Film Score Friday 9/18/98
by Lukas Kendall
Tonight at the Hollywood Bowl is a film music concert (cond. John Mauceri)
celebrating Warner Bros.' 75th anniversary -- music from Casablanca,
Now Voyager, Superman, The Right Stuff, A Star is Born, Batman, A Streetcar
Named Desire, L.A. Confidential and others. Call 213-850-2000.
Late news: I've received a report that Michael Nyman's score to Practical
Magic (starring Sandra Bullock and Nicole Kidman) has been rejected.
No word on a possible replacement. The film is imminent. If anybody knows
more, please write.
Boston fans and aspiring composers: the Society of Film Composers at
Berklee College of Music (new president, Ben Pedersen) is meeting today,
and every Friday, from 1 to 2PM in room m56, the theater of the film scoring
department. All are welcome.
I just saw the restored Touch of Evil at the Nuart theater here
in Los Angeles. It is terrific, although I miss the Henry Mancini title
music, which has been removed in favor of a collage of source music (various
Mancini tracks appearing elsewhere in the movie) over the famous opening
tracking shot. The movie has been re-edited and restored as per the intentions
of Orson Welles which he outlined in a 58-page memo to Universal in 1957.
I also must recommend the best movie of the fall so far: Ronin,
directed by John Frankenheimer and starring Robert De Niro. I had heard
so much negative and dismissive buzz about this picture but I loved it.
It actually made me want to visit Europe again, and I never thought that
would happen. The movie is about a group of terrorists and rogue mercenaries
in pursuit of a box of great value, which changes hands several times.
It features some outstanding car chases (in the style of The French
Connection) and an overall gritty '70s style... it's the type of movie
Jerry Fielding would have scored 25 years ago, but newcomer Elia Cmiral
has done a terrific score, somewhat in the Eric Serra percussive mode.
Super Search Engine on FSM
Check out our new search
capabilities here at the site. Our webmaster, Bill Smith, has significantly
upgraded the power of our search engine to give much more detailed and
accurate (not to mention useful results). Thanks Bill!
A Good Question
From: David Leung <davidl@intergate.bc.ca>
I was wondering, how come most soundtracks/scores nowadays don't
bother to mention the orchestra/ensemble, etc. that performed the music?
The composer's name is always there of course, but surely the orchestras
that help put the music into play deserve some credit and recognition?
Some of John Williams' scores can be used as an example: the soundtracks
to "Star Wars Trilogy", "Superman", "Raiders Of
The Lost Ark", and some others have always stated the orchestra that
performed the music (in these cases, the 'London Symphony Orchestra').
But now, soundtracks to more recent movies like "Jurassic Park",
"The Lost World", "Hook", "Amistad", etc.,
doesn't give a clue who performed it. Do you know why that is?
Yes. This is because these scores (most of which were recorded in Los
Angeles) are not performed by a name orchestra, but by a collection of
freelance musicians assembled specifically for the movie - called a "pick-up"
group.
Gear Question
From: John Deaderick <deaderick@earthlink.net>
I am a keyboard player and I have a modest MIDI/Computer set-up.
I would like to start trying to score student films at a few local colleges
but I am not sure what kind of video machine I may need to sync music to
tape. Is there a low budget set-up that you might recommend? My guess is
that a stereo VCR might work by striping SMPTE to one side and listening
to the movie audio on another. Please let me know if there is a better
idea for a low budget home studio.
I asked one of my film scoring student buddies who said the following:
I can say a few words for this "competitor." He needs
a stereo vcr with jogging capability and preferably audio and video insert.
He needs some kind of midi interface so the computer can read SMPTE. He
needs a sequencer program that allows for picture lock (performer if he
has a MAC, cuebase or something else if he has a PC). But if he is just
going to approximate timings then he shouldn't really need to buy anything.
Approximating timings in student films isn't that hard. They're all short,
too. He could save money by not getting everything yet.
Well, this ought to answer the question exactly. Seriously, if anyone
has a good short list of gear to get to be a film composer at home, write
in.
From: "Kris De Ruysscher" <Kris.de.ruysscher@skynet.be>
This may seem an odd question to ask, but I suppose you're so close
to the source that there's no real alternative for me but to ask you: do
you know a Californian University/School/Academy that does summer courses
in filmscoring. You see, I'm Belgian and over here in Europe (apart from
Rome) there are NO such classes. Very sad, I know (sob). That's why you
fully understand my request and will do your best (IF you have time for
this, which you'll probably heve, since next summer is far, far away) to
check this out for me.
This is also a good question. The best I can offer is that UCLA features
extension courses in film scoring, which I assume also take place over
the summer session.
We will have more coverage on film scoring programs at colleges and
universities in future editions of Film Score Monthly.
Ryko News
From: Preston Jones <pjones@fulpat.com>
FYI, Ryko soundtracks yesterday and today:
Picked up THE MISFITS and TARAS BULBA. Two more wonderful jobs by
Ryko, two contributions to preserving important 20th Century culture. I
well remember (and still have) the original LP's. It never made any sense
for UA to release so little of North's MISFITS score, because it only took
up one side of the disc. The B-side was put together from a couple of tracks
from WONDERFUL COUNTRY, a couple from HORSE SOLDIERS, etc. Many thanks
and blessings to Ryko for finally doing justice to this prime North score.
TARAS BULBA has always been a favorite of mine, and it's great to have
it finally on CD. But John Waxman and Ryko are in error when they state
that the original Franz Waxman liner notes were never included in the LP.
There was a latter-day pressing of TARAS BULBA, it's true, which cut corners
and did not include the notes. But the first edition had a fold-out cover,
and inside was a handsome, four-page pull-out of the Waxman notes, complete
with a dramatic photo of the composer conducting, (the same one used for
the cover of Varese's Waxman Legends Vol. 1 cd).
From: DAl670@aol.com
Subject: greatest story ever told soundtrack
The three cd set was great,the sound was excellent, Alfred Newman`s
music was moving. I Iook foward to future releases from Ryko. I should
add that luckily the album notes are wrong, and CDs 2&3 are not the
music as heard in the film but the music as it was supposed to be heard
in the film before George Stevens made Newman put certain clasical pieces
(Handel`s Messiah, Verdi`s Requiem) and his own crucifixion music from
the Robe. As now heard it is pleasant revelation. Also CD 1 was not conducted
by Alfred Newman for the ost but by Ken Darby after Newman left the project
in disgust at the changes. Again Ryko should be congratulated for this
great album.
I got copies of The Greatest Story Ever Told and The Misfits
and am loving them. The Misfits is a great score which presents
Alex North working at the peak of his powers: it has both his thematic,
soap opera jazzy side, and his modernistic side, in the 14-minute "round
up" suite, which was designed to play like a ballet. Fans of some
of Goldsmith's more aggressive music from the 1960s will love this track.
Film Music Concert Report
From: Stéphane Auberger <auberger@gol.com>
I received yesterday the Volume 3, number 7 issue of FSM and you
listed at P.8 a Goldsmith concert with the Kanagawa Philharmonic of Tokyo.
I assisted to this concert and actually it was MUCH MORE than that: the
exact title of the performance was "Highlight symphonic spectacular(?):
JERRY GOLDSMITH VS. JOHN WILLIAMS".
The exact program was the following: "End title" from
SUPERGIRL (performed with much vigor by the approximately 80 piece orchestra),
"End Title" from STAR TREK TMP, "End Title" from ALIEN
(The orchestra marvelously transmitted the splendor of the piece, the coldness
of space and ended with a devastating crescendo). Then the bees virtually
arrived with THE SWARM: the orchestra seemed completely at ease with the
terribly exciting and complex action writing (10 time more exciting than
any action cue of Air Force One if you ask me). Speaking of which, the
Main Title of AIR FORCE ONE was next. Then came the highlight of the concert
with the entrance of a 36 voice choir for a "Suite with Chorus"
from THE OMEN: the suite itself his hands-down great, containing the best
parts of the score (Ave Satani, The Ambassador, The Dog's Attacks, it's
the same 12 minute suite recently recorded on Silva Screen's 2 CDs Set
"The essential Jerry Goldsmith Film Music Collection"): It was
quite exciting to watch the dialog between the male and female voices during
"Ave Satani". I guess Satan would love this music. The audience
remained completely silent at the end of it (except for a guy who literally
shouted enthusiastically!).
The second half of the concert was all devoted to John Williams
(a Japanese John Williams fan was here to present each score, wearing a
nice Darth Vader "I WANT YOU for the Imperial Forces" T-shirt
- echoing that famous W.W.II poster): first was "the Imperial March"
from THE EMPIRE STRIKES BACK (the brass section acted as if it just wanted
to wake up the whole audience!). An Earthquake sound then came from the
hall's speakers (not a funny joke in Tokyo) to announce the DISASTER SUITE,
exactly the same that the one recorded by Henry Mancini on the "Godfather
and movie themes" compilation on RCA: the fast tempo take on EARTHQUAKE
was favorable to the somewhat dated piece, THE TOWERING INFERNO was as
exciting as ever, and Bruce came along to visit with JAWS. The choir then
came back for "Exsultate Justi" from EMPIRE OF THE SUN (a last-minute
switch with the announced AMISTAD) and for a marvelous 13 to 14 minutes
suite from HOME ALONE, with a great rendition on "Star Of Bethlehem"
and "Somewhere my memory", the Main Title and chase music filling
the gaps (I guess Santa Claus would love this music too). The presenter
then came back this time with a JURASSIC PARK T-shirt to introduce a long
suite from Steven Spielberg's movie: "Prologue" (preceded by
the roaring of a T-Rex from the speakers!), "Theme from Jurassic Park",
"Journey to the Island", "The Brachiosaurus (help sp?) my
friend", "Welcome to Jurassic Park" and "End title"
. Although the performance was not perfect, it contained nice transitions
and some slight differences in orchestration here and there. The encore
didn't need any introduction: STAR WARS!
In the end, it was interesting to witness the contrasting style
of the two masters, the more smooth, tonal and melodic style of Williams
in comparison to the more sharp and "aggressive" Goldsmith one
(at least as far as the pieces selected in this concert are concerned).
May be that's why people tend to oppose Goldsmith to Williams, because
Goldsmith writes music less accessible to non-music fans (and for unknown
or terrible movies), hence only real film music buffs can proudly announce
"Goldsmith is a genius, don't you know him?", while millions
of people have Star Wars at home. But I digress..
The concert began with a very short piece that I later assumed could
be the "Fanfare for Oscar". Having never heard it I can't be
sure I was that, but needless to say I was blown away by it. In short,
an excellent concert (you said that the concert was recorded, I suppose
this is for a broadcasting on Japanese TV and not for a CD, right?). The
concert was conducted by Orie Suzuki with the Kanagawa Philharmonic Orchestra
& Tokyo Cosmopolitan Chorus.
*IMPORTANT NEWS*:
Jerry Goldsmith will come for the first time in Japan to conduct
a concert of his own music with the Kanagawa Philharmonic Orchestra in
Yokohama on December, 12 and in Tokyo on December, 16. The program is looooong:
"Fanfare for Oscar", "Star Trek V", Motion Picture
Medley ("The Sand Pebbles", "Chinatown", "A Patch
of Blue", "Poltergeist", "Papillon", "Basic
Instinct", "The Wind and the Lion"), "L.A. Confidential",
the Strong Men suite (Rambo/Total Recall), "Rudy/Hoosiers". Second
part: Tons of Scifi with "Capricorn One", "Alien",
"Twilight Zone The movie", "Air Force One" (I guess
that qualifies as a Scifi movie:), "Gremlins", suite from "Planet
of the Apes", and "Small Soldiers". "Mulan", "Forever
Young" and "the Generals Suite" (McArthur, Patton) will
bring the concert to a close. Tokyo residents, be there!
Thanks for this information! For more film
music concert news, see our recent column - but keep in mind that James
Horner's planned Titanic concert at the Hollywood Bowl has been
canceled, due to poor ticket sales.
Trailer?
From: "Nick Rheinwald" <nrheinwa@emerald.tufts.edu>
Anybody? I read somewhere that it was Homeward Bound but don't know
for sure.
The Night of the Hunter
From: sahutchi@iupui.edu
You might want to note that on Mono Puff [John (They Might be Giants)
Flansburgh's non-profit side-band (at www.monopuff.org's
new album, _It's Fun to Steal_, Sister Puff (Robin Goldwasser) sings her
own multi-layerd vocal-only arrangement of "Pretty Fly," a song
by Walter (The Night of the Hunter) Schumann.
This is cool! I'd like to hear that. The Night of the Hunter
has just been released on CD by Bear Family in Germany, but it is the RCA
recording with interminable story-telling narration by Charles Laughton,
and few uninterrupted musical passages.
Aisle Seat Feedback
From: Michael Matessino <mikem@sharplinearts.com>
This is certainly no reflection on Andy Dursin, whose film reviews
are always insightful and informative, but his quick
survey of twenty-six upcoming major releases is the best cure for insomnia
I've encountered in a long while. I'm the first to admit that I've become
a jaded cynic, but I haven't heard a sorrier bunch of plots since I took
my first screenwriting course at NYU. Come on, people, take some chances!
Every plot sounds like something we've already seen, which is probably
why many film scores sound like we've already heard them!
Well, I liked Ronin - see above! And see the Aisle
Seat archive page for direct links to Andy Dursin's movie preview and
review columns here at the site.
Book Review
From: "Alan J. Lasky" <ganymede@home.com>
Hi: I presently own two previous editions of "Keeping Score",
covering film and TV music through 1982. These both were written/edited
by Mr. Limbacher. I know nothing of the latest edition; however, the books
I own are basically a list of films and guide to the composers. There is
a brief introductory section composed of film music articles and comments,
but nothing special. One is much better off with Lone Eagle's "Film
Composers Guide."
Thanks - we asked for comments on this last
week.
Superman
See the Unofficial John Williams Home Page (http://www.classicalrecordings.com/johnwilliams)
for some correspondence with Varese Sarabande about their upcoming 2CD
Superman recording.
As usual, send all your questions, feedback, comments, etc.!
MailBag@filmscoremonthly.com
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