This News Friday 2/13/98
by Lukas Kendall
Where did this week go? I feel like I just did one of these things yesterday.
Maybe I'm thinking of the Oscar
nominations summary--the big news this week.
Andy Dursin, our trusty Aisle Seat scribe, reported the following from
our native New England: "Hey, I don't know if you caught this, but
Carly Simon apparently refused to score Primary Colors unless scenes of
the Hilary character cavorting around were cut. Mike Nichols apparently
refused to do it, thus she's no longer scoring the picture (this was in
the Boston Herald, of all places)."
This is news to me, I'll be investigating it soon.
Oscar Fascination
From: Zatzrite@aol.com
It's that time of year again when the Oscars are announced. Just
5 words to say: "GO GET 'EM DANNY ELFMAN!"
I am glad that the Academy voters have finally come around and voted
not just once, but twice in his favor. His score for Men in Black, while
not ground breaking as far as Mr. Elfman's talents are concerned, lifted
that film 10 fold. His score for Good Will Hunting is some of the best
writing he has ever done, but alas I am afraid that James, I like to repeat
myself, Horner will walk away with the statuette this March.
I am also upset that, in my opinion, the best score of the year,
Jerry Goldsmith's LA Confidential will lose to that Titanic thing. While
the Academy overlooked his similar and then original entry in 1974 for
Chinatown, I believe that this was Mr. Goldsmith's best score since Basic
Instinct, and we know what happened there come Oscar Night.
Well, voting for Mr. John Williams' entry in the race was given
to Amistad not Seven Years In Tibet. I agree with your daily article today.
Seven Years was a much better score, but you know I would have liked to
have Mr. Williams been nominated for Rosewood.
Philip Glass? I Don't Think So.
From: "dragon7" <dragon7@icanect.net>
I can appreciate the talent that Philip Glass has, but I listened
to Kundun and there was no "music" to speak of. I guess if I
were from India or the Orient I would appreciate it more, but can you honestly
hum me one section out of that? [Yes -LK] I suppose to be politically correct
this thing had to be nominated for best picture and score. This movie could
put anyone to sleep and I will be fit to be tied if it wins in either category.
Secondly, despite varying opinions, I am a litte intrigued that
Contact didn't get nominated for best picture and Full Monty did. This
is another obvious political correctness move. Yes, I can appreciate the
charm and wit, but can someone really sit there and try to sell this one
off to me as picture of the year. Full Monty took Contact's place, in my
opinion, even though we all know Titanic is going to clean house.
Speaking of Titanic, I can't believe Leonardo DiCaprio didn't get
nominated for best actor, yet I think one of the guys from Full Monty did.
As usual, I won't waste my time watching the Oscars; I'll wake up well
rested the next day unlike most everyone else who will have stayed up past
midnight for something that takes way to damn long and take five minutes
to read the results in the paper.
Elfman's score for Good Will Hunting impressed me as always.
I hope I can get a score album of this somehow, somewhere. I am very proud
of him for his nominations. He has come a long way and he richly deserves
it. I'd laugh until death if his score beat out Horner's Titanic, but we
all know Titanic will clean house in every category even though it probably
shouldn't. Yes, it is the best picture of the year, but I am not so sure
about best score... ;-)
Please contribute your thoughts to the current Oscar speculation on
our Message Board.
Radio Show
Ted Fry <tfry@real.com> wanted to inform us of a new feature at
Film.com:
Be sure to check out the newest feature of Film.com: The Ted Fry
Show! On the premiere installment, Film.com's Ted Fry takes you on a guided
tour of some of the Academy Award contenders for best song and best score.
Lively, fun, and full of terrific music, the show comes to you through
the magic of RealAudio, so you can listen again and again. Just follow
this link: http://www.film.com/cinecism/tfs/
then follow all the complete, continuing Oscar coverage throughout the
pages of Film.com.
Oh, and another plug:
From: Andy Hudson <ahudson@ix.netcom.com>
My name is Andy Hudson and I'd like to let you know about our BRAND
NEW UNIQUE SITE called SHORTMOVIES.COM. This is a new site dedicated to
short films where customers can surf the site and buy short films (which
we send to them on VHS via snail mail) from all kinds of filmmakers and
festivals such as Sundance, New York, LAIFF etc. http://www.shortmovies.com
Titanic Stuff
From: LLussierP@aol.com
I heard that James Cameron originally approached Enya to write music
for Titanic... she interpreted that this meant scoring the entire film...
when she heard Horner had been retained for the film score she felt jilted
and backed out of the project entirely. Unfortunately, Cameron had already
temped the film with large quantities of "Book of Days"...hence,
Horner's final music score (portions thereof) ended up sounding very similar
to "Book of Days"... now I've heard a rumor that she's suing
for copyright infringement. Have you heard anything about this? On another
note, I just heard a rumor that Horner will be on stage with Celine Dion
performing his Hit Single during the Oscars... he will play piano and conduct
therefrom (a la David Foster) wow! I can't wait.
I do not know of any Oscar plans for Horner to be on stage. So all of
you guys, don't write me! I don't know! Enya has not sued (yet), although
some wags have taken to referring to her as "the plaintiff."
If I was Enya, yes, I would be pissed. I do not know the details of her
non-involvement with the film, but it does seem likely that at one point
she was asked to contribute to it.
Another thing: I mentioned earlier that Goldsmith loathes Horner. People
wrote me asking what happened --if they were in a fight or something. As
far as I know it's nothing that specific. How would you feel if some younger
guy used to date your daughter as an excuse to hang around your recording
sessions, stole a lot of your ideas and approach (on early scores like
Battle Beyond the Stars and Deadly Blessing), and then pooh-poohed
any connection or debt to you?
Bernstein Question
From: "Pulliam, Ron, GSA-RPM" <RPULLIAM@gsa.mail.co.alameda.ca.us>
I enjoyed Mr. Robuck's article on Elmer
Bernstein's appearance at the San Jose Film Festival. I question one
of his comments, however, and hope that he can clarify a point that may
be a matter of my own misperception. He stated that Elmer Bernstein "introduced
jazz to film" with "The Man With the Golden Arm" (circa
1955). Surely that distinction belongs to Alex North for his "A Streetcar
Named Desire"? Or perhaps he distinguishes between Bernstein's "jazz"
and North's "jazz"? I would like to understand his point of view
on this matter.
Yes, A Streetcar Named Desire is generally regarded as the first
use of "jazz" in film as score, but Bernstein probably was referring
to the different type of jazz in Golden Arm. Sorry about the confusion.
Legrand Suggestions
From: wilson@teleweb.net (Kari Wilson)
Love the site; always something of interest, be it psychotic people
in need of medication on the message board, or the useful info you provide.
For the person who wanted Michel Legrand recommendations, mine would
be for the classic film The Umbrellas of Cherbourg, just released for sale
on video a couple weeks back. While not traditional score (the film is
sung through, like an opera, with no spoken dialogue), it contains some
gorgeous music. Since the words are all in French, it helps to see the
film first, but the soundtrack contains the entire film on two CDs, with
some nice extras thrown in on the second disc. The booklet is all in French,
though, which is somewhat puzzling for a U.S. release. Still, well worth
looking at, if only to see the film, which is absolutely beautiful to behold.
3) Continuing with Legrand, I can say the one UA score I would love
to see rereased on Ryko would be Legrand's follow-up to Umbrellas, The
Young Girls of Rochefort.
Ryko is releasing Legrand's score from the UA catalog, The Thomas
Crown Affair, which I just watched on video tonight. Catchy song!
From: Kevin F Dick <baleywik@tgn.net>
Yep, I cut my permanent teeth on the Ice Station Zebra score when
it came out as a gatefold LP on MGM in 1968. It is outstanding! So I was
really pleased when the CD recently issued. I play it a lot too.
For more Legrand, do whatever is necessary to find a copy of The
Three Musketeers on the defunct Bay Cities label. It is another outstanding
example of his work.
From: Mark Trachtman <mtrachtman@henninger.com>
More "old fart" recommendations in response to "Star
East's" request for some good Michel Legrand scores:
Of course, "Umbrellas of Cherborg" (spelling?) his classic
musical is probably his most famous work (I don't even know if it is available
on CD - in fact, I know most of Legrand's stuff from LP since I've been
at this for over 30 years now), but there's another musical Legrand also
did with Jacques Demy called "Donkey Skin (in French it's something
like "Peu D'ane" but don't quote me). "Donkey Skin"
is a fantasy and there's lots of interesting instrumental portions to the
score, which I DID see recently on CD at Tower Records here in DC.
"The Three Musketeers" is a very nice score, and "The
Thomas Crown Affair," soon to be rereleased on Rykodisk is a nice
jazzy, very 60's style score. Legrand scored a version of "Wuthering
Heights" in the early 70's, I think, which is moody and dramatic,
but that's got to be a rare record for certain. And there's also a nifty
French thriller he scored with a main title theme sung by Petulia Clark
called "The Lady In The Car With Glasses and a Gun," but good
luck finding even the record, never mind whether it's on CD (but it does
exist on LP).
And in a non-soundtrack mode (are we allowed to talk about this
here?) Legrand did a fabulous album of songs with Sarah Vaughn including
his themes from "Brians Song" and others, but again, I only know
of an LP.
From: "David A. Koran" <webmaster@soundtrack.net>
You mentioned a query about the availability of Legrand scores.
There is a quite passible one released by Silva for the NBC production
Danelle Steel's "The Ring". It's actually not that bad and has
me wondering if there are others to be found (The Danelle Steele stuff
scared me off, but the music is quite good). And, Yes Virginia, "Never
Say Never Again" does really suck dooty!
Barry Documentary Question
From: Tony Bennett, TBenn222@aol.com
How can I obtain a video copy of the PBS documentary Moviola? Any
help and or assistance would be greatly appreciated.
This is a good question. This is the John Barry documentary from a few
years back which tied in with his Moviola album on Epic. It was
broadcast on PBS and I thought released on video by Sony. Can anyone help
out?
Olympic Stuff - Again!
From: Abdiel Salazar Jr., Piping77@aol.com
I wonder if you know what music was played during the "Parade
of Nations" part of the Opening Ceremonies. I've asked other people,
but know one responded. Sounds like a montage of classical and Japanese
traditional music.
From: "David Yackley" <YackleyDavid@classic.msn.com>
Saw on your website questions concerning the 94 Olympics fanfare...
According to 100 Years of Olympic Music (Dr William Guegold, Golden Clef
Publishing - Mantua, Ohio):
Nils Henrik Asheim won the competition for the Olympic fanfare.
The piece was written for 12 trumpets and played live at all Olympic ceremonies.
The composition was based on the Hardanger fiddle tune Bjolleslatt, a country
dance from the Valdres valley. Asheim also arranged a brass band version
of the fanfare titled Olympic Fanfare and March.
The book also contains an interview with John Williams, conducted
the day following the premiere of Williams' 1996 Olympic Theme, Summon
the Heroes.
Fahrenheit 451 Is Good
And don't you forget it!
From: "Liverance, Howard M" <HLIVERANCE@tpa.HealthPlan.com>
A quick note of appreciation for your recent mention of this one.
It's been quite a while but I pulled out my "Fantasy World Of Bernard
Herrmann" LP and gave Farenheit the hear-through. Such a magnificent
score--echoes of his T-Zone music for "The Lonely" and "Walking
Distance". As a kid I went to the Saturday matinee and have never
forgotten the enchantment of "Mysterious Island"; too young to
make the connection then that the creator of its music was the same composer
of my beloved T-Zone, etc./et al. No question the seeds of love for film
music had already been planted and Mr. Herrmann had done much of the early
watering.
They say (besides teenage girls) young children are creating much
of the audience for Titanic. This has been quite unexpected--a similar
phenomenon happened to the T-Zone series of which I was a part. Question:
Would not the score for Farenheit have worked well with Titanic? Both films
dealt with forbidden passions, albeit of the between-the-classes kind in
the latter. And every theme from Farenheit would seem to have a corresponding
place in Titanic.
That's an interesting question. I love the Fahrenheit 451 score--also
The Ghost and Mrs. Muir--and would have loved to have heard it in
Titanic.
Mad World Question
From: Frank Richardson, DONPACO25@aol.com
What is the matter with the MGM/UA 's new CD version of It's a Mad,
Mad, Mad, Mad World? The dialogue snipits are okay but again only a small
fraction of the soundtrack (as with the LP) is offered and the truth is
that it is not the original soundtrack. Mad World is a unique film and
the Ernest Gold composition is expansive, expressive, and a driving force
in the movie. Again, fans are stuck with taping the VHS version in order
to enjoy the score. If I recall correctly, there was a dispute between
the philharmonic orchestra who recorded it and the recording label company.
But hell, the film is 33 years old and many of the people associated with
it must be gone by now so let's get an authentic soundtrack!
There is a simple reason why the original film tracks to Mad World
have not been released. They cannot be found!
Komeda Komeda Komeda
From: Martin Smith <smit-ed0@wpmail.paisley.ac.uk>
Hi , I was wondering if you knew anything about a release of Komeda's
score for the Polanski film THE FEARLESS VAMPIRE KILLERS. I heard ages
ago it was coming out but haven't heard anything since and have been really
hoping for this one.
Still no word on a release date for this. Label X Germany has been planning
a release for some time now.
Film Music on TV this Weekend
Don't forget to check this site for cool scores to this weekend's movies-on-TV
fare: http://columbia.digiweb.com/~ellenbe/fmtvindex.html
A recent Variety article by Jon Burlingame surveying film score
critics' best of 1997 should be online now. I'm in it! http://variety.com/events/event.asp?category=205
Have a good weekend! Sorry if my comments are a bit brief today, I'm
really zonked and writing this around ten minutes before it's "due."
As always, send in your questions and comments: MailBag@filmscoremonthly.com
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