This News Friday 1/23/98
by Lukas Kendall
What's the news today? The news is that I got around 40 e-mails yesterday
(Thursday) about James Horner and Titanic, in response to my
Horner comments. Most of these will be printed in a column next week
so that they can be ignored all at once. But I will address a couple of
them here, as a convenient way of hiding the fact that I have no particularly
important news to announce.
From: "Kevin Grey" <kgrey@mail.vt.edu>
In
your recent (1/22) article on Horner, you note how his music "makes
the hero good, the bad guy bad, the love scenes romantic, and suspense
scary" and then later note the irony through lack-of-irony in Williams'
"Star Wars" score. From an emotional level, what differentiates
Williams' "Star Wars" scores from, say "Titanic?" Doesn't
Williams' music make the heroes good, the bad guys bad, love scenes romantic,
and suspense scary? Perhaps this is why the "Star Wars" scores
are among the most popular in film history, once again appealing to the
lowest common denominator?
I said that Star Wars had an "irony through lack of irony"
which I believe to be the case. The movie takes place in a fairy-tale world,
creating a story out of various myths and past film references, that is
impossible to miss. So that even though the film itself is not campy, you
can feel the human construction behind it, right from the opening words:
"A long time ago in a galaxy far, far away." Titanic on
the other hand takes place in a "real" historical time with complete
attention to detail and realism.
From: Jennifer Markham <markham@jps.net>
If anyone still has doubts abouts the plagaristic capacity of James
Horner, please find a copy of Schumann's First Symphony, First Movement,
and listen to it. 'Nuff said. [It's Willow. -LK]
I didn't respect James Horner before, but how can you even like
a guy who didn't allow Will Jennings more than one sentence at the Golden
Globes? When they win their Oscar, I hope WJ gives him a good elbow to
the solar plexus on the podium. Jim, nobody wants to hear your lame accent
anyway.
From: "Shold, Kyle" <KyleS@humongous.com>
I respect the fact that you, Mr. Kendall, and the rest of the FSM
staff stick to your guns concerning your opinion of Horner and other subjects.
It would be easy to back down in fear of losing some of your readers but
you hold fast and I really respect that. Do I agree with all of FSM's articles
and reviews? Of course not. I get defensive just like everyone else. But
FSM provokes thought and that's why I and a lot of others like your publication
and site. People don't want to be pandered to. You've done a great thing
with FSM. It's not world peace, but it's a piece of the world. Bravo!
Question: Would it be safe to say that the Star Wars Trilogy is
the longest orchestral/ musical narrative/piece ever written by a single
composer concerning an overall subject? I know that there have been some
long and great symphonies over the past hundred's of years. But we're talking
about 6 or 7 hours of music here.
Thanks for your support. About what is the longest piece of music, I
believe Wagner wrote several operas of mammoth proportions--into double
digit hour length.
Questions
From: Warren Hsu <wvh@TSO.Cin.IX.Net>
Do you know where I might be able to find a promo edition of Apollo
13? Are the true promo editions extremely rare (and expensive?) and are
the bootleg versions more numerous? Do the bootleg versions have lesser
sound quality and how can I tell them apart from the promos?
Secondly, do you know if a purely score version of Back to the Future
exists?
Lastly, I recently purchased the special edition of Raiders of the
Lost Ark and enjoyed reading your comments inside... however, something
puzzling...I have seen two different packages available: one with the cardboard
sleeve and a white CD case, and the other with no sleeve and a black CD
case...which is the "preferred"?
There are some subtle differences between the Apollo 13 promo
actually issued by MCA for Oscar consideration, and the bootleg. We had
an article in a past FSM, I forget which issue. They probably sound alike.
There was never a release of the actual score to the first Back to
the Future.
The Raiders of the Lost Ark CD you saw with the black case might
have been the original release by Polydor. The expanded one (the one to
get) has the slipcover.
Bestselling Question
From: Scott McCulloch <cnbr115@lismore.cc.strath.ac.uk>
Can you tell me what is the best selling purely orchestral soundtrack
of all time. Titanic doesn't open here in the UK till Jan 23, but I'm told
the movie features a song from Celine Deon which may explain in part, the
soundtrack albums somewhat broader appeal.
This is a darn good question. I do not have access to record sales charts
but am told that the last instrumental score to hit #1 on the album charts
was Chariots of Fire, and before that was Dr. Zhivago. Can
anybody help?
I'm Cry-ing...
From: Sean <e.design@sympatico.ca>
I don't really useally like your comments on James Horner, but your
last was pretty good. I'm just wondering what pieces of film music might
bring you to tears or almost to that point.
Some pieces that I own that can have that effect are:
from Mike Oldfield's The Killing Fields - Pran's Theme
from James Horner's Cocoon - Rose's Death
from Horner's Casper - Casper's Lullaby
from Horner's Titanic - An Ocean Of Memories
Only really James Horner and Mike Oldfield have been able to pull
it off, maybe the theme from Schindler's List played out with the violin
can do it to, mainly when you think of the context of the film. So I'd
really like to know yours.
The only one that springs to mind is Fahrenheit 451 by Bernard Herrmann.
I invite readers to continue this thread on our message
board.
What an Orchestra Contractor Does
From: "Shold, Kyle" <KyleS@humongous.com>
I've noticed on seemingly dozens of music scores going back about
five years that Sandy De Crescent is listed as an Orchestra Contractor.
I don't see a credit for an orchestra contractor on most older albums.
However, The Hunt for Red October names Carl Fortina as the Orchestra Contractor
for that 1990 score. What exactly does an Orchestra Contractor do? I'd
even like to see an interview with Ms. De Crescent in FSM.
We did have a piece on Sandy, way back in FSM #52, December 1994. An
orchestra contractor hires the musicians, makes sure the recording session
meets the union guidelines, takes care of payroll, things of that sort.
They tend to work with specific composers, but do move around as per the
studio, job, schedule, etc. That's the short answer.
By the way, orchestra contractors are extremely important and helpful
to composers. People in town know, don't mess with them! Fortunately contractors
like Sandy De Crescent and Patti Zimmitti are so wonderful that you'd never
want to!
Fantasia Soon
From: Wdp321 <Wdp321@aol.com>
I noticed on the upcoming films and their composers list that Bruce
Broughton will conduct the music for Fantasia Continued. Why Bruce Broughton?
No offense to him but he is no Stowkowski! Why not John Williams or James
Horner? Has Disney set a date for Fantasia Continued yet every time I hear
about it they push it back a year. I first heard about it 3 to 4 years
ago. What is up with the production. Fantasia is my favorite Disney animated
film!
I don't know the current status of Fantasia Continued. Maybe
Disney hired Broughton because he's a very good conductor and composer
and, uh, they couldn't afford Williams or Horner? Sometimes it can be that
simple.
Brief Festival Report
From: Kombiz Lavasany <gumby9@pe.net>
I just came back from the Palm Springs Film Festival and got the
oppourtunity to see about 11 films, (mostly foreign), there is little doubt
about the power that a film score has on a film. I saw a few bad movies
including Gary Oldman's Film (nil by mouth) which was not only treading
on treaded ground with the whole heroin chic stereotype but missed a whole
emotional center with weak music (Eric Clapton) and most of the film was
not scored. But at the same time I saw a few brilliant films which were
all accompanied by great scores that I have been dying to let people know
about. Two in particular:
The first and best was a caech film by the name of
Orbus Pictus,
a childrens fairy tale that can't help but pull me into it. It was accompanied
by one of the best film scores (Vladimir Godar) I've heard in a long time.
The score underwrote the film so well that the mouth would water at the
first movement of strings wanting the experience never to end. What can
you tell me about this composer and if nothing can you find information
about him. There is little talent in Hollywood that could have matched
the intuition of the composer.
The other film that struck me was a depressing little german film
called Mandrogora,
The music captured the feeling of the film and was happy when the protaginist
was going through the worst. This normally would have have really pissed
me off but the off beat vocals that composer (Wolfgang Hammerschmid) used
really helped.
Please get back to me or your readers if you anything about either
of these composers.
I haven't heard of them, sorry. Thanks for the reports!
Announcing...
Are you interested in reading boring film music arguments in another
language?
From: Arnaud Damian <squanto_fox@hotmail.com>
As the redactor in chief of TRAX ZONE, i send you the adress of
one of the first french site in the area of the Film Music!
The site is in french, but we are going to translate the articles
in english soon. The site (TRAX ZONE) contains (by now)several soundtracks
reviews, two composers tributes (Arnold - McNeely), and some news... But
soon you'll find the big and huge Goldsmith's tribute and in a galaxy not
so far away a Williams' tribute....
TRAX ZONE: http://www.geocities.com/hollywood/studio/2385/
Alfred Newman Suggestions
From: Terry Roberts <troberts@netins.net>
How refreshing to find someone besides myself who would like to
hear, see and know more about the "golden age" composers. Personally
I think the magnitude of this subject merits its own monthly "Film
Score" magazine. Just imagine issues and articles devoted to Newman,
Tiomkin, Waxman, Korngold, Friedhofer and on and on! Backgrounds on scores
to "The Robe", "Land of the Pharohs", "Spirit
of St. Louis", Kings Row" and my all time fav, "the Bishop's
Wife"! Herbert Stothart would deserve his own issue too! We lament
so much about the lack of originality in scores today. The other day I
watched a golden oldie starring Vincent Price, "The House of the Seven
Gable" and guess what? Danny Elfmann's "Bat Man" theme.
Note for note! I just think that scores of today were inspired by the scores
of yesterday. Some great Alfred Newman's CD's in my collection, (per the
request of a FSM reader) are "How Green Was My Valley", "The
Robe", "Anastasia" and the ultimate "How the West was
Won"!
From: John Maher <maherj@federal.unisys.com>
Concerning the note from the person who wanted some recommendations
on Alfred Newman scores, I would suggest "How The West Was Won",
and "Airport", two of his best. He also scored the most famous
movie studio fanfare ever, for 20th Century Fox.
John also mentioned a book coming up soon by Jon Burlingame, The
Newmans of Hollywood.
From: Mark Trachtman <mtrachtman@henninger.com>
The absolute must-have CD is the classic "How The West Was
Won," available on a 2-CD set beautifully packaged from Turner with
tons of music, that incredible "Main Title" in full glory, chase
music, romantic interludes, powerful medlies of American folk music arranged
by Newman and Ken Darby and, okay, some Debbie Reynolds vocals, but you
can easily skip that stuff. There's really never been a western score like
it since.
I also find "The Robe" a beautiful score (re-released
on FOX a few years ago but still available from the usual suspects), and
I believe the Charles Garhardt series of re-recordings, including the "Alfred
Newman" disc, are available on CD.
And, as we should all remember, it was Newman who recognized Jerry
Goldsmith's potential and helped get him his first scoring assignments
at Twentieth Century Fox, so not only was he a founding member of the Newman
dynasty (those old Newmans; Alfred, Lionel and Emile; and all the new Newmans;
Randy, Thomas and David) he helped launch the Goldsmiths as well.
From: pruettm@vancpower.com
Probably the best introduction to Alfred Newman's music is the RCA
Victor CD "Captain from Castile: Classic Film Scores of Alfred Newman".
This is one of the series of "Film Music" LPs recorded
by Charles Gerhardt in the 1970's. Almost all of these are now available
on CDs.
Newman is probably best known for the 20th Century Fox Fanfare,
still widely heard over their logo in movies and now television. Newman
was for many, many years the Musical Director at 20th Century Fox, and
is considered a member of the pantheon of golden age film composers that
includes Korngold, Rosza, Steiner, and Waxman.
The RCA recording includes selections from "The Song of Bernadette",
"The Bravados", "Wuthering Heights", and "Airport".
This latter score, released in 1970 (the year Newman died), shows how well
he could adapt to stylistic changes in the movies.
And with all the talk about how many times John Williams has been
nominated or won an Oscar, it's worth noting that Alfred Newman received
50 Academy Award nominations, and won nine times.
From: "Jeffry D. Heise" <jdh@socialstudies.com>
I have some suggestions for the reader inquiring about scores by
Alfred Newman. Both THE ROBE and HOW GREEN WAS MY VALLEY OSTs are available
on CD (Arista), the complete score to HOW THE WEST WAS WON (2CDs) on Rhino,
AIRPORT on Varese, and Tsunami in Japan has the OSTs to SONG OF BERNADETTE
and THE DIARY OF ANNE FRANK (my personal favorite), but these two are very
expensive. You should be able to get these through Screen Archives Entertainment
on their website. I cannot recommend the Gerhardt/NPO re-recordings on
BMG-the performances are a bit below par (especially the "Conquest"
section from CAPTAIN FROM CASTILE), which, fortunately is the only CD from
this terrific series to disappoint me. If you can find a copy of the score
for THE EGYPTIAN (on Varese)-which had both Newman and Bernard Herrmann
working on it when the workload became too much for one-grab it. It is
very hard to come by and most definitely worth it.
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
NRG Is Evil Part 2
In ancient times, we discussed other topics than James Horner on this
site. Last Friday I mentioned I saw a test-screening of Payback and was
disgusted by the "preview" process. Here's a little missive I
received from someone in the know.
I worked for NRG when I first got out here. I did phone awareness
surveys in a room with about forty others doing the same thing. Part of
the survey was to ask respondents to tell us what they thought a movie
was about, even if they hadn't heard of it, strictly based on the title.
We were told to encourage them to make something up. These surveys result
in the articles you may see in the trades referring to such and such film's
high awareness or "must see" status prior to release.
I have been to a few of these screenings (after I quit NRG) and
was equally disgusted by them (I saw Rosewood and Face/Off, the former
did have Williams' score and the latter was temped wall-to-wall with Zimmer).
The frightening thing is that this after screening panel discussion can
ruin a film. There's no objectivity. People are asked what they liked and
didn't like about the ending and other parts of the film. The ending is
also compared to the endings of other films (many of which have no relation
to the film screened). Mr. Farrell, the president of NRG, comes from a
political polling background. In spite of the fact that the numbers culled
from these screenings, which often dictate whether or not a film will receive
a strong opening (marketing, publicity etc.), have never been proven to
reflect box office.
As for articles on NRG, there was a good one published in Premiere
in the summer of '96 (I think). Art Linson also mentions the test screening
process (and Farrell) in his great book on producing A Pound of Flesh.
Sidney Lumet's book on directing mentions the screenings but I can't recall
if he mentions NRG by name. I believe the laserdisc for 12 Monkeys also
has producer Chuck Roven and Terry Gilliam discussing a particularly bad
screening.
In spite of being around for only 15 years or so, Farrell's NRG
has a stranglehold on Hollywood. Nervous studio execs place their jobs
in his hands as the millions of dollars spent are often justified based
upon screening results. Then if the film tanks, they can say, "Hey,
the numbers were great, It just didn't find an audience." Conversely,
execs have been known to lose their jobs over a bad screening. As much
as I love film making, this aspect is repugnant.
See You Next Week
I know my responses today are brief but I've been deluged in work today
and haven't had the time to be my usually brilliant and verbose self.
Contribute! MailBag@filmscoremonthly.com
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