Hidden Gems: Part I

by Glenn Baker

I don't think this column could be more timely. Let me get right to the point: contrary to what film score fans have recently been reading on this and other film music web sites, and on rec.music.movies, film music is NOT dead. Last year the topic that had everybody up in arms was James Horner's tendency to reuse some of his older stuff (harsher critics were quick to label him a plagiarist). I recall just about everybody jumping on that bandwagon. This year, especially right now, it's apparently "chic" or "in" to say film music is dead, and that anything new must be bad. Some claim that one must go back to the so-called Golden Age of film music to hear anything worthwhile, while others are at least willing to admit that some respectable scores were written even as late as the early '80s. Interestingly, we're hearing this both from an older generation of fans, who apparently believe film music died with Waxman, Newman, Tiomkin, etc., and a younger generation, which has somehow fallen for the notion that it's almost impossible to write a quality score anymore because there aren't any good movies.

To both groups I say this: hogwash. If there is less trash to be found in the days of Tiomkin, it's mostly because there was much less music being written. In my view, there are plenty of excellent scores being composed right now by composers like Thomas Newman, Danny Elfman, Carter Burwell, and the old masters Jerry Goldsmith and John Williams. I'll go a step further, however, and claim that there are a number of composers out there whose startlingly original work most of you would enjoy, if only you had the opportunity to hear it. Fortunately, some of it has been released and is available (Danna's "The Ice Storm"--at least in part, Horowitz's "Three Seasons," Blanchard's "Eve's Bayou," and Brooks' "Affliction" immediately come to mind). So don't jump on this bandwagon. Check out some of the newer stuff out there--you might be pleasantly surprised at what you find.

While it really is not my intention to join or continue the debate on whether film music is dead, that supposition is the main reason why I decided to do this column in the first place. I cannot cavalierly dismiss the genre as some of you have; I've just heard way too much excellent music being written in the past few years, sometimes by composers about whom I know absolutely nothing. Thus, I thought it might be a good idea to highlight some of those composers, with the hope that some of you might eventually discover their work and change your minds about the state of film music today. That explains "Hidden Gems."

I chose composer Todd Hayen for my first interview. I first heard a demo of Todd's work about a year ago and have been hooked ever since. In my opinion, he's the perfect example of someone who is creating excellent music in relative anonymity. Todd also has worked as an orchestrator and conductor for Gary Chang and Van Dyke Parks. The good news is that his most recent score, "One Last Flight," has just been released as a promo and is available at Intrada (www.Intrada.com). "One Last Flight" is performed by a 90 piece orchestra. Check it out--it's a good place to start and discover Todd's range.

I could not pick a better person for my first interview. Todd was up-front, patient, and honest about some difficult topics. Growing weary of reading composer interviews that simply ask composers about their current work (although I also do a little bit of that), I decided to focus on those topics film score fans are talking and writing about today. You may be quite surprised by some of Todd's answers. He has some strong opinions on the current state of film music. He also gives excellent insight into the amazing difficulties composers face today; after reading what Todd has to say, you might not be as quick to criticize when a composer does not meet your expectations.

Glenn Baker: Where did you grow up?

Todd Hayen: I was actually born in Agana, Guam. My dad was in the Navy so that is where we were stationed at the time. I grew up in various places -- Puerto Rico, New Jersey, Washington DC and Northern Virginia where my mom and step dad still live in a big beautiful house built in the late 1800's.

GB: Where were you trained? Did you attend college?

TH: I attended Shenandoah Conservatory of Music (now Shenandoah University) in Winchester, Virginia for undergraduate work and ended up with a Bachelor of Music in Composition. I studied with Will Averitt and Tom Albert, two phenomenal composers and teachers. I went on to graduate school at the University of Cincinnati College Conservatory of Music and studied with Scott Houston.

GB: Where do you live now?

TH: My wife, Janice, and I made the trek to Los Angeles in 1980 and have been here ever since. We have a home in Pasadena overlooking the Rose Bowl and a studio in Burbank. Janice heads up a very successful music preparation service and works for composers such as Mark Isham, John Debney and Lalo Schifrin.

GB: Do you remember what was the first score you ever purchased?

TH: Actually I think I know the answer to that question! Most probably it was "The Sand Pebbles" by Jerry Goldsmith. It had a great influence on me and is essentially the reason I went into this field. What a brilliant work. I also remember purchasing "Summer of '42" by Michel Legrand. I'm sure I was listening to other stuff before that. I do remember SEEING "To Kill a Mockingbird" at some old Virginia drive-in theatre before that and was blown away by the effect the music accompanied with the visuals had on me. That opening sequence really made an impression.

GB: Why "The Sand Pebbles"?

TH: I'm not sure why I originally purchased the "Sand Pebbles" score -- probably because I had seen the movie and wanted to be reminded of it. You couldn't just rent movies then and see them again and again; you had to buy the soundtrack to get back into that world. Of course I was into other music at that time, so I suddenly discovered music that was not just classical. It was an awakening.

GB: When did you know you first wanted to write music for films? How old were you?

TH: Well, I suppose it was about the same time that I started listening to film scores when I was about 14 or 15. My first exposure to "visual" music was the musical theatre. My mother was an actress and was always involved in some sort of musical. When I was around 7 or so I used to sit in the living room with my ear plastered to the front of the old stereo (I doubt if it was "stereo") and listen to "The Music Man" "South Pacific" or some other musical for hours, over and over again. I liked the way certain parts of the score would make my heart beat faster or give me that emotional flush---the power of a good dominant to tonic resolution! I got into music for it's own sake a few years later but was always intrigued by music to something visual. As I became a teenager music became a very romantic thing to me. It was always very emotional, and I was desperate to create music that elicited those same responses. This is about when I discovered film music. I found out that people actually made a living writing this stuff. And there was nothing more appropriate for me than creating music that went with something visual -- music that brought out and heightened the emotional content of a visual experience. I was hooked. Of course I went through a few years in college being told that film music was not really music--not by my composition teachers, they were very supportive--but I did manage to get over that.

GB: You bring up a good point. Some music "snobs" have written that film music is not to be taken seriously. What are your views on that topic?

TH: Film music is usually not "serious" music. At least not in the way that these "academia" composers define it. We must remember that to them any music created with the input of other people, most of them being "non-musicians", cannot possibly be a truly artistic expression. This does seem strange; however, I do understand where they are coming from. Film music is it's own thing. It cannot be defined using the same criteria as in defining "classical art composition." Yes, I do believe there is a certain snobbery out there, and a lot of it is sort of justified. Film composers have to work under such artistic restraint it is amazing that anything at all decent comes out. We used to be allowed a certain amount of artistic freedom, but these days film music is a "committee" task and so much good stuff is thrown out due to the whim of the un-informed and as a result of test screenings. Style plays a huge role as well. Film composers are often having to draw from older and "out of date" styles and techniques. Film music usually still has to be accessible and certainly must provide certain dramatic elements that the film itself demands. The movie also becomes the form of the composition and that certainly isn't "composing" in the traditional sense. But still, there is a lot of room for argument here, and I certainly for one believe that film music IS "real music." Although I do believe there is a distinction that must be made. You cannot fairly compare oranges with apples.

GB: You have worked with other composers. Please discuss what role you have played on those films and what kind of learning experience it is/was for you.

TH: I have worked as an orchestrator and conductor primarily for Van Dyke Parks and Gary Chang. You couldn't have two composers further apart on the spectrum. One is a minimalist and the other a "musical micro-manager." Both of them are exceptional artists and brilliant film composers. I have stopped orchestrating for most other composers, but have continued with these two primarily because we have established a history of loyalty and friendship, both professionally and personally. Without question, I owe a lot of my development to both of them. They both work in a style that is very different than mine, and just for that reason I learn a tremendous amount whenever I work with them. It is always very interesting to see in extreme detail how another composer approaches a scene. If it is radically different from the way that you would approach it you can either disagree, which seldom happens due to the fact that they are good composers, or see a totally fresh way to look at something. My experiences with these composers has been extremely valuable.

GB: Could you briefly expand on what you do as an orchestrator. In your role as an orchestrator do you ever find yourself adding any of your own original music?

TH: As an orchestrator I take a sketch from the composer I am working for and blow it out, or expand it, so the hired complement of musicians can play it. Many times I must make all of the decisions regarding color--which instruments play what--texture, doubling etc., but often these elements are at least hinted at. I generally do not make changes in melody, harmony or rhythm. Certainly I have been asked to write cues for projects I am orchestrating. Nearly all orchestrators are asked to do this from time to time. I have on occasion filled in cues with counterlines etc. but try to refrain from doing this, especially in recent times. I believe that an orchestrator is hired to expand a composition for an orchestra to play. The composition he works on must reflect the composer's intentions. The composer was hired for HIS compositional style and approach. Needless to say an orchestrator can botch that up nicely if he is adding a bunch of stuff the composer never intended. This is self-indulgent incompetence as far as I am concerned, and I do feel strongly about orchestrators doing this. The only time this really makes sense is if the composer is working in a historic or specific style, such as Broadway or big band, and he is unaware of making that style work with his composition. Then it is necessary for an orchestrator to apply whatever is necessary to pull it off.

GB: Is there any type of film (e.g., romantic comedy, sci fi, drama, etc.) for which you most like to write music?

TH: That is a difficult question. Usually it is the opposite of what I just finished working on! I particularly enjoy things where a good rousing orchestra can be put to use but also love to work with more intimate styles. If I had to say what I was best at I would say the more subtle stuff. I love to work with dialogue where very tiny dramatic changes take place and the music works within that context to support those changes and add another element of drama. My favorite film music cues that other composers have written are usually of this type.

GB: Which composers, if any, have had an influence on the methods you use?

TH: Wow, that is a hard one. So many people have had influence. So many films have had influence. I suppose I would have to cite some of the greats such as Jerry Goldsmith and John Williams. Jerry has such a great knack of making nearly every movie he works on something unique and special. He has a wonderful dramatic sense as well. Gary Chang has helped me immensely to see the broad stroke of a scene. He can set the mood with one very long and single idea for an entire 4 minute scene, which at times is exactly what is called for. Some of Danny Elfman's dramatic work is phenomenal -- "Dolores Claiborne" is an incredible score. I love what Thomas Newman and James Newton Howard are doing as well. Early on my influences were my own teachers. I am amazed at how much I actually picked up from my first composition teacher, Will Averitt. At the time I was studying with him I wasn't so sure of it, but now when I hear his work I am amazed at how much I have tried to emulate his methods. As silly as it sounds, Beethoven was also a real inspiration. There is no composer I know of that can "push" you into the next "scene" better than he can! I don't study scores and composers the way that I used to. We all get set in our ways, and in many regards our own work has to become our primary inspiration. That is, after all, what it is all about.

GB: You recently finished a score for a movie called "One Last Flight." Please tell us about this score.

TH: "One Last Flight" is an action-adventure kid's film about a ten-year-old who is determined to grant the wish of his elderly grandfather to fly again as he did in WW II. It will end up on television at some point. It was a great adventure doing the score as we went to Moscow to record it with the Moscow Symphony Orchestra. The music is available as a promo CD from Intrada (www.intrada.com).

GB: Please tell us about your experience working with the MSO.

TH: Working with the MSO was a delight. We had a few technical snags, but once they were resolved things went very smoothly. The orchestra needs a bit more experience recording current film scores--they do a wonderful job with the Marco Polo score reconstructions--but I am sure they are up to that task. We could never have recorded a score of this size with this budget anywhere else, and I am thankful that we had the opportunity to go to Moscow and do it. I am very much in love with the musicians in Los Angeles and try very hard to avoid any situation that would compromise them. I can't help but think that the more live orchestral music we have in smaller movies the better it will be for these musicians in the long run. I find it a greater disservice to record a score like the score to "One Last Flight" with synth samplers than going to Russia and doing it with a live orchestra. Of course hardliners would say you shouldn't do either, but that just isn't realistic these days. The director was ecstatic with the score. We had done mockups of all of the cues with synths. He loved them as well and wasn't really sure why we would bother to go to Russia and score with a live orchestra. When we got there and he heard his score performed by a 90 piece orchestra he was no longer skeptical. The difference between the mockups and the real thing was drastic, and the mockups sounded pretty darn good! Richard (the director) feels the power of music in his gut. He loves what it does to his visuals and now knows live players have a lot to do with that emotional charge.

GB: What else have you been working on?

TH: Around the same time as "One Last Flight," I also composed the score to a film called "The Crown" (it has been retitled to "Born to Win"). I used a rather intimate ensemble featuring soloists Grant Geismann on guitar and Tommy Morgan on harmonica.

GB: The harmonica is seldom-used today. Have you used it in any of your other scores?

TH: I did a little score to another kid's film called "Finding Kelly." This was a light slightly more contemporary score kind of in the style of "Heathers." We used a harmonica as a focus instrument along with bass marimbas, vibes and what not. It was fun.

Part II tomorrow!

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