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Home , Alexandre Azaria, Alex North, Carl Davis, Christopher Young, David Huddleston, David Shire

Volume 8, Number 9 Original Music for Movies and Television

IN PG. 8

The

CONCLUSIONSMATRIX WRAPS HIS EPIC TRILOGY DUMPED! GREAT MUSIC THAT DIDN’T MAKE THE CUT The Gospel of JEFF MR. DANNA SCORES THE PASSION Playing it COOLER IN LAS VEGAS

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7225274 93704

$4.95 U.S. • $5.95

v8n9COV.id 1 11/15/03, 11:37:17 AM If you contribute in any way to the music process, our January Film & TV Music special issue, the flagship of the 2004 series, provides a unique marketing opportunity for your talent, product or service throughout the year. It features our exclusive “Who’s Who in Composing” plus our Oscar® Watch focus on Best Score and Best Song. Book your ad. And be heard. Bonus Distribution at MIDEM & Sundance Space Deadline: December 5, 2003 Materials Deadline: December 12, 2003

JUDI PULVER 323.525.2026 www.HollywoodReporter.com JOHN KANIA +44.208.694.0104 Fuel for thought

v8n9COV.id 2 11/15/03, 11:36:00 AM CONTENTS OCTOBER | NOVEMBER

DEPARTMENTS COVER STORY

2 Editorial 16 Conclusions I Wouldn’t Bet on That! Love it or hate it, you’ve got to admit that Don Davis’ work on the year’s huge Matrix represents one of 4 News the most significant sci-fi series scores of all time. Goldenthal wins; By Doug Adams Disney Gala Opening. 5 19 The Revolutions Will Not Be Minimized Round- The final CD of the trilogy reviewed. What’s on the way. 5 Now Playing Movies and CDs in FEATURES 24 Music missing in action! release. 6 12 Of Biblical Significance Film music performed Jeff Danna takes a decidedly different approach to scor- around the globe. ing the religious epic in The Gospel of John. 7 Upcoming Film By Mark Hasan Assignments Who’s writing what for whom. 21 Playing It...Cooler 8 Pukas Who’s a better choice to score The Cooler The Appleseed Saga, than Mark Isham? Part 3. By Daniel Schweiger

9 Mail Bag 24 Dumped! Favorite TV Themes. An in-depth look at famous and not-so-famous music that was unceremoniously omitted from the release 16 The light at end of the tunnel! 32 Score print of films we know and love. Our most eclectic batch By Jon Kaplan, Doug Adams and Al Kaplan of CD reviews in a while, including , 29 More Notoriously Altered Scores the original Wizard of , Battle Royale and Vic 30 More Famous/Infamous Replaced Scores Mizzy. 31 Notable Rejected Scores Released on Commercial 36 FSM Marketplace

12 No Hallelujahs here!

ON THE COVER: Every trilogy has a beginning, a middle and an end. Monthly (ISSN 1077-4289) is published ten times a year (with double issues in May/June and November/December) for $36.95 per year by Vineyard Haven LLC., 8503 Washington Blvd, Culver City, CA 90232. Periodicals postage paid at Culver City, CA and additional mailing offices. POSTMASTER: Send address changes to , 8503 Washington Blvd, Culver City, CA 90232

FILM SCORE MONTHLY 1 OCTOBER | NOVEMBER 2003

v8n9ISS.id 1 11/15/03, 11:40:42 AM CONTENTS OCTOBER | NOVEMBER

DEPARTMENTS COVER STORY

2 Editorial 16 The Matrix Conclusions I Wouldn’t Bet on That! Love it or hate it, you’ve got to admit that Don Davis’ work on the year’s huge Matrix films represents one of 4 News the most significant sci-fi series scores of all time. Goldenthal wins; By Doug Adams Disney Gala Opening. 5 Record Label 19 The Revolutions Will Not Be Minimized Round-up The final CD of the trilogy reviewed. What’s on the way. 5 Now Playing Movies and CDs in FEATURES 24 Music missing in action! release. 6 Concerts 12 Of Biblical Significance Film music performed Jeff Danna takes a decidedly different approach to scor- around the globe. ing the religious epic in The Gospel of John. 7 Upcoming Film By Mark Hasan Assignments Who’s writing what for whom. 21 Playing It...Cooler 8 Pukas Who’s a better choice to score The Cooler The Appleseed Saga, than Mark Isham? Part 3. By Daniel Schweiger

9 Mail Bag 24 Dumped! Favorite TV Themes. An in-depth look at famous and not-so-famous music that was unceremoniously omitted from the release 16 The light at end of the tunnel! 32 Score print of films we know and love. Our most eclectic batch By Jon Kaplan, Doug Adams and Al Kaplan of CD reviews in a while, including Predator, 29 More Notoriously Altered Scores the original , Battle Royale and Vic 30 More Famous/Infamous Replaced Scores Mizzy. 31 Notable Rejected Scores Released on Commercial Albums 36 FSM Marketplace

12 No Hallelujahs here!

ON THE COVER: Every trilogy has a beginning, a middle and an end. Film Score Monthly (ISSN 1077-4289) is published ten times a year (with double issues in May/June and November/December) for $36.95 per year by Vineyard Haven LLC., 8503 Washington Blvd, Culver City, CA 90232. Periodicals postage paid at Culver City, CA and additional mailing offices. POSTMASTER: Send address changes to Film Score Monthly, 8503 Washington Blvd, Culver City, CA 90232

FILM SCORE MONTHLY 1 OCTOBER | NOVEMBER 2003

v8n9ISS.id 1 11/15/03, 11:41:15 AM Give the Gift of Film Music $16.99$19.99 $16.99$17.99 4-CD set $39.99$16.99 To find the latest and the greatest film music on CD, just visit www.intrada.com. We stock thousands of soundtracks from around the world and post updates as soon as new titles arrive. We guarantee your satisfaction with 20 years of experience—serving collectors, fans, , film music professionals and newcomers! Sign up for our FREE weekly e-mail bulletin of all the latest releases! $16.99$17.99 $16.99 $15.99 Visit: www.intrada.com E-mail: [email protected] Fax : 510-336-1615 Call: 510-336-1612

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Mr.by ElmerHobbs TakBernsteines a Vacation and is a delightful combination of Grizzly! band, ,by J eromerock ’n’ Morossroll and lush underscoring as only Mancini can serve up!. Don’t miss Mr. Hobbs—or our other Two masters of Americana premiere Mancini release—Silver Streak! scoring at the top of their form (circa 1967.) Also includes Bernstein’s original theme for National Geographic. $19.99 $19.99 $14.99$19.99 $19 .99

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v8n9ISS.id 3 11/15/03, 11:42:28 AM CONCERTS • NOW PLAYING RECORD LABEL ROUND-UP THE SHOPPING LIST NEWS UPCOMING FILM ASSIGNMENTS Disney Concert Hall Opens With Gala Events

he acclaimed Disney Concert Hall—new home to the L.A. TPhilharmonic and L.A. Master Chorale—recently opened with three gala evenings; the first featured work by Igor Stravinsky, the second and the third was a concert of film music, enti- tled “Soundstage L.A.” The film-music concert began with an original piece commissioned by the L.A. Phil, Soundings, and continued with pieces from Vertigo, , How the West Was Won, and Close Encounters of the Third Kind, as well as vocal performances by Brian Stokes Mitchell (“Laura”) and (“An Affair to Remember”). This concert was broadcast live on radio stations KCRW, KKJZ, KMZT, KPCC and KUSC, and was recorded for broadcast on NPR’s Today. Portions of the concert were shown on PBS-TV’s —watch for reruns on your local PBS station. For more information on the Disney Concert Hall, visit www.musiccenter.org/wdch

Goldenthal Leads the Winners at WSA he World Awards were handed out Oct. 12, at the TFlanders Film Festival in Ghent, Belgium. And the winners were...

Soundtrack of the Year: , Best Original Soundtrack of the Year: Frida, GOLDENTHAL Discovery of the Year: ANTONIO PINTO & ED CORTES, Cidade de Deus Public-Choice Score: Lord of the Rings—The Two Towers, Best Original Song Written Directly for a Film: “The Hands That Built America,” Gangs of , Lifetime Achievement Award: GALA MEN: Esa-Pekka Salonen and John Williams take their bows at “Soundstage L.A.” Gala photo by Carlo Allegri courtesy Getty Images; All Rights Reserved.

throughout their programs from 5 p.m.-6 p.m., or catch the ■ A RECENT ISSUE OF THE On the Air 6 a.m.-6 p.m. On the same station, rebroadcast on Sundays. at ONION featured an interview with Elizabeth Larners hosts “Listening 8 p.m. on WGVU 1480 AM. , in which he HERE ARE A FEW MORE RADIO to the Movies”, weeknights from Do you want to be listed? Send your radio spoke briefly about his film work. shows dedicated to presenting 7 p.m.-9 p.m. show info to [email protected] Asked how he chooses the films film scores: KCSN, is a public radio station on the he scores, he replied, “By how campus of Cal State Northridge. You can important the music is going to ■ GRAMMY-WINNING COM- listen from the website at www.kcsn.org. Quick Takes be to it. But I’ve done comedy, poser/arranger, Ian Freebairn- too, and it seldom seems to be Smith, hosts “The Morning ■ JOHN STEVENS DOUGLAS ■ ACCORDING TO FSM’S important in that. Also, whether Symphony,” from 6 a.m.-11 a.m. hosts a radio program out of LASER-phile, Andy Dursin, the the director is someone I can on KCSN 88.5 FM, featuring film Grand Rapids, Michigan, called new 25th Anniversary Planet of the work with. In fact, I would flip it: scores mixed in with classical “Reel Music.” Tune in to Grand Apes DVD, due out in early 2004, I would make sure that the direc- works. In fact, Friday is “Film Day Valley State University station will have an isolated score by tor and I were on the same page Friday” at the station, and all WGVU 88.5 FM (95.3 FM in and commentary first.” —Scott Bettencourt of the hosts feature film scores some areas), Saturdays from from the composer. FSM

OCTOBER | NOVEMBER 2003 4 FILM SCORE MONTHLY

v8n9ISS.id 4 11/15/03, 11:43:03 AM Record Label Round-Up Disques Cinémusique Alessandroni, as well as the Forthcoming is Fantastica 2-CD lounge set of Questo Sporco NEWLY ANNOUNCED PROJECTS (Lewis Furey). Mondo Meraviglioso and Sweden, AND INCOMING ALBUMS www.disquescinemusique.com Heaven and Hell (Piero Umiliani). FSM email: [email protected]. It’s and robbers at FSM www.hexacord.com; www.gdm.com this month: Our Golden Age Classic is On Dangerous Ground Intrada 1M1 (1952), ’s Due imminently is Intrada Forthcoming is a special-edi- Steiner, featuring the complete only film noir score. This Special Collection Vol. 12, the tion release of Bliss (Peter Best), score from magnetic tracks); com- features the complete chrono- premiere, single-CD release of followed by Bruce Smeaton’s ing early 2004 is Battle Cry (Steiner, logical score from the surviving two scores from 1967 National orchestral scoring and songs for 1955, also from magnetic tracks). acetate mono recordings. Our Geographic specials—Yankee Sails John Gardner’s Grendel tel.: 540-635-2575; Silver Age Classic is McQ (1974), Across Europe () Grendel and The Naked Country. www.screenarchives.com Elmer Bernstein’s -flavored and Grizzly! (Jerome Moross). [email protected] • www.1m1.com.au score for , complete The disc will include Bernstein’s Cinesoundz and in stereo. famous Geographic theme for Aleph The Remixes Vol. Next month: Smugglers! Spies! brass and percussion. Forthcoming from ’s 2 (2-CD set featuring Herbert, Secret weapons! Oh my! www.intrada.com label is Dirty Harry. Hosono and Nortec Collective) is www.aleph.com due Jan. 2004. GDM/Hexachord La-La Land www.cinesoundz.com. Due late Dec.: Professor Due by the end of the year is the All Score Media tel: +49-89-767-00-299; fax -399; pre- Zamori’s restoration of 2-CD set of ’s Due imminently is Maerchenland, orders by mail: [email protected] Francesco De Masi’s score to score to the LucasArts video- a compilation of the highlights the Folco Quilici film India. game Secret Weapons Over Normandy. from the classic Eastern Bloc/ Decca Also in preparation is Footprints Forthcoming is Brannigan German fairy-tale movies. Available now is Master and in Jazz (Mario Nascimbene). (). www.allscore.de Commander: The Far Side of the Forthcoming is the premiere World (Christopher Gordon, Iva release in Hexachord’s Wizards Marco Polo Brigham Young University Davies and Richard Tognetti). of Sound Series, spotlight- Due early 2004 is ’s Due Dec. 1 is A Summer Place (Max ing the music of Alessandro The Adventures of Mark Twain, which

NOW PLAYING: Films and scores in current release

Alien: The Director’s Cut JERRY GOLDSMITH n/a Beyond Borders Varèse Sarabande Brother Bear MARK MANCINA, Disney** The Cooler MARK ISHAM Commotion Die Mommie Die DENNIS McCARTHY n/a Elf Varèse Sarabande Good Boy! MARK MOTHERSBAUGH n/a Gothika Varèse Sarabande In the Cut HILMAR ORN HILMARSSON n/a Intolerable Cruelty , VARIOUS Hip-O Kill Bill Vol. 1 THE RZA/VARIOUS Maverick** Scary Movie 3 JAMES L. VENABLE n/a Love Actually CRAIG ARMSTRONG J Records* DON DAVIS Maverick Mystic River Malpaso/Warners The Singing Detective VARIOUS ** The Human Stain Lakeshore Point of Origin JOHN OTTMAN La-La Land Radio JAMES HORNER Hip-O* Runaway Jury Varèse Sarabande Shattered Glass Thrive Sylvia Varèse Sarabande The Texas Chainsaw Massacre La-La Land **Combination of songs and score *Song album with less than 10% underscore

FILM SCORE MONTHLY 5 OCTOBER | NOVEMBER 2003

v8n9ISS.id 5 11/15/03, 11:44:08 AM RECORD LABEL ROUND-UP

will also be released in 5.1 sound Horse Ballet (2:16) 13. Wild Is the Wind (2:46) on DVD Audio. www.hnh.com Silva Screen 1 3. Red River (4:30) 14. The Guns of Navarone (9:37) Available now are Rota: Essential Film 1 4. The Young Land (2:45) Maverick Music Collection, (2-CD set) and Game 1 5. Duel in the Sun (12:30) CD 3: Drama & High Adventure 1. Cyrano de Bergerac (2:55) Available now is The Matrix of Death/Night Games (). Coming in spring 2004 is the Essential CD 2: The Epics 2. and the Mermaids (5:53) Revolutions (Don Davis). CD set, with the follow- 1. Fall of the Roman Empire: 3. Friendly Persuasion (3:50) ing re-recordings scheduled: Overture (4:26) 4. It’s a Wonderful Life (2:37) Nonesuch 2. Fall of the Roman Empire: 5. The Thing From Another World Due Dec. 2 is Angels in America CD 1: The Westerns The Fall of Love (3:18) (7:42) (, HBO). 1. Night Passage (2:17) 3. Fall of the Roman Empire: 6. Town Without Pity (4:13) 2. Tension at Table Rock (4:50) Pax Romana (5:30) 7. The Well (4:24) Pacific Time Entertainment 3. (2:40) 4. 55 Days at Peking (4:15) 8.–13. The Alamo (25:00) Due Jan. 27: Hybrid (Monteith 4. The War Wagon (5:10) 5. Land of the Pharaohs (3:04) 6. Circus World: CD 4: Bonus Disc McCollum; music performed by 5. The Wild, Wild West: The John Wayne March (2:27) The Dimitri Tiomkin Songbook Loose Strings); Feb. 17: Billibong Theme (2:16) Songs include: (Dorian Cheah); Mar. 9: The 6. The Wild, Wild West: Ballad of Jim West (2:20) Hitchcock Thrillers “Do Not Forsake Me” Best of...Volume 1 (compilation 7. Gunfight at the O.K. Corral (8:52) 7. Dial M for Murder (7:25) “Follow the River” includes Ennio Morricone, Don 8. Rio Bravo (5:11) 8. Strangers on a Train (7:54) “Ballad of the War Wagon” Davis, , Ed Bilous, 9. Rawhide (2:23) “Strange Are the Ways of Love” ). www.pactimeco.com 10. The Unforgiven: Across the Drama & High Adventure “It’s a Wonderful Life” Texas Panhandle (2:34) 9. Giant: Theme (2:16) “Rawhide” Percepto 11. The Unforgiven: 10. Giant: Love Theme (2:51) “The Ballad of Jett Rink” Still coming are two Vic Mizzy The Need for Love (3:17) 11. Giant: Jett Rink (3:00) “Wild Is the Wind” titles, The Ghost and Mr. Chicken and 12. The Unforgiven: 12. The High and the Mighty (2:04) www.silvascreen.com The Reluctant Astronaut. www.percepto.com Reprise bonus tracks from Meet the People Bear?” and “Mothra’s Song.” Perseverance Available now is The Lord of the (various). www.scarletstreet.com Due imminently is The Abominable Rings: Return of the King (Howard www.rhino.com, www.rhinohandmade.com Dr. Phibes (Basil Kirchin). The CD Shore). Screen Archives Entertainment will not include music from Scarlet Street Due late Dec. is The Black Swan Kirchin’s score to The Shuttered Rhino/Rhino Handmade/Turner Available now is Jeepers Creepers, (Newman). Coming early 2004 is Room as previously announced. Due imminently from Rhino is a Bruce Kimmel-produced Keys of the Kingdom (A. Newman, Gypsy (Styne/Sondheim; extended compilation of new recordings 2-CD set). Prometheus version contains Rosalind Russell from horror films, including www.screenarchives.com Available now are both Bernard outtake tracks), Three Little Words Frankenstein Meets the Wolf Man, Herrmann television-music discs (Kalmar/Ruby), with bonus The Mummy’s Curse, Attack of the Sony Classical previously announced: The CBS tracks from Yolanda and the Thief Puppet People and Circus of Horrors. Forthcoming are Big Fish (Danny Years, Vol. 1: The Westerns and Vol. 2: (Warren/Freed), and DuBarry Was Also included are such clas- Elfman) and Peter Pan (James American Gothic. a Lady (Cole Porter, various), with: sic songs as “Who Killed Teddy Newton Howard). Varèse Sarabande The Shopping List Recent Releases you may have missed Due Nov. 25: 21 Grams (Gustavo Soundtracks Santaolalla), The Gospel of John Arctic Circle ALAN WILLIAMS • SMCD 016 (36:40) (Jeff Danna) and Timeline (Brian The Blue Bird • Screen Archives Entertainment SAE-CRS-0009 Tyler); Dec. 9: Dreamkeeper (Stephen Decalage Horaire ERIC SERRA • EastWest 8 09274 93942 5 Warbeck), House of Sand and Fog Effroyables Jardins • East West 2564-60081-2 (Import, 33:18) (James Horner). Fanfan La Tulipe ALEXANDRE AZARIA • EuropaCorp 7243 5 84502 2 4 (France, 69:07) www.varesesarabande.com Laisse Tes Mains Sur Mes Hanches FREDERIC TALGORN • Capitol 7243 583867 2 (France, 67:32) Napoleon (2002) RICHARD GREGOIRE • Virgin 7243 545548 2 7 (France, 54:50) Please note: Once Upon a Time in the West ENNIO MORRICONE • RCA/BMG France 82876524902 (Expanded reissue) We endeavor to stay up-to-date Point of Origin JOHN OTTMAN • La-La Land LLLCD 1011 (31:55) with every ’s plans, but Poltergeist II JERRY GOLDSMITH • Varèse Sarabande 302 066 518 2 (Deluxe Edition, 61:19) sometimes bad things happen Compilations & Concert Works to good labels. Please bear with Cinescenie Du Puy Du Fou NICK GLENNIE-SMITH • PDF 2003 (69:16) us if albums are not released as Gold: Concerto • Pierian 0010 announced. FSM John Williams: 40 Years of Film Music JOHN WILLIAMS • Primetime TVPMCD810 (4CD, 228:52)

OCTOBER | NOVEMBER 2003 6 FILM SCORE MONTHLY

v8n9ISS.id 6 11/15/03, 11:44:50 AM Upcoming Assignments & Sundance (NBC, pilot). Rachel Portman Mona Lisa Smiles (w/ Julia Roberts), Because of Winn FIND OUT WHO’S SCORING Dixie. WHAT FOR WHOM John Powell Stealing Sinatra, Mad Max: Fury Road (w/ , dir. George Miller), Robots, Happy Feet, Mister 3000. A-B H Eric Allaman Flash Flood, Latter Days. V (new miniseries). R The Stepford Wives (dir. No Other Country, Trevor Rabin The Great Raid, Torque. , w/ Nicole Kidman). Sounder. Riddick: Pitch Black 2. Resistance. James Horner Caliber, House Young Black Stallion, Lesley Barber Being Julia. of Sand and Fog (w/ Jennifer Ladder 49. John Barry The Incredibles (Pixar). Connelly), Beyond Borders (w/ Johnson Family Angelina Jolie). S-T Vacation, Carolina. Peter Pan, Team America. Christophe Cheaper by the Hidalgo (dir. ). Michael G. Shapiro Home Room. Dozen, Saved. The Hot Sheet Starsky & Hutch Hellboy, Cursed. I-J-K (w/ Ben Stiller, Owen Wilson). Carter Burwell The Alamo Mark Isham The Blackout Murders Neal Acree Deadly Swarm (Sci-Fi). Howard Shore King Kong (dir. Peter (w/ Dennis Quaid). (dir. ). Craig Armstrong Unchain My Jackson), LOTR: Return of the King. Adrian Johnston If Only. Heart, Collateral. Ryan Shore (w/ Cassandra Wilson) C Jan A.P. Kaczmarek Neverland (w/ Angelo Badalamenti Dark Water. Lift. George S. Clinton Mortal Kombat 3: Johnny Depp, Dustin Hoffman). Cinderella Van Helsing (dir. The Domination, Mission Without Against the Ropes Story. Stephen Sommers). Permission. (w/ Meg Ryan). Jon Brion Eternal Sunshine of the William Susman Manhattan: A Elia Cmiral Son of Satan. David Kitay Bad Santa. Spotless Mind. Moving Picture Postcard. Coast to Coast. Harald Kloser The Day After Tomorrow BT Monster. Semih Tareen Continuing Education. Normand Corbeil The Statement, (w/ Dennis Quaid; prod. Roland George S. Clinton Big Bounce, The Big Empty (starring A Different Loyalty. Emmerich). New York Minute. Jon Favreau), Godsend (w/ Robert John Debney Princess Diaries 2. De Niro). D-E L Jeffrey Gold Abby . Jeff Danna Spinning Boris, Wrinkle Chris Lennertz Tortilla Heaven Jerry Goldsmith Empire Falls. V-W in Time. (w/ George Lopez). Harry Gregson-Williams Bridget James Venable Jersey Girl (dir. Kevin Mychael Danna Vanity Fair, The Snow Deborah Lurie Whirlygirl, My Name Is Jones: of Reason (w/ Smith), Ugly Americans. Walker (dir. ). Modesty. Renèe Zellweger), Madagascar Alan Williams Secret Santa. Shaun Davey Ella Enchanted. (DreamWorks, animated). John Williams : Episode III, John Debney Raising Helen, Chicken M-N Mark Isham Spartan, Miracle. Harry Potter and the Prisoner of Little (Disney), Welcome to John Massari . Michael Kamen First Daughter Azkaban. Mooseport. Mark Mancina The Haunted Mansion. (dir. Forest Whitaker, w/ John DeBorde Happily Even After. 11:14. Michael Keaton, Katie Holmes), Y-Z Thomas DeRenzo State of Denial, The Cheeky. Back to Gaya (animated). Gabriel Yared Two Brothers (dir. Eye Is a Thief. Home on the Range. Kent Karlsson An Unsafe World. J. Annaud), Cold Mountain (dir. The Galindez Mystery. John Morgan/William Stromberg 13-30, Sideways (dir. Anthony Minghella), Troy (dir. Connie and Carla. Starship Troopers 2. Alexander Payne), Mean Girls. ). Big Fish, Spider-Man 2. Mark Mothersbaugh Envy David Kitay Harold and Kumar Christopher Young Scenes of the (dir. , w/ Ben Stiller Go to White Castle. Crime (w/ Jeff Bridges), Devil and F-G and Jack Black). James Lavino The Hole Story. Daniel Webster, Madison (themes Kung Pow 2: Tongue of John Murphy Intermission, The John Nordstrom Black Cloud (dir. only). Fury, In the Shadow of the Cobra. Perfect Score. Rick Schroder). Aaron Zigman The Notebook. Richard Gibbs Zachary Beaver Comes Cat in the Hat. Libertine (w/ King Arthur (prod. Jerry to Town, My ’s Mama. Wallace and Gromit: The Johnny Depp). Bruckheimer), The Last Samurai Vincent Gillioz Slayer, Great Vegetable Plot (Dreamworks). John Ottman Cellular. (dir. Ed Zwick; w/ Tom Cruise). Sonata, TheCampusHouse.com, Michael Nyman The Actors. Michael Richard Plowman Hamal23. Freezerburnt Christmas (MGM Get Listed! Taking Lives, Undertow. O-P DVD), Deep Sea Detectives Composers, send your info to Jerry Goldsmith The Game of Their John Ottman My Brother’s Keeper. (A&E). [email protected] FSM Lives (dir. David Anspaugh). The Legend of Butch

FILM SCORE MONTHLY 7 OCTOBER | NOVEMBER 2003

v8n9ISS.id 7 11/15/03, 11:56:48 AM Concerts

FILM MUSIC PERFORMED LIVE ALL AROUND THE GLOBE

UNITED STATES Escape Suite (Bernstein), Forrest Gump Suite (Silvestri). Jan. 2-4; Phoenix S.O.; High Noon South Dakota (Tiomkin), (Evans & Dec. 31, Black Hills, Black Hills Livingston). S.O.; Chocolat (Portman). Jan. 1, Damstadt S.O.; (Rota). Dec. 12, , Society of Jan. 8, Jenar Philharmonic; Psycho, Romanian Radio & Television; Dec. 6, 7; Pomona College Texas North By Northwest, Taxi Driver “Music by Bernard Hermann,” ; Vertigo (Herrmann), Jan. 9,10, Dallas S.O.; The High and (Herrmann). including Psycho, North By (North), the Mighty (Tiomkin). Jan. 14, Klagenfurt S.O.; Doctor Northwest, Taxi Driver. Taras Bulba (Waxman). Zhivago (Jarre). Jan. 20, San Diego, Tifereth Israel INTERNATIONAL Taiwan Community Orchestra, David New Zealand Dec. 10, Taipei, National Amos, cond.; “A Salute to Germany Nov. 24, Wellington, New Zealand Orchestra of Taiwan; Asian .” Dec. 19, 20, Leipzig, Gewandhaus S.O.; World premiere of premiere of Howard Shore’s S.O.; John Mauceri conducts Howard Shore’s six-movement Lord of the Rings Symphony. Georgia European premiere of excerpts symphony from Lord of the Jan. 17, Gainesville S.O.; The Great of Howard Shore’s Lord of the Rings, as well as the premiere Thanks to John Waxman of Themes and Rings Symphony. of Return of the King film. Variations at http://tnv.net.

OCTOBER | NOVEMBER 2003 8 FILM SCORE MONTHLY

v8n9ISS.id 8 11/15/03, 11:57:21 AM RANTS, RAVES & RESPONSES COMAILNTENTS BAG TO READERS

Favorite TV Themes (, 1968) have (warps, dropouts, etc.), I not-so-great. The pictures are rom 1971 to 1990, I audio- 11. The Name of the Game have this to say...it’s up to movie beautiful, but the audio part in Ftaped TV themes, via patch (Dave Grusin, 1968) and music critics to forewarn us the dialogue is a joke. The cord, from my television. What 12. The Saint (I don’t know who wrote about what has been offered! and the Pauper and The Adventures a treat to read several differ- this one, but it ran on NBC from Unfortunately, the magazines of Robin Hood come to mind. ent people’s takes on great TV ’67–’69; I also don’t know if it had the that carry these messages are The dialogue could have been themes! You even included the famous theme starting from the first often released months too late, re-recorded so that at least one enchanting Here Come the Brides. British season in ’62 or from ’67) and one is stuck with a product would put up with it instead However, a couple of memorable When it comes to themes that that will never be played again. of reaching for subtitles to make ones were omitted. Remember sucked, they didn’t come any Ouch! Those bleeding ears and sense of what has been said. Rat Patrol? Dominic Frontiere’s worse than Green Acres, a show emptied wallet! These people must realize that theme and underscore merit an I really hated as a kid; a brain- So you instead have to look to if they are to sell thousands of FSM release. Also, in the late dead, awful experience. producers like Robert Townson movies in the archives, they 1970s, there was a forgettable Mike Merritt or Nick Redman to forewarn us have to improve the audio. A lot drama called The American Girls. Its [email protected] about sound quality on some of people like me are probably music was unforgettable—jaunty of these discs. These people straddling the fence, depending and exciting. Let’s hear it for the Oh-Mega-Man have produced some great on the critics. The labels would obscure! hile I enjoyed Andy soundtracks, like Cleopatra, The do themselves a great justice by Bill Ross W Dursin’s reviews of the Fury, Superman, etc. Lately, the selling better products. [email protected] “Scary Tricks and Treats” new products offered are a joke. And then there are the newly in the new issue of Film Score Hawaii and Beloved Infidel come to remastered films from the ach of you made very good Monthly (Vol. 8, No. 7), I did have mind. Maybe they should have not-so-distant past. Mr. Paul Epicks and reminded me of a slight problem with his evalu- a label that says “Poor Sound Verhoeven, can you hear this? many shows from the ’60s that ation of the 1971 film Omega Man Quality.” Captain From Castile is so What’s with the dropout in had great themes I thought were (in my view, it is a bad film, but tinny I could . sound and music halfway into long forgotten—shows like Felony what I think is not an issue here). Robocop? Did you supervise this, Squad and Cimarron Strip, which was a loose or are you coming out with a for me had the most movie-epic- (I’m being kind here) adapta- “better newly remastered special like opening to a TV theme that tion of Richard Matheson’s edition?” I had ever heard up to that time. classic novel I Am Legend. Some of these newly remas- And I like that Judd for the Defense Since Matheson also wrote tered gems have poor or low- and Time Tunnel got picked by screenplays (you did mention sounding audio. You try to turn more than one of you. Matheson as a screenwriter for up the volume, when suddenly So here are my “dirty dozen” Die! Die! My Darling), I thought the music overwhelms you. Turn from the Golden Age of memo- you might have informed FSM it down, turn it up. Heavens! The rable TV themes: readers that The Omega Man Mission could use some tweak- 1. The Untouchables originated in novel form first ing, and the same goes for Robin (, 1959) (and does make the film look Hood: Prince of Thieves. 2. Adventures in Paradise pretty shabby I’m afraid). All in all, I have to be a (, 1959) Mark J. Owens bit happy with what’s going 3. Thriller (, 1960) [email protected] on—newly remastered movies in 4. Combat Andy did include that info, but he This is not to say that FSM 16:9 formats with remixed 5.1 (Leonard Rosenman, 1962) had to cut it for space reasons. Now discs do not have some prob- Surround in or DTS. 5. Burke’s Law everyone knows anyway! lems. Beneath the 12-Mile Reef and About the “No More Heroes” (Herschel Burke Gilbert, 1963) Prince Valiant have some warped piece by Al Kaplan—I have to 6. 12 O’clock High Sami’s Tirade sounds. But at least there is some cry, too. In going for newer (Dominic Frontiere, 1964) fter reading Nicholas forewarning. soundtracks with better sound 7. Rat Patrol ASheffo’s article about And since I’m on a tirade, quality, I find that I’m either left (Dominic Frontiere, 1966) “Scores to Settle,” I hurried to what’s with Warner Bros.’ newly feeling bland or a bit ripped 8. T.H.E. Cat (Lalo Schifrin, 1966) dash this letter off: remastered gems from the past? off. Klaus Badelt is turning into 9. Jericho (Jerry Goldsmith, 1966) After learning about the prob- At $20 a movie, what we have Hans Zimmer. I bought his 10. It Takes a Thief lems these old soundtrack gems are great products, and some crap in FSM’s article (“Shiver

FILM SCORE MONTHLY 9 OCTOBER | NOVEMBER 2003

v8n9ISS.id 9 11/15/03, 11:57:44 AM MAIL BAG

Me Timbres,” FSM Vol. 8, No. 6), and when I plete, with a 48-page color booklet to boot. I bought Pirates of the Caribbean, there was a sur- also like your FSM releases. prise. I was listening to Gladiator, almost note Finally, I think I am getting a little tired of for note. Aargh, indeed. reading that John Barry’s Bond scores are the I hope you will print this. And by the way, best and that every other Bond score is shit. in case some people are thinking “This guy Just because something is different doesn’t is weird,” I have to tell you that I’ve got a mean that it is not good. Is Horner’s Star McIntosh stereo system with Energy Veritas Trek II a bad score because it’s different from 2 speakers. So I know what I’m hearing. Goldsmith’s original? In your reviews of the Thanks again. remastered Bond scores, you said doing Live Sami P. Assad and Let Die was anticlimactic after Diamonds Modesto, California Are Forever. My favorite Bond score is Live and Let Die. It has the best “James Bond theme” ! interpretation; a beautiful, almost soft-rock hank you very much for the review theme for Solitaire; exciting action music like Tyou gave Richard Band’s From Beyond CD “Trespassers Will Be Eaten”; and now, thanks (FSM Vol. 8, No. 7). I could hardly believe my to the expanded edition (a dream come true), eyes as I read this review. I never thought I get to hear “Bond in New York” and “Boat it possible that I would ever see a favorable Chase.” Live and Let Die is a classic Bond film review of any of Band’s works, let alone the with a classic Bond score: moody, melodic, mere mention of his name in any positive richly orchestrated by Martin. It is varied and fashion. Band is one of my favorite compos- never dull, and let’s not forget McCartney’s ers and I feel he is one of the most under- powerful title track. Written 30 years ago, rated and overlooked composers out there. the score is not dated at all. So, where’s the It’s also interesting that you made a problem? comparison between his work and Jerry When you said that all fans discover Goldsmith’s, because if I’m not mistaken, sooner or later that Barry/Bond soundtracks Band is a friend of Jerry’s son Joel, with are the best and the others the worst, you whom he has collaborated. The two of them were wrong! In case you want to know, For composed their first soundtrack together, Your Eyes Only is also among my favorites, and SOUND a film called Laserblast. Perhaps some day GoldenEye is not that bad. you might be able to release this gem of a But don’t get me wrong. I do love Barry/ TRACK soundtrack! Regardless, you folks never cease Bond scores. (It’s a real pity that The Man With to amaze me. Keep up the good work! the Golden Gun didn’t get the expanded job.) ALBUM Kevin Putry There’s a lot of music that’s missing on the Secretville, America CD, like the Asian-style cues. I also like The RETAILERS Living Daylights and On Her Majesty’s Secret Service. Thank you Kevin. But we don’t recommend that you I like when things are different—without dif- Specializing in hold your breath waiting for a Laserblast release in ferences, life would be very boring. No? So, our Silver Age Classics series. SOUNDTRACK, think again before writing such nonsense! Pierre Pouliot BROADWAY No More Barry/Bond Beauport, Letters Allowed. Ever. and STUDIO CAST CD’s have been buying your magazine since Pierre, you might find this interesting: We’re mov- ing to the planet Krypton, and we don’t even care that DOMESTIC and IMPORT I 1998 and I don’t recall ever reading an article on Ennio Morricone. Why isn’t the it exploded. RELEASES maestro in Film Score Monthly? The greatest Larry: Portrait of a Film Music Fan e-mail or write for your composer of all deserves to be in your pages. FREE CATALOG He was supposed to come to for asten your seat belts! This is going to be P. O. Box 487-Dept. FS a concert; do you know if it’s only a rumor? Fa brilliant letter! I am a film music fan New Holland, PA 17557-0487 He’s still scoring movies, isn’t he? It’s your job and I’ve been enjoying your fine magazine NEW e-mail: [email protected] to cover him, unless you think he’s not that for a couple of years now. I’m finally order- phone/fax: important. ing my first CD, Home From the Hill. I feel that (717)351-0847 Also, I would like to see an article on fan- nowadays a lot of the romance, glamour, produced soundtracks like Fanderson’s. I sophistication and human drama is gone Visit our website at: have around 300 soundtracks on CD, and the from the Silver Screen. Not to mention music! www.soundtrak.com one produced by Fanderson (Space: 1999 Year I put a lot of the blame on rock and espe- ALL MAJOR CREDIT CARDS ACCEPTED One, Year Two) is the best. It’s the perfection we cially rap, the worst form of non- expect and deserve: remastered and com- (continued on page 48)

OCTOBER | NOVEMBER 2003 10 FILM SCORE MONTHLY

v8n9ISS.id 10 11/15/03, 12:00:37 PM GOLDEN AGE CLASSICS • FSMCD VOL. 6, NO. 18 • RELEASED BY SPECIAL WITH MUSIC

On Dangerous Ground Composed and Conducted by BERNARD HERRMANN

BERNARD HERRMANN’S CAREER HAS NO SHORT- AGE OF LANDMARKS: , THE DAY THE Earth Stood Still, Vertigo, Psycho, Taxi Driver—plus music for concert, television and radio. One of his greatest achievements is On Dangerous Ground (1952), a film noir produced by John Houseman and directed by Nicholas , for which Herrmann wrote perhaps his quintessential score: furious chase music on the one hand, and heartfelt warmth on the other.

ON DANGEROUS GROUND STARS ROBERT RYAN AS A HARD-BOILED COP—WITH A HABIT OF brutalizing suspects—sent from the big city to the snowbound countryside, where he must capture a dangerous murderer and rapist. Ryan becomes involved with a sympathetic blind woman, played by Ida Lupino, but when the blind woman turns out to be the murderer’s sister, Ryan finds his ruthless pursuit at odds with his burgeoning emotions.

RYAN’S CHARACTER IS EXPRESSED BY DRIVINGLY RHYTHMIC MUSIC WITH SIMPLE, TRIADIC harmony and the conspicuous presence of a steel plate in the percussion section—and the eventual appearance of eight virtuoso horns in the climactic “Death Hunt.” Lupino’s placid, sensitive character is evoked by a heartfelt, lyrical solos of the unusual 1. Prelude 1:23 16. The Hunt’s End 2:12 2. Solitude* 1:11 17. Grief 0:55 string instrument, the viola d’amore, played by 3. Violence* 0:32 18. The Winter Walk* 1:34 Virginia Majewski—much more The Ghost and Mrs. 4. Nocturne* 2:01 19. The Parting*/The Return*/ Muir than Psycho. 5. Pastorale 2:22 The City/Finale 6:04 6. Hunt Scherzo 2:44 Total Time: 44:46 7. 3:36 THIS CD FEATURES HERRMANN’S COMPLETE Snowstorm/The Silence 8. The House* 0:40 BONUS TRACKS MASTERWORK IN CHRONOLOGICAL ORDER. 9. Blindness 3:38 20. Prelude Unfortunately, master tapes to RKO productions are 10. Fright 2:15 (alternate take) 1:22 long since destroyed, and this CD has been mastered 11. Faith 2:11 21. Outtakes 2:13 from acetate discs in the Bernard Herrmann collec- 12. The Searching Heart 1:39 Total Tme: 3:38 tion at the University of California at Santa Barbara. 13. The Whispering 1:09 14. Dawn/The Idiot/Fear/ Total Disc Time: 48:24 IMPORTANT: Although these discs have been transferred The Cabin 5:41 and denoised by specialists, the recording is entirely in 15. The Death Hunt 2:22 mono. Many of the most important cues have been mas- tered from 16” 331/3 rpm discs in excellent sound (including Album produced by Lukas Kendall and Christopher Husted the “Prelude” and major chase cues), but the remainder of the cues exist only on 12” 331/3 rpm discs with a great deal of surface noise. We have made every effort to improve the *These tracks have been mastered from the aforementioned 12” acetates. Sami P. Assad, consider yourself warned! sound quality without distorting the music. $19.95 plus shipping

Don’t miss this month’s Silver Age Classic McQ by ELMER BERNSTEIN

See page 47 for details

v8n9ISS.id 11 11/15/03, 12:02:24 PM Biblical OfSignificance

Jeff Danna scores a decidedly less epic retelling of Jesus’ life in The Gospel of John.

There have been significant changes to the biblical epic since exploit the new VHS and Betamax videotape formats, which permitted its debut during the pre-sound days of film. Producer-director people to watch religious programming “on demand,” from the pri- Cecil B. DeMille is largely credited with laying the basic founda- vacy of their homes. TV also became a resource for genre fans to watch tions of the genre, although other filmmakers in Europe achieved the old blockbusters from the ’50s and ’60s—attracting impressionable similar box-office success in exploiting their own ancient histo- minds, and giving them a small-scale hint of what defined the term ries. DeMille’s perfected formula was designed to deliver pop- “epic” during the ’Scope days of Ben-Hur (1959) and King of Kings (1961). corn-chewing entertainment, and when sex and violence became As George MacDonald Fraser aptly proved in his witty, resourceful taboo under the Production Code after 1934, DeMille recognized book, The Hollywood History of the World (1988), biblical epics, for all of he could exploit adult themes when the setting involved Roman their historical inaccuracies, lewdness and bombastic proselytizing, columns, religious figures and quotations from ancient sacred texts. remain accessible visual representations of popular religious works. Almost two decades later, the biblical epic went through a resurgence Pick a hero, a battle or mega-tragedy, and chances are it’s been done when the genre became an ideal conduit for studios to exploit their for the cinema and is likely available on video for any schoolroom or newly patented widescreen processes: Fox’s CinemaScope remained genre fan. the brand of choice, and, not surprisingly, the first ’Scope film involved But today, the rules are different, and it’s not just a case of walking togas, persecution and the enduring faith of the oppressed. The Robe the fine line of political correctness: You have to be historically accu- (1953) opened the stylistic floodgates for widescreen religious epics. rate. There needs to be fidelity to surviving works and documents after With an initial ratio of 2.55:1 and discrete stereo surround, Fox’s system decades of analysis and discovery in religious history and music. There set a new standard for epic film. M-G-M’s Quo Vadis, made two years also has to be more than huge battles, the flaming destruction of cities, earlier, was luxurious in color, splendor and melodrama, but The Robe combat and sexual impropriety. The success of Gladiator (2000) lay in took all that and made it bigger and louder. its celebration of these classic epic events; but torn from any religious Though the biblical genre petered out by the mid-’60s (mostly due to subtext, it felt oddly modern. escalating production costs, a loss of market revenue to TV and audi- ence fatigue with the genre), it endured far longer than expected, with a The Good News steady stream of releases among major and mini-major studios around Why the lengthy preamble? Because the biblical epic has changed the world. With rare theatrical efforts during the ’70s, the genre enjoyed again, and these contextual differences are evident in The Gospel of ta bit of a comeback on TV via episodic, long-form stories like Masada. John, produced by Visual Bible International and Garth Drabinsky, the That legendary production—a ratings blockbuster back in 1981—was legendary co-founder of LiveEnt and Cineplex. It’s a smart move to also one of the first biblical TV miniseries to By Mark Hasan create an enduring visual testament, with a built-

OCTOBER | NOVEMBER 2003 12 FILM SCORE MONTHLY

v8n9ISS.id 12 11/15/03, 12:04:00 PM in audience of genre fans, religious schools and parents in search of on veering to the left, and after a while you get used to riding it slightly audiovisual aids that are faithful to the Bible and family-friendly. askew; you figure you’ve got the same control over the horse.” As The Gospel of John premiered at the Toronto International Film Festival in September, director Philip Saville and composer Jeff Danna Doing His Homework were on hand for interviews, and each described the experience of Saville’s words also echo some of the challenges composer Jeff Danna working on a modern biblical epic in the shadow of the classics of faced when dealing with authentic and exotic folk instruments used in the genre. the film score. Prior to Danna’s engagement, the producers had music Approached by Drabinsky, Saville subsequently met the coterie of supervisor Stephen Cera spend a year investigating the period with Gospel producers who “sort of grilled me, saying they were going to a fine-toothed comb. Adds Saville, “Stephen was a great old friend let me know [about the job] in two weeks. Just as I was getting on the of Drabinsky’s and was actually very useful and very educational, plane, they said, ‘You’ve got it.’ because he introduced me to a lot of authentic Jewish and Middle “They knew it was going to be long, because of the length of the Eastern sounds and singing.” text. I think they thought possibly it was going to be in the area of From the fruits of Cera’s labor Danna learned of French musicolo- two-and-a-half hours, and I said, ‘No, it’ll be longer than this,’ because gist Suzanne Haik-Vantoura. “She dedicated a large part of her life the script was 180 pages.” Saville trimmed the script by a few pages, to deciphering the Old Testament,” Danna elaborates. “She wrote a yet did not modify the historical text taken from the Good News Bible tome called The Music of the Bible Revealed. There were apparently, in the (the American Bible Society’s 1966 edition). Old Testament, 19 ‘enigmatic musical finds,’ as they were referred to, “It’s the complete text. Word for word…we couldn’t omit anything, notated on either side of the Hebrew text, and for centuries no one’s we couldn’t put anything in and alter the syntax…. And if actors put really been quite able to figure out what they were and if they were in ‘ands,’ ‘ohs’ and ‘buts,’ I had to retake it to keep close to the text.” musical. She spent her life trying to figure out if there was a true Saville also contacted actor Christopher Plummer, who had previously meaning to these notes, and hit on a system of decoding them that has appeared in the director’s respective TV and film versions of Hamlet now been accepted as correct in the musical and scholarly worlds.” (1964) and Oedipus the King (1967). “I had asked Christopher Plummer Haik-Vantoura’s translations from the Aramaic of symbols now to do the narration,” he explains; after Plummer received the mighty identified as musical notes were subsequently recorded by soprano script, “I spoke to him, and he said, ‘Great! I’ve got very interesting ideas Esther Lamandier, herself a recognized performer of ancient Hebraic ARTWORK©2003 THINKARTWORK©2003 FILM BROOKE PALMER BY INC. PHOTOS ALL RIGHTS RESERVED. about the narrator. Maybe rephrasing certain things and matters,’ and I biblical music. Explains Danna, “The filmmakers were anxious for me said, ‘Uh-uh. No, Christopher. No can change…. Start learning it now!’ to somehow introduce [Lamandier’s work] into the score because they “Rules create structure, and indeed structure creates rules. Without liked the fact that it was a direct musical and historically accurate link rules, of course, you have chaos, and I’m not sure if some kind of orga- to the past. So I took those recordings that she made…in this cathedral

THE GOSPEL OF JOHN nized chaos is better than structured rules…it’s like a horse that insists in France, and wrote pieces around them.” A major component of the

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v8n9ISS.id 13 11/15/03, 2:28:34 PM score, Lamandier’s solo voice appears in two Sodom and Gomorrah (1962) as his parting nod palette,” says Danna, “so you can move from key scenes: where Mary washes Jesus’ feet to a genre that had become a bloated outlet the small to the large. And there’s something with rare perfume and her long, luxurious for audacious production designs and Roman about those ancient instruments when there’s ; and in the cave where Jesus prays for his bloodlust, Rózsa left a remarkable legacy of two or three of them that just says something disciples after the Last Supper. “It’s basically epic scores. As contemporary, large-scale very different than what an orchestra says the text and the singing that I incorporated orchestral evocations of the Roman world, emotionally and tonally. .” they nevertheless set a standard for compos- “A lot of the story is Jesus with two or three Lamandier’s vocals, when backed by ers to emulate. As he recounted in his witty people, or Jesus with one other person: like Danna’s score, become exquisitely rich: Her autobiography, Double Life, “After the success the adulteress, with just him and her standing words genuinely bridge the ancient with the of Ben-Hur everyone was trying to produce real close and talking, or he’s one-on-one with modern, and blush with soulful passion. The colossal ancient-world epics. They were the crippled man when he heals him. A lot arches of her phrasing cue gentle waves of sprouting like mushrooms after rain. But of these intimate moments signify something orchestral accompaniment, though Danna’s some mushrooms are poisonous.” much larger in the framework of the story and final piece—as Jesus makes his final appear- Much has changed since the last of the the universe, I suppose, so I would use that range to represent those small intimate, per- OH, JESUS: Henry Ian Cusick as Christ, addresses his flock in The Gospel of John. sonal moments of Jesus preaching to the 5,000. [In that pivotal scene], I tried to represent that same scope in the music with a few ancient instruments or the whole band playing.” Faith in the power of a single or core group of folk instruments over the dispensation of orchestral might is a quality evident in Danna’s writing. Whether using Vietnamese instruments in Green Dragon or Renaissance instruments in O (both written in 2001), Danna employs them with refined skill—and patience for temperamental clashes between modern and archaic instruments. “We worked with this old harp-type lyra thing, and the strings were nylon and incred- ibly floppy and loose and would change just with the velocity of how we struck them. So even with it going out of tune every 10 minutes anyways, it would play each take differently. [We had] a good player, but he had to really concentrate on being consistent. A lot of the neys [ancient flutes] had to be ance by the water’s edge, contacting his dis- toga “superproductions” disappeared from tuned—[with] one or two notes in their scale, ciples for the last time—is gut-wrenching, and theaters. Television gave the biblical genre you have to grab them and tune them; the makes it pretty tough to keep a dry eye. more space to develop musical themes and use of an Egyptian instrument called a gothic “The Bible itself has a lot of references, very ideas and to include many more emotion- harp required a lot of massaging; we used a specific musical references, of what they used. ally delicate and intimate scenes between Constantinople lyra, which is some cousin of There’s even a few fragments of Roman music popular historical icons. It’s no surprise, then, the European rebec, I suppose; and for a single that exist, but just four or five. We went and to hear a less grandiose approach to human note itself the pitch wouldn’t hold true—even met with these Roman re-enactment guys suffering emerge in Jerry Goldsmith’s Masada, [for] the length of the bow. out in the country in England who had taken Maurice Jarre’s Jesus of Nazareth (1977) and “The thing is, those instruments are meant those fragments that exist, and built on them.” Ennio Morricone’s Moses: The Lawgiver (1975). to play with other instruments of their Armed with a camcorder, Danna and Cera Even Carl Davis’ valiant effort for the rare ilk, and what sounds archaic or folk-like “went for a week just to videotape them talk- theatrical venture King David (1985) depicted or rough-hewn in a group of four to five ing about their instruments…so I could avoid scope, human suffering and epic conflict with ancient instruments playing together just writing in keys and in ranges they couldn’t less orchestral muscle. starts to sound cacophonous or just plain bad play. Between my past experience and my when you inject that sound into an orches- research trip, I had a pretty good handle on Old Instruments, tra setting. There are a lot of steps you have what had to happen.” New Testament to take to make it work. A lot of it is digital Certainly one of the greatest and most pro- “One of the things that is at your disposal magic and a lot of it is just take and retake lific practitioners of biblical scores during the when you’re working with 75 to 80 pieces in and retake and retake, and to be really, really genre’s successful run was . With an orchestra as well as the indigenous instru- patient and keep working it.” Quo Vadis as a starter, Ben-Hur as the apex and ments in small groups is that it increases your Digital magic, however, doesn’t mean

OCTOBER | NOVEMBER 2003 14 FILM SCORE MONTHLY

v8n9ISS.id 14 11/15/03, 2:37:03 PM sampling sounds and cre- to the expert nium, but combining these elements requires ating a perfectible version Prominent Instruments by esteemed conductor- great skill, and the invaluable contributions Used in The Gospel of John of ancient instruments. “As orchestrator Nicholas Dodd, of expert , orchestrators and music far as Pro Tools goes,” adds Persian ney (ancient flute) and the powerful emotions engineers to ensure the final sounds seem Danna, “we used it for two Egyptian ney (ancient flute) that crest as a spiritual Jesus utterly natural, yet irreplaceable. functions: to ‘comp’ tracks Gothic harp interacts with his loyal fol- Danna’s fusion of these worlds is illustrated [make a single composite Constantinople lyra (ancient harp) lowers and . with a variation of the “Jesus” theme, perhaps track from a number of Santuri ( dulcimer) “Philip is very hands-on,” amusingly nicknamed “Jesus on the Move.” different performances and Qanun (Arabic plucked instrument) explains Danna. “He’s very Initially shown as just a traveling hippie rabbi, takes]; and we used it to Shofar (ancient , clear in what he wants. Jesus’ departure for another township is shot tune notes on the ancient still used in Jewish ceremonies) He’s a good filmmaker and by director Saville without any doom and instruments that were too Timbrels and other drums has an enormous amount gloom cutaways to fearful followers, or por- far out to be acceptable & percussion (performed by of experience, which was tentous close-ups of Jesus as he approaches within the orchestral frame- Egyptian percussionist Hossam Ramzey) very beneficial, considering his destiny. work. Gudulka (stringed instrument) how fast we [had to work] Blending strings, percussion and wood- “You try and find the bal- Kabak kemane (stringed instrument) with over two hours of winds, Danna telegraphs with great subtlety ance. There are sections of music. There were certain our hero’s ephemeral life via a gliding bass the score that really sound Roman Instruments things that were obvious line. Evoking a Middle Eastern tonality, the quite old and just traditional Conchae (shell) from the time we spotted cue propels the scene and encapsulates the in a very simple form, and Fistulae (pipe) [the film] that we decided urgency that courses through Jesus’ driven then there are these more Fistulae pares (double reed) on, like the ‘Jesus Miracle’ mind—practical, functional and discreetly epic moments. That was Cornu (brass) theme, which is all these subversive. how I was hoping the score Tubae (brass) abstract flutes playing to Saville has learned that focusing on emo- could be a little different Drums (BIG drums) this odd, dissonant thing; tional intimacy and bonds of friendship are from your ‘typical’ biblical every time a miracle comes what grabs an audience. It’s hard not to score, if such a thing exists; up we have some version of compare The Gospel of John with Hollywood’s inasmuch as all those great awesome scores that theme. The film dictated to us where it other Christ chronicles, but in many of these from the ’50s would hint at the scale, hint at was thematically appropriate to repeat. There aging over-two-hour epics, Jesus is reduced the tonality, but didn’t include a great deal obviously needed to be a ‘Jesus Love for His to a cameo, popping up between romantic of the actual ancient instruments [because] Flock’ theme when he was preaching to them intervals and action scenes to add some final it was, I’m sure, just too unwieldy. My hope or talking to his disciples; there of course had conclusion to an otherwise melodramatic was to get that big, epic orchestra sound, but to be a ‘Roman’ theme for the Romans; and a toga sudser. Christ gets nailed, the curtain inject the real instruments into it and have ‘Betrayal’ theme for when things start to turn goes down, with that lasting image of the them playing in with the orchestra.” ugly toward the end of the film.” cross functioning as an emotional wallop for Director Saville acknowledges Danna had a audiences of the ’50s and ’60s seeking some tight schedule to work within, in addition to As It Was Written spiritual support and escape from Red Scare the initial challenge of long-distance creative Even with a multi-thematic score, it’s ulti- news reports and new wars raging overseas. discussions. “There were a few stutters in the mately the needs of the film that dictate the And while The Gospel of John eschews old- beginning because he couldn’t get the grasp musical direction agreed upon by the com- Hollywood epic traditions, it veers away from [from] Pasadena. I chose to go out and visit poser, director and producer, rather than the modern-day conventions as well. Moreover, him, and we really spent from early morning style used in the formal classics. One of the unlike Mel Gibson’s Christ epic, The Passion, The right through to early morning the next day best-known examples of bucking the conven- Gospel of John contains little gore, and finishes getting into the music and sessions; from that tional approach remains Mario Nascimbene’s after Jesus has made his final earthly appear- moment on, he was just wonderful. He got it, 1961 minimalist score for Barabbas, which ances. The final scene is arguably just as pow- and I remember he sent me some themes that incorporated authentic folk instruments with erful as Jesus withering on the cross. he composed, and I said ‘terrific.’” electronically processed music and sound In this respect, Danna was lucky not only It was also during the film’s pre-production effects. Nascimbene demonstrated it was pos- to inscribe “biblical epic” on his increasingly period that music supervisor Cera introduced sible to transport an audience to an ancient diverse résumé, but score a telling of the Saville and Danna to the music of Ukrainian- time without using lushly orchestrated Christ that places characters in the forefront, born composer Valentin Silvestrov. Viewers themes. Sounds were slowed down, warped and action sequences far in the distance. The of the film may note a stylistic change when and blended with unusual size of ’s Philharmonia exerts some a post-crucifixion Jesus visits his disciples accompaniments to create atmospheric, muscle during scenes of the overturned tables indoors before his final appearance by the ambient passages—something that’s become a of the temple money changers and the arrest water’s edge. A passage from Silvestrov’s standard option for the modern composer. and persecution of Jesus, but listeners should Symphony No. 5 underscores the delicate scene The use of a orchestra, ancient folk find the lengthy score a work of great restraint, before Danna’s original music returns for instruments, digital technology, and limitless respect and elegance. FSM the film’s final sequence, but the transition imagination may seem like a natural formula Mark Hasan previously contributed a two-part profile of between material is fairly fluid, due largely for a biblical film produced in the new millen- Jan Hammer in Vol. 8, Nos. 2 and 5.

FILM SCORE MONTHLY 15 OCTOBER | NOVEMBER 2003

v8n9ISS.id 15 11/15/03, 2:37:31 PM WAKE UP, THE MATRIX HAS YOU. AND IT’S HAD YOU SINCE 1999 WHEN THE WACHOWSKI brothers unleashed their concoction of equal parts technoir, wire-fu and heady philoso- BYDOUGADAMS phy. Fans have embroiled themselves in endless debates on meanings and merits, but one undeniable constant has emerged: play by their own rules. Never mind the Architect, The Matrix is the Wachowskis’ personal universe, populated by a handpicked assortment of designers, special-effects artists and musicians. These creative individuals were given guidelines, rules and limits, and then were allowed that quality which The Matrix films have stressed as the most essential human element: choice. Composer Don Davis recalls

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v8n9ISS.id 16 11/15/03, 2:37:52 PM that, on the , “Larry and Andy wanted something dif- world of and symphonies this is a remarkably large chunk ferent, something that was unique. Everybody says that, but not of music. But there’s a pair of added complications here. First was very many people mean things the way Larry and Andy mean the issue of postmodern minimalism and its boundaries. Second, them.” On film, the first Matrix was a wild visual experiment that and more significantly, was the true nature of The Matrix films. connected influences from a multitude of sources. Pop advertis- The minimalism issue was addressed before the first score was ing, religious iconography, comic books and a half-decade of begun. Minimalism was originally designed to evolve at such a science-fiction pulp melded into a genuinely original look that slow pace that large-scale change was primarily perceptible at a showcased an amalgamation of digital green tints, streaming subliminal level. It was a Zen-like, hypnotic music—smaller forms digital typescripts, 1990s-era city streets and a dystopian future stretched to their limits to create a development more akin to the of rags and wires. The strong visuals blended machine-like speeds of nature. Minimalism was designed to develop through sleekness with a human sense of imperfection and passion. the smooth curves of repetition, not the hard corners of change. Don Davis exercised his choice, deciding to follow in the It was music of evolution, never revolution. Davis’ creative RESERVED

footsteps of collaborative audio/visual history. “[The film] had a musical voice drew from concert hall minimalism—specifically postmodern look to it, insofar as you can link art direction and the work of John Adams, Philip Glass, and others. costumes to a musical style. There was kind of a consistency that But minimalism as a wholesale concept would never work with I think you can see in other things. Debussy is always associated the film. Stylistically, minimalism is defined by its architecture.1 with the Impressionistic painters of his time. There is a like- Davis recalls, “Zig Gron, who did the temp track, attempted to use mindedness that can be attributed to both forms. The cubism some of these minimalist scores in the temp, but it didn’t work of Picasso and the twelve-tone music of Schoenberg seem to very often because that kind of music didn’t have the dramatic be something of a match. Things are in the air and they tend thrust that the film needed. The more minimalistic it was, the less to line up. That’s the only way that I can qualify it really—The it played into the dramatic impetus of what any particular scene

ARTWORK©2003 WARNER BROS. ALL RIGHTS WARNER ARTWORK©2003 Matrix, to me, had a postmodern look. Before I started work on was all about. When I was scoring it I think I was able to utilize the first Matrix, the editor, Zach Staenberg, and I got together that style but still incorporate some dramatic gestures that made and listened to quite a bit of music. We both gravitated to the it work with the picture.” postmodern composers in terms of a stylistic approach.” Don Davis is now four years into his Matrix music. Three fea- MAXIMIZINGMATRIXMINIMALISM ture films and an assortment of animated shorts have brought Davis took the concept of minimalism as a governing architec-

REVOLUTIONS THE MATRIX the tally to seven-plus hours of original composition. Even in the ture and transformed it into a block idea—a musical element that

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v8n9ISS.id 17 11/15/03, 2:38:09 PM could begin and end within a larger context. “That was the solu- far from its . More and more, this flexible music that broke tion to the drama of it,” says the composer. “I could do a mini- up the score’s minimalistic thrust became the musical heart of malism thing for a while, but once anything happened I had to the piece. , the series’ second installment, cul- go into something different, whether it was more dissonant or tivated a more prominent choral presence. The harmonic palette more moving or even just more traditional. I had to change the wandered away from the monolithic triads of the first film, ven- texture, and that’s what minimalist music typically does not do. turing into more ambiguous chromatic waters.

THE ARCHITECT: Composer Don Davis considers what he has wrought.

Even when Philip Glass scored The Hours, the music doesn’t really move with the picture; it makes another kind of statement, but GETTINGDEEP... it’s not really tailored to the picture the way film music is nor- The Matrix Revolutions completes the journey, both for the Matrix’s mally tailored. That doesn’t make it any less effective, but in an characters and its creators. For this third film, Don Davis has cre- action picture that would really be a detriment.” ated a score that, while remaining true to the action and scope Davis’ blocks of minimalism became a system within a sys- of the film, is by far the most human entry. The choir returns tem, to paraphrase another concept from the films, a supremely here for the film’s climatic action scenes, but it remains attached efficient self-contained element that was plugged into the larger to the final steps of Neo’s journey rather than the simple specta- score. The repeating patterns of chattering brass and timpani cle. “Larry and Andy had said from the outset that they wanted and the reflective string trickles fed right into opposing styles. the final conflict to involve choir…and a lot of it. I thought that So, while the minimalism left its imprint, stamping the film with was a great idea, but if they’re just going to sing ‘ooh’ and ‘ah,’ it a sonic icon that even today conjures images of streaming green would really suck. So I asked them if they would look into some digits within a matter of seconds, it was the other more flex- of the works from the literary canon that they identified with ible sections of the score that allowed it to function as a piece ideologically. I definitely defer to those two when it comes to lit- of drama and gave the minimalism a narrative context. Davis erature because they’re probably the most well-read people that explains, “I did what I normally do, which is try to keep some I know—and I know a few well-read people! We talked about kind of a relationship going from one part of the cue to the next, Nietzsche and possibly using parts of Thus Spake Zarathustra in the whether that could be done by modulating somewhere that has original German. We went through Dante’s Paradiso—as opposed a key relationship to the preceding section, or by using to Dante’s Inferno.” The brothers and the composer settled on tones as pivot points into a new texture.” the ancient text of Hindu teachings, the Upanishads. “We went The first Matrix was an laced with philosophi- through this and that, and finally Larry had a great idea to use cal considerations. Neo’s path was challenging, but at least it parts of the Upanishads in the original Sanskrit. So he and Andy seemed to follow a straight line. Here’s you, here’s self-actualiza- chose the five or six passages that we used. It’s really astonishing tion. Get going! But as films two and three developed, it became how apropos these translations are. It starts out with a prayer, clear that nothing in the Wachowskis’ world was as neat and which is ‘From delusion lead me to the truth, from darkness lead tidy as we’d imagined. The Matrix was far more complicated me to light, from death lead me to immortality,’ which is kind upon second glance. A path will never form a perfectly straight of the basic concept of The Matrix. The original Matrix, about Neo line so long as it intersects with others. And in the twists and searching for the truth, is exemplified beautifully by that invo- turns, the Matrix series became increasingly philosophical—less cation. Then, ‘He who knows both knowledge and action, with about the mechanical technicalities of action, and more about action overcomes death and with knowledge reaches immortal- the nebulous nature of humanity. ity.’ Then there’s this one: ‘In him are woven the sky and the While the postmodern/minimalist music retained a relation earth and all the regions of the air, and in him rests the mind to the drama’s postmodern ideology, the two would never meet and all the powers of life. Know him as the One. He is the bridge eye-to-eye without Davis’ nudging. So Davis began to bring new of immortality.’ It was just astonishing how appropriate this text elements to the table in order to break up the minimalism—ele- was. Not just to this last fight, but to the entire trilogy. And to ments that could expand the overall piece without moving it too have a choir singing, ‘When the five senses in the mind are still

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v8n9ISS.id 18 11/15/03, 11:06:26 AM and reason itself rests in silence, then begins the path supreme,’ As Revolutions thickened the plot, Davis needed yet more while two guys are fighting, takes it way beyond the videogame harmonic expansion, and a new parallel was drawn between status of just looking at the image.” the complexities of the Matrix and the world of opera. “While we were dubbing Reloaded I went into the dub stage and Larry Wachowski was sitting outside reading a book called The Tristan ...ANDDEEPER Chord: Wagner and Philosophy, by Bryan Magee. We started talking “As it turned out, once we decided to use these texts I needed about it, and also about Wagner and his philosophical ideas— somebody who could help me out with the Sanskrit. The post- how influenced he was by Schopenhauer, and that he was a production supervisor, Jessica Alan, said she’d go out and find very close friend of Nietzsche. These Schopenhauerian concepts somebody. I figured she’d call some universities or something that Wagner was obsessed with all worked themselves into The like that. It turned out that there was a visual effects supervisor Ring Cycle and into Tristan and Isolde, Parsifal and Der Meistersinger von working at Eon named Bill Glass whose brother Andrew was Nürnberg. [Larry] asked me about the Tristan chord itself, which completing his Ph.D. in Sanskrit at the University of Washington. the author was saying represented a pivotal point in music and So he came down and worked with me on the phoneticization, musical history. I told him that many people feel that it repre- and also went to the recording session to coach the choir on sents the culmination of the harmonic language such that after their pronunciation. It was an amazing stroke of luck all the way Tristan the concept of tonality became ambiguous enough that around. I don’t think anybody goes into the study of Sanskrit composers eventually abandoned tonal harmony entirely. He so they can have this great movie career coaching choirs. It was thought that was interesting. I said, ‘You know, we could quote really funny because he’s a very studious fellow and very much the Tristan chord in Revolutions if you want.’ And I did quote the the introvert, as I think you would expect a Sanskrit Ph.D. to be. Tristan chord, in the cue called “Deus ex Machina.” In a very When he was done working with the choir they all applauded symbolic way it represents the culmination of the entire trilogy. and he turned so red it was almost painful!” While we were spotting we were talking about Wagnerian-this

balm becomes bile, what was a texture emerges THEREVOLUTIONSWILLNOTBEMINIMIZED as an outright melodic line, and what was mystery of the third film that satisfies both paths poten- becomes revelation. This structural upheaval may The Matrix Revolutions ++++ tially promised by the first film. It is an operatic be the most satisfying element of the Revolutions DON DAVIS culmination of the ideas presented in the first score. Whatever labels we applied to the first two Warner Sunset/Maverick 48412-2 • 16 Tracks, 73:30 score—exactly the music one would have imagined Matrix scores ultimately slip right off the final effort. he Matrix Revolutions brings the Matrix trilogy for an all-out battle royal between machine and So much so, in fact, that Revolutions will most to a close by propagating the same spirit man. Davis’ writing takes on a sense of weight likely change the way we hear the first two scores. Tthat has driven the franchise. Trouble is, and mass for this effort. It’s unquestionably Matrix The choral elements that developed in Reloaded that very spirit has disenchanted a few fans along music, effortlessly gliding between rippling minimal- resonate more profoundly when we know that they’ll the way. The first Matrix seemed to promise super- ist patterns, close-spaced brass pyramids and a develop into Revolutions’ texts from the Upanishads, hero adventures to come—a high-tech answer Romantic sense of line. (And, yes, like Reloaded, standing like sonic pillars in “Neodämmerung” to Superman, where self-awareness materialized there are still instances where Davis’ orchestral and “Why, Mr. Anderson?” Neo’s navigation of the as the key to greatness. Matrix two and three, music is threaded into ’s hard drives. office-building ledge in film one will now be set to however, threw a number of curves, folding the Again, it feels like a bit of a letdown after the genu- rebounding figures in the first and second revelations of the original film back upon them- ine article, but it’s far better integrated this time. that directly remind us of the great string arcs of selves, concentrating more on perspectives and And Ben Watkins seems much more comfortable Revolutions’ epic finale. Perhaps these were always purposes. There was no more peeking around the in providing what boils down to synth drum and melodic scores, rather than textural, and we just edges of religious overtones; these films threw the bass. I still fear, however, that these synth ele- didn’t hear them properly until now. big questions in your face. Yes, there was action, ments may feel painfully dated in another decade. While there’s still a debt to ’80s-era John but our brains were far busier trying to digest the Thankfully, it’s limited to a scant few tracks.) But Adams, a second slight tip of the hat toward Architect’s Ergo-s and Concurrently-s. in Revolutions, the interlocking minimalist patterns Stravinsky (following what seems to be a Rite of Was this what the first film promised? Well, yes, don’t so much as tick—hammering away Spring homage underscoring the bargained kiss in one reading. Those who enjoyed it strictly as a like an outraged box of metronomes. The brass in Reloaded) and now a wink toward Wagner, this solid sci-fi actioner, filling the void that Phantom figures drop to lower, more guttural, octaves, and score turns in conclusions separate from those Menace left, wrinkled their noses when the sequels the soothing choral pads pick up consonant-laden composers. refused to follow the direct path. texts, roughing up the texture. The CD, however, can be difficult to sit through in But what’s really interesting is Don Davis takes what was once a single listen simply because it’s so physical that that had Reloaded and Revolutions soothing and ethereal and creates the listener may become exhausted in sympathy been nothing more that slick a grinding, menacing orchestral with the orchestral performers. (Principal trumpet, slugfests, or the introspective, mass in what is unquestionably I salute you!) The quieter moments in the CD philosophical pieces they ulti- the most aggressive action music alleviate this problem to some degree, but Davis’ mately were, Don Davis’ score to the composer has yet turned out. music is so robust and dense—again, the dens- Revolutions—the final in the tril- In this realigning of perceptions, est of the series—that it’s better heard in chunks. ogy—would work equally as well. Davis taps into the cerebral side Regardless, it’s the best of the series and a fine The score may be the one element of the last Matrix film. What was work by Mr. Davis. Recommended. —-D.A.

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v8n9ISS.id 19 11/15/03, 2:39:18 PM and Wagnerian-that, and as it turned out there is an oper- the way we perceive it. (“So you’re saying that melodies, atic quality to Revolutions, certainly much more so than the like lies, become truth through repetition?” asks Davis other two pictures. The epic nature of it and the way the in a Schopenhauerian riddle.) But unquestionably the drama unfolds in a quintessentially human way, I think, repetition, the context and the culmination of the score’s is operatic. Then to have the choir really functioning like development alter our discernment. At the end of Neo’s a choral piece, not just adding color to the music, which journey, this line soars into epic realization, wherein the is how the choir functioned in the other two pictures, fur- audience finally discovers that Davis’ Matrix scores have ther pushes it into the operatic realm. There is a cue that perhaps always been thematically driven, we just never

is called ‘Why, Mr. Anderson?’ which accompanies Smith’s realized that we were hearing themes. There’s an obvi- speech as if he were singing, that’s the way I approached ous and rather elegant parallel to the film in that the it. It’s like recitative—except, of course, Wagner eschewed key to the human soul is all in perception and that we recitative. There is recitative of a sort in Wagner’s music, can only see when we reject what we’ve previously seen. but it’s very different from Mozartian recitative; [Wagner’s] Davis looks back to the Matrix projects as among his recited passages are sung and accompanied much like the most profound experiences in the film world. And already arias, rather than the traditional continuo accompani- the work is beginning to take on a life of its own. Grant ment. So the fact that Smith is speaking, I guess, makes Gershon of the L.A. Master Chorale has expressed interest it more like traditional recitative, but he’s speaking rather in performing Davis’ “Neodämmerung” in a concert set- slowly and eloquently and almost in a musical way. At ting. “It’s very, very challenging music, particularly for the that moment I used a more Wagnerian kind of harmonic brass,” explains the composer. “To a certain extent, a lot of structure than anywhere else in the film. It would have that has to be dressed down so that it can be played in been possible, actually, to set what he was speaking and concert. Also, I used a pretty big orchestra, and in order to have somebody sing it over that harmonic pad. So to say be really pragmatic about that, I think it needs to be re- it’s operatic is more than just an idle attribute.” orchestrated so that a normal-sized orchestra could play it. It would require a bit of arranging, but I’m looking OUTSIDEOFTHEMATRIX forward to pursuing that. I really haven’t had a chance At the end of the third film, Davis presents his Reflective to deal with arranging suites from The Matrix so far, but I motive, an imitative bit of writing from the first film, and think I’ll have an opportunity to soon.” Davis also hasn’t expands it into a full symphonic elegy, highlighting in the ruled out future installments of the animated Animatrix process the most profound of the Matrix films’ ponder- films, for which he provided original scores. But for the ings. In the first Matrix, this clip of writing at first seemed time being, Davis has been unplugged from the Matrix nothing more than an element of its surroundings—an and is ready for his next projects, including his upcoming event nestled among minimalist patterns and harmoni- opera Río de Sangre. So how does it feel exiting the world cally drawn from Davis’ recurring chord pairs. But this of man versus machine? “It feels good. It’s a big deal and particular figure reared up again and again during the it was hard. It lasted a long time, so I’m relishing my time moments of Neo’s greatest introspections and revelations. off. Larry and Andy are saying that there won’t be any At each recurrence, the writing became more thematic, more Matrixes…but, only time will tell.” FSM not because the figure itself was different, but because of Thanks to Don Davis and Chad Joseph.

1. The term “minimalism” is thrown around quite a bit in music criticism, but is used incorrectly about 75% of the time. Minimalism is not simply sparse music with little overt motion. “Minimalism” specifically refers to music that is developed through repeated patterns which overlap, impact, ebb and flow into one another, gradually changing the face of a piece of music over the course of a piece. See FSM Vol. 3, No. 2, for a brief history of the style. The 1990s created a rather unique environment for the minimalists, who sought to infuse the style with the immediacy of romanticism and the challenges inherent in . Even among these efforts, Don Davis’ take on postmodern minimalism is unique.

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v8n9ISS.id 20 11/15/03, 2:39:43 PM IF THERE’S ONE STYLE OF MUSIC THAT SCREAMS Las Vegas, it’s jazz. With the swaggering sax that signals a high-roller stepping out, or the mournful brass that spells his fortune’s loss after a one-armed bandit turns up lemons, jazz has been the sound of America’s adult playground ever since Bugsy playing it... Siegel opened his hotel with Jimmy Durante. And with the arrival of the Chairman and his , that musical link was the town’s gold standard—at least until Vegas pulled a family-friendly card trick. Now the sound of old-school Vegas mixes it up with world-music circuses, hip-hop clubs and overblown Broadway transplants. But the jazz continues, as if Joshua was blowing his horn to keep the walls of Jericho up against family theme-park invaders. Perhaps no “Vegas” music rolls the highs and lows of the town and its players with the effectiveness of Mark Isham’s score to The Cooler (available on Commotion Records). From the opening silky trum- pets that send us into the decaying downtown strip with a defiant energy, Isham has created a moving swan song to the town and its players. Centered around a dinosaur of a casino called the Shangri-La, The Cooler is a tough-guy valentine to an old-school Vegas on its way out, given the boot by a corporate mafia that wants to destroy paradise. Doing his best to hold up progress is Shelly (), the casino boss who equates doing good business with breaking bones. His hobbling prize trophy is Bernie Lootz (William H. Macy), a sad sack with the mutant power of turning any potential win into a big fat zero. But Bernie’s just about paid up his own gambling debt to Shelly, and is ready to walk. That is until the cocktail hostess Natalie (Maria Bello) takes a shine to him. Their improbable relationship turns Bernie’s powers to a win. And that’s no small Mark Isham brings back that “old Vegas” jazz. amount of violent displeasure to Shelly, who needs Bernie’s losing streak to keep the vultures away from the Shangri-La. Directed and co-written by , The Cooler features a score by Mark Isham, who was given carte blanche by the director to compose what comes natu- rally—jazz. From swinging brass to dark vibes and lush piano romance, Isham plays to the character-driven core of The Cooler like no “Vegas” score before it. But while Isham provides the rollicking brass swing you’d expect, the score also delivers emotionally, especially in the music that depicts the relationship between Bernie and Natalie, one that seems ludicrous at first, and has you rooting for it by the end. Interview by Daniel Schweiger Interview by Daniel Schweiger

FILM FILM SCORESCORE MONTHLYMONTHLY 21 OCTOBER | NOVEMBER 2003

v8n9ISS.id 21 11/15/03, 2:40:03 PM If The Cooler is so good at putting love into FSM: Wayne Kramer is a huge fan of tions. Yet you have to do exactly that in film its groove, then it’s because of Isham’s inti- movie scores. What’s it like to work with a music—to pull emotions out in a scene. So it’s mate knowledge of the musical style. Though director who has that kind of appreciation for a matter of finding those elements in jazz that beginning his musical career and continu- what you do? will go right to the specific feelings you need. ing to work as a jazz trumpeter, Isham has MI: Wayne was the biggest film score fan The muted trumpet is an obvious example. done dozens of movie scores that have had I’ve ever met. And for me, that made scoring It came up through artists in the ’50s like nothing to do with jazz—among them A River The Cooler a fabulous experience. Most direc- Chet Baker and , who attached a Runs Through It, Point Break, The Hitcher and The tors appreciate music, and a lot of them enjoy very soulful, sexy and mournful sound to the instrument. So that’s what the muted trumpet PLAYING FOR LOVE: Maria Bello, Alec Baldwin and William H. Macy in The Cooler. means for The Cooler—total loneliness. FSM: How do you think the score reflects Bernie as a “loser?” MI: That certainly comes from the muted trumpet. I also assigned the baritone saxo- phone to Bernie, which is slightly “frumpy.” It’s muffled, not as clear as the higher-sounding instruments. And I felt that sound was right for him. The alto sax is the instrument for Bernie’s relationship with Natalie, which shows how beautiful it is. And as the film goes on, there’s less and less baritone and more and more alto. That beckons their relationship on. FSM: What are the other musical signa- tures in your score? MI: I use a soprano sax for Shelly and the “old school” Vegas. It spoke well for that, Majestic. But you get a sense that it’s the jazz and know something about film scores. But because it’s the closest jazz instrument to scores that are closest to his heart. Beginning very few directors give you the feeling that sound like a . with such collaborations as The film music is why they’re making movies Moderns’ Parisian jazz and Afterglow’s erotic to begin with! That’s the feeling I had with Shangri-La-Di-Da improvs, Isham’s jazz scores have managed Wayne. He loves to tell stories. But man, does FSM: How did you capture The Cooler’s to encompass just about every genre of jazz: he love to find the right music to put to those approach of “old school” Vegas as being a from the cool stylings of Quiz Show to Little stories. He’s so well-educated in film scoring, metaphor for a “Lost Horizon?” Man Tate’s expressive sax riffs and Miami and knows the genre like nobody’s business. MI: Nostalgia is a mechanism that human Rhapsody’s big-band hop. In The Cooler, Isham He brings to the table relationships between beings apply, especially in Shelly’s case. That mixes jazz with with the orchestral and piano music and filmmaking that I didn’t even know gives a wistful and longing quality to his touches of his more “legit” scores. The result about, which made working with Wayne both theme. Shelly might be a brutal psychopath, is a jazz score that’s as dramatically powerful educational and inspiring for me. but he’s a nostalgic one because he’s striving as it is swinging. FSM: Does that knowledge keep you on for a perfect world. And nostalgia tends to your toes, as opposed to working with a make everything in the past seem that way, FSM: What does Las Vegas mean to you? director who just says, “Score my movie”? even though most of the time it wasn’t. Mark Isham: I think I’ve only been to Las MI: I stay on my toes no matter what! But FSM: Would you say that The Cooler’s score Vegas once to play a rock and roll show. So it certainly brings out another level of collab- is done in a certain jazz style? the only image I have is of the “old” Las Vegas. oration and communication about the score. MI: I think it moves around a bit. The Cooler’s I think if there’s one person who musically FSM: What scores came to mind as you opening cue is pretty traditional and straight- defined Las Vegas, it would be . were scoring The Cooler? ahead music, the kind that would feel right at When he came to town in the 1950s, he MI: Wayne used John Barry as a reference home in a John Barry score of 25 or 30 years brought the elegance of the great Tin Pan for the score. He also referenced a lot of my ago. And my score was specifically designed Alley songs. But there was a seedy under- jazz scores, especially Afterglow and Quiz Show. to do that, to tell the audience that they’re to them, which is what jazz has always FSM: You use the jazz sound in a very going into Shelly’s vision of Las Vegas, which expressed in American culture. The music’s subtle, emotional way here. is holding on to the past. Then there’s a subtle glorious, alive, fresh and new. But because it MI: If The Cooler is my most emotional jazz shift in the score as it evolves. Certain things was played in nightclubs, there was always score, then I suppose it’s because I’ve been start to happen in the instrumental palette. something “else” going on in the music. And doing it for so long, and have gotten bet- All of a sudden I’ll have a backwards piano that mood is partially what Wayne was after ter at it. Here I’m scoring people who have pad against the jazz. Nothing that would with The Cooler, to show how Vegas is moving very deep and rich emotions, and The Cooler’s draw your attention to it as you’re listening, out of its “classic” image and becoming one ensemble is just the right size for that. And even on the soundtrack CD. But you have the big family amusement park. It’s a kid’s place since I’m a jazz musician when I’m not scor- sense that the music’s moving in time, that now, yet hanging on to that dream of a seedy ing movies, I know that jazz, in and of itself, we’re going out of the old Vegas. So by the “old Vegas,” which is still there in the music. doesn’t ask to express very specific emo- end credits, you have the same Cooler theme,

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v8n9ISS.id 22 11/15/03, 2:40:24 PM but done in a slightly modern way. Not in an have evolved out of it, like swing and bebop. particular performers in a film scoring envi- obvious hip-hop mix, but using drums that The one thing that keeps jazz interesting for ronment, then seeing what they capture at a are “squashed” a bit. They give the music a me is that it’s improvised music. It has the particular moment. You need to do that and feeling that you wouldn’t have found in the sophistication of , but also the make an effective film score in the bargain. old Vegas “sound.” openness of folk-oriented, popular music. I think a great future for jazz scoring would FSM: How do you think The Cooler stands Jazz is unique in that regard. The whole trick be to experiment with that improvisatory out among your jazz scores? of composing jazz is that you never write it approach, and you need a director who’s MI: I think what’s interesting about The all down. You write just enough, and pick the going to allow you to do that. Cooler is that it’s not just a “jazz” score. The right people to fill in the blanks. That makes FSM: You’re a prolific composer who does score moves around genre-wise, because jazz unique and wonderful. But it’s tricky a lot of big Hollywood films. Is it nice when the relationship between Bernie and Natalie when you apply that to a film score, because a smaller movie like The Cooler comes around? needed to grow outside of the nightclub vibe. you ultimately want the music to predict MI: Yes, it’s very refreshing. The Cooler has a It needed to get more “real.”. So ultimately what’s going to happen. So how much of real vision, and not a lot of money. So what their love theme is not jazz. But I managed to jazz’s improvisational element can you can you have is a passion for the director’s vision. keep the feel of their music close enough to really put into the score, and how much And when you connect with that, it’s a blast. jazz so that you wouldn’t feel like the score do you have to dictate into it? That to me is FSM: What do you hope The Cooler does for was patchwork. the real challenge of a jazz score: how much you and Wayne? improvisation you can get into the score. MI: Well, I think The Cooler is a beautifully The Magic of Movie Jazz In Afterglow, the story had a loose structure made film. It certainly deserves to be seen by FSM: Would you say that jazz is your favorite that allowed me to compose vague melodic a passionate audience, and Wayne deserves genre of film scoring? lines and capture a true jazz flavor. We just to continue to make great films. I’m 100% MI: I think I’m comfortable in any genre did a lot of takes and edited things together. positive that he will, and it will be fine if he these days. But the thing I particularly like The Cooler had a much tighter plot that didn’t continues working with me. about jazz is that I perform it outside of film allow for that kind of approach. But I was still FSM: So would you say that this is the scoring. So if you really want me to play what able to get an improvisational feeling from beginning of a beautiful friendship? I know best, then it would be jazz. the saxes and . MI: I would. I think Wayne is fantastic, and FSM: What jazz scores stand out for you? FSM: Do you think there’s any place where I’d be honored and delighted to work with MI: It’s funny that you mention a “jazz” jazz scoring has left to go? him into the far future. FSM score. What’s interesting to me about jazz MI: I think it’s in that improvisational area. Daniel Schweiger previously interviewed John Frizzell is not necessarily the specific genres that The magic of movie jazz is the ability to put and Randy Edelman in Vol. 8 No. 3.

Congratulations to this year’s winners of the

Elliot Goldenthal (Frida) SOUNDTRACK COMPOSER OF THE YEAR

Frida (by Elliot Goldenthal) Patrick Doyle, Jeanne Moreau and Elliot Goldenthal BEST ORIGINAL SOUNDTRACK OF THE YEAR - orchestral

Antonio Pinto & Ed Côrtes (Cidade de deus) DISCOVERY OF THE YEAR Lord Of The Rings - The Two Towers (by Howard Shore) PUBLIC CHOICE Antonio Pinto "The hands that built America” (Gangs of New York) composed, written & performed by U2 BEST ORIGINAL SONG WRITTEN DIRECTLY FOR A FILM Maurice Jarre LIFETIME ACHIEVEMENT AWARD Elliot Goldenthal and Maurice Jarre The World Soundtrack Awards were presented for the third time on October 12th in Ghent/Belgium, on the occasion of the Flanders International Film Festival (7-18 October). The ceremony was followed by the concert Patrick Doyle meets Hooverphonic, in the presence of Maurice Jarre, and Klaus Badelt, WSA Discovery 2002.

www.worldsoundtrackawards.com c/o Flanders International Film Festival / Ghent, Leeuwstraat 40b, B-9000 Ghent - Belgium Tel: +32-9-242 8060, Fax: +32-9-221 9074, [email protected], www.filmfestival.be Geike Arnaert (Hooverphonic)

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v8n9ISS.id 23 11/15/03, 2:40:44 PM d m e ! u p d Famous and Not-So-Famous Rejected Film Music

plan, Ka Doug an Jon Ada pl By ms and Al Ka

n honor of 2003, a landmark year for You will find that many of the following examples rejected film music, we welcome you are from more recent films. That’s not just because there’s more access to newer recordings (commercial to “Dumped!” an exciting article rid- and otherwise), but because in the days of test audiences dled with all kinds of rare and secret and last-minute digital editing there are obviously more cases of altered and rejected music. treasures.I If you’ve already glanced ahead at While the major focus of the article is on cues and not scores in their entirety, “rejected scores” will be discussed the layout, fear not—this isn’t a list (there are to some extent. no rankings) and it’s certainly not all-inclu- sive. The piece merely cites interesting exam- ples of (and sometimes the fascinating stories totally unused behind) rejected or unused music. Some of Cues Unused in the Film these tracks are easily accessible and oth- Unreleased on Commercial CD ers are virtually impossible to find. We are In other words, you’re going to have a hard time hear- not trying to tease you by telling you about ing some of these things. But you should know that they them. Just think of this as a peek behind the existed. We all owe them that much—at least so far as you can owe something to a piece of music. curtains to see what might have been, as the (1979) composers, directors, etc. worked their way “The First Egg” • JERRY GOLDSMITH through the creative process. To be honest, if It breaks our hearts to hear Jerry Goldsmith now refer we were you and we didn’t know about some to this score as a theme and a bunch of effects. What happened to that renegade serial Bartókian we knew of this stuff, we would want to know—even if and loved in the ’70s? Mr. Goldsmith, we don’t want to we couldn’t necessarily seek out promotional incur your ample wrath, but your work in this period was unequivocally brilliant. Forget the sputtering rem- and/or illegal sources for all of the music. nants of the Second Viennese school that clogged up the

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v8n9ISS.id 24 11/15/03, 2:41:13 PM out underscore (a bunch of animated shoes escape from a crate and bounce all over the place), but this brief track bubbles with the insane genius of a man born to write cartoon music.

The Mighty Ducks (1992) “Victory” • DAVID NEWMAN The Mighty Ducks might be the score where David Newman concert hall, this is where the true of gave up and became Joel McNeely, but even so, the cli- the period was being written. Even Goldsmith’s leftovers mactic cues are extremely exciting. A lot of the writing were ingenious. Alien is brilliant both with Goldsmith’s full is clearly Silverado-based, but it’s so completely wrapped score intact and with Ridley Scott’s hatchet job. But we still in David Newman’s style (yes, he does have a style) that wish they’d left in that one, supremely eerie moment as it’s almost forgivable. In the film, the final hockey game Kane (John Hurt) gets his face WAY too close to the first has most of Newman’s underscore intact, but the vic- Alien egg in the derelict spacecraft. Goldsmith’s shivering, tory celebration and aftermath music is replaced with echoing electronics and strings bend down by quarter- Queen’s murderously overused “We Are the Champions.” tones, tickling our curiosity and tweaking our dread—and Newman’s closing cue was one of the finest pieces he’s somehow weirdly reminiscent of the egg’s upwards drip- ever written, and a beautiful summation of an otherwise ping surface. (You can hear this cue on the DVD’s isolated average score. The retracking is just as well, since we score track.) doubt very many kids went to see The Mighty Ducks to hear David Newman. We did. Ghostbusters (1984) “Montage” cues • ELMER BERNSTEIN (1995) We’ve talked at length about the large chunks of “Finale” • ELLIOT GOLDENTHAL Ghostbusters that were dropped and replaced by songs It’s strange that Michael Collins is considered among the (see FSM Vol. 6, No. 5). Ivan Reitman probably did Elmer most user-friendly Goldenthal scores while Heat is rel- Bernstein a favor by junking the popish stuff since much egated to the more esoteric corners of the composer’s of it’s not very good, not to mention badly performed. The oeuvre—especially because Collins’ gorgeous finale, with rest of the score is of course terrific. its cascading sheets of violin figures and solemn chaconne bass, was originally written for Heat. In fact, quite a bit of Fandango (1985) Goldenthal’s Heat score never ended up in the film. What’s “Skydiving” and “The Train” there is a wonderful creation—a genuinely innovative ALAN SILVESTRI film score, but it’s fragmented and interrupted by Alan Silvestri didn’t have the greatest experience on Brian Eno, U2 and Moby selections. They coexist Fandango, his first orchestral score. Director Kevin Reynolds relatively well, but the product lacks the shape replaced most of the big moments with the temp score, Goldenthal planned to bring it—in the form of but Silvestri’s writing, particularly the unused skydiving a heap of driving, colorful, instrumentally cre- cue, is a worthy precursor to . It’s as frantic ative next-generation minimalism/techno/sound and octatonic as most of his finest. There’s also the exciting design/Goldenthalisms. (but buried) train cue, about which Silvestri’s wife, Sandra, upon hearing it recorded live, declared “We’re rich!” Se7en (1995) “Original Opening” • HOWARD SHORE (1988) If you’re a fan of the 2-DVD edition of Se7en—and, “Shoes Escape” • ALAN SILVESTRI provided you can stomach the brutal movie, you At an SCL seminar several years ago, Silvestri cited this should be—then you already realize that David cue as one of the rare instances where he wrote a piece Fincher’s bleak opus originally began with the that Bob Zemeckis didn’t get. The scene works fine with- unusually hopeful sequence where Detective

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v8n9ISS.id 25 11/15/03, 2:43:03 PM unintentionally making for a stronger impact when the theme is introduced in the final act. Somerset () examines his rundown future home. What you may not realize is that Howard Shore wrote Matrix Reloaded (2003) and recorded a cue for this scene in the multi-layered sound “Burly Brawl: Original Version” that dominates the score, but here with a beautiful sense of Don Davis unrequited longing and the film’s only glimpse of optimism. It’s funny—if you check the Internet you’ll find that early The writing still plays with the string harmonics and pyramided responses to the full score promo of Don Davis’ Matrix Reloaded harmonies that become more oppressive as the story progresses, were raves. But once the film came out, fans were ambivalent, but they’re nothing but friendly and thoughtful in this sequence. because the music was raped in the film. The score is far from The stacked entrances are all drawn from major modes, deco- perfect, but there’s one cue in particular that warrants mention: rously resolving while a marktree dusts the background with Don Davis’ take on the “Burly Brawl” should go down as one melancholy. A gentle flute solo offers to end the cue, until the of the great unused cues in film music history. It’s an orches- first cluster of dissonant low strings and bowed cymbals seeps trational tour de force, the likes of which have been heard in into your ears and the famous main title begins. the concert hall but seldom in a film. It would have been awe- inspiring to hear this exploding bumble-bee brass frenzy back- Rush Hour (1998) ing up Neo’s fight with 100 agent Smiths. When we first heard “ Arrives in L.A.” • Lalo Schifrin this cue (before the movie came out), we confidently declared Jackie Chan’s plane pulls up, the door folds open and that there was absolutely no way in hell it would end up in the Lalo Schifrin’s score launches into its main theme. One finished film. It was that obvious. Most people hate the second prodigious tam-tam later, Mr. Chan is ready for America, Matrix movie, but film music fans might have been more forgiv- right? Yes and no. Originally this scene was scored with ing had the Wachowskis not replaced Don Davis’ all-time best a new version of Schifrin’s Enter the Dragon theme that was moments with techno—and not even good techno. But these specially recorded for this film. Brett Ratner mentions same fans can be grateful that Davis wasn’t thrown off the film the coupling briefly on the DVD director’s commentary, entirely, when he was instead forced to “collaborate” with other referring to it as being a bit cheesy. But that was the fun! sufficiently dim-witted musicians. Okay, he was probably right, but fans of ’70s cinema missed a chance to have heard Schifrin, the master of funky ’70s scores, take a self-referential bow. And it’s too bad that no one included the new version—which ben- efited from a nice clean modern recording and a larger orchestra than the original—as a hidden track on the CD. Too many legal snares, no doubt, but the thing sounded terrific. South Park: Bigger Longer and Uncut (1999) dropped from the film “Kenny Burns” • Marc Shaiman Marc Shaiman wrote a brief but busy Alan Silvestri-like cue for Cues Unused in the Film the sequence where Kenny lights his fart on fire and burns to Available on Commercial CD death. In the film they opted to leave this unscored in order to make the scene feel more real. You can hear any of these on the legitimate albums, but you won’t find them in their corresponding films. A.I.: Artificial Intelligence (2001) “Concerning the Fairy” • John Williams The Taking of Pelham One Two Three (1974) A few years ago, we cited John Williams’ restraint in saving his “The Money Express” • Blue Fairy theme until David actually finds the Blue Fairy. Well, In ’s 1974 movie, David Shire’s two “Money it turns out the whole thing may have been a happy accident. Montage” cues are the centerpiece of the film’s music, if one There are two unused cues that feature this gorgeous theme, excludes the opening and closing titles. However, the unused and both were written for scenes earlier in the film where the “Money Express” cue blows those two out of the water in Blue Fairy is discussed. They were dropped, for whatever reason, terms of pure, unbridled energy and thrust. This cue embod-

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v8n9ISS.id 26 11/15/03, 2:44:03 PM cue and its use in the film are nothing short of a miracle.) We’re unquestionably being beggars and choosers here, but it’s too bad that Williams’ taut “Motorcade” cue couldn’t have appeared in its unedited form. It’s great in the movie, honoring the horror of the Zapruder film without dulling its edge or pumping it into a tasteless thrill. But in its semi-abstract way, Williams’ untouched ies everything that makes the score so great—the adventurous cue captures the momentum, chaos, shock and sickness of the harmonies, the drive, the big-band colors (you’ve got to love day even better than Stone’s film. The whole thing is based on that improvised solo!) and the uncompromising rhythmic a pair of pitches one whole step apart beaten into an 11-note solidity. We guess it makes sense to not have it in the film. It’s so motive whose variations swarm feverishly around the JFK main thrilling it dulls the edge of the comparably subdued montage theme. It’s a perfectly balanced and structured bit of writing that sequence, but the world would be a significantly less funky loses a fraction of its focus in the final film. Fortunately, Williams place if this weren’t released on disc. has lent the piece a second life by including it in the “JFK Suite,” often performed at his guest engagements. But this (1975) is still missing the amazing bagpipe entrance that stands like a “Shark Attack” and “Blown to Bits” grave marker in the middle of the cue. If you have the original JOHN WILLIAMS Elektra CD of Williams’ score, never lose it! dropped several short action cues from the last act of Jaws. One, a furious treatment of the shark motif, The Nightmare Before Christmas (1993) was intended to underscore Quint being eaten alive. Another “Opening and Closing Narrations” unused cue (soon after Quint’s demise) featured -like DANNY ELFMAN chattering brass as Chief Brody struggles to survive on the sink- One of the great things about this 10-year-old musical, which ing Orca. Both of these scenes play fine in silence; it’s nice to have has now officially achieved cult status, is that the album, featur- the discarded cues available on the album. ing Danny Elfman’s witty, elegant songs and burbling under- score, is as complete an experience as the film. Perhaps more Poltergeist (1982) complete. The film was originally supposed to begin with an “The Tree” and “Broken Glass” • JERRY GOLDSMITH opening and closing narration. In an effort to tighten the film, Early twitchy cues written for the introduction of the killer tree Tim Burton and company ran these two little poems through a and the bent silverware were dropped in favor of grim silence. number of incarnations. (Rumor has it that no less than Vincent Price was considered as a reader at one point.) Patrick Stewart (1986) recorded a version of the two tongue-twisting verses and, “Combat Drop” • JAMES HORNER though the closer was thrown out of the film altogether and the The snare drumming that eventually opted opener was shortened and then handed off to Santa (Ed Ivory), for lends a stark and effective documentary-like approach to Stewart’s reading lives on on the soundtrack CD. Yes, it is prob- the drop ship sequence. Horner’s crack at it (“Combat Drop”) ably smart to avoid dedicating two-and-a-half minutes of your makes for a juicy listen, but like the rest of Aliens, it was certainly hard-sell, 75-minute stop-motion feature to recited verse. But nothing new for him. If anything, this unused cue is a little too the decision also sacrificed two-and-a-half minutes of Danny optimistic for the bleak tone Cameron was going for, especially Elfman in prime ghoulish form with dusky double reeds, arpeg- at this point in the film. giating harps, tremolo strings and tilted minor harmonies. Not to mention that the Burton/Elfman aesthetic owes a great deal JFK (1991) to its fable-like introductions and finales. Besides, how else are “Motorcade” • JOHN WILLIAMS we supposed to know that Jack Skellington eventually settled Neck-deep in Spielberg’s Hook, John Williams wrote JFK as a down, kept the weight off, started a xylophone band and never series of stand-alone cues meant to be used in the film, but forgot that long fateful night? never specifically timed to any of ’s edited scenes. The score is sliced and diced into the final piece, so yes, it’s The Quick and the Dead (1995) already amazing that any of Williams’ long, sprawling melodies “Lady’s the Winner” • ALAN SILVESTRI were able to fit in. (The progressive and touching “Arlington” As Sharon Stone shoots her first victim in this boring

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v8n9ISS.id 27 11/15/03, 2:44:36 PM western, Silvestri unleashes a thrilling Alfred Newman-ish fanfare, the kind he didn’t great cue. As Riggs and Murtaugh speed home to confront get to do at the beginning of Mr. Joshua, Michael Kamen chimes in with a jazzy, stabbing Romancing the Stone (where they used How the West Was Won). In Highlander-esque piece. Check out this version (“SOB Knows actuality, he doesn’t get to do it here either, because in the Where I Live”) on the recent Lethal Weapon album release. Then film, the cue (“Lady’s the Winner”) is retracked with his silly listen to “Mr. Joshua” to hear the version used in the film— faux-Morricone main-title material. Silvestri’s original stab at smothered with saxophone and electric guitar solos courtesy the scene is an exhilarating brass reading of a subdued har- of David Sanborn and . The end result is fun (and monica melody that appears several times earlier in the film. probably more in keeping with the bulk of the score), but the Interestingly, this harmonica theme appears on the album only original version was less busy and had more bite. once, but in the form of the huge “Lady’s the Winner” fanfare version that isn’t in the film. None of the various harmonica Indiana Jones and the readings that are in the film are on the album. Now that you Last Crusade (1989) know all of this, your life is complete. “Tank Chase” • JOHN WILLIAMS To date, none of us is completely sure what happened with Anywhere But Here (1999) the Tank Chase. What we do know is that there was a whole “Suite” • DANNY ELFMAN mess of tank music written for Indiana Jones and the Last Crusade, There’s a nice Danny Elfman suite on the song compilation which, thanks to a bit of studio magic, appears as one inter- album. It’s mostly in Good Will Hunting mode, but there are mingled cue in the film’s chase sequence. Two tank cues were other more pop-driven sections that are far less standard in recorded, and we’ve seen players’ parts from the sessions that Elfman’s canon (and it’s nice to hear him handle this kind of would seem to indicate that a third cue may have been written material, simple as it may be). We checked out the movie to though never put to tape. Regardless, neither of the recorded see how it played—it didn’t. There was barely any Elfman to pieces exactly matches the sequence of events as seen in the be found, and the climactic theme lead by a wordless female film. And the (apparently) heavily edited score CD doesn’t vocalist is completely gone. make the picture any clearer. Was there a last minute re-edit of the sequence? Did Williams write the cue sight unseen because of extensive special effects? Will please authorize complete and annotated releases of the Indy scores so that we can put six new discs into the changer and ponder this question? Williams’ tank material is heavy, mechanical (love those Engelhart Crashers!), plodding and surprisingly melodic, so let’s have it!

Always (1989) “Follow Me” • JOHN WILLIAMS alternate or While John Williams is famous for never having a score partially rescored cues tossed, he may set some sort of record for number of cues tinkered with in last minute post-production re-thinks. It’s still rare, however, that Williams is asked to entirely There have to be a billion cases of this category, where parts of redo a cue—rarer yet in a Spielberg film. But the original cues are hacked up, retracked, or, God forbid, where the com- “Follow Me,” which sounded like a cross between the slick poser actually gets the opportunity to revise and re-record the Prokofievian chromaticism of Last Crusade’s opening and the piece. Nowadays, we see manipulations repeatedly in almost synthesized chimes effects from the original Home Alone, was every film that hits theaters. dropped from Always and replaced by the poppy cut heard on the soundtrack CD. It’s hard to say which works better, Lethal Weapon (1987) but the film could have used a nice juicy Williams scherzo to “SOB Knows Where I Live” • MICHAEL KAMEN liven things up. The rejected cue is certainly a more substan- This is an interesting case where overlays weaken an otherwise tial bit of writing.

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v8n9ISS.id 28 11/15/03, 2:45:31 PM Total Recall (1990) opted for a moment of quiet respite before the “The Johnny Cab” and “End of a Dream’” • JERRY GOLDSMITH ringwraiths’ actual appearance on-screen. The This is just “walking music” for Doug Quaid, easy to sync up with the second case (and the less forgivable one) is the film if you’re so inclined. It occurs right after the first big chase, and the climax of a later chase, where Liv Tyler crosses reason for its rejection is probably as simple as Paul Verhoeven want- into the middle of the river and turns to face off ing to let the movie breathe. Too bad, because the cue is a great mix of against the ringwraiths. We’ve had two years to ’60s and ’80s Goldsmith—Quaid’s theme enters on synths, with busy digest the neutered, re-written cue, and it just contrapuntal strings darting underneath. Nowadays, music for Arnold doesn’t work. The better part of the first third Schwarzenegger walking is Trevor Rabin triggering a percussion loop of the film has the protagonists fleeing from by pressing down a key on his . Also worth mentioning is the black riders. This moment of confrontation the “End of a Dream” track—Goldsmith didn’t think this gargantuan begs for something huge, not just because it climactic cue was necessary, but Paul Verhoeven asked that he write makes musical sense, given where the cue has it anyway. Then Verhoeven didn’t use it because, despite how great it is, it wasn’t necessary. More Notoriously The Silence of the Lambs (1991) Altered Scores “Main Title” • HOWARD SHORE The latter half of The Silence of the Lambs’ main title was A Place in the Sun (1951) rewritten to soften Starling’s arrival at FBI headquarters. Howard Shore’s original take was dark through and through, with menacing variations on material from Star Wars: earlier in the cue. The rewrite always stood out as the (1980) one moment in the score that doesn’t quite belong. JOHN WILLIAMS Wholesale changes, especially in the first reel, where Jurassic Park (1993) tons of thematic expositions were dropped in favor of “T-Rex Rescue and Finale” • JOHN WILLIAMS bleak moodiness and silence. Jurassic Park ends with one of the best action cues John Williams has written in the past 10 years. The original Creepshow (1982) • JOHN HARRISON track culminated with a repeating statement of - We’re not actually sure if anything was “altered” note “evil dinosaur” motive in blaring brass. It’s a shame per se, but a good percentage of the score (any- Steven Spielberg felt the need to shift the tone of the scene thing orchestral, in fact) is library music. Some of by tracking in the joyous Jurassic Park adventure theme as it sounds just like The Illustrated Man. the T-Rex bursts in and eats the delicious raptors. The Thing (1982) • ENNIO MORRICONE The Shawshank Redemption (1994) Director used (often repeatedly) about “Shawshank Redemption” • THOMAS NEWMAN half of Morricone’s cues. The other half are on the There’s really no point complaining about the rewritten album. If you missed them, go and listen to them climax of Shawshank (the famous shot where Tim Robbins immediately. holds his arms out in the rain) since the new version is almost identical to the old, save for one note. It’s simply (1988) • MICHAEL KAMEN an interesting case where we actually get to hear what Tons of retracking, and they bought the temp the composer wrote for the climactic moment of a film (Man on Fire and Aliens) for the final scene. before the director asked him to dial it back a notch. Rambo III (1989) • JERRY GOLDSMITH Lord of the Rings: The second half of the score is The Fellowship of the Ring (2001) basically Rambo II. “The Black Rider” and “Flight to the Ford” HOWARD SHORE Three Kings (1999) • CARTER BURWELL Fellowship of the Ring is packed with so many amazing The director bought the temp for most of the cues that survived the final cut that we almost feel guilty climactic scenes. He also removed a lot of Burwell’s ensemble writing and instead for picking on it. But there are two botched cues that cry opted for percussion overlays, which made little sense without the rest of the out for mention, and, interestingly enough, both were orchestra playing. likely changed for the same reason. The first case is the scene where Merry and Pippen join the Fellowship (as Star Wars Episode II: Attack of the Clones (2002) they lead Frodo and Sam to the ferry while pursued by JOHN WILLIAMS the ringwraiths). The first shot of the four hobbits run- For more information on score alterations, see Scott Bettencourt’s article at: ning together is underscored by the first three notes of www.filmscoremonthly.com/articles/2002/23_May--- Altered_Scores.asp and the Fellowship theme in blasting brass, thrillingly laid www.filmscoremonthly.com/articles/2002/30_May--- Altered_Scores_Part_Two.asp over the ringwraiths’ skip-beat ostinato. Peter Jackson

FILM SCORE MONTHLY 29 OCTOBER | NOVEMBER 2003

v8n9ISS.id 29 11/15/03, 2:46:08 PM rejected scores

These scores, as the header may indicate, were rejected in their entirety. In some cases they were replaced with inferior work been building from, but because it would have delineated by inferior composers; in others, they were actually outdone the sequence as the end to this chapter of the story. But Peter by their replacement. Jackson wanted “stillness,” so what would have been one of the most exciting musical moments in the film (and perhaps Four Norwegian Moods/ any film) is forever relegated to the album. We’re very grateful Begleitmusik zu einer Lichtspielszene, Op. 34 to Howard Shore that he consistently puts his original versions IGOR STRAVINSKY/ARNOLD SCHOENBERG on his albums. And despite these complaints, let it be clear that Let’s talk about Stravinsky and Schoenberg for a minute. Wait, the Rings films are still the best fantasy films of all time. And on come back! Granted, neither composer is necessarily a darling certain days, the best films of all time. of the film music set, and both pieces discussed here feature the composer working far from mass appeal genres, but, Doug’s Fellowship Disclaimer: Jon and Al are more bothered with an open mind and a receptive ear, an attentive listener by these changes than Doug. Doug misses the beautiful aleatoric horns, should immediately regret the fact that these two 20th-century but feels the stillness breaks up the acts in its own way. titans never fulfilled their intended forays into film scoring. Stravinsky wanted to work in film, but was never able to take Spider-Man (2002) a project to the screen. His Four Norwegian Sketches, The Ode and “Costume Montage” • DANNY ELFMAN Scherzo à la Russe were all intended for film scores, though they The original costume montage cue featured a noble brass ren- found permanent places in the concert hall. Schoenberg also dition of the Spidey theme. It was scrapped in favor of the elec- wanted to work for Hollywood, though his strange demands tric guitar-driven version in the film (which is on the album). and expectations effectively scuttled any serious attempts. Both cues are exciting, but the original version is better. This He was, at one point, asked to compose a score to a filmic track is also perhaps the most straightforward rendition of the adaptation of The Good Earth. The composer agreed contingent main theme, one listeners still can’t get a handle on. upon two points: a $50,000 fee and a written guarantee that the score wouldn’t be altered in any way. The end result? More Famous/ Begleitmusik zu einer Lichtspielszene, Op. 34, a concert work conjur- ing Schoenberg’s impressions of film music…and no further Infamous Replaced Scores offers from Hollywood. (1966) The Outer Limits (1995) BERNARD HERRMANN HOWARD SHORE [replaced by [replaced by ] Mark Mancina & John Van Tongren] The Exorcist (1973) We’re not sure whether Howard Shore was signed on to do LALO SCHIFRIN [ & found music] any underscore for The Outer Limits cable show, or if he merely recorded a main theme (in varying lengths and versions, Chinatown (1974) including bumpers). Actually, we’re not even sure if it’s the PHILIP LAMBRO [Jerry Goldsmith] Showtime series that he wrote it for. Regardless, Shore’s mania- cal brass-driven theme teeters on the edge of parody. The B- Something section is just as disturbing—actually, it might be too interest- This Way Comes (1983) ing to be part of a main title to a television show. Overall, this [James Horner] is Howard at his catchiest and despite the fact that it’s not the most subtle melody he’s written, the piece is leagues classier (1998) Stepmom than the Media Ventures junk the producers opted for. PATRICK DOYLE [John Williams] See also Scott Bettencourt’s Comprehensive Rejected Mission: Impossible (1996) Scores List at: www.filmscoremonthly.com/articles/2002/ ALAN SILVESTRI [Danny Elfman] 09_May- - -Rejected_Corrected.asp Alan Silvestri’s firing from this project reportedly had more to do with Tom Cruise’s ego than anything else. That aside, it’s

OCTOBER | NOVEMBER 2003 30 FILM SCORE MONTHLY

v8n9ISS.id 30 11/15/03, 2:46:56 PM Notable Rejected Scores Released on Commercial Albums

2001: A Space Odyssey (1968) [concert hall temp music] Perhaps the most famous tossed score of all time, and it’s also one of Alex North’s finest works. As fans know, North was unaware of the score’s rejection until he went to see the movie. That was class all the way.

Legend (1985) JERRY GOLDSMITH [replaced by Tangerine Dream] One of Goldsmith’s last truly epic works. Silva’s doubtful anyone who hears Alan Silvestri’s rejected score album meanders more than does typical top-drawer for Mission: Impossible will ever mistake it for great music, Goldsmith, but at its best, the score rivals the gorgeous especially compared to Danny Elfman’s phenomenal impressionism of Poltergeist, Secret of NIHM and Ravel’s replacement score. However, Silvestri’s gigantic train cue Daphnis et Chloe. (for the film’s climax) is a standout, written with the kind of balls that the composer is known and loved for. And Last Man Standing (1996) yes, it does sound like Nixon. But we don’t care. ELMER BERNSTEIN [] Elmer Bernstein’s penultimate western score. No one Ransom (1996) seemed crazy about it, but most agree it’s better than HOWARD SHORE [James Horner] Ry Cooder’s replacement. We’ll probably never know for sure why this score was dropped, but it may have been because it added Halloween: H20 (1998) genuine psychological damage to a film that the studio JOHN OTTMAN [Marco Beltrami] wanted to peg as an empowering revenge thriller. Mel This score isn’t great but it was released. It’s also a clas- Gibson was easier to market as an angry, calculating sic example of studio heads trying to cover their asses guy out for American Vengeance than as a crumpled when they realize they’ve spent millions of dollars shell of a man tragically driven to the lowest form of making an absolute piece of shit. caged-animal behavior. Shore’s score never seeks the merry cinematic thrill of child abduction. His Ransom is truly the revenge of Se7en, a tonally similar score, but boast- it sounded too European (perhaps a legitimate complaint), ing far more aggressive action (some of Shore’s most up- the producers merely ended up with another, less effective tempo writing before Lord of the Rings) and overt emotional European style. swings. It’s rough stuff—less “fun” than the gooey James Horner score, and infinitely more adult. The music is a razor The Kid (2000) sharp tangle of complex, stringent harmonies and counter- JERRY GOLDSMITH [Marc Shaiman] point, and a choice handful of electronic timbres—including Jerry’s rejected score for The Kid (mocked-up but never echoplex-like effects (shades of The Fly), techno loops, and recorded) would have been right at home in a light Joe Dante Shore’s mid-’90s penchant for artificial orchestral balances film. Poignant, restrained guitar writing makes up the bulk of and post-production tweaking. It’s brilliant ear-scalding the score. It’s the kind of music that diehard Goldsmith fans writing, as dense as Total Recall and as psychologically com- wouldn’t have cared about had it actually been used, but it’s plex as Psycho. And Shore, ever the economizer, boils the a charming effort, much better than Marc Shaiman’s maudlin, bulk of the score down to just two chords. atrocious replacement. Hi Marc!

What Dreams May Come (1998) Timeline (2003) ENNIO MORRICONE [Michael Kamen] JERRY GOLDSMITH [Brian Tyler] This may sound trite, but Ennio Morricone accomplishes more We’ve only heard one cue from Jerry’s Timeline and we don’t in a single minute to make you feel something for Robin know where it was supposed to go, but it’s best described as a Williams’ and Annabella Sciorra’s doomed characters than tender combination of the main themes from The Edge and Deep Michael Kamen does with his entire score. For it to really work, Rising. (“Deep Rising had a theme?” says Jeff Bond in response to this What Dreams May Come needed the audience to buy into its love description.) FSM story almost immediately. Kamen’s more impressionistic, aloof approach isn’t without merit, but it pays more attention to the A Final Word From the Authors colorful art direction than it does the emotional core of the If you’re wondering where our news coverage of this year’s rejected scores is film. The rejected score (and in particular the main theme) is (Hulk, Tomb Raider 2, Pirates of the Caribbean, Open Range, Timeline), tragic Morricone and smacks of the overwhelming nostalgia please see Jeff Bond’s Hollywood Reporter article “Musical Chairs.” It ran that the composer evokes at his best. If it was dropped because several months ago in the Reporter’s 2003 TV/Music issue.

FILM SCORE MONTHLY 31 OCTOBER | NOVEMBER 2003

v8n9ISS.id 31 11/15/03, 2:47:20 PM REVIEWS OF CDS

CLASSIC +++++ GREAT ++++ GOOD +++ BELOW AVERAGE ++ SCORE WEAK + jointed listen, but the cues merge extensive liner notes, this album treating their Collector’s Club Calendar Girls +++ fairly neatly. After a powerful is exactly what Alan Silvestri’s releases with pride. PATRICK DOYLE lead-in with “The Funeral,” the Predator score deserves—and then —Luke Goljan Hollywood 5050466-8703-2-2 score follows the ladies’ journey some. 1 15 tracks - 29:13 through the perils of celebrity, Anachronistically, we are first Good Bye Lenin! +++ /2 s discussed in FSM’s recent wrapping up with the uplifting treated to Elliot Goldenthal’s YANN TIERSEN Ainterview with Patrick “One More Hour.” rendition of the 20th Century Labels 07243 591609 2 4 Doyle (FSM Vol. 8, No. 7), Calendar In defense of the soundtrack, Fox theme from Alien3. It’s a 23 tracks - 46:39 Girls is an English tragicomedy the movie doesn’t feature wall- great opening for the CD, and it ann Tiersen’s follow-up to based on the real-life story of to-wall music, and the disc does segues perfectly into Silvestri’s Ythe phenomenon that was some middle-aged ladies who offer a fine condensed selection beautiful space underscore for Amelie (1.5 million copies sold strip for a calendar to raise of Doyle’s motifs; there’s more the main title. From there on in, and counting) is a more accom- money for charity. So while material to listen to here than the score throttles forward in plished and collected work. The this score was never going to the single Doyle cue on the glorious sound, with every track tone here is less populist, and be in the epic vein of Doyle’s Bridget Jones’s Diary albums. Minor done justice. The sound quality indeed the film it supports is Secondhand Lions, it’s actually the reservations aside, this disc alone is reason to abandon your less mainstream than Amelie, disc’s modest running time that’s should win accolades for having crappy bootleg and seek out being a German art-house flick the real letdown here. the best track title of the year: one of the 3,000 copies Varèse set in Communist former East Not only does the record- “Fantastic Tits.” Follow that! pressed—but good luck; most of Germany just before the fall of ing scrape in at a Varèse-length —Nick Joy the initial run has already been the Berlin Wall. 29 minutes, only half of this is snapped up. Hopefully, Varèse This is Tiersen’s first Doyle’s score—fans will prob- Predator (1987) +++++ got the message of how badly soundtrack written exclusively ably feel short-changed. The ALAN SILVESTRI people wanted to get their hands for a movie. While a significant remainder of the running time Varèse Sarabande VCL 0803 1022 on a legitimate copy. percentage of Amelie was writ- is devoted to songs from the 21 tracks - 73:06 Bombastic and creepy, slither- ten for the movie, a number of likes of the Meters, , fter nearly 20 years, one of ing and militaristic, Silvestri’s tracks were culled from Tiersen’s BB King, and the Temptations. Athe most influential scores score both plows ahead and first four studio albums. This There’s also “I Find Your Love,” ever written has finally made slinks along. It’s everything an time round, it’s all done for the sung by Beth Nielsen Chapman, it to CD. Jam-packed with 73 action score should be and yet movie in question, and its set- which isn’t in the movie, but is minutes of music and featuring it never downplays the horror ting immediately precludes the of interest because it’s written aspect. It’s worth noting that as use of the “Parisian sidewalk” by Doyle and is based upon the with their releases of Die Hard sound that dominates much of movie’s central melody. and Aliens, Varèse has chosen the composer’s other work. Gone Before the film was released, it a 20th Century Fox film whose are the accordions and the joie was being favorably compared music was drastically retracked— de vivre, and instead we have a to The Full Monty. Set in the north and it’s fantastic to hear how the preponderance of solo piano or of England, and boasting a music was originally intended to string-heavy tracks. similar approach to the comedic play out. There are even a few The multi-talented Tiersen material, there was every reason moments in Predator that we’ve continues to contribute more to believe that we’d be served never heard before. than just the notes, playing another dose of Completists will love and melodica through- whimsy or Debbie Wiseman extensive liner notes that detail out and contributing violin and flourishes. Instead, we’re treated every cue’s placement in the vibraphone on a handful of to Patrick Doyle’s joyful mix- film, as well as where it was tracks. The best track is the clos- ture of pathos and courage, originally intended to play. ing “Summer 78,” which features music that rises artfully above The notes also provide insights beautiful vocals by regular col- the generic Brit-comedy clichés. about the production schedule laborator Claire Pichet. There’s no mickey-mousing here and film trivia—one bit about When I recently interviewed but, instead, music with the Silvestri possibly mimicking Michael Nyman, he bemoaned comedy derived from the situa- Horner’s woodwinds on Aliens the fact that people are mak- tions. The short running time of was especially interesting to ing comparisons between his each track does make for a dis- learn. It’s nice to see Varèse and Tiersen’s work. While we’ll

OCTOBER | NOVEMBER 2003 32 FILM SCORE MONTHLY

v8n9ISS.id 32 11/15/03, 2:47:43 PM leave Nyman to his personal the singing of Lila Downs further thing new to hear. views, those comparisons will validates the Frida comparison. —Ian D. Thomas be resurrected again with this Sayles and Daring wrote the score. Contrast some of these song “Quien Sera?” for actress The Story of Ruth (1960) cues with Nyman’s The Piano, Rita Moreno, and she growls ★★★★ or Tiersen’s use of the clarinet through it effectively. FRANZ WAXMAN in “Birthday Preparations” and —Cary Wong Varèse Sarabande VCL 0803 1024 “Childhood (2).” Of course, mini- 17 tracks - 74:04 malism doesn’t start or stop with The Wonderful Country/ arèse Sarabande adds to the Nyman, but Tiersen is clearly a The King and Four Queens (1959/ Vwealth of recent biblical/ dedicated supporter of the cause. 1956) ★★★★ historical-epic releases with what For lovers of Gallic Euro scores ALEX NORTH is surely one of Franz Waxman’s that owe as much to Debussy Varèse Sarabande finest scores. This is a themati- and Satie as Edith Piaf and Disc One: 17 tracks - 39:57 cally rich and diverse work; the Jacques Brel, this is an unex- Disc Two: 20 tracks - 46:45 main theme expresses a perfect pected and all-too-welcome fol- he western has been around blend of melancholy and nobil- low-up to Amelie. —N.J. Tlong enough to have stock- ity, and also goes through sev- piled more than its share of eral particularly uplifting varia- 1 Casa de los Babys ★★ /2 clichés: the dusty towns, cor- tions in “Boaz and Ruth” and MASON DARING rupt lawmen, Mexican bandi- “Finale.” Hybrid HY-20031-2 • 14 tracks - 38:46 dos, rampaging Indians and, of Also prominent throughout irector John Sayles is one course, the climactic gun battle. the score is a dissonant brass Dof the kings of indepen- When we think of these films, fanfare, representative of the dent films. His movies rarely get we may also think of the cor- pagan cult from which Ruth big box office, but many actors responding clichés found in the originally hails. The inevitable clamor to work with him, and scores: the harmonica, acoustic evocation of the ancient Middle most critics respect his vision. guitar, as well as the triumphant East is nicely done in the quasi- After the critical lauding of his brass charges that play over long source cue “The Angry King.” ’90s breakthrough, Lone Star, opening shots of the wild West. “Return to Judah” is a stand- Sayles has started to veer toward This 2-CD set features an out track that opens with several territory, with interesting comparison of two nice passages of contrapuntal the delicious ensemble Sunshine very different westerns, both writing for delicate woodwinds, State (2002) and now with Casa with scores written by Alex solo violin and harp. The cues de los Babys. Casa, about women North. Though both rely on “Across the Rio Grande” demon- finishes with a beautiful choral awaiting the adoption of babies much of the standard instru- strates this with only harmonica, passage for female choir (pre- in Mexico, stars Marcia Gay mentation used for westerns, guitar and marimba. sumably a Waxman setting of a Harden, Maggie Gyllenhaal each is unique. The Wonderful The King and Four Queens is passage from the Book of Ruth). and Taylor. Sayles has also Country is a moody, brooding really The Wonderful Country’s alter The CD also features a handful recruited his frequent collabora- film from 1959 starring Robert ego. Galloping rhythms and an of well-developed and lengthy tor, composer Mason Daring, to Mitchum and Julie London, and overall brighter palette of tones cues such as “Boaz,” which runs provide the flavor, features a constantly evolving are used throughout the score. the gamut from violence to but it’s mostly in the vein of score. While there are far fewer folk tragedy to romantic passion and source-like writing. In the late ’30s, North trav- melodies than were heard in The back again. The Story of Ruth has Daring’s guitar-score contri- eled to Mexico to collaborate Wonderful Country, the music is everything we’ve come to expect butions constitute only about with a dance company and was still top-notch. Woodwinds and from the biblical scoring genre, three minutes of the CD’s run exposed to Mexican , smaller ensembles dominate the and Waxman proves as adept time. The writing is interesting the influence of which is obvi- soundtrack with their percolat- as Rózsa, Newman and Kaper. enough, but not really worth ous on many of the tracks here. ing dance rhythms. The big guns Heavenly choruses, brass choirs, talking about in detail. The “Riding Into Pueblo” contains do come out occasionally, as on passionate solos and brutal album as a whole, however, bits of mariachi-style trumpets “Square Dance,” which winks at biblical violence make strong can be fairly labeled a sub- played beneath rhythmically the listener with its reference to appearances on this disc. dued cousin to Frida. Casa’s song swirling brass and woodwind Khachaturian’s “Sabre Dance.” The sound quality is fantastic, choices are less flashy and more figures. The way that North Both discs are mastered from and included is a demo record- reflective. The Spanish-language addresses each character’s theme mono tapes and are respectable ing of a song version of the songs from Ruben Blades and throughout the score gives the in terms of their sound qual- main theme, with corny lyrics by Lhasa are predictable but wholly feeling that he is writing from ity. There are also a few tracks frequent Waxman collaborator appropriate. Selections from Los the character’s point of view included that never made it into (thankfully Zafiros, a Cuban doo-wop group rather than merely commenting either film, so even those famil- unused in the film). Finally, at from the ’60s, are enjoyable, and on what is occurring on-screen. iar with the scores have some- over 70 minutes, the disc gives

FILM SCORE MONTHLY 33 OCTOBER | NOVEMBER 2003

v8n9ISS.id 33 11/14/03, 4:32:30 PM SCORE

a lot more bang for your buck Gigli ★★★ than some of Varèse’s previous JOHN POWELL club releases. Varèse Sarabande 302 066 499 2 —Darren MacDonald 19 tracks - 37:33 ’ve been a big fan of John The Wizard of Oz (1903) ★★★★ IPowell ever since Antz. Lately, PAUL TIETJENS, L. FRANK BAUM, VARIOUS Powell seems to have steered Hungry Tiger Press—91381 81872 toward the romantic comedy, Disc One: 32 tracks - 72:45 a tricky genre, since the come- Disc Two: 28 tracks - 73:42 dic music is often downplayed efore there was ever a a show about a girl lost in the I especially enjoyed the in favor of injecting romantic Bfilmed version of the L. , except that it was beginning of disc two, with sparks into a relationship that Frank Baum children’s novel, The sung by the Wizard himself. And wonderful recordings of actual may or may not be blossoming Wizard of Oz in 1939, there was since this isn’t really a cast album piano rolls and music boxes of on screen. This is definitely the a hit musical on Broadway in (no such thing existed before the era. Also included in the case with Gigli. Powell’s work 1903, just three years after the Oklahoma!), the songs are not nec- second disc are numbers from plays best when it aims for the book’s publication. Written by essarily performed in the same The Woogle-Bug, Baum’s attempt heart, with soft strings soothing Baum himself and newcomer tone or tempo as they were in at a sequel, and The Tik-Tok Man out the otherwise percussive and Paul Tietjens, the first draft of the the show. These are small quib- of Oz, a 1913 attempt to musical- organ-centered score. musical was revised by Julian bles, and should not discourage ize the third book of the series, Tracks like “Nice Weather,” Mitchell to include popular songs music lovers or historians. In . There are also songs “Rochell” and the second half of the era. The resulting musical addition to the booklet describ- by the actors who were in the of “Pro Perogative” captured my became a hit in New York as well ing the history of the show, there Broadway version, just to give attention since they were more as on the road. is a second booklet that includes us a feeling for their voices and in Powell’s traditional bouncy One hundred years later, the lyrics to all the songs. stylings. —C.W. style. When Powell gets into the Oz enthusiast/producer David comedy part of the music, he Maxine has taken on what must really starts to shine, with clever 1 have seemed like an impossible Songs for the Jogging Crowd ★★★ /2 instrumentation and snappy task: putting together an album VIC MIZZY rhythms. This style of music is based on the 1903 musical ver- Percepto/Vicster • 12 tracks - 35:52 what sets him apart from his sion. Talk about a labor of love. Media Ventures brethren, as it He has compiled an incredible VIC MIZZY IS BEST KNOWN FOR HIS relies more on orchestral flavor two-disc set filled with old 78s, television scoring on shows like Green and melody than on synths and piano rolls (for player ), Acres and The Addams Family, and also sampling. This score proves that music boxes and, most impres- for defining the sound for a run of Don Powell is capable of applying a sively, wax cylinder recordings Knotts/Sid Caesar comedies in the 1960s. Mizzy’s music has a happy- tender hand as well as a come- of these songs sung by popular go-lucky feel and toe-tapping draw no matter the context. dic one. He’s just as at home singers of the day. The breadth Songs for the Jogging Crowd is a fun concept album with great lyr- here as he is underscoring the of material here is astonishing. ics and Mizzy’s still-sharp sense of humor. Plus, each song has clean chases of Face/Off—in fact, more Maxine is also the owner of and exciting (if not orchestrationally limited) accompaniments. The so. Hungry Tiger Press, which spe- album’s promotional materials and liner notes point out that even The one fault I found with the cializes in preserving all things a gifted like Mizzy, the vice president of the score is its overreliance on ’60s- Oz related. A project of this mag- Guild of America, has a difficult time getting new material into the style jazz percussion elements nitude certainly needed a man hands of the public. This CD will not get him much vocal work—his to denote comedy. While Powell who had such a passion. Kudos singing is very similar to Alan Sherman’s with a touch of Sinatra’s dic- has long worked with catchy to Maxine and his staff. tion. It’s a kind of spoken sound with the occasional musical inflec- beats, they tend to work best The package includes songs tion in the faster songs, but he’s far more accomplished in the slower as the groundwork for some- from the old musical plus songs melodies, especially the poignant “When Your Dreams Are Younger thing else. Stripped down to that were cut or added dur- Than You.” What you will hear throughout is Mizzy’s inescapable bare minimum, they don’t seem ing the run. The liner notes are sense of fun, which is hard to dislike. Where else will you encounter to work as well. The inclusion extensive, and yet there seems a song about seeing your grandma at the (“Dance, Granny, of a ’60s flavor in some tracks to be a lack of cohesion to the Dance”)? There are ballads, a country song and the inclusion of two (“Opening Titles,” “The Morgue” show and how the songs fit of his most beloved television themes. and “Love Scene”) feels particu- into it (especially when there is There isn’t really any “new ground” here, but who cares? This is defi- larly grating when they fade out more than one song for a par- nitely a CD that will make you smile, and perhaps, for those of you in and are quickly replaced by ticular moment). So I feel a little the right age group, even bring an optimistic tear to your eye. Do your- beautiful string work. Gospel detached since I have no idea self a favor and visit www.vicmizzy.com (or www.percepto.com) today beats mix with bluesy guitar at how a fun song like “Budweiser’s and order yourself a copy. —Steven A. Kennedy times, alternately playing with a Friend of Mine” would fit into and dodging the string work

OCTOBER | NOVEMBER 2003 34 FILM SCORE MONTHLY

v8n9ISS.id 34 11/14/03, 3:24:29 PM until a final explosion of voices nomic union. The music exam- excitement. Murder C.O.D., with of a 30-minute suite. in the last track ties things ines the relationships between trumpet solos performed by If you’re into electronic scores, together and finally makes sense extreme physical endurance and Karlin, carries an air of grittiness. you’ll find some well-crafted of it all. Altogether, it does work, technology, between individual Suspense and portent are also music here, but this CD will not although this represents too participation and its representa- conjured up by the violin chords appeal to most. —D.M. small a portion of the album. It’s tion through media networks. and slow but steady drumbeat. 1 definitely worth a listen, though Considering that the lyrical Final Jeopardy is the most typical- Whisper Not ★★★ /2 you might want to hide the content of the entire album sounding ’80s synthesizer action OSI LEWIN . —L.G. comprises little more than an score, and therefore is likely to LML Music • 12 tracks - 41:44 impassive listings of nouns and have nostalgic appeal to many— hough this debut album Tour de France Soundtracks adjectives, with hardly a verb in it reminded me of The Terminator. Tfrom cabaret singer Osi ★★★★ evidence, it’s remarkable how Karlin uses high-quality syn- Lewin (who at times sounds a KRAFTWERK much is conveyed. It is the engi- thesizers capable of reproducing bit like the great Annie Ross) EMI KW3 CD • 12 tracks - 59:59 neering and manipulation of the acoustic orchestral sounds very doesn’t have any tangible filmic raftwerk released its hypnotic, polite surreal robot well, much like Doldinger’s Das connections, it stands as a fine, Kfirst album in 12 years voices that does much to con- Boot, and he also seems to be though brief, collection of those in August of 2003: a shining vey the messages of the words. a brilliant engineer and sound upscale lounge pieces that modern neon TV soundtrack “Tour de France, camera video designer, creating complex allow fine chanteuses to display to celebrate the centenary run- et photo” provides as close to a multi-track cues from several their vocal theatrics. The col- ning of the legendary French chorus on the title track while electronic sources. The trouble lection covers a number of less bicycle race that takes place in “Minimum Maximum Beats per is, the music isn’t all that fresh- popular but decent songs with July every year over three weeks Minute” lends all the power sounding, and lacks any catchy a heavy leaning toward Jobim and covers over 2,000 miles of that the vocals need to deliver. melodies or hooks. The and similar Latin stylings. The French scenery. The album itself Throughout, the overall sound is ethnic touches for Dadah Is Death multilingual songs amply display divides roughly into two parts, economical, never over-cluttered were fine, but not enough to Osi’s linguistic skills, though she the first of which is an extended but bursting with subdued, care- sustain interest over the course sometimes seems too exacting in suite taking the listener through fully calculated energy. her diction (and that from a per- three stages of the race; the In a career spanning more son who often screams for better second part leans into a more than 33 years, the Dusseldorf enunciation!). abstract study of the dynamic quartet has been endlessly There are some harsh edges interaction between human saluted and imitated by each to overcome, but this is, after and machine performances. new generation of musicians. all, a “debut” album, and if From the rubbery oscillations of Few, though, have paid as much Osi is given more opportuni- “Vitamin” to the restless metallic attention to detail as Kraftwerk. ties to record and develop her ripples of “Aero Dynamic,” and Long may their journey run, and voice and art, she can only from the biomechanical pulses long may they stay at the front move from highly talented to of “Elektro Kardiogamm” to the of the pack. —Simon Duff great. Standards like “Lullaby glistening vistas of “La Forme,” of Birdland” and Rodgers and this is emphatically the sound Electronic Chronicle: The Hammerstein’s “Love Look 1 of Kraftwerk in 2003. Sensual, Collection Vol. 3 ★★ /2 Away” are nicely balanced playful, simple, profound and FRED KARLIN by Jobim selections such as beautiful. RMDU 2 • 24 tracks - 68:31 “Fotografia” and “Chega de Tour de France Soundtracks reaf- o not be alarmed, fellow Saudade.” The great Edith Piaf firms Kraftwerk’s intoxication Dsoundtrack geeks! You will is also mimicked in the classic with the transcendent joys not be subjected to the dreaded “Rien de Rien.” In all, Whisper Not of motion and emotion. In bleeps and bloops, nor the inces- is an excellent album for fans of Kraftwerk’s seminal 1974 com- sant droning and drumming of a cabaret singing. —S.A.K. position Autobahn, cars hummed dreaded electronic score! Instead, Available from LML Music at in hypnotic harmony. In 1977’s this disc features Fred Karlin’s www.LMLmusic.com. Trans Euro Express, a groundbreak- multi-layered sound world for 1 ing album often sampled by a quartet of mid- to-late-’80s The Galapagos Suite ★★ /2 the early pioneers of hip-hop, telefilms, all suspense- or action- trains sang and rocked in rhyth- oriented, and not the typical Cacophony, Inc. FMC504 mic regularity. In Tour de France “heartwarming, true tale of cour- 6 tracks - 41:51 Soundtracks, high-tech racing age and a mother’s love” that he Galapagos Suite is one of machines glide through speed- dominates the plot of most TV Tthose postmodern musical blurred soundscapes, pedals and movies these days. hybrids that stands outside the chains exchanging rhythmic The best track, from Hostage multiple adjectives one could chatter, riders panting in metro- Flight, is nonstop action and (continued on page 43)

FILM SCORE MONTHLY 35 OCTOBER | NOVEMBER 2003

v8n9ISS.id 35 11/14/03, 3:24:31 PM We’re pleased to offer hard-to-find, unusual soundtrack-related products, including: Exclusive CDs; Books for music lovers; Books for composers; One-of-a-kind collectibles; and more! Order online, by phone or by mail: see contact info below. All CDs are $19.95 plus shipping & handling unless otherwise noted. FSM marketplace ■ Vol. 6, No. 19 ■ Vol. 6, No. 18 McQ by ELMER BERNSTEIN On Dangerous Ground by BERNARD HERRMANN Film released: 1974 Film released: 1952 Studio: Warner Bros. Studio: RKO Genre: Police Thriller Genre: Film Noir Silver Age Classics Golden Age Classics CD released: November 2003 • Stereo • 49:24 CD released: November 2003 • Mono • 48:24

John Wayne plays a contemporary policeman in a Herrmann’s only film noir score runs the gamut from furious gritty urban setting, and Elmer Bernstein combines his chase music to heartfelt warmth. This landmark score is traditional symphonic approach with ’70s funk for a presented in complete, chronological order with a bonus unique, swaggering sound. This premiere album release suite of rehearsal outtakes—but be advised that the CD includes the complete score from the original scoring was produced from the only surviving acetate recordings elements. $19.95 of varying quality. $19.95

■ Vol. 6, No. 17 ■ Vol. 6, No. 16 ■ Vol. 6, No. 15 ■ Vol. 6, No. 14 ■ Vol. 6, No. 13 ■ Vol. 6, No. 12 ■ Vol. 6, No. 11 The Man From U.N.C.L.E. The Brothers Karamazov Wild Rovers The Cobweb/ Hawkins on Murder/ Toys in the Attic The Appointment Vol. 2 BRONISLAU KAPER JERRY GOLDSMITH Edge of the City Winter Kill/Babe , JOHN BARRY JERRY GOLDSMITH, et al. Film released: 1957 Film released: 1971 LEONARD ROSENMAN JERRY GOLDSMITH Film released: 1962 Films broadcast: 1973, ’74, ’75 & DON WALKER, TV Produced: 1963-67 Studio: M-G-M Studio: M-G-M Films released: 1956, 1957 Studio: Studio: M-G-M Studio: M-G-M Genre: Literary Adaptation Genre: Western Studio: M-G-M • Genres: Drama Genre: Southern Family Drama STU PHILLIPS Genres: Crime, Biography Film released: 1969 Genre: Secret Agent Golden Age Classics Silver Age Classics Golden Age Classics Golden Age Classics Silver Age Classics Studio: M-G-M Silver Age Classics CD released: Oct. 2003 CD released: Sept. 2003 CD released: Sept. 2003 CD released: July 2003 CD released: July 2003 Genre: Drama CD released: Oct. 2003 Mono • 79:10 Stereo • 79:14 Stereo • 51:54 Stereo • 70: 27 Stereo • 77:24 Silver Age Classics Mono • Disc One: 77:54 A rich and varied score for One of Duning’s greatest CD released: June 2003 Mono/Stereo Disc Two: 76:29 one of the greatest works A favorite score gets the Two early scores by one Three TV movie scores: scores (and one of his Stereo • 77:06 Because you demanded in literature—composed by deluxe, definitive treat- of cinema’s most distictive Hawkins (16:51) is a few on CD) is sensitive, A tale of obsessive love it: Another 2-CD set of the one of the novel’s greatest ment from FSM: This CD voices: The Cobweb is the courtroom drama featuring rich and melancholy as features music by a quar- classic TV series scores, fans. Kaper draws upon includes the never-before- first 12-tone score for mov- Jimmy Stewart; Kill (17: befits the tangled personal tet of noted composers: including music by Fried, Prokofiev, gypsy melodies released film recording ies; this release features 58) is a dramatic pilot for relationships of the film. CD Legrand (18:59); Barry Shores, Riddle and more. and his natural gift for dra- (39:47); the expanded LP the complete score in Andy Griffith; Babe (26: features album sequence & Walker (26:19); Phillips Two unused versions of the matic writing to create a recording (35:59); plus stereo (36:41). Edge of the 41) is the Emmy-winning from Citadel LP followed by (31:48). Remixed from the theme and music from the classic soundtrack. $19.95 bonus vocal tracks, all in City is a reprise of the thrill- story of Olympic star Babe bonus tracks. $19.95 original masters, it’s a one- feature films are included. stereo. $19.95 ing mono suite originally Didrikson Zaharias, plus of-a-kind trio. Special price: $24.95 released on LP. $19.95 bonus tracks. $19.95 $16.95

CHECK YOUR ORDER ONLINE Visit our web site at https://secure.filmscore monthly.com/store to place an order on our ■ Vol. 6, No. 10 ■ Vol. 6, No. 9 ■ Vol. 6, No. 8 secure server. You will ■ Vol. 6, No. 7 ■ Vol. 6, No. 6 ■ Vol. 6, No. 5 Our Mother’s House/ The Adventures of / receive an automatic Knights of the Round All Fall Down/ Green Fire/ The 25th Hour Huckleberry Finn Table/The King’s Thief Bhowani Junction GEORGES DELERUE JEROME MOROSS FRED MYROW/ confirmation. All of your MIKLÓS RÓZSA ALEX NORTH MIKLÓS RÓZSA info is kept confidential Films released: 1967 Film released: 1960 Film released: 1953/1955 Film released: 1962/1964 Film released: 1954/1956 Studio: M-G-M Studio: M-G-M Film released: 1973/77 and encrypted for your Studio: M-G-M Studio: M-G-M Studio: M-G-M Genre: Gothic/WWII Comedy Genre: Satirical Adventure Studio: M-G-M • Genre: Sci-Fi protection. Save days and Genre: Costume Adventure/ Genre: Drama/Western Genre: Adventure/Drama Silver Age Classics Golden Age Classics Silver Age Classics Swashbuckler Silver Age Classics Golden Age Classics CD released: June 2003 CD released: June 2003 CD released: May 2003 rest easy! Golden Age Classics CD released: Apr. 2003 CD released: Apr. 2003 Stereo • 58:49 Stereo and Mono • 59:58 Stereo • 79:49 CD released: May 2003 Stereo • 52:54 Stereo/Mono • 79:20 Our Mother’s House (31:18) A giant of Americana scor- Two ’70s sci-fi scores on JOIN THE CLUB Stereo • Disc One 70:31 Two complete scores by Green Fire (51:04) is an is the story of orphans and ing writes a bouncy, rich one disc: Soylent Green Disc Two 78:21 the great Alex North: All adventure set in Colombia Get every Classics release their deadbeat dad; The score for Mark Twain’s clas- (40:21) features a mix of Knights (86:25) is the Fall Down (38:24) is hushed, with a gorgeous symphonic 25th Hour (27:31) follows sic tale. Originally planned pop, classical and avant- FIRST—automatically! complete film recording of sweetly jazzy score to main theme; Bhowani one man’s tragi-comic as a musical, our CD garde sounds; Demon Plus, receive discounts on Rózsa’s thunderous, epic family/coming-of-age Junction (27:52) is a score, including bonus journey during WWII. Both includes snippets of songs Seed (39:28) is a wild blend multi-disc sets and mem- drama. The Outrage (14:29) politically charged romance delicate, melodic scores in the score as well as rare of the electronic and sym- tracks; Thief (56:47) is a is spare music to western sporting indigenous, “world- ber surprises! See order are remastered in stereo. demos. $19.95 phonic. Stereo with mono rousing swashbuckler in remake of . music” source cues. $19.95 $19.95 alternates. $19.95 form for details. the Korngold mold. $24.95 $19.95

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v8n9MKT.id 36 11/14/03, 5:36:36 PM ■ Vol. 6, No. 4 ■ Vol. 6, No. 3 ■ Vol. 6, No. 2 ■ Vol. 6, No. 1 ■ VOLUME 5, NO. 20 ■ Vol. 5, No. 19 ■ Vol. 5, No. 18 THX 1138 Home From the Hill Plymouth Adventure / Tribute to a Bad Man The Man From LALO SCHIFRIN BRONISLAU KAPER MICHEL LEGRAND MIKLÓS RÓZSA 7 Women MIKLÓS RÓZSA U.N.C.L.E. Vol. 1 Film released: 1970 Film released: 1960 Film released: 1968 Film released: 1952 ,/ Film released: 1956 JERRY GOLDSMITH, et al Studio: Warner Bros, Studio: M-G-M Studio: M-G-M Studio: M-G-M ELMER BERNSTEIN Studio: M-G-M TV Produced: 1963-67 Genre: Science Fiction Genre: Drama Genre: Military/Espionage Genre: Historical Epic Film released: 1959/1966 Genre: Western Studio: M-G-M Silver Age Classics Golden Age Classics Silver Age Classics Golden Age Classics Studio: M-G-M Golden Age Classics Genre: Secret Agent CD released: Mar 2003 CD released: Mar. 2003 CD released: Feb. 2003 CD released: Feb. 2003 Genre: WWII/Drama CD released: Jan .2003 Silver Age Classics Stereo • 55:45 Stereo/Mono • 79:26 Stereo • 79:20 Mono • 79:35 Silver Age Classics Stereo • 50:30 CD released: Dec. 2002 CD released: Jan. 2003 Mono • Disc One: 77:05 ’ first film is Vincente Minnelli’s excel- This ’60s Cold War nailbiter Miklós Rózsa’s mag- Rózsa’s rare western is Mono/Stereo Disc Two: 76:08 a startlingly original vision lent Southern family drama is enhanced by Legrand’s nificent historical music Stereo • 73:46 sweeping, full of melody, of a dystopian future. is highlighted by a master- offbeat, epic scoring for for the 1620 voyage of the Two Asian-flavored clas- and flecked with the America’s first hit spy TV Composer Schifrin adds a ful score by Bronislau orchestra. Remixed for Mayflower, from his most sics: Never So Few (42: brooding melancholy series features varied, fascinating score ranging Kaper, weaving together superior sound, and rese- fertile period of epic scor- 18) blends action and expected of a mature jazzy, high-energy music. from avant garde sound- romance, tension and quenced into film order, ing. Includes the complete romance, while 7 Women “psychological western.” All of Goldsmith’s scores scapes to cheeky plays on violence. All of the music this dramatic score gets soundtrack as used in the (31:27) is more introspec- This fan favorite has been plus scores by six others Latin jazz. The CD includes from the film is present, the deluxe treatment with film (47:00) plus a bevy of tive, but with a big, excit- remixed from the original (inc. Fried, Schifrin, Scharf, many unused passages plus bonus tracks and over twice the music on alternates (32:35). $19.95 ing title theme for the stereo masters. $19.95 Stevens) are represented and is entirely in stereo. alternates. $19.95 the original LP—in stereo. Mongol horde. $19.95 on this 2-CD set. $24.95 $19.95 $19.95

■ Vol. 5, No. 17 ■ Vol. 5, No. 16 ■ Vol. 5, No. 15 ■ Vol. 5, No. 14 ■ Vol. 5, No 13 ■ Vol. 5, No. 12 ■ Vol. 5, No 11 The Seventh Sin The Prize The World, the Flesh The Green Berets Scaramouche Above and Beyond MIKLÓS RÓZSA JERRY GOLDSMITH and the Devil MIKLÓS RÓZSA ELMER BERNSTEIN HUGO FRIEDHOFER Film released: 1958 Film released: 1963 MIKLÓS RÓZSA Film released: 1968 Film released: 1952 Film released: 1969 Film released: 1952 Studio: M-G-M Studio: M-G-M Film released: 1959 Studio: Warner Bros. Studio: M-G-M Studio: M-G-M Studio: M-G-M Genre: Drama Genre: Espionage Studio: M-G-M Genre: War/Adventure Genre: Costume Adventure Genre: Drama Genre: WWII Golden Age Classics Silver Age Classics Genre: Science Fiction Silver Age Classics Golden Age Classics Silver Age Classics Golden Age Classics CD released: Dec. 2002 CD released: Nov. 2002 Golden Age Classics CD released: Sept. 2002 CD released: Sept. 2002 CD released: Aug. 2002 CD released: Aug. 2002 Mono • 59:26 Stereo • 72:37 CD released: Nov. 2002 Stereo • 72:37 Mono • 62:28 Stereo • 61:08 Mono • 55:44 Stereo • 52:53 This reworking of The The Prize is an early The first major U.S. film to The last of the Golden- This tale of barnstorming This combination of Painted Veil inspired Jerry Goldsmith action- A rare Rózsa’s sci-fi address the Vietnam con- Age swashbucklers by skydivers contrasts robust, wartime drama and Rózsa to apply three of suspense gem for a score (Two men and flict features a stirring sym- Rafael Sabatini (Captain action-oriented cues and domestic struggle is his signature sounds; film Hitchcock-styled thriller. one woman struggle in phonic score, befitting an Blood, et al) gets a heroic sweeping Americana with driving by a stirring, pro- noir, exotic and epic film CD features complete post-apocalyptic NYC), action movie directed by and charming score by softer, bittersweet melo- gressive score, with one scoring techniques com- stereo score plus source embellishes end-of-the- and starring John Wayne. the prolific Victor Young. dies. CD features complete of Friedhofer’s greatest bine to create a unique music and vintage re- world loneliness and doom All of Rózsa’s music is This premiere release underscore plus nightclub main titles. Complete, and unmistakable score. recorded LP cuts. $19.95 with romantic splendor. here (plus “The Ballad includes all of the score, and marching band source chronological score in Includes source music Premiere release of com- of the Green Berets”) in plus alternates, unused cues. $19.95 best possible monaural suite. $19.95 plete stereo score. $19.95 excellent stereo. $19.95 and source cues. $19.95 sound. $19.95

■ Vol. 5, No. 10 ■ Vol. 5, No 9 ■ Vol. 5, No. 8 ■ Vol. 5, No 7 ■ Vol. 5, No. 6 ■ Vol. 5, No 5 ■ Vol. 5, No 4 I Spy Point Blank/ On the Beach/ The Traveling 36 Hours The Man Who BRONISLAU KAPER The Outfit The Secret of Santa Executioner DIMITRI TIOMKIN Loved Cat Dancing TV Produced: 1965-67 Film released: 1955 / Vittoria JERRY GOLDSMITH Film released: 1964 JOHN WILLIAMS Network: NBC Studio: M-G-M JERRY FIELDING ERNEST GOLD Film released: 1970 Studio: M-G-M • Genre: MICHEL LEGRAND Genre: Secret Agent Genre: Biblical Epic Film released: 1967, 1973 Film released: 1959, 1969 Studio: M-G-M WWII/Spy Film released: 1973 Silver Age Classics Golden Age Classics Studio: M-G-M Studio: United Artists Genre: Black Comedy Golden Age Classics Studio: M-G-M CD released: July 2002 CD released: July 2002 Genre: Film Noir Genre: Drama, Comedy Silver Age Classics CD released: May 2002 Genre: Western Stereo/Mono • 77:57 Stereo • 75:11 Silver Age Classics Golden Age Classics CD released: May 2002 Stereo • 66:41 Silver Age Classics Stereo • 39:39 Five episode scores for Complete stereo score CD released: June 2002 CD released: June 2002 A taut, piano-dominated CD released: Mar. 2002 Stereo • 77:54 Stereo • 70:59 Stereo • 65:37 groundbreaking series for gargantuan biblical The main theme blends score with an accent on starring Robert Culp and epic starring Lana Turner Two films based on Two scores from the films Americana, Dixieland and stealth—flamboyant, yet A lost gem from Williams’ Bill Cosby: “So Long, features male and female D.E. Westlake’s crime of director Stanley Kramer circus sound, but the score naturalistic. Remixed and melodic, pre-blockbuster Patrick Henry,” “The Time choruses, solos, source novels: Point Blank (39: on one CD. Beach is a touches all the bases, from remastered, this CD dou- career, plus Legrand’s of the Knife” “Turkish cues and thundering 38) is a landmark 12-tone gorgeous symphonic score bluegrass to avant-garde bles the playing time of the unused, unheard take on Delight,” “The Warlord” symphonic glory. Includes score, ethereal and ingeniously interpolat- to full-scale action. This LP including bonus tracks the same material. A rare and “Mainly on the Plains.” unused alternate cues. strange; The Outfit (38:16) ing “Waltzing Matilda”; first-release ever is com- of vocals, piano demos, opportunity for collec- First three & theme in ste- $19.95 features a dark, pulsating Secret is a lyrical slice of plete, with every note in and a jazz trio improv of tors—all in stereo! $19.95 reo; all OST, not LP record- score punctuated with “Italiana,” with one bonus excellent stereo. $19.95 the main title. $19.95 ings. $19.95 unexpected melody. $19.95 cue. $19.95

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v8n9MKT.id 37 11/14/03, 5:37:29 PM ■ Vol. 5, No. 3 ■ Vol. 5, No 2 ■ Vol. 5, No. 1 ■ VOLUME 4, No. 20 ■ Vol. 4, No. 19 ■ Vol. 4, No. 18 ■ Vol. 4, No. 17 Joy in the Morning Logan’s Run Lust for Life Farewell, My Lovely/ Demetrius and the Broken Lance John Goldfarb, BERNARD HERRMANN JERRY GOLDSMITH MIKLÓS RÓZSA Monkey Shines Gladiators Please Come Home! Film released: 1965 Film released: 1976 Film released: 1956 DAVID SHIRE FRANZ WAXMAN Film released: 1954 JOHNNY WILLIAMS Studio: M-G-M / Studio: M-G-M / Genre: Sci-Fi Studio: M-G-M Film released: 1975/88 Film released: 1954 Studio: 20th Century Fox Film released: 1965 Genre: Romance Silver Age Classics Genre: Biography Studio: M-G-M Studio: 20th Century Fox Genre: Western Studio: 20th Century Fox Golden Age Classics CD released: Feb. 2002 Golden Age Classics Genre: Film Noir/ Genre: Biblical Epic Golden Age Classics Genre: Comedy CD released: Mar. 2002 Stereo • 74:18 CD released: Feb. 2002 Suspense Golden Age Classics CD released: Dec. 2001 Silver Age Classics Stereo • 46:33 Stereo • 61:51 Silver Age Classics CD released: Jan. 2002 Stereo • 38:41 CD released: Dec. 2001 This classic story of a dys- CD released: Jan. 2002 Stereo • 61:51 Stereo • 71:32 Herrmann’s last studio topian future gets the royal Premiere of Rózsa’s heart- Stereo • 73:48 Disney’s workhorse project is sweepingly treatment by the master of felt, stirring accompani- Spectacular score for composer from the ‘30s This wacky comedy romantic, surging with pas- speculative soundtracks. ment to the tragic tale of Farewell, My Lovely (33:06) Biblical epic emphasizes (Pinocchio) provides a starring Shirley MacLaine sion and haunting in its use Jagged action cues, Vincent van Gogh. A favor- is symphonic jazz score for romance, action and reli- dark, rich Americana score and Peter Ustinov is of melody. The complete Coplandesque nostalgia, ite of the composer, this CD ‘70s noir classic; Monkey gion, interpolating themes to this adaptation of King the earliest feature film score from the original bracing electronics and has been remixed from the Shines (40:41) is leitmotivic from The Robe by Alfred Lear set in the American soundtrack by John three-track recording with more in this restored, three-track masters with suspense score for George Newman. Plus bonus West. $19.95 Williams available on CD. liner notes by Christopher remixed, resequenced bonus alternate cues and Romero monkey thriller. tracks (11:06) and remixed Johnny does Arab go-go Husted, manager of the release! $19.95 more. One of the greatest $19.95 cue from The Egyptian music! $19.95 Herrmann estate. $19.95 film scores! $19.95 (5:04). $19.95

■ Vol. 4, No. 16 ■ Vol. 4, No. 15 ■ Vol. 4, No. 14 ■ Vol. 4, No. 13 ■ Vol. 4, No. 12 ■ Vol. 4, No. 11 ■ Vol. 4, No. 10 The World of The View From The Illustrated Man The Bravados Morituri/ The Best of Everything Voyage to the Bottom Henry Orient Pompey’s Head/ JERRY GOLDSMITH ALFRED NEWMAN & Raid on Entebbe ALFRED NEWMAN of the Sea Song by Newman & ELMER BERNSTEIN Blue Denim Film released: 1969 HUGO FRIEDHOFER JERRY GOLDSMITH/ PAUL SAWTELL Piano Concerto by , ELMER BERNSTEIN/ Studio: Warner Bros. Film released: 1958 DAVID SHIRE & BERT SHEFTER Kenneth Lauber Perf. by Johnny Mathis BERNARD HERRMANN Genre: Sci-fi/Anthology Studio: 20th Century Fox Films released: 1965/77 Song by Russell Faith, Film released: 1964 Films released: 1955/1959 Silver Age Classics Genre: Western Studio: 20th Century Fox Film released: 1959 Perf. by Frankie Avalon Studio: United Artists Studio: 20th Century Fox CD released: Sept. 2001 Golden Age Classics Genre: WWII/ Studio: 20th Century Fox Film released: 1961 Genre: Comedy/Drama Genre: Drama Stereo • 42:02 CD released: Sept. 2001 Docudrama,TV Genre: Drama/Romance Studio: 20th Century Fox Silver Age Classics Stereo (some bonus tracks in Golden Age Classics Golden Age Classics The Illustrated Man is Silver Age Classics Genre: Sci-fi/Irwin Allen CD released: Nov. 2001 mono) • 69:34 CD released: Aug. 2001 CD released: Aug. 2001 Silver Age Classics CD released: Nov. 2001 one of Jerry Goldsmith’s Stereo • 40:32 Stereo • 75:15 Stereo (Morituri)/ Stereo • 71:14 CD released: July 2001 most haunting sci-fi cre- Two Hollywood legends Mono (Entebbe) • 57:50 Stereo • 55:55 Bernstein’s “second-best” This pair of films by ations, with airy beauty, collaborate for a rich, Newman’s last Fox score score for children sports Philip Dunne feature solo female vocalise, handsome western score Morituri (41:46) is in is a romantic gem; think Thundering B-movie hyste- fabulous sound from the romantic, intimate scores early electronics, strange with a memorable, driving Goldsmith’s percussive ‘60s New York at twilight. ria plus soothing, romantic legendary Goldwyn scoring by Elmer Bernstein effects and an aggressive main theme and darkly style; Raid on Entebbe (15: Complete score (48:21) in undersea passages for the stage. Whimsical, melodic (lovely Americana) and climax. $19.95 brooding interior pas- 29) features suspense, pul- stereo, plus some bonus film that launched the hit and magical. $19.95 Bernard Herrmann (“baby sages. $19.95 sating action, and Israeli tracks in mono. $19.95 TV show. $19.95 Vertigo”). $19.95 song climax. $19.95

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■ Vol. 4, No. 9 ■ Vol. 4, No. 8 ■ Vol. 4, No. 7 ■ Vol. 4, No. 6 ■ Vol. 4, No. 5 ■ Vol. 4, No. 4 ■ Vol. 4, No. 3 Between Heaven and Room 222/ A Man Called Peter The French Connection/ The Egyptian Untamed Hell/ Soldier of Fortune Ace Eli and Rodger ALFRED NEWMAN French Connection II ALFRED NEWMAN & FRANZ WAXMAN JOHN WILLIAMS HUGO FRIEDHOFER of the Skies Film released: 1955 DON ELLIS BERNARD HERRMANN Film released: 1955 Film released: 1974 Films released: 1956/55 JERRY GOLDSMITH Studio: 20th Century Fox Films released: 1971/75 Film released: 1954 Studio: 20th Century Fox Studio: Warner Bros./20th Studio: 20th Century Fox Films released: 1969/73 Genre: Religious/ Biography Studio: 20th Century Fox Studio: 20th Century Fox Genre: Historical Adventure Century Fox Genre: WWII/Adventure Studio: 20th Century Fox Golden Age Classics Genre: Police Thriller Genre: Historical Epic Golden Age Classics Genre: Disaster/Irwin Allen Golden Age Classics Genre: (TV)/ CD released: June 2001 Silver Age Classics Golden Age Classics CD released: April 2001 Silver Age Classics CD released: July 2001 Americana (feature) Stereo • 58:14 CD released: May 2001 CD released: May 2001 Stereo • 65:43 CD released: Apr. 2001 Stereo • 73:00 Silver Age Classics Stereo & Mono (I)/ Stereo • 72:06 Stereo • 75:31 Biopic of Scottish minister Stereo (II) • 75:01 19th century African colo- CD released: June 2001 Disaster masterpiece A superlative Hugo Mono (Room 222)/Stereo & Peter Marshall receives At last: the classic nialist adventure starring Friedhofer doubleheader: Mono (Ace Eli) • 71:37 rich, reverent, melodic Cop thrillers get pulsating, Newman/Herrmann collab- Susan Hayward receives gets premiere CD release, Between Heaven and score by Alfred Newman; dynamic, avant-garde oration for Fox’s historical thrilling adventure score by doubled in length from Hell (complete: 40:18) is a Room 222 (12:15) com- CD features complete scores by jazz artist. First epic. Original stereo tracks Franz Waxman in first-rate the LP. Fantastic main moody war thriller; Soldier prises theme and two score including source (37:52) includes unused were believed to be lost sound. Wonderful main title, climactic action cue; of Fortune (surviving episode scores for popular music. $19.95 music; sequel (37:09) a bit or unusable, but this CD title, love theme. $19.95 plenty of moody suspense tracks: 32:41) an exotic, TV series; Ace Eli (59:21) a more traditional. $19.95 features every surviving and romantic pop. $19.95 melodic jewel. $19.95 lyrically-scored barnstorm- note. $19.95 ing movie. $19.95

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v8n9MKT.id 38 11/14/03, 5:38:02 PM ■ Vol. 4, No. 2 ■ Vol. 4, No. 1 ■ VOLUME 3, No. 10 ■ Vol. 3, No. 9 ■ Vol. 3, No. 8 ■ Vol. 3, No. 7 ■ Vol. 3, No. 6 How to Marry a Conquest of.../Battle for Beneath the The Stripper/ From the Terrace The Undefeated/ Millionaire the Planet of the Apes 12-Mile Reef Nick Quarry ELMER BERNSTEIN NELSON RIDDLE Hombre ALFRED NEWMAN & TOM SCOTT/ BERNARD HERRMANN JERRY GOLDSMITH Film released: 1960 Theme by Neal Hefti HUGO MONTENEGRO/ CYRIL MOCKRIDGE LEONARD ROSENMAN/ Film released: 1953 Film released: 1963/68 Studio: 20th Century Fox Film released: 1966 Film released: 1953 LALO SCHIFRIN Studio: 20th Century Fox Studio: 20th Century Fox Genre: Drama Studio: 20th Century Fox Films released: 1969/67 Studio: 20th Century Fox Film released: 1972/73 Genre: Adventure Genre: Drama /Action,TV Golden Age Classics Genre: Adventure/Camp Studio: 20th Century Fox Genre: Comedy/ Romance Studio: 20th Century Fox Golden Age Classics Silver Age Classics CD released: Dec. 2000 Silver Age Classics Genre: Western Golden Age Classics Genre: Sci-fi/Fantasy CD released: Feb. 2001 CD released: Jan. 2001 Stereo • 71:27 CD released: Nov. 2000 Silver Age Classics Stereo • 55:06 Stereo (Stripper)/ Mono • 65:23 CD released: Mar. 2001 Silver Age Classics /Joanne CD released: Sept. 2000 Stereo • 70:03 Mono (Quarry) 73:35 Stereo • 72:33 CD released: Feb. 2001 Fantastic undersea adven- Woodward soaper fea- Holy Bat-tracks! 1966 Stereo & Mono (Conquest)/ Early Goldsmith feature Marilyn Monroe comedy Stereo (Battle) • 74:44 ture score gets premiere tures tuneful, romantic feature produced at time Western doubleheader: features period songs release of original stereo (42:01, plus 21:06 bonus score by Bernstein. Rich of ‘60s TV show features The Undefeated (w/John adapted as instrumental Final Apes films get vintage tracks, albeit with minor tracks)—is in romantic Americana music, sensi- Neal Hefti’s theme, Wayne, 47:33) is underscore. “Street scores by Scott deterioration. Lots of Alex North style. Quarry tive romantic themes, Nelson Riddle’s Bat-villain accessible and sym- Scene” (5:36) conducted (38:47, w/unused cues) and harps, “underwater” color, (10:27) is a TV rarity— haunting melancholy. signatures, swingin’ under- phonic. Hombre (w/Paul by Alfred Newman opens Rosenman (34:43), plus TV seafaring melodies. $19.95 sounds like Flint music. $19.95 scoring and larger action Newman, 21:30) is the movie and CD. $19.95 series theme (1:13). $19.95 $19.95 setpieces. $19.95 moodier, sensitive—a quiet gem. $19.95

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■ Vol. 3, No. 5 ■ Vol. 3, No. 4 ■ Vol. 3, No. 3 ■ Vol. 3, No. 2 ■ Vol. 3, No. 1 ■ VOLUME 2, No. 9 ■ Vol. 2, No. 8 A Guide for the Tora! Tora! Tora! Beneath the Planet The Omega Man Take a Hard Ride The Flim-Flam Man/ Rio Conchos Married Man JERRY GOLDSMITH of the Apes RON GRAINER JERRY GOLDSMITH A Girl Named Sooner JERRY GOLDSMITH JOHNNY WILLIAMS Film released: 1970 LEONARD ROSENMAN Film released: 1971 Film released: 1975 JERRY GOLDSMITH Film released: 1964 Title Song Perf. by The Turtles Studio: 20th Century Fox Film released: 1970 Studio: Warner Bros. Studio: 20th Century Fox Films released: 1967/1975 Studio: 20th Century Fox Film released: 1967 Genre: WWII Studio: 20th Century Fox Genre: Sci-fi/Fantasy Genre: Western Studio: 20th Century Fox Genre: Western Studio: 20th Century Fox Silver Age Classics Genre: Sci-fi/Fantasy Silver Age Classics Silver Age Classics Genre: Drama/Americana Silver Age Classics Genre: Comedy CD released: May 2000 Silver Age Classics CD released: Mar. 2000 CD released: Feb. 2000 Silver Age Classics CD released: Dec.1999 Silver Age Classics Stereo • 54:45 CD released: Apr. 2000 Stereo • 65:39 Stereo • 46:38 CD released: Jan. 2000 • Mono/Stereo (combo) • 75:28 CD released: July 2000 Stereo • 72:37 Stereo (Flim-Flam)/Mono Classic Goldsmith war Charlton Heston sci-fi Early Goldsmith western Stereo • 73:10 Strange “blaxploitation,” (Sooner) • 65:20 score enhances docu- Second Apes pic gets classic features one-of-a- score is presented in com- foreign-produced western Vintage score is drama take on Pearl atonal score by Leonard kind symphonic/pop fusion A rural Americana double- plete form (55:43) in mono, gets wonderful symphonic “Johnny”’s most elaborate Harbor. Aggressive action Rosenman with many by the late Ron Grainer. header: Flim-Flam (34: with some cues repeated score from Goldsmith; for a comedy, with long music combined with avant-garde highlights. Unforgettable themes, 37) stars George C. Scott in stereo. Includes delight- great main theme, action setpieces, groovy title avant-garde effects, Includes complete original period effects; great stereo as a Southern con man; fully bizarre vocal version cues. Take a hard ride, theme, and orchestral Japanese instrumenta- tracks (46:03) plus 1970 LP sound quality. $19.95 Sooner (30:43) is smaller, of the main theme. $19.95 indeed. $19.95 underscoring foreshadow- tion. $19.95 re-recording with dialogue sensitive TV movie score. ing his dramatic works. (26:34). $19.95 $19.95 $19.95

■ Vol. 2, No. 7 ■ Vol. 2, No. 6 ■ Vol. 2, No. 5 ■ Vol. 2, No. 4 ■ Vol. 2, No. 3 ■ Vol. 2, No. 2 ■ Vol. 2, No. 1 / The Comancheros Prince of Foxes Monte Walsh Prince Valiant Patton/The Flight 100 Rifles Leave Her to Heaven ELMER BERNSTEIN ALFRED NEWMAN JOHN BARRY FRANZ WAXMAN of the Phoenix JERRY GOLDSMITH ALFRED NEWMAN Film released: 1961 Film released: 1949 Film released: 1970 Film released: 1954 JERRY GOLDSMITH/ Film released: 1969 Film released: 1950/45 Studio: 20th Century Fox Studio: 20th Century Fox Studio: CBS Studio: 20th Century Fox FRANK DE VOL Studio: 20th Century Fox Studio: 20th Century Fox Genre: John Wayne/Western Genre: Historical Adventure Genre: Western Genre: Historical Adventure Film released: 1970/65 Genre: Western Genre: Drama Silver Age Classics Golden Age Classics Silver Age Classics Golden Age Classics Studio: 20th Century Fox Silver Age Classics Golden Age Classics CD released: Sept.1999 CD released: July 1999 CD released: June 1999 CD released: May 1999 Genre: WWII/ Adventure CD released: Mar. 1999 CD released: Nov. 1999 Stereo • 47:44 Stereo • 46:39 Mono (1 track. in stereo) 61:51 Stereo • 62:17 Silver Age Classics Stereo/Mono (combo) • 77:08 Mono (2 trks. in stereo) • 44:19 Elmer Bernstein’s first “Lost” Tyrone Power Revisionist western gets Fox’s colorful 1954 adapta- CD released: April 1999 Burt Reynolds/Raquel Stereo • 76:24 Eve is a cinema master- of many scores for John historical adventure gets vintage John Barry score tion of the famous epic Welch western gets piece; the complete score Wayne is a western gem, exciting, robust score 20 years before Dances comic strip features stir- Patton (35:53) is complete explosive score, heavy on is appropriately theatrical, with rhythmic main title by Alfred Newman, With Wolves. Song “The ring adventure score by OST to WWII biopic clas- Mexican colors and gut- perfectly drawn. Leave and high-tailing action newly mixed into stereo. Good Times Are Comin’” Franz Waxman in “leitmo- sic. Phoenix (40:51) is a tural action. CD features Her to Heaven is more music. Think in terms of Glorious main title, stir- performed by Mama tiv” style, a la Star Wars: rare album release for score twice, in stereo and dramatic, brooding film “The Magnificent Eight.” ring love theme. $19.95 Cass; many bonus tracks. hero, villain, princess, Frank De Vol, a rousing in mono with slight varia- noir. $19.95 $19.95 $19.95 mentor. $19.95 adventure/ survival score. tions. $19.95 $19.95

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v8n9MKT.id 39 11/14/03, 5:38:49 PM SOLD OUT! Sorry, all gone...

■ VOLUME 1, No. 4 ■ Vol. 1, No. 3 ■ Vol. 1, No. 2 ■ Vol. 1, No. 1 ■ FSM-80125-2 ■ FSM-80124-2 ■ FSM-80123-2 The Return of Dracula/ The Paper Chase/ The Stagecoach/The Loner Mad Monster Party Deadfall The Taking of I Bury the Living/ LEONARD ROSENMAN Poseidon Adventure JERRY GOLDSMITH MAURY LAWS JOHN BARRY Pelham 1-2-3 The Cabinet of Caligari/ Film released: 1966 JOHN WILLIAMS Film released: 1966/1965 Film released: 1998 Film released: 1968 DAVID SHIRE Mark of the Vampire Studio: 20th Century Fox Film released: 1973/72 Studio: 20th Century Fox Studio: Rankin/Bass Studio: 20th Century-Fox Film released: 1974 Genre: Sci-fi Studio: 20th Century Fox Genre: Western (film/TV) Genre: Animagic Genre: Heist caper Studio: M-G-M Films released: 1958/58/62/57 Silver Age Classics Genre: Drama/Disaster Silver Age Classics Percepto/Retrograde Records Retrograde Records Genre: Thriller Studio: UA/ 20th Century Fox CD released: Sept. 1998 Silver Age Classics CD released: May 1998 CD released: 1997 CD released: 1997 Retrograde Records Genre: Horror Stereo • 47:28 CD released: July 1998 Stereo (Stagecoach)/ Stereo 36:48 Stereo 40:23 CD released: 1996 Silver Age Classics Sci-fi classic following min- Stereo/Mono (combo) • 75:53 Mono (Loner) • 45:25 The jazzy score by composer Barry scored this thriller in Stereo & Mono • 30:55 CD released: Jan. 1999 • Mono iaturized sub crew inside The Paper Chase is eclectic Stagecoach is gentle Maury Laws, with lyrics by his most creative period. Hear David Shire’s Disc One: 61:06 Disc Two: 73:20 the human body gets imagi- score for drama about law Americana score for remake Jules Bass, features the Features “Romance for unparalleled ’70s 12-tone and The Man from native, avant garde score; students. The Poseidon of classic western. The vocal talents of Boris Karloff, Guitar and Orchestra,”; jazz/funk fandango for the U.N.C.L.E. composer gets one of Rosenman’s Adventure is classic Irwin Loner includes theme and Phyllis Diller and Ethel Ennis. the title song performed by 1974 subway hostage thriller 2-CD release of creepy, early signature works. Allen disaster score. Also two episode scores for Features 16-page color book- , plus two on FSM’s first album release. horror scores, packaged in Symphonic yet thrillingly includes Conrack (1974), short-lived Rod Serling west- let with rare and unpublished unreleased, alternates and A sensational, driving, slimline case; same shipping bizarre. $19.95 main title (6:07). $19.95 ern series. $19.95 photographs and concept vintage underscore. $16.95 pulsating score in a class by as one CD. $29.95 drawings. $16.95 itself. $16.95

Getting the Best Score for Your Film: BOOKS FOR COMPOSERS A Filmmakers’ Guide to Music Scoring by David Bell Respected TV composer Bell (Star Trek: Voyager) wrote this book in 1994 to NEW!!! 2003 Film/TV Music Guide From the Music Business Registry help producers and directors get the most out of fi lm music. Aimed at fi lm- Isn’t your career worth it? An exhaustive directory of record labels, music makers, this book also provides useful professional info to composers and publishers, film/TV music depts., music supervisors, music editors, compos- musicians—or any interested fan. Topics include spotting, communicating, er representatives, composers, clearance companies, recording studios, recording, budgeting and licensing, with explanations of the personnel performing rights societies, and music libraries—names, addresses and and entities involved in each; also includes lists of agents, clearance numbers. $94.95 companies, glossary terms and resources. Silman-James Press, 112 pp., softcover. $12.95 The Click Book Timing tables for music-to-film sync8 BOOKS FOR MUSIC LOVERS By Cameron Rose Get click-tempo tables for 6-0 through 32-0 frame click-tempos. Each timing The Score: Interviews with Film Composers by Michael Schelle table covers beat 1 to beat 999 at the given click-tempo. With easy-to-read This 1999 book uses a Q and A format to provide readers with a conversa- click-tempo and metronomic values at the top of each page, there are tim- ing, frame and footage breakdowns for rhythmic subdivisions within each tional look at contemporary composers, featuring lengthy transcripts with click-tempo—including compound meters. Includes a tutorial of standard Barry, Bernstein, Blanchard, Broughton, Chihara, Corigliano, Howard, Isham, timing-conversion formulas for 24 fps film speed, and a tutorial in SMPTE- Licht, McNeely, T. Newman, Shaiman, Shore, Walker and C. Young. Written to-absolute time conversion, plus frames-to-seconds conversion tables for by a composer, who delves deeply and precisely into each composers’ ideas. U.S. and European film & video speeds. 430 pp. $149.95 Silman-James Press, 432 pp., softcover. $19.95

U.S. Soundtracks on CD: Scores for Motion Pictures and TV 1985-1999 Music for the Movies 2nd Edition by Tony Thomas Price Guide by Robert L. Smith The original film music book (1971), telling the stories of Hollywood’s most FSM’s 2nd market-standard price guide contains 2,400+ album titles with successful composers. Updated in 1997, shortly before the author’s death. composers, label numbers, special collectible info and estimated values. Composers covered (many with photos) are Stothart, V. Young, Green, Listings are annotated to differentiate between originals and reissues, Newman, Tiomkin, Waxman, Kaper, Rózsa, Steiner, Korngold, Herrmann, commercial albums and promos. Learn what’s out there, what they’re Friedhofer, Raksin, Antheil, Thompson, Copland, North, Bernstein, Duning, worth, and how much you should spend on your collection. Smith sur- Rosenman, Goldsmith, Mancini, Schifrin, Scott, Shire, Broughton and veys the market and provides a checklist for the top 50 collectible CDs. Poledouris. Silman-James Press, 330 pp., softcover. $19.95 Vineyard Haven LLC, 154 pp., softcover. $17.95

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

Sound and Vision: 60 Years of Motion Picture Soundtracks Film Music and Everything Else! by Jon Burlingame Foreword by Music, Creativity and Culture as Seen by a Hollywood Composer Journalist and historian Burlingame’s overview of movie music composers by Charles Bernstein and history, encapsulating the most notable people and events in clear and Essays by the composer of the original Nightmare on Elm Street, Sadat, Cujo direct prose. Largely comprised of composer mini-bios with reviews of their and others. Originally written for“The Score,” the quarterly journal of the most notable works and photo portraits (from Golden Age titans to present- Society of Composers and Lyricists. Topics include: melodies, “hummers,” day masters), there is also a thorough overview of history emotion and more. It’s a rare opportunity to read thoughtful opinions and (LP and CD), a section devoted to song compilation reviews, and a helpful musings from a fi lm composer directed towards other practitioners of the movie music bibliography. Billboard Books, 244 pp., softcover. $18.95 art. Turnstyle Music Publishing, 132 pp., softcover, limited to 500 copies. $18.95

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v8n9MKT.id 40 11/14/03, 5:39:42 PM The Music of Star Trek: Profiles in Style by Jeff Bond Stu Who? Forty Years of Navigating the Minefields of the Music Business by Stu Phillips The fi rst-ever history of Star Trek scores, from 1966 thru 2000—by FSM’s editor-at-large. With interviews of composers Goldsmith, Stu Phillips’s career encompasses groovy cult films (Beyond the Valley of Courage, Fred Steiner, Fried, , McCarthy, Chattaway, pro- the Dolls) and virtually every Glen Larson TV show ever produced (Battlestar ducer Robert Justman, music editor Gerry Sackman and others, the Galactica, Knight Rider). Stu Who? is his candid, breezily told memoirs full book contains a complete list of music written for four TV series; a of exciting stories from the worlds of arranging, music directing, record pro- guide to score tracking and credits; Trek manuscript excerpts from the ducing, and film and TV scoring. Published Cisum Press, 304 pp., hardcover, composers; and several cue sheets. Lone Eagle Publishing. 224 pages, illustrated. $29.95 softcover, illustrated. $17.95

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

documentary reviews (George of the Jungle); Tony Thomas; (Herrmann, Delerue, Summer movies, TV sweeps. Takemitsu, “The Hollywood *Vol. 2, No. 7, Sept. ’97 Zimmer vs. FSM Sound”). (Peacemaker), M. Beltrami (Scream, *#68, Apr. ’96 D. Shire’s The Mimic), (L.A. Confidential); Taking of Pelham One Two Laserphile; Film Music as Fine Art, Three; C. Burwell (Fargo); Recordman. gag obituaries; Apollo 13 *Vol. 2, No. 8, Oct. ’97 Poledouris (Starship promo/bootleg tips. Troopers), Shore (Cop Land, The Game), *#69, May ’96 Plan 9 from Zimmer vs. FSM Pt. 2, Alloy Orchestra; Outer Space; Movie music Golden Age CDs. glossary; Herrmann & Vol. 2, No. 9, Nov./ Dec. ’97 D. Arnold Rózsa radio programs; Irwin (Tomorrow Never Dies); J. Frizzell (Alien Allen; Bender’s “Into the Resurrection); Neal Hefti; U-Turn & The Dark Pool.” Mephisto Waltz, Razor & Tie CDs. Bride of Frankenstein. Newman (Shawshank Redemption), J. P. *#70, Jun. ’96 Mancina (Twister), desert BACK ISSUES OF FSM *#40, Dec. ’93 16 pp. Kraft & Redman Pt. 4; Robinson; Lukas’s Mom; music of Heimat, island lists, summer movies; TV’s Biggest Re-recording The Magnifi cent Seven. Star Trek; promos. Hits review. VOLUME THREE, 1998 VOLUME ONE, 1993-96 *#41/42/43, Mar. ’94 48 pp. E. Goldenthal; *#52, Dec. ’94 E. Serra; M. Shaiman Pt. 1; *#71, Jul. ’96 D. Arnold (Independence Expanded format! Issues 48 pp 24 pp. unless noted. J.N. Howard; Kitaro & R. Miller (Heaven & Sandy De Crescent; Valencia Film Music Day); M. Colombier; Recordman Goes to *Vol. 3, No. 1, Jan. ’98 Williams Buyer’s Asterisk (*) indicates photocopies. Earth); R. Portman; ; Star Wars Conference; SPFM Conference Pt. 1; Congress; Summer round-up. *#30/31, Mar. ’93 64 pp. M. Jarre, B. trivia/cue sheets; sexy LP covers; western StarGate; Shostakoholics Anonymous. *#72, Aug. ’96 10 Best Scores of ’90s; T. Poledouris, Chattaway, J. Scott, C. Young, music; ’93 in review. *#53/54, Feb. ’95 M. Shaiman Pt. 2; D. Newman (The Player); Escape from L.A.; GOT FREE GIFTS? Mike Lang; secondary market, Morricone *#44, Apr. ’94 J.McNeely; B. Poledouris McCarthy (Star Trek); Sergio Bassetti; cond. John Mauceri; reference books; albums, Bernstein Film Music Collection (On Deadly Ground); SPFM Morricone Jean-Claude Petit & Armando Trovajoli in Akira Ifukube CDs. FILM SCORE MONTHLY REWARDS LPs; 1992 in review. tribute & photos. Valencia; Pt. 1; rumored *#73, Sept. ’96 Recordman on War Pt. 1; loyal customers with a free gift for *#32, Apr. ’93 16 pp. Matinee temp-track, *#45, May ’94 R. Newman (Maverick); G. and quad LPs. David Schecter: Monstrous Movie Music; spending over $50 on any one order, SPFM ’93 Conference Report, Star Trek Revell (The Crow); Goldsmith concert;The *#55/56, Apr. ’95 B. Poledouris (The Jungle Ifukube CDs Pt. 2; obit. and TWO free gifts for spending music editorial. Magnifi cent Seven, Schindler’s List; Book); A. Silvestri (The Quick and the *#74, Oct. ’96 Action Scores in the ’90s; over $100. (Magazine subscriptions, *#33, May ’93 12 pp. Book reviews, Instant Liner Notes, fi lm music books. Dead); J. Lo Duca (Evil Dead); Oscar & Cinemusic ’96 (Barry, Zhou Jiping); Vic shipping and tax are not applicable classical/fi lm connection. *#46/47, Jul. ’94 P. Doyle, J.N.Howard Music Pt. 2; Recordman’s Diary; SPFM Mizzy. towards the $50 or $100—but every- thing else is, including backissues.) *#34, Jun. ’93 16 pp. Goldsmith SPFM (Wyatt Earp), John Morgan (restoring Conference Report Pt. 2. *#75, Nov. ’96 Barry Interview; J.Bond’s award dinner; Orchestrators; Lost in Hans Salter); Tribute to Mancini; M. *#57, May ’95 B. Broughton (Young reviews; Recordman on War Pt. 2. IF YOUR ORDER APPLIES, PLEASE Space; recycled Herrmann; C.Young; Nyman, collectible CDs. Sherlock Holmes); Miles Goodman; ’94 *#76, Dec. ’96 R. Edelman, Barry pt. 2, R. note your selection on the form or Pinocchio; Bruce Lee movie scores. *#48, Aug. ’94 Mancina (Speed); Chuck Readers Poll; Goldsmith concert. Cooder (Last Man Standing); A. Dursin’s a separate sheet, The free gifts will *#35, Jul. ’93 16 pp. Tribute to David Cirino & Peter Rotter; R. Kraft: aspiring *#58, Jun. ’95 M. Kamen (Die Hard); Royal Laserphile, Lukas’s reviews. change from time to time—and they Kraft; Pt. 1; scores vs. songs; composers advice; classical music; CAM S. Brown; Recordman Loves Annette; may be available from other sources. Herrmann Christmas ; Film CDs; Cinerama LPs; bestsellers. History of Soundtrack Collecting Pt. 1. HERE ARE SOME of our available Composers Dictionary. *#49, Sept. ’94 H. H. Zimmer (The Lion *#59/60, Aug. ’95 48 pp. Sex Sells (LPs); M. VOLUME TWO, 1997 gifts; others are listed online: *#36/37, Nov. ’93 40 pp. Bob Townson King), S. Walker; L. Rosenthal; Hans Jarre; Soundtrack Collecting Pt. 2; Rózsa First color covers! Issues 32-48 pp. (Varèse); Richard Kraft & Nick Redman Salter; classical music; Williams concert; Remembered; fi lm score concert debate. *Vol. 2, No. 1, Jan./Feb. ’97 Star Wars: Basil Poledouris: His Life and Music Pt. 1; John Beal Pt. 2; CAM CDs; classic Recordman at the fl ea market. *#61, Sept. ’95 Goldenthal (Batman Williams interview; Special Edition CDs; FSM’s videotape documentary of the corner; fantasy scores of E. Bernstein. #50, Oct. ’94 A. Silvestri (Forrest Gump); Forever), Kamen Pt. 2, Chris Lennertz; Star commentary, cue editing minutia/trivia. admired composer. Specify NTSC *#38, Oct. ’93 16 pp. John Debney (sea- M. Isham; sex & soundtracks; Schifrin Trek: TMP, classical music for soundtrack *Vol. 2, No. 2, Mar./Apr. ’97 A. Clausen (U.S.) or PAL (U.K.) format. Quest DSV); Kraft/Redman Pt. 2. concert; Morricone Beat CDs; that wacky fans. (); promo CDs; Congress in Regular FSM Price: $19.95 *#39, Nov. ’93 16 pp. Kraft & Redman Pt. Internet; Recordman on liner notes. *#62, Oct. ’95 D. Elfman Pt. 1; J. Ottman Valencia; Readers Poll ’96; Into the Dark Now Playing on Marco Polo Sampler 3; Fox CDs; Nightmare Before Christmas; *#51, Nov. ’94 H. Shore (Ed Wood), T. (The Usual Suspects); R. Townson; 10 Pool Pt. 2 of John Morgan/William Stromberg Most Infl uential Scores; Goldsmith *Vol. 2, No. 3, May ’97 Michael Fine: Re- re-recordings on the Marco Polo video. recording Rózsa’s fi lm noir; Poltergeist, label (8 tracks -37:55). EXCLUSIVE VIDEO! James Bond Special! Mars Attacks!, Rosewood; Lukas’s & J. *#63, Nov. ’95 Retail Price: $14.95 Basil Poledouris: His Life and Music J. Barry; E. Serra (GoldenEye); History Bond’s movie reviews. An intimate visit with the composer of Conan the Barbarian, of Soundtrack Collecting Pt. 3; Davy *Vol. 2, No. 4, Jun. ’97 Elfman (Men in U.S. Soundtracks on CD Price Guide: Free Willy, Starship Troopers and Lonesome Dove. Take a tour Crockett LPs. Black), Promos Pt. 2, Martin Denny and 2nd Edition of his work and lifestyle, from his methods of composing to his *#64, Dec. ’95 Danny Elfman Pt. 2, Steve Exotica, Lady in White; Laserphile on FSM’s market-standard price guide love of sailing. The video runs 50 minutes and includes footage Bartek, Recordman on Blaxploitation; DVDs, Brian May obit, The Fifth Element. featuring over 2,400 listings. of Basil conducting and atwork on synthesizer mock-ups of Kamen Pt. 3; re-recording House of *Vol. 2, No. 5, Jul. ’97 Goldenthal (Batman Regular FSM Price: $17.95 Starship Troopers, as well as dozens of behind-the-scenes Frankenstein. & Robin), Mancina (Con Air, Speed 2), PLEASE NOTE! and family photos, and appearances by wife Bobbie and *#65/66/67 Mar. ’96, 48 pp. T. Newman; Clinton (Austin Powers), ASCAP & BMI If your order qualifies, you must daughter Zoë. Discover the man behind the music, in a way you’ll never see on Takemitsu; Robotech; Star Trek; 10 nites; Crash, Lost World. ASK for a free gift—we won’t send TV, or experience in print. Specify NTSC (U.S.) or PAL (European) $19.95 Infl uential composers; Glass; Heitor Vol. 2, No. 6, Aug. ’97 Schifrin (Money it automatically. Thanks! Villa-Lobos; songs in fi lm; best of ’95; Talks), J. Powell (Face/Off), Shaiman

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v8n9MKT.id 41 11/15/03, 2:59:35 PM Guide Pt. 1 (Star Wars to Amistad), M. Beltrami, C. Eidelman, D. Cuomo, Kamen. roundup: animation, Morricone, horror, Returns, Swordfish; Hoyt Curtin; Epics on Vol. 7, No.9, Nov. ’02 BOND TURNS 40: Danna (The Sweet Hereafter), ‘s Golden and Silver Age Hollywood, concert DVD; Atlantis The Lost Empire. D. Arnold (Die Another Day, reviews and music supervisor, Laserphile, Silvestri VOLUME FOUR, 1999 work CDs. Vol. 6, No. 5, June ’01 ; re-releases); W. Ross (Harry Potter, Tuck lecture, Rykodisc CDs. *Vol. 4, No. 1, Jan. ’99 NFL Films (Sam Friedhofer and Fox; Ghostbusters; J. Everlasting); George Feltenstein (Turner *Vol. 3, No. 2, Feb. ’98 Glass (Kundun), Spence), Goldsmith at , VOLUME FIVE, 2000 Danna, R. Shore; Bender at Chiller, more. Classic Movies); 12-CD Wishlist; Omaha’s Williams Buyers Guide Pt. 2 (The Reivers Elfman (Psycho), Wing Commander game 48-64 pp.each Vol. 6, No. 6, July ’01 PLANET OF THE Orpheum Theater; Holiday DVD reviews. to Black Sunday), D. Amram (The music, books, Indian funk soundtracks. Vol. 5, No. 1, Jan. ‘00SUPERMAN: APES; Zimmer (Pearl Harbor, concert CD); Vol. 7, No.10, Dec. ’02 Manchurian Candidate), Goldsmith on *Vol. 4, No. 2, Feb. ’99 Goldsmith Buyer’s THE MOVIE CD reissue: fi lm, cue Horner Guide Part 2; Goldenthal (Final TOWERING ACHIEVEMENTS: H. Shore Varèse, Pendulum CDs; TV CDs. Guide Pt 1: The ’90s; The Exorcist (lost sheet analysis, ’50s TV score; H. Shore Fantasy); Shore (The Score); Williams (The Two Towers); P. Glass (The Hours); Vol. 3, No. 3, Mar./Apr. ’98 Titanic/ Schifrin score); D. Shire (Rear Window (Dogma); Goldenthal, Barber, Tyler, (A.I.). Ray Ellis (Filmation cartoons!); The Alloy J.Horner, Best of 1997, Cinerama, Greig remake); TVT sci-fi CDs; promos; P. Glass Debney, Robbins; Pocket Reviews debut, Vol. 6, No 7, August ’01 QUINCY JONES Orchestra, Spy Notes (secret agent McRitchie, Fox Newman Stage, Oscars. (Koyaanisqatsi). Laserphile. PART 1; Moulin Rouge; J. Morgan discography); Adaptation & Punch-Drunk Vol. 3, No. 4, May ’98 Bruce Broughton *Vol. 4, No. 3, Mar. ’99 Best of ’98; Wendy *Vol. 5, No. 2, Feb. ’00 JERRY FIELDING: on Golden Age Scores; Schifrin, Love; more. (Lost in Space), D. Arnold (Godzilla); Carlos; Goldsmith Guide Part 2: The ‘80s; tribute, Camille Fielding; Top picks for ’99; Jones, Diamond and Debney; Score Inside CE3K restoration; Williams Guide Hammer on CD; Recordman; Downbeat; Oliver Stone’s score-o-matic (Any Given Internationale; Random Play. VOLUME EIGHT, 2003 Pt. 3; Score Internationale, Laserphile, Ed ST:TMP CD review. Sunday); George Duning obit; Score Vol. 6, No 8, September ’01 ANGELO Vol. 8, No. 1, Jan. ’03 JOHN WILLIAMS Shearmur; Fox Classics CDs. Vol. 4, No. 4, Apr./May ’99 F. Waxman Internationale;1999 release stats. BADELAMENTI (Mulholland Drive); N. INTERVIEWED (finally!); The Best and *Vol. 3, No. 5, Jun. ’98 (X- (Prince Valiant ); ’98 Readers Poll; Vol. 5, No. 3, Mar. ’00 How to burn Carolina School of the Arts; Quincy Jones the Worst of 2002; Star Trek fi lm scores; Files), Classic Godzilla; J. Chattaway Goldsmith Guide Pt 3: Late ‘70s; DIVX festi- Phantom Menace CD at home; Readers Pt 2; Earle Hagen; Halloween DVDs; more. Laserphile New Year; reviews and more. (Star Trek), Broughton Buyers Guide val; Barry bios reviewed; C.Gerhardt obit. picks for ’99; Film vs. concert music; C.H. Vol. 6, No. 9, Oct./Nov. ’01 LORD OF THE Vol. 8, No. 2, Feb. ’03 HOW THE AWARDS Pt. 1; D. Reynolds, D. McCarthy, Anne *Vol. 4, No. 5, Jun. ’99 Star Wars: The Levenson’s “last” letter, reader survey. RINGS; Ronald Stein; T.Jones (From Hell); WERE WON (Film music Oscars past Dudley), SCL Conference Report. Phantom Menace scoring session & Vol. 5, No. 4, Apr./May ’00 Davis Meets Williams (Jurassic Park III); and present); J. Williams and L. Slatkin *Vol. 3, No. 6, Jul. ’98 Trevor Rabin Trilogy themes; Halloween H20 postmor- BERNARD HERRMANN: 10 Essential M. Danna (Hearts of Atlantis); ST:TMP on concerts; Interviews with Jan Hammer, C. (Armageddon), Barry in Concert; tem; Affl iction, ; Free Enterprise, ’50s Scores, CD checklist, Journey to the DVD refi t; Pukas comix debut. Martinez, C. Pope, S. Walker; and more. (); Election. Center of the Earth; R. Marvin (U-571); Vol. 6, No. 10, Dec. ’01 SCORES OF SCORE Vol. 8, No. 3, Mar. ’03 MAGNIFICENT Christopher Gordon (Moby Dick); Debbie Vol. 4, No. 6, Jul. ’99 E.Bernstein ªWild Wild J.Z.K. on Tora! Tora! Tora!; Film score reviews; Alejandro Aménabar (The VIE MUSIC MOMENTS (36 doses of dyna- Wiseman (Wilde); ‘70s soul soundtracks. West); Clinton: Austin Powers 2; Goldsmith agents, pt.1. Others); G. Yared; Hobbit music; C. Young, mite!); Brian Tyler (The Hunted, Children *Vol. 3, No. 7, Aug. ’98 South Park (Adam Guide Pt 4: Early ‘70s; USC fi lm score pro- Vol. 5, No. 5, Jun. ’00 TENTH H. Gregson-Williams, R. Kent, M. Isham. of Dune); John Ottman (X-Men 2); Don Berry, Bruce Howell), Ira Newborn gram; CD reviews, more. ANNIVERSARY ISSUE! Kendall remem- Davis (Matrix Reloaded); DVD reviews (Baseketball), Taxi Driver, BMI & Vol. 4, No. 7, Aug. ’99 Warner Animation bers; FSM Timeline; The Film Score VOLUME SEVEN, 2002 and more. ASCAP dinners, Broughton Guide Pt. 2, Scoring (S. Walker, B. Broughton R. Stone); Decade; Jaws 25th Anniversary CD; J. N. Vol. 7, No. 1, Jan. ’02 THE BEST AND THE Vol. 8, No. 4, Apr-May ’03 Downbeat (Schifrin, Bernstein, Legrand). Phantom Menace; Kamen (The Iron Giant); Howard (Dinosaur); Goldsmith Guide Pt 6. WORST: 2001; Horner Guide Pt 3:1989-86; MEET THE FOLKS: Harry Shearer & *Vol. 3, No. 8, Sept. ’98 Lalo Schifrin Stu Phillips (Battlestar Galactica); Emil Vol. 5, No. 6, Jul. ’00 SUMMER SCORE Zimmer (Black Hawk Down); Logan’s Michael McKean (This Is Spinal Tap, A (Rush Hour), B.Tyler (Six-String Samurai); Richards; ASCAP awards. ROUND-UP; D. Newman (Bedazzled, The Overrun; Enterprise; Yann Tiersen. Mighty Wind); ; George T.Jones; Williams concert premiere, *Vol. 4, No. 8, Sept./Oct. ’99Stanley Klumps); Film score agents, pt.3; Session Vol. 7, No. 2, Feb. ’02 HAPPY BIRTHDAY, Fenton (The Blue Planet);Ed Shearmur ASCAP scoring seminar, Rykodisc CDs. Kubrick: Jocelyn Pook, Eyes Wide Shut, Notes (debut); ELMER BERNSTEIN; Rózsa speaks! (Lust (Charlie’s Angels); Bond reissues Pt. 1 *Vol. 3, No. 9, Oct./Nov. ’98 Erich CD compilation; Poledouris (For Love of (Malcolm in the Middle). for Life); ; John Q, and more. Wolfgang Korngold: Biography and the Game); Goldsmith Guide Pt 5: Late ‘60s; Vol. 5, No. 7, Aug ’00 BRUCE Frailty; Laserphile (baseball DVDs). Vol. 8, No. 5, June ’03 BOOM TIMES: books; Williams’s Tanglewood fi lm concert advice for Jerry. BROUGHTON; Silverado; Shaiman gives Vol. 7, No. 3, Mar/Apr. ’02 THE SCORPION Summer Blockbusters: Beltrami (T3), scoring seminar; C. Burwell; S. Boswell; Vol. 4, No. 9, Nov. ’99 U.S.P.S.Composer hell from the heavens; Film Score Agents KING; Hook (Williams); Edda Dell’Orso; Elfman (Hulk), Shaiman (Down With Love) Citadel Records, Halloween Laserphile. Stamps; Papillion; Peter Thomas; Inspector fi ery conclusion; Laserphile (Autumn Craig Armstrong (Moulin Rouge); Oscars. and Wurman; Bond reissues Pt. 2; Jan Vol. 3, No. 10, Dec. ’98 The Prince of Gadget; The Thomas Crown Affair; BMI DVDs); W, Stromberg; Elfman & mom. Vol. 7, No. 4, May/Jun. ’02 Hammer Pt.2; Korngold DVD and more. Egypt (Zimmer, Stephen Schwartz), E. awards night. Vol. 5, No. 8, Sept./Oct ’00 R.Newman SUMMER BLOCKBUSTERS Spider-Man; Vol. 8, No. 6, July ’03 THE PIRATE ISSUE: Cmiral (Ronin); 50+ CDs; Elfman, Young, Vol. 4, No. 10, Dec. ’99 SCORES OF SCORES (Meet the Parents); Things To Come Attack of the Clones ; M. Mothersbaugh K.Badelt (Pirates of the Carribean), H. Soundtrack LP; The Goonies; Requiem for (Welcome to Collingwood); Legend on Gregson-Williams (Sinbad: Legend of a Dream; (The Simpsons); NPR honors; DVD; (ASCAP winners). the Seven Seas), 11 Great Pirate Scores; FSM: The Complete Collection—STILL AVAILABLE! “Cinema of Dreams”. *Vol. 7, No. 5, Jul. ’02 Rachel Portman’s opera, The Sherman Something we offer—that most Vol. 5, No. 9, Nov./Dec. ’00 64 pg. special MURDER MUSIC: Film Noir; Bros. and more. magazines do not—is the chance to buy 101 GREAT FILM SCORES ON CD; Tan Williams (Minority Report); Goldsmith (The Vol. 8, No. 7, August ’03 SEX, every single issue of Film Score Monthly Dun & Yo-Yo Ma (Crouching Tiger, Hidden Sum of All Fears); M. Kamen; P. Schickele LIONS & AUDIOTAPE: Patrick Doyle we’ve ever published. Dragon); Shore (The Cell); Silvestri (Cast (Silent Running); Laserphile: Summer (Calendar Girls & Secondhand Lions); Away); Back to the Future. Thrills; SCL pix, more. M. Kamen (Open Range), Betty From #1, the little one-page xerox Lukas Vol. 7, No.6, Aug. ’02 : Miles Comden (Singin’ in the Rain), Chris Kendall circulated to 11 people in June 1990, VOLUME SIX, 2001 Davis, E. Bernstein, S. Clarke and Lennerz (Medal of Honor videogame), to the present day—the glorious, glossy mag 48 pp.each T. Blanchard; K. Badelt (K-19 : The Rolfe Kent, audio formats explained, beloved the world over—you can have it all Vol. 6, No. 1, Jan. ’01 THE BEST OF THE Widowmaker); G. Clinton (Goldmember); and more. for one all-inclusive price: $189.95. (See above WORST: 2000; Our Town; Hollow Man Louise Steiner memoir; Vol. 8, No. 8, September ’03 LOVE THAT listings for contents and notations as to which on DVD; Total Recall ; C. Martinez (Traffic). (Duel, Kojak) more . BOOB TUBE: Alias, Carnivale, Penn & editions are xerox-only.) Vol. 6, No. 2, Feb. ’01 THE MUSICAL Vol. 7, No.7, Sept. ’02 FSM’S TOP 40: The Teller’s Bullshit!, Malcolm in the Middle, That may seem like a lot of money, but this set represents over 13 years WORLD OF IRWIN ALLEN; A.Copland most wanted composers in Hollywood; and Boomtown; Staff picks favorite worth of film score passion, and has become quite expensive for us to produce (cond. Jonathan Sheffer); G.Clinton (3000 John Frankenheimer; L. Schifrin; Signs; TV themes; Indiana Jones and the (we have to photocopy the older issues). It comes in a big ol’ box and is sure to Miles to Graceland); Douglass Fake of One Hour Photo (J. Klimek) The Kid Stays Temple of Doom; Matthew Barwood on give many hours of reading pleasure, not to mention eyestrain. Intrada; How to Marry a Millionaire, more. in the Picture (J. Danna); 25 scary DVDs. Dragonslayer and *. Vol. 6, No. 3, Mar. ’01 BIGGER, BETTER Vol. 7, No.8, Oct. ’02 FALL FILM ROUND- Index How much stuff have we printed Shipping is FREE in the U.S. via USPS priority mail or UPS ground (your SCORES: New RMA agreements; Don UP: E. Bernstein (Far From Heaven); in FSM? We’re not sure, but here’s a choice, but UPS is recommended). (Add $30 for air mail to Canada, $40 for sur- Ellis; Irwin Allen discography; R. Kent E. Goldenthal (Frida); D. Elfman (Red handy index of all reviews and articles face mail to the rest of world, or $80 air mail rest of world.) (Town & Country); Italian Imports: BEAT. Dragon); Goldsmith, Williams concerts; S. through the end of 2002, compiled by Get it while you can; the ENTIRE COLLECTION of Film Score Monthly! $189.95 Vol. 6, No. 4, Apr./May ’01 J. Horner Bramson (JAG); The Michael Hennagin Dennis Schmidt. Cost: same as one Buyer’s Guide Part 1; The Mummy story; 25+ CD reviews; more. back issue.

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v8n9MKT.id 42 11/15/03, 3:05:04 PM SCORE

(continued from page 35) charmer on her landmark CBS use to describe it. The title makes television series and it’s become it seem like a serious geographic a staple in the repertoires of tone poem; the track titles seem many capable cabaret perform- culled from new-age nature ers ever since. “ Is a Lonely music; the artists listed on the Town” is the movie’s big ballad, label suggest a more jazz-ori- and while sentiments like “the ented work; and the illustrative glamour’s gone, the shades are photos in the booklet suggest down” are unusually down- something out of one of those beat for an animated feature, Science Museum IMAX experi- Harburg and Arlen’s artistry and ences. Packaging aside, the music Garland’s sincerity will have itself does lean on jazz roots. those fey four-year-olds donning This album is a kind of musi- black berets and reaching for cal postcard based on Macchia’s the nearest Jean-Paul Sartre text trip to the Galapagos. He turns quicker than you can say “exis- his experience into a musical tentialist ennui.” language that’s not unlike other As evidenced on this pieces where composers dig for Warner/Rhino version of the catchy ways to sell music. The Gay Purr-ee score, Robert Goulet music is neither overwhelming possesses the heartiest bari- nor continuously engaging, yet featured dream that evening . As a result, there’s not tone since Nelson Eddy, and when the ideas work they are might strongly resemble Gay a trace of condescending cute- it’s put to good use as he sings certainly enjoyable. The prob- Purr-ee, a 1962 animated musical ness to be found in the musi- the praises of Garland’s char- lems from the lack of a concerning Parisian pussy cats cal selections, and the entire acter, “Mewsette.” But Goulet consistent solo instrumental idea and boasting the vocal talents enterprise benefits as a result. A and Buttons are ill-served by or thematic ideas that gel with of the immortal , prime example of Harburg and “Bubbles,” the one Harburg- the surrounding whole. Taken Robert Goulet, Red Buttons and Arlen’s classy craftsmanship is Arlen clinker. Even a giddy individually, some of the move- Hermione Gingold. With songs “The Money Cat,” performed can-can midway through can’t ments work, but the album’s supplied by the illustrious duo by the versatile Paul Frees and save this one. overall free-form improvisational of and E.Y. Harburg the Mellow Men. Even latter- With several rare demos feel gets tiresome. The synth (who furnished Garland with day Disney at its most daring included of Harold and “Yipper” patches reminded me of those “” and the couldn’t produce such sharp, trying out their tunes, a color- old Kimball organs with their rest of that unforgettable Wizard funny lyrics (“We give social ful liner notes booklet featuring little percussion buttons, not of Oz score), Gay Purr-ee is one status to countrified tomatoes”) producer George Feltenstein’s in their rhythms because those odd amalgam of elements. A backed by a torrid rumba-style informative annotation, and Judy are created in other ways, but dementedly inventive cult favor- accompaniment. It’s a winner all at her post-Carnegie Hall best, in the dryness of the sound. No ite, it would be the second and the way. Gay Purr-ee...c’est magnifique. doubt those who enjoy new age last theatrical feature produced Before it became fashionable —Mark Griffin jazz (à la “Whales Alive” minus by UPA (United Productions of for celebrities to lend their voices Paul Winter’s sax) may find a America), the same company to animated alter egos, a major The Movie Album ★★★ kindred spirit here; it is defi- that gave the world the likes star like Judy Garland croon- nitely more interesting than the of Mister Magoo and Gerald ing as a cartoon cat was not /Sony recent acclaimed Bruno Coulais McBoing-Boing. unlike Maria Callas performing 12 tracks - 52:16 score to Winged Migration, but it In a famously snooty review Tosca at McDonald’s. Reportedly, year ago, I wrote to Barbra is not in the same class as Mark of the picture, the critic for it was Arlen who convinced AStreisand and told her that Isham’s Galapagos IMAX score. Newsweek observed, “There seems Judy to take the job and aren’t she should record “Bill” (from —S.A.K. to be an effort to reach a hith- we glad he did. Garland’s voice Showboat) and “Too Late Now” Available at www.frankmacchia.net erto undiscovered audience—the is at its warmest, most potent (from Royal Wedding) for her long- fey four-year-old of recherché and engaging, and she gives it anticipated collection of cinema Gay Purr-ee (1962) ★★★ taste.” For those incorrigible fey everything she’s got on “Take My songs. Apparently Barbra wasn’t HAROLD ARLEN & E.Y. HARBURG four-year-olds among us, Gay Hand, Paree,” a joyously boister- exactly by my sugges- Warner/Rhino •18 tracks - 73:00 Purr-ee is an exotically enjoyable ous ditty. tions, but The Movie Album does magine consuming a mid- delicacy topped with an unapol- “Little Drops of Doom,” a include a dozen lushly orches- Inight snack consisting of ogetically sophisticated score. In sort of musical nursery rhyme, trated renditions of film favorites smoked salmon, cotton candy, fact, Arlen and Harburg seemed is the only number from this that will likely please Streisand pistachio gelato, yuzu quail to have approached this unique score that went on to have a enthusiasts, even if they won’t and Chef Boyardee ravioli. assignment as though they were life beyond Gay Purr-ee. In 1963, be levitating ecstatically. The After inhaling the feast, your crafting a full-scale Broadway Garland performed this poignant (continued on page 45)

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v8n9ISS.id 43 11/14/03, 3:24:34 PM IMPORT CORNER: A Pair of Bloody Great Scores include some nice twists this time around. But this island is really dangerous and many kids It’s sung by a female vocalist, first over a hum- don’t even make it past the beach. Battle Royale (2000) ★★★★ ming choir, and later joined by male voices. It’s The film is a war movie, and like almost all its Volcano CPC8-3035 • 23 tracks - 71:08 very much in the style of Alan Silvestri’s “Prince’s kin, it’s pretty senseless. The first hour is both Day” cue from Blown Away. There are orchestral tense and touching, with inventive action scenes Battle Royale II (2003) ★★★ 1/ 2 variations on this theme, but track 21 is really (and some clear rip-offs of Saving Private Ryan). Dynamord/Zealot ZEY-2007 • 22 tracks - 74:28 the standout (used in several of the movie’s But overall, I had the impression it is actually glo- Scores by MASAMICHI AMANO trailers.) There’s another theme worth mention- rifying violence instead of criticizing it in the satiri- AS MOST FILM BUFFS PROBABLY KNOW, ing—a brilliant six-note melody for the villain (a cal way the original film did. It’s even more brutal, Japan produces a whole lot more than Godzilla guy who joined the game just for the fun of it), and has a larger body count. I’ve never before movies and anime—they also churn out a lot with low-end male choir chanting—really scary. seen so many exploding heads on-screen. of very strange live-action movies that tend to Excluding the friendship theme, the score main- Amano’s music for this sequel is in nearly be very, very bloody, full of sexual content and tains a threatening air, leaning heavily on action every aspect as good as his work for the first. gruesome violence. Some of and horror—it’s a valid approach Here it relies heavily on military action music, these are highly respected to the picture. Better yet, there’s emphasizing military percussion. The landing on pieces of art (Audition), almost always a full orchestra at the island was obviously temped with Starship while others are just weird work—overdone at times, but typi- Troopers, and track 5 follows in the same vein. nonsense (Ichi—The Killer). cally Japanese—and they seldom The CD doesn’t begin with the film’s chilling It seems there’s nothing too play small. opening cue, but rather with a grand overture offensive to put on screen. For instance, amidst the lengthy of the main military/action themes. It builds So, Western audiences would opening cue, there is a big orches- slowly before kicking into full gear with a Horner’s have to wonder what kind of tral outburst that sounds like a -styled, quasi-classical action movie could actually create monster on a rampage. In actual- rampage. A fantastic action cue, but I wouldn’t the kind of small scandal in ity, a teacher is attacked briefly have chosen it for the first track on the disc. Japan that something like and then lies on the floor—really Amano does reuse thematic material from Basic Instinct did when it came out in the U.S. nothing to get all that excited about, but the the original throughout the sequel score, but Well, Battle Royale was such a movie. Not neces- music plays as if all hell is breaking loose. It’s this effort is quite different. Many cues focus sarily because of its violence, but probably due fun to listen to on CD, but that was one of the on building suspense or on short outbursts as to its central story: In the near future the youth few moments in the movie where the overwriting the kid soldiers sneak through the dangerous, of Japan are wild, crazy and don’t listen to the was distracting—maybe that’s just my Western booby-trapped island. There are many big action grown-ups anymore (not so far from the truth). point of view. cues, some of them with clever variations on the Schoolteachers have to fight for survival every There is definitely an Eastern feel to this “hero-military” theme, sometimes getting very day, and the ongoing recession doesn’t make the score, not in instrumentation (there isn’t a single atonal and frenzied. (Track 9 perfectly captures future look bright. Eastern instrument in it) but in the overall style the panic when one of the kids’ collars is going To control the disobedient teenagers (and and use of music. It’s very big and brassy, almost to explode, and he runs screaming for help, teach them the lesson that grown-ups have to old-Hollywood-style, and very classical—not as unfortunately into a minefield, creating a fateful be taken seriously), the government creates cute as Spirited Away, and certainly not such sim- chain of events—one of the best and bloodiest the Battle Royale Act: Each year a class of stu- ple, throwaway stuff as Media Venture’s shameful moments in the movie.) At almost seven minutes, dents is picked at random. This class is sent Pirates of the Caribbean. If you like a score that track 11 is the longest cue and features great to a remote island where each student gets a is versatile and takes some time to appreciate variations on the friendship theme. It’s one of weapon—and an explosive collar around his or (while never boring despite its length), Battle the most touching cues written in a long time, her neck. The students are given three days to Royale is one to check out. and it’s hard to believe it’s used in such a brutal kill each other off until only one is left. If after the Big scandals usually lead to big success, and context. Closing the CD is an overlong song by a three days more than one student is alive, all the such was the case with Battle Royale (it even got Japanese rock band—not bad, but unnecessary. collars will explode. So, will your best friend still seven Japan-Oscar nominations, including score). Again, there are no Eastern instruments fea- be your best friend in a situation like this? And A sequel was inevitable. This summer saw Battle tured in this score. It’s another great listening could you kill your best friend or lover? Royale II open to mixed reviews and audience experience, but I have to admit that the use of One thing critics agreed upon is that reaction in Japan. For me, this was the summer the heroic theme confused me. There’s nothing Masamichi Amano’s score is a wonderful piece of blockbuster event, and I was lucky enough to be heroic about kids blowing up skyscrapers and kill- work. It’s a full orchestral effort with large choir in Japan when it opened. ing hundreds of soldiers—at least, nothing I can and cleverly interpolated classical music. Both This time Shuya, the survivor of part 1, has pinpoint. This time I didn’t get the message, and the CD and movie open with Verdi’s fantastic become a notorious terrorist. He hides on an wondered what the music was trying to tell me. Requiem—this great classical thunderstorm island together with his gang, Wild Seven. The Most Westerners will never see this movie, paired with the cool opening credits sets the tone government, still horrified by the youth of Japan, but for your own sake get the CD! That is, unless for this movie perfectly. kidnaps a new class, but this time it’s war: The you want me to put a collar around your neck and Amano’s underscore consists mainly of a kids don’t have to kill each other, but instead blow off your head. —Roman Deppe haunting friendship theme, which in its purest must defeat Shuya’s terrorist group. They still form (sung by a choir) brings tears to your eyes. have the three days and the collars, which The CD is available at www..jp or www.amazon.fr

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(continued from page 43) many American buyers for the and “India” showcase a psyche- 1 selections you expect Streisand Wizard of Sound ★★★ /2 first time. delic sitar; and “Theme From to stamp as her own (“Smile,” ALESSANDRO ALESSANDRONI Thank goodness, because Romancing the Island” smacks, “”) are serviceable Hexacord HCD 20 • 22 tracks - 68:12 nearly all of the songs included rather dazzlingly, of disco. rather than definitive. Instead, hough critics and fans here are dreamy, simple and Unquestionably, the music Mrs. Brolin mines gold from Ttraditionally give a tremen- gorgeous. On “Visa to the Stars,” presented here is kitsch. And unexpected sources, includ- dous amount of credit to Ennio for instance, a delicious, pan- some of us may be inclined ing the wistful “Emily” (from Morricone for developing the oramic sound develops from to damn it for this. Others, of The Americanization of Emily) and oddball sound of the spaghetti the combination of soaring course, will love it, and love it the undervalued “How Do You westerns that flourished in the strings and a softly moaning passionately, for the same rea- Keep the Music Playing” (from ’60s, Alessandro Alessandroni— harmonica. On “Love Theme son. —Stephen Armstrong Best Friends)—though the latter the maestro’s favorite session for Edwige,” a silvery female should have remained a duet. man—deserves a great deal of voice rolls like clouds in the Jeepers Creepers: John Travolta, anyone? appreciation as well. After all, sky over a subdued bossa nova Great Songs From Horror Films★★★ While one might have hoped were it not for Alessandroni’s backbeat. And in “Thinking of VARIOUS that The Movie Album would stand guitar and the ethereal vocals You,” a melancholy whistle spins Red Circle LLC/Kritzerland as the cinematic equivalent to of his band I Cantori Moderni, above a rambling rock-and-roll 14 tracks - 56:43 Streisand’s exquisite 1985 mas- Morricone’s early music would riff, generating a lushness that All musical by terpiece The Broadway Album, this probably lack the beautiful owes as much to Otis Redding GRANT GEISSMAN and BRUCE KIMMEL new release never ascends to that strangeness that makes it so as it does to . As ome FSM readers may recall level. Still, it’s worth 20 bucks to endearing and popular. And a matter of fact, Alessandroni’s Sa popular Varèse Sarabande hear Our Lady of tear though Alessandroni is best affection for popular music series of CDs produced by Bruce into “You’re Gonna Hear From known as a performer, he also infiltrates every single track Kimmel that featured jazzier Me,” (from Inside Daisy Clover) composes; over the last four on this album. Rhythms lifted performances of movie music. with the same powerhouse decades, he has scored approxi- from ’70s funk, for example, Sax and Violence, with Lanny determination that propelled her mately 40 films. Wizard of Sound seep through “Theme From the Meyers, and the Cool and Classic through . collects many of these record- Private Connection (alternative series, with the Fred Karlin —Mark Griffin ings, making them available to sexy version)”; “Tree Meditation” Group, were different and wor-

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FILM SCORE MONTHLY 45 OCTOBER | NOVEMBER 2003

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rather innocuous choices for a album’s one real drawback is emphasize the labor of love that horror-based album, but then that many of the musical accom- this truly is. Albums like this again, “Stella by Starlight,” sung paniments are filled out with were popular back in the 1960s by , is simply one synth padding, making some of and early 1970s, and nowadays of the best songs ever written the songs come off a bit “cheap”- it’s hard to find anything quite for a ghost story. And for those sounding. You’ll have to set aside like this getting much . who needed an updated per- your memories of many of these This production will either be formance of “,” Alison songs as they were in their origi- anathema, especially for purists, Fraser provides a fun trip down nal forms (backed by full orches- or a guilty pleasure—one thing’s memory lane, complete with tra or jazz combo). I had an for sure, it’ll probably appeal far a semi-running commentary. especially difficult time adjust- more to older listeners. —S.A.K Even “Mothra’s Song” makes an ing to the new version of the 1 thy approaches to making film appearance! title song for Hush...Hush, Sweet Malombra (1983) ★ /2 music compilations. Each had its The talent that Kimmel brings Charlotte, one of my favorite films. MICHELE ZANONI, merits and often featured unre- together here is impressive, ’s semi-country GUIDO & MAURIZIO DE ANGELIS leased music, or at least music and includes Judy Kaye, Susan sound is different from the origi- Hexacord HCD-18 • 14 tracks - 40:36 that was no longer available on Gordon, Michelle Nicastro, nal, but the new arrangement alombra (also known as an original soundtrack. Spurred Tammi Tappan and Katherine and performance do work, and MErotic Games) is an Italian on by the collector periodical Helmond. All the perform- this track ends up one of the sexploitation film directed Scarlet Street, and perhaps capital- ers sound as if they’re enjoy- album’s many highlights. by Bruno Gaburro, starring izing on the title of the recent ing themselves tremendously, Richard Valley’s liner notes pro- Paola Senatore and Stefano Jeepers Creepers films, Kimmel has and that definitely helps to lift vide ample background info, Alessandrini. One can infer from brought together 14 talented the CD beyond a level of mere especially welcome since many the tiny ad sheet on the CD singers for this new collection campy appeal. And when Grant of these selections were not writ- booklet’s back cover that the film of songs that’s as bizarre as it Geissman pulls out his guitar to ten for, but only used in, their is a kind of Italian Lolita. is entertaining. On the surface, flesh out the accompaniment, respective horror films. The notes Michele Zanoni’s “Oasi” is a songs like “Goody, Goody” the level of professionalism help explain the excitement and pretty piece of Italian film and “The Faithful Heart” seem increases a hundredfold. This direction of this project, and (continued on page 48)

OCTOBER | NOVEMBER 2003 46 FILM SCORE MONTHLY

v8n9ISS.id 46 11/14/03, 3:24:41 PM SILVER AGE CLASSICS • FSMCD VOL. 6, NO. 19

McQ Composed and Conducted by ELMER BERNSTEIN

JOHN WAYNE MADE TWO CONTEMPORARY COP MOVIES TOWARD THE END OF HIS CAREER: Brannigan (1975), set in England, and McQ (1974), set in Seattle and starring the Duke as a tough detec- tive lieutenant who takes on gangsters and crooked police after his best friend is murdered. McQ’s investigation has him cross paths with the man’s grieving widow (), a private detective friend (David Huddleston), an aging cocktail waitress (Colleen Dewherst), a black-hearted drug baron (Al Lettieri) and a variety of seedy characters.

SCORING McQ WAS THE MAN WHO HAD DEFINED THE SOUND OF WAYNE’S LATTER- day westerns: Elmer Bernstein, who had scored The Comancheros (FSMCD Vol. 2, No. 6), The Sons of Katie Elder, True Grit, Big Jake and Cahill, U.S. Marshal, and would score the Duke’s finale, The Shootist. As Wayne traded in his cowboy outfit and horse for gray flannels and a sports car, so did Bernstein graft ’70s, Shaft-like effects onto his distinctive, symphonic “John Wayne swagger,” updating his style of compositional big band jazz from the 1950s (The Man With the Golden Arm) for the new 1. In Seattle 4:42 film’s car chases. 2. Badge/Exit/Break In/ Hospital 4:43 3. To the Dock/Plots/ THE RESULT IS A MINOR CLASSIC OF THE Lighter Santi 2:29 BERNSTEIN CANON: THE COMPOSER’S STOMPING, 4. Rites/Lois Plans/Sign Up 3:27 5. Garden Party 3:10 memorable main theme for the Duke weaves amidst 6. Ginger/Rosey (alternate) 2:49 wah-wah guitar and funk as he treads 7. Sal/Myra 2:51 urban ground broken by the likes of Lalo Schifrin and 8. Narco/Funny Laundry 2:56 9. Dirty Laundry/Fooled 4:15 Quincy Jones. Bernstein also provides a wealth of 10. Lies 1:43 dark and brooding thematic material for the film’s 11. Santiago 2:27 12. Rosey 2:24 conspiracy story, and sensitive woodwind scoring 13. Anger/Olive and 23rd/ for its somber emotions. FSM’s premiere CD features Break Out 4:35 14. Tom’s/Sea Chase 5:11 the complete score in stereo sound from the original 15. End Credits 1:14 Warner Bros. scoring elements. $19.95 plus shipping. Total Time: 49:24

Album produced by Lukas Kendall

Don’t miss this month’s Golden Age Classic On Dangerous Ground by BERNARD HERRMANN

See page 11 for details

v8n9ISS.id 47 11/14/03, 3:24:47 PM MAIL BAG

(continued from page 10) out there know what happened All of those should have won a FSM film festival every year in musical trash in the history of to that fine magazine? I also Oscars! Mr. Bernstein should L.A. and show old and new films, music. How can FSM say that have a great love for the music have won this year and I’m still and have composers, directors character deserved an of Bernard Herrmann, Miklós mad. Please, FSM, record Rózsa’s and others attend. I would love Oscar for that repetitive noise? It Rózsa (I got a postcard from him superb The VIPs. Will we ever see to correspond with and meet didn’t deserve to be nominated. once from his home in Italy, say- classy films like this again? other film music fans. By the I’m still upset they gave an Oscar ing that he wanted to meet me Even though I tell people way, here’s a magnificent movie to that Shaft junk. A couple of if I ever came to —I I’m 57 and people say I look music moment: Gene Tierney in years ago they gave an Oscar wish that would have hap- younger—as young look- The Ghost and Mrs. Muir decides to to that horrible and pened! What a gentleman!), Franz ing as John Edwards, the next visit the man she is engaged to, that mess that came out of his Waxman, Erich Korngold and President—I grew up in the ’50s played by George Sanders. When mouth. I remember that the Max Steiner. Also, I am a fan of and early ’60s and got to experi- she arrives, she finds out that he music critic for Fanfare thought Elmer Bernstein, Jerry Goldsmith, ence those ornate downtown is already married and that he Dylan sounded like a dying cow Dimitri Tiomkin, Alex North, movie palaces of Dallas and San has had other affairs. Herrmann’s in a thunderstorm. After that, Victor Young, Hugo Friedhofer, Antonio. The 20th Century-Fox music and Tierney’s great perfor- Dylan was awarded the Oscar. I David Raksin and John Williams. fanfare with the CinemaScope mance convey how much hurt wish would have These men and others have writ- extension by Newman was worth one person can cause another. A come out and told the audience: ten not only great film music the price of admission alone. scene like this is why I love film “I can remember when they gave but some of the finest music in There were more entertaining music. Believe it or not, that’s all the song award to music.” They the 20th century. Thankfully, a movies then...and more great I have to say. Thank you FSM for can’t possibly write musical notes few of these guys are still writing music. I will never forget sit- being here for all us film music to that crap called rap! is great music in this new century. ting in the top balcony of the fans. I don’t know what you successful because older people Maybe if producers and direc- Majestic in San Antonio, watch- could title my letter. How about are going who remember how tors start making human dramas ing that big CinemaScope screen “A Beautiful Mind”? great film musicals were because instead of all these digital special and listening to Ethel Merman Larry Duane Tiedtke of melodic songs! Gigi! Secret effect movies (The Day the Earth sing “There’s No Business Like Dallas, Texas Love! When will we get songs Stood Still had better effects) we Show Business” from the film of and composers like this again? might once again have the great the same name. Nor will I for- IT’S LIKE THE INTERNET—ON PAPER Whatever happened to class? romantic symphonic scores like get seeing my all-time favorite You can reach out to the “Film Music I love film music, most of in the past. It’s not how much movie, Lawrence of Arabia, when Community” simply by writing down which has been symphonic money a film makes that counts. I was in high school in ’63 in your thoughts and sending them to: music written for motion pic- It’s the quality of the work. Some Dallas. FSM Mailbag, tures. My all-time favorite com- of my favorite scores include At the moment there are 8503 Washington Blvd., poser is Alfred Newman. The The Greatest Story Ever Told, Peyton about 30 CDs I will be purchas- Culver City CA 90232 late Page Cook of Films in Review Place, Psycho, Vertigo, Gone With ing from FSM. I’m so grateful for or e-mail: [email protected] agreed with me. Does anyone the Wind and Summer and Smoke. this magazine. You should have

the track is abusively faded out. thematic music is appearing that fans may enjoy. The De Score (continued from page 46) A piano version of “Oasi” again immediately after we Angelis brothers’ more roman- follows, performed by the com- have heard it—and with little tic tracks consistently incor- scoring that’s essentially indis- poser on a slightly out-of-tune variation, if any. Without any porate a version of the Fender tinguishable from much of piano. film synopsis to guide the lis- Rhodes piano sound. Guido the writing in the genre. It It might have been more tener the album comes off like and Maurizio may be famil- reminded me of Morricone’s interesting had the music in a poor set of themes and varia- iar to some B-movie fans, as score for La Cage aux Folles. the following “sequences” had tions that have been randomly they scored many of those late The is a mix of something more to offer than sampled and edited. This is too night, or direct-to-video-wor- close-miked chamber orches- mere extended versions of the bad, because the themes them- thy films of which the most tra with electronic keyboards. exact same music we’ve already selves are actually beautiful, recognizable may be 1982’s Yor, The theme is very simple in heard. The second “Malombra” and the fine performances help the Hunter From the Future (nomi- shape and is not altered much is virtually the same material, move things along. nated for a Razzie as worst throughout its subsequent rep- now extended to about five The music of Malombra is score that year). etitions. minutes. This boils down to at basically a period score—it You can check out a sample “Malombra—Seq. #1,” though least one-third of the disc being sounds like soft-core porn, of this CD at www.zanonimichele.it. written by the De Angelis essentially the same music. The ’80s fare masquerading as Recommended only for the brothers, continues the lyrical third sequence provides a little art film underscore. Zanoni’s curious and those who are strain and similar melodic con- more variety, with a beauti- contributions are mostly nice interested in Italian film music tour of “Oasi.” A flute provides ful solo cello line, but the real melodic ideas in a ’70s Italian esoterica. —S.A.K. FSM the chief melodic voice, until problem here is that the same film music/Morricone vibe

OCTOBER | NOVEMBER 2003 48 FILM SCORE MONTHLY

v8n9ISS.id 48 11/14/03, 3:24:49 PM v8n9COV.id 3 11/15/03, 11:35:20 AM 302 066 523 2 302 066 521 9 Jerry Goldsmith: LOONEY TUNES: BACK IN ACTION Michael Giacchino: ALIAS Original Motion Picture Soundtrack Original Television Soundtrack 302 066 529 2 302 066 525 2 302 066 520 2 302 066 531 2 James Horner: John Debney: John Ottman: Brian Tyler: BEYOND BORDERS ELF GOTHIKA TIMELINE Original Motion Picture Soundtrack Original Motion Picture Score Original Motion Picture Soundtrack Original Motion Picture Soundtrack 302 066 526 2 302 066 524 2 302 066 522 2 302 066 532 2 Laura Karpman: Gabriel Yared: Christopher Young: James Horner: TAKEN SYLVIA RUNAWAY JURY HOUSE OF SAND AND FOG Original Television Score Original Motion Picture Soundtrack Original Motion Picture Soundtrack Original Motion Picture Soundtrack

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