FILM SCORE FRIDAY 4/25/03

In what is for this columnist the most depressing film music news in a long time, Jerry Goldsmith's score for Richard Donner's film of Michael Crichton's time travel adventure TIMELINE has been rejected, and the new score will be written by rising composer Brian Tyler.

Tyler was reportedly hired on the basis of his recent score for The Hunted, which, like Timeline, is a Paramount release. The Hunted was directed by William Friedkin, the Oscar winning maker of the classics The French Connection and The Exorcist. Tyler's hiring may have something to do with the fact that Friedkin is married to Paramount president Sherry Lansing.

Many fans have been shocked by the score's rejection, especially since Goldsmith scored The Omen for Donner, and that film not only won Goldsmith his only Oscar but put Donner on the map as an A-list director. But let's not forget that Michael Kamen's score for Donner's Assassins was rejected, even after Kamen had scored three Lethal Weapon films for the director (Kamen later collaborated again with Donner on Lethal Weapon 4). Let us also not forget that the last time Donner directed a medieval adventure film, Ladyhawke, he ended up with a score that no one would mistake for the work of Korngold or Rozsa.

Film music fans are, not surprisingly, outraged. Louis Banalaki wrote in asking "Who the hell was the idiot who rejected Jerry Goldsmith's score to TIMELINE???????", while reader "Isaac I Bet" writes in with a link to a petition where fans can request that Goldsmith's score be restored.

If you feel like venting your displeasure with Goldsmith's rejection, this is a good way to go about it. However, if you actually think you're going to influence the studio's decision, I think you're wasting your time. I don't mean to sound like one of those Message Board writers who acts like they know everything about how the movie business works, but my experience with the studios suggests that they really don't care about the opinions of fans (especially film music fans), and in one sense they're right -- if Goldsmith's score were truly wrong for the film, and Tyler's were better, then it shouldn't matter what Goldsmith's fans think. However, since Goldsmith is my favorite creator in any medium while Tyler is, at best, promising, I'm understandably skeptical on this point.

On June 3rd, Varese Sarabande will release Elia Cmiral's score to the new young-people-vs.-cannibals thriller WRONG TURN. The same day, they will release the soundtrack to the new Jim Carrey fantasy-comedy BRUCE ALMIGHTY, featuring several songs as well as "selections" from the John Debney score.

Malcolm Williamson died on March 2nd in Cambridge, England, after a long illness. The composer was born Malcolm Benjamin Graham Christopher Williamson in Sydney, Australia, and studied at the Sydney Conservatory from the age of eleven. He moved to London in 1950 and converted to Roman Catholicism two years later. Much of his music was religious in nature, including four Masses, and he also wrote eleven operas. In 1975, he was appointed England's Master of the Queen's Music, the musical equivalent of poet laureate, and was the first non-Englishman to be given that post.

Along with his concert works, Williamson also composed the scores to four Hammer films -- Brides of Dracula (1960), the second in the Dracula series and the only one not to feature the character Dracula; Crescendo (1970), a psychological thriller starring Stefanie Powers and James Olson (The Andromeda Strain); The Horror of Frankenstein (1970), Jimmy Sangster's black comic remake of Curse of Frankenstein; and Nothing But the Night (1975), the only production from Charlemagne Pictures, formed by Christopher Lee and Anthony Nelson-Keys. Williamson's work on these four films, complete with comments from the composer, is discussed in a four-page section of Randall D. Larson's book Music From the House of Hammer (published in 1996 by Scarecrow Press).

Williamson was originally hired to write the score for Watership Down but other commitments caused him to leave the project, whose final score was written by Angela Morley. Williamson's prologue and main title music are featured both in the movie and on the soundtrack. His last score was for the TV movie "Sherlock Holmes and the Mask of Death," which featured Peter Cushing's final performance as the great detective. Williamson is survived by his ex-wife, two daughters, and a son.

Little of his film music is available on CD. The much maligned Varese Sarabande CD "Sherlock Holmes: Classic Themes From 221B Baker Street" featured a rerecording of a brief piece from his "Mask of Death" score. GDI's series of Hammer score CDs featured a few cues from his scores: The Hammer Film Music Collection vol. 1 featured the main title from Brides of Dracula; volume 2 featured four and a half minutes from Crescendo; and The Hammer Frankenstein Film Music Collection featured the main title from Horror of Frankenstein.

Levity - Mark Oliver Everett - Pleximusic
Monte Walsh/The Crossfire Trail - Eric Colvin - La-La Land
People I Know - Terence Blanchard - Universal
Roughing It - Bruce Broughton - Intrada Special Collection
Varese Sarabande 25th Anniversary Collection - Varese Sarabande
Winged Migration - Bruno Coulais - Higher Octave

City of Ghosts - Tyler Bates - Soundtrack due Apr. 29 from Lakeshore
Confidence - Christophe Beck - Score CD due Apr. 29 from Thrive
House of Fools - Edward Artemyev
Identity - Alan Silvestri - Score CD on Varese Sarabande
It Runs in the Family - Paul Grabowsky - Song CD on Thrive with 5 min. of score
The Lawless Heart - Adrian Johnston
People I Know - Terence Blanchard - Score CD on Universal
The Real Cancun - Michael Suby
Returning Mickey Stern - Jeff Jones

April 29
Confidence - Christophe Beck - Thrive
X-Men 2 - John Ottman - Trauma
May 6
The Matrix Reloaded - Don Davis, various - Maverick
Nowhere in Africa - Niki Reiser - Higher Octave
May 13
Something Wild - Aaron Copland - Varese Sarabande
June 3
Bruce Almighty - John Debney, various - Varese Sarabande
Wrong Turn - Elia Cmiral - Varese Sarabande
Date Unknown
Amerika - Basil Poledouris - Prometheus
The Big Sky - Dimitri Tiomkin - Screen Archives/BYU
Bones - Elia Cmiral - Intrada
Captain From Castile - Alfred Newman - Screen Archives
The Dreamer of Oz - Lee Holdridge - Percepto
From Beyond - Richard Band - La-La Land
Invasion of the Body Snatchers - Denny Zeitlin - Perseverance
Mighty Joe Young, etc. - Roy Webb, et al - Monstrous Movie Music
A Summer Place - Max Steiner - Screen Archives/BYU
This Island Earth, etc. - Herman Stein, et al - Monstrous Movie Music

HOLES - Joel McNeely

"Joel McNeely's score typifies the overall film's sought-after tone of quirky inspirationalism."

Todd McCarthy, Variety

HOUSE OF 1000 CORPSES - Rob Zombie, Scott Humphrey

"In addition to scripting and helming duties, Zombie also takes co-credit for pic's shrieking, telegraphic score."

Scott Foundas, Variety

LILYA 4-EVER - Nathan Larson

"As in [director Lukas] Moodysson's previous films, the soundtrack is carefully honed, using everything from the thundering Rammstein tune in the opening sequence, through classical excerpts, to Nathan Larson's evocative original score."

Gunnar Rehlin, Variety

April 26 - Francis Lai born (1932)
April 26 - Giorgio Moroder born (1940)
April 26 - Carmine Coppola died (1991)
April 27 - Christopher Young born (1954)
April 29 - Rod McKuen born (1933)
April 29 - Lawrence Shragge born (1954)
May 1 - Citizen Kane released (1941)
May 1 - Jerry Goldsmith begins recording score for Ace Eli and Rodger of the Skies (1972)

FROM: Bunkhousejwu@aol.com

SUBJECT:  Superman Trailer Theme
 
Hi, I was wondering if you knew what the background music playing in the original Superman (1978) teaser trailer is. The teaser trailer is available on the Superman DVD. Thanks a bunch!!

SUBJECT:  AOTC Concert Suite

Do you know which sections of the Attack of the Clones score have been arranged into a concert suite? I could be wrong, but I recall reading somewhere that the suite was performed by the Boston Pops around the time the film was released.
 
Also, do you know of any plans to record the suite? Both Varese and Silva recorded the suite to The Phantom Menace within about a year of the film's release, but I haven't read about any plans to record AOTC.

A few weeks ago, reader Josh Zach wrote in for help identifying a particular piece of music:

I know of only two places it has been used. During Warner Brothers 75 Anniversary, the company released a theatrical montage which ran before their films started. The piece of music I'm looking for accompanied that montage. The other place I've heard the tune in the past was during an Oscars ceremony. I believe it was used during the 'In Memoriam' segment. I don't know what ceremony it was used in, but I do know it was within the past six years.

One writer suggested it was Randy Edelman's Dragonheart, while another thought it might be an arrangement of "As Time Goes By." A third thought it was ripoff of John Williams' Far and Away music. Here's a fourth suggestion--

FROM: <Jjjknowles@aol.com>|

SUBJECT:  Josh Zach's Mystery Tune
 
Wasn't it John Williams' prologue music for Hook?

FROM: "The McCaskills" <opalwood@rie.net.au>

SUBJECT:  Ode to the golden days of Horner.
 
I was just listening to the 'Field of Dreams' score. It had been a while since I'd listened to it or any Horner score, and I'm a Horner fan! Anyway, this score has truly stood the test of time, and I believe it goes up next to 'Glory' as Horner's greatest score.
 
His style has changed so drastically since this period in his career. Now, bigger is better and his music competes against the sound effects and even the dialogue. His scores today, are so melodramatic, they practically force emotions down your throat.
 
But both 'Glory' and 'Field of Dreams' mark a time when it was a much subtle craft at work. One of harnessing mood and musical storytelling. I wonder if we'll ever hear this kind of Horner again?

FROM: "Brad Taylor" <JBT9955@aol.com>

SUBJECT:  Mark Isham Favorite Score Poll
 
My favorite of Isham's scores was not listed -- The Education of Little Tree. I'm curious if anybody else noticed.

SUBJECT:  MISSING TITLES ARE MY FAVORITES
 
My favorite Mark Isham scores are "The Moderns" and "Trouble In Mind" for Alan Rudolph. None were in the list to vote!

FROM: "D'Lynn Waldron" <lwaldron@earthlink.net>

SUBJECT:  Mini-series Score

Joel Goldsmith's score for the 4 hour mini-series Helen of Troy impressed me in many ways. It has some innovative and effective things, yet keeps within the expectations for the genre. I particularly liked how he expressed the dangerous inner turmoil of the characters.

As mini-series go, this one is surprisingly good and even has some intellectual content; for instance, the Greeks are already planning to invade Troy for its wealth and access to the trade routes from the East, and Helen becomes a handy justification. (And the series has been in production for several years, so this is not a political comment, but rather a political truism.)

In last Friday's column, I printed some recent letters between myself and "Nalton," a letter writer who has been extremely vocal over his disapproval of my columns and his admiration for Hans Zimmer. Here are all the replies I received, presented unedited (not counting my obscuring of one profanity).

FROM: "Karl Morton IV"

SUBJECT:  Nalton needs a life.
 
Hey, Scott -

Does Nalton own a piece of FSM? That's the only thing that could explain his proprietary YOU OWE ME attitude. Kinda reminds me of the Comic Book Store Guy from The Simpsons - "Worst column, EVER!"

I normally don't say things like this but in Eddy-baby's case I'll make an exception: maybe he just needs to get laid?

This is a nice way to beef up the column on a slow news week, by the way! ;)

Fun column, as always, and please pass on my HAPPY thoughts to everyone concerned with the CD's. Simply superb!

Later,

Karl

SUBJECT:  The Nalton Correspondence - Oh Dear!
 
Dear Scott,
 
I thought I would take a moment to write to you about the "Nalton Correspondence." To be honest, I'm quite shocked by the criticisms raised by Mr. Alton. I have never been under the impression that you were using the FSM Web site as a podium for your political views, or anyone else's. I can't ever remember reading anything about your President or the war!
 
The Film Score Friday column, which I look forward to every week, does an excellent job of summarizing every event, release and press comment relevant to the film music world regardless of composer, director, or any other imposed value system. It's always news, pure and simple. If you add any comments or discussion, I always view it as your opinion and I always feel that you are open to criticism and debate. Furthermore, I've always seen a wide variety of opinions in the letters you choose to reproduce on the site, and have never detected any attempt to censor them according to your views.
 
The e-mails you're getting from Mr. Alton remind me of the poorly expressed rants that Christian Clemmensen publishes on his Web site for our amusement. I can understand that it's difficult to decide whether to simply ignore such "flames" or deal with them, but when an opinion is as unfounded and heated as this, I wouldn't credit it with any attention at all.
 
Keep up the good work, and have a good Easter weekend!
 
Conrad

SUBJECT:  Nix on Nalton
 
First, this Natlon character doesn't have a leg to stand on regarding any of his "accusations.

Second, even if you did take a stance one way or the other, SO WHAT? As long as Lukas Kendall doesn't care, it's none of Mr. Nalton's concern because there's something called the FIRST AMENDMENT that allows you to take a stand, regardless of what that stand is.

Mr. Nalton is apparently among those nouveaux namby-pamby spinmeisters who spew insults in order to bend folks to their will. He isn't worth the effort of scraping doggy doo off the bottom of one's shoe.

I'm amazed you let his sort irritate you, so obvious and cheap are his tactics.

SUBJECT:  Plenty of Nalton (a positive message)
 
Scott-

The beautiful thing about e-mail and the web is, unlike day to day life when you're sitting next to an idiot in the Subway, or driving behind one on the freeway, you can easily erase people. The misery inflicted by arrogant, self-righteous, online ninnies is wiped away with a press of that handy delete key on the upper-right hand corner of the keyboard. I'm sure you will get some backlash from your readers for dedicating so much space to a nut like Nalton. I, for one, love it. I don't watch television, so it's nice to get the soaps from both Film Score Friday and that messy meeting-of-the-minds message board. I laugh, I get angry, I get bored, I get inspired, I feel the vacuum of rampant ignorance sucking gray matter from my head--the whole gamut of interaction. Scott, I commend you. You are witty, insightful, focused, fare, clever, intelligent, and you have a personality, all of which is difficult to come by on the World Wide Web. So buck up, learn to love the delete key, and keep giving us more of what we love and want: film score fun, facts, and fulfillment.

Keep Rockin'!

Shannon Jowett

SUBJECT:  Fsm website
 
Hello mr. Bettencourt,
 
Just wanted to inform you that there are also readers who like your writings a lot. It seems you get a lot of undeserved criticism lately. Lots of people seem to enjoy writing negative things more than positive. Just keep up what your doing, I'm looking forward to reading Film score Friday every week.
 
Nicky

From a FSM Fan.

To Scott Bettencourt:
Regarding Ned Alton

Just my opinion but, my first impression upon reading your discourse is that I am sorry you are so upset over Ned's letters. Please don't let him irk you.

Now, I don't think Ned's letters were that bad compared to others I have read. However, there is no reason for name calling (Clown) in any letter and he should have included examples verifying you written political comments. He has failed to do so and should be disregadred until he does. Perhaps a policy of never responding to unsubstantiated comments is in order.

Hans Zimmer:

Well, I like Zimmer a lot and think FSM does not quite share my OPINION. But he certainly gets his "due". As you mentioned, just read his ranking at # 3.

Likewise, I also think your "attention" to Goldsmith is a little much. And he is my favorite composer.

And we both agree on Horner. etc.

Hey, they are just opinions. I am just sorry that some readers soil them up with unnecessary rhetoric.

PS. Just an idea but when readers write comments discussing certain cues of music, it would be wonderful if there was a link to samples of that music.

SUBJECT:  Political discussion on Film Score Friday
 
Hey Scott,

If you are going to list your political discussions with "Nalton" on the Film Score Friday page, does that mean it's okay for us to have political discussions on the Off-Topic Board?

Thanks,
Greg

I fail to see why anyone could find enjoyment in most of Hans Zimmer's work as it is a sad pastiche of the works of Ennio Morricone, Hugo Freidhofer, Franz Waxman, and Erich Wolfgang Korngold. While one would assume that a combination of such composers would be a wonderful thing, the sum is far less than its parts. Granted, his score for "The Lion King" was good, and "Gladiator" was fine in the context of the film, but I just find his work to be more of the same, and find the work of his "proteges" (mostly Gregson-Williams) to be better than Zimmer himself. And why does Zimmer always have Klaus Badelt write extra music for his movies and not give him proper crediting? Just a few caveats I have.

Long live Rosenman! (And Goldsmith, of course) (As well as John Morris, when can we expect a High Anxiety and Silent Movie Soundtrack?)

Just my opinion, keep writing the witty columns Scott, I enjoy them thoroughly.

Dear Nalton,

I don't think anyone in their right mind is going to dispute the popularity of Hans Zimmer and his army. But you seem to be confusing "popularity" with "quality." You mention that Bruce Broughton is past his prime, and at this point you may be right. But at least Broughton had a prime. And I'd rather hear Broughton's third re-write of Silverado than sit through Zimmer's eighth Backdraft.

Yes I did like The Ring, or at least the parts Zimmer's limo driver wrote, but are you really excited by dogs**t like K-19, The Time Machine, Bourne Identity, Phone Boothe, The Recruit, The Sixth Day, Con Air, The Rock, Two Week's Notice and Shrek? Am I missing anything? Chicken Run was well executed, and had one good action cue. Is that what you're going to hold up against Broughton's best? Because next to Chicken Run, yes, Lost in Space is one of the greatest scores ever written.

Gladiator had some okay moments, but sounded like it was written by four different composers: one for the action music, one for the dead wife, one for the crooked Emperor, and one for the rip-off of Vangelis' 1492. And there's a reason it sounded this way. It's because when Zimmer became too busy he said "Klaus, I'm busy, come and write this!" I'm not sure people, even purists, would care that Zimmer has so many helpers if the music were actually good. But the music more often than not is TERRIBLE. And now these helpers are becoming A-listers. Are you pleased that Zimmer is spreading a disturbingly homogenous sound (even if you consider it to be a good sound) across so many major film projects? I love John Williams, but I wouldn't like it if 50% of all movies that came out sounded like John Williams. (Yes, with helpful people like John Debney, a large percentage of movies do sound like John Williams -- but I wouldn't even want 50% to sound like GOOD John Williams.)

I hope this helps you, but I have a feeling it won't. Zimmer has said that he can't hear the difference between a score like Total Recall and his own score for Crimson Tide, and I'll bet you can't either. And if someone can't hear the difference between two scores like these, maybe that's the point: good vs. bad aside, it doesn't even matter to some people if every score sounds the same.