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ORIGINAL MUSIC FOR MOTION PICTURES AND TV

V OLUME 7, NUMBER 3

Exclusive interview with Tom Conti! TOTO ROCK ROCK OROR NOTNOT TOROCK?TOROCK? CanCan youyou smellsmell whatwhat JohnJohn DebneyDebney isis cooking?cooking? JOHNWILLIAMSJOHNWILLIAMS’’ HOOKHOOK ReturnReturn toto NeverlandNeverland DIALECTDIALECT OFOF DESIREDESIRE TheThe eroticerotic voicevoice ofof ItalianItalian cinemacinema THETHE MANWHO CAN-CAN-CANCAN-CAN-CAN MeetMeet thethe maestromaestro ofof MoulinMoulin Rouge!Rouge! PLUSPLUS HowardHoward ShoreShore && RandyRandy NewmanNewman getget theirs!theirs!

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7225274 93704 $4.95 U.S. • $5.95 Canada v7n3cov 4 /19/02 4 :29 PM P age c2

record labels

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arrangers our readers. labels

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scoring mixers & TV Music Series 2002 If you contribute in any way to the film music process, our four Film & TV Music Special Issues provide a unique marketing opportunity for your talent, product or service throughout the year.

Film & TV Music Summer Edition: August 20, 2002 Space Deadline: August 1 | Materials Deadline: August 7

Film & TV Music Fall Edition: November 5, 2002 Space Deadline: October 18 | Materials Deadline: October 24

LA Judi Pulver (323) 525-2026, NY John Troyan (646) 654-5624, UK John Kania +(44-208) 694-0104 www.hollywoodreporter.com v7n03 issue 4/19/02 3:09 PM Page 1

CONTENTS MARCH/APRIL 2002

cover story departments

14 To Rock or Not to Rock? 2 Editorial Like it or hate it (okay, hate it), the rock score is Happy 70th, Maestro! here to stay. And nowhere is that fact more appar- ent than in the season’s first blockbuster, 4 News , starring The Rock. Nevertheless, has done 5 his best to incorporate authentic orchestral ele- Round- ments into the score as well. What’s on the way. By Jeff Bond 6 Now Playing Movies and CDs in interviews release. Big, loud and proud. page 14 16 Dialect of Desire 8 Upcoming Film The most famous voice in Italian film music— Assignments most notably employed by — Who’s writing what Edda Dell’Orso has made a career out of her sul- for whom. try, organic sounds. Here she talks about working with the Maestro, singing to picture, and life 9 Concerts before The Good, the Bad, and the Ugly. Live performances By John Bender around the globe.

20 The Man Who Can-Can-Can! 10 Shopping List Even with the recent successes of Moulin Rouge! and a new out in stores, Craig Armstrong 11 Mail Bag found time to sit down with FSM and talk about Horner Borrower’s more upcoming projects, the power of collabora- Guide. tion, and finding his muse. By Nick Joy 34 Score The good, the bad, The latest CD reviews, ...and the lovely. including Tron, Moulin page 16 retrospective Rouge! 2, Die Hard, Kate and Leopold—and more. 24 An Awfully Big Adventure It’s the 11th anniversary of Hook! Okay, that may not excite you, but it seemed as good a time as 10 Reader Ads any to reveal an in-depth analysis of one of ’ most under-appreciated and themati- 35 Marketplace cally dense scores. By John Takis

The time is right for an awfully big adventure. page 24

ON THE COVER: ROCK ON, DUDE.

Film Score Monthly (ISSN 1077-4289) is published monthly for $36.95 per year by Vineyard Haven LLC., THE SCORPION KING ©2002 UNIVERSAL STUDIOS. 8503 Washington Blvd, Culver City, CA 90232. Periodicals postage paid at Culver City, CA and additional mailing offices. ALL RIGHTS RESERVED. POSTMASTER: Send Address changes to Monthly, 8503 Washington Blvd, Culver City, CA 90232

FILM SCORE MONTHLY 1 MARCH/APRIL 2002 v7n03 issue 4/19/02 3:09 PM Page 2

EDITORIAL VOLUME 7 Happy 70th, Maestro! NUMBER 3 Is one tribute enough? Are ten too many? editorial staff

EDITOR & PUBLISHER s a society we often feel the need to benefit performance featuring a wealth of his Lukas Kendall celebrate birthdays, anniversaries music for the concert hall, his E.T. SENIOR EDITOR and events that end in round num- score live to picture at the premiere of the 20th Jeff Bond A bers in a more exceptional manner than those anniversary edition of that film, and serving as MANAGING EDITOR that are not multiples of 10 or 25. This isn’t music director and conductor for the 74th Tim Curran always entirely logical: After all, if being mar- . DEPARTMENTS EDITOR ried 50 years is worthy of a big celebration, Many a newly minted septuagenarian Jonathan Z. Kaplan DESIGN DIRECTOR shouldn’t anniversary 51 be that much more might pause to reflect on his life’s work or sim- Joe Sikoryak impressive? ply retire—but not John Williams, who seems CONTRIBUTING WRITERS So ordinarily the task of writing an editorial to have been reinvigorated to the point where Stephen Armstrong celebrating John Williams’ 70th birthday he can’t say no to a new opportunity to make John Bender would be a bit daunting—after all, what can music. And there is no sign that he is letting up Jason Comerford you say about the man any time soon: More film scores will follow Jeff Eldridge who is arguably the most later this year, Williams is scheduled to lead Nick Joy successful and most widely performances across the country (at Steven A. Kennedy celebrated film composer Hall in Boston, Tanglewood, the Jamie MacLean of all time that hasn’t Bowl and the Blossom Festival) Neil Shurley already been said? Yet this this summer, and we can only hope that many John Takis is an especially appropriate more of his compositions—both for film and Cary Wong time to be honoring the concert hall—will continue to be issued SUPERVISING CONTENT CONSULTANT Williams, since the past on CD or recorded for the first time. Al Kaplan year or so—whether by So there is much to celebrate in the recent COPYEDITOR chance or by design—has past and near future—but what about Steve Gilmartin seen a remarkable flurry of Williams’ career as a whole? Here is a man at THANKS TO activity from the man him- the top of his profession, achieving not only B.A. Vimtrup Go, Johnny, Go! self and a variety of record commercial success as a film composer but labels. writing music of high artistic merit for the business staff Four film scores: the darkly beautiful A.I., concert hall. He is also a respected conductor EDITORIAL & SUBSCRIPTIONS the magic and adventure of Harry Potter and of popular music, the foremost interpreter of 8503 Washington Blvd the Sorcerer’s Stone, new music— his own “serious” music and, by all accounts, a Culver City, CA 90232 with a love theme of epic scope as its center- soft-spoken, genuinely nice individual who PH. 310-253-9595 piece—for Attack of the Clones, and the score maintains the highest respect of the musi- FAX 310-253-9588 for ’s futuristic thriller cians and filmmakers from to E-MAIL [email protected] Minority Report. Boston to with whom he works on a Three CDs (one from Deutsche regular basis. SALES & MARKETING MANAGER Grammophon and a pair from Sony Classical) Such achievement demands not simply a Bob Hebert spotlighting many new or previously commemoration once every five or 10 years ADVERTISING unrecorded works for the concert hall and but an ongoing celebration! So rather than 8503 Washington Blvd great public celebrations: Williams’ newest devote this single issue to John Williams—in Culver City, CA 90232 Olympic theme (Call of the Champions), his addition to John Takis’ analysis of Williams’ PH. 323-962-6077 score for Spielberg’s film for the turn of the score to 1991’s Hook, check out profiles of FAX 310-253-9588 millennium (The Unfinished Journey), and Edda Dell’Orso (Ennio Morricone’s favorite several more “serious” compositions inspired female vocalist) and Craig Armstrong (Moulin OUR WEBSITE by the impeccable artistry of cellist Yo-Yo Ma Rouge) and the cover story on John Debney’s Is updated five times weekly! and violinist Gil Shaham. score for The Scorpion King—Film Score Point your browser at: The archival releases of so many scores that Monthly will continue to feature news, analy- WWW.FILMSCOREMONTHLY.COM not long ago soundtrack collectors might ses and retrospectives of Williams’ music on a never have imagined would see the light of regular basis, as has been the custom from the © 2002 Vineyard Haven LLC. day: The Towering Inferno (FSMCD Vol. 4, No. of the publication. PRINTED IN THE U.S.A. 3); Heartbeeps; John Goldfarb, Please Come Happy 70th Birthday, Maestro Williams! Home! (FSMCD Vol. 4, No. 17) and The Man Who Loved Cat Dancing (FSMCD Vol. 5, No. 4). Public performances on the world stage: conducting Call of the Champions at the opening ceremonies of the Winter Olympics, leading the in a Jeff Eldridge

MARCH/APRIL 2002 2 FILM SCORE MONTHLY v7n03 issue 4/19/02 3:09 PM Page 3 Dmitry SHostakovich one of the brightest stars in soviet film

Shostakovich was much more of a film professional than he may have wanted to admit. Completing nearly 40 soundtracks, including cartoons.

“Just like writing for the ballet, film scores kept my musical reflexes alert and my craftsmanship lithe and adroit ... SMCD5216 when I’ve finished a film, I’m, keen to The Overcoat 8553299 The Gadfly CBC Radio start work on a Maria Bernardi Five Days - Five Nights National Symphony Orchestra of Ukraine symphony or a string quartet. Theodore Kuchar My film music [had] a beneficial effect on my other compositions. ” – Shostakovich

Recent Music for the Movies releases on CPO include: 999796-2 999809-2 Alfred Schnittke: Benjamin Frankel: My Past and Thoughts The Importance of Agony Being Ernest The End of St. Petersburg Queensland Symphony Rundfunkchor Orchestra Rundfunk-Sinfonieorchester Berlin Werner Andreas Albert Frank Strobel

Naxos, CBC and CPO are distributed by Naxos of America, Inc. 416 Mary Lindsay Polk Drive, Suite 509 • Franklin, Tennessee 37067 www.naxos.com v7n03 issue 4/22/02 1:01 PM Page 4

NOW PLAYING • CONCERTS RECORD LABEL ROUND-UP UPCOMING FILM ASSIGNMENTS NEWS THE SHOPPING LIST Film Music: Read Young Elected Prez resh off his Golden Globe- All About It! Fnominated score to The wo new film music periodi- Shipping News, T cals were announced has been elected president of the recently—The Journal of Film Film Music Society, succeeding Music, and A Guide to Film , who served in Music—Songs and Scores, second the post for the past five years. revised edition. Established in 1984, the Film The Journal of Film Music is an Music Society is a Los Angeles- academic publication that seeks based nonprofit corporation that to provide “an interdisciplinary strives to preserve and restore forum for scholars in music, movie and television music in all film, and other disciplines who its forms. The FMS recently cata- share a common interest in this logued and archived the film vital new area of scholarly music collection at Paramount inquiry.” The preview issue Pictures, preserving scores for includes an extensive analysis: Howard Wins! Randy Grins! The Kaplans Weep! “Thematic Variation and Key Relationships: Charlotte’s Theme oward Shore won the Oscar went on to thank the Academy for in ’s Score for Now, Hfor Best Musical giving him “so many chances to be Voyager.” Underscore, and FSM’s Jon and Al humiliated over the years,” before Subscriptions start at $55 a year for four Kaplan celebrated uncontrollably. expressing what appeared to be issues; contact the journal at: The brothers were said to have heartfelt appreciation. The Journal of Film Music been attending an Oscar party in 112 Harvard Ave., #223 Glendale, CA, when the incident n other Oscar recap news, here Claremont, CA 91711 occurred. Sources close to the Iare the and composers Kaplan Bros. say that as it was featured in the tribute to film Guide to Film Music, written announced that the Canadian- music, which was conducted by Aand edited by Roger Hall, is approximately 1,500 feature born Shore, 55, had won his first- John Williams: the fourth music guide pub- films and shorts dating back to ever Academy Award, Jon Kaplan lished by Pine Tree Press. Other 1929. Young’s mandate for the screamed out in utter glee. “Jon’s 1. Warner Bros. Logo—Steiner titles include A Guide to Shaker Society is to expand the organi- high-pitched squeal really hurt 2. Casablanca—Steiner Music, A Guide to Christmas zation’s focus and interests my ear,” says one anonymous 3. —Herrmann Music and A Guide to George beyond historical preservation to partygoer, who attended the 4. 20th Century-Fox Logo—Newman Gershwin. A Guide to Film Music include modern-day film and TV Oscar party. Shore seemed to 5. Star Wars—Williams is a 100+-page plastic-bound music, as well as to promote the revel in the moment, too, thank- 6. The Sea Hawk—Korngold publication divided among a future of the art form. ing his collaborators and adding 7. Spellbound—Rózsa variety of film music sections: Under Young’s leadership, this that it was a “tremendously 8. —Horner chronology (1926–2001), main year the Society will reorganize rewarding experience to translate 9. Psycho—Herrmann titles and themes, top 100 film and establish its new headquar- the words of Tolkien into music.” 10. —Williams scores of the 20th century, com- ters, the Film Music Center. The 11. Pink Panther—Mancini ments on film music (featuring Center will house historic film He Pities the Fools 12. —Gold Copland, Herrmann, Tiomkin, and TV music collections to After 20 years of defeat at the 13. Out of Africa—Barry Raksin, Bernstein and Mancini), make them available for hands of a foot-tall, golden-hued 14. Dr. Zhivago—Jarre awards, bibliography and more. research, and will be the group’s paperweight, has 15. Bridge on the River Kwai— Also available is the accompany- primary site for its preservation finally been redeemed. Newman, Arnold (Colonel Bogey March) ing Listener’s Guide to Film and restoration activities. The 58, won his first Oscar for the song 16. Patton—Goldsmith Music, on CD-R or audiotape, facility will also include spaces “If I Didn’t Have You,” from 17. Rocky—Conti which contains over 70 minutes for screenings, conferences and Disney’s Monsters Inc. Putting to 18. Magnificent Seven—Bernstein of film music. live concerts. rest anticipation about what the 19. The Natural—Randy Newman For an order form and details, contact: Other officers elected were notoriously sarcastic composer/ 20. —Morricone Roger Hall John DeNault III and Henry would say in his 21. —Rota 235 Prospect Street, Adams as co-vice presidents, acceptance speech, Newman 22. E.T. The Extra-Terrestrial—Williams Stoughton, MA 02072-4163 Warren Sherk as secretary, and began, “I don’t want your pity.” He 23. Gone With the Wind—Steiner email: [email protected] Stephen Davison as treasurer. NEWMAN &WIREIMAGE.COM ©2002 LESTER COHEN SHORE PHOTO

MARCH/APRIL 2002 4 FILM SCORE MONTHLY v7n03 issue 4/19/02 3:10 PM Page 5

FSM Classics Hollywood Records Record Label Round-Up Our Golden Age release features Due May 21: Bad Company All the you’ll be waiting for the label’s first release of music by (, various). , from the 1964 Forthcoming is The Extremists. spy thriller 36 Hours. While this 1M1 Morning Glory, Little Women, Of album has been released previ- Intrada Forthcoming from this Australian Human Bondage, The Little ously on Vee-Jay Records and Now available is Vol. 5 of the internet-only label is Annie’s Minister and The Informer. It will Varèse Sarabande LPs, the new CD Special Collection series: Henry Coming Out (Simon Walker, 1984). also include a 72-page color sports a double-length tracklist of Mancini’s Silver Streak. Pre-orders can be placed by email: booklet. Also forthcoming is The the complete score, with remixed [email protected] • www.1m1.com.au Bishop’s Wife (Hugo Friedhofer), sound and unused music, all in from the original tracks in his stereo from the original three- To be released May in Europe and Aleph Records collection at BYU. track masters. June in America: The Maltese is re-recording The This month’s Silver Age release Falcon, Classic Scores for Adolph Cincinnati Kid and The Amityville Chromatic Records is the off-beat 1970 film The Deutsch (8.225169). Featuring Horror in the Czech Republic; both Forthcoming is Music From Traveling Executioner, by Jerry music from Bogart films The will be released later this year. Hollywood: A Collection of Mark Goldsmith. Available for the first Maltese Falcon and High Sierra, www.alephrecords.com Mothersbaugh Film Music, The time anywhere, this album is com- the comedy George Chromatic Collection, a 5.1 DVD plete (with deleted and alternate Washington Slept Here, the foreign Amber Records audio sampler, and Ryuichi cues) in excellent stereo sound thriller The Mask of Dimitrios, and Forthcoming from Elmer Sakamoto’s score for Donald from the original masters. Next the Errol Flynn action-adventure Bernstein and his record label is a Cammell’s Wild Side. month: four for the price of two! Northern Pursuit, this CD will new recording of his score to Kings www.chromaticrecords.com include an in-depth 28-page of the Sun. The recording sessions GDI booklet with production notes by will reportedly be held in Poland Cinesoundz Imminent are The ’s author/film historian Rudy this year. Due in May are of Franco Shroud (Don Banks) and Blood Behlmer and rare behind-the- www.elmerbernstein.com Godi’s music from the Italian car- From ’s Tomb scenes photographs. John Morgan toon series Signor Rossi by De- (Tristram Cary). Forthcoming is has arranged suites from the origi- BMG Phazz a.o. Upcoming are re- Captain Kronos (Laurie Johnson). nal of the scores for The first-time-on-CD release of releases of the two Mondo this recording, under the baton of The Caine Mutiny (Max Steiner) is Morricone albums. GNP/Crescendo William Stromberg conducting the forthcoming. tel: +49-89-767-00 -299; fax -399 Now available for pre-order and Moscow Symphony Orchestra. preorders by mail: [email protected] due May 14 is the TV series sound- http://www.hnh.com/ Brigham Young University www.cinesoundz.com track to Enterprise, featuring Forthcoming is Max Steiner at music from Dennis McCarthy and MCA Records RKO, a 3-CD set with original Decca the title song “Where My Heart Available now are an expanded tracks from Symphony of Six Forthcoming is The Road to Will Take Me,” performed by E.T. The Extra-Terrestrial: 20th Million, Bird of Paradise, Perdition (). Russell Watson. Anniversary Edition (Williams),

Bernstein, Lance Bowling, Marilee being produced through Private sound quality demanded today.” able items; select one of them and Bradford, Bunch, Jon Island. The company, headed by privateislandtrax.com it tells you there’s a puzzle to solve: Burlingame, Ray Colcord, Linda owner and chief engineer Michael “Every picture tells a story—select Danly, Dan Foliart, Herschel Burke McDonald, has re-mixed and them in order and see two addi- Gilbert, Jeffrey Graubart, Michael restored over 55 classic film Unusual Suspect: tional featurettes.” Select the pic- Kerker and David Raksin. soundtracks for Paramount tures in the following order: www.filmmusicsociety.org Pictures, 20th Century-Fox and FSM’s Bond on DVD! “Quartet,” “Guatemala,” woman Warner Bros.—including the and coffee mug. This takes you to majority of titles in the Film Score ttention FSM readers: now a menu with two easter eggs: The L.A. Studio Launches Monthly catalogue—and has Ayou can hear the annoying first is a 17-minute interview with recorded the music for over 250 nasal tones of Jeff Bond’s voice in John Ottman conducted by “Film Film Music Arm television shows for A&E, crystal-clear Dolby 5.1 sound, and Historian” Jeff Bond (Jeff Bond did Discovery Channel, HBO and view the aging form of Jeff Bond in not request this designation and eteran recording facility Showtime, among others. amazing clarity on DVD! How, you does not claim to be a Film VPrivate Island Trax has “Musical scores for feature films ask? First you have to buy the new Historian, but in the wacky world launched Scorekeeper, a new that were shot prior to 1990 and special edition DVD of The Usual of Hollywood documentaries any- film/television music division that countless classic recordings are on Suspects. On the “Special Features” one who doesn’t have an actual will specialize in the restoration, various forms of analog tape, side of the disc, the menu con- title is called a “Film Historian”). rehabilitation, remixing and which are now rapidly deteriorat- tains a banner that says “The The other easter egg is a three- remastering of classic film and tel- ing,” says McDonald. Usual Suspects.” Scroll up and minute collection of outtakes from evision scores and classic record- “Scorekeeper has all the tools and select the logo on the main Special the interviews used for the docu- ings. The new wing is being technical knowledge to save, Features menu. You’ll end up in a mentaries. So once you finish that, formed to accommodate the recondition and transfer these menu featuring a collage of items you can go back and enjoy Jeff extensive amount of motion pic- valuable musical treasures, bring- from the police-office bulletin Bond all over again, the way he ture and television work that is ing them up to date with the board. There are five highlight- lives his own life: on DVD! FSM

FILM SCORE MONTHLY 5 MARCH/APRIL 2002 v7n03 issue 4/19/02 3:10 PM Page 6

RECORD LABEL ROUND-UP • NOW PLAYING

featuring new packaging and three Entertainment has changed its Rhino Records/Turner Shoes of the Fisherman (Alex previously unrecorded tracks; and address once again: The recent appearance of Turner North). The Mystic Masseur (Richard Pacific Time Entertainment, PO Box 7320, soundtracks on the FSM label www.rhino.com, www.rhinohandmade.com Robbins and Zakir Hussain). Due FDR Station, , NY 10150. does not mean that Rhino is May 7: The Importance of Being www.pactimeco.com slowing down their releases from Saimel Records Earnest (Charlie Mole). the MGM film library. In fact, Forthcoming from Saimel are Percepto Records they are stepping up production Tepepa and Maddalena (both Monstrous Movie Music Imminent are a 2-CD set of and are using FSM as an addi- Morricone). The next MMM CD will be Mighty music from the 1950s’ The tional outlet for their scores. In www.rosebudbandasonora.com Joe Young—a “Ray Harryhausen Fly/Return of the Fly/Curse of the general, expect previously unre- tribute,” featuring music from Fly (Paul Sawtell, Bert Shefter) leased film scores from the ’50s, Screen Archives 1949’s Mighty Joe Young (Roy and Vic Mizzy’s never-before- ’60s and ’70s to be released Entertainment Webb); 1957’s 20 Million Miles to released complete score to The through FSM, and a full slate of Forthcoming are The Bishop’s Wife Earth (Mischa Bakaleinikoff and Night Walker (with 60+ minutes movie musicals and selected (), the patriotic Columbia library cues by George of score, plus liner notes by high-profile dramatic scores to score for the 1944 Darryl F. Zanuck Duning, Frederick Hollander, William Castle and historian be released on Rhino and Rhino production Wilson (Alfred David Diamond, Daniele Dick Thompson). Handmade, produced by Newman) and 1938’s Alexander’s Amfitheatrof, Max Steiner, David Coming in 2002: Miracle on 34th Turner’s George Feltenstein. Ragtime Band (Irving Berlin). Raksin and Werner Heymann); Street/Come to the Stable (Cyril Due June 18: Victor/Victoria www.screenarchives.com plus 1956’s The Animal World Mockridge); an archival release of (Mancini/Bricusse) and Yankee (Paul Sawtell). This Island Earth original music from the 1960s TV Doodle Dandy (George M. Silva Screen will follow. classic The Addams Family; and a Cohan)—both albums contain- Coming May 7 is the first-ever dig- (800) 788-0892, fax: (818) 886-8820 Rankin/Bass anthology. ing previously unreleased mate- ital recording of ’s com- email: [email protected] www.percepto.com rial. Forthcoming are Ivanhoe plete score to 1968’s Romeo and www.mmmrecordings.com (Rózsa), Treasure of the Sierra Juliet, performed by the City of Prometheus Madre (Steiner), Raintree County Prague Philharmonic Orchestra & Pacific Time Entertainment Set for a May release is an (), Prisoner of Chorus, conducted by Nic Raine, Due May 21: The Son’s Room expanded version of ’s Zenda (Salinger version of ’37 and featuring liner notes by Nino (), Frontiers Masquerade, which will reportedly Newman score), Mutiny on the Rota’s daughter Nina. Due in June (Edward Bilious); July 2: Wendigo feature approximately one hour of Bounty (Bronislau Kaper), It’s is The Science Fiction Album, a (Michelle DiBucci). Pacific Time music. Always Fair Weather (Previn) and (continued on page 10)

NOW PLAYING Films and CDs in current release

Big Trouble n/a Blade II: Bloodhunt Virgin* The Cat’s Meow VARIOUS RCA Victor* Changing Lanes Varèse Sarabande Clockstoppers JAMSHIED SHARIFI Hollywood* DAVID NEWMAN n/a E.T. The Extra-Terrestrial JOHN WILLIAMS MCA High Crimes n/a Human Nature GRAEME REVELL Pleximusic DAVID NEWMAN n/a Kissing Jessica Stein MARCELO ZARVOS Universal* Life or Something Like it DAVID NEWMAN n/a Murder by Numbers n/a My Big Fat Greek Wedding CHRIS WILSON & ALEXANDER JANKO National Lampoon’s Van Wilder DAVID WILLIAMS n/a New Best Friend JOHN MURPHY & DAVID A. HUGHES n/a Panic Room Varèse Sarabande The Other Side of Heaven KEVIN KINER n/a The Rookie Hollywood* The Salton Sea THOMAS NEWMAN Varèse Sarabande The Scorpion King JOHN DEBNEY Universal* Sorority Boys MARK MOTHERSBAUGH n/a The Sweetest Thing n/a Y Tu Mama También VARIOUS Volcano

* indicates song album with 1 track of score or less

MARCH/APRIL 2002 6 FILM SCORE MONTHLY v7n03 issue 4/21/02 10:13 AM Page 7

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NOW Available: Intrada Special Collection Vol. 5 There are plenty of places on the internet to order music, but few Silver Streak by have the selection or expertise of Intrada. Like you, we love film Catch the score that almost got away. music. If you’re eager to find the latest and the greatest film music Few film composers were as big as Henry on CD—try our website www.intrada.com. We post updates as Mancini, with dozens of hit albums. A soon as new titles arrive (as often as 5 times a day!) And our legendary composer with an incredible sense secure server keeps every transaction safe and sound. of melody, Mancini was equally adept at the We stock thousands of soundtracks from around the world. serious and dramatic, as heard in scores like Wait Until Dark or Lifeforce. The Silver Streak Browse our online catalog for the newest releases, rare and hard- soundtrack blends romance, chases, and to-find imports, as well as promotional and out-of-print titles. We comedy into a witty salute to , and Mancini’s guarantee your satisfaction with 20 years of experience—serving score perfectly combines his popular style with his dramatic style. collectors, fans, composers, film music professionals and Every facet of Mancini is represented in this sparkling score to newcomers! Silver Streak, available in its entirety for the first time. $19.99 Sign up for our FREE weekly e-mail bulletin of all the latest Collect the entire Special Collection Series releases! Watch our site for exclusive offers! Make Intrada your Supplies are limited— Visit our website for details. $19.99 ea. one-stop shop for soundtracks. Visit: www.intrada.com E-mail: [email protected] Fax : 510-336-1615 Call: 510-336-1612

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CA residents add 7.25% sales tax______

2220 Mountain Blvd. Suite 220, Oakland CA 94611 total______v7n03 issue 4/19/02 3:10 PM Page 8

Ledger). Chazz Palminteri). James Newton Howard Treasure Cynthia Millar Confessions of an Upcoming Assignments Planet (Disney animated fea- Ugly Stepsister. Who’s writing what for whom ture), Unconditional Love. Sheldon Mirowitz Evolution (minis- Terry Michael Huud Angelique. eries about Charles Darwin), The Johnson County War (miniseries —A, B— —I, J— starring Tom Berenger). Eric Allaman Elvira’s Haunted Hills, —E— Goodbye Hello (star- Pete Moran Breaking the Pact. Raven Warrior, Liberty’s Kids David Alan Earnest/Chris White ring , Susan Colored Eggs. (animated). Whacked. Sarandon). The Hours (star- David Arkenstone The Cumberland The Gelfin, XXX. Crossroads. ring Nicole Kidman), 24 Heures Gap. Men in Black 2. dans la Vie d’une Femme (star- David Arnold Bond XX. —K— ring Kristin Scott Thomas). City of Ghosts, —F— Jan A.P. Kaczmarek Unfaithful Lonestar State of Mind, Love Christopher Franke Dancing at the (dir. , starring —O, P— and a Bullet. Harvest Moon. ). John Ottman My Brother’s Keeper, Marco Beltrami The First $20 About Schmidt. Point of Origin, 24 Hours (dir. Million, I Am Dina. —G— Gary Koftinoff Deceived (starring , starring Charlize Matthew Bennett Professional Kahlo (dir. Judd Nelson and Louis Gosset, Theron, Kevin Bacon and Courtesy, The Smith Family: For ), Double Down (dir. Jr.). Courtney Love), Eight-Legged Better or Worse. , starring Nick Nolte). Freaks. Elmer Bernstein Gangs of New Sum of All Fears, —L— Michael Richard Plowman No York (dir. Scorsese, starring : Nemesis. Superfire (ABC minis- Boundaries. Leonardo DiCaprio & Cameron Jason Graves Between Concrete eries). John Powell Outpost, Pluto Nash. Diaz). and Dream (Enigma Pictures). All for Nothing Between Simon Boswell The Sleeping (starring James Woods). Strangers. Dictionary. —H— Jonathan Price Avatar. Cliff Bradley Undead. Todd Hayan History of the White —M, N— Bobbie’s Girl House (documentary), Bokshu: A A Thing of Beauty. —R— (Showtime). Myth. David Mansfield Divine Secrets of Trevor Rabin Bad Company (for- Carter Burwell Adaptation (dir. No Other Country, the Ya-Ya Sisterhood. merly Black Sheep). Spike Jonze), Simone. Africa. James McVay One-Eyed King Graeme Revell Equilibrium Four Feathers (star- (starring Armand Assante and (), Below (dir. David —C— ring Kate Hudson, Heath Twohy). Sam Cardon Secret Keeper (Sony), Will Richter Among Thieves, Lewis and Clark: Great Journey THE HOT SHEET Recent Assignments Altered Species. West (IMAX). Earl Rose Masada (History Gary Chang The Glow, Path to War Craig Armstrong Quiet American. David Holmes Confessions of a Channel). (HBO, dir. ). David Arnold Enough. Dangerous Mind. Marius Ruhland Heaven (Miramax, Steve Chesne Butterfly Man, The Assassination James Newton Howard Signs (dir. Cate Blanchet & Giovanni Ribisi), Trip, No Turning Back, Dinner Tango. M. Night Shyamalan), Anatomy II. and a Movie. No Good Deed (starring Dreamcatcher (dir. Lawrence Patrice Rushen Just a Dream (dir. George S. Clinton Austin Powers 3, Samuel L. Jackson). Kasdan). Danny Glover; Showtime). The Santa Clause 2 (Disney). The Tuxedo, Mark Isham Moonlight Mile. Elia Cmiral They. Stealing Harvard, The Skulls 2, Wojciech Kilar The Pianist. —S— Kaveh Cohen Probable Cause Interstate 60. Phone Booth. Ash Wednesday (dir. (Discovery documentary). Stanley Clarke Undercover Danny Lux Stolen Summer. Edward Burns). Eric Colvin X-mas Short (dir. Brother. Clint Mansell Rain. Howard Shore Spider, Lord of the Warren Eig), The Greatest Kaveh Cohen Descendant. Lone Hero. Rings: The Two Towers, Return Adventure of My Life. Avenging Angelo, G. Joel McNeely Jungle Book 2. Kid Stays in the David Newman Scooby Doo. of the King. Lawrence Shragge Due East —D— Picture. John Ottman X-Men 2. (Showtime). The Incredible Hulk Mychael Danna The Antoine Nicola Piovani . Macabre (dir. Robert (dir. ), Ararat (dir. Atom Fisher Story. The Truth About Zemeckis), Lilo & Stitch. Egoyan). Danny Elfman Red Dragon. Charlie, Nicolas Nicholby. Carly Simon Winnie the Pooh An Angel for May, The Richard Gibbs I Spy (starring John Powell The Bourne Identity. (Disney animated). Book of Eve. Eddie Murphy and Owen Trevor Rabin The Banger Sisters. Frank Strangio Paradise Found Matrix 2: Revolutions, Wilson), Like Mike. Graeme Revell Daredevil. (starring Kiefer Sutherland as Matrix 3: Reloaded, Long Time Vincent Gillioz Psychotic. Hairspray Gauguin), Young Blades, Dead. Phillip Glass The Hours. (Broadway musical). Dalkeith. Joe Delia Bridget, Grownups. Jason Graves The Han Solo James Venable The Powerpuff Mark Suozzo American Splendor. Thomas DeRenzo The Commissar Affair (/Lego comedy Girls (feature). Vanishes. short). Mervyn Warren Marci X. —T,V— Killing Me Softly, Paul Haslinger Picturing Claire. Christopher Young The Core. Semih Tareen Junk Drawer. Femme Fatale. Tabloid. (continued on page 10)

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Film Music Concerts Scores performed around the globe

June 28–29, Ft. Worth S.O.: The Rocketeer Williams, Slatkin Co-Direct (Horner). National Symphony Washington May 11, Burlingham, Whacom S.O.: Braveheart he National Symphony in Washington, (Horner). TD.C., has announced that its 2002–03 sea- son will include several nights of film music INTERNATIONAL appreciation under the direction of resident conductor Leonard Slatkin and guest conduc- Australia tor John Williams. From Jan. 23 to Feb. 1, 2003, May 25, Adelaide Festival Theater, Adelaide programs featured will include “A Portrait of S.O., Rachel Worby cond.: “Film Music John Williams,” “In Sync: How Do They Do It?” Concert.” and “Metropolis.” For more details, visit: http://www.kennedy-center.org/nso/02-03/schedule.html. May 22, Vienna, I. Frauen-Kammer Orchestra (all female orchestra): Psycho (Herrmann). Bernstein Goes for RSNO Great Britain May 2, London Symphony Orchestra, Kenneth hile Jerry Goldsmith recovers from a Shermahorn, cond. (replacing Jerry Wrecent bout of ill health, his concert Goldsmith): Star Trek: TMP, Rudy, The Last schedule is taking a beating. However, suitable Castle, Star Trek: First Contact (Goldsmith); replacements are being found. Elmer Star Wars, Indiana Jones, E.T., Saving Private Bernstein will take over for Goldsmith (with a Ryan, , Harry Potter, Schindler’s concert of Bernstein’s own music) at a sched- List (Williams); Moulin Rouge (Armstrong); uled May 10 appearance with the Royal James Bond (Barry); For Your Eyes Only, Rocky Scottish National Orchestra in Glasgow, (Conti); Lawrence of Arabia (Jarre); Where Scotland. Eagles Dare, 633 Squadron (Goodwin). CONCERTS May 7, Brest, Ensemble Matheus: Psycho SCREEN (Herrmann). June 15, Beverly Hills H.S. Auditorium, West Hollywood S.O., Nan Washburn, cond.: Sunset Japan ARCHIVES Boulevard (Waxman), To Kill a Mockingbird May 18, Japan, Tokyo, New Japan (Bernstein). Philharmonic: “French Medley” (arr. John ENTERTAINMENT Addison). Georgia Large selection of May 12, Savannah S.O.: Spain (North). May 3–5, Barcelona S.O.: “An Evening With new domestic and Elmer Bernstein”; premieres include a suite Illinois from Summer & Smoke; a suite from The import releases, June 22, Glen Ellyn, Wheaton S.O.: Victor Grifters; an extended suite from The Great older releases and Young medley. Escape; a waltz medley, including The Age of Innocence, The Incredible Sarah, Summer & out-of-print CDs Massachusetts Smoke, From the Terrace, Thoroughly Modern May 28, 29, Boston Pops S.O., John Williams Millie; a “ in Films” medley, including Major credit cards accepted. cond.: “John Williams Birthday Bash.” The Rat Race, A Rage in Harlem, The Sweet Write for free catalog! Smell of Success, Walk on the Wild Side; and May 29, Boston, New Conservatory: the European premiere of True Grit. PO Box 550 Psycho (Herrmann). Attention, Concert Goers Linden, VA 22642 Tennessee Due to this magazine’s lead time, schedules may ph: (540) 635-2575 June 26, Nashville S.O.: Bride of Frankenstein change—please contact the respective box office for (Waxman). the latest concert news. fax: (540) 635-8554 Thanks as always to our friend John Waxman of e-mail: [email protected] Texas Themes and Variations at http://tnv.net. He’s the go- May 24–26, Houston S.O.: Intermezzo to guy for concert scores and parts. FSM visit: www.screenarchives.com (Provost/Steiner).

FILM SCORE MONTHLY 9 MARCH/APRIL 2002 v7n03 issue 4/19/02 3:10 PM Page 10

FSM READER ADS ASSIGNMENTS • LABELS

SOMETHING WEIRD VIDEO! (continued from page 8) Nigel Westlake The Nugget (dir. Whalley), Stig of the Dump Your source for rare nostalgic Brian Tyler Jane Doe (prod. by Bill Bennett). (BBC). exploitation and sexploitation films Joel Silver), A Piece of My Michael Whalen Lake Desire (fea- —Y— from the 1930s-1970s! ture), West Point (documen- Cold Mountain (dir. All videos $15 each! Heart (starring Jennifer Tilly, DVDs available! Joe Pantaliano). tary). ). Send $5 for our complete catalog! Joseph Vitarelli Partners of the John Williams Minority Report Christopher Young Scenes of the Include age statement 18+ only! Heart. (Spielberg), Memoirs of a Crime (starring Jeff Bridges), SWV, POB 33664, Seattle WA 98133, Geisha, Catch Me If You Can The Country Bears (Disney). phone 206-361-3759, fax 206-364-7526 (dir. Spielberg), Harry Potter www.somethingweird.com —W— Willard, Final and the Chamber of Secrets. Get Listed! Destination 2. Debbie Wiseman Before You Go Composers, send your info to WANTED (starring Julie Walters, Joanne Only the officially-licensed, commercial Gabriel. [email protected]. releases of the following: Black Sunday (Williams) Combat! (TV, Rosenman) RECORD LABELS Super Collector Sea (Thomas Newman); May 7: Conquest of Space/ (continued from page 6) Forthcoming are Spacecamp Rollerball (1975; ). The Colossus of New York (Van Cleave) (John Williams), Watership Down May 14: Jason X (Harry The expanded re-issues of Diamonds Are boxed set of sci-fi film and TV (Angela Morley), Texas Rangers Manfredini), Unfaithful (Jan A.P. Forever and Moonraker (Barry) music. (Trevor Rabin), The Bionic Kaczmarek), Insomnia (David The Hindenburg (Shire) www.silvascreen.com Woman (Joe Harnell) and a col- Julyan); June 4: Blade II (Marco The Killing/Paths of Glory (Fried) lection of music from the ’60s Beltrami), Enough (David Ghostbusters (score album, Bernstein) (Broughton) Sony Classical animated series Gigantor. Arnold). Pickup on South Street (Harline) Available now is Star Wars: www.supercollector.com The Questor Tapes/Frankenstein: Episode II—Attack of the Clones. Please note: The True Story (TV, Melle) www.sonymusic.com Varèse Sarabande We endeavor to stay up-to-date with The Satan Bug, Seconds, Damnation Available April 30: Changing every label’s plans, but things hap- Alley, The Vanishing (Goldsmith) Lanes (David Arnold), The Salton pen—so please bear with us. FSM Silent Running (Schickele) Treasure of the Golden Condor (Kaplan) Send prices and availability (no bootlegs, The Shopping List ■ Who Framed Roger Rabbit ALAN SILVESTRI • Disney puh-lease!) to A.P.R. la Foole, 8503 60762 (reissue) Washington Blvd, Culver City CA 90232. Worthy discs to keep an eye out for ■ Monster’s Ball ASCHE & SPENCER • Lions Gate 9608 (49:14) SEND YOUR ADS TODAY! Soundtracks ■ The Mystic Masseur RICHARD ROBBINS/ZAKIR Reader ads are FREE for up to five ■ Amo Non Amo GOBLIN • Cinevox 347 (, 36:09) HUSSAIN • 35989 items. After that, it’s $1 per item. It’s ■ Andromeda MATTHEW McCAULEY • GNP 8077 ■ Quo Vadis (2001) JAN A.P. KACZMAREK • Sony that simple. Send to Film Score ■ I Banchieri Di Dio • Virgin 12217 504370 (2-CD set, Poland) Monthly, 8503 Washington Blvd, (Italy, 46:23) ■ The Shape of Life MICHAEL WHALEN • ALCD 1020 Culver City CA 90232; fax: 310-253- ■ Burn (Queimada) ENNIO MORRICONE • GDM 2033 (TV, 68:40) 9588; [email protected]. (Italy, expanded; 55:03) ■ The Time Machine • Varese 66337 ■ Il Cittadino Si Ribella (The Citizen Rebels) GUIDO & (57:35) Space Ads for Individual MAURIZIO DE ANGELIS • GDM 7007 (Italy, 49:02) Collectors/Dealers Only $60 ■ Donnie Darko MICHAEL ANDREWS • Enjoy003 Compilations & Concert Works For a 1/6 page space ad, simply send (37:30) ■ 20th Century Concerti JOHN WILLIAMS • ASV 1126 your list and information to the ■ Enigma JOHN BARRY • Decca 467864 (US release, (cond D. Snell, 68:31) address above; you can comfortably fit 56:57) ■ Hammer: The Studio That Dripped Blood VARIOUS anywhere from 20 to 60 titles, but try ■ The Rescuers Down Under BRUCE BROUGHTON • Silva 1137 (2- CD set, cond. K. Alwyn/N. Raine/P. to include less information per disc the Disney 60759 (reissue, 44:58) Bateman/N. Richardson) more you list, or else the print will be ■ Pete's Dragon AL KASHA/JOEL HIRSCHHORN • ■ Quartet • GDM 7006 (Italy, microscopic. We will do all typesetting. Disney 60760 62:17) Same deadlines and address as above. Send payment in U.S. funds (credit card OK) with list. Refresh your home page! Point your browser to: Schedule for upcoming issues: Vol 7, No 5 ads due Jun. 7 street date Jun. 28 www.filmscoremonthly.com Vol 7, No 6 Our website is updated five times a week with news, reviews, opinion, ads due Jul. 17 street date Aug. 6 and the first word of new FSM Classic CDs. Vol 7, No 7 ads due Aug. 21 street date Sep. 10 Read, shop, respond and connect! It’s easy! Serving the Film Score community since 1997! Don’t delay, contact us today!

MARCH/APRIL 2002 10 FILM SCORE MONTHLY v7n03 issue 4/19/02 3:10 PM Page 11

READER RANTS, RAVES & MAILMAIL BAG BAG RESPONSES priate,” especially when these com- Horner Borrower’s Guide and Silva America’s Deadly Care (if exuding the old one-man synth ments are clearly not meant as a joke, am presently reading your cur- this is ever reissued, they could at ambiance. Second, on a more as was the comment about killing Irent issue (Vol. 7, No. 1) with Nancy Wilson. We admit that we felt least spice up the graphics with positive note, the concluding face- the article on Logan’s Run. While entirely comfortable when we wrote some Cheryl Ladd photos). off was scored Morricone-style, going through the James Horner and repeatedly proofread our “Best of In the Horner Buyer’s Guide with a vocal wailing that adds (one of my least favorite com- 2001” article, but now that we’ve read Part 3, Paul Bouthillier’s takes on considerable punch. Perhaps all posers) article, I recalled the film your response to it, we are indeed The Name of the Rose and Red these Hollywood score revisions of The Perfect Storm, in which ashamed of ourselves. What were we seemed especially callous. I HK cinema could be remedied if Horner borrows from The Sea, a thinking? In all seriousness, we apolo- found these scores to be perfect Varèse Sarabande ever releases symphonic poem by English com- gize if we offended anyone with our fits to their films. Director Annaud Once Upon a Time in China: The Nancy Wilson comments—especially poser Frank Bridge. I have to give used Horner’s dry electronic Best of Chinese Film Music, you, James. Horner credit for plundering from themes sparingly, and when they Volume Two. Hoped for suites The Editor dresses down the the very best. Brothers Kaplan: Hey! From now on, are heard in the context of the include Lowell Lo’s The Killer and Alan Becker when you guys make a joke, put “just film, they add a frightening ten- Ben Vaughan & Teddy Robin [email protected] kidding” next to it so we know you’re sion to the proceedings. And while Kwan’s twangy Black Mask. kidding. Red Heat retreads a lot of the 48 Mr. Takis, I hope your opening We haven’t heard The Sea, so we Hours music, not to mention prediction of “...the beginning of can’t attest to this. However, we can Hey Kids, We’re Eatin’ Gorky Park, I found the perform- the end” for the is certainly offer that English composer Dinner Tonight! ances exuded a raw, urban energy but a musing. First, my LPs are Benjamin Britten has been an enor- hen my husband receives that was a perfect dynamic in this gathering dust. Second, most of mous “inspiration” to Horner. Not that Horner prefers the English over the Whis FSM in the mail, he underrated Schwarzenegger opus. these were replaced by CDs, and Russians or anyone else...but he does makes this excited sound, and, for I tend to find Horner’s electronic now most of these are being have excellent taste. It’s time people the next couple of days, is replaced by expanded edi- gave him more credit for that. engulfed in the magazine. I can’t tions. Third, my library of get him away from it for anything! widescreen VHS films will Appalled in Edgewater When he finishes, he gives a big, become extinct if I ever get a was appalled by Jon and Al fat sigh and becomes depressed, DVD player (which will IKaplan’s “2001: A Nice Year” in but this is after he’s read it a sec- inevitably be upgraded to a FSM Vol. 7, No. 1. I was already ond time—at which point he DVD player/recorder just as I turned off by the juvenile, sneer- resorts to past issues. finally get a normal DVD ing tone of the article when I Nowadays, he’s started reading player). Progress! came to this comment regarding some parts to me. He’d have to, And on the topic of “the song-aping ‘underscore’ since he’d be busting out laughing expanded editions, Jeff Bond’s (penned by [Cameron] Crowe’s in front of me. One such part was “Logan’s Overrun” feature was lovely wife, Nancy Wilson)” for the John Wayne taking a dump all the persuasion I needed to Vanilla Sky: “Cameron Crowe, if comment (Kaplans’ “2001: A Nice order your new CD. This ranks you want to make something Year”)—well, that was a little up there with Total Recall as more than a stupid relationship much for me. Anyway, my hus- one of Goldsmith’s finest sci-fi movie, please put your record col- band loves FSM and wishes the scores. lection in the closet, kill your wife, issues were longer! You’ve encour- Christopher Jenkins and hire Danny Elfman.” aged his obsession with music, Smithtown, New York Whatever one’s feelings about and he’s eternally grateful. scores more interesting than his Crowe’s use of music in Vanilla Cumorah Richardson usual stringed bombast. (On an What Manner of Sky—and I agree his reliance on Shelbyville, Kentucky odd side note: my CDs of Red Sorcery Is This? songs leaves something to be Heat and Willow, both from t the bottom of page 29 of desired—the “kill your wife” com- The Christopher Jenkins Hour Virgin Records, are suffering from AVol. 7, No. 1, under the “Best ment is ugly and inappropriate. ol. 7, No. 1 is a great issue! laser rot!) Reissue” heading, you write that if The Kaplans should be ashamed VNot only is the cover art Regarding Cary Wong’s review you don’t own the soundtrack to for writing it, and FSM for pub- striking, but the text is full of inter- of GNP/Crescendo’s Iron Monkey “Final Conflict you don’t like film lishing it. esting tidbits. I loved the “Best & CD: The 1993 score by Richard music.” I beg to differ. Although James Miller Worst” commentary—particularly Yuen, who also scored another Jerry Goldsmith is my favorite Edgewater, New Jersey the Kaplans’ “Best Album Cover Tsui Hark production, The Wicked composer, the Omen movies have Art” assessment of Big Jake. In the City, is fairly similar to James devil worship music with The Kaplans respond: James Miller, future, how about “Worst Album Venable’s score, with two notable singing about hailing said devil we are touched by your kind remarks. It Covers from the 1980s and differences. First, Yuen’s score, and eating peoples’ flesh and so always warms the heart to be called Beyond”? Some examples: The symptomatic of many recent on. This bothers me, and I don’t “juvenile, sneering...ugly and inappro- Film Music of Ken Wannberg,Vol. 3 Hong Kong scores, sounds tinny, feel right having such music in my

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MAIL BAG poser is Jerry Goldsmith, and I The Return of a Man Called Horse, wonderful thing, but unfortunately, well remember the first time I and Elmer Bernstein’s spare but we’re not working with Universal Studios at the moment. collection. I have heard all three became aware of his work. It was evocative Hud. Omen scores and I do like the at a 1966 theatrical screening of I also have a fondness for the The Siege of Jerry’s Castle instrumental parts, but I can’t in The Blue Max, which I still believe scores of Dimitri Tiomkin, who his is a response to Jeff good own them. I am a boasts one of Goldsmith’s finest often worked on westerns. In spite TBond’s comment on the lover of film music and have many scores. It’s unfortunate that there of his well-earned reputation for Goldsmith 9/11 controversy in of your CDs. Anyway, to say that apparently exists an irreversible bombast and being too literal, FSM Vol. 7, No. 1, p. 25. While I do “you don’t like film music” rift between Goldsmith and your something in his music speaks to not consider myself in Jeff Bond’s because you don’t have a certain publication. No one’s work, even me, and I believe he was capable “toughest Goldsmith critics” cate- score...well, I don’t believe that’s that of a genius like Goldsmith, is of lifting films to new levels (Lost gory, I must nevertheless take right. I don’t mean to sound too flawless and above criticism. Horizon, and The Old issue with his unilateral defense of sensitive, but I just wanted to Perhaps one day he will recognize Man and the Sea come to mind). Goldsmith’s decision to name a express this opinion. that you often praise him in your My favorite Golden Age com- track on the Last Castle sound- Steve Daniel pages, and that particular bridge poser is , and there’s track “September 11.” I’m not [email protected] can be mended. little of his work I dislike. This man questioning Goldsmith’s patriot- I gather from a comment in wrote music you feel. ism—I do not believe he did what It Was Time...to Revisit your latest edition that the Finally, my life would be almost he did to sell more records. And I Adoring Fan Letters! Undefeated CD is not selling well. I perfect if you (or anyone) would most certainly did not expect a thought it was time I wrote to for one want to offer my thanks for release the complete score of Alex full-blown symphony in a few Ithank you for your fine maga- it—not for Montenegro’s music, North’s masterpiece, Spartacus. days. But if he was so pressed for zine, which I thoroughly enjoy, which I can do without, but for the Much of his best work on this film time, why couldn’t he simply have and to also express my apprecia- accompanying score from David didn’t make it to the LP/CD, such politely declined Hollywood tion for your efforts in releasing on Rose’s Hombre, a work I have long as the opening narrative and the Bowl’s request for a tribute piece— CD many worthy scores from the admired. Although I enjoy a vari- scene where and on the grounds that he was in the past. Of course, not every release ety of films and music, I am partial Woody Strode await their turn in post-production of The Last will please everyone, but you have to westerns and believe that the arena. Castle—and rather composed an made a very good start, and the recognition of scores for that genre Patrick L. Hardy original, specifically dedicated sound quality is often remarkable, is often lacking. Among my La Verne, California tribute piece a bit later? After all, it considering the age of some of the favorites which have not gotten can only be beneficial to get some source material. their due are ’s We think a legitimate release of the temporal distance from the event My favorite contemporary com- Lawman, ’s complete Spartacus score would be a to properly digest it before one

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even thinks about writing a trib- boxed! To this day, the experience FSM provided with the CD liner ing the letter. Try to look at it this ute piece (which is a fine gesture is fresh in my mind with the state- notes—quite an interesting back- way—he may have gotten pissed in and of itself, of course). It of-the-art visual flyby of the dome ground behind the production of off, and then sent you the mean- would somehow seem more gen- and the opening theme surround- this memorable film score! I am est-spirited letter I have ever read uine and sincere that way, if you ing me in full strength in six-track most grateful to all of you for in a magazine, but you get the last know what I mean. At least I know theater stereo! My surround- making a definitive, complete edi- laugh, you got his money! Good I’m not the only one who became sound system does the CD justice tion of Logan’s Run a reality. And luck with other letters in the saturated by the incessant need to as I crank the volume and on that note, a friend and I had future; I, at least, appreciate your “tributize” the tragedy in every immerse myself. been praying for an Omega Man magazine. visible forum, including showbiz. Although I took a liking to release, and FSM already Keith Savage I’m sorry, Jeff, but although this soundtrack music when I was answered that prayer! Another Ottawa, Canada Last Castle track may have hap- younger (to and the outstanding achievement and a pened to be appropriate, the Gerry Anderson shows), Logan’s true classic by the late great Ron Black Hawk Daniel Schweiger entire thing came off as rushed, Run was the very first score that Grainer. Every good wish and orrection: American troops and—despite the maestro’s hon- got me hooked to the point where keep up the good work! Cfought in Somalia in 1993, orable intentions—a bit cheap as I would sneak a bulky cassette Bill Pierson not 1989. Other than that, great well. recorder into the theater and tape Wilmington, Delaware story! Thor J. Haga excerpts of the soundtrack. This Bondo321 Oslo, Norway held me over until my mother Savage Commentary on the [email protected] gave me the LP for my birthday Prokofiev Fight Logan’s Fun (and the tape finally wore out just picked up Vol. 6, No. 10, We’re not mind readers, no matter ust wanted to drop a line and from excessive tape wrap-ups and Iand read the letter by one Jerzy how many times we play BENEATH Jexpress deep heartfelt appreci- warping). What better way to kin- Sliwa, and all I can say is: “Okay?” THE PLANET OFTHE APES. You’ll just ation to FSM for releasing a Jerry dle interest in soundtracks than This guy does need a hug, only have to communicate with us the Goldsmith classic the way God with Logan’s Run by Jerry he’s so angry I doubt that he could old-fashioned way—with a letter. had intended: complete and in Goldsmith! The rest is history, and find anyone willing to do it. You FSM Mail Bag sequence as heard in the film! I have the Maestro, Mr. would think an entire Navy Seal 8503 Washington Blvd. As a 13-year-old kid I had the Goldsmith, to thank for my team rolled into Poland in the Culver City, CA 90232 privilege of viewing Logan’s Run in soundtrack enthusiasm, strong to middle of the night and wiped out or e-mail: 70mm stereo and on a big screen this day! his whole family. I only hope that [email protected] before the local theater got shoe- I also appreciated all the insight you got a good laugh out of read-

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hat do you get when you cross Hollywood-ized, Raiders of the Lost Ark version of the 1930s, The Scorpion King takes place entirely in a distant Lawrence of Arabia with the past without any clear ethnic or cultural roots. Furthermore, the Mummy movies were…well, mummy World Wrestling Federation? movies—both centered on the monstrous, supernatural character of . But there are no monsters in The As post-production winds Scorpion King. “It’s something I always joke about as being sweaty men and leather,” Debney says. “So I think down on The Scorpion King, the music has to be a little more human in approach.” W Even veering away from the two Mummy movies left the ersatz prequel to last year’s blockbuster plenty of precedent for a modern sword-and-sandal epic, including the early-’80s muscle bash Conan the , several of the movie’s Barbarian and ’s hugely popular world- music approach to ’s Gladiator. But none of key players are still trying to answer that those approaches took into account one of the major demographics Universal was looking to tap when they question—at least as far as the film’s music is chose to build a potential franchise around The Rock: the wrestler’s fervent WWF fan base—teens who were used concerned. Composer John Debney was to seeing Johnson’s heavily oiled pecs flex to the music of headbanging heavy metal rock. assigned to score the film last fall and was Headbanger’s Ball originally set to record his score in December The idea of putting rock songs in an action movie is nothing new, and Universal Music had a Scorpion King before reshoots on the picture forced the “soundtrack” put together well before Debney began recording his score. Universal signed metal band work back to March of this year. Debney to lead off the album with their Grammy- John Debney’s dilemma in scoring The Scorpion King Interview by Jeff Bond To Rock consequently had a lot of time to think nominated song “I Stand Alone” and loaded the rest with music from P.O.D., and System of a about his interpretation of the score to the Down…all artists well-known to FSM readers! Debney’s music was nowhere to be found on the soundtrack film, which takes the Scorpion King charac- album—also not an uncommon situation for a film com- poser. But rock soundtrack aside, the question remained ter (played by the WWF’s , whether the metal aspect would be confined to the usual end-credits pile-up of songs or would somehow otherwise known as The Rock) from The find its way into the score. Universal Music very much wanted the Godsmack song in the picture, and in order Mummy Returns and provides him with to create a sonic environment in which the song would- n’t seem to come completely out of nowhere, the idea of a Conan the Barbarian-like back-story. integrating some rock elements into the score proper reared its head. This wasn’t an unheard-of concept (a Debney was faced with a few obvious recent high-profile example was Joel Goldsmith’s score for Kull the Conquerer), but integrating rock, world music and the large-scale orchestral elements Debney precedents for the score. First, there were the was interested in became an ongoing challenge. One of the players in the drama was the film’s editor two previous Mummy franchise scores by and associate producer Michael Tronick, whose back- ground was as a music editor. “When I was hired to do Jerry Goldsmith and Alan Silvestri, both of this I had already started assembling a library of sound- tracks that I thought could be applicable, because usu- whom had placed a retro, ’50s epic sensibility ally the minute I cut a scene I put temp music to it,” ARTWORK ©2002 UNIVERSAL STUDIOS Tronick explains. “When I started here on the first day I on their work. But while The Mummy and The already had a good idea as far as different cues I wanted to try in terms of and . I was using Mummy Returns were set in a kind of material from The Cell, The Crow, End of Days, Dante’s THE SCORPION KING

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Or Not to Rock? Peak and the Silvestri Mummy stuff. Will Kaplan is another key per- although geographically it definitely looks like it.” In addition to his son in this; he’s a music editor I worked with on about four pictures, reticence to specifically ethnicize the movie’s score post-September and usually if I’m too busy I’ll give him scenes to track while I’m cut- 11, Tronick thinks the sound typical to desert adventure films may be ting.Will is brilliant with temp scores, so he was also giving me some something modern audiences are becoming inured to. “I wonder if an material. I make it part of the way I work now that when I present audience hearing that motif will just kind of check out,” he says. my cut to a director I have the whole thing tracked, and I was able to “They’ve heard it and they’re familiar with it, and somehow instead of get Will on here for a couple of weeks and Will used some non-the- having the music reach out and grab the audience and pull them in, matic stuff from the Mummy movies too.” According to Tronick, the familiarity gives you more of an observing feel than being involved finding a central tone for The Scorpion King was problematic from in what’s going on.” the beginning. “This movie was particularly difficult because there Tronick was able to see the approach to the film evolve as it passed was no magic score that you could pull all the material from. before several sets of eyes, including those of director Recently we pulled from the Trevor Rabin score for The One when (Eraser, The Mask), the people at Universal Music and the director of we thought we were going to use more rock and roll, because Trevor the first two Mummy films, , a producer on The is so good with guitar and orchestra.” Scorpion King. “Originally our score was fairly traditional in terms of instrumentation, and then there were some music editors over at To Be Reborn...Again Segue who started playing with strains of some pretty hard rock Tronick notes that despite the film’s desert setting and physical simi- music, things you would normally hear at a WWF match,” Tronick larity to the previous Mummy movies, there were musical avenues says.“Actually we used it in a few cues, and I thought it was really effec- established in the preceding films that for various reasons The tive because it gave The Rock edge and attitude. The pendulum really Scorpion King’s makers didn’t necessarily want to travel down again. swung in that direction, a metal approach with orchestra, and now the “We had this thing called the sizzle reel, which is one of the first things pendulum is swinging back to a more traditional orchestral score but I cut, which is like a glorified trailer,” Tronick recalls. “That’s where I with some of those elements integrated. It’s a unique amalgam of the used The Cell because there was a primitive quality of that that seemed contemporary hard-rock sound with a film music orchestra. I think applicable because of the era this movie takes place in. There’s a cer- used sparingly it can be very effective. It’s really a hot button in terms tain ethnicity to it because obviously you just look out and it takes of responses from producers and directors, and everyone has a strong place in the desert. But quite honestly since the events of September opinion about it. Once you overuse it, because of the repetitive nature 11 we were also a little sensitive to the region as well, and we didn’t of that music, it’s really hard to get any kind of emotional response to want to say specifically that this takes place in the Middle East (continued on page 48)

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inema exploded during the 1960s, not just in America but also in much of Europe and Japan. The business of making movies was booming. It was a time when just about anyone could get a film project off the ground. If you had an idea, were passionate enough, or, as Cit sometimes seemed, just happened to be a little bit crazy, your movie could get both produced and exhibited. Part of the reason for this was that the task could be accomplished for thousands of dollars, not millions. Such an economi- cally permissive environment invited exploitation and experimentation. The common sensibility of the time was that most stories, and cool ways to tell them, had yet to be done. Italy, in particular, was a hotbed of freewheeling cin- ematic expression. The expanded the parameters of all genres; to Americans the most obvious example of this was Italian directors’ prolific and audacious reinvention of the western. During this period the Italians also stylistically eroticized the drama (both costume and contemporary), the psychological study, the sociopolitical thriller, and the mystery and . Film composers, prompted by the artistic freedom of the Italian movie industry, provided musical support for the ongoing flood of stimulating cine- matic fare. It is this writer’s opinion that Italian film music achieved a level of intensity and innovation throughout the ’60s and well into the ’70s that remains unrivaled. Out of this extreme condition of cultural fertility arose a woman of great talent, a diva unlike any other, the musical voice of the Italian cinema—Edda Dell’Orso. On the international level, her voice is probably most famil- iar to filmgoers as an integral part of ’s twin epics, The Good, the Bad, and the Ugly and Once Upon a Time in the West. Her powerful voice, in “Ecstasy of Gold” Edda Dell’Orso from The Good, the Bad, and the Ugly, while forceful and (observe how she more than holds her own in the midst of Morricone’s full-throttle and Nicolai’s bravura conducting) maintains a controlled modulation as fine and clear as crystal. I’ve never been able to enjoy , but Edda’s efforts for the closing track of Once Upon a Time in the West have allowed me to real- ize that it’s the operatic format that loses me, not the voices. Her shimmering solo throughout “The Finale” provides the fullness of this classic theme’s textural and dialect emotional illumination. Her voice is a galvanizing light easily outshining Morricone’s archetypal use of intense and translucent planes and columns of strings. It is awful to consider that Edda could have remained in of relative obscurity if not for a strange circumstance within the exclusive community of Italian film composers. In the early ’60s these composers gravitated toward and then, over the course of a decade, refined the formal device of using a cultivated voice (usually female) as a wordless desire musical instrument. As a wonderful by-product of this peculiar stylistic agenda, Edda Dell’Orso as a young singer found an ideal niche for her unique and rapidly blossoming talents. To refer to Edda as a diva might seem strange when Interview by John Bender considering the fact that, for the duration of her profes- sional career as a vocalist within the Italian movie industry, she has performed very few compositions with lyrics. A major factor which set the Italian film score apart is the great degree to which a voice, or a chorus, appears as an integral component of interior musical structures, as opposed to merely fronting a main-title ballad. The non-

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language sounds these singers produce is sometimes intense and outlandish genre films as Macchie Solari referred to as “vocalise.” Edda Dell’Orso has been the prime (Sunspots, aka Autopsy), Veruschka, Cat O’Nine Tails (a exponent of this technique. thriller), Drammi Gotici (Gothic Dramas, an Italian television horror anthology), and Sesso in oeuvre erotique Confessionale (Sex in the Confessional), Morricone She has collaborated with just about every composer who required Edda to vocally generate expressionistic has substantially contributed to the Italian cinema—artists metaphors for qualities such as tension, terror and psy- like Piero Piccioni, , and chological stress and/or agony. It is appropriate to keep in her first professional patron, . mind that Edda, though hatching the unsettling sounds Alessandroni is the multi-talented instrumentalist, com- these films required, did so staying resolutely within the poser and choral director who first recognized Edda’s contours of Morricone’s frequently complex composi- potential. From the early ’60s to the late ’70s, she was called tional designs. It would not have been sufficient for her to upon to execute a broad range of vocal maneuvers. For have shown up for work somewhere in , enter a themes that would follow a traditional melodic line, Edda recording booth, and then proceed to merely “emote” with would usually lead the orchestra with a form of sponta- her voice. The seemingly infinite assortment of pained, neously invented scat—a progression of elegant, ad-libbed, pitiful and fearsome utterances that she instinctively pro- nonsense syllables. These types of themes were often erotic duced for these darker projects had to exist as raw, primal and/or romantic, in which case Edda would deliver an manifestations, while simultaneously functioning as con- intense tapestry of lascivious sighs, breathless whispers and scripted, systematic musical elements. passionate urgings, all in an abstract “dialect of desire.” A The pride and distinction that form Edda Dell’Orso’s particular highlight of her oeuvre is from 1971’s Maddalena, artistic legacy stem from her fearless determination and vir- a sultry film about forbidden love between a woman and a tuoso dexterity, and the fact that she has consistently been priest (I’ve just heard of a new Spanish CD of Maddalena capable of keeping abreast of her numerous composers’ that reportedly features almost 20 minutes of previously demands—no matter how outrageous or grueling. unreleased material). Composed by Ennio Morricone, the The proceeding interview was conducted during two ses- film’s score contains two major 10-minute tracks. In terms sions, in June 1997 and May 1998. To the best of my knowl- of sheer scale, “Pazzia in Cielo” and “Erotica Mistico” stand edge this is the first time that Mrs. Dell’Orso has been pub- alone in the pantheon of film music, empowered monu- licly interviewed. I must thank my friend Professor Roberto ments to feminine sexuality. On both tracks the percussion Zamori of the Film Music Art Studio, Prato, for his assis- propels the listener through the fabulous interior of an tance. Without his help the following transcript wouldn’t immeasurable aural space, a soundscape built of the exist. Edda and I needed an interpreter, and he graciously dynamic articulations of orchestra, organ and, most impor- materialized in the form of Ralph Traviato, novelist and for- tant, Edda’s voluptuous, mystical voicings. eign correspondent for the Wall Street Journal. Some other films that showcase Edda’s aphrodisiacal proficiency are , Excuse Me but Shall We Make FSM: Mrs. Dell’Orso, could you please supply us with some Love?, Hitch-Hike (featuring a vivid and disturbing three- background information about you? There has been very part portrait of violent sexuality during which various musi- little, if any, such material previously published, so anything cal instruments seem to be attacking Edda’s musical pres- you might be willing to share will be like rain in the desert to ence), The Cat, Increase and Multiply, The Invisible Woman your admirers! At this point even the basics are valuable: and Lizard in a Woman’s Skin ( 110-2, 19 tracks). Where were you born? Where did you go to school? What The latter film—a , or “violent mystery”—by the late did your parents do for a living? cult director (The Beyond) is also graced with a ED: I was born in Genoa. I lived 10 years in Venice, and at pair of superior Edda vehicles by Ennio Morricone. The the age of 15 I came to Rome where I completed a course of film’s main theme, “La Lucertola,” contains strings, guitar, study in the classics. My father owned a large restaurant in and percussion and is dominated by a surreal, Venice, but in his youth he worked in America, France and fluttering exchange between and flute. A disorient- other countries. My mother was, well, a mother! ing, electronic chattering softly swims in and out of the FSM: What were your dreams as a young girl ? composition. Both devices serve to provide an appropriate ED: When I was quite little I wanted to be a classical bal- edge of concern under Edda’s luxurious vocalizations. What lerina. Later, I came to understand that my true desire was could at first be perceived as a mere scat-sung lullaby is to sing, dance and act in American musicals! [laughs] actually a symbolic voice-as-instrument ploy that pulls FSM: How did you first get involved in music? most of a listener’s attention away from things horrific (the ED: I studied, and received my diploma in piano when I audience’s expectation) and coaxes forth an “attitude”—a lived in Venice, but I was still a child when I developed a sensuous, but icy picture of luxury, narcissism and feminin- passion for singing. At the required age I entered the con- ity—all qualities relating to the film’s lead character as por- servatory of Sante Cecilia, in the singing class. trayed by actress Florinda Bolkan. The film’s secondary FSM: Are any of your family members in the music theme, “Sole Sulla Pelle,” is an expressionistic portrait of a industry, Massimo Dell’Orso and Giacomo Dell’Orso, for tryst. Here, through music, sound becomes flesh. First a instance? I assume they are related to you. harpsichord, then an organ, spar erotically with Edda’s ED: Giacomo Dell’Orso is my husband, a composer, voice; they intertwine and conduct the deliberate, serpen- pianist and conductor. He produced soundtracks [film tine dance of sexual union. scores] for film and television. Massimo, who works for the Every film mentioned so far has been scored by Ennio Cecchi Gori [an Italian entertainment conglomerate], is my Morricone. It is Morricone who over the years has pushed nephew, son of my brother-in-law, Gianni. Massimo is a Edda’s highly trained voice to its limits and to the limits of too, but works mainly as a musical editor. his own wonderfully perverse imagination. For such FSM: How did you first get involved in film music?

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ED: During the time when I was part of the Franco Potenza FSM: Since your two personalities meshed so neatly, perhaps I had the opportunity of doing my first solo, for the film you were able to make suggestions to the Maestro concerning the Constantine the Great [aka Constantine and the Cross (1962), use of your voice. music by the late —Barabbas, One Million ED: I feel that sometimes my interpretations, to his way of see- Years B.C.]. I must say it was my good fortune to have as my ing things, went “above and beyond” his initial ideas. orchestra director on this project Maestro . FSM: Being familiar with your work I can honestly say that I’m Following this I was principal voice with the group I Cantori not at all surprised. Do you have any idea of exactly how many dif- Moderni di Alessandroni, directed by Alessandro Alessandroni. ferent composers you’ve worked for? [Franco Potenza was a film composer and choral director who ED: I have been called upon by practically all the Italian film worked heavily during the ’50s and ’60s. The I Cantori Moderni composers, great and small, with the notable exceptions of Nino was an important component of Italian film music, and it was vital Rota [’s principal composer], and a to the design of many major scores. Alessandroni also happens to few minor composers. be “the whistler” on many of the Italian western scores that feature FSM: On some scores, such as Piccioni’s Scacco Alla Regina this emblematic device.] [Check to Queen], you are featured in almost every cue, on others you might appear for only a few moments. How would such diverse commitments of time affect your profes- After Once Upon a sional schedule? ED: Portions of score were presented to me directly Time in the West all by the composers in the recording studio, which I of the other com- would then perform almost instantaneously. The greater or lesser presence of my voice depended only posers and directors on the needs of the individual composer, or sometimes wanted “the voice the director would also have a say. FSM: You use the word “instantaneously,” but I of Morricone.”Sergio must admit that I am still imagining that there must Leone contributed to that have been some need for rehearsal time. Occasionally composers must have asked you to do desire, and to a new way things with your voice that were physically over- whelming. I think such problematic assignments of making soundtracks. would require some practice or preparation before they could be performed properly. ED: The methods taught to me by my magnificent wordless song singing teacher have always given me a great sense of security, and FSM: Have you ever recorded songs with lyrics? One of the rea- I always did without the protective habits of most other singers, sons I ask is that the Japanese CD re-release of the such as vocal warm-ups, and even keeping good hours! score for La Morte Bussa Due Volte [Death Knocks Twice] seems to FSM: Some of your most astonishing efforts for Morricone indicate that you are the vocalist on the song “My Face.” actually exist in the realm of contemporary classical, or seri- ED: I don’t remember “My Face.” ous, music. A few examples of what I am referring to would be FSM: As best as I can tell Morricone was using a woman’s voice such cues as: “Diaro di un Pazzo” from Drammi Gotici, “1970” in his orchestrations before he even got heavily into film scoring. from Cat O’Nine Tails, “Sequence 4” from Sesso in [Early in his career, Morricone worked as an arranger/conductor Confessionale and various pieces from the film Autopsy, which for the recordings of Italian mainstream entertainers.] How did he apparently are variations on a composition called Multipla II first learn about you? He must have been excited to discover your Pezzo. In these works you are not using your voice in any sort voice and talent, which were so perfectly suited to what he was of traditional manner. How did you and Morricone prepare for exploring during the early ’60s. the performance of such advanced music? ED: Yes, before me Morricone was already using artists for their ED: As I said, there really was not much by way of preparation. solo voice, among them Christy. He discovered me from my work The Maestro would give me the music to read for the first time on with I Cantori Moderni. At first, Morricone would use me sporad- the day it was to be performed, and I always sang live with the ically, but the explosion came with the films by Sergio Leone. orchestra. Because of my education in piano I am quite adept at FSM: Can you elaborate on the nature of this “explosion”? reading difficult music. To this I should add that I am fortunate in ED: It was not until after Once Upon a Time in the West that all that I do seem to have a pronounced ability to conceptualize, and of the other composers and directors wanted “the voice of interpret, the musical thoughts of others. Morricone.” Sergio Leone certainly contributed to their desire, FSM: It stretches the imagination to think of Morricone hand- and to a new way of making films and their soundtracks. ing you a piece of paper of musical annotations for something like FSM: You have worked on so many projects with Ennio Autopsy, or Sesso in Confessionale, and saying “Do this,” and then Morricone [by rough estimate, over 60 films]. What was it like walking away! Would he not have to engage you in a professional being so involved with one artist for so many years? conversation, one artist to the other, in order to clarify what it was ED: Morricone, as an artist, is a very serious professional and a he wanted from you? very precise man. These are all qualities that match well with my ED: No. Morricone, and even other composers, always left me own character. quite free as far as my interpretative choices while putting voice to FSM: Then obviously the two of you got along well. You men- their ideas. tion him being precise; would he ever change his mind about the FSM: It’s not very difficult to extrapolate from this that, to a lim- music during a recording session? ited degree, you were the co-inventor of those incredible vocal ED: No. Maestro Morricone has always had the most clear ideas effects. Can you relate any stories of unusual recording sessions, of what he needs before recording begins. and here I mean unusual for any reason: difficulties between com-

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poser and director, a tight schedule (not enough time to record), they English or Italian? Perhaps they are not a true language at all, bad luck in the studio (equipment problems)? but something you invented specifically for these tracks. ED: At the time when my voice was in such great demand, I did- ED: Your are right—they are syllables invented spontaneously n’t bother to concern myself with such worries. However, now that as I performed. my opportunities to work have been reduced to a minimum, I must admit that I have lost some of that strong sense of security. upon reflection FSM: Regarding the most extreme scores such as Autopsy, out- FSM: What is your opinion of side of you and Morricone I can only think of a few other com- Italian cinema, then and now? poser-vocalist collaborations that produced such extraordinary ED: I see few films now, but I can sounds. One composition that does come to mind is Visage (1961) say that my preference is for films of by , with vocal performance by Cathy Berberian. “another time.” Since both Berio and Berberian studied music in Milan for several FSM: Please, to which time do years (Berio established the Studio di Fonologia Musicale of Italian you refer? Also, is there any period Radio), I was wondering if perhaps you have heard of these artists of film that you wish you could and their collaborations? have participated in but did not ED: Actually, I haven’t had the occasion to meet them. They are have the opportunity? both very well-known musicians, and, by the way, they are hus- ED: I count myself lucky to have band and wife. sung, in my prime, all that mar- FSM: Keeping to the topic of other artists for just a moment, velous music—music that con- would you happen to know anything about Gianna Spagnolo nected so closely with my personal () and Christy (, Danger Diabolic), sensitivities. However, having said whom you mentioned earlier? Even though they did not record that, I can admit that I have always nearly as much film work as you have, they were performing for loved the standards from American Italian composers during the same peak period of activity. Not musicals of the ’40s and ’50s. I would truly have loved to have had much is known about them, at least in the States. a chance to sing them. I have a great affection for the films of Frank ED: Christy happens to be the daughter of my singing teacher, Sinatra, , , . and Gianna Spagnolo sang with me in the group I Cantori FSM: Maybe you can make a CD of Edda Sings Musical Hits Moderni. Gianna is the solo voice Morricone used for Moses. someday. I’m sure it would be a wonderful recording. Speaking of [Moses, the 1975 Italian production starring Burt Lancaster, was a recordings, I’d like to ask you about an LP you made on the CAM mammoth effort by Morricone, comparable to Miklós Rózsa’s label, Edda’s Classical Machine. A question that frequently pops up Ben-Hur in terms of magnitude and quality.] in conversation amongst your fans is why you recorded that with- out an orchestra. music is love ED: That LP was commissioned by a German concern, and they FSM: I have always been very curious about the erotica you have specifically requested that I have only electronic accompaniment. created with Morricone for certain types of films. Some prime The were by my husband, Giacomo. examples would be pieces for Excuse Me but Shall We Make Love?, FSM: We very much miss hearing your beautiful voice in film “In un il Sogno” from The Invisible Woman, “Un Uomo Si music since the early ’80s. Would you be willing to record once e’Dimesso” from La Tarantola dal Ventre Nero and “Astratto III” more for soundtracks? I do know that during this decade you have from Veruschka. In these works you are panting, moaning and done Plaza in Spain, Love Story, Nostromo, all for Morricone, and sighing in the manner of lovers in the heat of passion. It is almost that you appear as part of his score for ’s . as if, especially with “Astratto III,” that the musicians were some- ED:It really doesn’t depend on me, but on fashion or the current how able to magically use the sounds of their instruments to make trends. I still like recording for films, theater and concerts. In fact, love to you! This is very powerful art! Some of these works are so I am still working in Italy, but now foreign distribution is lacking. erotically charged I have often wondered if it was possible for you FSM: God, how I pine for the good old days when so many to record them without becoming emotional. This is a question French, German and especially Italian films would get dubbed that has been asked of actors concerning love scenes, but it also and sent here to the States—it was fun! Although I will probably seems applicable as regards your situation as an artist of the voice. always hold you in the highest esteem, there are other female ED:To create these particular soundtracks it was important that Italian singers I feel are quite talented—Mina, , Ornella I sang in an area cut off from the orchestra. This special arrange- Vanoni, Miranda Martino and Lisa Gastoni. ment allowed for me to remain calm, and to maintain my sense of ED: The Italian singers that you mention are very talented, and creative freedom. I would say that Mina was the greatest of them all. However, I think FSM: I can understand how it was helpful for you to be isolated there is more professionalism in America. during those sexually charged performances. You would be com- FSM: Mrs. Dell’Orso, let me thank you for this golden opportu- pelled to draw upon some rather profound, and private, inner nity you have given, not just to me, but to the many people around forces. To what degree would you say you were using your own the world fortunate enough to know of your splendid career in imagination and/or memories to provoke such strong effects? film music. This interview will allow for us to at last experience ED: While recording for the films with an erotic thread it was some small measure of closeness to you. Your work still gives actually the music itself that suggested to me the vocal quality much pleasure and excitement, and, through CD reissues, many necessary. Music is closely connected to love. I could go so far as to new listeners are discovering your genius. Please continue to have say music is love, and I interpreted the scores in question while a joyful and creative life! envisioning absolute love. ED: I give you infinite thanks for having graced so much atten- FSM: There is something very Italian about that answer, “music tion upon my vocal activity, and I thank you also for your words of is love.” Certain themes such as Coiffeur Pour Dames from La appreciation. I consider my voice a great gift from the Lord. FSM Tarantola dal Ventre Nero and the title track from Veruschka have you singing what seem to be lyrics, but the words are unclear. Are John Bender is FSM’s senior foreign correspondent, writing from Pittsburgh, PA.

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n the late ’90s he arranged strings for FSM: Craig, congratulations on winning a well- deserved BAFTA. It should have good company on the , Björk and , but these days mantelpiece next to your Golden Globe, AFI, Golden Craig Armstrong is simultaneously Satellite and for Moulin Rouge! I CA: It’s nice to eventually be getting some awards. I writing new film and classical don’t think it’s easy to get these things, and you hear of peo- ple putting their awards in the toilet, but I work too hard to scores, preparing for a major do that with them. I put them here in my studio, and when I’m depressed I go and look at them and think to myself, live concert and the launch of “I’m not really that bad.” I got an Ivor Novello Award and a a new album, as well as pick- BAFTA for Romeo & Juliet six years ago, so I wasn’t that young even then. I think that if you win an award in your ing up distinguished industry 20s, then it might mean nothing to you, but if it’s taken a long time, then it means a lot. At the end of the day, it’s THE awards for Moulin Rouge! something for your kids to put on the mantelpiece when dad is pushing up the daisies. It’s early March, and FSM: With so much going on in your life, how do you Craig has just won the juggle all the work? CA: I know it looks like I’m doing all this stuff at once, Anthony Asquith BAFTA but there’s usually a gap between things. For instance, once you finish music for a film like Moulin Rouge! it’s months MAN award for film composition. before the director’s finished with it, and then months Understandably, the media before it comes out. The good thing about a movie sound- track being recorded is that once it’s finished, it’s finished— want to interview him, and you can’t change it at all. So, what I’m trying to do at the moment is one project at a time. After Moulin Rouge! I did we’re delighted that he took The Quiet American, a Peter Mullan film called Magdalene, and then started to do some promotion abroad for the time out from his hectic album [As If to Nothing]. And now the next three or four WHO weeks is going to be around getting this live gig together [at schedule to talk to us direct the Barbican in London]. from his recording studio in FSM: Logistically, how do you manage all this? CA: I try to do as little business as possible, and leave Glasgow, Scotland, about his that to other people. I just try and do as much writing as I remarkable juggling act and can; that’s my mantra. You can get so caught up in every- thing around it. You’ve got to be careful that you don’t for- how not to store precious get the reason you’re doing all these things is because CAN- you’re a composer. master tapes. Live and In Person FSM: If we tackle all these projects in turn, what can you tell me first about your “Only Connect” Barbican concert in April, “Craig Armstrong: Songs & Films”? CA: In one sense this concert is intended to be a bit more fun and light-hearted than last year’s “Elektronic” gig CAN- [the premiere of his homage to Mahler, Visconti] because it includes music from some of the films. It also has some of the songs from the new album, as opposed to the last concert, which was a brand new commission from the [London] Sinfonietta, and was a bit more classical. What’s harder for me in this one is that I’m actually involved directly because I’m playing in it. FSM: As well as music from your new non-sound- CAN! track album, As If to Nothing, I see you’re also play- ing tracks from your previous album, The Space Craig Armstrong Between Us. CA: It’s funny, because that first solo album was Interviewed recorded five years ago and I’m having to re- learn things that I did at that time! [laughs] In by Nick Joy Britain, music gigs are very defined—it’s either a pop concert or a classical concert. This type of concert is the sort of one that I’d like to go and see. It’s got the Sinfonietta [and Metro Voices], who are fantastic, and a lot of people will recognize my stuff from films.

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FSM: Is there an even split between songs and they’re all related, and I think you can feel that as score? you listen. CA: Instead of having a big period in the concert FSM: I see that one of the tracks, “Wake Up in dedicated to film, I’ve decided to mix it up with the New York” (sung by the Lemonheads’ Evan Dando), songs during the night. I’m determined to make it is getting a single release. the opposite of a gig where you try to work people CA: [British Radio 1 DJ] Jo Whiley likes the song, up into some sort of frenzy. I think that it’s going to and she’s played it a few times, but it’s hard to get be quite a gentle evening, something that’s chilled over here. In these days of brittle economics out and a nice night out. it’s amazing that record companies are even putting FSM: When you revisited your older material, records out like this. The album is something that’s were you tempted to tinker with it? hard to get over to the public because radio stations CA: Yes, I think you should do new arrangements won’t play the single. It’s quite brave really. on old stuff because at least people will think that FSM: Two years ago at my wedding, my fiancée we’ve put a bit of work into it. The new songs will be came in to the ceremony to the music from Plunkett played just as they are on the CD, because nobody & Macleane. Do you often get to hear about things knows them yet; there’s no point in changing them. like this, and how do you feel about it? For “Weatherstorm” [his popular collaboration with CA: That’s fantastic, and is one of the things that Massive Attack] and the “Balcony Scene” [from make what I’m doing really worthwhile. People Romeo + Juliet] I’m going to take a slightly different have said to me a few times that pieces of my music approach. I’ve made a set list now, which is a step in are very special to them, especially the “Balcony the right direction, but it’s hard to know what’s the Scene” from Romeo & Juliet. You’ve got to take these best choice—some of the scores work without the things as compliments; in fact, I’ll tell my wife about film, but for others you do need the movie. it tonight! FSM: Can you give me an example? FSM: Do you find that people still look down on CA: The piece of music used at the end of Moulin film music? Does it disappoint you that it isn’t Rouge! for Satine’s death scene is quite a long sus- treated with the same respect as ? tained piece, and I was thinking of having the CA: Yes, and it’s a very British argument. Mozart orchestra play it before people come in after the and a lot of other composers wrote the of interval. I think it works okay on its own. What do their day, but history has been sterilized by people you think? Please feel free to email your ideas! There becoming politically polarized in this part of the are so many possibilities, and I’ve actually got too world. Up here in Scotland, the classical music much in the set right now. I’ll have to say goodbye to scene can be quite conventional, and if you say that quite a few tracks in the first half. And once we do you’re a film-music composer then indeed you get our week’s rehearsal there’s inevitably going to be looked down on by some people. There are a lot of some tracks that don’t sound good, and we’ll just pieces in Moulin Rouge! where if I’d taken them out have to weed them out as well. and called them “Slow Piece for Strings With Solo FSM: What will you be looking forward to most at Voice” they’d sit quite nicely in the concert hall. At the concert? the end of the day, a song like “Nature Boy” is very CA: I did a concert in France a while ago [in different from a movement by Brahms, but the front of 20,000 people at the Bercy, Paris] and it’s question is whether it can be as artistically valid. I funny the way that people focus on certain songs, believe that a great song is as good as a great sym- but I think it’s great for a composer to know that phony. None is better than the other; I don’t have people know what you’ve written. Playing film that snobbery problem. [Incidentally, the RSNO music live is very different from when I’ve written premiered Armstrong’s orchestral work When a symphonic piece for RSNO, which is meant to be Morning Turns to Light last December.] played for an hour with no break. The audience in FSM: On your CD score for Kiss of the Dragon France was very mixed—people in their 60s and you somewhat disguise the fact that it’s a sound- really young kids. It’s nice to see that what you’re track by calling it “Symphony for Isabelle” and the doing has communicated in some way with a tracks “Parts 01 to 19.” This stops listeners from try- huge range of people. ing to remember the film and allows them to just concentrate on the music. Top of the Pops CA: I like the idea of playing about with the music FSM: Your new album, As If to Nothing, features a after the film. With a soundtrack release you can do number of collaborations with artists like , one of two things. You can do it like the Romeo & Evan Dando, Mogwai, David McAlmont and Steven Juliet album where you tell the story again very liter- Lindsay. How did this come about? ally on the CD, or do what I did with Kiss of the CA: I’d always wanted to do something with these Dragon and abandon the fact that it was for a movie. collaborators; it was just finding the right material. I With film music you don’t get a lot of feedback, and phoned them up and said, “Would you like to do a you are the first person I’ve ever seriously talked to track with me?” I didn’t want to do an album where about that album. I’m glad you liked that approach it just went from track one to two to three, and so on. because I hoped that people would think I was try- I thought to myself, “What can I do that has some- ing a bit harder, and doing something special. thing different to offer, and is more interesting?” FSM: A lot of modern soundtrack releases suffer And although they are quite simple songs, I treated by having 30-second generic underscore tracks. them symphonically. Melodically and harmonically CA: I would not put onto CD a lot of music that

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I’ve written for film. It works in the film, but if that’s the ably got a box of them leading up until the final version. I only place where it works, it won’t go on the disc. I was admit that I’m not terribly organized, so there are bags and given the Amélie score the other day, and while a lot of it is bags of music everywhere—this place is full of stuff. I really good, there’s just so much of it. It all sounds similar, promise myself that I’ll catalogue things, but I know I’ll and within all that there are eight or nine really killer tracks, never do that because it would take months. but I cannot listen to it as a record. You know the way that FSM: It’s a shame the score is lost. you skip tracks until you get to a good one… CA: It’s a real shame, but you’ve got to understand that when I was doing the early stuff, not only was I writing it, I On the Horizon was recording it as well. At that point in my life I didn’t FSM: What can you tell me about your sound- think that anyone would be interested in listening to it track for the remake of The Quiet again in the future. The best of those scores is Close and I’ve American? I see that you’re re-uniting with got that one safe. It would be nice to do a box set of his Phillip Noyce [director of The Bone Collector, for work. His new film Magdalene is fantastic—unbelievably which Armstrong won an ASCAP award]. good in fact. I nearly said I couldn’t do it because of the tim- CA: I finished that a while ago. I think that ing, but I knew that I had to do it. was the first thing I did after Moulin Rouge! and it was more of an art film. On Moulin Rouge! Back to Paris there was great pressure because they’d spent so FSM: So, if the first Moulin Rouge! disc hadn’t sold that much money on it, but with The Quiet American well, there wouldn’t have been the new follow-up disc, and they were really relaxed because they were low none of your score from that film would have been com- budget, and I was pretty much left to do what- mercially available. ever I fancied. CA: You’re quite right, and that’s why when I get a FSM: You use guest vocalist Swati Natekar on chance to do an album I jump at it. The new album is prob- your album track “Miracle,” and you say that ably not going to make the record company a lot of money. you are influenced by Eastern music. Is this All of the artists do it for very little money because it’s ulti- influence evident in The Quiet American? mately a labor of love. CA: It was really great working with Swati FSM: Would you say that the album ends on a positive because she has such a beautiful voice. I was note? actually working with a singer from Vietnam on CA: Yes, I wanted something very positive, warm and life The Quiet American and she came over here to affirming to end it. I didn’t want to leave the album with Glasgow to record vocals. The movie is set in people feeling down. Listening to the CD is very different Vietnam and that’s why I was working with from going to the movies; it’s a very personal experience, Vietnamese musicians. The bigger influence for and I want the lasting impression to be a sense of hope. me as a composer is classical Indian and folk FSM: Were you under any pressure to get recognizable music. people and “big film” tracks on the album? FSM: Sticking to Eastern influences, did you CA: No, they more or less let me do whatever I wanted have anything to do with the Bollywood num- when I’m recording the album. I write a lot more tracks ber at the end of Moulin Rouge!? than those that finally appear on the album—probably CA: That was actually done by another guy, double. It’s at this stage—the very end—that the record Steve Sharples. It was a track that Baz company gets involved and decides which tracks should be [Luhrmann] did with him quite a few years on it. This, in itself, is an open debate. before. Basically, he just ended up using the FSM: Was it hard to keep your identity on Moulin Rouge! original demo because it sounded so good. with all the musical directors and composers. Sorry, it wasn’t me, but it sounded fantastic. CA: It’s interesting that you say that. Yes, there were a lot FSM: You also mentioned your soundtrack of others involved, but my role was to give the film one for Magdalene. This is your fifth film for the voice through the score and orchestral arrangements. It director Peter Mullan [the others being Close, was my job to try and glue it all together. Because the songs Fridge, A Good Day for the Bad Guys and have got my orchestrations on them, and the score is also Orphans]; do you think that you’ll release any of this music written by me, it sounds the same, doesn’t it? Baz actually on CD? said to me that my music gave the film its emotional heart, CA: We have spoken about it and think it would be a which is a big thing for the director to say to you; I was really nice idea to release some of the stuff from his films. I pleased with that. suppose it’s up to the record company and whether they FSM: Did you feel comfortable rearranging these classic think enough people would buy it to cover the costs. songs? Purists hold them in great esteem. There’s some really nice stuff in those films, though I’ll let CA: On some of them I worked completely on my own— you in to a secret. I’ve lost one of the scores! Yes, I’ve lost the “Nature Boy,” “One Day I’ll Fly Away” and “Your Song.” master for A Good Day for the Bad Guys. After we’d talked Others I did with Marius [DeVries]. To answer the question, about the possibility of a compilation CD I thought I’d bet- I’ve done so many arrangements over the years, like ter go and find these things. “Frozen” for Madonna and tracks for U2 [including FSM: It’s ironic that some die-hard fans would treat Forever’s “Thrill Me, Kiss Me, Kill Me”], that I don’t every note of that soundtrack with reverence, and yet you find arranging that hard. What was hard was getting Baz’s mislay the master tape. vision. I also found it harder writing the score than rear- CA: I suppose that I’m just like everybody else. As a ranging the songs because I had to come up with “real” musician, you leave the studio with another DAT tape of music that you had to be emotionally involved in. each new track each night, and for each track you’ve prob- (continued on page 47)

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FSMCD Vol. 5, No. 5 • Released by Special Arrangement with Turner Classic Movies Music. 36 Hours by Dimitri Tiomkin Expanded first-time release on CD!

The legendary Dimitri Tiomkin joins the FSM Classics series with this 1964 MGM war thriller starring James Garner as Jefferson Pike, an American army offi- cer kidnapped by the enemy. Led by Rod Taylor, the Germans set up an elaborate ruse to convince Pike that the war has been over for years Album Produced by Lukas Kendall and he is suffering from amnesia—all in an attempt to extract vital information. Eva Marie Saint co-stars as 1. A Heart Must Learn to Cry 2:58 Anna Hebner, a concentration camp refugee forced to 2. Main Title 3:08 act as Pike’s nurse, who becomes his love interest. 3. Ticket to Lisbon/ Lady in Black 2:17 4. Lisbon Cha-Cha 3:54 Coming off of The Guns of Navarone, 5. Fake Hospital 1:37 Tiomkin provided a taut, piano-dominated score with 6. Road to Castle 0:33 an accent on stealth—flamboyant where necessary, 7. Agony 4:25 but blending with the naturalistic style of the filmmak- 8. Make Believe 0:46 9. Promenade 2:37 ers. The muscular main title is a highlight, with an up- 10. Unexpected Information/ and-down theme for pizzicato strings alternating with Fake Marriage 4:34 full orchestra, always embellished by piano. Inside the 11. Case of Spilt Salt 2:55 military hospital, Tiomkin’s muted, atmospheric cues 12. Impossible Escape 2:16 capture Pike’s disoriented state of mind; outside, the 13. Cyanide Pellet 2:29 14. Allied Planning 1:02 rambunctious scoring adds a sense of scope to the 15. Misleading Montage/Torture2:37 Still photographs courtesy of Co. An AOL Time Warner Company Warner Time AOL An Co. Entertainment Turner of courtesy photographs Still film’s black-and-white cinematography, as the brain- 16. Clock Set Ahead 1:12 washing plot gives way to an escape-and-pursuit 17. Beginning of Love 1:22 adventure. Throughout is a memorable, rhapsodic 18. Escape/Smell of Freedom 3:09 19. Confession/Village Church 3:16 love theme, “A Heart Must Learn to Cry.” 20. Lonely Love 0:46 21. First Alarm 0:54 36 Hours was originally issued by Vee-Jay 22. On the Way to Rendezvous/ Records on LP at the time of the film's theatrical Death of a Gestapo Man 4:33 release. The LP was reissued in the late 1970s by 23. Finale/End Cast 2:57 Total Time: 57:08 Varèse Sarabande. FSM’s complete-score premiere on CD is remixed and remastered in stereo from the BONUS TRACKS three-track masters, doubling the playing time of the 24. Epilogue ’s LP and adding bonus tracks of the song’s vocal ver- (A Heart Must Learn to Cry) 1:10 Look for this month 25. 36 Hours (jazz trio) 3:43 offering sion and piano acetate demos, as well as a jazz trio Silver Age 26. A Heart Must Learn to Cry improvisation of the main title. As always, the illustrat- (piano demos) 4:37 The Traveling ed booklet provides background on the film, composer Total Time: 9:33 Executioner by Jerry Goldsmith and score, and detailed information on the placement inside back cover. of unused cues. $19.95 plus shipping—only from FSM! Total Disc Time: 66:41 v7n03 issue 4/19/02 3:11 PM Page 24

an AWFULLY

ADVENTUREbig

JOHN ecause of enormous pressure During the early ’80s, Steven Spielberg WILLIAMS’ “ brought about by an early tinkered with the idea of producing a MUSIC BDecember ’91 release for our stage musical, possibly even a film, FOR HOOK latest collaboration, Hook, John began based on J.M.Barrie’s timeless children’s to write the score even before he saw classic Peter Pan. As a stage play,it was a the completed film. His only clue...was questionable idea. Peter Pan had retrospective by the screenplay and the first 5 reels of already seen at least three incarnations John Takis edited film.” This quote from Steven as a musical (one of these including music transcription Spielberg (excerpted from the liner songs by ), the most by Christopher Takis notes to Epic’s soundtrack release) is successful being the 1954 Jerome not entirely accurate. Whether John Robbins production, which remains to Williams knew it or not, he began work this day part of the standard theatrical on the score to Hook years before he repertoire. As a film, however, it was even saw the screenplay. a justifiable undertaking. Barrie’s

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HOOK ARTWORK ©1991 TRISTAR PICTURES “ that heshouldcomposethe songs andscore forthe with Spielberg onsevenfeature films, soit wasnatural Barrie Spielberg realized thatareturn to nology continued to improve, could fly. were ableto truly Superman proceedings.) It wasn tothe symmetry lending acertain spond exactly to Disney’ final pull-backofthefilm— the firstviewofNeverland, andthe shotsin that certain you pay close attentionyou willnotice Disney’ of givenwingscourtesy truly Walt was was notuntil1953thatthestory scope oftheimaginativetale, andit logical limitationsthatrestricted the 20th century, suffered undertechno- own play, atthedawnof written Peter Pan By thistime, John Williams hadalready collaborated ’ s original visionwasfinallypossible.s original s animationstudio. (In fact,if ” Andasspecialeffectstech- ” project (thoughhehadnotattempted afull- in 1978 that audiences “ believe aman Hook—such as s original, ’ t until corre- FILM SCORE MONTHLYSCORE FILM Pan legendneverleft him,andyears later, whena draft of the project posed before production wasultimately scrapped. from thistime, orhow much musicwasactually com- Spielberg ofhisfirstsonasthecause cites thebirth 25 ’ s abandonment.But thedesire torevisit the MARCH/APRIL2002 lyricist ,lyricist who also Also brought onboard wascelebrated Thomas andtheKing fledged musicalsincetheill-fated whether ornotanyrecordings exist Itmusical material. isunknown pair composed nine songs and other similarly criticized.) For Spielberg, the Bricusse syrupy astodrag down. thescript songs were considered so NBC. (The worked onSuperman of fora1976musicalteleplay ten lyrics stranger tothePan myth, having writ- Married Man. Bricusse was no like extended backtothe fessional relationship with Williams Peter Pan thataired onlyonceon Penelope ’ s work on and A Guide forthe Hook a decadeprior). and whosepro- ’ 60s withfilms would be v7n03 issue 4/19/02 3:11 PM Page 26

the Hook script came into his hands, he pursued it. This was 1991, by Opening (1:31)• Film Version Unreleased • Track 2 (0:00–0:42) on the OST which point Williams had collaborated with Spielberg 10 times. He Dissonant piano notes bring us into the actual film before dropping was brought on to the production, and we can probably assume that into a trill—a passage reminiscent of Camille Saint-Saëns’ Carnival of the decision was made relatively early to draw from the well of mate- the Animals. This is followed by a simple yet evocative rendition of rial Williams had already composed for the musical. As New York TINKERBELL’S THEME (Fig. 2). Highly reminiscent of material from Times critic Vincent Canby dryly noted, “it’s probably not the writer’s Tchaikovsky’s Nutcracker ballet, this sprightly, minor-key melody is fault that one keeps hearing what sound like song cues...” Ultimately, usually performed in the percussion. The camera fades in on the only two songs were used in the finished film: “We Don’t Wanna enchanted faces of small children viewing a stage production of Peter Grow Up” and “When You’re Alone” the latter earning one of the Pan—very likely the one Spielberg originally envisioned. Peter film’s five Academy Award nominations. Banning, his wife Moira, and their son Jack sit in the audience watch- (Note: The lyrics to an unused song, “Childhood,” appeared in a ing Jack’s sister, Maggie, portray Wendy. The solo piano underscores the Leslie Bricusse songbook and found their way online. The words following scene with a treatment of the melody from the song “We sync perfectly to the complete version of the Neverland theme.) Don’t Wanna Grow Up.” In spite of the presence of top stars such as Robin Williams (Peter), The OST features an alternate arrangement that replaces the Dustin Hoffman (Hook), Julia Roberts (Tinkerbell) and Bob Hoskins melodic treatment with a short bridging section. (Smee), Hook failed to make a positive impression on most critics and moviegoers, who criticized it as self-indulgent and bloated, “We Don’t Wanna Grow Up” hampered by a parade of vintage “Spielberg moments” and not (1:04) • Track 2 (0:43–end) much else. Some of these harsher complaints can be alleviated by Cheerful song performed by a children’s choir representing the Lost the observation that, like George Lucas’ The Phantom Menace Boys, with piano accompaniment. The title is self-explanatory. This is (1999), which suffered similar attacks, the film is aimed primarily at the only time this melody appears. 10-year-olds, and that on this level it succeeds spectacularly. That Hook has since sunk into obscurity in the public conscious- Banning Back Home ness is unfortunate, whatever its faults, since by association this has (3:12) • Film Version Unreleased • Track 3 also marginalized one of John Williams’ most impressive scores. At The film cuts between scenes of Peter at work, and of Jack’s baseball over two hours long, and showcasing fantastic visuals and a storybook game. Williams takes the opportunity to show off his jazz background atmosphere, the film demanded the most of Williams’ considerable with a low-key piece that revolves around piano and percussion. The talents. He responded with a score that saturates the picture with an modern style of music clashes with the rest of the score somewhat unprecedented array of memorable themes and colorful, dynamic uncomfortably. This is not to the film’s detraction, for it emphasizes the orchestration. Hardly a moment passes without musical under- contrast between the magic of Neverland and the banality of Peter’s score—in the end, the volume of music composed actually exceeds corporate life. The piano solo is performed by Mike Lang. The album the length of the film! The final result: a score that propells the narra- version is a different arrangement that includes a bass guitar feature. tive more convincingly than any special effect. Williams allows Peter to fly, inflates Hook’s swagger, and carries us away to Never Never “God Rest Ye Merry Gentlemen” Land. Hook stands today as a high-point of his musical career, and one (1:04) • Unreleased of few scores actually worthy of the title “masterpiece.” This Christmas traditional plays softly underneath the street scene Perhaps it was the amount of time Williams devoted to the project. when Peter and his family prepare to knock on Granny Wendy’s door. It Or maybe it was the diverse visual and emotional range of the film. is performed by a children’s choir and celesta. The arrangement is most Whatever it was, Williams gave Hook more than a dozen new themes probably by Williams himself, or his longtime friend friend, collabora- and several major motifs...quite probably, more than any single tor, and orchestrator Alexander Courage. The preceding scene—the movie in the history of film (with the possible exception of full-scale airplane ride to England—is one of the few unscored scenes in the film. musicals), including Williams’ own Return of the Jedi. Thematic material is amazingly well-integrated within the final Granny Wendy (2:02) • Track 4 (0:47–end) film. Not a note is wasted...when Williams’ music isn’t expressing As the elderly matron appears, trilling bells and a floating harp under- something, it’s always building: set-up, punchline; contrasting score the first appearance of WENDY’S THEME on solo flute. device, linking device; visual correspondence, thematic association. Appropriately enough, this theme doubles as the theme for NEVER- What follows here is a careful examination of all the music LAND (Fig. 3), where it is blown up to fantastic proportions. The theme Williams wrote for the film (and then some), in the hope of shedding begins with a reassuring repetition of a descending minor third, fol- some light on Williams’ creative process and perhaps increasing lowed by an interval of a fourth. In the second statement, the interval appreciation for a neglected classic. Cue titles have been taken from progressively becomes a fifth. The entire motif is elevated finally by an the original or invented by the author for the pur- extended, mutable phrase, creating a warm, enveloping atmosphere. poses of this article. I have tried to follow as closely as possible the Variations of this theme carry the rest of the scene until the final unset- music as it was originally composed for the film. Album arrange- tling note accompanying the line, “So, Peter...you’ve become a pirate.” ments and alternate cues will be discussed when pertinent. There’s a lot to say about every cue, so roll up your sleeves! The Nursery (1:03) • Unreleased To start with, Williams composed a theme especially for the film’s Eerie strains follow Peter up the stairs as he approaches the old nursery. trailer (something Williams has also done for Nixon, Harry Potter The atmosphere is a foreboding one as Peter’s eyes are drawn first to the and A.I.), which also formed the basis for a brief suite called the pirate-ship picture window and then to a sinister portrait of Hook him- “Prologue” on the original album. (One early trailer was tracked with self. Atop a mystical underscore, we are first introduced to HOOK’S music from Williams’ The Witches of Eastwick.) This PROLOGUE SECONDARY THEME (Fig. 4b), which is used whenever Hook’s pres- THEME (Fig. 1a) is a magical and buoyant piece of adventure, which ence (i.e., Hook’s portrait, ship or dastardly influence) is felt. It is often effortlessly evokes a nautical feel, and actually pops up a few times used in conjunction with Hook’s primary theme as counterpoint. in the score proper. The film itself is without prologue, with the title Versions of this theme appear throughout the film. Like Hook’s primary logo fading in on a black background, which leads us to the... theme, it follows a very lilting, unstable pattern, which allows it to be extended, compressed or played upon in many variations.

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The Beginning of Fairies (1:30) • Unreleased secondary Hook theme ends the cue on a note of foreboding. After an unscored scene in which Peter lashes out in frustration at his family, we return to the nursery. Wendy tells Maggie the story of the The Arrival of Tink and the Flight to beginning of fairies, accompanied by a reprise of her theme. Neverland (5:59) • Film Version Unreleased • Track 6 A melancholy passage plays as Peter drinks his misery away in the Jack in Charge (0:53) • Unreleased nursery. As he walks to the window, he notices a star growing larger and Peter entrusts his son with his pocket watch as the adults prepare to moving toward him. The point of light darts inside the room, and the leave for a dinner in Granny Wendy’s honor. The touching moment is orchestra joins it as it flits and flutters eccentrically about. It is scored with the first (non-vocal) appearance of the theme for “WHEN Tinkerbell, who outmaneuvers Peter’s futile attempts to “swat” her. As YOU’RE ALONE” (Fig. 5), the second song in the film, a quiet lullaby. Peter realizes the true identity of his assailant, we hear the first formal Although sung by Maggie, and used for both of Peter’s children, this presentation of Tinkerbell’s theme in its entirety (including the middle theme predominantly comes to represent Jack and his feelings of isolation and neglect. The music returns to Wendy’s theme as she implores the night- lights to protect the sleeping children. By Hook or by Crook (1:55) • Track 5 (2:00–end) Wendy’s banquet is unscored. But back at the house, over low, tremolo strings, the dog begins to bark what sounds very much like “Hook.” We hear a slow version of the prologue theme on horn—its first appearance in the actual film—which is repeated by similar-sounding variations on the secondary Hook theme in the woodwinds, then stronger on horn. The camera moves from a model pirate ship to the actual nursery. The music continues to build deliberately and with ferocity as the Hook-shaped latch at the window twists open and the mobiles spin. The night- lights are extinguished. At last, with an alarming brass trill, the blankets fly into the air and the children . The 1a: Prologue Theme music cuts to low, terrible bass movements as Wendy, at the banquet, seems to hear their cries.

Hook-Napped (2:02) • Track 5 (0:00–2:00) The subsequent interlude as the Bannings return to the house is deadly silent. As they notice and follow the deep gouge running across the door and up the wall, the music starts up again with a series of tense, bustling strings revolving around a four-note sequence. We hear the prologue theme again. The four-note sequence, accompanied by spo- radic musical pronouncements that include the secondary Hook theme, forms the body of the rest of this cue, through the moment 1b: Prologue Fanfare when they find the kidnap note and realize who the kidnapper claims to be. The cue fades out with a solitary minor chord on the organ.

No More Happy Thoughts (0:52) • Track 4 (0:00–0:47) The bell motif that introduced us to Granny Wendy returns. This time it precedes the first appearance of the FAMILY THEME (Fig. 6), as the family gathers with the knowledge that the police can do nothing. “Lost,” proclaims the elderly Toodles. “No more happy thoughts.” 2: Tinkerbell’s Theme The Stories Are True (2:19) • Unreleased Once again, we hear the familiar bell motif for Granny Wendy, as Peter visits her at her bedside. Williams wrote a slightly unsettling variation on Wendy’s theme to underscore the scene where Wendy prepares to tell Peter the truth. But in the final film, he replaced this passage with an extension of the bell motif. When Peter refuses to believe that he is Peter Pan, Wendy shows him a picture to jog his memory. Interestingly enough, Williams chooses to score this revelation with the introduction of the PIRATE THEME (Fig. 7)—possibly to hint at danger ahead. Ordinarily a basic, “Yo-ho-ho” jig—three seven-note variations followed by a lilting resolution that shares the swagger of Hook’s theme—it is performed here by a wordless male chorus, and the second note is raised a fourth. This renders the theme strikingly like the Emperor’s theme from Return of the Jedi. The

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section). A comic-dramatic passage follows underscoring Tinkerbell’s 3: Wendy/Neverland Theme “death” scene. (At least one alternate version of this passage exists, placing heavier emphasis on the strings.) Then, without warning, amidst swift, darting pizzicato strings and suggestions of Tink’s theme, the music takes off, as Tink spirits Peter across the sky and into another world. Tension builds, until finally the piece swells into a passionate statement of the Neverland theme as we see the island for the first time. The album version of this final movement has been shortened, omitting the final phrase in the Neverland theme.

Pirate Town (1:21) • Track 7 (0:00–1:21) One of the major conceptual themes running through Neverland is time. Williams effectively transforms the orchestra into a ticking, tock- ing clock for several key scenes, right up to the pulsing climax of the film. In the first 20 seconds of this cue, that clock is musically wound, as Peter peeks through the sheets to find himself staring at a madly spinning clock locked between the massive jaws of a towering, 30-foot stuffed crocodile—Hook’s ex-nemesis. A spirited jig is introduced for the Pirate Town as Peter explores.

Tink to the Rescue (0:47) • Unreleased Peter, with his fancy clothes, is quickly set upon by pirates, and the jig becomes a frantic action cue revolving around the pirate theme. Tink arrives, dispatches the pirates, and fixes Peter up with a more appro- priate disguise.

Presenting the Hook (1:35) • Track 7 (1:22–end) Peter lurches along to a definitive presentation of the pirate theme. Enter Mr. Smee, who has just retrieved Hook’s shiny and sharpened new hook from the smithy. HOOK’S MARCH (Fig. 4a) is introduced (in a swung- rhythm version), modulating and repeating four times, growing in intensity and complexity as Smee leads a parade of pirates, rhythmically chanting “Hook, Hook!” up onto the deck of the Jolly Roger. Peter is swept along in the chaos. An interesting note: This is apparently one of those cues that, musically, is intended to be half-in, half-out of the film. Spielberg knows Williams well enough to anticipate how the music will move within the film, and this pirate parade is a perfect example. The crowd marches and chants in exact rhythm to Williams underscore, and Spielberg even included a small pirate musical ensemble on- screen as Hook’s march begins. The end result is that the viewer isn’t entirely sure whether the music is coming from outside the film or from within! Hook’s primary theme is a masterwork. Often martial, it exudes evil, much like “Darth Vader’s Theme” from The Empire Strikes Back. Vader’s 4a: Hook’s March theme is brutal and direct, but there’s something waywardly sinister about Hook’s theme. Unpredictable and performed with varying rhythms, the melody is always evasive, as if courting several minor keys at the same time. Like a cobra, it sways back and forth: sometimes deadly, sometimes pompous, and at other times deceptively whimsical and seductive—mirroring Hook’s seduction of Jack in the film. Hook’s march also doubles as music for Smee, when it is required. Smee has no theme of his own...probably due to the fact that Hook’s theme was so flexible that Williams felt a whole new element would be 4b: Hook’s Secondary Theme too much for the mix. Symbolically, it reflects Smee’s utter dependence on his Captain.

Captain James Hook (2:36) • Unreleased A suspenseful timpani-and-snare roll provides a melodramatic chill as Hook makes his grand entrance. Hook’s theme is played on a lone as his hook moves onto the screen, twitching as it “conducts”

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the pirates in their chant. Hook turns and we see his face for the first forming the first two notes three times without success. The moment time, accompanied by a chilling statement of his secondary theme. The is yanked away as Peter steps in a rope trap that, amid jerking strings, subsequent passage jumps effortlessly between the three established places him upside down and facing Tinkerbell’s tiny house. piratical themes as Hook preens and pontificates before his lackeys. Tinkerbell’s theme plays briefly, and she darts about waking the Lost In the film, the music fades to until Hook descends the stair- Boys and cutting Peter down. All this amid more fluttery, bird-like case to the deck with regal musical accompaniment; but Williams orig- music, with some perfunctory fanfares for the awaking boys. The inally recalled the four-note swirling motif from “Hook-Napped” to music fades to primitive “tribal” percussion as they surround the bridge the gap. The music is suspenseful and terrible as Hook descends intruder. We hear a brief statement of the Neverland theme. to single out one of his crew for betting against him (, in a cross-dressing cameo) and sentence him to torture. Rufio (1:02) • Unreleased The music accompanying the introduction of the Lost Boy Rufio was cut A Shadow of Peter Pan (4:59) • Unreleased from the film, probably because the existing music could not be satisfac- Another statement of Hook’s secondary theme plays as Jack and torily shortened when the scene was edited. This is unfortunate, because Maggie are hoisted from below deck, trapped in a large net. A desper- Williams composed a thrilling, pumping locomotive motif (Fig. 9), com- ate rendition of the Neverland theme follows them up. More of the plete with train-sound effects, for Rufio and his modified skateboard. same follows in a terse initial dialogue between Peter and a very con- After some brief acrobatics, Rufio approaches Peter, sword drawn. The fused Hook. An eerie version of the pirate theme plays softly in the high music is tense, with more “tribal” drums, leading to a crescendo. strings as Hook realizes that his “great and worthy opponent” is now an overweight, middle-aged lawyer. Angry, Hook challenges Peter to fly up Lost Boy Chase (3:27) • Film Version Unreleased • Track 9 and touch his children and he may depart freely. The music almost An energetic scherzo based around a seven-note figure (Fig. 10) accom- becomes a statement of the flying theme (which will be introduced later in the film), but as Peter currently lacks the ability, Williams fails to follow through on the theme’s development. It is a subtle, yet insightful, 5: When You’re Alone stroke on Williams’ part. As Peter struggles to climb and reach his chil- dren, Williams pulls several major themes into emotional play, includ- ing the prologue theme, building to an intense rendition of the Neverland theme that falls short as Peter fails. Most of this cue was cut from the film.

Tinkerbell’s Deal (2:36) • Unreleased Williams captures Peter’s tragic failure with heartbreaking tenderness. An irate, disgusted Hook orders them all killed. But before the order can be executed, Tinkerbell swoops in to confront Hook, bargaining for 6: Family Theme three days to whip Pan into shape so that Hook can have his vaunted “ultimate war.” Williams does something very interesting with the music here. While the theme is Tink’s, the orchestra- tion, with its sniveling low woodwinds and muted- trumpet asides, is distinctly Hook’s. Very appropriate considering what is happening in the film, and yet another illustration of Williams’ keen awareness of the subtext of what he is scoring. Hook makes the deal, informing his men over a subdued regal fanfare. But before Peter can be released, he is accidentally knocked overboard by an overzealous pirate, cutting short a final triumphant performance of the Neverland theme.

Mermaids (1:12) • Track 8 (0:00–1:12) Peter is rescued by a trio of mermaids, whose passion- ate kisses give Peter the oxygen he needs to breathe. In a traditional Williams move, the underwater scene is scored with a simple yet beautiful wordless choral pas- sage. While melodic, the flow of the music does not conform to any specific theme, although there are vague hints of the Neverland theme. The music fades as the mermaids deliver Peter to the towering, island tree that is the home of the Lost Boys. 7: Pirate Theme

The Nevertree (3:11) • Track 8 (1:13–end) Bustling strings and brass accompany Peter’s first slipping and stum- bling trek across the Nevertree. Peter gets a brief glimpse of the entire island from his vantage point, and we are treated to a brief statement of a new theme for REMEMBERING CHILDHOOD (Fig. 8). But before the theme can be developed, Peter slips and it fades away. The horn tries to start the theme up again (Peter grasping at his memory), per-

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panies the subsequent chase. The music, however, is non-threatening. The cue ends with a final statement of Hook’s secondary theme. With brief moments of levity in the strings and horns, and plenty of fun variations, it’s no surprise that Williams later adapted this cue into a The Banquet (3:19) • Track 11 longer concert suite. A marimba solo, underscoring the brief basketball A gentle reprise of the Neverland theme brings us to the Lost Boys’ din- sequence, was rewritten for pizzicato strings on the album. As Rufio ner table. The feast is brought out, and Williams launches into the ends the chase to confront the “impostor,” tense strings accompany the BANQUET THEME (Fig. 13), a stately dinner march. Unfortunately for Neverland theme on flute, followed by a timpani crescendo. Peter, it is a never-feast—the food is only accessible through the use of imagination, which he lacks. As the Lost Boys dine away in apparent The Face of Pan (2:36) • Track 14 (1:25–end) pantomime, Williams takes the march through a series of variations, This cue contains some of the most poignant and gorgeous music including a brief tuba solo for the character of Thud Butt. The music Williams has ever composed. A touching pastoral movement, it fades to almost nothing as Rufio and a disgruntled Peter engage in a accompanies the Lost Boys’ realization that there is a young child battle of wits. within Peter, hidden beneath the layers of unhappy man. It begins sim- ply, with soft strings and guitar. Soon a flute joins in with PAN’S THEME The Never-Feast (3:45) • Track 12 (Fig. 11), which develops in the strings into a final impassioned state- In his verbal assault on Rufio, Peter regains something inside of him- ment that adds a dimension of religious proportion to the scene. One self, and in a magical instant, the banquet becomes visible in all of its alternate scoring of this cue utilizes a full chorus. splendor. Holiday bells and the Neverland theme accompany a long sweeping shot of the feast. The banquet theme continues, building to Hook’s Lament (2:11) • Unreleased a glorious conclusion dominated by the brass. (There are a few minor A solo horn playing Hook’s secondary theme ushers us back to the Jolly variations on this cue, with different percussion.) Roger. Hook has become depressed about the possibility of forever lack- A jealous Rufio tosses a large coconut at the parading Pan. Acting ing a worthy adversary—a villain lost without a hero. Williams takes the on pure instinct, Peter snatches a sword and slices the projectile. The opportunity to establish a musical pattern based around elements of tone changes instantly, as the first haunting strains of the FLYING Hook’s march (Fig. 12). He will use this pattern three times in the film: THEME (Fig. 14) are heard over eerie strings as the reality of who first, leading up to Hook’s sinister plan for the children; then the execu- Peter is sinks in. tion of said plan during the “lesson”; and finally the consummation of the plan at the museum. Each time, the pattern will grow less comical “When You’re Alone” (4:22) • Film Version Unreleased • Track 15 and more sinister. But for now it begins in the form of a whimsical The theme to “When You’re Alone” plays softly over a brief scene in humoresque, leading into a grimly mock-serious interplay between which Thud Butt returns Toodles’ lost marbles to Peter. Thud Butt Hook’s themes. tells Peter that his own happy thought is his mother. The music swells, and across the bay, Maggie’s voice can be heard as she sings Smee’s Plan (1:41) • Track 10 the lullaby her mother taught her. All of the pirates are spellbound; Having prevented his Captain from committing melodramatic suicide, even Hook himself seems slightly affected before he turns away. Smee hatches a plan. While Pan trains, they will concentrate on turn- After the song ends (abridged in the final film), tender violins and a ing the children to the “dark side of the force,” as it were. They will be descending motif accompany the Neverland theme as sleep made to love Hook, and that will be the ultimate revenge. Though low- descends upon the troubled island. key, this is the longest (and most basic) development of Hook’s theme. Crocodile Memories/The Museum Pick ’Em Up! (2:21) • Unreleased (3:57) • Unreleased The Lost Boys are determined to help whip Pan back into shape—and Dawn, and the camera is fixed on Hook’s sleeping face. The only audi- to make him remember how to fly. The former succeeds. The latter ble sound is the ticking of the watch entrusted to Jack by his father. In does not. The music is onomatopoeic, bouncing along as Peter jogs, an instant, Hook’s eyes snap open, and the orchestra mimics a ticking, laughing and twittering at him, and very evocative of the living jungle tocking clock. In a waking madness, Hook is convinced the crocodile that surrounds him. The cue begins with a vamping six-note beat, over has come for him from beyond the grave. His march is superimposed which the Lost Boys chant a boot-camp-like ditty. After that, one recur- over the orchestral “clock” as he prepares to hook the offending instru- ring four-note motif can be heard, as well as the Neverland theme. At ment. Smee, however, pops to the rescue, as this will have the unde- the end, when Peter is launched from a giant slingshot, we once again sired side-effect of skewering Jack as well. almost hear the flying theme, in the . But Peter merely falls, The clock motif stops, and an incredibly pompous statement of and the orchestra follows suit. He can not find his happy thought, and the march picks up as Hook, Smee and Jack parade to the Clock therefore can not fly. Museum—a moratorium of smashed and broken clocks. Here fol- lows the final variation on the “seduction” pattern. The ticking motif The Lesson (3:02) • Unreleased wells up again as Jack mischievously winds a clock. Hook destroys it, Hook turns schoolmaster to teach Jack and Maggie “why parents and proceeds to goad Jack into giving in to his anger at his father’s hate their children.” This is the first variation on the pattern intro- failures and violently smashing his watch. In the background a bell duced in “Hook’s Lament.” At first disarmingly light, the whining tolls. Now comes the most terrible and deliberately evil of all the strings introduce a serious element. Hook’s march appears in a statements of Hook’s theme, as Jack completely rejects his parent- wheedling, sniveling fashion in the woodwinds. The pattern repeats. age. “Make time stand still, laddie,” Hook sneers. After the anger dies During Hook’s insidious denouncement of “love,” the music turns down, Jack begins to cry, and we hear “When You’re Alone.” But it is chilling and dissonant. The strings move with a deliberate malaise Hook doing the comforting, and the theme fails to resolve on the reminiscent of . This stark passage stands in con- tonic. Instead, the last note metamorphoses into Hook’s theme as trast to the harmonious nature of the rest of the score, further Hook presents Jack with his missing baseball. Jack takes it, and the enhancing the forlorn and disturbing subtext of the scene. The seduction is complete. strings rise up again in desperate urgency as Maggie flunks Hook’s test, and he orders her dragged away so that he might concentrate “Take Me Out to the Ball Game” (1:40) • Unreleased on Jack. “Neverland makes you forget! Run home Jack!” Maggie cries. This famous American tune, composed by Albert Von Tilzer in 1908,

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was arranged (probably by Williams or Courage) to play underneath 8: Remembering Childhood the first part of the baseball game scene. It is performed on the calliope, with snare and cymbal. Remembering Childhood (13:12) • Film Version Unreleased • Track 13 This lengthy cue begins after Peter has infiltrated Pirate Town to steal Hook’s hook as a test of pride and courage. He is distracted, however, by the fact that Hook is throwing a baseball game in honor of his son. The music begins with a statement of “When You’re Alone,” as the pirates, unable to spell, begin chanting “Run home, Jack!” instead of “Home run, Jack!” Hook corrects the error and the music intensifies, building to an enormous climax as Jack wallops the baseball into the sky. “When You’re Alone” is here presented as a triumphant, celebra- 9: Rufio tory piece...but it is Hook’s victory. The Neverland theme follows a depressed Peter back to the Nevertree, where he makes a vain, desper- ate attempt to fly. Looking into the , he catches a glimpse of his former self...just before he is struck on the head by his son’s descend- ing baseball. The impact jogs Peter’s memory. The following passage is almost entirely constructed around the remembering childhood theme as Peter follows his shadow to the original tree house built for Wendy, Michael and John (this short section was cut from the album). Tink is waiting, and the music fades briefly to her theme. Surrounded by his past, Peter finally begins to remember. Between the Neverland and child- hood themes, the music is lyrical and intensely moving as Peter narrates the story of his life. He stops when he realizes that his children’s birth was the most important moment of his life. Williams is in rare form here, creating a lengthy and unbroken cue of pure magic that ranks high in his canon of similar works. Peter has regained his happy thought, and finds himself hovering above the ground. After a moment of alarm, he takes the thought and flies with it. Magically reanimated, he bursts through the trees and into the sky. A heraldic statement of the Neverland theme launches the cue into an unre- strained—and for the first time complete—statement of the flying theme. The music is pure joy as Peter soars through the sky, and we hear 10: Lost Boys Chase triumphant refrains of the prologue and Neverland themes.

You Are the Pan (1:24) • Track 14 (0:00–1:24) Peter descends amidst the amazed Lost Boys. A humbled Rufio pres- ents him with the Pan sword, and they proceed to crow triumphantly. 11: Pan’s Theme The music here returns to the impassioned and spiritual vein of “The Face of Pan.” In the former, Peter was revealed as the person of Pan. Here, he is likewise revealed in spirit. A wordless choir appears in full force, in concert with magnificent soaring horns.

Big Thoughts (2:04) • Unreleased It is evening of the second day. Caught up in his return to Pan-hood, Peter has forgotten his quest. A lovesick Tink, also drawn to the past, accidentally wishes herself human-sized, in a frenetic piece of scoring. and perfected with the Indiana Jones films. We begin with a percus- Romantic music accompanies her as she gives Peter a heartfelt kiss. But sion-heavy rendition of the flying theme as the Lost Boys suit up and the contact draws Peter’s thoughts back to his family, prompting the prepare for battle. The cue fades to an ominous harpsichord trill as remembering childhood theme. A sad Tink returns to her normal size Hook prepares to award Jack his first earring. A minor version of the fly- with a flutter. A short, unused brige leads into… ing theme announces Peter’s presence, followed by a triumphant fan- fare. The scoring in the following “war” sequences is often non-the- The Ultimate War (17:51) • Film Version Unreleased • Track 16 matic, filled with fanciful stylings that hearken back to such musical What follows is almost 20 minutes of constant, driven music: a lengthy, giants as Korngold, Waxman and Rózsa. The music effortlessly jumps yet endlessly inventive action cue interspersed with brief from snippets of one theme to snatches of the next, Hook’s theme and interludes...the type of exhilarating scoring that Williams had rehearsed the flying theme appearing more frequently than the rest. Even the

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resolved by the Neverland theme as Peter’s children reassure him, 12: Seduction Pattern giving him strength to fight back. Here the “time” motif returns in full force. Hook falls, and when Peter offers to help him up, Hook uses the opportunity to slash back. But as he lunges, the surrounding Lost Boys whip out ticking, tocking, jan- gling timepieces. The Neverland theme expertly mimics a cuckoo call (another brilliant touch), and once more Williams transforms the 13: Banquet Theme orchestra into an inexorable juggernaut of a clock. “James Hook is afraid of time,” Peter quips, “ticking away.” It is too much for Hook, and he collapses. A swish of Peter’s sword sends Hook’s wig soaring and landing atop the head of the Lost Boy named Too Small. This aside is scored with an appropriately comic quote of Hook’s theme. Hook deserves to die, but Peter shows mercy for the sake of his chil- dren. To the warm strains of “When You’re Alone,” he turns to depart. But Hook has one last trick up his sleeve—a dagger, to be precise. As “When You’re Alone” reaches its apex, Hook lunges. In a flash, the 14: Flying Theme orchestra is transformed back into the clock, cutting beneath slashing strings for the brandished knife (an unquestionable homage to Bernard Herrmann’s Psycho). Peter is pinned against the enormous crocodile clock. But Tink diverts Hook’s final blow, and Peter lodges the hook deep in the belly of the towering croc. The tower shakes apart, angling down at a helpless Hook. Hook’s secondary theme is called out over crashing rhythmic chords...even if we were unfamiliar with story conventions, or unaware that this is the logical point at which to end things, Williams’ music lets us know irrefutably and irrevocably that Hook’s time is up! With a final tragic statement of Hook’s main theme, the tower falls, and the “ultimate war” is at an end.

No More Hook (1:01) • Unreleased A nimble variation on the banquet theme plays as the Lost Boys march around the fallen croc. Peter realizes he has to leave, and the Neverland theme returns as he approaches his children. Tinkerbell’s theme plays as she sprinkles them with fairy dust. Farewell Neverland/Finale (10:16) • Track 17 A soft rendition of “When You’re Alone” leads into a lengthy refrain of the remembering child- hood theme as Peter sends his children home. banquet theme is put to use as a rallying march for the Lost Boys. A few Turning to the Lost Boys, he entrusts the title of Pan to the valiant short moments near Peter’s entrance, and the Lost Boys’ attack, appear Thud Butt before his final farewell. Back at the house, Moira is asleep to have undergone slight rescoring in the film. in the nursery when her children return to their beds. Wendy enters. On the original soundtrack album, the music cuts off somewhere As the children reunite with their mother, a wordless chorus joins around the eight-minute mark. In the film, however, the music contin- the orchestra for a passage of pure emotion which recalls “The Face ues fast and furious. With their tricks and gadgets, the Lost Boys manage of Pan” in orchestration and tone. to outwit the pirate horde, which surrenders and flees. “When You’re Outside, Peter awakens (courtesy of a street-sweeper bearing an Alone” makes a brief appearance as Peter rushes to rescue Maggie from uncanny resemblance to Smee) on the pavement surrounding a statue captivity. Rufio, meanwhile, engages Hook in mortal combat. Peter of Pan. Alone once more, he is visited by Tinkerbell, who says her final arrives just in time to watch helplessly as Rufio is slain. The dying youth’s goodbye. The final statement of her theme fades away, leaving a soli- last wish is that he had a father like Peter, and Williams scores the scene tary flute. As Peter returns home to his waiting wife and children, tenderly. But the music turns deadly as Peter prepares to face the mur- Williams calls up a lengthy refrain of the family theme (last heard in derous Hook. Pan is dissuaded from further bloodshed, however, by his “No More Happy Thoughts”). For the reunion with Granny Wendy, the children, and departs the scene with a exultant performance of the music segues into her theme, from here on jumping back and forth Neverland theme, complete with jubilant fanfares and bells. between “When You’re Alone” and the family theme. The finale leaves It is only through threatening Peter’s future generations that Hook them all out on the balcony, and so it is a grand statement of the fam- gets the contest he has been so desperately seeking. The prologue ily theme that closes the film before a segue into... theme announces the return to battle, and the dynamic action that characterized the first half of “The Ultimate War” returns, again End Credits (6:02) • Unreleased prominently featuring the flying theme and Hook’s march. Pan is The end credits cue, in typical Williams fashion, is a straightforward pinned, and there is a brief moment of musical doubt quickly arrangement of some of the major themes from the film. It begins with

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the Neverland theme in its complete form, then segues to the “Lost Ultimate War,” in particular, is missing around 10 minutes of fantas- Boys Chase” music. This, in turn, fades to Tinkerbell’s theme (a similar tic music, including the climax! arrangement to that in “Tink’s Arrival”). This is followed by a reprise of the family theme, with touches of Wendy’s theme. ou may have heard tell of fabled bootlegs featuring the complete score. Don’t be fooled. Not only do these bootlegs have terrible fter all this, and even when counting alternate cues, there’s sound—at best, hollow; at worst, almost unlistenable—but they still plenty of music to account for—the “Prologue,” for are NOT complete. Any bootleg that claims to be complete is starters, which opens the OST. It’s a short suite comprising either lying or is “supplemented” with music ripped from the variations on the prologue, flying, and Neverland themes, DVD.Y And trust me...the film mix on the DVD can be pretty maddening, with and includes its own PROLOGUE FANFARE (Fig. 1b). Also the music obscured by sound-effects, dipping and cutting out right at the unaccountedA for is a curious variation on the “remembering child- good parts. hood” theme that appears neither on the OST nor in the film. It sounds Still, if it’s more Hook you’re hankerin’ for (and for Heaven’s sake, you like an ending, and might have been originally written for the finale, should be!), you aren’t totally without hope. During a promotional where it would have replaced the family theme. (The family theme only online chat session, I asked Michael Mattesino (producer of the Star appears twice in the finished film, and was probably composed late in Wars: Special Edition soundtracks, as well as the complete Superman) the scoring process, so this is a logical guess.) It also might have been about the possibility of an expanded Hook. “I’d love to do Hook,” he designed as an extension for the end credits. Until official sources come responded. “There’s a lot of unreleased music, plus tons of outtakes and forward, the cue will have to remain a mystery. alternates. It would be quite a job. The more successful these releases Finally, we have the concert suites. A standard medley, made up of become, the more possibilities will open up.” the “Prologue” together with snippets from “The Ultimate War,” has Since then we’ve seen expanded releases of Jaws, The Phantom found its way onto all sorts of compilations (example: The Great Menace, The Towering Inferno, Fiddler on the Roof and, most recently Fantasy/Adventure Album from and the Cincinnati (for the second time), E.T. With Indiana Jones expansions most certainly Pops). A more obscure arrangement was performed by the United in the making, can Hook be only a matter of time? It’s certainly a prime States Army Field Band in 1997, and is available on their CD of that candidate in Williams’ filmography. With any luck, the sheer musical year. At over 11 minutes, it is a superb recording with a flawless per- genius the score displays will outbalance the film’s reviled status. formance. It begins with the “Prologue” (including the flying theme), At this point, only time will tell. The entire score would fit on two segues to Wendy’s theme and continues with “Presenting the Hook,” CDs, with room left for some alternates. To truly do Hook justice, how- “The Banquet,” and an instrumental arrangement of “When You’re ever, would require a 3-CD set, with all alternate and unused cues, and Alone” that features a trumpet solo. The piece then segues to a por- possibly even some of the concert works. The soundtrack fan who tion of “The Ultimate War,” which bursts triumphantly into the fam- wants to see such a release happen can encourage it by supporting past ily theme. The first five notes of the Neverland theme end the suite. and present expansions of Williams’ work. It probably wouldn’t hurt to Several of the bridges used to connect the various themes are unique write polite and heartfelt letters to Sony Pictures Entertainment (That’s to this arrangement. Sony Pictures Entertainment; 10202 West Washington Blvd., Suite 3900; Purely instrumental versions of “When You’re Alone” can be found Culver City, CA 90232-3195). on the John Williams...The Dream Goes On CD (Andrew Lane, Orlando Pops Orchestra, 1996) and on Silva’s Close Encounters: The Essential John Williams Collection (Nic Raine, City of Prague Philharmonic, 1999). But the finest concert presentation of all consists of the five-movement orchestral suite on Williams on Williams—The Classic Spielberg Scores (John Williams, Boston Pops Orchestra, 1995). This disc is a must-have for any true fan of Williams, Hook or even film music in general. Out of 15 tracks, five are from Hook. “Flight to Neverland” combines the prologue with the flying theme and an extended version of the Neverland theme similar to that found in the film’s end credits. “Smee’s Plan” runs almost three times longer than its album counter- part, featuring several unique variations on Hook’s theme, including a brief but irresistible full-blown statement in the brass. “The Lost Boys’ Ballet” is an exciting version of the “Lost Boys Chase” from the album, complete with a new ending. “The Face of Pan” beautifully In the meantime, if you don’t yet have a copy of the Epic Soundtrax expands and enhances the cue of the same name from the album, the original release, get it now! Out-of-print but not hard to find, it’s one only regret being that the spectacular chorus is omitted. The disc of Williams’ finest works, displaying a musical ingenuity and coher- rounds off with “The Banquet,” an inspired arrangement that includes ence perhaps matched only by The Empire Strikes Back among his “The Never-Feast” and a brand new finale. great epics. Hook is, without a doubt, one of the great scores of the As heard in the film, Hook contains something in the area of two- ’90s and ranks alongside the greatest film scores of all time. It’s long and-a-quarter hours of music. None of it is redundant or uninterest- past time it received its due. FSM ing...every note contributes to a spectacular whole. This means that the official release, while running a generous 75 minutes and featur- Special thanks to Ricard L. Befan and all the gang at JWFan.Net, where an early version of ing most of the score highlights, omits almost as much music as it this article first appeared. includes (more, if you include alternate and unused cues). “The You can e-mail the author at [email protected]

FILM SCORE MONTHLY 33 JANUARY 2001 v7n03 issue 4/19/02 3:11 PM Page 34

REVIEWS BEST ★★★★★ REALLY GOOD ★★★★ OF CURRENT AVERAGE ★★★ RELEASES WEAK ★★ ON CD WORST ★ SCORE RATINGS

1 Kate and Leopold ★★★ /2 song, “Back Where I Belong,” that Now and then, however, the com- argue that this weird composition ROLFE KENT may lack star power (it’s sung by poser disrupts this pattern by put- is dull or trite. Furthermore, its Milan 73138-35982-2 • 20 tracks - 41:52 Jula Bell) but incorporates the film ting the breaks on the martial broken-glass dissonance throws ate and Leopold is an odd themes effectively. Kent is defi- theme and allowing the romantic itself at its listeners, forcing them Kduck of a film. Is it a com- nitely a star composer waiting to one to appear by itself. But each to hear and feel and join in the edy? A romance? A science fiction move on to superior material. time this tender sound material- same anxiety the movie’s gladia- adventure? Director James (Girl, —Cary Wong izes, rising up from the London tors experience in their electronic Interrupted) Mangold has incorpo- Philharmonic Orchestra’s strings or hell. A score that can convincingly 1 rated all these genres—almost TRON (1982) ★★★★ /2 the UCLA Chorus’ sterling voices, a achieve an effect like this is a true successfully—in this movie about WENDY CARLOS, JOURNEY synthesizer eventually sweeps in (and durable) work of modern art. a 19th-century Duke (Hugh Disney 60748-7 • 21 tracks - 58:59 and tears the prettiness to pieces. —Stephen Armstrong Jackman) who time-travels wenty years ago, Disney It may seem strange that Disney through a portal in the Treleased Tron, the world’s commissioned such an avant- As If to Nothing ★★★★ Bridge so that he can fall in love first computer-animated movie. To garde score for a commercially CRAIG ARMSTRONG with modern-day Meg Ryan. I mark this anniversary, the studio driven film like Tron. And perhaps Melankolic Virgin CDSADDJY13 guess he could have had a worse has prepared a deluxe edition somebody realized this and 15 tracks - 68:53 fate. In all, this is a deliciously light DVD, in addition to reissuing the decided to counterbalance the kay, so it’s not a soundtrack movie, made tastier by a whimsi- original score, available on CD for difficult music with two tracks Oalbum, but as the composer’s cal Rolfe Kent score. the first time. This new album, written and performed by the rock fans will tell you, Craig Kent, known for his early work expanded and remastered, fea- group Journey. These songs, how- Armstrong’s work is cinematic in for modern black comedies like tures liner notes written by com- ever, are not labored and senti- breadth and approach, and this Citizen Ruth, Election and Nurse poser Wendy Carlos. mental like the radio hits the band also sneaks in to FSM by virtue of Betty, has now turned the corner For those who haven’t seen it, had in the ’80s. In fact, they share its re-arrangement of the Faraway, and is scoring lighter, more tradi- Tron is a story about electronic some of the same harshness that So Close! soundtrack song “Stay.” A tional fare, like the fluffy, but gladiators who fight for their lives characterizes Carlos’ material and follow-up to Armstrong’s 1996 enjoyable Legally Blonde and the inside an enormous computer sys- blend with it almost seamlessly. In non-soundtrack album The Space disastrous Town and Country. His tem. Mostly set in the digital world, other words, Disney’s attempt at Between Us, As If to Nothing is a challenge on Kate and Leopold the film’s animation and special Disney-fying this soundtrack did- more accomplished release was to come up with a score that effects still look amazing. n’t work. because of the stronger narrative combines all the genres the movie Unfortunately, the plot, a hack- Music of this sort, I suspect, will that links the tracks, and an is touching on without producing neyed rewrite of Spartacus, plods probably alienate people who impressive array of guest vocalists. a schizophrenic mess. Kent, fortu- along slowly, weighed down by either don’t like Soundtrack collectors looking nately, has written a nice, if not computer-speak dialogue and or don’t love Tron. But no one can for a “Best of” soundtrack compi- slightly generic score for his high- nerdy characters. Moreover, lation will be disappointed. The est profile movie yet. sound-effect avalanches frequently Space Between Us featured The CD covers a lot of ground. roll over Carlos’ complicated score. “Balcony Scene” from Romeo + “A Clock in New York” starts things The new CD, of course, elimi- Juliet, and so it seemed logical off with a whimsical bang, intro- nates this clutter completely, so lis- that this disc would include pieces ducing the main theme of the teners can once again enjoy the from The Bone Collector and score with a flourish. “Kate’s wild, nightmarish suite, and follow Moulin Rouge! Indeed, the title Theme” is a jazzy, horn-domi- without interruption its lightning- track from Kiss of the Dragon is “As nated tune that gives her character flash progressions from euphony If You Said Nothing,” and I a contemporary edge. The action to cacophony. The opening track assumed that it would feature on sequences, like “Leopold Chases “Creation of Tron,” for instance, this album by way of word associ- Stuart to Brooklyn” and lays down the first of the score’s ation. I was wrong, but not disap- “Galloping,” have have an Arnold- two major melodies, which Carlos pointed. Once you’ve ditched your eqsue flair (especially akin to calls the “emotional, romantic preconception of what this album Independence Day). The romantic theme.” Then in the next track, might be and focus on what it cues, as in the lovely “Secret “We’ve Got Company,” electronic actually is, you’ll be more than Drawer,” are reminiscent of quiet parts replace the orchestral ones, satisfied. moments. A and the second melody, “a rhyth- Armstrong has said that the cuts pleasant waltz ends the movie and mic, quasi-military idea,” emerges. on the album are all linked to the the score on an upbeat note. These two melodies shoot through first track, “Ruthless Gravity,” and Also included are two songs, the score, racing in tandem like the exist within that same microcosm. one of which is ’s European- light cycles that shoot through the So, as you move across the album, flavored ballad “Until,” nominated movie, generating a momentum you find threads weaving in and for an Oscar. Kent also wrote a that is anarchic and unpredictable. out of what would otherwise be

MARCH/APRIL 2002 34 FILM SCORE MONTHLY v7n03 issue 4/19/02 3:11 PM Page 35

unrelated songs and movements. versions of “Your Song,” I would not going to find the temp track This isn’t so much a concept album have preferred the inclusion of the favorites featured in the end of the as a disc with an underlying jour- great overture, which starts with film, this disc is packed with ney supporting it. ’s 20th Century-Fox ’s score, some Part of the composer’s appeal is theme and then goes immediately dynamite music that helped estab- his skill in linking the unlinkable. into “The Sound of Music.” And lish the composer as an action- Witness Moulin Rouge!, where his where is the movie version of the movie star in his own right. re-arrangements allowed Bowie’s “Smells Like Teen Spirit/Lady The album starts with a rela- “Nature Boy” to credibly live in the Marmalade” medley? tively contemplative piece, titled same world as ’s “Your Of course, the biggest part of “The Nakatomi Plaza.” According Song.” In As If to Nothing, Indian this magical movie that’s missing to Nick Redman’s liner notes, this is music, slow pop ballad, German is Craig Armstrong’s score—promo an unused cue, elegiac in nature, expressionism and baroque vocals copies have been fetching big retooled on the Michael Kamen’s all sit side by side. The laws of money on auction sites. Moulin Opus CD as “Tagaki Dies (sic)”. The music would suggest that juxtapos- Rouge! 2 does include the instru- track eases us in, setting a mood, ing these tracks won’t work, but mental version of Elton John’s until the terrorists arrive to the they do. And that’s because a good “Your Song,” which Armstrong accompaniment of...sleigh bells. melody transcends all genres. arranged, and “Ascension,” (the Yes, it’s in track two, “Gruber’s “Ruthless Gravity,” looking at the only original music) paired with Arrival,” that we first hear some of individual tracks, is a rich synth- Ewan McGregor singing “Nature Kamen’s true strokes of genius. symphonic piece, embedded with Boy.” Missing, however, is every- For an action movie that takes the seeds of the pieces to come. thing else, including Satine’s beau- place near Christmas, Kamen “Wake Up in New York” is a glori- tiful theme. This is not to say that interpolates strains of “Winter ous love song for the Big Apple, there’s a whole lot of original Wonderland” throughout the score with gorgeous vocals from Evan underscore (a lot are instrumental and uses what I’ve always thought Dando (the Lemonheads) and is versions of the pop songs), but at of as the Sleigh Bells From Hell as a understandably getting a single 45 minutes in length, you would portent of dread. This undercutting release. Elsewhere, “Miracle” is a think the producers of the CD of our expectations, using pleasant fusion of Swati Natekar’s Eastern could add something else. sounds typically associated with vocals and the Glaswegian riffs of But then I remembered what jolly Christmas carols to accom- Mogwai, and “Waltz” has indie one of my college professors tried pany scenes of violence and sus- German rocker Antye Greie-Fuchs to pound into my head: “Write pense, works to throw the audi- chanting disconnected Teutonic about what you see, not what you ence off balance. Similarly, Kamen words over the synthesized don’t.” So, with that in mind, I have uses many snippets of “Singin’ in melody. David McAlmont’s silky musical extravaganza is a vast to say, this is a well-made, highly the Rain” during action sequences vocals add a big James Bond feel to improvement over the first CD. listenable CD. But, can’t I please as an homage to A Clockwork the lavish “Snow,” though my per- Not only are there fewer pop songs complain some more? —C. W. Orange (and, according to an old sonal favorite is the optimistic “Sea scattered throughout the CD, but FSM interview, perhaps as a per- 1 Song,” with ethereal Julee Cruise- songs appear as they are heard in Die Hard (1988) ★★★★ /2 sonal act of rebellion against his style vocals from Wendy Stubbs. the movie, as opposed to cleaned MICHAEL KAMEN required use of Beethoven’s Ninth). And as if to appease those looking up versions. Included here are Varèse Sarabande VCL 0202 1004 Another brilliant touch is the for some trademark chorals, the Satine’s (Nicole Kidman) opening 21 tracks - 76:51 melancholy guitar that illustrates experience finishes with the oh-so- of “Diamonds Are a Girl’s Best distinctly remember seeing the the more emotional scenes that appropriately titled “Choral Friend/Material Girl” (although it’s Ipreview for Die Hard back in pulled the movie together amidst Ending.” still not the entire number) and ’88, while I was living in L.A. The the explosive action. After all, we Every one of these tracks would the beautiful duet “Come What audience, myself included, burst actually cared about John sit comfortably on an Armstrong May.” Also on this CD for the first into laughter by trailer’s end. Bruce McClane and his relationship with soundtrack album, and collec- time are two Jim Broadbent-domi- Willis as a tough cop? Smarmy, his estranged wife. Die Hard made tively they paint a “big screen” nated songs: the dramatic “The smirky Moonlighting star Bruce the character and plot arcs meld vision of an emotional journey. Show Must Go On” (originally Willis? The guy who looked lost in into a seamless whole, and Kamen Eclectic, electronic, melodic and recorded by Queen) and the Blind Date and who would seem- captured the contemplative symphonic; is this something super-weird but highly effective ingly vanish every time James moments as well as he underlined about nothing? I think not. “Like a Virgin.” My favorite inclu- Garner appeared on-screen with the explosions. —Nick Joy sions are the hyperkinetic “The him in Sunset? Come on! A real album highlight is the Pitch (Spectacular Spectacular)” As it turned out, of course, Die action set piece “Assault on the Moulin Rouge! 2 ★★★★ and the beautiful “Bolero,” which Hard defined a whole new sub- Tower,” a sustained flow of orches- VARIOUS is played during the end credits. genre and established Bruce Willis tral bombast incorporating most Interscope 06949 3228 2 • 11 tracks - 42:54 With all this bounty, why would- as a bankable action hero. The of Kamen’s favorite motifs from s it possible to enjoy a well- n’t anyone be satisfied? Because movie was slick, fast, funny and throughout the score. It’s a bravura Imade, beautifully produced CD this CD could have been so much the best roller-coaster ride of the piece that demonstrates Kamen’s less than you might have because better. Instead of an oddly hiccupy summer. Fourteen years later (can technique of following the narra- of what’s not included on the of Kidman’s “Someday I’ll it really be that long?), we can tive—almost, but not quite, to the album? In the case of Moulin Fly Away,” couldn’t we get some of finally listen to the soundtrack point of mickey-mousing. Rouge!, yes. This second release of Kylie Minogue’s Green Fairy song? courtesy of the reinstituted Varèse This is a slam-bang score that songs from the Baz Luhrmann And instead of two instrumental Sarabande CD Club. While you’re (continued on page 43)

FILM SCORE MONTHLY 35 MARCH/APRIL 2002 market n03 4/19/02 4:01 PM Page 36

All CDs areFSM $19.95 plus shipping & handling unless marketplace otherwise noted.

NEW RELEASE: ■ Vol. 5, No. 3 ■ Vol. 4, No. 19 ■ Vol. 5, No. 6 Joy in the Morning Demetrius and the The Traveling BERNARD HERRMANN Gladiators Executioner Film released: 1965 JERRY GOLDSMITH Studio: MGM Film released: 1954 Film released: 1970 Genre: Romance Studio: 20th Century Fox Studio: MGM Golden Age Classics Genre: Biblical Epic Genre: Black Comedy CD released: Mar. 2002 Golden Age Classics Silver Age Classics Stereo • 46:33 CD released: Jan. 2002 CD released: May 2002 Herrmann’s last complet- Stereo • 61:51 Stereo • 39:39 ed studio project is Spectacular Waxman The main theme is a sweepingly romantic, score for Biblical epic charming blend of Americana, Dixieland and circus sound, but surging with passion and emphasizes romance, the score enthusiastically touches all the bases, from bluegrass haunting in its use of melody. Get the complete soundtrack in action and religion, interpolating themes from The Robe by Alfred to avant-garde to full-scale action. This first-release ever is stereo from the original three-track recording with liner notes Newman. Plus bonus tracks (11:06) and remixed cue from The complete, with every note written in excellent stereo. $19.95 by Christopher Husted, manager of the Herrmann estate. $19.95 Egyptian (5:04). $19.95

NEW RELEASE: ■ Vol. 5, No 2 ■ Vol. 4, No. 18 ■ Vol. 5, No 5 Logan’s Run John Goldfarb, 36 Hours JERRY GOLDSMITH Please Come Home! DIMITRI TIOMKIN Film released: 1976 JOHNNY WILLIAMS Film released: 1964 Studio: MGM Film released: 1965 Studio: MGM Genre: Sci-Fi Studio: 20th Century Fox Genre: WWII/Spy Thriller Silver Age Classics Genre: Comedy Golden Age Classics CD released: Feb. 2002 Silver Age Classics CD released: May 2002 Stereo • 74:18 CD released: Dec. 2001 Stereo • 66:41 Stereo • 71:32 A taut, piano-dominated This classic story of a score with an accent on dystopian future gets the This wacky comedy star- stealth—flamboyant where necessary, but naturalistic as well. royal treatment by the master of speculative soundtracks. ring Shirley MacLaine and This CD premiere is remixed and remastered in stereo, doubling Jagged action cues, Coplandesque nostalgia, bracing electron- Peter Ustinov is the earliest feature film soundtrack by John the playing time of the LP including bonus tracks of vocals, ics and more in this restored, remixed, resequenced release! Williams available on CD. Johnny does Arab go-go music! piano demos, and a jazz trio improv of the main title $19.95 $19.95 $19.95

■ Vol. 5, No 4 ■ Vol. 5, No. 1 ■ Vol. 4, No. 17 The Man Who Loved Lust for Life Broken Lance Cat Dancing MIKLÓS RÓZSA JOHN WILLIAMS Film released: 1956 Film released: 1954 MICHEL LEGRAND Studio: MGM Studio: 20th Century Fox Film released: 1973 Genre: Biography Genre: Western Studio: MGM Golden Age Classics Golden Age Classics Genre: Western CD released: Feb. 2002 CD released: Dec. 2001 Silver Age Classics Stereo • 61:51 Stereo • 38:41 CD released: Mar. 2002 Premiere release of Stereo • 65:37 Rózsa’s heartfelt, stirring Disney’s workhorse com- A lost gem from Williams’ accompaniment to the poser from the ‘30s pre-blockbuster/post-comedy career, during which he provided tragic tale of Vincent van (Pinocchio) provides a masterly, melodic scores for delicate dramas, plus Legrand’s Gogh. A personal favorite of the composer, this CD has been dark, rich Americana score to this adaptation of King Lear set in unused, unheard take on the same material. A rare opportunity remixed from the three-track masters with bonus alternate cues the American West. $19.95 for collectors—all in stereo! $19.95 and more. One of the greatest film scores! $19.95

■ VOLUME 4, No. 20 ■ Vol. 4, No. 16 Farewell, My Lovely/ The World of WELCOME, FILM SCORE Monkey Shines Henry Orient DAVID SHIRE ELMER BERNSTEIN AFICIONADOS! Film released: 1975/88 Piano by We’re pleased to offer hard-to-find, unusual Studio: MGM Kenneth Lauber Genre: Film Noir/ Film released: 1964 soundtrack-related products, including: Suspense Studio: Silver Age Classics Genre: Comedy/Drama Exclusive CDs; Books for music lovers; Books for CD released: Jan. 2002 Silver Age Classics composers; One-of-a-kind collectibles; and Stereo • 73:48 CD released: Nov. 2001 Farewell, My Lovely (33:06) Stereo • 40:32 more! Order online, by phone or by mail: is symphonic jazz score for Bernstein’s “second-best” '70s noir classic; Monkey Shines (40:41) is leitmotivic suspense score for children (after To Kill a Mockingbird) sports fabulous see contact info below. score for George Romero monkey thriller. $19.95 sound from the legendary Goldwyn scoring stage. Whimsical, melodic and magical. $19.95 TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9598 • Fax 1-310-253-9588 • Online www.filmscoremonthly.com market n03 4/19/02 4:01 PM Page 37

■ 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, Studio: 20th Century Fox Films released: 1955/1959 Perf. by Frankie 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 At last: the classic Stereo • 75:15 CD released: July 2001 Newman/Herrmann col- This nostalgic pair of Stereo • 55:55 laboration for Fox’s histor- films by writer/director Philip Dunne feature romantic, intimate Thundering B-movie hysteria plus soothing, romantic undersea ical epic. Original stereo tracks were believed to be lost or scores by Elmer Bernstein (lovely Americana) and Bernard passages for the film that launched the hit TV show. $19.95 unusable, but this CD features every surviving note. $19.95 Herrmann (“baby Vertigo”). $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 Silver Age Classics Studio: 20th Century Fox Adventure CD released: Sept. 2001 Genre: WWII/Adventure Golden Age Classics Stereo • 42:02 Golden Age Classics CD released: April 2001 CD released: July 2001 Stereo • 65:43 The Illustrated Man is one Stereo • 73:00 19th century African colo- of Jerry Goldsmith’s most A superlative Hugo nialist adventure starring haunting sci-fi creations, Friedhofer doubleheader: Susan Hayward receives with airy beauty, solo female vocalise, early electronics, Between Heaven and Hell (complete: 40:18) is a moody war thrilling adventure score by Franz Waxman in first-rate sound. strange effects and an aggressive climax. $19.95 thriller; Soldier of Fortune (surviving tracks: 32:41) an exotic, Wonderful main title, love theme. $19.95 melodic jewel. $19.95

■ Vol. 4, No. 13 ■ Vol. 4, No. 8 ■ Vol. 4, No. 3 The Bravados Room 222/ The Towering Inferno ALFRED NEWMAN & Ace Eli and Rodger of JOHN WILLIAMS HUGO FRIEDHOFER the Skies Film released: 1974 Film released: 1958 JERRY GOLDSMITH Studio: Warner Bros. Studio: 20th Century Fox Films released: 1969/73 & 20th Century Fox SOLD OUT! Genre: Western Studio: 20th Century Fox Genre: Disaster/ Golden Age Classics Genre: Sitcom (TV)/ Irwin Allen Sorry, all gone... CD released: Sept. 2001 Americana (feature) Silver Age Classics Stereo (some bonus Silver Age Classics CD released: Apr. 2001 tracks in mono) • 69:34 CD released: June 2001 Stereo • 75:31 Mono (Room 222)/Stereo & Disaster masterpiece gets Two Hollywood legends Mono (Ace Eli) • 71:37 premiere CD release, doubled in length from the LP. Fantastic collaborate for a rich, handsome western score with a memo- Room 222 (12:15) comprises theme and two episode scores for popu- main title, climactic action cue; plenty of moody suspense and rable, driving main theme (by Newman) and darkly brooding lar sitcom; Ace Eli (59:21) an obscure barnstorming movie. $19.95 romantic pop. $19.95 interior passages (by Friedhofer). $19.95

■ Vol. 4, No. 12 ■ Vol. 4, No. 7 ■ Vol. 4, No. 2 Morituri/ A Man Called Peter How to Marry a Raid on Entebbe ALFRED NEWMAN Millionaire JERRY GOLDSMITH/ Film released: 1955 ALFRED NEWMAN & DAVID SHIRE Studio: 20th Century Fox CYRIL MOCKRIDGE Films released: 1965/77 Genre: Religious/ Film released: 1953 Studio: 20th Century Fox Biography Studio: 20th Century Fox Genre: WWII/Espionage Golden Age Classics Genre: Comedy/ Romance (feature)/Docudrama (TV) CD released: June 2001 Golden Age Classics Silver Age Classics Stereo • 58:14 CD released: Mar. 2001 CD released: Aug. 2001 Stereo • 70:03 Stereo (Morituri)/ Famous Mono (Entebbe) • 57:50 Biopic of Scottish minister Peter Marshall receives rich, comedy features period Morituri (41:46) is a suspense/action score in Goldsmith’s per- reverent, melodic score by Alfred Newman; CD features songs adapted as instrumental underscore. “Street Scene” (5:36) cussive ‘60s style; Raid on Entebbe (15:29) features suspense, complete score including source music. $19.95 conducted by Alfred Newman opens the movie and CD. $19.95 pulsating action (“The Raid”), and Israeli song climax. $19.95

■ Vol. 4, No. 11 ■ Vol. 4, No. 1 The Best of ■ Vol. 4, No. 6 Conquest of.../Battle for Everything The French the Planet of the Apes ALFRED NEWMAN Connection/ TOM SCOTT/ Song by Newman & French Connection II / Sammy Cahn, Perf. by DON ELLIS LALO SCHIFRIN Johnny Mathis Films released: 1971/75 Film released: 1972/73 Film released: 1959 Studio: 20th Century Fox Studio: 20th Century Fox Studio: 20th Century Fox Genre: Cop Thriller Genre: Sci-fi/Fantasy Genre: Drama/Romance Silver Age Classics Silver Age Classics Golden Age Classics CD released: May 2001 CD released: Feb. 2001 CD released: Aug. 2001 Stereo & Mono (I)/ Stereo Stereo & Mono (Conquest)/ Stereo • 71:14 (II) • 75:01 Stereo (Battle) • 74:44 Newman’s last score at Fox is a romantic gem; think New York Classic ‘70s cop thrillers get pulsating, dynamic, avant-garde Final Apes films get vintage scores by Scott (38:47, with several at twilight. CD features complete score (48:21) in stereo, some scores by jazz artist Don Ellis. First film (37:52) includes much unused cues) and Rosenman (34:43), plus TV theme (1:13). $19.95 bonus tracks and some cues repeated in mono. $19.95 unused music; sequel (37:09) somewhat more traditional. $19.95 TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9598 • Fax 1-310-253-9588 • Online www.filmscoremonthly.com market n03 4/19/02 4:01 PM Page 38

■ VOLUME 3, No. 10 ■ Vol. 3, No. 4 ■ Vol. 2, No. 7 Beneath the Tora! Tora! Tora! All About Eve/ 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) • Fantastic Herrmann undersea adventure score gets premiere Classic Goldsmith war score enhances docu-drama take on 44:19 • Eve is a cinema masterpiece; Newman’s complete release of original stereo tracks, albeit with minor deterioration. Pearl Harbor. Aggressive action music combined with avant- score is appropriately theatrical, perfectly drawn. Leave Her to Lots of harps, “underwater” color, seafaring melodies. $19.95 garde effects, Japanese instrumentation. $19.95 Heaven 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 LEONARD ROSENMAN 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) Stereo • 72:37 73:35 • Early Goldsmith feature (42:01, bonus tracks 21:06)—his Second Apes pic gets atonal score by Leonard Rosenman with Elmer Bernstein’s first score for John Wayne is a western first for Franklin Schaffner—is in romantic style. many avant-garde highlights. Includes complete original tracks gem, with rhythmic main title and high-tailing action music. Quarry (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 The Omega Man of Foxes ELMER BERNSTEIN RON GRAINER ALFRED NEWMAN Film released: 1960 Film released: 1971 Film released: 1949 Studio: 20th Century Fox Studio: Warner Bros. Less than 50 left! Studio: 20th Century Fox Genre: Drama Genre: Sci-fi/Fantasy Limit one per customer. 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- Tyrone Power 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

■ Vol. 3, No. 7 ■ Vol. 3, No. 1 ■ Vol. 2, No. 4 Batman Take a Hard Ride Monte Walsh JERRY GOLDSMITH JOHN BARRY Theme by NEAL HEFTI Film released: 1975 Film released: 1970 Film released: 1966 Studio: 20th Century Fox Studio: CBS Studio: 20th Century Fox Genre: Western Genre: Western Genre: Adventure/Camp Silver Age Classics Silver Age Classics Silver Age Classics CD released: Feb. 2000 CD released: June 1999 CD released: Nov. 2000 Stereo • 46:38 Mono (1 bonus track in stereo) Mono • 65:23 61:51 • Lee Marvin revisionist Holy Bat-tracks! 1966 feature produced at time of ‘60s TV show Strange “blaxploitation,” foreign-produced western gets won- western gets vintage John Barry score 20 years before Dances features Neal Hefti’s theme, Nelson Riddle’s Bat-villain signa- derful symphonic score from Goldsmith; great main theme, With Wolves. Song “The Good Times Are Comin’” performed by tures, swingin’ underscoring and larger action setpieces. $19.95 action cues. Take a hard ride, indeed. $19.95 Mama Cass; many bonus tracks. $19.95

■ Vol. 3, No. 6 ■ VOLUME 2, No. 9 Vol. 2, No. 3 The Undefeated/ Hombre The Flim-Flam Man/ Prince Valiant / A Girl Named Sooner FRANZ WAXMAN JERRY GOLDSMITH Film released: 1954 Film released: 1969/67 Films released: 1967/1975 Studio: 20th Century Fox Studio: 20th Century Fox Studio: 20th Century Fox Genre: Historical Adventure Genre: Western Genre: Drama/Americana Golden Age Classics Silver Age Classics Silver Age Classics CD released: May 1999 CD released: Sept. 2000 CD released: Jan. 2000 Stereo • 62:17 Stereo • 72:33 Stereo (Flim-Flam)/ Western doubleheader: The Undefeated (starring John Wayne, Mono (Sooner) • 65:20 A rural Americana doubleheader: Flim- Fox’s colorful 1954 adaptation of the famous epic features stir- 47:33) is accessible and symphonic. Hombre (starring Paul Flam (34:37) stars George C. Scott as a Southern con man; ring adventure score by Franz Waxman in “leitmotiv” style, a la Newman, 21:30) is moodier, sensitive—a quiet gem. $19.95 Sooner (30:43) is smaller, sensitive TV movie score. $19.95 Star Wars: hero, villain, princess, mentor. $19.95

■ Vol. 3, No. 5 ■ Vol. 2, No. 8 ■ Vol. 2, No. 2 A Guide for the Married Man Rio Conchos Patton/The Flight JOHNNY WILLIAMS JERRY GOLDSMITH of the Phoenix Title Song Perf. by The Turtles Film released: 1964 JERRY GOLDSMITH/ Film released: 1967 Studio: 20th Century Fox FRANK DE VOL Studio: 20th Century Fox Genre: Western Film released: 1970/65 Genre: Comedy Silver Age Classics Studio: 20th Century Fox Silver Age Classics CD released: Dec.1999 Genre: WWII/ Adventure CD released: July 2000 Mono/Stereo Silver Age Classics Stereo • 73:10 (combo) • 75:28 CD released: April 1999 Vintage “Johnny” Williams score is his most elaborate for a Early Goldsmith western score is presented in complete form Stereo • 76:24 • Patton (35:53) is complete OST to WWII biopic comedy, with long setpieces, groovy title theme, and orchestral (55:43) in mono, with some cues repeated in stereo. Includes classic with famous march. Phoenix (40:51) is a rare album underscoring foreshadowing his dramatic works. $19.95 delightfully bizarre vocal version of the main theme. $19.95 release for Frank De Vol, an adventure/survival score. $19.95

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■ Vol. 2, No. 1 ■ Vol. 1, No. 3 ■ Vol. 1, No. 1 100 Rifles Fantastic Voyage Stagecoach/The Loner JERRY GOLDSMITH LEONARD ROSENMAN JERRY GOLDSMITH Film released: 1969 Film released: 1966 Film released: 1966/1965 Studio: 20th Century Fox Studio: 20th Century Fox Studio: 20th Century Fox Genre: Western Genre: Sci-fi Genre: Western (film/TV) Silver Age Classics Silver Age Classics Silver Age Classics CD released: Mar. 1999 CD released: Sept. 1998 CD released: May 1998 Stereo/Mono (combo) • 77:08 Stereo • 47:28 Stereo (Stagecoach)/ Burt Reynolds/Raquel Welch Sci-fi classic following miniatur- Mono (Loner) • 45:25 • dud gets explosive western score by Goldsmith, heavy on ized sub crew inside the human body gets imaginative, avant Stagecoach is gentle Americana score for remake of classic FSMmarketplace Mexican colors and guttural action. CD features score twice, in garde score by Leonard Rosenman; one of his signature works. western. The Loner is Goldsmith’s theme and two episode stereo and in mono with slight variations. $19.95 Symphonic yet thrillingly bizarre. $19.95 scores for short-lived Rod Serling western series. $19.95

■ VOLUME 1, No. 4 ■ Vol. 1, No. 2 The Return of Dracula/ The Paper Chase/ The I Bury the Living/The Cabinet of Poseidon Adventure CHECK YOUR ORDER ONLINE Caligari/ Mark of the Vampire JOHN WILLIAMS Visit our website at Film released: 1973/72 https://secure.filmscoremonthly.com/store Films released: 1958/58/62/57 Studio: 20th Century Fox to place an order using our secure server. You will receive Studio: UA/ 20th Century Fox Less than 50 left! an automatic confirmation. All of your information (includ- Genre: Horror Genre: Drama/Disaster Limit one per customer. Silver Age Classics Silver Age Classics ing your credit card #) is confidential and encrypted for CD released: Jan. 1999 CD released: July 1998 your protection. Save precious days that might otherwise Mono • Disc One: 61:06 Stereo/Mono (combo) • 75:53 keep you from your music! Disc Two: 73:20 • Composer of Star Trek’s “Amok Time” gets 2CD The Paper Chase is eclectic score for drama about law stu- release of creepy, early horror scores, packaged in slimline case; dents. The Poseidon Adventure is classic Irwin Allen disaster same shipping as one CD. $29.95 score. Also includes Conrack (1974), main title (6:07). $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. 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 Backissues: Shipping FREE within U.S./Canada. $5 rest of costs $19.95 plus shipping ($3 U.S./Canada, or $5 rest of world); no charges until shipping. See order form for details. world per order.

melodies, screaming orchestra and WARNER HOME VIDEO wild percussion. It is the ultimate BOOKS FOR has led the way for video restoration combination of symphonic fury with with box sets of their most famous crazy ‘70s solos. A short CD was COMPOSERS films. Their soundtrack CDs have released in Japan; this newly been available only within the larger remixed and remastered disc fea- video packages—until now. FSM has tures the complete score (57:14) in limited quantities of CDs to sell via chronological order. $19.95 direct mail only to our readers.

of never-before published photo- graphs and concept drawings by Mad Magazine alumnus Jack Davis and Don Duga. A wacky, fun, blast from the past! $16.95

EXCLUSIVE VIDEO! Getting the Best Score for Your : Film: A Filmmakers’ Guide to The Exorcist His Life and Music Scoring The Wild Bunch The seminal horror soundtrack! Music by David Bell Fully restored, limited availability! ’s 1973 thriller of An intimate visit Respected TV composer Bell (Star The classic Jerry Fielding score, in demonic possession is perhaps the Deadfall with the compos- Trek: Voyager) wrote this book in brilliant stereo, to the ferocious 1969 scariest film of all time, and it was Catch John Barry ’60s vibe! er of Conan the 1994 to help producers and directors Sam Peckinpah western. This 76- enhanced by these frightening, avant First time on CD! Barry scored this Barbarian, Free get the most out of film music. It’s minute CD was meticulously restored garde compositions by Penderecki, 1968 Bryan Forbes thriller in the midst Willy, Starship aimed at filmmakers, but also pro- and remixed by Nick Redman for Webern, Henze and other modernist of his most creative period of the ’60s. Troopers and vides useful professional info to com- inclusion with the 1997 laserdisc of composers. This CD includes all of This CD features his 14-minute guitar Lonesome Dove. posers and musicians—or any inter- the film, with nearly twice as much the rejected music (14:14) which Lalo concerto, “Romance for Guitar and Take a tour of his ested fan. Topics include spotting, music as the original LP. $19.95 Schifrin recorded for the film—never Orchestra,” performed by Renata work and lifestyle, communicating, recording, budgeting before heard! (Regrettably, “Tubular Tarrago and the London from his methods of composing to his and licensing, with explanations of Bells” & “Night of the Electric Philharmonic; the title song “My Love love of sailing. The video runs 50 min- the various personnel and entities Insects” are not on the disc.) $19.95 Has Two Faces” performed by Shirley utes and includes footage of Basil involved in each; also included are Bassey (“Goldfinger”), plus two unre- conducting and at work on synthesiz- lists of agents, clearance companies, leased, alternate versions (vocal by er mock-ups of Starship Troopers, as glossary terms and resources. MUSIC FROM Malcolm Roberts and instrumen- well as dozens of behind-the-scenes Silman-James Press, 112 pp., soft- RETROGRADE! tal)…not to mention vintage, dramat- and family photos, and appearances cover. $12.95 ic Barry underscore. $16.95 by wife Bobbie and daughter Zoë. The Taking of Pelham 1-2-3 Discover the man behind the music, The Click Book Ride this killer ’70s groove! Mad Monster Party in a way you’ll never see on TV, or Comprehensive timing tables for syn- Hear David Shire’s unparalleled ’70s 30th anniversary collector’s edition experience in print. chronizing music to film 12-tone jazz/ fandango for the From Rankin/Bass (TV’s Rudolph the NTSC (U.S. Format) $19.95 Composer Cameron Rose provides Enter the Dragon 1974 subway hostage thriller. Part Red-Nosed Reindeer) comes the PAL (European Format $19.95 click-tempo tables for 6-0 through 32- Lalo Schifrin’s slugfest—expanded! disaster movie, part gritty cop thriller, original soundtrack to Mad Monster 0 frame click-tempos. Each timing ’s most famous film intro- Shire’s fat bass ostinatos and creepy Party. The jazzy score by composer table covers beat 1 to beat 999 at the duced him to mainstream American suspense cues glue it all together. A Maury Laws, with lyrics by Jules given click-tempo. With large, easy- audiences and cemented his super- sensational, driving, pulsating score Bass, features the vocal talents of to-read click-tempo values and star status. Lalo Schifrin scored this in a class by itself—experience the Boris Karloff, Phyllis Diller and Ethel equivalent metronomic values at the 1973 adventure with his greatest original for your self. $16.95 Ennis. The deluxe package includes top of each page, there are timing, fusion of funky backbeats, catchy a 16-page color booklet with dozens frame TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9598 • Fax 1-310-253-9588 • Online www.filmscoremonthly.com market n03 4/19/02 4:01 PM Page 40

values. Listings are annotated to dif- of composer mini-bios with reviews ferentiate between originals and reis- of their most notable works and sues, commercial albums and rare photo portraits (from Golden Age promos. Find out what’s out there, titans to present-day masters), there what your rarities are worth, and is also a thorough overview of sound- how much you should expect to track album history (on LP and CD), a spend on your collection. Smith also section devoted to song compilation surveys the present state of the mar- reviews, and a helpful movie music ket and provides a checklist for the bibliography. Billboard Books, 244 top 50 collectible CDs. Published by pp., softcover. $18.95 Vineyard Haven LLC, 154 pp., soft- cover. $17.95 The Album Cover Art of Soundtracks by Frank Jastfelder & Stefan Kassel, and footage breakdowns for rhythmic Foreword by Saul Bass subdivisions within each click- This 1997 coffee-table book is a stun- tempo—including compound meters. ning collection of soundtrack LP cov- ions and wit, which forms the center- Includes a listing and tutorial of stan- ers. From paintings to photographs to piece of this book. Also included is a dard timing-conversion formulas for designs, from westerns to blaxploita- short biography by Danly, the eulogy 24 fps film speed, and a tutorial in tion to sexploitation, it’s a gorgeous from Friedhofer’s memorial service by SMPTE-to-absolute time conversion, dossier of vivid artwork, with covers David Raksin, a filmography, photo- plus frames-to-seconds conversion both ubiquitous and rare. Take a trip graphs and more. The Scarecrow tables for U.S. and European film & down memory lane, or experience Press, 212 pp., hardcover. $39.95 video speeds. 430 pp. $149.95 these powerful images for the first time. This German-published book originally sold for $29.95—it’s now out-of-print, to boot, but we have obtained a limited number of copies for our faithful readers. Published by Music from the Movies Edition Olms AG Zürich, 128 pp., full Film Music and Everything Else! 2nd Edition by Tony Thomas color, softcover. $24.95 Music, Creativity and Culture as The music book (1971) Seen by a Hollywood Composer from which all others followed, telling by Charles Bernstein the stories of Hollywood’s most suc- A collection of essays by Charles cessful—if hitherto unknown—com- Bernstein, composer of the original posers. This updated edition was Nightmare on Elm Street, Sadat, Cujo released in 1997, shortly before the and others. Most of the essays origi- author’s death. Composers covered nally appeared in “The Score,” the (many with photos) are Stothart, V. quarterly journal of the Society of Young, Green, Newman, Tiomkin, Dimitri Tiomkin: A Portrait Composers and Lyricists, a profes- NEW Updated Edition! Waxman, Kaper, Rózsa, Steiner, by sional organization for film com- 2001 Film/TV Music Guide Korngold, Herrmann, Friedhofer, This 1984 book by the late posers. Topics include: melodies, From the Music Business Registry Raksin, Antheil, Thompson, Copland, Christopher Palmer is the authorita- “hummers,” emotion and more. It’s a Isn’t your career worth it? An exhaus- North, tive study of legendary composer rare opportunity to read thoughtful tive directory of record labels, music Bernstein, Duning, Rosenman, Tiomkin (1894-1979). Long out of print, opinions and musings from a film publishers, film/TV music depts., Goldsmith, Mancini, Schifrin, Scott, a few copies have surfaced from the composer directed towards other music supervisors, music editors, Shire, Broughton and Poledouris. U.K. publisher and are now for sale, practitioners of the art. Turnstyle composer representatives, com- Silman-James Press, 330 pp., soft- but when they’re gone, they’re gone! Music Publishing, 132 pp., softcover, posers, clearance companies, cover. $19.95 A Heart at Fire’s Center: This 144p. hardback is divided into limited to 500 copies. $18.95 recording studios, performing rights The Life and Music of three sections: a biography, an societies, and music libraries— Bernard Herrmann overview of Tiomkin in an historical names, addresses and numbers. by Steven C. Smith perspective, and specific coverage of $94.95 The most influential film composer of his major landmarks (Lost Horizon, all time, who scored such classics as High Noon, the Hitchcock films, Citizen Kane, Vertigo, Psycho and Giant, and many more). Also includes BOOKS FOR , Bernard Herrmann (1911- a complete filmography, 41 b&w pho- 1975) was also famous for his musi- tos, and 9 color plates. $24.95 MUSIC LOVERS cal passion, bad temper and out- U.S. Soundtracks on CD: bursts. This hard-to-find 1991 book is Scores for Motion Pictures and the definitive biography of the leg- Television 1985-1999 endary composer, covering his film, Price Guide by Robert L. Smith television, radio and concert work as The second edition of FSM’s market- well as his personal life. It’s a brilliant standard price guide contains over illumination of Herrmann and proba- 2,400 listings of album titles with bly the best film composer biography composers, label numbers, special ever written. Published by University collectible information and estimated The Score: Interviews of California Press. 416 pp., hard- with Film Composers cover. $39.95 Overtones and Undertones: by Michael Schelle Reading Film Music This 1999 book uses a question and Hugo Friedhofer: by Royal S. Brown answer format to provide readers The Best Years of His Life This 1994 book by longtime film music with a conversational look at contem- Edited by Linda Danly, Introduction columnist Brown is the first serious porary composers, featuring lengthy by Tony Thomas theoretical study of music in film and transcripts with Barry, Bernstein, This gifted musician scored such Sound and Vision: 60 Years of explores the relationships between Blanchard, Broughton, Chihara, Hollywood classics as The Best Motion Picture Soundtracks film, music and narrative, and chroni- Corigliano, Howard, Isham, Licht, Years of Our Lives, An Affair to by Jon Burlingame cles the aesthetics of it through sev- McNeely, T. Newman, Shaiman, Remember, One-Eyed Jacks. His Foreword by Leonard Maltin eral eras. Key works analyzed Shore, Walker and C. Young. The Golden Age contemporaries consid- Journalist and historian Burlingame’s include The Sea Hawk (Korngold), author is himself a composer, and the ered him the most sophisticated prac- Sound and Vision is his overview of Double Indemnity (Rózsa), Laura give and take pries deeply and pre- titioner of their art. In the 1970s movie music composers and history, (Raksin), Prokofiev’s music for cisely into the composers’ ideas. Friedhofer (1901-1981) gave a lengthy encapsulating the most notable peo- Eisenstein, Herrmann’s music for Published by Silman-James Press, oral history to the American Film ple and events in the author’s clear Hitchcock, and several scores for the 432 pp., softcover. $19.95 Institute, rife with anecdotes, opin and direct prose. Largely comprised films of Jean-Luc Godard. A supple-

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mental section features Brown’s StarGate liner notes, Shostakoholics Hits book review. probing interviews with Rózsa, BACK ISSUES OF FSM Anonymous. #71, Jul. ’96 David Arnold BUY MORE STUFF Raksin, Herrmann, Mancini, Jarre, #53/54, Feb. ’95 Shaiman Pt. 2, Dennis (Independence Day), Michel Colombier, Schifrin, Barry and Shore. U.C. VOLUME ONE, 1993-96 McCarthy (Star Trek); Sergio Bassetti, Recordman Goes to Congress, Bond’s AND GET FREE GIFTS! Press. 396 pp., softcover. $24.95 24 pp. unless noted. Jean-Claude Petit & Armando Trovajoli summer round-up. Film Score Monthly rewards its Asterisk (*) indicates photocopies. in Valencia; Music & the Academy #72, Aug. ’96 Ten Best Scores of ’90s, happy, loyal customers with a free * #30/31, Mar. ’93 64 pp. , Awards Pt. 1; rumored LPs, quadra- Thomas Newman’s The Player, Escape gift for spending over $50 on any Basil Poledouris, , John phonic LPs. from L.A., conductor John Mauceri, ref- one order, and TWO free gifts for Scott, Chris Young, Mike Lang; the sec- * #55/56, Apr. ’95 Poledouris (The Jungle erence books, Akira Ifukube CDs. spending over $100. (Magazine ondary market, Ennio Morricone albums, #73, Sept. ’96 Recordman on War Film subscriptions, shipping and tax are

Elmer Bernstein Film Music Collection Soundtracks Pt. 1; Interview: David not applicable towards the $50 or FSMmarketplace LPs; 1992 in review. Schecter: Monstrous Movie Music; $100—but everything else is, #32, Apr. ’93 16 pp. Matinee temp-track, Ifukube CDs Pt. 2, Miles Goodman obitu- including backissues.) SPFM ’93 Conference Report, Star Trek ary. music editorial. * #74, Oct. ’96 Action Scores in the ’90s; If your order applies, please * #33, May ’93 12 pp. Book reviews, Cinemusic ’96 report (Barry, Zhou scribble your selection on the form classical/film connection. Jiping); Vic Mizzy interviewed. or a separate sheet. yourself. The * #34, Jun. ’93 16 pp. Goldsmith SPFM * #75, Nov. ’96 Barry: Cinemusic free gifts will, from time to time, award dinner; orchestrators & what Interview; Recordman on War Film include products we otherwise sell they do, Lost in Space, recycled Soundtracks Pt. 2, Bond’s review col- here at the site, and some prod- Herrmann; spotlights on Chris Young, umn. ucts we don’t—although they may Pinocchio, Bruce Lee film scores. * #76, Dec. ’96 Interviews: Randy be available from other sources. * #35, Jul. ’93 16 pp. Tribute to David Edelman, Barry pt. 2, (Last Memoirs of a Famous Composer— Kraft; John Beal Pt. 1; scores vs. songs, Man Standing); Andy Dursin’s laserdisc Here is the present line-up of Nobody Ever Heard Of Herrmann Christmas ; Film column, Lukas’s reviews. available gifts: by Composers Dictionary. Composer Hagen (b. 1919) has had an * #36/37, Nov. ’93 40 pp. Bernstein, Bob Book), Silvestri (The Quick and the outstanding career: as a big band Townson (Varèse), Richard Kraft & Nick Dead), Joe Lo Duca (Evil Dead), Oscar & VOLUME TWO, 1997 trombone player with Benny Redman Pt. 1, John Beal Pt. 2; reviews Music Pt. 2, Recordman’s Diary, SPFM First color covers! Issues 32-48 pp. Goodman and Tommy Dorsey; as an of CAM CDs; collector interest articles, Conference Report Pt. 2. * Vol. 2, No. 1, Jan./Feb. ’97 Star Wars arranger and composer under the classic corner, fantasy film scores of * #57, May ’95 Goldsmith in concert, issue: Williams interview, behind the legendary Alfred Newman and others Elmer Bernstein. Bruce Broughton (Young Sherlock Special Edition CDs, commentary, cue at 20th Century Fox; and as a com- * #38, Oct. ’93 16 pp. John Debney Holmes), Miles Goodman interviewed, poser/music director for thousands of (seaQuest DSV), Kraft & Redman Pt. 2. ’94 Readers Poll, Star Trek overview. hours of television, including the * #39, Nov. ’93 16 pp. Kraft & Redman Pt. * #58, Jun. ’95 Michael Kamen (Die acclaimed series I Spy, The Mod 3, Fox CDs, Nightmare Before Christmas Hard), Royal S. Brown (film music critic), Squad and The Andy Griffith Show. and Bride of Frankenstein. Recordman Loves Annette, History of Gone with the Wind He also wrote the standard, "Harlem * #40, Dec. ’93 16 pp. Kraft & Redman Pt. Soundtrack Collecting Pt. 1. 1959 Muir Matheson re-recording Nocturne," later used as the theme 4; Re-recording The Magnificent Seven. *#59/60, Aug. ’95 48 pp. Sex Sells Too (LP of Max Steiner score on for The Mike Hammer Show, and * #41/42/43, Mar. ’94 48 pp. Elliot cover photos), Maurice Jarre inter- Sonic Images label. authored two technical books on film Goldenthal, James Newton Howard, viewed, History of Soundtrack Collecting Retail Price: $14.95 composing. Memoirs of a Famous Kitaro & Randy Miller (Heaven & Earth), Pt. 2, Miklós Rózsa Remembered, film Composer—Nobody Ever Heard Of is Rachel Portman, ; Star Wars music in concert debate. Hagen's story, filled with charming trivia/cue sheets; sexy album covers; #61, Sept. ’95 Goldenthal (Batman anecdotes of some of the most music for westerns; ’93 in review. Forever), Kamen Pt. 2, Chris Lennertz famous personalities in movie music. * #44, Apr. ’94 Joel McNeely, Poledouris (new composer), Star Trek: The Motion Published by Xlibris Corporation. 336 (On Deadly Ground); SPFM Morricone Picture, classical music for soundtrack pages, hardcover. $34.95 tribute & photos; lots of reviews. fans. * #45, May ’94 Randy Newman * #62, Oct. ’95 Danny Elfman Pt. 1, John (Maverick), Graeme Revell (The Crow); Ottman (The Usual Suspects), Robert editing minutia/trivia, more. Also: Bond’s Goldsmith in concert; in-depth reviews: Townson (Varèse Sarabande), Ten Most review column. The Magnificent Seven and Schindler’s Influential Scores, Goldsmith documen- * Vol. 2, No. 2, Mar./Apr. ’97 Alf Clausen: The Secret of NIMH 2 List; Instant Liner Notes, book reviews. tary review. 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Debbie Wiseman (Wilde), ‘70s Vol. 4, No. 6, Jul. ’99 Elmer Bernstein: Mummy Returns and Swordfish; Yabba soundtracks reviewed. Wild Wild West; George S. Clinton: Dabba Crew—A Salute to ; Vol. 3, No. 7, Aug. ’98 South Park (Adam Austin Powers 2; Goldsmith Buyer’s Epics on DVD; Session Notes from Berry, Bruce Howell), Baseketball (Ira Guide: Early ‘70s; USC film scoring pro- Atlantis The Lost Empire. Newborn), Taxi Driver retrospective, gram; CD reviews: 1984, Sword and the Vol. 6, No. 5, June ’01 BMI & ASCAP dinners, Broughton Sorcerer, The Mummy, The Matrix, Sergei Prokofiev Tribute: The Man, The Buyers Guide Pt. 2, Downbeat (Schifrin, more. Music, The Films; Friedhofer and Fox; Bernstein, Legrand). 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SCORE some film history, a little about Newman’s career and output, Intrada’s Special (continued from page 35) information about the actors and makes for a surprisingly coherent studio, as well as a cursory musical The Conversation (1974) listen on CD. The sound, however, overview of the scenes. The sound ★★★★★ seems a bit cold and distant, not is exemplary and does not show DAVID SHIRE quite as immediate as, say, Die Hard the true age of the recording. That’s Intrada Special Collection Volume 2 2. And the final track, a strange, a great testament to the folks at 14 tracks - 37:19 unused instrumental version of “Let Fox who preserved this, but is also n ’s art- It Snow! Let It Snow! Let It Snow!” is the result of much attention in the Iful thriller The Conversation, just a bit too cutesy for its own good. remastering process. An excellent Gene Hackman plays a surveil- Overall, however, this is a great pres- release! —Steven A. Kennedy lance expert, a voyeur with a entation of a seminal score. microphone who specializes in 1 —Neil Shurley ★★ /2 recording the private things peo- JOEL MCNEELY ple say to one another. Worried that his work might hurt a young man Love Is a Many-Splendored 60744-7 • 23 tracks - 53:43 and woman, he begins to listen to his tapes obsessively, spending long Thing (1955) ★★★★ eturn to Never Land is not hours transforming electronic noise into understandable information. ALFRED NEWMAN RDisney’s worst attempt to The process wears on Hackman’s sanity, however, and soon his need to Varèse Sarabande 0202 1006 wring milky profit from the cash control the recordings controls him. 20 tracks - 62:59 cows of decades past (that honor Few movies ask so much from their audience’s ears. The film’s anar- his year’s first batch of Varèse’s belongs to the execrable chic sound, designed by Walter Murch, constantly shifts from dialogue TCD Club releases includes this Hunchback of Notre Dame II or to noise to David Shire’s jumpy score. A woman’s troubled voice dis- classic score by Alfred Newman, a perhaps Cinderella II, both direct- solves into static, for instance; men scream at each other through a haze grand example of the composer’s to-video monstrosities). One might of jazz music; city sounds choke out singing voices. Relentless, this mature and assured style. “Destiny” even make a convincing argument sonic montage augments the feeling of unpredictable danger that con- is one of the more impressive that the Peter Pan myth welcomes stantly threatens the film’s characters, and without it, chances are good tracks—it’s actually two cues that re-telling. Unfortunately, an that Coppola’s film couldn’t succeed as it does. At the same time, it bookend a scene. Overall, it’s an unmistakable cloud of “this has all seems unlikely that the soundtrack could succeed without the haunting amazing example of romantic scor- happened before, and it will hap- score. But how does Shire’s music sound when separated from the con- ing for the period. Unlike pen again” hangs over the pro- texts of the screen and Murch’s editing? Twenty-seven years after the Herrmann’s Anna and the King of ceedings. The finished film, though movie’s premiere, Intrada has made the original score available for the Siam, which attempts to recreate an possessing a few magical sparks, first time, releasing a collection of 14 jazz-stoked tracks, remastered for “oriental” sound world, Newman’s borrows too heavily from previous stereo with their beginnings, middles and endings intact. score underlines the drama and Pan outings and ends up wallow- So, does the music work? You bet. The album starts with a brilliant romance in a more European fash- ing in redundancy and mediocrity. spray of piano notes, and soon the main melody materializes. Shire ion. “The Moon Festival” is a track Unless Captain Hook tangling with paces the theme quickly, then gradually shifts its tone from joy to that manages to juxtapose those the Nazi blitzkrieg over London is melancholy across the first three tracks. On “Blues for Harry (Combo),” sound worlds in the way Bernard the kind of thing that floats your the collection’s fourth track, he replaces the solitary piano line with a Rogers’ concert piece Three Japanese boat. To complicate matters, some bop band that swings around a sax, evoking the swagger and fun that Dances (from this same period) brilliant executive decided that the made mid-century Greenwich Village jazz so great. Then, in the middle does. The more traditional film would be best served by filling of the album, electronic distortions seep in, fusing ugly, broad urban Hollywood style appears in “Give Me it with ridiculous pop tunes of the sounds into the dancing piano rhythms, a technique that counterbal- Your Hand,” also managing to type only digestible by undiscrimi- ances the intense prettiness of the surrounding tracks, expanding the briefly quote Borodin’s Polovtsian nating preteen girls. To that end, album’s emotional range significantly as well as recalling and reinforc- Dances. they recruited the blandest of the ing the film’s preoccupation with unpleasant contrasts. As the score There are also hints of themes bland: John B. Sebastian, Sammy nears its conclusion, another -type song titled “Harry that border on the music from The Fain, Randy Rogel among others. Carried” appears, followed by the album’s double coda, the gorgeous King and I (specifically “I Have Enter Joel McNeely. It’s some- “Finale and End Credits” and “Theme From The Conversation Dreamed”)—listen to the opening of how fitting that such an uninspired (Ensemble),” a song that album producer Douglass Fake notes didn’t “Destiny” or in “The Eurasians.” and mediocre film be serviced by make it into the movie. This track integrates the piano and combo jazz Allusions to Debussy’s (espe- an uninspired and mediocre com- motifs, running the main melody through the saxophone in a way that cially in “Mark and Han Suyin”) are poser. As a writer of music, sounds rich, elegiac and almost calm. A denouement of sorts, this piece also notable. It is perhaps to that McNeely has proven himself to be cathartically relieves the score of its earlier tensions, and it is also a rar- great master that Newman owes his an apt cobbler of themes, but not ity: a bonus track that doesn’t sound tacked on. starting point for much of what is in much else. Here, he never really One of the great mysteries of life has to be the way in which the this score. Ironically, the score is bet- moves beyond the work of Golden movie industry abandons many of its brightest lights in their ter known more for the Sammy Fain Age great (the origi- primes. Such is the case with David Shire. The music man behind and song. And nal Disney Pan composer) and big hits like All the President’s Men, Norma Rae and Saturday Night in truth, that song is woven well into John Williams’ masterpiece Hook. Fever lost his privileged status decades ago. (For reasons why, take a the fabric of the score. In addition to the classic Disney look at Jason Foster’s Diamond in the Rough series, which Film Score Varèse features an extensive themes, McNeely gives us two new Monthly ran in 1999.) And what a terrible shame, because, as this booklet for this release, similar to ones: a melody for the character of score indicates, Shire’s talent is somewhere in the genius range—the their other entries in their “club Jane (which appears to quote sort that warrants fame, exultation and frequent assignments. CDs.” Nick Redman’s notes make “Yoda’s Theme”?) and, for the octo- Thanks again to Intrada for recognizing a great score—and making good use of the space given. There’s pus, a theme lifted from the commitment to put it on disc for all of us. —S.A.

FILM SCORE MONTHLY 43 MARCH/APRIL 2002 v7n03 issue 4/19/02 3:11 PM Page 44

SCORE you get the chance. Like most pro- Newman’s less oppressive style Black Hawk Down ★★★★ mos, it’s a bare-bones release, with gives In the Bedroom a more natu- HANS ZIMMER, VARIOUS Prokofiev’s . That spare artwork, brief liner notes ralistic feel, while Elfman’s music Decca 440 017 012-2 • 15 tracks - 66:59 said, the score is not altogether from the composer and no thick gives Dolores Claiborne an operatic urrent world events render unsuccessful in evoking a wel- booklet to enjoy. But, remastering touch. Newman is, again, tackling Cmany films about warfare come nostalgia, especially the and sound quality are generally offbeat independent material, and and terrorism with unexpected overture-like presentation of the excellent, with the exception of a this choice results in music that subtext, and looking at Black classic themes that makes up the few digital pops. If only the intense will no doubt irritate fans of his Hawk Down objectively is harder “Main Title.” If you’re looking for demand for this promo could turn more accessible material. than it would have been a year something new, leave this CD on some heads and trigger an official With In the Bedroom, Newman’s ago. The film proper is polariz- the shelf. If you yearn for a taste of release. This score is a vital part of working in mostly brief cues; most ing—many accept its lack of that old Disney magic...well, go Broughton’s canon... the crime of of them hover around the one- sociopolitical context and go with back to the original scores. This its unreleased status would baffle minute mark. That’s certainly not a the in-your-face rush of its (tech- album is for completists and Holmes himself. —J.T. drawback—more than that and the nically brilliant) battle sequences. McNeely die-hards only. score would swallow the film up. In Others, including some of its own 1 —John Takis In the Bedroom ★★★ /2 the Bedroom is a story that unfolds cast members, have cried foul, THOMAS NEWMAN deliberately, and with understate- calling it one-sided, right-wing Young Sherlock Holmes (1985) Varèse Sarabande 302 066 3192 ment and nuance; a score along propaganda. Either way, Hans 1 ★★★★ /2 19 tracks - 30:33 the lines of The Shawshank Zimmer’s score tends to provide BRUCE BROUGHTON erhaps it’s the Maine setting, Redemption would render it silly the film with more context than Promo CD 4007 Pthe seething emotions, and and trite. Newman’s score punctu- the script does, which may have Disc One: 11 tracks - 32:56 the murders, but Thomas ates key moments, and key been his point all along. Disc Two: 12 tracks - 56:10 Newman’s score to Todd Field’s In moments alone—the film trusts Ultimately, it achieves the rare dis- oung Sherlock Holmes is the Bedroom reminded me of you to trace the emotional trajec- tinction of being an unseen char- Ywidely regarded as Bruce Danny Elfman’s churning, agitated tory yourself, without a symphony acter, and that alone is something Broughton’s finest score. It’s not— score to Dolores Claiborne—and I orchestra leading you along. to savor. but a comprehensive listen to this mean that in a good way. Newman appears to have dialed Zimmer’s score is more sonic release will let you know why it’s at Thematically and musically the back the self-defeating, wholly tex- texturing and atmosphere than a least a top contender. Written over two scores are closely linked, but tural approach that has become traditional thematic approach, à la the course of just a few weeks, YSH overwrought in the past few years; Gladiator. The ironically titled is a massive work that deserves the In the Bedroom score is mostly “Hunger” (ostensibly pointing out massive attention. “Intricacy and built out of elegiac, fragmentary the plight of those the U.S. forces movement,” says Broughton him- themes (“House,” “VFW”); jaunty, were supposed to be defending) self, are the basic hallmarks of the slightly agitated string patterns in sets the tone for what will follow; score. Indeed, the music is always the bookending main- and end- synthesized textures are often laid moving, from adventure and title cues; darker, more threaten- underneath African and Middle excitement, to lighter moments of ing moments (“North on 73,” “Last Eastern instrumentation, and the reflection and romance, to pulsing Call”); and ethereal electronic juxtaposition, surprisingly, creates action. Broughton composed a effects (the two “Can’t Sleep” cues, a pretty fascinating feel. Zimmer plethora of themes for the film. His “Henry”). No big themes jump out provides more of a dimensional inspired and very British main at you; the score relies on delicacy, context than an emotional one— theme (also the basis for the love and while there are isolated the combination of musical ele- theme) is one of his finest cre- moments of great, subdued ments is meant to represent the ations. The complete presentation beauty (like the halting string writ- literal clash of cultures, and there’s of the score meanders occasion- ing in “Baseball,” the hopeful something deliberately unsettling ally, but the many highlights and strains of “Blocks”), this isn’t a about the smoothness with which set pieces are more than worth score that’s meant to stick in your this is accomplished. He’s creating repeated listens. If there’s one black head after the credits have rolled. a deliberately alien soundscape for spot, it’s the fact that this score Generally speaking, with scores the movie, and that makes sense, contains what may be the worst like this it might be more reward- because from the soldiers’ point of rip-off of Orff’s Carmina Burana in ing to critique the musical view, they’re entering into alien film music history—a move forced approach than the music itself; territory. on Broughton by the producers. the score is tonally and themati- Certain elements of Zimmer’s But through the breathless inven- cally coherent, but in the end it’s approach stand out—the heavy- tion and sheer magic of the meant to subtly enhance a film metal guitar riffs that color cues remaining score, Broughton more that needs very little enhance- like “Vale of Plenty” and “Chant”; than compensates. YSH is a true ment. The album itself barely hits the solo male vocalist (Senegalese masterpiece. the 30-minute mark, even with the singer Baaba Maal) who hums Quantities of this promotional medieval-era choral music that and soars above elegiac string pat- release were so low, and the figures with such thematic promi- terns in “Still” and “Of the Earth,” demand so high, that the few made nence in the film (“Zeni Me, perhaps meant to evoke the effect available to fans were mostly spo- Mamo,” “Oj Savice,” “Dobro of old blues artists like Billie ken for before the album went to Dosle”). However, it need be not a Holliday or Bessie Smith. And press! Odds are, if you don’t have it second longer. even Zimmer’s normally generic already, you won’t, so snap this up if —Jason Comerford action cues get a boost—the risky

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nature of the overall musical low-key brooding mixture of flutes and plucked strings, before tak- approach manages to give the chanting and disassociated instru- ing an abrupt turn toward more score’s aggressive battle cues mental sounds, and only halfway threatening territory. The delicate pri- (“Synchrotone,” “Tribal War”) an through “Landing on Elba” do the mary theme is what keeps the album unsettling and tactile sense of glorious themes kick in. From here focused, even through the sturm und danger. By the time more directly on, it’s full orchestra, flourishes of drang of cues like “Feast of the sentimental tracks roll around horns and even that old chestnut Assumption” and “Rohan Meets With (“Leave No Man Behind”), their “Training Montage,” which gives a Fake Antoinette.” (The latter does appearance makes sense, because single violin the opportunity to have a terrifically rhythmic combina- all of the varnish has been momentarily take center stage. But tion of harpsichord, synthesized stripped away and all that’s left are then, just when you’re ready to backbeats and choral patterns.) the simple, raw emotions. pigeonhole the score, it shifts focus Newman’s more modernistic The score contains traces of and becomes something darker flourishes are a little out of place irony throughout. Witness the and unsettling. next to the straightforward inclusion of tracks like “Barra There are quieter moments (the orchestral writing, but he uses Barra,” and “Gortoz a Ran— harpsichord movement and lush them just sparingly enough so J’Attends,” both of which are conclusion to “Escape From the that they fit into the score’s frame- Western in structure and Island”), but it’s the drama of work. (Newman is certainly not as approach, but with African “Marseille” and the staccato pluck- gleeful about being anachronistic vocalists and instrumentation. ing of “Edmond’s Education” that as, say, Craig Armstrong was for (Gladiator co-conspirator Lisa stick in the memory. The “End Plunkett and Macleane.) “Going Gerrard lends a hand for the latter, Titles” remind you of just how far Home” is a particularly delicate an serene song in direct contrast to the score has developed from its cue, with the primary theme get- vides a unique contrast to the pre- the hard-rock approach of the for- humble beginnings, and even if it’s ting fleshed out and developed in ceding tracks, featuring harpsi- mer.) I could be reaching here, but not immediately hummable, it’s an rewarding ways. The album eases chords, bells and a children’s choir. the message might be that while accomplished finale. down slowly, with the choral Those familiar with Rosenman’s Westerners may be unwelcome in Yet again, the London material of “Antoinette Is Fantastic Voyage and Beneath the locations like Somalia, the cultural Metropolitan Orchestra delivers Finished” and “Arrival of the Planet of the Apes (both available influence has already taken strong the goods, and Ed Shearmur can Necklace” serving as the climax of from FSM) should be familiar with root. Ultimately, the album, tick another box on his ever-grow- the score’s more bombastic ele- the composer’s avant-garde ten- sequenced with typical meticu- ing list of achievements. —N.J. ments. “Jeanne Reads Her dencies, and he doesn’t disappoint lousness by Zimmer and crew, Memoirs” rehashes the primary on this level, with the occasional gives you a sense of depth and The Affair of the Necklace theme and sends the album out intrusion of atonal riffs and scope that the film itself may not ★★★ on much the same note as it rhythms. have had. —J.C. DAVID NEWMAN began. All in all, Newman’s music It’s hard to listen to the score or Varèse Sarabande 302 066 318 2 is a slight cut above what you read the track titles without refer- The Count of Monte Cristo 21 tracks - 40:04 might expect for this film; the encing Shore’s The Fellowship of ★★★★ avid Newman pulls off a neat chances that the score takes will the Ring, but it would be folly to ED SHEARMUR Dtrick with The Affair of the stay in your memory. —J.C. make direct comparisons between BMG 09026 63865 2 • 15 tracks -52:55 Necklace, managing to score a them. Because the scores are f I were to describe Ed (K-Pax) period romance without it sound- (1978) drawn from different eras and con- IShearmur’s score as Hook ing like the umpteenth combina- ★★★★ trasting mediums (live-action ver- meets Cutthroat Island by way of tion of Bach harpsichords and LEONARD ROSENMAN sus animation), it would be like The Musketeer, you’d have a pretty 19th-century bombast. (The score Ace LORCD-0001-2 • 18 tracks - 76:58 comparing apples and oranges. good idea of what to expect—big does use both, but sparingly.) ong-regarded as vintage Buy this Lord of the Rings to re- music to swash your buckles with. Newman’s ability to craft lovely LRosenman, this timely re- live the sound of a post-Star Wars But while it’s a rousing series of melodies is still very much in release of Intrada’s 1989 disc is as era, sitting at the end of the ’70s. cues with roots deep in Korngold effect; his “Jeanne’s Theme” cap- different from Howard Shore’s new Gramophone magazine chose it as territory, it also infuses the oft-vis- tures a sense of yearning romanti- soundtrack as the 1978 movie is their movie score of the year, and ited genre with contemporary riffs cism without overkill. If the score from Peter Jackson’s epic. although this is somewhat gener- and ambient undercurrents. doesn’t exactly fall together in an Like the movie it underscores, ous, it at least gives you an idea of As with his Robin Hood: Prince album format, Newman at least this soundtrack is animated, leap- the esteem in which this piece is of Thieves, director Kevin Reynolds deserves credit for leaving you ing to action with “History of the rightly held. adds modern sensibilities to a clas- with the impression that you’ve Ring,” a resplendent call to action Incidentally, the chorus of sic tale, but this time the score is heard a skilled and varied that tantalizes with fragments of “Helm’s Deep” features the lyric not so anachronistic as Kamen’s approach to a dry genre. secondary themes that are devel- “Namnesor Dranoel,” which is chart-pleasing melodies, and, Dark and light moments mix oped later on the disc. “The “Leonard Rosenman” spelled praise be to Alexander Dumas, smoothly together as the first portion Journey Begins: Encounter with backwards. Perhaps this there’s no “Everything I Do (I Do It of the album unfolds, with “Rohan’s the Ringwraiths” darkens the December’s The Two Towers score for You).” In fact, this score is prob- Arrest” shifting the album’s tone from mood with the shadowy chantings will boast the lyric “Erohs ably closer in tone to Kamen’s The that of gently melodic intimacy of a choir, and this Mordor motif Drawoh.” Or, perhaps not. —N.J. Three Musketeers (another Dumas toward a feeling of grander scope and then reappears across other tracks. adaptation), though sporting a aggression. “In Court/Childhood” To varying degrees, the remaining The Kaplans would like to take this more classical approach. mixes haunting choral patterns with cues offer variations on these Lord of the Rings opportunity to con- The short “Introduction” is a a more beatific, jaunty section for themes, though “Mithrandir” pro- gratulate Howard Shore for winning an

FILM SCORE MONTHLY 45 MARCH/APRIL 2002 v7n03 issue 4/19/02 3:11 PM Page 46

SCORE that’s almost a mini piano con- (if uninspired) packaging should certo, full of balletic woodwind help this one to notch up its sales. Oscar for his Lord of the Rings. It’s very rare indeed that a composer so writing. “Kaonashi” underscores Not Bernstein at his best, but solid utterly deserving—in every way—actu- the meeting between Sen and the and varied, and packed with ally wins an Academy Award. We love mysterious creature Kaonashi trademark staccato anthems and you, Howard. with pounding Japanese percus- mariachi rhythms. —N.J. sion and ultra-low brass, giving Spirited Away (Sen to Chihiro way to surging string and brass Dodge City/The Oklahoma Kid no Kamikakushi) ★★★★ work and concluding with an (1939) ★★★★ explosive percussion finale—high- MAX STEINER Tokuma Music/Ever Anime end audio owners beware! BYU FMA MS108 • 30 tracks - 78:20 International A8-1389 I could also talk about the ome releases are clearly 21 tracks - 60:02 Kamen-esque “Yubaaba Kyouran” Slabors of love and so worthy pirited Away represents the (Yubaaba’s Panic) and the won- in intent that any form of criticism Slatest and, sadly, perhaps the derful “Futatabi” (Reprise), which would be mean-spirited. This last collaboration between the is an instant masterpiece of definitive issue of a duo of little- increasingly popular Joe Hisaishi orchestration. The album con- known Steiner westerns falls into and Japan’s greatest living anima- cludes with the film’s official song this category, though you’ll be tor, Miyazaki Hayao. This partner- “Itsumo Nando Demo” (Always hard-pressed to find anything ship has produced some of the With Me), composed and sung by negative to say about it, mean- finest scores to have ever graced Kimura Yumi, who accompanies spirited or otherwise. animated film, including those for herself on the lyre. The song is Released by Brigham Young Laputa: The Castle in the Sky, rather folksy in tone, but Yumi’s of the Magnificent Seven Ride, the University, all proceeds of the sale Princess Mononoke and the mag- voice is a tad grating. composer’s other scores for the are plowed back into the acquisi- nificent Porco Rosso. How does The production values are out- year included See No Evil and tion and preservation of film Spirited Away fare in comparison? standing. The score is brilliantly Doctors’Wives; but this lively west- music elements. And if that wasn’t Well, here goes... played by the New Japan ern is certainly the wildest of the reason enough to buy this pack- The film concerns the tale of Philharmonic Orchestra, which bunch. The previous mainstream age, the scores are resplendent Ogita Chihiro, a 10-year-old girl treats Hisaishi’s music with the release of the music was as part of too. The packaging suggests that who, along with the rest of her care it deserves, and it gets a typi- Varèse’s John Wayne’s Films,Vol. 2 this is a two-disc set, but the rear family, is trapped in a mysterious cally stunning digital recording by collection, along with The Shootist compartment is actually taken up town that is actually the domain of Tanaka Shinichi, one of the world’s and Cahill, so this fully expanded by a perfect-bound 72-page full various nasty creatures. The cap- great orchestra mixers, recorded at score by Belgian label Prometheus color booklet, crammed with stills tured Chihiro is renamed Sen and the Yomiuri Triphony Hall in is most welcome. and poster reproductions. It also forced to work in the local bath- Tokyo—this is not a scoring stu- This one-off pressing of 3,000 has comprehensive track listings house (!), where she plots rebellion dio, and the difference is clear. discs is the 12th limited edition to and essays by James D’Arc and against those in charge and bids to Tanaka’s recording has an uncom- be released by the company and is Rudy Behlmer about Steiner’s con- release her family from their fate monly tactile presence and imme- sure to be a popular choice when temporaries, detractors and the as pigs and, eventually, make good diacy without the blatantly obvi- considering the score’s Holy Grail making of these movies. their escape back home (I’m not ous overdubbing that you get on status by Bernstein’s legions of Produced by Warner Bros., both making this up!). Given the above many American scores. This is fans. The generous running time movies featured unlikely western scenario, one wonders what execs definitely the best-engineered film also includes eight-and-a-half leads in the form of Errol Flynn, at the ultra-conservative Disney score you’ll hear in 2002. minutes of interesting, though James Cagney and a curly-haired Corporation (especially given that All told, this is outstanding hardly essential, source music. (!) Bogart. The prolific Steiner the film was partly financed by music beautifully presented, and a The “Main Title” is a schizo- scored over a dozen movies in them) made of it when they saw it! fitting epitaph to one of the great phrenic medley that kicks off with 1939, including the evergreen “Ano Natsu he” (One Summer director-composer collaborations a playful ragtime number before it Gone With the Wind, and could be Day) opens the album and, as is of recent years; Hisaishi continues segues into standard Bernstein forgiven for going on auto-pilot. becoming a Hisaishi trademark, to impress. western fare, and then touches However, there’s no suggestion of kicks things off with somber piano Rather than pay high Japanese import other themes developed later on complacency with these majestic and strings (these come off as a prices, FSM readers may wish to know the the disc. The Hollywood Studio scene-setting anthems. Listen reworked version of his theme for CD can be found for a more reasonable price Orchestra is put through its paces carefully and you’ll find snatches Kitano Takeshi’s Kikujiro) before at http://www.yesasia.com. by the composer with his frenetic of “Tara” or echoes of “Now, giving way to a rockingly powerful —Jamie McLean pieces that zip up and down Voyager” mingling with the classic rendition for the whole orchestra scales with abandon. Hollywood fanfares. (structurally reminiscent of the Big Jake (1971) ★★★★ “Massacre/Little Jake/Mexico” is a As the lengthy list of contribu- midsection in the famous “Arctic ELMER BERNSTEIN particularly violent piece, under- tors will testify (ranging from the Whale Hunt” cue in Henry Prometheus PCR 512 • 21 tracks - 60:17 scoring one of the many scenes of academic to the populist), this is a Mancini’s The White Dawn). hile not quite in the same bloodlust in this violent John definitive product that really does Other standouts include “Ryuu Wleague as The Magnificent Wayne western. And while I am cover all bases. Imagine a CD ver- no Shounen” (Dragon Boy), a rol- Seven, Big Jake was one of unfamiliar with the origins of the sion of a DVD, packed with all licking shot of orchestral adrena- Bernstein’s seven magnificent main theme, it shares similarities manner of extras and special fea- line you can’t get out of your brain. scores released in 1971. Sitting in with the traditional tune tures. Then imagine a time when “Boiler Mushi” (Sootballs) is a time somewhere between The “Scarborough Fair”. all scores will get this superior jaunty, classically styled piece Magnificent Seven Ride and Guns Crystal clear sound and colorful treatment. —N.J. FSM

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CRAIG ARMSTRONG you judge each of their new know where music (continued from page 22) projects in turn? comes from, anyway. Is it CA: I think people will a spiritual thing, or just FSM: You worked a long time on Moulin associate me with Baz hard work? For some Rouge! because twice over the last people it’s stealing other CA: Yes, and probably for every piece of seven years I’ve been involved people’s ideas! I person- music you hear in the film there were in some of the most unusual ally try to do everything another five versions of it. It was very drain- films that have come out. Baz originally; I’m not one of ing and exhausting, but I really wanted to do is always picking these impos- those people who do a it because I like working with Baz. I’m not sible ideas that take six years little bit of this composer desperately looking for another film right to make. After Romeo & Juliet and a little bit of that now. Also, it’s very hard to do another film he did a musical, after every composer. When I’m after Moulin Rouge! Peter Mullan lives up other one in the past 30 years writing, I try and ignore here and I like his work, so Magdalene was had failed. I’m proud to have everyone else’s music. already an easy thing because I didn’t have to been asked by him to be part FSM: When you wrote be in Australia. But for the next big-budget of his team. If you think about The Quiet American were film, I’m just going to wait for completely the it, he lives in Sydney, so what you influenced by right project. are the chances of him asking recently departed Mario FSM: Why is it hard to follow Moulin someone in Glasgow to be Nascimbene’s original Rouge!? Is this because on one level you’ve part of the gang? It’s sort of soundtrack to the 1958 used up some of your best material? unlikely really. version? CA: Not at all. Composition is just FSM: Do you ever have a CA: No, I didn’t listen improvisation, and if you can improvise you fear of “the muse” deserting to his music at all. I’d can write music. Everything I’ve written in you? never even seen the film. Moulin Rouge!, and all my other films, is just CA: Let’s not think about Funnily enough, a friend improvised. You find an improvisation that that! God willing, there’s a lot of music in sent me the video, but I didn’t watch it. I’d the director likes, and then tinker with it, front of me. I haven’t finished my journey like to watch it now, but I can’t find it. It’s make it into a composition and orchestrate yet, and I’m sure that there’s other really spe- probably sitting in a box somewhere, hidden it. It’s not about using up ideas that I already cial work to do. I think that “the muse” is away next to the Mullan master tape! FSM have; I don’t have the ideas until I’ve impro- partly your memory. A worse thing to hap- vised them. pen would be losing your memory, because Nick Joy can often be found hanging round TV celebrities at FSM: Do you think that you’ll forever be so much of composing is about pulling out sci-fi conventions, sourcing interviews for STARBURST,STARLOG attached to Luhrmann and Mullan, or will feelings you’ve had for years. It’s hard to and XPOSE. You can write Nick at [email protected]

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THE SCORPION KING ence of the score is Middle Eastern, but prob- briefly attacks The Rock in a night scene in (continued from page 15) ably less of that than the two previous which she’s trying to escape from her beefy Mummy movies. The main themes I think but benevolent captor. “That was a real area it. But used sparingly there’s an edge and hearken back to Lawrence of Arabia. My goal [of] concern because I tried to play that like a toughness to it, so when The Rock does one of was to write something for the lead character love dance,” Debney says. “You know that this his great grimaces, to have these power chords that would make him into Lawrence of Arabia, girl is beautiful and there’s no way she’s going hit with that, it’s good.” because you have a tough sell right off the bat: to hurt The Rock. She’s trying to escape but it’s Debney went to work early on with the con- you’ve got The Rock, who is hugely popular more light because you know they’re going to cept of building a score around elements of with masses of people because of the WWF, get together. One cue we did is sort of a buddy the Godsmack song. “When I first heard the but as a movie star no one really knows fight—where The Rock fights Michael Clarke Godsmack song we were all trying to find whether he’ll be taken seriously. What I tried to Duncan—and they temped it with some Jerry melodic threads that I could maybe derive do was really go with it and play him up to be [Goldsmith]. I thought that worked great, and from the song,” Debney explains. “It’s a great this huge assassin who turns into the hero and we discussed this fight being its own set piece song but there weren’t a lot of melodic tidbits I becomes king by the end. The theme is very and us getting more into some odd-metered could hold on to that would sustain them- much old school. What I was trying to do the- material, and Stephen Sommers loved that. selves, so I had to write my own themes the matically was a little more overblown, a little There’s something about Goldsmith’s fight- old-fashioned way—there’s a hero theme, more classic film score theme. This one’s very music writing that works so well, partly there’s a love theme. There are a few instances romantic. [In] the last cue in the movie, he’s because of his odd metric thing, but the bril- in the movie, in the first scene particularly, vanquished all the bad guys and he’s standing liance of it is it’s always turning itself around where it’s a big fight scene and there are rock- there in front of everyone with the woman, and catching things in such a rhythmic way.” and-roll electric guitars, drums, bass with an and they all kneel before him, and the music is Debney also acknowledges the influence of orchestra on top. And throughout the score soaring, but thematically it’s a little more at least one other film-scoring giant in the there are highlights like that. I’m actually a romantic than the other Mummy movies. The sound of The Scorpion King. “There’s a lot of rock-and-roll guitar player. A lot of the stuff other Mummy movies had to be scary and Bernard [Herrmann] in this score too,” he you’ll hear on the score is me playing. Nobody maybe have a little romance, but [in] this notes. “Having conducted The 7th Voyage of really knows that’s my background. I think movie there are really no monsters, just Sinbad and some other Herrmann scores for Silvestri and I are two of the only ones who human beings.” Bob Townson of Varèse Sarabande, I did revisit were guitar players.” Debney drew from a wide variety of ethnic some of that, and what I loved about his work sounds, from percussion as well as human in some of those desert movies is that there’s a One More Time—With Orchestra vocalists. “We have , wooden flutes, real exotic magic and a real emotional quality After going full steam ahead with the rock- ceramic instruments that make sort of chip- to that.” and-orchestra combo concept, other minds ping sounds, unhk-lungs, ethnic soloists like Director Chuck Russell, who was instru- got involved, reportedly including producer Lizbeth Scott, who sings in this Armenian style mental in hiring Debney based on his large Stephen Sommers, who favored a more tradi- that is sort of grieving for the dead, and a choir scale adventure score to Cutthroat Island, was tional scoring approach as taken in his origi- chanting in Sanskrit,” the composer says. “At another proponent of veering away from the nal Mummy films. “There was kind of a sea one point I wanted to get more into the Arabic rock approach favored early on in the process, change after a couple of screenings, some thing and I had Arabic singers, but it almost and he’s enthusiastic about the final results. people involved were sort of taken aback by became too much in that world, where we But despite Debney’s embrace of classic score the rock-and-roll music,” Debney recalls. don’t know really where or when we are. We elements for the film, Russell shies away from “There’s no right or wrong about it, you just go had another girl who does screams and moans describing The Scorpion King score as “tradi- with what they want, and as it turns out it’s and all this weird stuff, and for the sorceress tional.” “I hope when people walk away from more of a traditional score with the non-tradi- we had her chanting some gibberish. We did a the film they won’t say it’s a traditional score,” tional things being some of the performers, number of tracks of that and combined it and the director says. “That sounds like a negative woodwind things, solo girl performers like reversed some of it, so there’s a chant, and also word to me. It’s a big orchestral score and Lizbeth Scott who did work on Gladiator.” basic Ligeti-style atonal colors and lots of that’s been really exciting to me, working with While Debney acknowledges the pendulum synth textures.” John and a 90-piece orchestra, and with these has swung back more toward the style of the One place the Bedouin sound of Lawrence images everything seems to come to life and first Mummy features, he points out it hasn’t of Arabia came into play was in the character- become part of a big whole.” FSM swung all the way. “I would say that the influ- ization of a sorceress played by Kelly Hu, who Advertise in FSM Reach a dedicated group of film music professionals and aficiaonados Contact Bob Hebert FSM sales representative PH. 323-962-6077 FAX 310-253-9588 [email protected]

MARCH/APRIL 2002 48 FILM SCORE MONTHLY 73o 4/90 4:9P Page c3 P :29 PM /19/02 4 v7n3cov 4

Still photographs courtesy of Turner Entertainment Co. An AOL Time Warner Company The TravelingExecutioner FSMCD Vol.5,No.6•ReleasedbySpecialArrangementwithTurner ClassicMoviesMusic. Bond andLukasKendall. the three-trackmasters.Linernotes arebyJeff cues) inexcellentstereosound,remixed from ed complete(includingdeletedand alternate never beforereleasedinanyform The scoretoTravelingExecutioner garde suspensetofull-scaleaction. the bases,frombluegrasscomedytoavant- gear, thecomposerenthusiasticallytouches all Magic (1978).Whenthestorykicksintohigh spell ofAmericanaforeshadowinghisscoreto tomer,” calming pre-executionpeptalktohis former conmanlivingonthefringesofsociety. AsCandide delivers aheartfelt, atmosphere asitpaintsaportraitofthecontentedbutoddballtitlecharacter, a in tone.ThemainthemeisacharmingblendofAmericana,Dixielandandcircus bluesy approachthatcapturesthefilm Apes Coming offofsuchavant-gardemasterpiecesas by JackSmight(TheIllustratedMan,alsoscoredGoldsmith,FSMCDVol. 4, the linefromstate-sponsoredexecutiontosimplemurder. Thefilmwasdirected executing hisfirstwoman(MarianaHill),hefallsforherandendsupcrossing ers offto“thefieldsofAmbrosia”at$100apop.WhenCandideischargedwith as JonasCandide,aproudelectric-chairownerwhosendscondemnedprison- The Traveling Executioner In 1970JerryGoldsmithscoredoneofhismostoffbeatfilms: No. 14)andremainsanintriguingeffortvirtuallyoutofcirculationtoday. Available forthefirsttimeanywhere! and Goldsmithprovidesasoft,six-minute The MephistoWaltz, Goldsmithturnedtoabroadlymelodicand $19.95 plus shipping— , aperioddrama/blackcomedystarringStacyKeach — only fromFSM. is present- “ ’ cus- s 1918DeepSouthsettingandwildshifts — 10. 11. 12. 13. 14. 15. 16. 1. 2. 3. 4. 5. 6. 7. 8. 9. Main Title Album producedby LukasKendall The FieldsofAmbrosia He Ain’t Dead/TheFee The PaintJob A NewClient Missing Chair The Lawyer/ShortCircuited A SighttoBehold Past History A SpecialTreat Instructions Late Work/The Loser The Experiment/ Unwelcome Visitor The Getaway The FieldsRevisited Total Time: End Title Planet ofthe by JerryGoldsmith 39:39 2:39 6:11 2:12 2:13 1:05 0:51 2:01 2:06 1:30 1:01 4:18 1:55 2:09 2:08 4:51 1:57

36 Hours Look for this month’s

Golden Age

By Dimitri Tiomkin

on page 29

offering v7n3cov 4 /22/02 1 :32 PM P age c4 Heard Any Good

“Incisive coverage” —The New Yorker Movies Lately? FILM SCORE MONTHLY GIVES YOU THREE WAYS TO ENJOY SOUNDTRACKS

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