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Great to see you in this thread, manderley! Been missing your regular posts.
Do you recall any other scores for the series standing out to you or your friend at the time? Besides the Goldsmith score, IMDb lists David Rose (7 episodes), Jack Elliott, Robert Drasnin, Harry Geller, Hugo Montenegro (2 episodes each), and Alexander Courage, Warren Barker, Lennie Hayton, Arthur Morton, and Fred Steiner with one each. This list may be incomplete since, as you observed, the series has never been released...
Yavar
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Sounds like this could make a cool two disc set from the Fox vaults (maybe one disc per season?)
Yavar
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Posted: |
Dec 6, 2020 - 9:29 PM
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By: |
DS
(Member)
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I spent the last few weeks going through this entire wonderful series. That is, except for the final episode, which I don't have access to.
Assuming this music still exists, I would say that for a potential release, in addition to Goldsmith's "A Score Without Strings" (really one of Goldsmith's very, very best TV scores, perhaps even my favorite), I would suggest "Fade In" and "Panic" by David Rose, and "A Beginning, a Middle, and an End" by Robert Drasnin. After that, I would prioritize the rest of Rose's scores as he continually developed his past thematic material for his episodes & those wonderful themes are so integral to the series. There is a lot of great music in this series and all of it should be released, of course, but if we were limited to two discs, this is what I would suggest. And it would be a day one purchase for me (as would a blu-ray release of the show itself).
Because the IMDB is incomplete in regards to who scored which episode, I made a list of the episodes and composers. Many episodes don't have original scores and under Lionel Newman's supervision those episodes were tracked with (mostly or entirely) cues from Rose's episodes. Some of the original scores also use Rose's transitional and exit cues.
Episodes and composers:
Season One:
1. Fade In (David Rose)
2. Panic (David Rose)
3. King David (David Rose)
4. Don't You Cry for Susannah (Harry Geller)
5. Options (David Rose)
6. Closed Set (David Rose)
7. The Sweet Smell of Failure (David Rose)
8. The Stunt (library)
9. All the Beautiful Young Girls (Warren Barker)
10. A Package Deal (library)
11. It's the Power Structure, Baby (library)
12. Move in for a Close-Up (Jack Elliott)
13. Stop Date (library)
14. The Chase Sequence (library)
15. Focus on a Gun (Jack Elliott)
16. Money Men (library)
17. Meanwhile Back at the Studio (Harry Geller)
18. A Perfect Piece of Casting (Harry Geller)
19. Superstar (library)
20. Whatever Happened to Happy Endings? (Lennie Hayton)
21. Fallen, Fallen is Babylon (Fred Steiner)
22. Papa Never Spanked Me (library)
23. A Beginning, a Middle, and an End (Robert Drasnin)
24. Diffusion (Harry Geller)
25. Day for Night (Harry Geller)
26. One, Two, Three, Cry (Robert Drasnin)
Season 2
1. Love It or Leave It, Change It or Lose It (David Rose)
2. Murder, Off Camera (Hugo Montenegro)
3. Jenny, Who Bombs Buildings (Robert Drasnin)
4. Together Again, For the Last Time (David Rose)
5. A Preview in Samarkand (Arthur Morton)
6. The Mary Tree (Robert Drasnin)
7. Hey Gringo, Hey Poncho (Hugo Montenegro)
8. A Team of One Legged Acrobats (library)
9. Anonymous Star (David Rose)
10. Infinity (Alexander Courage)
11. The Nude Scene (David Rose)
12. A Score Without Strings (Jerry Goldsmith)
13. Will Freddy's Real Father Please Stand Up? (Lennie Hayton)
14. The Country Boy (library)
15. Miss Isabel Blue (according to IMDB: library) (will have to go with this until I see the episode to confirm)
Tally:
David Rose: 10
Harry Geller: 5
Robert Drasnin: 4
Jack Elliott: 2
Hugo Montenegro: 2
Lennie Hayton: 2
Warren Barker: 1
Fred Steiner: 1
Arthur Morton: 1
Alexander Courage: 1
Jerry Goldsmith: 1
Library (mostly or entirely David Rose cues): 11
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Dylan, how do you have access to this series? I've only found three or four episodes on YouTube and elsewhere.
I like what we saw of the movie being scored, workprint blips and all. Stavis' (Goldsmith's) score doesn't "hit" movement and edits in the scene, but rather creates an agitated soundscape for the unspoken drama between the young woman and man. I don't think there was any American movie during that late 1960s/early 1970s period with anything like that - despite this being the most experimental era in mainstream Hollywood.
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Whoa! Thank you. Now I see why my initial YouTube search didn't work - most of these are listed as "BW" rather than the full title. The Day for Night episode, though, is an incorrect link.
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The "Day for Night" link is correct; the load is just mis-titled.
Also, I missed two episodes, so I've edited my above post to include them.
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The "Day for Night" link is correct; the load is just mis-titled.
Also, I missed two episodes, so I've edited my above post to include them.
Ah! I see now. Thank you again.
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Once during the few years when I was one of Joel Silver's writers, he called me out of the blue and wanted me to write a TV series about Hollywood in the Bracken's World vein. I thought it was a wonderful idea and told him so. He never mentioned it to me again.
One plot element he mentioned in that call cropped up in his underrated Hollywood sitcom "Action," (the character of the studio exec, played by Lee Arenberg), so I've always wondered if that show was the eventual mutation of his original idea (which was more like a nighttime soap).
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Awesome! I'll have to see how many episodes I can get through before the fun of Peter Haskell's steadfast hot young director, Laraine Stephens' dewy Mainline ingenue act, and Linda Harrison wearing clothes and speaking actual words wears off. Soapy melodrama on a Hollywood backlot - my kind of show!
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I love the show and the entire cast, but I think it was at its best when it focused on either Eleanor Parker's character or the acting school. It switches gears a bit once Eleanor Parker exits 3/5 of the way through Season One, and it does lose something with her gone. Then Season Two is quite a different approach altogether with Leslie Nielsen, Peter Haskell, and a guest star (or two) leading most episodes.
The episode I watched this morning - "The Sweet Smell of Failure" with Ricardo Montalban as troubled former director looking for a comeback - featured Parker heavily; she is intrigued and supportive of Montalban and gets him a job filming close-up inserts for a TV pilot. It seems like a simple, basic thing to do, but he's such an autocratic perfectionist that he films take after take and reduces ingenue Laraine Stephens to tears.
There's a good bit early on when Parker lists current (as of 1969) hot directors: Mike Nichols, Norman Jewison, John Schlesinger, reminding us that this show takes place in that little era after the Golden Age of the studio system but right before the rise of New Hollywood directors like Coppola, Altman, Friedkin, etc.
(A young Tom Selleck is credited in the end credits, but I failed to spot him.)
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Tom Selleck can be seen in many episodes as one of the students in the acting class.
I'll keep a (P.)I. out for him.
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