v7n4cov 5/31/02 11:44 AM Page c1 ORIGINAL MUSIC SOUNDTRACKS FOR MOTION PICTURES AND TV VOLUME 7, NUMBER 4 TV Music page 10 SUMMER MOVIESHOWDOWN THEAMAZING ELF-MAN Our friendly neighborhood super-scorer ATTACK ON THE CLONES John Williams’ score goes BOOM! LEGEND-ARY GOLDSMITH The lost fantasy returns on DVD ARTISTIC DEVOLUTION The indie life of Mark Mothersbaugh PLUS Lots of the latest CDs reviewed 04> 7225274 93704 $4.95 U.S. • $5.95 Canada v7n4cov 5/31/02 11:44 AM Page c2 The Symphony had almost no budget to design and produce a newsletter, but we thought it was important to publish one for subscribers and donors. Joe set up an attractive, versatile template for us and provided basic trainingFSMCD in Vol. Quark 5, No.and 7newsletter • Golden designAge Classics so that now we're able to produce a quarterly newsletter in-house.We get lots of compliments on our newsletter,On The and we Beach/The love having the tools Secret to do it ourselves. of Santa Vittoria by Ernest Gold FSM presents a film composer gravely unrepresented on CD with a doubleheader by Ernest Gold: On the Beach (1959) and The Secret of Santa Vittoria (1969), both films directed by Stanley Kramer, with whom Gold shared his most fruitful collaboration. On the Beach is an “event” picture dealing with the deadly aftermath of a nuclear war: Gregory Peck, Ava Gardner, Anthony Perkins and Fred Astaire star as among the last survivors of humanity, waiting for a radioactive cloud to engulf them on the Southern coast of Australia. The film was the first to depict the serious consequences of nuclear war and cemented Kramer’s reputation as a “message” filmmaker. On the Beach was Ernest Gold’s first major picture after toiling on “B” movies for over a decade, and he responded with a gorgeous, symphonic score. He used as his main theme (per Kramer’s wish- es) the traditional Australian song “Waltzing Matilda,” but developed it into multiple, ingenious variations— everything from an anthem for humanity, to a love theme, to a dirge for the end of the world. The composer wrote two love themes for the film’s romantic subplots, and adventuresome, Herrmann-esque scoring for a sub- marine mission to the dead coast of California. Ten years later, Kramer and Gold collaborated on The Secret of Santa Vittoria, a period comedy starring Anthony Quinn in which a rustic Italian village hides a million bottles of wine from the German Still photographs courtesy of Metro-Goldwyn-Mayer Inc. All Rights Reserved. army during the closing days of World War II. Gold’s score is a melodic slice of “Italiana,” complete with a love theme (performed in Italian and English by Sergio Franchi), joyous celebration cues, suspenseful Nazi march, and a mammoth setpiece (for the hiding of the wine). FSM’s CD premiere Album produced by LUKAS KENDALL features the stereo LP configu- ON THE BEACH rations of both On the Beach “Waltzing Matilda” Music by Marie Cowan, Lyrics by A.B. Paterson (for which the complete session 1. Main Title 2:53 8. Homecoming 2:39 2. Peter and Mary 3:36 9. Dwight’s Visitor 1:01 tapes are lost) and The Secret 3. The Desolate City 4:10 10. Take the Final Step 2:34 of Santa Vittoria (for which the 4. Let’s Call Moira 2:36 11. I Love You 4:21 original soundtrack exists only 5. Australian Summer Time 5:02 12. There’s Still Time 2:57 6. The Boat Race 2:19 Total Time: 37:02 in mono and would not fit on 7. The Mysterious Signal 2:24 the CD; the stereo LP is a re- THE SECRET OF SANTA VITTORIA recording faithful to the film “The Song of Santa Vittoria (Stay)” orchestrations). The Santa Music by Ernest Gold, English Lyric by Norman Gimbel, Italian Lyric by Sergio Franchi, Vittoria portion adds a previ- Vocals by Sergio Franchi; “Con lo Zigo Zigo Zza” by Renato Rascel 13. The Song of Santa Vittoria 20. Viva Bombolini 2:10 Look for this month’s ously unreleased instrumental offering version of the main theme. The (Stay) [Italian version] 2:39 21. The Streets of Santa Vittoria 2:47 Silver Age 14. The Big Fool Bombolini 2:45 22. The Search 2:56 24-page booklet includes 15. Con lo Zigo Zigo Zza 0:53 23. Bei Kerzenlicht 2:30 Point Blank detailed liner notes and rare 16. Love and Tears 2:47 24. Celebration 2:02 By Johnny Mandel color photographs from On the 17. Swastika 1:33 25. The Song of Santa Vittoria 18. Hiding the Wine 4:47 (Stay) [English version] 2:59 and The Outfit Beach (a black and white 19. The Song of Santa Vittoria Total Time: 33:56 By Jerry Fielding movie). $19.95 plus shipping (Stay) [instrumental] 2:39 Total Disc Time: 70:59 on the back cover v7n04 issue 5/31/02 4:00 PM Page 1 CONTENTS MAY/JUNE 2002 cover story departments 24 The Amazing Elf-Man 2 Editorial Our friendly neighborhood composer returns to Lightning Doesn’t super-hero land after more than a decade to bring Strike Back. his scoring sense to Sam Raimi’s Spider-Man. By Jeff Bond 4 News Not All Clones Are Alike; Danny Elfman features Honored by BMI. 5 Record Label 13 Legend Resurrected Round-up At long last, the Legend DVD is finally available. In What’s on the way. both a feature and an exclusive interview with DVD 6 Now Playing producer Charles de Lauzirika, FSM’s Laserphile Movies and CDs in Picking up where BATMAN left off. takes an in-depth look at the Ridley Scott movie’s release. page 24 controversial history, its two different scores and 8 Upcoming Film what it took to finally get the DVD done. Assignments By Andy Dursin Who’s writing what for whom. 9 Concerts 18 Star Wars Episode Tunes: Live performances Attack on the Score around the globe. Reviews are still coming in for George Lucas’ lat- est installment of the Star Wars saga, but one 10 Downbeat thing’s for sure: The music took a beating, with Dinosaurs and Cowboys. massive edits made to John Williams’ score, as well as a large chunks of music tracked in from 30 Score The Phantom Menace and elsewhere. Here’s an The latest CD reviews, exhaustive look at the music, newly composed including Christus and otherwise, used in Attack of the Clones. Apollo, Panic Room, By John Takis Hart’s War, The Time Back to the future past. Machine and lots more. page 18 28 Artistic Devolution 46 Retrograde Once the frontman for the ’80s alternative band Winners and Dinners. Devo, Mark Mothersbaugh has evolved over the years into the go-to guy for quirky indie-style films, as well as some mainstream comedies—and 5 Reader Ads learned to accept the typecasting that comes with it. By John Allina 35 Marketplace An “outsider” artist looks in. page 28 ON THE COVER: WEBSLINGER’S GOT THE DROP ON YOU; SPIDERMAN Film Score Monthly (ISSN 1077-4289) is published monthly for $36.95 per year by Vineyard Haven LLC., ©2002 COLUMBIA PICTURES; STAR WARS EPISODE II: ATTACK 8503 Washington Blvd, Culver City, CA 90232. Periodicals postage paid at Culver City, CA and additional mailing offices. OF THE CLONES ©2002 LUCASFILM, ALL RIGHTS RESERVED. POSTMASTER: Send Address changes to Film Score Monthly, 8503 Washington Blvd, Culver City, CA 90232 FILM SCORE MONTHLY 1 MAY/JUNE 2002 v7n04 issue 5/31/02 12:56 PM Page 2 EDITORIAL VOLUME 7 NUMBER 4 Lightning Doesn’t Strike Back The last remnants of the old magic are swept away. editorial staff EDITOR & PUBLISHER Lukas Kendall f there’s one thing I’ve learned about Given the way Sony presented their SENIOR EDITOR just about everyone, score-collecting “Ultimate Edition” of The Phantom Menace Jeff Bond nerds or not, it’s that they’re all trying score, we may never know what Williams MANAGING EDITOR I to recapture whatever it was they liked when wrote for the climax of Attack of the Clones. Tim Curran they were 12. Star Wars (which I saw when I To some this is something akin to a war DEPARTMENTS EDITOR Jonathan Z. Kaplan was 16—though emotionally I was about 12 crime, while others wonder what all the fuss DESIGN DIRECTOR and have been ever since) had an incredibly is about—it’s not like this hasn’t happened to Joe Sikoryak lasting effect on a whole generation of kids other scores in other movies, including CONTRIBUTING WRITERS and would-be kids, and it would be stating other Star Wars movies. But since a huge John Allina the obvious to say that John Williams’ score part of the appeal of the Star Wars films is Jason Comerford got a huge percentage of John Williams’ scores (particularly to the Luke S. Goljan us hooked on film readers of this magazine), some of the anger Allan D. Hosack music. is understandable. One has to wonder what Nick Joy Whatever we may Williams himself thinks about this since Steven A. Kennedy think about Attack of the reportedly he hadn’t seen the final cut of the Neil Shurley Clones, something in its movie prior to its premiere. Chris Stavrakis story certainly inspired In retrospect, we probably can’t expect John Takis John Williams this time. Williams’ Star Wars prequel music to have Cary Wong Williams’ score is the same presence and impact as the origi- SUPERVISING CONTENT CONSULTANT motivic, driven by shift- nal trilogy music, just because of the way Al Kaplan ing, rhythmic patterns Lucas now finishes off these movies.