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 Posted:   Aug 27, 2018 - 1:53 PM   
 By:   Bill Carson, Earl of Poncey   (Member)

My advice to those disposed to pursue a career in the music business
can be summed up in eight little words...
Get in...
Get lucky...
Get smart...
Get out.
—S.W. PHILLIPS, 2001


Thats good. Stu.
P.s Buck rogers music rocks. Although it may have been Erin Gray was the main reason i watched it!! wink

 
 Posted:   Aug 27, 2018 - 2:00 PM   
 By:   other tallguy   (Member)

"Who is Bernard Herrmann and why do we have to keep hearing about him?" - FSM c. 1995.

"What do I sound like this time?" - J. Goldsmith on J. Horner (apocryphal)

"If I had wanted Jerry Goldsmith I would have HIRED Jerry Goldsmith!" J. Cameron (also apocryphal)

"I think I miss him almost every day." - O. Tallguy on J. Horner

 
 Posted:   Aug 27, 2018 - 2:02 PM   
 By:   other tallguy   (Member)

We've often said that Herrmann and Goldsmith would probably have been fine film directors.

We have? Based on what?

Herrmann is one of my very favorite composers, but I think with his people skills, the production would shut down in the first two days!


I don't disagree. But I'm sure I've heard of (successful) directors with worse people skills than Herrmann.

 
 
 Posted:   Aug 27, 2018 - 2:29 PM   
 By:   John McMasters   (Member)

Excerpt from a Letter to the Editor, written by Bernard Herrmann, published in the NY Times 1945, responding to a negative article by Erich Leinsdorf that had "belittled" film music:

"Music on the screen can seek out and intensify the inner thoughts of the characters. It can invest a scene with terror, grandeur, gaiety, or misery. It can propel narrative swiftly forward, or slow it down. It often lifts mere dialogue into the realm of poetry. Finally, it is the communicating link between the screen and the audience, reaching out and enveloping all into one single experience."

 
 Posted:   Aug 27, 2018 - 3:15 PM   
 By:   Justin Boggan   (Member)

Here's a good one. After a review called Joe Kraemer's score to the "The Man Who Killed Hitler and Bigfoot" mentioned the music as a "rousing Williams-esque score", the composer said on Twitter:
I can live with "Williams-esque" smile

 
 
 Posted:   Aug 28, 2018 - 1:55 PM   
 By:   Fizzgig69   (Member)

"A film musician is like a mortician—he can't bring the body back to life but he's expected to make it look better." (Adolph Deutsch)


 
 
 Posted:   Aug 28, 2018 - 1:57 PM   
 By:   Last Child   (Member)

"Music is my life." -Carlos12_123

 
 Posted:   Aug 28, 2018 - 2:46 PM   
 By:   Bill Carson, Earl of Poncey   (Member)

"Music is my life." -Carlos12_123

big grin
Wins the prestigious Bill Carson Post of the day award and should go in favourite posts.

 
 Posted:   Aug 28, 2018 - 5:33 PM   
 By:   mgh   (Member)

"Music is my life." -Carlos12_123

big grin
Wins the prestigious Bill Carson Post of the day award and should go in favourite posts.


Always make me tear up a little. (And want breakfast.)

 
 Posted:   Aug 28, 2018 - 7:17 PM   
 By:   WhoDat   (Member)

I remember in a Jaws retrospective on TV back in the 90s Spielberg showed the barrel chase without music. If I remember he basically said "Without John Williams, it's just a big fish."

 
 
 Posted:   Aug 28, 2018 - 9:09 PM   
 By:   villagardens553   (Member)

I read somewhere quite a while ago, and I've never been able to track down the source, that Randy Newman once said, probably in the late sixties or early seventies, about film composers: "There's John Barry, and then there's everybody else." If anyone else can shed light this, I'd appreciate it.

 
 Posted:   Aug 29, 2018 - 3:06 AM   
 By:   Bill Carson, Earl of Poncey   (Member)

Just saw this on the madly thread. Not a quote about the business of filmscoring but i love composer anecdotes like this that give insight into legendary scores..

According to Francis Lai: "When I refused [to score Love Story] a second time, [actor] Alain Delon, who was in Los Angeles with Bob Evans, called me and insisted that I see the film. When I reminded him of my dislike of airplanes, he and Bob Evans flew to Paris and showed me the film on Alain Delon's screening room at his house in Paris. I came out of the screening incredibly moved. I went straight home, sat at my keyboard and wrote that theme that very night."

 
 Posted:   Aug 31, 2018 - 12:42 PM   
 By:   Essankay   (Member)

Oscar Levant again, from 1942:

"Perhaps one of the reasons for the low repute of picture music may be found in the words that fill the air when a Hollywood score is discussed by those versed in such matters. You never hear any discussion of a score as a whole. Instead, the references are to "main-title" music, "end title" music, "montages," "inserts" and so on, with no recognition of the character of the complete score. It is much as if one would discuss a suit in terms of its buttonholes, pleats, basting and lining..."

 
 Posted:   Sep 14, 2023 - 4:01 PM   
 By:   Col. Flagg   (Member)

Royal S. Brown: Are there any young composers of promise that you see on the horizon?

Bernard Herrmann: Not that I know of. Well, I tell you what. You have to have a special kind of mentality. I like drama. They like other things. I gave a talk at the British Film Institute. I told the audience, “Remember old maps, before World War I, how the world had big white spots every now and then? You looked down below, it said `White, unexplored.’ That’s film music. It’s all unexplored.”

– from an August 1975 interview.

 
 Posted:   Sep 14, 2023 - 4:36 PM   
 By:   Ron Pulliam   (Member)

Julie Roberts in her acceptance speech for Best Actress:

Bill Conti was conductor that night.


"I have a television, and so I'm going to spend some time here to tell you some things. And sir, (referencing Conti), you're doing a great job, but you're so quick with that stick, so why don't you sit, because I might never be here again."

After a minute:

"Stick Man (referencing Conti who has his baton raised to start a playoff), I see you."

He waited until she was done, however.

 
 Posted:   Sep 14, 2023 - 4:37 PM   
 By:   Ron Pulliam   (Member)

Alfred Newman, when asked by a music student how he should go about becoming a film music composer:

"Study Friedhofer".

 
 
 Posted:   Sep 14, 2023 - 5:01 PM   
 By:   Rozsaphile   (Member)

Steven Spielberg at the AFI John Williams tribute: "Without John Williams, bikes don't fly, nor do brooms in Quidditch matches, nor do men in red capes. There is no Force. Dinosaurs do not walk the earth. We do not wonder, we do not weep, we do not believe."

It's a fitting tribute to the maestro, but the sentiment might well be applied to many other fine composers.

 
 
 Posted:   Sep 14, 2023 - 5:51 PM   
 By:   Howard L   (Member)

“I have been an admirer of Jerry Goldsmith from the moment I heard his score for THE BLUE MAX and A PATCH OF BLUE. Along with John Williams, these two men have dominated the arena of great movie music for nearly 20 years. Jerry’s scores range from the unforgettable PATTON to his Oscar winning music for THE OMEN. In between, there came such rousing challenges as STAR TREK—THE MOTION PICTURE, THE GREAT TRAIN ROBBERY, CHINATOWN, PAPILLON, ALIEN, over 100 scores.

Now with POLTERGEIST, Jerry has met his greatest challenge—to scare us nearly to tears and he has been remarkable in his efforts. Cleverly, the moments of greatest tension arise not from his brilliant off-rhythm ostinatos but more from a soothing tonal beauty.

Don’t trust his melodies. Something perfectly unworldly is due to occur the moment you let your guard drop and Goldsmith proceeds to feign and attack with no apparent rhyme or pattern. It’s to his credit that he has plotted every blow and designed a score of such shattering intensity that night time is perhaps not the right time to hear this album if you have seen the film. If you haven’t seen POLTERGEIST, Jerry’s music conjures many classical impressions of ferocious drive and at the same time, cathedral beauty. So…let the imagination wander. Pleasant dreams.”

Steven Spielberg

 
 
 Posted:   Sep 14, 2023 - 11:21 PM   
 By:   oregstevens   (Member)

For whatever reason, this excerpt from Arthur Knight's review of Lost Horizon (1973) has always stayed with me. The fact that movie critics rarely mention music or, if they do, it's to cast a cheap, negative dig [see Pauline Kael on Hawaii, or worse, John Simon on Obsession*] this analysis by Knight seems oddly specific and random:

"This is Bacharach the student of Darius Milhaud rather than Bacharach the hit songwriter. His mood is even more apparent in the extensive underscoring for the film, which includes an impressively intricate contrapuntal interlude that sets a dominant love theme against a gradually diminishing, harshly dissident countertheme. "

https://www.unz.com/print/SaturdayRev-1973mar24-00108/

* as I recall, Kael described Hawaii's music as designed to sell albums.

Simon said of Herrmann's Obsession: "I'm not sure what Herrmann died of, but I wouldn't rule out shame as a possibility." https://archive.org/details/bub_gb_B-QCAAAAMBAJ/page/n59/mode/2up

 
 
 Posted:   Sep 15, 2023 - 6:39 AM   
 By:   Rozsaphile   (Member)

John Simon was a brilliant man, but his talent for insult (especially toward women) made him an offensive one as well. Still, his barbs could be entertaining:

The best way to see The Fall of the Roman Empire, the acerbic critic John Simon once noted, was with a musician friend who owed you money. "After 10 minutes of Dimitri Tiomkin's music," Simon said, "he'll be limp; after three hours you can safely remove his wallet.

 
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