible, Cynthia Millar Brown’s Requiem, Storm in Stan Ridgway Error in Judgment (d. Scott Brian Tyler A Night in Grover’s Mill, The Waylon & Buzz. Summer (d. ). Levy), Desperate but Not Serious (d. Bill Forbidden City (d. Lance Mungia), The 4th Marcus Miller Lady’s Man. Fishman), Spent (d. Gil Cates Jr., Rain Floor (thriller, William Hurt, Juliette Lewis), Randy Miller Picture of Priority (indepen- Phoenix), Speedway Junkie (Darryl Sirens (Paramount), Four Dogs Playing Due to the volume of material, this list dent), Family Tree (Warner Bros.), Pirates of Hannah). Poker (Tim Curry, Forest Whitaker), Purple only covers feature scores and selected high- the Plain (Tim Curry). J. Peter Robinson Waterproof (Lightmotive). Haze, The Settlement. profile television and cable projects. Sheldon Mirowitz Say You’ll Be Mine Marius Ruhland Anatomy. Bruce Turgon Night Club. Composers, your updates are appreciated: (Justine Bateman), Autumn Heart (Ally - S - Chris Tyng Bumblebee Flies Away, 7 call 310-253-9595, or Sheedy), Legacy. Richard Savage A Whole New Day. Girlfriends. e-mail [email protected]. Fred Mollin Pilgrim (Tim Truman). Gaili Schoen Déjà Vu (independent). - V - Deborah Mollison East Is East (British), David Schwartz The Little Assassin. Joseph Vitarelli Excellent Cadavers (HBO). Simon Magus (Samuel Goldwyn). John Scott Shergar, The Long Road Home, - W - Chris Lennertz Lured Innocence (Dennis Andrea Morricone Liberty Heights. Married 2 Malcolm (U.K. comedy). Shirley Walker Flight 180 (New Line). Hopper, Talia Shire), Pride of the Amazon Ennio Morricone Resident Evil (d. George Ilona Sekacz Salomon and Gaenor. Michael Wandmacher Supercop 2 (Michelle (animated musical). Romero). Patrick Seymour Simian Line (William Hurt). Yeoh), Farewell, My Love. Daniel Lanois All the Pretty Horses. Tom Morse Michael Angel. Kingdom of the Sun (Disney Stephen Warbeck Quills. Michael A. Levine The End of the Road (d. Mark Mothersbaugh Camouflage, Sugar animated), Jackie’s Back (Lifetime American Road (IMAX). Keith Thomson), The Lady with the Torch and Spice (New Line), Rugrats 2. Network). Alvin and the Chipmunks Meet (Glenn Close, d. David Heeley). - N - Mike Shapiro All Over Again (indie drama). Frankenstein, Tom Sawyer. Christopher Libertino Spin the Bottle (d. Roger Neill Big Man on Campus. The Prince of Central Park Michael Whalen Labor Pains, Sacrifice. Andrew Michael Pascal). Ira Newborn Pittsburgh (Universal). (Kathleen Turner, Harvey Keitel). Alan Williams Angels in the Attic, Princess Daniel Licht Execution of Justice (Showtime). David Newman Flintstones 2: Viva Rock Shark East of A (d. Ami Goldstein, David Alan and the Pea (animated feature, score and Frank London On the Run, Sancta Mortale, Vegas, Klumps (Nutty Professor 2), Duets Grier), Me & Will (Patric Dempsey, Seymour songs with lyrics by David Pomeranz), Who The First Seven Years. (Gwyneth Paltrow), Galaxy Quest Cassel), The Speading Ground (d. James Gets the House (romantic comedy), Going Martyn Love The Venus Factory (). (Dreamworks). Burke, Dennis Hopper), Surf Shack Home (Jason Robards). Evan Lurie Joe Gould’s Secret, The Whole She- Thomas Newman The Green Mile (Tom (“Swingers” in Miami Beach). David Williams The Day October Died, Bang. Hanks, d. Frank Darabont). James Shearman The Misadventures of Wishmaster 2. - M - - O - Margaret. John Williams Angela’s Ashes (d. Alan Mader Row Your Boat, Claudine’s Return, The X-Men (d. Bryan Singer, Howard Shore Chinese Coffee (d. Al Pacino). Parker), Minority Report (d. Steven Morgan’s Ferry (Kelly McGillis), Steal This also editing consultant), Urban Legend 2 Lawrence Shragge Frontline (Showtime). Spielberg). Movie. (also directing). Rick Silanskas Hoover (Ernest Borgnine). Debbie Wiseman Tom’s Midnight Garden, Aimee Mann Magnolia (d. Paul Thomas - p - Alan Silvestri Stuart Little (CG/live-action The Lighthouse, The Guilty. Anderson, with Jason Robards, William H. Van Dyke Parks My Dog Skip, Trade Off. combination), What Lies Beneath (Harrison - Y - Macy). Shawn Patterson Herd, Tales from the Ford, Michelle Pfeiffer, d. Robert Zemeckis), The Talented Mr. Ripley (Matt Hummie Mann Good Night, Joseph Parker Goose Lady, Magic Trixie. Cast Away (Tom Hanks, Helen Hunt, d. Damon, d. Anthony Minghella). (Paul Sorvino), A Thing of Beauty, After the Jean-Claude Petit Messieurs les enfants, Zemeckis), Siegfried & Roy: The Magic Box Christopher Young The Hurricane (Denzel Rain. Sarabo, Sucre Amer. (IMAX documentary), Hanging Up. Washington). David Mansfield The Gospel of Wonders Nicholas Pike Delivered, Return to Me. Marty Simon Captured. - Z - (Mexico, d. Arturo Ripstein), Tumbleweeds Nicola Piovani Hoof Beats. Michael Skloff Cherry Pink (d. Jason Gladiator (d. Ridley Scott, (independent). Robbie Pittelman A Killing. Alexander). Roman movie), Lee Marchitelli Iris Blonde (Miramax). Michael Richard Plowman The Hot Karl. Mike Slamer & Rich McHugh Shark in a (DreamWorks, animated), Mission: Anthony Marinelli The Runner, Slow Burn Basil Poledouris Kimberly (romantic comedy). Bottle. Impossible 2 (d. John Woo). FSM

NOVEMBER 1999 10 FILM SCORE MONTHLY READER shows they accompanied. The RANTS, late ‘80s Disney creation, DuckTales, benefited immensely RAVES & from the scoring by Ron Jones. RESPONSE The five-part pilot episode fea- tured incidental music that fore- MAIL BAG shadowed Jones’s score for what Jerry Goldsmith and Empire Strikes Back. He book- Walker more opportunities to is possibly the best episode of The Meat Within ends scores with strong themes work in an area where composers Star Trek: The Next Generation— started reading Film Score but there is no meat within! such as Jerry Goldsmith, Michael “The Best of Both Worlds.” His IMonthly only recently, but I Yes—Goldsmith writes fine Kamen, James Newton Howard rousing music for DuckTales was have been interested in sound- music—but I feel he is not good and Graeme Revell have done melodic, exciting and comical. tracks for three years. (Still, to enough to warrant the amount of their best work—the action Also, the ‘60s sci-fi/adventure most of you that hardly makes coverage you give him in FSM. I arena. That she is a woman creations from Hanna-Barbera me a veteran.) What I am about write this not to convey a “you’re should not be an obstacle to (, , The to write might come as a major all wrong” message, but as an receiving testosterone-ridden , etc.) were shock to most FSM readers so I attempt to find out from your assignments. She may produce enhanced by Hoyt Curtin’s work. ask you to sit down—preferably readers (and to be convinced) some of her best music for the Although the animation and sto- with easy access to alcohol— why Goldsmith is the favorite of action genre. rylines were somewhat routine, before reading this. Let me so many fans. Luis Miguel Ramos Curtin’s music was anything but assure you that I am not writing Rafi Youngerwood Caracas, Venezuela ordinary. The pounding theme this to be controversial or to see London, from The Herculoids is so dynam- my name in print but rather Shirley Walker tells an anecdote where she ic and compelling that, even 30 because the following statement We printed Rafi’s letter on our website a years later, I can still hear stems from a genuine opinion. while back and got lots of interesting letters the swelling strings, throb- Here goes: “I don’t see what the explaining why people like Jerry Goldsmith. A bing percussion and the big deal is about Jerry response on the level of Rafi’s criticism could be jazzy sax solos that accen- Goldsmith!” as simple as “I love Jerry Goldsmith because he, tuated the action scenes. Before you excommunicate me above all other composers, can develop his Thanks again for the into soundtrack oblivion please themes throughout an entire score, making tribute to the recent com- allow me to explain why I feel every cue an epic work unto itself.” Or one could posers. Perhaps a follow-up this way. Sure—Jerry Goldsmith be more Goldsmith-specific with a comment will discuss these other is prolific. In fact, he has written along the lines of “Jerry is the greatest at com- heroes of scoring in anima- more scores than I have had hot bining a tremendous range of styles in any given tion. dinners, but I for one do not score without ever losing track of his own Reginald D. Garrard equate volume with excellence. dynamic voice.” [email protected] Secondly, how many Goldsmith The content of the “over-coverage” we give themes does one hum consciously the composer in FSM better speaks to why he is Jeff Bond’s article had enough to or subconsciously in the same revered than any short diatribe we could write cover just in dealing with the current way one does of the other greats here. And if we were still to try—before we can shows of Warner Animation. Jones and such as Williams or Barry (who explain to you why you should like Goldsmith, Curtin both contributed outstanding both are far less prolific although we need to know why you don’t! If you are sim- work to the cartoon genre but for they have been around for about ply bored by his music, then no amount of expla- Disney and Hanna-Barbera, respective- the same amount of time)? I nation can change your mind. There is absolute- was up for a blockbuster action movie until a ly—to be examined another time. mention this because, to me, ly no way to prove that something is not “bor- studio executive finally confessed, “I’m sorry, humming equates to memorable. ing.” Everything is boring to someone. but I just can’t imagine a woman scoring this Re-discovered Reader The third point I would like to movie.” ou can’t imagine how happy I make is that although Goldsmith Hard Walker Ywas to be shopping at our has written some fantastic main enjoyed your article about the Animated Riffs brand-new Borders in a neighbor- themes (but fewer than his illus- Imusic from the last Warner recently picked up the latest ing town when I spotted FSM’s trious colleagues) he cannot sus- Bros. animated shows (Vol. 4, No. Iissue of FSM (Vol. 4, No. 7) Vol. 4, No. 7 on the stands! I love tain great music across a whole 7). Shirley Walker first came to that profiled the gifted the new format. I was a sub- album. Even his best works such my attention when she conducted responsible for the resurgence in scriber back in the “old days” and as Star Trek: The Motion Picture, the Sinfonia of London for Danny exceptional scoring of animated somehow let myself lose track of The Omen and Poltergeist are Elfman’s extraordinary score for television shows and films. I have you. It won’t happen again. saddled with many boring cues. . Of course, I am now long enjoyed the extraordinary I wanted to let you know that Goldsmith is the classical equiva- well aware of her career as a com- work of Shirley Walker and Bruce what caught my eye was the lent of those rock groups of which poser for TV shows such as Broughton, both of whom have cover feature on Warner you’d only buy a compilation Cagney & Lacey, Falcon Crest elevated the genre to a level that Animation scoring. I have been album. His compilations are ter- and Space: Above and Beyond. will be hard to surpass. waiting so long to read a knowl- rific but I have yet to hear a But her work in Batman: The However, your coverage should edgeable article on the subject. Goldsmith score that carries me Animated Series and Superman have paid tribute to two other While I enjoyed this in-depth through an entire album like is also noteworthy. composers whose work greatly piece, I did have one problem Dances with Wolves or The I think Hollywood should give enhanced the storytelling of the with it—the other shoe never

FILM SCORE MONTHLY 11 NOVEMBER 1999 MAIL BAG can he do for Disney?) and even finding the source music for a no discernible theme for Queen dropped. Will albums of the Media Ventures score or another classical work is Amidala, either. The soundtrack Batman/Superman music ever be “Mancizimmer” formulae. Iron an exciting discovery. (It can also from Sony Classical is far too released? Many of the episodes Giant’s themes are appropriate, be a disappointment if you didn’t incidental, and I hope that an have absolutely beautiful scores— and the score is very coherent. know a favorite score had “bor- expanded version of this Williams check out the Superman episodes Maybe I will buy a ticket rowed” material in it. I know I score may contain better repre- “Fun and Games” and “A Little to see this movie when it comes was disgruntled to find that sentations of the various themes Piece of Home” as two superla- to my country—it’d be my first Willow was taken from a and perhaps even reveal new tive examples. cartoon since the awful Beauty Schumann symphony.) While I’m ones. I also pray that in the Again, I thoroughly enjoyed and the Beast! sure some fans get turned off by sequels, there will be some more the mag and the new layout. Jean-Michel Cavrois “borrowing,” there isn’t necessar- character-centered music, which Keep up the good work and I also Lens, France ily anything wrong with it provid- is the essence of every good film look forward to any and all arti- ed that it’s acknowledged. score. (I never figured out exactly cles on the current trend of See the Iron Giant review on page 35. Rachmaninov’s most famous who the main character in The expanded scores (listening to piece, after all, is the Rhapsody Phantom Menace was supposed ST:TMP as I type this, I sure A Phantom Education on a Theme of Paganini. I’d also to be—so maybe John Williams hope Star Trek II and III get the really enjoyed Doug Adams’s like to direct Doug Adams’s had the same problem.) treatment). I“Sounds of the Empire” sec- attention to Boccerini’s Opus 64 On the plus side, the piece that Scott H. Gardner tion in the recent issue (Vol. 4, #2. There he will find “the Star truly makes this CD worthy is Carrollton, Georgia No. 5 and 7). I especially appreci- Wars theme with the highest pop- “Duel of the Fates.” This is vin- ated seeing how each theme was culture visibility rating.” That’s tage Williams. The London We don’t know of any CD release plans for written (because my ear isn’t right—the “Darth Vader Symphony Orchestra and the the cartoon scores (except for Rhino’s recent good enough to tell the difference Theme/Imperial March” is smack London Voices communicate Beyond disc), due to the high union from an A-minor triad and a C- in the middle of a string quartet true heroism of the orchestra re-use fees—the one drawback, as minor triad), and all of the talk written about 200 years ago. legacy. This is the kind of music I far as fans are concerned, of having full-bodied about each theme (its use from Richard Martin love to hear from John and exceptionally performed symphonic scores. one movie to another; the use of Los Angeles, California Williams—the kind of material he specific intervals, etc.). used to write in the ‘70s, as in the Giant Resurrection Are there any more of these to Coming to Terms with Menace original Star Wars Trilogy, ll these people who are writ- come on other John Williams hank you for such an inter- Superman: The Movie and Aing about “the death of film scores (Superman, Indiana Testing article on John Dracula. music” are starting to annoy me. Jones, etc.)? If so, when, and if Williams and his recording ses- Luis Miguel Ramos They simply have to listen to not, are there any other good sions for Star Wars: Episode I— Caracas, Venezuela Michael Kamen’s Iron Giant to sites or magazines that do that The Phantom Menace at Abbey understand how wrong they are. kind of stuff? Road Studios (Vol. 4, No. 5). As a Many people share your sentiments. The With Giant, the flamboyant Rob McMillan Williams fan, it was refreshing to Sony album does not do the score justice. Kamen (the one of Brazil, Chico, California learn that he had returned to However, you may be upset when you finally Munchhausen and Robin Hood: conduct the London Symphony become familiar with Qui-Gon’s theme—per- Prince of Thieves) is back. While Doug Adams will write more of these analy- Orchestra for a movie soundtrack haps the reason it was left off of the album. I’d completely lost track of him in ses whenever he can. We’re glad so many peo- after 16 years. I consider the last and Lethal ple like them. We don’t know of anyone who Williams my favorite composer, kay, I was wrong about the Weapon flicks, not to mention does them as well as Doug. and one of the reasons why has OPhantom Menace score. It’s Event Horizon, Iron Giant sees been because of his work with fantastic. Swept up in the pre- the Kamen of old back in full aving never taken a music this renowned orchestra. release hype, I don’t think any force. (There is also the recent, Htheory course, I don’t know The Phantom Menace allows score Williams could have written over-the-top Mr. Holland’s Opus, an ascending fifth from a minor me to return to my childhood, (or, for that matter, any movie an exceptional piece of work third—but I do appreciate a when my love of soundtracks was could have where you can feel the passion in beautiful melody. As an aficiona- in its infancy. It’s tremendous to released) would have satisfied my every note. Kamen is not only a do of both classical (romantic) hear the Star Wars theme soaring expectations. I was disappointed very good musician, but a pas- music and film scores, I am fasci- through my speakers again. that the score wasn’t full of hum- sionate one.) nated by the connections between However, there is something that mable themes, that it wasn’t When I listened to The Iron them. Hence, the type of musical makes me uneasy about Menace. more chronologically oriented, Giant, I thought that Paul Dukas archeology unearthed in Doug Unlike the scores for the first and that about 10 minutes of and Camille Saint-Saens were re- Adams’s “Sounds of the three Star Wars movies, this one music were redundant. But now born, had written a new piece of Empire”—with its references to doesn’t appear to be centered on the hype is long gone and I’ve— work, and had improved their Korngold, Holst, Prokofiev and the main characters of the film. pardon the pun—changed my styles to boot! The Iron Giant is a others—is the type of Certainly there’s the theme for tune, big time. wonderful, lyrical piece, with article/review that I most like to Anakin—with dark shades of The score has sunk in and I beautiful marches and scherzos. read. Vader’s theme—and Jar Jar think it’s one of the most exciting There is an appropriate sense of Whether the composer devel- Binks’s theme, but the theme for of the decade. While not brim- mystery mixed with clever mick- oped the same melody by chance, Qui-Gon Jinn is under-used (is it ming with leitmotifs, there are ey-mousing and jazz excursions. made a deliberate swipe, or even on the album release?) and some passages that are supreme- It’s far removed from Menken’s unconsciously used a fragment Obi-Wan Kenobi is not even rep- ly pulse-pounding. Others are syrup for Disney (but what else buried in his mind years before, resented with a leitmotif. There is sublimely moving. And, unlike

NOVEMBER 1999 12 FILM SCORE MONTHLY my original opinion published on www.film- scoremonthly.com, I find that it meshes with Williams’s previous Star Wars scores beautifully. I now find myself humming the pod race fanfare, “Duel of the Fates” and Anakin’s theme as much as I do any other theme from the series. But perhaps the biggest reason I enjoy the score now is that it works so well in the movie. A few weeks ago I saw TPM for only the second time. It was a completely differ- ent experience from the first. The charac- ters seemed more sharply defined. The story made a lot more sense. The effects were even more amazing. And I had a lot more fun just settling back—hypeless—and shutting off the critical part of my brain. Even Jar Jar was far less annoying the sec- ond time around. But Williams’s music was sensational. I’d be interested to know if anyone else went through this process. I can’t recall a time when a score—or a movie—grew on me like this. Bill Harnsberger Portland, Maine

Mailman Jon replies: The last score that grew on me was Rolfe Kent’s Election but I didn’t remotely dislike it the first time. I can’t think of a single score that I first hated and then went on to love—and not for lack of trying. First impressions still count for something. There are, however, several scores that I detested and now feel neutral toward—Braveheart and to name a few. (continued next page) DEAD MAN’S CURVE A FILM BY DAN ROSEN Swords and Spacemen STARRING MATTHEW LILLARD, KERI RUSSELL, MICHAEL VARTAN, enjoyed the recent interview with Stu RANDALL BATINKOFF, TAMARA CRAIG THOMAS AND DANA DELANY IPhillips (Vol. 4, No. 7) but I was a bit ORIGINAL SCORE BY SHARK disappointed that he didn’t talk about his work with Joe Solomon’s Fanfare Productions—the motorcycle films you mentioned. The Losers was a real classic and probably would’ve been a bigger hit if it didn’t have the R-rating. Would it be pos- sible for someone from FSM to do a similar interview and discography with Hugo Montenegro? I also greatly enjoyed the previous Offworld Productions issue’s review of David Whitaker’s The Sword and the Sorcerer (Vol. 4, No. 6). I liked the film in a cheesy kind of way as I do most better-than-average B-movies. I saw this one at a military cinema (where “HITCHCOCK M EETS T HE C URE!” you see all sorts of films that don’t get a Featuring Wild Colonials guitarist Shark’s full length score to the wide release) but I recalled nothing of the Sundance Film Festival hit Dead Man’s Curve (AKA The Curve). music. My main memory of the film was D EAD MAN’S the use of Istanbul’s St. Sophia mosque as includes “Bela Lugosi’s Dead” by Bauhaus, “Wake Up Sad (remix)” by Wild Colonials a stock shot of the film’s fantasy landscape. [remixed by Frankie Blue and Jason Bently] However, in the ‘70s I had picked up David and “Die” by Starbelly Whitaker’s soundtrack album for Over 70 mins of Music! Hammerhead in London. I hadn’t seen the film, but my favorite genre is the ‘60s Quality Soundtracks at the Turn Of The Century super-spy films (whose soundtracks I col- © 1999 Chromatic Recording Company Available at all fine record stores or online at www.chromaticrecords.com lect). I was incredibly impressed by

FILM SCORE MONTHLY 13 NOVEMBER 1999 MAIL BAG melodies. This technique brings my thoughts regarding this film “Brueger,” and he was incorrectly Whitaker’s fine, sophisticated the listener deeper and deeper and its unbelievable music. referred to by Bruce Broughton score and by the title tune by into the music as they want to Naturally, it came as a big and as a “line producer.” Ruegger was Madeline Bell. Hammerhead hear both melodies at the same thrilling surprise that Koch instrumental in bringing all five became one of my favorite sound- time. It’s fair to say that in order recorded a suite with excerpts of the Warner Bros./Steven tracks, but years later I finally to truly enjoy a John Barry score, from the score. But I cannot Spielberg series to the small saw the film and was disappoint- one should consider listening to describe what thoughts ran screen and has won a total of 13 ed. Had I seen the film first (with every last note. Naturally, this through my head when I first for his work. It the soundtrack buried under rou- goes for the terrific Monte Walsh. saw the announcement of your should also be noted that produc- tine pot-boiler scenes) I might Nick D’Orazio release of the original soundtrack ers Eric Radomski and Alan never have purchased or enjoyed Bloomfield, New Jersey recording. Now that I have the Burnett launched Batman: The the wonderful score. album in my hands and I’ve had Animated Series along with James Peter Young, Esq Well, I Love Prince of Foxes a stupendous time listening to it, (Mr. Ruegger was Kirribilli, NSW hen I first saw Prince of I want to thank everyone also integral to the birth of this Australia WFoxes some six years ago involved in producing it—and for series). Warner Bros. President of on a Greek TV channel, I was bringing tears to my eyes. I can’t Television Animation Jean I Love Monte Walsh blown away. I immediately fell in find the words to express my MacCurdy’s name was also mis- hank you for producing love with its wonderful photogra- gratitude. Maybe I’m not alone in spelled as “McCurdy.” FSM TJohn Barry’s Monte Walsh phy by Leon Shamroy and I was my love for Newman and this regrets these errors. FSM on CD. It’s definitely a godsend— thrilled by Alfred Newman’s score after all. and in more ways than one. The haunting music. Unfortunately, it Petros Protopapas Our magazine supports the long- album contains music of atmos- seemed that few others thought [email protected] standing tradition of fans taking phere and grace but also a voice much of the film. I was studying brave stands and/or making foolish that I have always felt to be fasci- film and media sciences in FSM pledges to bring tears of love and joy to pronouncements in a public forum. nating—that of the late (Mama) Marburg, Germany at the time fans of classic soundtracks for years to come. Join the proud few; send your Cass Elliot. John Barry’s “harm- and I found it alarming that letters to: lessly hypnotic” music always nobody (not even the professors) Errata FSM Mail Bag makes for a great listening expe- knew of Prince of Foxes. I came to In our Warner Bros. Animation 8503 Washington Blvd. rience. I believe that one of believe that there were but few article, WB Television Animation Culver City, CA 90232 Barry’s secrets is the overlapping individuals on the face of this Senior Producer Tom Ruegger’s or e-mail: of two beautiful and haunting planet who could possibly share name was misspelled as [email protected]

IT’S THE OBVIOUS CHOICE

Pacific Time Entertainment Company, Inc. Viale G. Mazzini 41 4 East 12th Street New York, NY. 10003 USA 00195 Rome , Italy Tel: 212.741.2888 Fax: 212.807.9501 • Email: [email protected] Tel: 06 321 9570 • Fax: 06 321 8308 Contact: Curtis Urbina Contact: Sergio Cossa

NOVEMBER 1999 14 FILM SCORE MONTHLY DOWNBEAT

JOHN DEBNEY Dragons, Gadgets & VR Inspector Gadget isney’s addition to the midsummer post- NOT TO MENTION PLENTY OF PEOPLE STORIES, DStar Wars release frenzy was Inspector AS WE GO BEHIND THE SCENES WITH COMPOSERS Gadget, a big-screen, big-budget spin-off of the popular 1980s cartoon series. A kind of by Various demented hybrid of Inspector Clouseau and Q, the lovably bumbling title character (Matthew Broderick) goes up against his nemesis, Claw (Rupert Everett) in an unend- ing series of effects-driven pratfalls. Composer John Debney has had plenty of experience in FX-laden kid flicks (like the recent My Favorite Martian), but still admits that the unstable nature of post-production tinkering isn’t exactly the composer’s best friend. “In general, you have to have a good handle, from experience, as to where the effects are most likely to dominate,” Debney notes. “There is always an ebb and flow to these situations and one must always take this into account.” Given this experience, though, Debney is first to admit that the chal- lenges in writing comedic scores around ever- shifting timings are sometimes brutal. “The immense amount of changes seemingly piled on top of each other—the sheer volume of composing cues three, four and five times was BUT WILL IT FLY? The final scoring print of an exhausting.” effects film is even less stable than Gadget’s gyros. tional pressing of the Gadget score (limited The television series’ indomitable theme numbers are available from soundtrack deal- music provided the basis for Debney’s music, ers). “I’m forced to do these promos in order which was “a studio directive that I agreed people might think. In my case, I feel that I’ve to see a release of the music,” Debney with. Why try to re-invent the wheel? My kids only scratched the surface. To be a great com- laments. “They’re very costly but worth it in loved the original cartoon so I was very famil- poser one must constantly stretch—studying the long run.” Even with the prohibitive costs iar with it.” Sprinkled throughout the score scores, listening to new and varied composers of recording in Los Angeles, Debney says he are quotes of the instantly recognizable and approaches. I believe longevity can be wouldn’t have it any other way. “L.A. has the theme, credited to Shuki Levy and the infa- achieved this way.” finest musicians in the world. I hope I’m mous Haim Saban, but Debney wrote about True to the style of comedy scoring, the never in a position to have to record with a 60 minutes of original underscore around it music for Inspector Gadget features many non-union orchestra. In fact, I wouldn’t do it. (in particular the themes for John Brown— cues that hover around a one-minute running I believe that the Musician’s Union in L.A. the human identity of Inspector Gadget—and time. This is an unfortunate aspect of the has to wake up and change their re-use fees so for the nefarious Claw). process that Debney personally hates—“too that we can see more score soundtracks out Debney points out that the more electronic TV-ish.” And also true to the style of kids’ there. The song soundtracks in most cases are and mechanized for the music comedies (and virtually any genre killing score albums. This is an awful fact but came as a singular result of the of film), the final mix of the film true.” —Jason Comerford film itself, and not necessarily as was not favorable to the under- an adjunct of his personal style. “I This month’s score. “I was less than thrilled do try to vary the style that I write with the final dub. Truly, the com- BILL CONTI with each film. Ultimately the film roundup poser’s best friend, after his The Thomas Crown Affair sort of dictates the style of the includes music editor, is the dubbing istening to Bill Conti speak is strange. In music for me. If every score I did mixer. If the mixer is good, the L his accent, both his roots and his refine- was completely similar to the last DRAGONHEART:A music seems to flow beautifully in ment are at play. There is still a slight scratch- one it might get quite boring. At and out of the sound canvas, tak- iness in his voice, and yet when he says words least for me. Much of the time NEW BEGINNING ing the lead when appropriate, like “process” and “compose” they sound ©1999 WALT THE ©1999 composers get pigeonholed into and laying low when needed. Gadget almost lyrical. They are not pinched, but pre- this category or that. The truth is, was a bit too uneven for me— cise; every syllable lands with absolute clarity. if a composer has a bit of depth, THE VELOCITY even though I care a lot for the And Bill Conti speaks with reverence for the and if given the opportunity, he or music dubber on this film.” score from The Thomas Crown Affair—but she can create so many more inter- OF GARY Debney was allowed some vin- not his score. Of the 1968 Thomas Crown,

INSPECTOR GADGET esting sounds and textures than dication in the form of a promo- directed by Norman Jewison, Conti says,

FILM SCORE MONTHLY 15 NOVEMBER 1999 DOWNBEAT he’s part of it. He’s added his two cents, full-time musician who occasionally writes you’ve manipulated it again, he’s getting film music. A songwriter and all-around utili- “Michel Legrand wrote a great jazz score— what he wants, and you’re getting it in the ty man, Angell found some of that “part- just great.” Conti claims that neither the orig- movie. It’s communication. It’s perfect.” time” work composing a score (as well as orig- inal film nor the remake he has just scored On remakes, Conti says, “The initial inal songs) for The Velocity of Gary. are timeless films, but maintains, “if anything response is ‘why would anybody want to do The film is about a struggling young man is timeless, it’s Michel’s score.” that?’ But John is smart. He makes a good named Gary (Thomas Jane) who befriends a Both Thomas Crowns are capers. The orig- movie—knows where to put the camera. He’s porn actor named Valentino (Vincent inal stars Steve McQueen as a wealthy indus- not the first one on the block with that title, D’Onofrio). As of their first encounter, the trialist and bored playboy who robs banks for but maybe that’s not a big deal. John attraction between the two males is both kicks and Faye Dunaway as a glamorous McTiernan is a fine director; it may say The instant and powerful. Thrown into the mix is insurance investigator who tries to both bed Thomas Crown Affair, but it’s not the same a waitress named Mary Carmen (Salma and cage McQueen’s Crown. In director John story.” One of the remake’s departures from Hayek), who happens to be Valentino’s girl- McTiernan’s remake, these roles are assumed the original is the addition of Thomas friend. The ensuing love triangle must endure by Pierce Brosnan and Rene Russo. In com- Crown’s therapist. She is played by Faye AIDS and numerous lesser complications. paring the versions, Conti says, “If that pic- Dunaway. “It’s cool,” Conti promises. “The Angell says his music is meant to capture ture was darker, this one is lighter. Because of whole thing is done with a big wink.” In fact, the emotional journies of the characters. the directive from John about this being a it was a patient-therapist sequence that “There were so many great opportunities for light movie, it’s not seriously done. It’s done inspired Conti’s five-piano scheme. “I had a music and songs, so the director, Dan Ireland, seriously in terms of how hard we worked, but vibe as soon as I saw that scene. I didn’t know and the editor, Luis Colina, let me take it to all it’s just for fun.” that there’d be five pianos at the time, but I of those places,” says Angell. “I love weaving What Conti claims he has brought to The began adding layers in a minimalist way. And the impact of source cues and film score, and that led to, ‘If it’s good enough for maximizing the contrast and effectiveness of here, why not for other places?’” both. When I get to write both, it enables me On scoring a remake as opposed to let them play off each other.” Michel to an original project, Conti has There is no single defining style in Angell’s Legrand found that there is a difference score. His music ranges from ‘70s dance orig- only if he also scored the original. If inals to poignant orchestral suites. And while wrote a great he did, as in the case of Gloria, the much of the score takes on a hip and upbeat prospect of composing for the sound, there is an underlying dark tone to the jazz score... if remake is unexciting. He extends music. Angell says this was intentional. “The anything is this sentiment to—of all things— characters are very complex so it’s a tricky sequels. “Why do you want to do balance to keep all of the emotions flowing timeless, it’s them? You don’t. In terms of a simultaneously—while emphasizing certain Michel’s score. Karate Kid or a Rocky or a James ones at different times,” he explains. “I think Bond, you’ve got to use the same it keeps a certain subtle, subliminal tension —Bill Conti material. That’s limiting. You and suspense. Too often I find film music in might try to approach it in a differ- emotionally driven films stepping on a scene ent way, but when you’re gonna instead of just gently moving it forward. I pre- Thomas Crown Affair is diversity, which is play the theme, you’re gonna play the theme. fer to let an audience feel something I’m the case with the variety of approaches he has “I work at writing like a baroque composer doing as opposed to making them think about brought to film scoring throughout his career, did,” he adds. “I have a shingle out that says, how they are feeling about it.” and the eclectic character which has informed ‘I’m a composer.’ Every dime I’ve made has Angell also wanted to give special attention many of his scores. “I used five pianos. That’s been through writing music—albeit not great to his original songs. “I keep myself in check kind of different,” the composer says. “Well, music, but it’s still music. Therefore, I am to make sure I’m doing something absolutely five pianos plus 60 strings. And a tap dancer. legitimately a composer. I don’t sell mutual pertinent to a scene,” he says, “but at the I thought that was clever.” funds on the side; I don’t teach little kids how same time completely non-literal and unex- Conti claims that while he scored, to play the scales on —which are pected so it doesn’t appear to be written for McTiernan offered little input. “Either he left noble things. I just compose music.” the scene, but seems perfect for it.” me to do my work,” Conti says, “or I didn’t While a photo-journalist from Venice maga- When it comes to composing songs, even in invite him into the process.” But Conti, who zine prepares for a shoot near the staircase, a non-film-related setting, Angell says it’s not also scored Nomads, McTiernan’s first fea- Conti indulges me on one last item: he agrees all that different from scoring a film. “I love ture, admits that their relative lack of collab- to sign my Rocky soundtrack. As I hand it writing lyrics and finding the best melodic oration was unintended, and that he would over, he inspects it curiously. After a beat, he lines and phrasings to maximize the idea of a have liked to have had the director hear more says, “They put this on CD?” lyric. Whether I’m expressing a character or a of the score. According to Conti, composers “They’ve put ‘em all on CD,” I answer. And scene in a film, or writing to capture the

can do much to cement their position by then, for some reason, I blurt out “but I only essence of a recording artist in a song, it’s all ©1999 METRO-GOLDWYN-MAYER involving the filmmakers in the musical have the first one.” essentially the same thought process that process. “The trick is to make them think Conti’s pen flashes over the CD booklet. comes into play.” they wrote it,” he says, “to make them think “There only was the first one,” he says. Angell added that he has no real preference that they had a clever idea which therefore —Eric Lichtenfeld when it comes to songwriting vs. film scoring. isn’t going to get thrown out. And you can do PEITOR ANGELL He simply enjoys “doing it all.” As for Angell’s that in the writing process by demo-ing every The Velocity of Gary musical pursuits outside of the film world, he cue. And once the guy says, ‘Could we change eitor Angell doesn’t consider himself a says he will always be looking to expand his this and this?’ and you say, ‘Of course,’ then P full-time film composer, but rather a horizons. “I find great inspiration in the pal- THE THOMAS CROWN AFFAIR

NOVEMBER 1999 16 FILM SCORE MONTHLY let from which I can work.” —Jason Foster the film an extra emotional dimension, but is which a group of schoolboys—including structured so that each cue can operate both Eddie—are watching the older girls arriving independently and as a whole.” The score is at school. It’s all about them having crushes MARK JENSEN built around five recurring themes: the main on these older women, something which will Monk Dawson theme which appears throughout the score; a happen to Eddie again later in life.” hirty-nine-year-old composer Mark love theme heard prominently in the cue The opening moments of Monk Dawson T Jensen was born in Eastbourne, “Find a Way”; an ecclesiastical, spiritual are also musically memorable, as the camera England, and studied the piano, trumpet and theme heard in the “Agnus Dei”; a small sweeps across the rugged English coastline classical guitar at an early age. By the time he theme for Eddie’s best friend; and the accompanied by the unique sound of started writing for the theater in the late raunchy “Fantasie du Printemps” theme, Northumbrian pipes. “Using the pipes was 1980s, Jensen had already ventured down which acts as a leitmotif for the girl with actually Tom’s idea. He had temped the film many musical paths, from budding teenage whom Eddie Dawson finally falls in love. with music from Willow and The Mission, but pop star, to studying arranging and conduct- “‘Fantasie du Printemps’ is actually a song for the opening sequence he wanted me to ing in his early twenties—almost hitting the for a dream sequence,” explains Jensen, “in create a mysterious, romantic sound by using big time on many occasions with bands. But throughout, Jensen’s ultimate aim was always to be a film composer. Growing up, Jensen had been captivated by the music he heard in the cinema: Nino Rota, John Barry, Jerry Goldsmith, John Williams and Ennio Morricone. After brief flirtations with small films, television projects and pilots, the opportunity to score a full-length movie presented itself with Monk Dawson, the feature debut of the prodigious young British director/producer Tom Waller. Jensen and Waller met through a mutual friend who attended the Northern Film School in Leeds; they were introduced while visiting a film set in Soho, and their creative partnership devel- oped from there. Despite being well-received by London film critics, Monk Dawson opened and closed with hardly anyone noticing, and will be released direct-to-video in the later this year. Starring John Michie, Paula Hamilton, Rhona Mitra and Martin Kemp, and based on the acclaimed novel by Piers Paul Read, Monk Dawson is set during the 1970s and tells the story of Eddie Dawson, a Benedictine Monk who leaves his isolated monastery in north- ern England to take on a priesthood in a small village diocese. Circumstances cause Dawson to lose his faith and flee to Chelsea, but he soon finds that his sheltered upbringing has left him ill-prepared to deal with the highs and lows life throws at him. Jensen describes Monk Dawson as a “clas- sic British film” that falls somewhere in between Trainspotting and a Merchant-Ivory production, and he personally considers it to be a very good movie. Its downfall, he believes, had nothing to do with any problems with the film’s narrative or its performances, but was due to the lack of household names in the cast and no major studio backing. One thing which has succeeded, though, is Jensen’s score, thanks in no small part to the heavy marketing carried out on his behalf by director Waller. The score, Jensen says, is all about the underlying emotions which run through the film, but that he purposefully tried to avoid mirroring the on-screen action with his music. “The power of the music is that it gives

FILM SCORE MONTHLY 17 NOVEMBER 1999 DOWNBEAT Elfman, Alan Silvestri and Randy Edelman. But as a composer McKenzie’s skills are even bagpipes. Braveheart was another score stronger. His scores for smaller television and music from his films which Tom felt captured that essence. At theatrical films (notably Durango and The first, I was a little skeptical about this, and I Disappearance of Garcia Lorca) have shown also felt that using bagpipes or Uileann pipes an unusual breadth of emotion and care. would be inappropriate, both in terms of the McKenzie’s working relationship with sound and also because of the film’s location. Edelman led to his hiring for the direct-to- In the end we went for the Northumbrian video sequel, Dragonheart: A New Beginning. pipes, and I think it came out pretty well.” “Randy Edelman introduced me to producer A major problem encountered by the music Raffaella De Laurentiis, who then introduced team was the budget: with only £8,000 to me to director Doug Lefler,” McKenzie notes. spend, Jensen found himself looking overseas “I fell in love with Doug’s wonderful family for his orchestra. “We started out in Prague, movie, and Doug hired me after listening to To celebrate the 100th Anniversary of Alfred Hitchcock’s birth, and The Museum of but they were far too expensive to my soundtrack to Durango. The hire, so we just kept going east story is about a young dragon Modern Art’s retrospective, Museum Music ONK has just released Alfred Hitchcock — until we found an ensemble we M who befriends an ambitious music from his films. Twenty-two great selec- could afford,” laughs Jensen. “We DAWSON is orphan boy working in the sta- tions composed by Hermann, Waxman, ended up recording in Romania, bles at a monastery. Together Rosza, Tiomkin, Williams and others. and they were great to work with. a Brit film with the help of some Chinese This one of a kind compilation They did a marvelous job. It’s mystics, they all fight a powerful, includes original recordings and very different working in Eastern that falls corrupt knight and save the previously unreleased material on Europe as compared to England. ancient world from being CD, in addition to a 1970’s record- between In Europe, the conductor is con- enslaved and dominated by evil.” ing, of the infamous Bernard TRAINSPOTTING Herrmann speaking on film music. sidered to be very much ‘the As for the score, McKenzie Also includes classic well- Maestro,’ the person with whom and a says, “I was enthusiastic immedi- known music including the buck always stops, and there ately about the idea of writing Psycho, North by is quite a bit of distance between Merchant-Ivory music underscoring knights, Northwest, Blackmail you and the orchestra in terms of dragons, battles, Chinese mys- and Vertigo and makes working relationships. In production tics, and monks in a monastery. I the perfect gift for any England, you are part of a team, responded to the adventure, the collector or film buff. and there is much more feedback Chinese mysticism, and of course, from the performers. I have to admit that to the loving relationships that evolve in the that style of working was initially quite diffi- film. The adventure was great fun—as in the Soundtrack from the film cult, but I think the end result was worth it.” flying sequence and the various battle and “Concert of Wills: Since completing Monk Dawson, Jensen fight sequences. I love to wake up the orches- Making the Getty Center” JOEL GOODMAN — 30X30 has kept himself busy, and is preparing to tra and listener with brass, percussion, and start work on two new films for De Warrenne soaring strings. The Chinese mystics create a "...a superior musical Pictures (again for Tom Waller), a film about wonderful opportunity for beautiful mystery underscore the Irish potato harvest entitled Famine and in which I used a solo alto flute and harp by Joel a romantic comedy called Sally. In addition, along with the ominous foreboding of low per- Goodman." Irv Letovsky the composer has been putting together an cussion. The loving relationships and humor- —Hollywood album of original music tentatively entitled ous moments are always a favorite, as I love Reporter Zoom In... The Zest Zone, which will encom- to make the orchestra sing with emotion.” Music from pass a variety of musical styles from orches- McKenzie’s instructions from the director "Concert of tral and vocal pieces to reggae, jazz and soul. and producer were very simple. “The four Wills: Making the Getty Center" A film by Susan “It’s a purely personal project,” explains directions from Raffaella and Doug were: Froemke & Bob Eisenhardt with Albert Jensen, “and I’m doing it simply because I when appropriate, use Randy’s Dragonheart Maysles Twelve years in the making, want to, but I don’t see it as being self-indul- theme; record the score in Bratislava, Concert of Wills: Making the Getty Center, chronicles the conception, construction gent. It’s serious fun.” —Jonathan Broxton Slovakia, where they shot the movie; compose and completion of the spectacular Getty a song with a theme that is used throughout Center in Los Angeles, the most eagerly Thanks to Barry Spence at Legend Magazine, Glen the movie; and release a soundtrack. Thanks anticipated architectural undertaking of the 20th century. Joel Goodman has writ- Aitken, the team at Angel Studios and Mark to Harry Garfield at Universal and Bob ten a musical score that is compelling and Jensen. Visit Jonathan Broxton’s Movie Music UK Townson at Varèse Sarabande the score will dynamic in it's interpretation of the film. at http://www.shef.ac.uk/~cm1jwb/mmuk.htm. be released soon [in January 2000].” The juxtaposition of lyrical melodies and strong pulsating passages serves as the McKenzie encountered the most elusive perfect companion to the architecture. musical idea early on, but he solved the prob- This enhanced CD contains footage from MARK MCKENZIE lem quickly. “Composing a Chinese pentaton- the film. Just pop it into your computer. Dragonheart: A New Beginning ic theme that would be compelling emotional- s an orchestrator, Mark McKenzie has ly as well as be the foundation of a beautiful A been in the game long enough to know song was a challenge. I worried and stressed order releases at how to blend his talents with the varying about it and then it came so effortlessly that www.museummusic.com styles of film composition. Evocative textures it was electrifying to me. I love this pentaton- Also available at your local record soundtrack store and supplements have earmarked his work ic melody and the way it builds. Having not for (among others) John Barry, Danny composed a song for a movie before, and expe-

NOVEMBER 1999 18 FILM SCORE MONTHLY riencing the power inherent in songs, I look that he is merely catching hold of his broth- now beginning to converge. Originally, Harry forward to composing more.” McKenzie also er’s coat tails and using his famous surname was heavily involved in the classical music notes that writing material around pre-exist- to get ahead. “In a way, the Gregson-Williams world, and it’s only since he first got involved ing music was not as hard as one might name has been a little bit of a hindrance to with Media Ventures in the last five years or expect. “I wrote a melody for Geoff and me,” he says. “With Harry having done so so that he came back from academia and Drake’s friendship that was designed to play well over the last few years, especially with started learning about the more technological second fiddle, so to speak, and seemlessly The Borrowers and , I have really had to side of music. The thing about Harry is that transition to Randy’s incredibly beautiful prove myself to be a talent in my own right he is so quick to learn things. When he first Dragonheart theme. I use it before Randy’s because, in actual fact, Harry and I come from started at Media Ventures, he knew only basic theme in the ‘Dragonheart Main Titles,’ quite different musical backgrounds.” programming, but now he’s one of the best ‘Drake Gives His Heart to Geoff’ and a few “Harry is five years older than me,” Rupert I know. I, on the other hand, other places. Randy and I share a love for explains, “and although we were both lead went in entirely the opposite direction.” melody, so composing around a beautiful choristers at school, our careers are only just (continued on page 46) theme of his was a natural. “Emotional, warm, enchanting melodies are the elements that attracted me to music in the first place as in my first deep loves— Beethoven’s 7th Symphony and Chopin’s Piano Preludes,” McKenzie relates. “It rarely feels like a ‘grind’ to meet film production deadlines because I have had the privilege of working with people who understand the cre- Give FSM as a gift ative process and the need for a reasonable amount of time—and composing music ener- gizes me. I believe one of my destinies is to ...and get free goodies for yourself! compose much music that touches the hearts and minds of many people. Whether for film or not it doesn’t matter so much.” Of the future, McKenzie says the sky is the limit. “At the moment, I’m finishing a beauti- ful work for wind ensemble and choir. Last year in my free time I composed a symphonic work for children called The Lion and the Mouse. I’m pleased to see it getting numerous performances by symphonies like the Pittsburgh Symphony and Lexington Philharmonic.” Of his own personal style, McKenzie says, “I think it is counter-productive for me to think much about that. My role is to compose music to help a director and a movie commu- nicate its vision powerfully and effectively. Part of that job is to be as creative as possible, SPECIAL HOLIDAY OFFER: Give a friend a gift subscription and we’ll extend your which necessitates pushing whatever bound- existing subscription with 3 FREE issues! It’s our way of saying thanks. aries and limitations I can. Once I start think- ing about a ‘Mark McKenzie sound,’ I’m afraid I’ll begin to repeat myself. I have no SUBSCRIBE NOW! IssuesIssues areare mailedmailed inin polybagspolybags forfor addedadded protection.protection. desire to do that. Having said that, I’m deeply drawn to melody, and I find myself paying U.S. TOTO ORDERORDER very careful attention to my emotional 2 years (20 issues) Call Toll Free: 1-888-345-6335 responses to what I’m composing. Steven savesave 40%40% offoff newsstandnewsstand $59.95 $59.95 Overseas: 1-310-253-9598 Spielberg says he decides whether something 1 year (10 issues) Fax: 1-310-253-9598 is good by the number of goose bumps he gets. savesave 26%26% offoff newsstandnewsstand $36.95 $36.95 Online: www.filmscoremonthly.com I find myself using a similar test.” —J.C. sixsix monthsmonths (5(5 issues)issues) $19.95 $19.95 Or use the order card between CANADA/MEXICO pages 8-9. RUPERT GREGSON-WILLIAMS 2 years (20 issues) $69.95 Virtual Sexuality 1 year (10 issues) $42.95 Please be sure to specify both the ouble-barreled names are all the rage in sixsix monthsmonths (5(5 issues)issues) $24.95 $24.95 gift subcription recipient and your Dthe film music world at the moment, REST OF WORLD name & address as well (in order to especially at Media Ventures in Los Angeles. 2 years (20 issues) $80 receivereceive youryour thankthank youyou issues.)issues.) Hot on the heels of Nick Glennie-Smith and 1 year (10 issues) $50 Harry Gregson-Williams comes another sixsix monthsmonths (5(5 issues)issues) $30 $30 British hyphenate: Rupert Gregson-Williams. However, Rupert is keen to dispel rumors

FILM SCORE MONTHLY 19 NOVEMBER 1999 SCORE INTERNATIONALE ’LL ALWAYS CHERISH THE MEMORIES OF ME AND MY FATHER STAYING UP TO

WATCH PITTSBURGH’SLATE NIGHT “HORROR MOVIES WITH HOST” CHILLER

THEATRE. WE WOULD SOMETIMES BASK IN THE VAGUELY BLUE/GREEN GLOW OF EDGAR WALLACE I OUR OLD BLACK AND WHITE UNTIL 3 AM WATCHING FILMS THAT RAN THE SPEC- ESCAPES FROM THE TRUM, FROM THE SUBLIME—LISA AND THE DEVIL, THE HOUSE THAT SCREAMED,

TORTURE CHAMBER UNEARTHLY STRANGER—TO THE RIDICULOUS—THE CRAWLING TERROR, CREATURES OF OF FBI MAN JERRY COTTON DESTRUCTION, EEGAH! MY MOTHER WOULD OFTEN YELL DOWN FROM ABOVE, “WOULD OR YOU IDIOTS PLEASE COME TO BED? IT’S THREE IN THE MORNING!” I’ve spent too much time and money track- Anndomighe. HOW I SPENT MY ing down, on video, many of the now obscure There are instances throughout the film films that Dad and I enjoyed during those where the score shifts into what I will call SUMMER VACATION golden hours. One film in particular, The “stage-bound” performance music: these are Torture Chamber of Dr. Sadism, I finally pur- tune fragments, or melodies with brash DIGESTING THE chased just a few years ago. I only saw it once , that seem better suited to the FAB SOUNDS OF on Chiller Theatre, but its pop-Gothic surre- live theater than as background accompani- alism has haunted me ever since. Seeing the ment for cinema. But, in truth, Thomas’s DIE WUNDERKIND film again after 25 some-odd years was a real strange approach manages to float for this treat, and part of the big kick Dr. Sadism particular project, because Dr. Sadism is an gave was delivered via the score. I wasn’t sure affected and exaggerated of an if I liked it or not, and that in itself is an expressionistic tall tale—it is theatrical! The accomplishment—when it comes to film marvelous ride through the fog-shrouded music I am not easily confused. The music devil’s forest, festooned with obviously fake struck me as having been written by an artist corpses and body parts, has all the personali- of unusual characteristics, and, as I have ty of a great carnival spook ride or haunted come to learn, in fact, it was! house, and Thomas’s brazen score is suitable dressing. An indefensible bit of fluff is the Meet Peter Thomas scampy “on-the-road-again” ditty that ALSO The Torture Chamber of Dr. Sadism (Die appears during the earlier stages of the horse Schlangengrube und das Pendel) is a 1967 and carriage journey to Regula’s castle. This Constantin production, from West Germany, cue, on its own, is goofy but lovable (like directed by Harald Reinl and starring Goober Pyle), but what it’s doing in a horror Christopher Lee, and Karin Dor film is just a tad ahead of my understanding. SPRACH (You Only Live Twice). The first appearance For the film’s first view of Regula’s 13 mur- of Peter Thomas’s music, during the pro- dered virgins Thomas back-loops an organ logue, is excellent, as Judge Rhineholt Von riff; it’s a nice effect and I suggest listening Marionburg (Lex Barker, playing his own for it if you should screen Dr. Sadism (recom- ancestor) passes an horrific sentence: Count mended!). The absolute highlight of this score PETER Regula (Chris Lee) is to be drawn and quar- is the boldly avant-garde tone poem Thomas tered. Thomas supplies a forbidding cascade wrote for the pit and pendulum scene. The of percussion effects. I find it equally effective piece is technically courageous and advanced, that he does not score the immediately fol- and it gives this portion of the film much of its lowing opening titles sequence, which con- sense of nightmare. To my ears it comes THOMAS sists of a long march to the place of execution. across as an impressive mix of Vangelis’s pro- The silence allows for the full weight of logue for and Howard Shore’s Regula’s dark thoughts over his impending Videodrome. doom to permeate, and this is as it should be, Essential to my being able to produce this for the monstrous Count’s punishment is well article was access to recordings of Thomas’s deserved. film work. When I first began to tackle this One of the more eloquent moments of the piece there wasn’t a lot available. I found a score occurs as Lex Barker questions a few CDs on my own: Space Patrol Christian penitent carrying a full-size crucifix (Raumpatrouille, available on Bungalow through the streets; Thomas whispers behind Bung 009) and a copy of the original and now the scene with a church organ faintly piping a rare FBI Man Jerry Cotton CD (on Spectrum lonely dirge. Another beautiful pairing of 550 550 2). The latter I had some distaste for INTERVIEW BY music to setting is created by the piano in that it was thoroughly polluted with dia- sonata which backs Barker’s first few min- logue and sound effects. Bob Sargent (pub- JOHN BENDER utes inside Regula’s abode, the Castle lisher/editor of Videooze) took the time to

NOVEMBER 1999 20 FILM SCORE MONTHLY make me a videotape of musical highlights Cotton and Wallace series. from dozens of the Edgar Wallace thrillers Assessing all of this material has ROCKET MAN: (it was Bob who first suggested I attempt to certainly given me an overview of Herr Thomas at the interview Thomas); during the ‘60s Thomas Peter Thomas’s special niche as a keyboards in a scored a hearty chunk of the Wallace mys- musical voice in cinema. There is vintage portrait. tery thrillers. Matthias Künnecke, of Motor no one quite like him—his musical Music, sent me a copy of Peter Thomas legacy is strange! Thomas is with- Sound Orchester—Easy Loungin’ (Polydor out doubt one of the most broadly 529 491-2), which has music from Space experienced musicians to have Patrol plus cues from the Jerry Cotton and devoted himself to the cinema, and Edgar Wallace films. as you will see, this is confirmed during the interview. Also evident Riches to Be Found is Thomas’s flamboyant personali- In early ‘98 things began to heat up. Currently ty. He is confident, exuberant and there is afoot a mini-Thomas revival, and its irreverent. These qualities do, on effects are noticeable here in the States. occasion, strongly wash over into Attainable either in record stores or through his writing for film. Given any- our beloved dealers are the following: thing more than frivolous scrutiny, Botschaft Der Gotter (Chariots of the Gods, his compositions seem to gel into Polydor 557 350-2), Peter Thomas: Kriminal two stylistic associations. One Filmmusik (Prudence 398.6533.2), Peter block features music of a more tra- Thomas: Sound Orchestra Futuremuzik ditional nature. Such scores as (Scamp SCP 9724-2) and Peter Thomas: Steiner II: The Iron Cross and Moonflowers and Mini-Skirts (Marina MA 39; Thunder on the Border Line are see review FSM Vol.3 No. 10, page 47). Most straightforward, neo-romantic importantly, Mr. Thomas was gracious enough orchestral statements that would to supply me with several recordings, Steiner be familiar to any casual fan of das Eiserne Kreuz 2. Teil (Steiner II: The Iron quasi-symphonic film music. Cross, Tarantula FIC SP 10003), Winnetou The only thing atypical about und sein Freund Old Firehand (Thunder on Steiner II is that, for a World War II the Border Line, Tarantula FIC SP 10001) and drama, it’s noticeably light on mil- the release which has been a vital piece of the itaristic bombast. The score is Thomas puzzle, Peter Thomas Film Musik quite intimate and reflective. The (Polydor 845872-2, out-of-print). This 2CD western, Thunder on the Border anthology contains extensive suites from Line, is a grand effort, rich with melodies and engenders what might be labeled a “forever Space Patrol (all the best cues), the Wallace many arousing passages. Track 22, “Stillness modern” sound. This is not an easy color to thrillers, the Jerry Cotton films, The Torture Before the Storm in Miramonte,” is absolute- achieve. Many composers’ attempts at futur- Chamber of Dr. Sadism, Playgirl and ly lovely, a sweet, haunting elegy for the istic music eventually end up being dated, and Erinnerungen an die Zukunft (Memories of the human spirit. It evokes images of a person this happens because the music of our real Future). Polydor reissued this as a single disc contemplating the preciousness of life and world either catches up or evolves in a com- which retained all of the music from the nature in the pale moments just before dawn. pletely unexpected direction. A number of More solid proof of Thomas’s mastery Thomas’s Space Patrol cues are jittery pieces as both composer and orchestrator is of tightly controlled jazz; they have a strange to be found in his work for the Erich brand of sexiness which is tinted by a hard Von Daniken-inspired semi-documen- mechanical edge. One of the coolest tracks taries Chariots of the Gods and from Space Patrol, “Bolero on the Moon Memories of the Future. In just one Rocks,” has a great “wall of sound” presence, portion of a suite from Memories and the orchestra, backed by a chorus, fea- Thomas boldly and quickly hews his tures a distinctive, almost non-musical bark way through numerous musical from the trumpets. I’ve only heard this approaches, each of which other com- bizarre accent once before, and that is on an posers might have milked for whole early Morricone score called Matchless. scores. This section contains, clearly “Jupiter’s Pop Music” (Space Patrol) has the detectable, the essences of Leonard twisted air of an ironic Harlequin theme. The Rosenman’s organic abstractions for piece is rakish but dark, much like Francis and Johnny Lai’s “Andrew Dreaming” from I’ll Never Mandel’s nonlinear jazz concepts for Forget What’s ‘isname or Nick Cave’s “The Point Blank. Carny” from (these compar- isons are made without inference regarding Unconventionally Conventional artistic influence). Another track off Space At the other end of the “Thomas-spec- Patrol, “Take Sex,” has what sounds like a trum” are things like Space Patrol. young black American doing a ‘50s style jazz The most exciting work I’ve heard scat to the music. This is probably the same from Thomas is for this 1960s talented gentleman that Thomas used on var- German television show. The score ious other occasions. On the opening theme

FILM SCORE MONTHLY 21 NOVEMBER 1999 for Der Hund von Blackwood Castle (The very next track, “Folterkammer,” he expands ist reciting: “Don’t do it, now don’t do it! Take Hound of Blackwood Castle, a Wallace this fusion into a great full-blown rock instru- the gold, get the gold! Crime doesn’t pay, thriller) he’s hooting, laughing like Daffy mental, and here the grunting vocalist evolves crime doesn’t pay at all—you’ve gotta run!” I Duck and complaining, “I gotta get outta into the point man for an “Elvis Presley- should emphasize that the 100% Cotton here! Man, it’s too cold—Blackwood Castle!”; style” male chorus backup. Like I said, this is release is a must-have item. Just about every and for the Jerry Cotton films he spells out strange stuff. cue on disc two is an in-edit, and several of the title character’s name in the midst of gun I do have vague recollections of Jerry these are awesome examples of Thomas at his shots and female do-wop. Cotton adventures from the aforementioned best—sophisticated musical explorations As best I can tell, Peter Thomas saved his era of ‘60s TV, when movies from all over the which are as dynamic and captivating as any- wackiest inventions for the Edgar Wallace world were screened every day on local affili- thing he wrote for Space Patrol. films. The main title theme from Die Gruft ates. From the Film Musik collection I had an mit dem Ratselschloss sounds like the theme initial distaste for the Jerry Cotton theme. The Secret Ingredient for a ‘60s Saturday morning cartoon show Considering that these films are Before moving on to the interview, I would about a funny animal secret agent. And mystery/thrillers about a dashing G-man, I like to address a final point of interest. While speaking of crazy sounds, try to imagine an felt it to be frivolous and disconnected. discussing Peter Thomas, a friend very impossible hybrid film, a melding of a corny However, 100% Cotton has allowed for a re- knowledgeable on the subject of film and film Dean Martin/Matt Helm flick with a hard- experience of the theme in the context of scoring mentioned that he liked German film Thomas’s complete music. The comment caught my attention; it body of work for the begged the question, “What constitutes GALAXY QUEST: series. The truth be German film music?” Of course there is music A scene from the known I don’t see how written by German composers for their native ’60s Space Patrol anybody could main- cinema, but exactly how distinct are these TV show. tain a dislike of the soundtracks from those of other countries? I Cotton theme; it’s believe the answer is that a distinction does such an ingratiating, exist, but its status is dependent on the indi- pleasant piece. I vidual composer, and as such it can be pro- understand now that nounced, subtle or even absent. A much what Thomas accom- stronger line can be drawn globally between plished with the East and West; for instance the film music of theme has to do with Japan or India, in comparison to our own, is getting the audience more consistently of a different stripe than to like Jerry Cotton, to that of England or Spain. I occasionally detect enjoy his company Germanic characteristics in Thomas’s work. I and to think of him as have a hunch that, on the whole, German film a positive hero—a music is less like our own than that of the friend (see interview). Italian cinema. I have become quite familiar I suppose my original with Italian film music over the past half negative reaction was dozen or so years and it appears that, unless based on unfulfilled there is a specific effort for an ethnic effect, expectations. I their scores from the ‘60s on can be quite sim- assumed all ‘60s and ilar to our own. If I am correct, and I am the ‘70s filmic spies and first to admit that this is a substantial “if,” detectives are going to then the next question becomes simply have an approxima- “Why?” Any answer would require the disci- tion of a Barry/Bond plines of musicology, history, and socio/cultur- or Mancini/Gunn type al anthropology. [Or maybe recognizing that of theme—an identify- Italian composers have had great success in ing piece of music that the American market! —L.K.] paints a portrait of an aloof, dangerous man The following interview was conducted of action, a guy who’s during the last week of November 1997. Mr. edged Bruce Lee vehicle like Return of the on the right side but a ruthless killer nonethe- Thomas was at his home in Austria; I caught Dragon. A main title track that could readily less. Thomas’s Cotton theme isn’t like that at him just before he was scheduled to depart for be invented for such a grotesque mutant all, and its deviation is indicative of the com- Singapore. In order for Mr. Thomas to com- might sound a helluva lot like what Thomas poser’s refusal to follow well-beaten paths. fortably answer questions it was decided that wrote for Der Bucklige von Soho. There are Overall the musical background for the he should respond in German; these respons- several interesting themes in Der Bucklige. Cotton series is made up of energetic, well- es were translated by a professional. “Never Trust a Policeman” is a bittersweet executed traditional jazz cuts. With these clown’s march, reminiscent of many of the lit- films Thomas took fewer opportunities to John Bender: Can you tell us anything of tle gems that came out of the Fellini/Rota col- express his indomitable and manic humor your roots, Peter? laborations. “Schock,” with its painful grunts (Thomas is a determinedly happy man). Peter Thomas: Born December 1, 1925, in and unsettling jazz components, matches up However, having said that, there is a track Breslau (now called Wroclaw), situated in well with what Morricone did for Autopsy. For titled “Crime Doesn’t Pay,” which has an Schlesien (Silesia) Germany—now it is “The Hump” Thomas pairs the same violent inner-city “back alleys and punks” extended Poland. I was baptized with “Spree” water. grunts with a mean rock/jazz fusion. On the melodic fraction with an accompanying vocal- [Spree is a river which runs through Berlin.]

NOVEMBER 1999 22 FILM SCORE MONTHLY JB: How did you first get involved in film what is fantastic and sexy and heavy with a music? big band. As to the second part of your ques- PT: Through an American film director, tion, I never orient myself on others. You George Freedman, who was filming a docu- must understand that I always compose by mentary for the U.S. army, Jack Jones in myself, and I also write my own arrange- Germany. This was my first movie music. Of ments. I never bother to stay informed about course before that, I studied, studied, studied. the music market. I fight my own battles on I played the piano for all occupying forces in the subject of music. the divided city of Berlin: In the American JB: The Mysterious Magician theme uses sector in a big band, and as a piano soloist; in what sounds like a chorus. Are you familiar the English sector with a coffee house crew— with Alessandro Alessandroni and his choral violin, cello, drums, clarinet and Thomas at group, “I Cantoni Moderni Alessandroni,” the piano. I played everything that the notes and Edda Dell’Orso? required—that was a heavy piece of work. In PT: What I used there is not a chorus, it is the French sector it was much simpler— the musicians who, after playback, produced musette musique and chansons. In the this “daboobabapp” vocal sound. The lead Russian sector, oh, baby, great food was avail- singer was Jean Thomi, a bass singer who, able; at the time we were all very hungry in with his hoarse voice, always stole the show as Berlin. But I had to play hard, particularly a parody of Satchmo [Louis Armstrong]. In classical music. One general always wanted this instance he was mimicking The Hexer me to play the “Minute Waltz” by Chopin— [The Bewitcher]. I know of Alessandro but in one minute! Alessandroni and his whistlers and vocal atti- JB: The White Spider theme sounds like tudes, but I heard of him much later, after my early rock and roll. Did you refer to rock and own sound , and I hope that I roll for inspiration? am not being charged with the thought that I PT: I was never inspired by rock and roll, might have copied him. [No, Peter, you most but Berlin was then a very heavy city and beat certainly are not. -J.B.] was the music of the time. There were rock JB: Do you perceive any obvious differences and roll discos and parties. between German or Middle European film JB: The Indian Scarf theme is happy and music and the film music of England and the friendly; almost a piece of music for a family U.S., or what might be called an “Anglo- reunion. Why would you use a theme such as MY NAME IS sound”? this for a thriller? FBI Man Jerry Cotton also COTTON, PT: Unfortunately I cannot comment on has a nice, friendly theme; most spy themes Jerry Cotton. this, since I do not know enough about it. are cold and threatening. Das Geheimnis der JB: What is your opinion of Italian film Weissen Nonnen does have a Bond-type music, especially of the ‘60s and ‘70s? sound. One gets the impression from your film written down into the full score. If the musi- PT: I love Italian film music; it comes music that you must be a very happy fellow cal crew is smaller then into the particell. A straight from the gut, it is never mechanical, with not a nasty bone in your body. particell is a three-digit small full score from it is emotional as is Italian love. Always a lit- PT: Why not, who says that music always which the musicians must read from a C key, tle bit too much, but still just right—at least has to match the story in the movie? Quite i.e. the trumpeter, who usually has a B-flat for the given moment, and a movie sound- often music that contrasts with the story is note in front of him, must transpose into the track is, after all, for the moment. more effective than music that only “acts as key of C. The advantage to the particell is that JB: On certain occasions, such as the background.” That has been done in the past, every musician can play any part. However, theme for The Hound of Blackwood Castle, the and is still taking place, but it is absolutely for this outstanding musicians are required, vocalist is using English. Why English here old-fashioned bullshit. As for Jerry Cotton, and I always have them, they are all super instead of German? sure that is positive. I should indicate that page readers—all jazz musicians who like to PT: He is black and doesn’t speak German; FBI Man Jerry stands for the law, and always, laugh. Without laughter there can be no he can only speak and sing in English. He was when the case is solved, the Cotton march is Thomas music! my guitar player for many years and for that played at the end—and even better, whis- JB: Was the “This is the voice of Edgar reason some of the takes sound guitar-like. tled—which gives the whole thing a very pos- Wallace!” bit your idea? JB: Do you mind if I ask your opinion of itive note. I am flattered and honored that the PT: No. Might’ve been, but, unfortunately some other film composers? They are: Ennio Nonnen theme appears Bond-like to you, but it is not. Morricone, Jerry Goldsmith, Piero Piccioni, I believe there weren’t any Bond movies JB: Room 13 and The Curse of the Hidden John Barry, Bernard Herrmann. around yet. Vault are excellent jazz themes. Do you consid- PT: Oh, this question is terrible, to give an JB: There are sound effects incorporated er yourself a jazz artist? Also, do you like the opinion about other composers, but: into some of the music (screaming, gunshots). jazz scores of any other film composers? If yes, Morricone—a genius; Piccioni—“the Italian Did you do this? If yes, why? which composer(s) and which score(s)? Peter Thomas”; Goldsmith—the old school; PT: Sound effects are usually musically cal- PT: Let’s put it this way: I was a jazz musi- Barry—one theme and we all know it already; culated and composed as if they were instru- cian. I played in a big band similar to Stan Herrmann—the expert. mentation. I also musically wrote into the full Kenton’s, and also wrote arrangements such I have never met any of them, so please for- score the human voices such as “achs, blomp, as “Four Brothers,” “Eager Beaver” give me. I did once meet Henry Mancini blagh,” etc. [the various grunts and squeals]. [Kenton]. I have a feeling for artistry in whom I hold in great esteem. I know Giorgio If there are more than 10 musicians, every- rhythm. I am an expert in wind instruments Moroder and I find him super; he gave the thing heard in my music has always been (listen to my music) and therefore I know (continued on page 47)

FILM SCORE MONTHLY 23 NOVEMBER 1999 THE HOLLYWOOD COMPOSERS SERIES: IF YOU CAN’T LICK ‘EM, MAIL ‘EM! BY JEFF BOND

n September 16, 1999, in the final year Leslie Korngold, Gloria Korngold, Gary Korngold, Sidell Epstein and Tibby Tune of the Newman family, Lucy of the United States Postal Service’s Whiffen, Fred Newman, Maria Newman-Thatcher, Tim Newman, composers Thomas and David Newman, Olivia Legends of American Music Tiomkin Douglas, John Waxman, Joshua Waxman and Alyce Waxman. Representing Max Steiner was Al Bender, series, the institution honored six who founded the Max Steiner Society in 1965.

pillars of the film scoring commu- A Philatelic Forum Mauceri led the Hollywood Bowl Orchestra in a program nity from the Golden Age of motion of music written by the honored composers, which was played to an audience of industry professionals, film music pictures. Featured on the new stamps fans, and several thousand schoolchildren bussed to the event from the Los Angeles Unified and Los Angeles are Max Steiner, Dimitri Tiomkin, Bernard County School Districts. The program began with Korngold’s Kings Row, an Herrmann, Franz Waxman, Alfred Newman appropriate intro for the young audience members due to its evident influence on the opening of John Williams’s and Erich Wolfgang Korngold, in illustra- popular Star Wars score. The orchestra also performed “Old England” and “March of the Merry Men” from tions by movie poster illustrator and fan Korngold’s The Adventures of Robin Hood, the main title and “Scene D’Amour” from Herrmann’s score to Vertigo, favorite Drew Struzan. “The Ride to Dubno” from Waxman’s Taras Bulba, Tiomkin’s Academy Award-winning music from The Old The stamps were unveiled at a ceremony at the Man and the Sea, the 20th Century Fox fanfare and Hollywood Bowl overseen by Master of “Street Scene” from Alfred Newman’s How to Marry a Ceremonies Leonard Maltin, film historian and Millionaire, and finally the David O. Selznick fanfare and correspondent for Entertainment Tonight. Also suite from Gone with the Wind by Max Steiner. speaking at the event were Barry Sanders, The Bowl program was technically an open rehearsal president of the for a concert that was never presented... but given that Association; Jean Picker Firstenberg, director classification, it emerged as one of the most thrilling and GET ’EM WHILE and CEO of the American Film Institute; Tirso Del accomplished performances of film music in recent memo- THEY’RE HOT! The Junco, M.D., member of the Board of Governors of the ry and a more than fitting accompaniment to the historic stamps, part of the Postal Service; and John Mauceri, principal conductor of commemoration of the accomplishments of the honored “Legends of American the Hollywood Bowl Orchestra. Numerous family mem- film composers. The event was long in development and Music” series, are bers of of the honored composers were in attendance, represented a co-effort from (among many others) con- currently available. including Norma Herrmann, Lucille Anderson, Dorothy ductor Mauceri and John Waxman, Franz Waxman’s son

Herrmann, Helen Korngold, Katy Korngold-Hubbard, and a tireless champion of both the memory of his father DESIGNS ©1999 U.S.STAMP SERVICE. POSTAL WITH PERMISSION. USED ALL RIGHTS RESERVED.

NOVEMBER 1999 24 FILM SCORE MONTHLY and his music, and the contributions of his father’s con- allowing interest in temporaries. Waxman was involved from the beginning of the stamps to be the stamp series’ long road from the inkling of an idea to drummed up before a finished product. they went on sale.

Setting the Stage Making the It was a road that started almost nine years earlier, when Music Matter the first pieces of artwork under consideration for use in The concert conse- the series were collected from Waxman and other family quently became a mid- members and collectors, along with additional photos and week, morning event, biographical information from Ned Comstock of USC. which raised its own When the Elvis Presley stamp (the first stamp in the set of challenges. “I felt Legends of American Music Series) was being formulated it would be an insult to by the Postal Service, the announcement of the Hollywood the composers to do an Composers stamps was going to be made, but Presley’s event at the Hollywood legendary manager Colonel Parker beat the Postal Service Bowl playing to 20,000 A BOWLFUL to the punch regarding the announcement, almost result- empty seats, just the OF MUSIC: ing in the cancellation of the Presley stamp. Secrecy then way these composers Schoolchildren gather became a priority; Waxman shared information only with had been ignored all their musical lives,” John Waxman for a midday concert some of the family members and Louis Plummer, founder says. “John Mauceri and Steve Linder, manager of the at the Hollywood and president of PhotoAssist in Washington, D.C., anoth- Hollywood Bowl Orchestra, stepped in and said that we Bowl (top); Maestro er architect of the project, with nothing concrete develop- must do this and we came up with the concept of the chil- Mauceri takes the ing as the years went by. Finally in 1997 Plummer told dren. It was a joint venture between the Hollywood Bowl stage (left); Tirso del Waxman the unveiling was two years away. In June 1998 Orchestra and the Film Music Society. The L.A. Phil with Junco (U.S. Postal the portraits by Struzan were finished and the families its tremendous resources from the National Endowment Service Board of were given the final artwork. The stamps were a reality. for the Arts did an outreach program to schools. Governors) and “The Film Music Society and executive director Jeannie Leonard Maltin Poole came up with the idea of composers in schools. Two (Entertainment Tonight) weeks before the event, composers were going in to the flank the oversize schools and talking about film music and preparing the stamp reproductions kids, not just about the lives of the composers, but what on stage (bottom). kind of music they composed, how these people, many of whom were immigrants, became part of American musical culture—what it’s like to be a film composer, the deadlines, the problems of the craft.” Linder collaborated with Hollywood Bowl Orchestra colleague Christi Brockway and Poole to organize the event. For Waxman, the presentation of the stamps and the performance of the composers’ music had a potent syner- gy with the pres- ence of the audi- ence of largely “John Waxman and I were inner-city school- talking about this for a long time, and we were looking for children. “These various scenarios for an appropriate public presentation [composers] were that would go with this important event,” Mauceri recalls. people who came Waxman noted that the obvious place to debut the stamps to Los Angeles was at the Hollywood Bowl. Waxman’s original plan was with only their for a full-fledged evening concert with a mix of straight god-given talents orchestral performances and synched-to-screen cues that in their pockets, would bring home the impact of the composers’ music on many of whom the films for which they were written. This was an couldn’t even approach perfected by Mauceri in several spectacular speak English, Bowl concerts dedicated to the films of 20th Century Fox, and they estab- Warner Bros. and Universal studios. Unfortunately, too lished careers many evenings at the Bowl had already been booked with and made suc- screens by the Bowl’s management. And the Postal cessful lives for Service wanted the concert to be a morning event that themselves and would take place on the day before the stamps were created a whole genre of released, so that shows like Access Hollywood and music,” Waxman explains. “There’s a real inspiration Entertainment Tonight could do segments on the concert there for kids who are immigrants or who maybe come

CONCERT PHOTOS COURTESY DAVID MAZER, U.S. SERVICE POSTAL that could be broadcast the day of the stamps release, from the inner city and wonder if they can ever make it.”

FILM SCORE MONTHLY 25 NOVEMBER 1999 The Conductor’s Challenge turalism of the United States and it’s saying that writing For Mauceri, putting together a coherent and meaningful music for the movies is a good thing. It says something musical salute to the represented composers on the fly that is so obvious to those of us who already love film posed its own special challenges: what would be an appro- music, but that’s not so obvious to a lot of other people priate presentation of the composers’ best work, that who think and write about music. I think it helps redress would be feasible for the Bowl orchestra to do with no a balance, and it’s another important step in establishing rehearsal? “It was especially difficult with Tiomkin,” the legitimacy of the achievement of these people.” Mauceri noted. “We had played The Old Man and the Sea earlier in the summer, and the arrangements of music Maestro’s Message from High Noon and some of the other things he did were Mauceri traces his own interest in film music back to his not easily to be found. And we had never played [High childhood, noting that he had to overcome a great deal of Noon]. So we opted for Old Man and the Sea, and prejudice inherent in his musical training in order to although there was more famous music written by embrace the work of Hollywood composers. “I got inter- Tiomkin, since it had won an Academy Award it didn’t ested in it by using my ears and testing what I had always seem like a bad choice. In the case of Herrmann we had been taught to see if it was true, and finding out that it just played the Vertigo elements two weeks before in our wasn’t true,” Mauceri says. “My ears were telling me Universal movie night, and we had not done that music something that flew in the face of the received wisdom since 1992. Actually, I was the first person to conduct the about film composers and film music in general. Just as in full suite in America at the Bowl, five years ago. Steiner’s the past I’d done a good deal of work in restoring Gone with the Wind was something we restored; the score Broadway music and other American music, I just found it that exists is in Texas, and the main title and ‘Into Dixie’ to be on such a high level that one just wanted to pursue we had restored for our first recording and I had figured it. I recall my own history; the first movie I played on the out a way to link it to the end of the first part of the piano was Waxman’s music to Flash Gordon, which was movie—‘I’ll Never Be Hungry Again’—and that’s some- Bride of Frankenstein. That’s the first music I remember thing we have been playing for the past nine years. But we as music, and because the serials used to be shown on tele- hadn’t played ‘The Ride to Dubno’ in the last five years, vision in the early ‘50s, and I so loved that music and I and it says a lot about this orchestra that they could read found myself reading the crawl at the end to see that the it and remember something from that long ago. And I music director was a man called Franz Waxman. So one of would say that the overture to How to Marry a Millionaire the reasons I am a conductor is because of film music and is the most complex of all those pieces, because there’s so because of Waxman. When I talked with Leonard much stop and start in it.” Bernstein about how much Mahler’s influence is in Mauceri, whose own efforts in performing and record- Steiner, Lenny said, ‘Well, why do you think I conduct ing film music make him a rarity in the concert world, Mahler?’ In retracing my own steps, which is what you do found the idea of the Hollywood Composers stamps par- when you re-investigate your whole reaction to film music, ticularly fitting. “What’s important about it is it makes I can never forget the music to The Robe, and I could never the composers of film music into normal heroes, normal forget the music to Cleopatra, I could never forget the Americans who are honored by a nation,” the conductor impact of the underscoring of The Wizard of Oz, in addi- says. “It sends a message that it’s not just political leaders, tion to the songs. These moments were linked together in different kinds of birds, athletic stars and seasons of the my mind to find out more about the composers whose year [who are honored], but it’s artists and it’s especially names I would see in the crawl and who I never knew any- important that these composers who are rarely considered thing about and was never taught anything about.” even American, because most of them weren’t even born Film historian Leonard Maltin agrees. “The thing that in the United States of America let alone Los Angeles, are made me happiest was that these stamps were done for recognized. It’s a tribute to the multicul- THE OLD MAN AND THE STAMPS

he roll-out of the Hollywood Composers stamps was cele- brated in Dallas, Texas at the Morton H. Meyerson TSymphony Center with a special concert on October 8 and 9, featuring the Dallas Symphony Orchestra under the direction of Richard Kaufman. Dallas Postmaster Susan Plonkey, President of the Dallas Symphony Association Dr. Eugene Bobelli and Kaufman participated in the official Texas unveiling of the Legends of American Music commemorative stamps. Attending the ceremony and concert was Olivia Tiomkin Douglas, widow of composer Dimitri Tiomkin. Included in the program was Tiomkin’s Overture to The Fall of the Roman Empire, the song “Thee I Love” from Friendly ON WITH THE SHOW: Persuasion, the world concert premiere of the Overture to The Richard Kaufman, Four-Poster, the theme from High Noon, the Overture from Olivia Tiomkin Giant, the American concert premiere of the “John Wayne Douglas and March” from Circus World, and the theme from The High and the Mighty. Eugene Boneli.

NOVEMBER 1999 26 FILM SCORE MONTHLY the right reason,” Maltin says. “They weren’t done for a hold of it: he came up with the idea for a Max Steiner any commercial consideration, but to honor people who stamp in conjunction with his society newsletter promot- deserve to be recognized in this way, and we live in a ing the works of the composer in the early ‘70s. “All of the world now where there’s less and less of that. There’s so members of the Max Steiner Music Society always thought much commercial compromise and so much bending to there should be a stamp out for Max, and one of the mem- the will of the masses at a given moment, that to have bers designed one and put it on the front of an issue we something like this take place for all the right reasons is had out, and all around the stamp we had postage stamps especially satisfying. I think the idea of showing [the of foreign countries representing members from around composers] at work is a nice idea, instead of making the world,” Bender recalls. But he was as surprised as any- them national portrait gallery stiffs. This says a lot one to see his conception finally bear fruit. “The post office because if any group can be referred to as working com- called me and asked if I could send some photos to them posers it was these guys.” that they could use,” he says. “That was three years ago Maltin was sympathetic to the difficulty of getting the and I really thought it was never going to materialize, but message about the importance of film music through to finally it did. I bought quite a few of them to send to all of an audience of grade-school children. “I spoke to John our members; I think about 45 so far.” Mauceri backstage and he was concerned about them being so young,” the film critic recalls. “At that age who knows what they’ve seen of this vintage; prob- ably very little. I mean, my daughter we poisoned very early, but I don’t know how many of these kids had seen anything this old other than maybe King Kong or The Wizard of Oz. But you hope that they just like the music.”

Pleasing Herrmann Dorothy Herrmann, daughter of Bernard Herrmann, found the idea of the stamps to be a singular honor. “I was just glad that the U.S. Postal Service honored him and the other composers with a stamp,” Ms. Herrmann said. “He would have been enormously pleased, although given his personality, if the stamp had come out during his lifetime I’m sure he would have given the post office no end of grief. Actually, I think he would have wanted some type of music to come out of that stamp. I think if the post office had devised a AFAMILY AFFAIR: way to put one of the major themes from Vertigo or The honored Psycho on a stamp, then that would have suited him just composers were fine, because he lived and breathed music, and I’m sure represented by their one of these days there will be a musical stamp. When descendants, most my father and many of these composers were writing numerously the Erich film music, it was looked down upon by people who were Wolfgang Korngold writing so-called serious music, many of whom were in clan; (back row, from top universities teaching music. Ironically, contemporary An Audio Keepsake left) Jared, Gary and classical music today is in terrible trouble as the audi- John Waxman has seen to it that the stamps will be com- Leslie Korngold [great- ences for it are graying, and many young people really memorated in another way: a CD called Celebrating the grandson and grandsons]; get their exposure to good music via film. I would hope Classics containing 60 minutes of music by the honored Conductor Mauceri; that more and more of these scores would be played in composers, which will be the first release on Waxman’s John Hubbard concert halls; my father was a tremendous champion of Themes and Variations label. The album is conducted by [Kattirin’s husband]; contemporary composers. Even though [the stamp] was the late Charles Gerhardt, to whom the recording is ded- Brandon Korngold done in connection with his work as a film composer, he icated in what Waxman feels is a redress of past injustices. [great-grandson]; would also have liked it to encourage the work of con- “In the 14 Classic Film Scores CDs that he produced (middle row, from top temporary composers, and to at least make the public there’s not one sentence about Chuck, and I felt it was left) Krista, Rebekah aware that their music needs to be heard and for them time that somewhere on a recording people would find and Korngold to support modern composers. out something about this remarkable musician,” Waxman [great-grandchildren]; “My father was one of the first people to champion the explains. “I asked Rudy Belmer, who had contributed Helen Korngold work of Charles Ives, and he played him when he was com- notes for the Classic Film Score series, to write an essay [daughter-in-law]; Robin pletely unknown—and was a good friend of Ives and his placing the composers into historical .” Hubbard & Kattirin wife. He was very interested in new music and when he The CD will be in the Christmas catalogue of the U.S. Korngold Hubbard was the head of the CBS orchestra he played the works of Postal Service and available through Screen Archives [great-grandson and young composers and was certainly not a traditionalist. He Entertainment in Linden, Virginia (see pg. 7) and Silva granddaughter]; was a very unique person and certainly anyone who met Screen in London. “I felt there had to be something (foreground) Brett him would never forget him.” musical to go along with the stamps that was appropri- Korngold & Madeline Another person pleased by the presentation of the ate, and the title Celebrating the Classics has a triple Hubbard [great- stamps was Max Steiner Society founder Al Bender, who meaning. It’s a celebration of the classic composers, grandchildren]. Phew! ORNGOLD FAMILY PORTRAIT COURTESY HUBBARD KORNGOLD KATTIRIN

K in a way got this idea rolling long before the post office got their classic music, and a classic genre.” FSM

FILM SCORE MONTHLY 27 NOVEMBER 1999 here are certain director-composer teams that even the casual film fan knows: Spielberg and Williams, Leone and Morricone, Fellini and Rota, even Burton and Elfman. However, it generally falls to the film music fan to notice and appreciate oneT of the richest of such teamings, that of director Franklin J. Schaffner and his favorite composer, Jerry Goldsmith. Even when such fans take notice of the teaming, it’s FFloatloat more often because of not just the excellence of these scores, but of the variousness of them: the jazz-flavored LIKE A The Stripper; the legendarily avant-garde Planet of the LIKE A Apes; the brilliantly terse yet still melodic Patton; Papillon, discussed below; the wistful, romantic Islands in the Stream; the malevolent, jolting waltz that is The Boys from Brazil; and the memorably, unapologetically heroic Lionheart. All except The Stripper are regarded as classics in the field (and while BButterflyutterfly it’s certainly a lesser work than any of the others, it’s still an interesting and rewarding listen, more in line with The List of Adrian Messenger than the typical Jerry Goldsmith’s Score to Mancini or Bernstein jazz scores of the period). All these movies have survived to a greater or lesser PAPILLON degree; all have been widely available on video. But how seriously are any of them taken? Planet of the Apes is acknowledged as a classic, though always pigeon- holed as merely a fantasy classic; Patton is respected Retrospective by and remembered for sweeping the Oscars, but is little appreciated today. And Papillon was the third biggest GUY MARINER hit of its year, following The Sting and The Exorcist, even receiving a theatrical reissue in 1977. Yet the TUCKER movie has never really been granted as much respect as it deserves. author David Morrell, writ- ing reviews of all the available laserdiscs of Steve McQueen titles, was outraged to discover that Papillon alone had never been issued in widescreen. (It was in Japan, in fact.) Even stranger, revival-house screenings of Papillon were virtually always of the same pan-and- scan print used to make the TV version and the video! Twenty-five years after the film’s initial release, Warner Bros. finally issued a letterboxed Papillon to videotape, along with the original trailer and, better yet, a “Making of” featurette. But why did it take so long for a movie that had been so popular in its day, and becomes a favorite of so many who see it for the first time, to be treated as something more than an also-ran? I think the problem is that its director, Franklin J. Schaffner, never lived long enough to revive his repu- tation, which waned dramatically after such ill-consid- ered career choices as Sphinx (1979) and Yes, Giorgio (1982). Not badly made movies, they are still so far out of joint with the kind of material on which he built his success that even critics who were friendly to Schaffner felt bewildered. Lionheart, a historical epic of the Children’s Crusade, might have proven a return to form; but the film was never shown theatrically in America, and the Warner Home Video version is so obviously truncated that it is impossible to tell what Schaffner might have been up to. And few directors suffer more from panning-and-scanning than Schaffner.

NOVEMBER 1999 28 FILM SCORE MONTHLY Schaffner only completed photography of his last film, Significantly, Schaffner made himself his own produc- Welcome Home; he died in 1988 and the movie, edited er on his next picture, Papillon. Based on the memoirs without his participation, came out the following year, a of Henri Charriere, a petty safecracker who was framed resounding flop. Little in the picture has much of (he said) for murder and sentenced for life at the penal Schaffner’s character in it, and thus he did not even colony of French Guiana, the book became the biggest have a triumphant final film for observers to look back seller in the history of France; the translation sold 2.5 upon and wonder what might have been. million copies in the United States as well. Knowing Schaffner came up as a director through the ranks of that the property would be best served commercially by live television, as did so many of the best young directors an American star, the French producer who owned the of the 1950s. Of his contemporaries (most of whom are rights to Papillon went directly to the number-one still living), only two of them still work steadily to this movie star in the world (or at least in France) at day: Sidney Lumet and . Why? My that time, Steve McQueen, who agreed to star best guess is that this generation of talent was more (although around the same time he flirted with The teaming interested in the work than in the career: the relentless doing another movie instead, which years later self-promotion of the next generation of directors, the became the infamous Heaven’s Gate). A script was beginning of the era of Director as Star, was anathema commissioned from Robert Benton and David of Franklin J. to them. So was the material so many of the new direc- Newman (not the composer), later discarded by tors preferred to make. In the golden age of live TV, the time Schaffner came aboard as co-producer script was everything, and those directors never lost and director. Schaffner and sight of that. It is inconceivable to imagine one of them making something as empty-headed and pointlessly chaffner began developing a new bombastic as Armageddon. script with William Goldman, who Jerry Goldsmith Paradoxically, however, Schaffner might have found finished three drafts before someone his way in the Hollywood of the ‘90s. Except for (not Schaffner) got the “bright” idea Frankenheimer, none of his TV-trained contemporaries of shoehorning up-and-coming star is notable not created such visually compelling movies—and Dustin Hoffman into the film. This Frankenheimer is back in big-budget demand. When would mean combining all the sup- Schaffner was at his peak in the 1970s, screenwriter porting roles into one, and present- only for its William Goldman observed that only one other director ing a character that might appeal to had such command of big-screen visual grandeur: David the actor. That task fell to Lorenzo Semple, Jr. Lean. His equivalent skill with actors and superb eye for OnceS Hoffman was aboard, the task of polishing excellent detail would have made him ideal for the same material the character fell to veteran Dalton Trumbo. The that (for example) Spielberg is now tackling with such film had to be delivered by Christmas 1973; the force and skill. production began in February of that year, with results, but for only 60 pages of script completed. The picture was art of what made Schaffner and his films unique to be shot more or less in sequence, unheard of for in their day shines through in his deployment of a project of such scope and difficulty. its variety; music. While pop-based scores were (perhaps Roughly the first half of the film is Semple’s excessively) popular throughout the 1960s, work, and the rest Trumbo’s (with a slight, Pexcept for parts of The Stripper, Schaffner did not uncredited assist from his son Christopher after the composer embrace them. His next two collaborations with Jerry the elder Trumbo grew ill). One could scarcely Goldsmith were milestones in their approach. While it is imagine an odder couple than Semple—an Oscar Goldsmith who came up with the boldly dissonant sym- winner for the black comedy Pretty Poison, and the called his phony of sound that is Planet of the Apes, it is Schaffner guiding hand behind the 1960s Batman TV who let him have his head in doing it; and it is the sure- series—and Trumbo, the famously blacklisted footed nature of their collaboration that allowed the screenwriter who worked throughout the 1950s director the three-hour-long Patton to be underscored with just under a pseudonym (and earned his own Oscar roughly half an hour of music. Neither one of them while using it). believed in putting music where it didn’t belong. “He’s Though Semple would write his share of serious most musical probably the most musical director who I’ve worked material, such as the script for The Parallax View, with,” Goldsmith said in 1975, and it’s hard to imagine much of the heaviest material in Papillon came he’s worked with many since who are comparable. from Trumbo—and from Schaffner, who, reading one of all Schaffner must have wanted Goldsmith for his next the book and then doing his own research, came to picture, the epic Nicholas and Alexandra, and it’s possi- his own understanding of the material. Erwin ble that there was a scheduling problem. However, it’s Kim, author of Franklin J. Schaffner, explains: also true that composer never even met with Schaffner on that film; all the musical If a film were to be faithful to Charriere’s book, it decisions were made, as Bennett explained to would probably have all the elements to make a Soundtrack! magazine, by the film’s producer, Sam guaranteed fortune. In a curious reversal of the Spiegel. Famous for producing David Lean’s epics of the usual book to film adaptation, the film took a light- 1960s, Spiegel apparently overrode Schaffner on a num- hearted and light-headed book and transformed

ARTWORK ©1973 ALLIED ©1973 ARTWORK ARTISTS ber of post-production decisions, and probably never the material into something serious and thought- wanted Goldsmith to start with. ful; instead of aiming at the lowest common APILLON P

FILM SCORE MONTHLY 29 NOVEMBER 1999 denominator, a filmmaker took a sure thing saw the film actually lent a fascinating texture to the and made something commercially risky out experience. I may not have loved the album, but I lis- of it.This was due to a personal vision that tened to it religiously, as I did with all the few Goldsmith reshaped the material into as naturalistic an albums I yet owned. One of the most punishing aspects of interpretation as can be found in American Papillon, and which endeared it to me then and now, is its film. (pg. 287) relentlessly claustrophobic atmosphere. Really alone among any prison movie I’ve seen, Papillon conveys a Kim is right. Carriere’s book is a fast and vast, inexorable sense of hopelessness, betrayal and pun- engaging read, but his experiences as he pre- ishment. Yet the score’s approach to this atmosphere is sents them are nothing on those his filmic not at all what one would expect. counterpart undergoes. If you read the book First of all, Goldsmith and Schaffner determined that afterwards, as I did, you find yourself a bit put there should be no music at all in any scene in which the off at Charriere’s endless self-serving whining. characters find themselves without hope of escape. As a Charriere never did time in the jungle, for consequence, there is almost no music at all in the first example, nor was his experience of solitary con- half of the picture. If there were—if Goldsmith had slav- finement quite as horrible as that which ishly lathered music over the scenes in solitary, for exam- McQueen’s Papillon undergoes—not to men- ple—it might have become unbearable. tion that Papillon suffers seven years of soli- Additionally, Schaffner thought the Papillon theme tary, while Charriere did roughly half that. should be, as he put it, “reminiscent of Montmartre.” Charriere’s book as written would have made a Goldsmith thought not: “As soon as you hear that accor- simple, larkish adventure, likable enough on dion in the middle of Devil’s Island, there’s going to be a those terms, but never approaching the depths big laugh.” But, as so often happened in their collabora- of what Schaffner intended. And Steve tion, Goldsmith began to understand what Schaffner McQueen would never have been as believable meant. The theme evolved with each successive scene, a Charriere as he is a Papillon (though of course moving from the harsh landscape of the prison camp, to the script was tailored to him); certainly he the bucolic open ocean, to the relative freedom of Devil’s would never have given easily the finest perfor- Island itself: still a prison, but very nearly casual—there mance of his career if assigned Charriere’s less are no cells, no bars. “It’s pretty much live and let live,” heroic character. the island commandant shrugs. (Charriere himself visited the set during pro- As Goldsmith told Erwin Kim, “Everything is peeled duction and found himself profoundly haunted away. The music starts very complex at the beginning of by the atmosphere of what the filmmakers had the picture and it gradually goes through a metamorpho- built. Unfortunately he died later that year, sis where it becomes simple at the end of the picture. And before he could see the completed film.) basically it becomes this very simple little tune.” I first picked up the Papillon soundtrack “In other words,” Kim added, “it becomes the never having seen the movie, and knowing noth- Montmartre-like tune Schaffner had suggested.” ing about it. I was expecting an action score, The whole development of the tune came about in part frankly, as that and horror scores were what I because of an early suggestion Schaffner felt Goldsmith did best at that time (1984). I made. Goldsmith’s first piece of music heard in the movie liked the main theme well enough, but felt a bit is that for the prisoners’ humiliating march through the vexed by the rest of the material: it was dark, town over to their new home, the prison. The cue is enti- but without the weird noises and eerie bits of tled “The Camp.” As Goldsmith told Kim: business that characterized his suspense work; most of it was melancholy even when it was at Frank came over and made one of the dumbest sug- its most tuneful; and, finally, without knowing gestions I’ve ever heard. He said, “At that point CONSECUTIVE ACTION: what it was all supposed to be matched to, I had there, why don’t you have the accordion play the Schaffner and Goldsmith worked no way of appreciating what it was. tune... over the orchestra.”“That’s going to sound together on (from top) terrible,”I said, “the piece is atonal, there’s no key The Stripper (1963), Planet of the hen I finally got around to seeing the sound.”“I think it’d sound great.”I said, “Frank, my Apes (1968), Patton (1970), and movie I was, to put it mildly, blown name goes on this.”“Try it.”I tried it.Well, it works Islands of the Stream (1977), but away. I was getting to an age where sensationally...I learned after that that he was usu- were unable to team up for the movies I’d liked as a little kid were ally right in what he wanted and what he was think- Wstarting to look like little kids’ movies; but I was ing. If you can decipher what he’s thinking, it works Nicholas & Alexandra (1971). not yet ready to branch out into anything I was great. (pg. 303) afraid would be more challenging (by which I then meant “boring”). On the surface a simple Neither Goldsmith nor Kim tells us precisely what prison action movie, Papillon turned out to be Schaffner was thinking, but one can hazard a guess. nothing of the sort, and to this day I’m not sure Obviously Goldsmith had already worked the ghost of the why it mesmerized me so. I wasn’t a McQueen main Papillon theme into the cue. Somehow Schaffner or Hoffman fan; I’d never even seen McQueen knew that the sound of the accordion, arguably an irri- before. The heavens were in alignment, I guess. tatingly cheerful instrument, would heighten the melan- I must have watched it a dozen times that sum- choly of the moment. These lonely French prisoners, mer alone. paraded degradingly through the streets of this colonial And the score! Knowing the music before I town so far from home—the sound of the accordion is like

NOVEMBER 1999 30 FILM SCORE MONTHLY a homesick memory played out over the mounting, motif we haven’t heard before, a soft but strong few notes oppressive dirge of their march. And Goldsmith, ever the for flute. If the main Papillon theme represents the idea wizard, manages to make that accordion sound very far of freedom, then this secondary motif represents the real- from cheerful. ity of what Papillon is feeling while still imprisoned. His The music tunes out as Schaffner’s subjective camera own theme does not return until he sees Dega again for walks under the gate to the camp at St. Laurent. Papillon the first time in years: Dega, and his riches, represent and Dega (Dustin Hoffman) are promptly transferred to Papillon’s best hope for escape. (His surroundings are the bush, where they begin to hatch their first scheme to also conducive to breaking out, which is why the hospital break out. This leads to Goldsmith’s second cue. It does sequence is scored: as in an earlier sequence at St. not appear on the album, so I’ll have to make up a title: Laurent, when Dega first attempts to bribe a guard, we “The Butterfly Hunt.” In fact, I can’t understand why have a clear view of the ocean through a window. The it’s not on the album, as it’s easily the happiest, most window’s got bars on it, but you can see through it. charming piece of music in the film. The nearest bit of Eyeing the sea, Papillon thoughtfully releases a tiny menace it conveys are a couple of nervous rustlings and grasshopper through the window; in one of the nicest such from (I think) the oboe, when Papillon, hunting for touches of Steve McQueen’s performance, he then raises butterflies, runs across a snake in the trees.

ur heroes are still in prison at this point, but the music does not break the rule Goldsmith and Schaffner set for them- selves: “The Butterfly Hunt” is under- taken because Papillon wants to appeal to the butterfly trader who may be the one who can help smuggle him out of there. The cheerfulness of the music speaks for the hope the characters feel at this moment: just catch the right butterfly, and they have Oan entree to meet the trader. Goldsmith reprises the accordion playing the main theme, backed by a lovely lit- tle warble of glockenspiel, as Dega spots the perfect but- terfly perched on a leaf. Interestingly, Schaffner focuses on the actor’s labored yet hopeful expression (careful now!) as he pinches the butterfly’s wings closed; Goldsmith punctuates the moment with a gorgeous flour- ish of woodwinds, which he reprises again a minute later as Papillon, now in possession of the prized insect, pre- sents himself before the trader. As usually happens in this movie, nothing works out quite as it should and Papillon winds up sentenced to two years in solitary confinement. Here, Goldsmith bends the no-music-in-jail principle a little bit more, in the picture’s most disposable sequence, also not on the album: I will NO PLACE LIKE HOME: call it “Desert Dream.” That it is a dream—and repre- Production designer sents a sort of escape on Papillon’s part—perhaps justi- Anthony Masters fies its use, even though Papillon is never more beyond his head ever so slightly, as if watching it freely bounce recreated the Devil’s help or escape than when he is in solitary. The “Desert away outside.) Island penal colony at Dream” is just that: Papillon dreaming that he is facing (To be honest, the first time I saw him going for the Montego Bay, down the row of judges that sent him to jail in the first grasshopper, I remembered how Papillon is reduced to Jamaica. place. Goldsmith’s music here is a simple, faraway rendi- eating bugs towards the end of the solitary sequence; I tion of the main theme, played by woodwinds. The second was afraid he was reverting to type.) dream sequence is much better: Papillon imagines him- Unlike Patton, an active character, Papillon is largely self and Dega receiving a heroes’ welcome in Paris, until reactive. This is due in no small part to the preferred per- it degenerates into a short but hair-raising nightmare. sona of Steve McQueen at the time. But in McQueen’s There is no music here; there should not have been. performance, much abetted by Schaffner’s direction and, Badly weakened at the end of his sentence, Papillon is in many scenes, having someone as skilled as Dustin sent to the infirmary at St. Laurent. As this is where he Hoffman to play off, a significant character still will eventually launch his first escape, music is permit- emerges—not a particularly deep one, but a deeply sym- ted: Goldsmith named the piece “Hospital.” pathetic, and entirely heroic one. As the indisputable cen- I couldn’t really pick a favorite cue in Papillon—it’s a ter of the film, Papillon is, in his particular way, perfect fool’s errand—but the one that sticks in my head the for Goldsmith. “I do my best when I have a strong lead- most has always been “Hospital,” the most reflective ing character that I can get inside of,” he told Derek Elley piece in the score. We hear a quieter, but equally somber in 1979, “and all of Schaffner’s films are built that way.” echo of the prisoners’ dirge from “The Camp,” minus the Curiously, the whole of “Hospital” was not used in the accordion, while the opening bars introduce a secondary film. Towards the end of the piece, part-way through

FILM SCORE MONTHLY 31 NOVEMBER 1999 Papillon’s sickbed conversation with Dega, “Hospital” Dustin Hoffman’s line reading in this scene, but it’s cuts out and the equally quiet, solitary “Desert Dream” always felt like, Man, you just can’t win!) Local policemen music is heard again. I can’t account for this at all, but already happen to be walking nearby, and confront them Schaffner probably thought “Hospital” too short on its as soon as they wash ashore. Papillon distracts them by own, and wanted a little extra music that wasn’t too throwing an axe and runs into the bush; the policemen’s intrusive. (Without a doubt, such a decision would have own original prisoner, momentarily neglected, also runs been made only after full agreement between director in and catches up to Papillon, who finds he has made a and composer. The examples that would illustrate this “New Friend.” point are too numerous to name.) The cue actually begins with a whirl of strings as “Hospital” also features a most Papillon hurls the axe, then quiets down to a conspirato- surprising motif that goes by rial whisper as he unties Antonio, then jolts back to life quickly, and does not return again as they start running. Little else goes on in this (though much of “Hospital” is sequence: just Schaffner shooting some wonderful based on it) that is most surpris- scenery and the guys running, running, they know not ing: it is the first few notes of what where.... would eventually become “I Remember,” the immortal love he music stops for a bit as the local cops theme from The Wind and the hire a pair of Indians to track the Lion. It is the subtlest, but not the escapees. Observing from a distance, only foreshadowing of that score to Antonio tugs Papillon to his feet again, be heard in Papillon. and here begin the events that lead to Interestingly, Goldsmith and “Antonio’s Death.” This is the most Schaffner forewent original music straightforward action cue in the film, for the actual escape from the hos- with pounding piano and percussion pital. But there is music: the band underneath a near-frantic rendition of is playing a concert (helping dis- Papillon’s theme, as they do their best to sprint to safety. tract the guards). Erwin Kim says THowever, the Indians have thought ahead, and Antonio is this is “French” music; I have no killed in one of their traps as Goldsmith’s brass section idea, as I’ve never found any refer- roars and snarls its heart out. The exaggerated brass ence to what the music is. I do effects continue as Papillon, now assaulted by poison know that it is perfect, and blow-darts, tumbles off a hill into a river. Schaffner (and his editor Robert Virtually all the scenes in South America are without Swink) cuts the sequence beauti- dialogue—indeed, there’s barely a wasted line in the DUSTY’S DEVIL: fully. Papillon’s escape from the whole movie, but from the moment Papillon lands there, Dega was an hospital itself is backed with a he doesn’t have a minute’s worth of stuff to say. Almost amalgam of merry little Sunday-afternoon kind of march; then the everything that happens is at least slightly bizarre; in incidental characters second piece starts with a cymbal crash, at exactly the fact, the entire business with Antonio was invented for from the novel moment Papillon’s fist hammers into the jaw of an the movie (possibly in part to give work to one of designed to attract a unwary guard (this bit wittily photographed as an McQueen’s buddies, actor Gregory Sierra; another, Don star of Hoffman’s extreme long shot). Gordon, was cast as the ill-fated Julot; and another, caliber. Papillon and —through a series of mishaps, Richard Farnsworth, played one of the camp’s “man- we’re down to the hospital orderly Maturette, who did hunters”). want to go, and Dega, who didn’t—find themselves More than anywhere else in the movie, the South screwed again once in the swamps, but through the kind- American sequences betray the haphazard manner in ness of strangers—fellow outlaws all, most memorable which the film was scripted—and never more so than in among them a cynical leper chief—they escape to the six-and-a-half-minute “Gift from the Sea,” which “Freedom.” Goldsmith’s music jumps to life the moment immediately follows “Antonio’s Death.” Without any our heroes are finally at sea, with an ecstatic fanfare in transition, Schaffner makes a hard cut from Papillon miniature. Almost immediately there is a storm at sea, landing in the river to a shot of him waking up in the with Papillon’s theme reprised on troubled strings, midst of a peaceful Guajira Indian village by the sea. echoed by howling brass as Dega’s leg is pinned under a Except for Papillon’s climactic jump at the finale, this fallen pole. The music grows quieter as it becomes appar- sequence was the very last filmed for Papillon. Schaffner ent that they will have to operate; there is a sizzle of seemed skeptical that it should be included at all—it is brass as Maturette prepares the knife, growling louder as certainly the most outrageous of the chapters in he applies it; then a softer reprise of Papillon’s theme as Charriere’s memoir—but, the director told Erwin Kim, he tucks his unlikely friend to sleep. Finally, Goldsmith closes the cue with another triumphant fanfare, appro- “it was [the] one sequence which every macho male priately South American as the boat finally approaches remembers out of the book.”(pg. 296) land, the saucy flavor of the brass and drums swept through with another statement of Papillon’s theme: Schaffner and Christopher Trumbo managed to solve thrilled, a little tired (his music sounds less urgent here the narrative problem of the sequence handily enough. than the ethnic stuff does), but so, so relieved. They also made the decision not to burden the already Even in as relentless a movie as Papillon, relief is outlandish premise of it—Papillon has been taken in extremely short-lived. (I’ve never quite understood among the Indians as one of them—with dialogue. It fell

NOVEMBER 1999 32 FILM SCORE MONTHLY to Jerry Goldsmith to communicate all the emotions of calms down a bit as Papillon returns to the village and the sequence, and he did so masterfully. finds their last gift to him; strings quiver curiously in the At first, the music is as peaceful as the village appears background as he discovers it is a bag of pearls. This cue to be; but, as Papillon should know by now, all is never is not on the album; one might call it “Farewell Gift.” quite as it seems. Goldsmith told Kim another valuable exchange he shared with the director about the tattoo he following cue isn’t on the album either, and here sequence in “Gift from the Sea”: Schaffner told him sim- the title is easy to make up: “Border Crossing.” ply, “Get some fear in there.” Goldsmith added: Now disguised as a local boy (yes, even a mere pon- cho will do much to obscure Steve McQueen), I must say I got so caught up with the bucolic quali- TPapillon is riding a bus that’s ty of it all, I forgot that, hey, wait a minute, this guy’s being inspected by border patrol. in a strange situation, he doesn’t know what the hell Slipping out of the bus, he spots a is going on. He sees these people hung up on posts nun who’s begging unsuccessfully and all that, and what are they going to do to him? I for money for the children of forgot about that. And then Frank goes into his one- Santa Marta. The “Farewell Gift” liners, urging me on. But that’s how Frank does theme sounds on oboe the instant work. (pg. 415) he drops a pearl into her palm; the clarinet gives a few quizzical flur- “He can say what he wants or what he feels in a cou- ries as Papillon jumps up onto the ple of words, and that’s it,” Goldsmith observed. Indeed, seat of the nun’s wagon, saying Schaffner’s brevity with words extends to his movies; few not a word. She figures it out, and, words are ever wasted in a Schaffner film, though he was very rare in the world Papillon equally able to revel in the reams of witty Gore Vidal dia- portrays, doesn’t give him up at logue he directed in The Best Man (1964)—interestingly, the gate. Rather, she climbs Schaffner’s favorite of his own films. aboard after him and takes the Since Papillon cannot speak to the Indians, Goldsmith reins; and brass yells out the speaks for what he feels. The first half of “Gift from the “Farewell Gift” theme the instant Sea” is, as Goldsmith states, largely bucolic, as Papillon Papillon, sharing the nun’s wagon, settles in with the Indians. A degree of apprehension sets crosses the border undisturbed. It in when the stone-faced chief of the tribe is trying to is a triumphant moment; musical- negotiate with a wily-faced non-Indian trader. Schaffner ly, it means that the farewell gift punctuates the scene with a disapproving look on the bought Papillon one more ounce of chief’s face, then cuts to an extreme long shot of Papillon freedom. After the horrible loneli- being escorted along the beach at night. The Indians’ ness of the first version, the music now is converted into theme, earlier played mostly on laid-back flute or sugges- victory. The Indians loved him after all; they just could- tive woodwind with a teasing string background, returns n’t keep him. entirely on strings, now sounding uncertain, almost The “Farewell Gift/Border Crossing” theme is anoth- anguished. The shot and music follow Papillon up the hill er unmistakable forerunner of The Wind and the Lion, to the chief’s hut, where the strings rise and an appre- in this case the brass fanfare for Raisuli. It’s more than hensive rustle of brass is heard, as Papillon sees that the a little interesting that this earlier great score has that trader is hanging upside-down from a pole, his throat cut. much in common with the later one. I’ve also been amused to hear echoes of both in a much different kind s Goldsmith said, what are they going to do to of movie, The Cassandra Crossing (1977), although the him? Thus, the secondary Papillon motif heard score Papillon is usually likened to is the next Schaffner- already in “Hospital,” which expresses Goldsmith collaboration, Islands in the Stream. Papillon’s fear of imprisonment, sounds on This being the movie it is, Papillon is immediately woodwinds as the chief indicates that he wants caught and re-imprisoned. The next time we see him, five a butterfly tattoo just like Papillon’s. Our hero years in solitary confinement have passed, and he is now Arises to the task, as the Indian motif returns, but slightly fated to live what little life remains to him on Devil’s more nervously. The music grows more nervous as Island. Bent, broken and old now, on his last night at St. Papillon pats his work clean and pulls the towel away to Laurent he watches the corpse of his former cohort reveal—a pretty decent butterfly tattoo. Goldsmith’s Maturette being consigned to the sharks, while a bell strings sigh with relief, the harp returns, and the Indian tolls at precise intervals in the background. theme reprises as Papillon exits the tent, now played Timed precisely, the following music cue, “Reunion” again on its peaceful, impeccable flute. opens with a bell. The secondary Papillon-in-prison motif No happy reverie lasts for long in Papillon, and in the returns in its fullest statement, played by sad, gnarled- very next scene, he discovers that the village has emptied sounding woodwinds against a weary sea of strings. As of the people who befriended him. (There is still no dia- Papillon arrives on Devil’s Island, however, Schaffner logue; the picture does not explain this , but prob- indicates, in extreme long shot and out of focus, hidden ably, it has something to do with their killing of the behind branches, a slightly familiar sight: a pair of glass- would-be pearl trader.) A low, longing seven-note motif es winking in the sunlight. Goldsmith inserts an inquisi- for horn follows Papillon as he hunts through the village, tive bar or two here. Then, a bit later, when Papillon followed by a lonely burst of strings as he stands desolate finally sees Dega for the first time in many years—and and forlorn on the rocks by the crashing sea. The motif Dega runs—Goldsmith scores their hobbling “chase”

FILM SCORE MONTHLY 33 NOVEMBER 1999 with plodding piano (Dega trying to get away) matched hear it today: a single, sustained, shimmering note, against eager plucked strings (Papillon’s own theme ris- punctuated (in the final, ten-second version) by a won- ing with the hope it signifies for the first time since he derful gong sound as Papillon hits the water. truly tasted “Freedom”). The strings grow wary as Dega The music stops after that; we see Papillon swimming seems unhappy to see his old friend here; there’s a bit of to his absurd coconut-bag raft. His theme is heard again, question-and-answer with Papillon’s two motives, prison on accordion for the first time since “Butterfly Hunt,” as and hope, before Dega hesitantly caves in (“Are ya... we see Dega’s amazed face, before he turns around and fonda... crayfish?”), and as Papillon nods yes, “Reunion” walks away. A fuller statement of the theme accompa- resolves itself with a kind of quiet warmth. nies a helicopter shot of the triumphant Papillon floating Since at this point Papillon has refused to play by any away to freedom at last. standard action-movie rules, one can hardly expect it to All the above-mentioned music and the end title that begin to here, especially when its stars appear so enfee- follows comprise the cue “Survival.” The album opens bled. Hoffman’s Dega is miles distant from the super- with the soaring full statement of the “Theme from cool operator we saw at the beginning of the film, while Papillon”—but nothing like it appears in the movie, not McQueen’s Papillon seems a wrecked, enfee- even the end title. It would be a logical way to close the bled shadow. Schaffner himself called the picture. But Goldsmith had another thing in mind. last 20 minutes of the film “a bizarre glis- The end title credits (including all for the cast and sade,” and yet I find it immensely touching. crew; there were no cards for the opening except for the As Goldsmith said, all the concerns that stars’ names and the title) are played out over genuine motored the rest of the picture are “peeled footage of the actual, long-abandoned French penal away”; the guards don’t even make the pre- colonies of which Papillon serves as a fictionalized tense of guarding their prisoners, because indictment. Goldsmith’s music for these images is dark the prisoners can’t even make the pretense and dissonant, a harshly written theme for the camp of escape. That Papillon, as physically ruined itself. Under the rules Goldsmith and Schaffner set for as he is, manages to rally himself is one of themselves for the rest of the picture, there could be no the film’s two principal triumphs. The other music for scenes in which the characters could not hope is that he gets away. to escape; hence, not until the end of the picture could In keeping with the tone of the rest of the they comment, visually and musically at once, on the movie, however, it’s never that easy. Papillon savagery of the place. “Survival” builds to a shattering figures out that jumping off a cliff into the conclusion, a symphonic cacophony that does, finally, water should do the trick (and McQueen resolve itself with the final card: the film’s title. It is an manages to suggest that after five years in exhausting piece of music, a miniature summation of all solitary, our hero is just nuts enough to the trials the characters have suffered up until the very think it’ll work). Papillon tosses a test bag of end of this 150-minute masterpiece. coconuts over the cliff to see what will hap- As a Christmas release, Papillon was obviously poised CREME DE McQUEEN: pen. The “Cruel Sea” pulverizes it, and the to rake in piles of Oscar nominations; indeed, whatever Papillon was Papillon-in-prison motif sounds again, for the last and one thought of the film itself, one could hardly overlook arguably the last most desolate time. (Although I knew the piece, the first the strength of Steve McQueen’s performance. However, great film that the time I heard it with the movie, my gut just about the Academy did—possibly, it was suggested, because of legendary star dropped out with shock and sorrow.) negative publicity over his affair with actress Ali made—it was MacGraw, then the wife of Robert Evans. McQueen did, certainly an epic s the brief “Cruel Sea” continues, a huddled however, receive the Golden Globe Award for Best Actor. performance. Papillon continues to observe the water’s activ- Although a commercial hit, Papillon may have suf- ity below; then his own theme, the theme of fered by comparison to The Sting, a much more senti- hope, rises again as he realizes the mistake he mental film that, while a mess, did take Best Picture. made. He need only ride out the seventh of each (Schaffner, already an Oscar winner for Patton, couldn’t Awave that comes by; that, he is sure, is foolproof. have minded too much; it meant his buddy from live TV Dega seems willing to go along (“If we’re going to days, director George Roy Hill, got his moment in the escape, I’d better pick those carrots”), but at the last sun.) As well, this was the year of The Exorcist, a knock- cannot bring himself to do it. “It’s suicide. You know out film of a kind never seen before. Between them, that.” which coincidentally were the only two pictures of the “Maybe.” As the old friends embrace, Goldsmith year to outgross Papillon, those two took the bulk of the reprises the main Papillon theme, growing to a tremen- important Oscars. Papillon was nominated only for its dous crescendo—the same ecstatic two-note fanfare that score, Goldsmith’s sixth Oscar nod and his third consec- announced “Freedom” more than an hour before—as utive nomination for a film directed by Franklin J. Papillon jumps off the cliff. Schaffner. It has been remembered as a classic film score This stunt was the very last shot done in the picture. virtually since it was first released. I hope that someday Schaffner filmed it in Hawaii, then flew directly to the movie it belongs to—the movie that inspired it—will Rome, where Goldsmith was recording the score. Once be as properly appraised. FSM there, the two were informed (by editor Robert Swink) that the jump (developed in Los Angeles) ran two sec- Principal source: Franklin J. Schaffner by Erwin Kim. onds as it was, but ten seconds in slow motion. Metuchen, NJ: Scarecrow Press, 1985. Goldsmith solved this problem by writing the jump as we ©1999 Guy Mariner Tucker

NOVEMBER 1999 34 FILM SCORE MONTHLY ★★★★★ REVIEWS BEST REALLY GOOD ★★★★ OF CURRENT AVERAGE ★★★ RELEASES WEAK ★★ ON CD WORST ★ RATINGS RATINGS

SCORE★★★★ here—the tension is created by fairy-tale/Americana in its unadulterated entirety, The Sixth Sense JAMES NEWTON HOWARD sustained, rumbling bass instru- scope given to the viewer— including this hampering closing Varèse Sarabande 302 066 061 2 ments and percussion, over instead it was only a nod towards phrase. There are also a few 11 tracks - 30:19 which Howard gradually intro- pop fodder. instances (in “Come and Get It” ames Newton Howard is hard duces semitone clusters in the The actual score for the film and “Souls Don’t Die”) where the Jat work and seriously in voices and brass, Goldsmith-style has a European/classical feel that theme comes off sounding like demand, having provided four staccato piano hits and slowly always plays well against anima- the baroque-oriented “Tourists scores last summer alone. All but descending fingerboard glissandi tion, but in this case it might be on the Menu” from Jaws. one have made it onto CD (his in the violins. too opposed to the American ele- All other ideas in the score are Runaway Bride was as service- The glue that binds these ele- ments of the story. The Iron somewhere well-below what able as the film itself and was ments together is Howard’s Giant itself is a foreign element, would ordinarily be considered not crying out for a release), and main theme, the harmony of but that doesn’t mean that the secondary. The Schubertian idea the first to appear is Varèse which is based upon the unusu- score has to be as well. On the built out of the main melody Sarabande’s half-hour presenta- al chromatic progression (in other hand, the producers must (and also used prominently in tion of The Sixth Sense. Praise “De Profundis”) from C# minor have known what they were The Smurfs) is appropriate for for M. Night Shyamalan’s film down to C major, using the going to get from Kamen. Even the Giant but it also weighs in seems to have extended to its third as a pedal in the melody. “The [American] Army Arrives” heavily on the classical end. The score, and this is nothing if not Again, the progression is not is distinctly European. evil version of this material in well-deserved. Moving seamlessly jarring in any way, and once Kamen’s main theme appears “Trance-Former” (along with the between ghostly atmospherics familiar it manages to provide with staggering frequency quasi-inverted use of the main and touching, delicate phrases, moments of great relief. This is throughout the score, so the com- theme) is effective recycling. If the music proves that in the not a theme that you’d leave poser obviously realized the smurfing music isn’t enough to midst of a schedule that can only the theater humming; its first importance of having a strong get your blood pumping, be sure be described as hectic, Howard three notes span an interval of found that “certain something” a tenth, and the final note of its about The Sixth Sense, and set short phrase rests upon the about creating something truly major seventh of its chord. beautiful of his own as a result. These are not the traits of a Varèse’s CD, sensibly produced “big theme.” Overall, however, for a varied listen and with a sat- they are the traits of a carefully isfying running time (more could considered and haunting score well have been less here), opens that steers clear of sentimental- with the eerie piano of “Run to ity or histrionics and, with its the Church,” a short piece that is sublime finale, manages to unmistakably Howard. The warm and chill the soul at once. piano plays a recurring motif —James Torniainen that shifts its time signature 4 ★★★1 with each measure: /4 becomes The Iron Giant /2 and pervasive idea in a film like and check out “Hand Under 7 6 7 /8, followed by /8 and /8 again. MICHAEL KAMEN The Iron Giant. Unfortunately, Foot” and “Contest of Wills” for Because of the simple, if unset- Varèse Sarabande 302 066 062 2 this makes it all the more dis- their amusing uses of Die Hard- tling, beauty of the music, the 23 tracks - 50:08 turbing that the theme communi- like ideas. The jazz/walking bass- effect is neither labored nor off- ere is how poorly promoted cates so little. From the opening lines associated with Dean and putting. The cue, and others like Hthis film was: Jeff Bond, bars of the album (with the his junkyard (“His Name is it that express such a delicate who saw an advance screening theme presented in Dean” and “Eating Art”) seem and child-like vulnerability, is and proclaimed the movie to be giant/ancient/mythic out of place on the album. rounded out with a combination the “best of the year,” never fifths) the first section of the Despite its reliance on one of strings, winds and wordless went to see The Iron Giant in its theme gets the most mileage. It’s main idea, the score has little voices. This orchestration rarely theatrical release. While Jeff gets reminiscent of Kamen’s linking overall shape and it’s difficult to varies across tracks such as some credit for buying the Iron material in the “Riverside good- listen straight through the album “Mind Reading” and “Malcolm’s Giant Toy Bank as well as a bye” scene from Robin Hood: even if you were moved by the Story,” each of which shares a large action figure, I still had to Prince of Thieves (and in “Giant film. But then, suddenly, comes kind of minor-sweet tonality. see the film twice to make up for Wakes” the music gets a particu- track 22: “No Following.” This These moments of introspec- Bond’s insolence. larly Robin Hood-ized treatment). music will jar your memory, tion are sandwiched between One of the many problems with The closing set of phrases is bringing back the movie shot-by- more overtly unsettling and dis- the ad campaign for The Iron where Kamen’s plan goes sour. shot. The opening section of “No sonant material in, for example, Giant was the use of irrelevant The version approximately 1:30 Following” rivals the best work “Suicide Ghost” and “Hanging and misleading music in the pre- into “Bedtime Stories” gives the Kamen has ever written for film. Ghost.” There is no action music views. There was no sense of the first statement of the main theme This is due in no small part to

FILM SCORE MONTHLY 35 NOVEMBER 1999 SCORE were amazing, the CGI ones probably can’t be blamed for is sure to incorporate them into the power of the scene it accom- were wholly unconvincing (hey, I scoring a movie made out of left- his own voice. While there are panies, but Kamen’s music holds thought CGI worked for every- over scenes from other movies several tracks that are closer to its own—it can make you cry thing!), and it’s tough to recom- with leftover music. —Jeff Bond pure source music (including apart from the film (and it had mend a movie which derives its some actual source), he also uses the likes of E.T. to deal with on biggest jolt from a fatal case of The Legend of 1900 ★★★ rag and jazz elements as a back- the temp track). The music here terrible dialogue and all the ENNIO MORRICONE drop in tracks that are other- begins with an under-used expectations that creates. This is Sony Classical SK 66767 wise clearly built out of the Elfmanesque sub-theme before a movie that wears its badness 21 tracks - 57:39 Morricone sound. The split stating the two most moving ver- like a badge of honor. n keeping with the Ennio third, for instance, a common- sions of the main theme (again— Trevor Rabin is no stranger to IMorricone tradition, the enough jazz element, doesn’t it’s in the context) first at :34 in, this kind of overheated crap, and Legend of 1900 main theme does come off sounding like jazz at all and then at 1:29. “No Following” while Deep Blue Sea is less not go under-used. Our first in the context that Morricone is not loaded with manipulative annoying than last summer’s exposure to it is a full-blown ren- uses it in the “Crisis” tracks. and spine-tingling suspended Armageddon, Rabin presents a dition in the very first track. It’s But at the least it is a sublimi- cymbal rolls (though there are a sweeping, fateful title melody for a standard mixture of nal connection to the rest of the few timpani rolls) but its direct the movie that’s very much in Morricone’s voice and that of the source in the score. and raw power should give you keeping with his approach on period he is trying to capture, By the close of the album, the the chills regardless. Kamen Armageddon, with maybe a using a rising four-note figure source elements do become a bit exquisitely captures the joy and touch of Jones’s Cliffhanger over an old-fashioned, heart-tug- tiresome as does the essentially the majesty that are so promi- (which was itself a spinoff of Last ging chromatic descent in the monothematic work by nently contrasted with tragedy in of the Mohicans). It brings an bass. In “1900’s Theme,” bursts Morricone. The score is sub-par this climactic scene. While the incongruously romantic feeling of virtuosic ragtime piano are when compared with most of quality moments of this piece are to a movie whose purpose, after superimposed over this attractive Morricone’s output over the past foreshadowed in tracks like all, is to get us all off on the sight Gone with the Wind-esque pas- five years, but it’s a solid work “Bedtime Stories” and “Souls of mutant sharks noshing on sage, making for a surreal open- with a strong theme. (The over- Don’t Die,” it is only here that thrashing humans. Rabin does ing to what is otherwise a seas release of this soundtrack they attain their brilliance. bring the appropriate wonder- straightforward score. Later in has a substantial amount of Michael Kamen’s underscore drenched, mission-oriented vibe the album, the theme is treated extra music and can be ordered is mature and restrained, never to an early sequence of Sam with such lush and varied accom- from any of the specialty film stepping on the drama or over- Jackson’s character’s journey to paniments (including the always music dealers.) —J.W. playing physical antics. But, it the film’s impressive marine welcome Untouchables hemiola ★★★1 rolls its dice on a main theme research station. But this same patterns for woodwinds) that it Felicia’s Journey /2 that simply can’t shoulder the cue (“Journey”) supplies the sometimes becomes overshad- MYCHAEL DANNA burden of carrying such a won- score’s chief annoyance, which is owed. The intimate piano ver- Milan 73138 35896-2 derful story. There’s still a lot of the same audience-clobbering sions entitled “Playing Love” are 15 tracks - 44:48 good writing here, and the wan- terror-overkill that makes John good contrasts to the thick, t first glance one might not ing moments of this album are Frizzell’s Alien: Resurrection so string-laden orchestrations the Abe able to help thinking exceptional enough to make me unlistenable. In fact, the big kill theme usually receives. that, given the title, Felicia’s recommend it to anyone—if only music contained in this cue is “The Crisis” uses a split third Journey is a porno film. On clos- for the first two minutes of “No virtually interchangeable with in the midst of a simple melody- er inspection, however, it is Following.” But, by god, see the the horn-wailing, headache- driven passage in order to convey revealed that this film deals with film! —Jesus Weinstein inducing shock cues of Frizzell’s a sense of beautiful discomfort (a even more compelling issues. score, although I’m sure if I were technique that’s become a recent After the source song, “The Deep Blue Sea ★★ to mention the words “temp favorite of Morricone’s, à la Heart of a Child,” opens the TREVOR RABIN track” I would get a very angry Lolita.) Seldom has Morricone album, Danna’s “Titles” enter Varèse Sarabande 302 066 063 2 letter from someone’s music edi- spaced the dissonance as closely with a wet wash of strings that 10 tracks - 30:11 tor. Elsewhere the terror cues are as this minor second, usually per- perform a swooning source-like eep Blue Sea was a modest enhanced by a positively ferring to displace it by an octave ballad of their own. Following Dbox-office success which Wagnerian choir, but cues like or more for an ethereal effect. the strings is a section of solo combined the shark-derived “Main” suffer from the exact The “wrong” third pounds away soprano singing in Gaelic over a thrills of Jaws with beats from same problem that Alien: unrelentingly in this section, and bass drone—but this is not an every lousy “we’re trapped in an Resurrection had: namely, that it recurs elsewhere in the score impending sign of disaster for underwater station” potboiler every attack cue in the movie is in similar fashion (on the piano the score (as it would be in most ever made, from Deepstar Six to treated like an all-stops-pulled- in “Child,” and in “Second other cases). The Gaelic music is to Leviathan. This out super-climax. The listener Crisis”). acceptable not because Felicia is time the threat comes from killer can be forgiven for tuning out Despite the importance of the Irish, but because of the way sharks who have been mutated the effects of this noise almost piano to the story, the instru- Danna uses it in the score (it’s to super-size and intelligence so immediately, while a creepy little ment does not dominate also not over-used). The Gaelic scientists can suck an Alzheimer- ostinato heard later on (in Morricone’s score as it would vocalist is but one of several curing chemical out of their “Experiment”) bears an uncom- have if, say, had source-like elements in Danna’s enlarged brains, an idea that nat- fortable resemblance to John scored the film. The rag, jazz and score—which is really based on urally leads to no good. Although Carpenter’s theme from blues elements of the score are the eerie mixing and matching of Walt Conti’s mechanical sharks Halloween. Then again, Rabin never intrusive since Morricone (continued on page 42)

NOVEMBER 1999 36 FILM SCORE MONTHLY Bigger and better for the holidays! New Website Features We are also updating our website, www.filmscoremonthly.com, to Toll-Free 888 Number include full tracking capabilities where you can check your order Finally! FSM has a toll-free ordering line for the U.S. and Canada: and subscription status. The site will also remember your infor- 1-888-345-6335. (If it helps you to remember: 1-888-FILM-DEK.) mation (with your permission) for future reference, so you can Outside the U.S. and Canada, call 310-253-9598. save time when ordering. Our Associate Publisher, Chelo Avila, is standing by to take Please order today, and as always send us your suggestions for your calls from 10AM to 6PM Pacific time on Monday, Tuesday and future CD releases and products. Thanks for your support! Wednesday. Outside those hours, the line is connected to an answering machine on which you can leave your order or question for a return call. Lukas Kendall, Editor & Publisher

inherent in all tyrants. It’s adventurous, feature selection spirited and darkly atmospheric, with a vintage Newman love theme. The CD fea- Rio Conchos tures the score remixed to stereo, with Complete Jerry Goldsmith several unused cues. $19.95 Western Score! Jerry Goldsmith came into his own as a creator of thrilling western scores with 1964’s Rio Conchos, a tuneful work that is at times spare and folksy, at others savage and explosive. In many ways it is the Patton/The Flight of the prototype for the aggressive action Phoenix music for which the composer has Classic Jerry Goldsmith war become famous, but it also probes soundtrack plus rare Frank the psychology of the story with con- DeVol adventure score together stant melody. This is the first release of the original film recording of Rio Conchos, on one CD! complete in mono (54:58) with bonus tracks of a vocal version of the theme (2:36) plus Jerry Goldsmith’s Patton (1970) is a bril- six tracks repeated in newly mixed stereo (19:43). $19.95 Monte Walsh liant definition of General Patton, from John Barry’s First the jaunty Patton march to the Western Score! echoplexed trumpet triplets that conjure Two decades before Dances with Wolves, up the ghosts of an ancient, martial Barry scored this 1970 character study of music exclusive to FSM! past. Previous albums have been re- aging cowboys (Lee Marvin and Jack recordings; this is the original film Palance) with his impeccable melodic soundtrack.The Flight of the Phoenix touch. The score (never before released) (1965) is a superb adventure film about features a title song performed by Mama a cargo plane that crashes in the Sahara Cass, beautiful lyrical moments, a thun- desert. Frank DeVol’s rousing, kinetic Get FREE STUFF! See page 41 for details! derous mustang-herding cue, and a dash FSMmarketplace score melodically delineates the film’s of 007. Also included are outtakes, source sharply drawn conflicts and the charac- music, and the 45-rpm single recording ters’ struggle against the encroaching of “The Good Times Are Coming.” $19.95 threat of the desert. $19.95 Welcome to the FSM / cascading Indian attacks. The score has Marketplace! Leave Her to Heaven been remixed in its entirety in stereo- Two Alfred Newman Classics! phonic sound from the 20th Century-Fox We’re pleased to offer FSM dives headfirst into the archives. $19.95 hard-to-find, unusual voluminous legacy of Alfred Newman with soundtrack-related this doubleheader restoration of All About Eve (1950) and Leave Her to Heaven products, including: (1945). All About Eve is Newman’s tribute to the theater world and sympathetic Exclusive CDs underscoring of the Academy Award-win- Prince Valiant ning film’s sharp-tongued women; Leave 100 Rifles Books for music lovers The Classic Adventure Score by Original soundtrack by Her to Heaven is his brief but potent Franz Waxman! Books for composers score to the Gene Tierney-starring noir Jerry Goldsmith Prince Valiant (1954) is a stirring Never before released! One-of-a-kind collectables tale of love and murderous obsession. knights-and-adventure work in the clas- 100 Rifles (1969) is Jerry Goldsmith’s It’s terrific! $19.95 sic tradition of The Adventures of Robin most outrageous western score, featuring Hood and Star Wars. It features a dynam- To order, call toll free bellicose brass, wild percussion and The Comancheros ic set of themes and variations for the melodic Mexican nuggets. The CD fea- 1-888-345-6335, The Complete Elmer Bernstein Prince of Foxes hero, princess, villain, mentor (sound tures the score twice: in newly remixed mail or fax the handy form Western Score! The Unreleased Alfred Newman familiar?) in a stirring symphonic setting. stereo and in the mono mix originally This 1961 film marked Elmer Bernstein’s Adventure Score! The CD includes the complete score as it between pages 40-41, made for the film. It’s an audacious, rip- first of many famous western scores for This 1949 Tyrone Power/Orson Welles cos- survives today, newly remixed from the roaring hunk of Mexican adventure, never or visit our John Wayne: a rousing, melodic Hollywood tume epic boasts Alfred Newman’s 20th Century-Fox archives in good stereo- before available. You’re gonna love it! secure server online at western with a dynamite main theme— arguably greatest achievement at 20th phonic sound with bonus tracks. It’s our $19.95 sort of “The Magnificent Eight”—plus Century-Fox: a colorful, rollicking score first Golden Age Classic! $19.95 www.filmscoremonthly.com classic moments of quiet reflection and capturing the spiritual renewal of the More exclusive CDs on the next page! Renaissance, yet conjuring up the evil

TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9595 • Fax 1-310-253-9598 • Online www.filmscoremonthly.com music exclusive to FSM! Join the Classics Charter Club acclaimed 1973 comedy drama about Harvard law students, with music ranging Step to the front of the line! Send us your name, address and cred- from a light pop love theme to Baroque it card info (VISA, MasterCard or AmEx), and we will automatically adaptations to the haunting “Passing of send each CD upon release. You can return any disc for a full refund Wisdom.” Also includes Americana 6-min. or credit within 30 days. Each CD costs $19.95 plus shipping ($3 main title to Conrack (1974). $19.95 U.S./Canada, or $5 rest of world); no charges until shipping.

Pre-order A Send me everything! Pre-order B Send me each Silver Age Classic CD for $19.95. Pre-order C Send me each Golden Age Classic CD for $19.95. The Return of Dracula Enter the Dragon 2CD set also The Complete Lalo Schifrin To order multiple copies of releases (up to six each), just write how including I Bury the Living, ‘70s Slugfest! many copies you want on the form between pages 40-41. The Cabinet of Caligari and Bruce Lee’s most famous film introduced Mark of the Vampire. him to mainstream American audiences From the composer of Star Trek’s “Amok and cemented his superstar status. Lalo Time” and “Catspaw” comes this historic Schifrin scored this 1973 adventure with cop thriller, Shire’s fat bass ostinatos and deluxe package includes a 16-page color 2CD set of four of his early horror scores: Stagecoach/The Loner his greatest fusion of funky backbeats, creepy suspense cues glue it all together. booklet with dozens of never-before pub- The Return of Dracula (1958) is based on Original soundtracks by catchy melodies, screaming orchestra A sensational, driving, pulsating score in lished photographs and concept drawings the Dies Irae, I Bury the Living (1958) fea- Jerry Goldsmith! and wild percussion. It is the ultimate a class by itself. New packaging; liner by Mad Magazine alumnus Jack Davis tures creepy harpsichord, The Cabinet of combination of symphonic fury with crazy notes by Doug Adams. $16.95 and Don Duga. A wacky and fun blast Stagecoach is the 1966 remake of the Caligari (1962) has a beautiful, romantic ‘70s solos. A short CD was released in from the past! $16.95 John Ford western. The Mainstream CD is theme, and Mark of the Vampire (1957) Japan; this newly remixed and remastered a re-recording; this CD is the first release recalls Fried’s score for Stanley Kubrick’s disc features the complete score (57:14) of the original soundtrack, as conducted The Killing. 24 pg. booklet. $29.95 in chronological order. $19.95 by the composer. The Loner is Goldsmith’s (Shipping charges are same as for a sin- watch what complete contribution to the 1965 gle CD) western TV series by Rod Serling (sounds you listen to like Rio Conchos): main and end titles and two episode scores. $19.95

Warner Home Video has led the way in recent years for video restoration with elaborate laserdisc, DVD and videocas- Deadfall sette box sets of the studio’s Catch John Barry ’60s Vibe! most famous films. The compa- First time on CD! John Barry scored this The Exorcist 1968 Bryan Forbes thriller in the midst of ny has also produced sound- The Classic Horror Soundtrack! his most creative period of the ‘60s. It Fantastic Voyage track CDs available to the public William Friedkin’s 1973 thriller of demonic features his 14-minute guitar concerto, The Complete Unreleased Score only within the larger video possession is arguably the scariest film “Romance for Guitar and Orchestra,” by ! of all time, and it was enhanced by these performed by Renata Tarrago and the packages—until now. FSM has Basil Poledouris: Fantastic Voyage is the classic 1966 sci- frightening, avant garde compositions by London Philharmonic; the title song “My His Life and Music ence fiction movie which follows a minia- acquired copies of the following Penderecki, Webern, Henze and other Love Has Two Faces” performed by Shirley An intimate visit with the composer turized surgical team inside the human modernist composers. This CD also Bassey (“Goldfinger”), plus two never- CDs to sell via direct mail only of Conan the Barbarian, Big body. The score by Leonard Rosenman includes all of the rejected music (14:14) before-heard alternate versions of same Wednesday, , Starship (composer of Lord of the Rings, East of to our readers. which Lalo Schifrin recorded for the (vocal by Malcolm Roberts and Troopers and Lonesome Dove. Take a Eden and Star Trek IV) is one of his most film—never before heard! (Regrettably, instrumental); and vintage, dramatic tour of his work and lifestyle—in his famous and has never been available in “Tubular Bells” & “Night of the Electric Barry underscore. Liner notes by Jon own words—from his methods of any form. It is a powerful, modern orches- Insects” are omitted from the disc.) $19.95 Burlingame. $16.95 composing to his love of sailing and tral work with breathtaking musical col- the sea. The video runs 50 minutes ors, presented here in complete form, in and includes footage of Basil stereo. $19.95 music from conducting and at work on synthesizer mock-ups of Starship Retrograde! Troopers, as well as dozens of behind-the-scenes and family photos, and special appearances by wife Bobbie Poledouris and daughter Zoë. Discover the man behind the music, in a close-up way you’ll never The Wild Bunch see on commercial TV, or experience Restored edition. Limited in print. availability courtesy Warner Mad Monster Party New Reduced Price! Home Video! 30th Anniversary NTSC (U.S. Format) $19.95 The Poseidon Adventure/ The classic Jerry Fielding score, in bril- Collector’s Edition ! PAL (European Format $19.95 The Paper Chase liant stereo, to the 1969 Sam Peckinpah From Rankin/Bass, the creators of TV’s Original unreleased soundtracks western. The 76-minute CD was meticu- Rudolph the Red-Nosed Reindeer, comes Want a free copy of this item? Look by John Williams! lously restored and remixed by Nick The Taking of Pelham 1-2-3 the original soundtrack to Mad Monster for the special offer on page 41! The Poseidon Adventure is the classic Redman for inclusion only with the 1997 First time anywhere! Party. The jazzy score by composer Maury 1972 Irwin Allen disaster movie, with a laserdisc of the film; FSM has obtained a ’s classic ’70s 12-tone Laws, with lyrics by Jules Bass, features stunning title theme and suspenseful limited number of discs to be sold exclu- jazz/funk for the 1974 subway hostage the vocal talents of Boris Karloff, Phyllis interior passages. The Paper Chase is the sively through the magazine. $19.95 thriller. Part disaster movie, part gritty Diller, Ethel Ennis and Gale Garnett. The

TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9595 • Fax 1-310-253-9598 • Online www.filmscoremonthly.com NEW! books for The Score: Interviews with Film Composers composers by Michael Schelle Some of FSM’s best-ever features have been the interviews with film com- posers—the question-and-answer format gives the reader a sense of the personality involved. The Score (1999) is in that con- versational tradition, featuring lengthy transcripts with Barry, Bernstein, Blanchard, Broughton, Chihara, Corigliano, Howard, Isham, Licht, McNeely, T. Newman, Shaiman, Shore, Walker and NEW EDITION! NEW! C. Young. The author is himself a compos- 1999 Film/TV Music Guide MusicHound Soundtracks: The er, and the conversations, while not wholly From the Essential Album Guide to Film, technical, pry deeply and precisely into Music Business Registry Television and Stage Music the composers’ ideas. Published by Is your career worth investing $95? Edited by Didier C. Deutsch, Silman-James Press, 432 pp., softcover. Contains exhaustive directories of record Forewords by Lukas Kendall and $19.95 labels, music publishers, film/TV music Julia Michels NEW! depts., music supervisors, music editors, If you liked VideoHound’s Soundtracks, Getting the Best Score for composer representatives, composers, you’ll love this expanded second edition, Your Film: A Filmmakers’ clearance companies, recording studios, featuring over 3,000 capsule reviews of Guide to Music Scoring performing rights societies, and music soundtrack CDs—including compilations, by David Bell libraries—names, addresses, contact shows and song collections. Many of the Respected television composer David Bell numbers. $94.95 reviews are by FSM’s regular contributors: wrote this book in 1994 to help producers Jeff Bond, Lukas Kendall, Andy Dursin, and directors get the most out of film Daniel Schweiger, Paul MacLean. There music. It’s aimed at filmmakers, but also are also helpful cross-indexes, lists of

provides useful professional information Get FREE STUFF! See page 41 for details! books for soundtrack-related websites, stores, FSMmarketplace to composers and musicians—or any fan record labels and publications, and com- interested in the process. Topics include music lovers poser interview snippets culled from FSM. spotting, communicating, recording, bud- It’s the ultimate guide to every soundtrack geting and licensing, with explanations of under the sun. Published by Visible Ink Want to give the various personnel and entities Press, 872 pp., softcover. $24.95 involved in each; also included are lists of to a friend? agents, clearance companies, glossary terms and resources. Published by Silman-James Press, 112 pp., softcover. $12.95

We are happy to accept gift orders and send them to NEW! whomever you please, com- The Album Cover Art of plete with your message Soundtracks NEW! by Frank Jastfelder and Stefan Kassel, and identification. Please U.S. Soundtracks on CD: Foreword by Saul Bass write on the order form or a Scores for Motion Pictures This 1997 coffee table book is a stunning separate piece of paper the and Television 1985-1999 Music from the Movies: collection of soundtrack LP covers. From name and address of the Price Guide 2nd Edition paintings to photographs to designs, from gift recipient, and any note The Click Book by Robert L. Smith by Tony Thomas westerns to blaxploitation to sexploitation, Comprehensive Timing Tables FSM’s market-standard price guide is This was the original film music book it’s a gorgeous dossier of vivid artwork, we should include. for Synchronizing Music to Film back with a new-look second edition, fea- (from 1971), the “alpha” from which all with covers both ubiquitous and rare. The Maybe Grandma isn’t Created by USC student and composer turing over 2,400 listings of album titles others followed, telling the stories of book is sized like an LP jacket (12” by dying to hear Fantastic Cameron Rose. Click-tempo tables for 6- with composers, label numbers, special Hollywood’s most successful—if hitherto 12”), allowing many of the best covers to Voyage, but there has to be a 0 through 32-0 frame click-tempos (6-0, collectible information and—most of unknown—composers. This updated edi- be reproduced full-scale. Take a trip down 6-1, 6-2, etc.)... Each timing table covers all—estimated values. The listings are tion came out in 1997, shortly before the memory lane, or experience these powerful fellow fan in your life who beat 1 to beat 999 at the given click- annotated to help collectors differentiate author’s death. Composers covered (many images for the first time. This German- would groove to one of our tempo... Large, bold, easy-to-read click- between originals and reissues, commer- with photos) are Stothart, V. Young, Green, published book originally sold for exclusive albums... and tempo values and equivalent metronomic cial albums and rare promos. Find out Newman, Tiomkin, Waxman, Kaper, Rózsa, $29.95—it’s now out-of-print, to boot, come to think of it, maybe All values at the top of each page... Timing, what’s out there, what your prized rarities Steiner, Korngold, Herrmann, Friedhofer, but we have obtained a limited number of About Eve is Grandma’s frame and footage breakdowns for rhyth- are worth, and how much you should Raksin, Antheil, Thompson, Copland, copies for our faithful readers. mic subdivisions within each click- expect to spend to fill out your collection. North, Bernstein, Duning, Rosenman, Published by Edition Olms AG Zürich, favorite film? We’re stand- tempo—including compound meters... Author Robert L. Smith also surveys the Goldsmith, Mancini, Schifrin, Scott, Shire, 128 pp., full color, softcover. $24.95 ing by for your order! Listing and tutorial of standard timing- present state of the market and provides Broughton and Poledouris. Want a free copy of this item? Look for conversion formulas for 24 fps film a checklist for the top 50 collectible CDs. Published by Silman-James Press, the special offer on pg. 41! SPECIAL SUBSCRIPTION speed... Tutorial in SMPTE-to-Absolute Published by Vineyard Haven LLC, 330 pp., softcover. $19.95 OFFER: Give a friend a gift time conversion... Frames-to-Seconds 154 pp., softcover. $17.95 More books on the following page! conversion tables for U.S. and European subscription and we’ll film and video speeds. extend your subscription 430 pp. Price is the industry standard for with 3 FREE issues! click books; this one gives more value for money! $149.95

TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9595 • Fax 1-310-253-9598 • Online www.filmscoremonthly.com This book is actually still in-print, but read this book. * #52, December ’94 Eric Serra, Marc it can be hard to find. It is a brilliant illu- Published by University of California backissues of FSM Shaiman Pt. 1, Sandy De Crescent (music mination of the musician and the man Press. 396 pp., softcover. $24.95 contractor), Valencia Film Music and probably the best film composer Volume One, 1993-96 Conference, SPFM Conference Pt. 1, biography ever written. Issues are 24 pp. unless noted. StarGate liner notes, Shostakoholics Published by University of California Most 1993 editions are xeroxes only Anonymous. Press. 416 pp., hardcover. $39.95 * #30/31, February/March ’93 64 pp. #53/54, January/February ’95 Shaiman Pt. Maurice Jarre, Basil Poledouris, Jay 2, Dennis McCarthy (Star Trek); Sergio Chattaway, John Scott, Chris Young, Mike Bassetti, Jean-Claude Petit & Armando Lang; the secondary market, Ennio Trovajoli in Valencia; Music & the Academy Morricone albums, Elmer Bernstein Film Awards Pt. 1; rumored LPs, quadraphonic Music Collection LPs; 1992 in review. LPs. #32, April ’93 16 pp. Matinee temp-track, SPFM ’93 Conference Report, Star Trek music editorial. The Music of Star Trek: * #33, May ’93 12 pp. Book reviews, clas- Profiles in Style sical/film connection. by Jeff Bond * #34, June ’93 16 pp. Goldsmith SPFM award dinner; orchestrators & what they This is the first-ever history of Star Trek do, Lost in Space, recycled Herrmann; soundtracks, from the original series to Dimitri Tiomkin: A Portrait spotlights on Chris Young, Pinocchio, Bruce the movies to the new incarnations, by by Christopher Palmer Lee film scores. FSM’s own Jeff Bond, with a foreword by This 1984 book (T.E. Books, out of print!) * #35, July ’93 16 pp. Tribute to David Star Trek II and VI director Nicholas Meyer. U.S. Exclusive—Only from FSM by the late Christopher Palmer is the Kraft; John Beal Pt. 1; scores vs. songs, Featured are interviews with composers John Barry: A Life in Music authoritative study of legendary composer Herrmann Christmas operas; Film Jerry Goldsmith, , Fred by Geoff Leonard, Pete Walker Dimitri Tiomkin (1894-1979). Long out of Composers Dictionary. Steiner, Gerald Fried, Leonard Rosenman, and Gareth Bramley print, a few copies have surfaced from #36/37, August/November ’93 40 pp. Cliff Eidelman, Dennis McCarthy, Ron This 8.5” by 10.75” tome is a definitive the U.K. publisher and are now for sale— Bernstein, Bob Townson (Varèse), Richard #55/56, March/April ’95 Poledouris (The Jones, , David Bell, Paul history of John Barry’s music and career, when they’re gone, they’re gone! The book Kraft & Nick Redman Pt. 1, John Beal Pt. 2; Jungle Book), Silvestri (The Quick and the Baillargeon; producer Robert Justman; from his earliest days as a British rock is hardback, 144 pp., and divided into reviews of CAM CDs; collector interest arti- Dead), Joe Lo Duca (Evil Dead), Oscar & and music editor Gerry Sackman. and roller to his most recent films and three sections: a biography, overview of cles, classic corner, fantasy film scores of Music Pt. 2, Recordman’s Diary, SPFM The book also contains an up-to-date, London concert. It is not a personal biog- Tiomkin in an historical perspective, and Elmer Bernstein. Conference Report Pt. 2. complete list of every score written for all raphy but rather a comprehensive chroni- specific coverage of his major landmarks * #38, October ’93 16 pp. John Debney #57, May ’95 Goldsmith in concert, Bruce four TV series; a guide to understanding cle of every single thing John Barry has (Lost Horizon, High Noon, the Hitchcock (seaQuest DSV), Kraft & Redman Pt. 2. Broughton on Young Sherlock Holmes, how certain shows were tracked and cred- ever done: from records to films to televi- films, Giant, 55 Days at Peking and many * #39, Nov. ’93 16 pp. Kraft & Redman Pt. Miles Goodman interviewed, ’94 Readers ited; Classic Trek manuscript excerpts sion to concerts, with plenty of primary more). Also includes a complete filmogra- 3, Fox CDs, Nightmare Before Christmas Poll, Star Trek overview. from Fred Steiner, Gerald Fried, Sol source material from Barry and his many phy, 41 b&w photos, and 9 color plates. and Bride of Frankenstein reviews. #58, June ’95 Michael Kamen (Die Hard), Kaplan and George Duning (in their own collaborators. Rare! $24.95 * #40, Dec. ’93 16 pp. Kraft & Redman Pt. Royal S. Brown (film music critic), hand); and complete cue sheets from James Bond fans will be thrilled by 4; Re-recording The Magnificent Seven. Recordman Loves Annette, History of selected episodes and films. the many behind-the-scenes photographs * #41/42/43, January/Feb./March ’94 48 Published by Lone Eagle Publishing. 224 (from scoring sessions for You Only Live pp. Elliot Goldenthal, James Newton pages, softcover, illustrated. $17.95 Twice, Diamonds Are Forever and The Howard, Kitaro & Randy Miller (Heaven & International Readers Living Daylights) and information relating Earth), Rachel Portman, Ken Darby; Star Take Note! to 007. In fact, Barryphiles overall will be Wars trivia/cue sheets; sexy album covers; astounded at what is probably the music for westerns; ’93 in review. biggest collection of Barry photographs in * #44, April ’94 Joel McNeely, Poledouris the world, from all stages of his career— (On Deadly Ground); SPFM Morricone trib- at work, at home, and at events. Also ute & photos; lots of reviews. included is a complete film/discography * #45, May ’94 Randy Newman (Maverick), and album and film artwork, some in full Graeme Revell (The Crow); Goldsmith in color. concert; in-depth reviews: The Magnificent Published by Samsom & Co., U.K. Seven and Schindler’s List; Instant Liner 244 pp., hardcover, illustrated. $44.95 Notes, book reviews. * #46/47, June/July ’94 Patrick Doyle, Overtones and Undertones: Newton Howard (Wyatt Earp), John Morgan Reading Film Music Film Composers Guide (restoring Hans Salter scores); Tribute to by Royal S. Brown 1997-1998 Fourth Edition Henry Mancini; Michael Nyman music for Hollywood Composers Royal Brown is best-known as the long- Compiled and Edited by films, collectible CDs. Stamp Sheet time film music columnist for Fanfare Vincent J. Francillon * #48, August ’94 Mark Mancina (Speed); by the United States magazine, whose illuminating reviews This is the ultimate resource for finding Chuck Cirino & Peter Rotter; Richard Kraft: Postal Service A Heart at Fire’s Center: have placed film music in a serious acad- out what composers have scored what advice for aspiring composers; classical Baby, you’ve come a long way: the The Life and Music of emic context as well as entertained with films—over 2,600 composers cross-ref- music in films; new CAM CDs; Cinerama USPS has issued six Hollywood Bernard Herrmann their sharp observations. Overtones and erenced with 25,000 films! Never be puz- LPs; bestselling CDs. Composers first-class stamps by Steven C. Smith Undertones is his 1994 book, the first- zled again. Also contains agency con- #49, September ’94 Hans Zimmer (The (33¢) in their Legends of American ever serious theoretical study of music in tacts, Academy Award winners and nomi- Lion King), Shirley Walker; Laurence Bernard Herrmann (1911-1975) stands as Music Series: Max Steiner, Dimitri film. It explores the relationships between nees, record company addresses and Rosenthal on the Vineyard; Salter in a towering figure in film music: not only Tiomkin, Alfred Newman, Erich film, music and narrative and chronicles more. 8.5” by 11”, 416 pp. Lone Eagle memoriam; classical music in films; John was he the most influential film composer Wolfgang Korngold, Bernard the aesthetics of the art form through Publishing. Retail price $55; Special to Williams in concert; Recordman at the of all time, who scored such classic films Herrmann and Franz Waxman. We several eras. Key works analyzed are The FSM readers: $39.95 market. as Citizen Kane, Vertigo, Psycho and Taxi are selling sheets of 20 stamps as Sea Hawk (Korngold), Double Indemnity #50, October ’94 Alan Silvestri (Forrest Driver, but he was an irascible, passionate issued by the USPS; each sheet (Rózsa), Laura (Raksin), Prokofiev’s music Gump), Mark Isham; sex & soundtrack personality famous for his temper and has three Steiners, Korngolds, for Eisenstein, Herrmann’s music for sales; Lalo Schifrin in concert; Morricone outbursts. This 1991 book is the definitive Newmans and Tiomkins, and four Hitchcock, and several scores for the Beat CDs; that wacky Internet; Recordman biography of the legendary composer, cov- Herrmanns and Waxmans. Postage films of Jean-Luc Godard. A supplemental on liner notes. ering his film, television, radio and con- is free with any other item, $1.50 if section features Brown’s probing inter- #51, November ’94 Howard Shore (Ed cert work as well as his personal life: from ordered alone (fear not, we will not views with Rózsa, Raksin, Herrmann, Wood), Thomas Newman (Shawshank his beginnings in through use the stamps to send them to Mancini, Jarre, Schifrin, Barry and Shore. Redemption), J. Peter Robinson (Craven’s his three marriages and many profession- you). $9.95 If you are a film student interested in New Nightmare), Lukas’s mom interviewed; al associations. writing about film music, you have to music of Heimat, Star Trek; promos.

TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9595 • Fax 1-310-253-9598 • Online www.filmscoremonthly.com Soundtrack Collecting Pt. 1. Williams Buyers Guide Pt. 3; Score *#59/60, July/Aug. ’95 48 pp. Sex Sells Too Internationale, Laserphile, Downbeat (Ed (sexy LP covers, lots of photos), Maurice Special Offer! Shearmur), Fox Classics reviews. Jarre interviewed, Vol. 3, No. 5, June ‘98 Mark Snow (X-Files Remembered, History of Soundtrack feature), Classic Godzilla reviews/ overview, Collecting Pt. 2, film music in concert pro Get Free Stuff! Jay Chattaway (Maniac, Star Trek), Bruce and con. Broughton Buyers Guide Pt. 1, Downbeat #61, September ’95 Goldenthal (Batman Special Holiday Giveaway! 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TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9595 • Fax 1-310-253-9598 • Online www.filmscoremonthly.com SCORE surreal than the disjointed and percussive, bell-driven Ice Storm The Winslow Boy ★★★ (continued from page 36) agitated chamber music of the or even as bold as Danna’s fairy- ALARIC JANS opposing styles. After this first second half of this track. There tale shaping of Egoyan’s The DRG 12617 vocal, the next track, “Lost in is some Bartók here (as director Sweet Hereafter? Arguments for 20 tracks - 36:54 the City,” introduces the sparse Atom Egoyan points out), and superiority could probably be he Winslow Boy, adapted and methodical chamber ideas it’s refreshing to listen to a made for any of the above. —J.W. Tand directed by David where Danna really focuses score like this after barreling Mamet from a play by Terence ★★1 much of his compositional atten- through 10 or 15 others that all An Ideal Husband /2 Rattigan, tells the true story of tion. In this specific track, dis- use the exact same style and CHARLIE MOLE an upper-class English boy jointed arcos clash with pizzicati orchestrations. RCA Victor 74321 66922-2 accused of pilfering a few as woodwind sustains birth “Message” stands as under- 22 tracks - 50:04 shillings and the ensuing legal n all honesty, Charlie Mole’s battle to clear his name. Imusic for An Ideal Husband Granted, one would have a hard sounds less like a film score time imagining this film with and more like a dinner any style of music outside of the music/light musical theater presumptive terms that usually hybrid. It’s an interesting govern this kind of buttoned- choice and quite useful in mak- down English storytelling, but ing Oscar Wilde’s play more that doesn’t mean it couldn’t be accessible. Director Oliver done. Unfortunately, Alaric Parker, in his short liner notes, Jans’s sternly determined, says that they hoped to achieve under-tempo, string-dominated a sound “rooted in its period, score—which is well-executed on but [subverted]... with touches its own terms—is hardly revolu- of modernity,” so it’s no great tionary in its evocation of string harmonics. This music is score that doubles as a com- shock to hear dashes of vibra- British bluebloods and their contrasted with the hypnotic pelling chamber work. At the phone, harps, and even some tribulations. The opening drone sections (with the Gaelic start of the piece, the pizzicato subtle synth work. However, theme, with its halting and obvi- vocals) as well as with several ideas are now joined by the wind most of the score’s prominent ous allusions to Elgar, consists other kinds of source elements. solos on the melody (no longer moments reside in strings- mainly of stressed tonal suspen- “The Heart of a Child” and restricted to swells and sustains) with-piano settings. sions and slowly arcing phrases. Danna’s “Titles” are joined by before a grotesque violin solo The score’s main theme is a From there the score develops “My Special Angel” (performed roars over snare and raw string recurring waltz that lilts its way out of a handful of brief tonal by Malcolm Vaughan and also accompaniment. Eventually, the through several cues with its motives and some especially rendered without accompani- grainy source breaks in for a few sense of ballroom chromaticism. (and enjoyably) thick string ment by Bob Hoskins on the minutes before a distant and Mole maintains this light waft- orchestrations. All of this, of album’s final, tragic cut) and sev- nightmarish version of the sappy ing atmosphere through a course, provides the necessary eral archival/source-like pieces “Titles” theme washes it away dependence on dance-like struc- sheen and brow-knitting for the with intentionally bad sound into nothingness. The solo pizzes tures—a cake-walk here, a film’s proceedings, but its con- quality. These tracks (as in then pick up the pieces before habanera there. Cementing sistent density and conformity “Cooking Show” and “Heart the woodwinds and snare re- these moments are some moodi- to a tired trend tend to bog Strings”) are flooded with hiss enter to close the long track with er—and more enjoyable—cues, down even a half hour of disc and pops and are terribly com- Messiaen-like fortitude. (Danna usually for crystalline combina- time. pressed. While all these elements also assaults the source that tions of harps, vibes, bells and The few tracks that do fall are dated in various ways (and begins “Heart Strings,” this time pizzicato figures. While the outside the mold—such as the some also bring with them some with a deathly drone that seeps waltzes and so on certainly cap- skipping (ever so slightly) chro- unfortunate associations) Danna in at the seams.) “Pain Will Wash ture the up-front verbal balletics matic ostinatos of “Late for brings all the styles together Away” is very much like of Wilde’s language, these more Appointment” and the Debussy- with great care. “Message.” It continues to brooding cues best connect with esque whole-tone tinges in The snare drum is introduced emphasize sevenths and ninths the underlying depth, the true “Desmond Tells a Secret”—help in Danna’s chamber settings in (and seconds) while working and nature of the author’s writing. to spike things up, but not “Mother,” where the pizzicato re-working the motives and It’s too bad that these moments enough. On the upside, Jans idea comes back and the bass orchestrations of this vein of the pass so quickly on the disc. comes across as particularly pads turn foreboding. The snare score. The close of the track is Also included are a few adept at weaving his motives continues on into “Factory the most consistently melody-dri- Hungarian dance band numbers together to create a cohesive Drive,” where it’s not quite ven part of Danna’s chamber (featuring Charlie Mole on vio- final product. Here’s hoping together (perhaps intentionally) material and starts to take on lin), a Schubert lied, and dia- that his next work is provided a with the jagged string line. As the Carter Burwell/fable-like logue snippets from the film. more expansive—and less the wet “Titles” track returns at qualities of Danna’s other work. Unfortunately, they don’t do pigeon-holed—canvas. the opening of “Savage Garden” Egoyan calls this score “the most much other than unnecessarily The CD’s sound is pleasantly the same music suddenly sounds adventurous soundtrack that split up the disc with their odd warm, and the package is hand- more disturbing. In the heart of Mychael Danna has composed for placements and are best left some, though with ridiculously the album, this shiny superficial one of [his] films.” Is Felicia’s programmed out. useless liner notes that manage music is even more dark and Journey as adventurous as the —Doug Adams never to mention the composer

NOVEMBER 1999 42 FILM SCORE MONTHLY FSM or the music in their 14 pages. into dramatic or hip-modern “brilliantly disturbing score”— READER ADS However, a page-long history of music. Her combinations of LA Times). Regardless, not only the suffragettes does earn inclu- ancient and modern techniques is Pook’s music effective in Eyes sion. —D.A. are precise. She’s not just taking Wide Shut, it is even better at 1,000,000 a homey beat, and plastering it home on this album. “Masked ★★★1 SOUNDTRACK LPs Flood /2 against plainchant, wildly shout- Ball” (originally titled & VIDEOS JOCELYN POOK ing “here is your bloody modern “Backwards Priests”), uses sam- Rare originals, limited editions, Virgin America 7243 8 48150 2 8 Pook!” “Requiem Aeternam” imported reissues. ples of backwards chanting Catalog—$1. 12 tracks - 54:13 introduces most of the key ele- (which retains some semblance SOUNDTRACK LP PRICE GUIDE—$10. yes Wide Shut composer ments in the Flood album. The of pitch) over a painfully slow- VIDEO—all genres: E Jocelyn Pook’s debut 1997 pedal point, sampled apocalyptic moving chordal string passage SF/Horror, B’s, Silents, Cult. album (not a soundtrack) enti- bird calls and Middle Eastern that’s happily disconcerting and Catalog—$1.00. BIG DESCRIPTIVE CATALOG—$10. tled Deluge gets its first U.S. vocals all sound within the at times epic (capturing some- RTS/FSD, Box 93897 release under the title Flood, opening section. Pook’s early thing of an Ives quality). This Las Vegas NV 89193. because Americans do not know church music vocals carefully music settles much better into what a “deluge” is. Pook’s main incorporate qualities of the exot- the heart of Flood than it does W ANTED idea for this music was “the ic voice work later in the track. scattered amongst the Ligeti Edward G. Lara (ph: 281-999-0497) linking of the two millennia The melismatic passages and other source pieces of Eyes wants the original soundtrack to the [1000 and 2000]... by means of (including counter-tenor) of Wide Shut. —J.W. movie Harper (1966) on Mainstream myth, legends, and fears about “Romeo and Juliet” further Records LP. the end of the world.” The emphasize the Medieval quality material, much of which was of the melodic material, but cer- FOR SALE OR TRADE actually composed in 1994, com- tain dissonances created by Michael Fischetti (714-537-8831) has Spaghetti Western LPs for sale. bines early church music tech- motion over the string accompa- Ken Leicht (1942 Vista Del Mar #3, Los nique with the likes of Arvo niment would never have been Angeles CA 90068; osmose@mind- Part. There’s a consistency from accepted back when the style spring.com) has the following items for piece to piece on this album that was first in use. “Oppenheimer” auction: The Witches of Eastwick CD, makes the music come together features some more straightfor- still sealed in original longbox (min. bid as one large work, which is com- ward combinations of the two $200), Mulan Academy promo CD, mint mendable. separate entities (church and (min. bid $200), Cherry 2000 orig. Pook uses only a few recur- exotic vocals), posing a pure, Varèse CD Club issue # 637/1500, mint ring elements to unite and drive sacred choir over the wailing (min. bid $200). The following items this music. Ominous bass pedals Middle Eastern vocal. The half- are set sale: Hocus Pocus (Debney score promo, mint $150), My Favorite introduce and ground most of step descents in the bass and Martian (Debney score promo, sealed the individual pieces. Sometimes the combination of religious The Paradine Case: Hollywood $75). Auction deadline: January 5, 2000 these pedals remain throughout music with Middle Eastern Piano Concertos by Waxman, ★★★1 (provided we’re all still here). an entire track, while other scales and styles make the clos- Herrmann, North /2 times they become part of a slow ing choral section of Koch International 3-7225-2H1 SEND YOUR ADS TODAY! and methodical bass line. I can’t “Oppenhemier” easily compara- 11 tracks - 50:51 Reader ads are FREE for up to five help but wonder if the pitches of ble to Carter Burwell’s work in or this Koch album, James items. After that, it’s $1 per item. It’s these various pedals (from track scores like Fargo. This choral FSedares and the New that simple. Send to Film Score to track) combine to consum- section is reiterated to close the Zealand Symphony Orchestra Monthly, 8503 Washington Blvd, Culver mate some greater architectural album in the final track, (with David Buechner as a City CA 90232; fax: 310-253-9588; [email protected]. scheme. Pook also samples “Flood.” soloist) perform five piano works sounds ranging from bird calls Pook’s publicity surge is due by renowned Hollywood com- Upcoming Deadlines... are in flux. to water droplets to a J. Robert mainly to Stanley Kubrick’s posers. Considering just how Send your ad asap for inclusion in the Oppenheimer speech. She inte- fondness for this album. He often original piano concertos next possible issue. Categories are grates them sparingly so they used her material in Eyes Wide are required for movie plots, it’s “Wanted,” “For Sale/Trade” or both of don’t seem like they’re there Shut in the same basic manner amazing how few of them ever the above. just to take up time or space. that he used György Ligeti’s— get recorded—aside from the Space Ads for Individual Pook’s melodic and harmonic she just happened to be alive. multiple versions of the Collector/Dealers Only $60 material is usually derived from While Kubrick did have Pook “Warsaw” and “Spellbound” For a 1/6 page space ad, simply send serene church vocals that are write some more music specifi- concertos. Elan’s CD with your list and information to the address above; you can comfortably fit any- contrasted and combined with cally for the film, she never even Santiago Rodriguez is one of the where from 20 to 60 titles, but try to raw, Middle Eastern-sounding saw the script, instead working few exceptions, and this Koch include less information per disc the folk singing over slow-moving based on his descriptions and re-release (originally issued in more you list, or else the print will be string chorale passages. instructions to create concert- 1995) is a worthy companion. microscopic. We will do all typesetting. Rhythmic or melodically orient- like mood pieces. One can’t help Some might carp about the fact Same deadlines and address as above. ed Minimalist patterns some- but wonder if some of the criti- that over half the CD is piano Send payment in U.S. funds (credit times substitute for the chordal cal lauding Pook is receiving is music (and not all concertos, card OK) with list. string sections. misdirected and actually meant despite the sub-title) by film For larger display ads, contact Bob Pook stays faithful to her for the Ligeti, since it was the composers but not written for Hebert at the address above, or email material and to her intentions main element of the score (and movies, but two of the real trea- [email protected]. as the album never degenerates would seem more aptly dubbed a sures fall into that category and

FILM SCORE MONTHLY 43 NOVEMBER 1999 SCORE arguably more unsettling— only to find that the North consistencies in the scores (like both are world premieres. menace for the crash and flash, rapidly becomes your favorite. the main theme and several Franz Waxman’s “Rhapsody creating more contrast between Sedares’s tempos throughout other endearing motives). Such a for Piano and Orchestra,” based the sections. That subdued are incisive, even on the languid dismissal would be like saying on his music from The Paradine quality may not be entirely due “Rhapsody,” and Buechner’s that having Empire Strikes Back Case, was previously recorded to performance choices. The playing is sensual, full-blooded makes Star Wars irrelevant. around the time of the film. sound quality on these first two and altogether marvelous. Only The re-recordings by John Waxman himself conducted it pieces seems somewhat distant the slightly inferior sound is a Debney and the Scottish Royal for RCA, a recording which was and muffled. For a comparison I drawback. —Harry H. Long Philharmonic are not acceptable. reissued on LP in 1979 by listened to my CD of the Debney’s work for Varèse has Entr’acte Recording Society. Gerhardt album; when a 25- The Back to the Future Trilogy been consistently underwhelm- The rhapsody is Waxman at his year-old ADD recording seems ★★★ ing. He can be counted on to most melodic, recalling much of crisper than a recent DDD, ALAN SILVESTRI take every other track at a Rebecca and foreshadowing A something is amiss. Varèse Sarabande 302 065 950 2 painfully slow tempo. In his Place in the Sun, but eschewing The sound sparkles, however, 20 tracks - 53:08 BTTF Trilogy he also takes the the dramatic flourishes and on the solo piano pieces: arèse Sarabande’s Back to slow sections too fast. Back to punctuation of those two and Waxman’s “The Charm Vthe Future Trilogy is the Future is a body of work that most other Waxman scores Bracelet” (heard in its chamber remarkable in several regards. includes a great deal of material (until the very end), deftly slid- orchestra setting on Goyanna, First of all, it compiles a wealth that’s difficult to play to begin ing into some slightly gooey another Koch release) and of brilliantly composed Alan with. Debney likely tried to strings each time a crescendo Herrmann’s monolithic Silvestri material on one long- accommodate for this difficulty threatens to peak. Given the “Prelude for Piano,” the world overdue CD. Secondly, some of level, but his improper tempos unresolved nature of Gregory premiere recording of a short the most vital musical ideas added other problems (e.g., in Peck’s obsession in the film, and possibly unfinished piece. from the trilogy go all but unrep- phrasing) for the orchestra. this is clever composing—maybe The sound is also markedly bet- resented on this album. Then There are extended portions of too clever for its own good. It ter on another first-time record- there is the re-recording issue, this album where even the lay may take several hearings for ing, Alex North’s delightful which some might find to be person will hear various sections this slippery and subtle piece to “Concerto for Piano and most important. The Back to the of the orchestra fighting each work its way under your skin. Orchestra with Trumpet Future III music on this album other. The sound quality is is from Varèse’s original sound- almost as inadequate as the track. It is, naturally, quite playing. The mixing is unfaithful acceptable. John Debney’s re- to the original score and the recordings, on the other hand, sense of scoring stage proximity are nothing short of atrocious. is replaced with a bland, concert Finally, the most interesting hall wash of sound. Comparing aspect of this album is that the re-recording with the OST countless cues are markedly dif- back-to-back is an astounding ferent from the versions record- experience. It will surely make ed for the film. all Silvestri fans appreciate (if This review will not take the they don’t already) how impor- time to revere Alan Silvestri’s tant a good performance is. music for the Back to the Future The best part about the trilogy (which remains Silvestri’s BTTF Trilogy is the chance it If, with the Waxman, Sedares Obligato.” The pensive and sil- masterpiece to date). Sadly miss- gives listeners to hear alternate and Buechner add just a bit of very middle movement has a ing from this compilation is the takes of their favorite cues. spin by emphasizing the averted luxurious romanticism coloring parking lot chase music from the There are different endings, climaxes, on Bernard its bluesy underpinnings. This first film. Also, there is little missing parts, and bad mixing Herrmann’s “Concerto movement is bracketed by two music representing Biff Tannen that enables us to hear lines Macabre” from Hangover which plunge wholeheartedly and the dark underpinnings of that we couldn’t before. For Square they rethink the well- and unabashedly into jazz. The the second film. Much of the instance, the “Skateboard known Charles Gerhardt inter- first alternates insouciant brass music chosen to represent Back Chase” ends differently than it pretation (a recording which with frisky piano romps; to the Future II on this album is does in the film, lacking the Herrmann supervised) by lin- although the composition pre- already covered more effectively rousing main theme as Marty gering on its more lyrical open- dates Leonard Bernstein’s West by the selections from the origi- runs Biff’s car. Perhaps Silvestri ing passages. Even so, their ver- Side Story, it has much the nal film. This does bring up an originally intended to play sion clocks in at a minute less same tone. The final movement important side note: The Back to through that moment in the due to a more vividly demented returns to the feel of the first, the Future II album that has movie; this chase scene is also performance in the scherzo and but with a dramatic urgency, been available does not in any missing the important “tinkly finale. Gerhardt’s more consis- relieved by carefree passages. way satiate the thirst for an descending motive” at the tently thundering approach is Here the recording quality and OST of the original film. People beginning. Also, the BTTF III valid, given the plot circum- the performances coalesce into a who feel that the two scores are teaser attached to the end of stances the music originally dazzling whole. You may be the same are just not familiar the second film (“The West”) served, but this version substi- drawn to this CD by the enough with the material, now ends with a more quaint tutes a more subdued—and Waxman and Herrmann pieces instead perhaps focusing on the and peacefully orchestrated

NOVEMBER 1999 44 FILM SCORE MONTHLY cadence (mainly the same vides a score for this picture solo, wordless female voice rock- here. His grooves aren’t particu- chords though). The piano is (with the assistance of Rupert ing stoically over pop guitar pro- larly memorable and the not miked nearly high enough, Gregson-Williams) that is less a gressions. It eventually breaks motives are even less so. The so all the keyboard-driven sec- sly riff on current overblown into a short but cathartic con- segments are similar in tone, tions from the OST are com- trends in blockbuster science fic- cluding phrase. This is reiterat- making the only real interest pletely lifeless in this recording. tion scoring than a simple com- ed in a more complete version arise from which player will Finally (and not that there pendium of the clichés of the (especially the conclusion) at the take the next solo. aren’t many other differences), genre, which stand uneasily close of the suite. It’s a satisfy- in “Clock Tower Pt. 1,” the alongside a lot of funked-up jazz ing finish thanks to its introduc- toms are inexplicably left out of and mickey mousing for the tion earlier on. This kind of the percussion ostinato and an film’s numerous comedy music is what happens when an important snare line is shock- sequences—and there’s not a actual composer (like Elfman) ingly dropped from the ending. song in sight. The serious sci-fi chooses to write a song (albeit The snare drives that entire stuff can be listened to as almost wordless in this case). It’s any- section in the OST. a companion piece to scores like thing but run of the mill, and Each individual difference The Phantom Menace as well as despite its simplicity and pre- brings up its own questions. the heavy-handed conspiracy dictability is damned close to Were the parts used for this re- vibe of last year’s X-Files: Fight inspiring. recording simply early versions the Future. “The Ships Arrive” is It is hard to say if this suite is or just parts that did not reflect an almost blow-by-blow and representative of the whole changes made by Silvestri on probably fully intentional rip-off score, but it’s a great piece that the scoring stage? Or were cer- of Alan Silvestri’s climactic flows by quickly. In truth, this “Chubby Rain” and the later tain parts never written in to music from The Abyss, which little suite makes me want to tracks on the album use more the score? Was Debney even wasn’t particularly original see the film, but as I understand standard underscore elements aware of the changes? Should itself. The final few cues in gen- it, Natalie Portman refused to in combination with the funk someone with knowledge of the eral are full of acceptable sci-fi do her nude scene in Anywhere properties already established. original score be hired to super- bravado, often recalling David But Here. Then, instead of In fact, “Clothing Store/Daisy vise a re-recording? Or is all of Arnold’s work on StarGate, and removing the actress who obvi- Rescues Kit” even resorts to the above just the result of the “oooh”-ing choir of “Gonzo’s ously wasn’t right for the part, Newman’s cartoon scoring style Varèse trying to do in two takes Goodbye” might as well have the script was changed to with its unisons and syncopated what Silvestri would have done been lifted verbatim from the accommodate her. I will fail to patterns (though still over a in six for the movie? latest James Horner tearjerker generate box-office revenue for backbeat). At about 1:40 into Despite its faults, this exciting score. The quirky comedy music, such a film. —J.W. “The Observatory,” Newman album has something for every- however, is just plain annoying brings in a more urgent, octave ★★1 one. Film/orchestral music fans in any context and had me /2 scaling bass motive that drives will be pleased because the reaching for the Excedrin. DAVID NEWMAN, VARIOUS the section via more traditional music is loud, raucous and enter- Bereft of the sights of Varèse Sarabande VSD-6040 dramatic means than the jam taining even in this watered- Muppets cavorting in big-budget 12 tracks - 41:26 session approach in the earlier down state. Silvestri fans who sci-fi trappings, all the music avid Newman’s work on tracks. are not familiar with BTTF will here has to be taken at face DBowfinger is well-repre- The final cut on the album be thrilled to have a recording of value rather than in the comic sented on this Varèse album, opens with a string chorale and a track like the “Clock Tower” milieu for which it was intended, which features six Newman is unlike anything else repre- scene. And—for the small group which leaves the CD as a mish- tracks totaling 18:21. Short seg- sented. It comes a bit out of left of people who know how truly mash of completely incompatible ments of music are combined field but it’s still nice to hear terrible a rendition Debney has styles. If you loved the movie into longer tracks, so the six David Newman’s original voice given us, there are the startling (and box-office receipts indicate album selections could actually creep back now and then. The changes in various tracks. At the most of you never even saw it) be considered more. However, conclusion of the track has some least, we can have some fun you might find this CD fabu- many of these tracks are quite of the jarring but smile-inducing musing over how, when and why lous—otherwise, beware. —J.B. similar to each other so their modulations that made these changes were made. —J.W. various groupings are not that Newman’s style easily recogniz- ★★★1 Anywhere But Here /2 disconcerting despite the lack of able in the ‘80s. Overall much of ★★1 Muppets from Space /2 DANNY ELFMAN, VARIOUS any transitions. Bowfinger seems to be throwing JAMSHIED SHARIFI Atlantic/20th Century Fox 832334-2P Newman’s score incorporates a mood (achieved as it would be Varèse Sarabande VSD-6060 15 tracks - 59:35 various ‘70s funk elements with source material) over a 20 tracks - 37:49 fter 14 tracks of songs, a including Hammond organ scene as opposed to doing any- f you’re looking for a repeat of A7:35 Danny Elfman suite solos, brass and sax doublings thing specific for individual Ithe winsome vibe of Kermit opens in a Good Will Hunting on characteristic lines and wah- nuances in the picture. As an the Frog singing “It’s Not Easy mode but turns out to be much wah guitar. For the most part album it is not very long but Being Green,” you’re likely to be nicer. The melody is less awk- the funk is used to play through still wears out its welcome due in for a disappointment while ward and the accompaniment scenes with a basic source effect. to its repetitive nature. The CD spinning this disc of music from takes on the ethereal qualities of Newman seems comfortable begins with six source songs, the latest Muppets movie. Morricone’s high string layer- enough with the necessities of including “Super Bad, Super Jamshied Sharifi (a name that’s ing. The next section is based on the genre but there is little of Slick” by . —J.W. fairly Muppetesque itself) pro- a repeating six-note motive for the exceptional sort going on FSM

FILM SCORE MONTHLY 45 NOVEMBER 1999 jumped at the chance to work with him. I sort “The ‘Death of the Firstborn’ sequence was DOWNBEAT of saw it as my way in.” Rupert and Richard actually the most difficult one to get right,” he (continued from page 19) would go on to work in collaboration with continues. “It’s the scene where Moses and Rupert was something of a rebel while Elvis Costello on projects such as Alan Ramses are reminiscing about their past rela- studying, and admits to having been thrown Bleasdale’s GBH and Jake’s Progress, and tionship, and despite this the two still end up out of as many schools as he got scholarships Gregson-Williams looks back on the experi- fighting—and Moses then invokes the final to attend. “To be honest, being thrown out ence with fondness. “It was a great appren- plague, causing Pharaoh’s son to die. That was probably the best thing that could have ticeship,” he says. “I learned more moment was very poignant, and I happened to me at the time. I’d gotten all the advanced orchestration simply thought Hans captured the basic knowledge I needed. I was taught to play from listening to the music Working tragedy of the scene wonderfully counterpoint at the age of nine and, as I men- Richard was writing, and it really through Tony Pleeth’s cello solo. tioned, I was head chorister at St. John’s in helped me work my way up with Zimmer But immediately preceding that Cambridge—but I tended to get myself into through the ranks and get experi- on PRINCE OF was the incredibly eerie part all sorts of trouble which I won’t go into ence in the art of scoring.” where all the mist comes down here!” Ultimately, Rupert chose the path of Gregson-Williams’s solo break- EGYPT was from the sky and starts snaking rock and roll, and during the 1970s and 1980s through was a British movie wonderful, says around the streets of Cairo. My he worked with many bands, most of which called Urban Ghost Story, directed job was to make sure that the were unsuccessful. by newcomer Geneviève Jolliffe. Gregson- scene was appropriate, but not It was after a fateful meeting with compos- Despite the title, Gregson- overblown, so I took the music er Richard Harvey that the direction of his Williams claims that this was not Williamns. down and down and, in the end, career began to change. “Richard and I were a horror movie, but a drama. “It’s “Hans is an all you hear is a soft exhalation of quite into ethnic music—I still go all around an adolescent coming-of-age story, air as the first-born children die. the world collecting weird and wonderful but it’s quite tragic and traumat- icon.” It’s really quite disturbing, but I musical instruments—so we hit it off right ic. The lead character is very mis- think it works well. away. But, while I was growing up, I always understood by her family, and “The other misconception is loved films, and I was especially enthralled by spends a lot of the movie getting in trouble that the technology is taking over and getting the cinematic use of the classical repertoire, with the law, and having experiences with in the way of true creativity. But you have to with things like the use of music by Mahler in drugs and alcohol and sex. It’s powerful stuff, look at it like this: the technology and the Death in Venice, and I’ve always been a fan of and the filmmakers were great. It’s just a state-of-the-art synthesizers are just tools of people like John Barry and, more recently, shame that it got such a limited release. So the trade. You still need the musical know- Thomas Newman. When Richard got the far, it’s only been released in Scotland, but it how in the first place. I mean, you’ve just got opportunity to do some work for British TV, I looks as though it’s going to be released else- to look at the people there—Harry, John where shortly.” Gregson-Williams felt that the Powell, Gavin Greenaway. They’re all fantas- score needed to be quite small in scale, and tic musicians and composers in their own wrote 50 minutes of original music mainly for right, and they have access to the best musi- SCREEN flutes and piano. cal technology money can buy. It’s not the technology doing the work. The technology is From Rock Songs to Stone Tablets there to assist and enhance and make the job ARCHIVES Other small scale projects for television fol- easier. If you can afford it, why not use it? lowed, but Gregson-Williams maintains that Surely, that’s the whole point. I personally ENTERTAINMENT working with Hans Zimmer on The Prince of find that having a decent and technologically Egypt is still the greatest moment of his advanced studio increases my musical output Large selection of career to date. “Hans is an icon,” he claims, immensely. Using sequencing — “and in my opinion many of the criticisms Steinberg’s Cubase—allows me to speed up new domestic and aimed at the whole Media Ventures setup are my creative processes in short periods of time, totally unfounded. The first most common and I can quickly produce a version of the import releases, misconception is that, to be blunt, everyone score for a director before recording the score else does the work of writing themes, while with live or sampled instruments.” older releases and Hans takes all the credit. Well, I spent three months working with Hans in Los Angeles on Scratchin’ to Scratch Backs By out-of-print CDs various scenes for —the Gregson-Williams’s latest score is for the sandstorm sequence where Moses is awoken British romantic comedy Virtual Sexuality. Major credit cards accepted. by a camel, and the ‘Death of the Firstborn’ He was initially approached to score the film Write for free catalog! sequence—and all the themes there were by his agent, Maggie Rodford at Air-Edel, who written by Hans. My job was to take the the- had been contacted by director Nick Hurran PO Box 500 matic content that Hans had come up with, (creator of critically acclaimed Remember Me? Linden, VA 22642 and work it into my own music for the scene. and Girls’ Night). “I didn’t know Nick before- There was a lot of discussion, a lot of debate hand, but I knew of him, and when Maggie ph: (540) 635-2575 about the contextual meaning behind the film came to me and said that she thought this fax: (540) 635-8554 and how the music relates to that, but the film was available, I jumped at the chance.” e-mail: [email protected] ultimate driving force was Hans. To see him The film stars Laura Fraser as Justine, a at work, being creative, and being in that frustrated 17-year-old girl who, after a last- visit: www.screenarchives.com atmosphere was wonderful. Plus, Hans is a ditch attempt to finally lose her virginity with phenomenal orchestrator. That’s something the school stud (Keiran O’Brien) goes sadly people don’t realize. wrong, visits a trade fair with

NOVEMBER 1999 46 FILM SCORE MONTHLY her nerdy pal Chas (Luke De Lacey). At the directors. They gave me totally free rein with fair, Fraser ventures into the state-of-the-art PETER THOMAS my composing. They stated their requests Narcissus Make-Over Machine and creates a (cintinud from page 23) where they would like to have music and digital image of her dream-man inside. soundtrack a totally new pulse. He, who what kind. This approach is very helpful for a However, a technical malfunction causes an started to compose with the stylophone1, composer. explosion and somehow the image comes to has proven that film music does not always JB: Which compositions do you consider to life in the shape of Jake (Rupert Penry- have to follow a traditional path. Sylvester be your greatest accomplishments? Jones), a problem confounded by the fact that Levay, a really super great man (Hungarian) PT: For a very long time I have loved the despite his hunky good looks, he has Justine’s played piano with me in The Peter Thomas music of Uncle Tom’s Cabin; the theme song mind and memories. Sound Orchestra. He made his own way, he for Kitt and Happening in White3; Gregson-Williams describes his music for knows how to compose, he is crazy; I know [directed by] Gunther Sachs; Chariots of the Virtual Sexuality as “camp, hip-hop, his Airwolf2. Gods. freestyling DJ fun,” a summary that score JB: I would like to hear more of your film fans are highly unlikely ever to hear again. work; nonetheless my favorite of what I have The future will still contain the special Working with the popular British DJ Ad, heard is Space Patrol. I think it is an extreme- sounds of Peter Thomas. The Bungalow reis- Gregson-Williams wrote 40 minutes of origi- ly exciting score, as good and as wild as any- sue of the Space Patrol soundtrack is appar- nal music over the course of six weeks, and thing by Morricone or anybody you’d care to ently a critical hit in England. The American created three distinct themes: a funky “con- name. Any comments about your music for band Combustible Edison has collaborated ceptual” theme for the lead characters, a this series? with Peter and produced a single called romantic theme for Justine and Jake, and an PT: That was produced live, not dubbed, “Bluebeard,” and Matthias Künnecke and intentionally overblown “baddies” theme to which, musically, is today very difficult to Stefan Kassel have released the very hip and accompany the escapades of the nefarious reproduce. However, despite being so pecu- wild Thomas collection called Moonflowers Narcissus creators, who want to kidnap Jake liar, it is still within an audible sound range. and Mini-Skirts (Marina MA 39). FSM for their own gain. Although much of the My dream is to continue to produce things score is synthesized, Gregson-Williams like that, possibly in the U.S. I can produce 1. The stylophone is a miniature monophonic elec- worked with several live and sampled acoustic such a CD in two and a half days and mix it tronic keyboard instrument developed by Brian instruments, including country fiddles, jazz in one day. Maybe someone who will be Jarvis in 1967; it was originally intended as a toy. trumpets and harmonica. The score’s gim- reading this might be interested in such a 2. Sylvester Levay wrote the theme for Airwolf, an mick comes through the use of hip-hop-style project—I am available. American TV series, and also did the arrange- “scratching,” a technique created by rappers JB: How much creative autonomy did you ments on Moroder’s Cat People. in the late 1980s, which gives the score some- typically have on your many film assign- 3. Happening in White is an unreleased mid-‘60s thing of a retro feel. ments? “ski-bum” flick, directed by Bridgitte Bardot’s old One of the problems Gregson-Williams PT: I was lucky enough to have fantastic boyfriend, with a great Thomas score. faced was the proliferation of pop songs used throughout the film, many of which were placed because of the contractual obligations of the film’s producers. “Basically, I tried to Soundtrack, Original Cast and Personality LPs & CDs work my score in and around the songs as Over 3,500 high-quality, carefully graded LPs & CDs for sale by mail order. best I could. EMI, who are releasing the soundtrack, were obligated to promote a new Many rare and scarce items available. young group called Pocket Size on this film, so Our unique grading system assigns 3 separate grades to each album, I had to be flexible. A lot of the work was done taking the guesswork out of buying by mail. Free catalog available. in almost improvisatory fashion, with myself and Ad and the other soloists working togeth- All major credit cards accepted. er almost like a jam session. I did actually write a song based on my main theme, but it was dropped from the movie.” The sound- track, released in the U.K. last July, features two short tracks of Gregson-Williams’s score, along with a dozen or so pop songs. After finishing work on Virtual Sexuality, Gregson-Williams collaborated with composer Make sure your CD looks as good as it sounds Jamshied Sharifi on the new movie from the graphic design & production for Henson studio, Muppets from Space (several promos • commercial releases • private labels of Rupert’s tracks are represented on the score album). He is also hoping to start work “Thanks for on three new films: a comedy about the coun- such great work; terfeiting business, a gangster thriller, and a horror movie with spiritual overtones (which the promos are would allow Gregson-Williams to combine his clever, tasteful three passions into one score—orchestra, cho- and classy.” rus and ethnic music). —Jonathan Broxton —Bruce Broughton

Thanks to Glen Aitken, Pete Briggs and Rupert Contact Joe Sikoryak • 510-654-4419 • www.designwell.com Gregson-Williams. FSM

FILM SCORE MONTHLY 47 NOVEMBER 1999 RETROGRADE

You’ve Got Awards!

LIFE IS BEAUTIFUL FOR SONGWRITERS AND COMPOSERS WHEN THEY GET PAYBACK AT THE BMI FILM AND TELEVISION AWARDS, HELD MAY 19, 1999

UNDERCOVER OP: BROADCAST NEWS: Breakout composer Television composers (NYPD Blue, Elia Cmiral (Ronin) Law & Order), Ian Dye (NYPD Blue), Vice stands tall with President Alison Smith (BMI, Performing BMI’s President Rights), and composer Danny Lux (Ally and CEO, Frances McBeal) gather after the ceremony (top). W. Preston. Mark Mothersbaugh (The Rugrats Movie) leaps from small to big screen (left).

1999 Film Music Award Winners

David Arnold Thomas Newman Godzilla The Horse Whisperer Chris Boardman Alan Pasqua Payback The Waterboy Trevor Rabin The Matrix Armageddon Randy Edelman Enemy of the State Six Days, Seven Nights Lalo Schifrin George Fenton Rush Hour You’ve Got Mail Stephen Warbeck Richard Gibbs Shakespeare in Love H-E-E-E-R-E’S JOHNNY: Dr. Doolittle Harry Gregson-Williams John Williams (Saving Private Ryan, Stepmom) strikes Jerry Goldsmith Enemy of the State a pose while accepting the Richard Kirk Award for Mulan Antz Outstanding Career Achievement. Michael Kamen John Williams Lethal Weapon 4 Saving Private Ryan Mark Mothersbaugh Stepmom The Rugrats Movie

NOVEMBER 1999 48 FILM SCORE MONTHLY Score Two In addition to the Film and Television awards, here are a few other noteworthy faces from the past seasons...

A FISTFUL OF AWARDS: TV composer Marty Davich (ER) accepts with BMI’s Doreen Ringer Ross (above).

BMI’s Rick Riccobono spots composer Laura Karpman as she takes three awards for The Living Edens series (below).

GO, BABY, GO: Director/Cinematographer Doug Limon and Julianne Kelley honored composer BT at a screening of their film Go.

1999 Television Music Award Winners

Dennis C. Brown Bruce Miller Dharma & Greg Becker Marty Davich Frasier OSCAR, OSCAR: ER Chuck Norris BMI held a luncheon to honor Academy Award-winning Ian Dye Walker, Texas Ranger composer Stephen Warbeck (Shakespeare in Love), who NYPD Blue Darryl Phinnessee was joined by John Tempereau (Soundtrack Music Steve Hampton Frasier Associates); Ringer Ross (BMI), Cathy Schleussner (SMA), Just Shoot Me Mike Post and Ray Yee (BMI). Robert Israel Law and Order 20/20 NYPD Blue Kevin Kiner Bennett Salvay Walker, Texas Ranger Providence Korbin Kraus W. G. “Snuffy”Walden Just Shoot Me Providence The Drew Carey Show Providence The Norm Show Marc Lichtman Tirk Wilder Touched By an Angel Walker, Texas Ranger Paul McCartney Allee Willis Providence Friends

FILM SCORE MONTHLY 49 NOVEMBER 1999