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I recall, I could have names mixed up here, reading an interview with either Shire or Broughton where one said he was in town and needed a palce to stay, and the other offered to let him stay at his house, 'cause apparently they are good friends.
In fact, while trying to find that interview, I stumbled upon this humorous quote from an interview with Shire (www.RunMovies.eu) where he tells a quick story that occured after his score to "Homeward Bound" was rejected:
My son Matthew who was 17 at the time is a great fan of mine, very defensive of his father. He went to a dance after this happened and found himself dancing with Bruce Broughton’s daughter. Matt said, “I hear your father scored INCREDIBLE JOURNEY.” “Yes, he did,” she said, “Well, mine did too!” he shot back.
If only he had his son on hand anytime somebody tried to rejected a score in person. ;-)
Both composers, by the way, Joel MNeely says were very supportive and helped him get into scoring.
Johnny Mandel and Howard Blake were apparently good aquintances.
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I’m getting the impression that the only composers who DIDN’T get along were Horner and Goldsmith!
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Posted: |
Jan 28, 2014 - 1:46 PM
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By: |
filmusicnow
(Member)
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Broughtfan: You mean "Carrie Goldsmith." Carol was Mr. Goldsmith's second wife.
In any event, in addition to the aforementioned admiration for Mark Snow and his music for "The X-Files," Leonard Rosenman was good friends with several of his peers, including Jerry Goldsmith, David Raksin, Alex North (in spite of his mixed feelings on his music), and (based on the fact that he hosted his 80th birthday party) Hugo Friedhofer. Later on in life, he and his wife became friendly with Paul Haslinger. He was also very close with several seminal figures in the American concert world including Aaron Copland and Leonard Bernstein.
Yes, of course you're correct: Carrie Goldsmith (corrected in original posting).
Rosenman's wife went in place of him at Goldsmith's funeral (he was ill). Also, despite that Rosenman was good friends with Raksin, he referred to "Laura" as a rather absurd premise and that the song "sold itself to a brainwashed public" (according to Tony Thomas' book "Film Score: A View From The Podium")
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Two more with Rosenman that just struck me, but they're just off-the-beaten track enough to note here: LR was also very, very close with Irwin Bazelon (Mrs. Bazelon still says of him: "He was one of my best friends."), as well as Vernon Duke ("April in Paris," "I Can't Get Started," "Autumn in New York," etc., etc., etc.). They both respected and admired each other's music quite a bit. Mrs. Duke spoke fondly of Leonard when we worked together on a concert of her husband's music.
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Henry Mancini and Michel Legrand were close friends.
Michel Legrand and John williams are also good friends.
In his recent autobiography (published only in french) Mr Legrand describes a :
"Lovely evening with John Williams(....) He tells me, smiling,"you know I feel myself as a craftman". (...) his life is monastical, revolves exclusively around music and nothing else. Where did I get this strange feeling that John composes to fight against boredom ?
We talk about writing and share the same conclusion : at our ages, more than ever, elements of doubt win over certitudes."
Since I read this quote of yours the other day, I have thought long and hard about it. I consider Jerry the one who wrote from the gut and Johnny the one who created a perfect tapestry. This quote from John describes just why he is my favorite. He is indeed the immaculate craftsman.
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Sorry for the double post.
As stated earlier, I do think it's clear that Jerry and Alex had a mutual love.
Did Herrmann ever speak well of a fellow craftsman? Jerry maybe.
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Well Jerry was a curmudgeon, wasn't he? It seems as if JW is a perfect jewel. Elmer was a sweet muppet and as we all know Benny was a CUN... Tuesday. From all I hear Patrick Doyle is a right gentleman.
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Double
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