This News Friday 12/19/97
by Lukas Kendall
We still don't know who is scoring Lost in Space in Jerry Goldsmith's
absence (scheduling conflict). People here in Los Angeles who decide these
things are taking off for the holidays so it's hard to uncover info.
James Newton Howard will sign Postman CDs at Creature Features
on the afternoon of January 4th (Saturday). This is a store in Burbank,
they have all kinds of sci-fi stuff. Call them at 818-842-9382. They will
mail order signed CDs for those of you who don't live here in L.A.
Mike Murray and his friend Recordman inform me that there is now a Burger
King TV commercial for its french fries featuring Isaac Hayes singing an
altered "Theme for Shaft" to Mr. Potato Head. Mike mused, "Must
be hard times in the Hayes' household"; more than likely, he's gotta
feed the scientology machine. His appearances on South Park are
priceless, by the way.
Someone asked me what a "CD-R" is, in reference to some postings
on our new message
board. It's a recordable CD, which you can make at home on a recordable
CD player. The actual disc sounds like a CD (because it is one!) but it's
gold on top and greenish on bottom.
Anyone catch this in the Variety review of Kundun?
Avant-garde composer [Philip] Glass has written a forceful, varied
score, full of foreboding and mournfulness, that lends unexpected textures
to the film, sustaining momentum even when the story threatens to stall.
It's a tribute to Glass' glorious achievement that it's impossible to evaluate
"Kundun" without acknowledging the unforgettable spell of his
music.
We'll have an interview with Glass in the February FSM. Remember: there
is a hundred times more info in the hardcopy magazine Film Score Monthly
than we have room and time to include on this site!
Release Questions
From: "William N.Zarvis" <WnZarvis@cc.berkshire.org>
I just heard an outrageous rumor that the music for the animated
television show "The Mysterious Cities of Gold" will be realeased
on CD this year from some French label. I am going nuts even entertaining
this idea as reality because I have loved that show since it aired back
in the 80's. Could you please post this info/question on your site so I
might be able to catch the attention of someone with relevent information
that might be able to help me?
OK, here it is! Anyone? I've never heard of this.
From: FoxMulderQ <FoxMulderQ@aol.com>
Lately I have been wondering about the delays in getting some new
volumes out on television film scores. I was pleased that Hercules and
Xena finally came out with a second and that the Outer Limits came out
with its first. But what is in the future for some of my other favorites?
Is there any word on if a volume number two will be on its way for Star
Trek: Deep Space Nine, Star Trek: Voyager, The X-Files, and ER (and will
this one contain Martin Davich's great music at the end of "Union
Station"). Also if there is any word on perhaps a first score release
from NYPD Blue and Poltergeist: The Legacy.
There is a Poltergeist: The Legacy CD out from Sonic
Images. It is a shame that so many of these are held up, but in the
case of Star Trek and The X Files, these are major studio
properties and any tie-in item like a soundtrack receives intense marketing
scrutiny. By that I mean, nothing can happen until a lot of lawyers have
their egos properly stroked by getting to make suggestions which are later
ignored--or enforced, in which case the project takes even longer. Also
in the case of Star Trek, there are high musicians union re-use
fees to contend with--not the case with synth scores like The X-Files
or foreign or non-union recordings like Babylon 5 or Hercules.
GNP Crescendo does plan a Jay Chattaway TNG album next year, as well as
another Deep Space Nine album.
Agent Mulder also asked if Hans Zimmer's theme to The Critic
was ever released--I don't think so.
Finally, yes: The Living Daylights is being reissued on CD. It
will be out from Rykodisc in their MGM series next June: Ryko is the label
that previously caused values of the existing rare Octopussy CD
to plummet when they reissued that. No word yet on extra music or not.
Oscar Speculation
From: graeme wearmouth <graemew@imag.net>
Have we all forgotten Eric Serra's contribution to the cause of
film music this year? If the Academy in any way honors new directions in
scoring, then The Fifth Element, which I think was an entirely successful
score, should get a nod. Probably won't happen though. By the way, what's
with everyone's scoop on Oscar and Lucinda? I feel left out.
I was a fan of the Fifth Element score, if not the movie, but
the conservative Academy would never nominate it, especially not to such
an expensive French sci-fi mess-terpiece.
I have not heard Oscar and Lucinda; I, and others, are just assuming
that it's Oscar bait between the composer (Thomas Newman), director (Gillian
Armstrong), and subject matter (period romance).
Dark horses for dramatic score nominations could also be The Wings
of the Dove, a fine Merchant-Ivory styled score by Ed Shearmur to a
film which was good, albeit like watching paint dry, and The Ice Storm,
which was a terrific movie and score.
As Good as It Gets has been receiving great early word of mouth
and a comedy score nomination for Hans Zimmer is likely. Also expect Marc
Shaiman for In and Out and David Newman for Anastasia.
As expected, there were some comments about the letter last
week complaining about John Williams being nominated so frequently:
From: JacobRobbins@webtv.net (Jacob Robbins)
In 22 years, Williams has won four Oscars for original scoring (I'm
excuding Fiddler since that was for adapted score): Jaws in 1975, Star
Wars in 1977, E.T. in 1982, and Schindler's List in 1993. In the two decades
since Star Wars, he has won only twice. Furthermore, I would say one could
make a pretty good case that none of these four Oscars were wasted.
For the people who say that Williams wins too often: Schindler's
List was 11 years after E.T., and it was pretty deserving. What
else should have won? The Fugitive? No offense, but no. The Firm?
Oh, fans would have liked that. The Remains of the Day? That would
be another "Il Postino" type win by some art house favorite.
No, the only viable alternative was Elmer Bernstein for The Age of Innocence,
and it lost to Schindler's List. What can you do?
From: "R. Nelson" <rnelson@kikuobata.com>
In reply to Jeff Comings comments about the Oscars and John Williams.
This smacks of the typical favoritism and over-protective attachment toward
a composer that we seem to hear all too often these days. To declare that
someone is not a "true film score fan" because they question
the Academy's apparent over-zealous admiration for JW's work is a stretch
to say the least.
The next point has to do with William's not having won enough Oscars.
Let's see... five. That seems like plenty. He's LOOOOOONG overdue, huh?
Wasn't Schindler's List just three or four years ago? Let me just say that
while I cringe at the Academy's past injustices to other composers I do
feel that John Williams truly deserves every one of the statues he has.
In other words if he were destined to win five Academy Awards then he got
them for the right scores. Should he have won any other times? I'm not
completely convinced of that at all. The whole nomination process at the
Academy has always baffled me.
Sure William's Superman, Indy scores and his non-winning Star Wars
scores could have been unquestionable wins. ("The Empire Strikes Back"
probably should be statuette number six for Williams.) Many JW nominations,
however, seem questionable to me... The River, The Towering Inferno, The
Missouri Breaks, Empire of the Sun, Sabrina, Nixon, Born On The Fourth
Of July and, worse yet, Home Alone for best dramatic score? Puleeeze. The
fact is that there are so many excellent scores by other composers that
never get recognized while the Academy holds an open seat or two for Mr.
Williams. A frustrating reality indeed.
The desire to see other composers like Jerry Goldsmith (who has
been cheated of both nominations and wins far too many times) recieve due
honor and recognition IS a sign of a true film score fan. Instead of a
monopoly by one single artist representing a single approach to the art
we should want to see as much of the film scoring community recieve due
recognition as possible.
I realize that I may have just painted a big red target on my head
for all the Williams zealots to take aim at. If it makes any difference
to them I place no responsibility on John Williams himself for the way
things seem to be. He's just doing his usually excellent job. It's the
public's (and the Academy's) tendency to fawn with little objectivity that
drives me nutty.
As far as the 97 Oscar race I will refrain from making any predictions
as the principles that drive the current Oscar politics escapes me. The
only thing I know for certain is that John Williams will be nominated.
The question of which score and it's true merit are almost moot.
Scream Stuff
I now here that there will be a score album to Scream 1 and 2,
but have absolutely no details. Sorry. I'll call the people who would know
after the holidays.
The Duane Eddy-performed theme from Broken Arrow (Zimmer) was
tracked into Scream 2 for a certain character. It's got to be a simple
case of falling in love with the temp track by the filmmakers.
Elfman did *not* score the "Stab" movie within a movie, but
instead the Greek play performance piece which takes place during the picture.
Something You Didn't Know About John Williams
From Corey C. Witte:
Scott Hanson mentions [last
week's column] that Williams didn't compose the score for California
Split, which is correct. However, it's easy to say he did as the Lone Eagle
guide credits him. I think he was unable to do the score because of the
death of his first wife Barbara. If you view the film closely, there are
a lot of Barbara's. Altman was (is?) good friends with them and the film
is dedicated to her. Those interested in more info should check out the
book Jumping Off the Cliff, a thorough book on Altman.
Starship Troopers Fallout
From: James L Perry <jlperry@U.Arizona.EDU>
In response to my responder (I assume Jeff Bond, also
last week), I will say that I have nothing against tattoos, just big
ugly stupid ones.
And I just think Starship Troopers looks DORKY as one might say.
I suppose that COULD be the point. I'm just tired of hearing people say
how great it is, and I do hope that people stop putting out Con-Air and
Starship Troopers movies.
Rob Holzel wrote to tell me that the "woo hoo" pop song being
(misleadingly) used in the Starship Troopers ads is called "Song
#2" by the group Blur.
The Best Set Up for a Joke by Lukas Kendall
From: omrecords@costasol.net (Carlos Salcedo)
I have offered a music that I have composed for a possible film
of The Lord of the Rings. We have sent messages to Spielberg and
others.If you want you can find more information on Spielbergs messageboard
(ref.! The Lord of the Rings): http://www.InsideTheWeb.com/messageboard.
Best Regards,
Usul
Tell me about your homeworld, Usul.
Folks, have a wonderful holiday week, and stop back Monday for another
fine Film Score Daily!
Lukas@filmscoremonthly.com
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