Film Score Friday 3/08/02
By Scott Bettencourt
It's here! It's here! Yes, after taunting you for over a week with their
imminence and their eminence, we have the new FSM CDs, LOGAN'S
RUN and LUST
FOR LIFE, in stock, and we have begun shipping them.
Jerry Meets His Nemesis (No, It's Not BT)
In the least surprising film music news of the week, Jerry Goldsmith
has been officially announced as the composer of the upcoming feature Star
Trek: Nemesis, due from Paramount at the end of the year. This will
be his fifth score for the series, not counting his Emmy winning theme
for Star Trek: Voyager, and his tendency to putter around his house
in a bathrobe singing the songs from "The Way to Eden." Yay, brother.
Goldsmith was pretty much a shoo-in for the Nemesis gig, since
he composed not only the last two Trek features but the two other
films directed by Nemesis helmer Stuart Baird, Executive Decision
and U.S. Marshals.
But on the other hand, one would have thought James Horner was a shoo-in
to score The Sum of All Fears, as he scored the previous two Jack
Ryan movies as well as the last three (including the TV movie "Freedom
Song") films from Fears director Phil Alden Robinson. But that job
went to -- Jerry Goldsmith. Coincidence?
Apparently the plot of Star Trek: Nemesis concerns some kind
of spaceship -- excuse me, folks, looks like they call it a "starship"
-- named Enterprise, whose crew includes some men, some girls, and what
the Our Gang kids would call a "row-butt."
Shoo-in. It's a fun word. Just wanted to use it again.
Don't Panic. It's Coming
The score to the third collaboration between composer Howard Shore and
director David Fincher, the thriller Panic Room, will be released
Sarabande on April 16th. In the script by struggling screenwriter David
Koepp (Jurassic Park, Mission: Impossible, The Lost World),
Jodie Foster plays a woman who must protect her young daughter from three
burglars inside their immense New York brownstone. The thieves are played
by Forest Whittaker, Dwight Yoakam, and Jared Leto, so the intruders' deadly
specialties will be acting brilliantly, singing country, and looking pretty.
Reader Roman Deppe (firstname.lastname@example.org)
has seen a cut of the film and offers this review:
If you like horror-psycho-thrillers, then you can't ask
for much more than this. David Fincher shows again why he is THE thriller-director
and influences over and over again countless upcoming directors. But as
all his movies before: This is not intended for the Squeamish and not at
all for children. Great to see a horror movie aimed at a mature audience
In Theaters Today
All About the Benjamins - Score by John Murphy - Song Album on
New Line Records
The Time Machine - Score by Klaus Badelt - Album on Varese Sarabande,
due March 19th
New From the WB: "Jeff Bond, The Goldsmith Slayer"
This item was submitted to us by a Master Lukas Kendall:
The hit WB series Smallville recently asked us for permission
to use Film Score Monthly Vol. 6, No. 10 in a set dressing. We have no
idea if the magazine will be visible in the finished episode, but we're
thrilled to be asked. Maybe a high school movie music fan with evil composing
powers will be terrorizing Smallville?
I think we should have a poll to find out which Smallville character
best epitomizes the typical Film Score Monthly reader. Would it be hunky,
soulful Clark Kent? Nubile Lana Lang? Plainspoken farmer Jonathan Kent?
Or hairless, sexually ambiguous Lex Luthor?
This Week's Poll Results
Here is the final tally on our most recent poll, "Which new score are
you most looking forward to in 2002?"
Attack of the Clones (Williams)
297 votes 32.8 %
Lord of the Rings: The Two Towers (Shore)
137 votes 15.1 %
Spider Man (Elfman)
103 votes 11.4 %
Star Trek: Nemesis (Goldsmith)
82 votes 9.1 %
Minority Report (Williams)
46 votes 5.1 %
The Sum of All Fears (Goldsmith)
35 votes 3.9 %
Bond 20 (Arnold)
31 votes 3.4 %
Gangs of New York (Bernstein)
26 votes 2.9 %
25 votes 2.8 %
Harry Potter & Chamber of Secrets (Williams)
18 votes 2.0 %
15 votes 1.7 %
The Four Feathers (Horner)
14 votes 1.5 %
The Road to Perdition (T. Newman)
12 votes 1.3 %
11 votes 1.2 %
The Scorpion King (Debney)
10 votes 1.1 %
9 votes 1.0
Spirit: Stallion of the Cimarron (Zimmer)
7 votes 0.8
Austin Powers 3 (Clinton)
6 votes 0.7
The Bourne Identity (Burwell)
6 votes 0.7
Femme Fatale (Doyle)
The Trouble With Charlie (Portman)
3 votes 0.3
2 votes 0.2
Men in Black 2 (Elfman)
2 votes 0.2
Panic Room (Shore)
Total Votes: 905
I guess the resounding victory of Attack of the Clones, the most
popular film composer of all time's latest score for the most popular movie
series of all time, shouldn't be a big surprise. My own vote went to Minority
Report, as I'm thrilled at the prospect of Williams treading into classic
Goldsmith territory with this futuristic thriller.
The low scores for Men in Black 2, Panic Room, and Dreamcatcher
surprised me. Dreamcatcher is William Goldman and Lawrence Kasdan's
adaptation (directed by Kasdan) of the recent Stephen King bestseller,
and should offer some interesting scoring opportunities for James Newton
Award Winner Bernstein Receives Award
On Monday March 4th, Elmer Bernstein was scheduled to receive the very
first WORLD SOUNDTRACK LIFETIME ACHIEVEMENT AWARD, at a ceremony at the
London Residence of the Ambassador of Belgium to the UK, H.E. Mr. Lode
Elmer Bernstein was expected in Ghent last fall to give a concert of
his film music, and to receive the award, to celebrate his 50th anniversary
as a film composer. The tragic events of 11 September however made it impossible
for him to attend the festival.
The World Soundtrack Award is a new initiative developed by the Flanders
International Film Festival - Ghent aimed at the promotion, education,
preservation and recognition of film music as a true art form. Well over
150 composers from around the world already joined the World Soundtrack
Academy. For more information: www.worldsoundtrackawards.com
Horneroids From The Deep
From: Les Jepson <LJepson@GDEngineering.co.uk>
In the Friday 1st of March Mail Bag I saw the sentence,
"I had hopes that Horner would recycle his fishing boat music from Humanoids
in his Perfect Storm score, but it was not to be." A film music fan bemoaning
the fact that James Horner has NOT recycled something? What are things
coming to? Is it time to surrender yet? Are these crayons non-toxic? Help!
I admit, wishing (if only half-heartedly) for more self-referencing from
Horner seems counterproductive, but I thought there might be something
charming about having music from an early Horner B-movie (and "B-movie"
is giving it too much credit -- it is after all a film about sea mutants
raping women) show up in a megabudget Hollywood spectacular, if one whose
script rarely rose above the Humanoids From the Deep level.
I also think it would be nice to hear him rip off some of his great
early stuff for a change, like Wolfen or the main title to The
Hand. James, leave the Sneakers alone. Find some new shoes.
And no, the crayons are toxic. Please be careful.
Where's Tim? (Is He With Waldo?)
Anybody know what the marvelous Tim Morrison is up to these
days? He graced so many wonderful scores and Boston Pops recordings throughout
the later 80's and 90's with his beautifully precise and resonant trumpet
sound. I may be wrong but the last score he played on was Saving Private
Ryan I think.
Talking of excellent soloists, the French Horn solos are simply
stunning on James Horner's Iris. Respect to Joshua Bell, but the aforementioned
soloist should have been credited also. Having said that there are many
more examples of uncredited musicians! If engineers and their assistants
can get credit, how about the actual persons that bring the music to life,
The Spaceship, The Blimp, and the Boat
From: "LOUIS BANLAKI" <email@example.com>
Some people may complain that there are too many Deluxe
Editions of scores by Jerry Goldsmith released by Varese but I don't think
there is such a thing as too many Goldsmith albums. He is still my top
favorite of all composers for film (Williams comes in second for me, of
I too long for Black Sunday and a complete Alien, but we'll
probably have to keep longing. Black Sunday is owned by Paramount,
which has not been eager to license any of their old scores for CD releases,
and the rights to Alien may be tied up because of the LP release.
But here's hoping. And Sand Pebbles doesn't exactly suck, either.
I was a little chagrined to see Horner's score for ALIENS get the
deluxe treatment when Goldsmith's score to the original is truly far more
deserving of a Deluxe Edition. The music is simply creepier and the orchestrations
so much more interesting. Had Goldsmith scored the first two sequels as
well I'm sure it would have become another great trilogy under his belt.
I joked with one of my friends once of how we should send a terminator
to prevent the birth of Horner but I must admit that's a bit much. Perhaps
Varese will one day release an expanded edition of Alien and maybe the
complete Sand Pebbles as well unless your label at FSM does it.
One last word: maybe somehow your label or whoever could somehow
release Williams' score from Black Sunday. I still can't believe that after
all these years there hasn't been an album of that terrific score. It was
his last pre-Star Wars score so that should be of some historical importance
(then again, maybe not). I also plan to order the complete Logan's Run
score, of course. I love your magazine and all the great work you're doing.
I Know It Was You, Frodo. You Broke My Heart
HOLLYWOOD--Feb. 27, 2002--Originally released on Silence
Records back in 1970 and then on Charisma Records in 1972, Bo Hansson's
"(Music Inspired By) Lord of the Rings" is being re-released on May 21,
2002, by Virgin Records to coincide with the phenomenal success of the
The concept album, an all-instrumental album inspired by the literary
trilogy written by J.R.R. Tolkien, has been remastered, repackaged and
comes complete with a bonus track, "Early Sketches From Middle Earth,"
recorded in the same sessions as the rest of the album but left off the
original release. Bo Hansson's original impression of the soundtrack to
the books is the ideal companion to the current O.S.T. and the 1978 soundtrack
to the animated film version.
All of the music on this record was recorded in the winter of 1969
by Anders Lind in a summerhouse in the archipelago of Stockholm where he
and Hansson lived for half a year while recording. The two of them created
a little world of their own, reading the books and recording the music.
Bo played most instruments himself but drummer Rune Karlsson came and stayed
for prolonged periods. After the session in the summerhouse they finished
recording and mixing in Studio Decibel in Stockholm.
"(Music Inspired By) Lord of the Rings" became a great success in
many areas of the world (the album received Gold Record awards in England
and Australia) and for most people this was the one and only musical interpretation
of the classic books. The music captures the mystery and the beauty of
the tale; it helps you fill in the blanks and leaves a lot to your own
imagination. Time does not affect the music; it is undated like the books.
The History of Film Music, Continued
From: "G. D. Hamann" <firstname.lastname@example.org>
4/27/1946 Daily News (Los Angeles) Mildred Norton
Hollywood film composers have now banded together to form a Screen
Composers Assín, a group organized to cope with what they feel are unjust
conditions facing their craft today.
Among these are the present operation of film employment contracts
and the ASCAP system of royalty distribution and membership requirements.
The film composers think they should have some voice in what becomes of
the music they compose. A majority of producers insist upon owning all
the rights to the music written for their films. This is all right with
the composers, in those cases where the producer is willing to have the
music published and kept before the public. But too often the music is
merely shelved and never heard again.
They also feel that, Hollywood tenures being what they are, the
composers are entitled to a guarantee of royalty and performing rights
in their later life.
In Europe, performing rights societies allocate a portion of cinema
performance receipts to the composer, provided he is a member; otherwise
his share goes to the publisher member. Since over 60 percent of composers
are non-members they cannot share unless the producer agrees to split receipts.
This, say the film composers, the producers have uniformly declined.
Unlike the foreign performing rights societies, ASCAP requires that
a composer must have had at least one piece of music published before he
is eligible for membership. Film music is rarely published, hence many
film composers are excluded from membership and the possibility of deriving
any performance revenue either from foreign countries or from the 15,000
picture houses in this country licensed by ASCAP.
The Best Way to Insult a Columnist
For those who disapprove of my recent writings here, one reader offers
an object lesson in how to elegantly insult me in this recent, unedited
From: sporboyz <email@example.com>
You go girl! Tell 'em what's for...
A mere seven words, managing to support and mock me in the same breath.
Can Your Hearts Stand These Shocking Facts?
Due to a bottleneck of columns, the Top Forty Countdown will not resume
until the week of March 18-22. You may use your now copious free time to
go out and see a good movie. Or else just see Rollerball. If you
can still find it.
Man, it's bad. If you've ever wanted to see a large-scale action sequence
shot on video and tinted a grainy green to look like night vision, this
is the movie for you.
With this and Thomas Crown Affair, John McTiernan has made two
consecutive remakes of Norman Jewison films. I hope he doesn't do Moonstruck
next. Perhaps Bogus might be more his speed.
A website tribute to the late, great Mario Nascimbene:
And an online article on horror movie scores: