Dead Zone Back to the Beach I Scored! the 250 Greatest

Volume 10, Number 4 Original Music Soundtracks for Movies and Television FAN MADE MONSTER! Elfman Goes Wonky Exclusive interview on Charlie and Corpse Bride, too! Dead Zone Klimek and Heil meet Romero Back to the Beach John Williams’ Jaws at 30 I Scored! Confessions of a fi rst-time fi lm composer The 250 Greatest AFI’s Film Score Nominees New Feature: Composer’s Corner PLUS: Dozens of CD & DVD Reviews $7.95 U.S. • $8.95 Canada �� contents �� FILM SCORE MAGAZINE 3 JULY/AUGUST 2005 contents July/August 2005 DEPARTMENTS COVER STORY 4 Editorial 32 Mortality Plays They’re All Winners. Danny Elfman takes a break from his insane composing schedule to talk about anything and everything he’s been working on lately—from 6 News Charlie and the Chocolate Factory and Corpse Bride to his concert Oscar Changes. music, Charlotte’s Web and more. 9 Concerts By Doug Adams Film music performed around the globe. FEATURES 10 Record Label Round-Up What’s on the way. 19 Run Zombie, Run 17 Gratuitous summer fun. 11 Now Playing Composing partners Johnny Klimek and Reinhold Heil give an updated Movies and CDs in score to George Romero’s latest zombie flick, Land of the Dead. release. By Daniel Schweiger 12 Upcoming Film Assignments Who’s writing what 22 What You Don’t See Can Hurt You for whom. Thirty years after Jaws hit theaters, there’s still more to discuss about John Williams’ landmark score for this seminal horror film. 13 Mail Bag By Scott Essman The Patton Sessions. 15 Downbeat 25 I Scored! Crash Course. An aspiring film composer (and film music fanatic) chronicles the good, the bad and the stressful of tackling his first feature-length score. 42 Score By Nathaniel Scott This issue’s selections 22 Back to the beach, one more time. include War of the Worlds, Cinderella Man, Batman 28 Fan Made Monster Begins, Magnum Force There’s nothing quite like Golden Age horror music, and nobody did and more! it quite like Hans J. Salter. Find out more from the man himself in this 55 Pocket Reviews archival interview. By Patrick Kennedy 58 Composer’s Corner Sound Investments. 31 The House of Salterstein A mini Buyer’s Guide. 59 Laserphile By Joe Sikoryak Summer Hits and Misses. 40 Place Your Bets 47 FSM Marketplace Here’s an official listing of the 250 films—categorized by composer—nominated for the “AFI’s 100 Years of Film Scores” top 25 scores of all time. 40 Guaranteed to stir your passions! ON THE COVER: Johnny, Tim and Danny strike again! ©2005 Warner Bros., All Rights Reserved. Film Score Magazine (ISSN 1077-4289) is published six times a year for $36.95 per year by Vineyard Haven LLC., 8503 Washington Blvd, Culver City, CA 90232. Periodicals postage paid at Culver City, CA and additional mailing offices. POSTMASTER: Send address changes to Film Score Magazine, 8503 Washington Blvd, Culver City, CA 90232. FILM SCORE MAGAZINE 3 JULY/AUGUST 2005 EDITORIAL They’re All Winners Volume 10 • Number 4 Idle summer speculation about the 25 Greatest Film Scores. on’t you love a good list? If you’re a film Two Three), Louis and Bebe Barron (for Forbidden score aficionado (like a lot of us music/ Planet) and Hans J. Salter (for Ghost of Frankenstein) EDITORIAL STAFF Drecord/collectible types) you probably have has to be taken a little more seriously. But then, I feel Publisher a few lists of your own: Top 10 film score composers as though the art of film scoring has been significantly LUKAS KENDALL of all time; five best LP album covers; 50 most advanced by music from the genres of cinefantastique Executive Editor wanted film scores not yet available on CD; etc. So anyway—from King Kong, to The Day the Earth Stood JONATHAN Z. KAPLAN is it any surprise that the American Film Institute’s Still to Planet of the Apes to Close Encounters—but Managing Editor nomination of 250 scores for the greatest American that’s another list. TIM CURRAN film scores of all time has captured my fancy on this If I have one fear, it’s that a memorable song will Creative Director lazy summer afternoon? force an otherwise undeserving score into the list JOE SIKORYAK In case you weren’t one of the lucky 1,200 who of finalists. A handful of nominees, like Casablanca Editor-at-Large received a ballot, here are the criteria the jurors and The Bridge on the River Kwai, have perfectly JEFF BOND considered in making their selections: serviceable scores, but it’s those damned tunes that Copyeditor everyone remembers. On the other hand, Goldfinger Film Score An original music composition DEBBIE NOTKIN could make the list on the basis of its song, and still written to serve as the dramatic underscore to an Contributing Writers deserve its placement for its score. I trust those who American film released in the sound era.* DOUG ADAMS voted will recognize that. And while I’m on the STEVEN B. ARMSTRONG Creative Impact Film Scores that enrich the subject of my preferences, I’d love to see 25 different JOHN ALLINA moviegoing experience by bringing the emotional composers represented for their greatest—or at least DAVID COSCINA elements of a film’s story to life. their most representative, quintessential work. We’ll DARREN MACDONALD see on September 25, when the Hollywood Bowl Historical Significance Film Scores that ANDY DURSIN Orchestra performs the winners here in Los Angeles. create a new sound and, therefore, present the film in SCOTT ESSMAN You can make your picks (or place your bets) with a distinct fashion while advancing the art forms. LUKE GOLJAN the complete list that we’ve reprinted in this issue MARK GRIFFIN Legacy Film Scores that are also enjoyed apart on page 40. NICK JOY from the movie and evoking the memory of its film PETER KENNEDY source, thus ensuring and enlivening both the music peaking of lists, Tim, Jon, Lukas and I continue STEVEN A. KENNEDY and the movie’s historical legacy. Sto make editorial lists for future issues of FSM. ANDREW KIRBY We’ve gotten some good responses to the new format, DANIEL SCHWEIGER Overall, the result is a satisfying collection of and for that, we thank you. This issue continues to NATHANIEL SCOTT nominees. An inside source told me that there was reflect changes in our mix of stories, including a few JOHN TAKIS terrific pressure on the jury to do the right thing and personal ones from readers—Nathaniel Scott has CARY WONG pay proper respect to both the music and its creators. been sending us his demo CDs for years and now One thing that the AFI wanted to avoid was ranking he tells the story of writing his first professional BUSINESS STAFF composers with their most-familiar, name-brand score; longtime reader Peter Kennedy shares his compositions. So there’s a comprehensive range of archival interview with Hans Salter, which catches Editorial & Subscriptions films listed, both the familiar to the obscure, from some of the late composer’s personality. We’re also 8503 Washington Blvd films as old asCity Lights (1931) and as recent as The debuting a new feature, Composer’s Corner, where Culver City, CA 90232 Village (2004). we’ll highlight gadgets and gear for composers. Let us PH. 310-253-9595 Among the 87 nominated composers, all the usual know what you think—we’re always listening. FAX 310-253-9588 suspects are represented, mostly gathered in bunches: Sales & Marketing Manager Elmer Bernstein, Jerry Goldsmith, Miklós Rózsa, MARK KELLY Max Steiner, Franz Waxman and John Williams top 8503 Washington Blvd the list with 11 nominations each; John Barry, Erich Culver City, CA 90232 Wolfgang Korngold, Dimitri Tiomkin each tallied Joe Sikoryak PH. 312-352-0639 seven. (Crotchety Bernard Herrmann stands apart Creative Director FAX 310-253-9588 with nine. He probably would have wanted it that *AFI defines an American film as an English language motion pic- Our Website is updated five times way.) Personally, I found the inclusion of a few obscure ture with significant creative and/or financial production elements weekly! Point your browser at: or vaguely disreputable choices to be absolutely from the United States. Additionally, only film scores from feature- WWW.FILMSCOREMONTHLY.COM thrilling: Any list that includes Virgil Thompson length American films released in the sound era (1927 to present) (for Louisiana Story, a quasi-documentary about oil will be considered. AFI defines a feature-length film as a motion © 2005 Vineyard Haven LLC. wells), David Shire (for The Taking

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