 |
|
|
|
|
|
|
|
|
|
|
I had the opportunity in the mid-seventies to interview Richard Rodney Bennett. He was in town because a local college was putting on a concert of his chamber music. Bennett was a college roommate of the college's music professor, so that's why the concert happened. I was doing music interviews for a different college radio station and jumped at the chance to interview the sometime film composer. I met Bennett at his old friend's apartment one afternoon; he was a gracious host and quite friendly. Somewhere I still have the reel-to-reel tape. A couple of things I remember: he loved the Miles Davis/Gil Evans albums (who doesn't!) but hated Miles's recent electric recordings. He hated that in 1975 the best score oscar did not go to one of the four "real composers" (himself, North, Goldsmith, Williams), but went to Godfather 2. He also did not like John Barry because he was not a "real composer." He hated working with Ken Russell on Billion Dollar Brain, because Russell was always changing his mind about want he wanted from the music. He loved doing films, but clearly felt film scoring was a well-paid diversion from his serious music.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Elliot Goldenthal
|
|
|
|
|
|
|
|
|
|
|
|
|
|
I also would have liked to meet Elmer Bernstein, because he was so eloquent, a film music historian, and open-minded towards some of the newer composers in the sixties, when some of his colleagues were less so.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
