Film Score Friday 2/5/99
by Lukas Kendall
Next week -- hopefully -- we'll offer for sale our next FSM Silver Age
Classic CD, a classic Jerry Goldsmith western, never before released. It
all depends on whether it comes back from the pressing plant in time. You'll
love it!
The DVD of Rush Hour will feature a commentary track with composer
Lalo Schifrin and director Brett Ratner.
Did anyone get the new Roy Budd CDs from Castle Communications in England?
The best one for me is The Black Windmill, a Michael Caine '70s
gangster film. To explain Budd's style, imagine if Lalo Schifrin was reduced
to infancy, and his DNA spiced with fragments of Jerry Goldsmith, John
Barry and Jerry Fielding. Then he grew into some new person who, at a very
young age, scored British movies in the early '70s. Also released are Diamonds,
with some phat Taking of Pelham style rhythms, and Fear Is the
Key, which has a 9-minute "Car Chase" that's like a prototype
of CHiPs (although sadly loaded with sound effects). Two other CDs
are less satisfying for me, as they take Budd out of his funk idiom and
into exotic lands: The Paper Tiger and Sinbad and the Eye of
the Tiger.
John Barry fans: FSM will be carrying John Barry: A
Life in Music by Geoff Leonard, Pete Walker and Gareth Bramley, a beautiful
new hardcover book loaded with photographs. We have ordered 200 copies
which are somewhere over the Atlantic right now. We will provide full ordering
information once they arrive -- the book will cost $44.95 due to the exchange
rate and freight, and the fact that it's a damn fine work! This will be
the ONLY U.S. source for the book, at least for now. Postage will be $5
U.S./Canada and $10 for rest of world. If you want to pre-order, send
me an email with your name, address and charge card info (VISA, MasterCard,
Amex). Thanks!
"Where did the quality go?"
From: Justin Freer <composer@ucla.edu>
Over the past decade and even on past that, film music in some sense
has been on the decline. Why is this? Is it a lack of quality in the picture?
Or is it a lack of quality in the composer? I would like to argue that
they are both somewhat responsible for what we hear in film today.
Think back to the days of Errol Flynn and Hitchcock. Try to imagine
just for second in your mind how much quality and thought were put into
those now classic movies. Everything thing down to the significance of
the camera angle played a role in the movie. For example, could you imagine
the scene outside of the airplane in Casblanca if it was shot let's say
from an overhead viewpoint? It would have been, well, comical. And in movies
today it seems as though numbers of directors will use the most convenient
angle just to get the shot done and get home before dinner. These things
matter to a composer! The biggest decline that I've noticed in film today
is the thoroughness of the script and how well it plays on the screen.
A good majority of the time I'm able to decipher what's going to happen
over the course of a two hour movie just by the first 20 or so minutes.
It's pathetic! When I watch such classics as Citizen Kane, The Sea Hawk,
They Died With Their Boots On or The Ten Commandments, I am absolutely
riveted by the quality of the story line. Thanks to directors like Spielberg,
Lucas, Stone, Scorcese, and others I can say that there are still those
type of magnificiently written films that allow for those great scores.
Let's now look at the quality of composers that this era includes
and/or is producing as we speak. When most random people are asked what
music they can remeber from a given film that they have seen, most will
say Star Wars or Star Trek, Gone With the Wind or Casablanca, Indiana Jones
or Jaws. Do you see the use of the same composers here? Steiner, Williams
and Goldsmith are just a few of the quality composers that are out there
or have been out there in the past. So, although this may not be an accurate
number of composer representation, the quality is what we're talking about,
not the quanity. Yes, Williams had to work his way up to the major motion
picture status, but he always possesed the ability to write quality music.
This is due largely to his training, and this is my arguement. Composers
today just do not have the training that the truly great ones have. Some
do not know that both John Williams and Jerry Goldsmith at one time or
another studied composition with the same renowned composer, Mario Castelnuovo-Tedesco.
The training that they have recieved is so obviously intense when hearing
the technique and thematic material that they use when composing. Let's
also keep in mind that Williams is part of lineage dating all the way back
to the late nineteenth century where German composers started to show up
in America. And as time moved on into the twentieth century, many moved
to Hollywood such as Erich Korngold who had the classical training that
was recieved by composers such as Mahler and Shostakovich. This sound and
technique was handed on down through composers such as Hermann and Newman
and eventually on to Williams and Goldsmith who were around to work with
these great composers. This is one reason why it is upsetting to hear those
certain acuusations as to sounding like a composer, or more commonly known
as ripping off. This common sound in film is due to the lineage. And today
the number of composers with this lineage is dwindling away, hence one
reason for the lack of quality music in film today.
One can only hope that one, directors will create a "quality"
revolution, and two, that composers coming out of school will have the
classical training that is needed to write original and technically sound
music, no pun intended. This way the lineage will stay true to form.
Well, we know the chances of THAT happening... the best we're going
to get in the next few years are some intriguing soundscape type scores
more akin to sound effects than music, and some well-done pastiches of
past works. If we're lucky, we'll see the next "break out" talent
who will make us think differently about movie music.
What About Joe?
From: "Katie T." <ktroudt@premrad.com>
I was looking over your poll which asked who would win the Oscar
for best score and there a couple that I think were neglected.
What about Meet Joe Black? I am not a fan of Thomas Newman, but
his music for that film was gorgeous! The finale gave me goosebumps! That
was a grand orchestral score if I heard one. That was Tom Newman at the
top of his craft.
Also, I think the score to The Prince of Egypt was great. Hans Zimmer
said he had a tough time scoring the burning bush sequence but I thought
he did it beautifully. I love scores that try to incoporate a little bit
of everything in them, from drum ryhtyms to lush choirs and etc. Even though
Hans has already won an oscar, he deserves a shot at another one, in this
case, the music made the film.
I left out Meet Joe Black because I expect The Horse Whisperer
to be Newman's best chance at a nomination. I was going to list Zorro
and not Deep Impact for Horner in the Best Dramatic Score category,
but Zorro may be in the comedy category, strangely enough. Worked
for Men in Black!
Best Of
From: "Simon Husberg" <s.husberg@telia.com>
I add my list of top scores of 1998:
Saving Private Ryan -John Williams (Beauty, simplicity and grace
from the master)
Mulan -Jerry Goldsmith (percussion and memorable themes, Goldsmith
is back in a great style)
The Mask Of Zorro -James Horner (In my opinion, this is Horners
best work in many, many years. Yes, it's better than the grand, but rather
simple Titanic)
The Truman Show -Burkhard Dallwitz & Philip Glass (Highly original)
The Prince Of Egypt -Hans Zimmer (Nice arrangements and some powerful
themes)
Honorable Mentions:
Antz -Harry Gregson-Williams & John Powell (Many people don't
like it, but I simply finds it too stupid and wacky to resist)
The Avengers - Joel McNeely (Great. I'm really looking forward to
Mr. McNeely's future scores)
What if I just titled this "Two cheeseburgers to go and a large
Coke" or something?
From: keownd02@vaxa.cis.uwosh.edu
Media and fellow readers of film scores. I always thought of criticizing
as an art. A way of positive learning even if the critic had a lot of faults
in one's performance or doing. Now I know that we're in a time where media
plays a big role in society. The viewers and readers of the media's material
get bored of the same old material put out so the media likes to start
up controversy.....Never mind....I think you know what I'm talking about.
James Horner for many years now has been a threat to a large formed
group of people who love Williams, Goldsmith, etc....There is a threat
that some day Horner will be known as a better composer, maybe the best.
This knowledge of information threatens this group. The group has formed
into a media and have brought along with them a mass of other Williams
fans to go against Horner. This group becomes hateful, cruel, and comical
at some of the things they publish. No, don't tell me you're criticizing
either. I'll be the first to admit that there is nothing bad about bad
criticism, it helps the musician to look at his or her music through a
different view to improve on their work. Do you think Horner can do that
with "the group's" critics, when their critics comments start
off "Horner is one who always likes to copy his music here are bunch
of examples of Horner copying." Williams has copied his music as well,
you would know if you picked apart on Williams as much as you have Horner.
Hello group, Horner is your main target in this craft. You guys are afraid
of the new generation. Now, I know you'll come to your defense and say,
"no, Danny Elfman will be right up there with Williams and Goldsmith
and he's new generation," I say, "you know why he's up there,
because he'll be great and everything, but he'll never out do Williams
or Goldsmith." You guys I know see talent. You have to. You've been
listening to the greatest, like Korngold and Goldsmith and Williams, so
you can see future talent. Yes Elfman is extreme talent and you've also
seen Horner's talent. Group, don't get down and dirty and feel threatened
by Horner. Let him be. He won't do anything to Williams or Goldsmith. I
have loved film music for years. I've listened to everything. I have no
intention in bashing Williams or Goldsmith, or anybody of the elite, they're
some are my favorite composers over Horner. I'm just saying, don't critic
Horner, I'm sorry, it's really not considered criticizing is it? Don't
bash the hell out of Horner just to make yourselves and your followers
feel better and that everything is going to be all right. I'm open to some
good bad criticism. Williams, Goldsmith, Elfman, Horner, etc.... are maginicent
at what they do. Lets go into the 21st century with some improved criticing
habits....group.
Top Ten 1998 Scores...
From: CLauliac@aol.com
I am quite surprised to learn that the bland song "The Prayer"
was awarded the Golden Globe for best original song! Not only was "Quest
for Camelot" one of the most horrendous animated films ever released,
I think the songs were unimaginative, mediocre... and there were too many
of them. I will never figure out these stupid award ceremonies. Anyway
here is my top 10 list of the most effective and involving scores of the
year :
1 - Saving private Ryan - John Williams' solemn and understated
score is not only a very effective film score, I think it is also an introspective
symphonic journey, full of emotion, never intrusive.
2 - Meet Joe Black - One of Thomas Newman's best, in a more classical
way but a truly magnificent work. "Everywhere Freesia" is perhaps
one the liveliest, most original theme I have heard in a long time. "That
Next Place" gives me goose bumps every time...
3 - Great Expectations - Alfonso Cuaron's both faithful and modern
take on Dicken's masterpiece greatly benefits from such a lovely, spellbinding
score. If you haven't, check out both movie and score album, they are worth
it! Pat Doyle is definitely one of the best, most gifted composers around.
He scared us all this year, though.
4 - Mulan - A too short album, as far as such a powerful score is
concerned. By the way, Goldsmith's modern version of the transformation
cue is also available on the french CD. I think European collectors were
favored over americans this time!
5 - The Prince of Egypt - Although I do not care much about Zimmer's
music, the blend of powerful songs and Zimmer's fair enough score add a
lot to the pleasure of watching one of the three best animated movies ever
made. But I think John Williams should have composed both songs and score
for this one...
6 - The Horse Whisperer - Unabashadely romantic Americana, with
Newman's own stylistic twists on the western genre. Truly great.
7 - Deep Impact - More effective heard in the context of that intelligent
and compelling disaster movie. Less intrusive than the favored Mask of
Zorro. I Love Deep Impact's long end title cue!
8 - The Butcher Boy - Goldenthal at his best. And what a great movie!
9 - Les Miserables - An overlooked score, revealing the full romanticism
of its composer. Poledouris is not so heavy-handed after all...
10 - Beloved - It was good to hear Rachel Portman break away from
her lyrical, anglo-lyricism. I still have to see the movie when it opens
in France but the "Uhuru" song moves me to tears in a fresh and
unmanipulative way. Buy it!
Honorable mentions : Christopher Gunning's Firelight, a dark and
very lyrical british score. Herrmannophiles and Vaughan Williams fans everywhere,
this one is for you. Goldsmith's bombastic and ironic Small Soldiers was
great, so was John Williams' Stepmom, bittersweet and touching. And Nicola
Piovani's sunny, catchy theme for Life is Beautiful...
Film music rocks! Here's to 1999!
Top Ten Cues
From: jason.henry@lw.com
Thoughts on another Top Ten's Favorite list, this time Your favorite
filmusic cues (even phrases) from your most favorite scores. I know this
can be numerous but if you limit it to your favorite film composer and
the cues that you would like to see back to back on a CD that you could
play for hours on end and enjoy your favorite aspects of film music and
what in film music you hold dear (i.e. ethereal string lines, bombastic
brass, low muted brooding winds, etc).
I for one have no problem with delineating good film music away
from its visual counterpart because I enjoy listening closely to pick apart
orchestration and its interplay with themes, melody and its overall psychological
influence in acheiving its goal to manipulate the listener's feelings:
These are my favorite musical cues that stir my psyche to jello:
VERTIGO Judy's Confession (The closest I think of music "crying
out" to the audience) so beautiful and heartrending
BENEATH THE 12 MILE REEF Out to Sea (Orchestration cannot get any
better-listen how those piccolos, strings dance around each other then
are blown down by those low powerful tubas)
ON DANGEROUS GROUND Car Chase end and pursuit (low winds segue into
that trance-like cue for strings and low brass). Similiar whirlwind Herrmann
famous for as in Judy's Confession.
MYSTERIOUS ISLAND The Island (One of my all time favorites) when
I go to Hawaii I hum this all the time while their and especially on island
hikes. The Nautilus (Unfortunately one of the missing cues) The timeless-
ness (that is space and time) of this cue is mesmerizing: horns, strings
and vibraphone.
GARDEN OF EVIL The Aftermath - A new one for me. What a heartfelt
elegy for strings, I can't stop playing this and cranking it up.
THE GHOST and MRS. MUIR - The rising/falling phrase of the main
title repeating near the end of the film depicting the sea and passing
years. Has never been matched in filmusic for its shear beauty.
PSYCHO The Peephole - Ingeniously eerie and disturbing
OBSESSION Court stares at Tomb (segued from past to present) this
music is not on the soundtrack album. But it is full of yearning.
WALKING DISTANCE (Twilight Zone) Through the looking glass and soda
shop. Yes I have cherished this cue as did the gentlemen who covered your
1/13/99 FSD.
FAHRENHEIT 451 Montage while Montag waits for wife to recover, and
Montag is followed by Julie Christie.
Maybe I'm reaching but I know people are drawn to certain portions
of music throughout their life and hum these tunes often. You might think
it too extensive but introduce it if you want when your empty of things
to write and see if it takes off.
Next time I'll pick another composer or mix and match but since
Herrmann is my favorite I thought I'd start there.
What? Herrmann? Hey, no talking about old dead composers here -- only
lame new stuff. Just kidding. Folks, please follow this up on the message
board. Thanks!
Radio Show
Okay, for the 0.5% of the FSM readership in the relevant geographical
area:
From: Jimmy Aquino <j_aquino@cats.ucsc.edu>
This Saturday, Feb. 6, at noon, I'm doing part one of a two-part
birthday tribute to Goldsmith entitled "Solid Goldsmith" -- my
favorite Goldsmith cues for two weeks -- and part one will include interviews
with Jeff Bond about Planet of the Apes and ST:TMP, recorded in September
and December. The station is KZSC 88.1 FM -- Santa Cruz, CA.
Have a great weekend!
MailBag@filmscoremonthly.com
| 
