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Home , 5 Tracks, Alexandre Desplat, Alfred Newman (composer), Andrea Morricone, A Mighty Wind, A Romantic Adventure

Volume 9, Number 1 Original Music for Movies and Television

Sighs and whispers PG. 12 Finding NEWMAN THOMAS’ BIG YEAR The Best &THE WORST FSM RATES 2003

Williams IN A CHICAGO DEBUT

Kubrick OVERLOOKED THE SHINING’S SCORE

PLUS: 22 NEW CD REVIEWS

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7 252 74 93704 2 $4.95 U.S. • $5.95 Canada Filmscore1274 1/27/04 10:45 AM Page 1

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������������������������� JANUARY 2004 CONTENTS

DEPARTMENTS COVER STORY

2 Editorial 14 Finding Newman In With the Good Air, Fresh off the huge success of Disney’s and Out With the Bad. HBO’s , talks about his art, his imitators, and his continuing quest to evolve his 4 News trademark sound. Award Winners and By Doug Adams Nominees! 5 Round- FEATURES What’s on the way. 14 Going, going, Cohn. 5 Now Playing 10 Williams in the Windy City Movies and CDs in While we were busy lamenting his absence from music release. in 2003, was busy composing his Concerto for 6 Pukas Horn and Orchestra. Read how it went over at the Chicago The Appleseed Saga, premiere. Part 5. By Doug Adams 7 Upcoming Film Assignments Who’s writing what 18 Making the Best of the Worst for whom. After what we here at FSM consider one of the weakest film 8 music years in history, it’s time to get a few things off our Film music performed chest. You’ve been warned. around the globe. By Jon and Al Kaplan, Jeff Bond, Doug Adams, Jason Comerford, Joe Sikoryak and Scott Bettencourt 9 Mail Bag 18 Can’t get no satisfaction. In Response to “Sami’s Tirade.” 44 Mysteries of the Overlook Film and author Dr. Leonard Lionnet contributes 12 Downbeat his first in a series of articles on music in film, beginning and Light. with a look at Kubrick’s classic The Shining. By Leonard Lionnet 30 Score Another heaping helping of new and old releases reviewed.

36 FSM Marketplace

44 He-e-e-re’s Stanley.

On the Cover: Tuneful Tommy Angels in America artwork ©2003 HBO; Monthly (ISSN 1077-4289) is published ten times a year (with double issues in May/June and November/December) for $36.95 per year by Vineyard Haven LLC., 8503 Washington Blvd, Culver City, CA 90232. Periodicals postage paid at Culver City, CA and additional mailing offices. Finding Nemo ©2003 / POSTMASTER: Send address changes to , 8503 Washington Blvd, Culver City, CA 90232 Animation Studios. All rights reserved.

FILM SCORE MONTHLY 1 JANUARY 2004 EDITORIAL

In With the Good Air, Out With the Bad VOLUME 9 Some positive thoughts for 2004 NUMBER 1

just got back from the sucks. There’s no humanity to EDITORIAL STAFF annual winter NAMM it anymore. They say the bud- Editor & Publisher Imusic merchandise conven- gets no longer afford it. I think LUKAS KENDALL tion, and I feel like my head’s that’s a cop-out. I think there’s so Executive Editor about to explode. Every year, much to be gained from working JONATHAN Z. KAPLAN the International Music Products live back into the fold Managing Editor Association puts on several trade that all it takes is the people with TIM CURRAN shows and expos, the best-known budgetary and creative pow- Design Director of which are the summer show ers to force the issue. And jeez, JOE SIKORYAK in Nashville and the winter show I’m not even talking about full Supervising Content Consultant in Anaheim. This is the most orchestras here. Just a live player AL KAPLAN Editor-at-Large incredibly gargantuan, excessive or two on a score can make all JEFF BOND floor show of music merchandise you’ll likely ever the difference in the world. So here’s my challenge: Copyeditor see in one place. Aisle upon aisle of pro-audio gear, , start working live players into your work. STEVE GILMARTIN acoustic and electronic instruments, digital-audio It won’t kill your budget (or it shouldn’t), it’ll vastly Contributing Writers workstations, deejay equipment, gadgets and gizmos, improve your music, and maybe, little by little, we’ll DOUG ADAMS sheet music, instrument cases, day-glo-colored trum- be able to start putting some humanity back into the STEPHEN ARMSTRONG pet mouthpieces, woodwinds with glittery lacquer...I music we all claim to love. SCOTT BETTENCOURT could go on all day and not get to everything. And how does this relate to first issue of the new JASON COMERFORD I’ve always enjoyed the show. Last year I saw John year? It doesn’t really. But this issue is filled to brim LUKE GOLJAN Tesh. But I usually spend the majority of my time in with great stuff, from our unique interview with ANDREW GRANADE the audio-gear sections, perusing the newest software Thomas Newman to our always-provocative Year NICK JOY STEVEN A. KENNEDY demos, listening to the latest drum loops and getting in Review feature. I didn’t contribute to this year’s LEONARD LIONNET generally exhausted from the sheer volume level of article, but I will opine on this: combative synth sounds. So much of it is overkill DARREN MACDONALD 1. The Return of the King featured the best film and IAN D. THOMAS and hype that it all quickly becomes irrelevant in the film music of the year. JASON VERHAGEN grand musical scheme. 2. The sound staff and producers of the abomina- CARY WONG But this year I decided to start on the floor with ble S.W.A.T. should be shot and permanently maimed the acoustic instruments. Yeah, I know, god forbid BUSINESS STAFF for what they did to ’s music. I even mention that term in today’s electronically 3. featured the second-best film driven film- and TV-music climate. But that’s what Editorial & Subscriptions music of the year. Sure they were all songs, but they I did. I spent hours checking out all the saxes and 8503 Washington Blvd were great songs, so who cares? guitars, orchestral percussion and drums kits, flutes, Culver City, CA 90232 4. Whichever Media Ventures monkeys wrote/ PH. 310-253-9595 and mandolins. I watched as two orchestrated/mandated/approved the intimate FAX 310-253-9588 guitarists—who’d never met each other—sat down, “Swordfight Between Johnny Depp and Orlando E-MAIL [email protected] jammed and sounded as though they’d been playing Bloom” cue in Pirates of the Caribbean to be on the Sales & Marketing Manager together for years. It all made me very happy...and same enormous orchestral scale as the pieces BOB HEBERT sad at the same time. This is what music is. This is should be hacked to death with a long-handled hoe. 8503 Washington Blvd what music should be. And this is the part of today’s Culver City, CA 90232 5. The good ones aren’t working enough. commercial music that’s dying. Music is about peo- PH. 323-962-6077 6. The bad ones are working too much. ple. It’s about the magic that happens when a human FAX 310-253-9588 being picks up an instrument and plays a composer’s In closing, let me say that a quick analysis of recent Supervising Mail Order Handler music instead of the composer pressing down on a history gives me hope: 2001 had Black Hawk Down; MAILMAN AL keyboard to make an approximation of that sound. 2002 had Minority Report, Harry Potter and the Chamber of Our Website Now I’m not criticizing the evolution of electronic Secrets, The Two Towers, and Catch Me If Is updated five times weekly! gear; I love that stuff as much as the next guy. I just You Can; 2003 had Pirates of the Caribbean. See a pattern? Point your browser at: think it’s sad that so many of today’s young compos- Here’s to 2004! WWW.FILMSCOREMONTHLY.COM ers are climbing the industry ladder with no idea © 2004 Vineyard Haven LLC. how to compose for real people. Worse yet, many Printed in the U.S.A. have never had the experience of working with live musicians. (I can’t believe I’m even writing that.) And we wonder why so much of today’s film music Tim Curran, Managing Editor

JANUARY 2004 2 FILM SCORE MONTHLY Want scores? We’ve got ’em! www.intrada.com $29.99 $19.99 $17.99

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visit: www.intrada.com e-mail: [email protected] fax: 1-510-336-1615 call: 1-510-336-1612 $15.99 $29.99 Lmtd. Ed. w/DVD $29.99 The Intrada Special Collection Volume 13 Bring Me the Head of Alfredo Garcia & The Killer Elite by The world premiere of Fielding’s complete score to Bring Me the Head of $15.99 $14.99 $16.99 Alfredo Garcia is remixed from the original stereo elements and is presented complete, including music excluded from the film. A lengthy suite from the darkly-tinged The Killer Elite is also included. Both scores are in stereo. $19.99 $19.99 $19.99 $19.99

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JANUARY 2004 2 FILM SCORE MONTHLY Record Label Round-up The Shopping List • Now Playing Upcoming Film Assigments Concerts • On the Air • “Pukas”

NEWS —Girl With a Pearl “Do Not Trust Earring to Hope” —Cold Mountain

n addition to the Globes, ROTK BAFTA winners will be Ihas received an Oscar nomi- announced Feb. 15. nation for Best Score, amazing considering the voting mess that Quick Takes surrounded The Two Towers’ nomi- nation last year. Since he already ore Awards News...The won an Oscar for Fellowship, it’s MBroadcast Film Critics unlikely that Shore will win for Association has given its ninth Return of the King, but in light of annual Critics’ Choice awards: his wonderful evening at the won Best Golden Globes, who cares? Here Composer for : are the official Oscar nominations The Return of the King, and the Best for film music: Song award went to “A Mighty Wind” from A Mighty Wind. LORDING IT OVER: joins his collaborators onstage at the Golden Globes. Original Score The Lord of the Rings: The Return of the he Film Critics The Golden Globes Become King, HOWARD SHORE TAssociation has also given Big Fish, its latest film awards. You may Our Favorite Awards Show Finding Nemo, THOMAS NEWMAN remember that this is the orga- House of Sand and Fog, nization that threatened to can- his year’s Golden Globes were treated to a double dose of Cold Mountain, GABRIEL YARED cel its awards in protest of the Twere a surreal affair, with The Howard Shore, plus a wonder- screener ban. Benoit Charest and Lord of the Rings: The Return of the ful surprise appearance by Fran Original Song Mathieu Chedid won for Music/ King winning all four awards for Walsh, who also accepted for Best “Into the West” (The Lord of the Rings: Score for The Triplets of Belleville, which it was nominated, includ- Song. Can you remember the last The Return of the King), , and the runner-up was the ing both Original Score and time that the actual best score Howard Shore and entire group of for A Song honors. Audience mem- and best song took the prize at “A Kiss at the End of the Rainbow” Mighty Wind—Christopher Guest, bers at the Jan. 25 awards gala any awards show? (A Mighty Wind), Michael McKean and , Eugene Annette O’Toole Levy, Michael McKean, Catherine SHORE ’NUFF: Howard gets bussed by Gwen “Spruce Goose” Stefani and Queen Latifa. “Scarlet Tide” (Cold Mountain), T-Bone O’Hara, Annette O’Toole, Harry Burnett and Shearer and Jeffrey C.J. Vanston. “The Triplets of Belleville” (The Triplets of Belleville), Benoit ilm and TV composer Debbie Charest and Sylvain Chomet FWiseman was recently “You Will Be My Ain True Love” awarded an M.B.E. in the Queen’s (Cold Mountain), New Year’s Honors List 2004 for services to the film industry.

BAFTA Nominees ave the date...The Film Music Announced SSociety will be presenting its “Film Noir: The Music That Sets he British Academy of Film the Tone” exhibit in , Tand Television Arts film CA, April 8–June 7. On display music nominees are: will be music sketches and scores, HOWARD SHORE—The Lord of the Rings: photographs, disc recordings, The Return of the King production-related materials, RZA—Kill Bill, Vol. 1 correspondence and much more. KEVIN SHIELDS—Lost in Translation Stay tuned for more details. FSM

JANUARY 2004 4 FILM SCORE MONTHLY FILM SCORE MONTHLY 5 JANUARY 2004 RECORD LABEL ROUND-UP New Announcements and Incoming

Aleph Return of the King, on which Galway FSM Forthcoming from ’s was a featured soloist. Our Golden Age Classic presents label is Dirty Harry. the return of a “foxy old friend” www.alephrecords.com in the person of . Due late winter is Battle Cry His score to The Prisoner of Zenda All Score Media (Steiner, 1955, from magnetic (1937) was re-orchestrated in 1952 Still forthcoming is Maerchenland, a tracks). Forthcoming are The by for the color compilation of the highlights from Fountainhead, Johnny Belinda and The remake, and we are releasing that the classic Eastern Bloc/German Three Musketeers (all Steiner). version—in mono. Our Silver Age fairytale movies. tel.: 540-635-2575; Classic sports a pair of scores by www.allscore.de www.screenarchives.com Frank Cordell for Cinesoundz : Khartoum (1966) is a reissue BMG Due imminently is The Ennio of the original LP masters, with Available now is Quiet on the Set— Morricone Remixes Vol. 2 (2-CD set one bonus cue, and it is coupled James Galway at the Movies, featuring featuring Herbert, Hosono Nortec with the never-before-released flautist Galway performing themes Collective). to 1M1 from films he played on, including www.cinesoundz.com. (1969), both in stereo. Still forthcoming is a special edi- (Horner), tel: +49-89-767-00-299; fax -399; pre- Next month: A golden 2-CD set of tion release of Bliss (), (Morricone), Emma (Portman), orders by mail: [email protected] historical opulence, and a shiny followed by ’s Far and Away (Williams), Forrest silver disc of futuristic fantasy. orchestral scoring and songs for Gump (Silvestri), The Horse Whisperer Disques Cinémusique John Gardner’s Grendel (Thomas Newman) and Il Postino Forthcoming is Fantastica (Lewis GDM/Hexachord Grendel and The Naked Country. (). Noticeably absent Furey). www.disquescinemusique.com Due imminently is Professor [email protected] • www.1m1.com.au from the CD is Howard Shore’s The Zamori’s restoration of Francesco

NOW PLAYING: Films and scores in current release Against the Ropes n/a n/a My Baby’s Daddy Bungalo* The Big Bounce GEORGE S. CLINTON Varèse Sarabande The Butterfly Effect MICHAEL SUBY La-La Land Catch That Kid GEORGE S. CLINTON n/a Chasing Liberty CHRISTIAN HENSON n/a Cheaper by the Dozen n/a The Company Sony Classical** Girl With a Pearl Earring ALEXANDRE DESPLAT Lions Gate Latter Days CHRIS ANTHONY MILLER n/a Miracle Hollywood* Monster BT n/a Paycheck JOHN POWELL Varèse Sarabande ELIZABETH DRAKE Move (import) The Perfect Score JOHN MURPHY n/a Teacher’s Pet STEPHEN Disney** Tokyo Godfathers KEIICHI ZUZUKI Joy Ride** Torque TREVOR RABIN n/a The Triplets of Belleville BENOIT CHAREST, MATHEIU CHEDID Higher Octave (import) Win a Date With Tad Hamilton! Sony* You Got Served , B2K Sony* The Young Black Stallion n/a *Song compilation with less than 10% underscore ** Mix of songs and underscore

JANUARY 2004 4 FILM SCORE MONTHLY FILM SCORE MONTHLY 5 JANUARY 2004 RECORD LABEL ROUND-UP

De Masi’s score to the Folco Quilici Milan Prometheus Sony Classical filmIndia . Also in preparation Available now is Mexico and Due in the spring is an expanded Due Feb. 24 is The Passion of the is Footprints in Jazz (Mario Mariachis, a CD/DVD from Robert version of Basic Instinct (Jerry Christ (). Nascimbene). Rodriguez’s Mariachi trilogy. The CD Goldsmith). www.hexacord-america.com will feature previously unreleased Varèse Sarabande email: [email protected] music from El Mariachi, Desperado Rhino/Rhino Handmade/Turner Available now: Robocop (Basil and Once Upon a Time in Mexico, as Forthcoming are Three Little Words Poledouris; remastered, w/ Intrada well as music that inspired the (Kalmar/Ruby), with bonus bonus tracks). Due Feb. 24: Chitty Coming Feb. 24 is Intrada Special trilogy. The DVD includes footage tracks from Yolanda and the Thief Chitty Bang Bang (music and lyr- Collection Vol. 13—Bring Me the from recording session, live (Warren/Freed), and DuBarry Was ics by Richard M. and Robert B. Head of Alfredo Garcia/The Killer performances and interviews. a Lady (, various), with Sherman), Traffic: The Miniseries (Jeff Elite (Jerry Fielding). bonus tracks from Meet the People Rona) and Twisted (Mark Isham). www.intrada.com Pacific Time Entertainment (various). www.varesesarabande.com Updated release dates: Due Jan. www.rhino.com, www.rhinohandmade.com La-La Land 12: Hybrid (Monteith McCollum; Virgin France Available now is The Butterfly Effect music performed by Loose Screen Archives Entertainment Available now is Assault on Precinct (Michael Suby). Coming soon are Strings); March 22: Billibong Available now is The Black Swan (A. 13 (). The Fantasy Films of (fea- (Dorian Cheah); April 13: The Best Newman). Forthcoming is Keys of turing music from Atlantis and 7 of...Volume 1 (compilation includes the Kingdom (Newman, 2-CD set). Please note: Faces of Dr. Lao) and Richard Gibbs’ , , Craig www.screenarchives.com We endeavor to stay up-to-date score to the SciFi Channel minise- Pruess, Ed Bilous, ). with every company’s plans, ries Battlestar Galactica. www.pactimeco.com Silva Screen but sometimes bad things www.lalalandrecords.com Due Feb. 10 is Captain Scarlet happen to good labels. Please Percepto (; British TV). Coming bear with us if albums are not Due imminently is ’s Forthcoming are two Vic Mizzy this spring is the Essential Dimitri released as announced. FSM The Adventures of Mark Twain, which titles, The Ghost and Mr. Chicken (due Tiomkin 4-CD set (see FSM Vol. 8, will also be released in 5.1 sound in February) and The Reluctant No. 9 for a complete track listing). on DVD Audio. www.hnh.com Astronaut. www.percepto.com www.silvascreen.com

JANUARY 2004 6 FILM SCORE MONTHLY FILM SCORE MONTHLY 7 JANUARY 2004 UPCOMING ASSIGNMENTS Who’s Scoring What for Whom?

Graeme Revell The Chronicles of Riddick Favreau), Godsend (w/ Robert De Niro). (w/ Vin Diesel), Catwoman (w/ Halle V-W Berry and Sharon Stone). James Venable Jersey Girl (dir. Kevin William Ross Ladder 49. Smith), Ugly American, Eurotrip. S-T John Williams : Episode III, Harry Team America. Potter and the Prisoner of Azkaban, The Michael G. Shapiro Home Room. Terminal (dir. Spielberg, w/ Tom Hanks). A-B I-J-K Theodore Shapiro Starsky & Hutch (w/ Y-Z The Stepford Wives (dir. Mark Isham Twisted (fomerly The Blackout , Owen Wilson). Gabriel Yared Troy (dir. Wolfgang , w/ ). Murders; dir. ), Spartan Shark How to Go Out on a Date in Queens Petersen). Luis Bacalov The Dust Factory, Bride of (), Miracle. (w/ Jason Alexander). Scenes of the Crime the Sea. Adrian Johnston If Only. Howard Shore (dir. Martin (w/ ), Madison (themes Dark Water. Jan A.P. Kaczmarek J.M. Barrie’s Scorsese), (dir. Peter only). Being Julia. Neverland (w/ Johnny Depp, Dustin Jackson). The Notebook. Johnson Family Vacation, Hoffman). Ryan Shore (w/ Cassandra Wilson) Lift. King Arthur (prod. Jerry Carolina. 13-30, Sideways (dir. Alexander Van Helsing (dir. Stephen Bruckheimer). Tyler Bates You Got Served. Payne), Mean Girls. Sommers), Polar Express (dir. Robert Christophe Beck Cinderella Story, Little David Kitay Harold and Kumar Go to White Zemeckis). Get Listed! Black Book. Castle. Semih Tareen Continuing Education. Composers, send your info to Hellboy, Cursed. Harald Kloser Tomorrow (w/ Stephen James Taylor Teacher’s Pet. [email protected] FSM American Epic: The Story Dennis Quaid; prod. Roland Emmerich). Brian Tyler The Big Empty (starring Jon of Cecil B. DeMille (TV documentary). L Jon Brion Eternal Sunshine of the Spotless James Lavino The Hole Story. Mind. Chris Lennertz Tortilla Heaven (w/ George BT Underclassman. Lopez). The Hot Sheet The Alamo (w/ Dennis Geoff Levin One of Them. Lesley Barber We Don’t Live Here Anymore (w/ Naomi Watts and Peter Krause). Quaid). Deborah Lurie Whirlygirl, My Name Is Tyler Bates Dawn of the Dead. C Modesty. Christophe Beck Without a Paddle. George S. Clinton Mortal Kombat 3: The M-N Carter Burwell The Ladykillers (Coen Bros.), Kinsey. Domination, Minute. Brice Martin Remnants of Auric Healing. George S. Clinton Dirty Shame (dir. John Waters). Normand Corbeil The Statement, A John Massari Seal. John Debney The Passion of the Christ (replacing ; dir. ). Different Loyalty. Home on the Range. Thomas DeRenzo The Break-Up Artist (w/ Ed Burns), The Control Room. Richard G. Mitchell A Good Woman (w/ D-E Surviving Christmas. Vanity Fair. Helen Hunt, Tom Wilkinson). Danny Elfman Charlie and the Chocolate Factory (dir. ). Shaun Davey Ella Enchanted. John Morgan/William Stromberg Starship Claude Foisy Try to Remember, White Noise (w/ Michael Keaton). John Debney Raising Helen, Welcome to Troopers 2: Hero of the Federation. Mooseport, Princess Diaries 2. Mark Mothersbaugh Envy (dir. Barry Craig Stuart Garfinkle Baldur’s Gate: The Dark Alliance II (videogame). John DeBorde Happily Even After. Levinson, w/ Ben Stiller and Jack Richard Gibbs Barbershop 2: Back in Business. Thomas DeRenzo The Eye Is a Thief. Black), The Life Aquatic (dir. Wes & Iron-Jawed Angels, Deck Dogz. Randy Edelman . Anderson), Confessions of a Teenage James Horner (w/ Russell Crowe, dir. ), The Da Vinci Danny Elfman Spider-Man 2. Drama Queen. Code (dir. Ron Howard). F-G John Murphy The Perfect Score. The Village (dir. M. Night Shyamalan), Secret Window. Robert Folk Kung Pow 2: Tongue of Fury, Christopher Nickel Savage Island. Mark Isham Paparazzi. In the Shadow of the Cobra. John Nordstrom Black Cloud (dir. Rick Rolfe Kent Sideways (dir. ). The Incredibles. Schroder). Messy (Doug DeAngelis and Kevin Haskins) Employee of the Month. Vincent Gillioz Hamal 18, Erosion. Wallace & Gromit Movie: The Bryce Mitchell Safe, A Stolen Moment. Taking Lives, Undertow. Curse of the Wererabbit. Thomas Newman Lemony Snicket’s A Series of Unfortunate Events. The Game of Their Lives The , Libertine (w/ (dir. David Anspaugh), Empire Falls. Johnny Depp). Under Siege 3, King Conan: Crown of Iron. Adam Gorgoni 95 Miles to Go (comedy/ O-P Edward Shearmur Laws of Attraction, Sky Captain and the World of Tomorrow. docu.; w/ Romano). My Brother’s Keeper, Cellular. Carlo Siliotto The Punisher. Harry Gregson-Williams Bridget Jones: The Basil Poledouris The Legend of Butch & BC Smith Coyote Waits, Thief of Time. Edge of Reason (w/ Renée Zellweger), Sundance (NBC, pilot). Alexander the Great (dir. ). Madagascar (DreamWorks, animated). Because of Winn Dixie. Joseph Vitarelli My Architect. H John Powell Robots, Happy Feet, Mister Two Brothers (replacing Gabriel Yared for scheduling reasons). No Other Country. 3000, Bourne Supremacy. Christopher Young Unfinished Life (dir. Lasse Hallström). James Newton Howard Hidalgo (dir. Joe R Hans Zimmer Collateral. Johnston). Trevor Rabin The Great Raid.

JANUARY 2004 6 FILM SCORE MONTHLY FILM SCORE MONTHLY 7 JANUARY 2004 CONCERTS Film Music Played Live Around the Globe

of Khan (Horner), IV: The Voyage Home (Rosenman), Star Trek VI: The Undiscovered Country (Eidelman), Star Trek Generations April 10, 11, Pacific S.O.; How the (McCarthy). West Was Won (Newman). New York Colorado Feb. 10, New York Feb. 15, Denver, Colorado S.O.; Philharmonic, John Williams, The (Bernstein). Art of the Score: E.T., Star Wars, J.F.K., Schindler’s List, Angela’s Ashes, Illinois Harry Potter, Tribute to Spielberg. The MATRIX Suite MacArthur and Patton March 14, Chicago, DePaul Feb. 14, Tiny Creatures—music from Small University Chamber Orchestra; Philharmonic; The Hours (Glass). Goes Live Soldiers and Gremlins Psycho (Herrmann). usic from Don Davis’ Matrix TV Medley—The Man From Mtrilogy will soon be mak- U.N.C.L.E., Dr. Kildare, Room 222, International ing the rounds in the concert hall. Star Trek: Voyager, The Waltons April 17, Topeka S.O.; Davis is reportedly working on a Prologue to The Agony and the (Tiomkin), Rawhide (Tiomkin), Canada 20-minute concert suite compris- Ecstasy Bonanza (Evans & Livingston). Feb. 27, Nova ing music from all three films—The Soarin’ Over California from the Scotia; Red River (Tiomkin). Matrix, The Matrix Reloaded and The Disney’s California Adventure Kentucky Matrix Revolutions. The suite’s first attraction Feb. 14, Louisville S.O.; Vertigo Germany movement will be performed by Visit www.lso.co.uk for more details. (Herrmann). March 20, Munich, German Sweden’s Gothenburg Symphony Radio S.O.; Concert premiere of Orchestra as part of three film Emma (Portman). music concerts, March 18–20. Howard Comes Feb. 14, Jackson S.O.; The In other Davis-related news, Godfather (Rota), “Unchained Sweden he’ll be the world A-Shore in Melody” (North), Terms of March 18–20, Gothenburg S.O.; premiere of the chamber ensem- oward Shore will conduct Endearment (Gore). (Goodwin), Doctor ble version of his composition Hthe London Philharmonic Zhivago (Jarre), Psycho (Herrmann). The Enchanted Place Suite, April Orchestra in a of his New Mexico 17–18, at the Orange County Lord of the Rings Symphony (which April 14, Los Alamos Santa Thanks again to John Waxman of Themes & Performing Arts Center. premiered in New Zealand in Dec.) Fe Esplanade S.O.; Star Trek con- Variations, the go-to guy for film scores for profes- at the Royal Festival Hall in London, cert: “The Menagerie,” (Courage), sional symphonic performances and recordings. Sunday, May 23, at 3 p.m. Star Trek – The Motion Picture Visit www.TNV.com for more details. FSM Happy Birthday, Jerry Visit www.lpo.co.uk for more details. (Goldsmith), Star Trek II: The Wrath

erry Goldsmith will conduct a Jfilm music concert to celebrate his 75th birthday, at London’s Barbican Hall, Feb. 17, at 7:30 p.m. Here’s the scheduled program:

Star Trek: The Motion Picture Movie Medley—The Sand Pebbles, Chinatown, Air Force One, A Patch of Blue, Poltergeist, Papillon, Basic Instinct, The Wind and the Lion Looney Tunes: Back in Action Suite from Masada The Generals—music from

JANUARY 2004 8 FILM SCORE MONTHLY FILM SCORE MONTHLY 9 JANUARY 2004 Rants, Raves and Responses MAIL BAG to Readers In Response to “Sami’s Tirade” its own encoding error too, so returns en masse. High defini- missed either. I’m assuming the could not resist responding be warned. tion should up the ante on market for both Golden and Ito “Sami’s Tirade,” which ran You would think MGM such complaints when they are Silver Age series are people who in the FSM Vol. 8, No. 9 Mail would fix the sound, as they legitimate. know how to listen to older or Bag. Whether it was a tirade or just did so well on Carrie and Nicholas Sheffo compromised recordings; all it not, more people should feel To Live and Die in L.A., but it is [email protected] takes, as your engineer said, is a more critical and cheated when still a wreck. The most remark- little imagination, plus, I would their DVDs have substandard able thing about this is that the Not Too Dangerous After All add in this case, a nodding sound or picture, especially first Robocop was the debut of s a Golden Age Classics familiarity with Herrmann’s when the releases come from a Dolby’s impressive SR recording Asubscriber, I received my work as a whole. What a major studio. system. This advanced analog copy of On Dangerous Ground wonderful score and what an As for the press, even the technology was the last big last week. It’s one of the most achievement for you. There best magazines that cover DVDs analog step forward before digi- valuable soundtracks you’ve should be an award for some- have not been able to keep pace tal sound kicked in for good, ever released. I applaud your thing like this. with the huge jump in product and is still used for restoration detailed notes on the dilapi- One further thing: The bonus released of late. Needless to say, and preservation work to this dated condition of the source tracks, with Benny rehearsing not all films are going to sur- day. Robocop 2 also was issued material, all the while giving us various cues, are invaluable. I’d vive as well as they should, so in 70mm blow-ups this way. an under-the-hood glimpse at never heard his voice before! some flaws can be expected. There is no excuse for either its reconstruction. Your obvi- Gordon Thomas In the case of the DVD of film to have sound troubles, ous nervousness over releasing [email protected] Paul Verhoeven’s Robocop, the and whenever MGM decides it was touching, but it seems film has had an odd audio to do Robocop uncut and/or fix to me you needn’t have wor- here is no need to apolo- history on home video. After Robocop 2, they need to go back ried. Herrmann’s scoring is so Tgize for the sound quality all the VHS versions, the film to the 70mm mixes. Following strongly beautiful it overcomes problems in your transfer of finally arrived on laserdisc in a the sound designs and retriev- the disadvantaged sonics. One ’s magnifi- generic Image R-rated release. ing any and all original sound cue alone, “The Searching cent On Dangerous Ground. It is Then Criterion issued the film elements, most obviously the a joy to listen to and have in uncut on laser, followed briefly music score masters, they could my collection. The ones who by a DVD recycling before they reissue them in either 5.1 or 6.1 should apologize are those lost the rights. MGM pulled the EX/ES mixes. Sadly, they rarely who destroyed the master tapes rights (among other titles) from support DTS, which usually at RKO many years ago. It Criterion when they acquired forces the studios to remaster would have been great to also the Orion catalog. No matter their film soundtracks even bet- hear ’s From This which optical video format you ter. That did not help the weird, Day Forward and Roy Webb’s I see the film in, R or uncut, the problematic remix on Brian De Remember Mama. Alas, this can- audio has never been right. Palma’s Scarface, but that tends not be. You would expect the to be an exception to the rule. Monroe Jacobson Criterion edition to be the best, If it is the responsibility of , California but something odd happened. critics to get bad news to con- While the film was issued in sumers faster, they themselves Lust for Lips 70mm blow-ups with state-of- need to be more diligent about hile recently listening to the-art 4.1 sound, the Criterion having more contacts in the WLust for Life, I discerned editions were from some prob- DVD community (e.g., online) to Heart,” justifies your a smidgen of Quo Vadis? in one lematic and limited two-track give them any bad news ASAP. enterprise here, but there’s of the later tracks. Was this an Pro Logic surround material. Also, hold on to your receipts. first-rate Herrmann throughout. engineering fluke, or the great This is the sound Verhoeven If it is a DVD and it’s really This score would be a good drifting, or perhaps somehow approved for them. that bad, return it to the store candidate for a re-recording, even the potency of my libation? Mind you, multi-channel was for credit or exchange because if possible by (Joel) McNeeley Missing Byline not on home video at the time nothing, not even boycotting, and Varèse Sarabande, but and this same sound was recy- sends a message to a company Herrmann’s vivid conducting L.K. responds: The cue you mention cled for the DVD. Robocop 2 has more effectively than defective on your release shouldn’t be (continued on page 48)

JANUARY 2004 8 FILM SCORE MONTHLY FILM SCORE MONTHLY 9 JANUARY 2004 CONCERT REVIEW Williams in the Windy City John Williams’ Concerto for Horn and Orchestra Debuts • By Doug Adams

music, almost anti-programmatic; it was music that, in a Stravinskian sense, was about nothing but itself. But, did this play to the composer’s forte? Williams’ brilliance as a composer, besides his inarguable gifts as a musical technician, has rested in his ability to see the world in musical terms—to paint pictures, scenes, scenarios. His is a music of events, whether minute or gargantuan. Eventually, his concertos came toward a more concrete sense of musical depiction. They may not have portrayed straightforward drama, but they were now conceived of in terms of mood. In works for , bassoon, and cello, the composer balanced the modernist fluidity of his concertos for flute (1969) and (1977) with the harmonic and conceptual solidity that was debuting in his film scores of the time. Here, finally, was the middle ground between early and later Williams; these pieces bridged the gap between the dramatic idealist and the musical pragmatist.

A New Work of Purity and Goodness SECOND CITY’S FIRST: Williams’ latest premiered at Orchestra Hall in Chicago on November 29, 2003. The new Concerto for Horn and Orchestra, which was commissioned and premiered by the Chicago Symphony ohn Williams rode to fame perched atop the blockbusters Orchestra and Principal Horn Dale Clevenger, develops from this same underlying sense of purity and goodness of the ’70s and ’80s—big, flashy, youthful pictures that in the world. Here Williams uses woodprints—or at least the concept of woodprints—as an inspiration, guiding depended on their scores to provide the internal drama and the music across a short series of rural forays through J an imagined countryside. Three of five movements are psychology for which the explosions, sharks, aliens, kryptonite, formed as earthy soliloquies for the soloist, who weaves in and out of the harmonies and textures presented by light sabers and whips left little room. Williams’ music was string and a ringing churchyard of chimes, bells, amazingly dense in this period, though never heavy. In and celeste. Occasionally, Williams engages the horn fact, for all its colorful counterpoint, it practically skittered with contrapuntal woodwind , as in the opening around the soundtrack, swooning here, racing there, always moments of the third movement, but the soloist primarily twisting and turning chromatically to fill up the world. We stands apart from the orchestra, observing and ruminating believed a man could fly in because Williams on the surrounding material. filled in the of the picture and told us that, yes, the The two internal movements, two and four, draw the rest of the world is out there, and they’re just as impressed soloist inside the ensemble, but in an argumentative with the Man of Steel as you are. As Williams entered his back-and-forth manner. The second movement, “The third decade of film scoring much in his style changed. No Battle of the Trees,” alludes to the same Celtic poem that doubt this was partially a result of his development as a provided the text for Phantom Menace’s “.” composer, but it also came hand in hand with the more Here it’s not an epic statement on heroism, however; it’s grown-up pictures on which he was working. Films like JFK a chance for Williams to re-explore the twitching and and Saving Private Ryan were explicitly complex, so Williams twittering limbs of his Flute Concerto. Orchestra and soloist scaled back his own intricacies to illuminate the sense of enter into a game of tag with percussion, keyboards and order in these worlds—the simple human decencies that col legno strings chasing gimleting flutters from the horn. the films’ characters skirted and strived for. Williams’ music The fourth movement grows from the dying tones of the now spoke to the stability rather than the tumult. third, heaving the orchestra into an equestrian compound- Williams’ early concertos began in the complex musical meter lope. Again the orchestra and soloist pursue each world of his youthful films. It was a much rawer form of (continued on page 47)

JANUARY 2004 10 FILM SCORE MONTHLY

DOWNBEAT

Silence and Light Alexandre Desplat paints Scarlet Johansson in Girl With a Pearl Earring • By Jeff Bond

characters that hardly speak,” Desplat explains. “They’re very shy and it’s also a period in his- tory when people don’t show their emotions; because of religious matters and because of social matters, a servant couldn’t speak to the master or to the mistress of the house, so there’s a lot of things unsaid, restrained desires and emotions; the silence in all these charac- ters is the first thing.” The second quality the composer had to underscore musically was the quality of light that was unique to Vermeer’s paintings. “The light in all the Dutch painters but especially in Vermeer was very special…so well achieved and so mysterious.” There was also a third aspect that required music. “Maybe the third part is mystery because we don’t know much about Vermeer,” Desplat says. “We only know about him from the notary files that he made and a few paintings, DUTCH MASTERY: and radiate sensuality in Girl With a Pearl Earring. 30 or 35, which is nothing compared to Picasso or Da Vinci. He was very, very demanding and ohannes Vermeer’s 1665 painting “Girl With a Pearl Earring” has slow, and there’s a mystery in his house—why does he paint this young servant and why been a mystery ever since it first reappeared in 1882. As far as most does he never paint his wife? [Although the film implies that Vermeer never used his wife American listeners are concerned, so has composer Alexandre Desplat. Catharina as a subject, a point which in the J film leads Catharina to extreme jealousy when The -born composer has worked on more than 70 film and television Vermeer chooses to paint Griet, it’s likely that Vermeer did use his wife as a model for at least projects since 1985, including 1993’s The Girl With a Pearl Earring is purely specula- a few of his paintings.] said that Advocate; but much of his output has been for tion, of course, but the film by documentar- the movie should become a Hitchcock movie films in his native France, and Desplat is not ian Webber has already been nominated for at one point, because the tension is so strong, well known here in America. His Golden Globe numerous awards. Webber chose Desplat as both the desire between Vermeer and the ser- nomination for Peter Webber’s film about the the project’s composer after hearing his score vant and the tension between Vermeer and story behind the Vermeer painting should to a film called Read My Lips, by director Jacques Catharina; this tension is so strong because change that, however. Audiard. “He [Webber] was trying to get, I sup- they never have any money and all the time Girl With a Pearl Earring follows a peasant girl pose, something silent and quiet and lyrical he has to work and try to get money from named Griet (Scarlett Johansson) who goes as the [painting],” Desplat recalls, “and I don’t his patron, his mother is always trying to get to work in the household of Dutch painter think he could get any ideas from all the com- jobs and get money into the house.” Girl With a Johannes Vermeer, eventually drawing the posers he met in . “He heard [Read My Pearl Earring does indeed play out as a kind of attention of the reclusive painter, much to the Lips] and he felt that’s the kind of lush, lyrical emotional suspense film as the audience waits displeasure of his wife Catharina (Essie Davis) strings and not-too-underlined kind of score for tension within the Vermeer household to and the rest of the household staff. Griet and he wanted for the film.” explode, and Desplat’s score underscores the Vermeer share a solitary nature, however, suspense at times with a powerful rhythmic and the peasant girl seems to have an innate The Sound of Silence drive unusual for a movie of this type. understanding of the painter’s art. Their rela- Desplat’s marching orders in scoring were to Because the film has so little dialogue as well tionship eventually inspires Vermeer’s paint- musically characterize two important aspects as a rather subtle sound effects mix, spotting ing “Girl With a Pearl Earring,” but within the of the film. One was, ironically, the element the film was a major challenge, making the Vermeer household the presence of Griet is of silence: “the silence of the studio where intrusion of music into the quite believable disastrous. Vermeer is working and the silence of the world Webber creates very noticeable. “The

JANUARY 2004 12 FILM SCORE MONTHLY FILM SCORE MONTHLY 13 JANUARY 2004 next step was to find out and think with Peter “When I start to score a movie, I wonder why On The Air how to sneak in and sneak out of the silence I’m there and what the movie deserves, so I like and deal with all these moments of quietness,” to think that what the picture already says I film music on radio and the web Desplat acknowledges. “It’s not easy when you don’t have to underline. And Tom Wilkinson is just hear the noise of a paintbrush touching the amazing—the minute you see him you know Cinematic Sound canvas or a footstep in the distance or maybe a he’s the villain and I don’t need to underline Saturdays 12 p.m. - 3 p.m. EST dog barking. It’s not easy to bring in the music that; he does that for himself.” 101.5 FM, Hamilton, Ontario, ERIK WOODS, host because you could be so big and so disturb- Film Score Focus ing, and you have to find a way of bringing to Giving Goldsmith His Due Saturdays 10 a.m. - 11a.m. light things that are not there without flashing Desplat may not yet be a household name in 89.5 FM KMFA, Austin, Texas them. So some of the scenes in the studio are the U.S., but he’s well acquainted with film STEPHEN AECHTERNACHT, producer & host unscored; it was just a matter of balance, to composers on both sides of the Atlantic. “For Listening to the Movies choose at what moment in the dramaturgy movie composers, my French idols are Maurice Monday-Friday 7 p.m. - 9 p.m. PST where music should bring in some power.” Jarre, —Delerue was also a 88.5 FM KCSN, Northridge, California Orchestrating his score to complement the reference when I talked to Peter about the ELIZABETH LARNERS host delicate atmosphere of the film was another score. He mentioned Georges Delerue many website at www.kcsn.org challenge for the composer. “As for these ele- times as lyrical and soft and melancholic, and A Little Film Music ments, mystery, light and silence, I tried to I have that influence in my scores I think. For Sunday 8 p.m. - 9 p.m. EST build an orchestra around that,” Desplat says. American influences, [there is] Herrmann, Franz 89.1 WWFM Trenton, New Jersey & affiliates “So the strings, with the lush, emotional notes Waxman and , and, more recently, JAMIE WATSON, host for the mysterious part; for the light and the Goldsmith, Williams and Elfman—I like Visit www.wwfn.org for a station on the network near delicacy of the work and the purity of their Elfman very much. I must say that Goldsmith’s you in New Jersey, Pennsylvania and Colorado. relationship, which never goes further than a Chinatown score influenced me very much on Music From the Movies platonic one, even though there is desire, I used this score. In Chinatown there are gaps, , Sundays, 2 p.m. - 4 p.m. EST harp, celeste, piano and vibraphone—most of pauses and a little piano that comes and goes, WPRK 91.5 FM, Orlando, Florida the time vibraphone is played with the bow, cold strings—I learned a lot listening to and BILL SMITH & RANDY BALL, hosts. so you get an eerie, fluty sound, almost like a watching Chinatown for hours, learning how Send your listing to [email protected]. FSM glass harmonica, but I didn’t want a glass har- Jerry Goldsmith worked.” FSM monica because it was too obvious. I wanted the sound to be more harsh, and I think bow- ing the vibraphone you hear more grain in the sound and you don’t recognize it. With the vibraphone it’s just mixed and you don’t know who’s doing what, which is also sort of mixing the lights and the colors.” Desplat says that in this case he chose to have music propel the film through plot points almost in the manner of a thriller. “You can’t just stay there in the studio watching the painter; once you’ve said that and the music has tried to build this up and give even more colors to these beautiful shots of the [cinema- tographer], the story has to move on. That’s why I used a little waltz movement, and also in the tension moments the strings are pacing forward. You have to be brought along in the story; otherwise you’re just stuck. The studio is like a cathedral—it has silence and beauty. But when you’re out of there, there’s life around; there’s sex because the patron’s looking for something more meaty, and also there is the butcher’s son at the market, and there’s some- thing more rough and lewd and Middle Age-y in there, so the music had to go in a different direction. It had to give some pace there.” Despite bringing something akin to a genre element to Girl With a Pearl Earring, Desplat says he also avoided underscoring the film’s villain, a lecherous art patron played by Tom Wilkinson.

JANUARY 2004 12 FILM SCORE MONTHLY FILM SCORE MONTHLY 13 JANUARY 2004 IN MUSIC, NOTHING STAGNATES LIKE REPETITION. And yet nothing alienates like change. It’s a dilemma every composer faces, but in the world of film music, where composers are often called upon to provide multiple hours of music per year, the problem becomes compressed and inflamed. How many composers have lost their public—and their artistic—viability by either churning out the same material time after time or positioning themselves so far away from early successes that they sacrifice what made them special in the first place. What’s a finding composer to do? IN THE PAST DECADE, THOMAS NEWMAN HAS become a constant fixture on the A-list film scoring scene. Today he is one of the most recognizable and most imitated composers working. And yet, for all this reliability, for the dependability of the Thomas Newman sound, he’s proven himself one of the most versatile and flexible composers in NEWMAN the business. Newman has created a musical voice that is consistently open-ended, positioning himself somewhere between the worlds of classical composer, bandleader and performer. It’s been said that, when working with the players, Newman never presents the answer, he presents the question. His works are beautiful collages of orchestral writing, improvised overdubs and electronic elements. It’s a sound that, conceptually, can move forward and backward simultaneously—a kind of pan-directional creativity equally adept at underscoring adult drama or children’s adventure.

WITH SCORES FOR HIGH-PROFILE HITS SUCH AS Finding Nemo, TV’s Angels in America and the upcoming Lemony Snicket’s A Series of Unfortunate Events (based on the popular book series and headlining Jim Carrey, and Jude Law), Newman stands poised for an even more public level of appreciation.

FSM: Looking back at the work you’ve done in the past five years or so, I’m struck by how well you’ve done retaining a signature sound, but at the same time altering your sound. It’s the same hand, but different fingerprints. Thomas Newman: Right, it’s accommodating environments. It’s the old trick of trying to lend a sense of my own style to it. FSM: How much of that change is directed at the project you’re working on and how much is that you pushing yourself in new directions? An interview with the overdubbing TN: I don’t like thinking that, somehow or other, I’d have to make a movie accommodate my style just because I of Hollywood film scoring was too nervous to change my approach. I think part of it is trying to be honest to the projects that have come my way and to say, “What would be the best way to serve the movie?” and at the same time accommodate the vision of By Doug Adams a director. “How can I do it? How can it be accomplished?”

JANUARY 2004 14 FILM SCORE MONTHLY A lot of times you end up not being able to be anything the performance itself demands more from the ear. The ear but yourself anyway, so you end up retaining a sense of keeps listening to that performance change, and then is less that. What else are you going to do? You don’t turn into accommodating to other overdubbed sounds. So it’s case- someone else. You let yourself be talked about by different by-case, it’s never an approach. It’s what sounds better. Do environments, I think. I need precise rhythm or do I need more rubato rhythm? FSM: There’s a shadow to your sound in that the things And if so, what does that do to my sense of how I hear that you try seem to crop up in advertising and other other sounds? places where other composers try them two years behind FSM: So part of the choice pertains to a coexistence with you. There are still commercials all over doing the American the other musical elements? Beauty type of sound. TN: Yeah, and the choice can be practical as opposed to TN: Yeah, I’ve heard that. It’s the use of mallets more than creative. It’s just, literally, what sounds better. What makes anything. Percussion mallets. me listen more precisely? FSM: Is there ever an impulse to distance yourself from FSM: That keys into something else I wanted to ask. that at all? Again going to the idea of these different elements existing TN: In other words, to not go back there because more with one another, even when you’re writing something that people are? is contrapuntally pretty thick and very orchestrally written, FSM: Yes. If there are going to be so many imitators, is it it’s not just a big gooey, cohesive texture. It feels very much better to just keep plowing ahead and leave that behind? like a collection of solo lines interacting with each other. TN: I think I’m always looking for the best idea. The TN: Right. And probably what you hear is the way it moment I start looking around at those around me, it hits the speaker. It occurs to me that on albums I like, like pretty much freaks me out! So I try to just say, “All right, the ’s, they’re coming out of the speakers what’s good?” and still try to keep some kind of integrity in a very strong and powerful way. When you record in the task at hand. orchestra you’re recording how the orchestra resounds in a room. That’s a great thing in some environments. But it Is it “Real” or is it...? can be limiting in terms of how you need to hear other FSM: One of the things that it seems like you’ve changed in sounds. And if you’re overdubbing, which is something your sound recently is your approach to the electronic aspect. that interests me a lot—I play to my speakers more than TN: How so? the podium—then how do two things interact? How does FSM: Earlier the electronic aspects were very much something that’s in a room interact with something that dedicated to a sound design type of thing. Ambiances you record close up? I have to be very mindful of that in and rhythmic things. Now there’s more pitched material terms of how my ears enjoy hearing the sound. Again that’s into the electronics, even to the point in Finding Nemo that why some of these sounds, electronically generated, can be there are sections where, as the listener, you’re not entirely interesting from a physical presence. sure if what you’re hearing is acoustically generated or FSM: Do you change the way that you structure chord electronically. voicings and things like that in order to keep a sense of TN: Right. Or a lot of it is acoustic to begin with because clarity and immediacy? then you find an innate musicality—and then ways of TN: Yes, but only reactively. You take your best guess at processing that. If anything I’m probably more fluid with the density of the chord and how you’re going to orches- my use of overdubbed instruments. And the players who trate it and all that. And then you hear it and, “Ooh, there’s I’ve worked with for so many years are more fluid in their too much happening. How do I have to thin this out? Do I process. The more fluid you are, the quicker you are. And do it orchestrally, or do I do it with my overdubs?” the quicker you are the more you can just find yourself This is why I feel my compositional process is usually somewhere and delight in where you are. I probably have finished in the mix, not when I start to record. Usually gotten more intuitive. I’ve always sensed that probably my when I start to record I have the bit of information that greatest talent is one of intuition over conceptualization. I think is enough to passively get by in the worst of cir- FSM: In Finding Nemo some of the pizzicatos and the cumstances. And then I try to improve it in whatever way timpani—things like that—seem to be either electronically I can, using whatever players or instruments come to mind generated or electronically altered. Are you doing those or are suggested to me. And then I mix it. Oftentimes when types of things as well? I record I can watch these things morph into places I never TN: In other words, are the pizzicatos coming from real would have imagined. I ask myself, “Well geez, do I like instruments or are they coming from electronic instru- this? Or do I simply like it because it’s the last thing I heard.” ments? And then it’s the skill of my mixing ability that has to re- FSM: Well, obviously if they’re synthesized, they’re com- evaluate all of my elements and decide what I need to hear ing from samples. and what needs to be expelled. TN: Yes, there are sampled pizzicatos. I guess my thought Normally I overdub first. The orchestral lines will be is on the nature of how you repeat a phrase, and what written and orchestral areas will be designated. Then I’ll repeating a phrase does in terms of the ear’s ability to listen say, “Okay, how can I mess this up? How can I alter the to other things. Oftentimes by using sampled instruments sense of how I’m perceiving sound?” Say you take an the main motoric drive starts to disappear and begins to orchestral sound in a room that has a phrase followed by allow the ear to listen out. Often if it’s a real performance, a pause followed by a phrase followed by a pause. If you

FILM SCORE MONTHLY 15 JANUARY 2004 overdub with an ambient instrument you’ll slightly but the performing process. effectively alter the way it sounds. Overdubbing is key for TN: Yeah, because it comes back. For me it’s about how me. Typically the stuff that I write most specifically is that it hits my ears and how delighted I am. which is going to be played by orchestra, because I’m going FSM: Do you do most of your overdubbing in a home to have to stand up there and conduct it. But with players studio? you can try anything. I really enjoy the informality of it. If TN: No, mostly at smaller studios just because two of I’m trying anything it’s that I’m trying to informalize my the guys I’ve worked with forever: Mike Fisher (who plays creative environment. all kinds of percussion) and George Doering (who plays FSM: A lot of the overdubs work toward stressing a all types of strumming instruments) have so much equip- group of individuals rather than one big congealed sound. ment that shipping it into a home environment would TN: Right, that’s accurate. be wrong! [Laughs] Plus, I think getting out of your home FSM: From a dramatic standpoint, it gives the wonderful environment can lift the music to someplace else. I’m not sure about that. That could just be me. But when you take it out of one environment you have to make it strong in I try to make the lines fuzzy, in other ways because there are other people there listening and they may be skeptical. terms of what interpretation is and FSM: Looking at the colors and the sense of perfor- mances, do you feel that gives you license to be a little how it relates to improvisation. I’m bit more exploratory in terms of the harmonies you’re interested in how people take me off trying? Again, you can look at Finding Nemo. It’s essentially a film that at some level has got to appeal to a youthful the page and elevate me. audience, but at a harmonic level it’s pretty adventurous. You’re doing some things that are pretty advanced. TN: I guess the presumption is that if something’s effect of putting a light behind everybody’s eyes. It feels like engaging, it’s engaging. You don’t necessarily have to a collection of internal monologues. play to the level of the listener or viewer. If something’s TN: Do you mean in how it relates to the movie or how fun, it’s fun no matter how you get there. it relates to itself? Ironically if you’re dealing in the realm of color, which FSM: A little of both, but specifically the movie in terms I find myself dealing in a lot, there have to be ways of of this question. letting harmony do less so that you listen more sonically. TN: Again the issue can be practical. Keep thinking about I think that’s why drones interest me so much. They modern sound effects and how good they sound—how allow the ear to go to a different spatial place as opposed much they involve you. Part of my interest in close miking to a harmonic place. Everything’s demanding whether and, as you say, individual instruments is how they can it’s harmony, performance or sonic landscape. I think survive the dubbing process. How much more effectively you have to choose what remains simple. If you have can they be heard and felt in a room—which is very much two chords that repeat, over which you’re doing a very what it is. That room is either going to serve a dub or its not breathy alto flute in a low register, you’ll tend to be able going to serve a dub. So, along the way I think you get a to hear that breathy sound much more than you would if lot of personality out of individual players. It’s a wonderful the harmonies were constantly changing. Again it’s a way opportunity for them to shine with more character. A lot of focusing what you’re listening to—putting it in focus. of times in an orchestral environment, as you said, it’s less FSM: It’s directing people’s attention? the character of the player and more the character of the TN: It’s directing people’s attention to a particular place. writing. That’s probably the difference. If it’s a place of great harmonic motion, then there it is. FSM: If you’re working outside of the film medium, is If it’s a place of sonic density, then how do you bend that sense of sonic clarity equally important to you? the ears to that place? I think one way is to subtract the TN: It would be just as important. amount of harmony that’s taking place. FSM: That’s integral to what you think of as your FSM: What’s the overdubbing process like for you? sound? I know you bring in all the performers and give them TN: I think so. And to how I communicate with interpret- guidelines on what instruments they should bring. When ers and how I try to make the lines fuzzy, in terms of what you’re in there, are you talking in terms of “Add this line” interpretation is and how it relates to improvisation. I’m or “Add this shape” or “Add this color”? interested in how people take me off the page and elevate TN: Yeah, for example, “Is there any way to make this me. It’s so good, so creative! area more interesting? This starts to bore me.” If I’m bored FSM: They do some wonderful stuff, really amazing. by the seventh measure of eight measures of a two bar TN: Yeah, real “who woulda thunk” stuff! That’s always repeated phrase, how can an overdubbed rhythmic ele- the fun thing. ment help to make two measures less boring? It can be a FSM: Well, it’s so rewarding too because a lot of times very practical approach to taking these ideas and improv- film score albums are very…heavy. There’s such a big, thick ing upon them. Sometimes ideas will be offered up, other sound that’s expected for films. It’s so much about the writ- times I’ll say, “What if you took a metal instrument” or ing process; it’s wonderful to hear something returning it to “What if you strummed this or bowed that or blew into

JANUARY 2004 16 FILM SCORE MONTHLY an ocarina.” Your sense of style within that may be finding the instruments that work. And then the more you find, the more you exploit. If I say, “Okay, if I bow something here to indicate a big, muscular change in the music,” maybe I can do that in a cue that happens 30 minutes later in the movie. You’re finding your orchestra, I guess is what I’m trying to say. FSM: How much leeway do you give players in terms of what they bring in instrumentally? TN: As much as they want. Oftentimes someone says, “What if we try this?” and I’ll say, “I don’t know…” But there’s that strange morphing where you recoil in something’s unexpect- edness, but then you hear it a couple of times and you love it. You can’t imagine ever having the piece without it—it’s morphed and what is it now? And then someone else will add something else. The danger of that is that you overpro- duce and it gets overly dense. That’s why the mixing process ultimately becomes so important. You remember what’s ABOVE AND BELOW: Newman’s recent credits include Finding Nemo (above) valuable. Angels in America (middle) and White Oleander (bottom). Onto the Odd Stuff FSM: You’ve got A Series of Unfortunate Events next? TN: Lemony Snicket, yeah! FSM: When do you begin work on that? TN: I’m doing a little work now in the production stage. There’s a play [within the movie] and there’s a pit orchestra, a four-piece pit band. So I’m writing some accordion, tuba and violin music. Odd stuff! FSM: You’ve spoken before about what you consider to be the importance of American music and how much you like to think of yourself as being an American composer. TN: Probably just because I feel like such a scrapper and, in a way, such an unlikely person to be doing this kind of stuff. And probably because early failures gave me a kind of pioneer spirit, which is distinctly American, I suppose. FSM: Well, even the idea of being a scrapper is sort of an American aesthetic. But in the American style, there’s always such a fine line between making an intelligent choice and making an intellectual choice. TN: You mean in terms of what you do, or what you do after you’ve gotten the job? FSM: After you’ve gotten the job. TN: Okay, so the gig itself… FSM: Exactly. And that’s such a difficult line to tread; you always come up with something that challenges people, but it’s never thrown over everyone’s head. TN: Right, well there are always the requirements. The requirement is: Does the scene work? You must be involved in the scene. And no director will ever let you get away with not making that happen. You’ll either make it happen or you’ll be fired, you know? If you’re not eliciting a response a director feels is appropriate, it’s just never going to make it in the movie. Even if you think he likes it and then he hates it when he dubs it. So I figure that if that’s the given—that there’s a given dramatic requirement that I make the movie more interesting, more compelling—then after that I can do whatever I want. I can get there in any way that’s appropriate, as long as I get there. And I think that’s what interests me about overdubbing. It just takes me places I never would dream of conceptually. And there I am, and wow, it’s fun! FSM

JANUARY 2004 16 FILM SCORE MONTHLY FILM SCORE MONTHLY 17 JANUARY 2004 MakingTHEBest

elcome to Film Score Monthly’s Another Year Gone By Jeff Bond sixth annual round-up of “The Swashbuckling Movies That Most Deserved Swashbuckling Scores Master and Commander: The Far Side of the World and Pirates of the Caribbean

Best and the Worst.” The good t was amazing that we got two movies involving adventures on W I18th-century sailing vessels that were good this year, but news is that you’re reading this article shortly that made it all the more frustrating that the music for these films just barely passed the grade. My favorite of the two was ’s Master and Commander, primarily because almost every scene in this movie after 2003 ended (like the Oscars, we’ve moved up seemed to play out like a rewrite of an old Star Trek episode (ship captain confides in ship’s surgeon; ship’s surgeon warns captain he’s becoming our award date, but our reviewers still get screen- obsessed with pursuit of an enemy vessel; ship’s captain wages battle of wits with enemy ship captain whom he nonetheless respects, etc.). Weir is an unconventional filmmaker so I suppose we’re lucky we got ers). The bad news is that last year’s crop of film any specially composed music for Master and Commander (what we got was something like taiko drumming, which does add a little excitement scores was...disappointing, to say the least. Still, to the pursuit and battle scenes). But there are dramatic scenes in this film that really would have benefited from some good underscoring. And I guess we’ll never know what Alan Silvestri wrote for Pirates of the you can count on the stalwart reviewers of FSM Caribbean, but for all the talk about a “rock and roll” aesthetic to mir- ror Johnny Depp’s Keith Richards-like performance as a nutty pirate to pluck a few plums from the batch—or at least captain, what plays on-screen is pretty much Gladiator 2 (and one long stretch of ’s Dracula). It’s all part of a depressing trend in which filmmakers spend years painstakingly planning every conceiv- make lemons into lemonade. able element of their movies, but leave the music as an afterthought.

JANUARY 2004 18 FILM SCORE MONTHLY FILM SCORE MONTHLY 19 JANUARY 2004 OF THEWorst2003 EDITION

Best Score Johnny English, ED SHEARMUR from filmmakers to Stay the Hell Out of Their Way—in other words, called to congratulate Ed Shearmur on his score to Johnny English, write music that nobody would notice unless it were removed from the Iso obviously I’m assuming that he wrote everything on the movie. Silvestri manages to write music that slides seamlessly under the other than the tracks by the string group Bond—although action while still maintaining interest on its own. Silvestri’s score for a some cryptic credit footnotes on the CD package really confuse the scene involving Lara Croft, a gun battle and a helicopter in Hong Kong issue. In late spring, when I first heard this album, it was by far the shows quite well what he could do for a Bond movie. most entertaining soundtrack of the year, and despite the fact that it’s music for a spoof, it also sports some of the most exciting action cues Girl With a Pearl Earring, ALEXANDRE DESPLAT I’ve heard in a film in a long time. (It’s a strange and disconcerting Best Indie Score fact that it is now easier to get away with a great action cue or solid his past year, I got to talk to what seemed like nearly every indie adventure music in a spoof than it is in a real action movie.) Suffice Tcomposer on the planet, and it was cool to discover some great it to say that this is the best Bond score since Barry was last on the films in the process. Among them were American Splendor, The Station case, and it manages to be both slyly droll regarding the ineptitude of Agent and Girl With a Pearl Earring, all of which sported interesting the movie’s hero and entirely convincing as it gets inside his deluded scores to boot. Alexandre Desplat’s Girl With a Pearl Earring took the cake, head to conjure up a spirit of bold excitement—all with some actual though, with its lush, moody and surprisingly suspenseful score for this writing and development. fictionalized account of the inspiration for Vermeer’s famous painting. It’s like a cross between Dangerous Liaisons and Basic Instinct; go out and Second Best James Bond Score get the album. Tomb Raider 2: The Cradle of Life, ALAN SILVESTRI

t was not a particularly good year to be Alan Silvestri, but one good Best Music for the Lighting of Several Large Signal Fires Return of the King, HOWARD SHORE Ithing did come out of the production of Tomb Raider 2. No, I don’t mean the film—one of the more interminable and forgettable ones this ’m still not sure what happened to Howard Shore’s Smeagol-killing- year—but Silvestri’s score, applied after Craig Armstrong left the project IDeagol music at the beginning of Return of the King, but ATTENTION (and after Silvestri himself left Pirates of the Caribbean). Lately, the biggest SOUND DESIGNERS: If you think playing music under a murder scene challenge for film composers is the inevitable, none-too-subtle edict is a cliché, do you honestly believe that playing slowed-down breathing

FILM SCORE MONTHLY 19 JANUARY 2004 and heartbeat sound effects is not? ments of Dreamcatcher, but when music under sound effects during movie (it’s also becoming a cli- Fortunately, such failures of imagi- his sensitive music accompanies a the film’s mind-numbing battle ché of its own), Elfman’s efforts nation were few and far between scene of Thomas Jane pretending sequences. Oddly, that made Davis’ to write around his own style in The Return of the King, and they to talk into a nonexistent phone, climactic “Neodämmerung” cue for resulted in some very involv- were more than made up for the effect is squandered. The best the big Neo vs. Smith “Superman” ing cues, especially the dynamic, by sequences like Gandalf rid- cue in the movie is Howard’s rip- fight all the more effective because almost improvisationally play- ing up the spiral streets of Minas snorting action cue for a massive it seemed to be the first time in ful music that accompanies the Tirith and signal fires alerting the extraterrestrial slaughter—but it’s the movie that we were actually Hulkster’s trip to an elaborate kingdom of Rohan, all to the tune not on Varèse’s album. hearing music playing under the scientific compound in the desert. of Howard Shore’s magnificent footage. I’m still humming that one—yes, Gondor theme. We won’t have it can be hummed! the final word on this music until Best Scores for Most we see the DVD cut of Return of the Disappointing Sequels King, but I’m already more than The Matrix Reloaded, Matrix Dumped Cues the Kaplans eager to hear all 12 hours or so of Revolutions—DON DAVIS Should Have Mentioned in Shore’s music. on Davis gets the Basil Their Dumped Cues Article “Crash Landing,” Planet of the Poledouris Starship Troopers D Apes; “Battle Continues,” Award for pouring the most The Sand Pebbles; “Retreat Parts 1 work and talent into music for & 2,” The Blue Max the genre films that got the least —JERRY GOLDSMITH. acclaim of the year. Remember when Newsweek proclaimed 2003 hat the hell were those The Year of The Matrix? I can’t WKaplans thinking? I can remember whether it was Time or Best Transporting still remember my jaw dropping Newsweek which then used the fol- like Jacob Marley’s the first time I lowing header for their review of the Hulk Cue “Captured,” Hulk heard Jerry Goldsmith’s amazing Matrix Revolutions: “For Matrix fans, —DANNY ELFMAN crash-landing music from Planet it’s all over but the whining.” A lot of the Apes and nearly dislocating of us got to hear Davis’ spectacular veryone has laid claim to my mandible when I heard the scores for these movies before we Ethis joke so I’ll just blatantly astounding lost climax from The saw the films themselves, which steal it: When it comes to the Sand Pebbles on the Varèse Deluxe for me only redoubled the pro- Hulk, most of us can agree… Edition of the score last year. As found disappointment of sitting “You won’t like me when I’m Ang for The Blue Max, only when I through them—Davis’ music had Lee.” Lee’s mega-hyped Marvel finally watched the film on DVD Best Reason Not to conjured up far better films in my Comic Books adaptation initially recently did I realize how ill- Score Two Invasion head than what the Wachowskis pleased critics but no one else; treated Goldsmith’s famed score actually produced. Worst of all, the now even the critics have forgot- was in the movie—I believe you Movies in a Row Wachowskis finally allowed Davis ten it. The movie suffers from an only hear the very beginning Dreamcatcher —JAMES NEWTON HOWARD to write a mostly orchestral score emotionally impenetrable hero and the very end of his lengthy, without leaning on techno collab- in Eric Bana and special effects grueling combined “Retreat” cues; can’t completely dismiss orators for Matrix Revolutions—and that settle too eagerly for the full overall, this score is sliced and ILawrence Kasdan’s Dreamcatcher then completely buried most of his digital approach, when a mix of diced about as much as Jerry’s since it was the most dumbfound- animatronic and CG shots might original Alien effort was. All three ingly funny movie I’ve seen since have sold the big green guy more of these cues are highlights in Battlefield Earth (the only thing convincingly (though once the the composer’s career that we to come close in terms of unin- jolly green giant gets out into never would have heard were it tentional humor is Tom Cruise’s the desert to wreak havoc, the not for the miracle of soundtrack hilarious “SAKE!!!” - film becomes a rousing guilty albums. ing detox sequence in The Last pleasure). Everybody dumped Samurai). However, it was sad to on Danny Elfman’s score (after see poor James Newton Howard Universal dumped Mychael Best Released reduced to trying to make sense Danna’s) because evidently it was Jerry Goldsmith Score out of one of the most bizarre not “Danny Elfman” enough. Hey, Looney Tunes: Back in Action sci-fi plots in recent memory, and that was the idea! Lee prodded particularly so after his brilliant Elfman to get away from his usual awaited this score with great work on M. Night Shyamalan’s “Elfmanisms,” and while I still Itrepidation all year—it was Signs. You can see Howard trying think the whole “Eastern” sound hard to see how Goldsmith was to work a little of that redemp- from Danna’s original concept going to go from Star Trek Nemesis to tive Signs vibe into the later seg- was misguided for this type of what would be required of a film

JANUARY 2004 20 FILM SCORE MONTHLY boasting Looney Tunes characters Best Rat Music mixing it up with live actors. Now Willard— I’m ashamed for doubting. While Goldsmith did need John Debney od bless Shirley Walker— to render some assistance late in Gshe still writes music that the game, Jerry’s work in the film says, “You’re listening to a MOVIE is vintage stuff, much of it recall- SCORE, dammit!” Fortunately, ing his kinetic, busy style of the filmmakers Glen Morgan and ’60s and ’70s. It did my heart good James Wong are actually willing to hear Goldsmith collapse “The to allow that sort of approach in Merry Go-Round Broke Down” their movies. Their remake of the with Herrmann’s Psycho—you’re 1971 rodent thriller Willard never still nuts, Jerry. In a good way. hits the giddy heights of insan- ity it should, despite the brilliant casting of Crispin Glover in the Best TIMELINE Score lead, but Walker’s music really JERRY GOLDSMITH takes the forefront, sawing back feel guilty making this choice and forth into your brain and Never Give Up By Doug Adams Iafter I told Brian Tyler how driving the film’s psychology in much I loved his Timeline score, a way few film scores are allowed which I still do. What’s interest- to these days. Score I Liked Much More Than Tim Curran and the Kaplans Finding Nemo—THOMAS NEWMAN ing to me is that after hearing Goldsmith’s score (oh, quit yer kay, Tim and the Kaplans didn’t really harbor any major grudge whining, people—you’ll all hear Best ENTERPRISE Score against Newman’s work, but we usually see so eye-to-eye that Tie: “Canami”—BRIAN TYLER O it on Varèse’s Special Edition I’m still shocked my fellow FSMers didn’t share my enthusiasm for the “Similitude”—RAY BUNCH release in 2004), I immediately composer’s fish tank full of gleaming musical gems. This is Newman disliked it and thought it paled here’s probably no greater at his most ebullient—which when you think about it, is still pretty in comparison to Tyler’s work. Tsign of the desperation of the wistful—and his most experimental. The ocean has always settled for Then I listened to Goldsmith’s Star Trek Enterprise post-production a musical depiction from above the waves. Debussy, Britten, Takemitsu a lot more, and now I’m not so team than the fact that suddenly and Corigliano saw the sighing timelessness from the shoreline, but sure—there’s a lot of splendid Star Trek music is starting to sound with a mix of electronics, orchestra and the composer’s odd assortment stuff in Goldsmith’s score. After like, well, music again this year. of instrumental discoveries, Newman dives beneath the surface for a Lionheart, 13th Warrior and First The trend started late last season colorful microcosm of activity. Knight who’d have thunk Jerry when sniping about the show’s had any more medieval adven- flatlining ratings and moribund ture music in him? Look at it this drama started to reach its peak, Best Reason for Continuing the Elfman/Burton Collaboration Big Fish—DANNY ELFMAN way—as soundtrack-collecting and composer Brian Tyler was nerds, we get two good albums brought in to work on a few o doubt I’m reading too much into it, but I can’t help but remark out of this deal, while Paramount episodes while the constraints Non the wonderfully moving biographical sentiments in both Tim and the mainstream public are that have hamstrung compos- Burton’s film and Danny Elfman’s score. The story is a dizzy examina- stuck with the movie. ers like Dennis McCarthy and tion of storytelling, family relationships and the strange flexible nature on the Trek shows of truth. As much as I enjoy Elfman working on films like Hulk, I’ll for years suddenly seemed to be always consider Burton’s macabre world his home. In Big Fish, Elfman, loosened. Tyler’s “Canami” was a for the first time in a Burton picture, seems to acknowledge the edges good, old-fashioned space action of this fantasy world and that its contained nature offers both solace score that coincided nicely with and limitations. It’s easy to write off this score as simply leading a dual his big epic Children of Dune mini- existence: one in Burton’s typical funhouse and one in a contemporary series score. There hadn’t been a Deep South. But where’s the division? Elfman effortlessly glides back real standout score this season and forth between the two territories without staking a permanent until Ray Bunch’s “Similitude,” claim in either. Each style highlights its own reflection in the other, which shockingly accompanied reminding us of the important fantasies within our realities and vice an episode that actually stood versa. For anyone who has ever turned to the arts as a respite from out as a solid piece of writing, day-to-day life, it’s a devastatingly beautiful observation. acting and direction—that and smooth editing combined with Bunch’s sometimes propulsive, Best Score That Shouldn’t Be Allowed to Become a Trend The Matrix Revolutions—DON DAVIS often moving score to create one of the few totally watchable eve- erhaps the highest compliment I can pay Davis’ Matrix work is that nings of Enterprise to air since the PI hope that neither he nor anyone else ever applies this style to show debuted. FSM film again (with the possible exception of Davis’ continuing work on

FILM SCORE MONTHLY 21 JANUARY 2004 Matrix cartoons). It’s not that the so there’s no way I’m going to Does it pull the composer out of composer’s post-minimalist voice offer some fuzzy-headed view of circulation for a while? Yes. Does has been played out, it’s just that the Klinghoffer controversy. Politics it show that when a composer it’s now so inextricably tied to the aside, Adams’ score is a striking respects film music and its unique Wachowskis’ green-tinted digital effort, the angriest music of a requirements/opportunities he streams, it’s gained a permanent composer who made his name can create art that transcends Matrix stamp. It’d be like using the returning a sense of quicksilver commercial goals? Yes. Star Wars theme in a generic action fun to the American concert hall. film’s ; we’d never think of That this works as a film is not as anything other than Star Wars. This shocking as it may seem. On stage Best Score I Didn’t Like 28 Days Later—JOHN MURPHY, is no slam against Davis. Every or screen it’s a searing emotional DANNY BOYLE, film composer does his/her best to piece: challenging, scalding and find that voice that will encapsu- empathetic. aint praise, I guess, but even late a picture. Davis succeeded so Fthough I’ll never buy this on well here, it created a Matrix brand CD, it sure was interesting in the of scoring—an immutably distinct Best Rock-Based Score film. Zombie films always seem sound. Now hands off, Hollywood! (or CD I’m Glad to Have to present a unique breed of Incidentally, not to cast any sort of anti-decadence, an air that’s so negativism on our year-end cel- but Can’t Imagine Any 2003. Walker’s hiccupping meters, resolutely still and lifeless that it’s ebration, but Davis should also be Circumstance for Playing It) crusty xylophone licks, and yes almost its own kink. And doesn’t praised for supplying the one and S.W.A.T.—ELLIOT GOLDENTHAL you’re reading correctly, accordion it seem right that the downfall only aspect of the Matrix sequels section couldn’t have played better of London would coincide with that was a completely satisfying nly a composer with Elliot to the film’s grungy, bleak humor. a slick techno take on post-glam continuation of the original. OGoldenthal’s chutzpa could Somewhere Bernard Herrmann is rock? The music is sort of a shape- follow the giddily melodic smiling at you, Shirley. Or at least less drone, but purposely and with the -sprouting manly he’s not cursing and throwing effectively so. And yes, it’s just music of S.W.A.T. and never lose an things. indulgent enough to suggest the iota of credibility. (Let me also toss morbid thrill of seeing London a nod to Frida at this time; I didn’t swirling with the moist undead. I see the film in its completion until Best DVD Score suppose the music isn’t supposed The Lord of Rings: The Two Towers— after the “2002 in Review” piece to exist on its own, but I’d sure Extended Edition—HOWARD SHORE was due last year. Goldenthal’s be up for another collaboration score was absolutely in love with et’s ignore for a second the between Danny Boyle and John life and art, and deserved the Lmusical integrity and creativ- Murphy. Maybe I’d shell out for high praise it garnered.) S.W.A.T.’s ity Howard Shore has once again the CD next time. tone never reveals itself as being delivered. In fact let’s pretend that purely heroic, ironic, contempo- Shore outfitted the expanded DVD Best Reason to Never Give Up Best 2003 Film Score That rary or kitsch, but it’s packed with cut of Jackson’s film with some such momentum and groove, we run-of-the-mill string chords and On the Art of Film Music Wasn’t Written in 2003 hardly have chance for second a good thump here and there. The Lord of the Rings: The Return of the thought. I remember Elliot once Pretend the new themes, the King—HOWARD SHORE and Isn’t a Film Score referring to as a shock new developments, the melodic The Death of Klinghoffer to the neurological system. S.W.A.T. breathing room and the refined here to begin? I’ve writ- — juices up your brain all right, as dramatic architecture never Wten thousands of words in ohn Adams’ The Death of the composer pumps though existed. It’s a stretch, but try. Even praise of Shore’s Lord of the Rings JKlinghoffer debuted in 1991 and -style experimentations with if you ignore the compositional scores, but somehow I always feel was hailed as either a musical a churning omni-pulse. It’s like genius of Shore’s work, this new compelled to return and clarify— masterpiece or an offense against and Mudvayne DVD, like Fellowship before it, is a that no matter what I’ve written, humanity. Penny Woolcock’s film collaborated on a halftime show. monumental exercise in musical I’m still trying to express what I adaptation features the same It’s rare to hear music both this dedication. Special effects and Avid feel makes this work so smart, so controversial elements as the ridiculous and this smart. re-edits are supposed to be the integral, so good. Well, I’ve tried staged version: the hijacking of bane of composers everywhere, verbosity, let’s see if conciseness the cruise ship Achille Lauro, dis- but Shore has proven that an does the trick: Shore’s work on abled American Leon Klinghoffer, Best Main Titles/Best Musical intelligent writer who is genuinely the Rings films in general and emotive terrorists, gunplay, death Depiction of Crispin Glover dedicated to his art, not just trying Return of the King specifically and provocative sympathies. I Willard—SHIRLEY WALKER to make a buck and move on, can represents why I believe film once received a semi-veiled death do something that not only works music is a viable form of creative threat after criticizing a James heard the hype, but never but exceeds the original product. expression. This is art. Horner score (though not from the Igot around to checking out Does this take extra time? Extra …And I can’t wait for the composer, himself… presumably), Willard until night, money? A team of archivists? extended DVD! FSM

JANUARY 2004 22 FILM SCORE MONTHLY a bland score like Harry Gregson like Lord of the Rings. Similarly, when From the Imagination Williams’ Sinbad comes along, sim- you do hear something positive ply because it sounds like it may said about Shore’s work, it’s usu- of Tim Burton Comes... have been written with actual ally coming from a composer who instruments in mind. has actually written good music of Now that all that’s out of the his own (the late Michael Kamen, way, we can move on to more , Marc Shaiman). positive things. The Slinker/Stinker Award Composer of the Year goes to...JAMES NEWTON goes to...JAMES HORNER HOWARD

orner earns this award not ames Newton Howard has split Hfor The House of Sand and Fog, Jin half. We’re big fans of the half Beyond Borders or Radio. And no, that does the M. Night Shyamalan it’s not for The Missing either, even movies. The other half (the one though it’s the best of the four. that did Atlantis, Treasure Planet and It’s actually for comments Horner Peter Pan) is quickly becoming the made in several interviews—com- worst thing to happen to kids’ The Best of 2003 By Jon & Al ments alluding to the fact that he movies since John Debney. James eople were angered that we liked so many of last year’s scores. had been offered the Lord of the Newton Howard is the only work- PThings like Signs, Spiderman, the four John Williams scores, and of Rings trilogy and for unspecified ing composer who’s getting better course Two Towers. Well, these people are in for a treat, because with the reasons turned it down. Thank and worse at the same time. exception of The Return of the King, 2003 may be the worst year in film you, James. Thank you for this Dreamcatcher, which falls some- music history. Despite this—and just to piss off these same people— mighty gift. where in between Shyamalan and we’re going to approach this article through rose-colored glasses. fudge, has two good action cues (“Henry Returns to the Cabin” and The Return of the King Award “Cutris and Owen Battle”). The rest goes to...EVERYONE goes to...HOWARD SHORE The Everything Sucks Award of the score is serviceable and the kay, fudge the rose-colored glasses. This is the category we nor- t’s disheartening that some- film is atrocious. When we went to Omally leave out of our yearly wrap-up. In fact, we’re going to cut Ithing as wonderful as Howard see Dreamcatcher there was an old most of it out this year, too. But in a year that’s so bad, we would be Shore’s Lord of the Rings has failed to man outside the theater scream- letting you down if we didn’t at least mention some of the specific rea- bring film music fans together, and ing like Kevin McCarthy, warning sons why it was so bad. has instead polarized them. On its people that it was the worst movie The “Important” Oscar contenders didn’t offer much in the way of own, Return of The King is the best ever made. He was wrong. The memorable music. Cold Mountain gave a gifted composer very little to score of 2003. Taken as a whole, worst movie ever made is William do, as director forced Gabriel Yared to turn pieces Howard Shore’s three Lord of the that he intended as period, source piano music into the main themes Rings scores combine to form one of the picture. The movie desperately needed a love theme that it never of the best film scores ever written. got. ’s four-note Mystic River theme (and score) is embar- But you what you put in. rassingly maudlin, but in a movie littered with absurd coincidences, bad If you’re lazy, the scores are simply accents and horrifying close-ups of Kevin Bacon’s wife’s mouth, the pretty. If you sit down and actually music is the least of its problems. Master and Commander managed to con- listen, you’ll find it to be perhaps vince several people that Christopher Gordon is Ralph Vaughn Williams. the most thematically intricate Lost in Translation was musical torture, but that was probably the idea—to score in film music history. That leave you floating in limbo, displaced from everything you thought you statement might seem strange Friedkin’s The Hunted, which we knew, listening to dull electronica and random needle-dropping. considering that there are people would have walked out on but Genre scores didn’t fare much better. 3 should have been a who argue that these scores have couldn’t because Dana wanted to blast but Marco Beltrami, who has admitted to not being a childhood no themes at all. These people see her name in the end credits. fan of horror movies and probably doesn’t like science fiction either, make us feel truly grateful that we turned in an invisible, clanging dud, with a heartfelt rendition of the have ears, which we used to take Thin Red Line theme for John Connor. Amazing when an action score is for granted. We’d love to print a Super Average! so bad it makes you long for the nuanced writing of . And list of people (many of them well Quite a few big superhero films Elia Cmiral continues to write random, unlistenable sound design on known, working film composers) hit theaters in 2003. Unfortunately, horror scores like They and Wrong Turn. who’ve gone off the record and none of their scores leave lasting The Media Ventures crew marches on, destroying movie after movie: slammed the LOTR scores. But impressions. Pirates of the Caribbean, Something’s Gotta Give, Paycheck, The Rundown, The when you consider the dreadful Recruit, Basic. We acknowledge that a lot of these movies are bad to barrage of scores that these people anny Elfman’s Hulk plays begin with, but once upon a time, bad movies could have great scores. are responsible for, it’s no wonder Dfine as an album. In the film, Things have gotten so dire now that fans are actually grateful when they don’t appreciate something which is abominable, the score

FILM SCORE MONTHLY 23 JANUARY 2004 is twice as long and becomes a e haven’t heard Trevor of the greatest action scores of Worst Song migraine. Big Fish is better all the WJones’ League of Extraordinary the ’80s. way around, but it’s not quite a Gentlemen because we know better. Compilation Album goes to...PICK ONE superhero score—and not quite But by far the worst superhero worthy of its own category, so we score of the year was Graeme Best Wife harlie’s Angels 2 has one goes to...BRIDGET FONDA put it here. On a related note, folks Revell’s Daredevil. Was Dead Calm Cworthwhile scene where continue to bitch about Elfman’s really worth 15 years of this? Demi Moore sucks on the side refusal to write themes anymore. of Cameron Diaz’s face, but the We hope that Elfman continues to soundtrack is probably the worst write in his current densely layered The Brave and of the year. We can’t remember a style if only to piss off his ungrate- Reliable Alan Award case of so many iconic popular ful fans (ourselves included). goes to...ALAN SILVESTRI standards thrown together with such utterly obnoxious, in-your- “It simply didn’t sound like face abandon. pirate music to me.” —Jerry Bruckheimer on Silvestri’s rejected .W.A.T. was crammed with Pirates of the Caribbean score, as Sso many abrasive songs that quoted in . Tim and Al walked out on it. The film actually has a snappy Elliot “The first thing we discussed Goldenthal score, but as with was Jerry (Bruckheimer) saying Forever, the music is basi- that this is not a pirate movie.” cally done in by its association — on Pirates of The Caribbean, THE BATTLE OF with a loud, awful movie. as quoted in FSM. SHAKER HEIGHTS Award goes to...RICHARD MARVIN e’re proud of Alan Silvestri Wfor walking off of Pirates t’s funny how and of the Caribbean when that ugly IMatt Damon talk about how liar camel Jerry Bruckheimer they want to avoid making the demanded he write in the Project Greenlight movies feel like renowned Media Ventures style. TV movies. Then goes ohn Ottman is a very nice guy It’s interesting that Media Ventures and hires composers like Richard Jand his love for film music is was originally going to do Gore Marvin and Danny Lux who spe- infectious, but nice guys don’t Verbinski’s first movie, Mouse Hunt, cialize in the exact type of Thomas always write the best music. Most but when Bruce Fowler’s mock- Newman-lite torture that’s spread of X-Men 2 consists of vague, ups didn’t fly, Silvestri was brought through television like the plague. ill Bill boasts an entertaining amorphous versions of past sci-fi on board. Now it’s the revenge Klibrary of Morricone originals themes, with all the worthwhile of Hans, as Media Ventures has and Morricone rip-offs, but they’re elements stripped away. The Jean scored Verbinski’s last two mov- The Less Is More Award at the service of an annoying goes to...JOHN DEBNEY Grey material, for instance, plays ies, The Ring and Pirates. Both scores movie and an even more annoy- like the soup that goes under Ilia’s stink, though someone managed fter John Debney was cred- ing director. All of the characters in theme (Star Trek: TMP), but meander- to sneak a few decent cues into The Aited on a staggering count of Kill Bill are in on the same stupid ing and hookless. The one tune that Ring. We anxiously await Zimmer’s nine movies in 2002, it was nice to joke, because all of the characters stands out, an amalgam of Kamen’s score for Van Helsing. see him take a well-earned vaca- are . We don’t original X-Men theme and the Tomb Raider 2 has several typi- tion in 2003, when he scored a mind that all of the characters in old cartoon theme, is built on an cally catchy Alan Silvestri themes mere four. We saw John Debney David Mamet plays sound like awkward figure that’s too fast for that made an otherwise unwatch- and his wife at Jerry’s Deli sev- Mamet because his characters the trumpets. You can hear them able movie mildly entertaining. eral months ago. We were going (even the dumb ones) are all intel- struggling to get it each time, Much of the score is like ChiPs to hum one of his themes to see ligently written and their dialogue almost to the point where they’re updated for large orchestra, with if he’d notice, but we realized we springs naturally from uncomfort- faking through it. Weak themes techno elements cautiously filling couldn’t remember a single one able situations. But with Tarantino, aside, X-2 also features annoyingly in for the disco. Even the intimate —damn, we’re usually good at it’s whatever dumb shit he saw on blatant lifts from Lifeforce, Minority “Chinese” music for Angelina that sort of thing! In other John TV when he was 13. Got writer’s Report and . By the Jolie’s personal life is written with Debney-related news, rumor has block? How ’bout: “Silly Rabbit, way, John Ottman has announced more attention to detail than the it that John Debney’s son would Trix are for kids!” Tarantino has that he’s heard the score to Lifeforce film deserved. like to become a film composer. So likened Kill Bill to Raiders of the Lost only once and doesn’t remember Though Hollywood did not now there will be twice as many Ark and in some ways, it’s a fair it. As per this shocking revelation, treat Alan Silvestri very well this John Debney scores to look for- comparison. The only difference his X-2 score no longer sounds year, Varèse Sarabande did man- ward to, and three times as many is that Spielberg and Lucas took like Lifeforce. age to finally release , one Alan Silvestri scores. stuff they loved as kids and strung

JANUARY 2004 24 FILM SCORE MONTHLY it all together with a compelling on Runaway Jury. Whoever it is They Work Hard for the Money story, interesting characters and that’s doing The O.C. does Thomas original music. Kill Bill has none of Newman on The O.C. The actual The 25 top-grossing composers of 2003 that. If that’s somehow the point, Thomas Newman’s Angels in EVERYONE OUTSIDE HOLLYWOOD SAYS THAT FILM GROSSES DON’T then congratulations Quentin America is pretty great though. matter. But the industry follows them pretty damn closely. So, in that spirit, Tarantino! A+. Skip the first half of the album if we present this list of top-grossing composers. Some familiar names may you can’t stand it. It gets better. be conspicuous by their absence—because their total U.S. grosses did not We hear exceed the $100 million mark. We’re not implying quality here, just tracking pulled Seabiscuit from Oscar con- numbers and noting a few incredible strokes of good (or bad) fortune. Who sideration because he had such will leverage their success into bigger assignments in 2004? Is it better to gamble on one promising project or to work like a demon on a half-dozen a bad time on it (and because he potential dogs? Do big grosses matter? Well, they don’t hurt. —Joe Sikoryak is too honest a man to accept an Oscar for a score that had William John Debney $449M Ross rewrites/adaptations). After Elf $172M; Bruce Almighty $243M; Malibu’s Most Wanted (themes) $34M writing numerous fine scores Don Davis $419M and then winning a consolation The Matrix Revolutions $138M; The Matrix Reloaded $281M Christophe Beck $397M award for perhaps the worst song Cheaper by the Dozen $101M; Under the Tuscan Sun $44M; Dickie Roberts: “Go Fudge Yourself, Hans.” he’s ever written, Randy Newman Former Child Star $23M; American Wedding $104M; Confidence $12M; is a man who realizes exactly how The Event $36M; Just Married $56M stupid the Academy can be. Thomas Newman $340M The “Clay...Bill Clay” Award This year’s interesting David Finding Nemo goes to...HANS ZIMMER Newman news is that he scored Howard Shore $338M The Lord of the Rings: The Return of the King ans Zimmer has a good Cat in the Hat after Randy Newman $320M Hsense of humor. On the and Marc Shaiman left. Rumor The Cat in the Hat $100M; Duplex $10M; Daddy Day Care $104M; Tears of the Sun album there’s a has it that Mike Myers, despite How to Lose a Guy in 10 Days $106M disclaimer that says “All tracks not being credited as anything Klaus Badelt, et al. $305M written by Hans Zimmer except:” other than an , was running Pirates of the Caribbean: The Curse of the Black Pearl. and then it goes on to re-list just the show, and was apparently as Hans Zimmer $279M Something’s Gotta Give $93M; The Last Samurai $106M; about every cue. And the Pirates of much of an annoying beast off Matchstick Men $37M; Tears of the Sun $43M. the Caribbean album has the credit camera as he is on camera. John Ottman $274M “Over-produced by Hans Zimmer.” We have not heard any late- Gothika $59M; X2: X-Men United $215M We guess as long as Hans Zimmer breaking news regarding rising $226M can at least joke about the fact superstar or violist Out of Time $41M; Freddy vs. Jason $82M; Daredevil $103M that he’s ruined film music, it . John Powell $226M Paycheck $47M; Gigli $6M; The Italian Job $106M; The In-Laws $20M; doesn’t matter that he has. Agent Cody Banks $47M “I can beat you, Matrix. Trevor Rabin $205M The What Are The Newmans Bad Boys II $138M; Kangaroo Jack $67M I don’t need the girl.” Rolfe Kent $200M Up To Lately? Award Freaky Friday $110M; Legally Blonde 2: Red White and Blonde $90M goes to...THOMAS NEWMAN, ome of Don Davis’ best mate- Danny Elfman $181M Big Fish $49M; Hulk $132M RANDY NEWMAN and rial for the second Matrix S $168M DAVID NEWMAN was discarded because the Spy Kids 3-D: Game Over $112M; Once Upon a Time in Mexico $56M Wachowskis decided that the Joel McNeely $167M hat’s this? Are we about musical heart of Reloaded should Uptown Girls $37M; Holes $67M; $15M; $48M Wto...disagree with our be techno. Davis’ Matrix writing is Mark Mancina $156M esteemed colleague Doug “the daring, even if it mainly amounts The Haunted Mansion $72M; Brother Bear $84M Marco Beltrami $150M bug” Adams? We often like to impressive . His Terminator 3: Rise of the Machines Thomas Newman, but most of original unused “Burly Brawl” Teddy Castellucci $134M Finding Nemo’s painfully subservi- cue is a true knock-out, but Anger Management ent score would have been just Lalo Schifrin $133M as comfortable in a nightmare Bringing Down the House of a film like Pay It Forward. David Ed Shearmur $129M Charlie’s Angels: Full Throttle $101M; Johnny English $28M Newman’s Ice Age had more life David Arnold $127M than this score, and that terrifies 2Fast2Furious us. Or maybe it’s just that the real Randy Newman $120M Thomas Newman continues to be Seabiscuit diluted by imitators. Christophe Alan Silvestri $118M Beck does Thomas Newman on Lara Croft Tomb Raider2: The Cradle of Life $66M; Identity $52M Elliot Goldenthal $117M Under the Tuscan Sun. Christopher S.W.A.T. Young does Thomas Newman

JANUARY 2004 24 FILM SCORE MONTHLY F ILM SCORE MONTHLY 25 JANUARY 2004 apparently it left the directors and the theme?” We’re pretty sure Wagons East. producers scratching their heads Mary Jo blew her brains out after It has been a particularly rough The FSM Lifetime and asses. Don Davis should be hearing Chris Young’s score for year for film composers by the name Achievement Award happy because he is the one cre- The Core. of Michael. Michael Giacchino, goes to...JAY RIFKIN ative person to escape from these Michael Convertino, and David despicable Matrix sequels with his Michael Frank, watch your asses. Get him, Jay! dignity (if not career) intact. There Will Not Be a Four Best Music-related DVDs Lord of the Rings The “They’re Real!” Award ndiana Jones and the Raiders of Trailer Music Award GM has done a good job the Lost Ark! As most anyone I goes to...THE ONES WITH THE burying the laughably with a DVD player knows, the M REAL MUSIC bad Heather Graham/Joseph new Raiders box set has a fun Fiennes thriller Killing Me Softly, music featurette. John Williams, ould you have imagined but it’s worth checking out for articulate as always, obviously Can Empire Strikes Back or two reasons: One is that Heather appreciates the fame and ado- trailer tracked Graham is ravaged while buck ration these films have brought with any music other than John naked during much of the film. him, and that makes us happy Williams’ Star Wars? It was very The other is ’s hilari- because sometimes we fear he insulting to witness the launch ous, over-the-top score. Imagine doesn’t believe or care how of the 2002 Two Towers ad cam- Fatal Attraction scored like Mary good he actually is. The only paign that featured the hideous Shelley’s Frankenstein. It’s a shame disheartening thing about the Requiem for a Dream remix. Forget Doyle doesn’t work more because irmly cementing this year as new interviews is that the once- how “lowest denomi- he can write some of the funni- Fone of the worst in film music exquisite Karen Allen now looks nator” that music was, because est film music since the heyday history are the shocking deaths of of Ennio Morricone. Except in two brilliant composers, Michael Doyle’s case, we get the feeling Kamen and . he’s in on the joke. Kamen was a true film music champion, and one of the few guys who’s identifiable after only a single chord. The Dead Zone, , Lethal Weapon and Highlander would be unimaginable without Kamen. He approached his work with a mischievous integrity, often ingeniously quoting famous con- cert works and popular standards, in a way making him action music’s heir to Carl Stalling. Here’s one of the little reasons we love Michael Kamen: In Lethal Weapon 3 (of all things), Mel Gibson says “Watch this Roger; She has a gift,” like she would have if she’d that’s not the issue. The issue is right before Rene Russo single- forgotten to shut her eyes at the that they would dare use any- Angry Ray Costa Phone Call handedly defeats a bunch of bad end of Raiders. Kate Capshaw and thing but music from Fellowship guys. If you listen carefully, you’ll Allison Doody (Doody!) look just of the Ring. It was nice to see the in 3...2...1... hear Kamen wryly quote his fine, though. Return of the King trailers correct e liked Chris Young so theme from The Dead Zone, a film the situation by using not only Wmuch better when he centering on a man with “a gift.” nd of course there’s the past Lord of the Rings music, but wasn’t afraid to indulge in his That’s the mark of a composer Aextended Two Towers box even the Gondor/Fellowship love for Jerry Goldsmith. The Core who loves what he’s doing. set that has 40 minutes of ter- variation from Return of the King screamed out for a memorable Michael Small, of course, put rific new Howard Shore music. itself. Unfortunately, someone disaster theme, but no, the build- his stamp on all those classic ’70s Our favorite music in Two Towers couldn’t resist swooping in and ing blocks of the score are a cou- paranoia thrillers. The detuned was excised from the flashback reworking Shore’s piece, slowing ple of stock rising fifths and some piano writing in Marathon Man where Gandalf kills the Balrog, down the ending and adding generic choral writing. In critique- remains some of the scariest film before dying, flying through a Requiem for a Dream-like string ing work by other composers, music ever written. While Small outerspace, and coming back to line over top. The effect is actu- Chris likes to say “It’s good, but fell off the radar shorty thereafter, life. Shore has lovingly included ally worse than the original is Mary Jo from Oklahoma gonna he wrote great music for some the piece during the extended Requiem remix, because now walk out of the theater humming great movies. Except for 4 and Fan Club end credits. instead of banal preview crap,

JANUARY 2004 26 FILM SCORE MONTHLY it’s a great Howard Shore theme that slowly melts into crap. Still, there have been a slew of other ROTK trailers that feature Shore’s music untouched, and it’s amaz- ing how much better they make the film look. Best goes to...JERRY GOLDSMITH

e haven’t seen the movie, By Scott Bettencourt Wbut Jerry’s work on A Scribbler’s List Looney Tunes: Back in Action is his know critics are always supposed to say that it’s Best Audition to Be the Next most aggressive and detailed in Ibeen the worst year for the art in living memory, years, highlighted by a but though I don’t really consider myself a critic (just James Bond Movie Composer Bonanza-meets-Take a Hard Ride a fan, or more accurately, a “geek”), it’s been the worst Edward Shearmur’s Johnny English. ditty for Yosemite Sam. Someone year for new film music that I can remember in my get Jerry another western. Quick. 27 years as a film music fanatic. It’s all too appro- BEST SOUNDTRACK TRENDS OF THE YEAR priate that the best film of the year (the Dardenne Brothers’ The Son, from Belgium) had no music 1. Two Composers for the Price of One The Brandon F. Moore Award whatsoever, and my three favorite scores consisted Soundtrack labels are presenting scores by different goes to...ARTHUR B. of a rejected score (Goldsmith’s Timeline), a TV score composers in the same package: Intrada’s National RUBENSTEIN (Thomas Newman’s Angels in America) and a compila- Geographic Presents (Bernstein and Moross), Screen eturn of the King aside, the tion of previously composed scores and songs (Kill Archives’ Night and the City (Waxman and Frankel), Rbest score we heard in 2003 Bill Vol. 1). Because a Top 10 Scores of 2003 list is too and, of course, FSM’s /Demon Seed (Myrow was Arthur B. Rubenstein’s Line migraine-inducing a proposition to consider, here and Fielding), The Appointment (Legrand, Barry, of Fire: The Morris Dees Story (a.k.a. are my 10 best films of 2003 (with the composers Walker, Phillips), /7 Women (Friedhofer Blind Hate) a TV movie from 1991. listed in parentheses, as a nod to the art): and Bernstein). It’s got a killer main theme, and the underscore mixes familiar American Splendor (MARK SUOZZO) 2. More Television Music Available elements from Wargames and Blue Buffalo Soldiers (DAVID HOLMES) Again, Intrada’s wonderful National Geographic Thunder. One of the score’s prom- Capturing the Friedmans () Presents, plus Prometheus’ Bernard Herrmann inent devices is the split third Kill Bill Vol. 1 (RZA) library music discs, Varèse’s Taken and Alias, and, chord (often used by Morricone The Lord of the Rings: The Return of the King of course, FSM’s The Man From U.N.C.L.E. Vol. 2 and and Thomas Newman), and we (HOWARD SHORE) Hawkins on Murder/Winter Kill/Babe. haven’t seen it used to better Lost in Translation (KEVIN SHIELDS) effect than here—in this film The Magdalene Sisters (CRAIG ARMSTRONG) about racial prejudice in the The Son (no score) Most Disturbing Film Music South. At least, we think that was Sweet Sixteen () Development This Year what it was about. We were fast- The Triplets of Belleville (BEN CHAREST) Alan Silvestri is replaced on Pirates of the Caribbean by forwarding through it to listen to Klaus Badelt, and despite his completely uninspired the music. efforts, the film goes on to be the highest grossing Best New Composer of the Year live- of the summer. Will Hollywood Alexandre Desplat. Okay, Desplat isn’t actually new, now believe that the only reason pirate films have but Girl With a Pearl Earring is one of the best scores That’s It done badly for the last three decades (Swashbuckler, of the year, and his first film to get a major release hat’s it. This year was a little Pirates, Cutthroat Island) is that damned rousing sym- in the U.S. Tpreview of what film music phonic music? will be like when John Williams sails Into the West. But in the Most Improved Composers of the Year short term we can still hold on Harry Gregson-Williams (Sinbad: Legend of the Seven Most Intriguing Film Music to some hope. Next year has to Seas) and John Powell (The Italian Job, Paycheck). Keep Development of the Year be better, doesn’t it? We’ll have up the good work (sorry that sounded so conde- Media Ventures’ Jay Rifkin’s suit against Hans Zimmer, the next Harry Potter, another scending, especially from a guy who can’t write a and Zimmer’s inevitable countersuit against Rifkin. JNH/Shyamalan collaboration, note of music). Silvestri on Van Helsing and Polar Express, whatever Howard Most Overrated Score of the Year Mystic River (Clint Eastwood). It’s not a bad theme, Shore does, and hopefully a Best Soundtrack CDs of the Year The expanded Bond CDs. That’s some good but he’s written better themes (for example, few other surprises. Until then, shiznit. Claudia’s theme from Unforgiven), but to have the Baba Booey to y’all! FSM

FILM SCORE MONTHLY 27 JANUARY 2004 entire score be just that one Biggest Triumph Over Typecasting (#1) theme, over and over and over THOMAS NEWMAN again, with no development...oy! inding Nemo was the score of the summer, hands Worst Example of Auteurism Fdown, and one of the richest and most charm- ing the composer has ever written. After enduring No, it’s not Robert Rodriguez an increasingly saccharine series of scores by cousin writing his own scores—Spy Kids Randy for the Pixar films, Newman came along and 3D: Game Over has much bigger pushed himself, yet again, into an intriguingly new problems than Rodriguez’ unin- direction. The film, with Newman’s music, simply spired music, while the Once Upon pulsed with life and energy, and that’s saying some- a Time in Mexico score isn’t bad. It’s thing, considering how deft the Pixar team has been Peter Weir, who’s an extremely in the past with unselfconsciously emotional story talented director—and Master material. Bravo. and Commander is one of his best films—but his films would be better if he’d actually just hire a Biggest Triumph Over Typecasting (#2) composer and let that composer ELLIOT GOLDENTHAL do his job. Gallipoli had intrusions lectric guitars buzzing like flies, and action cues of Albinoni and Jean-Michel Jarre; Against All Odds that threaten to split you in half. Either you get The Year of Living Dangerously had E By Jason Comerford into Goldenthal’s clustered, frenetic and dissonant tracked-in Vangelis; Fearless fea- style or you don’t. I do, and S.W.A.T. was just the kind tured more Gorecki than Maurice hat a truly interesting year it has been for of hard-assed writing that I knew had to be lurking Jarre; mixed the film music fans, what with all the scandals around in Goldenthal’s head somewhere. The movie dull-ish Philip Glass and the W and deaths and all that. Then there’s the music, was entirely disposable, of course, but it’s a good les- really boring ; which has been marginally better this year. Perhaps son in what an insanely talented musician can pull while Master and Commander has something got into the water in California, but what- off when caution is considered optional. THREE composers, including the ever it is, it isn’t working quite right, because a body- extremely promising Christopher builder is now running one of the largest economies Gordon, who are allowed to do in the world. But I digress. There was certainly no than provide brooding end of interesting news floating here and there, and drones between the classical cues. the rumor mill seemed more supercharged than Mr. Weir, remember when you ever. I expect that happens when scores are getting made Witness, and you actually tossed out right and left and composers start to sue let the composer write a score? each other. People really liked that movie (even if I didn’t). Maybe you could try that approach again. Bravest Studio WARNER BROS. Even hire an orchestra this time hey released two generous albums for the (studio musicians are much more second and third installments of the Matrix affordable than Jim Carrey or T franchise, Reloaded being a 2-CD set with the songs Russell Crowe). relegated to one and the score to the other. That, my , is damn near unheard of for a new release, The Worst Scores of the Year and you have to give them credit for making every Bruce Almighty—JOHN DEBNEY effort to treat the fans of the films generously. (A Cold Creek Manor— double-disc bootleg of the complete Reloaded score Surprise of the Year Some composers use ! (not completely terrible, but leaked almost immediately, however.) Of course, the big suspense/danger cues smart business does not indicate quality of product. irst Daniel Kolton went after Joseph LoDuca, made me laugh out loud in the I got several pages into an exploration of the ulti- Fthen Hans Zimmer got sued by associate Jay theater-not a good sign) mate failure of the Matrix trilogy and only then did Rifkin. Ghostwriting is nothing new, friends and Down With Love—MARC it occur to me that it really wasn’t worth the effort. neighbors, and while it’s not my place to get judg- SHAIMAN The films—overblown, repetitive, occasionally bril- mental about situations I have no real knowledge of, Gigli—JOHN POWELL liant but mostly self-aggrandizing—couldn’t even I must say that I’m surprised it didn’t happen sooner. How to Lose a Guy in 10 Days— begin to scratch the surface of what they initially Media Ventures’ “apprentice” system is either cham- DAVID NEWMAN promised. Don Davis’ knockdown, drag-out score pioned or reviled, depending on which Internet chat Mystic River—CLINT EASTWOOD for Revolutions was, admittedly, my prime choice for room you visit, and the distressing uniformity of the Pirates of the Caribbean: The Curse of caught-in-rush-hour doldrums, and, honestly, it’s a music that comes out of that particular machine is the Black Pearl—KLAUS BADELT lot of brawny fun. It wouldn’t be the first balls-to- never terribly comforting. Zimmer manages some et al. FSM the-wall score to outshine the film it’s written for, genuinely terrific scores here and there (The Ring, and it certainly won’t be the last. The Pledge, The Thin Red Line), but one doesn’t see the

JANUARY 2004 28 FILM SCORE MONTHLY FILM SCORE MONTHLY 29 JANUARY 2004 wealth get spread around often. A long-stand- ing relationship with Jerry Bruckheimer can’t Stop, Look & Listen help matters, either; Bruckheimer’s “wall-of- sound” approach practically bleeds the life The Art of Soundtrack Albums out of his composers’ best efforts. It’s a shame, AS THE ART DIRECTOR FOR FSM (NOT TO MENTION really, especially since it’s not bound to change FSM CDs, Intrada and Percepto) I spend a lot of time anytime soon. looking at the packaging of soundtracks. With the onset of downloadable scores, home-made ink-jet labels, and the potential demise of shrink-wrapped “What do you mean, what it did. Films this drunk on Catholic imag- soundtracks as we know them, the state of the CD you wanted more action?” ery and thematics tend to bludgeon you over package deserves a little recognition. —Joe Sikoryak ychael Danna gave a valiant stab at the head with orchestral overkill; Santaolalla’s Mdoing something different with The score used a small ensemble and subtle elec- Art Direction Most Likely to Make Hulk and got his contribution tossed out as a tronics to create the feeling of characters adrift result. Ditto for Jerry Goldsmith and Timeline, in a void of their own creation. Goldsmith’s Golden Age Fans Weep With Joy which has attained the dubious distinction score for Looney Tunes: Back in Action was posi- of becoming legendary before anyone’s even tively delightful, with some of the freshest heard it. Poledouris got booted from Open and most spirited music he’s come up with in Range, and Silvestri from Pirates of the Caribbean, years. revisited Crouching Tiger, Hidden bitterly disappointing everyone who knew Dragon territory with Hero, and enticed the what they could do with those respective remarkable Japanese percussionist ensemble genres, if given the proper latitude. Even Lalo Kodo to tag along, thus creating one of the CHARLES JOHNSTON and the gang at Screen Archive Schifrin got music thrown out. What’s the year’s most haunting and mystical efforts. John Entertainment go for the gloss—bravo! world coming to? Ottman’s roaring score for X2 was one of my favorite sheer-fun scores from 2003, although it’s a shame that the score for the film’s smash- Most Unfortunate Casualties of Gold Star for Valiant Effort ing opening sequence, a pumped-up cover CLINT EASTWOOD and Restrictive Art Licensing Regulation version of , didn’t make it onto the RICHARD RODRIGUEZ album. (You can, however, download the cue ou couldn’t pair two more disparate films from Ottman’s website.) And John Murphy’s Ythan Mystic River and Spy Kids 3-D: Game defiantly non-horror-score music for 28 Days Over. But both featured full scores by their Later gave the film the loose, funky feel of respective directors, and while their tenacity those shoestring nightmare-inducers from the and expansive talents are absolutely laud- 1960s that put people like Herk Harvey and able, their musical chops are not. Eastwood George Romero on the map. MARCO POLO was forced to pull Red River off shelves the composer is nearly as streamlined and and resort to uninspiring art for Robin Hood! simple as Eastwood the director, but his lyric Howard Shore’s scores for THE LORD approach to Mystic River was sadly undercut Straight Label Most in Need by surprisingly generic that OF THE RINGS are modern classics. made it sound like some kind of bad Lifetime Just deal with it. of a Queer Eye Makeover movie. Rodriguez, at the very least, knew he was making fluff nonsense, and the bleep- bloop-bleeps of the Spy Kids 3-D score emu- Rest in peace, Mr. Kamen lated the videogame experience well enough. e brought us blood and thunder with (Rodriguez’ music for Once Upon a Time in Mexico, HLethal Weapon and Die Hard; romance, on the other hand, had just the right kind of majesty and joy with Robin Hood, The Three hanging-loose vibe that energizes his best Musketeers and The Iron Giant; brain candy of Love the music, PROMETHEUS, but tone that type, directorial work.) These are two fine directors the best sort with Brazil and The Dead Zone; blow off those borders and kick up your pix, girlfriend! and their skill is unmistakable, but they’ve those orchestrations for ’s The Wall, got a way to go in developing their musical one of the greatest rock albums of all time, its personalities. splendid recklessness forever given luster by Prettiest Damn Paintings, Period! his contributions; Queensryche’s Silent Lucidity, the soundtrack for many a story of young So where was the good music? love. The list of musicians he called friends verywhere, but hiding, as usual. Gustavo and co-workers is astonishing: Pink Floyd, ESantaolalla’s soundscape approach for , , Sting, David Bowie, Alejandro Gonzalez Iñárritu’s trenchant David Sanborn, Queen, the Cranberries and morality play 21 Grams deliberately faded into the Indigo Girls, to name but a few. For these MATTHEW JOSEPH PEAK continues to channel old a background hum, but it deserves as much things, we thank you, Michael, and we shall school Hollywood glamour—keep up the great work! credit for what it deliberately did not do as for at the turning of the dawn. FSM

JANUARY 2004 28 FILM SCORE MONTHLY FILM SCORE MONTHLY 29 JANUARY 2004 CD REVIEWS

Classic ★★★★★ Great ★★★★ Good ★★★ Below Average ★★ SCORE Weak ★ 1 Big Fish ★★★★ of his Wagnerian mannerisms, Angels in America ★★★★ /2 ful writing, especially the lovely DANNY ELFMAN but he doesn’t rely on the full THOMAS NEWMAN main theme. It may remind Sony Classical/Epic SK93094 chorus that helped popularize his Nonesuch 79837-2 • 31 tracks - 71:44 listeners of his title music to the 23 tracks - 61:24 terrific score for Edward Scissorhands ithout a doubt, Tony HBO series Six Feet Under or his ased on the book by Daniel (although there are lovely vocal WKushner’s Angels in work on the religious-themed BWallace, Big Fish concerns sections here as well, especially America is a momentous and Oscar and Lucinda. the reunion of an estranged son, during the cue “The Growing impressive piece of art, no mat- In fact, there are shadings of Will Bloom (Billy Crudup), with Montage”). “Sandra’s Theme” is ter the medium in which it is many of Newman’s previous his dying father, Edward (Albert also one of Elfman’s most delicate presented. The 1993 Pulitzer scores in Angels in America: the Finney), a man known for his love themes. Prize winner in drama, this play modernity of American Beauty, tall tales, which include such There are source cues from the won the Tony Award in two the Americana of Little Women, outrageous characters as Chinese ’50s and ’60s put to good use on separate years as its running the humanity of The Shawshank Siamese twins, a giant, a were- this album. And the only fault you time of six-plus hours was bro- Redemption and the majesty of wolf, a witch, and the big fish can find with one of the two origi- ken into two parts: “Millennium The Horse Whisperer. He also adds of the title. Many people have nal songs, Pearl Jam’s lovely “Man Approaches” and “Perestroika.” bombastic choral writing to the criticized the movie for focusing of the Hour,” is that it takes up the I saw an early workshop of the mix (there are angels in Angels in too much on the cynical ele- bulk of the end credits in place first part at Juilliard three years America, you know), especially for ments, and the complaints are of a score medley. The other new earlier (with student actors), the second half. The wonderful partially justified—a good heart- song, Elfman’s “Twice the Love,” and I will always remember choral cue, “The Infinite Descent,” to-heart talk between Will and written for the Siamese twins, is coming out of it simply blown is the music heard in the trailer his mother (Jessica Lange) could corny in all the right ways. away. Now, HBO has taken and is used to great dramatic have saved the tale from being The relationship between on the task of mounting the effect at the conclusion of Part told at all. But for the magic of Elfman and Burton has evolved play as a six-hour, $60 mil- One. Even Newman’s trademark the finale to work, you need the over 20 years of collaboration. lion miniseries, and the result of writing an overabundance of son’s cynicism, and Crudup and After some missteps with Sleepy is breathtaking. Directed by short cues is kept to a minimum Finney do a fine job playing off Hollow and , Big and starring such here—although there are still each other. Fish is the artistic pinnacle of both luminaries as Al Pacino, Meryl 29 tracks (and two source cues). It’s no surprise that both Tim of their careers thus far. Streep and , From the opening solo to Burton and Danny Elfman excel —Cary Wong this was the TV event of 2003. the wondrous and fantastical at the more magical aspects of the Nichols, whose movies have scene in Antarctica to the elegiac movie. But, it’s the realistic and never been known for memo- end titles, Newman hooks you. quieter sections of the score that rable scores (except perhaps for This is the best score of the year, really impress. The last sequence Day of the Dolphin), hits a bulls- either on the big screen or the of the film mixes both the fantas- eye with Thomas Newman, who small one. This score is, in a word, tic and subdued elements. It’s the has penned a landmark score. beautiful. In two words: Get it! 11-minute “Finale,” the first part of Angels is epic storytelling at its Here’s a little trivia: This is which balances the melancholy of best. Kushner explores the inti- the second HBO film about Roy reality with a breathtaking fantasy mate side of the ’80s AIDS crisis Cohn that Newman has scored. action sequence. The second half by focusing on how it affects the He also wrote 1992’s , of the cue flips this on its ear, with lives of one gay couple in New which starred James Woods as the film’s action squarely in real- York. But on top of this we get the closeted HUAC attorney. ism, but with the fantastical ele- historical figures like Roy Cohn —C.W. ment thrown in musically. It’s this and Ethel Rosenberg, angels 1 final part (the essentially dialogue- crashing down from heaven, and Beyond Borders ★★ /2 free last five minutes of the film) Mormon theology. You can feel JAMES HORNER where Elfman provides one of his Kushner’s anger and his compas- Varèse Sarabande 302 066 529 2 most emotional pieces of writing sion, and the crowning achieve- 12 tracks - 55:33 to date. ment of the HBO movie is that ike many FSM readers, I The score proper is a departure Nichols was able to retain all Llove a lot of Horner’s work. from the style of much of his cur- these emotions. He is aided in no However, I find it difficult to rent output. It does feature a few small part by Newman’s wonder- think of him as one of my favor-

JANUARY 2004 30 FILM SCORE MONTHLY FILM SCORE MONTHLY 31 JANUARY 2004 1 ite composers, and throughout The Missing ★★★ /2 reasons and did this film instead. the ’90s I’ve become more and JAMES HORNER (For the record, more skeptical of his work. Even Sony Classical SK 93093 directed and Carter Burwell scored when he hits the mark, as he did 15 tracks - 77:36 the latest version of The Alamo.) with A Beautiful Mind, his writing irector Ron Howard has Maybe Horner was originally has an all-too-familiar ring to it. Dalways gotten the best out playing with this theme for that While Beyond Borders does contain of composer James Horner. Their more war-driven movie, but it a few requisite Horner standards latest collaboration hits pay dirt works amazingly well in this (the female , the ethnic flute again, following in the tradition more intimate and personal story. and one or two passages that of such grand and influential Especially effective is the quiet will surely remind listeners of scores as Apollo 13 and A Beautiful version of the theme at the begin- Legends of the Fall and Braveheart, Mind (if you’re questioning the ning of “The Brujo’s Storm—A because they’re in Legends of the influence of the latter, just take Loss of Innocence.” The more Fall and Braveheart), this is not just a listen to Alexandre Desplat’s action-driven version is often on Horner’s usual bag of tricks. I’ll heralded score for Girl With a Pearl display during the 16-minute last give Horner credit for stretching Earring). The disappointment is cue, “The Long Ride Home,” which his palette a bit. mostly in the execution of the is audacious not only in its length, The CD is divided into three movie. Based on the Thomas but in its ability to hold our suites, each one containing four Edson novel, The Last Ride, the film attention for the duration. movements and representing is unfortunately schizophrenic in One wishes that all 77 minutes what I assume are the film’s pri- its storytelling. One part is a real- of the CD could be so inspiring, mary locales. The music largely istic depiction of the American but alas, few non-sci-fi or fantasy strays from the traditionally large West of the 1800s and the scores can live up to such scrutiny. symphony orchestra Horner usu- other part concerns the super- Horner had three other scores in ally employs, and instead favors natural mysticism of the Native 2003 with Radio, Beyond Borders and a world music sound. The music Americans. While each may have The House of Sand and Fog. Without of “Chechnya” and “Cambodia” is worked in its own movie, the chiding any of those scores, this is mainly of the faux-ethnic variety; juxtaposition here is jarring. definitely the one that stands out i.e., throw in an ethnic-sounding Eerily similar to the plot of an as the most impressive and award- woodwind here and there and earlier Howard effort, Ransom, the worthy. —C.W. you can evoke an exotic locale movie’s most realistic and suc- with ease. “Ethiopia” carries a cessful part revolves around the wonder needed to make this sec- Elf ★★★ much more authentic sound, with search for the kidnapped daugh- tion as otherworldly as it could JOHN DEBNEY a few of the movements featuring ter of Maggie (), a have been. Varèse Sarabande 3020665252 traditional African vocals. Strange country doctor. Maggie must rely This should not deter you from 17 tracks - 30:08 distorted animal noise-like on the help of her father (Tommy getting this CD. Where Horner ver the last two years, John samples figure in “Cambodia—II,” Lee Jones), who deserted her fam- triumphs is in the Maggie story ODebney has notched up and soon thereafter Horner’s ever- ily when she was young, to live line, for which he pens one of his several comedy picture credits, reliable angry piano makes an with the Indians. The “missing” most muscular and memorable writing jubilant scores for farces appearance. of the title refers equally to the themes. This heroic tune is heard like The Hot Chick, Malibu’s Most The score also features a lot of kidnapped daughter and to the mostly during the riding scenes Wanted and Bruce Almighty. His synth pads and electronic textures, character. The with Maggie and her father, latest contribution to the genre which act as a third partner to renegade Indian kidnappers take and during the more exciting is Elf, Jon Favreau’s movie about the ethnic sounds and symphony up a lot of the second half of the fight sequences. It doesn’t hurt a misplaced son’s search for his orchestra, making for an eclectic movie, with the evil, Orc-looking that it’s usually playing against father, starring Will Ferrell and mix. However, some of the synth Chidin (Eric Schweig) belong- breathtaking cinematography of James Caan. A Christmas story set pads are tedious and eventu- ing more in a Scorsese or John New Mexico (which would put in New York and the North Pole, ally start to sound like a shovel Carpenter thriller. The black-magic Ansel Adams to shame) shot by the film makes a point of paro- scraped on concrete. element of this story feels gratu- Salvatore Totino. Yes, there are dying the holiday’s rituals, send- “Chechnya” ends the disc and itous and unnecessary since the shades of Horner’s earlier works ing up department store window is the most traditionally Horner horrors of a child abduction are (Man Without a Face) in this theme, displays, hokey television specials sounding of the three suites. Here scary enough. but with the lush orchestrations and so forth. Similarly, John we finally get to hear some of Horner is equally lost in the and the evolution of the theme Debney’s score appropriates the Horner’s sweeping string cho- mystical section, relying on old as the movie progresses, Horner musical clichés of the season, rales. This album will not appeal tricks from Field of Dreams and proves that he is back on top of adding new life to them as it lov- to those of us outside of the Thunderheart. His use of world the epic scoring game. ingly tears them apart. On the die-hard Horner camp, but it is music, from chanting voices and Ron Howard (and presumably album’s first track, “Papa Elf,” for recommended for those looking Native American woodwinds, is Horner) was set to do the film instance, after dropping in a few for something different from the not as distracting as it is disap- version of The Alamo, but dropped bars from “Jingle Bells,” Debney composer. —Darren MacDonald pointing. It doesn’t inspire the out of the project for budgetary introduces a bizarre montage

JANUARY 2004 30 FILM SCORE MONTHLY FILM SCORE MONTHLY 31 JANUARY 2004 SCORE of vocals, horns and flutes that with a talent for crafting melodies simultaneously invokes Lawrence that don’t hurt the ear. On a track Welk and The Swingle Singers. like “Bramasole,” for instance, he And in “Christmas Medley,” he surrounds a simple piano line rejuvenates worn-out numbers with swelling strings to create like “Joy to the World” and “Deck an intensely emotive rhythm. In the Halls” with a fat swing- addition, Beck frequently exploits ing treatment worthy of Buster motifs from a wide range of pop- Poindexter. (Remember Scrooged?) ular music styles, a strategy which The album’s most satisfying imbues the score with an appeal- track, though, may be “Advice ing kitschiness. On an electronic From Santa,” a composition that track like “Believers,” for example, shies away from the tropes and the influence of is obvious; conventions that distinguish the while the accordion theme in Yuletide songbook. Indebted “Ode to San Lorenzo” sounds like to Randy Newman’s early pop something Dean Martin would recordings, the piece opens with have embraced 40 years ago. a drowsy clarinet, a bluesy piano Eclectic, playful and light, Beck’s line and a trombone that yawns work may irritate fans of the like a tired elephant. Debney then blood-and-guts school of scoring. changes the pace and tone, drop- Yet the joie de vivre his music ping the melancholy and replac- invokes is a sincere sort, blessedly ing it with a rhapsodic onslaught free of mawkishness. The score of plucked strings and rattling fully carried the movie between movie and later sent his brother for Under the Tuscan Sun, in other drums. Another great track, its many global locales, and this out with a tape recorder to capture words, is banal and pleasant, “Buddy’s Theme,” also frees itself summer’s Sinbad literally blew its the urchin’s colloquial perfor- rather than phony and annoy- from the sounds of Christmas. big brother (Pirates of the Caribbean: mance. On the disc, the track starts ing. In light of Hollywood’s sod- Tender and graceful, the piece Curse of the Multiple Composers) out with O’Donnell singing unaccom- den output this year, who could combines soft piano notes and of the water. panied, but by the one-minute expect more? —S.A. synth harmonies to create an Now Gregson-Williams is back mark the full orchestra sweeps 1 unusually strong emotional effect with Phone Booth director Joel in and transforms the track into The Rundown ★★ /2 in a short amount of time. Schumacher for this dramatiza- something quite different. HARRY GREGSON-WILLIAMS From beginning to end, tion of the Irish journalist who A low-key ambient affair that Varèse Sarabande 302 066 516 2 Debney’s score manages to be was assassinated by drug dealers. owes more than a nod to The 24 tracks - 44:32 clever and cute, much like the Instead of taking the hackneyed Thin Red Line, Veronica Guerin is an he hype surrounding The movie it accompanies. Yet it easy route and covering the score accomplished emotional piece for TRundown, a genre exercise in never devolves into the cloy- with Irish jigs and a barrage of those who like their Irish scores chase movies set in Brazil, was ing preciousness that marks so pipes (Mr. Horner, please stand up), with a bit of bite. —Nick Joy that Dwayne Johnson would much of the music written for Gregson-Williams offers a more come into his own as an action Christmas entertainment. Whether respectful take on Irish music. Under the Tuscan Sun ★★★ star. I was hoping that Gregson- or not anyone will be listening to The presence of Sinead CHRISTOPHE BECK Williams would similarly come this CD next summer, however, O’Connor is arguably the score’s Hollywood 2061-62407-2 into his own as an action scorer. remains to be seen. greatest lack of imagination; one 30 tracks - 48:27 But in the end, while you can —Stephen Armstrong loses count of the number of n her second feature, direc- certainly hear the composer Gaelic tales that she has sung on Itor Audrey Wells tells the striving for something new, Veronica Guerin ★★★ (Michael Collins, In the Name of the story of Diane (Diane Lane), a he too often falls back on the HARRY GREGSON-WILLIAMS Father, etc.). But lack of originality newly single, artistically stymied “Bruckheimer Sound.” Hollywood 5050466-5820-2-7 notwithstanding, the songs (“One writer who purchases a rundown The score opens promisingly, 15 tracks - 41:03 More Day” and “The Funeral”) villa in central . Charmingly with a collection of short cues that arry Gregson-Williams is are great tracks, co-written by fluffy, the film provides its audi- are at once the album’s strength Hwithout exception the most Hannibal’s Patrick Cassidy and ence with an onslaught of pretty and weakness. While the score is interesting composer operating produced by Trevor Horn. There’s images and reassuring portraits more atmospheric than thematic, out of the Media Ventures stable. also some additional music cred- of people’s love dreams com- these cues still need more space to While that forthright statement ited to Michael A. Levine. ing true. Christophe Beck’s score, breathe and develop. For example, will undoubtedly garner an equal Kudos to Gregson-Williams shot through as it is with breezy at the end of “Jeep Rental,” a gui- number of opposing views along for his discovery of street singer figures, augments the picture’s tar solo underscored by a samba the lines of “Heresy!” or “Faint Brian O’Donnell, who really pours happy tone considerably. beat enters for 25 seconds and praise indeed!” just take a look his heart out on “The Fields of Best known for scoring the Buffy then never reappears—ever. I at his recent track record. Spy Athenry.” The composer first heard the Vampire Slayer television series, could have lived in that sound for Game was a score that success- the singer while researching the Beck is a dexterous composer several more minutes, it was so

JANUARY 2004 32 FILM SCORE MONTHLY FILM SCORE MONTHLY 33 JANUARY 2004 expertly set up, but it disappeared the Sky” and Chet Baker’s “My unusual prudence, Wolper also istic noises of the Moog with the all too quickly. Yet even with their Funny Valentine.” encouraged the composer to primitive simplicity of regional short durations, these cues are full Beyond the aforementioned, interpret the insect world freely, instruments like the African of quirky sounds and are bursting this soundtrack doesn’t make and the result is a brilliant thumb piano and the Japanese with possibilities. me want to see the film more or mélange, a weird sonic construc- kabuki drum. Gregson-Williams absorbed the buy albums from any of the art- tion that restlessly jumps back As far out as this album is, film’s setting by using the School ists. At least it’s good that a more and forth between styles and however, it never declines into of Samba Unidos de Vila Isabel independent road was taken, tones, as it juxtaposes the futur- total chaos. That is, although and Bloco Ile Aiye, two Brazilian and Top 40 rock and R&B acts groups. Their dynamic percussion weren’t used to sell this to the combines with whistles and jews mass markets. As a result, lots of Book Review harps (and even a theme from virtually unknown acts get some Soundscape: The School of Sound Lectures, 1998–2001 ★★★★ Sinbad, which pops up toward the big exposure through the film Edited by LARRY SIDER, DIANE FREEMAN and JERRY SIDER end of “Little Swim”) to create an and the major label distribution Wallflower Press, 2003 • 242 pages, $23.50—paperback impressively eclectic sound that of Universal Music. People like will bring a smile to your face. Randy Coleman, Nick Sample, “THE SCHOOL OF SOUND” IS AN ANNUAL EVENT BRINGING TOGETHER Unfortunately, that smile is Anthony and the Johnsons, film industry professionals and academics to discuss the use of sound in film. This wiped right off by the score’s sec- Shyne Factory, Rick Kurek, Nick current volume, a collection of 21 essays by Carter Burwell, Mike Figgis, David ond half. As the cues get longer, Nolan, Jeremiah Sparks, Ian James, Lynch and Walter Murch, among others, investigates from a variety of perspectives all momentum and interest is lost. Nathan Wiley, Lighthouse, Judith the ways in which the modern “soundtrack” combines with “Monkeys & Rebels,” one of the Owen and Ani Difranco. images in both art and entertainment. If you have ever longest cues, signals this change. It The problem with pop-rock attended a conference where academics read aloud their endlessly repeats a musical motive film music, as opposed to a dra- research you already have an idea of what you will encoun- that at 40 seconds would have matic score, is that it often takes ter here; some of the essays include transcribed question been provocative, but becomes away the power or the climax and answer sections as well. While this volume may find stale after three minutes. Then, for of a particular scene, and The its way into the more serious academic library, it may find the score’s closing cues, Gregson- Event is no exception. A pop song fewer advocates among the general readership—though Williams falls almost entirely into is great for the end credits, or that’s not its target anyway. the Bruckheimer Sound he lived a musical, but for a scene that Mike Figgis’ essay, which opens the volume, is marred by unprofessional exple- in on films such as Enemy of the involves a character lying in a tives not befitting public discourse, let alone a scholarly assembly. “Music for State. —Andrew Granade hospital bed? True film scores Interactive Moving Pictures,” by Stephen Deutsch, is overly academic by contrast seem to have become a lost art and reminiscent of generic works by scholars in new fields trying to inflate the The Event ★★ form. —Jason Verhagen importance of their topics. Deutsch does do a good job of discussing interactive CHRISTOPHE BECK, VARIOUS media. He will not endear himself to the film music community, however, with Varèse Sarabande 6513-2 The Hellstrom Chronicle (1971) statements like “Composing for film (and there aren’t even that many excellent 17 tracks - 68:01 ★★★★ film composers) requires skills and talent analogous to driving a racing car; few he Event, written and directed LALO SCHIFRIN can do it.” This is musicological snobbery at its finest. A transcription of a video Tby Thom Fitzgerald (Perjury Aleph 029 • 10 tracks - 58:30 interview with is an especially strange entry, and is not all that reveal- Case, 2003; The Hanging Garden, he Hellstrom Chronicle first ing. However, Lynch’s biographical information can be quite humorous: “born in 1997), stars as a DA Tappeared in 1971 and imme- Missoula, Montana; Eagle Scout.” investigating an unexplained diately drew acclaim with its Perhaps the best of the lot is Walter Murch’s “Touch of Silence.” Having just suicide in the Chelsea section of fantastic images of insects eating, completed work on Welles’ classic Touch of Evil, Murch spends time sharing . Don McKellar and killing and mating in the wild. that experience and the development of the film’s sound design. There is also a Sarah Polley also star. Shot over a two-year period in brief section on his work for . Randy Thom’s “Designing a Movie The soundtrack credits 11 countries, the picture tapped for Sound” makes for an informative read. Bob Last’s essay on what it is like to Christophe Beck as the com- into the Vietnam era’s fatalistic be a music supervisor on a film project will be of interest to some score fans poser, even though his music impulses, positing a future in (“Constructing Consensus, Encouraging Difference”). He discusses the choosing takes up only eight minutes of which termites and spiders and of musical selections and score for Hallström’s Chocolat. the disc’s running time. Well, at bees rise up and wipe out man- Finally, Carter Burwell, the sole familiar film composer in the collection, provides least Beck makes good use of his kind. The film won an Academy an interesting overview in “Composing for the .” The essay includes minutes. “F**K You Very Much” Award as well as a prize at information on Blood Simple and the working out of the “Danny Boy” scene in is a short, upbeat disco/dance Cannes, and it still enjoys a cult the underrated Miller’s Crossing. He concludes by sharing some of his process in excerpt. “Mother” is a sensitive following today. working on Fargo. piano-based track with beauti- For the movie’s score, producer Overall, Soundscape is a mixed bag of essays—this review only scratches the ful string , and David Wolper commissioned surface of what is included in the volume. Unfortunately, the scholarly level of “Final Goodbye” features sullen Lalo Schifrin, having successfully some of the discourse is not up to the level of other academic circles. Having been cello atop piano and lush strings. collaborated with the Argentine to some of these types of conferences, I can say that you always get some unin- The album also benefits from maestro on projects like The Rise formed questions by people who are pretending to be informed. This plagues sec- two source classics: Norman and Fall of the Third Reich (1968) and tions of Soundscape and some more judicious editing would have made it easier to Greenbaum’s huge hit “Spirit in I Love My Wife (1970). Showing decipher what was being shown or played by the panelists. —S.A.K.

JANUARY 2004 32 FILM SCORE MONTHLY FILM SCORE MONTHLY 33 JANUARY 2004 We’re pleased to offer hard-to-find, unusual soundtrack-related products, including: Exclusive CDs; Books for music lovers; Books for composers; One-of-a-kind collectibles; and more! Order online, by phone or by mail: see contact info below. All CDs are $19.95 plus shipping & handling unless otherwise noted. FSM marketplace  Vol. 7, No. 2  Vol. 7, No.1 Khartoum/Mosquito Squadron The Prisoner of Zenda FRANK CORDELL ALFRED NEWMAN Films released: 1965/1969 Film released: 1952 Studio: United Artists Studio: M-G-M Genre: Historical Epic/WWII Espionage Genre: Swashbuckler Silver Age Classics Golden Age Classics CD released: February 2004 CD released: February 2004 Stereo • 78:55 Mono • 58:21 Get two military-themed scores on one premiere CD: This colorful remake of the 1937 swashbuckler sports a Khartoum (41:46) is a sweeping epic teeming with British robust adaptation of Newman’s original score (by Conrad and Arabian colors; Mosquito Squadron (37: 08) includes Salinger). The score is brimming with Wagnerian leitmo- aggressive action writing and a noble, patriotic theme. tifs for the major characters, and a rousing underscore Both scores are in stereo from LP masters. $19.95 for the climactic duel. $19.95

 Vol. 6, No. 21  Vol. 6, No. 20  Vol. 6, No. 19  Vol. 6, No. 18  Vol. 6, No. 17  Vol. 6, No. 16  Vol. 6, No. 15 Where Eagles Dare/ Moonfleet McQ On Dangerous Ground The Man From U.N.C.L.E. The Brothers Karamazov Wild Rovers Operation Crossbow MIKLÓS RÓZSA ELMER BERNSTEIN BERNARD HERRMANN Vol. 2 BRONISLAU KAPER JERRY GOLDSMITH Film released: 1955 Film released: 1974 Film released: 1952 by JERRY GOLDSMITH, et al. Film released: 1957 Film released: 1971 Films released: 1968/1965 Studio: M-G-M Studio: Warner Bros. Studio: RKO TV Produced: 1963-67 Studio: M-G-M Studio: M-G-M Studio: M-G-M Genre: Swashbuckler Genre: Police Thriller Genre: Film Noir Studio: M-G-M Genre: Literary Adaptation Genre: Western Genre: WWII Espionage Golden Age Classics Silver Age Classics Golden Age Classics Genre: Secret Agent Golden Age Classics Silver Age Classics Silver Age Classics CD released: January 2004 CD released: November 2003 CD released: November 2003 Silver Age Classics CD released: Oct. 2003 CD released: Sept. 2003 CD released: January 2004 Stereo • 77:11 Stereo • 49:24 Mono • 48:24 CD released: Oct. 2003 Mono • 79:10 Stereo • 79:14 Stereo • Disc One: 74:04 A moody tale of smug- Mono • Disc One: 77:54 Disc Two: 78:37 A rich and varied score for glers directed by Fritz Elmer Bernstein combines Herrmann’s only film noir Mono/Stereo Disc Two: 76:29 A 2-CD presentation of two one of the greatest works A favorite score gets the Lang. The score is richly his traditional symphonic runs the gamut from furi- Because you demanded in literature—composed by deluxe, definitive treat- classic scores: The entire melodic with a particularly approach with ’70s ous chase music to heart- it: Another 2-CD set of the one of the novel’s greatest ment from FSM: This CD underscore (not the LP lovely main theme. FSM’s for a unique, swagger- felt warmth. Presented in classic TV series scores, fans. Kaper draws upon includes the never-before- re-recording) from Where premiere album release ing sound. This premiere complete, chronological including music by Fried, Prokofiev, gypsy melodies released film recording Eagles Dare, and the pre- includes the complete album release includes the order with a bonus suite of Shores, Riddle and more. and his natural gift for dra- (39:47); the expanded LP miere release of Operation score plus numerous alter- complete score from the rehearsal outtakes. NOTE: Two unused versions of the matic writing to create a recording (35:59); plus Crossbow, plus source and nates and source cues. original scoring elements. This CD was produced theme and music from the classic soundtrack. $19.95 bonus vocal tracks, all in alternate cues from Eagles. $19.95 $19.95 from acetate recordings of feature films are included. stereo. $19.95 $24.95 varying quality. $19.95 $24.95

CHECK YOUR ORDER ONLINE Visit our web site at https://secure.filmscore monthly.com/store to place an order on our  Vol. 6, No. 14  Vol. 6, No. 13  Vol. 6, No. 12 secure server. You will  Vol. 6, No. 11  Vol. 6, No. 10  Vol. 6, No. 9 The Appointment The Cobweb/ Hawkins on Murder/ Toys in the Attic receive an automatic Our Mother’s House/ The Adventures of Edge of the City Winter Kill/Babe , The 25th Hour Huckleberry Finn confirmation. All of your JERRY GOLDSMITH Film released: 1962 A Films broadcast: 1973, ’74, ’75 info is kept confidential & DON WALKER, Films released: 1956, 1957 Studio: United Artists Films released: 1967 Film released: 1960 Studio: M-G-M STU PHILLIPS Studio: M-G-M • Genres: Drama Genre: Southern Family Drama and encrypted for your Studio: M-G-M Studio: M-G-M Genres: Crime, Biography Film released: 1969 Golden Age Classics Golden Age Classics Genre: Gothic/WWII Comedy Genre: Satirical Adventure Silver Age Classics protection. Save days and Studio: M-G-M CD released: Sept. 2003 CD released: July 2003 Silver Age Classics Golden Age Classics CD released: July 2003 Genre: Drama Stereo • 51:54 Stereo • 70: 27 rest easy! CD released: June 2003 CD released: June 2003 Stereo • 77:24 Silver Age Classics One of Duning’s greatest Stereo • 58:49 Stereo and Mono • 59:58 Two early scores by one CD released: June 2003 Three TV movie scores: scores (and one of his Our Mother’s House (31:18) A giant of Americana scor- JOIN THE CLUB Stereo • 77:06 of cinema’s most distictive Hawkins (16:51) is a is the story of orphans and ing writes a bouncy, rich few on CD) is sensitive, A tale of obsessive love fea- voices: The Cobweb is the courtroom drama featuring Get every Classics release their deadbeat dad; The score for Mark Twain’s clas- rich and melancholy as tures music by a quartet of first 12-tone score for mov- Jimmy Stewart; Kill (17: FIRST—automatically! 25th Hour (27:31) follows sic tale. Originally planned befits the tangled personal noted composers: Legrand ies; this release features 58) is a dramatic pilot for one man’s tragi-comic as a musical, our CD relationships of the film. CD Plus, receive discounts on (18:59); Barry & Walker the complete score in Andy Griffith; Babe (26: journey during WWII. Both includes snippets of songs features album sequence multi-disc sets and mem- (26:19); Phillips (31:48). stereo (36:41). Edge of the 41) is the Emmy-winning delicate, melodic scores in the score as well as rare from Citadel LP followed by Remixed from the original City is a reprise of the thrill- story of Olympic star Babe ber surprises! See order are remastered in stereo. demos. $19.95 bonus tracks. $19.95 masters, it’s a one-of-a-kind ing mono suite originally Didrikson Zaharias, plus form for details. $19.95 trio. Special price: $16.95 released on LP. $19.95 bonus tracks. $19.95

TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9598 • Fax 1-310-253-9588 • Online www.filmscoremonthly.com  Vol. 6, No. 8  Vol. 6, No. 7  Vol. 6, No. 6  Vol. 6, No. 5  Vol. 6, No. 4  Vol. 6, No. 3  Vol. 6, No. 2 Soylent Green/ Knights of the Round All Fall Down/ Green Fire/ THX 1138 Home From the Hill Demon Seed Table/The King’s Thief The Outrage Bhowani Junction LALO SCHIFRIN A MICHEL LEGRAND A A A A Film released: 1970 Film released: 1960 Film released: 1968 A Film released: 1953/1955 Film released: 1962/1964 Film released: 1954/1956 Studio: Warner Bros, Studio: M-G-M Studio: M-G-M Film released: 1973/77 Studio: M-G-M Studio: M-G-M Studio: M-G-M Genre: Science Fiction Genre: Drama Genre: Military/Espionage Studio: M-G-M • Genre: Sci-Fi Genre: Costume Adventure/ Genre: Drama/Western Genre: Adventure/Drama Silver Age Classics Golden Age Classics Silver Age Classics Silver Age Classics Swashbuckler Silver Age Classics Golden Age Classics CD released: Mar 2003 CD released: Mar. 2003 CD released: Feb. 2003 CD released: May 2003 Golden Age Classics CD released: Apr. 2003 CD released: Apr. 2003 Stereo • 55:45 Stereo/Mono • 79:26 Stereo • 79:20 CD released: May 2003 Stereo • 52:54 Stereo/Mono • 79:20 Stereo • 79:49 ’ first film is ’s excel- This ’60s Cold War nailbiter Stereo • Disc One 70:31 Two complete scores by Green Fire (51:04) is an Two ’70s sci-fi scores on a startlingly original vision lent Southern family drama is enhanced by Legrand’s Disc Two 78:21 the great Alex North: All adventure set in Colombia one disc: Soylent Green of a dystopian future. is highlighted by a master- offbeat, epic scoring for Knights (86:25) is the Fall Down (38:24) is hushed, with a gorgeous symphonic (40:21) features a mix of Composer Schifrin adds a ful score by Bronislau orchestra. Remixed for complete film recording of sweetly jazzy score to main theme; Bhowani pop, classical and avant- fascinating score ranging Kaper, weaving together superior sound, and rese- Rózsa’s thunderous, epic family/coming-of-age Junction (27:52) is a garde sounds; Demon from avant garde sound- romance, tension and quenced into film order, score, including bonus drama. The Outrage (14:29) politically charged romance Seed (39:28) is a wild blend scapes to cheeky plays on violence. All of the music this dramatic score gets tracks; Thief (56:47) is a is spare music to western sporting indigenous, “world- of the electronic and sym- Latin jazz. The CD includes from the film is present, the deluxe treatment with rousing swashbuckler in remake of . music” source cues. $19.95 phonic. Stereo with mono many unused passages plus bonus tracks and over twice the music on the Korngold mold. $24.95 $19.95 alternates. $19.95 and is entirely in stereo. alternates. $19.95 the original LP—in stereo.

 Vol. 6, No. 1  VOLUME 5, NO. 20  Vol. 5, No. 19  Vol. 5, No. 18  Vol. 5, No. 17  Vol. 5, No. 16  Vol. 5, No. 15 Plymouth Adventure Never So Few/ Tribute to a Bad Man The Man From The Seventh Sin The Prize The World, the Flesh MIKLÓS RÓZSA 7 Women MIKLÓS RÓZSA U.N.C.L.E. Vol. 1 MIKLÓS RÓZSA JERRY GOLDSMITH and the Devil / Film released: 1952 Film released: 1956 JERRY GOLDSMITH, et al Film released: 1958 Film released: 1963 MIKLÓS RÓZSA Studio: M-G-M ELMER BERNSTEIN Studio: M-G-M TV Produced: 1963-67 Studio: M-G-M Studio: M-G-M Film released: 1959 Genre: Historical released: 1959/1966 Genre: Western Studio: M-G-M Genre: Drama Genre: Espionage Studio: M-G-M Golden Age Classics Studio: M-G-M Golden Age Classics Genre: Secret Agent Golden Age Classics Silver Age Classics Genre: Science Fiction CD released: Feb. 2003 Genre: WWII/Drama CD released: Jan .2003 Silver Age Classics CD released: Dec. 2002 CD released: Nov. 2002 Golden Age Classics Mono • 79:35 Silver Age Classics Stereo • 50:30 CD released: Dec. 2002 Mono • 59:26 Stereo • 72:37 CD released: Nov. 2002 Mono • Disc One: 77:05 Stereo • 52:53 Miklós Rózsa’s mag- CD released: Jan. 2003 Rózsa’s rare western is This reworking of The The Prize is an early Stereo • 73:46 Mono/Stereo Disc Two: 76:08 nificent historical music sweeping, full of melody, Painted Veil inspired Jerry Goldsmith action- A rare Rózsa’s sci-fi for the 1620 voyage of the Two Asian-flavored clas- and flecked with the America’s first hit spy TV Rózsa to apply three of suspense gem for a score (Two men and Mayflower, from his most sics: Never So Few (42: brooding melancholy series features varied, his signature sounds; film Hitchcock-styled thriller. one woman struggle in fertile period of epic scor- 18) blends action and expected of a mature jazzy, high-energy music. noir, exotic and epic film CD features complete post-apocalyptic NYC), ing. Includes the complete romance, while 7 Women “psychological western.” All of Goldsmith’s scores scoring techniques com- stereo score plus source embellishes end-of-the- soundtrack as used in the (31:27) is more introspec- This fan favorite has been plus scores by six others bine to create a unique music and vintage re- world loneliness and doom film (47:00) plus a bevy of tive, but with a big, excit- remixed from the original (inc. Fried, Schifrin, Scharf, and unmistakable score. recorded LP cuts. $19.95 with romantic splendor. alternates (32:35). $19.95 ing title theme for the stereo masters. $19.95 Stevens) are represented Includes source music Premiere release of com- Mongol horde. $19.95 on this 2-CD set. $24.95 suite. $19.95 plete stereo score. $19.95

 Vol. 5, No. 14  Vol. 5, No 13  Vol. 5, No. 12  Vol. 5, No 11  Vol. 5, No. 10  Vol. 5, No 9  Vol. 5, No. 8 The Green Berets Scaramouche Above and Beyond I Spy Point Blank/ MIKLÓS RÓZSA ELMER BERNSTEIN HUGO FRIEDHOFER BRONISLAU KAPER The Outfit / Film released: 1968 Film released: 1952 Film released: 1969 Film released: 1952 TV Produced: 1965-67 Film released: 1955 Studio: Warner Bros. Studio: M-G-M Studio: M-G-M Studio: M-G-M Network: NBC Studio: M-G-M JERRY FIELDING Genre: War/Adventure Genre: Costume Adventure Genre: Drama Genre: WWII Genre: Secret Agent Genre: Biblical Epic Film released: 1967, 1973 Silver Age Classics Golden Age Classics Silver Age Classics Golden Age Classics Silver Age Classics Golden Age Classics Studio: M-G-M CD released: Sept. 2002 CD released: Sept. 2002 CD released: Aug. 2002 CD released: Aug. 2002 CD released: July 2002 CD released: July 2002 Genre: Film Noir Stereo • 72:37 Mono • 62:28 Stereo • 61:08 Mono • 55:44 Stereo/Mono • 77:57 Stereo • 75:11 Silver Age Classics The first major U.S. film to The last of the Golden- This tale of barnstorming This combination of Five episode scores for Complete stereo score CD released: June 2002 Stereo • 77:54 address the Vietnam con- Age swashbucklers by skydivers contrasts robust, wartime drama and groundbreaking series for gargantuan biblical flict features a stirring sym- Rafael Sabatini (Captain action-oriented cues and domestic struggle is starring Robert Culp and epic starring Lana Turner Two films based on phonic score, befitting an Blood, et al) gets a heroic sweeping Americana with driving by a stirring, pro- Bill Cosby: “So Long, features male and female D.E. Westlake’s crime action movie directed by and charming score by softer, bittersweet melo- gressive score, with one Patrick Henry,” “The Time choruses, solos, source novels: Point Blank (39: and starring John Wayne. the prolific Victor Young. dies. CD features complete of Friedhofer’s greatest of the Knife” “Turkish cues and thundering 38) is a landmark 12-tone All of Rózsa’s music is This premiere release underscore plus nightclub main titles. Complete, Delight,” “The Warlord” symphonic glory. Includes score, ethereal and here (plus “The Ballad includes all of the score, and marching band source chronological score in and “Mainly on the Plains.” unused alternate cues. strange; The Outfit (38:16) of the Green Berets”) in plus alternates, unused cues. $19.95 best possible monaural First three & theme in ste- $19.95 features a dark, pulsating excellent stereo. $19.95 and source cues. $19.95 sound. $19.95 reo; all OST, not LP record- score punctuated with ings. $19.95 unexpected melody. $19.95

TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9598 • Fax 1-310-253-9588 • Online www.filmscoremonthly.com  Vol. 5, No 7  Vol. 5, No. 6  Vol. 5, No 5  Vol. 5, No 4  Vol. 5, No. 3  Vol. 5, No 2  Vol. 5, No. 1 On the Beach/ The Traveling 36 Hours The Man Who Joy in the Morning Logan’s Run Lust for Life The Secret of Santa Executioner Loved Cat Dancing BERNARD HERRMANN JERRY GOLDSMITH MIKLÓS RÓZSA Vittoria JERRY GOLDSMITH Film released: 1964 JOHN WILLIAMS Film released: 1965 Film released: 1976 Film released: 1956 Film released: 1970 Studio: M-G-M • Genre: MICHEL LEGRAND Studio: M-G-M / Studio: M-G-M / Genre: Sci-Fi Studio: M-G-M Film released: 1959, 1969 Studio: M-G-M WWII/Spy Film released: 1973 Genre: Romance Silver Age Classics Genre: Biography Studio: United Artists Genre: Black Comedy Golden Age Classics Studio: M-G-M Golden Age Classics CD released: Feb. 2002 Golden Age Classics Genre: Drama, Comedy Silver Age Classics CD released: May 2002 Genre: Western CD released: Mar. 2002 Stereo • 74:18 CD released: Feb. 2002 Golden Age Classics CD released: May 2002 Stereo • 66:41 Silver Age Classics Stereo • 46:33 Stereo • 61:51 Stereo • 39:39 This classic story of a dys- CD released: June 2002 A taut, piano-dominated CD released: Mar. 2002 Herrmann’s last studio Premiere of Rózsa’s heart- Stereo • 70:59 Stereo • 65:37 topian future gets the royal The main theme blends score with an accent on project is sweepingly treatment by the master of felt, stirring accompani- Two scores from the films Americana, and stealth—flamboyant, yet A lost gem from Williams’ romantic, surging with pas- speculative soundtracks. ment to the tragic tale of of director Stanley Kramer circus sound, but the score naturalistic. Remixed and melodic, pre-blockbuster sion and haunting in its use Jagged action cues, Vincent van Gogh. A favor- on one CD. Beach is a touches all the bases, from remastered, this CD dou- career, plus Legrand’s of melody. The complete Coplandesque nostalgia, ite of the composer, this CD gorgeous symphonic score bluegrass to avant-garde bles the playing time of the unused, unheard take on score from the original bracing electronics and has been remixed from the ingeniously interpolat- to full-scale action. This LP including bonus tracks the same material. A rare three-track recording with more in this restored, three-track masters with ing “Waltzing Matilda”; first-release ever is com- of vocals, piano demos, opportunity for collec- liner notes by Christopher remixed, resequenced bonus alternate cues and Secret is a lyrical slice of plete, with every note in and a jazz trio improv of tors—all in stereo! $19.95 Husted, manager of the release! $19.95 more. One of the greatest “Italiana,” with one bonus excellent stereo. $19.95 the main title. $19.95 Herrmann estate. $19.95 film scores! $19.95 cue. $19.95

 VOLUME 4, No. 20  Vol. 4, No. 19  Vol. 4, No. 18  Vol. 4, No. 17  Vol. 4, No. 16  Vol. 4, No. 15  Vol. 4, No. 14 Farewell, My Lovely/ Demetrius and the Broken Lance John Goldfarb, The World of The View From The Illustrated Man Monkey Shines Gladiators LEIGH HARLINE Please Come Home! Henry Orient Pompey’s Head/ JERRY GOLDSMITH Film released: 1954 JOHNNY WILLIAMS ELMER BERNSTEIN Blue Denim Film released: 1969 Piano Concerto by Studio: 20th Century released: 1965 ELMER BERNSTEIN/ Studio: Warner Bros. Film released: 1975/88 Film released: 1954 Kenneth Lauber Studio: M-G-M Studio: 20th Century Fox Genre: Western Studio: 20th Century Fox BERNARD HERRMANN Genre: Sci-fi/Anthology Genre: Film Noir/ Genre: Biblical Epic Golden Age Classics Genre: released: 1964 Films released: 1955/1959 Silver Age Classics Suspense Golden Age Classics CD released: Dec. 2001 Silver Age Classics Studio: United Artists Studio: 20th Century Fox CD released: Sept. 2001 Silver Age Classics CD released: Jan. 2002 Stereo • 38:41 CD released: Dec. 2001 Genre: Comedy/Drama Genre: Drama Stereo • 42:02 Stereo • 71:32 Silver Age Classics CD released: Jan. 2002 Stereo • 61:51 Disney’s workhorse Golden Age Classics The Illustrated Man is Stereo • 73:48 CD released: Nov. 2001 Spectacular score for composer from the ‘30s This wacky comedy CD released: Nov. 2001 one of Jerry Goldsmith’s Stereo • 40:32 Stereo • 75:15 Farewell, My Lovely (33:06) Biblical epic emphasizes (Pinocchio) provides a starring Shirley MacLaine most haunting sci-fi cre- is symphonic jazz score for romance, action and reli- dark, rich Americana score and Peter Ustinov is Bernstein’s “second-best” This pair of films by ations, with airy beauty, ‘70s noir classic; Monkey gion, interpolating themes to this adaptation of King the earliest feature film score for children sports Philip Dunne feature solo female vocalise, Shines (40:41) is leitmotivic from The Robe by Alfred Lear set in the American soundtrack by John fabulous sound from the romantic, intimate scores early electronics, strange suspense score for George Newman. Plus bonus West. $19.95 Williams available on CD. legendary Goldwyn scoring by Elmer Bernstein effects and an aggressive Romero monkey thriller. tracks (11:06) and remixed Johnny does Arab go-go stage. Whimsical, melodic (lovely Americana) and climax. $19.95 $19.95 cue from The Egyptian music! $19.95 and magical. $19.95 Bernard Herrmann (“baby (5:04). $19.95 Vertigo”). $19.95

 Vol. 4, No. 13  Vol. 4, No. 12  Vol. 4, No. 11  Vol. 4, No. 10  Vol. 4, No. 9  Vol. 4, No. 8  Vol. 4, No. 7 Morituri/ The Best of Everything Voyage to the Bottom Between Heaven and Room 222/ ALFRED NEWMAN & Raid on Entebbe ALFRED NEWMAN of the Sea Hell/ Soldier of Fortune Ace Eli and Rodger ALFRED NEWMAN Song by Newman & HUGO FRIEDHOFER JERRY GOLDSMITH/ PAUL SAWTELL HUGO FRIEDHOFER of the Skies Film released: 1955 , DAVID SHIRE & BERT SHEFTER JERRY GOLDSMITH Studio: 20th Century Fox Film released: 1958 Perf. by Films released: 1956/55 Studio: 20th Century Fox Films released: 1965/77 Song by Russell Faith, Studio: 20th Century Fox Films released: 1969/73 Genre: Religious/ Biography Genre: Western Studio: 20th Century Fox Film released: 1959 Perf. by Frankie Genre: WWII/Adventure Studio: 20th Century Fox Golden Age Classics Golden Age Classics Genre: WWII/ Studio: 20th Century Fox Film released: 1961 Golden Age Classics Genre: Sitcom (TV)/ CD released: June 2001 CD released: Sept. 2001 Docudrama,TV Genre: Drama/Romance Studio: 20th Century Fox CD released: July 2001 Americana (feature) Stereo • 58:14 Golden Age Classics Stereo • 73:00 Stereo (some bonus tracks in Silver Age Classics Genre: Sci-fi/Irwin Allen Silver Age Classics Biopic of Scottish minister mono) • 69:34 CD released: Aug. 2001 Silver Age Classics CD released: June 2001 CD released: Aug. 2001 A superlative Hugo Peter Marshall receives Stereo (Morituri)/ Stereo • 71:14 CD released: July 2001 Mono (Room 222)/Stereo & Two Hollywood legends Mono (Entebbe) • 57:50 Stereo • 55:55 Friedhofer doubleheader: Mono (Ace Eli) • 71:37 rich, reverent, melodic collaborate for a rich, Newman’s last Fox score Between Heaven and score by Alfred Newman; handsome western score Morituri (41:46) is in is a romantic gem; think Thundering B-movie hyste- Hell (complete: 40:18) is a Room 222 (12:15) com- CD features complete with a memorable, driving Goldsmith’s percussive ‘60s New York at twilight. ria plus soothing, romantic moody war thriller; Soldier prises theme and two score including source main theme and darkly style; Raid on Entebbe (15: Complete score (48:21) in undersea passages for the of Fortune (surviving episode scores for popular music. $19.95 brooding interior pas- 29) features suspense, pul- stereo, plus some bonus film that launched the hit tracks: 32:41) an exotic, TV series; Ace Eli (59:21) a sages. $19.95 sating action, and Israeli tracks in mono. $19.95 TV show. $19.95 melodic jewel. $19.95 lyrically-scored barnstorm- song climax. $19.95 ing movie. $19.95

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 Vol. 4, No. 6  Vol. 4, No. 5  Vol. 4, No. 4  Vol. 4, No. 3  Vol. 4, No. 2  Vol. 4, No. 1  VOLUME 3, No. 10 The French Connection/ The Egyptian Untamed How to Marry a Conquest of.../Battle for Beneath the French Connection II ALFRED NEWMAN & FRANZ WAXMAN JOHN WILLIAMS Millionaire the Planet of the Apes 12-Mile Reef DON ELLIS BERNARD HERRMANN Film released: 1955 Film released: 1974 ALFRED NEWMAN & A BERNARD HERRMANN Films released: 1971/75 Film released: 1954 Studio: 20th Century Fox Studio: Warner Bros./20th CYRIL MOCKRIDGE A Film released: 1953 Studio: 20th Century Fox Studio: 20th Century Fox Genre: Historical Adventure Century Fox Film released: 1953 A Studio: 20th Century Fox Genre: Police Thriller Genre: Historical Epic Golden Age Classics Genre: Disaster/Irwin Allen Studio: 20th Century Fox Film released: 1972/73 Genre: Adventure Silver Age Classics Golden Age Classics CD released: April 2001 Silver Age Classics Genre: Comedy/ Romance Studio: 20th Century Fox Golden Age Classics CD released: May 2001 CD released: May 2001 Stereo • 65:43 CD released: Apr. 2001 Golden Age Classics Genre: Sci-fi/Fantasy CD released: Feb. 2001 Stereo & Mono (I)/ Stereo • 72:06 Stereo • 75:31 Stereo • 55:06 19th century African colo- CD released: Mar. 2001 Silver Age Classics Stereo (II) • 75:01 Stereo • 70:03 At last: the classic nialist adventure starring Disaster masterpiece CD released: Feb. 2001 Fantastic undersea adven- Cop thrillers get pulsating, gets premiere CD release, Stereo & Mono (Conquest)/ Newman/Herrmann collab- Susan Hayward receives Marilyn Monroe comedy Stereo (Battle) • 74:44 ture score gets premiere dynamic, avant-garde oration for Fox’s historical thrilling adventure score by doubled in length from features period songs release of original stereo scores by jazz artist. First epic. Original stereo tracks Franz Waxman in first-rate the LP. Fantastic main adapted as instrumental Final Apes films get vintage tracks, albeit with minor (37:52) includes unused were believed to be lost sound. Wonderful main title, climactic action cue; underscore. “Street scores by Scott deterioration. Lots of music; sequel (37:09) a bit or unusable, but this CD title, love theme. $19.95 plenty of moody suspense Scene” (5:36) conducted (38:47, w/unused cues) and harps, “underwater” color, more traditional. $19.95 features every surviving and romantic pop. $19.95 by Alfred Newman opens Rosenman (34:43), plus TV seafaring melodies. $19.95 note. $19.95 the movie and CD. $19.95 series theme (1:13). $19.95

 Vol. 3, No. 9  Vol. 3, No. 8  Vol. 3, No. 7  Vol. 3, No. 6  Vol. 3, No. 5  Vol. 3, No. 4  Vol. 3, No. 3 The Stripper/ From the Terrace Batman The Undefeated/ A Guide for the Tora! Tora! Tora! Beneath the Planet Nick Quarry ELMER BERNSTEIN Hombre Married Man A of the Apes Theme by Neal Hefti / JOHNNY WILLIAMS A JERRY GOLDSMITH Film released: 1960 Film released: 1970 Title Song Perf. by The Turtles Film released: 1963/68 Studio: 20th Century Fox Film released: 1966 Studio: 20th Century Fox Film released: 1970 Studio: 20th Century Fox Genre: Drama Studio: 20th Century Fox Films released: 1969/67 Film released: 1967 Genre: WWII Studio: 20th Century Fox Genre: Drama /Action,TV Golden Age Classics Genre: Adventure/Camp Studio: 20th Century Fox Studio: 20th Century Fox Silver Age Classics Genre: Sci-fi/Fantasy Silver Age Classics CD released: Dec. 2000 Silver Age Classics Genre: Western Genre: Comedy CD released: May 2000 Silver Age Classics CD released: Jan. 2001 Stereo • 71:27 CD released: Nov. 2000 Silver Age Classics Silver Age Classics Stereo • 54:45 CD released: Apr. 2000 Stereo (Stripper)/ Mono • 65:23 CD released: July 2000 Stereo • 72:37 /Joanne CD released: Sept. 2000 Classic Goldsmith war Mono (Quarry) 73:35 Stereo • 72:33 Stereo • 73:10 Woodward soaper fea- Holy Bat-tracks! 1966 score enhances docu- Second Apes pic gets Early Goldsmith feature tures tuneful, romantic feature produced at time Western doubleheader: Vintage score is drama take on Pearl atonal score by Leonard (42:01, plus 21:06 bonus score by Bernstein. Rich of ‘60s TV show features The Undefeated (w/John “Johnny”’s most elaborate Harbor. Aggressive action Rosenman with many tracks)—is in romantic Americana music, sensi- Neal Hefti’s theme, Wayne, 47:33) is for a comedy, with long music combined with avant-garde highlights. Alex North style. Quarry tive romantic themes, Nelson Riddle’s Bat-villain accessible and sym- setpieces, groovy title avant-garde effects, Includes complete original (10:27) is a TV rarity— haunting melancholy. signatures, swingin’ under- phonic. Hombre (w/Paul theme, and orchestral Japanese instrumenta- tracks (46:03) plus 1970 LP sounds like Flint music. $19.95 scoring and larger action Newman, 21:30) is underscoring foreshadow- tion. $19.95 re-recording with dialogue $19.95 setpieces. $19.95 moodier, sensitive—a ing his dramatic works. (26:34). $19.95 quiet gem. $19.95 $19.95

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 Vol. 3, No. 2  Vol. 3, No. 1  VOLUME 2, No. 9  Vol. 2, No. 8  Vol. 2, No. 7  Vol. 2, No. 6  Vol. 2, No. 5 Take a Hard Ride The Flim-Flam Man/ Rio Conchos / The Comancheros Prince of Foxes A JERRY GOLDSMITH A Girl Named Sooner JERRY GOLDSMITH ELMER BERNSTEIN ALFRED NEWMAN JERRY GOLDSMITH ALFRED NEWMAN Film released: 1971 Film released: 1975 Film released: 1964 Film released: 1961 Film released: 1949 Studio: Warner Bros. Studio: 20th Century Fox Films released: 1967/1975 Studio: 20th Century Fox Film released: 1950/45 Studio: 20th Century Fox Studio: 20th Century Fox Genre: Sci-fi/Fantasy Genre: Western Studio: 20th Century Fox Genre: Western Studio: 20th Century Fox Genre: John Wayne/Western Genre: Historical Adventure Silver Age Classics Silver Age Classics Genre: Drama/Americana Silver Age Classics Genre: Drama Silver Age Classics Golden Age Classics CD released: Mar. 2000 CD released: Feb. 2000 Silver Age Classics CD released: Dec.1999 Golden Age Classics CD released: Sept.1999 CD released: July 1999 Stereo • 65:39 Stereo • 46:38 CD released: Jan. 2000 • Mono/Stereo (combo) • 75:28 CD released: Nov. 1999 Stereo • 47:44 Stereo • 46:39 Stereo (Flim-Flam)/Mono Mono (2 trks. in stereo) • 44:19 Charlton Heston sci-fi Early Goldsmith western Elmer Bernstein’s first “Lost” Tyrone Power Strange “blaxploitation,” (Sooner) • 65:20 classic features one-of-a- score is presented in com- Eve is a cinema master- of many scores for John historical adventure gets foreign-produced western kind symphonic/pop fusion A rural Americana double- plete form (55:43) in mono, piece; the complete score Wayne is a western gem, exciting, robust score gets wonderful symphonic by the late Ron Grainer. header: Flim-Flam (34: with some cues repeated is appropriately theatrical, with rhythmic main title by Alfred Newman, score from Goldsmith; Unforgettable themes, 37) stars George C. Scott in stereo. Includes delight- perfectly drawn. Leave and high-tailing action newly mixed into stereo. great main theme, action period effects; great stereo as a Southern con man; fully bizarre vocal version Her to Heaven is more music. Think in terms of Glorious main title, stir- cues. Take a hard ride, sound quality. $19.95 Sooner (30:43) is smaller, of the main theme. $19.95 dramatic, brooding film “The Magnificent Eight.” ring love theme. $19.95 indeed. $19.95 sensitive TV movie score. noir. $19.95 $19.95 $19.95

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 Vol. 2, No. 4  Vol. 2, No. 3  Vol. 2, No. 2  Vol. 2, No. 1  VOLUME 1, No. 4  Vol. 1, No. 3  Vol. 1, No. 2 Monte Walsh Prince Valiant Patton/The Flight 100 Rifles The Return of Dracula/ The Paper Chase/ The JOHN BARRY FRANZ WAXMAN of the Phoenix JERRY GOLDSMITH I Bury the Living/ LEONARD ROSENMAN Poseidon released: 1966 JOHN WILLIAMS Film released: 1970 Film released: 1954 JERRY GOLDSMITH/ Film released: 1969 The Cabinet of Caligari/ Studio: 20th Century Fox Film released: 1973/72 Studio: CBS Studio: 20th Century Fox FRANK DE VOL Studio: 20th Century Fox Mark of the Vampire Genre: Sci-fi Studio: 20th Century Fox Genre: Western Genre: Historical Adventure Film released: 1970/65 Genre: Western Silver Age Classics Golden Age Classics Studio: 20th Century Fox Silver Age Classics Films released: 1958/58/62/57 Silver Age Classics Genre: Drama/Disaster CD released: June 1999 CD released: May 1999 Genre: WWII/ Adventure CD released: Mar. 1999 Studio: UA/ 20th Century Fox CD released: Sept. 1998 Silver Age Classics Mono (1 track. in stereo) 61:51 Stereo • 62:17 Silver Age Classics Stereo/Mono (combo) • 77:08 Genre: Horror Stereo • 47:28 CD released: July 1998 Revisionist western gets Fox’s colorful 1954 adapta- CD released: April 1999 Burt Reynolds/Raquel Silver Age Classics Sci-fi classic following min- Stereo/Mono (combo) • 75:53 Stereo • 76:24 vintage John Barry score tion of the famous epic Welch western gets CD released: Jan. 1999 • Mono iaturized sub crew inside The Paper Chase is eclectic 20 years before Dances comic strip features stir- Patton (35:53) is complete explosive score, heavy on Disc One: 61:06 Disc Two: 73:20 the human body gets imagi- score for drama about law With Wolves. Song “The ring adventure score by OST to WWII biopic clas- Mexican colors and gut- Star Trek and The Man from native, avant garde score; students. The Poseidon Good Times Are Comin’” Franz Waxman in “leitmo- sic. Phoenix (40:51) is a tural action. CD features U.N.C.L.E. composer gets one of Rosenman’s Adventure is classic Irwin performed by Mama tiv” style, a la Star Wars: rare album release for score twice, in stereo and 2-CD release of creepy, early signature works. Allen disaster score. Also Cass; many bonus tracks. hero, villain, princess, Frank De Vol, a rousing in mono with slight varia- horror scores, packaged in Symphonic yet thrillingly includes Conrack (1974), $19.95 mentor. $19.95 adventure/ survival score. tions. $19.95 slimline case; same shipping bizarre. $19.95 main title (6:07). $19.95 $19.95 as one CD. $29.95 EXCLUSIVE VIDEO! Basil Poledouris: His Life and Music An intimate visit with the composer of Conan the Barbarian, , Starship Troopers and Lonesome Dove. Take a tour of his work and lifestyle, from his methods of composing to his love of sailing. The video runs 50 minutes and includes foot- age of Basil conducting and atwork on mock-ups of Starship Troopers, as well as dozens of behind-the-scenes  Vol. 1, No. 1  FSM-80125-2  FSM-80124-2  FSM-80123-2 and family photos, and appearances by wife Bobbie and Stagecoach/The Loner Mad Monster Party Deadfall The Taking of daughter Zoë. Discover the man behind the music, in a way JERRY GOLDSMITH MAURY LAWS JOHN BARRY Pelham 1-2-3 you’ll never see on TV, or experience in print. Specify NTSC Film released: 1966/1965 Film released: 1998 Film released: 1968 DAVID SHIRE (U.S.) or PAL (European) $19.95 Studio: 20th Century Fox Studio: Rankin/Bass Studio: 20th Century-Fox Film released: 1974 Genre: Western (film/TV) Genre: Animagic Genre: Heist caper Studio: M-G-M Silver Age Classics Percepto/Retrograde Records Retrograde Records Genre: Thriller GIVE A GIFT SUBSCRIPTION CD released: May 1998 CD released: 1997 CD released: 1997 Retrograde Records Try a year of FSM for a friend or relative Stereo (Stagecoach)/ Stereo 36:48 Stereo 40:23 CD released: 1996 Mono (Loner) • 45:25 The jazzy score by composer Barry scored this thriller in Stereo & Mono • 30:55 Does your film score pal have his (or her) own sub- Stagecoach is gentle Maury Laws, with lyrics by his most creative period. Hear David Shire’s scription to Film Score Monthly? Give the gift that Americana score for remake Jules Bass, features the Features “Romance for unparalleled ’70s 12-tone keeps on giving, ten times a year. You’ll have some- of classic western. The vocal talents of Boris Karloff, Guitar and Orchestra,”; jazz/funk fandango for the thing new to talk about movie music on a regular Loner includes theme and Phyllis Diller and Ethel Ennis. the title song performed by 1974 subway hostage thriller basis, not to mention that YOUR copy will stay safe two episode scores for Features 16-page color book- , plus two on FSM’s first album release. and sound at home—instead of getting wrinkled or short-lived Rod Serling west- let with rare and unpublished unreleased, alternates and A sensational, driving, worse when it’s borrowed by that certain someone. ern series. $19.95 photographs and concept vintage underscore. $16.95 pulsating score in a class by One year for just $36.95 —that’s 25% off newsstand drawings. $16.95 itself. $16.95 prices—whatta bargain.

Getting the Best Score for Your Film: BOOKS FOR COMPOSERS A Filmmakers’ Guide to Music Scoring by David Bell NEW!!! 2003 Film/TV Music Guide From the Music Business Registry A respected TV composer, Bell wrote this book in 1994 to help producers and Isn’t your career worth it? An exhaustive directory of record labels, music pub- directors get the most out of film music. Aimed at filmmakers, this book also lishers, film/TV music depts., music supervisors, music editors, composer rep- provides useful info for pros—and fans. Topics include spotting, communicating, resentatives, composers, clearance companies, recording studios, performing recording, budgeting and licensing, with explanations of the personnel and enti- ties involved in each; plus lists of agents, clearance companies, glossary terms rights societies, and music libraries—names, addresses and numbers. $94.95 and resources. Silman-James Press, 112 pp., softcover. $12.95 8 Sound and Vision: 60 Years of Motion Picture Soundtracks BOOKS FOR MUSIC LOVERS by Jon Burlingame Foreword by Leonard Maltin The Score: Interviews with Film Composers by Michael Schelle Journalist and historian Burlingame’s conducts an overview of film compos- This 1999 book uses a Q & A format to converse with contemporary composers, ers and history in clear and direct prose. Comprised of composer mini-bios, featuring lengthy transcripts with Barry, Bernstein, Blanchard, Broughton, Chihara, with reviews of their most notable works and photo portraits, there is also Corigliano, Howard, Isham, Licht, McNeely, T. Newman, Shaiman, Shore, Walker a thorough overview of history (LP and CD), a section and C. Young. Written by a composer, who delves deeply and precisely into each devoted to song compilation reviews, and a helpful movie music bibliography. composers’ ideas. Silman-James Press, 432 pp., softcover. $19.95 Billboard Books, 244 pp., softcover. $18.95 Music for the Movies 2nd Edition by Tony Thomas U.S. Soundtracks on CD: Scores for Motion Pictures and TV 1985-1999 Price Guide by Robert L. Smith The music book ( written in 1971, updated in 1997), tells the sto- ries of Hollywood’s most successful composers. Composers featured (many FSM’s 2nd market-standard price guide contains 2,400+ album titles with with photos) include Stothart, V. Young, Green, Newman, Tiomkin, Waxman, composers, label numbers, collectible info and estimated values. Listings Kaper, Rózsa, Steiner, Korngold, Herrmann, Raksin, Antheil, Thompson, are annotated to differentiate between originals, reissues, commercial North, Bernstein, Duning, Rosenman, Goldsmith, Mancini, Schifrin, Scott, albums and promos. Smith surveys the market and provides a checklist for Shire, Broughton and Poledouris. Silman-James Press, 330 pp., softcover. the top 50 collectible CDs. Vineyard Haven LLC, 154 pp., softcover. $17.95 $19.95

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

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

Hugo Friedhofer: The Best Years of His Life A Heart at Fire’s Center: Edited by Linda Danly, Introduction by Tony Thomas The Life and Music of Bernard Herrmann by Steven C. Smith The gifted musician of such classics as The Best Years of Our Lives, Above The most influential film composer of all time, who scored , and Beyond and Soldier of Fortune was considered by his peers to be the most Vertigo, Psycho and Taxi Driver, Bernard Herrmann (1911-1975) was as famous sophisticated practitioner of their art. Friedhofer (1901-1981) gave a lengthy for his musical passion as his bad temper. This hard-to-find 1991 book is the oral history to the AFI, rife with anecdotes, opinions and wit, which forms the definitive biography of the legendary composer, covering his film, television, centerpiece of this book. Includes a short biography by Danly, the eulogy from radio and concert work as well as his personal life. It’s a brilliant NEW softcover ed. Friedhofer’s memorial service by , a filmography, photographs and of Herrmann and probably the best film composer biography ever written. NEW lower price! more. The Scarecrow Press, 212 pp., softcover. $24.95 Press. 416 pp., hardcover. $39.95

Film Music and Everything Else! Music, Creativity and Culture as Seen by a Hollywood Composer by Charles Bernstein Essays by the composer of the original Nightmare on Elm Street, Sadat, Cujo and others. Originally written for“The Score,” the quarterly journal of the Society of Composers and Lyricists. Topics include: melodies, “hummers,” emotion and more. It’s a rare opportunity to read thoughtful opinions and musings from a film composer directed towards other practitioners of the art. Turnstyle Music Publishing, 132 pp., softcover, limited to 500 copies. $18.95 BACK ISSUES OF FSM • VOLUME ONE, 1993-96

24 pp. unless noted. ute; M. Nyman, collectibles. *#62, Oct. ’95 D. Elfman; R. Townson; reviews; Recordman on War 2. Asterisk (*) indicates photocopies. *#48, Aug. ’94 M. Mancina (Speed); C. J. Ottman; 10 Influential Scores; Jerry *#76, Dec. ’96 R. Edelman, J. Barry 2, R. GET FREE GIFTS! *#30/31, Mar. ’93 64 pp. M. Jarre, B. Cirino & P. Rotter; aspiring composers video. Cooder; Laserphile, Lukas’s reviews. Poledouris, J. Chattaway, J. Scott, advice; CAM CDs; Cinerama LPs. *#63, Nov. ’95 James Bond Special! FILM SCORE MONTHLY REWARDS C. Young, Morricone albums,1992 in *#49, Sept. ’94 H. H. Zimmer; S. Walker; J. Barry; E. Serra; History of Soundtrack loyal customers with a free gift for review. L. Rosenthal; H.Salter; Williams concert; Collecting 3; Davy Crockett LPs. VOLUME TWO, 1997 spending over $50 on any one order, *#32, Apr. ’93 16 pp. Matinee temp- Recordman/flea market. *#64, Dec. ’95 D.Elfman Pt. 2, S. Bartek, First color covers! Issues 32-48 pp. and TWO free gifts for spending track, SPFM ’93 Conf., Star Trek #50, Oct. ’94 A. Silvestri; M. Isham; Recordman/Blaxploitation; Kamen 3; re- *Vol. 2, No. 1, Jan./Feb. ’97 Star Wars: over $100. (Magazine subscriptions, editorial. sex & soundtracks; Schifrin con- recording House of Frankenstein. Williams interview; Special Edition CDs. shipping and tax are not applicable *#33, May ’93 12 pp. Book reviews, cert; Morricone/Beat; the Internet; *#65/66/67 Mar. ’96, 48 pp. T. Newman; *Vol. 2, No. 2, Mar./Apr. ’97 A. Clausen; towards the $50 or $100—but every- classical/film connection. Recordman/liner notes. Takemitsu; Robotech; Star Trek; 10 promo CDs; Congress in Valencia; thing else is, including backissues.) *#34, Jun. ’93 16 pp. SPFM: Goldsmith; *#51, Nov. ’94 H. Shore; T. Newman; Influential composers; Glass; H. Villa- Readers Poll ’96; “Into the Dark Pool” 2 Orchestrators; ; Herrmann; J. P. Robinson; Lukas’s Mom; music of Lobos; songs in film; best of ’95; film *Vol. 2, No. 3, May ’97 Michael Fine: IF YOUR ORDER APPLIES, PLEASE C.Young; Bruce Lee scores. Heimat, Star Trek. score documentary reviews. Re-recording Rózsa; Poltergeist, Mars note your selection on the form or *#35, Jul. ’93 16 pp. David Kraft; John *#52, Dec. ’94 E. Serra; M. Shaiman; *#68, Apr. ’96 The Taking of Pelham One Attacks!, Rosewood; Lukas/Bond a separate sheet, The free gifts will Beal Pt. 1; scores vs. songs; Herrmann Sandy De Crescent; Valencia Film Two Three; C. Burwell; gag obituaries; reviews. change from time to time—and Christmas; Film Composers Dictionary. Music Conference; SPFMPt. 1; Apollo 13 promo/bootleg tips. *Vol. 2, No. 4, Jun. ’97 D. Elfman, they may be available from other *#36/37, Nov. ’93 40 pp. Bob Townson ; StarGate; Shostakoholics Anonymous. *#69, May ’96 Plan 9 from Outer Space; Promos 2, M. Denny & Exotica, Lady sources. R.Kraft & N.Redman; John Beal; CAM *#53/54, Feb. ’95 M. Shaiman Pt. 2; D. Movie music glossary; Herrmann & in White; Brian May obit, The Fifth HERE ARE SOME OF OUR GIFTS; CDs; E. Bernstein fantasy scores. McCarthy; Sergio Bassetti; Jean-Claude Rózsa on radio; Irwin Allen; “Into the Element. newer items are listed online: *#38, Oct. ’93 16 pp. J.Debney; Kraft/ Petit & ; Academy Dark Pool.” *Vol. 2, No. 5, Jul. ’97 E. Goldenthal, M. Redman 2. Awards Pt. 1; rumored & quad LPs. *#70, Jun. ’96 Mancina, desert isl& Mancina, G.S.Clinton, ASCAP & BMI Basil Poledouris: His Life and Music *#39, Nov. ’93 16 pp. Kraft/Redman 3; *#55/56, Apr. ’95 B. Poledouris; A. lists, summer movies; TV’s Biggest Hits nites; Crash, Lost World. FSM’s videotape documentary of the Fox CDs; Nightmare Before Christmas. Silvestri; J. Lo Duca; Oscar & Music 2; review. Vol. 2, No. 6, Aug. ’97 L. Schifrin, admired composer. Specify NTSC (U.S.) or PAL (U.K.) format. *#40, Dec. ’93 16 pp. Kraft/Redman 4; Recordman’s Diary; SPFM Conf. 2. *#71, Jul. ’96 D. Arnold; M. Colombier; J. Powell, Shaiman; Tony Thomas; Re-recording The Magnificent Seven. *#57, May ’95 Broughton; M. Goodman; Recordman/Congress; summer round- Summer movies, TV sweeps. Regular FSM Price: $19.95 *#41/42/43, Mar. ’94 48 pp. E. Goldenthal; ’94 Readers Poll; Goldsmith concert. up. *Vol. 2, No. 7, Sept. ’97 Zimmer vs. FSM, U.S. Soundtracks on CD Price J.N. Howard; Kitaro & R. Miller; R. *#58, Jun. ’95 M. Kamen; Royal S. *#72, Aug. ’96 10 Best Scores of ’90s; M. Beltrami, ; Film Music Guide: 2nd Edition Portman; ; Star Wars trivia; Brown; Recordman/Annette; History of T. Newman; Escape from L.A.; cond. J. as Fine Art, Recordman. FSM’s market-standard price guide sexy LP covers; ’93 in review. Soundtrack Collecting. Mauceri; ref. books; A. 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Salter); Mancini trib- music for film score fans. *#75, Nov. ’96 Barry Interview; J.Bond’s (continued on next page)

TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9598 • Fax 1-310-253-9588 • Online www.filmscoremonthly.com (Battlestar Galactica); Emil Richards; Sheffer); G.Clinton; Douglass Fake of Overrun; Enterprise; Yann Tiersen. Tuck Everlasting); George Feltenstein VOLUME THREE, 1998 ASCAP awards. Intrada; How to Marry a Millionaire. Vol. 7, No. 2, Feb. ’02 HAPPY BIRTHDAY, (); 12-CD Wishlist; Expanded format! Issues 48 pp *Vol. 4, No. 8, Sept./Oct. ’99 STANLEY Vol. 6, No. 3, Mar. ’01 BIGGER, BETTER ELMER BERNSTEIN; Rózsa speaks! Omaha’s Orpheum Theater; Holiday *Vol. 3, No. 1, Jan. ’98 Williams KUBRICK J.Pook/Eyes Wide Shut, CD SCORES: New RMA agreements; D. (Lust for Life); ; DVD reviews. Buyer’s Guide 1, M. Danna, ‘s comp.; Poledouris; Goldsmith Guide 5: Ellis; Irwin Allen discs; R. Kent (Town & John Q, Frailty; Laserphile (baseball Vol. 7, No.10, Dec. ’02 music supervisor, Silvestri lecture, (‘60s); concert advice for Jerry. Country); Italian Imports/BEAT. DVDs). TOWERING ACHIEVEMENTS: H. Shore Rykodisc CDs. Vol. 4, No. 9, Nov. ’99 COMPOSER Vol. 6, No. 4, Apr./May ’01 J. Horner Vol. 7, No. 3, Mar/Apr. ’02 THE (The Two Towers); P. Glass (The Hours); *Vol. 3, No. 2, Feb. ’98 Glass, Williams STAMPS; Papillion; Peter Thomas; Buyer’s Guide; The Mummy Returns, SCORPION KING; Hook (Williams); Edda Ray Ellis (Filmation cartoons!); The Alloy Buyers Guide 2, D. Amram, Goldsmith on Inspector Gadget; The Thomas Crown Swordfish; Hoyt Curtin; Epics on DVD; Dell’Orso; Craig Armstrong (Moulin Orchestra, Spy Notes (secret agent Varèse, Pendulum CDs; TV CDs. Affair; BMI awards. Atlantis The Lost Empire. Rouge); Oscars. discs); Adaptation & Punch-Drunk Love. Vol. 3, No. 3, Mar./Apr. ’98 Titanic/ Vol. 4, No. 10, Dec. ’99 SCORES OF Vol. 6, No. 5, June ’01 SERGEI Vol. 7, No. 4, May/Jun. ’02 J.Horner, Best of 1997, Cinerama, Greig SCORES: animation, Morricone, horror, PROKOFIEV; Friedhofer & Fox; SUMMER BLOCKBUSTERS Spider-Man; McRitchie, Fox Newman Stage, Oscars. Golden & Silver Age Hollywood, concert Ghostbusters; J. Danna, R. Shore; Attack of the Clones ; M. Mothersbaugh VOLUME EIGHT, 2003 Vol. 3, No. 4, May ’98 B. Broughton, work CDs. Bender at Chiller, more. (Welcome to Collingwood); Legend on Vol. 8, No. 1, Jan. ’03 JOHN WILLIAMS D. Arnold; CE3K restoration; Williams Vol. 6, No. 6, July ’01 PLANET OF THE DVD; (ASCAP winners). INTERVIEWED (finally!); The Best & the Guide 3; Ed Shearmur; Fox Classics CDs. APES; H. Zimmer; Horner Guide 2; *Vol. 7, No. 5, Jul. ’02 Worst of 2002; Star Trek film scores. *Vol. 3, No. 5, Jun. ’98 M.Snow, Classic VOLUME FIVE, 2000 Goldenthal; Shore; Williams. MURDER MUSIC: Film Noir; Vol. 8, No. 2, Feb. ’03 Godzilla; J. Chattaway; Broughton 48-64 pp.each Vol. 6, No 7, August ’01 Williams (Minority Report); Goldsmith HOW THE AWARDS WERE WON Buyers Guide; D. Reynolds, D. Vol. 5, No. 1, Jan. ‘00SUPERMAN:THE PART 1; Moulin Rouge; J. Morgan (The Sum of All Fears); M. Kamen; (Oscars past & present); J. Williams McCarthy, ), SCL Conf.. MOVIE CD reissue: film, cue sheet on Golden Age Scores; Schifrin, P. Schickele (Silent Running); & L. Slatkin concerts; Jan Hammer, C. *Vol. 3, No. 6, Jul. ’98 T. Rabin; Barry analysis, ’50s TV score; H. Shore Jones, Diamond & Debney; Score Laserphile: Summer Thrills; SCL pix, Martinez, C. Pope, S. Walker. Concert; Aussies: B. Dallwitz, C. Gordon; (Dogma); Goldenthal, Barber, Tyler, Internationale; Random Play. more. Vol. 8, No. 3, Mar. ’03 MAGNIFICENT D.Wiseman; ‘70s soundtracks. Debney, Robbins; Pocket Reviews debut, Vol. 6, No 8, September ’01 ANGELO Vol. 7, No.6, Aug. ’02 MOVIE MUSIC MOMENTS; Brian *Vol. 3, No. 7, Aug. ’98 South Park Laserphile. BADELAMENTI (Mulholland Drive); JAZZ IN FILM: , E. Tyler (The Hunted, Children of Dune); (A. Berry, B.Howell), I. Newborn; *Vol. 5, No. 2, Feb. ’00 JERRY FIELDING: N. Carolina School of the Arts; Quincy Bernstein, S. Clarke & T. Blanchard; J.Ottman (X-Men 2); D. 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TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9598 • Fax 1-310-253-9588 • Online www.filmscoremonthly.com Pocket Reviews Fewer words, but all of the usual attitude 1 Wicked ★★★ /2 The score is hard to warm up to on first listen, but deepens with STEPHEN SCHWARTZ each hearing. The songs are the production’s biggest assets—that Decca Broadway B0001682-02 • 19 tracks - 71:05 is, after the two female leads. On the CD, you might wonder why reviewers were gaga over (who plays Glinda). Her IMAGINE THE UNLIKELY FRIENDSHIP BETWEEN ELLE WOODS OF charms are mostly physical, but she does radiate a warmth on the Legally Blonde and Carrie, of Stephen King fame. Set this friend- CD, and her show-stopping song, the wonderfully funny “Popular,” ship in the Land of Oz and you get the delightful premise of Wicked, will be a standard in no time. , as Elphaba, replicates the Broadway musical based on the popular Oz-prequel novel by her stage magic and is the standout on the CD, especially in her Gregory Maguire. The story of Wicked ingeniously explains a lot of big Act I finale solo “Defying Gravity.” Wicked should usher in a new, what happens in The Wizard of Oz in a funny and slyly disrespectful younger generation to the theater with its catchy score and star- book by Winnie Holzman. The score is by Stephen Schwartz, the lyri- making performances. I pity the ladies who have to step in when cist on Disney’s Pocahontas and The Hunchback of Notre Dame. Menzel and Chenoweth leave the production. —Cary Wong

Il Disprezzo ★★★ (1963) Digitmovies CDDM002 (Italy) • 19 tracks - 53:52 Imagine, if you will, if Star Wars was known the world over with its John Williams score, except in Japan, where it had music by...Mister IL DISPREZZO IS THE ITALIAN TITLE OF LE MÉPRIS (CONTEMPT IN Magoo. That’s kind of the dissonance you get when thinking of this the U.S.), Jean-Luc Godard’s 1963 masterpiece about filmmaking famous film with utterly different music. To be fair, Piccioni is a fine starring . The film is best-known with its elegiac, clas- Italian composer of pulsating ’60s jazz. Not having seen his version sically styled score by Georges Delerue, featuring one of Delerue’s of Il Disprezzo, I don’t know how the music works, but it’s more loveliest themes (and that’s saying a lot)—it’s the gorgeous string than pleasant and enjoyable on CD. He provides no equivalent for piece Scorsese uses in Casino. But in Italy, the film had a score Delerue’s haunting theme, except a few passages for flute, but even by Piero Piccioni, heavy on raucous jazz organ (performed by the his string passages lilt with cool jazz, not Delerue’s classical detach- composer) and sultry, sleazy nightclub moods. ment. A rare and interesting contrast in styles. —Lukas Kendall

1 The Randy Newman Songbook Vol. 1 ★★★ /2 RANDY NEWMAN Nonesuch 79689-2 • 18 tracks - 47:22 If you didn’t get Newman’s box set (which includes an entire NOT SINCE JIM NABORS’ VOICE HAS THERE BEEN SUCH AN disc of film scores) or his greatest hits CD (which included only artistic dichotomy as Randy Newman’s songwriting career. On the songs) from a few years back, this may be the CD for you. His one hand, we have the acerbic and sarcastically poetic Newman performances of his pop songs are relatively subdued, and of such pop songs as “” and “ 1927,” and depending on how much you appreciate his singing, the songs on the other, we have the patriotic and romantic Newman of his benefit greatly from this unplugged approach. The film music film scores such as The Natural and film songs like “You’ve Got a is presented as interludes between the songs. The three cuts Friend in Me.” Both sides are on display in his newest collection, a (from Avalon, and 2) are each about a minute re-recording with just Newman and . long, and still lovingly played on solo piano. —C.W.

Cabin Fever ★★ , ANGELO BADALAMENTI La-La Land LLLCD 1008 • 32 tracks - 76:16 The thought of Badalamenti scoring a horror movie is intriguing. Unfortunately, his contributions are minimal and the one idea he THIS LOW-BUDGET, NO-STAR HORROR MOVIE BY FIRST-TIME does develop sounds a lot like “Whiter Shade of Pale.” His signa- director tried to be a legitimate scare flick while also trying ture sound is still a welcome inclusion since Barr’s music is mostly to send up the genre. It is about a group of beautiful young people horror synthesizer clichés that get tiresome. There are a couple stuck in a remote forest with a flesh-eating virus. Roth assisted of nice touches, like in the frenetic “Die, Redneck, Die.” There are composer Angelo Badalamenti on a David Lynch Broadway musical also interesting source songs, including The Turtlenecks’ “Walkin’, (!), and got him to write a couple of themes for Cabin Fever. The rest Workin’, Lovin’, Laughin’,” and seemingly random dialogue clips of the score was provided by newcomer Nathan Barr. from the movie. For fans of the movie only. —C.W.

Brother Bear ★★★ MARK MANCINA, Collins’ songs are generic and uninspiring. You could inter- Walt Disney 5050466-6877-2-2 • 12 tracks 48:48 change any of the songs between Bear and , without BROTHER BEAR IS ANOTHER ANIMATED FILM IN DISNEY’S GRAND anyone knowing the difference. There are six Collins songs, but tradition of using the animal kingdom as the backdrop for a com- four are re-recorded in different versions to pad the CD. The score ing-of-age story. This time a young man is transformed into a bear gets three cuts, and it’s a shame there aren’t more. Although also after killing one. The movie is rumored to be the last of its kind, with reminiscent of Tarzan, Mancina’s writing is nonetheless exciting Disney now focusing 100% on 3-D animation. Since the days of the and graceful. It seems that this is the type of score he excels animated musicals seem to be almost as extinct, Phil Collins is at. This leads to the question: How much did Collins contribute again enlisted to provide song-as-commentary during the action, as besides the references in the score to his songs? Still, the 19 he did in Tarzan. This time, however, he is also credited as co-com- minutes of score, especially the aptly titled “Wilderness of Danger poser of the score with fellow Tarzan alumni Mark Mancina. and Beauty,” make this CD worth getting. —C.W.

JANUARY 2004 34 FILM SCORE MONTHLY FILM SCORE MONTHLY 35 JANUARY 2004 the recording barrages us with and events of the past year. This . This one little unexpected sounds and crazy event is pretty superfluous since instance provides a possible clue rhythms, Schifrin makes frequent most of what happens in the about why he was hired in the use of traditional figures and movie is a parody of the ballet first place. So perhaps he can be motifs, a strategy that helps to world. Altman has always had an forgiven for turning in such a give the work a patterned cohe- ear for human interaction, but slow-moving score, which man- siveness. The suite titled “Primeval this time, he seems to have gone ages to take rhythmic and tribal Beginning and the Deadly Traps,” a bit deaf. The screenplay (written elements and actually slow them for example, opens with an ele- by star and her down, making Lee’s stunt work giac of strings and mother) feels like an outsider’s that much less impressive. The winds; then it slides gently into view of this company, with no love theme flees the mind readily, a scattered series of clicks and insight or dialogue that you and the vocal version also falls chirps and rattles; and it exits on haven’t heard in countless other flat. The Bruce Lee section of the a soothing, pop-inflected wave dance movies. Altman should CD ends with a horrendous six- of keyboard notes. “The Acts of have instead made a documen- minute track of the sound effects Love,” the album’s most accessible tary or a pure dance movie, as from the movie, which wears out track, kicks off with a silky bossa what does stand out in the film its welcome almost immediately. nova, moves through a gauntlet of are the dances themselves. The exact opposite of Game of percussive insect sounds and then The centerpiece of the movie Death, Night Games comes alive dissolves into soul and psyche- is an outdoor recital in the park, halfway through the CD. With delic pop. Schifrin’s affection for where up-and-coming star danc- sliding strings and a fantastic urban American music shows up ers Ry (Campbell) and Domingo female “breathing” chorus, this throughout this work, as a mat- (Domingo Rubio) dance Lar score succeeds on every level that ter of fact. “Metamorphosis,” for Lubovitch’s interpretation of “My Game of Death does not. Apart from instance, crawls along gently for Funny Valentine” (Marvin Laird the harshness of the “Lesbian several minutes, mixing orchestral on piano, Clay Ruede on cello) Tango,” the music stays eerily parts and oddball noises; then, during the start of an impressive unnerving, creating an almost almost orgasmically, the music wind and rain storm. As the wind underwater feel of creepy fore- swells and explodes before it lays blows leaves and rain across the boding. The fact that the music down a lushly rhythmic, funk- stage, the dancers are lost in their is so good and the movie so bad influenced combination of bass art, and the audience is entranced contrasts oddly with the Game of and electronica. by their movements. “My Funny track on the CD is a pleasant jazz Death score. I highly recommend In the early ’70s, Schifrin was Valentine” becomes Ry’s theme cue called “Curtain Calls.” Night Games to fans of creepy busy experimenting and break- throughout the rest of the movie, The rest of the soundtrack cap- thriller scores and to fans of Barry ing down the borders between as she experiences artistic highs, tures the diversity of the modern in general, though it’s a pity that styles, like an avant-garde new love and ultimate heartbreak. dance company’s repertory, which Game of Death had to be tacked on Dvorak. (During this period he There are four versions of the veers from the traditional (Bach in front of it. —Luke Goljan also produced the music for song on the CD, with Chet Baker’s and Saint-Saëns) to a more mod- 1 THX 1138.) Fortunately, Schifrin classic rendition being the best. ern, haunting song by Julee Cruise Something Wild (1961) ★★★ /2 has always managed to write The other major event in the called “The World Spins,” featuring more for his audiences than for movie is the premiere of The Blue a solo dancer on a swing. This CD Varèse Sarabande 302 066 469 2 himself; and even his strangest Snake, a purposely over-the-top actually captures everything that’s 11 tracks - 35:08 material bears repeated listen- ballet by Robert Desrosiers, which right about the movie. It’s the aron Copland was fond of ing. Such is the case with The has the dancers playing animals action between the dances that Athe challenges and oppor- Hellstrom Chronicle—a difficult, but in a surreal world. And while disappoints. —C.W tunities offered by composing for often thrilling, masterpiece from Desrosiers explains the meaning at film, and scored about 10 fea- the early-middle period of this different points in the movie, I’m Game of Death/Night Games tures in his career. Something Wild great composer’s career. —S.A. still not sure I understood what (1978/1980) ★★ was the last of these, and both was going on. The “official” com- JOHN BARRY director and composer wanted to The Company ★★★ poser of the film, Van Dyke Parks, Silva America SSD 1154 put an album together for com- VAN DYKE PARKS provides the music for this ballet, 17 tracks - 67:58 mercial release (this current CD Sony Classical SK 93092 and it’s an interesting mix of mod- omething about Game of represents the album sequence 12 tracks - 44:48 ern and ethnic flavors. Oddly, on SDeath must have been lack- that Copland had intended). Alas, alfway through this new the CD, there’s only a four-min- ing (besides the obvious absence the studio didn’t see the value of HRobert Altman movie ute excerpt from this piece—and of Bruce Lee from most of the it (the film was poorly received) about a year in the life of the only as a bonus track. Parks, who film), because John Barry’s music even though Copland pointed Joffrey Ballet of Chicago, the wrote songs for , is incredibly run-of-the-mill. The out that he’d never had an members of said company put has mostly scored TV movies like main theme manages to play unsuccessful album. In a story all on a “Christmas Roast” that pokes Bastard Out of Carolina and Harlan for about 10 full seconds before too familiar to soundtrack fun at , choreographers County War. The only other score Barry does a variation on the (continued on page 43)

JANUARY 2004 34 FILM SCORE MONTHLY FILM SCORE MONTHLY 35 JANUARY 2004 SCORE (continued from page 35) that make it sound like Captain fans, the original master tapes Kirk and company have just are currently lost. Fortunately, beamed down to Santa Fe. These director Jack Garfein was so fond effects include what sound like of the score, he personally had tremendously sped up and dis- about a dozen records pressed, torted human voices. and this CD is mastered from an Three vocal tracks are present unopened LP accidentally uncov- here, including two love ballads ered by his wife. and a vocal version of the main Copland reworked the score theme, a confident and stirring to become his Music for a Great City march. The two ballads are typical concert piece, and listeners familiar Handmade has released on CD on her name. (It should be noted of westerns of the period and are with that work should recognize Lucille Ball’s last theatrical movie, that the 1969 film version of Hello, well-integrated into the rest of the a number of passages, like the Mame, and it’s limited to 2,500 Dolly was also criticized, that time score. “French Lancers” contains thrilling and energetic “New York copies. That should be more than because was material that sounds like ethnic Profile.” The score is by turns vio- enough. Yes, this is a smartass deemed too young to play Dolly Indian (as in “India,” not Native lent and serene; as contrasting response, but there’s truth to Levi.) There’s also the great Bea American) instrumentation, a wel- and conflicting emotionally as the it. Unless you’re a huge fan of Arthur, who plays Mame’s “Bosom come and unique addition to a relationship between leads Carroll this movie (and there is a small Buddy” foil Vera Charles, as she Civil War/western score. Baker and Ralph Meeker. “Subway legion of them), there’s no reason did in the stage version. But, that Sadly, sound effects mar por- Jam,” for example, is a cacophony to get this CD, which offers no song epitomizes Lucy’s miscast- tions of tracks 4 and 7, a conse- of wild percussion and muted bonus tracks. It’s not as if the ing, especially during the lyric quence of this CD having been brass clusters that give the impres- movie has been playing on AMC “We’ll always be harmonizing…” mastered from the original 1965 sion of the claustrophobia and rac- and newer fans have been clam- Arthur’s voice is there, but Ball’s album masters, and not the ses- ing hysteria of a panicked Baker. oring for a CD release. No, there’s voice is woefully not. Poor Lucy. sion recordings. These sound Listeners accustomed to no reason to get this CD, unless Of course, being the star that Ball effects were probably included Copland’s more traditional sound- you’re wondering, how bad could was, she wasn’t all bad, focusing originally to show off the LP’s ing works may be put off by his it possibly be? on her comic timing and warm hi-fidelity and stereo separa- more wild musical expressions Well, it’s not good. Mame is presence. This, however, is not tion, but as always only provide here, but make no mistake, even based on the real, larger-than-life evident on the CD. a disservice to the intended though this has no immedi- aunt to young Patrick Dennis, Even Rhino knows they have a audience. I can’t imagine the ate melodic hook like a Rodeo or whose book on his Auntie Mame curiosity piece on their hands, for soundtrack fan who wants two Appalachian Spring, it is full of 20th- was made into a successful movie while they remastered the release, thrilling battle cues interrupted century Americana writing. starring Rosalind Russell, and they left in the distortion in the by rifle fire, galloping hooves On a side note for trivia buffs, then into a hit Broadway musical Lucy songs (the finished versions and cheesy old Hollywood see how many times you can starring . When were culled from different takes), Indian warbling. spot the name of Al Hirschfeld’s it came time to do the movie just so newcomers could enjoy That said, the score is a fine daughter (Nina) in his promo- version of the show in the early the horrors that moviegoers and piece of work, and would have tional artwork included in the 1970s, movie-musicals were run- critics in 1974 were faced with gotten four stars had it been booklet. —D.M. ning out of steam, so Warner Bros. when the movie opened. So, curi- remastered and resequenced wanted to insure its product with osity seekers, until they release the from the original session master Mame (1974) ★★ a star for the film. Enter Lucille song version of I’ll Do Anything or tapes—and been significantly JERRY HERMAN Ball, the beloved TV star who at the Broadway cast CD of Carrie: The expanded. This album contains Rhino Handmade – RHM2 7843 the time of the filming was way Musical, Mame should sate your only one ballad that wasn’t on 13 tracks – 44:18 into her 60s and too old to play appetite for now. —C.W. the original LP. hat is a curiosity piece, Auntie Mame. Most of her screen is one of a handful of studios that 1 Wand why is the release time is shot in a sort of haze to Major Dundee (1965) ★★★ /2 really needs to open its vaults to of the soundtrack to Mame a make her look younger, which DANIELE AMFITHEATROF the specialty soundtrack labels, perfect example of one? The wouldn’t have been so bad if DRG 19056 • 8 tracks - 38:24 especially when dealing with label “curiosity piece” is usually the rest of the movie wasn’t shot aniele Amfitheatrof’s Major sorely underrepresented compos- associated with something that normally. But the real crime, of DDundee contains most of ers like Amfitheatrof. —D.M. has a reputation for being bad course, was that Lucy really didn’t the elements of the traditional 1 or misguided. Earlier this year, have much of a singing voice left. American Civil War score: a The Blue Bird (1940) ★★★ /2 musical fans were given a grand Now, there are things that went rousing march, a sweeping love ALFRED NEWMAN curiosity piece when Fynsworth right with the movie. The Jerry theme, a fife and drum, the req- Screen Archives Entertainment Alley Records released for the Herman score is pleasant enough, uisite trumpet solo and quota- SAE-CRS-0009 • 20 tracks - 79:12 first time on CD The Ethel Merman although he was obviously try- tions of old Civil War songs like n 1939, Darryl Zanuck signed Disco Album. Could it really be ing to replicate the success of his “Dixie.” And yet somehow it rises IAlfred Newman to compose that bad? Sadly, in the case of earlier show, Hello, Dolly, even giv- above those standards. Perhaps music exclusively for Twentieth Ms. Merman, yes. Now Rhino ing his title character a song based it’s the strange electronic effects (continued on page 48)

FILM SCORE MONTHLY 43 JANUARY 2004 MUSIC UNVEILED

Mysteries of the Overlook Unraveling Stanley Kubrick’s Soundtrack for The Shining • By Leonard Lionnet

commercial success, Kubrick additionally needed to make a commercially viable film to maintain his unusually autonomous relationship with Warner Bros. Faced with commercial demands, coupled with his own creative standards and integrity, Kubrick was at a unique creative crossroads in making The Shining. This indeed affected his choice of narrative material. The Shining was based on Stephen King’s novel of the same name, which provided both the substance and international acclaim Kubrick needed in a text. As it turns out, The Shining was a major commercial success and was one of the top 10 grossing films in 1980 and one of the top 50 for the decade.

SLICE AND DICE: If you think the on-screen mayhem was intense, check out the director’s editing-room action. One of a Kind The Shining is the most spiritual and the tanley Kubrick is well known and somewhat notorious most musically elusive of all of Kubrick’s films. It deals with a triadic family: a “recov- for using pre-existing concert music in his films. ering” and abusive alcoholic father, a dedi- cated and supportive wife, and a disturbed Beginning with 2001: A Space Odyssey (1968) and continuing child with supernatural abilities, who finds S emotional balance through an imagined, throughout most films up to and including Eyes Wide Shut (1999), supernatural friend, Tony. Kubrick responds to critical claims that his films are cold, Kubrick almost exclusively used concert with sunrises and beginnings as a result emotionless and often nihilistic: “I think music as scores to his films. The pieces of its use in 2001. The ballet of revolving the unconscious appeal of a ghost story for were drawn from all periods of classical spaceships accompanied by Johann instance, lies in its promise of immortality. music as far back as the mid-13th Strauss’ romantic Blue Danube Waltz was If you can be frightened by a ghost story, century—Dies Irae—and as recent as unprecedented and the antithesis of the then you must accept the possibility that 1973—The Awakening of Jakob by Krzysztof traditional use of music in science fiction supernatural beings exist. If they do, then Penderecki. Thus, original music was rare films. The single repeating pitch—G— there is more than just oblivion waiting in Kubrick’s films after 1968. Kubrick hired from an interior movement of György beyond the grave”. Unlike the treatment of Wendy Carlos to score two sequences Ligeti’s little-known piano work Musica space in 2001—Kubrick’s only other genre- for The Shining: “Room 237” and “Rocky Ricercata (1953), used in Eyes Wide Shut and based picture—space in The Shining is at best Mountains.” Vivian Kubrick, as Abigail its advertising trailers, haunted a mass indifferent to man. The Shining is, ironically, Mead, composed effects sequences for Full audience because of Kubrick. a where the family and immor- Metal Jacket. In both cases, the music was The Shining is pivotal among Kubrick’s tality are the centerpieces of the film, more minimal and played a traditional role. films. It follows his most commercially so than in the novel. Many of the pieces Kubrick used unsuccessful film, , and is The concert music in The Shining is less achieved greater notoriety after appearing his second genre film following the sci-fi known and documented than in Kubrick’s in his films. The opening of Also Sprach 2001. It is also his first and only horror other films. Béla Bartók’s Music for Strings, Zarathustra is now irrevocably associated film. Because of Barry Lyndon’s lack of Percussion and Celesta is the only work cred- ited by title, with Penderecki and Ligeti as Author’s Note: This essay and others will be published in my forthcoming book The Shining: A Film Score Guide, the only composers listed by name in the Scarecrow Press, 2004. Used with permission. I would like to thank Gordon Stainforth, music editor of The final credits. The Shining’s soundtrack was Shining, and Kubrick enthusiast Shawn Martin for their valuable assistance in writing this piece. released in 1980 concurrent with the release

JANUARY 2004 44 FILM SCORE MONTHLY of the film, but it was withdrawn soon after Ninth Symphony appears. In 2001, the where his old friend and bartender, Lloyd, because of copyright issues and is currently majority of The Blue Danube Waltz appears is serving drinks. This song also plays not commercially available. The working and ends at a formal juncture. Within during closing credits. “It’s All Forgotten materials, including the recordings of con- Also Sprach Zarathustra the introduction is Now” by Ray Noble and his Orchestra cert pieces, are the property of the Kubrick used. The picture formally follows this (1932) plays after “Midnight, the Stars and estate and not available to the public for form and cadences after its introduction. You” in the ballroom scene as Jack talks research. Therefore, we do not know what, Essentially, in The Shining both music and with Grady in the bathroom. “Home” by if anything, currently exists. Because of the picture are intransigent forces that inevi- Henry Hall and the Gleneagles Hotel lack of crediting, the withdrawal of the tably interact with profound results. Band (circa 1929) also plays as Jack and soundtrack, and the complex nature of the film, little has been written concerning the music in The Shining.

The Concert Works Portions of nine concert pieces by three Eastern European concert compos- ers—Bartók (1881–1945), Ligeti (b. 1923) and Penderecki (b. 1933)—occur in The Shining. Figure 1 is a list of the sections of the works that were used in The Shining. (For reasons of space, some of the lon- ger titles are abbreviated.) Six of the nine pieces are by Penderecki, although Bartók’s Music for Strings, Percussion and Celesta is often remembered as the hall- mark piece of the film. Wendy Carlos wrote additional music for the film; her music appears in two locations, both of ON THE SET: Stanley Kubrick (above) directs Jack Nicholson and Shelly Duvall (opposite) in The Shining. which contain the only exterior land- scape shots. In the opening sequence, Source Music Grady continue talking in the ballroom’s Carlos’ score complements the Dies Irae, Kubrick also included period music, such bathroom. which she orchestrated using the Moog as ballroom songs from around 1930. After contacting Warner Bros. directly, synthesizer, with haunting, shrill voices These works, unlike the concert pieces, Kubrick enthusiast Shawn Martin was and effects. In a later sequence, the are diegetic in function, remaining in able to retrieve the musical documentation synthesizer appears again with choral the world of the film, and help depict submitted by Kubrick. These sheets are material. Some of the effects during the the social atmosphere of the Overlook the original source of what appeared in “Room 237” sequence have also been Hotel in its heyday in the 1920s. The the film as far as Kubrick knew. From that, attributed to Carlos. (This information song “Midnight, the Stars and You,” by Martin constructed a general diagram of and Carlos’ tracks are given on The Shining Ray Noble and his Orchestra (1932), where some works appeared. His diagram soundtrack recording.) Based upon underscores Jack’s July 4th, 1921, “dream did not contain all of the locations where my research, I reconstructed the course sequence” in the ballroom. Jack enters the music was placed, and contained of post-production of The Shining. While in street clothes and approaches the bar some inaccuracies that I have revised excerpts are used to begin with and are in my diagrams. Martin further excerpted in the film, there was confirmed this in a telephone an effort made by music editor Gordon FIGURE 1: Concert works in The Shining conversation. Stainforth to use these without internal Work Composer Selection Duration Figure 2 lists all iterations alteration. Where cuts in the music were Dies Irae unknown n/a n/a of the excerpts used in The necessary in order to synchronize to the Kanon for Orchestra and Tape PENDERECKI mm. 1-? 8:09 Shining in film order and scenes, they were mostly made at formal Polymorphia PENDERECKI mm. 1-53 11:44 includes the name of the junctures in the music. Stainforth indi- De Natura Sonoris #1 PENDERECKI mm. 1-69 7:15 work and composer. The cates that both he and Kubrick preferred De Natura Sonoris #2 PENDERECKI mm. 1-13 9:02 DVD chapter number and not to edit the works at all, but, where it The Awakening of Jakob PENDERECKI Reh. 1-Reh. 10 7:31 the position in the film are was necessary, sought to alter the end- Utrenja II: The Resurrection PENDERECKI listed to the right. These ings rather than internal events of the figures are a combination a. Ewangelia (Movement 6) m. 1 51:00 pieces where the change would affect the of my own verification and b. Kanon Paschy (Mov. 10) mm. 1-5 51:00 flow. This is consistent with Kubrick’s use Martin’s research. Since Music for Strings, III. BARTÓK mm. 1-45 16:35 of pre-existing concert music in earlier scores and recordings are films. In A Clockwork Orange, most of the Lontano LIGETI mm. 49-63 12:45 available for all works, I entire second movement of Beethoven’s have independently verified,

FILM SCORE MONTHLY 45 JANUARY 2004 MUSIC UNVEILED using score and/or recording, all of the partially reappear. Both De Natura Sonoris mention the actual works being used. works listed in my diagrams, including #1 and De Natura Sonoris #2 contain smaller Generally, this process begins at 01:51:00. their precise position in the film. (Although excerpts in their latter two appearances. Both the Kanon for Orchestra and Tape and Utrenja II: Auferstehung “The Resurrection” The last occurrence of Polymorphia is very Utrenja II are consistently layered, as are has not been published, Schott, the sole brief, while The Awakening of Jakob used in multiple occurrences of Polymorphia, and publisher of Penderecki’s work, has a “Danny’s Dream Sequence/Room 237” De Natura Sonoris #1 and #2. In these cases, perusal score available.) I was therefore able sequence is accompanied by a heartbeat all works involved were edited, while the to authenticate the works and their position effect. However, the length of each excerpt amplitude of each was altered, creating in the film up to the final maze sequence. is certainly not a measure of its impact in background and foreground dimensions Because of the intense layering of multiple the film. The excerpts from Lontano, Music for of sound. The final two dubbing charts pieces during this sequence, I was able to Strings, Percussion and Celesta and The Awakening for reels 14 and 15 were guides that kept verify only the work itself but neither the of Jakob are the longest, are used without track of the music being used and where specific location in the film nor the specific significant alteration to the score, and it was located. These sheets represent the measure numbers of the piece. appear in full in all three iterations. While final two reels of the film. All of the works With the exception of Lontano, the musical the excerpts from Lontano and Music for Strings used appear on four separate audio tracks. excerpts in The Shining were extracted from are easier to recognize, the sonorities from Kubrick’s own handwritten notes appear the beginning of a movement. Although The Awakening of Jakob are more challenging the excerpts listed above were included in to detect. This is partially because the whole or in part in the finished film, during extended performance techniques used in the music- and picture-editing process Penderecki’s scores are easily confused with there were many other clips used, especially other ambient sound in the film. in the rough music-editing process. Stainforth acknowledges the enormous A “Beefed-Up ” Finale number of music clips in the editing room The finale of The Shining contains music and how difficult they were to keep track of. layered against other music and, at times, Stainforth has no recollection of what other with powerful sound design. During the works were tested in the film beyond the finale, Jack’s screaming calls to his son choices Kubrick made for the picture. are coupled with loud wind noises and Although there are generally three four musical works simultaneously. As a occurrences of each of the nine pieces result, it is difficult to distinguish between listed in Fig. 1, many of the works only diegetic and non-diegetic worlds, not to

outside the right margin and inside each FIGURE 2: Chronological Cue Sheet for The Shining figure in lighter, grayish pencil. His notes Work (abbr.) Composer Sequence DVD Chapter Start refer to attenuation of tracks, manifesting Jackob PENDERECKI “Danny Talks to Tony in Bathroom” 4 0:10:30 in foreground and background audio. Lontano LIGETI “The Tour” 8 0:21:20 The left column contains the significant Lontano LIGETI “Shines With Halloran” 9 0:27:20 film event and the position in the Music for Str. BARTÓK “Wendy Chases Danny Through Maze” 11 0:38:10 film measured in feet. For purposes of Music for Str. BARTÓK “Danny First Discovers Room 237” 12 0:41:15 identification, excerpts were also given Lontano LIGETI “Phones Are Down” 13 0:46:10 nicknames: “Kanon Chord,” “Utrenja Sonoris #1 PENDERECKI “Come and Play Danny” 15 0:49:13 Chords,” “Utrenja Rattle,” “” and Music for Str. BARTÓK “Danny and Jack Talk on Bed” 16 0:52:35 “Utrenja Boom Boom.” Jakob PENDERECKI “Jack’s Bad Dream” 17 0:57:05 Kubrick continually called upon the Sonoris #2 PENDERECKI “Jack Storms to Ballroom” 18 1:01:09 music editor to “beef up” the tracks to Jacob PENDERECKI “Danny Dream Sequence/Room 237” 21 1:11:45 increase the impact of the music in the Polymorphia PENDERECKI “All Work and No Play” 28 1:41:20 finale maze sequence. This is why different pieces were combined, sometimes as many Polymorphia PENDERECKI “Into the Storeroom” 30 1:49:35 as four at once. As a result, the mixing Polymorphia PENDERECKI “Snowcat” 30 1:52:52 became intricate and the soundtrack took Sonoris #1 PENDERECKI “Snowcat Sabotage” 30 1:53:21 on an entirely new identity. All works used Sonoris #2 PENDERECKI “Halloran Drives Snowcat-Redrum” 31 1:57:40 in the maze sequence became part of a Various* PENDERECKI “Maze Sequence” 38 2:14:55 highly complex, somewhat distorted collage Sonoris #2 PENDERECKI “Danny Reunited With Wendy” 38 2:15:40 where the individual identity of each piece Kanon PENDERECKI “Maze” 39 2:16:18 was set aside. The finale maze sequence Sonoris #1 PENDERECKI “Jack ” 39 2:18:45 results in an innovative collage of musical *Overlay of the Following Pieces: Utrenja II Resurrection: Ewangelia (Movement 6) and Kanon Paschy textures that reflects the fragmentation (Movement 10); Kanon for Orchestra and Tape; De Natura Sonoris #1; and De Natura Sonoris #2. at the end of The Shining. Essentially, the final two reels contain Jack’s desperate yet

JANUARY 2004 46 FILM SCORE MONTHLY determined pursuit to “correct” his family at Shining: A Film Score Guide and Music as Image: the behest of Grady. There is a progressive Stanley Kubrick and the Found Score are soon to loss of distinction between musical works be released by Scarecrow Press. throughout these reels as Jack attempts to annihilate his family. There is also no break in the music. The score continues until the final song, “Midnight Under the Stars,” as Williams in the Windy City (continued from page 10) we approach Jack’s picture in 1921. other tirelessly through this movement, Uncredited Works each playfully trying to outdo the other. At It has always been a mystery why the one point the horns of the orchestra shout credits in The Shining did not contain the soloist’s rhythmic patterns back at him many specifics about the actual works and en masse. recordings that were used. Kubrick was After the buoyant virtuosity, soloist and known for his thorough work and remained ensemble grow apart, and in the final directly in charge of almost every act in movement the two again regard each other the filmmaking process. Why then would from a distance. Early reviewers complained something so central to the film, the music, that the soloist wasn’t technically challenged be overlooked? In interviews, Stainforth in the slower movements. True, the music’s acknowledged the hectic finishing schedule gentle charm does little in the way of awkward of The Shining. He also admitted that the leaps or rhythmic trickery, but the use of the large number of tracks in the music-editing soloist as the scrutinizing outsider presents its room was not easy to keep organized, and own challenges. Williams has written a lovely that there was a potential for mislabeling. role for the horn, providing ample material The final two reels do contain the “names” for interpretation. Mixed-meter fragments of of pieces, yet only through investigation did the tactile inner movements attempt to pull I confirm that the listed works were used in the soloist back inside the greater ensemble, The Shining. The dubbing sheets, therefore, but the patterns now glide through the cannot be considered authoritative because orchestration, cascading across the surface (1) Kubrick, more than most directors, was rather than driving the pulse. The solo horn notorious for changes up until the final remains aloof, but it’s constantly interested SOUND mix; (2) as all final dimensions of sound are in the orchestra despite the lack of direct presented and attenuation levels established interaction. It’s involved and fascinated, but TRACK in the dubbing process, the director can be from afar. The final moments contain some forced to make significant changes; and of Williams’ best noble pastorale writing since ALBUM (3) if mishaps in the labeling of the music Superman, but directed at a more profound had occurred, it would have remained statement. RETAILERS unknown to the post-production staff, as Specializing in their goal was to then finish the film with Only When Ready suitable music. Stainforth confirmed this In the hour-long pre-concert discussion SOUNDTRACK, as well. Ultimately, the lack of detail in the between Williams and Clevenger, the two credits, in my opinion, was the simple result joked about how long it took Williams to BROADWAY of not remembering what actually entered fulfill this commission, noting that at one and STUDIO CAST CD’s and remained in the picture. FSM point the CSO assumed Williams was simply no longer going to write the piece. The extra DOMESTIC and IMPORT References time shows in the strong formal structuring Ciment, Michel. Kubrick. New York: Holt Rinehart, and of the work—possibly Williams’ best- RELEASES Winston, 1983. structured concert work since Tributes! (for Seiji). e-mail or write for your Howard, James. Stanley Kubrick Companion. New York: Williams spoke articulately and intelligently, FREE CATALOG Batsford Books, 1999. offering quotes from Jung, Stravinsky and P. O. Box 487-Dept. FS Joseph Campbell without a hint of academic New Holland, PA 17557-0487 Leonard Lionnet holds a Bachelor of Music from the loftiness. As Clevenger emptied the water Eastman School of Music, a Master of Arts in Music from his horn for a demonstration, Williams NEW e-mail: [email protected] from Queens College, and a Doctor of Musical Arts quipped he should have written an additional phone/fax: from the City University of New York. He has scored movement taking place underwater. (717)351-0847 over 30 film/TV projects, including Islam: Empire Clevenger expressed his hopes that this new Visit our website at: of Faith, featuring Ben Kingsley, for public television concerto will soon be recorded and will enter www.soundtrak.com worldwide, and Elie Wiesel: First Person Singular into the standard repertoire. Here’s to a ALL MAJOR CREDIT CARDS ACCEPTED for PBS. Dr. Lionnet’s two forthcoming books—The speedy fulfillment of each. FSM

FILM SCORE MONTHLY 47 JANUARY 2004 utes. However, the organ perfor- Score (continued from page 43) mances of various Bach chorales or adaptations from the music of Century-Fox, and one of the Marcello are reproduced very well. composer’s first projects was The The CD is organized in such Blue Bird, an extravagant fantasy a way that Werba’s music recurs starring . The pic- like a faint memory. “Suor Maria” ture, a bizarre reworking of the is a delicately woven example that Hansel and Gretel story, failed at the box office hints that Werba is capable of far more than (which contributed to Temple’s demise as a we get to hear on this disc. Considering the child star). Thanks in part to repertory screen- short running time for a CD that’s essentially ings on AMC, however, the film has begun Baroque excerpts, this is a difficult sell. But to enjoy new popularity and critical interest, Werba fans will have reason to be enthusiastic, and Screen Archives, seizing upon this trend, and this is at least an interesting starting point has resurrected Newman’s score in its entirety. for those looking to explore new European film Hallebluejah! music voices. —Steven A. Kennedy Like Alice in Wonderland and The Wizard of Oz, much of The Blue Bird takes place in a land of make believe and dreams, where the charac- Mail Bag (continued from page 9) ters’ experiences are hallucinatory and surreal. And to approximate the movie’s weird settings in Lust for Life features Rózsa quoting himself from Quo Vadis? as our liner notes point out. Sadly, no and scenarios, Newman shapes his score with master tapes exist today for Quo Vadis?—otherwise shimmering strings, lilting winds and ghostly we’d release it in a heartbeat. voices, creating an ethereal sound that is simultaneously sweet and eerie. A track like Advice “In the Graveyard,” for example, makes use SM needs to do more “buyer’s guides.” of moaning voices, screeching and a FI know they are probably difficult and trumpet that creeps and crawls along like a time-consuming, but they’re the most inter- spider. “Returning Home,” in contrast, pro- esting (to me at least). duces a reassuring tone by juxtaposing the Scott Bettencourt’s articles and lists are good. strains of an optimistic violin with a cascading You should try and include more of them. harp. The score’s most memorable track, how- Why can’t someone release the complete ever, is a song titled “Lay-De-O.” In it, Temple score to Alien? Instead, we get super deluxe SCREEN yodels as the staccato rhythms of a music box editions of things like Poltergeist II. I know and a toy drum flit about like manic butter- there are many hurdles to overcome in regard flies. This piece, by the way, was arranged by to releasing some soundtracks, but there is ARCHIVES none other than David Raksin. so much music in Alien that has not had an With its abrupt transitions and occasionally official release, and yet this is a masterpiece ENTERTAINMENT nightmarish pace, it’s likely that this score will among masterpieces. appeal more to adult ears than young ones. David J. Young Large selection of That is, although Newman wrote his music new domestic and for a children’s movie, its weird beauty and Thanks for the advice, David. In fact, we are putting grotesqueness demand from its listeners the the finishing touches on the last installment of the Horner buyer’s guide at this very moment. Regarding import releases, patience and tolerance that come, alas, only your question, rights, money, etc. determine what is with age. —S.A. older releases and and is not released. In the case of Alien, some of it may have to do with the isolated score tracks on the out-of-print CDs Il Diario di un Prete ★★★ DVD, which people have booted and spread around. MARCO WERBA Major credit cards accepted. Hexacord SP-02 • 13 tracks - 27:47 Errata Write for free catalog! aving thoroughly disliked Marco Werba’s For those of you who picked up last month’s Silver Hscore for Zoo, I had low expectations for Age release of Ron Goodwin’s Where Eagles Dare, PO Box 500 the photograph on page 5 of the liner notes is cited Hexacord’s late-2003 release of Il Diario di un as the film’s producer and director. However, the man Linden, VA 22642 Prete. This disc mixes in arrangements of music on the left, leaning with his elbow, is actually Alistair ph: (540) 635-2575 by (5 tracks - 13:57) with MacLean, the author of the novel on which the film Werba’s original material (8 tracks - 13:50). was based. fax: (540) 635-8554 Werba’s piano solo that opens the disc is Make a New Year’s Resolution to write us regularly at : a beautifully lyrical theme for the character e-mail: [email protected] FSM Mail Bag visit: www.screenarchives.com Giovanni Race. Unfortunately, the score’s sole 8503 Washington Blvd., Culver City, CA 90232 thematic idea doesn’t get enough orchestral or e-mail: [email protected] variation to make it hold up even for 14 min-

JANUARY 2004 48 FILM SCORE MONTHLY GOLDEN AGE CLASSICS • FSMCD VOL. 7, NO. 1 • RELEASED BY SPECIAL ARRANGEMENT WITH TURNER CLASSIC MOVIES MUSIC

Composed by Alfred Newman Adapted by Conrad Salinger • Conducted by

ANTHONY HOPE’S 1894 SWASHBUCKLING NOVEL The Prisoner of Zenda is a romantic adventure about a commoner called on to impersonate a king. A popular sensation, it has been adapted for no fewer than eight film and television productions, from the silent era to present day, the most famous being a 1937 swashbuckler produced by David O. Selznick and starring Ronald Colman, a classic of the genre.

IN 1952, M-G-M BOUGHT THE SELZNICK PICTURE remake rights for its star Stewart Granger (King Solomon’s Mines, Scaramouche), who had instigated the project after a chance screening of the earlier film. Granger proposed a “scene-by-scene” remake to offset the costs of Selznick’s fee. Directed by the studio’s Richard Thorpe and co-starring , Louis Calhern, James Mason and Jane Greer, the 1952 picture (in color) featured fine M-G-M production values and was well received and reviewed, if not regarded as highly as the ‘37 version.

THE 1937 SELZNICK FILM HAD BEEN SCORED BY Alfred Newman, then music director for , who would soon compose such legendary efforts as Gunga Din and The Hunchback of Notre Dame. Newman provided a bounty of themes in the Wagnerian “” tradition, with memorable signatures for the Album produced by Lukas Kendall film’s hero, villain and love interests, and a noble hymn for 1. Main Title 2:03 12. It’s Just That/Invitation to 2. Colman Walk (Rassendyll Walk)/All in Ball/King’s Entrance 2:36 the mythical country of Ruritania. The score is a classic the Family/Everybody Sleeps 1:37 13. Artist’s Life (J. Strauss) 1:09 “swashbuckling” effort encompassing the dignity of 3. Sleep Well, Your Majesty/ 14. After Ambassador and Wife European royalty and the action-adventure of the film’s Insert Proclamation 3:51 Leave (Lully) 1:28 conflicts and climactic duel (the latter written by Hugo 4. Rupert Enters 3:03 15. Garden Sequence Waltz/ 5. Coronation Train/Fanfare #1/ Nothing Your Highness 3:21 Friedhofer). Whatever My God Ordains (Bach) 1:35 16. If the Englishman Dies First 0:36 6. See the Conquering Hero (Handel) 1:44 17. Rassendyll and Fritz by Wall/ AS PART OF THE CONCEPT OF REPLICATING THE 7. Crown/Fanfare #2/Flavia’s Rupert’s Truce 4:51 earlier film, Alfred Newman’s score was reused for the Coronation/Dona Nobis (Mozart) 3:20 18. Rudolf It’s Michael/ 8. Colman and Flavia in Knife Into Wall 2:43 1952 version, adapted by M-G-M’s legendary composer/ Carriage Band 19. I Swim That Moat 1:50 arranger Conrad Salinger and conducted by Johnny Green. (Rassendyll and Flavia in Carriage Band) 1:53 20. Murder 1:18 Salinger, who worked on the finest musicals of Hollywood’s 9. Colman and Flavia Walk Inside 21. Rupert in Dungeon 1:07 (Rassendyll and Flavia Walk Inside) 1:44 22. Duel/Zapt and King/ Golden Age, faithfully applied Newman’s score to the new 10. I Feel I Bore Your Majesty 2:26 End Title and Cast 11:52 film. The complete recording for the 1952 version (master 11. Zapt and Colman Riding Total Time: 58:21 tapes do not survive for Newman’s 1937 recording) is (Zapt and Rassendyll Riding) presented on this CD, in the best possible monaural sound & Zapt Takes Candles 1:31 (stereo masters no longer exist). $19.95 plus shipping

Don’t miss this month’s Silver Age Classics Khartoum and Mosquito Squadron by Frank Cordell See back cover for details SILVER AGE CLASSICS • FSMCD VOL. 7, NO. 2 • RELEASED BY SPECIAL ARRANGEMENT WITH METRO-GOLDWYN-MAYER INC.

Composed by Frank Cordell

THIS CD PRESENTS TWO SCORES BY ENGLISH composer Frank Cordell (1918–1980): Khartoum (1966)— arguably his greatest work—and Mosquito Squadron (1969), both featuring melodic British themes pertaining to military action.

KHARTOUM IS A WIDESCREEN HISTORICAL EPIC starring Charlton Heston as British General Charles “Chinese” Gordon, who in 1885 defended the city of Sudanese city of Khartoum against an uprising led by the “Mahdi” (), an Islamic militant. The film is well-regarded for Heston’s performance as well as those of its British stars: Olivier, Ralph Richardson (as Prime Minister Gladstone) and Richard Johnson (as Gordon’s second-in-command).

GORDON’S STORY HAS PASSED INTO FOLKLORE in England, and Cordell aided the film’s romanticized approach with a patriotic British fanfare, plus a long- lined theme for Gordon that focuses on the pride and dignity of the commander. On the flipside, Cordell painted the Mahdi and his followers with sharp strokes of Egyptian exotica. Fans of John Williams (an admitted Anglophile composer) will find many similarities in Cordell’s writing and orchestrations, especially the Arabic-flavored music, which parallel Williams’ work in Khartoum 11. The Siege of Khartoum 4:47 1. Overture 4:07 12. Wolseley’s Army 3:02 the Indiana Jones films. 2. Prologue 4:11 13. Severed Heads 1:52 3. Hicks’s Army 2:27 14. Prelude to Battle 2:09 MOSQUITO SQUADRON IS A WWII ADVENTURE 4. Gordon Meets Gladstone 1:25 15. Death of General Gordon 2:14 starring David McCallum (The Man From U.N.C.L.E.) as 5. Up the Nile 1:19 16. End Title/Exit Music 2:04 6. Gordon Enters Khartoum 1:51 Total Time: 41:46 a fighter pilot whose leader is downed behind enemy 7. Gordon Enters the Mahdi’s Camp 1:21 lines. McCallum starts a tentative romance with the 8. Intermission Music 1:37 Mosquito Squadron 17. Mosquito Squadron (Main Title) 3:59 man’s wife, only to learn that his friend might be alive 9. Main Theme—Khartoum 1:53 18. Beth’s Theme (Love Theme) 4:38 10. The Cattle Raid 4:46 after all. Cordell provides aggressive, rhythmic scoring 19. 0:43 Take Off 20. Beside the Lake 1:24 for the film’s aerial missions and German assaults, a 21. Airfield Alert 1:33 noble British melody for the RAF pilots, and evocative, 22. Poor Beth 1:17 romantic scoring for the love story. 23. Bandits 4:16 24. Beth and Quint 2:36 25. Charlon 1:19 THIS CD IS ENTIRELY IN STEREO. KHARTOUM 26. Plans for Escape 1:17 features Cordell’s re-recorded LP tracks (faithful to the 27. Take Care, Priest 1:31 film orchestrations; the original soundtrack recording 28. The Priest Is Shot 1:14 29. The Escape/Battle 7:47 is lost), with a bonus track of exit music from the film 30. The Story Ends 2:59 itself. Mosquito Squadron is from an LP assembly that Total Time: 37:08 Total Disc Time: 78:55 was prepared by United Artists Records but never released—until now. $19.95 plus shipping Album executive producer: Lukas Kendall

Don’t miss this month’s Golden Age Classic The Prisoner of Zenda by Alfred Newman See inside cover for details