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The Best Williams Kubrick Volume 9, Number 1 Original Music Soundtracks for Movies and Television Sighs and whispers PG. 12 Finding NEWMAN THOMAS’ BIG YEAR The Best &THE WORST FSM RATES 2003 Williams IN CONCERT A CHICAGO DEBUT Kubrick OVERLOOKED THE SHINING’S SCORE PLUS: 22 NEW CD REVIEWS 01 > 7 252 74 93704 2 $4.95 U.S. • $5.95 Canada Filmscore1274 1/27/04 10:45 AM Page 1 ���������������������������������������������������������������������������� ����� ��������������������������������������������������������������������� ������������������������������������������������������������������������������ ������������������������������������������������������������������������������� ����������������������������������������������������������������� ���������������� ������������������������� JANUARY 2004 CONTENTS DEPARTMENTS COVER STORY 2 Editorial 14 Finding Newman In With the Good Air, Fresh off the huge success of Disney’s Finding Nemo and Out With the Bad. HBO’s Angels in America, Thomas Newman 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 Record Label Round-up 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 film music release. in 2003, John Williams 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 Concerts 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 composer and author Dr. Leonard Lionnet contributes 12 Downbeat his first in a series of articles on music in film, beginning Silence 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; Film Score 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 Walt Disney/Pixar POSTMASTER: Send address changes to Film Score Monthly, 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 musicians 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, Composers, 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 Elliot Goldenthal’s music. I even mention that term in today’s electronically 3. A Mighty Wind 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 trumpets and mandolins. I watched as two jazz 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 finale 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, Road to Perdition 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 Get the latest and greatest film music on CD at www.intrada.com. We stock thousands of soundtracks from around the world and post updates as soon as new titles arrive. We guarantee your satisfaction with over 20 years of experience—serving collectors, fans, composers, film music professionals and newcomers! $19.99 $19.99 $16.99 Sign up for our FREE weekly e-mail bulletin of all the latest releases. 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 Jerry Fielding 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.
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