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Home , Adolph Deutsch, Brian Keane, Bruno Coulais, Carlo Savina, Craig Pruess, Curse of the Fly

v7n5 cov 7/5/02 4:10 PM Page c1

ORIGINAL MUSIC SOUNDTRACKS FOR MOTION PICTURES AND TV

VOLUME 7, NUMBER 5

Kamen’s Opus page 16 MURDER MUSIC scores from The Maltese Falcon to Minority Report

GOLDSMITH SPEAKS Composing The Sum of All Fears BACHTO THE FUTURE Music for Silent Running PLUS and CDs reviewed

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7225274 93704 $4.95 U.S. • $5.95 Canada v7n5 cov 7/5/02 4:10 PM Page c2

The Symphony had almost no budget to design and produce a newsletter, but we thought it was important to publish one for subscribers and donors. Joe set up an attractive, versatile template for us and provided basic trainingFSMCD in Vol. Quark 5, No.and 9newsletter • Released design by Special so that Arrangementnow we're able with to Turner Classic Movies Music. produce a quarterly newsletter in-house.We get lots of compliments on our newsletter,The and Prodigal we love having theby toolsBronislau to do it ourselves. Kaper

Bronislau Kaper (1902–1983) was a splendid and widely admired Golden Age film who succeeded on a variety of films, from comedy (1937’s A Day at the Races) to (1954’s Them!) to the unique and broadly appealing (1953), for which his song “Hi Lili, Hi Lo” won the Academy Award. Born in , he got his start as a songwriter in the European film indus- try and graduated to full scores at M-G-M in , where he was under contract for most of his career. He worked on two versions of Mutiny on the Bounty (the 1935 production with Clark Gable and the 1962 remake starring ) and tackled films like The Swan (1956), The Brothers Karamazov (1958), Lord Jim (1965) and Tobruk (1967).

In 1955 Kaper provided an produced by LUKAS KENDALL 1. Main Title/Chase 3:15 19. Granary/Fanfares 1:27 ornate and gorgeously melodic, 2. Spear 0:56 20. It’s Micah 2:01 symphonic score for , a 3. Eli 1:36 21. He Is Dead/Invocation 2:30 gargantuan biblical epic starring 4. Ruth/Tent/Samarra 6:56 22. Sacrifice 1:43 . The film recounts the 5. Window/ 23. Pearl/Beth 3:20 Parable of the Prodigal Son, in When Daylight Comes 1:22 24. What Is Wrong 1:!4 which a wealthy young Hebrew 6. Departure 3:06 25. Elissa’s Death 1:36 trader, Micah (Edmund Purdom), 7. Farewell/Nubian/Bosra 6:37 26. Message 3:02 throws away his fortune and free- 8. Hunger 1:09 27. Miracle 1:07 dom in pursuit of a pagan priestess, 9. 18 Pieces of Silver/Beard 0:54 28. Vultures 1:44 10. One Piece of Silver 2:11 29. Full of the Moon 1:42 Samarra (Turner), eventually return- 11. Terrace of Heavens 1:58 30. Fight 3:59 ing home to the forgiveness of his 12. Micah’s Exit/Prayer/ 31. Storm 0:47 father. Kaper provided a rich, rever- Micah’s Party Part 1 2:44 32. Samarra’s Death 1:01 ent theme for male chorus for the 13. Micah’s Party Part 2 1:34 33. My Son/Celebration/ Hebrew people; a seductive theme 14. I’ll Break Him 0:53 End Title and Cast 4:17 for female chorus for Samarra and 15. Bosra’s Party 2:10 34. Celebration/ her following, alternately a siren 16. She Is 1:10 End Title and Cast (alternate) 2:48 song and a pagan march; up-tempo 17. Deal 0:27 action music for fights and chases; 18. Wedding 0:43 Total Time: 75:11

Photographs ©1955 Co. An AOL Time Warner Company, All Rights Reseved. Color image courtesy Photofest. Warner Company, Entertainment Co. An AOL Time Photographs ©1955 Turner Middle Eastern source cues; and elegant, tuneful scoring under dialogue, often favoring woodwinds. It has all the pomp, glory and choral reverence collectors expect from the biblical genre.

FSM’s CD of The Prodigal is the premiere release of this important score by Bronislau Kaper. The work is presented in complete, chrono- logical form, including alternate versions, which are explained, as always, in the Look for this month’s liner notes. The M-G-M orchestra was conducted by the legendary . Silver Age offering $19.95 plus shipping. I Spy By on the back cover v7n05 issue 7/5/02 2:20 PM Page 1

CONTENTS JULY 2002

cover story departments

24 The Sound of Murder: 2 Editorial Music of Film Noir Much Ado About The term “film noir” has developed a rather Something. enigmatic definition over the years. But what about film noir music? Here we try to define the 4 News genre more clearly by what it should (and K-19: The Troublemaker. shouldn’t) sound like. by Stephen B. Armstrong 5 Record Label Roundup

26 Out of the Past 6 Now Playing A look at ’ score for Spielberg’s “neo-noir” Minority Report. 8 Upcoming by Jeff Bond Assignments Breaking the silence after 31 years. page 12 features 9 Concerts

12 Bach to the Future 9 Shopping List Perhaps better known as the touring musical humorist P.D.Q. Bach, Peter Schickele has also 10 Mailbag worn the hat of film composer over the span of his career. One project was the sci-fi cult favorite 30 Score Silent Running. Here Schickele describes the The latest reviews, movie, the collaborative process and his use of folk including Windtalkers, flavorings in outer space. , Green Dragon, by Jeff Bond Seeds of Darkness and more. 16 Kamen’s Jubilee He’s performed for the Queen, conducted for Metallica and composed music for giants, both lit- 44 The Laserphile It’s ’s world—we erally and figuratively. He’s also busy heading up a Summer Thrills! just in it. page 16 children’s music charity and releasing some of his most popular scores on his own label. Is there 48 Pukas anything left for the K-man? by Jeff Bond 36 Marketplace

20 The Fruit of Their Labor At a recent conference sponsored by the Society of and Lyricists, film music historian Jon Burlingame spoke at length with and director Phil Alden Robinson about the duo’s collaboration on The Sum of All Fears. Here’s how it went down. by Jeff Bond

22 Wait, There Was More! You’ve heard this one before—on A pictoral overview of the SCL conference. television! page 26

ON THE COVER: BLEAK FILM, BLACK SCORE; MINORITY REPORT ©2002 Monthly (ISSN 1077-4289) is published monthly for $36.95 per year by Vineyard Haven LLC., 20TH CENTURY FOX/DREAMWORKS LLC; IMAGES COURTESY 8503 Washington Blvd, Culver City, CA 90232. Periodicals postage paid at Culver City, CA and additional mailing offices. PHOTOFEST, ALL RIGHTS RESERVED. POSTMASTER: Send Address changes to , 8503 Washington Blvd, Culver City, CA 90232

FILM SCORE MONTHLY 1 JULY 2002 v7n05 issue 7/5/02 2:20 PM Page 2

EDITORIAL

VOLUME 7 NUMBER 5 Much Ado About Something Film music is alive and kicking, at least for the moment. editorial staff

EDITOR & PUBLISHER Lukas Kendall here’s a buzz around the office at Now the offices at FSM are alive with con- SENIOR EDITOR Film Score Monthly lately. No, not versation about film and film music like I’ve Jeff Bond the kind that emanates from a snor- never seen. And chances are it’ll stay that MANAGING EDITOR T ing Jeff Bond at nap time. I’m talking about way, at least for the rest of 2002—what with Tim Curran a buzz of excitement, an overriding mood I Williams’ Harry Potter: Chamber of Secrets DEPARTMENTS EDITOR Jonathan Z. Kaplan haven’t felt in the two-and-a-half years since and his next Spielberg collaboration Catch DESIGN DIRECTOR I came on board here. Since last year, some- Me if You Can; and Shore’s Lord of the Rings: Joe Sikoryak thing has happened to turn the otherwise The Two Towers. CONTRIBUTING WRITERS subdued atmosphere here to one resem- Stephen B. Armstrong bling a pledge-week frat party. Film music Inspiration Begats Perspiration Jason Comerford has gotten good again. And when there’s more to talk about, there’s Simon Duff Most of us would agree that, with a more to write about. Like our feature on the Luke S. Goljan few exceptions, film music has masterful Jerry Goldsmith. I saw him speak Allan D. Hosack been languishing over the at a recent event sponsored by the Society of Nick Joy past few years. For any Composers and Lyricists. I also snuck in a Steven A. Kennedy number of reasons (which recorder and taped the entire conversation Neil Shurley I won’t go into here), it had Jerry had with author/film music historian Chris Stavrakis gotten stale. Even the Jon Burlingame and The Sum of All Fears John Takis work from the big guys director Phil Alden Robinson. We figure, if Genevieve Williams seemed to lack inspira- Jerry hates Jeff Bond and is never going to Cary Wong tion. We had gotten to the speak to FSM anyway, a secondhand tran- SUPERVISING CONTENT CONSULTANT point here at FSM where scription along with Jeff’s firsthand insights Al Kaplan if a particular score is the next best thing. Also in this issue: COPYEDITOR simply “didn’t Inspired by the neo-noir nature of Minority Steve Gilmartin suck,” it was Report, Stephen Armstrong takes a look at THANKS TO GIMME GOOD LISTENING: We worthy of at B.A. Vimtrup the sights and sounds of the film noir tradi- applaud a strong summer crop. least three stars in a tion, and Jeff Bond reviews Williams’ business staff review. Minority score. Plus we check in with Then late last summer came John Michael Kamen and take a look back at the EDITORIAL & SUBSCRIPTIONS Williams’ haunting and lyrical A.I. Then sci-fi cult favorite Silent Running and its 8503 Washington Blvd ’s jazzy work for The Score. composer Peter Shickele. Culver City, CA 90232 Then Shore’s epic Lord of the Rings: Who knows what impact, if any, this year’s PH. 310-253-9595 Fellowship of the Ring. And Williams’ magi- rush of great music will have on upcoming FAX 310-253-9588 cal Harry Potter and the Sorcerer’s Stone. And films. No doubt the same banal, wallpaper E-MAIL [email protected] this spring and summer the merry madness scores that got us into such a rut will con- continues. Jerry Goldsmith reminds us in tinue to accompany lackluster big-budget SALES & MARKETING MANAGER his opening scene for The Sum of All Fears flops. But heck, if we can get even a handful Bob Hebert what great music can do for a film. And of scores like the ones we’ve had over the ADVERTISING Williams continues on an incredible roll past nine months, I can live with it. Enjoy 8503 Washington Blvd with Attack of the Clones and Minority the issue. Culver City, CA 90232 Report, an impressive melding of the best of PH. 323-962-6077 AOTC and A.I. (In fact, at this very moment FAX 310-253-9588 I’m typing to the staccato rhythms of Minority Report—which isn’t easy.) I would OUR WEBSITE argue that even without the stellar work of Is updated five times weekly! Shore or Goldsmith, Williams alone has Point your browser at: Tim Curran, Managing Editor WWW.FILMSCOREMONTHLY.COM given us new hope this year.

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JULY 2002 2 FILM SCORE MONTHLY FFV-AD-FILMSCORE 7 /5/02 4 :02 PM P age 1

World Soundtrack Public Choice Award 2002 Send us your vote and you can win a three-day trip for two For more information on the World Soundtrack Awards and to this year’s Flanders International Film Festival - Ghent, WSA related events organized within the framework of the including admissions to the World Soundtrack Summit on 29th Flanders International Film Festival - Ghent, please 18 October and the World Soundtrack Awards ceremony check: www.worldsoundtrackawards.com and concert on 19 October.

The World Soundtrack Awards are supported by:

name: return to address: Return your completed form (only e-mail*: the original, no copies!) to the address below, or vote via the WSA my vote goes to** website. composer’s name: Deadline: 15 september 2002 Film title:

* Your e-mail address will be added to our e-mailing list. Please tick here if you do not want this to happen. ** Only soundtracks of films released between 1 July 2001 and 31 June 2002 are eligible.

WSA, p/a Flanders International Film Festival - Ghent, Leeuwstraat 40b, B-9000 Ghent - Belgium For more information on the Flanders International Film Festival - Ghent: www.filmfestival.be v7n05 issue 7/5/02 2:20 PM Page 4

NOW PLAYING • CONCERTS RECORD LABEL ROUND-UP UPCOMING FILM ASSIGNMENTS NEWS THE SHOPPING LIST chosen to record the soundtrack for authenticity, since the film is about a Russian submarine—a statement AFM President Tom Lee says is “without merit....The subject matter of the film itself is irrelevant to the AFM’s protest and does not justify the Kirov’s violation of the existing regula- tions.” Meanwhile, the AFM stands by its accusations that the orchestra entered the country under false Williams, Ross Team pretenses and subsequently stole work from American in Up for Next POTTER the process. “The Mariinsky Theatre, has, in effect, acknowl- ccording to a recent article in edged that no U.S. employer peti- Athe Boston Globe, John tioned for the approval of P-1 Williams will not be writing the visas to enable the Kirov complete score to the upcoming K19: The Troublemaker Orchestra to record a motion pic- Harry Potter and the Chamber of ture soundtrack in the U.S.,” says Secrets. While he will be writing 40 n July 16th, U.S. in February with visa authori- Lee. “That, however, is exactly minutes of music, including all the ORecords released Klaus zation to perform at the Kennedy what the U.S. regulations new thematic material, compos- Badelt’s score to the period sub- Center, then surreptitiously require—separate petitions from er/orchestrator William Ross will marine thriller K19: The recording the K19 score while in each employer for whom the visit- work those themes into the rest of Widowmaker. What many people Washington, D.C. ing artist or entertainer will work the score. don’t know is the controversy sur- The Mariinsky State Academic while in the U.S.” rounding the performance of the Theatre, home of the Kirov Lee has sent letters to the recorded score by Russia’s Kirov Orchestra, Opera and Ballet, has Immigration and Naturalization Save the Date Orchestra. The American disputed the accusations, stating Service and the Kennedy Center, Federation of Musicians (AFM), that the orchestra had proper asking that the Kirov Orchestra be he “Hollywood Reporter the and Canadian authorization under its P-1 visa to barred from entering the U.S. TBillboard Film & TV Music ’s union, has accused the record Badelt’s score. Further, it again because of the incident. Conference” will take place in Los Kirov Orchestra of entering the claims that the symphony was For more details, visit www.afm.org. Angeles Oct. 10–12, at the Renaissance Hollywood Hotel. Call 323-525-2093; email What Are You Thinking? [email protected] or visit Some recent (and occasionally surprising) results from the FSM online poll: www.billboardevents.com.

Favorite Hammer Films composer: James Bernard; runner up: John Cacavas Favorite female composer: Wendy Carlos; runner up: Debbie Wiseman 1919–2002 Favorite jazz film music composer: ; runner up: Best score for a vampire movie: Dracula (1979) (John Williams); omposer/conductor Carlo runner up: Return of Dracula () CSavina passed away June 21 Favorite protégé: Mark Mancina; runner up: John Powell at the age of 82. He composed Best score for a Frankenstein movie: Bride of Frankenstein (); over 120 film scores, including runner up: Mary Shelley’s Frankenstein () Mario Bava’s Lisa and the Devil Favorite country for soundtracks (outside of U.S.): ; runner up: Australia and the 1981 3-D release Comin’ at Best Jerry Goldsmith score: : The Motion Picture (1979); Ya! Savina conducted for other runner up: Planet of the Apes (1968) composers as well, including the Favorite African American film composer: ; scores for , Tess, runner up: Terence Blanchard and The Garden of the Favorite Newman of Hollywood: The fat guy from Seinfeld; runner up: Finzi-Continis. He also conducted Weigh in with your opinion: There’s a new poll every week on the first album of his friend Miklós the home page of www.filmscoremonthly.com. Rózsa’s Ben-Hur score, “Musical Highlights From Ben-Hur,” leading

JULY 2002 4 FILM SCORE MONTHLY v7n05 issue 7/5/02 2:20 PM Page 5

the Symphony Orchestra of . —Scott Bettencourt Record Label Round-Up All the you’ll be waiting for Shortcuts 1M1 Cinesoundz Hollywood Records aramount Pictures is cele- Imminent from this Australian Due at the end of July is Dieter Due July 30: Signs (various, Pbrating its 90th Anniversary Internet-only label is On Our Schleips’ score to the new film A ); Aug. 20: with a 2-CD set of movie Selection (Peter Best, 1995); Map of the Heart. Upcoming are TV’s Scrubs (various); Sept. 17: themes. All of the music has forthcoming are The True Story re-releases of the two classic Sweet Home Alabama (various). been released previously, and of Eskimo Nell (Brian May, 1975), Mondo Morricone albums plus a most tracks are for more con- Bliss (Best, 1985), Caddie (Patrick third volume with lounge music Marco Polo temporary films—Lara Croft: Flynn, 1976), Harp in the South by the Maestro; also forthcoming Finally available!—The Maltese Tomb Raider, The Sum of All (Best), Poor Man’s Orange (Best), is the world-music soundtrack to Falcon, Classic Scores for Adolph Fears and Mission: Impossible The Irishman (Marawood) and the African road movie Anansi, Deutsch (8.225169). Featuring (Elfman), for example. The inclu- Summerfield (Smeaton). featuring the score by Roman music from Bogart films The sion of the main title to Pre-orders can be placed by email: Bunka and songs by Shaggy and Maltese Falcon and High Sierra, Rosemary’s Baby (Christopher [email protected] Jobarteh Kunda. the Jack Benny comedy George Komeda), however, may alone www.1m1.com.au tel: +49-89-767-00-299; fax -399 Washington Slept Here, the for- make this a worthy purchase. pre-orders by email: [email protected] eign thriller The Mask of Aleph Records www.cinesoundz.com Dimitrios and the Errol Flynn new 2-disc DVD set by Elite Forthcoming is The Amityville action-adventure Northern A Entertainment of Stuart Horror. Decca Pursuit, this CD includes an in- Gordon’s Re-Animator broaches www.alephrecords.com Forthcoming is I Am Dina depth, 28-page booklet, with the subject of (Marco Beltrami). production notes by author/film composer BMG historian Rudy Behlmer and rare Richard Band’s The first-time-on-CD release of GDI behind-the-scenes photographs. controversial The Caine Mutiny () Imminent is The Mummy’s John Morgan has arranged suites use of music is forthcoming. Shroud (Don Banks); forthcom- from the original from Bernard ing is Captain Kronos (Laurie of the scores for this recording, Herrmann’s Brigham Young University Johnson). with William Stromberg con- Psycho and Forthcoming is Max Steiner at ducting the Moscow Symphony Jerry RKO, a 3-CD set with original GDM Orchestra. Goldsmith’s tracks from Symphony of Six Forthcoming are expanded discs www.hnh.com Freud. In a 15-minute interview Million, Bird of Paradise, for Morricone’s The Professional with frequent FSM contributor Morning Glory, Little Women, Of (51:00) and Le Marginal (68:00). Daniel Schweiger, Band attempts Human Bondage, The Little Due Aug. 6: The Kid Stays in the to set the record straight. Mark Minister and The Informer. It will GNP/Crescendo Picture (), Spy Kids 2 Hasan, another FOFSM (Friend also include a 72-page color Forthcoming is The Best of (); Aug. 20: of Film Score Monthly), suggests booklet. Highlander—The Series (Roger Invincible (Hans Zimmer and that Band’s justifications for the Bellon). Klaus Badelt); Vol. 2 of Monsoon Herrmann/Goldsmith quota- Wedding (). tions leave a lot to be desired. Like it or hate it, Band’s score is FSM Welcomes Bronislau and Earle Monstrous Movie Music isolated in crisp, clear Dolby 5.1 Though still pending a formal on this robust release. his month’s releases (Nos. 52 and 53 in a series— release date, the next MMM CD Tcollect them all!) feature the work of two prolific will be Mighty Joe Young—a “Ray he next time you see the but woefully under-represented composers: Bronislau Harryhausen tribute,” featuring Kaper and Earle Hagen. trailer for M. Night music from 1949’s Mighty Joe T Kaper, whose career spanned four decades and Shyamalan’s Signs, in theaters nearly 140 films, is represented on our Golden Age Young (Roy Webb); 1957’s 20 Aug. 1, be sure to check out the Classic The Prodigal, a 1955 Biblical epic starring Lana Million Miles to Earth (Mischa score. No temp track here; Turner and Edmund Purdom. The CD marks the first- Bakaleinikoff and Columbia James Newton Howard wrote ever release of the score, complete and in stereo. library cues by , the music specifically for the Hagen, that “famous composer nobody ever heard Frederick Hollander, David trailer, and it’s great. of” is responsible for literally hundreds of episodes of Diamond, Daniele Amfitheatrof, television underscore—which includes, perhaps most Max Steiner, and appy Birthday, Martin notably, I Spy, our latest Silver Age Classic. This CD Werner Heymann); plus 1956’s Böttcher! The German features music for five of the 53 episodes that he The Animal World (Paul Sawtell). H composed, and unlike the re-recordings released on composer, who since the 1950s This Island Earth will follow. LP at the time of the series' airing, represents the (800) 788-0892, fax: (818) 886-8820 has composed music for over 100 original television soundtracks, with three episodes in television series and films, glorious stereo. email: [email protected] turned 75 last month. FSM Next month: FSM takes to the skies with two CDs from movies set in the www.mmmrecordings.com Got a hot tip or newsworthy event? Contact wild blue yonder. As always, we welcome your comments and suggestions for Tim Curran at (310) 253-9597 or e-mail past and future releases. FSM Numenorean Music [email protected]. Forthcoming is a 3,000-unit

FILM SCORE MONTHLY 5 JULY 2002 v7n05 issue 7/5/02 2:20 PM Page 6

RECORD LABEL ROUND-UP • NOW PLAYING

pressing of Paul McCollough’s Newton Howard). is Stranded/Naufragos (Javier Texas Rangers (Trevor Rabin). score to the 1990 remake of www.soundtrackmag.com Navarrete). Now on hold are titles Night of the Living Dead and the www.rosebudbandasonora.com announced previously: first-ever official soundtrack to Reel Music Down Under Spacecamp (John Williams), Dark Crystal (Trevor Jones), fea- Forthcoming from this Brisbane, Screen Archives Watership Down () turing previously unreleased Australia-based label is Fred Entertainment and The Bionic Woman (Joe material. Karlin’s score to The Stalking Forthcoming is a combo CD fea- Harnell). www.numenoreanmusic.com Moon; other promo CDs from turing Down to the Sea in Ships, www.supercollector.com the composer are in the works. Twelve O’Clock High and 1938’s Pacific Time Entertainment e-mail: [email protected] Alexander’s Ragtime Band (Irving Varèse Sarabande Due July 23: The Son’s Room [email protected] Berlin). Due July 16: Halloween: (Nicola Piovani) and Frontier www.screenarchives.com Resurrection (Danny Lux); July House (Edward Bilous). Rhino Records/Rhino 23: Eight-Legged Freaks (John www.pactimeco.com Handmade/Turner Silva Screen Ottman), Reign of Fire (Ed Forthcoming from Rhino Due in late August is a reissue of Shearmur); Aug. 6: Simone Percepto Handmade is The Pirate (Cole The Ipcress File (John Barry). Due (Carter Burwell). Forthcoming is Coming later this year: writer/ Porter). Forthcoming from Rhino in September is a re-issue of the a new recording of Rebecca director/composer Frank proper are Ivanhoe (Rózsa), music for the British TV series (Franz Waxman) by the Royal LaLoggia’s Fear No Evil and Treasure of the Sierra Madre The Prisoner. Scottish National Orchestra. Miracle on 34th Street/Come to (Steiner), Raintree County the Stable (Cyril Mockridge). (), Prisoner of Sony Classical Walt Disney Records www.percepto.com Zenda (Conrad Salinger version Available now is Men in Black II: Due in October is Trevor Jones’ of ‘37 Newman score), Mutiny on Music From the Motion Picture TV score to Dinotopia. Prometheus the Bounty (Bronislau Kaper), It’s (18 tracks by ; one Now available is John Barry’s Always Fair Weather (André by Will Smith). Please note: Masquerade, which features 56 Previn) and Shoes of the www.sonymusic.com We endeavor to stay up-to-date with minutes of music. Fisherman (). every label’s plans, but things hap- Due mid-Sept.: The Swarm www.rhino.com, www.rhinohandmade.com Super Collector pen that are beyond our control (and (Jerry Goldsmith); mid-Oct.: Due late July: Gigantor (combi- often, beyond the label’s control, as Blow Out (); mid- Saimel nation U.S. and Japanese sound- well!)—so please bear with us. Nov.: The Package (James The latest release from this label tracks to animated series) and FSM

NOW PLAYING Films and CDs in current release

Bad Company TREVOR RABIN n/a Bartleby SETH ASARNOW n/a The Bourne Identity JOHN POWELL Varèse Sarabande Cherish DON DAY New Line* The Dangerous Lives of Altar Boys MARCO BELTRAMI, JOSHUA HOMMEMilan Divine Secrets of the Ya-Ya Sisterhood DAVID MANSFIELD Sony* The Emperor’s New Clothes n/a The Fast Runner CHRIS CRILLY n/a Hey Arnold The Movie JIM LANG n/a Juwanna Mann n/a Late Marriage AVI FAHIMA n/a Like Mike RICHARD GIBBS Sony* Lilo and Stitch Walt Disney ** Men In Black II DANNY ELFMAN Sony Minority Report JOHN WILLIAMS Dreamworks Mr. Deeds TEDDY CASTELLUCCI RCA Victor* The Powerpuff Girls Movie JAMES L. VENABLE n/a Pumpkin JOHN OTTMAN Citadel Reign of Fire ED SHEARMUR Varèse Sarabande Road to Perdition Varèse Sarabande Scooby Doo DAVID NEWMAN Lava/Atlantic* Sunshine State MASON DARING Daring Records Windtalkers RCAVictor World Traveler CLINT MANSELL Omnipedia * indicates song album with one track of score or less **combination songs and score

JULY 2002 6 FILM SCORE MONTHLY v7n05 issue 7/5/02 3:13 PM Page 7

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2220 Mountain Blvd. Suite 220, Oakland CA 94611 total______v7n05 issue 7/5/02 2:21 PM Page 8

Upcoming Assignments Who’s writing what for whom

—A— John Frizzell Ghost Ship. Trevor Jones Crossroads. John Powell Outpost, Pluto Nash. Zbigniew Preisner Between Craig Armstrong Quiet American. —G— —K— Strangers. David Arnold Die Another Day Richard Gibbs I Spy (starring Eddie Rolfe Kent About Schmidt. (Bond XX). Murphy and Owen Wilson), Liquid. Wojciech Kilar The Pianist. —R— Vincent Gillioz Psychotic, The Gary Koftinoff Tribulation Force. Trevor Rabin The Banger Sisters. —B— Ghosts of Edendale. Jon Kull The Real Old Testament. Graeme Revell Equilibrium Assassination Tango. Phillip Glass The Hours. (), Below (dir. David Angelo Badalamenti Love, Sex, Frida Kahlo (dir. Twohy), Daredevil. Drugs and Money (dir. Guy Julie Taymor), Double Down (dir. —L— Ritchie), Auto Focus. Neil Jordan, starring Nick Nolte). Phone Booth. No Good Deed (starring Jerry Goldsmith Star Trek: All for Nothing —S— Samuel L. Jackson). Nemesis. (starring James Woods). View From the The Tuxedo, Adam Gorgoni Blue Car (Miramax, Danny Lux Stolen Summer. Top (starring Gwyneth Paltrow, Stealing Harvard, The Skulls 2, starring David Straithairn). Mike Myers). Interstate 60, You Promised. Jason Graves Between Concrete Ash Wednesday (dir. Marco Beltrami I Am Dina. and Dream (Enigma Pictures), —M, N— Edward Burns). Elmer Bernstein The Han Solo Affair A Thing of Beauty. Howard Shore Spider, Lord of the (dir. Scorsese, starring Leonardo (Lucasfilm/Lego comedy short). Clint Mansell Rain. Rings: The Two Towers, Return DiCaprio & Cameron Diaz). Anthony Marinelli Lone Hero. of the King. Simon Boswell The Sleeping Stuart Matthewman North Fork Alan Silvestri Macabre (dir. Robert Dictionary. —H— (starring Nick Nolte, James Zemeckis), Stuart Little 2. Carter Burwell Adaptation (dir. Paul Haslinger Picturing Claire. Woods). Spike Jonze). No Other Country, Joel McNeely Jungle Book 2. Africa. Michael Nyman The Hours (starring —T,V — —C— David Holmes Confessions of a Nicole Kidman), 24 Heures dans Semih Tareen Space Aces, George S. Clinton Austin Powers: Dangerous Mind. la Vie d’une Femme (starring Gambling Divinity (co-composer). Goldmember, The Santa Clause 2 James Horner Four Feathers (star- Kristin Scott Thomas). James Venable The Powerpuff (Disney). ring Kate Hudson, Heath Ledger). Girls (feature). Elia Cmiral They. James Newton Howard Treasure Avenging Angelo, G. Planet (Disney animated feature), —O, P— Tim Curran Aftermath. Unconditional Love, Signs (dir. M. John Ottman My Brother’s Keeper, —W— Night Shyamalan), Dreamcatcher Point of Origin, 24 Hours (dir. Shirley Walker Willard, Final (dir. Lawrence Kasdan). Luis Mandoki, starring Charlize Destination 2. —D— Theron, Kevin Bacon and Gabriel. Mychael Danna The Antoine Fisher —I, J— Courtney Love), X-Men 2. Mervyn Warren Marci X. Story, The Incredible Hulk (dir. Goodbye Hello (starring Pinocchio. Nigel Westlake The Nugget (dir. Bill Ang Lee), Ararat (dir. Atom Dustin Hoffman, Susan Rachel Portman The Truth About Bennett). Egoyan). Sarandon), Moonlight Mile. Charlie, Nicolas Nicholby. John Williams Memoirs of a Geisha, Matrix 2: Revolutions, (dir. Matrix 3: Reloaded, Long Time THE HOT SHEET Recent Assignments Spielberg), Harry Potter and the Dead. Chamber of Secrets (with addi- Patrick Doyle Killing Me Softly, John Barry The Incredibles Mark McKenzie Blizzard tional music by William Ross). Femme Fatale. (Pixar/Disney CGI-animated). (dir. by Levar Burton, starring Tabloid. Terence Blanchard Barbershop. Kevin Pollak and Christopher The Queen’s Nose. Plummer). —Y— John Debney Spy Kids 2. The Touch Cold Mountain (dir. —E— Tom DeRenzo Dancing With My (Miramax). ). Randy Edelman The Gelfin, XXX. Brother, Co-Incidence. Will Richter The Ticking Man. Christopher Young Scenes of the Danny Elfman Red Dragon. Evan Evans Killers 2. J. Peter Robinson Beeper. Crime (starring Jeff Bridges), Chris Lennertz Saint Sinner Ryan Shore Coney Island Baby. The Core. (prod. by Clive Barker; USA Tom Thomsen Games People Play —F— films), Back by Midnight (star- (HBO). Christopher Farrell Shakedown ring Randy Quaid and Rodney Colin Towns Sons and Lovers. Get Listed! (starring Ron Perlman and Erika Dangerfield). Alan Williams Lewis and Clark. Composers, send your info to Eleniak), The Haunting of Hal Lindes Local Boys. Chris Young The Core. [email protected]. Slaughter Studios. Clint Mansell Abandon. Louis Febre/John Debney Swimfan.

JULY 2002 8 FILM SCORE MONTHLY v7n05 issue 7/5/02 2:21 PM Page 9

King and I, South Pacific, INTERNATIONAL Oklahoma!, part of the Richard Britain Film Music Concerts Rogers Centenary. July 28, , Philharmonia Scores performed around the globe Aug. 27, Hollywood Bowl, John S.O.; Lawrence of Arabia (Jarre). Mauceri, cond.; Los Angeles pre- miere of Guitar Concerto (Elmer France UNITED STATES Bernstein), Alex North Cleopatra July 21, Orchestra Philharmonique California symphony. du Strasbourg; Unchained Melody Aug. 4, Hollywood Bowl; The (North). Music Man, with Christian Chenoweth and Eric McCormack, Illinois Spain directed by Gordon Hunt. Aug. 10, Grant Park Music Festival; Aug. 16, Barcelona, Orchestra of Chicago premiere of Bernstein National Opera of Bulgaria; Fall of Aug. 5, Henry Mancini Institute Guitar Concerto, Psycho the Roman Empire, Pax Romana Concert, Royce Hall, UCLA, film- (Herrmann). (Tiomkin), Demetrius and the music concert, some Gladiators (Waxman). to film, Patrick Williams & Richard Indiana Kaufman, cond., The Sea Hawk Aug. 17, South Bend S.O.; Band of (Korngold), Tara’s Theme from Brothers (Kamen), Jefferson FSM READER ADS Gone With the Wind (Steiner), Tribute (Holdridge). Royal Elmer Kathy’s Theme from Wuthering SOMETHING WEIRD VIDEO! Your source for rare nostalgic Heights (Newman), The Best Years Maryland exploitation and sexploitation films n celebration of his 80th birth- of Our Lives (Friedhofer), Laura July 23, Baltimore, Dedication of from the 1930s-1970s! Iday, Elmer Bernstein will be (Raksin), I Want To Live andThe Cal Ripkin Stadium; The Natural All videos $15 each! conducting the Royal Sandpiper (Mandel), Four (R. Newman). DVDs available! Philharmonic Orchestra in a con- Horseman of the Apocalypse Send $5 for our complete catalog! Include age statement 18+ only! cert at London’s Royal Albert Hall, (Previn), Lifeforce (Mancini), To Massachusetts SWV, POB 33664, Seattle WA 98133, Oct. 9. Though a formal list of Kill a Mockingbird (Bernstein), Aug. 3, Tanglewood; Williams 70th phone 206-361-3759, fax 206-364-7526 selections is not yet available, you Close Encounters of the Third Kind birthday concert—Film Night with www.somethingweird.com can expect the evening to include (Williams), “Sefue” from Havana scenes from Williams’ movies. music from The Magnificent (Grusin), The Natural (R. SEND YOUR ADS TODAY! Seven, To Kill a Mockingbird and Newman), Vertigo (Herrmann), Aug. 4, Tanglewood; All-Williams Reader ads are FREE for up to five The Man With the Golden Arm, Patton (Goldsmith). program: Sound the Bells, Cello items. After that, it’s $1 per item. It’s among many others. Concerto with soloist Yo Yo Ma, that simple. Send to Film Score Monthly, 8503 Washington Blvd, Culver Tickets are available from the Royal Albert Aug. 16, 17, Hollywood Bowl; The American Journey, Rosewood, City CA 90232; fax: 310-253-9588; Hall, by phone at 020 7589 8212 or by Rogers & Hammerstein at the Heartwood for Cello and [email protected]. visiting www.royalalberthall.com. Movies; The Sound of Music, The Orchestra.

The Shopping List ■ Puppet on a Chain • DC39CD (UK) ■ Queen of the Damned RICHARD GIBBS/JONATHAN DAVIS Worthy discs to watch for WB 48330 (Score Album, 29:58) ■ Ragtime (1981) • Rhino 78245 (First CD issue, Soundtracks 37:00) ■ Anthem: 2002 FIFA World Cup Official Anthem • Sony ■ • Silva 1140 (Cond. Nic Raine, 55:16) SICP 102 (Japan, CD Single) ■ The Scorpion King JOHN DEBNEY • Varèse 66368 (39:57) ■ La Battaglia D’Inghilterra (1969) FRANCESCO DE MASI • Beat 62 ■ Shackleton’s Antarctic Adventure (2001) SAM CARDON • JR 74222 () (Imax Film, 42:42) ■ The Bishop’s Wife (1947) • BYU FMA-HF 109 ■ So Fine/White Dog (1981, ’82) • Mask MK 703 (58: 00) (Italy, 61:12) ■ Blade II MARCO BELTRAMI • Varèse 66365 (Score Album, 33:45) ■ We Were Soldiers NICK GLENNIE-SMITH • Sony 89940 (Score ■ Cet Amour-la (This Very Love) ANGELO BADALAMENTI • Milan Album, 57:27) 198659 (France, 47:10) ■ Wilson (1944) ALFRED NEWMAN • SAE-CSR-0004 (68:35) ■ Evolution SHELDON MIROWITZ • Music Verite 75612 ■ Yankee Doodle Dandy (1942) GEORGE M. COHAN/VARIOUS (Promo CD, 47:24) Rhino 78210 (51:14) ■ // (1958, ‘59, ‘65) PAUL SAWTELL/BERT SHEFTER • Percepto 008 (2-CD set, 99:17) Compilations & Concert Works ■ Long Walk Home: Music From Rabbit-Proof Fence PETER GABRIEL ■ Frank Sinatra Conducts Tone Poems of Color VARIOUS Realworld 12238 Capitol 33738 (Remastered reissue, 49:38) ■ Masquerade JOHN BARRY • PCR 514 (Belgium, 56:02) ■ Somewhere Over the Rainbow: The Golden Age of Hollywood ■ Operazione Odissea (1999) PINO DONAGGIO • IMG 498825 Musicals VARIOUS • Rhino 78323 (2-CD set) (Italy, 54:09) ■ Yo-Yo Ma Plays the Music of John Williams JOHN WILLIAMS ■ Le Peuple Migrateur BRUNO COULAIS • Virgin 11455 (France) Sony 89670 (SACD only, won’t play on regular CD players). FSM

FILM SCORE MONTHLY 9 JULY 2002 v7n05 issue 7/5/02 2:21 PM Page 10

READER RANTS, RAVES & MAIL BAG RESPONSES

Elmer Rolls On and makes it fun, too. So, why am I for me (and Bill, who sat on stage the first time, which he said excit- ’ve read with great pleasure the writing just now? Because the new with the orchestra with some par- edly just before Rachael had the Iarticles in FSM about Mr. Elmer Attack of the Clones article ticularly fascinating anecdotes audience fascinated when she Bernstein, who recently celebrated (www.filmscoremonthly. com/ regarding the likes of Herrmann, announced his 80th birthday and still is vital articles/2002/13_May—-Star_Wars_ Waxman, Young, Tiomkin, etc. studied with Australia’s own Percy after 51 years of film scoring. I have Episode_2_Attack_of_the_Kaplans.asp) whilst the orchestra had some Grainger as his mentor for two been an admirer of his music for by the Kaplan brothers (a) much-needed breathers). It was years. The orchestra then more than 40 years now and was reminded me of their hilarious also exciting when U.S. conductor launched into the phenomenal happy to attend his Royal Albert 2001 roundup in the magazine Rachael Worby read a letter from opening bars of the Vertigo main Hall concert in London, August (Vol. 7, No. 1), which I wanted to 90+-year-old David Raksin, title and nightmare sequence. 2001, and l’Auditori concert in thank them for, and (b) was such addressed to the orchestra and the What an exciting night. Barcelona, May 2002. In Barcelona a great read. I have the AOTC CD audience. Tyson Bach I was fortunate enough to meet this sitting on my shelf for weeks now, There were many highlights, [email protected] wonderful, warm person, who was without listening to it before see- including a superb rendition of the willing to talk about most every- ing the movie. Tonight, I’ll go Vertigo suite, El Cid, and a couple Lukas Kendall writes: What a won- thing from his scores to his life. home, have some wine and listen of rare surprises: Waxman’s derful experience! Thank you for telling The Barcelona concerts brought to it though, as they informed me “Rosanna” from Hemingway’s us about it. us a rediscovery of his great music that musically, I don’t really have Adventures of a Young Man, and a from J. Lee Thompson’s Mayan to wait for the actual film. Thanks beautiful orchestral Sensibility adventure Kings of the Sun (1963), for that, too! of “Somewhere Over the Rainbow.” wanted to write to express my a score Elmer told us he had Finally, do you think there is a But nothing could have pre- Iappreciation for your releases almost forgotten. But fans from all chance to get an interview from pared me for Bill Collins’ huge of Traveling Executioner and 36 over the world had been asking for John Williams about scoring plug of you guys at Film Score Hours. The sound quality on both it and at the moment there are AOTC? After all, he’s one of the very Monthly. He sincerely tried to is excellent and the presentation is preparations for recording the few collaborators of George wonderful as always. I had suite in Warsaw. Now we’re looking Lucas who should be able to say never seen nor heard forward to hearing Elmer what he thinks, being in the posi- Traveling Executioner but, as Bernstein’s new scores from Gangs tion that he is in. I would really Jerry Goldsmith is my of New York and Far From Heaven. like to learn how he actually feels favorite composer (yes, I’m Bertil Larsson about all of this. another one of those), I was Sölvesborg, So, again, thanks for every- excited to see you releasing thing, keep up the great work, it. I have now received it and Gun’s ’A-Blazing and please forward my best think it is wonderful! I love just want to thank all of you at wishes to everyone at FSM. the Goldsmith “period, rural IFSM for the terrific work you’re Gunnar Grah Americana” scores such as doing both in your magazine and [email protected] The Flim-Flam Man and on your website. I’ve been reading Traveling Executioner. your hardcopy magazine only The Kaplans respond: Thanks for Tiomkin is also a favorite of since earlier this year, but I’m so all the kind words, Gunnar! We wish mine, and I was happy to see glad to have finally become a sub- we could get to John Williams, but it anything of his released. I scriber. Besides learning about seems nearly impossible. I don’t think have been reading com- he hates FSM, but some of the people things that I actually want to know plaints on rec.music.movies we have to get through to get to him (like CD reviews and composer might hate us... about your releasing interviews), the magazine offers open up the surprisingly large “another Jerry Goldsmith score” insight into many more areas of A Golden Evening Adelaide audience to the world of but can’t understand the criticism. film scoring that I normally ast night was a very special film music and your magazine, I am just happy that any older wouldn’t have thought about. Lnight for me. I had the privi- including where it is available scores are being released. To have As for your website...I’m a regu- lege to see my very own Adelaide locally and that you have a web- your label actually releasing two lar since almost the beginning, Symphony Orchestra perform “Bill site. Hearing him speak knowingly scores a month is heaven! There and it’s always been a pleasure to Collins Presents the Golden Years about FSM was thrilling, and, if are scores of scores from older read the daily articles and get into of Hollywood.” I never dreamt I out of 2,000 people you get just movies I would love to have, and touch with other film music lovers would see some of my favorite one new subscriber and one more you are helping me realize that through the message board. It was music performed live in front of click on your website, I’m sure he’d goal. I think all soundtrack fans a great idea to bring Scott me without traveling overseas! be satisfied. owe you a great deal of gratitude [Bettencourt] in to write the Friday A friend and I were just three He also mentioned how grateful and should not be complaining columns, and I really love his writ- rows from the front and it was as he is to you for releasing some of about what you have not released. ing style—he has something to say though they were performing just his favorite Golden Age scores for (continued on page 48)

JULY 2002 10 FILM SCORE MONTHLY v7n05 issue 7/5/02 3:13 PM Page 11 “Forever admirable.” – SoundtrackNet “Orchestra and conductor surpass “Film-music buffs once again owe a debt themselves with each new release of gratitude to John Morgan for his in this series.” painstaking restorations.” –American Record Guide –Gramophone

Available now at all fine music retailers. Marco Polo is a distributed label of Naxos of America. For more information go to www.naxos.com v7n05 issue 7/5/02 2:21 PM Page 12

fter the success of Dennis Hopper’s ed,” Schickele says. “People have often asked me if the suc- Easy Rider in 1969, cess of P.D.Q. Bach has impeded my success as a serious embarked on an experimental test program composer, and I find it all interrelated. The first P.D.Q. Bach to launch five pictures that would each be album came out in 1965, and just after that Maynard made for a million dollars or less with no Solomon of Vanguard Records called me and said they had studio interference in their production. Two an idea for a Christmas album for Joan Baez in which the of the resulting pictures were at least tangen- would be reminiscent of the period from tially science-fiction projects: George Roy which the carols actually came rather than modern, soupy AHill’s adaptation of Kurt Vonnegut’s Slaughterhouse Five, type arrangements. In other words, a Renaissance carol and Douglas Trumbull’s ecological fable Silent Running. would have Renaissance instruments and the 18th-century In the future posited by Silent Running, Earth’s forests carols would have string quartets and wind instruments, have died out and the last remain- and a couple of 19th-century ones had harp and strings; the ing ecosystems are confined to a album turned out very nicely. The reason they thought of collection of geodesic domes car- me for that was that P.D.Q. Bach was working in a style rem- ried by space freighters in the iniscent of the 18th century. P.D.Q. Bach was not literally in middle of the solar system. The Mozart or Bach’s style, but it has that feeling. I ended up freighters are crewed by a handful doing the following album with Joan, which was contem- of people and small robotic porary material including the first recording of songs by her, drones, and most of the humans and then Baptism which was an unusual album in which BACH regard the job as drudgery—all Joan both sang and spoke poetry, a very strong anti-war except for Freeman Lowell (Bruce album, and that was all original music on my part. All three Dern), a dedicated forestry expert of those collaborations were behind us when Silent TO dreams of the day when the Running came along.” forests will be replanted on Earth. Lowell is heartbroken when the Hollywood Comes A-Calling freighters receive an order from Schickele remembers getting a phone call in 1971 after Earth to destroy the domes and moving into a New York brownstone with his wife. “It was FUTURE return. Determined to salvage the Hollywood calling,” he laughs. Douglas Trumbull was fol- last remaining forest, Lowell kills lowing up on the credits to a Joan Baez LP, since he also off his three coworkers and pilots wanted Baez to perform some songs for the film. “He had the gigantic space freighter past the intelligence to know that the sound of an album has the orbit of Saturn with the other something to do with the arranger.” Trumbull didn’t know freighters in pursuit. Lowell is who P.D.Q. Bach was, nor did he know that Schickele had alone except for two robotic already done work as a film composer on several educa- drones (whom he names Huey tional shorts and two feature films by director and Dewey), who become his last (The Crazy Quilt and Funnyman, starring Peter Bonerz). “I fragile links to companionship, think the score for Crazy Quilt particularly worked very well. human or otherwise. Those were really small low-budget movies, and on Crazy Silent Running was Douglas Quilt, because of various scheduling problems, I actually Trumbull’s first directing job after recorded the music before the movie was finished and he he gained recognition for his ended up editing some scenes to the music. I progressed groundbreaking special effects very gradually because these early films were very small direction on Stanley Kubrick’s 2001: budget. I worked with a stopwatch and did timings and A Space Odyssey. But Trumbull’s conversions myself. Silent Running was the first time I’d vision of humanity’s future in space done a film in a studio where the movie was being project- was by choice and necessity much ed while we recorded.” more intimate and personal than The composer’s early discussions with Trumbull inspired Peter Schickele and the Kubrick’s. Silent Running is visually him to take the project. “One of the things that attracted me spectacular, but it is at heart a small was that he really wanted lyric music for [outer] space,” score to Silent Running picture that focuses almost exclu- Schickele says. “Before that all of the music for space had sively on the psychology of Dern’s either been weird or...in 2001, the Blue Danube is almost BY JEFF BOND character, the moral choices he satirical, not only lyrical but well-known. So Doug really makes and his struggle to maintain wanted the idea of not making space sound like the enemy. his sanity and purpose while alone in the vastness of space. I was attracted to that and I enjoyed the movie. I don’t know It’s a rare example of a counterculture science fiction film, if we started talking immediately about what scenes need- and Trumbull wanted a score that reflected that: folk lyri- ed music, but I eventually came out for six weeks to write cism rather than disorientating space sounds or the droll the score. Doug had just broken up with his first wife and he classical satire of Kubrick. had this house up in the hills north of L.A. that he was try- Trumbull turned to composer Peter Schickele for the ing to sell, and I holed up there with a moviola. In that case score after seeing Schickele on the album credits of a Joan I could have the moviola right by the piano and play the Baez LP. The director was unaware that Schickele was, then piano to picture, and I wrote up there and got supplies from and now, better known in another guise: that of musical Universal. The one thing that was different from the typical satirist and performing artist P.D.Q. Bach. But Schickele had movie score is that I orchestrated it all myself; I didn’t use an his own style and had developed a serious musical language orchestrator. By then I’d also acquired what used to be while working on several of Baez’s albums. “It’s all connect- called “the bible,” before digital click tracks, which convert-

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ed metronome markings to frame, and that saved an awful where that theme comes in whenever you see the person,” lot of arithmetic. You could just look up on the 88th beat he says. “For one thing here the cast was very small. When that was going to be so much time into the cue.” Doug and I sat down to talk about the music we agreed very Schickele’s score is constructed around four basic ele- much except for a few scenes. The operation scenes, one if ments: a gorgeous, melancholy title tune for piano, chimes not both of them were places where Doug didn’t think there and strings that bookends the film as a song, “Rejoice in the should be music. We agreed that I would write music for Sun,” sung by Baez; an elaborate set of space action materi- those scenes and if he didn’t like it Doug would just not use al for Lowell’s initial hijacking of the S.S.Valley Forge and his it. When he saw it with the picture he liked it. I think we both climactic attempt to save the dying forest; two beautiful and respected each other and were willing to be flexible to that tender pieces for woodwinds to underscore sequences of point; obviously, the only important thing is how the music Lowell having his broken leg operated on by his robot drones, and later attempting to repair one of the ambulatory machines; and some thunking, percus- sive suspense material to presage the destruction of the forest domes. To this Schickele added a second, more opti- mistic, song—“Silent Running,” a bluesy piano passage for Lowell’s lonely wander- ings around the empty ship—and a cere- monial piece of Americana for the first exterior shots of the Valley Forge and its sister ships. As Schickele explains, this latter cue, first introduced with a timpani roll as Lowell prepares a meal while staring out a porthole into space, was a last-minute addition to the film. “When they started having preview screenings of the movie, they came up with this interesting result, which was that everybody under 40 understood the situation of the movie completely, and everybody over 40 did- n’t,” Schickele says. “They didn’t know why the movie was where it was—in other words, they didn’t get the premise of these ecosystems dying out on Earth and that they were being preserved in space. So the scene where you first see the ship from the outside now has a sort of presidential speech over it, and that was not there originally. I had written more of the soaring sort of spaceship music, and, as a matter of fact, on the album, that cut is the two cues put together. The first one is the original music for that scene, and the second one they brought me back out and I had to rewrite music for that scene because it had to be more of a ceremonial occasion, more of a pomp-and-circumstance thing to fit the voice—even thought it’s not identified, you figure it’s some kind of head of state. The first half of that cut doesn’t appear in the works with the scene, and the final say on that is the direc- movie.” Schickele’s approach would have unified all the tor, not the composer. The operation, particularly, is one I major space sequences, with the initial music for the Valley was glad he came around on, because I liked the music and Forge developing into the tense mix of alarm-like electron- I liked the way it worked. I think it’s so tender that it helps ics, timpani and throbbing bass, and brass action music for give a human quality to the droid.” the later hijacking and light-fixture scenes. Schickele recalls collaborating on some of the electronic textures used in the score. “There’s nothing very fancy, just

ARTWORK ©1971 UNIVERSAL STUDIOS; PETER SCHICKELE PORTRAITSpecificity BY PETER SCHAAF a Specialty electronic organs and stuff,” Schickele says. “There’s some By breaking up the score and applying specific material for actual sort of electronic sound in some scenes that is almost specific situations, Schickele avoided the more standard a question of whether it’s music or sound. There was a fel- leitmotif approach. “I was never particularly interested in low named Joseph Byrd [credited as “special electronic con-

SILENT RUNNING having a theme for one character like you might in Star Wars sultant”], and his girlfriend was the contractor, and he actu-

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ally did some electronic stuff for the movie. Some of that score’s two main action cues, Schickele created a power- was mixed in with the score and some was even used to ful, percussive suspense motif that precedes the initial help create sound effects. I’ve never done a real electronic dome-blowing sequences. “Those low thumping things score, but he did electronic stuff that was mixed in in var- are just electric bass,” Schickele says. “One of the things I had learned from arranging was that when you get these electric instruments in the studio—I know what a violin sounds like and I know just about everything a violin can do, but these electric instruments have all sorts of settings on the amp that you can use, which are sometimes not always able to be duplicated with another player. On one album I did with Joan Baez we had the electric guitar set in a way that you didn’t hear the stroke of the note at all—it just sounded like French horns, and you didn’t hear the finger or pick strumming the strings at all, and I tried that with another guitarist later and we couldn’t get it at all. Similarly, in that score we would just work with the amp and the recording and the EQ in the studio to get the sound we wanted.” In One Era, Out the Other Listeners of Schickele’s concert work will recognize the composer’s personal style as strongly evident in the Silent Running score, particularly his woodwind writing in the operating room sequences. The composer acknowledges the score is quite representative of his style. “It’s very close,” Schickele says. “In fact, one of the ways in which I was a very lucky man is I got to really start at the top by doing that first album with Joan Baez, but also the mood of the late ’60s was such that I was not the only arranger mixing classical and pop elements. I got to develop tex- tures—for instance, the harp and vibraphone and piano doing these shimmering arpeggio things in [the cue] “Rejoice in the Sun” are things I worked out doing arrange- ments for Joan Baez, and I’m still using it in my symphon- ic music. It’s very related to my other music and those were days when you could do that. I reviewed a book by André Previn called No Minor Chords, which is anecdotes about his time in Hollywood, and I talked in the review about how in Europe when filmmakers asked William Walton and Benjamin Britten and Ralph Vaughan Williams and and Poulenc and Honneger to write film scores, they wanted the music of those composers. Very often in Hollywood the director or the producer tells the composer I want the Richard Strauss kind of thing here or the Debussy kind of thing here, and with few exceptions like and , the composers aren’t brought in [for] their music. I was lucky in that I was brought in during a time in the ’60s when young filmmakers were being given a chance. Nobody ever told me what the music should sound like; I just wrote my score, and Doug had gotten me because he liked what he heard on those albums and that was a real sort of luxury. I think people in the business liked it, too; the head of publishing at Universal really tried to get me to come out and write movie and television music, and I loved doing that but I didn’t want to do that only—it’s a business where most of the composers are ious ways. It’s much harder to mix acoustic and electronic ready whenever you need them. Because the schedules instruments live than it is in a studio. I think the ideal way never stay what they’re supposed to be; they need anoth- to do it is to mic the whole orchestra. The problem is a er cue or something like that. matter of presence. A violin section playing fortissimo “I’ve always thought that movie composers in this doesn’t match the sound of an electric guitar for presence, country and this century are a little like opera composers but in the recording studio you can deal with that because were in the 19th century. Most of the famous opera com- you’re miking everything.” posers were only famous for opera, unlike Mozart who In addition to the repeating electronic textures in the wrote symphonies and string quartets that are still played

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as well as his operas. Similarly, with these few exceptions, “I arranged music from the first four Elgar ‘Pomp and the movie composers tend to be known mainly for their Circumstances’ marches and made a pastiche out of movies and in some cases, like and them for the movie,” Schickele says. “I put a little bit of Korngold, they may have done concert music, too. I’ve extra stuff in some of it, but mostly it was a matter of always felt the European system was better, where you get arranging and making continu- a composer because you like his music.” ous segments from the Elgar marches. I haven’t done arrang- Lasting but Limited ing much since the ’60s because While the Silent Running score has its own cult following, I’ve been in the fortunate posi- not only because of the quality and unique nature of the tion of having my hands full with score but also because of the connections to Joan Baez my original music one way or and the movie’s own sci-fi audience, Schickele’s career as another, but when that came P.D.Q. Bach largely prevented him from doing further along—I love animation—and work in the field. “One of my problems has been since I’m the idea of being in on the mak- a performer as well as a composer and since concerts are ings of the film and being given booked a year in advance, at least, I found it hard to do tours of the animation depart- film scores even when I was offered them,” Schickele says. ment and being in on meetings “I never had an agent trying to get me work, so I was never and seeing how things changed offered many. In later years I just never had time to do it— from one meeting to the next was the nature of my concerts is such that no one can substi- fascinating.” tute for me.” The youth culture films exemplified by Silent Mostly Schickele remains busy Running eventually lost their primacy at the box office, being Schickele—and P.D.Q. replaced by a new wave of blockbuster films by young Bach—and keeping his combina- directors like and George Lucas—direc- tion of new recordings and con- tors who, ironically, were part of the USC film school cert performances going. But he brigade that produced Silent Running (John Dykstra, who retains a special fondness for his did effects work on Silent Running, went on to supervise work on Silent Running and an J.S. WHO?: Schickele poses special effects on Lucas’ Star Wars). interest in the world of movie music. “I was hoping with his alter-ego PDQ Bach. Schickele did a small film called A Likely Story in 1974 I’d do more film scores, but life didn’t turn out that (the title was changed to Ha’Penny Bridge for an overseas way,” Schickele says. “But I’m not dead yet!” FSM release) and worked on an animated version of Maurice Sendak’s Where the Wild Things Are; more recently, he Jeff Bond is FSM’s Senior Editor; you can reach him by writing arranged music for a segment of Disney’s Fantasia 2000. [email protected]

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an eye on his charity, the Mr. Holland’s Opus Foundation. It’s a pretty good time to He says that fan response led to the release of the CD. “On my website there have been literally thou- be Michael Kamen. He’s sands of letters from fans that I have answered—I answer all my mail,” Kamen says. “I keep getting these letters about got a new album out, his Lethal Weapon.” Kamen knew the first Lethal Weapon score had been released on CD but that it was long out of print seminal score for the origi- and was missing some key cues from the original score, including some that were tracked into the later Lethal nal Lethal Weapon has been Weapon films. “We negotiated the deal and made the recording of the music for Lethal Weapon, plus some cues released in its entirety for the that weren’t on the original records, and we’re making it available on the website from a company called CDBaby. first time, he’s running an award- We’re also making available other recordings of mine that have fallen out of print. So far there’s only Lethal Weapon winning charity and he gets to and the Saxophone Concerto I wrote for David Sanborn. KAMEN’s JUBILEE The Veteran Composer Is Hard at Work All Over the Place By Jeff Bond

perform music for the Queen of . On June 3, What will be on that eventually is Baron Munchausen and Kamen tackled the Queen’s Jubilee, conducting an evening a number of other movie scores.” of pop music on the lawn of Buckingham Palace from some of the luminaries of British rock—Paul McCartney, amen won’t promise a complete Baron George Martin, , , S Club 7, Blue, Munchausen, but he does want to at least get Phil Collins, The Kinks, and even a Yank or two in the guise some of his older CDs back in print. “I don’t think of the Beach Boys. “The Queen has a jubilee only when we have much other music from Munchausen, she’s been on the throne for 50 years, and there have been but we do have some that was recorded after we very few jubilees in the history of the British Empire, and I K made the album,” he says. “But it takes a horrendous think the last was several hundred years ago,” Kamen amount of time just to find the tapes. And getting into the explains. “The pop music of England has changed the studio and getting organized to process the artwork and world, and I think somewhere in the span of the last 50 get approvals is a very long affair. It took a year before years we can still bring many artists who are important and Lethal Weapon was done. But the response from the kids have had a great place in the history of English pop music who actually created it by asking for it has been tremen- and therefore the history of pop music as it’s played all dous.” The composer acknowledges that doing Lethal around the world.” Weapon was a pivotal turning point in his film composing Kamen has been in the public eye a lot lately. His music career. “I had done nothing but what I thought were impor- for the 2002 Winter Olympics is available on his website tant movies: with , The Wall with Pink (www.michaelkamen.com), as is the new CD of Kamen’s Floyd, and then I met Richard Donner and Joel Silver after score to Lethal Weapon. Kamen’s online presence allows Eric Clapton and I performed a piece called The Edge of him to communicate directly with his fans as well as keep Darkness, which was a BBC television show that starred the

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actor who is in the first Jurassic Park movie. It was Kamen also acknowledges that the success of Lethal an incredible show, and we won lots of awards and the Weapon, and then , led to some typecasting of the show became very famous here in England. The editor of composer as an action-movie specialist, a label he’d rather Lethal Weapon is an Englishman named Stuart Baird not be stuck with. “I like doing important films and I like [director of the upcoming Star Trek Nemesis], who hap- telling emotional stories. Because of the action reputation, pened to be in England at that time, and he heard the I wasn’t surprised when people who were making very sen- music and brought it back with him to L.A. and used it sitive, emotional films didn’t call me even though they when he was cutting Lethal Weapon. He played it for should have,” Kamen explains. “I listen to the score to Die Donner and Silver and said it was Eric Clapton and Michael Hard and I think that’s really great. It’s got interesting action Kamen. They said to get Eric Clapton because they knew music and good music for the orchestra to play. My inter- who he was but they didn’t know who I was. Eric wanted to est at that point was absolutely not selling the soundtracks, do a movie with and he asked me if we wanted because I didn’t know that they did sell. My interest was to work together on that because we had such a good time making orchestral music that I could stand in front of an on Edge of Darkness, and I agreed and came out to L.A. orchestra and enjoy conducting and they would enjoy That led to a chain of one action film after another.” playing, because I think that gets the best music out of Kamen’s Lethal Weapon score opens with a haunting cue them. That’s still the way I feel. When I’m working on a

MADMEN, DOG SOLDIERS AND AN ENGLISHWOMAN: for a young woman’s spectacular suicide. “I remember movie score my prime interest is making music that I feel Kamen’s projects influencing the scene with the sound of Eric Clapton, but it solid with emotionally and artistically and give an orches- cover a remarkable wasn’t the theme that Mel Gibson attempted suicide with, tra something to play that they can all sink their teeth into, breadth of topics and which became the main theme of the movie,” the compos- either because it’s something they have to bite hard on or usage. er says. “In the beginning, the music that was used as the because it’s right in their soul.” girl was committing suicide was actually ‘Jingle Bell Rock,’ and all I did was gradually slow it down as she became sick- ne recent project that fulfilled all of Kamen’s crite- er and more stoned. It wasn’t Eric Clapton’s theme that ria was the HBO series Band of Brothers, for which took Miss Hunsaker out at the beginning of the movie.” the composer wrote a rich and moving Americana Like many soundtrack album releases, the original score. “I’ve been happy and lucky to work on proj- Lethal Weapon score release was far from complete. As O ects like Brazil, Munchausen and Band of Brothers Kamen notes, the realities of post-production and record that let me stretch and make the music that I want to hear,” manufacturing often dictate this result, a constant Kamen says. “Band of Brothers was a very personal state- source of annoyance to collectors. “We needed to get the ment for me because my father who’s beloved and still tapes of the music delivered to the record company alive, lost a twin brother a few weeks before the end of the before the movie was out, and they couldn’t wait to get war in Germany. I knew when I started to look at the film the record out,” Kamen says. “I think we finished work on that I was looking at my uncle’s fate and that I was watch- it only two months before the movie had its debut, and ing people who were very much like him at the time, and I that’s never enough time for the record companies to fin- wrote the music straight from the heart as a requiem for an ish their work. When the record deal was done we were uncle I never met.” still working on the score.” Kamen’s main theme for the series is a high point in his

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career, and something that he had to audition for executive producers and Steven Spielberg. “They were 1 very supportive,” Kamen notes. “Tom heard it for the first Lethal Weapon ★★★★ /2 time when I made a demo of the thing with a full orchestra. MICHAEL KAMEN, ERIC CLAPTON, DAVID SANBORN I did that because I had worked with Tom on From the Promotional MKCD 01 Earth to the Moon series and sent him the main theme as a 17 tracks - 65:35 demo on the piano, and he called me and said, ‘I love the theme, it’s great. I have an artistic question though: Do you on Kaplan and I have a strange mean it to be on a piano?’ I said no Tom, that’s a demo. This fascination with Lethal Weapon. time on Band of Brothers I recognized that I didn’t need For me, it’s a perfect example of him to make allowances for a demo, so I brought an a great actor who turned into a orchestra into Abbey Road Studios and we recorded the self-aware prankster (ol’ Mel), theme for Band of Brothers against a two-and-a-half anJ entertaining script that inevitably minute bit of film that had been edited, and it was that that typecast its author (Shane Black), and, sound, while somewhat clichéd (give he heard with a full orchestra—not something like I want- for the series, a textbook case of how that black man a sax!), works beautiful- ed it to sound, but exactly how I wanted it to sound. He Hollywood milks a successful formula to ly. Sanborn doesn’t overreach with his heard that and stood up and applauded and asked to hear the point where it becomes a parody of solos—his rich signature material for it again, and he did that five times. Thank god, he was very itself. (Compare the Riggs of the first Roger captures the character with clari- positive about it from the first time he heard it.” installment with the Riggs of the fourth; ty and succinctness. The 10-hour miniseries required a great deal of music, they’re totally different characters, and There’s also a dash of the “Hollywood which, in effect, allowed Kamen to score five movies yet not in a particularly organic or logical Boulevard Chase” material in the disso- maintain a consistent tone and thematic drive throughout way.) For Jon, any scene involving nant “Coke Deal” cue, which otherwise the entire project. “It was 10 hours of television, and cer- Mitchell Ryan and/or Gary Busey gives allows Kamen to start molding the tainly because my own instinct was not to write a war him the chance to repeat key lines with orchestral and jazz/rock elements of the movie, not to write battle scenes and not to write tumult a zealot’s glee. (“Do you smoke? Give score together. This is one of those and the fright of a film about a war—I wanted to write the him your lighter! Your GLIGHTER!” [sic]) scores that’s much more coherent and incredible pain and incredible tragedy of having to subject Anyway, the score, credited as being carefully constructed than it seems; human beings, young men and young women, to this “composed and performed by Michael Kamen, Sanborn and Clapton make it insanity. Therefore I didn’t have to write music for every- Kamen, Eric Clapton and David seem like a breeze, but there’s obviously thing in the film—it didn’t need music all the way through Sanborn,” has always been a fan a lot of thought put into each piece of it. It’s tempting sometimes to keep your hands on the favorite. Thanks to this legitimate pro- music, and each element of the music is piano and just play along, but it was equally tempting for motional release, it’s finally seeing a balanced with perfect smoothness and me to get to the heart of a subject that was as gripping as complete and coherent presentation. harmony. Kamen’s stand-alone orches- Band of Brothers was.” And, yes, the fiery action cue that is the tral material (e.g., “The Desert”) comes The series followed a core group of characters through- “Hollywood Boulevard Chase” is here, at points in the film where the out the European theater, which helped Kamen maintain and it’s a kick to have it after all these guitar/sax noodling is no longer as nec- thematic unity in his score. “They were the same guys, so years; it makes you long for those late- essary, and the punchy potency of the the benefit of having many of the same soldiers in the com- ’80s days when Kamen’s blistering writing gives even more fire to the film’s pany throughout the series meant that I could establish action material could make your hair adrenaline-charged third act. Plus, themes for individual soldiers and bring them back peri- stand on end. there’s great Kamen music that went odically throughout the series in different forms,” Kamen unused in the film, including an extend- says. “It was dealt with episode by episode, and I don’t s you might expect, however, ed opening cue (using Riggs’ theme in think we even worked on it in sequence. I think the last the rock/jazz elements of the horns) and a fantastic alternate orches- episodes were episode five, which Tom directed, and music are the dominating ele- tral version of the guitar-driven cue episode eight, which directed. But the reality of it is ments, at least in the first half where Riggs and Murtaugh race home that Tony To was the line producer and operating produc- of the CD. Clapton and Sanborn for the final confrontation with Mr. er for the series—he shot one of the episodes entirely on luckedA onto something when they creat- Joshua (the film version is also on the his own—and kept the homogenized feeling from episode ed a back-and-forth dialogue for Riggs album). one to episode 10; he took great care of me and great care and Murtaugh in the form of electric Collectors will no doubt be irritated at of the music and was a tremendous help. Band of Brothers guitar for the former and alto sax for the album’s sequencing, with some was a very personal story for the world and for me; it was the latter. In doing so they came up with other unused source-like cues breaking great to share my feelings about it, almost musically like a way for the seemingly disparate ele- up some of the music’s momentum, but writing a book.” ments of the music to communicate these are nitpicks; just be happy that with each other. Clapton’s playing for you’ve got it. All that great action mate- amen’s other big recent project is When Love the Riggs portions is both gentle and rial (“Hollywood Boulevard Chase,” Speaks, a benefit album for the British Royal teasingly hip; the “Suicide Attempt” cue “Yard Fight/Graveside”) is here. Academy of Dramatic Arts, with numerous per- underscores some of the best acting Kamen’s been well served this year, with formers contributing music and songs written Mel Gibson has ever done, and Clapton the proper releases of this and Die K around the romantic sonnets of Shakespeare. The wisely stays out of the way, giving the Hard; I’d like to suggest that attention project was initiated by actor Alan Rickman and features scene a gentle, incredibly effective be focused on Alan Silvestri so that performances by some of the most respected actors in undercurrent. Sanborn, on the other Predator and Back to the Future get British theater, including the late John Gielgud, Kenneth hand, gets to riff away with similar treatment. —Jason Comerford Branagh, Diana Rigg, Sian Phillips and Richard the Murtaugh cues (“Roger”), and the Attenborough. For Kamen, the album was an opportunity to finish a Shakespeare-related work he’d begun much ear-

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lier. “When I was a kid in high school I that have been written about my sym- started to write an opera based on phony and about the work I did with Othello, and a lot of it was good but the Metallica and in fact about some of my ‘Willow’ song I wrote was really killer,” film scores. But it’s not my business— Kamen recalls. “I said I had something the real truth is that people are walking that would work for that and then I up and down the street humming sever- wrote music for ‘Shall I Compare Thee al of my tunes, and that gives me more to a Summer’s Day’ and he [Rickman] pleasure than any review can. It’s not loved it and I took it to Bryan Ferry who important for a reviewer to do anything loved it, and he and I went into the stu- other than express their opinion of dio then and there. The rumors about someone’s work and if they like it to Bryan Ferry taking forever to make a encourage them to do more and make it record are false—I think I walked out of better. I think that concert halls are filled the studio an hour-and-half later with a with theoretical music and some of it finished master under my arm. And may be interesting and some of it may recently David Gilmore substituted for Bryan in a concert be valuable. But very little of it is memorable, and melody, I we held for this album when it was released near Valentine’s believe, is the core of music’s role in our lives.” Day at the Old Vic in London.” Kamen’s ability to straddle the disciplines of film com- or Kamen, the most rewarding work he’s done posing, pop music and the concert hall has kept him busy remains the Mr. Holland’s Opus Foundation, a char- for years, but it has also occasionally made him an easy tar- ity inspired by his work on the 1995 Richard get in the ongoing turf wars that make the classical concert Dreyfuss film. The charity provides money and community and film composers uneasy bedfellows. F assistance for low-income children who want to Kamen’s symphony The New Moon in the Old Moon’s Arms take up a musical instrument. “I never go a day without came under fire from concert hall critics even after being spending some time with the Mr. Holland’s Opus championed by conductor Leonard Slatkin. Kamen weath- Foundation,” Kamen says. “That’s won a number of awards ered the storm and acknowledges that reviews are some- this year for itself and for me, too. The best award is that thing a composer has to face. “I think I’ll quote a famous there are now thousands of kids playing musical instru- line of Eric Clapton’s that he said on the street when some- ments who wouldn’t be, without the Foundation. We’ve one asked him if it bothered him when people criticized raised and distributed over seven-and-a-half million dol- him,” Kamen says. “He said, ‘No, other people’s opinions of lars for schools across the country. And there are not many me are none of my business.’ I don’t like some of the reviews movies that can point to that as a result!” FSM

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The Fruit of Their Labor Jerry Goldsmith and Phil Alden Robinson discuss The Sum of All Fears

A Report from the SCL State of the Art Conference by Jeff Bond

erry Goldsmith doesn’t do interviews with need music.” Robinson also said he had no hesitation Film Score Monthly, but hey, the guy’s a pub- in going after Goldsmith for the project. “I don’t know lic figure, so when we got the chance to cover anybody who has the combination of the musical the SCL State of the Art Conference at the chops, a tremendous education and skill and talent Motion Picture Director’s Guild on June 1, at in composer gifts, [and] a real understanding of how which Goldsmith was appearing with Sum of music and pictures work together.” JAll Fears director Phil Alden Robinson, we jumped at the chance. Goldsmith and Robinson The Unexpected Choice were introduced by composer, author and musicolo- Robinson’s initial concepts for the Sum of All Fears gist Charles Bernstein, and the discussion was mod- score were somewhat counterintuitive. “I started by erated by no less than Jon Burlingame, author, jour- talking about what I didn’t want, which was that I did- nalist and the foremost authority on film and TV n’t want just another action score,” the director said. music in existence. “I wanted something that took a left-field approach If you’ve seen The Sum of All Fears, you know and came around some unexpected ways, and I Goldsmith fashioned one of his most chilling and thought that Jerry, because he’s so knowledgeable, resonant main-title cues in years for this film. It’s an SOUND AND VISION: could find ways to deliver the action and the tension operatic tune with lyrics sung in Latin, balanced Composer Jerry Goldsmith (above); without falling back on the things we hear in so many against disturbing orchestral textures, and it eventu- Director Phil Alden Robinson (below). action films.” ally takes on positively apocalyptic proportions. The request initially had Goldsmith flummoxed. “I What’s fascinating about the piece is that Goldsmith didn’t have a clue what he was talking about,” achieves a completely different sound than you’d Goldsmith admitted. “But without getting overly expect given the ingredients—this isn’t The Omen or sweet, the relationship between the director and the The Final Conflict, nor is it the Carmina Burana composer is the most important aspect of creating a workaround of the finale of First Knight, but some- score. You’re fortunate today, with all the technical thing new and remarkable. And amazingly, [advances], of being able to demonstrate at home Goldsmith also turns the melody into a pop song that what you have written to a director, and it gives us a actually works damn well—it’s something that makes chance to really work as a collaborative unit. Years you believe the composer could now knock out a ago the best I could do was play the theme on a pretty decent song. piano. The director will say, ‘Oh yeah, I love that,’ but Director Robinson showed great enthusiasm not he hasn’t got a clue what it’s eventually going to only for Goldsmith but for the medium of film music. sound like. We can now do a simulation of what the “I think it’s not an accident that films had music orchestra will sound like and synch it up to picture, before they had words,” he noted. “Silent films were and now I can sit at home with the picture right there accompanied by music before there was a need for and work together as a collaborative unit.” dialogue. I think moving images and music are made Goldsmith pointed out that it was Robinson who for each other. Often you cut a scene and you think it’s really not work- came up with the idea for the film’s unusual opening piece, and ing, and then you add music and you say, ‘Ah, music saved it.’ In fact, the Robinson added that his original approach to the film’s opening was scene wasn’t supposed to play without music. Movies just inherently quite different. “The scene is a prologue of the film and it’s got some

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action in it,” he said. “Neil Travis had been editing the film, and he cuts a comparative process—so I appreciate that, and I’ll ask a director to music as he cuts picture. He pulled some music I think from Crimson send me a cut of the film with a temp score. I got the idea of what Phil Tide, and he cut this opening sequence. It’s very good action music and was going for and I agreed quite wholeheartedly. And I thought that this it fits the scene very well; it’s got some tension and it’s got the exciting also accomplishes the ‘different’ aspect. Throughout the picture Phil stuff in it. We did our first temp dub on September 10, and we mixed the played a lot with the action in a more subdued way. One thing we kept first reel or two, and September 11 we kind of wandered on the mixing working [on] and talking about was avoiding the obvious, and no matter stage and realized we weren’t going to work that day, and we went home. how many years you work doing this you sometimes get pulled into a Coming to work the next day, the trap; Phil wanted to avoid the 12th, driving to , I was obvious. That’s what we set out thinking the music we picked for to do.” the opening, it’s very good action Goldsmith found himself music, but it felt wrong to me drawn to the choral aspects of that day. It felt wrong because an opening cue and asked the movie has more than mere Robinson about the idea of action; there’s a lot of subtext to making the opening music a the movie, it’s actually serious, kind of prayer for peace. “We’ll and I wanted to find some music have it sung in Hebrew, we’ll that would reflect that. I wanted have it sung in Arabic, we’ll have to announce at the beginning of it sung in English and we’ll have this film that this film didn’t get it sung in Latin. He didn’t know its jollies from violence; that it what the hell I was talking has something else in mind. I felt about. I called Paul Williams to especially after September 11 write the lyrics and he wrote that people did not mistake our what I thought was a really love- intentions, that this was not a ly lyric, a prayer, [but] it didn’t film that was going to celebrate quite work for me and it didn’t violence but that it was rather an work for Phil.” After being anti-war or an anti-violence informed that the initial lyric statement.” was a little too “on the nose,” Williams went back to work and Give and Take came up with a lyric that both Robinson next switched musi- director and composer liked. “It cal directions. “I had an album was interesting because I asked by a composer named Jonathan Paul to write the lyrics first. He’s Elias called Prayer Cycle, which used to working the other way was a wonderful album with around; as a student I would very unusual music that was a always want the poetry first and mix of and world then write the music. Paul actu- music and orchestral, and we ally gave me the first two verses, found a piece and put it against and I wrote the music to that, the picture that was kind of a and it was definitely a prayer Middle Eastern, mournful that he wrote. I wanted sort of prayer, and it was beautiful an ethnic feel to it. I pictured because it was such a juxtaposi- geographically quite a few tion of the images; it worked locales in the United States, in great, and that’s what we first the Middle East, in Russia, in played for Jerry.” Israel, in Vienna, so it’s all over Goldsmith was impressed the place without being directly with the results. “It captured the on the nose. That’s the way I fact that there was a lot of emotion to this scene, that it wasn’t just an air- went with the music. At first I said I didn’t want it to be operatic, and of plane taking off with an atomic bomb and getting shot down; I thought course it wound up operatic. We were having trouble finding a woman to it was the harbinger of what this was going to mean, and also being more sing it; I didn’t want it operatic but it should have been operatic, and personal, the pilot being shot and his family and him dying, and to me that’s how it eventually turned out.” the shot of the desert afterward, there was something symbolic about that, dealing with the destruction of the earth by this atomic weapon. So Sing a Song to me this was all a tragic scene.” It was actually Goldsmith’s current orchestrator, Mark McKenzie, who Goldsmith noted that he goes against the prevailing notion among suggested that Goldsmith’s song might also work in a pop mode. “The

ARTWORK ©2002 PARAMOUNT PICTURES; SCL PHOTOS COURTESYmovie COSTA COMMUNICATIONS. music mavens that temp scores are the root of all evil. “I quite last thing I ever envisioned when I wrote the tune was a backbeat, for appreciate them,” he said. “In many cases it tells me what not to do or it God’s sakes,” Goldsmith said. “Then I mentioned it to Phil. I told it to gives me a point of reference with the director so I can ask if that’s what Paul and of course he loved the idea.” they really mean or are they trying to say something else. Music is so Once the operatic nature of the opening title piece became apparent, abstract that to verbalize about music is really impossible—so it’s always Goldsmith and Robinson had to find a soprano who could perform THE SUM OF ALL FEARS

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the title cue’s Latin lyrics. “I kept saying to liked and Phil liked and there was one big that—I hear the orchestra when I write, so the Phil that this was a major multimillion-dol- problem—you couldn’t use it anywhere in the orchestrator is really just saving me time and lar picture and we should go out and get picture! I was like, where can we use this? writing what I already put down. Arthur somebody to sing this thing,” Goldsmith Finally, in the last two scenes, I could use 16 Morton, my orchestrator for 25 years, used to said. “Finally, when the time came, the cho- bars of it and that was it. It works fine that way, say he just took the music from the green rus came in and we had to record them, so but it was a frustrating thing because I wanted paper and put it on the yellow paper. I’m sort just to cover our asses we had the chorus to use it and I couldn’t.” of difficult on orchestrators because if they record everything. We finally got this girl start to get creative on me I get sort of pissed from the L.A. Opera named Shauna Blake, The Tie That Binds off. I don’t need that. I’m not being arrogant and she’s one of the regulars there; she came Goldsmith has always talked about the need to about it, but I just have my own ideas about it; in and nailed it.” create a central piece of music—usually I’m not above taking some suggestions, but it’s Robinson even went beyond Goldsmith’s expressed as the main title for the picture— basically do it my way or else.” characterization of Blake’s success in cover- from which the bulk of his material for the Robinson noted the efficacy of having a ing the piece. “She had the headphones on score issues. “In every picture I have to have temp score in place and praised Goldsmith’s and she’s just singing to the track,” Robinson the material—I can’t write a score without approach to action music. “I had the benefit said. “She gets through the whole thing and themes or motifs or whatever it is,” he said. of a really good temp score,” he said. “It was it’s beautiful, and then she says, ‘If we do it “During the process of writing, some idea really well done so I could say that I really again, can I have the track playing in my would come of taking a theme off into a differ- liked this or that piece, and not to copy it, but headphones?’ She was just singing to clicks! ent direction or there’d be a variation and I this is the feeling I want and the texture that I It was unbelievable. It was her first time at a could develop that. But normally I sit down want. But as is the case with most temp big soundtrack session so she didn’t know with a thematic idea and develop it from there. scores, it works on the surface better than it she was supposed to hear the whole band. I visualize the entire picture in my mind and works below the surface, and what was excit- She was very sweet about it, you know: condense it into one sort of grand picture, and ing was to see Jerry’s music work in place of ‘Would it be okay…?’” as I’m trying to develop the thematic idea I that, because his music is very complex but it Goldsmith noted that he broke another rule have this image in my mind and I sit and try to does not advertise its complexity. It makes of his normal approach to scoring when he improvise to the picture as it goes by. It’s just sense when you hear it, but if you look at the created the title music for The Sum of All Fears. something over the years I’ve condensed to fill score on the page—I’ve never seen so many “The first thing I did was get this theme for the in with my mind, the visual picture in my time-signature changes; every measure it song for the opening,” he said. “I don’t normal- mind, and I write to that.” changes time. There’s tremendous disso- ly attack the opening first—I usually save the In response to Jon Burlingame’s question nances and all kinds of things going on, and main title for last after all the ideas have sort of about solidifying in addition to especially when you hear it with picture it germinated. With this I had written part of it, coming up with thematic material, Goldsmith makes perfect sense; it sounds perfectly logi- and I actually went on to write other stuff while argued that his orchestrations are part and cal, but it’s based on a lot of depth and layers.” he was still writing the lyrics for this. The parcel of his composing process. “I write for strange thing about this was that [in] this pic- the orchestra,” he said. “Part of the process of Reluctant Call to Action ture you ended up with a theme that I really writing for the orchestra is doing exactly Goldsmith himself argued that his reputa-

Wait, There Was More! The SCL State of the Art Conference

fter a year’s hiatus from the event, the Society of Composers and Lyricists returned to hold its day- long symposium entitled “Film & TV Music:A The State of the Art Conference 2002,” June 1, at the Directors Guild of America in Los Angeles. The day’s activities included a panel discussion “Ethics and the Business of Film Music,” featuring composer Shirley Walker and other industry execs; two director/composer panels, one with Jerry Goldsmith and Phil Alden Robinson (The Sum of All Fears), the other with Mark Isham and Frank Darabont (The Majestic); a songwriting session, paneled Fame Induction. The first six members inducted were George and Ira by Richard M. Sherman, and Glenn Slater; a demonstra- Gershwin, Bernard Herrmann, Erich Korngold, Henry Mancini and Max tion of techno film-scoring techniques by composer BT; and more. Steiner. The conference was topped off with an evening screening of Early in the evening, Elmer Bernstein hosted the First Annual Hall of The Great Escape. FSM

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tion for scoring action films is something He said, ‘Great! One less fight scene.’” piece at UCLA, and he had a stage full of guys that still haunts him. “I’m actually really Goldsmith noted that The Sum of All Fears with huge machines and that was his orches- good at small intimate pictures,” he said. “I contains just under an hour of score, less than tra. I asked him if there was any sound he just have trouble convincing people of that. is typical for current blockbusters but far more would consider not using, and he said, ‘Maybe Fortunately, in Sum of All Fears there was not than classics like Patton and Chinatown, the Hallelujah Chorus.’ I asked why and he that much action. In watching the picture which only featured around 30 minutes of said, ‘I just don’t like being told how to feel.’ I the other night, we got into the obviously music. “We tend to overscore our movies,” he really loved that, but I think the audience action parts and there’s not a hell of a lot of said. “[Not] until the late ’70s, when you got the today, the MTV generation, they don’t read as music in there. It works so well because Lucas and Spielberg films [and] the usual much as previous generations and they need a when the music did come in there it really became sort of wall to wall, but up until then, if little more cueing.” had a point. Things were blowing up and all I had 50 minutes of score in a picture, that was this stuff and you didn’t need music to add a lot. It seemed to me that the composer will Good Work the production value. It was loud enough. It’s wear his welcome out with the tremendous Goldsmith wrapped up by describing his rela- not like a Bruckheimer film where it starts at amount of noise that came after that, especial- tionship with Robinson as one of the most the main title and it goes to the end and it ly in an action picture where you’re just pound- rewarding he’s ever had with a director. “I got just becomes a part of the noise quotient of ing away. It may sound great on a recording excited about working with Phil not because the picture.” stage when you do it cue by cue, but when you everything went great—I’ve had enough expe- The director requested that Goldsmith cut put them all together it just becomes a barrage rience to know when things are going well and back on some of the planned action music in of sound that obliterates the emotional value when they’re not so good,” the composer said. The Sum of All Fears. “There’s a fight scene late of what we’re supposed to be doing. Today I “The worst thing I can do is try to fool myself. in the film where Ben Affleck gets in a really find it a rarity. The last two pictures I’ve done, We have to be honest with ourselves. It was so brutal fight with a bad guy,” Robinson recalled. like on The Last Castle, we were able to spot creative. I don’t say that because Phil said yes to “We had temped it with brutal fight music. I [the] movie according to my way of thinking— everything I wanted. I knew when to not push was home during the weekend flipping chan- sparsely.” it, too. When you work together a lot of it is per- nels and some James Bond movie came on— Robinson said he agreed with the choice, sonality and just connecting as two human it’s the one where at the end is but often had to accede to studio wishes for beings. In a lot of collaborations between com- fighting with a guy who has a metal claw on his more music. “We had a lot of scenes of tension posers you hear about this hate thing, like arm on a train. And there was no music in this unscored after the spotting sessions,” he said. Rodgers and Hammerstein hating each other. I fight scene; it was the greatest thing, for a “The studio came back to us and said that they can’t imagine anything like that in collaborat- James Bond movie of all things, this sort of didn’t think audiences today recognize tension ing with someone, because it becomes a love popcorn thriller, and they just played the as well as they could. As an experiment we affair. What closer bond is there than two peo- sound effects of the train and them slamming added some very subtle tension music to those ple working together on a creative level?” FSM each other—I thought that was really cool. scenes and the studio liked it, and it basically Jerry was in the middle of scoring this reel, and told us that they need the cue and some of FSM wishes to thank the Society of Composers I approached him sort of very gently and said, them need to be told what to feel. I met John and Lyricists, Ray Costa and Jon Burlingame ‘How would you feel about not scoring this?’ Cage years ago [while] he was preparing a for their assistance with this article.

STATESMEN OF THE ART: Elmer Bernstein hosts wax off" technique from KARATE KID (opposite, film editors (left to right) Ralph E. Winters, Donn the induction of the first six SCL Hall of Fame right); Fresh from the "Film Editors and Their Cambern and Alan Heim. Composer BT (above) members (opposite, left); Director Frank Favorite Scores" panel, moderator Charles demos the latest in technology with his creative Darabont explains to Mark Isham the "wax on, Bernstein (this page, left) poses with veteran cut-paste-and-process compositions.

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fying traits that films should show if they are to be consid- rom 1940 to 1960, the Hollywood ered noir. Visually, for instance, the movies should look dark, claustrophobic and menacing. Symbolic motifs—like dream factory churned out hundreds cell bars, venetian blinds, brick walls, closed windows, mir- rors and spiral staircases—should occupy the settings, of nightmarish stories critics now which tend to be wet streets, dark alleys and narrow rooms. To augment a sense of chaos, the movies’ narratives are call film noir. The precise meaning of often labyrinthine, and flashbacks (Double Indemnity, The Postman Always Rings Twice), unreliable narrators (Laura) this label, however, remains unclear. and skewed time frames (The Killing) appear regularly. F These technical and stylistic breaks from conventional Writer-director Paul Schrader explains, filmmaking practices enable film noir to present grotesque interpretations of our world, our beliefs and our actions. “Since film noir is defined by tone rather Because of this, film noir ranks as an expressionistic art form. That is, the movies’ building blocks (motifs, lighting, than genre, it is almost impossible to argue shooting angles, mise-en-scène and so forth) interact in ways that enable audiences to conjure up, experience and one critic’s descriptive definition against eventually release unpleasant emotions. Thus successful noirs, despite their pessimistic points of view, prove to be another’s.” Despite this slipperiness, or psychologically satisfying. Not all films noirs are equally expressionistic, however. because of it, dozens of books and articles For instance, The Maltese Falcon presents an interpretation of this world that seems light compared to the tragic one have been written, focusing largely on the offered by Touch of Evil. This lack of emotional force results, in part, because of John Huston’s tendency to shoot from a way noir looks and what it means. Very few, medium-angle with a frequently stable camera. And though high-contrast lighting occasionally appears, it never however, discuss how noir sounds. seems garish or scary. This is not to say that Falcon is not The Sound of MURDER BY STEPHEN B. ARMSTRONG Music in Film Noir

noir, though; dark themes—betrayal, greed and sexual What Is Film Noir? obsession—seep through every scene. Yet the film con- In the months following the liberation of France from the cludes with a restoration of order and the delivery of justice. Nazis, American movies once again flickered in ’ movie Welles’ Touch of Evil, on the other hand, screams and houses. During this period, a critic named Nino Frank throbs like a riot. The camera careens back and forth, seiz- noticed that many of the films—including The Maltese ing on depravity and violence in every shot. Drug addicts, Falcon, Laura and Double Indemnity—pulsed with a new thugs and killers hide in dark places, waiting for victims to and intense sort of anxiety. These “criminal adventures,” as walk by. And Henry Mancini’s score—a mix of rock and roll, he called them, eschewed the optimism celebrated by sleazy jazz and whorehouse piano—slugs at the audience Hollywood before the Second World War. Now there like a fist. The world we find here, a reflection of our own, seemed to be a grim interest in showing “gross cruelties bleeds. which actually exist.” This interest in failure, death and alienation, he said, was a thing of darkness. He called it noir—the French word for “black.” What Does Film Noir Sound Like? In the years since the publication of Frank’s observations, Too often, unfortunately, the scores in film noir fail to cor- critics have shifted their attention from film noir’s themes to respond with and complement the movies’ other elements. the ways in which the films convey these themes. This While the cutting, dialogue, lighting and shooting convey analysis of the noir style has yielded several general, identi- the noir taste for doom, scores often sound bland, orna-

JULY 2002 24 FILM SCORE MONTHLY v7n05 issue 7/5/02 2:21 PM Page 25 ORSON COURTESY WELLES IMAGE PHOTOFEST

DARK PASSAGES: Memorable noir compositions include (clockwise from top left) TOUCH OF EVIL (1958, Henry Mancini); THE KILLERS (1946, Miklós Rózsa); THE THIRD MAN (1949, Anton Karas); THE MALTESE FALCON (1941, ); DOUBLE INDEMNITY (1944, Rózsa); and LAURA (1944, David Raksin).

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mental and optimistic. This mismatch fre- quently degrades the films’ emotional force. A simple explanation for this phenomenon Out of the Past doesn’t exist. We can begin to understand it, John Williams Dives Into a Future Noir however, if we consider author Dale Ewing’s 1 these pictures), Minority Report, in a way, remark: “Although films noirs were supposed Minority Report ★★★★ /2 to be more nihilistic than the usual Hollywood JOHN WILLIAMS represents the first truly adult thriller films, they were still Hollywood films.” Because Dreamworks 0044-50385-2 Williams has written music for since the late of this, the films often adhered to the conserva- 16 tracks – 73:55 ’70s. It’s no coincidence that the composer’s tive wishes of studio chiefs like Harry Cohn and classic score to Spielberg’s lurks in Jack Warner. And since composers sat low on alling in the inevitable shadow many of the nooks and crannies of the studio totem poles in the ’40s and ’50s, unlike of ’s , Minority Report score: not in any thematic some directors and screenwriters, they lacked Steven Spielberg’s Minority sense (there are no shark-building fugues or the freedom to innovate. “With their hands Report is a high-tech “future chopping suspense themes) but in the tied,” explains author Irwin Bazelon, “com- noir” from the fertile (albeit moody, brooding textures Williams brings to posers had to submit to the myth propagated disturbed) mind of late science- the score. Minority Report often sounds like by past Hollywood filmmakers that film music fiction author Philip K. Dick. something Williams might have written in his is only good and effective when nobody FThe movie posits a near-future (50 years pre-Star Wars ’70s or even ’60s period: It notices it....[Scores] were not meant to be lis- hence) Washington, D.C., in which murder has has that grittier, smaller sound to it at the tened to as music by the audience, but only to been all but eliminated by an organization same time that it’s able to support the sleek breathe musically across the screen as an aid called Pre-Crime, which uses three psychics special effects and movie-making technology and comfort to the muted picture, softly rock- (called PreCogs) to predict murders before of the new millennium. ing the cradle in the darkness of the theater they happen so that Pre-Crime cops can through quiet interludes, violent action or inti- arrest the potential perpetrators and prevent Tracking down mate moments. This resulted in a fallacious the killings. Tom Cruise is the leading player The first track (“Minority Report”) on the premise: The audience should not be aware of in Pre-Crime, a zealot whose utter faith in Dreamworks CD is actually an end-title suite, the music in films. The screen represented the system is driven by the disappearance of but it presents most of the important materi- drama, action and dialogue; music was merely his son, which he believes could have been al from the score: a haunting theme associat- a subordinate detail—a window dressing.” prevented by Pre-Crime. ed with Cruise’s John Anderton character It was Max Steiner’s soaring, wall-to-wall Dick’s work was unremit- and the loss of his son; a score for Gone With the Wind that served as the tingly bleak, and having the churning, adventuresome eternally sunny Spielberg “Pre-Crime” motif that is interpret it immediately con- Williams’ version of a jures up comparisons to Herrmann/North by Spielberg’s maligned but res- Northwest fandango; a onant collaboration with the rattling, aggressive brass industry’s commercial and creative standard late Stanley Kubrick on A.I. and string motif for the during this period. Since dozens of composers Minority Report is both more movie’s showstopping copied it, Steiner’s Romantic, symphonic style palatable and fun, and yet “Spyder” sequence; and a infiltrated hundreds of movies, regardless of somehow less satisfying and soothing, reflective and their genres and thematic objectives. Bazelon haunting than A.I. Spielberg ultimately gorgeous explains: “Music was used to cover and hurtles down some of the resolving melody that’s accompany everything: battles, hurricanes, darkest alleys in his entire film oeuvre here, even richer than Williams’ popular “Across earthquakes, catastrophes and sheer noise but he can’t resist tweaking Dick’s vision to the Stars” love theme from Attack of the were buried under an avalanche of musical include possibilities of redemption and rebirth Clones. Track 2 (“Can You See”) combines sonority. Over, below and through dialogue; that the author would have rejected. But for the actual main title of the film, a kaleido- nothing could stop it. Amidst the symphonic three quarters of its running length, Minority scope of atonal effects that accompany the bombardment, the power of music to trigger Report is dazzling, stunningly topical and PreCogs’ visions of a murder of passion, and emotions was rendered impotent. Its total sat- sometimes profound in its vision of the colli- a much later sequence in the film. uration eliminated contrast, clouded ideas, sion between predestination and free will. Williams never goes as far as a noirish reduced musical delineation to amorphous Just as Spielberg channels the language of gumshoe theme for brass (a temptation even background sounds and completely negated film noir in this futuristic thriller, John Blade Runner’s Vangelis couldn’t resist); the the placement of music in the proper dra- Williams also looks backward for one of the noir aspects of the Minority Report score lie in maturgical context. But this backwash of meatiest and most interesting scores he’s the composer’s full-fledged embrace of dark, sound and neutralization of musical compo- done in years. Williams has already taken a psychological scoring. It’s interesting how nents was exactly the kind of scoring that was little flack from some quarters for not writing Williams threw himself back into this mode expected. The audience heard the music with- “futuristic” music for this movie, but what first for Attack of the Clones, scoring Anakin’s out being distracted by its presence.” Minority Report in fact represents is a brac- violent reaction to his mother’s death-by- Ironically, many of the most visionary noir ing return to the past for Williams. Given that Sandperson with a vicious undertow of string directors approved of and made use of this the Indiana Jones, Jurassic Park and Star writing. George Lucas’ ultimately kid-friendly style. Consider John Huston’s remarks about Wars series of the past two decades have all interpretation of the results of this scene pre- Adolphe Deutsch’s score for The Maltese been more or less geared toward children vented Williams from fully exploring the tech- Falcon: “As with good cutting, the audience and teenagers (an aspect strongly reflected nique, but in Minority Report the payoff is is not as a rule supposed to be conscious of in Williams’ bright and tuneful scores for quite different—in “Leo Crow…The the music.

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Confrontation,” Anderton faces down the man derfully propulsive cue that somehow com- ture brooding, quietly sinister underscoring he believes is responsible for the death of his bines all the best elements of Williams’ old for hesitantly rolling double bass lines and son, and as a stopwatch ticks down the sec- TV show themes into one nearly brass counterpoint that could accompany any onds to when the PreCogs have predicted he seven-minute, show-stopping scherzo. dialogue scene in the old Lost in Space show. will commit murder, the future cop must decide Williams’ basic action riff follows the bouncy, whether to fulfill his destiny and seek revenge unpredictable pattern of his old theme to The No Sellout or take control of his fate. Williams creates a Time Tunnel, while later brass exclamations At almost 74 minutes, the Minority Report CD soundscape of incredible, cascading violence, harken back (much like segments of Attack of is a feast. Most of the cues are lengthy, aver- seemingly dancing around the wild, coruscating the Clones) to his old Lost in Space scores. aging three or four minutes and often stretch- string writing that precedes the hammering Williams’ Irwin Allen TV scores are often ing to six or seven, allowing Williams’ music to brass finale of Holst's The Planets—in effect dismissed, but they are important keys to his develop and engulf the listener. The presenta- allowing Mars, the human thirst for vengeance, style, and it’s no surprise that Williams is tion is not complete, nor is it chronological— to rage without allowing him to sound the final returning to these gestures during this newly but in this case it represents the a great trumpets of war. explosive period of his output. William showcase of the score. Attack of the Clones Shatner once said it was impossible to hide satisfied just about everyone with its love Allen-esque Action one’s own personality while acting in series theme, but many found the rest of Williams’ Minority Report’s two signature action television; the fatigue factor induced by the score uninspiring; hopefully, Minority Report sequences show Williams at both his most industry’s backbreaking schedules ultimately will leave no one unsatisfied. This score has forward-thinking and his most retro. In prevents anything from being projected but everything: heroic action, dense atmospheric “Everybody Runs!” Anderton finds the tech- an actor’s—or composer’s—core personality. and psychological writing, cheeky comedy (as nology of the future working against him after Both Williams and Jerry Goldsmith got start- in the Lex Luthor-ish “Eye-Dentiscan”) and

he is fingered for a future murder. Riding an ed in television and laid down much of the melodic moments (as in the ghostly, hollow automated, private “mag-lev” car on a con- basic elements of their individual styles there; grief of “Sean and Lara,” “Sean’s Theme” and trolled freeway, Anderton is trapped when the Williams applied these techniques to later “‘Sean’ by Agatha”) that rival Williams’ car reverses direction and begins taking him efforts like his disaster epics and Star Wars incredibly moving thematic material from A.I. back to Pre-Crime for arrest. Williams takes before the popularity of the Lucas film and its And while Spielberg’s redemptive denoue- his characteristic tight, urgent string writing music led to ongoing pressure for Williams to ment may rankle fans of Philip K. Dick, it and accelerates it (even dropping for a “be Williams”—in actuality, to be Korngold, allows Williams to add a romantic sweep to moment back into an echo of the Helicopter Copland, Holst and other composers whose the album’s finale that no one would expect Rescue opening from his 1978 Superman music he paid homage to in scores like Star from a future-noir thriller score. It’s fabulous score.) It vibrates like an overloaded live wire Wars and Superman. Meanwhile, Williams’ stuff and an indication not only that Williams as Anderton rides the car down a vertical concert works still often bear more of the sig- is still capable of operating at peak levels, but causeway and begins leaping from car to car— nature of his television work in their textures that we’re in a surprisingly rewarding summer ARTWORK ©2002 20TH CENTURY LLC FOX/DREAMWORKS it’s a brilliant sequence that’s like a Syd Mead and mood. Minority Report doesn’t just refer- movie season for film scoring. painting come to life. The real action music ence the Irwin Allen days in its action cues: —Jeff Bond highlight is “Anderton’s Great Escape,” a won- “Visions of Anne Lively” and other cues fea- MINORITY REPORT

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Rejecting Romanticism tone. But, as I said, in my symphonic music you music that we hated. It was more difficult to do will find a lot of it that is very strong, very when I scored a gooey love story, you know; and I Rózsa on scoring film noir gloomy partly, very dissonant partly. I found that had to write a gooey theme, which I didn’t partic- with the film noir I could go back ularly like but I was paid for it. to my earlier self. So I could Robert Porfirio: We talked a little about style, write my own music. I didn’t RP: So the dissonance and the bitter out- that film noir is at least partially defined by have to go into pure look of the film noir worked together. You visual style as well as content, often with Romanticism. Noir music is more could use Germanic traditions without Expressionistic traditions, that visual style asso- modern than Romantic music. becoming too schmaltzy. ciated with the German period from 1917 to 1925. Is there a musical equivalent of that noir RP: By modern Romanticism, MR: You could say that, yes. I would use visual style? you mean of music like that of the term contemporary sound, rather, Erich Korngold? because contemporary sound is entirely Miklós Rózsa: Well, Romanticism wouldn’t be a different from Romantic sound. corollary to German Expressionism. But MR: Yes, yes. You know, the flow- Excerpted from interview by Robert Porfirio with Romanticism runs deeply, is an undercurrent to ing melodies and hearts and flowers and so forth Miklós Rózsa: FILM NOIR READER 3, ed. Porfirio, Silver & all modern music, to Impressionism and Twelve- for which he was famous? It was the kind of Ursini, 2002.

(continued on page 28) tries to save the drowned boy’s life, the movie’s Ideally, it speaks directly to our emotions without our exuberant marching theme ceases. Somber awareness of it.” Hitchcock (whose noir films include music intercedes, a blend of ghost voices and Shadow of a Doubt and The Wrong Man) argues similarly: percussive rhythms. Hovering in the room, “Film music and cutting have a great deal in common. above the peasants’ sad faces, the music sug- The purpose of both is to create the tempo and mood of gests that death is tragic—and sweet. This the scene. And, just as the ideal cutting is the kind you expressionistic juxtaposition enables an extraor- don’t notice as cutting, so with music.” dinarily pure kind of bleakness to emerge from The importance and ubiquity of Max Steiner’s influence the screen. during this period can’t be overestimated. Other com- likewise hits and misses in posers who worked on noir projects—David Raksin, his famous score for D.O.A. The film, an Alfred Newman, Deutsch, Bernard Herrmann—adopted extended flashback, features a sequence in the wall-to-wall, classical sound, inundating their films which the main character, Frank Bigelow, visits a with sweeping melodies and martial rhythms. Steiner San Francisco nightclub. There, a musician himself scored several important noirs, including two of named the Fisherman and his big band bang out the most famous: Key Largo and The Treasure of the Sierra Dixieland as Bigelow drinks a poisoned cocktail. Madre. In both of these films, regrettably, the music rarely Robert Porfirio argues that in this passage the stops; instead, it hammers at the films with trembling film’s “expressionistic influence...is most pro- strings, whirling winds, stock melodies and mickey- nounced. The Dantesque proportions mark it mousing accompaniments, or what Bazelon calls “highly immediately as the nodal point between the illustrative music [that echoes] the action and mood of the mundane tone of the earlier part of the flashback film, [translating] into musical terms the very movements and the macabre tenor of what is to follow.” He depicted on the screen—sometimes in precise synchro- adds that jazz, “with its sources in the black nization. This redundancy—the viewer already sees the American demimonde and its unfortunate asso- action unfolding before him—acts as a distraction, ampli- ciation with brothels, speak-easies and ‘dope,’ fying its own musical shortcomings.” Thus the doomed lend[s] itself to a sensational popular image that Seminoles in Largo have a in turn reinforce[s] its association with sex, vio- chanting Indian sound lence and death.” Yet the score is marred by If You Want to Know More fluttering around them as Tiomkin’s frequent retreat to the wall-of-strings they row their boat. sound. Carl Macek complains, “The noir vision DEATH ON THE CHEAP: THE LOST B Similarly, in Sierra Madre, remains solid through the film except for the MOVIES OF FILM NOIR, as the strangely humorous quality provided by Dimitri by Arthur Lyons. old prospector Howard Tiomkin’s music. His intent in offering silly musi- FILM NOIR: AN ENCYCLOPEDIC scrambles up the wasted cal reinforcements to Bigelow’s wolfish woman- REFERENCE TO THE AMERICAN STYLE, foothills, leading his com- izing combined with a pretentious score works ed. Alain Silver and Elizabeth Ward. panions closer to vio- to vitiate the chaotic atmosphere created in the THE NOIR STYLE, by Alain Silver lence, a playful melody— jazz sequence.” and James Ursini. with no sense of FILM NOIR READERS, 1, 2 & 3, irony—nips at his heels. Making the Music Work ed. Robert Porfirio, Silver & Ursini. But the music of Steiner From these breaks in traditional scoring, we can MURDER IS MY BEAT, Rhino Records—CD and his followers some- begin to understand why expressionistic with music and dialogue from films times works, weaving scores—like The Third Man, Touch of Evil and like White Heat, expressionistic strange- Night and the City—work as well as they do. The Maltese Falcon and ness into the soundtracks. D.O.A., for instance, demonstrates that even Mildred Pierce. In Sierra Madre, for though “classical” music surfaces frequently in instance, when Howard film noirs, other types work as well. Indeed,

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jazz—with its non-linear patterns and women whose sweet surfaces and rich associative potential— hide morally challenged cores. Ten Composers, Ten Noirs helps evoke dark moods efficiently. Without question, Bernstein’s score An Objective Correlative Elmer Bernstein, SUDDEN FEAR for Sweet Smell of Success proves this In expressionist art, writes Norbert Adolph Deutsch, HIGH SIERRA claim. Yet, as we look at and listen to Lynton, “rottenness becomes bla- Frank DeVol, other successful noirs, we should tant.” The best examples of film noir Bernard Herrmann, CAPE FEAR realize that jazz is not the one, best achieve this effect, and, in so doing, David Raksin, FORCE OF EVIL sound for the films; any music type, they arouse unpleasant emotions, Miklós Rózsa, BRUTE FORCE in fact, will do. When the cars in which we experience without threat Max Steiner, THE BIG SLEEP Touch of Evil descend upon the or injury. Lloyd Shearer writes, Dimitri Tiomkin, STRANGERS ON A TRAIN motel, for example, Mancini’s rock “Hollywood says the moviegoer is get- Franz Waxman, SUNSET BOULEVARD and roll sounds hostile, hopped up ting this type of story because he likes Roy Webb, OUT OF THE PAST and menacing—like the gang mem- it, and psychologists explain that he ber drivers. It violates the desert’s likes it because it serves as a violent escape in tune with the violence of silence and tranquility, warning the , a cathartic for pent up emotions. Moreover, the psycholo- viewers of the danger that faces Mrs. gists aver, each one of us at some time or other has secretly or subcon- Vargas as she tries to sleep. In The sciously planned to murder a person we dislike. Through these hard- Third Man, after the taxi driver boiled crime adventures we vicariously enjoy the thrills of doing our hijacks Holly and rushes him enemies in, getting rid of our wives or husbands and making off with through the night streets of Vienna, the insurance money.” Anton Karas’ zither (a Greek folk Films that fail to arouse emotions bore audiences, but audiences are instrument) coils and tenses, like a angered by films that arouse emotions and don’t relieve them. Music, rattlesnake, augmenting Holly’s as one of cinema’s central elements, plays a critical role in these manip- anxiety, as well as ours. Hard-and- ulations of emotions, and when it fails to match its visual counterpart, fast rules for pitch and pace don’t the effect is like fish sauce on ice cream: mutual ruin. “The only way of seem to exist in effective noir scores; expressing emotion in the form of art,” T.S. Eliot has commented, “is by the music can be slow and melan- finding an ‘objective correlative,’ in other words, a set of objects, a situ- choly, like the brokenhearted ation, a chain of events which shall be the formula of the particular pianola in Touch of Evil, or shrill and emotion; such that when the external facts, which must terminate in frenetic, like the noise Waxman sensory experience, are given, the emotion is immediately evoked.” hurls at Harry Fabian in the last Too many film noirs suffer from clammy scoring, and despite the minutes of Night and the City. As malevolence of their plots, the brilliance of their actors and the sever- long as the score arouses anxiety, ity of their camera angles, they never achieve the sound and fury they fear and suspense, it works. reach for. The type of music and the man- Nonetheless, in this grab-bag grouping of criminal adventures, there ner in which it is played matter far are moments of cinematic perfection when sound fuses with sight: the less than how the music is used. singing voices of the dead in Sierra Madre, the moaning brothel Successful noir scores force them- pianola in Touch of Evil; the death march that opens Double Indemnity. selves into our ears, commenting To cop a Shakespearean line from The Maltese Falcon, these are the upon, complementing and con- stuff dreams are made of. FSM trasting with the films’ events, themes and motifs—a direct attack Stephen B. Armstrong is a doctoral student in the Creative Writing program at Florida State on the window-dressing paradigm. University. He wishes to thank Alain Silver for his kind assistance. For music to function this way, it doesn’t have to be non-diegetic. Quite often, in fact, it enhances the Bibliography sets’ seedy atmospheres as it pours Bazelon, Irwin. KNOWING THE SCORE. New York: Van Nostrand Reinhold, 1975. out of radios (Touch of Evil), phono- Eliot, T.S. “Hamlet.” In Selected Prose. London: Penguin, 1953. graphs (Laura), burlesque bands Ewing, Dale E., Jr. “Film Noir: Style and Content.” In FILM NOIR READER 2, ed. Alain Silver and (The Third Man), and torch singers James Ursini. New York: Limelight, 1999. (Key Largo). This “real” music will Frank, Nino. “A New Kind of Police Drama: the Criminal Adventure,” trans. Alain Silver. In often round out the films’ themes. FILM NOIR READER 2, ed. Silver and Ursini. New York: Limelight, 1999. Robert Porfirio, for example, notes Hitchcock, Alfred. “On Music in Films.” In HITCHCOCK ON HITCHCOCK, ed. Sidney Gottlieb. Los that in D.O.A. Bigelow “recalls a Angeles: University of California Press, 1995. ‘blurred’ variation of [a jazz club] Huston, John. AN OPEN BOOK. New York: Ballantine, 1980. tune, [which] becomes an index to Lynton, Norbert. THE STORY OF MODERN ART. New York: Phaidon, 1997. the perverse nature of the whole Macek, Carl. “D.O.A.” In FILM NOIR: AN ENCYCLOPEDIC REFERENCE TO THE AMERICAN STYLE, ed. Alain world.” We’re exposed to this index Silver and Elizabeth Ward. 3d ed. New York: Overlook Press, 1992. again in Laura. When Carpenter Schrader, Paul. “Notes on Film Noir.” In FILM NOIR READER, ed. Silver and Ursini. New York: hears the film’s theme playing on a Limelight, 1999. record player, he says, “It was one of Silver, Alain. “Introduction.” in FILM NOIR READER, ed. Silver and Ursini. New York: Limelight, Laura’s favorites. Not exactly classi- 1999. cal...but sweet.” The same can be Tyler, Lloyd. “Crime Certainly Pays on the Screen.” In FILM NOIR READER 2, ed. Silver and said of the movie’s characters, men Ursini. New York: Limelight, 1999.

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REVIEWS BEST ★★★★★ REALLY GOOD ★★★★ OF CURRENT AVERAGE ★★★ RELEASES WEAK ★★ ON CD WORST ★ SCORE RATINGS Windtalkers ★★★ American chanting and instru- from recent years, from Mercury Actually, the movie isn’t too JAMES HORNER mentation (not unlike Rising to Swept From the Sea. He bad. Cheesy, sure—but what can RCA-Victor 09026-63867-2 Thunderheart) in “An Act of introduces a couple of related one expect from the ninth sequel 11 tracks - 66:55 Heroism” adds nobility and wel- motives, repeats them often, sel- to the original 1980 fright-fest score to any new John Woo come ethnic color, and is devel- dom varies the tempo, gives us a Friday the 13th? Harry A movie conjures images of oped further in “First Blood few subtle variations, a piano solo Manfredini’s atonal strings-and- bombastic Media Ventures action Ceremony” and the finale, “Calling version of the main theme and, by brass stylings have consistently cues. However, with James the Wind.” The action cues “Taking the end, creates a coherent musical been one of the highlights of this Horner’s name on this project, the Beachhead,” “Friends in War” vision that effectively pulls the film perpetual series, and it’s no sur- there was at least the prospect of and “Marine Assault” feature driv- together. Unfortunately, this makes prise to find him once again something different from MI:2 or ing percussion and furious strings, for a repetitive listen apart from wielding his virtual baton for Face/Off—even if it was likely to the latter a dissonant variation/ the film. Jason X (“virtual,” because, as feature the composer’s character- restatement of the main theme. That said, Enigma has every- with his score for the 1993 opus istic recycling of his favorite riffs. While it’s no Iris, there’s a greater thing you ’d expect from later Barry Jason Goes to Hell, the com- Of course, the movie’s delay post- diversity of material here than in plus a couple of 1940s source cues. poser’s work for this latest entry Sept. 11th hasn’t helped matters, the Oscar-nominated A Beautiful The sound is rich and full, played is entirely synthesized). giving this soundtrack an almost Mind and, thankfully, no attempt by the Royal Concertgebouw Manfredini has again chosen legendary status among Horner- to tie in the obligatory Will Orchestra under Barry’s baton. the interesting (and occasionally ites. The fans have been salivating Jennings song. Rousing, big There aren’t any standout passages thankless) route of synthetically or, alternately, re-creating an orchestral sound, areas distinctly which, to a great extent, was a lacking in appeal. foregone conclusion—the time- It’s all perfectly lis- worn suspense motifs upon tenable, perfectly which the series relies were origi- competent and nally performed by a (coinciden- perfectly average. tally) 13-piece orchestra. The If you don’t have new score contains countless ref- many of Barry’s erences to these motifs, and later soundtracks, these retro moments are uni- this might be a formly excellent, with accurate good one to add instrumental voices perfectly at the prospect of its release for orchestral music that isn’t afraid to to your collection. But there’s no replicating the minimalist sound far too long, so while it’s no sur- plunder previous victories in its reason to go out of your way for of the original cues. The finest prise that this isn’t actually Mr. bid to win the war, the Windtalkers this disc if you’ve already got repre- example of this is “Virtual Crystal Horner’s opus, there’s still disap- score is actually better than many sentatives of this era. Lake,” written for a clever pointment that it’s little more recent Horner efforts, but take that A careful look at the credits sequence in which Jason is dis- than perfunctory. as the faint praise it is. —Nick Joy identifies Lorne Michaels and tracted by a VR version of his old As a whole, imagine a muted Mick Jagger as producers of the stomping grounds, replete with Enemy at the Gates, pumped-up Enigma ★★★ film. Much like Barry, they’re no virtual victims. Needless to say, with occasional brassy flourishes JOHN BARRY longer true innovators, but they the famous “ki-ki-ki...ma-ma- and Native American chanting. I’ll Decca 289 467 864-2 • 22 tracks - 57:01 continue to put out perfectly ma” vocal effect also appears avoid making comparisons to the ohn Barry is seemingly acceptable, if unremarkable, work. throughout. composer’s back catalog (Apollo J entrenched in a distinctive —Neil Shurley Of interest are the “non-hor- 13, Aliens, Titanic and A Perfect writing style that fits him quite Jason X ★★★ ror” bits, as the “Jason in space” Storm being the greatest culprits!) comfortably but nowadays HARRY MANFREDINI plotline offers the opportunity and instead highlight the strongest seems to work in fewer and fewer Varèse Sarabande 302 066 355 2 for new thematic material; it’s tracks. “Navajo Dawn” is a low-key films. Directors tend to seek 18 tracks - 68:46 here that Manfredini’s work introduction to the album, with Barry out when they’re looking rapped in video-shelf limbo manages to hit both ends of the regimental military undercurrents for an old-fashioned approach to Tfor nine years, venerable spectrum. Certain cues are out- (à la Private Ryan, Band of scoring. There’s undoubtedly a cinematic slasher Jason Voorhees standing, in particular “Nano Ant Brothers) that build up to trumpet sense of comfort involved. When is back for more—only this time, Technology,” a wonderfully ethe- flourishes and timpani rolls. The you hire John Barry, you know the unstoppable killer finds him- real piece with ascending/ piece then moves into glissandi what you’re going to get—or at self aboard the starship Grendel, descending steel guitar and strings before revealing the heroic least you should. in the year 2455 A.D. And—sur- breathy synth ornamentation. Copland-esque main theme that Enigma represents another of prise!—the ship is populated by “KM Kicks Butt” is fun, with over- ripples across the whole album. Barry’s lyrical efforts, with the nubile teenagers just begging to driven guitar and rapid-fire bass The interpolation of Native usual similarities to his other works be offed. undercutting Jason’s ubiquitous,

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blaring brass, perfect for the die- Western sound. Silence creeps in, vein as Goldsmith’s “The the main motives of the score. hard maniac’s duel with a scantily and the Eastern musical themes Enterprise,” both echoing “Archer’s There are other great cues that clad female android. “The Trip to are first isolated, then integrated Theme,” a dignified paean to the include a little more overt action Grendel” is also a good listen, into the whole. wonderment of discovery. music (as in “Victory on the nicely setting the tone with just a The first shift can be heard on “Archer’s Theme” underscores the Beach”), but, overall, Bernstein hint of frivolity. the track titled “America”; here, the end credits, although its effect is a focuses on the main character’s The downside: A few cues thematic material takes a definite little diminished by the rock guitar internal struggle. (“Kinsa Kracks,” for instance) use turn, not only toward a more riffs, presumably added to bring it The biggest quibble here is that painfully phony synth voices. The Western style but a specifically closer to the opening theme. this is a woefully brief album. nadir is “Give Me That Old Time American one. There’s a distinct “Klingon Chase—Shotgunned” is Surely there was something else Machete,” which starts out stylistic resemblance to the open, an exciting action cue with obliga- that could have been coupled with promisingly, but lapses into some- direct sound that characterizes tory percussion as a motif for the this score in order to fill out the thing reminiscent of a Nintendo anthemic American songs. While Klingons. time. —Steven A. Kennedy MIDI soundtrack (though video none of the subsequent music Finally, don’t worry that Star games do figure into the plot at moves as strongly in this direction, Trek soundtrack specialists The Ballad of Cable Hogue one point). Other cues, such as it incorporates the earlier themes, GNP/Crescendo haven’t released (1970) ★★★ “All’s Well That Ends...Well?” are blending the two styles together. this disc—it was still issued under JERRY GOLDSMITH less jarring; on the whole, Jason X’s “The Wedding Night” is notable as the watchful eye of their front man Varèse Sarabande VCL 0502 1007 tongue-in-cheek take on futuristic well, not only for its tenderness, Neil Norman (he of the Cosmic 20 tracks - 36:32 adventure may be likened to which one might expect, but for its Orchestra). And because this is an am Peckinpah’s comedy/ Newman’s semi-satiric work for resemblance to classic movie love enhanced CD, you get to watch a Swestern, The Ballad of Cable Galaxy Quest. themes. It’s a nice touch and one video of Watson Manfredini’s done a decent job that lends the score a mythic feel. singing the for yet another whirl through the As the album progresses, the theme live at a F13 mythos; alternately corny silences become longer and more concert, and you and moody, it’s a perfect fit for poignant, until the music resolves have access to this movie. —Chris Stavrakis itself in the final track. This sense text bios of the of a score as a complete work in crew. Hopefully, 1 Green Dragon ★★★ /2 itself is fairly rare these days and this release will JEFF AND MYCHAEL DANNA all the more to be appreciated. be popular Varèse Sarabande 302 066 336 2 —Genevieve Williams enough to 16 tracks - 45:45 spawn a disc of 1 reen Dragon is one of those Enterprise ★★★ /2 suites from Velton (“Silent Hogue, features Jason Robards Gelegant, delicate films whose DENNIS MCCARTHY, VARIOUS Enemy”) Ray Bunch’s, David Bell’s and Stella Stevens along with the dramatic tension arises from con- Decca 289 470 999-2 • 15 tracks - 49:30 and Jay Chattaway’s Enterprise likes of Strother Martin and Slim strained emotion. Likewise, Jeff pon discovering that Jerry episodes. —N.J. Pickens. For the most part this is and Mychael Danna’s score is a UGoldsmith was not compos- a one-joke picture: Hogue cross- graceful, refined piece of work, all ing the title theme for the new Cast a Giant Shadow (1966) es the desert, discovers a natural 1 restraint and subtlety. Although show Enterprise, and that the pilot ★★★ /2 spring and gets the grand idea to the composers, who are brothers, “Broken Bow” was being scored by ELMER BERNSTEIN build a rest stop for other travel- are both veterans in the world of Dennis McCarthy, I assumed that Varèse Sarabande VCL 0502 1008 ers and stagecoaches. film composition, their collabora- McCarthy would be on the open- 12 tracks - 29:36 Goldsmith’s main-title song, tions are quite rare, and this score ing titles. I was wrong. In their infi- ast a Giant Shadow shows off “Tomorrow Is the Song I Sing,” for Green Dragon is a real treat. nite wisdom, Rick Berman and Co. CElmer Bernstein in his dra- performed by Richard Gillis, real- The film is a stranger-in-a- went for a cheesy ’80s-style pop matic, exuberant mode—not that ly shines, featuring offbeat string strange-land tale that follows the ballad by Diane Warren, sung with this is a place the composer does- pizzicati and strumming that lives of Vietnamese refugees in gravelly angst (very Rod Stewart, n’t often visit. But there’s actually a removes us from average western American camps in the mid-’70s. as opposed to Patrick) by opera lot more to this score than mere ballad accompaniment. These And it’s worth noting that the boy Russell Watson. Contrary to bombast. If you can imagine To techniques become magnified as movie itself is a collaboration what was suggested, the song has Kill a Mockingbird filtered through the album progresses. A lot of it’s between brothers Tony and not grown on me at all. After 26 the palette of , just pure fun, hinting at scores Timothy Linh Bui, derived at least episodes, it still grates, so let’s or maybe a few of ’s like The Wild Rovers. in part from their mother’s stories hope the show gets a makeover for war scores, you’ll be approaching A prominent feature of the of her arrival in the United States. season two (Andromeda and the beauty of the quieter, reflective underscore is Goldsmith’s incor- The music reflects this in its tenta- Farscape did something similar). If moments in Shadow. poration of the title song. tive, thoughtful explorations, you’re not convinced, listen to Standout cues include the It should be noted that a por- which begin with a few simple both the TV version of the song “Prologue,” which begins with an tion of the album is comprised of notes, before blossoming into and the full-length album version exciting trumpet solo before mov- Gillis’ music. His album credits soundscapes. Musically and that appears on this disc. However, ing into Copland territory and include “Wait for Me, Sunrise,” instrumentally, the composers with a bit of simple tracking you finally landing in the comfortable “Butterfly Mornin’s” (sung by look to Vietnam for inspiration, can concentrate on McCarthy’s style of ’60s underscore. “Fading Robards and Stevens) and a few and the earliest tracks evoke music, which amounts to nearly Dreams” is an interesting set piece orchestral cues. The Ballad of images of the refugees’ lost home- 45 minutes of underscore. that’s intimately scored with a Cable Hogue is probably not for land. As the score progresses, its “Enterprise First Flight” and variety of solo instruments playing the average film music fan, but tone and mood takes on a more “New Enterprise” are in the same a series of fragmented versions of Goldsmith completists will surely

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SCORE adventurous among you, the suggests that this score was one 2001 in a collection of Korngold’s album has a karaoke track for of the first in the 1960s “to work. The album focuses on four be pleased. [Peckinpah fans are the Ringo ballad! —S.A.K. employ a variety of jazz elements films: Captain Blood (1935), The also certain to enjoy Nick in a classical context.” Actually, and the Pauper (1937), The Redman’s excellent liner notes.] The Cincinnati Kid (1965) with the exception of “The Private Lives of Elizabeth and Unfortunately, as with Cast a ★★★★ Cincinnati Kid (Instrumental Essex (1939) and The Sea Hawk Giant Shadow, the brief running Version),” the songs tend to be (1940). time of this CD is a slight disap- Aleph 025 • 14 tracks - 59:09 either jazz or classical, but not The album opens up with The pointment. This reviewer wishes n 1997, Lalo Schifrin’s wife both. “Mr. Slade,” for example, is Sea Hawk, Korngold’s last swash- that two complementary scores Donna founded Aleph Records, a “pure” orchestral suite made up buckler movie, where the hero is were available to make both I a label that exclusively releases of strings, horns and piano; simi- played by Errol Flynn. It’s a albums more complete. —S.A.K. music composed and conducted larly, “At the Farm” juxtaposes thrilling uplifting score, full of by the Argentine maestro. The dark and light tones to create a pomp and self-confidence, which 100,000 Dollari per Ringo company’s latest product, a re- piercing, though beautiful, pas- has been a huge influence on 1 (1965) ★★ /2 recorded version of The torale that sounds European and today’s orchestral film composers. BRUNO NICOLAI Cincinnati Kid, is one of its best. not Southern. Frequently, in fact, Everyone from John Williams, GDM CD Club 7009 • 30 tracks - 72:01 Written for Norman Jewison’s it seems that Schifrin prefers to Danny Elfman and Patrick Doyle ere’s a score by Italian great film about a poker contest in New blend jazz and pop. “Melba,” for to Hans Zimmer owes some debt HBruno Nicolai for a film that Orleans, this jazz-heavy score instance, with its relaxed guitar to the sound of Erich Korngold. and piano, bears His huge fanfares, lush strings, more than a little driving timpani and sweeping resemblance to Stan melodies have inspired hundreds Getz’s 1963 bossa of adventure overtures. nova hit “The Girl The Private Lives of Elizabeth From Ipanema.” (It’s and Essex was Warner Bros.’ most worth noting that in important film of 1939—it was the early 1960s made in Technicolor and starred Schifrin wrote music Bette Davis in one of her most for Getz.) endearing roles. The main title is Artists always run a sustained, royal overture the risk of destroying designed to pull the audience into starred Richard Harrison. The makes frequent use of sounds and their work when they revise it. the mind of Queen Elizabeth. Her opening ballad, “Ringo Come to rhythms traditionally associated Fortunately, Schifrin tampers with theme, “Lady Penelope,” follows, Fight” is sung by Bobby Solo with the Deep South. On “The his creation judiciously, using dig- with a small string section creat- (obviously influenced by the great Cock Fight,” for instance, Schifrin ital technology and ace musicians ing a delicately poised sound. The ). As a song, it lies whips the banjo, the fiddle and to make 40-year-old material melody evokes a wistful yearning firmly within the style of other the harmonica together to create a sound shiny, if not exactly new. as Elizabeth slowly realizes her western ballads. The body of the surreal jig that swirls and jabs like On this recording, in other words, own love for Essex is never to be score is a wondrous mixture of the monstrous roosters it he plays a winning hand. returned. “Elizabeth the Queen” Copland-esque vistas with a describes. “New Orleans —Stephen Armstrong presents the human side of the deeper, almost Wagnerian sound. Procession,” in contrast, is slow aging monarch as she declares Nicolai writes music that is firmly and thick with mourning. A med- Previn Conducts Korngold: her love for Essex. planted in the Italian classical ley of sorts, this dirge starts with a The Sea Hawk ★★★★ Captain Blood was Korngold’s orchestral tradition even as it trumpet-soaked Dixieland march, first completely original score for extends into the Americana realm. then switches to a slow piano rag. Deutsche Grammophon 471 347-2 the screen. The overture (“Main At times, the repetitive In “The Man,” a sax and a bass 31 tracks - 67:59 Title”) presents a full-blown sym- sequencing of music is a bit slither around each other menac- lready long-established phonic treatment unheard in film wearing, but the overall power of ingly, evoking Lloyd Price’s Ainternationally as a com- music before. Giant brass pro- the music overcomes this. Plus, Nawlins murder ballad “Stagger poser of operas and symphonies, claim typical Korngoldian fan- the real value in this disc is the Lee” (as well as ’s 1962 Erich Wolfgang Korngold first fares, while the soaring string previously unreleased material, hit “The Stripper”). There’s also went to Hollywood in 1934 (at the melody takes the listener into the which tends to be more interest- the track that opens the album, invitation of fellow Austrian, vast atmospheres of both ship ing than the old stuff! The sound “The Cincinnati Kid,” which fea- director Max Reinhardt) to work and sea. But Korngold could be quality is indicative of the tures the silken voice of north on arrangements of extremely subtle as well. “Sold period, with dry brass and, at Florida native Ray Charles. The Mendelssohn’s music for Warner Into Slavery” presents unsettling times, cavernous percussion. lone remnant from the original Bros.’ A Midsummer Night’s harmonies under the main theme The larger and more dense the score, this song thunders along on Dream. It was to be the start of a and employs haunting orchestra- orchestral texture, the drier the syncopated strings, bursting long, happy relationship Korngold tions. sound. This is not to fault horns and brilliant lyrics. As was to have with Hollywood, as Previn conducts the LSO with GDM—they’ve done a fabulous Douglas Payne explains in the he created film music that he accustomed poise, power and job of remastering. The booklet, liner notes, “Schifrin opted not to described as “opera without grace. This collection is a grand, however, leaves much to be re-record this theme since Ray singing.” Deutsche Grammophon sumptuous, lush orchestral his- desired—there’s no musical Charles and his performance here got André Previn to conduct the tory lesson on one of Hollywood’s information or much else, for are ‘truly irreplaceable.’” London Symphony Orchestra at musical founding fathers. that matter. Finally, for the In the same booklet, Payne Abbey Road Studios during July of —Simon Duff

JULY 2002 32 FILM SCORE MONTHLY v7n05 issue 7/5/02 3:23 PM Page 33

The Science Fiction Album effects. However, that was 1978, breaking, but let’s hope this is rec- ished nun, the film frustrates the ★★ 1/ and this new collection just isn’t ognized as Thomas’ breakthrough audience as Costner’s character WILLIAMS, GOLDSMITH, BARRY, ET AL. postmodern or retro enough to score. —N.J. persistently barks up the wrong Silva Screen FILMXCD 359 get away with it. —N.J. tree. And some of the supernatu- 1 Disc 1: 17 tracks - 70:17 Dragonfly ★★★ /2 ral moments are completely Disc 2: 17 tracks - 74:28 Dog Soldiers ★★★ JOHN DEBNEY implausible. Debney also reverts Disc 3: 16 tracks - 73:36 MARK THOMAS Varèse Sarabande 302 066 338 2 back to standard action music Disc 4: 21 tracks - 75:46 First Night REELCD 104 7 tracks - 31:13 mode, which is a bit obvious dur- f soundtracks were judged by 21 tracks - 68:44 nly after seeing Dragonfly did ing the scary moments. Ipackaging alone (thankfully he low budget “werewolf in OI discover that director Tom Still, as the final act of the they aren’t), Silva would be lead- Tcombat fatigues” shocker Shadyac had also directed Patch movie winds down, Shadyac and ers of the industry. Their latest Dog Soldiers is currently making a Adams. I should have known. The Debney pull off a plausible sur- release is a case in point, featur- name for itself on the European two movies have a lot in common: prise ending. The climactic ing a beautiful slipcase finished continent for providing high- a discovers an uncon- sequence, the seven-minute cue in a bronze-gold shiny material. octane thrills on a minimal ventional way to view medicine; a “Emily’s Message Revealed,” Indeed, the picture of the Maria budget. As expected, a modest medical staff unwilling to meet this builds on such an excruciating drone from Fritz Lang’s production of this nature doesn’t doctor halfway; and a gooey, tension that the final moments Metropolis that adorns the cover sport a marquee-name composer, almost manipulative use of dying before the revelation are almost looks great but is somewhat puz- but instead provides an opportu- children to prove the doctor’s unnecessarily orgasmic. But with zling since Moroder’s Metropolis nity for the relatively unknown point. Whereas Patch Adams was the revelation comes a beautiful score doesn’t appear in the col- Mark Thomas to showcase some so bad it was unbearable, return of the love theme that’s lection. accomplished action cues. Dragonfly throws in a supernatural quite magical. —Cary Wong The cover misnomer is just Thomas, a Brit, is best known in element that doesn’t save the one of the places where the his homeland for bingo drama movie (too many logistical ques- Harrison’s Flowers ★★★ product misses the mark. For House!, comedies Mad Cows and tions spoil the fun) but does make CLIFF EIDELMAN example, the four-CD set is Up ‘n’ Under and cult favorite Twin it more interesting. John Debney’s Varèse Sarabande 302 066 331 2 arranged in alphabetical order, Town. This time, he’s switched the score also helps the proceedings. 15 tracks - 36:30 but only after a fashion: Galaxy emphasis from human drama to Quick and necessary plot syn- rench director Elie Quest comes before E.T., inhuman terror, with some stun- opsis: Kevin Costner plays a doc- F Chouraqui’s first major Predator before Moonraker and ning cues to accompany the lycan- tor whose pediatrician wife goes American film picks up on a You Only Live Twice (not really thropic on-screen antics. off to an unsafe region of popular new genre: women sci-fi anyway) before Superman. The liner notes contain praise Venezuela to help the locals. After going into war settings to find The alphabetical scheme also from the movie’s writer/director she’s killed in a bus accident (or the man they love. Like Proof of means that the many Star Trek Neil Marshall, who thanks Thomas was it an accident?), supernatural Life and Charlotte Gray, tunes are split over two discs, for giving the movie’s characters things start happening, the most Harrison’s Flowers (such an whereas it would have made soul, and reveals that it was always disturbing of which is a reappear- unfortunate title) has Andie more sense to keep them on one. his intention for the These might sound like petty soundtrack to marry a rants, but the presentation full-scale militaristic should surely be the main reason orchestra with Celtic for buying the collection. The instrumentation. Using tracks are predominantly culled this as a springboard, from “The Cult Files” and Thomas’ cues are an “Space” collections; there’s pre- eclectic collection, veer- cious little new material here ing between big action (A.I. notwithstanding), though and atmospheric the work by the City of Prague underscore. Philharmonic is sound and many The Celtic influence is heard in ing symbol that looks like a drag- McDowell going into the war- of the tracks are loyal to the orig- the lyrical “Sarge’s Theme,” onfly. This “phantom” haunts torn Balkans to rescue her pho- inals (the symphonic “Comrades” and “Sanctuary,” by Costner and his wife’s terminally tographer husband even though Armageddon and orchestral suite sampling the traditional folk ill patients. officials say it’s hopeless. While from Robocop are good). melody “Lyke Wake Dirge” and jux- While not a perfect score, this many critics supported this The final nail in the coffin is taposing snare drums with is something of a breakthrough movie, it quickly faded from the the addition of six minutes of bodhrán. The main title (“Dog for Debney. During the opening multiplexes. And while I would spurious sound effects tracks Soldiers”), however, plays like a scenes, Debney introduces his like to say that Eidelman’s score that interrupt the flow of the variant on The Rock. Having not love theme, first presented in an will outlast the movie’s box office, music—“Alien Organism,” seen the film yet, I found the inclu- almost angelic way. There’s also a as his scores did with Christopher “Dogfight in Space” or “Apollo 13 sion of Claude Debussy’s “Clair de flashback cue that presents a Columbus and An American Take-off” anyone? These remind Lune” an unusual addition to the fully realized version of the Rhapsody, the music, while often me of Neil Norman’s Galaxy track listing, though considering theme—this is one of Debney’s beautiful, is not up to par. Gold, the first LP that I ever the movie’s subject matter it might best tracks ever. It’s at this point Eidelman is probably the best- bought, way back in 1978. just be a cheeky in-joke. that both score and movie lose kept secret in composer-land. Cheesy cover versions sat along- Unpretentious, savage and atyp- focus. With red herrings aplenty While most film score fans know side original compositions, ically melodic for a B-movie and an unnecessary subplot his contribution to the Star Trek resplendent with beepy sound shocker, it might not be ground- involving Linda Hunt as a ban- (cintinued on page 35)

FILM SCORE MONTHLY 33 JULY 2002 v7n05 issue 7/5/02 2:22 PM Page 34

Pocket CD Reviews Who did it? What’s it about? Should you buy it?

The Classic Oh joy—a modern soundtrack compilation of original Even if you already own most of the originals, this is an 1 Score ★★★ /2 soundtrack themes! Essentially a “Best of Sony ideal opportunity to fill in some of the smaller gaps in your THE Soundtracks 1990–2002,” the full CD title proclaims collection. For example, I’ve never felt the urge to buy CLASSIC WILLIAMS, HORNER, this to be a collection of “34 contemporary film Warbeck’s Captain Corelli’s Mandolin, but I’m glad to have SCORE SHORE, ETC. themes.” The inclusion of Handel’s Sarabande in D the beautiful “Pelagia’s Theme” on this compilation. The Sony Music TV Minor from 1975’s Barry Lyndon somewhat stretches only downside is the inclusion of cover versions of The MOODCD73 the “contemporary” classification but is understand- Fellowship of the Ring and Harry Potter’s “Hedwig’s Disc 1: 17 tracks - 74:35 able following its recent use as the soundtrack to the Theme.” While the performances by Craig Pruess and the Disc 2: 17 tracks - 62:01 Levi’s Jeans ads. Film Theme Orchestra (who?) are fine, why bother to include them if everything else is original? —Nick Joy Pure Cinema The latest in Virgin’s Chillout series of compilations is While I have nothing against the Czech orchestra under Nic Chillout a curious collection that cannot really be called Raine’s trusty baton (I’ve frequently commended their Barry 1 ★★ /2 “pure,” by virtue of its schizophrenic nature. Apart scores), why not feature all cover versions, or all originals, MORRICONE, NYMAN, from original soundtrack pieces from The Mission, or even all classical music? Perhaps the target market ARMSTRONG Jean de Florette, Traffic, Amélie, Cinema Paradiso craves this eclecticism and has no issue over the source— Virgin 7243 8 12637 2 3 and The Killing Fields, the remaining tracks are re- but while they just about get away with Armstrong’s VTDCD 454 recordings (predominantly by the City of Prague “Balcony Scene,” Raine’s take on Sakamoto’s “Merry Disc 1: 20 tracks - 74:42 Philharmonic) or classical pieces featured in movies Christmas, Mr. Lawrence” just sounds wrong. For the casual Disc 2: 19 tracks - 76:07 but not unique to their respective soundtracks moviegoer with limited exposure to soundtracks, this might (Chopin in Face/Off, Beethoven in The Man Who be an ideal way to “chillout.” Ironically, for the soundtrack Wasn’t There). aficionado, it is more likely to irritate. —N.J.

The Shape of Michael Whalen creates a rhythmic soundscape for his Like most television scores these days, there’s more rhythm Life ★★★★ score to the eight-hour PBS miniseries The Shape of than melody, but at least Whalen keeps things varied and Life. Challenged to bring excitement to the story of moving. The album’s sixth track, “The Survival Game,” is a MICHAEL WHALEN sea sponges and other invertebrates, Whalen put good example. Beginning and ending with delicate marimba Alchemy ALCD 1020 together a score reminiscent of William Goldstein’s riffs, the cut opens up midway through, adding layers of per- 29 tracks - 68:30 Oceanscape but with much broader instrumentation. cussion and piano, moving into rolling waves of synth, then It’s like an IMAX score with a more contemporary feel. delving into the more ominous and ambient tones of “In the Thomas Newman (and Steve Reich)-style marimbas Deep Water.” Fans of Stewart Copeland’s soundtrack work appear amidst the synth and guitars, along with inter- will feel right at home. —Neil Shurley esting percussion effects, all of which help to keep the rock-and-roll beat from becoming too overwhelming.

Ansel Adams Documentary director ’ follow-up film to New Not since Philip Glass’ score to The Thin Blue Line has a ★★★★ York: A Documentary Film focuses on one of the most documentary score been so worthy of a release. Instead of American of photographers, Ansel Adams, whose avoiding the cliché of the Americana of Aaron Copland, BRIAN KEANE haunting photos reveal an industrially growing America Keane embraces it with gorgeous melodies that should give Green Linnet GLCD 3140 at its most natural. Backed by the Sierra Club, the doc- this CD a life of its own. The themes are usually rendered 17 tracks - 57:40 umentary, which played on PBS’s American Masters twice, once as a piano solo (usually played when the focus is series, is buoyed by an inspired Americana score by on Adams’ photos) and again as an orchestral piece (when Brian Keane, a veteran producer of many of Windham Burns concentrates on the nature settings). Ansel Adams, Hill’s most successful albums. And while much of the also a self-taught pianist, makes a cameo on the CD with his score retains a lot of that label’s new-age feel, it’s performance of a Bach prelude. This is a soundtrack even appropriate for this documentary. your mother could love. —Cary Wong

The Graduate Two years ago, the theatrical version of The Graduate In the liner notes, the show’s producers explain that many of ★★★ premiered in London’s West End. This spring, the these tunes show up during the play; others merely “inspired VARIOUS lauded production moves to New York, with Kathleen us whilst developing the production.” Most of the material is Columbia/Legacy CK Turner as Mrs. Robinson, the 1960s’ most famous extremely familiar, a sampling of songs from iconic bands like 86468 seductress. To capitalize on (or promote) the The Beach Boys, The Mamas & The Papas, The Byrds and, of 15 tracks - 47:57 Broadway run, Columbia has released a “soundtrack” course, Simon & Garfunkel. Thick with sweet sounds, soaring of sorts, which features original recordings of period voices and poetic lyrics, this collection will please fans of the pop songs ranging from “Sunshine Superman” to flower power sound. Then again, the same people can save “Moon River.” some money and turn on an oldies station. After all, many of the songs included here have been in heavy rotation for the last 35 years. —Stephen Armstrong

JULY 2002 34 FILM SCORE MONTHLY v7n05 issue 7/5/02 3:40 PM Page 35

(continued from page 33) get without being obvious. There that his first major career retro- than an actual song. Things settle canon, he has racked up a nice col- are moments of European techno spective CD focuses mostly on down thereafter, but the two lection of smaller scores (like One that will be familiar to fans of films these songs. The songs, or course, standout tracks are the score cues True Thing), which keeps me on like Lola rennt or The Princess and are first rate, from the wistful from The Thomas Crown Affair the lookout for his next great work. the Warrior, or even some of Eric Oscar-winning “The Windmills of and Brian’s Song. By the time you This one isn’t it. Eidelman incorpo- Serra’s music. The experimentation Your Mind” (from Thomas Crown) get to the halfway point of the disc, rates a lot of mood scoring, and with sound sampling going on to the melancholy “What Are You however, you may wish Legrand while many of the individual cues here is somewhat unique in a film Doing the Rest of Your Life?” had varied the format just a little play well on their own (“Real War” score (if these parts of the disc are Another head-scratcher is why all bit; using additional instruments has a nice intensity), the music fre- used in the film). You can’t fault the the pieces needed to be piano solos or a vocalist would have helped quently recalls Barber’s hackneyed well-produced synthesizer back- (visions of Ferrante and Teicher- distinguish the lesser-known songs Adagio for Strings, just without grounds either. In places, such as style elevator music kept popping from each other. actually quoting it. And yet, “Watch Me,” there’s a kind of con- into my head). As questionable as A medley of three songs from Eidelman is too talented a com- temporary late-night coffee house that may be, it’s also probably what Yentl ends the CD on a powerful poser for this to be just a throw- style, or in beatnik poetic style as makes this CD important—as the note with the gorgeous anthem “A away score. There’s a lot to admire in “Little John.” Ms. Pallatto’s rich album title indicates, Legrand him- Piece of Sky” as its finale—again, I here, especially when his piano voice adds to the fascination of self is the piano soloist. would have liked to hear some of motif makes a rare appearance. these cues. The 70-year-old composer starts Legrand’s unreleased score to the —C.W. The overall effect of this CD is an the CD with a virtuoso rendition of Streisand opus rather than the avant-garde contemporary art “I Will Wait for You” from popular songs. I suppose I’m just We Are Not Machines ★★★ piece that uses a variety of media Cherbourg. The second Cherbourg arguing over the concept of this BRADLEY PARKER-SPARROW to get Parker-Sparrow’s message song, “Watch What Happens,” album. It succeeds as what it is; I Southport S-SSD-0093 across. This makes for interesting sounds more like an improvisation (continued on page 43) 24 tracks - 73:52 listening that demands attention. musician-owned label from It all works well as a concept AChicago, Southport enters the album, but its eclecticism may put Musical Interlude There’s nothing film score market with music from off some film score listeners. quite like Fred a 2001 John Covert film, Watch. —S.A.K. Astaire’s version of This is a black-and-white film For more information about acquiring this or Silk Stockings “All of You” or “The dealing with men who broker other Southport CDs, write to (1957) ★★★★ Ritz Roll and Rock” women for sex and then tape the [email protected] or visit their COLE PORTER (Porter’s take on activity to use as blackmail and website at www.chicagosound.com. Rhino R2 74368 ’50s rock and roll money. Music for low-budget films 30 tracks - 79:02 music and the last such as this demand a lot from Michel Legrand Plays Michel roadway song he wrote for 1 their composers, and Parker- Legrand ★★★ /2 Bmusic and Astaire). Cole Porter Sparrow relies on synthesizers, MICHEL LEGRAND Cole Porter fans not only was a great samplers and computer assistance Decca 289 468 512-2 • 14 tracks - 69:56 will rejoice at this melodist but had an to expand his palette, in addition f the recent release of Michel first-ever release of music from amazing wit that made his song to the vocals, occasional solo ILegrand’s unused score for Silk Stockings, one of the last lyrics remarkable—and no doubt instruments and piano. 1973’s The Man Who Loved Cat great M-G-M musicals and drove censors crazy. Certain lyrics For this independent film Dancing whet your appetite for Porter’s final Broadway show. For were “cleaned up” for the film, release, Parker-Sparrow has evi- more from this veteran French the first time, Rhino has put but the humor shines through. dently expanded his music into a composer, this Decca album may together a complete stereo This album’s sound is nothing socio-musical commentary featur- or may not sate your curiosity. release of this score featuring 16 short of revelatory and takes the ing vocalist Joannie Pallato. It is Legrand has scored over 200 films tracks that have never been heard aptly named “Stereophonic unclear exactly what music was in his career, but he’s had only a before. In addition to the great Sound” far beyond the marketing used for the film and what was few minor hits in America. Most of tunes, Silk Stockings boasts many gimmick it was meant to be. The developed as part of the album his scores are for French films; the tracks lusciously orchestrated by CD booklet is also exemplary, concept. The music from the most famous being the 1964 cult- , and featuring a filled with plenty of photos and opening track seems to maintain musical classic, The Umbrellas of young André Previn conducting information about the film, its the essence of the score that is Cherbourg. In all, the most well- the M-G-M Studio Orchestra. production and the music, in developed in other cues as well known of his scores are Ice Station Rhino has included several addition to a brief history of the and basically sets up an extended Zebra, The Summer of ’42 (his extended versions for “Fated to various versions of the score that series of variations. Parker- Oscar winner), Atlantic City, Yentl Be Mated” and “Josephine,” as had previously appeared. George Sparrow’s variation technique and, of course, The Thomas Crown well as alternate orchestrations Feltenstein, who also produced throughout the CD is to maintain Affair. Although Legrand has for “Too Bad” and “It’s a Chemical the release, writes in an engaging his thematic idea while surround- scored fewer and fewer high-profile Reaction, That’s All.” There is also style that reveals his love for this ing the sound space with a variety films in the last decade, he did pro- an unused demo of the latter music. At nearly 80 minutes, the of ideas. He does have interesting vide nice music for the big-screen (featuring Cyd Charisse and recording is surely a dream come things to say, but the CD is a bit treatment of Madeline in 1998. Previn on the piano) along with true for many fans of this film. In overlong for the material. The other thing about Legrand an outtake of the classic Porter a day when many films are filled The opening, “Watch,” starts as is that he’s known more for the hit tune, “In the Still of the Night.” with angst, do yourself a favor a simple piano tinged with jazz songs from most of his scores than The beautiful rendition of “Easy and pick up this silken sugary and vocalizations that comes as he is for the actual underscore. to Love” will melt your heart. confection. —S.A.K. close to simulating sex as you can That’s why it was disappointing

FILM SCORE MONTHLY 35 JULY 2002 market n05 7/5/02 4:06 PM Page 36

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NEW RELEASE: ■ Vol. 5, No. 6 ■ Vol. 5, No 2 ■ Vol. 5, No. 10 The Traveling Logan’s Run I Spy Executioner JERRY GOLDSMITH EARLE HAGEN JERRY GOLDSMITH Film released: 1976 TV Produced: 1965-67 Film released: 1970 Studio: M-G-M Network: NBC Studio: M-G-M Genre: Sci-Fi Genre: Secret Agent Genre: Black Comedy Silver Age Classics Silver Age Classics Silver Age Classics CD released: Feb. 2002 CD released: July 2002 CD released: May 2002 Stereo • 74:18 Stereo/Mono • 77:57 Stereo • 39:39 Five episode scores for groundbreaking series The main theme is a This classic story of a starring Robert Culp and Bill Cosby: “So Long, Patrick Henry,” charming blend of Americana, Dixieland and circus sound, but dystopian future gets the royal treatment by the master of specu- “The Time of the Knife” “Turkish Delight,” “The Warlord” and the score enthusiastically touches all the bases, from bluegrass lative soundtracks. Jagged action cues, Coplandesque nostalgia, “Mainly on the Plains.” First three plus theme in stereo; original to avant-garde to full-scale action. This first-release ever is bracing electronics and more in this restored, remixed, rese- TV tracks, not LP recordings. $19.95 complete, with every note written in excellent stereo. $19.95 quenced release! $19.95

NEW RELEASE: ■ Vol. 5, No 5 ■ Vol. 5, No. 1 ■ Vol. 5, No 9 36 Hours Lust for Life The Prodigal DIMITRI TIOMKIN MIKLÒS RÒZSA BRONISLAU KAPER Film released: 1964 Film released: 1956 Film released: 1955 Studio: M-G-M Studio: M-G-M Studio: M-G-M Genre: WWII/Spy Thriller Genre: Biography Genre: Biblical Epic Golden Age Classics Golden Age Classics Golden Age Classics CD released: May 2002 CD released: Feb. 2002 CD released: July 2002 Stereo • 66:41 Stereo • 61:51 Stereo • 75:11 A taut, piano-dominated Complete stereo score score with an accent on Premiere release of for gargantuan biblical epic starring Lana Turner features male stealth—flamboyant, but naturalistic as well. This CD premiere Rózsa’s heartfelt, stirring accompaniment to the tragic tale of and female choruses, solos, source cues and thundering is remixed and remastered in stereo, doubling the playing time Vincent van Gogh. A personal favorite of the composer, this CD symphonic glory. Includes unused alternate cues. $19.95 of the LP including bonus tracks of vocals, piano demos, and a has been remixed from the three-track masters with bonus jazz trio improv of the main title. $19.95 alternate cues and more. One of the greatest film scores! $19.95

■ Vol. 5, No. 8 ■ Vol. 5, No 4 Point Blank/ The Man Who Loved ■ VOLUME 4, No. 20 The Outfit Cat Dancing Farewell, My Lovely/ / JOHN WILLIAMS Monkey Shines MICHEL LEGRAND DAVID SHIRE Film released: 1967, 1973 Film released: 1973 Film released: 1975/88 Studio: M-G-M Studio: M-G-M Studio: M-G-M Genre: Film Noir Genre: Western Genre: Film Noir/ Silver Age Classics Silver Age Classics Suspense CD released: June 2002 CD released: Mar. 2002 Silver Age Classics Stereo • 77:54 Stereo • 65:37 CD released: Jan. 2002 Stereo • 73:48 Two films based on the character of Parker from D.E. Westlake’s A lost gem from Williams’ pre-blockbuster/post-comedy career, crime novels: Point Blank (39:38) is a landmark 12-tone score, during which he provided masterly, melodic scores for delicate Farewell, My Lovely (33:06) is symphonic jazz score for '70s noir ethereal and strange; The Outfit (38:16) features a dark, pulsating dramas, plus Legrand’s unused, unheard take on the same classic; Monkey Shines (40:41) is leitmotivic suspense score for score punctuated with unexpected melody. $19.95 material. A rare opportunity for collectors—all in stereo! $19.95 George Romero monkey thriller. $19.95

■ Vol. 5, No 7 On the Beach/ ■ Vol. 5, No. 3 ■ Vol. 4, No. 19 The Secret of Joy in the Morning Demetrius and the Santa Vittoria BERNARD HERRMANN Gladiators Film released: 1965 FRANZ WAXMAN Film released: 1959, 1969 Studio: M-G-M Film released: 1954 Studio: United Artists Genre: Romance Studio: 20th Century Fox Genre: Drama, Comedy Golden Age Classics Genre: Biblical Epic Golden Age Classics CD released: Mar. 2002 Golden Age Classics CD released: June 2002 Stereo • 46:33 CD released: Jan. 2002 Stereo • 70:59 Stereo • 61:51 Two scores from the films Herrmann’s last complet- Spectacular Waxman of director Stanley ed studio project is sweepingly romantic, surging with passion score for Biblical epic Kramer finally get released on CD. Beach is a gorgeous sym- and haunting in its use of melody. The complete score in stereo emphasizes romance, action and religion, interpolating themes phonic score ingenously interpolating “Waltzing Matilda”; from the original three-track recording with liner notes by from The Robe by Alfred Newman. Plus bonus tracks (11:06) and Secret is a lyrical slice of “Italiana,” with one bonus cue. $19.95 Christopher Husted, manager of the Herrmann estate. $19.95 remixed cue from The Egyptian (5:04). $19.95

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■ Vol. 4, No. 18 ■ Vol. 4, No. 13 ■ Vol. 4, No. 8 John Goldfarb, The Bravados Room 222/ Please Come Home! ALFRED NEWMAN & Ace Eli and Rodger of JOHNNY WILLIAMS HUGO FRIEDHOFER the Skies Film released: 1965 Film released: 1958 JERRY GOLDSMITH Studio: 20th Century Fox Studio: 20th Century Fox Films released: 1969/73 Genre: Comedy Genre: Western Studio: 20th Century Fox Silver Age Classics Golden Age Classics Genre: Sitcom (TV)/ CD released: Dec. 2001 CD released: Sept. 2001 Americana (feature) Stereo • 71:32 Stereo (some bonus tracks Silver Age Classics in mono) • 69:34 CD released: June 2001 This wacky comedy star- Mono (Room 222)/Stereo & ring Shirley MacLaine and Peter Ustinov is the earliest feature Two Hollywood legends collaborate for a rich, handsome west- Mono (Ace Eli) • 71:37 film soundtrack by John Williams available on CD. Johnny does ern score with a memorable, driving main theme (by Newman) Room 222 (12:15) comprises theme and two episode scores for popu- Arab go-go music! $19.95 and darkly brooding interior passages (by Friedhofer). $19.95 lar sitcom; Ace Eli (59:21) an obscure barnstorming movie. $19.95

■ Vol. 4, No. 17 ■ Vol. 4, No. 12 ■ Vol. 4, No. 7 Broken Lance Morituri/ A Man Called Peter Raid on Entebbe ALFRED NEWMAN Film released: 1954 JERRY GOLDSMITH/ Film released: 1955 Studio: 20th Century Fox DAVID SHIRE Studio: 20th Century Fox Genre: Western Films released: 1965/77 Genre: Religious/ Biography Golden Age Classics Studio: 20th Century Fox Golden Age Classics CD released: Dec. 2001 Genre: WWII/Espionage CD released: June 2001 Stereo • 38:41 (feature)/Docudrama (TV) Stereo • 58:14 Silver Age Classics CD released: Aug. 2001 Biopic of Scottish minister Disney’s workhorse com- Stereo (Morituri)/ Peter Marshall receives poser from the ‘30s (Pinocchio) provides a dark, rich Mono (Entebbe) • 57:50 rich, reverent, melodic Americana score to this adaptation of King Lear set in the Morituri (41:46) is a suspense/action score in Goldsmith’s per- score by Alfred Newman; CD features complete score including American West. $19.95 cussive ‘60s style; Raid on Entebbe (15:29) features suspense, source music. $19.95 pulsating action (“The Raid”), and Israeli song climax. $19.95

■ Vol. 4, No. 16 ■ Vol. 4, No. 11 ■ Vol. 4, No. 6 The World of The Best of Everything The French Henry Orient ALFRED NEWMAN Connection/ ELMER BERNSTEIN Song by Newman & Sammy French Connection II Piano Concerto Cahn, Perf. by Johnny Mathis DON ELLIS by Kenneth Lauber Film released: 1959 Films released: 1971/75 Film released: 1964 Studio: 20th Century Fox Studio: 20th Century Fox Studio: United Artists Genre: Drama/Romance Genre: Cop Thriller Genre: Comedy/Drama Golden Age Classics Silver Age Classics Silver Age Classics CD released: Aug. 2001 CD released: May 2001 CD released: Nov. 2001 Stereo • 71:14 Stereo & Mono (I)/ Stereo Stereo • 40:32 Newman’s last score at (II) • 75:01 Bernstein’s “second-best” score for children (after To Kill a Fox is a romantic gem; think New York at twilight. CD features Classic ‘70s cop thrillers get pulsating, dynamic, avant-garde Mockingbird) sports fabulous sound from the legendary complete score (48:21) in stereo, some bonus tracks and some scores by jazz artist Don Ellis. First film (37:52) includes much Goldwyn scoring stage. Whimsical, melodic and magical. $19.95 cues repeated in mono. $19.95 unused music; sequel (37:09) somewhat more traditional. $19.95

■ Vol. 4, No. 15 ■ Vol. 4, No. 10 ■ Vol. 4, No. 5 The View From Voyage to the Bottom The Egyptian Pompey’s Head/ of the Sea ALFRED NEWMAN & Blue Denim PAUL SAWTELL BERNARD HERRMANN ELMER BERNSTEIN/ & BERT SHEFTER Film released: 1954 BERNARD HERRMANN Song by Russell Faith, Perf. Studio: 20th Century Fox Films released: 1955/1959 by Frankie Avalon Genre: Historical Epic Studio: 20th Century Fox Film released: 1961 Golden Age Classics Genre: Drama Studio: 20th Century Fox CD released: May 2001 Golden Age Classics Genre: Sci-fi/Irwin Allen Stereo • 72:06 CD released: Nov. 2001 Silver Age Classics Stereo • 75:15 CD released: July 2001 At last: the classic This nostalgic pair of films by writer/director Philip Dunne fea- Stereo • 55:55 Newman/Herrmann collaboration for Fox’s historical epic. ture romantic, intimate scores by Elmer Bernstein (lovely Thundering B-movie hysteria plus soothing, romantic undersea Original stereo tracks were believed to be lost or unusable, but Americana) and Bernard Herrmann (“baby Vertigo”). $19.95 passages for the film that launched the hit TV show. $19.95 this CD features every surviving note. $19.95

■ Vol. 4, No. 14 ■ Vol. 4, No. 9 ■ Vol. 4, No. 4 The Illustrated Man Between Heaven and Untamed JERRY GOLDSMITH Hell/ Soldier of FRANZ WAXMAN Film released: 1969 Fortune Film released: 1955 Studio: Warner Bros. HUGO FRIEDHOFER Studio: 20th Century Fox Genre: Sci-fi/Anthology Films released: 1956/55 Genre: Historical Adventure Silver Age Classics Studio: 20th Century Fox Golden Age Classics CD released: Sept. 2001 Genre: WWII/Adventure CD released: April 2001 Stereo • 42:02 Golden Age Classics Stereo • 65:43 CD released: July 2001 Stereo • 73:00 The Illustrated Man is one A superlative Hugo 19th century African colo- of Jerry Goldsmith’s most haunting sci-fi creations, with airy Friedhofer doubleheader: Between Heaven and Hell (complete: nialist adventure starring Susan Hayward receives thrilling beauty, solo female vocalise, early electronics, strange effects 40:18) is a moody war thriller; Soldier of Fortune (surviving adventure score by Franz Waxman in first-rate sound. and an aggressive climax. $19.95 tracks: 32:41) an exotic, melodic jewel. $19.95 Wonderful main title, love theme. $19.95

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■ Vol. 4, No. 3 ■ Vol. 3, No. 7 ■ Vol. 3, No. 1 Batman Take a Hard Ride JOHN WILLIAMS JERRY GOLDSMITH Film released: 1974 Theme by NEAL HEFTI Film released: 1975 Studio: Warner Bros./20th Century Fox Film released: 1966 Studio: 20th Century Fox Genre: Disaster/Irwin Allen SOLD OUT! Studio: 20th Century Fox Genre: Western Silver Age Classics Sorry, all gone... Genre: Adventure/Camp Silver Age Classics CD released: Apr. 2001 Silver Age Classics CD released: Feb. 2000 Stereo • 75:31 CD released: Nov. 2000 • Mono • 65:23 Stereo • 46:38 Disaster masterpiece gets pre- Holy Bat-tracks! 1966 feature pro- miere CD release, doubled in length from the LP. Fantastic main duced at time of ‘60s TV show features Neal Hefti’s theme, Strange “blaxploitation,” foreign-produced western gets won- title, climactic action cue; plenty of moody suspense and Nelson Riddle’s Bat-villain signatures, swingin’ underscoring derful symphonic score from Goldsmith; great main theme, romantic pop. $19.95 and larger action setpieces. $19.95 action cues. Take a hard ride, indeed. $19.95

■ Vol. 4, No. 2 ■ Vol. 3, No. 6 ■ VOLUME 2, No. 9 How to Marry a Millionaire The Undefeated/ Hombre The Flim-Flam Man/ ALFRED NEWMAN & HUGO MONTENEGRO/ A Girl Named Sooner CYRIL MOCKRIDGE DAVID ROSE JERRY GOLDSMITH Film released: 1953 Film released: 1969/67 Films released: 1967/1975 Studio: 20th Century Fox Studio: 20th Century Fox Studio: 20th Century Fox Genre: Comedy/ Romance Genre: Western Genre: Drama/Americana Golden Age Classics Silver Age Classics Silver Age Classics CD released: Mar. 2001 CD released: Sept. 2000 • Stereo • 72:33 CD released: Jan. 2000 • Stereo (Flim- Stereo • 70:03 Western doubleheader: The Flam)/Mono (Sooner) • 65:20 Famous Marilyn Monroe comedy features period songs adapted Undefeated (starring John Wayne, 47:33) is accessible and A rural Americana doubleheader: Flim-Flam (34:37) stars as instrumental underscore. “Street Scene” (5:36) conducted by symphonic. Hombre (starring Paul Newman, 21:30) is moodier, George C. Scott as a Southern con man; Sooner (30:43) is Alfred Newman opens the movie and CD. $19.95 sensitive—a quiet gem. $19.95 smaller, sensitive TV movie score. $19.95

■ Vol. 4, No. 1 ■ Vol. 3, No. 5 ■ Vol. 2, No. 8 Conquest of.../Battle for the A Guide for the Married Man Rio Conchos Planet of the Apes JOHNNY WILLIAMS JERRY GOLDSMITH TOM SCOTT/LEONARD Title Song Perf. by The Turtles Film released: 1964 ROSENMAN/LALO SCHIFRIN Film released: 1967 Studio: 20th Century Fox Film released: 1972/73 Studio: 20th Century Fox Genre: Western Studio: 20th Century Fox Genre: Comedy Silver Age Classics Genre: Sci-fi/Fantasy Silver Age Classics CD released: Dec.1999 Silver Age Classics CD released: July 2000 Mono/Stereo (combo) • 75:28 CD released: Feb. 2001 Stereo • 73:10 Early Goldsmith western score Stereo & Mono (Conquest)/ Stereo (Battle) • 74:44 Vintage “Johnny” Williams score is his most elaborate for a is presented in complete form (55:43) in mono, with some cues Final Apes films get vintage scores by Scott (38:47, with several comedy, with long setpieces, groovy title theme, and orchestral repeated in stereo. Includes delightfully bizarre vocal version of unused cues) and Rosenman (34:43), plus TV theme (1:13). $19.95 underscoring foreshadowing his dramatic works. $19.95 the main theme. $19.95

■ VOLUME 3, No. 10 ■ Vol. 3, No. 4 ■ Vol. 2, No. 7 Beneath the Tora! Tora! Tora! / 12-Mile Reef JERRY GOLDSMITH Leave Her to Heaven BERNARD HERRMANN Film released: 1970 ALFRED NEWMAN Film released: 1953 Studio: 20th Century Fox Film released: 1950/45 Studio: 20th Century Fox Genre: WWII Studio: 20th Century Fox Genre: Adventure Silver Age Classics Genre: Drama Golden Age Classics CD released: May 2000 Golden Age Classics CD released: Feb. 2001 Stereo • 54:45 CD released: Nov. 1999 Stereo • 55:06 Mono (two tracks in stereo) • 44:19 Fantastic Herrmann undersea adventure score gets premiere Classic Goldsmith war score enhances docu-drama take on Eve is a cinema masterpiece; Newman’s complete score is release of original stereo tracks, albeit with minor deterioration. Pearl Harbor. Aggressive action music combined with avant- appropriately theatrical, perfectly drawn. Leave Her to Heaven Lots of harps, “underwater” color, seafaring melodies. $19.95 garde effects, Japanese instrumentation. $19.95 is more dramatic, brooding film noir. $19.95

■ Vol. 3, No. 9 ■ Vol. 3, No. 3 ■ Vol. 2, No. 6 The Stripper/ Beneath the Planet The Comancheros Nick Quarry of the Apes ELMER BERNSTEIN JERRY GOLDSMITH Film released: 1961 Film released: 1963/68 Film released: 1970 Studio: 20th Century Fox Studio: 20th Century Fox Studio: 20th Century Fox Genre: John Wayne/Western Genre: Drama (feature)/Action (TV) Genre: Sci-fi/Fantasy Silver Age Classics Silver Age Classics Silver Age Classics CD released: Sept.1999 CD released: Jan. 2001 CD released: Apr. 2000 Stereo • 47:44 Stereo (Stripper)/Mono (Quarry) 73:35 Stereo • 72:37 • Early Goldsmith feature (42:01, bonus tracks 21:06)—his first Second Apes pic gets atonal score by Leonard Rosenman with Elmer Bernstein’s first score for John Wayne is a western for Franklin Schaffner—is in romantic Alex North style. Quarry many avant-garde highlights. Includes complete original tracks gem, with rhythmic main title and high-tailing action music. (10:27) is a TV rarity—sounds like Flint music. $19.95 (46:03) plus 1970 LP re-recording with dialogue (26:34). $19.95 Think in terms of “The Magnificent Eight.” $19.95

■ Vol. 3, No. 8 ■ Vol. 3, No. 2 ■ Vol. 2, No. 5 From the Terrace Prince of Foxes ELMER BERNSTEIN RON GRAINER ALFRED NEWMAN Film released: 1960 Film released: 1971 SOLD OUT! Film released: 1949 Studio: 20th Century Fox Studio: Warner Bros. Sorry, all gone... Studio: 20th Century Fox Genre: Drama Genre: Sci-fi/Fantasy Genre: Historical Adventure Silver Age Classics Silver Age Classics Golden Age Classics CD released: Dec. 2000 CD released: Mar. 2000 CD released: July 1999 Stereo • 71:27 Stereo • 65:39 Stereo • 46:39

Paul Newman/Joanne Woodward soaper features tuneful, Charlton Heston sci-fi classic features one-of-a-kind symphon- historical adventure gets exciting, robust score by romantic score by Bernstein. Rich Americana music, sensitive ic/pop fusion by the late Ron Grainer. Unforgettable themes, Alfred Newman, newly mixed into stereo. Glorious main title, stirring romantic themes, haunting melancholy. $19.95 period effects; great stereo sound quality. $19.95 love theme. $19.95

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■ Vol. 2, No. 4 ■ Vol. 2, No. 1 ■ Vol. 1, No. 2 Monte Walsh 100 Rifles The Paper Chase/ The JOHN BARRY JERRY GOLDSMITH Poseidon Adventure Film released: 1970 Film released: 1969 JOHN WILLIAMS Studio: CBS Studio: 20th Century Fox Film released: 1973/72 SOLD OUT! Genre: Western Genre: Western Studio: 20th Century Fox Sorry, all gone... Silver Age Classics Silver Age Classics Genre: Drama/Disaster CD released: June 1999 CD released: Mar. 1999 Silver Age Classics Mono (1 bonus track in stereo) 61:51 Stereo/Mono (combo) • 77:08 CD released: July 1998 Lee Marvin revisionist western Burt Reynolds/Raquel Welch Stereo/Mono (combo) • 75:53 gets vintage John Barry score 20 years before Dances With dud gets explosive western score by Goldsmith, heavy on The Paper Chase is eclectic score for drama about law stu- FSMmarketplace Wolves. Song “The Good Times Are Comin’” performed by Mexican colors and guttural action. CD features score twice, in dents. The Poseidon Adventure is classic Irwin Allen disaster Mama Cass; many bonus tracks. $19.95 stereo and in mono with slight variations. $19.95 score. Also includes Conrack (1974), main title (6:07). $19.95

Vol. 2, No. 3 ■ VOLUME 1, No. 4 ■ Vol. 1, No. 1 Prince Valiant The Return of Dracula/ Stagecoach/The Loner FRANZ WAXMAN I Bury the Living/The Cabinet of JERRY GOLDSMITH Film released: 1954 Caligari/ Mark of the Vampire Film released: 1966/1965 GERALD FRIED Studio: 20th Century Fox Studio: 20th Century Fox Films released: 1958/58/62/57 Genre: Historical Adventure Genre: Western (film/TV) Studio: UA/ 20th Century Fox Golden Age Classics Genre: Horror Silver Age Classics CD released: May 1999 Silver Age Classics CD released: May 1998 Stereo • 62:17 CD released: Jan. 1999 • Mono Stereo (Stagecoach)/ Disc One: 61:06 Disc Two: 73:20 Mono (Loner) • 45:25 Fox’s colorful 1954 adaptation of the famous epic features stir- Composer of Star Trek’s “Amok Time” gets 2CD release of Stagecoach is gentle Americana score for remake of classic ring adventure score by Franz Waxman in “leitmotiv” style, a la creepy, early horror scores, packaged in slimline case; same western. The Loner is Goldsmith’s theme and two episode Star Wars: hero, villain, princess, mentor. $19.95 shipping as one CD. $29.95 scores for short-lived Rod Serling western series. $19.95

■ Vol. 2, No. 2 ■ Vol. 1, No. 3 Patton/The Flight of the Phoenix LEONARD ROSENMAN CHECK YOUR ORDER ONLINE Visit our website at JERRY GOLDSMITH/ Film released: 1966 FRANK DE VOL Studio: 20th Century Fox https://secure.filmscoremonthly.com/store Film released: 1970/65 Genre: Sci-fi to place an order using our secure server. You will Studio: 20th Century Fox Silver Age Classics receive an automatic confirmation. All of your information Genre: WWII/ Adventure CD released: Sept. 1998 (including your credit card #) is confidential and encrypt- Silver Age Classics Stereo • 47:28 ed for your protection. Save precious days that might oth- CD released: April 199 • Stereo • 76:24 Sci-fi classic following miniatur- erwise keep you from your music! Patton (35:53) is complete OST to WWII biopic classic with ized sub crew inside the human body gets imaginative, avant famous march. Phoenix (40:51) is a rare album release for Frank garde score by Leonard Rosenman; one of his signature works. De Vol, an adventure/survival score. $19.95 Symphonic yet thrillingly bizarre. $19.95 SHIPPING INFO CDs/video: $3 first item, $1.50 each additional U.S./Canada. $5 first item, $3 each add’l rest of world. Books: $5 each U.S/Canada, $10 rest of world. Backissues: Shipping FREE within U.S./Canada. $5 rest of world per order.

JOIN THE CLASSICS CHARTER CLUB Send us your name, address and credit card info, and we will automatically send each CD upon release. You can return any disc for a full refund or credit within 30 days. Each CD costs $19.95 plus shipping ($3 U.S./Canada, or $5 rest of world); no charges until shipping. See order form for details.

WARNER HOME VIDEO has led the way for video restoration with box sets of their most famous films. Their soundtrack CDs have been available only within the larger video packages—until now. FSM has limited quantities of CDs to sell via direct mail only to our readers.

The Wild Bunch Enter the Dragon The Exorcist Fully restored, Seventies slugfest—expanded! The seminal horror soundtrack! limited availability! Bruce Lee’s most famous film SOLD OUT! This 1973 thriller of demonic pos- The classic Jerry Fielding SOLD OUT! cemented his superstar status. session is perhaps the scariest Limit one per score, in brilliant stereo, to the Sorry, all gone... Lalo Schifrin scored this 1973 hit Sorry, all gone... film of all time, enhanced by customer! ferocious 1969 Sam Peckinpah with his greatest fusion of funky frightening, avant garde compo- Less than 50 western. This 76-minute CD was backbeats, catchy melodies, sitions by Penderecki, Webern, remaining! meticulously restored and screaming orchestra and wild Henze and other modernist com- remixed for inclusion with the percussion. The ultimate combi- posers. This CD includes all of 1997 laserdisc of the film, with nearly twice as much music as nation of symphonic fury with crazy ‘70s solos, remixed and the rejected music (14:14) which Lalo Schifrin recorded for the the original LP. $19.95 remastered with the complete score (57:14) $19.95 film—never before heard! $19.95

MUSIC FROM RETROGRADE Before FSM’s limited-edition Classic series, there were a few commercial releases... The Taking of Pelham 1-2-3 Deadfall Mad Monster Party Ride this killer ’70s groove! Catch John Barry ’60s vibe! 30th anniversary edition Hear David Shire’s unparalleled First time on CD! Barry scored The jazzy score by composer ’70s 12-tone jazz/ fandango this 1968 thriller in the midst of his Maury Laws, with lyrics by Jules for the 1974 subway hostage most creative period. Features Bass, features the vocal talents thriller. Part disaster movie, part “Romance for Guitar and of Boris Karloff, Phyllis Diller and gritty cop thriller, Shire’s fat bass Orchestra,”; the title song “My Ethel Ennis. Includes a 16-page ostinatos and creepy suspense Love Has Two Faces” performed color booklet with dozens of rare cues glue it all together. A sensa- by Shirley Bassey (“Goldfinger”), and unpublished photographs tional, driving, pulsating score in plus two unreleased, alternate and concept drawings. A wacky, a class by itself—experience the original for your self. $16.95 versions (vocal and instrumental) and vintage underscore. $16.95 fun, blast from the past! $16.95

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Kaper, Rózsa, Steiner, Korngold, Hitchcock films, Giant, and many BOOKS FOR Herrmann, Friedhofer, Raksin, more). Includes a complete filmogra- Antheil, Thompson, Copland, North, phy, 41 b&w photos, and 9 color COMPOSERS Bernstein, Duning, Rosenman, plates. $24.95 Goldsmith, Mancini, Schifrin, Scott, Shire, Broughton and Poledouris. Silman-James Press, 330 pp., soft- cover. $19.95

recording studios, performing rights covering his film, television, radio societies, and music libraries— and concert work as well as his per- names, addresses and numbers. sonal life. It’s a brilliant illumination $94.95 of Herrmann and probably the best film composer biography ever writ- ten. Published by University of Getting the Best Score for Your BOOKS FOR California Press. 416 pp., hardcover. Sound and Vision: 60 Years of Film: A Filmmakers’ Guide to $39.95 Motion Picture Soundtracks Music Scoring MUSIC LOVERS by Jon Burlingame by David Bell The Score: Interviews with Film Foreword by Leonard Maltin Respected TV composer Bell (Star Composers Journalist and historian Burlingame’s Trek: Voyager) wrote this book in by Michael Schelle overview of movie music composers 1994 to help producers and directors This 1999 book uses a Q and A for- and history, encapsulating the most get the most out of film music. Aimed mat to provide readers with a con- notable people and events in clear at filmmakers, this book also pro- versational look at contemporary and direct prose. Largely comprised vides useful professional info to composers, featuring lengthy tran- of composer mini-bios with reviews composers and musicians—or any scripts with Barry, Bernstein, of their most notable works and interested fan. Topics include spot- Blanchard, Broughton, Chihara, photo portraits (from Golden Age ting, communicating, recording, Corigliano, Howard, Isham, Licht, titans to present-day masters), there budgeting and licensing, with expla- McNeely, T. Newman, Shaiman, is also a thorough overview of nations of the personnel and entities Shore, Walker and C. Young. Written soundtrack album history (on LP and involved in each; also includes lists by a composer, who delves deeply CD), a section devoted to song com- of agents, clearance companies, and precisely into each composers’ pilation reviews, and a helpful movie glossary terms and resources. ideas. Published by Silman-James Hugo Friedhofer: music bibliography. Billboard Books, Silman-James Press, 112 pp., soft- U.S. Soundtracks on CD: Press, 432 pp., softcover. $19.95 The Best Years of His Life 244 pp., softcover. $18.95 cover. $12.95 Scores for Motion Pictures and Edited by Linda Danly, Introduction Television 1985-1999 by Tony Thomas Price Guide by Robert L. Smith This gifted musician scored such FSM’s 2nd market-standard price Hollywood classics as The Best guide contains over 2,400 listings of Years of Our Lives, An Affair to album titles with composers, label Remember, One-Eyed Jacks. His numbers, special collectible informa- Golden Age contemporaries consid- tion and estimated values. Listings ered him the most sophisticated are annotated to differentiate practitioner of their art. In the ’70s between originals and reissues, Friedhofer (1901-1981) gave a lengthy commercial albums and rare pro- oral history to the American Film mos. Find out what’s out there, what Institute, rife with anecdotes, opin your rarities are worth, and how The Album Cover Art ions and wit, which forms the cen- much you should expect to spend on of Soundtracks terpiece of this book. Includes a The Click Book your collection. Smith surveys the by Frank Jastfelder & Stefan Kassel, short biography by Danly, the eulogy Comprehensive timing tables for syn- market and provides a checklist for Foreword by Saul Bass from Friedhofer’s memorial service chronizing music to film the top 50 collectible CDs. Published This 1997 coffee-table book is a stun- by David Raksin, a filmography, pho- By Cameron Rose by Vineyard Haven LLC, 154 pp., soft- ning collection of soundtrack LP cov- tographs and more. The Scarecrow Film Music and Everything Else! Composer provides click-tempo cover. $17.95 ers, many reproduced full-size. From Press, 212 pp., hardcover. $39.95 Music, Creativity and Culture as tables for 6-0 through 32-0 frame paintings to photographs to designs, Seen by a Hollywood Composer click-tempos. Each timing table cov- from westerns to blaxploitation to by Charles Bernstein ers beat 1 to beat 999 at the given sexploitation, it’s a gorgeous dossier A collection of essays by the com- click-tempo. With large, easy-to- of vivid artwork, with covers both poser of the original Nightmare on read click-tempo values and equiva- ubiquitous and rare. Take a trip down Elm Street, Sadat, Cujo and others. lent metronomic values at the top of memory lane, or experience these Most of the essays originally each page, there are timing, frame powerful images for the first time. appeared in “The Score,” the quar- and footage breakdowns for rhyth- Originally sold for $29.95—it’s now terly journal of the Society of mic subdivisions within each click- out-of-print, but we have a limited Composers and Lyricists, a profes- tempo—including compound meters. number of copies for our faithful sional organization for film com- Includes a listing and tutorial of stan- readers. Published by Edition Olms posers. Topics include: melodies, dard timing-conversion formulas for AG Zürich, 128 pp., full color, “hummers,” emotion and more. It’s a 24 fps film speed, and a tutorial in softcover. $24.95 rare opportunity to read thoughtful SMPTE-to-absolute time conversion, Dimitri Tiomkin: A Portrait opinions and musings from a film plus frames-to-seconds conversion A Heart at Fire’s Center: by Christopher Palmer composer directed towards other tables for U.S. and European film & Music from the Movies The Life and Music of This 1984 book is the authoritative practitioners of the art. Turnstyle video speeds. 430 pp. $149.95 2nd Edition by Tony Thomas Bernard Herrmann study of legendary composer Tiomkin Music Publishing, 132 pp., softcover, The original film music book (1971) by Steven C. Smith (1894-1979). Long out of print, a few limited to 500 copies. $18.95 2002 Film/TV Music Guide from which all others followed, The most influential film composer of copies have surfaced from the U.K. From the Music Business Registry telling the stories of Hollywood’s all time, who scored Citizen Kane, publisher, but when they’re gone, Overtones and Undertones: Isn’t your career worth it? An most successful—if hitherto Vertigo, Psycho and Taxi Driver, they’re gone! This 144p. hardback is Reading Film Music exhaustive directory of record labels, unknown—composers. Updated in Bernard Herrmann (1911-1975) divided into three sections: a biogra- by Royal S. Brown music publishers, film/TV music 1997, shortly before the author’s wasas famous for his musical pas- phy, an overview of Tiomkin in an This 1994 book by the longtime film depts., music supervisors, music edi- death. Composers covered (many sion as his bad temper. This hard-to- historical perspective, and specific music columnist is the first serious tors, composer representatives, with photos) are Stothart, V. Young, find 1991 book is the definitive biog- coverage of his major landmarks theoretical study of music in film and composers, clearance companies, Green, Newman, Tiomkin, Waxman, raphy of the legendary composer, (Lost Horizon, High Noon, the explores the relationships between

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films; Williams in concert; Recordman at #68, Apr. ’96 D. Shire’s The Taking of Music as Fine Art, Recordman. the flea market. Pelham One Two Three; C. Burwell * Vol. 2, No. 8, Oct. ’97 Poledouris #50, Oct. ’94 Alan Silvestri (Forrest (Fargo), gag obituaries, Apollo 13 (Starship Troopers), Shore (Cop Land, Gump); M. Isham; sex & soundtrack promo/bootleg tips. sales; Schifrin in concert; Morricone *#69, May ’96 Music in Plan 9 from Beat CDs; that wacky Internet; Outer Space; Funny movie music glos- GET FREE GIFTS! Recordman on liner notes. sary; Herrmann & Rózsa radio programs; Film Score Monthly rewards its #51, Nov. ’94 Howard Shore (Ed Wood), Irwin Allen box set; Bender’s “Into the happy, loyal customers with a free Dark Pool” column. gift for spending over $50 on any #70, Jun. ’96 Mancina (Twister), final one order, and TWO free gifts for

desert island movie lists, Jeff Bond on spending over $100. (Magazine FSMmarketplace summer movies, TV’s Biggest Hits book subscriptions, shipping and tax are review. not applicable towards the $50 or posers; and several cue sheets. Lone #71, Jul. ’96 David Arnold $100—but everything else is, film, music and narrative, chronicling Eagle Publishing. 224 pages, softcov- (Independence Day), M. Colombier, including backissues.) the its aesthetics through several er, illustrated. $17.95 Recordman Goes to Congress, Bond’s If your order applies, please eras. Key works analyzed include summer round-up. scribble your selection on the form The Sea Hawk (Korngold), Double #72, Aug. ’96 Ten Best Scores of ’90s, T. or a separate sheet. yourself. The Indemnity (Rózsa), Laura (Raksin), BACK ISSUES OF FSM Newman’s The Player; Escape from L.A.; free gifts will, from time to time, Prokofiev’s music for Eisenstein, conductor John Mauceri; reference include products we otherwise sell Herrmann’s music for Hitchcock, and books; Akira Ifukube CDs. here at the site, and some prod- several scores for the films of Jean- VOLUME ONE, 1993-96 #73, Sept. ’96 Recordman on War Film ucts we don’t—although they may Luc Godard. Also features probing 24 pp. unless noted. Soundtracks Pt. 1; David Schecter: be available from other sources. interviews with Rózsa, Raksin, Asterisk (*) indicates photocopies. Monstrous Movie Music; Ifukube CDs Here is the present line-up of Herrmann, Mancini, Jarre, Schifrin, * #30/31, Mar. ’93 64 pp. , T. Newman (Shawshank Redemption), J. Pt. 2; Miles Goodman obituary. available gifts: Barry and Shore. U.C. Press. 396 pp., Poledouris, Chattaway, J. Scott, Young, P. Robinson (Craven’s New Nightmare), *#74, Oct. ’96 Action Scores in the ’90s; softcover. $24.95 Mike Lang; the secondary market, Lukas’s mom interviewed; music of Cinemusic ’96 report (Barry, Zhou Now Playing on Marco Polo Morricone albums, Bernstein Film Heimat, Star Trek; promos. Jiping); Vic Mizzy. Sampler of John Morgan/William Music Collection LPs; 1992 in review. #52, Dec. ’94 Eric Serra, Marc Shaiman * #75, Nov. ’96 Barry: Cinemusic Stromberg re-recordings on the #32, Apr. ’93 16 pp. Matinee temp-track, Pt. 1, Sandy De Crescent (music con- Interview; Recordman on War Film Marco Polo label: The Roots of SPFM ’93 Conference Report, Star Trek tractor), Valencia Film Music Soundtracks Pt. 2, J.Bond’s reviews. Heaven, King Kong, Another music editorial. Conference, SPFM Conference Pt. 1, * #76, Dec. ’96 Interviews: Randy Dawn, Gulliver's Travels, The * #33, May ’93 12 pp. Book reviews, StarGate liner notes, Shostakoholics Edelman, Barry pt. 2, R. Cooder (Last Egyptian, Objective: Burma!, The classical/film connection. Anonymous. Man Standing); A. Dursin’s laserdisc col- Treasure of the Sierra Madre and * #34, Jun. ’93 16 pp. Jerry Goldsmith #53/54, Feb. ’95 Shaiman Pt. 2, Dennis umn, Lukas’s reviews. All About Eve (8 tracks -37:55). SPFM award dinner; Orchestrators; Lost McCarthy (Star Trek); Sergio Bassetti, Gone with the Wind in Space, recycled Herrmann; spotlights Jean-Claude Petit & VOLUME TWO, 1997 1959 Muir Matheson re-recording on C.Young, Pinocchio, Bruce Lee film in Valencia; Pt. 1; First color covers! Issues 32-48 pp. of Max Steiner score on scores. rumored LPs, quadraphonic LPs. * Vol. 2, No. 1, Jan./Feb. ’97 Star Wars Sonic Images label. * #35, Jul. ’93 16 pp. Tribute to David *#55/56, Apr. ’95 Poledouris (The Jungle issue: Williams interview; behind the Retail Price: $14.95 Kraft; John Beal Pt. 1; scores vs. songs, Book), Silvestri (The Quick and the Special Edition CDs; commentary, cue Herrmann Christmas operas; Film Dead), J. Lo Duca (Evil Dead), Oscar & editing minutia/trivia. Memoirs of a Famous Composers Dictionary. Music Pt. 2, Recordman’s Diary, SPFM * Vol. 2, No. 2, Mar./Apr. ’97 Composer— Nobody *#36/37, Nov. ’93 40 pp. Elmer Bernstein, Conference Report Pt. 2. (); promotional CDs; Ever Heard Of Bob Townson (Varèse), Richard Kraft & *#57, May ’95 Goldsmith in concert, Congress in Valencia; Readers Poll ’96; by Earle Hagen Nick Redman Pt. 1, John Beal Pt. 2; Broughton (Young ), Into the Dark Pool Pt. 2 Composer Hagen (b. 1919) has had reviews of CAM CDs; collector interest Miles Goodman interviewed, ’94 an outstanding career: as a big band articles, classic corner, fantasy film Readers Poll, Star Trek overview. trombone player with Benny scores of E. Bernstein. *#58, Jun. ’95 Michael Kamen (Die Goodman and Tommy Dorsey; as an * #38, Oct. ’93 16 pp. John Debney Hard), Royal S. Brown (film music critic), arranger and composer under Alfred (seaQuest DSV), Kraft/Redman Pt. 2. Recordman Loves Annette, History of Newman at 20th Century Fox; and as * #39, Nov. ’93 16 pp. Kraft & Redman Pt. Soundtrack Collecting Pt. 1. a composer/music director for thou- 3, Fox CDs, Nightmare Before Christmas; *#59/60, Aug. ’95 48 pp. Sex Sells (LP sands of hours of television, includ- Bride of Frankenstein. cover photos), Jarre interviewed, ing the acclaimed series I Spy, The * #40, Dec. ’93 16 pp. Kraft & Redman Pt. History of Soundtrack Collecting Pt. 2, Mod Squad and The Andy Griffith 4; Re-recording The Magnificent Seven. Rózsa Remembered, film music in con- Show. He also wrote the standard, * #41/42/43, Mar. ’94 48 pp. Elliot cert debate. “Harlem Nocturne,” later used as the Goldenthal, J.N. Howard, Kitaro & R. #61, Sept. ’95 Goldenthal (Batman The Secret of NIMH 2 theme for Mike Hammer, and Miller (Heaven & Earth), R. Portman, Ken Forever), Kamen Pt. 2, Chris Lennertz; 1998 Lee Holdridge score to ani- authored two technical books on film Darby; Star Wars trivia/cue sheets; sexy Star Trek: The Motion Picture, classical mated film on Sonic Images. Retail Price: $14.95 composing. This is Hagen’s story, album covers; music for westerns; ’93 in music for soundtrack fans. * Vol. 2, No. 3, May ’97 Michael Fine: filled with charming anecdotes of review. * #62, Oct. ’95 Danny Elfman Pt. 1, J. Re-recording Rózsa’s film noir scores; some of the most famous personali- * #44, Apr. ’94 Joel McNeely, Poledouris Ottman (The Usual Suspects), R. reviews: Poltergeist, Mars Attacks!, ties in movie music. Published by (On Deadly Ground); SPFM Morricone Townson (Varèse Sarabande), Ten Most Rosewood; Lukas’s & J. Bond’s review Xlibris Corporation. 336 pages, hard- tribute & photos; lots of reviews. Influential Scores, Goldsmith documen- columns. cover. $34.95 * #45, May ’94 Randy Newman tary review. Vol. 2, No. 4, Jun. ’97 Elfman (Men in (Maverick), Graeme Revell (The Crow); * #63, Nov. ’95 James Bond Special Black), Promos Pt. 2, Martin Denny and The Music of Star Trek: Goldsmith in concert; in-depth reviews: Issue! Barry & Bond (history/ overview), Exotica, Lady in White, the Laserphile on Profiles in Style The Magnificent Seven and Schindler’s Serra on GoldenEye, essay, favorites, DVDs, Brian May obit, The Fifth Element by Jeff Bond List; Instant Liner Notes, book reviews. more. Also: History of Soundtrack .*Vol. 2, No. 5, Jul. ’97 Goldenthal The first-ever history of Star Trek #46/47, Jul. ’94 Patrick Doyle, Collecting Pt. 3, Davy Crockett LPs. (Batman & Robin), Mancina (Con Air, soundtracks, from the original series J.N.Howard (Wyatt Earp), John Morgan * #64, Dec. ’95 Danny Elfman Pt. 2, Steve Speed 2), George S. Clinton (Austin to the present—by FSM’s own senior (restoring Hans Salter scores); Tribute to Bartek (orchestrator), Recordman Powers), ASCAP & BMI awards; plus: U.S. Soundtracks on CD Price editor. Featuring interviews with Mancini; M. Nyman music for films, col- Meets Shaft: The Blaxploitation Crash, Lost World. Guide: 2nd Edition composers Goldsmith, Courage, Fred lectible CDs. Soundtracks, Kamen Pt. 3, re-recording Vol. 2, No. 6, Aug. ’97 Schifrin (Money FSM's market-standard price Steiner, Fried, Ron Jones, McCarthy, * #48, Aug. ’94 Mark Mancina (Speed); House of Frankenstein. Talks), J. Powell (Face/Off), Shaiman guide featuring over 2,400 listings. Chattaway, producer Robert Chuck Cirino & Peter Rotter; R. Kraft: * #65/66/67 Mar. ’96 (George of the Jungle); remembering , 48 pp. T. Newman; Regular FSM Price: $17.95 Justman, music editor Gerry advice for aspiring composers; classical Takemitsu; Robotech; Star Trek; 10 Tony Thomas; Summer movies, TV Sackman and others, the book con- music; CAM CDs; Cinerama LPs; best- Influential composers; Glass, Heitor sweeps. Please note! If your order quali- tains a complete list of music written selling CDs. Villa-Lobos, songs in film, best of ’95, film *Vol. 2, No. 7, Sept. ’97 Zimmer vs. FSM fies, it is your responsibility to ASK for all four TV series; a guide to #49, Sept. ’94 Zimmer (The Lion King), score documentary reviews (Herrmann, (interview: Peacemaker), M. Beltrami for a free gift—we won't send it score tracking and credits; Trek man- Shirley Walker; ; Delerue, Takemitsu, “The Hollywood (Scream, Mimic), Curtis Hanson (L.A. automatically. Thanks! uscript excerpts from the com- Salter in memoriam; classical music in Sound”). Confidential); Laserphile; Bender: Film

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(Baseketball), Taxi Driver retrospective, report; Barry bios reviewed; Charles J. N. Howard (Dinosaur); Goldsmith BMI & ASCAP dinners, Broughton Gerhardt obit. Buyer’s Guide Pt 6, more. Buyers Guide Pt. 2, Downbeat (Schifrin, Vol. 4, No. 5, Jun. ’99 Star Wars: The Vol. 5, No. 6, Jul. ’00 Summer Movie Bernstein, Legrand). Phantom Menace scoring session & Round-up; David Newman (Bedazzled, * Vol. 3, No. 8, Sept. ’98 Lalo Schifrin analysis of Trilogy themes; Halloween The Klumps); Film score agents, pt.3; (Rush Hour), B.Tyler (Six-String H20 postmortem; Downbeat (Affliction, Session Notes (debut); They Might Be Samurai); T.Jones; Williams concert pre- Free Enterprise, Futurama), Election; Giants (Malcolm in the Middle); pocket miere, ASCAP scoring seminar, reviews: new scores, , reviews; Score Internationale. Rykodisc CD reviews. Morricone, TV, A Simple Plan. Vol. 5, No. 7, Aug ’00 Vol. 3, No. 9, Oct./Nov. ’98 Erich Vol. 4, No. 6, Jul. ’99 Elmer Bernstein: interview; Silverado analyzed; Shaiman Wolfgang Korngold: Biographer inter- Wild Wild West; G. S. Clinton: Austin gives hell from the heavens; Agent view and book reviews; Williams’s Powers 2; Goldsmith Buyer’s Guide Pt 4: History’s fiery conclusion; Laserphile Tanglewood film scoring seminar; C. Early ‘70s; USC film scoring program; CD (Autumn DVDs); Downbeat (William Planet of the Apes; Zimmer (Pearl The Game), Zimmer vs. FSM Pt. 2, Alloy Burwell; S. Boswell; Citadel Records, reviews: 1984, Sword and the Sorcerer, Stromberg); Elfman & mom at a scoring Harbor) and concert CD; Horner Buyer’s Orchestra (scoring silent films), Golden Halloween laserphile. The Mummy, The Matrix, more. session. Guide Part 2; Goldenthal (Final Fantasy); Age CD reviews. Vol. 3, No. 10, Dec. ’98 The Prince of Vol. 4, No. 7, Aug. ’99 Warner Animation Vol. 5, No. 8, Sept./Oct ’00 Randy Shore (The Score); Williams (A.I.) and Vol. 2, No. 9, Nov./ Dec. ’97 Arnold Egypt (Zimmer, Stephen Schwartz), E. Scoring (Walker on Batman/ Superman, Newman (Meet the Parents); Things To more. (); John Frizzell Cmiral (Ronin); Holiday Review Round- Broughton on Tiny Toons, more); Come Soundtrack LP; Vol. 6, No 7, August ’01 Quincy Jones (Alien Resurrection); Neal Hefti (inter- up: 50+ new CDs; Downbeat (Elfman, Phantom Menace music; Kamen (The Retrospective; Downbeat (Requiem for Retrospective Part 1; Moulin Rouge; view); U-Turn & The Mephisto Waltz, Young, Beltrami, Eidelman, D. Cuomo, Iron Giant); Stu Phillips (Battlestar a Dream); Session Notes (The John Morgan Reconstructing Golden Razor & Tie CDs; 1st issue of current for- Kamen.) Galactica); percussionist Emil Richards; Simpsons); Psycho honored by NPR; Age Scores; Downbeat Deluxe (Schifrin, mat. ASCAP awards. “Cinema of Dreams”. Jones, Diamond and Debney); Score *Vol. 4, No. 8, Sept./Oct. ’99 Tribute to Vol. 5, No. 9, Nov./Dec. ’00 Special 64 Internationale; Random Play. Stanley Kubrick: interview (Jocelyn pg. double issue. 101 Great Film Scores Vol. 6, No 8, September ’01 Angelo VOLUME THREE, 1998 Pook) analysis (), review on CD—FSM’s big list; & Yo-Yo Badelamenti (Mulholland Drive); The Expanded format! Issues 48 pp (Kubrick compilation); Poledouris (For Ma (Crouching Tiger, Hidden Dragon); North Carolina School of the Arts (for Vol. 3, No. 1, Jan. ’98 Williams Buyer’s Love of the Game); Goldsmith Buyer’s Shore (The Cell); Silvestri (Cast Away); film composing); Quincy Jones Pt 2; Guide Pt. 1 (Star Wars to Amistad), M. Guide Pt 5: Late ‘60s; concert advice for Earle Hagen; Halloween DVDs; more. Danna (The Sweet Hereafter), Titanic‘s Goldsmith. Vol. 6, No. 9, Oct./Nov. ’01 Howard music supervisor, readers poll, laser- Vol. 4, No. 9, Nov. ’99 U.S. Postal Service Shore (Lord of the Rings); Ronald phile, Silvestri lecture, Rykodisc Composer Stamps; Papillion retrospec- Stein:Invasion of the Score Man; Trevor reviews. tive; Peter Thomas; Downbeat Jones (From Hell); Davis Meets Williams * Vol. 3, No. 2, Feb. ’98 Glass (Kundun), (Inspector Gadget, The Thomas Crown (Jurassic Park III on DVD); M. Danna Williams Buyers Guide Pt. 2 (The Affair, more); BMI awards night. (Chosen, Hearts of Atlantis); ST:TMP Reivers to Black Sunday), D. Amram Vol. 4, No. 10, Dec. ’99 Scores of Scores gets a DVD refit; Pukas comix debut . (The Manchurian Candidate), Goldsmith 1999: annual review roundup: animation, Vol. 6, No. 10, Dec. ’01 Annual roundup on Varèse, Pendulum CDs; poll results, Morricone, horror, Golden and Silver CD reviews; Alejandro Aménabar (The TV CDs. Age Hollywood, concert work CDs and Others); Gabriel Yared; other Hobbit Vol. 3, No. 3, Mar./Apr. ’98 Titanic/Horner lots more. music; Downbeat (C. Young, H. Gregson- essays, Best of 1997, Cinerama Rides VOLUME FOUR, 1999 Williams, R. Kent, M. Isham). Again, Remembering Greig McRitchie, 48 pp.each Fox Newman Stage pics, Elfman Oscar *Vol. 4, No. 1, Jan. ’99 Music for NFL VOLUME FIVE, 2000 Back to the Future retrospective. noms. Films (Sam Spence), Goldsmith at 48-64 pp.each VOLUME SEVEN, 2002 Vol. 3, No. 4, May ’98 Bruce Broughton Carnegie Hall, Elfman (Psycho, Civil Vol. 5, No. 1, Jan. ‘00 Rhino’s reissue of VOLUME SIX, 2001 48 pp.each (Lost in Space), D. Arnold (Godzilla); Action, A Simple Plan), Wing Superman:The Movie score, film and 48 pp.each Vol. 7, No. 1, Jan. ’02 The Best and the Inside Close Encounters restoration; Commander game music, books, Indian cue sheet analysis; ’50s Superman TV Vol. 6, No. 1, Jan. ’01 The Best of the Worst of 2001; Horner Buyers Guide Pt Williams Buyers Guide Pt. 3; Score funk soundtracks. score; H. Shore (Dogma); Downbeat Worst:2000 in review; Our Town music 3:1989-86; Zimmer (Black Hawk Down); Internationale, Laserphile, Ed Shearmur; Vol. 4, No. 2, Feb. ’99 Goldsmith Buyer’s (Goldenthal, Barber, Tyler, Debney and analysis; on DVD; C. Logan’s Overrun:expanded liner notes; Fox Classics reviews. Guide Pt 1: The ’90s, The Exorcist (lost Robbins); pocket reviews debut, Martinez (Traffic); Total Recall redux; Enterprise; Yann Tiersen. Vol. 3, No. 5, Jun. ’98 Mark Snow (X- Schifrin score); D. Shire (Rear Window Laserphile. more. Vol. 7, No. 2, Feb. ’02 Happy Birthday, Files), Classic Godzilla; J. Chattaway remake); TVT sci-fi CDs; promo CDs; Vol. 5, No. 2, Feb. ’00 20th Anniversary Vol. 6, No. 2, Feb. ’01 The Musical World Elmer Bernstein; Rózsa speaks! (Lust for (Maniac, Star Trek), Broughton Buyers Philip Glass (Koyaanisqatsi). Tribute to Jerry Fielding, conversation of Irwin Allen; Copland on Film (cond. Life); Richard Rodney Bennett; Guide Pt. 1, Downbeat (D. Reynolds, Vol. 4, No. 3, Mar. ’99 The Best of 1998: with Camille Fielding; Top picks for 1999; Jonathan Sheffer); George Clinton (3000 Downbeat (John Q,.Frailty); Laserphile McCarthy, Anne Dudley), SCL Essays by J. Bond, A. Dursin & D. Oliver Stone’s score-o-matic (Any Given Miles to Graceland); Douglass Fake of (baseball & rites of passage DVDs). Conference Report. Adams; Wendy Carlos; Goldsmith Sunday); George Duning obit; Score Intrada; How to Marry a Millionaire, Vol. 7, No. 3, Mar/Apr. ’02 John Debney Vol. 3, No. 6, Jul. ’98 Trevor Rabin Buyer’s Guide Part 2: The ‘80s; Hammer Internationale;1999 release stats. more. (The Scorpion King); Hook retrospective (Armageddon), Barry’s London Concert; soundtracks on CD; Recordman; Vol. 5, No. 3, Mar. ’00 Build the ultimate Vol. 6, No. 3, Mar. ’01 Bigger, Better (Williams);Dialect of Desire: Edda Burkhard Dallwitz (The Truman Show); Downbeat; ST:TMP CD review. Phantom Menace CD at home; Readers Scores: RMA is helping to put more Dell’Orso; Craig Armstrong (Moulin Christopher Gordon (Moby Dick); Debbie Vol. 4, No. 4, Apr./May ’99 Franz picks for 1999; Music director Mark music on your soundtracks; Don Ellis Rouge; Oscar winners. Wiseman (Wilde); ‘70s soul soundtracks. Waxman: Scoring Prince Valiant ; 1998 Russell Smith on film vs. concert music; and a life in 13/8 Time; Irwin Allen Vol. 7, No. 4, May/Jun. ’02 Elfman Vol. 3, No. 7, Aug. ’98 South Park (Adam Readers Poll; Goldsmith Buyer’s Guide C.H. Levenson’s “last” letter, reader sur- discography; R. Kent (Town & Country); (Spider-Man); Attack of the Clones (cue- Berry, Bruce Howell), Ira Newborn Pt 3: Late ‘70s; DIVX soundtrack festival vey, and more. Italian Imports: You can’t beat BEAT. by-cue analysis); Mark Mothersbaugh Vol. 5, No. 4, Apr./May ’00 Herrmann: 10 Vol. 6, No. 4, Apr./May ’01 James Horner (Welcome to Collingwood); Legend res- Essential Scores of the ’50s and CD Buyer’s Guide Part 1; Downbeat (The urrected on DVD; Retrograde (ASCAP checklist, Journey to the Center of the Mummy Returns, Swordfish); A Salute to winners). FSM:THE COMPLETE COLLECTION Earth retrospective; R. Marvin (U-571); Hoyt Curtin; Epics on DVD; Session Get every issue of Film Score Monthly J.Z.K. on Tora! Tora! Tora!; Film music Notes from Atlantis The Lost Empire. Index How much stuff have we printed from 1990 to the present in one package. representation in Hollywood, pt.1. Vol. 6, No. 5, June ’01 Sergei Prokofiev in FSM? We’re not sure, but here’s a Vol. 5, No. 5, Jun. ’00 TENTH Tribute; Friedhofer and Fox; handy index of all reviews and articles The price for The Complete Collection (a $350.00 ANNIVERSARY ISSUE! Kendall remem- Ghostbusters retrospective; Downbeat: through the end of 2000, compiled by value) is $99.95 plus shipping. NEW CRAZY bers; An FSM Timeline; The Film Score (J. Danna, R. Shore); Bender reports Dennis Schmidt. Cost: same as one back OFFER! U.S. readers get free shipping! Canadian Decade: who and what made it memo- from Chiller, and plenty of reviews. issue. readers: Add $20 for postage. Rest of world: Add rable; Jaws 25th Anniversary CD review; Vol. 6, No. 6, July ’01 Elfman’s new $35 for surface mail or add $60 for air mail. (Sorry, but that's what happens when you live so far away from FSM.) EXCLUSIVE VIDEO! If you have specific shipping concerns or questions, email us at: Basil Poledouris: His Life and Music work on synthesizer mock-ups of Starship Troopers, [email protected], or call 1-888-345-6335 An intimate visit with the composer of Conan as well as dozens of behind-the-scenes and (overseas: 310-253-9598), fax 310-253-9588 or write: the Barbarian, , Starship Troopers family photos, and appearances by wife Bobbie and FSM Complete Collection, 8503 Washington Blvd., Culver City CA 90232. and Lonesome Dove. Take a tour of his work daughter Zoë. Discover the man behind the music, If you already have some of the issues, we can create a customized set of and lifestyle, from his methods of composing to in a way you’ll never see on TV, or experience in the issues you need at a prorated price. Contact us today! his love of sailing. The video runs 50 minutes print. 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SCORE pieces that immediately follow. A from happening: pose as a gay that with The Jaguar. The follow- more extended version of man and threaten the company ing seven cues, one of which is a (continued from page 35) “Sentimental Walk” creates a kind with a sexual discrimination law- song featuring Catia Constantin wish it were something else. While of touchpoint that looks backward suit if he is dismissed. It appeared Carvalho, continue to impress that this CD might not make non- to previous scenes as well as briefly in the States last spring. The The Jaguar is among the best of Legrand fans into fans, it is full of ahead. title cue, “The Closet,” is subtitled the “unknown” scores of the ’90s. accomplished and emphatically The original score material “Chaplinesque,” and it is indeed a The selections are a mix between performed music. Now we just tends toward a more experimental stylized comedy theme that is a orchestral adventure cues and styl- need an orchestral compilation on quality that mixes ethnic instru- close cousin to Rota’s style in films ized South American pieces (like the order of the recent Georges ments in unusual combinations, a like Amarcord. “The Sadness of the delicious “The Space at Delerue set so that film score fans good example being “Ground Pignon” features a beautiful clar- Matupa”). The score receives a can become more aware of Swell.” Textures are layered in a inet and flute melody that is quite perfect performance by the Legrand’s rich legacy. —C. W. style we used to refer to as “new touching. “Santini and the Lady” is London Symphony Orchestra. age” and “space” music. This is similar to a Mancini cue from “The If you are unsure where to start Diva—20th Anniversary Edition much of what makes “Metro Pink Panther” films. The final cue in exploring Cosma’s music, this (1982) ★★★★ Police” an interesting listen. The presented here, “Miss Bertrand,” disc of scores for Veber films original piano solo piece is the continues to display Cosma’s makes an admirable beginning. DRG 9523 • 19 tracks chief melodic cue, while the rest melodic invention. —S.A.K. ladimir Cosma may be unfa- are more avant-garde. The excep- is a comedy Vmiliar to most film music tion is the folkish “A Dog for Mr. of manners fans, but he’s a big name in Michel” and “I Don’t Like and social Europe, where he has over 160 film Elevators,” which feature a promi- graces. At its scores to his credit. He started out nent accordion. There’s no doubt heart, it is a as an arranger for Michel Legrand that this eclectic quality helped satire pitting in the 1960s and soon built up a garner the score its César. the social elite considerable oeuvre of his own. Wilhelmenia Wiggins Fernandez against the He’s been nominated for five César performs the aria from Catalani’s intellectually awards (the French equivalent of “La Wally” which plays an impor- inferior, and in an Oscar), winning for his score to tant role in the film. She sings a typical French Diva (1981), just issued in a special brief excerpt of the Gounod “Ave style, the roles 20th anniversary edition. So far, he Maria” as well. Cosma also reverse as the 1 has not scored a film that has had arranged a cello and piano version film progresses. It’s a fun picture, Seeds of Darkness ★★★ /2 wide enough appeal for Oscar of the Catalani aria. The disc but Cosma’s main title points out JASON GRAVES recognition. However, a quick sur- begins and ends with the same the more poignant aspects of what Lydian Records • 15 tracks - 49:00 vey will reveal that fans of French aria and performance, which will follow. The music is again riting music for a Star Wars cinema will have seen many makes little sense other than that fairly Italianate in style, with a folk- Wfan film is a bit of a double- movies Cosma has scored. it is listed as “End Titles” at the jazz guitar part of the Django edged sword for any talented com- Cosma’s most “famous” contri- conclusion of the disc. Reinhardt variety a key compo- poser. Sure, it’s an opportunity to bution to date was for the afore- The accompanying booklet nent. Having seen this film, I can delve unabashedly into the grand mentioned 1981 film, Diva. DRG includes a discussion of the film, say that the music serves it well. tradition of sweeping orchestral recently released its score in a brief interviews with the composer Cosma’s gift to play comedy as themes and orchestrations newly remastered and expanded and director, photo stills and a human drama is on full display bequeathed upon him by the mas- edition for the film’s 20th anniver- Cosma filmography through 2000. here. It makes sense that he’d team ter, John Williams. But the irony is sary, with about 12 minutes of pre- Sound is excellently reproduced as up with director Veber, a craftsman that if you do your job right, the viously unreleased score material well. In all, this isn’t necessarily an who usually approaches comedies music comes out sounding a lot and several minutes of unreleased “easy” listen, but a remarkably this same way. Heard apart from like, well, John Williams; so much classical music used in the film. original one nonetheless .—S.A.K. the film, the individual cues are so that the composer’s voice can The composer’s piano solo on still enjoyable. Most humorous is get lost in the process. Such is the “Sentimental Walk” will likely be Three Films by : the “Jaws-like” underscore for case with Jason Graves’ Seeds of familiar even to those who may The Closet/The Dinner Game/ “Cheval, the Tax Collector,” with its Darkness. 1 not have seen Diva. It’s like a jazzy The Jaguar* ★★★★ /2 fluttering tremolo strings and Graves is a USC grad and North Satie “Gymnopédies” with echo VLADIMIR COSMA rhythmic pulses. Carolina-based composer who effects. “Dead End” is a piece of DRG 9522 If you need confirmation of takes on a low-budget fan-film stylized ’80s rock suggesting a 19 tracks - 52:28 (The Closet, 5 cues - 11:09; Cosma’s gifts, go no further than assignment and nails it. With an more tense, urban scene. The Dinner Game, 6 cues - 15:33; The Jaguar, the remarkably gorgeous title cue all-synth orchestra, no less. The “Gorodish” has a dreamy, Asian- 8 cues - 25:44) for the 1996 adventure film, The orchestrations, brass phrases, sounding theme and strange *Performed by London Symphony Orchestra Jaguar. At times recalling John woodwind runs, chord changes effects that create a kind of flutter he most recent film repre- Barry, it represents much of what and harmonies scream “Williams,” quality to the sound. There are Tsented in this new Vladimir is best in dramatic film music—a so from a Star Wars fan stand- interesting percussion effects and Cosma compilation album is The wonderful arching theme that is point, this should make for an accompaniments in cues like “Zen Closet (2000), which stars Daniel both beautifully orchestrated and entertaining listen. and the Art of Buttering Bread” Auteuil and Gerard Depardieu. richly harmonized. How often do And on the technology side, that pick up the Asian qualities of Auteuil’s character is about to lose you hear a main title and immedi- what Graves is able to pull off with the preceding cue. These provide a his job, and his friend concocts a ately hit the “replay” button? I sus- an all-synth orchestra is mind- striking contrast to the classical scheme that is sure to keep this pect that many of you will do just (continued on page 48)

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THE LASERPHILE lost scenes (including an entire musical num- ber, “Cool Considerate Men”) for that leg- endary 1992 laserdisc pressing. They ulti- mately found them—some in better shape Summer Thrills than others—and the uncut 180-minute ver- sion included on the LD remains one of the DVDs worth staying indoors for! prized possessions of laserphiles lucky enough to own a copy. by Andy Dursin Columbia’s long-awaited and generally sat- isfying DVD is freshly mastered from a health- ier negative (the restored scenes are no longer derived from a workprint), but it’s an other- wise disappointing release for a number of reasons. First, director Hunt—who also helmed the original stage version—opted to re-edit the movie in a new “Director’s Cut” that drops nearly 15 minutes from the uncut 180-minute LD version. Gone are the Overture and Intermission from the three-hour cut, as well as the longer versions of the songs “Piddle, Twiddle” and “The Lees of Old Virginia.” In one crucial moment near the end, Hunt has even substituted a close-up of John Adams contemplating the ongoing call for Independence with a static long shot of the individual members of Congress casting their vote. While Hunt certainly has the authority to make whatever version of the film he prefers available on DVD, these alterations are mostly regrettable, and, at the very least, it’s a shame that these deleted/alternate scenes aren’t on FUN AND GAMES: The HARRY POTTER DVD features the DVD at all—not even in an excised scenes extra scenes “hidden” within annoying puzzles. supplement. While the re-cutting of the film will disap- ow that summer is here, and Legend has been officially released, the point some fans, just as frustrating is the DVD’s uneven 5.1 remix, which Laserphile is now free to turn his attention toward the next wave of varies wildly in terms of its effectiveness. Aside from a more prominent use of bass, the 5.1 Nhot DVDs. In the next few weeks we’ll be seeing plenty of discs to tax mix simply pales in comparison to the laser’s excellent, glossier stereophonic soundtrack, your wallet: everything from the four-disc director’s cut of Pearl Harbor to sounding more antiquated in the process. Visually, the new transfer benefits from hav- the long-awaited special edition DVD of Top a Hollywood rarity—a Tony-winner bril- ing gone back to the original negative, but it’s Secret!, easily one of my favorite comedies of liantly adapted to the movies, successfully so dark that one can hardly see the benefits of the ’80s. In early August, Warner will dust off a intact from its stage version—but also a its remastering. The color spectrum is also handful of genre favorites, many with a unique viewing experience all its own. 1776 more limited in this print. On the plus side, the plethora of special features: Gremlins, Wolfen, succeeds both as entertainment heightened resolution of DVD does Time After Time, Clash of the Titans and even and as a history lesson about the make the image stronger on wide- V: The Final Battle. Paramount has a special fight for Independence, with pow- 1776 screen televisions, where its advan- edition of Star Trek II: The Wrath of Khan also erful performances, memorable is a rarity tages will be most apparent. lined up, complete with restored footage and songs, and incisive dialogue com- For extras, Columbia has an entire bonus disc of supplements. bining to create a film that is great in that included a handful of screen tests In short, there’s going to be plenty to cover both musically and dramatically it suceeds and a new commentary track from in the near future, so here’s a round-up of (some 40 minutes go by at one Hunt and screenwriter Peter Stone some of the more noteworthy spring titles point without a song!). as both that is interesting, though again, I released recently on DVD: Despite the film’s critical kudos, found the discussion between Hunt however, and unbeknownst to most history and Caporiccio from the LD more 1776 (Columbia TriStar, $27.95) viewers, Warner had cut the film lesson well-rounded (I still believe it’s the n the early ’90s, Pioneer released a limited from three hours down to 140 min- most educational and enlightening Iedition laserdisc of 1776, Peter H. Hunt’s utes for its theatrical release. That and commentary I’ve ever heard). filming of the award-winning Sherman version was the only one available musical For viewers who have never Edwards-Peter Stone musical that producer to the public until Pioneer and pro- watched 1776, Columbia’s DVD is Jack L. Warner brought to the screen with ducer Joe Caporiccio searched entertainment. certainly a worthy release and a rousing success in 1972. The movie is not only tooth-and-nail for the film’s fabled competent presentation of the film.

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Unfortunately, it is not the definitive or most technically accomplished version available— Composer’s Corner audio commentary by director Marc Foster and for that, you’ll have to track down the Pioneer deleted scenes. LD, which covered this terrain more success- DVDs of special interest to Most interesting for film music aficionados is fully over a decade ago. soundtrack fans an excellent 10-minute featurette on the scoring of the film, featuring footage of composers Harry Potter and the Sorcerer’s Stone Starship Troopers Asche and Spencer (Chris Beaty, Thad Spencer, (Warner, $27.95) (Columbia, $27.95) and Richard Werbowenko) at work on the film. know I’m probably the only one, but for eaders should rejoice over the inclusion Their understated, acoustic score is a perfect Ime, Chris Columbus’ elegant adaptation of Rof Basil Poledouris’ isolated score (in five- accompaniment to the film, and the featurette J.K. Rowling’s first Harry Potter novel managed channel Dolby Digital) with composer commen- allows all three an opportunity to illustrate their to outshine Peter Jackson’s safe, sanitary Lord tary on this double-disc special edition of Paul craft and engage in a discussion of the “musical of the Rings as a stand-alone movie. John Verhoeven’s gung-ho, guilty-pleasure 1997 epic. wallpaper” approach that was perfectly suited Williams’ rich score and the wide-screen visu- Thankfully, while some of Poledouris’ com- for this film. als make this one of the outstanding children’s ments begin at the tail end of a few cues, the film fantasies, and certainly one of the most music otherwise plays out as intended with no Frank Herbert’s Dune: Special Edition satisfying blockbusters, to come down the interruption—a godsend for those seeking unre- (Artisan, $26.98) pike in a long while. leased material left off the abbreviated sound- rtisan has been righting several past DVD Although adults enjoyed the film as much track album. When the music isn’t playing, Awrongs in 2002, having recently remas- as kids, they may not feel the same about Basil’s comments are enlightening on both his tered Total Recall, Basic Instinct, and the Warner’s special edition DVD. While the 2.35 creative process and working with Rambo Trilogy with superior new transfer is tremendous (a cropped full-frame Verhoeven, which doesn’t seem to transfers and soundtracks. Their lat- version is also available) and the special fea- be all that easy, judging from some est endeavor is a lavish, three-disc tures are a good deal of fun, the problem is of the anecdotes he shares here. “Director’s Cut” of the successful finding them—the goodies are accessible only Other extras include the reprise of 2000 TV mini-series of Frank by playing through interactive menus aimed the older DVD’s extras, recent F/X Herbert’s Dune. specifically at kids, who may be the only ones featurettes and a brand new docu- An additional 30 minutes have with the patience needed to get through them. mentary, which Poledouris appears been added to the show itself When you finally get there (plan on spending in as well. (footage that was cut for its U.S. many minutes doing so), you’ll be rewarded For Starship Troopers fans, admit broadcast), while the transfer is now with extras like nearly 20 minutes worth of your affection for the film—and pick 16:9 enhanced, and there’s a stronger surprisingly good deleted scenes, trailers, and up the new DVD for Poledouris’ iso- DTS track included on the audio end. additional features for your PC. Turn the disc lated score if nothing else. Speaking of which, composer off, though, and you’ll have to do it all over Graeme Revell talks about his score again—arrgghhh! A Beautiful Mind (Universal, $29.98) in an interesting segment on the Buy the disc for the movie, but plan on hav- discussion of James Horner’s film’s soundtrack. Revell discusses his ing some younger Potter fans around to help Ascore is one of the many sup- use of “ethnic” music, electronics and you gain access to the special features. plements in this superb double-disc orchestra, plus the creation of the “Award’s Edition” of Ron Howard’s various motifs integrated in the score. Memento: Limited Edition Oscar-winner. Howard and producer It’s a nice bonus on a superior pres- (Columbia, $27.95) Brian Grazer laud Horner for simpli- entation of Dune, which fans may f Harry Potter’s tricky menus prove difficult fying the musical vocabulary for them during carp should have been released this way the Ifor some to navigate, the interactive menus their many collaborations over the years, calling first time around. in the 2-DVD special edition of Christopher him a “wonderful storyteller” and a filmmaker Nolan’s cult hit turn out to be positively— in his own regard. The Saragossa Manuscript (Image, $24.95) well—puzzling. If you can make it through the Horner himself is interviewed during record- t takes a lot of patience to make it through myriad of screens standing in your way of spe- ing session footage, discussing his composition- Iall three hours of Wojciech Has’ 1965 epic, a cial feature goodness, you’ll find a chronolog- al techniques and his utilization of Charlotte Polish film version of an early-19th-century novel ical edit of the film and multiple audio com- Church’s vocals as an “instrument” in the score. by author Jan Potocki. The movie follows a sol- mentaries (!) by Nolan for the finale, along Church also appears, and the two discuss how dier at the end of the Napoleonic era who dis- with production stills, trailers, the script, fea- her vocals were recorded live, and not typically covers a magical manuscript that unlocks a mul- turettes and more. laid on top of the orchestra following the initial titude of stories told in a bizarre, fairy tale-like The superb transfer and sound are more or sessions. manner over the course of the next three-plus less identical to the earlier DVD. It’s just The DVD is loaded with other special fea- hours. another case where less might have been tures, including the requisite commentary and Film music fans may be particularly interest- more in terms of presentation: While the new deleted scenes, plus better-than-average “mak- ed in the release since it contains a surprisingly extras will certainly prove worthwhile for fans, ing of” material and other extras from 2001’s clean, isolated music track by Krzystof having to find them by solving interactive rid- reigning Best Picture winner. Penderecki. The track features a minimum of dles may prove to be a time-consuming frus- hiss and does not fluctuate in volume like many tration for everyone else. Monster’s Ball (Lion’s Gate, $24.95) isolated scores do on video. Since the only alle Berry copped an Oscar for her per- release of Penderecki’s music from The The Last Waltz (MGM, $25) Hformance in this low-key, beautifully Saragossa Manuscript previously available was eluxe 25th Anniversary package of the acted Southern drama, which is out on DVD in a 1989 compilation, fans of the composer will Dquintessential cinematic concert film with a full slate of special features, including certainly want to seek this DVD out. FSM receives a sparkling new transfer, remastered

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THE LASERPHILE the bit-rate (compression) of DVD picture and sound by devoting an entire disc to the movie soundtrack, and other goodies tailor-made for reflecting on their work on The Last Waltz. A and its soundtrack alone. The result is as clear the repressed rock ‘n’ roller in all of us. 20-minute featurette looking back on the a picture as you can possibly see on DVD, with When The Band played their final concert, movie is included, along with a stills gallery, more confident soundtracks that you won’t on Thanksgiving 1976 in San Francisco, the original trailer, an informative eight-page have to push to the max to coax a strong pres- was there, capturing the booklet, and a previously unseen jam session. ence out of. The Mel Gibson/Roland Emmerich hit The Patriot is a good case in point: The DTS sound- track (not included on the earlier DVD) is far stronger and more lyrical than the original Dolby Digital mix, and the wide-screen trans- fer even sharper than its predecessor. For sup- plements, they’ve been carried over to a sec- ond disc, though the commentary track has been excised from this edition. Although the Superbit enhancements will be best appreciated by consumers with niftier home theater systems, the improved fidelity on the audio side is far from negligible, regard- less of your setup. Vault Disney Treasures t a time when many studios are going for Ano-frills DVDs, it’s heartening to see Disney not only remaster many of their clas- IMPERFECT HISTORY: Guy Pearce wrestles with his demons in MEMENTO; sics, but also add special features geared par- Mel Gibson takes on the Redcoats in THE PATRIOT. ticularly toward the older viewer nostalgic for these vintage classics. event with eight cinematographers (including (Aficionados of The Band will also want to Released in May were two-disc special edi- Vilmos Zsigmond, Laszlo Kovacs and Michael check out Rhino’s 4-CD Last Waltz soundtrack tions—featuring remastered THX transfers Chapman) and breathing life into the often- box-set, which features remastered audio, a and Dolby Digital sound—of The Parent Trap, static concert film genre. With moving cam- slew of unreleased tracks and a tremendous Old Yeller, Pollyanna and one of my favorites, eras and multiple angles at his disposal, booklet, all for $59.95.) Swiss Family Robinson. Scorsese managed to capture the dynamic Even if you’ve never heard of The Band, While the pleasures of seeing each film in its energy of the event, from The Band’s final The Last Waltz is a vibrant concert film and original is more than enough to farewell as well as the improvisations and col- an important document marking the end of highly recommend the titles ($29.98 each), laborations brought by guest artists like Eric the ’70s rock era—arguably the last great extras consist of supporting featurettes, trail- Clapton, Joni Mitchell, Neil Diamond, Muddy period in rock and roll history (for a taste of ers, and audio commentaries on each disc— Waters and others. MGM’s 1.85 transfer is what followed, read on for my review of Can’t including everyone from Hayley Mills and detailed and colorful, and the 5.1 soundtrack Stop the Music). Tommy Kirk to James MacArthur reminiscing is nicely handled, with the music remixed for about their work on the films. There are also full surround without compromising its origi- The Patriot: Superbit Collection short featurettes and segments screened on nal integrity. For supplements, the disc boasts (Columbia, $29.98) The Disney Channel airings of the films, two audio commentaries, one featuring a ou might have seen Columbia’s “Superbit which include a look at Mills’ screen double scene-specific discussion by The Band’s YDeluxe” releases on store shelves and (shot only from behind) in The Parent Trap. Robbie Robertson with excerpts from an inter- wondered what all the fuss was about. Mainly Not part of the special edition packages per view with Scorsese, while the other track fea- geared at consumers with higher-end home se but also new from the studio is the delight- tures critic Jay Cocks and many of the artists theater systems, the Superbit series increases ful DVD debut of The Many Adventures of Winnie the Pooh ($30), Disney’s 1977 compila- tion of Pooh shorts that brought A. A. Milne’s beloved creation alive in a visual medium. Restored and remastered, the THX transfer is excellent, and a handful of supplements are included for both kids (interactive games) and adults (art gallery, a “making of” featurette), with a bonus Pooh short and Carly Simon music video rounding out the 25th Anniversary release. Fun and family-oriented, but not “dumbed down” like too many other family DVDs (which have been alarmingly targeted only at kids in recent months), these are five superla- tive packages perfect for cross-generational audiences.

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New From Anchor Bay starred as the Doctor in a pair of ver the last few months, several THE WATCHER fondly remembered ’60s cinematic Oof Anchor Bay’s excellent, adventures pitting the inventor deluxe DVD discs have been IN THE against the Daleks, here celebrated reduced to bargain prices, making WOODS in a three-disc special edition. In them even more affordable to die- addition to wide-screen transfers of hard movie buffs, while the label still isn’t both Dr. Who and the Daleks and continues to release brand-new completely Daleks: Invasion Earth 2150 A.D. packages of beloved cult faves. (the former with audio commen- Here’s a look: restored, tary), Anchor Bay has also included Suspiria ($40 Limited Edition): but this a 1995 documentary, Dalekmania, Chief among the treasures is the which was intended to accompany deluxe limited edition of Dario special edition a big-screen remake. Alas, all we got Argento’s 1977 masterpiece, featur- was that hideous U.S. TV-movie, ing a restored THX transfer and is fairly and the hopes of a better Dr. Who knockout remixed soundtrack, appealing. revival down the road. plus a bonus CD of Goblin’s sound- The Collection ($40): track album. Anchor Bay’s crisp Three-disc package offers Sir Cliff’s and tremendous new transfer is impeccable, rarely seen, rollicking ’60s musicals: the while the substantially remixed, wonderfully bouncy The Young Ones, highly entertaining layered new 6.1 DTS and Dolby Digital Summer Holiday, and amiable Wonderful Life soundtracks are likewise sensational. The (exclusive to this box-set). These British pro- set’s second DVD includes a 52-minute doc- ductions (directed by Sidney J. Furie and Peter umentary featuring new interviews, along Yates) are an interesting counterpart to the with a colorful booklet sporting additional kind of ridiculous fluff Elvis cranked out on this analysis, interviews and a handful of pro- side of the Atlantic and are a good deal more duction-still reproductions. The Goblin CD, entertaining on the whole. Anchor’s DVDs regrettably, does not offer any individual cue offer audio commentaries and wide-screen denotations, so if you have the original transfers on each disc, making them a must for album, make sure you retain it for reference. nostalgia buffs and musical fans seeing them Highlander: The Immortal Edition ($40): for the first time. The original Republic DVD had one of the The Watcher in the Woods ($20): worst transfers in the history of the medium, Compromised special edition of the 1980 making this still somewhat grainy but never- Disney supernatural thriller starring Bette theless remastered edition a substantial Davis should still prove a must-buy for fans. upgrade. Anchor’s THX transfer is accept- Audio commentary from director John able, but the improved DTS and Dolby Hough and two of the legendary alternate SCREEN Digital soundtrack fare better. In terms of endings are seen here for the first time. supplementaries, the package is a letdown— Hopes for a full-blown restoration of the the audio commentary is the same as the original cut were dashed when studio execu- ARCHIVES 1996 laserdisc release, and the “bonus disc” tives shot down the valiant efforts of disc turns out to be a CD featuring three songs by producer Scott Michael Bosco. Despite this ENTERTAINMENT Queen (why not use the extra space to edition’s shortcomings, the THX transfer and accommodate Michael Kamen’s terrific, 5.1 soundtrack are excellent and the package Large selection of unreleased score?). The Queen-centric pack- quite appealing at its low price. aging and inclusion of music videos are evi- Can’t Stop the Music ($20): If you thought new domestic and dence that this is geared specifically toward Xanadu was the nadir of the Hollywood musi- the Freddy Mercury fan; if you’re not one of cal, then you haven’t seen Nancy Walker’s (yes, import releases, them, opt for the $15 single-disc release that Nancy Walker) 1980 fiasco starring the older releases and instead. Village People, Valerie Perrine, and the one- The Evil Dead: Book of the Dead ($50 two casting coup of Bruce Jenner and Steve out-of-print CDs Limited Edition): Bound in a rubber reproduc- Guttenberg. An unbelievable, unforgivable tion of the Necronomicon itself, the delight- disco turkey that boasts head-turning produc- Major credit cards accepted. fully skewered packaging is the highlight of a tion numbers (you’ll never think of “YMCA” Write for free catalog! package every Deadite will love. Audio com- the same way again), Can’t Stop has remained mentaries, star Bruce Campbell’s enjoyable a cult favorite due to its inanity. The 2.35 trans- PO Box 550 documentary “Fan-alysis,” an informative fer is terrific and the DTS/Dolby Digital Linden, VA 22642 booklet and other extras complement a soundtracks a hoot—as are the nostalgic liner superb THX-mastered transfer and newly notes. Thankfully, the music did stop after this ph: (540) 635-2575 remixed audio track. I’ve always found the one tanked over 20 years ago. FSM sequels more entertaining, but if you count fax: (540) 635-8554 yourself as a major fan of the original, don’t Andy Dursin can be reached at [email protected]. e-mail: [email protected] pass it up. (If you’re on a budget, check out the His column “The Aisle Seat,” with extensive DVD $15 single-disc edition.) coverage, runs regularly online and can be found at visit: www.screenarchives.com The Dr.Who Collection ($40): Peter Cushing www.filmscoremonthly.com/aisleseat.

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Emperor’s theme, and a Russian-influenced sound like? This score ultimately leaves me SCORE cue in track 9’s “Outmaneuver Them?” In wanting more—more of Jason Graves’ style, (continued from page 35) fact, though this cue is a bit incongruous, its less of Williams’. Alas, my hopes have been blowing at times. Expressive string lines and originality makes it worth repeated listen- dashed for the moment, much to Graves’ punchy, live-sounding brass are the high- ings. enjoyment: The folks at Lucasfilm heard his lights. Synthy sounding high woodwinds Graves is obviously an accomplished tal- Seeds score and hired him to score an offi- and solo instruments peak through occa- ent who knows his way around the orches- cially sanctioned Star Wars/Lego project. It’s sionally, but they’re not too intrusive. That tra; he knows how to write grand, cinematic called The Han Solo Affair, and you can said, it would’ve been a blast to hear this music and is certainly no slouch when it check it out at www.lego.com/eng/studios. score with a live orchestra. comes to the subtleties of scoring to pic- —Tim Curran Most of the tracks are deeply rooted in ture. In fact, he does a great job of transi- the Williams Star Wars tradition, except for tioning between scenes in the movie itself. You can purchase the SEEDS OF DARKNESS score at a “Dies Irae”-sounding lick for the But what does Jason Graves’ music really www.jasongraves.com. FSM

L.K. responds: Thanks for the insight! MAILBAG Silent Running, and Written on the really at the sound itself. About a We produced our 36 Hours CD from (continued from page 10) Wind—I still have most of them. month after the record had been Turner’s original elements and did not We should be happy with what you When I got the 36 Hours LP, I released we discovered that what have access to the Vee-Jay elements. have released. And, personally, I noticed that the sound didn’t seem we had been given was mono, not However, we were aware of the stereo/ find the phrase “too much like stereo, even though the record stereo. At that point there was little mono discrepancy of the Varèse LP Goldsmith” to be an oxymoron. sleeve proudly announced we could do. Since then we have reissue; this clears up the confusion. Keep up the good work and thanks! “Stereo” on the cover. So I wrote to been very careful and it has not Will Thomas Varèse and the got the following reoccurred.” Maybe you can clear the air on [email protected] response from Chris Kuchler: An interesting insight into how some mystery, past or present. “The situation with 36 Hours is Varèse worked in the early days? Don’t be shy—write us at: 36 Hours as follows: When we licensed the Mind you, many of those early FSM Mail Bag iomkin’s 36 Hours was one of album from Vee-Jay, they gave us reissues were old mono record- 8503 Washington Blvd. Tthe first soundtrack LPs I ever their print film and their stereo ings, so perhaps they can be for- Culver City, CA 90232 bought back in the late ’70s. It was parts. We produced the record, lis- given for the oversight! or e-mail: one of the early Varèse issues, tening for clicks, pops and other Nick Garrod [email protected] including Samson and Delilah, manufacturing defects, and not [email protected]

JULY 2002 48 FILM SCORE MONTHLY v7n5 cov7/5/024:10PMPagec3

Still photographs ©1965-67 Three F Productions, All Rights Reserved. images courtesy Photofest. Spy I FSMCD Vol.5,No.10 a highpointoftelevisionmusic. band actiontoexoticadventureandhip jazzattitude, for “SoLongPatrickHenry”and“The Warlord.” Frombig Robert Culp,who,inadditiontostarring, wrotetheteleplays booklet, withlinernotesbyLukasKendall andaforewordby The CDcomeswithanillustrated24-page and “Plains”)arepresentedinclean-soundingmono. ever released.Thetwosecond-seasonscores(“Warlord” track tape—possiblythebest-sounding‘60stelevisionmusic series’ mainandendtitles),remixedfrom1/2”-inchthree- Delight”) arepresentedindynamicstereo(alongwiththe first-season scores(“PatrickHenry,” “Knife”and“Turkish Through spectaculargoodfortune,thethree selected fiveofthebest For thispremiereoriginalsoundtrackCD, soundtracks thantheLPrecordings.) ings haveneverbeenreleased.(Forlegalreasons,itiseasierforustoreleasetheoriginalTV re-recorded twoLPsof pense—amongst, andisamongthefinesttelevisionmusicevercomposed.AlthoughHagen tic mixofsuspenseandlocalcolorwithswingingbigbandactionaneclecticsus- by veteranfeaturecomposerHugoFriedhofer. Thestylewas“semi-jazz,”blendinganeclec- episodes: two-thirdsbyLeonard’s friendandregularcomposer, EarleHagen,and one-third The ManFromU.N.C.L.E.,ISpy Unlike itscontemporaryseriessuchas repartee oftheleadspavedwayformodern-daybuddyaction-comedy. craze, itshunnedcampgadgetryinfavorofgrittyrealismandsnappydialogue,the addition, itwasfilmedonlocationallovertheglobe.Producedinmidstof‘60s“spy” drama seriestopairawhiteandblackactorinstarringroles(RobertCulpBillCosby);in breaking inmorewaysthanone:producedbySheldonLeonard,itwasthefirstweekly remembered foritsglobetrottingactionandhipcharacterhumor. Theshowwasground- I Spy adventure, oneofHagen’s personalfavorites). set inBurma)and“MainlyonthePlains”(aSpanishcomic (one oftheseries’mostunusualanddarklydramaticepisodes, “Turkish Delight”(Hagen’s firstMexicanscore),“TheWarlord” miere), “TheTime oftheKnife”(thefirstJapaneseepisode), Patrick Henry”(setinHongKongandairedastheseriespre- (1965–1968) isanhour-long actionespionage-adventureseriesfondly by EarleHagen I Spythemesatthetimeofseries,originaltelevisionrecord- episode scores:“SoLong had anoriginalscorecomposedforeveryoneofits82 1.5plusshipping. $19.95 Star Trek, Mission:Impossible FSM I Spy has is “SO LONGPATRICK HENRY” “THE TIME OF THE KNIFE” OF THE “THE TIME “TURKISH DELIGHT” 10. 11. 12. 13. 14. 1. 2. 3. 4. 5. 6. 7. 8. 9. The Defector/MainTitle Hong Kong/Elroy What’s theTrouble? Keep Running/You Lose That’s MyMan Stop ThatPlane The WhistleBlows “007” Total Time: End Title Jean’s Pad/Trailing Tokyo/Jean andKelly/ Total Time: Go/Shiftycraft/Dead forReal Oops, theTroops!/Away We Lt. Hernandez Store/Chicken Hearts/ On theRoadAgain/Trunk Bye Scotty/Rapido/ Away We GotoMexico/ Taxi Tour Such SweetSorrow/ Japanese Trick/Parting Is and 15:38 1:05 1:25 1:05 4:10 1:27 2:25 2:14 0:45 0:52 6:19 3:32 9:51 5:14 2:01 “THE WARLORD” “MAINLY ON THE PLAINS” 16. 15. 17. 18. 20. 19. 21. 22. 23. 24. 25. Babe, WithRocks How AboutThat!/ Total Time: and On/OfSomeValue Burma/The Chase/AndOn End Title My Lord!/SheIsChinese The GeneralDies Prelude toDreamsville/ Total Time: The Plaza/MainTitle Down theRiver Gothic/Travelin’/Sighted Don Silvando/Blonde Upsy Daisy Don QuixoteII/Attack/ Wild Stuff/GoodbyeCrooks My Professor, theNut/ Don Strikes/SoLong, TotalDisc Time: Total Time: End Title Tracks 1-15 stereo; tracks 16-25 mono. lu rdcdb LUKASKENDALL Album producedby 13:14 20:09 77:57 19:04 5:15 9:14 0:38 4:47 4:12 3:19 1:55 3:37 4:45 3:55 2:41 0:38

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