The Online Magazine
of Motion Picture
and Television
Music Appreciation
Film Score Monthly Subscribe Now!
film score daily 

Film Score Friday 9/24/99

by Lukas Kendall

Rykodisc's CD of For Your Eyes Only has been pushed back to 2000. But the good news is that they've done this to be extra sure to have unreleased music on the album, a la Living Daylights. Ryko is moving their offices so cut them some slack.

Wow, was our attempt at a new message board soundly rejected. We've reinstated the old one. The new one we'll file away with New Coke and DIVX.

Still no word on whether there will be a CD of For Love of the Game. A 20-25 min. promo CD was handed out at some industry screenings. The commercial album on MCA only has one track of Basil Poledouris's score. Speaking of which, here's a letter from an admiring fan:

From: movieeddie@webtv.net (Eduardo Abrahantes)

    Just came back from viewing For The Love Of The Game and found myself falling in love with what I feel is one of the most beautiful scores in recent years.In the same way James Horners Fields Of Dreams score gave us what it would be like to play ball in a corn field and dream and wonder of those days when the game was young,Basil Poledouris takes us back to the love of the game with a score that only shows us he is still one of the most romantic composer around.

    From the very begining we are introduced to Billy Chapel (played by Kevin Costner)and find out just what baseball means to him, With Poledouris we go along with that journey with every heart felt pitch of the ball. I found it to be a wonderfull score and hope someone gives it the respect it deserves by giving it a label release.Iam counting on you to please keep us posted if this does happen. Once again, thank you for all the wonderfull news and keep up the great work your doing with the site and the magazine.

Doyle TV Appearance

From: Preston Jones <pjones@fulpat.com>

    FYI, Patrick Doyle was profiled on the wonderful CBS News Sunday Morning program bright and early yesterday. Seems he's recovering nicely from a threatening illness and is now, as they titled the piece, "Back On Track." Also: Can't recall the name of the troupe, but in the LA Times Calendar last week they reviewed a dance recital that had been performed to the tune of Korngold's symphony...

What Dreams May Come

Here's a good question:

From: "Ed Wang" <pugsley@excite.com>

    Something that's been bugging me: the end credits to "What Dreams May Come" states that Chris and Annie's Theme (the melody heard in the main titles) is based on the song "Beside You," composed by Martin Fulterman and Michael Kamen. The song is contained on the soundtrack album, but is credited to Mark Snow and Michael Kamen. Would this be "The X-Files"'s Mark Snow, and was a pseudonym used in the movie's credits?

I think I know the answer to this, but as it's now midnight I can't call Mark Snow himself to confirm. When Kamen did his What Dreams May Come score, he did it at the last minute (he replaced a score by Morricone) and used an old composition he wrote with Mark Snow, "Beside You," from decades ago, possibly when they were at music school (Juilliard?) together. And I think Martin Fulterman is either Mark Snow's real name or a pseudonym, as you surmise. Check out the ASCAP listing for Harry Fulterman (http://www.ascap.com/ace/writers/detail.cgi?recNo=14828); it's basically Mark Snow's credits (http://www.ascap.com/ace/writers/detail.cgi?recNo=14827). I guess "Mark Snow" is a sexier name to build a career on.

Bond

From: "Brian McVickar" <Brian.McVickar@alltel.com>

    I was curious to know if people are anticipating David Arnold's new Bond score this fall for "The World Is Not Enough". I am interested to hear if he'll continue augmenting his music with the contemporary rhythm tracks, which are admittedly cool (like 'Backseat Driver'), or refer more to the early Barry scores. What got me thinking was that I recently rewatched "Diamonds Are Forever" and I am always impressed at how well John Barry's music leads that movie along with being overt. There's an early sequence in the desert with Mr. Kidd and Mr. Went when they drop that scorpion down the dentist's back and it was incredible how subtly creepy Barry makes this sequence with only a few sinister chord progressions and that slinky flute tune. It's also great how much variety and color he gets from the title song, one favorite version being the cue when Bond arrives at the airport in Nevada with the body of Peter Franks. I guess I'm just hoping that David Arnold is insightful enough to know how and why Barry did what he did so well in the Bond films, being selective in spotting and not too overbearing, which Arnold's music often was in "Tomorrow Never Dies", especially in that motorcycle chase sequence. Any comments?

I think the best James Bond movies, the great ones of the '60s and early '70s with Connery, bear no relation to the current movies.

Plans?

From: Robert Baum, cnm@pond.com

    Does anyone know if there are ever any plans to release the score from the 1984 film "Tightrope?" It is a decent Lennie Niehaus effort along with some work by a group called the James Rivers Movement. I wonder if this was an entity Clint Eastwood created so no one would know that he did some music. Now I have no idea if indeed he did anything other than give a heck of a performance and producing the film but I believe that he wrote--or at least had a a hand in creating--music for "Pale Rider," "Unforgiven," "A Perfect World," "The Bridges of Madison County" and did some singing in "Bronco Billy," "Any Which Way You Can," and "Honkytonk Man."

    I wonder if "Firefox" will ever be released. I was under the impression that Maurice Jarre's scores will always be put out somewhere.Could it be that some thought that releasing a synth score the same summer that "Blade Runner" was released would be a bad idea?

In general, there are probably no plans to do anything you might want. Sad but true. I love the Firefox score with the goofy heroic theme.

Preisner Appearance

From: "Iain Herries" <iainherries@x-stream.co.uk> (by way of

    On Friday 15th October, as part of the Leeds International Film Festival, Zbigniew Priesner will be at the Hyde Park Picture House in Leeds, discussing his collaborations with director Krzysztof Kieslowski. There will be a showing of Three Colours:Red to follow.

    For more information go to www.leedsfilm.com, or e-mail filmfestival@leeds.gov.uk

    or call the information line on 0113 247 0398, or for tickets the Civic Theatre Box Office in Leeds on 0113 245 5505.

Jaws Piece

See the Jaws overture article we recently printed.

From: Michael Matessino <mikem@sharplinearts.com>

    The author of the JAWS article is obviously (hopefully) European, since he identifies the Williams' ostinato heard at the beginning of the film as alternating between F and F sharp. The European television system PAL is based on a frame rate of 25 frames per second. In America it is 30. Here, films shot and projected at 24 f.p.s. are transferred to video by repeating 6 frames out of every 24 to stretch it to 30. In Europe, they simply transfer the film by playing it at 25 f.p.s, thinking no one will notice. Visually it's not bad, but this increase of one frame per second raises the pitch of the music by a semi-tone. The JAWS main title ostinato was written and played as E, F, E, F, etc. On a European videotape, from a transfer done at 25 f.p.s, it becomes F and F sharp. Personally, I find this annoying and can't believe that composers haven't complained about it in all these years.

Warning: Don't use this stuff to pick up girls.

From: Randall Derchan <DSPY007@aol.com>

    Interesting article. It is no doubt that "Jaws" is clearly one of the great commercial films of the century. William's music, any cue, brings back a real nostalgic feeling in me. It was one of the first soundtracks I ever bought and will always be cherished. It was music that you could really sink your teeth into. Sorry.

The First Score

From: "JOHN O'LAUGHLIN" <jmolaughlin@worldnet.att.net>

    Can you tell me what was the first movie score/soundtrack ever written, when, and by whom? I have tried, to no avail, to find the answer to this question. I hope you are able to help me. I need this information for school. If you can't help me, can you direct me to a website that can?

I told John to start his life of crime already because I don't know. It depends on the interpretation, but I seem to recall the first score ever is for a 1906 or 1907 silent film, The Assassination of the Duke de Guise, by Saens-Saenz. I think I just got all of that information wrong. Well, too bad, somebody correct me.

Article...

If you're into digital orchestras and synths, check out an article at Sonic Control:

http://www.soniccontrol.com/tech/midi/articles/090199/digitalorchestra.shtml

Have a nice fall weekend!

MailBag@filmscoremonthly.com


Past Film Score Daily Articles

Film Score Monthly Home Page
© 1997-2014 Lukas Kendall. All rights reserved.