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And then there was the time William Friedkin screened The Exorcist for Mr. Herrmann:
" I want a better score than the one you wrote for Citizen Kane." To which Mr. Herrmann replied,
"Then you shoulda made a better picture than Citizen Kane!"
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Posted: |
Sep 15, 2023 - 4:52 PM
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By: |
podres185
(Member)
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A few years ago I watched the The Magnificent Seven--the original, and I was amazed and shocked at how slow, plodding, and dreary that film was. In that specific instance, Elmer Bernstein saved that picture. And, by the way, I am from that generation that grew up in the sixties, so my comments are not based on generational differences.
Bernstein tells a hilarious story about how C.B. Deville taught him how music can speed up a film -- when he was scoring the Exodus scene in "The Ten Commandments." And, goes on to say, he used that lesson a few years later on "The Magnificent 7". "I used music like whip (on Mag 7)" Bernstein says. And indeed, you can hear that "whip" in the 4 opening chords of the score.
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Steven Spielberg said this about John Barry:
"I have been an admirer of John Barry for many years. All of his music stands the test of time and he is one of the best composers of film scores. I love The Quiller Memorandum, The Ipcress File, The Lion in Winter, Out of Africa and many others. But above all, John Barry will be revered for his contribution to the Bond series. And it's not just his composition of the main title themes, but also his underscoring. When I hear the underscoring to his Bond movies, it doesn't matter who is playing Bond because the mortar that holds together the different styles of brick together is the music. usually a film score follows behind the action but in the case of John Barry, it feels like the music came first and the action second."
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