CONTENTS J UNE 1998

Features Departments

19 Wrestling with the Industry 2 Editor’s Page The Society of and Lyricists third The Summer of annual & TV Music Conference. Our Discontent By Lukas Kendall 4News 22 Gojira! King of the Deals, events, awards, Rubber Monsters and so much more On the eve of 's latest attempt at world 5 Record Label domination, we review two new CD releases and Round- his entire career in Japanese cinema You know you want it By Jeff Bond 6Now Playing The theme is out there, and Movies and CDs in Mark Snow talks about it 27 release page 30 Buyer’s Guide 8 Concerts The first part of our latest spotlight, Live performances featuring works from 1991-1998 around the world Compiled by Jason Comerford, Jeff Bond and 8 Concert Report Doug Adams Goldsmith’s Music for 10 Upcoming Film Interviews Assignments Who’s writing what 30 Mark Spots the X Series composer Mark Snow fights the future in 12 Mail Bag the big screen extension of The X-Files The Unsinkable By Doug Adams Jimmy H. Dinner music for a pack of 33 Music for Maniacs 16 Downbeat hungry leviathans A conversation with on the The Music is in the Mail page 22 occasion of the release of his first film —17 years later 18 Reader Ads By David Friede 38 Score Capsule reviews of Reviews Lost in Space, Mercury Rising, Moby Dick, 36 From the Farthest Reaches to The Butcher Boy, Lolita, Just Plain Far Out and lots more Two long-awaited Chattaway CDs reviewed 40 FSM Marketplace 46 I Can’t Believe it’s a Soundtrack! Seven wacky CD releases reviewed 48 Retrograde Sale Away! We've cast our nets and pulled in a large catch of CD reviews page 38

ABOUT THE COVER: SCULLEY AND MULDER Monthly (ISSN 1077-4289) is published monthly for $29.95 per year by Lukas Kendall, 5455 Wilshire Blvd, Suite 1500, PLUMB THE DEPTHS OF DECEIT IN THE X-FILES. CA 90036-4201. Periodicals postage paid at Los Angeles, CA and additional mailing offices. PHOTOGRAPH BY MERRICK MORTON POSTMASTER: Send Address changes to , 5455 Wilshire Blvd, Suite 1500, Los Angeles, CA 90036-4201 COPYRIGHT ©1998 TWENTIETH CENTURY FOX

Film Score Monthly 1 J UNE 1998 EDITORIAL

V OLUME 3, NUMBER 5 The Summer of Our Discontent J UNE 1998

STAFF SOME PEOPLE ATTRIBUTE THE LACK OF SUBSTANCE IN TODAY’S FILM SCORES TO TODAY’S MOVIES— EDITOR & PUBLISHER AND THEY’RE RIGHT. Lukas Kendall MANAGING EDITOR Jeff Bond ost pictures today will not Improvisation has a place in art, most DESIGN DIRECTOR accept interesting music. The notably in . Most rock and pop music is Joe Sikoryak Mcorrect solutions to them are about capturing the spirit of improvisation CONTRIBUTING WRITERS the ones we hear time and time again: non- and the purity of amateur accomplish- Doug Adams descript minor-mode strings and brass with ments. But with new concert music basi- John Bender a cluttered rhythm section for suspense; cally dead, film is the last bastion of music Edwin Black and strings for that intimate moment; as composition. Film music should not Jason Comerford and a forgettable tutti-orchestra diatonic exist in the “moment” of its improvisation, Andy Dursin melody for triumph. The scenes themselves but should be constructed and shaped— Jeff Eldridge are so unambiguous, pointing in the most written down. Playing into a computer David Friede predictable direction, that they would never while watching a scene may require good Patrick Runkle tolerate a score like The Illustrated Man—it craftmanship, but with two exceptions— Jesus Weinstein would be like oil and . (1) a powerful musical personality at work, Jeffrey Wheeler We’re heading into the thick of the sum- and/or (2) a purpose within the philosophi- Jeff Wilson mer-movie season, where 100- cal nature of the film—it’s without value as piece bring us globe- a lasting document. (For an example of the PUBLISHING CONSULTANT saving refrains and backbreaking latter, look no further than this month’s Digital Film & Print, Inc. Too much suspense, but it all sounds so bor- cover story, The X-Files, where Mark THANKS TO ing. I know a lot of fans are look- Snow’s mostly improvised scores evoke the B.A. Vimtrup film music ing forward to new works by leg- unknowable mysteries and conspiracies ends like , but even faced every week by the protagonists.) CONTACT INFO today is mere he has muted his style. Jeff Bond Unfortunately, adding to the fact that and I attended the first perfor- composers today are forced, by shrinking EDITORIAL OFFICE improvisation mance of ’s schedules and micromanagement, to “com- 5455 Wilshire Blvd “Music for Orchestra” in a quar- pose by improvising,” the movies them- Suite 1500 and that is ter-century (see p. 9), and we selves cry out for this type of treading-water Los Angeles, CA were blown away by the realiza- sound. They’re completely formulaic, but 90036-4201 why it is of tion that this amazing, challeng- pretend to create their thrills anew, as if PHONE 213-937-9890 ing, atonal style (similar to they have authored themselves. Today FAX 213-937-9277 little value Planet of the Apes and The moviegoers are so unfamiliar with musical E-MAIL lukas@ Mephisto Waltz) was what this forms—forms which once existed in the filmscoremonthly.com man is all about. It isn’t easy to mainstream, from classical to jazz to the ADVERTISING & MARKETING OFFICE listen to, but it means something. great (and hibernating) American tradition Digital Film & Print, Inc. U.S. Marshals? I am astonished that anyone of songwriting—that music which is not 5455 Wilshire Blvd gives it half a thought. contemporary rock or already from a movie Suite 1500 It is our mission to document film com- soundtrack would disrupt this illusion. Los Angeles, CA posers in the practice of their craft, and that The reason why today’s bad movies and 90036-4201 will not change. But it is also our purpose to bad scores are so tragic is that they would PHONE 213-932-5606 come to an understanding of what makes make so much more money if they were FAX 213-932-6111 film scores work and last—what they mean good. , for all its deliberate low-brow THE SOUNDTRACK HANDBOOK to us, as art. If they are coming up short, we populism, was about something, and had A six-page listing of mail should probe why. did that music that was compositional, if unambi- order dealers, books, societies, well at his keynote address of this year’s tious, at heart. (unre- etc. Free upon request. SCL conference (see p. 19), noting that for a leased of this writing) will hopefully follow OUR WEB SITE composer to come up with a few suit. But for now, we’re faced with a long Is updated five times weekly! mock-ups for a director’s approval in three dry season—with perhaps some unexpect- Point your browser at: days is not composing, but improvising. Too edly brilliant improvisation. WWW.FILMSCOREMONTHLY.COM much film music today is mere improvisa- tion and that is why it is of little value. Film © 1998 Lukas Kendall is not improvised but laboriously construct- ed, designed to be appreciated retroactive- ly—why should the music be any different? PRINTED IN THE U.S.A. Lukas Kendall

M AY 1998 2 Film Score Monthly Need orchestral music for film, TV, computer or CD?

Need a demo of orchestral music to procure a film contract?

Where do many major film composers produce their orchestral scores for demos, film, TV or CD? The Los Angeles Composers Guild

Many major are using orchestral scores again. The demo recording demonstrates your best work under ideal conditions for a producer or director. The Los Angeles Composers Guild produces composers’ orchestral scores for demos, film, TV, computer, and CD music recording. Employ the most advanced sound and music recording technology and skilled studio musicians in the world today. Book a session from 30 minutes to 6 hours with the 60- piece Composers Guild Studio Orchestra Conduct your score or monitor your product from the booth by using the Composers Guild conductor. Showcase your talent and invite producers and directors to your session to demonstrate that you can complement any film with a magical score. Invest in your career rather than in equipment designed to become obsolete as soon as it leaves the shelf. Meet and collaborate with excellent musicians, composers and engineers. Elevate your career by signing up for the next recording session.

CALL The Los Angeles Composers Guild 310-471-9199

Gloria Ching Music Supervisor and Contractor

Chris Walden Conductor

Robert Korda Concert Master EVENTS • CONCERTS RECORD LABEL ROUND-UP UPCOMING ASSIGNMENTS NEWS THE LATEST FILMS Film Music is Academic! Mr. Lucky’s Deal FEATURED AT UC SANTA BARBARA CA has signed a worldwide administration deal for Mthe catalog of the late , who unlike he University of at Santa Barbara’s 7th most film composers retained the publishing rights to his TAnnual New Music Festival is focusing on film music most famous music (including the Pink Panther and this year, with four days of performances at UCSB’s Peter Gunn themes). The catalog reportedly grosses $1.3 Lotte Lehmann Concert Hall and Montecito’s Music million per year. This is a deal for Mancini’s publishing Academy of the West (June 17-20, see concerts, pg. 8), rights and not soundtrack album rights; most of screenings, symposia and more. Featured guests: David Mancini’s recordings are controlled by RCA/BMG. Raksin, Elmer Bernstein, , Stephen Endelman, and Cliff Eidelman. This will also tie-in with a summer course, “Film Composers: Summer Reading The Whole Picture” (Film Studies 184), held June 15-20 and June 22-26, 9AM-4PM daily. Call 805-893-2047; he Invisible Art of Film Music by Laurence E. enrollment is limited. TMacDonald is imminent from Ardsley House, Inc. in . The book is a chronological survey of film music, arranged into a single chapters covering individ- Notes in Print ual decades. Send $31.95 plus $5.00 shipping to Ardsley House, 320 Central Park West, New York NY 10025; ph: ook for Ross Care’s “Record Rack” column in Scarlet 212-496-7040; fax: 212-496-7146. LStreet magazine: it’s on Disney soundtracks in issue #27 (winter ‘97/‘98), on the new Fox Classics CDs in #28, and a variety of material (Alice in Wonderland, Euro Tracks Lolita, ) in #29. Jeff Berkwits of Asterism magazine has written arti- talian producer Sergio Bassetti is working on Vite cles on sci-fi soundtracks for publication this summer in IStrozzate (1995 score, never released) Cinescape and the newly gutted Sci-Fi Universe. and a reissue of Morricone’s Sacco e Vanzetti. Coming from Bear in is a series of four CDs of Ennio Morricone songs: The Canto Morricone The Hummie Chorus Songbook. Volume 1 is “The ‘60s”; Volume 2 is “ Songs and Ballads”; Volume 3 is “The ‘70s: Songs for All Film and television composer (left) was pre- Seasons”; and Volume 4 is “The ‘80s and ‘90s.” sented with a Berklee College of Music Distinguished Alumni Cinevox in Italy is reissuing more classic Italian Award on February 1. Berklee Executive Vice President Gary soundtracks. Now available: Zombi (Dawn of the Burton (right) presented the award to Mann. Dead, Goblin, including 7 bonus tracks), L’Assoluto Naturale (She and He, Ennio Morricone, 2 bonus tracks), Investigation of a Citizen Above Suspicion (Ennio Morricone, 2 bonus tracks), and Shango/La Pistola Infallibile (Gianfranco Di Stefano, spaghetti western disc with 12 min. outtakes suite). In the U.S., order from Shocking Images, PO Box 601972, Sacramento CA 95860, ph/fax: 916-974-0175; http://www.apexoline.com/si.

Award Winners

illiam Shakespeare’s Romeo and Juliet (Nelle WHooper) won the 1997 BAFTA (British Oscar) for best film music. Nino D’Angelo won the Italian Nastri D’Argento crit- ics prize in film scoring for the musical Tano da Morire. Among the other nominees were for La

J UNE 1998 4 Film Score Monthly Vita è Bella and Armando Trovajoli for 91506. This issue may reach readers too late one new track) and Becoming Colette Marcello Mastroianni: I Remember, Yes I for the event, but contact Creature Features (1992). Remember. for signed copies at 818-842-9383. Recent recipients of the Motion Picture Koch Due July is a new recording of Franz Sound Editors Guild’s Golden Reel Awards Corrections Waxman chamber music (St. Clair Trio), are music editor Brent Brooks and scoring In the March/April FSM (Vol. 3, No. 3) we credit- including many film pieces. Unscheduled editor Tom Villano. ed Jason Comerford with the review of Incognito is a new film (pg. 46). It was actually by Jason Foster... In the music album (Juarez, The Sea Wolf, The May issue (Vol. 3, No. 4), in the seg- Sea Hawk, and Essex), recorded Creature Featured ment of “Downbeat” (pg. 17), the name of the in New Zealand. Due this fall are albums Stephen King movie is The Night Flier, not of Rózsa: chamber music for piano and ark Snow was scheduled to autograph Nightfliers, and the director’s name is Mark Korngold: complete music for piano, Mcopies of The X-Files feature score Pavia... Also last issue, in the Close Encounters respectively. album on June 6 at Creature Features, a coverage, the correct spelling of the Arista pro- soundtrack and movie/monster memorabilia ducer’s name is Gary Pacheco. Label X Germany Forthcoming but with- shop at 1802 W Olive Ave, Burbank CA FSM out a date is Dance of the Vampires (1967, Krzysztof Komeda, aka Fearless Vampire Killers). You Know You Want It Marco Polo Bill Stromberg and John Record Label Round-Up Morgan are recording more classic film scores in Moscow. Imminent is Garden of dates are Greatest Sci-Fi Hits Volume 4 Evil (, plus 13-minute Aleph Coming on ’s personal (Neil Norman and His Cosmic Orchestra) label: June: Dirty Harry (collection of origi- and the first official CD of (Alan nal tracks from Dirty Harry, Magnum Silvestri, 1987). Soundtracks in Jeopardy! Force and Sudden Impact). Late July: Jazz Crescendo will release the soundtrack to Meets the Symphony No. 4 (performed by 9 (Jerry Goldsmith) when the he April 2, 1998 contest of the London Symphony). Late September: film is released late this year. TJeopardy! included a first: a catego- Schifrin’s Jazz Mass (new recording). ry on film music. It was part of the first These albums will be available by mail Due June 9: The Horse round, with the following “answers”: only: see www.alephrecords.com or Whisperer (Thomas Newman), Six www.schifrin.com. Days/Seven Nights (Randy Edelman). $100 He has scored 7 of the top 10 grossing Brigham Young University Due late Intrada Due June 16 is Douglass Fake’s films of all time. June/early July is The Flame and the own score for Holly vs. Hollywood (new —Who is John Williams? Arrow (), mastered from mate- independent film). $200 rials located at BYU’s Max Steiner library. Coming soon are five authorized promo- This composer won in 1973 for best song This will be available from Screen Archives tional CDs: Murder at 1600, Hush and score for the film, The Way We Were. Entertainment, PO Box 5636, Washington (), The Comedians, Gore —Who is ? DC 20016-1236; call 202-364-4333 or e-mail Vidal’s Billy the Kid (Laurence Rosenthal), $300 [email protected] for a free catalog and Fortress (Frederic Talgorn). These are (Video Daily Double) Bernard Herrmann being produced for the composers’ profes- wrote the score for this classic 1960 film. Castle Communications Coming in sional use with limited availability to col- —What is Psycho? September from this English label is Get lectors. $400 Carter (1971 Michael Caine gangster film, The next recording in Intrada’s was nominated twice in ). “Excalibur” series (late ‘98 or early ‘99 1995 for Apollo 13 and this historical release) will be Jason and the Argonauts epic starring . Citadel Due early June is Snow White: A (Bernard Herrmann, 1963), the complete —What is Braveheart? Tale of Terror (John Ottman). score conducted by Bruce Broughton. $500 Write for a free catalog of soundtrack CDs from He composed the scores to Tim Burton’s Dreamworks July 14: Small Soldiers (song Intrada, 1488 Vallejo St, San Francisco CA Beetlejuice and Edward Scissorhands. compilation, no Goldsmith music), Saving 94109; ph: 415-776-1333. —Who is ? Private Ryan (John Williams). July 21: Dead Man on Campus (Dust Bros.). Jay Records Due in June from this shows The contestant who did the best in September: A Night at the Roxbury (dance label is Thomas and the King, the 1981 this segment went on to win the game music). Due November 13 are three sepa- recording of the 1975 London cast produc- with over $20,000. rate albums for The of Egypt. tion, music by John Williams. See A couple of weeks later, the April 13 http://www.jayrecords.com. Jeopardy! had a category on James Bond DRG Due in September is Goblin, Volume 3 title songs, with the answers centering (1980-1985 anthology, with Buio Omega, JOS Coming this summer from John on performers: Who are Nancy Sinatra, Tenebre and more). Scott’s label are Swiss Family Robinson Sheena Easton, Tom Jones, Shirley (new film), and repressings of Antony and Bassey and Duran Duran? GNP/Crescendo Forthcoming but without Cleopatra (1972, with new packaging and

Film Score Monthly 5 J UNE 1998 RECORD LABEL ROUND-UP • CONCERTS suite from Prince of Players); due this fall are Play It Again Due in June is The A to Z of June 16: Hope Floats (), Cousin Philip Sainton’s Moby Dick (1956) and Victor British TV Themes, Volume 4. Due in July is Bette (Simon Boswell), Bulworth (Ennio Young: The Uninvited, Gulliver’s Travels Geoff Leonard and Pete Walker’s book, Bond Morricone score album). Postponed but still (1939), Bright Leaf, and The Greatest Show and Beyond: The Music of , pub- planned is the Victory at Sea box set (Richard on Earth. lished by Sansom & of Bristol (a Rogers). Also recorded for future release: Devotion subsidiary of Redcliffe Press). See www.aura- (Erich Wolfgang Korngold), Mr. Skeffington cle.com/pia. Reel Sounds Due June: Love God (hard (), They Died with Their rock plus score by Stuart Gray, of Boots On (Max Steiner) and The Egyptian PolyGram Imminent from Deutsche Lubricated Goat). July: Somewhere in the (Bernard Herrmann and ). Grammophon is Tango (Lalo Schifrin). City (John Cale). The Egyptian is approx. 60-70 minutes, with Due in September in the U.S. is John choir, and with more Herrmann cues than on Barry’s non-soundtrack work, The Restless Now scheduled for summer for the existing album. Unfortunately, Marco Beyondness of Things, on the London label. non-U.S. territories only is a new Polo is slacking off with releasing these Due October: Elizabeth I (David expanded/restored edition of Ennio promptly, and not even Stromberg and Hirschfelder). Morricone’s masterpiece Once Upon a Time Morgan know when they’ll be out. Forthcoming from a PolyGram label to be in America (1984). A U.S. edition may be determined (possibly Philips) is a 2CD set of forthcoming; until then, it will be available Milan Due June 2: The Truman Show the three albums from the only as an import. (Burkhart Dallwitz, ). July 14: 1970s, Miklós Rózsa Conducts His Great Polish Wedding (). September: Film Music. Rhino Due July is Jimmy and Tommy Vampires (). Milan will be Dorsey: Swinging in Hollywood. Due doing a U.S. edition of Lolita (Ennio Razor & Tie Due July 14 are What’s Up Tiger September 1 is Go Simpsonic with the Morricone) later this year, when the film is Lily? and You’re a Big Boy Now (two sound- Simpsons ( plus songs and dia- aired on Showtime. tracks by The Loving Spoonful, on one CD). logue). Due August 11 is a reissue of A Fistful of Rhino has renewed its deal with Turner to Pendulum Forthcoming is a reissue of Dollars (Ennio Morricone). Forthcoming but release soundtracks from the M-G-M (pre- The Chase (John Barry), and more CDs without a date is Blacula (1972, Gene Page). 1987), RKO and early Warner Bros. libraries. to be announced from the PolyGram They will focus mostly on more performer- back-catalog. RCA Victor June 2: Mr. Jealousy (Luna). related and “best of” compilations for the rest of 1998; however, Turner television holdings are also NOW PLAYING included in the deal Films and CD soundtracks in release this time (unlike the The Big Hit TVT** original 1995 agree- Black Dog George S. Clinton Decca* ment), which means Bulworth Ennio Morricone Interscope*, RCA Daktari and original The Butcher Boy Edel America tracks from The Man Warner Sunset/Reprise** from U.N.C.L.E. are Deep Impact James Horner Sony Classical planned for the next Fear and Loathing In Los Vegas Various Geffen* couple of years. See Godzilla Sony Soundtrax** www.rhino.com. Good Will Hunting Danny Elfman Capitol** The Hanging Garden John Roby Angel Rykodisc Upcoming He Got Game † Def Jam*, Sony Classical in The Deluxe MGM Homegrown Trevor Rabin Soundtrack Series of Hope Floats Dave Grusin Capitol** The Horse Whisperer MCA*, Hollywood Films: Lawn Dogs Trevor Jones June 9: Never on Les Misérables Hollywood Sunday (Manos Little Men Milan Kymlicka Hadjidakis, 1960), Lost in Space Bruce Broughton TVT** Judgment at The Object of My Affection Pangea Nuremburg (Ernest The Opposite of Sex Mason Daring Gold, 1961), Last Paulie Varèse Sarabande Tango in Paris Quest for Camelot Patrick Doyle Curb/Warner/Atlantic** (Gato Barbieri, Sliding Doors David Hirschfelder Jersey/MCA* 1972), The Living The Spanish Prisoner Daylights (John Titanic James Horner Sony Classical Barry, 1987). Woo Michel Colombier July 14: Equus *song compilation **combination songs and score (Richard Rodney †tracked with existing works; he didn’t come back to life Bennett, 1977), A

J UNE 1998 6 Film Score Monthly Funny Thing Happened on the Way to the There will probably be a score album to Forum (, 1966), How to Godzilla (David Arnold) at the time of the Large Domestic and Import Succeed in Business Without Really Trying movie’s video release this fall—the way (Frank Loesser, 1967), Irma la Douce Sony handled Men in Black last year. Selection of Film Music CDs (, 1963), Now set for August 4 is Sony Legacy’s (, , 1972). 65-minute issue of Star Trek: The Motion Write for Free August 25: The Misfits/The Wonderful Picture (Jerry Goldsmith), a 2CD set with Country (, 1961/1959), The an expanded edition of Inside Star Trek Complimentary Catalog Greatest Story Ever Told (Alfred Newman, (Gene Roddenberry-narrated ‘70s docu- 1965), Elmer Gantry (Andre Previn, 1960), mentary) on disc two. ●●● Taras Bulba (Franz Waxman, 1962). September 29: The Magnificent Seven TVT Due June 23: Smoke Signals (B.C. (2CD compilation of original soundtrack Smith). Due September: Dead Man’s Screen Archives from the first film plus sequels), Fortune Curver (Shark/The Wild Colonials), Cookie (Previn, 1966), Alice’s Restaurant Delivered (Nicholas Pike). Also forthcom- Entertainment (Arlo Guthrie, 1969). ing is Blade (, various). Rykodisc will be adding unreleased P.O. Box 5636 music to several of these albums. The Varèse Sarabande June 2: Torn Curtain Washington, DC 20016-1236 Living Daylights features a 29 min. suite of (Bernard Herrmann, Joel McNeely cond. unreleased cues; Last Tango in Paris fea- Royal Scottish National Orchestra), Othello tures the re-recorded album followed by (new Elliot Goldenthal ballet). phone:(202) 364-4333 the music actually used in the film, newly June 16: A Perfect Murder (James sequenced by Gato Barbieri; The Greatest Newton Howard), In Like Flint/Our Man fax: (202) 364-4343 Story Ever Told will likely be a 2CD set; Flint (Jerry Goldsmith, Fox Classics), and Elmer Gantry will have a suite of unre- Best of 20th Century Fox (single-disc compi- e-mail: [email protected] leased cues; and the Alex North disc will lation, lots of previously unreleased music, probably have additional music as well. Fox Classics). We Accept VISA, M/C, DISCOVER and AmEx Tentatively planned for summer is Silva Screen Imminent in the U.K. and U.S. Scream 1/2 ( score album). Visit our Web Site: are three “Hollywood Stars” albums, Music Forthcoming in Robert Townson’s Film http://www.writemoore.com/st-cafe from the Films of Kevin Costner (including Classics series (Royal Scottish National the film version of “The Buffalo Hunt” Orchestra) are The Magnificent Seven from Dances with Wolves), Mel Gibson, and (Elmer Bernstein), The Great Escape Sean Connery, respectively. Due in June is (Bernstein), Citizen Kane (Herrmann, The Monster Movie Music Album (Godzilla, cond. McNeely), The Agony and the Ecstasy King Kong, Mysterious Island, Goldsmith’s (Alex North, cond. Jerry Goldsmith), a dis- Baby, David Newman’s The Flintstones, aster movie compilation, and more titles to various Nascimbene tracks, others). These be announced. are all re-recordings done in Prague. A fifth Franz Waxman: Legends of Forthcoming for summer is Cinema Hollywood CD will be recorded in fall 1998 Choral Classics 2. or early 1999 for future release (cond. Richard Mills). Sonic Images Due June 2 is a compilation of re-recorded James Horner music, Heart Walt Disney June 2: (songs plus 30 of the Ocean (nothing previously unre- min. Jerry Goldsmith). Postponed and leased). unscheduled at this point are Pinocchio, Fantasia and Robin Hood. Sony Due July 7: The Mask of (James Horner). July 28: The Governess Warner Bros. Due August 25 from Warner (Ed Shearmur). Home Video are 25th Anniversary Due at the times of their respective laserdisc, DVD and video box sets of The movies are Dancing at Lughnasa, Legend Exorcist (1973) which will include a new of the Pianist on the Ocean (Ennio CD of the soundtrack, containing all the Morricone), and The Red Violin (John material from the LP (Penderecki, Oldfield, Corigliano; Joshua Bell, violin). Heinz, etc.), additional music from the film Back to Titanic (the soundtrack album, (including the short original cues by Jack volume 2) will be out at the time of the Nitzsche), and a suite of the rejected score movie’s release on video (possibly late by Lalo Schifrin. The CD will not be avail- July), to contain source music from the able apart from the $49.95 video packages. movie—Gaelic Storm’s Irish songs as well A “Volume 2” type of soundtrack CD for as I Salonisti’s quartet music—and a newly Giant (, unreleased cues) arranged and recorded suite of music by will be included with the overseas video James Horner. There are also plans for a packages of the film later this year. There traveling Titanic concert and television are no present plans for U.S. distribution. special this summer and fall. FSM

Film Score Monthly 7 J UNE 1998 CONCERTS

Upcoming Film Music English Patient (Yared), The summer program for Ravinia in (Morricone). includes several film music con- Performances July 1, 2 Dallas s.o.; Jefferson Tribute certs: June 24: excerpts from Henry V Around the World (Holdridge). (), with the Ravinia Festival July 4 Austin s.o.; The Natural (R. Orchestra and . July Newman), The Generals (Patton/MacArthur, 26: “Tribute to Henry Mancini,” with Erich California Goldsmith). Kunzel, the Chicago Symphony Orchestra, July 4 Pacific Sym., Irvine Meadows; and guest vocalist, the late Mancini’s Jefferson Tribute (Holdridge). West Virginia daughter Monica. August 22: John Williams July 4 California s.o., Walnut Creek; July 3, 4, 5 Wheeling s.o.; Gettysburg conducts the Chicago Symphony Orchestra Anastasia (Flaherty/Ahrens). (Edelman). (see sidebar). August 30: con- August 1 California Phil., Pasadena; ducts the Ravinia Festival Orchestra in Lawrence of Arabia (Jarre), Carmen Fantasy Wisconsin “Titanic Movie Blockbusters”—music from (Waxman). June 7 Milwaukee s.o.; The Natural ‘90s films Titanic, Shine, Forest Gump, (Newman). Independence Day. Colorado Other upcoming events in Chicago: July July 22 s.o., Vale; A President’s England 3: The Disney Young Musicians Orchestra Country Medley (Tiomkin), Happy Trails July 4 BBC Concert Orchestra; will perform music from The Natural and A (Evans). Independence Day (Arnold). League of Their Own as a tribute to Harry July 26, August 15 Cuchara Music & Carey (filmed for the Disney Channel). July Arts Festival; The Furies (Waxman), France 6: Grant Park Symphony: music from Gunfight at the O.K. Corral (Tiomkin), The June 20 Orchestra Cologne, Paris; Golden Age films: Robin Hood, Gone with Alamo (Tiomkin), The Magnificent Seven The English Patient (Yared), The Mission the Wind, Ben-Hur, Spellbound, etc. Also (Bernstein). (Morricone). planned but unscheduled by the Grant Park Symphony is a live performance and Idaho Germany screening of Psycho, with special guest July 17, 18 Boise Summer Fest; June 6 Otterstadt s.o.; 1492 (). Janet Leigh. Bonanza (Livingston/Evans), Wagon Train (Moross), Rawhide (Tiomkin), Dances with Polish Performance Wolves (Barry), Gunfight at the O.K. Corral August 2, 3 Osaka s.o.; Anastasia Music by Jan A.P. Kaczmarek from (Tiomkin), The Alamo (Tiomkin). (Flaherty/Ahrens), The Magnificent Seven Washington Square, Bliss, Total Eclipse and (Bernstein), The Great Escape (Bernstein), Aimee and Jaguar will be performed at the Indiana Around the World in 80 Days (Young), Love International Malta Festival in Poznan, July 2-16 (seven performances) Is a Many Splendored Thing (Webster/Fain), Poland, on June 29. This is an outdoor event Indianapolis s.o.; Gettysburg (Edelman), Breakfast at Tiffany’s (Mancini), East of with an expected crowd of 30,000, broadcast Star Trek: The Menagerie (Courage), Star Eden (Rosenman). on Polish radio and television. Trek V (Goldsmith), Twilight Zone For a review of Elliot (Constant). UCSB Sounds Goldenthal’s new ballet, Hollywood Bowl John Williams’s Flute Othello, performed in San In addition to the upcoming Maryland Concerto and Elmer Francisco in early April, John Williams concerts (see side- July 4 Hagerstown s.o.; Gettysburg Bernstein’s Toccata for Toy see the 4/15/98 entry bar), George Daugherty will con- (Edelman). Trains will be among the of “Film Score Daily” at duct the L.A. Philharmonic in a July 11, 18 Baltimore s.o.; Star Trek: works performed at the our web site: concert of “Bugs Bunny on First Contact (Goldsmith), Anastasia Ensemble for http://www.filmscore Broadway” on July 1—Carl (Flaherty/Ahrens). Contemporary Music monthly.com/fsd.html Stalling live to film. John Mauceri Festival at the University of will conduct a film music concert California, Santa Barbara, June 18. There on September 18, and will lead the HBO in a July 4 Greater Lansing s.o., Lansing; will also be panels, discussions and films; variety of film music pieces over the course The Magnificent Seven (Bernstein). Elmer Bernstein, Leonard Rosenman, David of the season. Call 213-850-2000 or see Raksin and Laurence Rosenthal are sched- www.hollywoodbowl.org. Minnesota uled to attend; see page 4. July 4 Rochester Phil.; The Magnificent CD Live Seven (Bernstein), The Generals RSNO Blasts Off has launched the Royal (Patton/MacArthur, Goldsmith). The Royal Scottish National Orchestra Liverpool Philharmonic Orchestra's Summer (cond. Carl Davis) will perform a concert of Pops and will conduct several film music- North Carolina film music on June 19, “The Final related concerts this summer, such as a "Pops June 28 Winston-Salem s.o.; all sci-fi Frontier”—all sci-fi and suspense music. in Space Lighting Spectacular" (including film music concert. Selections include Jurassic Park, Star Trek, ) on July 10. Batman, Thunderbirds, , E.T., and Texas Indiana Jones and the Temple of Doom. Merchant Ivory Music June 18, 26, 27, July 11 Fort Worth The Britt Festival Orchestra (cond. Peter s.o.; Star Trek TV theme (Courage), The Windy City Series Bay) will perform an outdoor concert of

J UNE 1998 8 Film Score Monthly music by Richard Robbins from the films of Bernstein on December 5-7, with are encouraged to vote for their favorite Merchant Ivory, August 8 and 10, in Christopher Parkening, soloist, and Murry film scores for possible inclusion: see Jacksonville, Oregon. Robbins and director Sidlin, conductor. Also on the program will www.orsymphony.org. James Ivory will be in attendance. See be Respighi’s Ancient Airs and Dances http://www.mind.net/britt or call 541-773- Suite No. 2 and Dvorak’s Ninth Symphony Pasadena Pops Night at the Movies 6077. On January 5, 1999, the Oregon The Pasadena Pops (CA) will hold a Symphony will present their second annual movie music concert on September 5, with Elmer Bernstein Guitar Concerto “Fabulous Film Scores” concert (cond. Pat Boone and actor Peter Mark Richman The Oregon Symphony in Portland will James DePriest), music from Titanic, E.T., performing Friendly Persuasion (Tiomkin) premiere a guitar concerto by Elmer Close Encounters and others. Concertgoers among other titles (Grease, Gershwin selec-

‘70s Flashback When asked about electron- employing one of the compos- ic music, Goldsmith noted that er’s trademarks of the ‘60s and Goldsmith’s “Music for Orchestra” Returns such effects were not really ‘70s, a wind machine), with knit- new any more, that he regard- ting, dissonant string effects and Concert Report by Jeff Bond ed electronics as simply an explosions of percussion, all cli- adjunct to the orchestra, and maxing in an extended, ostina- n Thursday, March 26, best.” that he didn’t think it was possi- to-driven finale with a frenetic Jerry Goldsmith’s The composer refrained from ble any longer not to do this.“It serial string melody keening Oeight-minute, serial describing the concert piece in can certainly be abused. I went over furiously propulsive concert piece “Music for any great depth.“It’s a serial through my abuse period rhythms. Orchestra” received its first piece, a strict serial structure... myself.” performance since its debut in I write emotionally in my Ironically, since Goldsmith’s On With the Show 1972. Esa-Pekka Salonen con- music; I deal with emotions, concerts of his film music focus The Goldsmith work got the ducted the Los Angeles and the piece was written at a more on his melodic side, the concert off to a rousing start, Philharmonic at the Dorothy time in my life when I was in a performance of “Music for and Salonen beckoned the com- Chandler Pavilion, with real emotional state.” Orchestra” came far closer to poser to the stage for a few bows Goldsmith in attendance for the Goldsmith pulled off a pretty capturing Goldsmith’s familiar (which Goldsmith quickly first of three performances. good Miklós Rózsa impression film composition techniques. In deflected back toward the con- as he related the story of meet- fact, if conductor Esa-Pekka ductor). In fact, “Music for Jerry Speaks ing with Rózsa while the veter- Salonen’s take on the piece can Orchestra” was the highlight of At a pre-concert lecture given an composer was working on be differentiated from Leonard the concert, rivaled only by by Los Angeles Philharmonic Robert Aldrich’s Sodom and Slatkin’s debut performance, it Yefim Bronfman’s brilliant Archives Advisor Orrin Howard, Gomorrah. When Goldsmith is in the essential piano solos during the Goldsmith briefly discussed the asked Rózsa what he was going “Goldsmithness” of Salonen’s Shostakovich piano concerto. In piece and answered questions to do after he was finished writ- version.While marked by sever- the aftermath of these more from the audience. Remarking ing “this huge score with hours al unmistakable Goldsmith modernistic works, 30 minutes how impressed he had been and hours of music,”Rósza licks, Slatkin’s rendition comes of Mendelssohn’s Italian when seeing Salonen conduct replied that he was going to off as a virtuoso but stylistically Symphony was somewhat of an “Music for Orchestra” in work on some concert pieces. undistinguished piece of 20th exercise in stamina, although rehearsals, Goldsmith “He never stopped working,” century composition, with a the finale of Aaron Copland’s explained, “It’s really a revela- Goldsmith explained. shapeless quality that’s some- rousing “El Salon Mexico” tion to hear [it] interpreted by a Goldsmith was asked about a what bereft of personality. (which would have made a great major conductor.The piece is concerto for piano and string Salonen’s rhythmic approaches western film score) brought the quite complex rhythmically and orchestra he had begun some are marked by their pinpoint concert to a satisfying conclu- one has to spend time working time ago, noting that he’d fin- precision (also later demonstrat- sion. out the playing of sextuplets and ished the first movement and ed in the concert’s spectacular Salonen’s take on “Music for quintuplets and where the had been waiting quite some performance of Shostakovich’s Orchestra” is enough to leave accents fall.”While Goldsmith time for the second and third to Piano Concerto No. 2).The Goldsmith fans salivating for a has conducted most of his film “show up.”When asked which is piece’s ferocious writing for recording. (The conductor’s scores, and recently led albums his favorite of the scores he’s brass and woodwinds likewise recent album of Bernard of his own and others’ music for written, he said the Disney ani- fits seamlessly into Goldsmith’s Herrmann film music, as well Varèse Sarabande, he had a sur- mated film Mulan “is shaping film scoring style of the period, as his evident enthusiasm about prising take on the idea of com- up to be the best right now.” and sections of the Salonen-per- Goldsmith’s work, shows he posers as conductors:“I don’t Asked whether a strict classi- formed version could be insert- doesn’t view film music as think composers are necessari- cal training was a common ed into The Mephisto Waltz, The beneath his talents).While none ly the best interpreters of their attribute for a film composer, Satan Bug, Planet of the Apes or is currently in the works, the own music,”he said.“Mahler Goldsmith replied, “No. It’s The Illustrated Man with little concert itself was scheduled to was an amazing conductor... unusual. It used to be more the alteration. Opening with a caca- be syndicated to a variety of Igor Stravinsky was a great norm, but now I think I’m one phonic outcry from brass and radio stations for broadcast the composer, but as a performer of a dying breed—me and a few strings, “Music for Orchestra” week of May 28 (program 8 in and a interpreter of his own of the other veterans still moves forward in fitful, often the L.A. Philharmonic series). music he was certainly not the around.” anguished passages (even FSM

Film Score Monthly 9 J UNE 1998 CONCERTS • UPCOMING FILM ASSIGNMENTS tions, etc.). Call 626-792-7677. 8-14); and music by Jerry Goldsmith to a Due to the lead time of this magazine, it is pos- film to be determined by Paul Verhoeven sible some of this information is too late to do L.A. Filmharmonic (May 20-23). Call 213-850-2000. any good. David Newman’s 1001 Nights (music per- This is a list of concerts with film music pieces. formed live to new Japanese-animated film) Ennio Morricone in Montreal Contact the orchestra’s box office for more infor- was premiered by Esa-Pekka Salonen and Mark your calendars for October 1, 1999, mation. Thanks go to John Waxman of Themes the Los Angeles Philharmonic on April 30. when Ennio Morricone will conduct a con- & Variations (http://tnv.net) for this list; he pro- Two more “Filmharmonic” pairings are cert of his work at La Place des Arts (Salle vides scores and parts to the orchestras. planned for 1998-99: music by Graeme “Wilfrid-Pelletier”) in Montréal, Canada. For a list of silent film music concerts, see Tom Revell to a new film by of Morricone will write a special piece for the Murray’s web site: wildlife photographer Peter Beard (October concert. http://www.cinemaweb.com/lcc.

cert on August 4 and of the Sun, “Shark Cage Fugue” and Keeping Up conduct the Boston Pops theme from Jaws and the Raiders March, at Tanglewood on as well as music of , with August 31. , (selections ■■■ from featuring con- John Williams On June 24 at 8:30 certmaster William Preucil), and a tribute PM, John Williams will to Max Steiner. A Glimpse at the Busy lead the Hollywood ■■■ Itinerary of the World’s Bowl Orchestra in a On August 7 and 8, at 8:30 PM, John Best-Known Film Composer tribute concert to Williams returns to the Hollywood Bowl to Ernest Fleischmann; conduct another pair of concerts with the ohn Williams will conduct the London soloists will include soprano Kathleen Los Angeles Philharmonic and special Symphony Orchestra in four concerts Battle, Super Bass, Harry Connick, Jr., and guest Natalie Cole. The program will Jat the Barbican Centre, July 1-4, 1998. violinist Itzhak Perlman. On July 17 and 18 include: Shostakovich’s Festival Overture, The July 1 and 2 concerts will feature at 8:30 PM, Williams will conduct the Los Michael Torke’s Javelin, the Fauré Sound the Bells, excerpts from Far and Angeles Philharmonic at the Hollywood Pavane, the “Briar Rose Waltz” from Away and Born on the Fourth of July, a Bowl in a concert titled “A Night at the Tchaikovsky’s Sleeping Beauty, Williams’s Star Wars suite, the “Devil’s Dance” from Movies” which will feature Alfred own arrangement of excerpts from Fiddler Witches of Eastwick, excerpts from Close Newman’s 20th Century Fox fanfare and on the Roof (or a Disney medley), Richard Encounters of the Third Kind, the themes “Conquest” from Captain from Castile, a Hayman’s arrangement of I Love a from The Lost World and Sabrina, and suite from Korngold’s The Sea Hawk, , Williams’s Superman march, and “Adventures on Earth” from E.T. The “Tara’s Theme” from Gone with the Wind Sousa’s Stars and Stripes Forever. July 3 and 4 concerts will feature (Max Steiner), excerpts from Psycho ■■■ Celebrate Discovery, The Cowboys (Bernard Herrmann), a suite from A Place Williams will conduct the Chicago Overture, the tuba concerto (with soloist in the Sun (Franz Waxman), Miklós Rózsa’s Symphony at the Ravinia Festival on Patrick Harrild), Liberty Fanfare, music “Parade of the Charioteers” from Ben-Hur, August 22. The concert opens with Samuel from JFK, the suite from The Reivers, the opening of Richard Strauss’s Also Barber’s School for Scandal Overture, fea- and the Olympic Fanfare and Theme. All Sprach Zarathustra, Elmer Bernstein’s tures violinist Joshua Bell in a Fantasy concerts are at 7:30 PM at the Barbican theme from The Magnificent Seven, John from Porgy and Bess, and concludes with Centre. Pre-concert talks on July 1 and 3 Barry’s love theme from Out of Africa, and selections from Williams’s film scores: (6:15-6:45 PM) will feature Richard several of his own compositions: excerpts “Adventure on Earth” from E.T., themes MacNichol interviewing LSO principal from Far and Away, themes from The Lost from Jane Eyre, The Lost World and Seven brass players Maurice Murphy, Eric Crees World and Sabrina, “Dry Your Tears, Years in Tibet, and “Throne Room and and Patrick Harrild. Afrika” from Amistad, “Throne Room and Finale” from Star Wars. ■■■ Finale” from Star Wars and the Raiders ■■■ Together with , Williams March. The Los Angeles Philharmonic will pre- will supervise a symposium in film music ■■■ sent the West Coast premiere of John for student composers at Tanglewood, At the Blossom Festival, Williams will Williams’s bassoon concerto, The Five Massachusetts, during the summer of 1998. conduct the Cleveland Orchestra on Sacred Trees, on April 22 and 25, 1999. Williams will also conduct the Boston August 1 and 2. The first program will LA Phil prinicipal David Breidenthal will Symphony at Tanglewood on July 25: Gil include the Liberty Fanfare, the suite from be the bassoonist; Alan Gilbert the con- Shaham will perform Williams’s violin con- Jane Eyre, the theme from The Lost ductor. Also on the program will be Carl certo and soprano Harolyn Blackwell will World, “Remembrances” from Schindler’s Ruggles’s Of Men and Mountains and sing the world premiere of his song cycle List, and a suite from Star Wars. The sec- Aaron Copland’s Symphony No. 3. Seven for Luck; Barber’s School for Scandal ond program will include “Flying Theme” ■■■ overture will open the concert and the from E.T., “The Basket Chase” from Williams has been commissioned by the evening will conclude with Stravinsky’s , “The Battle of Boston Symphony to write a Concerto for Firebird suite. Williams will also participate Hollywood” from 1941, “The Face of Pan” Orchestra for the 1999-2000 season. in the annual Tanglewood on Parade con- from Hook, “Jim’s New Life” from Empire —Jeff Eldridge

J UNE 1998 10 Film Score Monthly Musical Chairs Department David Hirschfelder Elizabeth I. Soderbergh), Wicked (d. Michael Steinberg). Upcoming Film Family Plan (Leslie Nielsen), The David May Shaking All Over (d. Dominique Secret of NIMH 2 (animated, MGM), No Other Forma). Assignments Country, Ageless Heroes (documentary). Dennis McCarthy Letters from a Killer (d. David A Perfect Murder Carson). oel McNeely has replaced on (John Waters). (Michael Douglas, Gwyneth Paltrow), Snow John McCarthy Boy Meets Girl. JThe Avengers; McNeely quickly bailed on con- The Red Violin (Samuel L. Falling on Cedars (d. ). Joel McNeely The Avengers, Virus, Zack and ducting a concert with the Royal Scottish National Jackson). James Horner The Mask of Zorro (d. Martin Reba (independent), Soldier (Val Kilmer). Orchestra and several more albums for Varèse 8 Millimeter (d. Joel Campbell), Mighty Joe Young. Meroni The Good Life (Stallone, Hopper), Sarabande in order to take the assignment. On Schumacher), Regeneration, To Live On (Ang Steven Hufsteter Mascara (independent). The Others, The Last Big Attractions. another movie pushed back to later this year, Lee, Civil War film, Jewel), The Confession Søren Hyldgaard The Other Side (d. Peter Cynthia Millar Digging to China (d. Timothy Jerry Goldsmith has replaced Graeme Revell on (Alec Baldwin, courtroom drama). Flinth), Tommy and the Wildcat (family adven- Hutton). The 13th Warrior (formerly Eaters of the Dead) Loran Alan Davis The Last Prediction ture), Angel of the Night (vampire thriller). Randy Miller Without Limits (Prefontaine story), after Michael Chrichton took the reins in post-pro- (independent). Mark Isham Free Money (Marlon Brando come- Ground . duction and let go both Revell and director John John Debney My Favorite Martian. dy), Blade (New Line), At First Sight (Val Mike Mills A Cool Dry Place (Vince Vaughn, Joey McTiernan. Goldsmith has in turn dropped off of The Revengers Comedies Kilmer, Mira Sorvino). Lauren Adams, with new song from Mills’s MGM’s Ronin. (based on Alan Aykbourn play), Restons Alaric Jans The Winslow Boy (David Mamet). band, R.E.M.). The Truman Show ended up being scored by Groupes. Adrian Johnston Divorcing Jack. Paul Mills Still Breathing (d. Jim Robinson, German-born composer Burkhart Dallwitz, with Gary DeMichele Ship of Fools (d. Stanley Tucci, Trevor Jones Talk of Angels (), The Brendan Fraser). additional music credited to Philip Glass (who also Campbell Scott). Mighty (d. Peter Chelsom, Miramax, collabo- Sheldon Mirowitz Say You’ll Be Mine (Justine has a cameo in the film). The Glass music in the Patrick Doyle Stepmom (Julia Roberts). rating with ), Frederic Wilde (d. Bateman). picture is a combination of new music (see our American History X (New Line). Richard Loncraine), Titanic Town (d. Roger Fred Mollin The Fall. Glass cover story, Vol. 3, No. 2) and existing tracks John Du Prez Labor Pains. Michel), Rescue Me (MGM), From Hell (d. Ennio Morricone The Legend of the Pianist on which had been in the temp-score. 6 Days/7 Nights (Harrison Hughes Bros.), The Lost Son, Four Weddings the Ocean (Giuseppe Tornatore). Due to the volume of material, this list only Ford). and a Funeral Sequel (Hugh Grant). Mark Mothersbaugh Best Men, Breaking Up, covers feature scores and selected high-profile Steve Edwards The Patriot (Steven Seagal). Jan A.P. Kaczmarek Aimee and the Jaguar Rugrats: The Movie, Dead Man on Campus television and cable projects. Composers, your Danny Elfman American Psycho (film of Bret (Germany, d. Max Faerberboeck). (Paramount, prod. Gale Ann Hurd). updates are appreciated: call 213-937-9890, or e- Easton Ellis novel), Instinct (Anthony Hopkins), Michael Kamen Lethal Weapon 4. Roger Neill Welcome to Kern Country (co-com- mail [email protected] Simple Plan (Sam Raimi). Brian Keane New York (Ric Burns, epic docu- posed with the Dust Bros.), White Flight. Stephen Endelman Finding Graceland. mentary). Ira Newborn Baseketball (d. David Zucker). Mark Adler: Ernest Joins the Army, The Rat Pack George Fenton Cinderella. Rolfe Kent Slums of Beverly Hills (Alan Arkin, Pleasantville, A Bug’s Life. (HBO), Stand Up Tragedy (Turner). Frank Fitzpatrick Lani Loa (Zoetrope). Marisa Tomei), Election, Don’t Go Breaking My John Ottman Apt Pupil (d. , Ottman Luis Bacalov: Polish Wedding, B. Monkey. Mick Fleetwood 14 Palms. Heart (Anthony Edwards). also editor), Goodbye Lover. : A Story of a Bad Boy (co- Robert Folk Jungle Book 2 (Disney). William Kidd The King and I (Morgan Creek, Shawn Patterson The Angry Man. composed with Chris Hajian). David Michael Frank A Kid in ’s Court, animated). Jean-Claude Petit Messieurs les enfants, Le : Circle Vision (Disneyland attrac- The Prince, Perfect Target, Rhapsody in Bloom Philipp Fabian Kölmel Cascadeur The Amber Complot d’Aristotle, Sarabo, Desire, Sucre tion). (Penelope Ann Miller), The Staircase. Chamber (Germany, action-adventure). Amer. Tyler Bates: Denial. John Frizzell Jane Austen’s Mafia (Jim One Hell of a Guy, Nowhere Lane. Nicholas Pike Delivered. Marco Beltrami: The Florentine. Abrahams). Simon LeBon/Nick Wood Love Kills (d. Mario Michael Richard Plowman Laser Hawk (Mark : The Tale of Sweeney Richard Gibbs Music from Another Room, Doctor Van Peebles). Hamill, Canada). Todd (d. John Schlesinger). Dolittle (Eddie Murphy, Fox), Dirty Work Madeline (Frances Steve Porcaro A Murder of Crows (Cuba Elmer Bernstein: Deep End of the Ocean (Chevy Chase). McDormand). Gooding, Jr.). (Michelle Pfeiffer), The Wild Wild West (Will Elliot Goldenthal In Dreams (d. Neil Jordan). Chris Lennertz The Art House (parody), Lured Beloved (Jonathan Demme), Smith, d. Barry Sonnenfeld). Jerry Goldsmith Mulan (Disney animated; songs Innocence (Dennis Hopper, Talia Shire). The Other Sister (Disney). Edward Bilous Mickey Blue Eyes, Naked Man, by , music, and David Zippel, Daniel Licht Permanent Midnight (co-composed John Powell Endurance (Dreamworks documen- Dead Broke. lyrics), Small Soldiers (d. ), Star Trek with Primal Scream). tary). Chris Boardman Payback (Mel Gibson, d. Brian 9 (d. Jonathan Frakes), The 13th Warrior (for- John Lurie Clay Pigeons (prod. Ridley Scott). Zbigniew Preisner Dancing at Lughnasa (Meryl Helgeland). merly Eaters of the Dead), . Mader Little City (Miramax), The Wonderful Ice Streep), Dreaming of Joseph Leeds (d. Eric Simon Boswell Photographing Fairies, American Joel Goldsmith Reasonable Doubt (d. Randall Cream Suit (Disney), Too Tired to Die. Styles), Jacob the Lion (Robin Williams, WWII Perfekt, Dad Savage, Perdita Durango, Alien Kleiser, Melanie Griffith). Mark Mancina Tarzan: The Animated Movie drama). Love Triangle, Warzone (d. Tim Roth). Harry Gregson-Williams Earl Watt (Pate (Disney, songs by Phil Collins). Trevor Rabin Armageddon (d. Michael Bay), Bruce Broughton One Tough Cop (d. Bruno Bros.). Hummie Mann Broke Down Palace (d. Jonathan Frost (Warner Bros.). Barretto), Fantasia Continues (transitions). Andrew Gross Be the Man (MGM, Super Dave Kaplan), Naked City 2 (d. ), Graeme Revell The Negotiator (Kevin Spacey), Carter Burwell Gods and Monsters. movie). Good Night, Joseph Parker (Paul Sorvino), Bride of Chuckie, Hairy Bird, Lulu on the Terry Castellucci Guy Gets Kid (). Larry Groupé Storm of the Heart, Sleeping with A Thing of Beauty. Bridge, Dennis the Menace 2, Elmo in Alf Clausen Gabriella. the Lion, Making Contact (d. Molly Smith), David Mansfield The Gospel of Wonders Grouchland. Ray Colcord Heartwood (Jason Robards). Deterrence (Showtime), I Woke Up Early the (Mexico, d. Arturo Ripstein). Jonathan Richman There’s Something About Michel Colombier How Stella Got Her Groove Day I Died (Billy Zane, Ed Wood’s last script). Anthony Marinelli God Said Ha! (Julia Mary (Farrelly Bros., also singing on-screen). Back. Chris Hajian Chairman of the Board (Carrot Top). Sweeney), Hacks, Gideon’s Web, Seed. J. Peter Robinson Waterproof (Lightmotive), Eric Colvin Setting Son (d. Lisa Satriano). Richard Hartley All the Little Creatures (U.K. Jeff Marsh Burning Down the House, Wind River Gargantua (miniseries). The Real Macaw, Wrongfully Accused. independent), Peter’s Meteor, Rogue Trader. (Karen Allen). Peter Rodgers Melnick The Only Thrill (Sam Michael Convertino Dance with Me, Where’s Captain Jack (Bob Hoskins), Phil Marshall Rupert’s Land. Shepherd, ). Marlow. The Last Governor. Brice Martin Depths of Grace, Eating L.A. Stewart Copeland Very Bad Things, Pecker Todd Hayen Legend of Pirates Cove. Cliff Martinez Out of Sight (d. Steven (continued on page 40)

Film Score Monthly 11 J UNE 1998 READER RANTS & truly a revelation. Perhaps the pages wasted on raising and FEEDBACK sinking Titanic could have MAIL BAG been spent discussing the role and influence of the orchestra- The Unsinkable Jimmy H. These are the scenes where the ure out the relationship tor. While reading Wes our publication is awe- water rushes up the floors, between the love theme and Marshall’s article, I wanted to Ysome. The only problem I doors are torn apart, the crys- the Uillean Pipes.) know more about the process have is all this “Horner bash- tal roof over the stairs I regard this very popular of orchestration. Good job! ing.” Doug Adams must really explodes, and all the people are score to be a deliberate innova- Davis Hall hate this man. Sure, Mr. drowning... unfortunately, this tion. A romantic treatment of New York, New York Horner rehashes most of his music is not featured on the the serious plot—the regular work... or even the work of oth- CD, and I hope Horner “Hollywood grand-style string Magnificent McRitchie ers—but if Mr. Horner is such includes it on his sequel album. sound” (much preferred by t was not long after I had an evil man, why is he still So, okay, Horner proves him- me)—would have resulted in Ibegun to collect films scores, working in the movie business? self to be an “emotionalist,” kitsch. That was deliberately nearly 12 years ago, that I Surely, someone would have but I doubt that Jerry left out (as James Horner him- began to notice a name that stopped his plagiarism by now. Goldsmith would have done it self noted), not in favor of com- consistently popped up. That Leave Mr. Horner alone and this way... he would have taken mercial music, but an innova- was Greig McRitchie, and he talk about someone else for a the route of “It’s sinking and tive “pop” approach to “nor- was an astounding common change. sounds I’ll tear it even more apart mal” motion picture music thread between some of the the same all the time... but no with my music—be frightened, which tends to be commercial greatest scores of his or any one mentions that, do they? dear audience!” in the case of such mega-pro- day. And how sad to finally (The theme to The Rock sure Roman Deppe ductions. learn a little about the self- sounded awfully familiar.) Keep Hamburg, Germany Let me also observe that the effacing, modest gentleman up the good work and bash [email protected] “Score” evaluation system, only after he has left us. Film someone else for a change with its five asterisks, music will never be the same (Elliot Goldenthal maybe). eff Bond’s score review on depends on somebody’s per- without him. Thank you for Roger Williams JTitanic (Vol. 3, No. 1) sonal taste. It’s quite strange your piece memorializing a Box Springs, Georgia missed many qualities of the to make a comparison man whose talents were largely between Titanic’s ★★★ and unsung but universally felt. We did not intend our Titanic L.A. Confidential’s ★★★★. I Matthew Barry essays (Vol. 3, No. 3) to be “bash- regard the former as an inter- Los Angeles, California ing,” but rather a thorough probing esting and well-done interpre- of Horner’s style. The fact that tation; the latter is too low- Cinerama Crawl Horner continues to work so much keyed in the Goldsmith genre. he March/April 1998 arti- shows the movie business wants a Gyula (Julius) Dobos Tcle “Cinerama Rides proven commodity, and condones 1119, Andor u. 10. Again” by Phil Lehman left out plagiarism. Budapest, a few interesting and impor- tant facts: Cinerama was agree with both of the hat’s with Nick invented by Fred Waller. The ITitanic articles in your WRedman’s “The Ship of fabulous “before its time” new issue (Vol. 3, No. 3), Dreams” article? Is he really sound was devised by Hazzard but I’m tired of the whole trying to prove that Titanic is a Reeves. Lowell Thomas was James Horner debate. I great movie (why bother?) or is involved in the production of doubt Horner will gain the article an elaborate put-on? the first film and narrated all more popularity with the Either way, it’s out of place in the travelogues. Finally, the public than John a magazine devoted to film New Neon Theatre is managed Williams. Horner will for- music. by Larry Smith, who provides ever be known as “the man work. If this film, with its mul- As for Doug Adams’s the opening introductions to who scored Titanic,” whereas tifold narrative style and exhaustive, four-page “A Score the Cinerama showings. Larry John Williams will be known countless different emotional to Remember?,” Jeff Bond said and John Harvey have also forever as “the man who effects, had gotten a score with much the same thing in his started the Cinerama scored Jaws, Indiana Jones, the “coherence” Jeff Bond Titanic review (Vol. 3, No. 1) in Preservation Society. Your Star Wars,” and so on. needed so much, it would have less than a page. Mr. Adams readers might be interested in Still, I am surprised that no appeared an eclectic tumult of admits that “Horner’s score joining. one has mentioned Horner’s approaches against the differ- provides the film with every- Peter Kline impressive music for Titanic ent scenes. An especially mon- thing it needs.” I suspect that a [email protected] during some short sinking umental film with its diversi- score of more “substance” sequences. This music, basical- fied layers won’t necessarily would have been too weighty We received many favorable responses ly electronic choir, gives the attract a score of the same for ’s already to the Cinerama article, as well as informa- dying ship a grandeur, even in type. (Plus, you don’t have to overloaded boat. tion on additional theaters presenting the its losing fight against death. be a die-hard Horner fan to fig- “The Great McRitchie” was format: In England, The National Museum

J UNE 1998 12 Film Score Monthly of Photography, Film & Television screens instruments (pipes and flutes) text is well done, using mar- is influenced by Eno’s “Discreet This Is Cinerama every month in its and dances. But the language of velous Bulgarian folk words; Music” circa Europe in the mid- Pictureville Cinema, Bradford; see the Celts is completely differ- unfortunately, the performers ‘70s; a “searching” Philip Glass http://www.comp.brad.ac.uk/research/GIP/ ent—Bulgarian is a dialect of are not credited. By the way, the stumbled onto Eno in Germany pictureville.html or call 01274-727488. And the ancient Slavanian. There correct pronunciation of the and this helped him “cook” and in Seattle, the Martin Theatre is about to are many legends about a war- name of the Warrior Princess is develop his musical ideas. restore three-strip Cinerama; see rior woman named Xena in “Tsena.” A long time ago, in reviewing http://www.simplecom.net/widefilm/ Bulgarian folklore, the most For fans who think this kind the Dune CD, Lukas wrote that widescreen/martin.html. famous being the story of when of stuff is cool, look for CDs by one has to speed up the her father cuts Xena’s hair, the group The Mystery of the “Prophecy Theme” by Eno to Bulgarian Boo-boo dresses her like a man and gives Bulgarian Voices, or please con- “hear” the music—however, you ilm Score Monthly is the her a sword, because he was tact me. are not supposed to “hear” it, Fbest magazine about film afraid Turks would rape her Jordan R. Stoitchkov but “feel” it. Maybe explaining music I have ever read, but I (something common in the 14th c/ La Pampa 2649, p. 6, dto.54 this could shed light on Eno’s was disappointed when I read century). The woman becomes 1428 Capital Federal, Buenos Aires progressive work. the review of Xena: Warrior an evil warrior, but the story Argentina Brian Eno is reserved and Princess Volume 2 (Vol. 3, No. has a happy ending when Xena self-effacing, yet most musicians 2). Jeff Bond says that some of falls in love with a strong Jeff Bond responds: this is what hap- have immense respect for him. Xena is based on traditional Bulgarian man, and this gives pens to film music critics when they don’t His trilogy of records with David Celtic chants. These are not her back her feminine . spend the first 14 years of their life in Bowie (Low, Heroes and Lodger) Celtic, but Bulgarian. The same When I heard the music of Bulgaria. are milestones in rock-art histo- error was made in the review of Xena I was impressed. The first ry. Low and Heroes have been the first Xena CD (Vol. 2, No. 3). score by Joseph Lo Duca I had That Eno Ambience adapted into symphonic works I was born in Bulgaria and heard was Army of Darkness, was pleasantly surprised to by Philip Glass, as tributes. lived there until the age of 14. which I love, but I never expect- Isee Philip Glass on the cover Also, Eno’s work with U2, Roxy The Bulgarians (like most of the ed him to do what he does in of FSM (Vol.3, No.2) The inter- Music, and Talking Heads made people of Eastern Europe) are Xena. It’s a really good job—the view was superb. However, the them the successful rock bands very sensitive to their culture. first time I have heard this kind sidebar on minimalism left out they were; they later fell with Some historians affirm that the of music in an original American one of the musicians who first Eno’s departure. Celts and the Bulgarians may soundtrack—and it captures the developed the art: Brian Eno. The soundtrack to Apollo doc- have some common origins, essence of the Bulgarian folk Glass’s oeuvre and style has umentaries (CD: EGCD 53) is especially in their musical melody. The translation of the roots in Eastern music but also one of Eno’s most remarkable

Film Score Monthly 13 J UNE 1998 MAIL BAG seem like children’s games turers, are not expensive; 2) when you really get to under- most A/V equipment available stand and feel Eno’s work. today include DTS in their cir- outings into film music. Music This is music to defy and cuitry; 3) several labels, includ- for Films from 1978 (CD: expand our musical horizons. ing Telarc, have already EGCD 5) is likewise not to be Most public libraries carry most released CDs in DTS audio for- missed. of Eno’s CDs for the curious. mat; 4) the titles announced The video to one of the first Alex Zambra for release on Fifth Continent CD-only recordings, Eno’s 5644 Lawndale have been available in stereo 1984 “Thursday Afternoon,” Houston TX 77023-3840 Entertainment Weekly for several years now. not only challenged the concept called our site “the most Any FSM readers who are of music, but went further to Amram Appraisal not only interested in our challenge our concept of verdue, but Bravo! any- useful film-score website.” forthcoming DTS releases, but movies. This video is essential Oway, to your Feb. ‘98 also the many titles already viewing for any progressive (Vol. 3, No. 2) salute to David Make yourself useful at available on other labels in any filmmaker; a semi-static figure Amram, a professional and www.filmscoremonthly.com number of music styles, con- set to music is captivating, but perceptive piece. Even the lay- tact Miller Nevada Ltd., Inc., even more captivating is Eno’s out and artwork were worthy the sole distributors in North vision of it: “To expect that of your subject. around knew that the America of DTS recordings, at things on screen change dra- Until recently, Amram’s film Selznick/Tiomkin (I love his PO Box 8359, Incline Village matically and in significant work was considered only a music, too) tradition of perpet- NV 89452-8359 (fax 702-831- temporal sequence [has] rein- minor oddity. Splendor in the ual underscore was dead or 4485) for a catalog and the forced a rigid relationship Grass has long been dismissed dying. Schmaltz had been HDS CD booklet, “An between viewer and screen... I as early-‘60s Freudian-liberal- totally redefined; fairly or Introduction to High Definition am interested in a type of work romantic (did I really say unfairly, Tiomkin’s style now Surround.” which does not necessarily sug- that?) fluff. In the case of The seemed suitable only for The Perhaps Mr. Wieger will gest this relationship: a more Manchurian Candidate, Guns of Navarone, etc. reconsider when he hears just steady image-based work Amram’s score was all but If some of you wonder why how superior a DTS audio CD which one can look at and walk buried by a combination of Amram’s film work was an is to a stereo recording of the away from as one would a inaccessibility following the underground obsession, while same album. painting: it sits still and you Kennedy assassination and the ’s Big Country John Steven Lasher move.” myth that a few fans and crit- score is currently available in Fifth Continent The “Thursday Afternoon,” ics built up around the film. It its umpteenth pressing, the Australia Pty. Ltd. “Discreet Music” and “Music did not seem to matter that answer is simple: it was a big 18 Malvern Road for Airports” CDs by Eno are President Kennedy was a huge movie with an even bigger Leura NSW 2780, Australia used frequently as background fan of the book and closely fol- score! We can argue about the music in intensive care units lowed the production of the merits of “big” anytime. I think FSM’s editors and readers alike for newborns. Their minimalis- film. A.J. Lehe have learned it’s pretty easy to get a rise tic patterns emulate the (At least a few prints sur- 132 N Court St. out of John Steven Lasher. rhythms of brain waves during vived the post-assassination Talladega AL 35160 regular sleep, deep meditation recall and public showings last- Searching for New Voices and other experiments that ed until about 1965. Darned Terrific Sound ’ve been collecting sound- calm the mind. I’m not sure if Amazingly, I recall one or two am nonplused by the state- Itracks since junior high in this simplistic explanation is “Movie of the Week” showings Iment made by Mr. Chuck the 1960s. I’d go to the local true, but being a physician who in the late-‘60s. These well- Wieger (Dollars to Spare?) in department store and pick up takes care of newborns I find it trimmed TV prints were either the February 1998 FSM, with soundtrack LPs at three for $1. very close to the “truth.” hailed by critics or declared respect to “I have to purchase At age 14, I came home with Daniel Lanois’s score for pornographic insults to the CDs recently that were record- music by people I had never Sling Blade is haunting, and memory of Kennedy.) ed in the DTS mode, but can heard of: Alex North’s kudos to Billy Bob Thornton in Those unfamiliar with be played on current CD play- Cleopatra, ’s Master his taste; Eno’s contribution Candidate are almost startled ers.” This could not possibly be of the World, ’s there, “The Secret Place,” has by the opening theme. As the correct as any DTS-encoded I Want to Live. For 33 cents, a musical tone and feeling that credits roll, we know we are CD may only be played on a whatever it was, I bought it. I is almost magical. (Lanois and about to view a bizarre CD or laserdisc player always enjoyed discovering Eno have collaborated on many tragedy—definitely not a spy equipped with a DTS decoder. something wonderful by some- records.) romp or a celebration of flag- I also cite the entry in your one I’d never heard of. That I would never recommend waving McCarthyism— March/April issue (Vol. 3, No. sometimes happens now, but Eno’s music to a Rózsa fan, or although the movie was not 3) listing Fifth Continent as not for 33 cents. someone who only likes the without moments of hilarity “Worst Label” as beneath con- Thus, I was pleased to see orchestral medium; these are and sentiment. tempt—infantile rubbish engi- Jeff Bond’s review of Mrs. works of extreme electronic Sure, it wasn’t the first film neered by an editorial staff Dalloway by Ilona Sekacz. In experimentation—music for to drop the underscore from who have not taken the time to 1996, I bought her score to the year 2000-onward. What intense or intimate moments. research the following facts: 1) Antonia’s Line (Silva Screen saddens me is that so many Those of us lucky enough to DTS decoders, which are avail- FILMCD 183). I thoroughly scores by electronic composers experience it the first time able from a variety of manufac- enjoyed it; it is superior to her

J UNE 1998 14 Film Score Monthly Mrs. Dalloway. Recently, I saw When I travel, I often go into Anne Dudley; Gentlemen Don’t release of the Moby Dick minis- Antonia’s Line, which won stores and ask around for Eat Poets is delightful, once you eries soundtrack. 1996’s Oscar for Best Foreign soundtracks, hoping to find get around the dialogue Even as I watched the series I Film. It’s a quirky, oddball something different. In excerpts. I’m sure you’ll be found myself wishing for a CD movie with a whole village of Montréal I had a blast in many reviewing Christopher Gordon’s of the score. The title theme unforgettable characters... a used CD stores. One of my majestic Moby Dick. And if you rivals the best “sea” writing of rare, moving film experience favorite soundtracks is 1982’s want to get some really odd Debussy, Britten, Herrmann worth tracking down. Les Misérables, the expanded looks at the check-out counter, and Lavagnino. Since the com- I realize that FSM is destined CD version with the spectacu- buy Cremaster 5 by Jonathan poser was unknown to me, I felt to focus on the “name” com- lar, dynamic choral music of Bepler. Hey, who the hell is it was unlikely an album would posers, just as movie theaters Michel Magne. But I also found Jonathan Bepler? happen. are destined to show Titanic well-known Patrick Doyle on Brad Igou But it did, and what a splen- and Lost in Space, rather than CD with a lushly romantic score 3187 Greentree Drive did release it is, too. Over 70 Antonia’s Line. Nevertheless, I for Une Femme Française. I’d Lancaster PA 17601 minutes of music, probably the continue to enjoy soundtracks never even heard of it in the full score. Maybe the title by people who are barely blips U.S. While living in Japan, I lad to see the praise theme gets a wee bit too much on the radar screen, many from started building a 300+ collec- Gextended to Varèse repetition, but it’s gorgeous. So other countries. Maybe some tion of Japanese soundtracks; Sarabande (Vol. 3, No. 3) for other than an “Australian com- day FSM will have “reporters” it’s a whole other world, with their new series of re-record- poser” (according to your latest overseas to spotlight some of some amazing music. ings and the resurrection of the issue), who is this Christopher those interesting movie scores. But there are surprises close Fox Classics. I’d like to add Gordon? And then there’s the Internet. to home, too. I took a chance on another word of praise for their For that matter, who is Gabriel Yared, who created the READER ADS underscore for City of Angels? It’s yet more new age, but beau- WANTED list of titles for trade. (Ragland), Spy with the Cold Nose (Ortolani), tiful stuff, not the usual “roll Victor Field (5 Yewfield Road, Willesden, London Nick Lammertink (Vredenseweg 31, 7101 LK Having a Wild Weekend (Dave Clark Five, UK out the linoleum” which is NW10 9TD, England; [email protected]) Winterswijk, The Netherlands) has the following Mono only). Wanted on CD: 1) Ferry Cross the seeks the following TV albums: Music from L.A., CDs for sale: Octopussy (original, $50), Willow Mersey (Gerry & Pacemakers, EMI-UK digipak), sometimes passed off by unin- Law and Otherwise (), Themes to (UK, $12), The Living Daylights (original, $24), Die Nibelungen (Wilhelm Rolf), CD single of “In spired composers as new age. Remember (music from Revue [Universal] John Barry Collection (4CD set, $8). And for sale Your Eyes” by Peter Gabriel as featured in the FSM has contacts; how about shows, Stanley Wilson), Dick Powell Presents on LP: Soldaat van Oranje ($30). All prices film Say Anything (10 min. version only), Day the telling us about these guys? Music from the Original Soundtracks of Four Star include postage costs. Fish Came Out (Theodorakis, if exists). Have Television Productions. Tape recordings accept- Charles P. Mitchell (25 Garden St, Millinocket many LPs and CDs for trade, including LP of True Harry Long able of the latter two. Interested in correspond- ME 04462; ph: 207-723-4429) has the following Story of the Civil War (Gold & narration) in mint 1130 Church Street ing with fans of TV themes U.S., U.K., etc. LPs for sale in very fine condition: Jane Eyre condition. Lebanon PA 17046-4662 Wolfgang Jahn (Auhofstr 223/1, A-1130 Wien, (Williams, $150); Is Paris Burning? (Jarre, $75); Fee Info: Free: Up to five items. After five items, Austria/Europe; ph/fax: 011-43-1-876-7893) is Master of the World (Baxter, mono, $40); Day of it’s $5 for up to 10 items; $10 for up to 20 items; We’ll let our “track” record speak for looking for the following Varèse Club CDs: Vol. 6 the Dolphin (Delerue, $35); Viva Zapata/Death of $20 for up to 30 items, and add $10 for each Bloodline/Red Sonja and Vol. 9 Last Embrace/Eye a Salesman (Bernstein Film Music, $35). additional (up to) 10 more items. itself in covering composers off the beaten of the Needle. Will pay price-guide prices or Postage is included. path. Gabriel Yared was born in Lebanon trade for them. Also looking for other early Dracoulis Stylianos (13 Pefkon St, 14122 In the March/April issue we incorrectly listed and later moved to Brazil and Paris, where Varèse CDs. Athens, Greece) has the following CDs for sale: Adam Harris’s area code. The correct number is he scored a number of French movies in J. Wilfred Johnson (1515 SW 12th Ave, Apt 419, Ricochet ($40), Adventures of Robin Hood (Facet, 413-229-3647. Portland OR 97201; ph: 503-916-1905) wants $40), Et vogue le navire ($30), Species (promo, Longtime soundtrack collector and dealer the 1980s. He recently won an Oscar for CD (new or used) Poirot at the Movies (Cloud 9 $40), Traitement de choc ($10). Richard Miller of Livonia, Michigan has passed The English Patient. We don’t know much label) which contains soundtracks of Murder on Brad Taylor (360 N Bedford Drive #215, Beverly away. Please stop sending your orders. about Christopher Gordon yet, but we do the Orient Express and Death on the Nile. Hills CA 90210; ph: 310-247-9955; have correspondents all over the world and Myron Peters (PO Box 494, Rangely CO 81648; [email protected]) has the following CDs for auction SPACE ADS FOR INDIVIDUAL will get cracking! ph: 970-675-8007) wants Metro (Steve Porcaro ending July 31 at 7:00 p.m. PDT: (1) Promo copy COLLECTOR/DEALERS promo CD)—call and name your price. of Apollo 13 (Horner); (2) Promo copy of The Relic ONLY $60 (CRAZY DISCOUNT!) By the way, people clamor for profiles Barry Saines (1890 E 14th St, Brooklyn NY (Debney); (3) Promo copy of My Best Friend’s Stand out and command attention with your of new and unfamiliar names, but some- 11229) wants the following CDs by Rachel Wedding (Howard); (4) Music for Film (Jonathan own 1/6 pg. ad. Simply send your list and infor- times you get them, and they’re like, “I’m Portman: Where Angels Fear to Tread, The Road Elias); and more than 150 other CDs for sale or mation to the address above; you can comfort- from New York, went to school, played in a to Wellville, Smoke, Ethan Frome. Will pay rea- trade. SASE or your list gets mine. ably fit anywhere from 20 to 60 titles, but try to sonable prices. include less information per disc the more you few bands, met somebody and scored a FOR SALE/TRADE list, or else the print will be microscopic. We will few movies.” Wow. FOR SALE/TRADE AND WANTED do all typesetting. Upcoming deadlines: If you want to get credits for dozens of Richard Bergeman (Asswerweg 382, 3052 AJ Geoff Burton (14 Gordon Road, Ealing, London August, Vol. 3, No. 7 June 22 composers, see the Lone Eagle Film Rotterdam, The Netherlands) has the following W5 2AD, England) has for trade the rare British September, Vol. 3, No. 8 July 20 Composers Guide which we are offering for CDs for trade: Link (Jerry Goldsmith, Varèse), LP Alfred the Great and Italian EP Kapo October, Vol. 3, No. 9 August 24 Knights of the Round Table (Miklós Rósza, (Rustichelli). Looking for Jazz Dance 10” LP and November, Vol. 3, No. 10 September 21 sale (pg. 40). Online, visit our web site, Varèse), The Egyptian (Newman & Herrmann, Hot Rod Gang EP. Send payment in U.S. funds (credit card OK) with www.filmscoremonthly.com, for links to Varèse), The Blue Max (Jerry Goldsmith, Varèse), Michael Mueller (701 S Univ Blvd, Apt K354, list. For auction closing dates, we recommend cool search engines. Fort Saganne (Sarde). All CDs are in mint condi- Mobile AL 36609; ph: 334-414-1417) has the selecting something 8-10 weeks after the above tion. More items available for trade; send your following Varèse CDs for sale/trade: The Chase deadlines (this will allow readers 4-5 weeks to trade or want list. ($50), The Lion in Winter ($50), Masada ($70), respond). No bootlegs or CD-Rs. No made-up Got an opinion? Send yours to: Marco Brolis (Via S Francesco 4, 25038 Rovato Runaway ($70). Wanted to buy/trade: Poltergiest “Soundtrack Central” store names without an FSM Mail Bag [Bs], Italy) has the following (and many other) II (Intrada, expanded reissue). accompanying real name. 5455 Wilshire Blvd Suite 1500 CDs for trade: Poltergeist III, Papillon, Gorky Alex Zambra (5644 Lawndale, Houston TX Send U.S. funds only to Film Score Monthly, 5455 Los Angeles CA 90036, Park, Dangerous Liaisons and 4 Mosche di 77023-3840; ph: 713-921-1110, fax: 713-921- Wilshire Blvd Suite 1500, Los Angeles CA 90036- or to mailbag@ Velluto Grigio/L’Uccello dalle Piume di Cristallo 5082) wants on LP: Long Ships (Dusan Radic), 4201. No bootleg titles! You can send your ad by (Morricone, two complete soundtracks). Write for Boeing, Boeing (Hefti), Madron (Ortolani), Grizzly e-mail: Lukas@ filmscoremonthly.com filmscoremonthly.com

Film Score Monthly 15 J UNE 1998 DOWNBEAT

While he’s in prison he’s writing romantic letters and audio cassettes to four different women independently. Unfortunately for The Music him, one of the prison guards plays a little trick on him and Swayze’s paramours all get the wrong audio tapes, meaning that Is in the Mail Swayze’s in for some surprises upon his release from the big house. By Jeff Bond The assignment was a welcome one for McCarthy, who still labors weekly on music for Deep Space and Star Trek Voyager. “As much as I love the space sta- tions, it was great to get down to earth for a little bit and find that there are still gui- tars in the universe!”

A Rockin’ Demo McCarthy employed his background in rock during his initial concept of the score as being driven by guitars and fretless bass. “David and I talked concept and we struck on the idea of going with a truly acoustic-guitar-based score,” McCarthy notes. “That’s hard to do on , so I scored the first five reels as a demo, and went into the studio with George Dennis McCarthy (left, foreground) wrote Doering, Tim May, Jim Cox, Kenny Wild, Letters from a Killer, while David Reynolds Ralph Humphries and Richard Green on David Reynolds (above) scribbled notes for Blue Skies Are a Lie blues viola, and scored the first five acts in Blue Skies Are a Lie one five-hour session. It was done as a lue Skies Are a Lie tells the indepen- there’s a whole mental world that exists in demo but with the real sounds we’d be Bdently produced story of an agorapho- his mind that is utopian, and he’s compar- using. It was great because it gave David bic with some frightening theories about ing the world around him to the way he and myself the opportunity to put it up the ecological future of Earth, and his rela- thinks the world should operate.” Reynolds against picture and see how it played. And tionship with a spunky mail delivery person solved the problem of creating these worlds we came out with I’d say a 60% survival who tries to coax him back into the outside musically by incorporating disturbing disso- rate. We actually used the major love world. The amazing thing about this little nances and sampled sounds along with theme and a few other things.” movie (which has screened at the Laemmle more traditionally melodic chord struc- Despite that smooth sailing, Carson and Theatre in Santa Monica) is that unlike tures. “I really tried to experiment not only McCarthy agreed that the guitar approach most smaller movies, which opt for song with some strange 20th century acoustic by itself wouldn’t be sufficient, so compilations, Blue Skies Are a Lie has a real techniques, but also unusual electronics. McCarthy worked out a more orchestral film score by David Reynolds that creates a There’s everything from chanting monks to approach for the tension element of the haunting soundscape of acoustic, sampled Berundi singers, prepared piano stuff and film. “The suspense was done with French and electronic effects and some involving electronics.” horns, an acre of strings, percussion to the melodies. wall, synths going berserk and screaming “We had meetings about what music guitars,” he says. “The story starts off could bring to the film,” Reynolds recalls of with a prison groove with guitars and jazz his collaboration with writer/director Dennis McCarthy viola, and as the plot progresses the music Gregory Ruzzin, “in terms of actually play- Letters from a Killer starts to build and all the sudden you have ing a role like a character in pointing out fter making his feature film debut with some strings coming in, doing what I’m the subtext of what’s going on, and clueing AStar Trek Generations and tackling hoping will be called 20th century scoring, the audience in, even though it may not be another TV-based feature with last year’s but always with the guitars in there. Even apparent in the dialogue.” While that used McHale’s Navy, Dennis McCarthy is back the chase scenes, with all the percussion to be a primary function of film scoring, with a new picture that has nothing what- and hard strings and brass, have a lot of today it seems a forgotten art, with most soever to do with television or spacecraft. acoustic guitar. I didn’t want the score to film scores merely reinforcing the action This is the thriller Letters from a Killer, and sound like it was tracked, so I wanted to onscreen in a fairly obvious manner. it does have one familiar element from carry the effect of acoustic guitar and “We thought there were three different McCarthy’s past: “The director is David mandolin all through it.” The result is an worlds that are present in this film,” Carson from Generations,” McCarthy hour and ten minutes of music with very Reynolds explains. “There’s the world that explains. “So we kept the team together, little source cues, something out of which is the main character’s safe zone, his apart- which is great.” McCarthy hopes he can get an album. ment; the world outside of him which repre- In the film, Patrick Swayze plays a man McCarthy’s relationship with the direc- sents a great threat to his mental state; and doing a jail stint for murdering his wife. tor paid off handsomely during the mixing

J UNE 1998 16 Film Score Monthly sessions. “David Carson was there for the off doing the reshoots of the ending. When I actually enjoying the music in Generations! complete mix-down, four 12-hour days,” saw it in the theater the first time I had I told David about the experience and he McCarthy remembers. “95% of the score sweat rolling down my back... I was think- said, ‘Dennis, when the laserdisc came out I went into the movie as originally mixed. No ing, ‘Where’s the music? What the hell hap- went back and remixed it.’ If you have a surprises.” pened?’” McCarthy swore off even looking chance, just watch the first five minutes of at the film again until fellow composer J. the movie; it’s a different mix. David Carson The Generations Gap Peter Robinson invited him over to his went into the studio and said, ‘I’m in charge The sound mix was doubly important to house to watch Generations on laserdisc. of the mix.’ McCarthy because of his unhappy experi- After initially turning down the offer, “I was just so enraged by what I heard in ence on Star Trek Generations. “I was so McCarthy relented and was in for a sur- the theater; I mean that’s a career-ender— disappointed with the way that Generations prise. “I went over to J. Peter’s and he turns when it’s mixed that low it makes you sound was dubbed, because David was not on the it on and it blew me out of the room. I like an amateur composer.” mixing stage,” McCarthy recalls. “He was thought, wow, what a sound system—I’m FSM

Hot Chocolate’s greatest hits, because these are the Anne Dudley and the Full Oscar songs from his youth. All the An interview with this year's winner for Outstanding Comedy Score stuff dates from the mid by Jeff Bond ‘70s, and there’s some great tracks.” Dudley admits that she’s ritish composer Anne Dudley recently say we’re not your never come up with an all- became the second woman to win an mates!’ And from encompassing concept for BOscar for Best Original Score for a that moment on I how a film score should Comedy or Musical, taking home the stat- was hooked, because work in a movie that’s filled uette for the low-budget independent smash the film seemed to be with songs. “I’ve had lots of The Full Monty. “I feel pretty high, still; I’m not just a comedy, theories as the years have not sure it’s quite sunk in yet,” she said a few but about friendship gone by, and I keep changing days after winning the award. and resilience— my theories so they’re all Dudley showed off a little British reserve when human beings useless, really,” she laughs. on accepting the Oscar, looking barely fazed are really down to “What I do believe is that as she took the stage at the 70th annual their last desperate the audience has an impres- . The composer insists that points, and every- sion of the music as a whole. her appearance was not reflective of her actu- thing goes wrong, They’re not really thinking, al demeanor: “I was incredibly surprised. I and then at the end Dudley’s score comprised only a ‘Oh, this is source music, thought it was a strong category; I mean, everything comes part of the best-selling soundtrack this is score.’ You have to there was very strong competition, and my right. And they album. The remainder will be make the music as a whole score’s just so small! Anastasia’s a fantastic never give up.” included on a sequel album, work, and it has to have a score, and Men in Black I really like, so it’s Dudley’s discus- due later this year. character. I think we tried to really hard. But it’s great, and it helps the sions with the produc- make the music become profile of The Full Monty as well.” ers and director Peter another character in the Cattaneo pointed up film, so that it wasn’t just An Unappealing Assignment the challenge of creat- nice tasteful stuff that didn’t Dudley, a former member of the alternative ing a total musical get in the way, but it actual- group Art of Noise, got into the Full Monty approach to the ly had a life of its own, and assignment with reluctance. “My agent movie that included developed in the same way phoned me up and said we’ve got a film about the kind of music that the story developed.” six unemployed steel workers set in Sheffield, the film’s charac- While some have pointed and they decide to form themselves into a ters would listen to. out the similarity between group like the Chippendales. And I thought, “Obviously we had one of the film’s themes and well this sounds terrible!” After being talked a lot of discussions Bill Conti’s Rocky fanfare, into attending a screening in Soho, Dudley about the source Dudley insists that there grudgingly took her seat and wound up find- music,”Dudley was no intentional refer- ing a new perspective on the material. explains. “I was ence. “That’s used in the “I think the turning point of the film for involved in that to an scene where Dave is wrap- me is that wonderful scene where the guys extent. You never get ping the cling-film around are standing on top of a hillside, discussing your first choice of himself whilst eating a Mars ways to commit suicide,” the composer what you want to use because there’s a lot of bar,” she recalls. “It’s a very funny scene and recalls, “and I think there’s a line where the financial considerations and all sorts of shenani- it was quite an interesting sort of experience guy who’s been trying to commit suicide says, gans. But I think the songs are so great in the to try different sorts of music. You could ‘Oh, I haven’t got any mates.’ And Gary says movie because it seems entirely natural that the make it pathetic or you could ridicule him, to him, ‘We just saved your fucking life, don’t lead character brings out this vinyl copy of but what I wanted to show was his spirit. It

Film Score Monthly 17 J UNE 1998 Between wasn’t an intentional take-off of Monty and study composition. I think when History X. I don’t want to be the queen of anything, but it’s a strong, deter- you get started in this business, comedy, because I actually find comedy very mined, robust sort of thing. It’s The Crying you try a bit of everything. I was hard. I find drama much easier. It’s always a actually a development of the doing keyboards, doing arrange- problem with comedy. I’ve seen movies theme of the movie; musically Game, Dudley ments for people, then I wrote a where the music absolutely ruins the come- you just change a few notes and few commercials, and I wrote dy, and I’ve seen movies where the music so hypothetically you’ve got a devel- has claimed documentary soundtracks, and I enhances things, and you can’t write any opment.” realized that was what I really rulebook about why it should be so.” Dudley notes that the last an unusual liked doing. I think the marriage When asked about what appears to be a independent film she scored that of music and images is a very current “British invasion” of film composers approached the success of The film niche interesting one and I think it’s a with the likes of Ed Shearmur, Nick Full Monty also hinged on full very 20th century art. We’re still Glennie-Smith, Stephen Endelman and oth- frontal male nudity: The Crying Game. developing it; it changes all the time, the ers, she insists that the situation is nothing “This seems to be a in my career!” theories and practice of film music scoring. new. “This has been for a while: John Barry, she admits. It’s endlessly fascinating.” , George Fenton. In England, Dudley’s next project is a film for New at least for me, once you start working you Line Cinema called American History X, the Not Going to Disneyland do a bit of everything. That’s so valuable feature debut of British television director One thing that’s less fascinating to the com- because I can turn my hand quite confident- Tony Kay. “He’s really the top commercial poser is the typical Tinseltown blockbuster ly to so many different genres, from jazz to director in Britain; he’s the man,” Dudley film, the type of assignment she’s avoided. rock to classical. And I’m not just dabbling explains. “He made the famous Volvo “I don’t want to become part of the in them; I do feel that I have experience of Twister ad. This is a challenging, tough Hollywood conveyer belt,” she insists. “I all of them.” story about racism in contemporary want to retain some individualism, if that’s While the Full Monty album only has a America. Tony’s given me such great ideas possible. I want to do interesting pictures, few brief snippets of Dudley’s score, its suc- for this score, I can’t wait to start.” and Europe does make interesting pictures. cess has convinced its makers to do a second While Dudley has been known previously That’s not to say that America doesn’t volume which will incorporate the remain- for her work with Art of Noise, her musical either. In America you can do any sort of pic- ing sections of Dudley’s music, so listeners training is more traditional. “I studied at ture. It’s easy to get typecast and that’s one can really experience the full Monty this the Royal College of Music, although I didn’t reason I’m very glad to be doing American time around. FSM

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J UNE 1998 18 Film Score Monthly SCL Conference 1998 WRESTLING WITH THE INDUSTRY Report by Lukas Kendall

Music professionals

he Hollywood Reporter and the gather to swap stories, was the drummer for the Police) and actor. TSociety of Composers and Lyricists held They thought it was pretty cool, because their third annual Film & TV Music compare notes, and get advice studio people were afraid of them. Copeland Conference on Saturday, March 28, 1998, at discussed his personal odyssey from drum- the Director’s Guild building in West mer to composer, and how he went through Hollywood. The full-day event was titled on the way the movie music a period when he didn’t want to write any- “The State of the Art,” and the overwhelm- thing with percussion. He enjoys his new ing judgment on that state was that it is not business works (or doesn’t) profession and said that people should real- good. The day’s panels enlightened atten- ize, “Commercial art is definitely more dees as to why, and put forth varying philoso- demanding than art with a capital ‘A’.” phies of selling out, buying in, getting lucky, in Hollywood today Berg hired Copeland because he wanted and making a living as a composer. someone who could be far-out and quirky, Opening remarks were by Hollywood hours later, watched the movie, and then but also a professional—he mentioned how Reporter publisher Robert J. Dowling, who spotted the film with Shyer on a plane trip he had one “IRA-type” musician come over talked about his company’s success in bring- to New York. He recorded 13 days later. to his house for five hours smoking ciga- ing information to readers, and SCL presi- Both Silvestri and Shyer agreed that play- rettes, screaming about how great a score he dent Jay Chattaway, who introduced music ing “funny” music to try to make a scene would write, and “it kind of scared me.” as a difficult topic in need of serious discus- funny was “cinematic suicide.” Copeland said that he has worked for both sion. Then came the morning presentations: Silvestri was asked what he thought “types” of directors: one who quietly says two composer-director teams as interviewed about the success of Titanic (a common for each previewed cue either “That’s very by Ray Bennett, editor of The Hollywood topic all day) and applauded the way it has nice” or “Maybe we won’t have music in this Reporter’s bimonthly film and TV music edi- raised awareness of film scoring; he also scene”; and one who tries a million things— tions. These were and director expressed his appreciation for composers Berg fell into the later category. Eventually Charles Shyer, and Stewart Copeland and like John Williams and Jerry Goldsmith on Very Bad Things they used a type of actor-turned-director Peter Berg. who have enriched the art form. Shyer was Cuban-percussion approach, and an original a frank speaker who said two inadvertently gospel song at the end, for the twisted tale of A Model Composer controversial things: One was how he hates people who destroy each other’s lives during Anybody interested in becoming a film com- it when he is pressured into letting a com- a trip to Vegas. poser would do well to emulate Alan poser write an original song for his film (“I Silvestri, in that he is a warm, entertaining mean, if you’re Gershwin—fine—other- lthough Berg seemed to be the person. Silvestri spoke of his place as a wise...”)—he said this to an auditorium of stereotypical “I have no idea what member of the filmmaking team, and of the frustrated songwriters. The other was when I’m doing, but I want to mess with importance of communication above all else. he mentioned how Silvestri was unavailable the music” filmmaker, Copeland (He tells stories in a funny, engaging way, for I Love Trouble, and although the music stressed: “The director who makes like Adam Carolla from MTV’s Loveline by David Newman ended up fine, he did yourA life difficult is probably the director without any of the nastiness.) He discussed have to throw out a score by an older com- who makes a better movie.” He, too, was some of his techniques of working with poser who was reluctant to include him in cognizant of his role in the filmmaking directors: making them feel comfortable, any part of the creative process. process, and has achieved success due to his giving them options (while efficiently get- Unbeknownst to most of the audience, this formidable powers of communication. Of ting to their concerns and desires), and was Elmer Bernstein, who later gave the Titanic, Copeland said in a “Let’s face it” being a part of the solution and not part of take-no-prisoners keynote address. way that the movie was temped with Enya the problem. Stewart Copeland and Peter Berg were and he assumes that director Cameron Silvestri and Shyer first worked togeth- also lively speakers, relating their collabora- instructed Horner to use that style. er on Father of the Bride (their current tion on Berg’s low-budget black comedy, The next panel was hypnotizing: a mock- project is a remake of The Parent Trap), Very Bad Things. The first question was business negotiation moderated by attorney and they ran through that film’s insane about how they find it to work as a compos- Steve Winogradsky. The players were Scott scoring schedule: Silvestri was called out of er and director, respectively, when they Holzman, from Disney’s legal department; the blue, flew down to Los Angeles two come from a position of rock star (Copeland Dawn Solér, head of music at PolyGram

Film Score Monthly 19 J UNE 1998 SCL Conference Report

Filmed Entertainment; Robert Knight, VP to meet Elmer Bernstein’s bastard son.” five inches. He started his speech by saying at Music Sales West; and John Tempereau, From then on Lionel referred to Charlie as that it’s not a lot of fun to grow old, but agent at Film Music Associates. They “Elmer’s bastard,” or simply “bastard.” “One of the great things about it is that you respectively played the parts of a generic The other story was how young Charlie get to tell the truth—you don’t have to lie studio attorney, studio music head, publish- called Elmer out of the blue one day (“This anymore.” After this came a passionate er and agent in a scenario concocted by was way before answering machines; I indictment of everything related to the mak- Winogradsky: the film company has a low- thought his butler or someone would pick ing of film music today. “Music is art,” he budget movie with no distribution and has up!”) and shyly asked if he would meet with said, “but everything about our business has to get a composer right away—cheap—all a student group of his to discuss music. He become a numbers game.” He said that the the while keeping happy the music publish- feared the worst, but Elmer was immediate- first step to combating this is to “drop er who has advanced a significant amount ly receptive. Since that time, the younger denial,” because composers are complicit in of money. Bernstein noted, Elmer has always been the the “conspiracy” of ruining film music: “We first to donate his time and effort to the let it happen because we need the work.” or over an hour, the five went composers’ community. through all the posturing and hag- Elmer took the podium to great applause, ernstein flashed back to 1950, gling that would have taken place and notched the microphone down about when he got his first film assign- over four to five weeks, appeasing ment based on music he had writ- each player in regards to fee, pub- ten for a radio program. “It was an lishing,F soundtrack album rights, etc. executive decision,” Bernstein Frequently they mentioned that by this or recalled:B a producer had hired the young that point, they would still be arguing over Bernstein not because of a hit movie, but who gets what percentage of the end-credit because this gentleman made the judgment song, while the composer is halfway through call that this was a good composer. Similarly, writing the score without a deal. The pro- for The Ten Commandments, Cecil B. fessionals cutely paraphrased the fibs and DeMille didn’t hire him based on the last up-talk that would go back and forth, like biblical epic he had done, but because he about the song being written—“Isn’t it liked Bernstein as a composer, “made an great? It’s so great!”—and yet their hypo- executive decision” and installed him on the thetical arguments were persuasive. It was picture. like watching a great episode of Divorce (top to bottom) Back then, Bernstein Court, where each person’s position Alan Silvestri and remembered, the person to makes perfect sense, until the next person Charles Shyer; which he always reported was talks—and although the players joked The Magnificent not a know-nothing director or about their adversarial tactics, it was clear Elmer Bernstein, studio executive, but the head their real jobs weren’t too dissimilar. Stewart Copeland of the music department, like The only disconcerting element of the and Peter Berg Alfred Newman at Fox or John mock-negotiation was how quickly and thor- Green at MGM. When oughly the actual composer and his score Bernstein did his first roman- were ignored. All of the attention was tic film in 1954, The View from Pompey’s instead on getting the hypothetical record Head at Fox, he went to Newman for advice; label to take out this or that advertisement, he wanted to ask if a theme he had written and getting fictional “Celine Dionne was too close to a Rachmaninoff piece. Warwick” to record an end-title song (dis- Newman proceeded to say it wasn’t, and placing the actual composer of the movie at gave him well-informed pointers on a whim)—creative only in diffusing people’s approaching the genre. That was the kind of aggressive, face-saving whims. feedback he used to get. Next was lunch. It was pretty good. What’s Wrong With the World Today? The Main Event Three contemporary practices were specifi- Immediately afterwards, conference-goers cally singled out by Bernstein: reconvened to the DGA’s large screening 1) “The idiocy of sending tapes around.” room for Elmer Bernstein’s keynote Bernstein said that tapes are rarely listened address. The 75-year-old (now 76) dean of to and are a sham (perpetrated by agents) as film scoring was introduced by SCL First a way of promoting a composer. “Personal Vice President Charles Bernstein, who told connection is where it happens,” he said, two stories: One was about the time Charlie pushing for composers to get out there and was introduced to the late , interact with filmmakers. He ridiculed the then head of music at Fox. Lionel, who was idea, for example, of sending out a tape of known for his salty behavior, asked if he was one’s horror music to try to get a new hor- related to Elmer. (He’s not.) “But you kind ror film; “A score to a film is the score to a of look like Elmer,” Newman insisted. “No, particular film—that’s when it exists.” we’re not related.” At which point Lionel Music on a demo is not something that mat- called to his secretary and said, “I want you ters—“What exists is you as a composer.”

J UNE 1998 20 Film Score Monthly (left to right) Robert Knight, Scott Hotzman, Dawn Solér, Steven Winogradsky esq. , and John Tempereau; Robert J. Dowling, Elmer Bernstein, and Jay Chattaway 2) “The idea of demonstrating what you music—any music—to picture. do.” The composer rattled off his most The source pieces ranged from famous scores: The Ten Commandments, added, “is what we are getting pretty close jazz to classical, and the scoring from ethnic Walk on the Wild Side, The Man with the to: a whimper. We need to go out with a to large-orchestra to synthesized. One music Golden Arm, The Magnificent Seven, The bang!” Survey says: audience applause. editor had used a high-profile (and expen- Great Escape, Ghostbusters, The Grifters, Next came a video presentation compiled sive) song to track each scene. The resultant The Age of Innocence. For all of these, he by The Today Show’s Ric Romo. Romo has discussion showed the plethora of choices to said, “I didn’t play anything more than a championed film music over the years, and be made in scoring any scene: from where it theme” prior to recording. According to this montage showcased his best segments: hits, to what it hits, to all of the things it can Bernstein, “Music is a act. You need Jerry Goldsmith on The River Wild, Elmer convey and not convey. Predictably, space to create it.” He demeaned the idea of Bernstein on Cape Fear and The Age of Karpman’s final score cues were the most reporting back every few days with new cues Innocence, on David Lean, polished and “correct,” but the scenes overall for approval: “Learning to please a person in Marvin Hamlisch on The Way We Were, were short and perhaps too intimate for the three days—that’s not composing. That’s John Barry on Dances with Wolves, Henry purposes of this discussion. improvising. That’s not good music, and Mancini on songwriting, and James Horner that’s not good drama.” He stressed the need on Titanic. (Unfortunately, this is also the ppropriately, the panel and day con- for communication, not accepting dictation. kind of brilliant and up-close program which cluded with Dan Carlin stating the 3) “The temp score is a fantasy.” would cost a fortune, due to film clips and case for a composers union—a nego- Bernstein won’t even watch a film with tem- permissions, to release on video.) tiating body that could ensure com- porary music, but says that the temp score The final panel of the day was about the posers privileges similar to those is injurious to a filmmaker, who may fall in actual application of music to image. Several Areceived by writers and directors. love with something that “does not exist.” music editors were asked to cut existing Composers had had a guild but it had been He illustrated his point by suggesting this music to the same two scenes from a recent dissolved in the late 1970s. Today, they are lunacy: “Let’s say, ‘We’re going to preview cable movie (the SCL had considered asking battered by time pressures, and the fact that As Good as It Gets without Jack composers to write original music, but composers are forced to underbid one anoth- Nicholson—we’ll use a temp actor.’” thought that might make for too sensitive a er in the constant battle for work. discussion). The program in question was Overall, the day was not depressing, but it ernstein offered a solution, because Labor of Love, which later aired on Lifetime did chart different paths of coping with the many films do need to be test- on May 4; executive producer Ken Raskoff fact that most films today stink and nobody screened with some sort of tempo- and composer Laura Karpman were on cares about the music. Much of the advice, rary soundtrack. He recently spot- hand to discuss their final work. Music edi- in retrospect, was contradictory: Alan ted his next film, The Deep End of tors J.J. George (Segue Music), Bob Beecher Silvestri says he gets nothing out of reading Bthe Ocean starring Michelle Pfeiffer, in New (Click Track, Inc.), Virginia Ellsworth (free- a script and needs to see the actual film to York. For several crucial scenes, the director lance) and Joe E. Rand (freelance, but start his work; Stewart Copeland enjoys expressed concern that he couldn’t think of unable to attend) each provided temp scores being involved as early as possible. Copeland any temp music that would fit. Bernstein using different prospective budgets. lauded the process of demonstrating cues said, don’t worry, that’s where I come in. He Composer and Segue Music’s ahead of time to get changes out of the way also said he would mock up temporary Dan Carlin offered words of wisdom while prior to recording, while Silvestri at an ear- music on synthesizer, so that he and the Jay Chattaway moderated. lier event had said they were the kiss of the director could collaboratively come to an Labor of Love is a story of a woman and a death—that once you start demoing cues, understanding of their picture, while pro- gay man who decide to conceive a child you might be fired solely on the basis of a viding a soundtrack for the test screenings. amidst other interpersonal relationships. director not liking your unfinished ideas. “That’s the answer to the temp score,” he Although it was produced on a low budget, And Bernstein trashed the notion of temp said—he had earlier done the same thing Raskoff and Karpman were adamant that it tracks and previewing any music for a film- with Martin Scorsese on The Age of wasn’t the usual “They stole my baby” tele- maker, but offered the idea of composers Innocence, although with a small Irish feature and were proud of its daring subject writing temporary music ahead of time. orchestra rather than electronics. matter. Each selected scene was short and Meanwhile, dozens of composers, some Bernstein concluded his keynote address had to convey a variety of character clues; to more qualified than others, studied the pro- with the words of T.S. Eliot: “This is the complicate matters, each had to start with ceedings and tried to figure out a way they way the world ends: not with a bang, but source music and segue to score. The various could make their mark. with a whimper.” This, the composer temp dubs showed the power of setting FSM

Film Score Monthly 21 J UNE 1998 f King Kong represents the highest artistic The Best of Godzilla 1954-1975 ★★★★ ambitions a giant monster movie can have, AKIRA IFUKUBE, Godzilla is the guilty pleasure that can be MASARU SATOH, VARIOUS appreciated by anyone who was ever a six-year- GNP/Crescendo 8055 • 43 tracks - 78:44 old scattering his Lego buildings with the swipe ike many projects that eventually turn into juvenile of a hand. The Godzilla saga has had an endur- garbage, Godzilla started off with lofty artistic pre- ing cultural significance to the inhabitants of Ltensions. The 1954 Godzilla: King of the Monsters IJapan, engendered by lifetimes of vulnerability to the was an attempt to capitalize on the success of Ray vagaries of the stormy Pacific, earthquakes, and the Harryhausen’s The Beast from 20,000 Fathoms, but it atomic attacks on Hiroshima and Nagasaki... but to us was packaged and designed by director Ishiro Honda (a Americans it’s just fun watching a guy in a rubber mon- colleague of Akira Kurosawa, no less) as an allegory ster-suit stomp through gigantic model buildings we about the then only-a-decade-old bombing of Hiroshima could never afford. and Nagasaki, with grim black-and-white sequences of While Godzilla has become almost as much a part of Tokyo citizens succumbing to radiation sickness pro- American popular culture as Japanese, the merchandis- duced by the atomic monster. The American Beast from ing of the phenomenon has largely been in Japanese 20,000 Fathoms featured the same gimmick, but there KING of the RUBBER MONSTERS By Jeff Bond hands, apart from a few toys, model kits, and a comic was something far more sobering seeing this sci-fi dis- book or two. Music from the series has been an exclusive ease visited on a populace which had really suffered from province of the Far East, with imported LPs and CDs the effects of a nuclear bomb. fetching high prices on the American market. The recent Akira Ifukube’s seminal score treated the devastation series of Japanese-made Godzilla soundtrack albums with complete sobriety. The “Godzilla Comes Ashore” have been well-produced and comprehensive, but cue opens with incredibly dark low piano chords, rum- they’re also expensive, hard-to-find, and have booklets bling cymbals and diabolical, grunting woodwinds—this in Japanese. This is a particular problem on compila- is terrifying stuff. Ifukube’s relentless march for the tions, where an encyclopedic memory would be neces- monster’s destructive stomp through Tokyo later sary to identify individual cues. became a heroic anthem for the Japanese military’s Finally, an American company has begun preserving counterattack on the creature, and the theme in turn the great Godzilla legacy of the past. GNP/Crescendo’s found subsequent use as a heroic theme for Godzilla The Best of Godzilla: 1954-1975 compiles the best himself as he metamorphosed from unstoppable menace musical moments of the first Godzilla series, from to crusading good guy in the later films. The choral Akira Ifukube’s ritualistically sober, brooding scores to music Ifukube wrote for the end of the movie, as a sci- the more action-oriented efforts of Masaru Satoh and, entist gives his life to destroy the reptilian menace, is a for pure, hilarious camp, the goofy pop-flavored work piece of gorgeous melancholia. Ifukube continued this of Riichiroh Manabe. The Best of Godzilla: 1984-1995 mythical approach throughout his work for the series, tackles the revived Godzilla that began with Godzilla lending a tragic grandeur to silly rubber monsters. 1985 (aka Return of Godzilla) and charted a more seri- The little-seen was a second ous and ambitious path for the towering lizard, with black-and-white offering that brought a new Godzilla to Ifukube returning after the first two movies featured life, battling the prickly, porcupine-like Anguiras before more “American”-styled scores by Reijiroh Koroku and getting drummed out of Japan by the military once Kohichi Sugiyama (with the penultimate, Holst- again. Masaru Satoh took up the composing reigns, and inspired effort on Godzilla vs. SpaceGodzilla penned his title music is a piece of bouncing, rhythmic material, by Takayuki Hattori). With a newly-recorded Godzilla more action-oriented and “standard” than Ifukube’s, collection from Varèse Sarabande and a mammoth despite some interesting syncopation. American Godzilla movie arriving from Dean Devlin Ifukube returned for King Kong vs. Godzilla, a film and Roland Emmerich, now’s as good a time as any to that was tailor-made for the American market. But look back at almost 45 years of city-stomping shenani- this resulted in a great deal of tampering with the film gans from Japan’s most famous citizen: and its score, including inserting sequences with a CO,-EIZO COPYRIGHT © BY ARTWORK GODZILLA LTD.

J UNE 1998 22 Film Score Monthly bland American news commentator (he’s no Raymond ture, who emerged from an exploding meteor in one of This Burr!) and replacing some of Ifukube’s themes with the most impressive entrances in Godzilla film history. library music from the distributor, Universal (result- For this epic, Ifukube introduced his signature monster ing in a sequence in which Godzilla emerges from battle music. The slowly ascending Godzilla theme series underground to the tune of the stinger music from played against a shrill, four-note brass fanfare and vari- Creature from the Black Lagoon). Ifukube’s original ations over cymbal brushes for Ghidorah, a continuation title theme was an urgent native chant from Kong’s of both the Godzilla vs. title music and the scores island, excitingly reproduced here, although it simply march from the original Godzilla. fades out after a couple of minutes. Ifukube introduced By 1965, the series took a turn toward complete juve- one of his thrilling, indelible marches in “Planning nilia with Godzilla vs. Astro Monster (known as Monster run the King Kong’s Transport,” which was later expanded Zero in the States). Essentially a replay of Ghidorah the upon as the battle music for . Three Headed Monster, this painful exercise in camp fea- One of the highlights of the album is “Mothra’s Song,” tured a depressed-looking Nick Adams battling pin- gamut with music by Yuji Koseki and lyrics by (inhale here) headed aliens who lure our heroic trio of Earth monsters , Shinichi Sekizawa, and Ishiro to their barren planetoid under the pretense of eradicat- Honda. As performed by the diminutive “Peanuts,” this ing the evil Ghidorah (after defeating the triple-headed from

ritualistically

sober and

brooding,

to action-

oriented

and

finally,

goofy, is a dreamy Polynesian-style ballad that the miniature fiend, Godzilla executes a fey little Cossack dance...). It’s girls sing to call their giant moth-like protector from its really just a ruse to capture the Earth monsters and pop- island home. Who doesn’t remember the great send all four giant creatures in to defeat our heroic “Mosuraaaa ya!” refrain from this baby? South Park Earth military—those damned, dirty aliens! Ifukube presented an inspired take-off on this tune in its “Mega- produced an exciting monster battle march based on the flavored Barbra Streisand” episode this spring, with a Godzilla- military march from the original Godzilla film and sized Streisand ravaging the countryside to the tune of a bought this turkey a lot more dignity than it deserves. Japanese-styled vocal performance of “Barbaraaaaa ya!” The trend toward juvenile goofiness increased with camp Humba humba! 1967’s Son of Godzilla. At this stage in his development, Godzilla vs. Mothra was the last wholly serious entry Godzilla was essentially a Muppet, and in fact had begun in the series, with a still-evil Godzilla tangling with the to develop a startling resemblance to the Cookie somewhat less-than-threatening giant moth and its Monster. Eschewing the super-serious anthems of resourceful twin larvae. Ifukube’s title music opens with Ifukube, went with Godzilla Raids heavy, brushed piano string effects and a classic, rum- Again’s Masaru Satoh. The result was the first pop- bling monster motif followed by a broad fanfare that influenced Godzilla score, and it’s an absolute scream. immediately establishes the film’s serious tone. “Sacred Satoh’s bustling, percussive opening music has a hilari- Springs” is a mournful death song for Mothra followed ously urban quality to it, as if the bizarre goings-on on by a moving string elegy... yes, this is music for giant Monster Island were just business as usual for the Big G. rubber monsters! It conjures up images of an energetic City of the The Godzilla series reached its zenith with Ghidorah Monsters, with Godzilla hustling off to work in a busi- the Three Headed Monster, which teamed the Big G with ness suit with a 150-foot briefcase. The “Godzilla vs. and Mothra against the three-headed title crea- ” fight music is totally swingin’—Elvis could

Film Score Monthly 23 J UNE 1998 perform to this stuff! Satoh’s finale, however, is a placid, monster vis à vis the diminutive Minya made this thoughtful ending of flute and trumpet solos over a sequence distinctly harrowing from my child’s-eye view dirge-like rhythm, giving way to big, lyrical strings and in the early ‘70s. a brass finish. It’s a reflective, even vaguely remorseful 1970 saw what was probably the kitsch height of the finish... hey, even the denizens of Monster Island deserve series with the ecologically correct Godzilla vs. a little dignity. (The Smog Monster). Riichiroh Manabe’s theme for 1969’s was the final hurrah for Godzilla was a ludicrous wah-wah slide trombone effect the series before a recession forced the series’ descent into and a battle march that sounds like something that zero-budget territory. Imagine one of those giant Agatha Christie-size casts strung along the bottom of an interna- tional movie epic poster and you get the idea. Godzilla! Rodan! Mothra! Ghidorah! ! Baragon! Gorosaurus! ! Others you don’t care about and can’t pronounce! Ifukube returned to the series once again, introducing his theme with mysterioso low flutes and a grim march marked by brass trills. The film’s title credits featured a great syncopated march à la The Mysterians, battle music that figures heavily in the Earth people’s final confrontation with a flying monster that turns out to be an alien flying saucer. For the film’s set piece of a world attack by monsters on all major Earth cities, Ifukube rein- troduced his “Ghidorah” march fanfare, while the Earth people’s attack on the alien stronghold that controls the giant monsters in “Destroying Remote Control” features rapid- fire, staccato playing that might be an inspiration for

would have been written for the Fighting Irish in the ‘40s. Godzilla vs. received an important-sounding march by Ifukube, and why not? After all, this is the movie in which our gar- gantuan hero finally speaks! G vs. Gigan marked a new low for the series, with special effects that often seemed to consist of teddy- bear-sized monster dolls being some of Danny Elfman’s flown around on strings. But at Portrait of a Young Pee Wee’s Big Adventure. least one point in the proceedings, Amphibian (from left Ifukube produced anoth- Godzilla bellows out the battle cry, to right) er mournful, dirge-like “Come on, Anguiras!” as he coach- Godzilla (1954), ending as the creatures es his spiky partner-in-mayhem to King Kong vs. are banished back to old join him in the fight against buzz- Godzilla (1962), Monster Island for a life saw-stomached Gigan and a pallid Godzilla vs. The Sea of monster toil and version of Ghidorah. Ifukube’s Monster (1965) ennui. main title repeat is actually more All Monsters Attack, exciting, with busy driving known in America as rhythms throughout, although on Godzilla’s Revenge, the U.S. CD it’s marked by anoth- appeared to be Toho’s revenge on the viewing audience er fade-out. Crescendo also includes a pop Godzilla as the story revolved around a cute, fat kid who imagines March that was apparently recorded in the ‘70s in that he’s getting advice from Godzilla’s offspring Minya Japan. A little history on this would be nice—did about fending off the neighborhood bully. Kunio Ifukube have any involvement? Myauchi’s theme for the pathetic child protagonist was For the ultra-silly Godzilla vs. , Manabe traditional comic music, although his pop-flavored mon- returned, and his main title is thoroughly pop-oriented, ster fight music, with lots of electric guitars, brass and with a lyrical cello and low brass theme later developed rhythm section, was strangely effective bully music. into the Jet Jaguar song. There’s more of Manabe’s Something about the imposing height of the bullying ridiculous Godzilla theme (although it’s probably more

J UNE 1998 24 Film Score Monthly appropriate for the Barney-like early ‘70s Godzilla than the sequence continues, Koroku balances the strident Ifukube’s serious approach), while “Godzilla on Monster Godzilla threat stings and sneaking-around atmospheric Island” is positively beatnik, and evokes images of the material against the overheated fanfare. Big G scoring some dope. Koroku’s “Japanese Army March” likewise shows him to Satoh returned one last time for Godzilla vs. be no Ifukube when it comes to rousing military fan- , bringing an offbeat big band/swing fares: this is shrill, silly stuff. Koroku takes a rather sound to the “Godzilla vs. Anguiras” cue, while unexpected romantic turn in “Godzilla’s Exit” with an “Miyarabi’s Prayer” essayed a low-key pop vocal sound. almost Barryesque, silky elegiac theme for strings and By the now-fully-bankrupt aesthetic standards of the cocktail-esque piano filigree. “Ending” Godzilla series, Terror of MechaGodzilla was actually a continues the trend with some swirling pretty good movie! There was excellent direction of the string and piano bathos more befitting a monster-suit special effects sequences, with Ifukube’s bodice-ripping romance picture than a music selling the retro, serious style. Ifukube returned giant monster epic. to many of his classic themes from the first group of movies to end the first series of Godzilla films on a rel- 989’s Godzilla vs. featured atively noble note. Particularly impressive is the return a bizarre plot (concocted by a of the heroic Godzilla march, utilized as Godzilla makes 1Japanese dentist) that involved a an effective surprise entrance during a destructive genetic research scientist grafting dor- rampage by the fin-headed Titanosaurus. Ifukube’s mant Godzilla DNA onto that of a rose theme for the latter monster was sinuous and deeply (and later that of the scientist’s late foreboding, somehow lending a sense of genuine men- daughter): material which eventually ace to this silly-looking creature. grows into a gigantic, mutated plant Separated at Mark Banning’s artwork on the Crescendo CD cap- monster that was a cross between a crocodile and a Birth? The disco- tures the almost drug-crazed look of the Godzilla films, Venus Flytrap. Kohichi Sugiyama’s score is somewhat era Godzilla and bursting with hideous colors and outlandish designs. spottily sampled here: His “Scramble March” opens with Sesame Street’s Particularly evocative is the anamorphically squeezed tinny brass and flute, with a meandering flute and wood- Cookie Monster shot of Godzilla on the CD itself, which recaptures that wind interval leading into another giddy moment in some of the later movies where the unmemorable march alternating brass green giant appears over the opening credits of the and strings. This comes off like a bad imi- film, whose widescreen images were inevitably tation of John Williams, with some “squeezed” anamorphically to fit the proportions of the swirling, back-and-forth flute glissandos television screen. Hell, I even enjoyed Neil Norman’s that sound like something out of George pop take-off of the Godzilla march. The GNP crew also Clinton’s Austin Powers action music. manages to squeeze in most of the major monster “Bio Wars” is the joker in this deck: a sound effects, including Godzilla’s patented train- lengthy five-minute disco cue that has wreck roar, Rodan’s pterodactyl chirp, Mothra’s high- very little to do with the score. “Ending” pitched squeaks, the grunts of the stiff-faced Japanese is a reflective take on the film’s G-Force Kong, and the electric organ cries of the three-headed march (think Ben-Hur) with lots of Ghidorah. There’s even one of those phonetic Japanese strings, eventually taking off with more panic cries of “It’s Godzilla!” Korngoldian brass effects and a plenty of ebullience. What’s missing is the scary Biollante battle The Best of Godzilla 1985-1995 ★★★1/2 music, which would have made a far more desirable AKIRA IFUKUBE, VARIOUS album addition than the cheesy “Bio Wars” mix. GNP/Crescendo 8056 • 43 tracks - 78:43 Akira Ifukube finally elected to return for 1992’s fter a decade-long absence from the silver screen, Godzilla vs. , easily the cleverest entry in Godzilla returned to stomp again in The Return of the series, with a time-travel plot that addresses Japan’s AGodzilla (retitled Godzilla ‘85 in America), economic dominance and brought accusations of anti- launching the second wave of Godzilla films known as American sentiments against the filmmakers, who the “Heisei” series. The 1984 film was configured as a depicted a saurian pre-Godzilla stomping on American sequel to the dark original Gojira of 1954, ignoring the soldiers in defense of the Japanese in WWII. “Main increasingly juvenile outings of the ‘60s and ‘70s and Title/UFO Invasion” features a typically menacing reinventing Godzilla as a more detailed and threatening Ifukube monster-fanfare that leads into a tremendous, monster. Reportedly Akira Ifukube balked at returning pulsating action cue before a second throbbing monster to score the adventures of this bigger, badder Godzilla, fanfare enters over a heavy percussion beat and trem- dismissing the potential assignment by declaring that he bling strings. “King Ghidorah Attacks Fukuoka” replays doesn’t “write music for 300-foot monsters” (Ifukube’s Ifukube’s Monster Zero march with some fascinating, Godzilla was a more reasonable 164-feet in height). glassy percussive effects as the latest incarnation of In Ifukube’s absence, composer Reijiroh Koroku took Toho’s golden three-headed dragon attacks Japan. “Get a more melodramatic, serious approach to the monster King Ghidorah” features a dynamic take on Ifukube’s in his title music, with an agitated four-note stinger 1958 march from The Mysterians, this time gussied up motif for Godzilla and a less-than-subtle Jaws-like with frenetic flute trills. approach in its pulsing rhythms. In “Take Godzilla vs. Mothra was an elaborate remake of one of Shelter/Godzilla vs. Super X” Koroku opens with an the best of the early Godzilla films (titled Godzilla vs. almost comical superheroic march for the Super X, a fly- The Thing in the U.S.): it features Godzilla in combat ing high-tech tank designed to destroy the monster. As with a gigantic but graceful moth and its caterpillar off-

Film Score Monthly 25 J UNE 1998 spring, and eventually a demonic version of the two in rolling, gentle rhythm... this sounds like it would make a the form of the spiny, mutating creature Battra. nice Barry Manilow song. Ifukube’s opening is one of his most impressive, with the ascending Godzilla theme over flute and woodwind trills very radioactive entity has its half-life, and and trilling, dissonant brass, and Masaru Satoh’s Mothra Godzilla reached the end of his in 1995’s Godzilla fanfare emerging from an overpowering wall of sound. Evs. Destroyah, in which the jumbo lizard finally suc- “Mahara Mothra” plays out the Mothra song in repose, cumbs to his own out-of-control radioactive heart, melt- while “Mesa March” is a terrific and moving procession- ing down before the eyes of an ambivalent Japanese cit- al for the high-tech countermeasures used against izenry while under attack from mutant crustaceans cre- Godzilla—some of Ifukube’s best syncopated rhythms ated by the same Oxygen Destroyer that disintegrated are featured in a the giant beast in the original 1954 Godzilla, King of the march that owes less Monsters. “Main Title/Hong Kong’s Destruction” is a to its predecessors in heavy version of the ascending Godzilla theme for low the composer’s oeuvre brass over pounding drums and vibrating percussive than some of the other effects that underscore Godzilla’s out-of-control radia- ‘90s Godzilla material. tion; serial-like brass chord progressions with interven- “Rolling Title Ending” ing drum and brass hits underscore his opening attack is a moving take on on the Chinese mainland. In “Attack of Super X III” Mothra’s theme for Ifukube launches a sprightly, Prokofiev-like march as G- orchestra and choir Force attacks the overheated Godzilla. “Mesa Tank that is truly gorgeous, Super Freeze Attack” (you’ve just gotta love that title) is demonstrating once another take on the “Mesa March” from Godzilla vs. again the mythic beauty that Ifukube brings to these Mothra as G-Force’s flying tank attempts to freeze creatures. The peculiar lyricism of the Japanese pic- Godzilla before he reaches nuclear meltdown. tures is perfectly captured by “Mothra’s Song,” a pop In “Requiem,” scraped piano strings introduce a brief take on the familiar melody which is always warbled by trumpet solo before Ifukube scores the stunning, molten the giant moth’s tiny twin female accessories. Godzilla death of Godzilla with a plaintive rendition of the vs. Mothra grinds to a halt while “Cosmos” belts out this Godzilla march theme, a solo soprano vocal backed by Will happenin’ rendition of the theme, something American choir and a minor key variation of the four-note monster audiences would never sit still for... but somehow in this attack theme first introduced in Ghidorah the Three movie it’s pretty charming. Headed Monster. Ifukube scored an end-title reel of David Ifukube returned for 1993’s Godzilla vs. highlights from the previous Godzilla adventures with MechaGodzilla II, along with another veteran Toho an up-tempo version of the Godzilla march, contrasted artist-in-residence: Rodan. The potent “Main Title” with the King Kong vs. Godzilla opening arranged for Arnold features one of Ifukube’s most overtly oriental-sound- orchestra... a little ironic, considering that King Kong vs. ing themes for mid-range brass and low strings over Godzilla was one of the movies ignored as canon by the hammering, strident percussion, while “G-Force current “Heisei” series of films. The Crescendo album take his March #1” is a highly peppy march for G-Force’s winds up with Neil Norman’s take on the Monster Zero robotic assault on Godzilla. march... this is a little goofier than the previous album’s With Ifukube unavailable, the producers of 1994’s Godzilla march, and in early pressings it’s marred by a rightful Godzilla vs. SpaceGodzilla turned to Takayuki Hattori kind of interesting mastering screw-up (a high pitch for an approach that echoed the darker aspects of John noise permeates the track). Williams’s Star Wars scores, appropriately enough for place this movie about a threat from outer space. Hattori’s verall, the second U.S. Godzilla CD comes off as “Prologue/Main Title” features shimmering, spectral slightly less enjoyable than the first. While “spacey” strings and some drum machine effects followed OMasaru Satoh and Riichiroh Manabe provided alongside by a moody and foreboding title theme—a much more amusing alternatives to Akira Ifukube during the first adept attempt to co-opt the John Williams style than The Godzilla series, the “Heisei”-era alternate composers Return of Godzilla or Godzilla vs. Biollante managed, were too conservative and ordinary to arouse either mor- Ikufube while still paying obeisance to the rich, thematic sound of bid or comic interest, leaving Ifukube (and to a lesser Ifukube. “Bass Island” takes a John Barry-like approach extent Takayuki Hattori) alone to provide a memorable to the stomping grounds of Baby Godzilla, comparable to voice for the series. The overabundance of forgettable and Barry’s scoring of the early island exploration in De music from Return of Godzilla and Godzilla vs. Biollante Laurentiis’s King Kong, leading into light jungle drums (particularly the egregious “Bio Wars”), the dearth of before an annoying fade out. “Mogera vs. SpaceGodzilla music from the great Godzilla vs. Mechagodzilla score, Hattori, #2” offers pulsating battle music somewhat in the vein of and way too many jarring fade-outs subtract from the Sugiyama’s Godzilla vs. Biollante (sadly not heard on listenability of this disc... but it’s still a fun album and this album), definitely the catchiest non-Ifukube action excellent companion piece to The Best of Godzilla: 1954- or... music of the series. “Mogera vs. SpaceGodzilla #3” takes 1974. Now the question is, will David Arnold join the a more measured heroic approach to the battle between ranks of Ifukube and Hattori... or will he be just anoth- G-Force’s flying battle robot and Godzilla, focusing on er Reijiroh Koroku? FSM the lower range of the orchestra. It’s cornball and enjoy- able, but still not up to Ifukube’s standards. “Crystal,” FSM wishes to express our gratitude to Godzilla expert Bill composed by Isao Shigetoh and arranged by Hattori, is a Craft, who graciously provided access to Godzilla movies moody, romantic elegy for strings and woodwinds with a unavailable in the U.S.

J UNE 1998 26 Film Score Monthly ruce Broughton has long Forrest Gump meets Star Trek Voyager) labored as one of the unsung gets a nice reading in the “Main Title” and heroes of film scoring. His especially “The Liftoff,” underscoring the music is sophisticated, blast-off of the Jupiter II. The spider cues painstakingly orchestrated are probably the best, but only the brief and powerful—a natural for “Spider Attack” (2:22) is on the TVT Bruce action pictures, and superior Soundtrax CD, which features 28 minutes for scoring westerns and peri- of score (recorded with the London od pieces. Yet Broughton has more often Sinfonia) and 38 minutes of techno-rock, thanB not tackled comedies in the ‘90s. including a remix of John(ny) Williams’s Broughton has moved effortlessly original third-season theme by Apollo 440. Broughton between small-scale television projects Broughton’s effort is terrific, but pretty (cutting his teeth on episodic TV scores in much buried in the film’s sound mix. the ‘70s) and theatrical blockbusters, and —Jason Comerford his three showcase adventure scores— Buyer’s Silverado, Young Sherlock Holmes and It’s Tough to Be a Bug (1998) Tombstone—are among the most treasured This is not the upcoming A Bug’s Life, from modern-day orchestral soundtracks. He’s the makers of Toy Story, but a 3-D comput- written some of his most spectacular music er-animated short featuring some of the for animation: Disney’s The Rescuers same characters, now appearing at Disney’s Guide Down Under, the first Roger Rabbit the- Animal Kingdom. atrical short and Spielberg’s Tiny Toons animated series. Krippendorf’s Tribe (1998) As with our John Williams buyers guide Jugabunda! Richard Dreyfuss reaches a 1991-98 (Vol. 3, No. 1, 2 and 4), the following 1-4 rat- new career low as an anthropologist who ings are not equivalent to our usual 1-5 fails to locate a primitive African tribe, so “Score” reviews, but evaluations of he has his well-scrubbed, lily-white family Broughton’s scores in the context of one slather themselves in mud and imperson- another: ate it for a video shoot. The trailer for this abomination blasts “We Are Family” while ●●●● A must-have. One of Broughton’s the Krippendorf clan minces around in finest that belongs in every soundtrack lis- tribal finery. Gangway for plenty of flatu- tener’s collection. lence and circumcision jokes. —Jeff Bond ●●● Highly recommended. A strong, solid score with noteworthy moments, and A Simple Wish (1997) an album out of which you’ll get a great deal A bizarre satirical children’s film about a of replay mileage. little girl who conjures up her fairy god- ●● Recommended with some reserva- mother, who turns out to be the bumbling tions. Mostly of interest to Broughton buffs. Martin Short. ● Probably not even Bruce remembers it. True Women (1997) ●●● Many of Broughton’s scores have not Intrada MAF 7077 • 25 tracks - 73:58 been released on CD. We have included True Women is one Broughton’s biggest these without ratings but with short, mock- and best accomplishments, a western ing descriptions of the movies—so that miniseries about women on the plains. It Broughton fans can be aware of everything features at least five interwoven main he’s done. themes: listen to the beautiful rendition of the “sisters” theme in “Phemie Joins Compiled by Lost in Space (1998) ●●● Sarah,” and then hear it wrapped into the TVT Soundtrax 8180 • 19 tracks - 67:59 larger main theme in the successive tracks Jason Comerford, Broughton’s most mainstream assignment (“Setting Out”). A love theme is delicately since Tombstone is alternately warm and introduced in “Bartlett’s Sonnet” and Jeff Bond and rousing. Stephen Hopkins’s film is an all- then given a rich, haunting reading in out assault on the senses, and Broughton “Bartlett Returns.” Best yet, an eerie Doug Adams spices up the adventure clumsily outlined motif for an Indian warrior named in Akiva Goldsman’s script. The noble Tarantula is introduced in “Mattie is French-horn-based main theme (kind of Returned.” The action cues don’t suffer BRUCE BROUGHTON PHOTO COPYRIGHT ©1998 EVIN GRANT, INSTITUTE BROOKS

Film Score Monthly 27 J UNE 1998 either: “Night Raid” and especially “Big the horror of my birthplace’s citizenry, this Richard Attenborough stepped into the Elm Draw” hearken to Tombstone and turned out to be completely moronic and snowboots of Edmund Gwenn in this remake Silverado. —J.C. one of the worst-reviewed movies of 1996. of the 1947 film about a little girl’s belief in —J.B. Santa Claus. Broughton’s traditional score Shadow Conspiracy (1997) ●● (briefly excerpted on the CD) plays like a Intrada MAF 7073. 13 tracks - 57:41 Carried Away (1996) ●● ◗ medley of Christmas carol riffs, throwing in All-orchestral percussion is not exactly Intrada MAF 7068. 12 tracks - 36:22 everything from ringing bells to a heavenly common today, but Broughton gave it a whirl Bruno Barreto’s film (an adaptation of a choir, as well as a choral hymn of his own in his second collaboration with George Pan Jim Harrison novella) is soft-core porn for (“Bellevue Carol”). At least the sincere senti- Cosmatos. The composer says in the liner the geriatric Midwest crowd, under the guise mentality of this remake was an improve- notes that six percussionists used 11 differ- of a period romantic drama. Broughton ment over All I Want for Christmas. —J.B. ent kinds of percussion, as well as a contra- seems unconcerned with topicality, and bass trombone and cymbalom. Consequently, adopts a lean, spare, but highly melodic Baby’s Day Out (1994) ●● Shadow Conspiracy doesn’t go for structure that lends the film an ethereal feel. Promotional CD. 16 tracks - 38:14 Broughton’s usual thematics, but for furious, Carried Away is based less on themes than Broughton subjected himself to the John full-speed-ahead brawn. There is a memo- on a North-esque repeating phrase that Hughes machine on this alleged comedy rable main theme (“To the White House”) modulates as it progresses. Especially lovely about an errant baby running amok in the supported by timpani rolls, but more promi- are “Momma,” which spotlights a solo piano Big Apple. Baby’s Day Out boasts a great nent is a shorter descending motif for French and lush low-key strings as an elegy for main lullaby-like theme, but on the whole horns (“Georgetown Pursuit,” “Hitter on the Dennis Hopper’s ailing mother, and “The has little of the ferocity and ingenuity that Roof”). “White House Chaos,” a terrific 14- Funeral,” a gorgeous, almost impressionistic earmarked Honey, I Blew Up the Kid. Of all minute track, features a couple of uncom- eight-minute track that attains symphony- the comic cues in the score, the most enter- fortably Goldsmithian licks, and the CD fea- style self-containment. —J.C. taining are “Street Crossing,” which fea- tures a few dull cues (“The Oval Office,” “A tures some deliciously wacky percussion Secured Line,” “Tracking Amanda”). Homeward Bound II: phrases, and “The Construction Site,” Intrada released the soundtrack five months Lost in San Francisco (1996) ● ◗ which boasts an amusing arrangement of before the film. —J.C. Disney 60903-7 • 11 tracks - 35:54 the Blue Danube Waltz. (Listen close for the Broughton didn’t top himself when he quote of the Imperial March in “Veeko and Infinity (1996) ●● scored the sequel to Homeward Bound; in the Elevator.”) After the film tanked, the Intrada MAF 7072. 15 tracks - 30:22 fact, he went in the other direction. “A score was pressed as a promotional CD only Broughton gave his impressionistic Homeward Bound Overture” features a list- (in a cardboard sleeve), which went for high prices in the collectors market. Folks, it’s not worth it. —J.C.

Holy Matrimony (1994) You have to respect a man who can play a benevolent, logical alien one minute, and then make fun of the Amish the next. ’s directorial career contin- ued to founder with this lame comedy about a criminal accomplice on the lam (Patricia Arquette) who gets snookered into marrying a 12-year old “Hutterite” in order to hide from the law. The Hutterites are thinly-dis- melodic experimentation a workout in less rendition of the original theme, supple- guised Amish, and Holy Matrimony is sup- Matthew Broderick’s directorial debut, mented by a saxophone solo that ushers in a posed to be a comic take on Peter Weir’s Infinity. A “Prologue” featuring solo flute, new sub-theme. The disc is uninteresting, Witness—except Nimoy seems to forget that piano, and brief trumpet triplets implies the and only picks up with “Bungled Ambush,” he’s directing a comedy. —J.B. same intimate tone as Carried Away, but which starts out with amusing harmonica Infinity doesn’t deepen and enrich as it pro- and guitar, then segues into some good chase Tombstone (1993) ●●●● gresses; most of the music stays in high material. Homeward Bound II overall lacks Intrada MAF 7038D • 18 tracks - 66:44 ranges, without really evolving its melodies. the terrific effects that Broughton conjured Jerry Goldsmith was set to score George It also offers some “dark” cues (like up for the first film, be they the intense action Pan Cosmatos’s film, but had to bow out “Typhoid?”), and even some pseudo-comic cues or the wacked-out comedic breaks. Even because of a scheduling conflict; he recom- ones (“Imaginary Roommate”). Two brief the main theme gets monotonous. —J.C. mended Broughton, and the composer came jazz cues (“1939” and “1941”) seem only to roaring back to the frontier. Listening to pad the disc’s running time past the half- JAG (1995) TV series theme. James Newton Howard’s tuneful but dry hour mark. —J.C. Broughton’s big, patriotic military theme score for the competing Wyatt Earp makes is about the only memorable element of this you realize just how full-bodied Broughton’s House Arrest (1996) military intrigue series. writing is. “The Cowboys” characterizes the Here’s a little movie that was actually film’s marauding gang of killers with effects written by a citizen of my home town, Miracle on 34th Street (1995) for cymbalom, snare drums, and low brass— Defiance, Ohio, and based on real people. To Fox 11022-2 (6:56 Broughton) when is the last time you left a western

J UNE 1998 28 Film Score Monthly score with the impression of dented metal? comedy. The soundtrack album did not fea- From Time to Time (1992) Although the softer material resonates of ture any score cuts. —D.A. A time-travel short developed for a Disney Copland via Tiomkin, the main theme is theme-park ride. much darker than Silverado. Broughton’s Off His Rockers (1992) action cues (“The O.K. Corral,” “Morgan’s A Disney animation short. Death,” “Finishing It”) have a dangerous- ly edgy, perilous combination of melody Honey, I Blew Up the Kid and malice. One brief passage even sounds (1992) ●●● ◗ like an homage to The Rite of Spring; a Intrada MAF 7030D primivistic Western score, even with some 15 tracks - 41:06 soft spots, is pretty amazing. Broughton’s fast and ferocious —J.C./Doug Adams Honey I Blew Up the Kid is the best comedy score of his career, For Love or Money (1993) ● ◗ and one of the best of the Big Screen 24515 • 14 tracks - 37:55 decade. The music catches the You’ve got to wonder what Broughton was rambunctious verve of the film thinking when he scored this watered-down with an infectious, initially sax- version of Billy Wilder’s The Apartment ophone-based main theme for Rick Moranis’s with pseudo-Mancini lounge-music. inventor-father character. There are plenty of Stay Tuned (1992) Broughton’s melodies are likable but tire swirling string passages and fast-paced wood- Morgan Creek 2959-20012-2 (3:24 Broughton) themselves out with their light-pop orches- wind breaks for the more aggressive parts of In the pantheon of great comedy directors, trations. “Mr. Ireland” has a nice rehash of the score (“Adam Gets Zapped,” ’s name does not exactly leap to the main theme, but the saxophone instru- “Macrowaved”), but on the whole it retains an the forefront. Nevertheless, the man who mentation becomes monotonous. The large air of freshness and inventiveness. There’s practically invented the steadicam foot majority of the remaining tracks feature even a nod to Copland in “Clear the Streets!” chase tried his hand at mirth, with sitcom ensemble arrangements that sometimes when the Kong-sized baby sees the famous icons John Ritter and Pam Dawber trapped expand to full orchestra. —J.C. Vegas neon cowgirl. The best thing about in a hellish TV universe. Broughton opened Honey, I Blew Up the Kid is its lovely, more with a mildly droll piece of comedy music Homeward Bound: pastoral sub-theme for the family; it’s quoted and added some theremin-like effects and The Incredible Journey (1993) ●●● in the “Main Title” and “Sneaking Out,” then an incongruously heroic brass theme for the Intrada MAF 7041D • 10 tracks - 30:30 gets wonderful major-key treatment in “Ice film’s depiction of a bizarre “TV world” For Homeward Bound, Broughton com- Cream!” and “Look at That Mother!” —J.C. located somewhere to the left of Joe Dante’s posed a rustic main theme, spiced by some “It’s a Good Life” episode of Twilight Zone: clever guitar breaks that accompanied the O Pioneers! (1992) ●● The Movie. —J.B. talking animals through their perilous Intrada MAF 7023D • 17 tracks - 43:15 cross-country trek. But the most interesting O Pioneers! features a sweeping All I Want for Christmas (1991) parts of the score don’t come from the main Americana theme (“The Land”) that is, for Curb D2-77533 (15:56 Broughton) motif: Instead, “The Cougar” forms an the most part, a variation on the settler’s Two adorable moppets plot to get the most interesting precursor to Shadow Conspiracy theme from Silverado. The themes are (presents) out of the holiday season, with a in its use of savage brass and percussion, first-rate, but start to run together, a little help from Leslie Nielsen as Santa dissonant strings, and uneasy wood- result of some surprisingly overwrought Claus. Broughton’s opening theme winds—as an action cue, it’s pretty mean. instrumentations: Broughton’s western (“Going to Macy’s”) is energetic and “Breakfasting with Bears” and “Escape effects are at full bore, with lush string rhythmically charged, with a strong brass from the Pound” feature an eccentric pas- passages, Barry-esque brass, solo trumpet presence that segues into a gentle theme sage-cum-comic-motif, two steps shy of and flute, and individual western-clichés for harp and flute. “The Snowball Play” is Broughton’s jazz-styled theme for Honey, I for guitar, tambourine, cymbalom, etc. The Broughton’s infectiously busy take on Blew Up the Kid. The main theme’s most love theme (“Carl and Alexandria”) labors “Dance of the Sugar Plumb Fairies,” while interesting variation is in the initial track, for attention underneath the more “The Christmas Gift” shifts into standard “My Name Is Chance,” with the less- grandiloquent major theme—the disc over- sentimentality with a delicate piano straightforward presentation and solo-gui- all is devoted to over-exuberant rehashes melody (later played by solo guitar) over tar support. —J.C. of the main theme. There’s little of the strings. While the romantic moments tend propulsive energy of Silverado (the closest to waft off into nothingness, Broughton So I Married an Axe Murderer O Pioneers! comes to an action cue is “The brings the movie’s slapstick comedy (1993) ●● Promise”), and also little of Broughton’s sequences far more interest and crafts- Broughton wrote an enjoyably jazz-fla- talent for thematic variation. —J.C. manship than they deserve. —J.B. vored score for this ill-fated Michael Myers vehicle which sought to set up Myers as a Capitol Critters (1992) TV series romantic lead. This gave Broughton a One of the numerous and creatively bank- The Last Halloween (1991) chance to do some beatnik jazz and rupt TV shows (anyone remember Fish A Hanna-Barbera animated holiday special. Herrmannesque riffing. Not exactly listen- Police?) intended to capitalize on the suc- ing material—which is probably why there cess of The Simpsons; this one died after a NEXT TIME: From Broughton’s TV days was never a score-only album—but it few episodes. through 1990, including Young Sherlock works well enough in Myers’s off-beat Holmes and Silverado. FSM

Film Score Monthly 29 J UNE 1998 o X-Files fans, it’s known as the Mark “mythology”:t the on-going drama revolving around aliens, black oil, killer bees, clones, nefarious old men in board rooms, and who- knows-what-else, all of which figure into a plot to overthrow humanity... or at least screw up the social lives of Special Agents Mulder and Scully. Spots This summer, The X-Files promises to clear up a few of these mysteries by moving X-Files onto the big screen. Along for the ride is the series’ composer, Mark Snow. the Snow has been with The X-Files since the beginning of the show. His increasingly clever electronic scores contain just enough apprehen- sion and self-reflexive construction to make them some of the most forward-thinking televi- sion music in recent years. Not only has he given voice to the bumps in the night, he’s established an entire language of morbid, bending strings, clattering percussion, and resonant sound design which give the show its unique musical sensibility. “At the beginning of the series, five years ago, the direction was to make it very ambient, very atmospheric,” remembers Snow. “[It was] sort of X not musical, but more sound-effect oriented; a lot of synthesizer-sustained supportive things. It’s changed a great deal in the last year to be more 0by doug adams musical. It’s amazing, some director will come over and say, ‘If I hear a synthesizer sustain, you’re fired!’ And someone [else] will say just the opposite. It depends who you’re working for and dealing with.” Fortunately, Snow learned early on that the business of film scoring requires him to be as flexible as possible. “You have to make up your own mind and understand that anything goes. I’ll be here with a director and a producer and they’ll all say the same thing when they come in: FILM CORPORATION COPYRIGHT ©1998 20TH CENTURY FOX ARTWORK

‘You know, we don’t know anything about music, X-FILES

J UNE 1998 30 Film Score Monthly but here’s our comments.’ These people talk, not from a possibilities, most episodes fall into one of two broad cat- musical point of view, but from a dramatic/emotional egories: “There are the big government conspiracy, glob- point of view, and I learn so much. I mean, this [The X- al cover-up shows—which is what the movie is. And then Files] has been spectacular for understanding how many there are what I call the ‘boutique shows’: the monster different approaches there are, and how people think and here, the crazy guy here, the deranged family here—the react to music and pictures. It’s been amazing.” individual shows, the stand-alones. Those are, in a funny According to Snow, The X-Files itself has gone way, prone to more creative music because you can have Series through quite a musical development over the years, a whole new palette every time. The big shows, the glob- requiring the composer to find new approaches week al conspiracy shows, tend to need that big, orchestral after week. “[X-Files creator] Chris Carter was really Mahler-esque quality.” composer hands on with the music at the beginning,” he recalls. “I think when they did the they tracked it with all However, it s been the conspiracy kinds of stuff, and they had music everywhere. It was shows that have become the backbone of the series. Mark Snow more of the hypnotic, repetitive, Philip Glass minimal Snow approaches them with a collection of somber, stuff, [Brian] Eno—and real stringy, supportive, atmos- dread-inducing string chords, sad piano tunes, and elec- pheric stuff. That just got to be the sound of it at the tronic samples. It’s become the signature sound of the Fights beginning. As the years went by, he [Carter] just let it go, series, and for good reason. Even when the show is deal- and anything I wanted to try or experiment with was ing with undefined plot-points (i.e. who’s good? who’s fine. He never had any problem with that. Although, bad? why is he chasing him?) the music provides a com- the Future they do come over and sit here and watch every show pulsion, and unification of mood. Interestingly, since the with picture and the music. They haven’t missed one!” movie promises to tie-up some of these loose ends, the Snow points out that these final screenings are more for direction of the music has to be somewhat different in the the benefit of the producers, so they can reflect on the while remaining true to the X-Files sound. final cut. “You know, I think I know what I’m doing “I think the now!” he laughs. movie score will The musical language Snow has developed for the reflect the most show has its roots in his for 20th century compo- recent direction sition. “That is some of my all-time favorite music. I was of the music— in New York in the ‘60s where, literally, there were two which has or three concerts every night, every day of the year— become quite a from chamber music, to orchestral, to what I used to call bit more musi- the Vaudeville school of avant garde composers. This is cal and melodic when Stockhausen came to town, and Boulez was just and, in a funny beginning. There were a lot of these concerts which were way, almost tra- sort of events with naked cellists, and people jumping ditional—in and screaming and moving around besides just playing concert with the music, and music in concert with taped electronic stuff.” electronic ambi- ent stuff,” says Snow’s background also included the composer. being a fan of the great avant-garde film scores of the “It would be ‘60s, such as Jerry Goldsmith’s Planet of the Apes. impossible to do this movie with just that minimal “When I heard that, I thought, ‘Whoa! I’m there!’... For sound-design thing. Scope-wise, there are things you him to think of that echo delay—it’s a little retro now, can’t do on a TV show. They’re doing tons of visual feature but at the time... well, I remember going to the theater effects, and things where a minimal score or ambient and, oh god! And that battery of percussion—there’s like sound would be one-dimensional.... [However], there’s ten guys at least, if not fifteen, with all that stuff. And I been a certain kind of musical language that’s taken film think someone was playing a ram’s horn.” hold on the last year or two that will be consistent with At times, Snow has even worked in snippets of well- what the score is.” known 20th century works to pay homage to his prede- The score for the feature film will depart from the adaptation cessors. A few episodes during the past seasons have fea- series—while furthering its signature—in one dramatic tured a measure here and there from Edgard Varèse’s way. “The title theme—that little whistling theme—is landmark percussion ensemble, “Ionisation.” Snow was going to be expanded upon in many of the cues, where of an oboe student and also a percussionist at the famous it’s never been used in the series. In the movie, there’s Juilliard School of Music in New York, and recalls per- going to be almost like a traditional theme-and-varia- forming the piece live. “I played one of the percussion tions-type score, where the theme comes in quite a lot. the parts for three different sizes of gongs, and a cowbell. It’s It’s easily harmonized. You’ll hear it a couple of different a spectacular piece! To hear that in person is really mem- ways: There’s a faster version, and a slower version, and orable. We played it twice and the audience just was— a re-harmonization of it. There’s no harmony in the X Files this was in —nuts for it. I had a real per- theme on the TV thing; it literally stays in A minor... sonal feeling about that.” there’s one pedal note the whole way. I suppose any six Today, Snow finds that, although The X-Files contin- notes, anyone can do anything with!” ues to provide him with a vast array of compositional Snow describes the theme’s usage in the score as

Film Score Monthly 31 J UNE 1998 Malevolent middle- aged white men, scary spaces and quasi-heroic in nature. “It’s a little bit like ‘Here Comes al sound. But as you know, there are lots of ways to make plenty of action all the Cavalry,’ when they’re saving the day. Also when strings sound anything but Romantic or traditional.” figure in The X-Files. they’re together, there’s the marvelous—well, I can’t say too much. But, there are a couple of warmer, intimate In the end, Snow has utilized a moments with them [Mulder and Scully]—it obviously full symphony orchestra—strings included—in order to never gets too intimate—where the theme gets almost a expand upon his television scores. “I think the orches- Faure Requiem style. There’s no chorus in the score, but tra’s going to do what orchestras do. And there’s going it definitely has a wonderful, almost Gothic undertone.” to be a separate electronic bank going with it. All the The Snow composes his X-Files scores at his home studio [synth] stuff is going to be pre-recorded, and then the with the aid of a Synclavier and a judicious rack of synth orchestra plays along on multi-track. Then we’re going whistling modules. His usual modus operandi is to improvise his to go mix it. That’s going to be where the real sound of cues to picture, then tweak them afterwards into an this thing is born: the combination.” theme s usage accurate representation of his vision. “What’s been so For the electronic portion of the score, Snow will be successful for me is that I have this freedom to impro- using not only prepared samples (meaning that an in the vise, and I do it pretty well. Especially when I’m alone. instrument is digitally recorded, then assigned to the dif- When someone else is in the room it really inhibits me; I ferent keys of a synthesizer), but short phrases of music score is don’t know why. There’s no music in the movie that’s a which are manipulated en masse. This way entire phras- pure improvisation from start to finish; it’s certain es can be played backwards, or can be altered in terms of quasi-heroic rhythms and feelings that come out and are very rough attack or decay, all to create a kind of otherworldly and primitive. Luckily—hopefully—I have enough sound-mass effect. “With the electronics and the extend- in nature. musical skill to take these things and wrap them up and ed orchestration, it should be pretty interesting. We’ll make music out of them.” have choices to make, too: We’re going to show up with It s a a bunch of these machines—this PCM 800 eight-track Director , who helmed digital recorder—and tons of tapes with the mock-up little bit many of the more popular X-Files episodes, has taken orchestra, the electronic stuff, and then the real orches- the reigns for the feature film, but according to Snow, tra. Then we’re going to go off to mix and combine it all. like Here Chris Carter is always around to oversee the music. “In In certain things, we’ll favor one more than the other.” a way, Chris Carter is almost the director through Rob The X-Files movie score will also mark the first time Comes the Bowman, which is great because there’s not this egoma- in the series that Snow has been able to work with a full niacal director who is throwing his weight around, at section of woodwinds. While synthesizers have become Cavalry, odds with the studio or the producers. It’s a focused pretty apt at producing low brass, percussion, and string team, starting with Chris Carter, who’s sort of the voice ensemble sounds, the woodwinds samples tend to sound when they re of everything. Everyone has to defer to him eventually.” less convincing. For this reason, Snow has never used Although Snow has a positive relationship with much woodwind writing for the series. Now that he’s saving the Bowman, he found himself up against a bit of a brick working with a live orchestra, he has directed his orches- wall when the director declared that he wasn’t wild trator (Jonathan Sacks, a veteran of Randy Newman day. about orchestral strings. “I said, ‘Well, we’re in trouble!’ and Michael Kamen scores) to extrapolate woodwind because that’s like three-quarters of an 85-piece orches- parts from his sketches and improvised sequences. “So tra. There are times in the show where I’m using [elec- when the orchestrator is doing his thing, there’s going to tronic] string sounds that tend to be very neutral, where be a whole other color in there, too.” there’s no beginning or end. But, it’s absolutely right for The chance to take the elements of the X-Files to the the scene because if it were more thematic or melodic, it next level was particularly gratifying for Snow. Not only would call too much attention to itself.” Bowman tends did it allow him to expand upon his established musical not to like such nebulous string passages, such as in the ideas, but it gave him something much more grand and beginning of Bartók’s “Music for Strings, Percussion impressive for which to compose. “There’s so much and Celeste”: “It meanders, but it goes somewhere, it activity in the movie, so much outdoors bigness,” he builds. It’s one of the greatest pieces of the 20th centu- says. “Planes, helicopters, and expanses of space—scope- ry; it’s just incredible. But, if you just take a little section wise that’s so much more than the TV show can do. Plus of it, it sort of meanders around. a really dense, complicated plot which we’re all hoping “So, he’s [Bowman] not a fan of that. He loves per- everyone who’s never seen the show before gets. That cussion, he loves sound design. But, I think he hasn’t was one of the their challenges, definitely: to make the been involved in a score that has been a live orchestra. I movie for the fans as well as the non-fans. And I think it think, in general, he equates that with a more tradition- works. It really is very clever.” FSM

J UNE 1998 32 Film Score Monthly JaY CHaTTaWAY MUSiC FOR MaNiaCS

ilm music fans prob- in the jazz field—I was producing ably think of one records for CBS. Mark wanted to thing when they have a jazz concert and use some hear Jay of our artists, so I got to meet Chattaway’s name: him. He said, “Oh, by the way, my FStar Trek. For eight years, the brother’s making this movie.” He composer has lent his talents knew I was kind of interested in almost exclusively to all three movies, and said they’re looking recent incarnations of the popu- for someone to do the music for it. lar TV series. Classifying Chattaway as “that Star Trek The Beginning of a guy,” however, sells his career Beautiful Partnership and his music short. JC: I went and saw these guys— Jay’s feature career started they were working in this small with a bang, when he scored editing room. I looked at the New York director ’s notorious 1980 film—and I was never a real aficionado of horror films, horror flick Maniac, starring Joe Spinell as serial killer that genre at all—and I couldn’t believe how graphic and Frank Zito. The film is graphic and disturbing, and gory it was, yet how enthusiastic they were about this Chattaway, utilizing a small group of players combined project. And I got to meet Bill, and I found out that Bill, with analog synthesizers, created a unique sound for in addition to being a fine director and person, is the picture. The score was released at the time of the extremely knowledgeable about film music. His collec- film on a Varèse Sarabande LP, and has now been reis- tion of film music was probably bigger than anybody’s I sued in three formats (shape CD, enhanced CD, and have ever seen. We started hanging out, and we talked, audiophile LP) by the Dutch label SouthEast. and it came time to choose a composer, and although Maniac marked the beginning of a fruitful collabo- they were looking for me to help them find somebody, I ration that also produced 1982’s rock-influenced (and said, “I’d really be interested in doing this, because I sadly unreleased) Vigilante, 1988’s tongue-in-cheek really like your energy.” , 1989’s Relentless and 1990’s Maniac Cop It was a fascinating experience. Bill would have me 2, which memorably featured “The Maniac Cop Rap,” come over to his apartment, and he would show me snip- written by Chattaway. He also worked on the classic pets of all these films he thought the music was perfect Chuck Norris hit Missing in Action (1984), and the in—the perfect marriages of music and film. A lot of 1985 Stephen King adaptation Silver Bullet. them were Morricone films: Once Upon a Time in the West. Not at all relevant to his film, but nevertheless David Friede: Maniac was William Lustig’s first films of epic proportions that he had loved the music in. movie, and it was your first movie too, so how did the two And I got such an education about where he was coming of you come to work together? from. Interestingly enough, what came up in all of them Jay Chattaway: I had met Bill through the produc- was that all these pieces of music had really strong er, Andrew Garroni. Andy’s brother Mark was a concert melodies, and they related to a character. I think that’s promoter, and I was a composer and arranger where the germ of the music from Maniac came from.

iNTERViEW BY DaVID FRiEDE, iNTRODUCTiONBYPaTRiCK RUNKLE

Film Score Monthly 33 J UNE 1998 Most people would expect violent, horrible, ugly music. the same time, you had to take it on two different tracks. DF: That’s what I liked. You seemed to approach it And so on the album, there’s a lot of stuff that’s really intellectually, scoring the trauma of Frank Zito almost left-right oriented. We played the left side on one synth, as a tragedy. and we recorded on another channel what the stuff was JC: He had a tragic life—this guy was torn inside. So I going to be on the right. There was no linking of key- tried to get some pathos for the character, and put that board or rack-mounted equipment. was the into the music, because even though Joe Spinell played principal keyboard player, and I played some of it. We him extremely well, there are many segments—you’ll had a real piano that we screwed up, called a prepared find this in all of Bill’s films—where there are these piano. We had early Moog synthesizers, and the voices thought-provoking scenes where the main character is were done on a Mellotron, which was one of the earliest spending time alone. And I think it’s designed for the sampling devices that was on strips of tape. This was audience to get into where he’s at. There’s a scene in this before they had pitch bend, so we’d alter the speed of the film where he’s walking down and he’s window shop- tape recorder. ping—looking at all these windows of all these man- A lot of the piano was done that way too: Pete would

ROM THE R E CHES TO UST L N R UT Elite, but is years ahead of the majority of F Fa R a J P ai Fa O soundtrack CD-enhancements. Two sides of Chattaway on Disc The sound quality and gory fold-out packaging are top-notch (proudly continu- highlight being “Subway Terror”—the finale ing in the “Dead Zone” tradition with Maniac (1981) ★★★★ of which is some furious synth-rock that Spinell’s eye in the center of the CD tray), SouthEast SER 289B05 (Holland) will have your feet moving.The third sec- making the disc a must-have for fans of 16 tracks • 32:45 tion is the suspense and horror passages of both the film and Jay Chattaway alike. I can (incl. CD-ROM supplement) the score; although not exactly suitable for only hope that similarly royal treatment eventeen years after its first appear- easy listening, they are interesting for their will be given to reissues of other Chattaway ance on vinyl, Jay Chattaway’s land- various synthesized and acoustic effects. scores in the future. Smark score to William Lustig’s The album is clever in its fantastic —David Friede Maniac, the most notorious and gory slash- integration of sound effects from the er film of the early ‘80s, is finally on CD, film—from Joe Spinell’s psychotic breath- Star Trek: The Next Generation ★★★1/2 courtesy of Dutch label SouthEast Records. ing over the main titles to his priceless GNP/Crescendo GNPD 8057 The score can be broken down into three soliloquy on “Inner Voices” to the perfect- 14 tracks • 48:21 major sections:The first, and best, deals ly placed shotgun-blast at the end of he long (and we mean long) delayed with the various statements of the poignant “BlastHim,” the most famous part of the Jay Chattaway TNG disc finally sees and melodic “Maniac’s Theme.”First intro- film. Tthe light of day, offering another text- duced in the main title, the standout rendi- SouthEast has issued the score in three book demonstration of the challenge Star tion of this theme different formats (the “Shape CD” humor- Trek composers face when they remold is the track “Cry ously being a cut-out of Spinell’s head); the their natural instincts to conform to the sub- for Mother,”which most recommended is the Enhanced CD. In liminal Rick Berman music aesthetic. perfectly captures addition to the excellent score, it features a Chattaway’s “Tin Man” score was a leg- the bleak, lone- fabulous CD-ROM supplement, including endary third season effort, done during the some atmosphere extensive stills, Quicktime movies, and high point of the series when composers of the film. Second sound clips from the film. It only amounts Dennis McCarthy and Ron Jones and the are the propulsive to a watered-down version of the highly rec- show’s writers were hitting their stride. action cues, the ommended special edition laserdisc from Chattaway’s score was dynamic in its action

nequins—and we even put his speech, his dialogue, on play the piano, and we had a vari-speed control on the the new soundtrack. I wanted it to be a really recorder, so if we wanted the pitch bend to go down, we’d poignant melody that kind of went back to his youth, speed up the machine. When we played it back, the voic- where he was tormented by his mother. If you remember es would go [does a vocal pitch bend]. It was archaic by the flashbacks, his mother used to put cigarettes out on today’s standards, but nevertheless, a lot of the stuff we his chest—it was horrible stuff. I wanted the music to did was very pioneering. And then we added real per- represent his childhood, so I used that kind of warped cussion, real woodwinds, and a real bass player. There music box effect, and it was a recorder that plays the wasn’t much budget to do this, but we wanted to get a melody. And to twist it a bit more, usually the second big sound and try to be unique. Some of the sounds we time through the melody, it was played by a fretless elec- got were from this guy who built this percussion instru- tric bass, that had that real bendy quality to it that made ment that he stood inside, and was surrounded by gongs it sound like it wasn’t your normal love story. It was a and tubes and stuff. He would take a string bass bow and nice melody, but the harmony parts were twisted—like play the edges of the gongs, and then we’d change the this guy was definitely twisted. We reprised this theme in speed of the tape for that too, and it would have this real many places to identify him with his pathetic past. bendy quality to it. DF: And a lot of that score is synth... Bill also knew that this was going to be one of the first JC: It was synth recorded before the advent of MIDI. If films released in surround sound, so we mixed the music you wanted to have a Moog synthesizer play two notes at with extreme separation. Since it was so electronic, you

J UNE 1998 34 Film Score Monthly could get the ping-pong effect, and a lot of the stuff was every day. I had the script, and they were also cutting actually front-to-back. There’s a cue called “A Little the film scene by scene, so it wasn’t ever finished. Now Knife Music” that kind of ramped in from the back-end they show a complete screening version of it. of the theater. It felt like it was going right through you. DF: So you were actually attached to the film before it DF: You miss a lot of that on CD, unfortunately. was locked. JC: Yeah, you don’t get that spatial thing. But there is JC: Absolutely. And they were editing it as I was hired, a laserdisc, I think, on Maniac—was it Maniac or so I would get a reel of the film to take home and start Maniac Cop? writing. I was never even asked to do a demo. Bill came DF: They have both. On the Maniac disc, Bill was talking to the sessions, and was so enthralled about the sounds. about how you used extremely high and low frequencies... This was because he didn’t temp it with anything, and JC: Right. We would have in the music this low unset- we spent an inordinate amount of time trying to com- tling tone, just to get the audience teased. Then when the municate as composer and director about other films really bad stuff happened, this big, high frequency that he thought were terrific. He would always go back stinger would come in, along with window-breaking to the Morricone scores, even the lesser Morricone films sounds and all kinds of stuff. To see this film with an that I didn’t even know existed. He had this incredible audience, it was fascinating to watch people jump out of knowledge of what worked for him. I remember for a their skins. Their dates would get all nervous, and it was subsequent film—Vigilante—we went to see Escape a great experience—I had a lot of fun doing this. Bill from New York when it opened, the Carpenter film. We never really told me what he wanted the music to be like. went together, and he was listening to how the music worked and said, “How’d they do that?” And I said,

effects, with heavy, bombastic but sleek and McCarthy and Chattaway turned to tributed on a more rhythms balanced by an evocative approach increasingly subtle forms of expression. regular basis dur- to the “alien” aspect of the spacegoing life “A Fistful of Datas” was another off-con- ing his first year as form Tin Man.While a lesser composer cept show in which Chattaway was given a staff composer might have simply allowed the whale-song some latitude to play with the show’s on Next effects to play out as unmodified atmos- musical conventions. He created an effec- Generation.For phere, Chattaway finds an ingenious way to tive take-off of Ennio Morricone’s spaghet- “Birthright, Part balance them against an affecting theme ti western scores, with real guitars and 1” Chattaway for digeridoos, to accentuate the loneliness harmonicas, underscoring , his son scored a lengthy of the Elbrun character and his connection Alexander and Counselor Troi’s confronta- dream sequence for the android , to Tin Man. It’s one of the rare “science fic- tion of hard-bitten and villainous versions blending undulating electronic effects with tion” scores to emerge from a series which of Data in a western. soaring orchestral textures as Data’s vision in later years failed to allow music to take “Dark Page” uses some of the same of a raven taking flight through the corri- such an active role in its storytelling. effects as “Tin Man,”balancing dissonant dors of the Enterprise (and eventually out- Chattaway’s “The Inner Light” score textures against more melodic lines from side the vessel) takes shape. was another unusual opportunity for him strings, flute, woodwinds, and electronics. Current Star Trek music is almost sub- to develop a lasting melody; it describes This shows the kind of microscopic surgery liminal: there are times when you’d really Picard’s internal experience as a the Trek composers are expected to per- prefer to be grabbed by the throat the way “Ressican,”during which he lives out an form on a regular basis: the five-minute the original series cues still do. A score like entire lifetime in his own mind due to the suite weaves through a remarkable number “Tin Man” (and to a certain extent effect of a memory probe.The composer’s of changes, accentuating subtle moments of “Descent” and “The Inner Light”) shows wistful theme for pennywhistle is re- dialogue and camera aesthetics while Chattaway perfectly capable of painting on recorded by his daughter Amy, with maintaining a completely consistent overall this broader palette, and while the other Chattaway on piano. tone. scores on this album are remarkable exam- By the seventh season’s “Sub Rosa,”the The sixth-season cliffhanger “Descent” ples of delicacy and restraint, they are far musical approach to the series had showcases some of the propulsive, threat- less satisfying away from their episodes. become rigidly nonthematic and textural, ening jeopardy music that Chattaway con- —Jeff Bond

Don’t Need No Stinking Temp Tracks “Well, here’s how they did that.” And he said, “Oh, DF: Something I’ve always really liked about your that’s great!” But never did he take that music and stick work is that you have a distinct style, and I really can’t it in his film. He always said, “You’re the composer, you hear any temp-scoring in it, which is the evil of today’s write the music for the film, and you give it your imprint film music. as a musician.” JC: Exactly. Absolutely. I think our relationship works because he didn’t want DF: I was wondering about the use of music temping me to emulate somebody else’s music. He wanted me to when you work with Bill... bring my personality to those films. For that I’m very JC: No, his films were never temped. And interestingly grateful, because nowadays, as you know, that’s not the enough, on this film I never even had a videocassette— case. It’s like, “Here’s what we want the music to sound this was pre-videocassette days. This was film on a movi- like,” and then we’re all asked to emulate the most ola. I was living in Connecticut—I went in, and would recent hit film, so there’s not as much originality. take my timings on a little piece of paper, and go home Another interesting thing about our relationship is that and compute the music out. I didn’t have it to look at it in just about every review of his films, they always men-

Film Score Monthly 35 J UNE 1998 tion what synergy there is between the music and the film. JC: Right. That’s brilliant—I didn’t think that anybody DF: You were incredibly lucky, because Maniac was your analyzed this stuff like this. That was the intent, because first film. Most directors would think you were inexperi- once you get the backstory and go back to the prison, the enced and not have a lot of confidence in you. theme became [whistles theme], and harmonized really JC: Of course, right. It was very bizarre music. I had goofy. And then in that shower scene, that was a definite never heard music like that, and I had never written study in how Morricone would have done that. He many music like that before. I think the hippest synth we had times would have a very melodic piece, and then arbitrari- was a Prophet-5, which made almost like a helicopter ly inject dissonant clusters of notes, sometimes in brass, sound. If you got one oscillator controlling another one, sometimes in woodwinds. So the theme goes on in its nat- you could get this [helicopter noise] kind of sound. We did ural state, untransposed, and as the graphic images get have multi-track machines, so we had 16 tracks, bounced more violent, the orchestra gets goofier. They come in and them down to 4, then added 16 more, so it was a thick, play nasty clusters that are totally unrelated to the theme, layered sort of sound. to match the intensity of what’s going on. DF: I remember that—that’s when you see the New York DF: That’s what Elliot Goldenthal would do today. skyline. It’s neat, because it’s a helicopter shot, and I thought JC: Right, well don’t make me sound too old! [laughs] it was cool when you added the helicopter sound effects. DF: When the theme comes in at first, it’s almost like the JC: Bill does this a lot in his films. He’ll have a point-of- Jaws shark motif—like Cordell’s identifying trademark. view from another medium, like a train for example. We But then when you flesh it out, it’s actually a tragic theme. did that in Maniac Cop; they were on their way to Sing- JC: And again, he was a tragic character. Sing, or some prison, and there was this long following shot on a train, and the music has this real train kind of vibe. It The Man Gets the Hookup gave a real production value to that film. DF: In Maniac Cop 2, whose idea was the “Maniac Cop DF: On the topic of Maniac Cop, I wanted to ask you how Rap”? That’s the coolest thing. you came up with that whistling theme. JC: Oh really? Great! Well, we had finished the movie, and JC: I remember, as a kid, I used to see images of police- we were wondering what to put in the end credits, because men, and they would be walking down the street, twirling in films, there’s always people coming in and saying, “Oh, I their sticks, and a lot of them would be whistling. It kind got a song for your film.” We heard all these stupid songs of came to me like, “Hey, that would be cool to have a that were submitted, and finally we said, “Wait a minute, whistling kind of motif for a cop.” we have a cool idea here.” We have the sound of these DF: It’s great how that comes in every time Officer Matt monks, and then we have this whistling thing, and rap Cordell is onscreen. music was kind of hot at the time. So we decided to do a rap. JC: You’re right—you’re into this, this is pretty cool. And The rap auditions were hysterical, because we’re not into

FOR ViGiLaNTE WE WENT TO SEE aND BiLL aSKED ME TO EXPLaiNHOW THE MUSiCWORKED. BUT NEVER DiDHETaKE THaT MUSiC aND STiCK iT iNHiSFiLM. HESaiD, “YOU’RE THE COMPOSER, YOUWRiTE THE MUSiCFOR THE FILM, aND GiVE iTYOUR iMPRiNT.”

again, it wasn’t just a straight thing, it was harmonized that culture at all. It was bizarre. Somehow we put out the like you would never hear it. You and I could not whistle in call that we were looking for some rappers to come audi- harmony the way that sounds, it’s impossible. It had to be tion. We were dubbing the film downtown, and these guys done on keyboards because it’s just so goofy. At this point kept showing up, and they all had cellular phones and we had samplers, and Pete Levin whistled in to a sampler, pagers—and this was before everyone had cellular phones and then we were able to manipulate it. Otherwise, you’d and pagers. We got some rappers, and we actually found a never be able to hold those notes. Like in the main title, the couple really good ones. And two of my very good friends— whistle holds out for like 30 seconds. And you say, “How’s Pete Levin, who worked out a lot of the arrangement of it, this guy have enough breath?” and a lyricist friend of mine in New York, named Wayne We had a real orchestra, as well as two really good key- Lammers, just winged this rap thing—they listened to a boardists, Pete Levin and Steve Croes. And we had a lot of bunch of rap and figured out this would be a cool way to samples; we had whale sounds. The main title was so end the movie. sparse, yet it still has a theme. It was sparse so you could DF: In retrospect, Vigilante—the second film you and Bill still hear the sound effects of the cop putting his gear on. did together—is the complete anomaly in your partnership. DF: It was a big montage. There are no horror elements; instead it’s street action. JC: Yeah, a big montage of him getting dressed, and you JC: Right. heard the squeaking of the leather. So the music was very DF: And the score is singular in that it’s a rock score. spatial—it would have holes in it. You probably remember JC: Yeah, although Relentless tinged on that; it had guitars. the prison scene... I was hired early on in Vigilante, and now we had MIDI DF: Yeah, something really neat about that score is that the equipment—instruments could actually speak to each other. theme only comes in for the first two notes for most if it, but I think Bill thought of that as sort of a western, and that’s then once you actually find out who the Maniac Cop is, and where the guitars came from. He thought it was like Once his backstory, then it comes in with the full theme. Upon a Time in the West in New York with street gangs.

J UNE 1998 36 Film Score Monthly There was also some poignant and some very scary stuff. they were still cutting the film, and There was a horror moment, where a lady’s running they needed me to be there with through the laundry... Jack. So I went about a week DF: And the kid gets blown out the window. without any sleep. The last JC: Right. That was probably one of the best scenes of day we went to the dub— the film. Musically, I thought that was one of the best and everybody’s waiting things I had done. It was very contemporary, almost bor- around to see what we dering on Bernard Herrmann, with shrieky strings and possibly could have come very different music. I think we just used strings and up with for 20 minutes of electronics and guitar, no big brass section. film which was uncut until that day—and we Dancing with the FX Devils had this orchestral suite of DF: I think it’s neat how sometimes you incorporate bad guy/good guy stuff that sound effects into the score. Such as in The Ambulance sounded incredible when we you had the ambulance siren in the main title; in Silver heard it all together. I couldn’t Bullet you had sampled wolf sounds; and in Missing in believe it. It was an interesting way Action you had the machine guns and the helicopters. to make film music. Not the best way, but JC: I never thought about that—maybe it was sublimi- out of necessity that’s how we did it. nal. When they make these big action films, there’s one DF: And how about Silver Bullet? composer, but there’s maybe 30 sound effects guys. We JC: The wolves in Silver Bullet were actually recorded were trying to do the timing notes for Missing in Action, from a wolf farm in upstate New York. And the theme and out in the hallway were all these guys, they were that developed came about after I analyzed the pattern cutting machine guns—M-16’s and Huey helicopters— that the wolves actually sang. I didn’t just go to the and you could hardly hear anything through all the piano and write it, but I heard the wolf go [wolf sound], sound effects. I think it subliminally invaded my con- and then another wolf went [another wolf sound]. And I sciousness, because when I went home to write the kind of put that into a musical thing. Then it turned out music, I thought we could one-up the sound effects to be a very Americana-ish sounding theme, but it came guys—we could start the film with their machine guns, from the sound of wolves. but we’ll sample them and put them into the music. So at the drumbreaks, instead of it being played by a drum, Blast from the Past it would be played by an M-16. Or we DF: How did the new Maniac disc come had a couple that were played by mor- about? tars [laughs]. Joe Spinell extends his JC: Some guys from Holland called and I couldn’t believe the amount of nightmarish performance beyond said, “Hey, we’d like to do a re-release of music that had to be written in such a the film with a truly horrific this,” because they were really into the short time for Missing in Action. I had CD “face” on the recent Maniac film. And we thought, “How good’s this two-and-a-half weeks to do 91 minutes release from SouthEast. going to be? What’s this going to be of music, and the first and last reels of about?” I managed to keep a never- the picture weren’t even finished. I did opened, really high-quality copy of the the music in segments—in other words, master. I sent it to them, and they con- I did the action bed with the strings, verted it to 20-bit digital, then they and then all the heroic stings and the made all these different formats—they melodies were all recorded separately, made a red vinyl high-grade format, because we didn’t know where that was because a lot of audiophiles now believe going to be in the confines of the film. that vinyl is the way to go. This was before we had ProTools, so DF: That’s what I was wondering—it Jack Tillar, my music editor, would took 17 years for Maniac to come out on actually have strips on mag of “bad CD, and now it comes out in three dif- guy stings” for evil Vietcong, and then ferent formats! It seems like a little heroic stuff for the good Americans. overkill. We made up this multi-track thing of JC: I know, but I was so impressed with the beds, and then all of a sudden the sound quality that these guys did. there’d be a bad guy, so we’d stick There’s like no noise on the disc—it some bad trombones in it, then [sings sounded better than the original. heroic lick] heroic guys over here. But DF: And most importantly, are there we never heard it all together until we plans for any more reissues? went to the dub, because there was no JC: Well, they want to do one on way of playing it all at the same time. Vigilante as well. We’re trying to find When we dubbed that, I’d been up where the masters might be. for about four days in a row, doing the DF: Well, I certainly hope that project music in New York. I came out here comes through, and that you and Bill thinking, “Wow, we’re all done,” that work together again sometime soon. the editor would cut it all together and make it work. But then we had three This article is dedicated to the late Joe more days in the editing room because “Maniac” Spinell.

Film Score Monthly 37 J UNE 1998 ★★★★★ REVIEWS Best Really Good ★★★★ OF CURRENT Average ★★★ RELEASES Weak ★★ ON CD Worst ★ SCORE RATINGS

Lost in Space ★★★ 1/2 the music sometimes seems at sequence (which sounds like off as agitated noise over a pedal BRUCE BROUGHTON odds with Hopkins’s sleek, one of Broughton’s rousing point, with no substantial TVT Soundtrax 8180-2 heavy-metal look, and it’s not western cues); and then only changes in terms of color, 19 tracks - 67:59 until the less action-oriented in moody, atmospheric varia- rhythm or harmony. Most of the h, the indignities of scoring back half that Broughton’s (and tions until the climax of the tracks in Species II could be eas- Othe summer blockbuster, indeed the movie’s) intentions film, where its hopeful pro- ily dissected into 60- or 90-sec- where the soundtracks are less become clear: this is less a sci-fi gressions resolve the movie’s ond segments (in some cases a recreation of the movie experi- action blockbuster and more a father/son dysfunction plotline even smaller) and rearranged at ence than of the accompanying strangely dark yet Disneyesque with a gorgeous major key random without altering the marketing strategy. The Lost in exercise in family filmmaking. orchestral rendering (“The musical effect. The vast majori- Space album consists of 28 min- Given Broughton’s track record Portal”). ty of the cues are held together on such family fare, his hiring By the end, Broughton’s by either synth beats, harmonic on the film seems far more logi- score is so effective that it drones, or plagiarized string cal than previously thought. engenders affection both for ostinatos. [See last issue for complete LIS the nostalgia of the original “Mating Season Begins” is a scoring coverage.] series, and the new movie’s good example: it begins promis- Broughton’s approach is busy, dysfunctional family thrust. ingly with a synthesized bass thematic and complex. Some Broughton saves his real fire- pulse in 11/8 with the final have complained about the lack works for last, taking the three-eighths silent in each of a unifying theme, which is theme through a thrilling, fugal measure. The effect is some- mystifying since so many cur- series of variations with propul- what like that of a broken scores tend to march out a sive, staccato brass as the record player. Unfortunately, bland and simpleminded title Jupiter 2 bullets through the this effect grows tiresome after theme and repeat it ad nause- center of a disintegrating plan- several bars, even with the addi- am, while Broughton subtly et. The final effect leaves the tion of a moaning woodwind- introduces a terrific 11-note listener wanting more, since like sound. Two minutes into utes of Bruce Broughton’s score melody and works it through the complete presentation of the track, there is finally a new and 38 minutes of techno con- the score in ingenious ways. At the main “family” theme is so event, but by this time it is seen cept songs (two of which are the other end of the composer’s richly satisfying. —Jeff Bond for what it is: simply a contrast heard as source music coming palette is his quirky, mildly agi- to that which came directly from Penny Robinson’s future tated theme for Gary Oldman’s Species II ★★ before it. The electronic, orgas- CD player, the rest sampled over Dr. Smith, in keeping with the mic howling that follows is soni- the film’s lengthy end credits). approach John Williams took in TVT Soundtrax 9040-2 cally interesting, but not musi- Broughton’s music was recorded his first-season scores for the 11 tracks - 42:15 cally so. The one exception to in London (where re-use fees original series. Broughton is pecies II opens with a nice the suspense/action mood is the are paid up front for the entire almost guilty of too much sub- Scollection of sound effects touching “Eve’s theme,” but score) and surely rates better tlety when he insinuates this before breaking into a version this is uncomfortably close to than the scant-half-an-hour material into a climactic of Goldsmith’s Alien motif. Riggs’s theme from Lethal presented here. In a film which sequence in which the trouble- From out of this backdrop of Weapon, by Shearmur’s mentor, spared no expense (except in the some doctor is transformed into found objects comes the horn Michael Kamen. lousy rendering of its precious a cloaked, deformed monster theme used early in the Hoth Like many action scores being CGI “blawrp” monkey), it’s a (never before has the line sequence in The Empire Strikes written today, Species II bor- little sad that the results of a “Never fear, Smith is here” car- Back, followed by the Journey to rows random moments from crushing schedule for ried such menace)—it took me the Center of the Earth/Batman random scores, from Alan Broughton come to a measly 28 six listens to pick it out. theme, as well as one of James Silvestri-styled octatonic scales minutes. Broughton blends dissonant, Horner’s favorite drum riffs... and brass crescendos (Predator), As a film, Lost in Space sci-fi-style effects seamlessly While it is not always produc- to Elliot Goldenthal moments depends too much on the nostal- into an overall tone that is tive to review a score by describ- (Alien3), to Kamen-esque racing, gic affection of grown-up fans of friendly and bright-eyed. The ing what else it sounds like, scalar string patterns (Die the series, although the tone is theme (at least as represented Species II presents so little that Hard). Even the recent Starship clearly geared to youngsters on the album) is equally elu- is interesting on a musical level, Troopers by Basil Poledouris (with obnoxious ‘90s one-liners sive, presented in low-key fash- there really isn’t a better way. makes several guest appear- courtesy Batman and Robin ion in the film’s brief main Species II is a rehashed bug ances. The average movie-goer screenwriter Akiva Goldsman). title; with more fanfare during salad, effective on a generic level is likely to respond to this During the first half of the film, the exciting Jupiter launch at best. Most of the cues come music; however, the soundtrack

J UNE 1998 38 Film Score Monthly connoisseur will feel no sus- schmaltz (i.e. the accordion establishing the character not to a musical commentary of pense—only nostalgia. runs) to keep a sneering edge. as just another cardboard tough introspection when the villain —Jesus Weinstein Beethoven gets a wicked cop, but the caring, burnt-out finally gets his. That violent tweaking in “Pig Fur Elise,” and bitter FBI agent that he is. denouement could have been The Butcher Boy ★★★★ which arranges the classic The cues of autistic ten-year-old crescendo pyrotechnics in any ELLIOT GOLDENTHAL piano work for pizzicato strings Simon are marked by a simplis- other composer’s hand, but Edel America 003786EDL before bleating saxes take over. tic child’s theme carried by not Barry’s. —Edwin Black 15 tracks - 38:39 Even more interesting is the Barry’s trademark piano, flute After Barry injured himself in ew movie goers are likely to sampled sax loops and mean and string ensemble. a fall towards the end of record- Fforget Neil Jordan’s The walking bass line into which The problem is we have ing his score, Carter Burwell was Butcher Boy, a pitch black com- the cue dissolves. heard it all before—many brought in to provide additional edy/tragedy about a charmingly And we’re just scratching the times. The structure, instru- music; Varèse’s CD does not psychotic little Irish boy on a surface here: Included in other mentation, meter and thematic include any of Burwell’s tracks. run of bad luck. The same can tracks is some tricky dobro and vocabulary is the same as used be said about Elliot hammer dulcimer playing, in a dozen other recent Barry Moby Dick ★★★1/2 Goldenthal’s equally freakish drunken circus music, primi- scores. Swept from the Sea, CHRISTOPHER GORDON score, just over 20 minutes of tivistic drumming, and hilari- Across the Sea of Time, Scarlet Varèse Sarabande VSD-5921 which are presented on this CD. ously over-earnest choral punc- Letter, take your pick—where 41 tracks - 73:24 Listeners expecting bucolic tuations. Even some of the folk does one begin and the other ’ve always been partial to the Irish adagios, à la Goldenthal’s tunes and standards included leave off? “Simon’s Theme” is Imaligned ‘50s John Huston score for Jordan’s Michael on the CD are unobtrusive to interchangeable with many version of Moby Dick, so Franc Collins, are likely to be left a the score’s bizarreness, espe- other Barry love themes. And Roddam’s new 4-hour televi- bit shocked. The composer’s cially Santo & Jonny’s reading when the dark stuff comes, as sion take on the subject was responsibility was to find a way of ’s “Mack the in “Meeting with Kudrow,” it’s slow-going, although it’s proba- to portray the horror, sorrow, Knife.” This is the kind of film Thunderball outtakes and spin- bly a better adaptation of the quirky humor, and all-out Elliot Goldenthal is meant to offs. Indeed, in the next cue, book than Huston’s version. weirdness of this story. His score, and this is the kind of “The Train Search,” you actu- Let’s just say that Henry clever conceit is never to use album on which it’s meant to ally hear a few notes from a Thomas is no Richard just one musical voice to do so. be presented. —Doug Adams James Bond theme. Basehart. It was good to see The score is a schizoid delight, Still, there are several won- Gregory Peck in the pulpit play- driving together elements of Mercury Rising ★★★ derful departures from Barry- ing the role Orson Welles took Irish folk music, neoclassical JOHN BARRY as-usual. In “The Puzzle,” in the Huston movie, though. delicacy, bubble gum rock, Varèse Sarabande VSD-5925 Barry inserts repetitive percus- The film’s digital effects were Wagnerian drama, electronic 12 tracks - 34:09 sive piano notes reminiscent of another tough nut to swallow, loops, be-bop jazz, onomatopoe- ohn Barry’s compelling film Jagged Edge. It makes us feel never quite capturing the awe ic grunting, synth effects, and Jscore for Mercury Rising is the bewildered genius of Simon and menace of the old-fash- even some Beethoven, going to both satisfy and disap- as he unwittingly cracks the ioned miniature and mechani- Schubert, and the traditional point his loyal following. On the NSA code. Another fine cue, cal effects of the earlier movie. “Greensleeves” for good mea- one hand, it’s one of the few “The Train Search,” tops off One element that worked sure. It never pretends to coa- redeeming traits of lesce into some sort of whole, the nitwit movie, in nor does it seek to illuminate which the National through contrasts. It’s more of Security Agency kills a musical form of channel-surf- dozens of people in ing through the life of a kid Chicago chasing an whose head isn’t on quite autistic child who straight. unexpectedly cracks The disc opens with “The its supersecret code. Francie Brady Show,” a sarcas- Barry uplifts the tically up-beat rock tune com- action by refusing to plete with a honking baritone employ shoot-’em-up sax belting out Goldenthal’s music-effects, instead adding with a compassionate sax solo, just fine was Christopher version of the traditional “The fear, compassion, character conveying Willis’s fatherly Gordon’s full-bore 19th centu- Butcher Boy” melody. In the identification and commentary instinct toward Simon. ry-style score, which is a lot film, this tune includes female to moments of cheap violence Best is “Simon on the Edge,” closer in spirit to Philip back-up singers cooing, “Ooh, and conflict. when Barry returns to the Sainton’s score for the Huston the Butcher Boy!” though for For example, in the first swaggering, jazzy brass of his version than you’d expect some reason they’ve been scene, Bruce Willis fails to avert Bond films with new expres- (Sainton’s score has been re- excised from the disc. Mark a SWAT team’s deadly assault sions, new energy, and new fan- recorded for release on Marco Bennett’s trumpet playing adds on bank-robbing militiamen fare. However brief, Barry Polo). It has the same style of nicely in tracks like “Tune for who have brought their children allows his violins and xylo- optimistic, open-air nautical Da,” two versions of which are along for the heist. The kids die phone to struggle against a theme for Ishmael’s journey, presented. Here Goldenthal is in the barrage. Barry paints cacophony of horns as would and a bustling, surprisingly in full expressive mode, with Willis’s emotional conflict, not befit a violent, climactic rooftop complex and motivic approach just enough purposeful the shower of bullets, thus scene. The excitement dissolves (continued on page 42)

Film Score Monthly 39 J UNE 1998 Upcoming Film Assignments Welcome to the New Film Score Marketplace. We’ve added some additional, (continued from page 11) unusual offerings to our collection of soundtrack-related products. (Where else are you gonna

Laurence Rosenthal Echo of Thunder (Hallmark telefilm). BOOKS ...for composers Craig Safan Splitsville (comedy). Snake Eyes (Nicolas Cage, The Click Book Comprehensive Timing Tables Film Composers d. Brian De Palma). for Synchronizing Music to Film Guide Lalo Schifrin Something to Believe In (love Created by USC student and composer Cameron Rose Click- 1997-1998 Fourth Edition story), Tango, Rush Hour (d. Brett Ratner, tempo tables for 6-0 through 32-0 frame click-tempos (6-0, 6-1, Lone Eagle Publishing, Compiled Jackie Chan). 6-2, etc.)...Each timing table covers beat 1 to beat 999 at the and Edited by Vincent J. Gaili Schoen Déjà Vu (independent). given click-tempo...Large, bold, easy-to-read click-tempo val- Francillon This is the ultimate John Scott Swiss Family Robinson. ues and equivalent metronomic values at the top of each resource for finding out what The Out of Towners, A Small page...Timing, frame and footage breakdowns for rhythmic sub- composers have scored what films—over 2,600 composers Miracle, Patch Adams (Robin Williams). divisions within each click-tempo—including compound cross-referenced with 25,000 films! Never be puzzled again. Also Safe Men (d. John meters... Listing and tutorial of stan- contains agency contacts, Academy Award winners and nomi- Hamburg), Six Ways to Sunday (Debbie dard timing-conversion formulas for nees, record company addresses and more. Harry, ). 24 fps film speed... Tutorial in 8.5” by 11”, 416 pp. Regular retail price $55; 28% off to Film Edward Shearmur The Governess. SMPTE-to-Absolute time conversion... Score Monthly readers: $39.95 XistenZe (d. David Frames-to-Seconds conversion Cronenberg), Chinese Coffee (d. Al Pacino). tables for U.S. and European film and NEW! Lawrence Shragge Frontline (Showtime). video speeds. VideoHound’s Soundtracks: Rick Silanskas Hoover (d. Rick Pamplan, 430 pp. Price is the industry stan- Music from the Movies, Broadway and Television Ernest Borgnine, about J. Edgar Hoover). dard for click books; this one gives Edited by Didier C. Deutsch, Foreword by Lukas Kendall Alan Silvestri Holy Man (comedy), The more value for money. $149.95 This massive 1024-page book contains reviews of over 2,000 Parent Trap. soundtrack CDs, rated from one to five “bones,” with complete Marty Simon Captured. 1998 Film/TV Music Guide credits and track lists for each disc. Many of the reviews are by Mike Slamer/Rich McHugh Shark in a From the Music Business Registry FSM’s hardy veteran writers: Jeff Bond, Andy Dursin, Lukas Bottle. Is your career worth $95? Contains Kendall and Paul MacLean. The ultimate guide for those indeci- Elements (Rob Morrow), exhaustive directories of record labels, sive moments when you’re looking at listings in a catalog or Poodle Springs (d. Bob Rafelson). music publishers, film/TV music depts., discs in a used bin. Includes cross-indexes by composer, title, Neil Smolar The Silent Cradle, Harper’s Ferry, music supervisors, music editors, com- rating, orchestrator, conductor, performer and song title, as well Treasure Island, A Question of Privilege, poser representatives, composers, clear- as a compilation CD of tracks from Hollywood Records. Tour the Promised Land (documentary), The ance companies, recording studios, per- $24.95 Viking Saga (documentary). forming rights soci- Mark Snow Disturbing Behavior. eties, and music Darren Solomon Lesser Prophets (John libraries—names, Turturro). addresses, contact BACK ISSUES numbers. $94.95 Mark Suozzo The Last Days of Disco (d. Whit Volume One, 1993-96 Kitaro & Randy Miller (Heaven & Earth), Rachel Stilman). Issues are 24 pp. unless noted. Most 1993 edi- Portman, ; Star Wars trivia/cue Stephen James Taylor Why Do Fools Falls in tions are xeroxes only sheets; sexy album covers; music for westerns; Love? ...for music lovers *#30/31, February/March ’93, 64 pp. Maurice ’93 in review. BOOKS Jarre, Basil Poledouris, Jay Chattaway, John *#44, April ’94 Joel McNeely, Poledouris (On Ernest Troost One Man’s Hero (Tom Scott, Chris Young, Mike Lang; the secondary Deadly Ground); SPFM Morricone tribute & pho- Berenger). Dimitri Tiomkin: A Portrait market, Ennio Morricone albums, Elmer tos; lots of reviews. Tim Truman Boogie Boy. by Christopher Palmer, T.E. Books (out of Bernstein Film Music Collection LPs; 1992 in #45, May ’94 Randy Newman (Maverick), review. Graeme Revell (The Crow); Goldsmith in con- The Fantastics (based on print!) This 1984 book by the late Christopher #32, April ’93, 16 pp. Temp-tracking Matinee, cert; in-depth reviews: The Magnificent Seven Broadway show, d. Michael Ritchie). Palmer is the authoritative study of legendary SPFM ’93 Conference Report, angry Star Trek and Schindler’s List; Instant Liner Notes, book Steve Tyrell Twenty Dates. composer Dimitri Tiomkin (1894-1979). Long music editorial. reviews. *#33, May ’93, 12 pp. Book reviews, #46/47, June/July ’94 Patrick Doyle, Newton out of print, a few Nerida Tyson-Chew Fern Gully 2. classical/film connection. Howard (Wyatt Earp), John Morgan (restoring C.J. Vanston Almost Heroes. copies have sur- *#34, June ’93, 16 pp. Goldsmith SPFM award Hans Salter scores); Tribute to Henry Mancini; Mervyn Warren The Kiss (Jersey Films, faced from the U.K. dinner; orchestrators & what they do, Lost in music for films, collectible CDs. Danny Devito/Queen Latifah). publisher and are Space, recycled Herrmann; spotlights on Chris *#48, August ’94 Mark Mancina (Speed); Chuck Young, Pinocchio, Bruce Lee film scores. Cirino & Peter Rotter; Richard Kraft: advice for Wendy and Lisa Hav Plenty (independent). now for sale—when *#35, July ’93, 16 pp. Tribute to David Kraft; aspiring composers; classical music in films; Alan Williams Princess and the Pea (animat- they’re gone, they’re John Beal Pt. 1; scores vs. songs, Herrmann new CAM CDs; Cinerama LPs; bestselling CDs. ed, song and score with lyrics by David gone! The book is Christmas operas; Film Composers Dictionary. #49, September ’94 Hans Zimmer (The Lion #36/37, August/September ’93, 40 pp. King), ; Laurence Rosenthal on Pomeranz), Angels in the Attic. hardback, 144 pp., Bernstein, Bob Townson (Varèse), Richard Kraft the Vineyard; Salter in memoriam; classical John Williams Saving Private Ryan and divided into & Nick Redman Pt. 1, John Beal Pt. 2; reviews music in films; John Williams in concert; (Spielberg), Geisha (Spielberg). three sections: a of CAM CDs; collector interest articles, classic Recordman at the flea market. Debbie Wiseman Tom’s Midnight Garden. biography, overview corner, fantasy film scores of Elmer Bernstein. #50, October ’94 Alan Silvestri (Forrest Gump), *#38, October ’93, 16 pp. John Debney Mark Isham; sex & soundtrack sales; Lalo Peter Wolf Widows (German, animated). of Tiomkin in an historical perspective, and (seaQuest DSV), Kraft & Redman Pt. 2. Schifrin in concert; Morricone Beat CDs; that Christopher Young Judas Kiss (Emma specific coverage of his major landmarks (Lost *#39, Nov. ’93, 16 pp. Kraft & Redman Pt. 3, wacky Internet; Recordman on liner notes. Thompson), Entrapment (Sean Connery). Horizon, , the Hitchcock films, Giant, Fox CDs, Nightmare Before Christmas and #51, November ’94 Howard Shore (Ed Wood), Bride of Frankenstein reviews. Thomas Newman (Shawshank Redemption), J. Hans Zimmer Prince of Egypt (Dreamworks, 55 Days at Peking and many more). Also *#40, Dec. ’93, 16 pp. Kraft & Redman Pt. 4; Peter Robinson (Wes Craven’s New Nightmare), animated musical), The Thin Red Line (d. includes a complete filmography, 41 b&w pho- Re-recording The Magnificent Seven for Koch. Lukas’s mom interviewed; music of Heimat, Terrence Malick). tos, and 9 color plates. Rare! $24.95 *#41/42/43, January/Feb./ March ’94, 48 pp. Star Trek; promos. Elliot Goldenthal, James Newton Howard, #52, December ’94 Eric Serra, Marc Shaiman FSM get this stuff?) To order, use the handy mailer bound into the mag- Soon: U.S. Soundtracks on Compact Disc Price Guide, Second azine. You can fold, seal, and mail it, or fax 213-937-9277. Coming Edition by Robert L. Smith

VIDEO MUSIC...Exclusive to FSM! ...from Retrograde Records Basil Poledouris: Stagecoach/The Loner John Barry’s Deadfall His Life and Music Original soundtracks by Jerry First time on CD! John Barry scored An intimate visit with the com- Goldsmith! Stagecoach is the this 1968 Bryan Forbes thriller in the poser of Conan the Barbarian, 1966 remake of the John Ford midst of his most creative period of Big Wednesday, Free Willy, western. The Mainstream CD is the ‘60s. It features his 14-minute guitar concerto, Starship Troopers and a re-recording; this CD is the “Romance for Guitar and Orchestra,” performed by Renata Lonesome Dove. Take a tour of first release of the original Tarrago and the London Philharmonic; the title song “My his work and lifestyle—in his soundtrack, as conducted by the composer. The Loner is Love Has Two Faces” performed by Shirley Bassey own words—from his methodology on composing to his Goldsmith’s complete contribution to the 1965 western TV (“Goldfinger”), plus two never-before-heard alternate ver- love of sailing and the sea. The video runs 50 minutes series by Rod Serling (sounds like Rio Conchos): main and sions of same (vocal by Malcolm Roberts and instrumental); and includes footage of Basil conducting and at work on end titles and two episode scores. $19.95 and vintage, dramatic Barry under- synthesizer mock-ups of Starship Troopers, as well as score. Deadfall was released on LP at dozens of behind-the-scenes and family photos, and The Wild Bunch the time of the film’s release and has special appearances by wife Bobbie Poledouris and restored edition been unavailable ever since. Liner daughter Zoë. Discover the man behind the music, in a Limited availability courtesy notes by Jon Burlingame. $16.95 close-up way you’ll never see on commercial TV, or expe- Warner Home Video! This is rience in print. the classic score, The Taking of Pelham Basil Poledouris Video (U.S. Format) $24.95 in brilliant stereo, to the 1969 One Two Three (European PAL Format) $29.95 Sam Peckinpah western. The First time anywhere! ’s classic ’70s 12-tone 76-minute CD was meticulously jazz/funk for the 1974 subway hostage thriller. Part disaster Shipping info: CDs/video: $3 first item, $1.50 each additional restored and remixed by Nick Redman for inclusion only movie, part gritty cop thriller, Shire’s fat bass ostinatos and U.S./Canada. $5 first item, $3 each add’l rest of world. Books: $4 with the 1997 laserdisc of the film; FSM has obtained a creepy suspense cues glue it all together. A sensational, dri- each U.S., $5 Canada, $10 rest of world. Backissues: Shipping free limited number of discs to be sold exclusively through the ving, pulsating score in a class by itself. Improved packag- U.S./Canada. $3 surcharge rest of world per order. magazine. $19.95 ing; liner notes by Doug Adams. $16.95

We want to thank our readers for the overwhelming complete John Williams scores on one disc. What will they be? enthusiasm shown for our “Silver Age Classics” series. The next Find out next month! Composers for future releases: and second CD will be offered with the July issue, featuring two Leonard Rosenman, and another by Jerry Goldsmith.

Pt. 1, Sandy De Crescent (music contractor), Valencia Barry & James Bond (history/overview), Eric Serra on #75, November ’96 Barry: Cinemusic Interview (very (Scream, Mimic), Curtis Hanson (L.A. Confidential); Film Music Conference, SPFM Conference Pt. 1, GoldenEye, essay, favorites, more. Also: History of big); Recordman on War Film Soundtracks Pt. 2, Bond’s Dursin’s: Laserphile, Bender’s: Film Music as Fine Art, StarGate liner notes, Shostakoholics Anonymous. Soundtrack Collecting Pt. 3, Davy Crockett LPs. review column. Recordman. #53/54, January/February ’95 Shaiman Pt. 2, Dennis #64, December ’95 Elfman Pt. 2 (big!), Steve Bartek #76, December ’96 Interviews: Randy Edelman, Barry Vol. 2, No. 8, October ’97 McCarthy (Star Trek); Sergio Bassetti, Jean-Claude Petit (orchestrator), Recordman Meets Shaft: The pt. 2, Ry Cooder (Last Man Standing); Andy Dursin’s Poledouris (Starship Troopers), & Armando Trovajoli in Valencia; Music & the Academy Blaxploitation Soundtracks, Kamen Pt. 3, re-recording laserdisc column, Lukas’s reviews. Shore (Cop Land, The Game), Awards Pt. 1; rumored LPs, quadraphonic LPs. House of Frankenstein. Zimmer vs. FSM Pt. 2 (inter- #55/56, March/April #65/66/67, January/February/March ’96, 48 pp. T. Volume Two, 1997 view), Alloy Orchestra (scoring ’95 Poledouris (The Newman, Toru Takemitsu, Robotech, Star Trek, Ten Jan. starts new color cover format! Issues 32-48 pp. silent films), Golden Age CD Jungle Book), Silvestri Influential Composers; Philip Glass, Heitor Villa-Lobos, *Vol. 2, No. 1, Jan./Feb. ’97 Star Wars issue: Williams reviews. (The Quick and the songs in film, best of ‘95, film music documentary interview, behind the Special Edition CDs, commen- Vol. 2, No. 9, November/ Dead), Joe Lo Duca (Evil reviews (Herrmann, Delerue, Takemitsu, “The tary, cue editing minutia/trivia, more. Also: Bond’s December ’97 Arnold Dead), Oscar & Music Hollywood Sound”). review column. (Tomorrow Never Dies), John Pt. 2, Recordman’s #68, April ’96 David Shire’s The Taking of Pelham One Vol. 2, No. 2, Mar./Apr. ’97 Alf Clausen: The Simpsons Frizzell (Alien Resurrection), Diary, SPFM Conference Two Three; Carter Burwell (Fargo), gag obituaries, (big interview); promotional CDs; Congress in Neal Hefti (interview), U-Turn & The Mephisto Waltz Report Pt. 2. Apollo 13 promo/bootleg tips. Valencia; Readers Poll ’96 & Andy’s (long reviews), Razor & Tie CDs; begins current format. #57, May ’95 Goldsmith #69, May ’96 Music in Plan 9 from Outer picks; Bender’s Into the Dark Pool Pt. in concert, Bruce Space; John Walsh’s funny movie music 2 Volume Three, 1998 Broughton on Young glossary; Herrmann & Rózsa radio pro- Vol. 2, No. 3, May ’97 Michael Fine: Expanded format! Issues 48 pp. Sherlock Holmes, Miles grams; Irwin Allen box set review; Bender’s Re-recording Rózsa’s film noir scores; Vol. 3, No. 1, January ’98 Williams Buyer’s Guide Pt. 1 Goodman interviewed, ’94 Readers Poll, Star Trek “Into the Dark Pool” column. reviews: Poltergeist, Mars Attacks!, (Star Wars to Amistad), Mychael Danna (The Sweet overview. #70, June ’96 Mancina (Twister), final Rosewood, more; Lukas’s & Bond’s Hereafter), Titanic music supervision, readers poll, #58, June ’95 Michael Kamen (), Royal S. desert island movie lists, Jeff Bond’s sum- review columns. laserphile, Silvestri lecture, Rykodisc reviews. Brown (film music critic), Recordman Loves Annette, mer movie column, TV’s Biggest Hits book Vol. 2, No. 4, June ’97 Elfman (Men in Vol. 3, No. 2, February ’98 Glass (Kundun), Williams History of Soundtrack Collecting Pt. 1. review. Black), Promos Pt. 2, Martin Denny Buyers Guide Pt. 2 (The Reivers to Black Sunday), #59/60, July/Aug. ’95, 48 pp. Sex Sells Too (sexy LP #71, July ’96 David Arnold (Independence and Exotica, Lady in White, the David Amram (Manchurian Candidate), Goldsmith on covers, lots of photos), Maurice Jarre interviewed, Day), Michel Colombier, Recordman Goes Laserphile on DVDs, obituary: Brian Varèse, Pendulum CDs (interview & reviews), poll Miklós Rózsa Remembered, History of Soundtrack to Congress, Bond’s summer movie column. May, The Fifth Element reviewed. results, TV CDs. Collecting Pt. 2, film music in concert pro and con. #72, August ’96 Ten Best Scores of ‘90s, T. Newman’s Vol. 2, No. 5, July ’97 Goldenthal (Batman & Robin), Vol. 3, No. 3, March/April ‘98 Titanic/Horner essays, #61, September ’95 Goldenthal (Batman Forever), The Player, Escape from L.A., conductor John Mauceri, Mancina (Con Air, Speed 2), George S. Clinton (Austin Best of 1997, Cinerama Rides Again, Remembering Kamen Pt. 2, Chris Lennertz (new composer), Star Trek: reference books, Akira Ifukube CDs. Powers), ASCAP & BMI award photos; Reviews: Crash, Greig McRitchie, Fox Newman Stage photos, Elfman The Motion Picture (analysis), classical music for #73, September ’96 Recordman on War Film Lost World. Oscar Nominations. soundtrack fans. Soundtracks Pt. 1; Interview: David Schecter: Vol. 2, No. 6, August ’97 Schifrin (Money Talks), John Vol. 3, No. 4, May ‘98 Bruce Broughton (Lost in #62, October ’95 Danny Elfman Pt. 1, John Ottman Monstrous Movie Music; Ifukube CDs Pt. 2, Miles Powell (Face/Off), Shaiman (George of the Jungle); Space), David Arnold (Godzilla), Making the New (), Robert Townson (Varèse Goodman obituary. remembering Tony Thomas; Summer movies, TV Close Encounters CD, Williams Buyers Guide Pt. 3; Sarabande), Ten Most Influential Scores, Goldsmith #74, October ’96 Action Scores in the ‘90s (intelligent sweeps. Score Internationale, Laserphile, Downbeat (Ed documentary reviewed. analysis); Cinemusic ‘96 report (Barry, Zhou Jiping); Vol. 2, No. 7, September ’97 Zimmer vs. FSM (big Shearmur), Fox Classics reviews. #63, November ’95 James Bond Special Issue! John Vic Mizzy interviewed. interview, Peacemaker cover), Marco Beltrami * Photocopies only SCORE small ensembles. In this day of more often than not, Fenton’s endary Ennio Morricone. This song-inundation, the disc’s pre- cues end just when they start latest opus finds the venerated sentation of two versions of the getting interesting. The Object composer in a tender, melan- (continued from page 39) Brown/Freed standby “You Were of My Affection suffers as a cholic mood, writing for piano to much of the underscore that Meant for Me” provides surpris- lightweight romantic-comedy and muted strings. The opening almost puts this in a class with ingly little contrast with score that, like the film, cuts off cue, “Lolita,” sets the tone for Lee Holdridge’s in-your-face Into Fenton’s unobtrusive instrumen- before it can really get started. what is to come: Emerging out Thin Air TV movie of last year, tals; Fenton even skillfully incor- —Jason Comerford of the silence, we hear a gently although ultimately it’s not as porates the song’s melody into sad piece that features an ethe- memorable. It’s an indication of “The Dance Class.” Lolita ★★★★ real synthesizer over slowly how much more experimental The remainder of the score on ENNIO MORRICONE building strings and piano, (and ultimately effective) cur- disc (under 30 minutes) is nice Milan 74321 52318-2 (Europe) which provides the rhythm. The rent TV-movie scores are but passes without leaving 21 tracks - 61:28 synthesizer no doubt takes the allowed to be than their hide- much of an impact; repeated ou may have heard about place of Morricone’s wordless bound theatrical equivalents: small-ensemble cues (“Jolie Ydirector Adrian Lyne’s new soprano, which would have been somehow I suspect that a the- Calls/Off to the Hamptons,” film version of the classic beautiful, but might have caused atrical score for a big, period “Home from the Hamptons”) Vladimir Nabokov novel Lolita: the audience to identify it with nautical epic these days would offer little in the way of themat- Made for more than $50 million, the Lolita character. wind up sounding like, oh, I ic or orchestrational develop- no American distributor will pick The cues for Quilty, the osten- don’t know... Enya, maybe? ment. Hynter’s film, however, is it up. Studio executives say it’s sible villain of the film, are two While Gordon gets plenty of a shallow and hesitant exercise because the film simply isn’t of the more remarkable. The mileage out of his 19th century in asking questions without good enough. Lyne, and many first, “Requiscant,” written for style, he’s not shy about work- bothering to answer them, and critics, say it’s because of the Quilty’s death at the hands of ing in modernistic effects, it could be argued that Fenton subject matter and Hollywood’s Humbert (nothing is really notably the percussive, tribalis- has pretty much gotten this cowardice. The novel tells the being spoiled by telling this) is a tic music for Queequeg, the dis- down in his music. tragic, darkly comic story of a marvelously dissonant choral sonances in “Bad Magic” and Fenton’s skills are still evi- man in love with a 12-year-old piece using a children’s choir, “Jonah and the Whale,” and the dent: the title cue presents a girl and was at first banned; it manipulated electronically. John Adams-style minimalistic lovely introduction to his main has since been recognized as a Quilty’s theme, titled simply string writing that characterizes theme, and tracks such as classic. Lyne’s film, however, “Quilty,” uses a variety of “St. Elmo’s Fire” in the film. “Nina’s News” and “George may never be released in the The music is also well-per- Moves Out” serve up mournful . formed, and since it was record- arrangements of the theme. But Scoring the film is the leg- ed in Australia where the film was made, Varèse gives us a full 74 minutes, plus liner notes by Smooth as Hardboiled Velvet Roddam. And who wouldn’t love Noir Sounds from Today and Yesterday an album with a track called “Ye Hairy-Hearted Ghouls”? Reviews by John Bender —Jeff Bond Crime Jazz - Music in the First Bernstein’s The Man with the The Object of My Affection Degree ★★★ 1/2 Golden Arm, “Frankie Gunn’s ass), “Riff Blues”—the ★★★ GEORGE FENTON Rhino R2 72912/DRC1 1669 Machine.”Bernstein’s theme is Mike Hammer theme (probably Pangea 61868-10027-2-7 18 tracks - 55:32 an epic and uniquely ceremoni- the most nostalgic of all these 17 tracks - 36:58 Crime Jazz - Music in the al metaphor for the relentless pieces, the track really captures he flip side of George Second Degree ★★★ 1/2 brutality that addiction and cor- the flavor of slow sleazy plea- TFenton’s lush, elegiac com- Rhino R2 72913/DRC1 1622 ruption contribute to the urban sures circa 1959) and M Squad positional style (The Crucible, 18 tracks - 44:02 environment. (if Barry’s Bond theme is the Dangerous Beauty) is The Object rime jazz says it all. A lot of Other masterworks on vol- final word on international of My Affection, for Crucible Ccriminals live the life they ume one are Bernstein’s theme spies, then ’s title director Nicholas Hynter’s do because they’re addicted to for Johnny Staccato (TV), Touch track for the late great TV series newest film. Fenton’s talents lie the rush of being anti-establish- of Evil (Mancini working for must be the final word on city in his ability to write stirring, ment; breaking the law gets the Orson Welles), “The Street” beat detectives—’s beautiful melodies, and to heart pounding and the blood (Bernstein doing a damn good Lieutenant Ballinger is Dirty match these with lovely, textural racing. So does this music.This job of trying to top his own Harry’s genre-father). orchestration (with his frequent two-volume set, organized by Golden Arm with the title track Volume Two, Music in the collaborator Jeff Atamajian, the late Warren Kolodny, gets for The Sweet Smell of Success; Second Degree, is slightly differ- joined on this particular score launched with Leith Stevens’s when I first saw this film I kept ent in that the focus isn’t as with Simon Chamberlain). bad-to-the-bone musical inter- thinking “My god, the music— tight; unlike volume one there After the combination of jar- pretation of 85 mph on a Harley, the music!”), Richard Diamond are several tracks from films ring ethnic instrumentation and his main title track for Brando’s (with this TV theme, that stray far afield from the noir lushly Romantic passages in The The Wild One. It’s followed by won the “hard-case award” for format. Mancini’s great main Crucible, The Object of My the work that set the standard nothing but fists, firearms and theme for Arabesque, for exam- Affection seems almost watered- for American film jazz of the floozies—think of it as music for ple, can hardly be forced into down, with arrangements for late ‘50s and early ‘60s, Elmer the only P.I. who can kick Peter any hole shaped to accommo-

J UNE 1998 42 Film Score Monthly instruments to paint a stun- On the other and finally the material performed by harp, ning, dissonant picture of the hand, they dis- audience- woodwinds and strings, making character. Its alternating rupt the listening ignored and this a score that’s constantly in between the melodic and the experience. I critically dis- there pitching even when the dissonant goes far to illustrate would have pre- missed The movie’s histrionics obviate its the contradictions in the charac- ferred them Proposition, chances of affecting the audi- ter; Quilty is evil and ominous, grouped together which sounded ence. It’s certainly one of the but also tragic. at the end, or at great when more listenable albums to arise The final two cues tie things least pared down composer out of this sort of period piece in up nicely. “Ladies and to three or four Stephen recent years. —Jeff Bond Gentlemen of the Jury” deviates in number. Endelman somewhat from what has come Overall, this is described it [see Conan ★1/2 before, as the vaguely open a beautiful effort “Downbeat,” melody introduced earlier seems from Morricone. Vol. 3, No. 3], Sonic Images SID-8801 to have reached a resolution, Fans of the mae- but apparently 19 tracks - 71:31 echoing what has taken place stro should find turned out as an harles Fox is a veteran film within the story. The end titles, the disc well overheated and Ccomposer who’s been work- “Lolita (Finale),” is much like worth seeking preposterous ing since the late ‘60s on films the opening cue, but features a out; Milan will release a U.S. soap opera. like Barbarella and Foul Play. persistent low drum beat. This edition later this year. At least Endelman When it comes to Conan the gives the ethereal nature of the —Jeff Wilson approached the project with the Barbarian, however, he’s no piece a more solid base, cement- required gravity, composing a Basil Poledouris. Conan is a typi- ing in our minds the tragedy The Proposition ★★★1/2 memorable theme that will cal Sonic Images album in that just witnessed. STEPHEN ENDELMAN remind some of Patrick Doyle, it consists of 71 minutes of blar- Also on the soundtrack album Philips 289 462 504-2 others of Carter Burwell’s ing synthesizer music. It’s less are seven pop songs of the film’s 17 tracks - 41:50 theme to Miller’s Crossing. The annoying than most because Fox period, the 1940s. Featuring illiam Hurt has had a melody becomes a strong, at least knows how to write a such artists as Vera Lynn, Ella Wtroubling spring: first he inevitable presence throughout tune, although his melodies are Fitzgerald and Artie Shaw, the starred in the fascinating but the score, reasserting itself in so buried in layers of synthetic pieces on one hand provide a audience-loathed Dark City, varying ways—at once wistful, drones that it’s difficult to make cheerfully ironic counterpoint to then the mildly successful but sweeping, prideful and goading. them out. This might be a terrif- the sadness of Morricone’s cues. critically-loathed Lost in Space, There’s also plenty of motivic ic set of scores had any of it been

date crime jazz.The 1966 film is Michelle Pfeiffer. melody and strings.” “Knockout” that could even get a flippant American response to Listening to This World, Then Barney the purple dinosaur to the Bond phenomenon and it This World, Then the Fireworks the Fireworks put me right back start thinking about hanging out prompted Mancini to write his ★★★ 1/2 in the middle of that funky heat. with big girls.“Two Sisters and a only score that observably bears PETE RUGOLO It is music that reminds me that Trumpet” simply swings. Also some reference to the Barry Varèse Sarabande VSD-5860 the jungle sleeps just below my on display are a number of cues sound.The same could be said of 19 tracks - 50:32 pale skin (while down the street which call to mind ’s Lalo Schifrin’s efforts for The any years ago, while sip- some classically trained black minimalist and nearly atonal Liquidator, (“The Killer”) a way- Mping from Pete Rugolo’s woman could be drafting a per- “circuit board” weirdness, stuff cool soundtrack that only looks creative tape, I picked up anoth- fectly fine Chopinesque polon- Corman used for his original like Barry at front and back er clue from the arts that racism aise). Film noir painted 1959 Little Shop of Horrors. where the main title is per- couldn’t be anything but a sack America’s big cities as concrete A major highlight of this disc formed by Shirley Bassey doing of crap. Rugolo’s pungent jazz jungles, dark and damp like a is the inclusion of two mid-‘50s her patented “larger-than-life (he wrote the original Fugitive TV rain forest, with men in trench- torch ballads performed by the and outraged!” Goldfinger theme) hit me in the veins; jun- coats as the deadly predators great Chet Baker.There will schtick.There are two cuts by gle heat and savanna sun spiced hiding in the shadows. This never be a vocalist like him Alex North, “French Quarter” my sweat as I spent those hours World, Then the Fireworks should again.This world-class trumpet from A Streetcar Named Desire, in my little white boy’s room fit that bill since it’s based on a player, who was probably mur- and a similar cue from The Rose playing his records.The Amish story by Jim Thompson, a talent- dered in an Amsterdam hotel Tattoo. Both reek of genius. For aren’t stupid—music does have ed author of hard-boiled crime room in 1988, had a smooth and more benefic stuff look for the power to provoke elemental fiction for intellectuals. delicate voice, almost feminine. “Danube Incident” (Schifrin), excitement. I felt it, and realized The film appears to be a flash- His version of “My Funny “Hammer Blow” (Kahn and that if a middle-aged Italian- back to classic film noir, but it’s Valentine,”on the Sharky’s Lenard) and Mr. Lucky American composer/arranger a 1997 flick and Rugolo’s score Machine soundtrack LP, is (Mancini), which is one of the could fire up a German-Angle has more happening than was unearthly in its hypnotic perfec- most pleasing slices of blue- American boy with his band’s typical of similar scores from tion. I don’t know where This blooded seduction ever put to burning concoctions then there the ‘40s and ‘50s.There are stone World disappeared to, but it’s vinyl or plastic. Having it slide couldn’t be any such thing as solid jazz sessions like “Tutti wonderful to have Pete Rugolo through the headphones is like “black is all about rhythm and Minor Blues,”and one particu- back and doing what he does getting a back rub from blues” and “white is all about larly primeval sizzler called best: thriller jazz.

Film Score Monthly 43 J UNE 1998 SCORE Connelly (playing the requisite to the film’s lex North is noir torch singer). Connelly’s pseudo- Asuch a misun- singing scenes (mercifully brief romantic derstood commodi- transcribed for live players, but though they are) provoke little “relationship” ty that many are as heard here, the ear is literally more than snickers in a film scenes just probably unaware crushed by the mixture of elec- that’s otherwise successful in evoke the nos- that he ever scored tronic elements so that following establishing its off-center talgic senti- a western (or any- any one melodic line is like try- dreamland mood. mentalism thing other than A ing to hold onto an individual in Much better is a canny and that is the Streetcar Named a vat full of eels. The show’s atmospheric collection of four surface veneer Desire and main title music is almost four songs informed by the post- of such Spartacus). His minutes in length, which must punk British New Wave style of sequences. Cheyenne Autumn be some sort of world record; the early to mid-‘80s, an era The result has long been one let’s hope we don’t get a four- which provided the roots of tends to spot- of the most original minute opening narration every vampire chic with groups like light the and powerfully dra- week. (As for the new Conan, Siouxsie and the Banshees, the film’s weak- matic works in the he’s such a Teutonic mutation Cocteau Twins, and Echo and nesses (the genre, and Viva that he actually manages to the Bunnymen. The latter clichés of the Zapata!, while not make Arnold Schwarzenegger group is represented here with noir and matching that look like a regular guy.) the song “Just a Touch Away,” action genres) work in length, is Fox’s experience in scoring with a sinuous underlying string without lend- similar in the way comedy comes through in a few theme and Ian McCulloch’s ing support to it blends an ethno- playful passages (such as the David Bowie-like vocal (a quali- its strengths geographical flavor opening of “Beastman’s Lair”), ty also adopted by Gary Numan (Proyas’s with the kind of and there’s an honest attempt to in “Dark” and numerous other eerie and emotional, mod- write for synthesizers in a way New Wave vocalists). Even unsettling ernistic writing that duplicates the layout of an Hughes Hall’s “Sleep Now,” visuals and North brought to orchestra. But the result sounds with its layers of sound effects the film’s deliriously imagina- his epics like Spartacus and like somebody’s hastily assem- built into the song’s industrial tive conception). It fails to ade- Cleopatra. The two westerns in bled synth demo for a period rhythms, makes for sleek quately characterize the particular seem closely related adventure rather than the actu- atmospheric listening and works Strangers, the telepathic “tun- to Spartacus because all three al score. There’s just nothing to perfectly with the movie’s ing” power or the existential cover the struggle for freedom sink your teeth in here despite baroque, music video-style nature of the setting. On its by the oppressed, expressed on an obvious ambition towards an imagery. own, the 37 minutes of score an epic and often brutal canvas. epic sword and sorcery feel. How Theoretically, so should excerpted on the album plays Viva Zapata! doesn’t contain about spending a buck or two Trevor Jones’s big, dark and fairly well, with a spectacular the martial stridency of and buying Fox a real orchestra? busy orchestral score, but its 12-minute climactic cue (marred Spartacus or the stoic dignity of —Jeff Bond action-oriented approach was by some unforgivable distortion) Cheyenne Autumn, speaking ultimately too conventional for that takes the listener through instead through the gentle opti- Dark City ★★★ Alex Proyas’s sometimes mind- the dynamic “tuning” battle mism of traditional Mexican TREVOR JONES blowing sci-fi exercise. Since the between the film’s telekinetic melodies. But all three erupt TVT Soundtrax 8160-2 Michael Keaton psychopath hero and the alien Strangers with North’s full-blooded 14 tracks - 60:18 thriller Extreme Measures and and his triumphant reconstruc- orchestral writing and bellicose oundtrack albums that fea- Dark City were both delayed so tion of the Dark City into a sun- rhythms. Sture pop songs are the bane long, it’s unclear which Jones lit paradise along the shores of “Zapata” is a driven introduc- of collectors: They necessarily wrote first, but each clearly “Shell Beach.” tion for Marlon Brando’s char- shortchange the underscore bears the influence of the other. Dark City’s failure to find an acter, in the style of some of the music, and since many movies However, while the bustling, audience is tragic, but probably percussive travel sequences that load songs into the formula propulsive textures of Extreme inevitable, since the entire con- from Spartacus with its wild don’t bother to play them out Measures elevated that score struction of the film denies any xylophone and flute figures and until the end credits, they can’t beyond the usual synth-drum- investment in the film’s charac- powerful, odd-metered rhythms. contribute to any fond remem- ming thriller approach, the ters, and the actors necessarily “Gathering Forces” (a piece brances of the movie experience. same techniques reduce Dark have to behave almost as if conductor Jerry Goldsmith fre- The perfect case in point is City’s flights of fancy to mun- they’re not occupying the same quently puts into his concert TVT’s aforementioned Lost in dane action fodder. When the space as one another. It would repertory) is a textbook exam- Space album. However, the alien “Strangers” rebuild the have taken a remarkable score ple of the differences between same label’s Dark City is a mysterious city to their own to bind the elements of this how scores used to work in happy exception. The weak specifications each night (“The unusual brew together. films and how they work today: links are the two songs that Strangers Are Tuning”), Jones Unfortunately, this wasn’t it. North was able to mix the excit- actually have something to do attacks the sequence with the —Jeff Bond ing rhythms we associate with with the movie: “Sway” and hammering brass rhythms of action music with dramatic “The Night Has a Thousand Holst’s “Mars, Bringer of Viva Zapata! ★★★★ development so that his music Eyes,” performed by singer War”—putting across the idea ALEX NORTH actually said something other Anita Kelsey, who provides a of immense power, but little Varèse Sarabande VSD-5900 than “this scene is supposed to bad vocal match for Jennifer else. Likewise, Jones’s approach 14 tracks - 31:58 be exciting.” “Huerta” has

J UNE 1998 44 Film Score Monthly some of the same effect, blend- music, but it all provides a with Kate Bush performing tracks, composed by Bad Livers ing unexpected dissonances and smooth, cohesive listening expe- “Brazil,” which, despite having member Edward (Danny) stretching out jagged motifs rience. been written by Ary Baroso, fits Barnes, orchestrated by Steven through the piece to add to the This Opus opens with five within the context of a compos- Scott Smalley and performed by unfolding drama; the final selections from Kamen’s best- er compilation due to Kamen’s the Northwest Sinfonia, which moments of the cue parallel the known scores: the “Overture” sublime arrangement of the attempt to thematically convey, prelude to the storming of the and lovely “Maid Marian at the theme throughout Terry in orchestral terms, the Roman military camp by the Waterfall” from Robin Hood: Gilliam’s 1985 fantasy. atmosphere of the film and its slaves in Spartacus. Prince of Thieves are given a The Seattle Symphony does a Southwestern setting at the While this is an enjoyable faithful rendering by the Seattle good reading of Kamen’s same time it captures the dra- album and it’s wonderful to Symphony Orchestra; themes, with the Circle of matic urgency of the action. hear the complete North score “Rowena” from Mr. Holland’s Friends and Winter Guest selec- There isn’t enough score on in any form, this newly per- Opus is an enchanting, flowing tions having been recorded with here to make much of an formed Viva Zapata! suffers piece along the lines of the Maid the London Metropolitan impression, but the album itself from some of the pitfalls of Marian music; “Dona Ana” Orchestra. Packaging is colorful, is appealing, and worth a listen Varèse’s approach to recording reflects both the yearning featuring stills from several of if you’re into ‘20s jazz and rag- the Royal Scottish National strings and jaunty playfulness of the films, and the running time time standards. —Andy Dursin Orchestra. Although it’s not as Kamen’s terrific score from Don is just long enough to take in distant-sounding as Patton, Juan De Marco; and “You’re the during one sitting. While some Kissing a Fool ★★1/2 there’s still a sense that we’re One,” the love theme from listeners will be disappointed by JOSEPH VITARELLI really not hearing everything; Circle of Friends, is performed the lack of car/plane/truck/boat Varèse Sarabande VSD-5922 that we’re witnessing a concert in a beautiful new arrangement chases, there should be enough 14 tracks— 35:59 performance rather than an featuring Kamen himself on to make this Opus appeal to oseph Vitarelli wrote an actual film score. The perfor- piano. almost everyone. —Andy Dursin Jinfectious, mostly orchestral mances don’t have the snap and From there, the album ven- score for the Courteney Cox- power of Goldsmith’s recording tures into selections from The Newton Boys ★★★ Aidan Quinn film of 2001 or the intimacy of Kamen’s earlier efforts: The BAD LIVERS, Commandments, an offbeat Who’s Afraid of Virginia atmospheric “Marooned” from EDWARD D. BARNES comedy that played to empty Woolf?, both of which superbly the Aidan Quinn-starrer Crusoe, Epic Soundtrax EK 69182 theaters in its limited release recreated North’s original the rousing “There Can Be Only 16 tracks - 59:38 last year. Now he’s scored sound, which is so sharp-edged One” training montage from ichard “Slacker” Linklater’s another off-kilter romantic com- and dynamic that it requires a Highlander, and “Magic City” Rforay into mainstream film- edy with a Friends star (this more focused recording set-up. from Kamen’s first feature making was a box-office dud time, would-be cinematic lead- The bottom line is that these score, the 1976 Sean Connery this past March, despite starring ing man David Schwimmer) are great recordings to have, but film The Next Man. These offer a group of “hot” young actors that likewise failed to scare up they shouldn’t supplant the a dramatic contrast to the (Matthew McConaughey, Ethan audiences this past spring. originals—let’s hope someone serene compositions that pre- Hawke, Skeet Ulrich) and a Unfortunately, this may be a puts out North’s recording of ceded them; Crusoe in particu- friendly PG-13 rating. Critics case of the record labels discov- Viva Zapata! someday soon. lar has an exotic setting which didn’t much care for The ering Vitarelli’s music a year too —Jeff Bond affords Kamen the chance at Newton Boys either, citing late, since his score for Kissing utilizing more colorful orches- anachronisms in the film’s a Fool is an amiable collection of Michael Kamen’s Opus ★★★1/2 trations. 1920s setting and a lack of dra- original jazz tracks (that almost MICHAEL KAMEN Also sandwiched in the disc’s matic power in the true story of sound as if they could be source London 289 458 912-2 back-end is a track from last a group of bank-robbing, albeit music) and several brief dramat- 12 tracks - 48:45 year’s The Winter Guest, non-violent, thieves in Texas. ic cues that don’t add up to a e’ve been flooded with “Stromness,” featuring a theme However lacking the film may cohesive album. The one excep- Wcomposer retrospectives composed by Kamen for the be, the movie’s soundtrack tion, the elegant trumpet ballad of late, and certainly Michael third movement of his album is an enjoyable collection “The Girl Who Is,” hints at the Kamen has scored enough Saxophone Concerto, here with of down-home “Saturday night kind of effective underscore movies to warrant his own Hugh Seenan’s horn filling in standards at the Texas ranch” Vitarelli provided for album of film themes. Thus, for David Sanborn’s sax. A brief period tunes, newly and faith- Commandments, but alas, that’s here comes yet another trip non-action cue from Die Hard fully recorded by an acoustic all there is on this 35-minute down memory lane, with, (under two minutes) precedes a ensemble (banjos, guitars, accor- Varèse release, which also thankfully, Kamen himself at lengthy selection from the 1986 dions, violins, piano, etc.) called includes a handful of vintage the podium. The result is a well- Martin Campbell made-for- the Bad Livers, whose buoyant tracks by the likes of Etta chosen, straightforward collec- British-TV film Edge of performance makes this album James and three cuts by Mighty tion of newly recorded tracks Darkness, for which Kamen col- enjoyable. Composers like Blue Kings. from Kamen’s most renowned laborated with guitarist Eric Hoagy Carmichael and In fact, there’s under 23 min- scores, nicely packaged with Clapton. Tomoyasu Hotel subs Ferdinand Joseph “Jellyroll” utes of Vitarelli’s music on the notes from the composer (à la for Clapton here, and the mix of Morton are represented here, album, which naturally would Elfman’s Music from a orchestra and electric guitar and the energetic style of ‘20s make it impossible for any com- Darkened Theater). Die-hard recalls Kamen’s work on the jazz, as improvised by these poser to make much of an (excuse the pun) Kamen com- Lethal Weapon films—none of Texas musicians, is indeed a lot impression. Here’s hoping the pletists won’t find a lot of unre- which, surprisingly, is represent- of fun to listen to. Breaking up composer gets a better deal the leased, bone-crunching action ed on the album. It all concludes the period songs are three score next time around.—Andy Dursin

Film Score Monthly 45 J UNE 1998 I CAN’T BELIEVE IT’SASOUNDTRACK! Weird movie/TV-related compilatiocompilationsns and reissues from across the galaxy...

Real Hollywood Sound Effects was later modified by Ben Burtt but play themselves out as ★★★ and used as an element of the through-recorded pieces. Also, ALAN HOWARTH TIE fighter engine sound; unlike James Brown’s sound- GNP/Crescendo GNPD 8054 whether Howarth is reproduc- tracks like Black Caesar, it’s 54 tracks - 64:27 ing the old sound effect or all-instrumental (except for a hile Alan Howarth may recreating it here isn’t clear. few sound effects and vocal be known to film score “Liquid Vortex” sounds suspi- exclamations), so there’s no Wfans as a frequent collabo- ciously like the world’s largest vocalist or lyrical theme tying it rator with director/composer toilet being flushed. together. It really isn’t a John Carpenter (and the sole “score,” but an album—which, composer of the sequels to one would say, is good when Child” warbled by real General Carpenter’s original what you’re listening to is an Hospital stars like Dave Koz, Halloween), he got his start in album. John Warren, Brad Maule, the business creating sound So, disappointingly, The Vanita Harbour and Wally effects for Star Trek: The Revenge of Mister Mopoji is not Kurth, singing as the characters Motion Picture, and has since another source for those funky they play! Some of these people done sound effects for all of the kung-fu suspense licks of the have serious potential to be the Star Trek feature films, as well kind Schifrin made famous. next Rick Springfield, so let the as movies like Poltergeist. However, it is a kickin’ heavy- naysayers giggle if they must; GNP/Crescendo has to be the funk album, gettin’ down with we’re talking future Vegas only record company to offer lis- “Paranormal Voices” and that soulful early ‘70s vibe. headliners here. Now how teners sound-effects libraries on “Supernatural Cherubs” fea- —Lukas Kendall much would you pay? many of their CDs like The ture some Ligeti-like choral Desco Records can be reached The best song title is “My Outer Limits, the Irwin Allen effects, and the album also at 440 West 41st St, New York NY Heart Only Knows What It boxed set and Star Trek includes a number of 10036; ph: 212-924-2298; fax: 212- Feels,” which reminds me of a Generations, as well as a great Federation and alien trans- 727-3174. friend of mine’s idea for a joke collection of sounds from the porter sound effects. The climax song title: “Can You Hear Me is the house implosion sound The Music of General Hospital ★ Feeling?” The sad thing is, I effect from Poltergeist: excellent VARIOUS think this was done as a real for drowning out your neigh- L & B Records 60981-7 song a few years ago... bors’ annoying rap music. 15 tracks - 50:31 —Jeff Bond —Jeff Bond f you know us Film Score Monthly staffers at all, you Riven ★★ 1/2 The Revenge of Mister Mopoji Iknow that we rush home ROBYN MILLER ★★★ early every weekday afternoon Virgin 45425 2 8. 20 tracks - 54:08 MIKE JACKSON, THE SOUL so that we won’t miss our “sto- f you’ve reached the stage in PROVIDERS ries.” So this album of music your life where you’re actual- Desco ST5918. 12 tracks - 45:03 from the great dramatic series Ily interested in purchasing original Star Trek television rom the New York-based General Hospital was quite lit- the soundtrack to Riven, you’ve series. Howarth’s work (already funk label Desco comes this erally a dream come true. probably spent far too many represented by the Generations Fblaxploitation/kung-fu Possessing the bluesy new ren- hours playing the game and effects library tracks) gets a soundtrack to a movie that, like dition of the old ambulance good presentation here in what a ninja, has left no trace of its music from the show’s opening is purported to be “volume one” existence: The Revenge of titles, the touching romantic of sound effects CDs. The Mister Mopoji (1974), directed melody for Luke and Laura (the effects range from ambient by Lee Lung and produced by rape nightmare that blossomed montages (planetary atmos- (his brother?) Sam Lung. It’s a into an award-winning pheres and storms, starship pulsating collection of funk romance!), the haunting synthe- bridges and engineering rooms) tracks by Mike Jackson and the sizer strains of “B.J.’s Theme” to more specific effects for prop Soul Providers in the style of or the catchy guitar and key- instruments, weapons, space- James Brown’s band of the board vibes of “Robin and ship flybys and animals. early ‘70s, complete with Stone’s Theme” would have Check out track 32 (“Alien raunchy horns, organs and been godsend enough, but need to have Riven’s influence Creatures”) about 16 seconds wah-wah guitar. wait—there’s more! Finally, we on your life cut back rather in. This is an old 20th Century However, unlike classic kung- GH fans can experience the than added to. The Riven Fox animal roar effect that was fu epics like Lalo Schifrin’s thrill of hearing romantic bal- album consists of 55 minutes of used for everything from ele- Enter the Dragon, this is not as lads like “Power to Believe,” ambient, new age sound that phants to dinosaurs and mon- much a film score as a collec- “Love Has the Last Word,” takes advantage of modern sters in some of the Irwin Allen tion of groovin’ instrumentals; “Forever Home—A Father’s sampling techniques to create movies and television series. It the tracks do not catch actions, Lullaby” and “God Bless the an unusually organic feeling;

J UNE 1998 46 Film Score Monthly the music is particularly unset- animated “Whammy”). Part of Trek cues, while most of the tling when you realize that it’s the fun is in hearing the mid- other pieces generate standard largely written for sequences of dle and ending sections of suspense or atmospheric tex- exploration of empty rooms by these tunes, scarcely heard on tures familiar to any viewer of the game player as he or she the actual shows. I’d go for an low budget ‘50s sci fi-movies, investigates the remnants of a entire CD of The Price Is and repeats them, with some of vanished civilization. Some elo- Right, which must be some of the loops short enough to actu- quent percussive effects rustle the most-heard music of all ally create an effect of pre- around beneath many of the Secret, GE College Bowl (a col- time. —Lukas Kendall Philip Glass minimalism, often cues, adding a primitive atmos- lege marching band)—don’t Also new from Varèse Vintage with amusing detours into phere to many of the environ- they realize there’s money to be is They Came from Outer Space: pure, ‘50s Madison Avenue ments and giving the album a won? The ‘70s and early ‘80s The Alien Songbook (VSD-5882). glitz. Hanging over every cue low-key rhythmic flow that themes are best for infantilizing This is mostly a collection of are reverberating, Sputnik-era prevents it from degenerating insanity, from their perky trum- UFO-related pop and novelty electronic sound effects that into completely sleep-inducing pets to psychotic clapping to songs by Weird Al Yankovic, Bill date the material more than fluff. However, perhaps the novelty synthesizers (all con- Mumy, Nilsson, Jefferson the music; these range from best recommendation that can tained in Card Sharks, by Airplane, and lots of less-recog- theremin-like whines to perco- be made for this album is as Edward Woodley Kalehoff, nizable names, but is also a good- lating, glistening textures that background music to fall asleep which sounds like a cop show sounding source for the early are somewhat in the same vein to... or play Riven to; whichev- and sitcom simultaneously). classic, “The as Louis and Bebe Barron’s er comes first. —Jeff Bond Then there’s Alan Thicke Blob” (lyrics by Mack David). Forbidden Planet “electronic singing The Wizard of Odds. Beware of the blob that creeps... tonalities,” only not nearly as Classic TV Game Show The standout great instru- interesting. They also get a lit- Themes ★★★1/2 mental is by none other than Man in Space With Sounds tle repetitive, with Mineo Varèse Sarabande VSD-5881 Bob Cobert, of Dark Shadows ★★ ATTILEO “ART” MINEO seeming to run out of new 20 tracks - 39:03 and The Winds of War fame. Subliminal Sounds SUBCD-4 sounds by around track 5. And his is a perfect disc for Some of the composers on this 24 tracks - 63:12 after track 12, in the words of those of us who relished CD specialized in daytime TV, ew things are funnier than a character from Close Tour sick days from school, or were obviously producers mankind’s past attempts Encounters, “...the whole dog- thrilled by the showering of who attached themselves onto Fto visualize the future, as gone thing repeats.” Tracks 13 brand new cars and jackpots cue sheets for royalties. Cobert this record compiled from the through 24 duplicate the entire on America’s excitable game is a case of an actual feature soundtrack of a ‘50s world fair show contestants. Varèse and longform TV musician presentation proves. With titles Vintage producer Cary who provided a rockin’, chat- like “Soaring Science,” “Mile- Mansfield has assembled 20 tering brass anthem for The a-Minute Monorail” and original game show tracks, $25,000 Pyramid—the show “Boeing Spacearium,” this is a including some famous ones where regular shmoes got to cross between a ‘50s science which have survived the years exchange clues with good-sport fiction score and a breathless unchanged: the seductive celebrities, under the watchful commercial for progress, with Wheel of Fortune, sing-song eye of America’s oldest teenag- a stentorian announcer open- ticking clock of Jeopardy! er, Dick Clark. Also by Cobert ing every cue with sentences (complete with pulsating con- on this CD are Jackpot, Go and like “Here’s a world where testant walk-on music), super- Chain Reaction. tomorrow’s science takes on sequence, only without the market-sounding The Price Is Game show themes today spectacular reality! Come with narration, which explains how Right and the wonderfully are so modernized as to be us into the great Boeing this LP-derived album is able hick-flavored Family Feud. unmemorable, but this CD pre- Spacearium where you’ll thrill to run 63 minutes. Other themes are not as sents some of the best from to a simulated flight through While Man in Space with memorable, but come back decades past—even though it outer space! Travel through Sounds a fascinating token of a quickly in association with does exclude Sale of the amazing three-dimensional bygone era and a prime exam- their shows: the clapping-based Century and Press Your Luck galaxies!” or “Stand by for sur- ple of ‘50s kitsch, after the first Tic Tac Dough and obnoxious (the one with the annoying prises! Here in the science five minutes of sublime hyster- The Joker’s Wild (both by Hal pavilion are dazzling ics you’ll have to deal with this Hidey), and the signature licks demonstrations of what lengthy album as music, and of The Dating Game and The tomorrow’s science holds in on that level it’s purely an Newlywed Game (by Chuck store!” Two of the titles add acquired taste. Definitely a Barris and David Mook). The a provocative slant on the worthy addition to anyone’s Match Game is one of several material: “The Queen City” lounge music collection. tracks by Robert A. Israel, who and “Gayway to Heaven.” —Jeff Bond also wrote The Price Is Right, Parental advisory sticker The album can be ordered from Family Feud, Password and To suggested. Jack Diamond (650-325-2284) in Tell the Truth, all present here. Track 9 (“Man Seeks the the U.S. or Subliminal Sounds Earlier themes on the CD are Future”) actually starts off (4686-948-666) overseas; or see oddly formal: What’s My Line? sounding like one of Gerald http://www.jackdiamond.com/ (“Rollercoaster”), I’ve Got a Fried’s “Amok Time” Star attilio.htm.

Film Score Monthly 47 J UNE 1998 RETROGRADE Sale Away...

DESPITE TITANIC’S HISTORIC 16-WEEK VOYAGE ATOP THE BILLBOARD 200 ALBUM CHART, THE RECORDING INDUSTRY ASSOCIATION OF AMERICA CLAIMS SOUNDTRACKS REPRESENT LITTLE MORE THAN 1% OF THE ALBUM MARKET.

by Jeffrey Wheeler

story in The Hollywood Reporter do think their popularity is due to the fact that relates that soundtrack sales of people are always looking for a big tune to Aaround 50,000 copies (“units”) are enjoy, and film music tends to be the only 20th deemed to have sold well. A low-profile sym- century music to consistently have them.” phonic score typically moves at about 10,000 Film scores rich in melody typically fare better units. For most specialty labels, that is just than scores of the dissonant sort, thus explain- enough income to break even. The high-profile ing why fantasy and western soundtracks, two Nixon marketed fewer than 9,000 units— genres perpetually loaded with memorable comparatively, a dud. As the antipode, themes, sell more than any other kind. the Whitney Houston album to Astounding sales for original soundtracks The Bodyguard sold over 16 mil- are so seldom that when a Titanic arrives, it lion units in the U.S.—the best- brings great hope for the film score devotee. selling soundtrack of all time. With James Horner’s score currently selling The limited exposure of more soundtrack CDs than any other, fans can soundtracks makes for hard only keep their fingers crossed for a film music going for labels trying to release renaissance—but it’s one that may never obscure material, and marketing come. Star Wars remains the best selling mod- strategies are difficult to mount. In ern-day “score only” soundtrack (Titanic does the case of Elmer Bernstein’s short- have the Celine Dion vocal): approximately 4.5 lived soundtrack club of the 1970s, million units sold domestically and 12 million sales of about 2,000 units were nor- worldwide in its original vinyl and cassette mal; FSM’s new Silver Age Classics forms, with the invention of CDs adding a fair series is counting on a loyal follow- push. Its re-recordings, reissues, and special ing of around this size. The specialty editions bump the income even higher. Still, it labels that last are frequently sub- did not permanently alter scoring styles for all sidiaries of larger companies, with genres of movies. companion labels for classical, jazz, etc. This allows for more publicity and a The Winners greater crossover market. Six OSTs have made it to the top spot on the “Film music unto itself is such a Billboard bestseller’s chart. Goldfinger ties small niche market that the only way to with Titanic with an amazing 16 weeks on top, successfully market it is to reach out Exodus lasted 14, and Doctor Zhivago, and include other markets... whether it Chariots of Fire and Around the World in 80 be classical, film fans, or just title recog- Days cover the rear. Titanic is James Horner’s nition,” says composer John Morgan, best first score to reach the Top 40, although known for his score reconstructions for the Braveheart also performed exceptionally well. Marco Polo label. “The general film music Conversely, the most consistently popular film population as represented by posters on the composer is John Williams, who has had seven Internet is not enough to guarantee suffi- scores up there starting with Jaws in 1975 to cient sales to make re-recording, or even Born on the Fourth of July in 1989. Only 35 or releasing original tracks (with their reuse so film scores have made it to the Top 40. fees) profitable. Of course, films like Star Besides Titanic and The Bodyguard, the Wars or Titanic are special circumstances eight bestselling soundtracks of all time? where the film itself sells so phenomenally, Purple Rain, Saturday Night Fever, Dirty anything is taken along for the ride.” Dancing, The Lion King, Grease, Footloose, Concerning those instrumental soundtracks Top Gun and Waiting to Exhale. Nope, no that do prosper, retailer Craig Spaulding of Jerry Goldsmith. Screen Archives Entertainment suggests, “I FSM

J UNE 1998 48 Film Score Monthly PRESENTS SILVERSILVER AGEAGE CLASSICS CLASSICS A New Series of Limited Edition Original Soundtrack CDs Now available: FSMCD Volume 1, Number 1 Stagecoach The Lonerwith byby JerryJerry GoldsmithGoldsmith

One-Time Pressing of 3,000 Copies Order Yours Today!

Stagecoach Stagecoach is the 1966 remake of the 1939 clas- starring Lloyd Bridges. Goldsmith composed the theme 1. Main Title 2:32 sic, starring Ann-Margret, Alex Cord, Bing Crosby, and two episode scores; the 20 minutes contained on 2. Dryfork Saloon/ Stefanie Powers and others on their way to this CD represents the totality of his contribution. The Stagecoach Arrives 1:14 Cheyenne. The existing commercial album is a re- theme is a dynamic tune out of the Rio Conchos play- 3. A New Passenger 1:44 recording (not conducted by the composer), and book, complete with harmonica, bass guitar, percussion 4. Family History 4:35 was one of the all-time worst CD reissues. This CD and whipcracks, and the underscore is written in the 5. Aftermath 3:07 is the first-ever release of the style of the moody, solitary moments of Hour of the Gun, 6. First Born 1:34 soundtrack as conducted by Jerry Goldsmith, a Bandolero! and 100 Rifles. The sound is clean mono; a 7. All Is Forgiven 2:37 melodic and nostalgic take on the old West. The unique, lost gem for fans of Goldsmith’s westerns. 8. Escape Route 1:53 stereo sound is much supe- Booklet fully illustrated with 9. No More Indians 1:08 rior to the re-recording, and rare color photos from the Fox 10. Cheyenne Saloon 0:35 11. Get Out of Town 2:41 the performance (chrono- Archives. Liner notes by Jeff 12. Stagecoach to Cheyenne* 1:24 logically sequenced) carries Bond, Jon Burlingame and The Loner a vigor and buoyancy previ- Lukas Kendall. 13. An Echo of Bugles ‡ 8:47 ously unknown to this score. $19.95 plus shipping 14. One of the Wounded ‡ 10:19 The Loner is a 1965 televi- 15. Main Title with Narration 0:52 sion western series written Turn to FSM Marketplace *by Lee J. Pockriss & Paul Vance, sung by Wayne Newton and produced by Rod Serling, (pg 40) to place your order. ‡ contains main and end titles without narration

Composers for Upcoming Releases: John Williams, Leonard Rosenman