I first saw The Parallax View in 1993 at the tender age of 22. It aired on AMC (American Movie Classics) before the channel became a commercialized heap of stink with a misguided sense of the term classic. I knew little of the film, but it was being shown in its original ultra-wide aspect ratio that Alan J. Pakula had so beautifully painted, and I was ready to give it a shot. I admired every aspect of the film from the tight script to the disturbing imagery of the

For scorophiliacs, the arrival of a long awaited soundtrack release after carrying a years-old hunger can result in a resurgence of passion for an art form, the art form of film music expression and appreciation. From the most dedicated of scorophiliacs, the most adoring and truly captivated lovers of the music (and often the movies that birthed them as well), so often the comment is made, “Well now that you have the CD in yer little hands, why aren’t you talking about the

Generally speaking, I am not one who explores unused or rejected scores. Off the top of my head, I don’t think I own a single soundtrack to an unused score. This is not because I think the music won’t be of quality. Though I appreciate many scores of films I haven’t seen or don’t want to see, the majority of scores that resonate with me are for films that I love. Listening to film music independently is for me very much a re-connection process with the films themselves

I know. There have been several threads and a few blogs about this subject. So what’s different about mine? Maybe nothing, except that I want to share with you the experience I had when I opened FSM’s new and exciting release of Li’l Jimmy Horner’s TREK II last Friday. I treated it like it was going to be a big event, and it was. I invited over a close friend I’ve known since high school, a fellow film fanatic and score geek.

For those who were alive before the World Wide Web and the Internet became deeply woven into human lives, at times the conduct observed on message forums can send the mind awhirl. We all read comments sometimes that make us shake our heads, roll our eyes or develop an involuntary twitch, and other times we read comments that are interesting and relevant and meaningful. Just the fact that people from around the world are able to communicate with each other abou

When people think of the music from Rod Serling’s The Twilight Zone (1959 - 1964), be they serious film/television score enthusiasts or just common-folk who enjoy entertainment, invariably the first (and perhaps only) musical moment that comes to mind is the ever popular theme composed by Marius Constant. This is only natural, after all. Not only is it a great theme that fit the show like a slinky glove, but it was used as the main and closing theme for 4 out of 5 seasons. The av