FILM SCORE FRIDAY 4/26/02

CDS AVAILABLE THIS WEEK

About a Boy - Badly Drawn Boy (Damon Gough) - BMG
Attack of the Clones - John Williams - Sony
Chelsea Walls - Jeff Tweedy (score, songs, dialogue) - Ryko
Human Nature - Graeme Revell (score inc. dialogue) - Pleximusic
Lethal Weapon - Michael Kamen - ltd. release promo

Jason X - Score by Harry Manfredini - Album on Varese due May 14th
Life Or Something Like It - Score by David Newman
The Salton Sea - Score by Thomas Newman - Album on Varese due May 14th

From: "James Goodridge" <averygraning@earthlink.net>

Please let the US public know that Sony is issuing episode 2 with a bonus track "On the Conveyor Belt" in Europe next Monday. I've heard nothing about its release here.

From: indysolo@comcast.net

In Monday's Film Score Daily column, Jeff Bond said, "I keep reading letters insisting that the legend "Episode IV" was always seen at the beginning of Star Wars (it was actually added for the reissue of Star Wars that preceded the 1980 release of The Empire Strikes Back)."
 
He is correct that the title was changed to "Episode IV - A New Hope" but the change did not happen until the April 10, 1981 re-release of Star Wars, almost a full year after The Empire Strikes Back came out.

From: Jeff Commings <jcommings@abqtrib.com>

Sorry, Jeff, but I'm saving your review of the CD until May 17, when I hear the score for the first time.

But I did read the first two paragraphs and laughed at your accurate analysis of Star Wars fans: most of us are trying to relive our childhood. The original trilogy was released when I was three, six and nine years old, and unfortunately my earliest memories of Star Wars came from video, when I would blast the opening theme until my mom yelled at me for it.

In 1997, though I knew what it felt like to be a kid when I stood in line eagerly for all three rereleases. Though I was 23, I felt like a was 10. What a thrill to hear speeders whiz by and see epic battles on a large screen!

That's what I expected in (and got in the last 30 minutes of) The Phantom Menace. Hopefully, Williams' music will do what the first three scores did: intensify the onscreen emotion to the point of sheer delight (and possibly a few tears).

After all, isn't that the composer's job?

From: "Michael Hill, Jr." <hillmg@msn.com>

Subject: Three Things I Disliked About "Seven Things I Love About Attack of the Clones"
 
I just want to start by saying that I love your site. There is not a day that goes by that I am not at your site perusing the daily articles for all the latest news, gossip and criticism. Keep up your good work.
 
But, after reading Mr. Bond's article "Seven Things I Love About Attack of the Clones," I felt the need to write about what I think were injustices to TPM and John Williams' music. I usually do not do this, but I was disappointed by certain remarks that were made. Here are three things I think we need to keep in mind when it comes to listening to the music and seeing the films for Episodes I-III:
 
1. Yes, the original Star Wars was named The Year's Best Film by Time Magazine. And yes, it was and is one of the most critically praised films of the decade (or century, for that matter). But no one had heard or seen anything like it. It came as a surprise to many people, including Mr. Lucas, just how taken the public was by this film. Yes, there had been 2001: A Space Odyssey and Close Encounters of the Third Kind, but this was something different, something fresh and new (both in movies and music). The characters, the look, the music, the sounds - they opened our eyes to whole new worlds. That said, we now know what to expect when a new Star Wars film is released, to some extent. Therein lies the problem. To try and compare TPM to Star Wars musically and dramatically would be like trying to compare a J.S. Bach composition to an Igor Stravinsky composition - you just cannot do it (at least the way you are doing). Just as the examples given, Star Wars and TPM were written in entirely different times and different styles. One thing leads to another. Everything has a beginning, and we are seeing and hearing it unfold before us a little bit at a time. Mr. Williams could have no more burst forth into "Darth Vader's Theme", "Leia's Theme" or the "Rebels' Theme," than Mr. Lucas could have plunged into the "meat" of the Star Wars saga. Gradually, tiny seeds of the story and themes that we have come to love in the original trilogy are being planted as the first trilogy unfolds. If you look and listen, you will find that they are there. As for no protagonist, what about Anakin, Amidala/Padme, or the Jedi? Did you think they were the antagonists? Their presence may not have permeated or have been as prominent in TPM as Luke, Leia, Han, Chewbacca and the rest of the gang were in the original Star Wars, but, again, where are we in the storyline? We have to start somewhere, even if it is not as strong characteristically as in the previous three films. As for no storyline, what about the revealing of the Sith, Anakin's untapped Jedi powers, the battle for Naboo, and all the other questions left unanswered? Does the title of the movie, The Phantom Menace, not hint to the audience that the enemy is unknown, creating a complicated and suspenseful storyline (except for the Trade Federation - albeit, not the true enemy)? The whole movie is about unknowns - Jedi/Sith, Anakin/freedom and a new life, Amidala/political intrigue (the list goes on and on). I think both Mr. Lucas and Mr. Williams hit the nail on the head with TPM. They are setting the tone for what is to come in Episodes II and III. Yes, it has its faults, but so do the others (Call me a revisionist, but I rate Episode IV with Episode I [I was seven when the original Star Wars was released]. Both are starting points for new characters, new dramas, and new themes, and both had their boring, lame and slow spots. Out of the original three films, Episode I is definitely number three on my list).
 
2. For those who think that "Across the Stars" is Nixonesque, I would urge you to listen more carefully to the theme. Does it not sound more like a variation of the Main Theme (Luke's Theme) from the original Star Wars? Where are we dramatically and musically in the storyline? Just as "Anakin's Theme" in TPM was a precursor to "Darth Vader's Theme," could you not agree that this new theme is a precursor to "Luke's Theme?" We all know who Luke's future parents are. Could Mr. Williams be giving us a musical glimpse at what is to come? Even rhythmically and, to some degree, melodically they closely resemble each other in the opening notes of their respective themes. The music from Nixon did not even cross my mind when I first heard this theme, but "Luke's Theme" did. Give Mr. Williams a little more credit. I think he knows what is expected of him. His new themes are setting up the previously written themes quite nicely. Again, one only needs to listen carefully to hear what is already there.
 
3. Electronic or electric instruments have been used in almost all the Star Wars movies. Why not here? Whether it is a synthesizer or an electric guitar, what difference should it make? I see it as just another musical instrument in a vast palette of sounds to be used. One thing we can be assured of is that Mr. Williams did not use it just to use it. It is there for a purpose. What purpose? - we will find out soon enough. We can ask the same question about his use of synthesizer in "The Magic Tree" from TESB. Yet, it worked. This should be a non-factor in our reviews of the music.
 
Keep your eyes and ears open. This is new for all of us, and will come together all in good time. Discovering the "how" and the "why" is what this is all about (and the best part). Just sit back and enjoy the anticipation of what is to come.

Frankly, I'm sick of Jeff Bond getting all the attention. When is it my turn?

From: Christopher Johnson TrmptHHS@aol.com

I just wanted to congratulate you on a job well done with your Top 40 Composer list. I really enjoyed reading it, and found that I agree with your choices and order. Many of my favorite composers, including Silvestri and Zimmer were included. In particular, I was thrilled to see my very favorite composer John Williams at #1. The article about him was wonderful, and it couldn't have been more true. Mr. Williams will always be #1 to me as well. Thanks for a great read, and keep up the good work!

I couldn't agree with you more on your selection of John Williams as the top film composer on your list! In the last 30 years he has done more to advance the medium of film music into the popular mainstream culture, crafting so many wonderful themes over the years for films like the "Star Wars" series, "Superman", "Indiana Jones", "Jaws", and "E.T.", to name a few. Many people like me agree that his golden era came in 1975-1984 with one memorable film score after another. And his work during the 1980's and 90's with the Boston Pops Orchestra has only furthered his status as America's premiere composer. I will admit, however, that some of his recent work lacks the punch of his earlier material - while his score for "The Phantom Menace" was good, it just didn't have that something extra that made it all the more memorable (perhaps it was the lack of the commercial release of some of his original cues, or perhaps we have become so attuned to the music of the original trilogy that instead of the memorable cues we got a more atmospheric score for the film). But there were some bright spots - his work for "JFK" and the understated yet poignantly moving "Schindler's List" stand out in my mind. His work on "Attack of the Clones" and the eventual "Episode III" should move the music back into the familiar territory we John Williams fans are accustomed to. (By the way, I found one website that already has MP3's of the "Clones" score album and a bonus cue posted online, a full two weeks before its commercial release! I won't divulge the name of the site, out of respect for Mr. Williams and Mr. Lucas, though I'm sure people have already discovered it, and there is a link to that site posted on eBay at the current time, if they haven't taken it down yet.)

From: "Dimitris I. Spanos" <spanos@rtel.gr>

When he does finally retire, the other composers may move up a space, but there will always be an empty spot at the top.

I'm a huge Williams fan and what you wrote here almost brought a tear in my eye. Just thought I'd share it with you.

From: "John S. Walsh" Johnwlsh6@aol.com

Subject: William Goldman and wine

Interesting article about composers who've dropped out of the top 40.

But that last crack about Goldman's "fiction" writing? If you read his non-fiction carefully, or see him talk, you'll understand he would do anything but point out (as you did, properly) that most Americans would rather eat the gum stuck to the bottom of their theater seat than watch Penelope Anne Miller and that guy from Wings in a romantic comedy [Year of the Comet]. This isn't because he was writing "fiction" ; it's because he's a gentleman.

I love William Goldman as much as the next man, but his incessant refusal to cop to Year of the Comet's many problems still aggravates me. Goldman himself said that he intended the film to be a Cary Grant/Audrey Hepburn style adventure, and I'm convinced that one can still be a gentleman yet point out that Daly and Miller, though attractive and talented, are hardly movie stars of a Grant/Hepburn caliber.

And the movie sucks. But the Hummie Mann score is nice, and I'm sure the original John Barry score was at least as nice.

Frankly, I'm still puzzled by Goldman's raving over Hearts of Atlantis as one of the three films of his he's fully satisfied with (the other two were Butch Cassidy and Princess Bride). Atlantis, though beautifully made, is one of his worst movies, an empty, phony, story-free piece of unfelt nostalgia.

I'm sorry, for a moment I thought I was writing for William Goldman Monthly. Back to movie music.

From: "Daniel Schweiger" DrEldon@aol.com

Knowing Cliff Martinez, I'd be surprised if he'd even heard the score for NIGHT VISITOR. I probably would have re-worded your sentence or checked your facts before printing this.

You may easily be right, but parts of The Limey do sound like The Night Visitor. It could be that Martinez was influenced by Elfman's A Simple Plan, which also has a very Visitor-y sound, appropriately because of the films' shared wintry setting.

And one can be influenced by something without ever having experienced it personally. Plenty of actors have never seen Brando in Streetcar or Waterfront, but his work has influenced them through his many imitators.

(This is my way of saying, "Even if I'm wrong, I'm right.")

From: ENFERMOSIX6@aol.com

I recently read your list and for the most part was in complete agreement with you. However, I was a bit disheartened to find that you left no room for Angelo Badalamenti on your list. NO one sets the mood for those truly deep and intense movie moments like Badalamenti. Also, I've looked everywhere for a complete Angelo Badalamente filmography, so that I could fill in the holes in my collection, but to no avail. If you have a list yourself or can provide a link to someplace I might be missing I would appreciate it greatly.

Thank you and keep up the fine work.

If you didn't like Badalamenti being left out of the Top Forty, then you probably really won't like where I put him or what I said about him. Nevertheless, his filmography can be found at the Internet Movie Database.

From: Fred Orbit <forbitx@yahoo.com>

Just wanted to commend you on your Top Forty Countdown. Very wise and unbiased approach - refreshing to see impartiality in the world of soundtrack collecting.

Though I fear you'll be trashed for placing Horner anywhere above 194th place, I am happy to see him there.

Nope, no trashing yet. The list has proved surprisingly uncontroversial. Must be doing something wrong.

From: "Dennis Atkins" <vernat_99@yahoo.com>

Concerning the latest poll on the FSM site "Who is your favorite African-American film composer"....there is a curious ommision: Oliver Nelson, who wrote an abundance of scores (albeit mostly for television). ZIGZAG comes to mind, as well as Nelson's work for SIX MILLION DOLLLAR MAN and many for NIGHT GALLERY and a couple of COLUMBOs, too! Just a reminder!

My fault. I tend to forget that Oliver Nelson was African-American, mostly because I associate him with Universal TV shows of the 70s, and I think of all those composers as white dudes.

From: Shannon Jowett <SpinShannon@nyc.rr.com>

Subject: ghost in the machine

What the hell is up with the poll, i.e., a -- 6,000 votes for The Ghost and Mrs. Muir??? and b -- Where the hell is Beetlejuice?

I completely forgot to include Beetlejuice. And we've figured out a new way to avert ballot stuffing -- every time someone adds an extra vote to the poll, we automatically charge them for a Man Called Peter CD. We're gonna be rich!

From: "Terrence Brown" <tbrown@mabts.edu>

Excuse me, Scott, but I believe that I commenced this exchange re the music of Sir Malcolm Arnold in my email of April 5 (concerning the suite Williams conducted at the Oscars), and you responded and dropped in the word "bombastic." I am not certain that I completely comprehend the squabble, although there appears, as is frequent, to be insight on both sides, but I'd like a comment, seeing that I "fathered" this imbroglio.

First, there is an element of the bombastic in Arnold's music. So what? Why are his admirers, of which I am, most times, one, so defensive? Goodness, you can trace elements of the bombastic in Williams, Goldsmith, Rosza, Alfred Newman, Steiner, and even Herrmann (think of the opening to JASON AND THE ARGONAUTS which is delightfully, wonderfully bombastic). A bit of pretension, or inflation, is called for in films. We would not want everything to sound like the beginning of, say, TO KILL A MOCKINGBIRD, ANGELA'S ASHES, or THE SPITFIRE GRILL, nor could we tolerate, I do not think, film scores composed exclusively of fanfares, banks of kettle drums, and overwhelming brass.

Second, there can easily be found segments of pretension--the bombastic--in other styles, too. For example, Horner, for my ear, is absolutely bombastic in his inclusion of repeated pipe-like sounds in WILLOW, TITANIC, and BRAVEHEART. On the other hand, Herrmann can drive you over the edge (his purpose, I should suppose) in his repeated use of dissonance, unusual rhythms, and strange orchestrations in, say, PSYCHO and NORTH BY NORTHWEST. Others, I realize, think, certainly, that Rosza was exceedingly bombastic in attempting to find authentic sources for his scores to QUO VADIS, EL CID, and BEN-HUR. Zimmer has indicated that HE would never be bombastic in such a manner, but he is in his employment of the synthesizer and Lisa Gerrard.

So, the bottom line is that bombastic is not an evil word or necessarily a negative comment in application to a style. Williams can be disarmingly bombastic, and I, for one, pray that he is in ATTACK OF THE CLONES. I do not go there desiring soothing nothingness, bland tunes, or a truncated sound from the London Symphony Orchestra.

By the way, my unabridged second edition Random House Dictionary (see, I'm a real writer -- I've got a big dictionary!) defines bombastic as "high-sounding, high-flown, inflated, pretentious" and lists as synonyms "pompous, grandiloquent, turgid, florid, grandiose." Here endeth the lesson.

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