Film Score Friday 12/18/98
by Lukas Kendall
I've been asked to clarify what the Superman: The Ultimate Collection
CD is (an upcoming new recording by Bruce Kimmel at Varese Sarabande).
This is not per se another recording of the Williams score, but of the
Williams theme plus excerpts from the other Superman productions over the
years: the Max Fleischer cartoon, Lois and Clark, the old TV show,
etc.
I want everyone to know right now that I'm listening to one of my favorite
guilty pleasure soundtracks: Live and Let Die, by Beatles producer
George Martin. It's the blaxploitation Bond score and I love it.
The Golden Globe nominations were announced yesterday. Here they
are for the music categories:
Original Score - Motion Picture
1. Burkhard Dallwitz/Additional music by Philip Glass, The Truman Show
2. Jerry Goldsmith, Mulan
3. Randy Newman, A Bug's Life
4. Stephen Schwartz/Hans Zimmer, The Prince of Egypt
5. John Williams, Saving Private Ryan
Original Song - Motion Picture
1. "The Flame Still Burns," Still Crazy; Music and Lyrics:
Mick Jones, Marti Frederiksen, Chris Difford
2. "The Mighty," The Mighty; Music: Sting; Lyrics: Sting and
Trevor Jones
3. "The Prayer," Quest For Camelot: The Magic Sword; Music
and Lyrics: David Foster & Carole Bayer Sager (Italian Translation:
Alberto Testa and Tony Renis)
4. "Reflection," Mulan; Music: Matthew Wilder; Lyrics: David
Zippel
5. "Uninvited," City of Angels; Music and Lyrics: Alanis Morissette
6. "When You Believe," The Prince of Egypt; Music and Lyrics:
Stephen Schwartz
And here's the first angry letter about awards this season!
From: MICHAEL SCHUERMANN <mschuermann@CCTR.UMKC.EDU>
Well, the Golden Globe Nominations for Best Original Score were
announced today, and all I can say is wow.....I thought after last year
it couldn't get worse....color me wrong. There are 2 that I completely
agree with. Dallwitz and Glass were the perfect choice for the Truman Show.
The minimalistic underpinnings of the score fit in perfectly with the strange
vision of the film. And of course, John Williams is incapable of writing
a score that doesn't fit perfectly with the film, so he was a shoe-in.
But Goldsmith for Mulan? What? Not that I don't love Goldsmith and not
that I didn't think his score was good for that film, but seriously.....one
of the 5 best of the year? The same really goes for A Bug's Life. Randy
Newman is very talented as well, but it was, well, cartoony.... I haven't
heard The Princeof Egypt yet, but...what is it with animated films and
there scores? This would make an interesting topic for an article....maybe
I'll write something. Stay tuned!
Stepmom
From: stuart dunn <dunndesign@sprintmail.com>
I purchased the score to Stepmom today and have to say it is brilliant!
John Williams never, never ceases to amaze me. It reminds me of Always,
The River and I even sensed some tip o' the hats to JFK. I know, it sounds
weird-JFK?
This is the kind of score that stands alone from a film. To Williams
fans out there-BUY THIS CD! Take care and Happy Holidays!
We got this album at the office last week and it's lovely.
Star Trek
Okay, are you ready to read comments about the new Star Trek movie and
lots of them! Of course, you say, I hate Star Trek so give me lots of letters.
Very well. Thanks go to Martin Williams who suggested this week's poll
question as to the best Trek score: not surprisingly, TMP is far and away
the most selected score, with Horner's Trek II the only serious contender.
I did see Insurrection and I'll give my thoughts on it below.
From: Juan-Luis Sanchez <juanluis@rhythm.com>
I'm sure you're already getting emails on this one - but I can't
believe STV is so low on the 'best Star Trek score' poll list!
Since ST:TMP is leading the poll, this isn't a poll where the quality
of the movie is being considered too seriously. STII is fun, rollicking,
one of Horner's best, but for my tastes rarely gets under the skin of what
the movie is *about* (the relationship between the main characters, not
just wham-bam kill-Khan action). STV, on the other hand, is one of the
most sensitive, evocative scores ever for Star Trek. The 'triumverate'
theme which underscores most of the 'Kirk/Spock/McCoy' scenes is the best
and only musical evocation of their relationship. I'm not talking about
the CD,either, which lost most of the really interesting music (the scene
where Spock first sets eyes on Sybok on the monitor and Kirk/McCoy confront
him in the observation deck). Listening to the score you see what the movie
'could have been'.
From: Timothy Little <lois@bcn.net>
Well, this past friday I ventured an hour from my hometown to see
Star Trek: Insurrection in a new, state of the art, theatre. After all,
I wouldn't watch Star Trek in a lesser theatre. Star Trek, is usually more
deserving than that of the small, home town, stikcy floor, cramped theatre.
The beginning of Insurrection left me feeling as though I had gone
to the wrong movie. I suddenly felt as though I had inadvertantly walked
into a disney production. I say this with absolutely no insult intended.
It simply seemed so innocent that I couldn't help but wonder if the picture
of "perfection" hadn't been a little over painted, as in something
you may see in a disney movie.
From that point on I had that feeling I had gotten while watching
Generations. The movie had that "episode on my friend's big screen
television" feel. First Contact despite starting with a television
flashback, succeeded in conveying that movie quality feel and appearance.
Insurrection, obviously boasting it's high budget, didn't do the same.
Frakes, a spectacular director, had created some excellent scenes for us,
but unfortunately, the massive hand of Berman once again, was apparent.
As usual, a good idea was not complete unless Mr. Berman manipulated it
somewhat as if to say "That's right, I am Rick Berman." This
is a characteristic that often appears in DS9 and Voyager as well. Why
stop when you're on a role? Insurrection was filled with great scenes,
or rather great ideas for scenes. The glue that bound those scenes were
a little weak, however and the drama that could have shown through was
over shadowed but the ill placed comedic moments. For instants, a tense
shuttle cat and mouse game, killed by "singing" advesaries. Or
the planet's inhabitants and Enterprise crew, making their way to safety
but leaving enough time for "boob" watching. I don't feel that
I need to point out Worf's "gorch" at this time. After all, he
just seemed to be a high paid cameo in this one. Now, while those of us
would say that this movie was exactly what the Next Generation is about,
that's exactly the problem. These movies aren't one million dollar weekly
productions where we all have time to have funny episodes and serios episodes,
continuing plot points and character development. These are productions
that while, yes, need to have a little bit of everything, also need to
be able to stand alone and independent of the series. These movies also
need to have a careful balance of humor and drama, and what ever else that
may need to go into the mix. Nobody wanted to see another dark overtoned
movie (it worked last time but lightning doesn't strike twice) and I don't
think that anyone wanted to see a Trek movie that will get filed under
the "Comedy" section at the local video store. Admittedly, the
humor was good, the drama was almost there, but because they were both
thrown carelessly into the pot, that sense of urgency was lost. That sense
that our crew needed to do something serious simply wasn't there. Humor
shouldn't be used at the expense of drama. Maybe a little less time on
the jokes would have left more time for a dramatic confrontation between
Picard and foe instead of the good captain quickly flipping the magic switch
and leaving. Insurrection, while with good intention, failed to reach that
balance. Bad timing, choppy editing and a lack luster CGI extravaganza,
left me waiting for a preview of next week's episode; fifth season, of
course. The actors were great as always, Frakes did his best with what
was handed to him but the bottom line is that Mr. Berman needs to sit down
and let the professionals do their job for a change. There will never be
another Roddenberry, or a self appointed spokes person on his behalf. I'm
ready to see someone else give Star Trek a try, care to step up to the
plate, Mr. Frakes?
Okay, my turn. I liked this movie, especially the first half or so.
Far more than Generations and First Contact, it actually
felt like a movie where the scenes had points and went places. It was goofy,
and far too familiar (Eden again?) but the characters were likable for
a change, and the outdoor photography was refreshing. Unfortunately, a
major story point about the relationship between two groups of people (not
really a spoiler) is interesting, but kind of deflates the conflict. But
it felt like '70s sci-fi (complete with Galactica-type child and
pet) with a lot of money, and I like '70s sci-fi. It's funny and gives
me warm fuzzies, and this movie had a certain amount of imagination, in
that they knew it was going to suck, but just did it anyway.
The score: Here is the best way of understanding it. This is Jerry Goldsmith's
Octopussy. It's like those '80s Bonds with John Barry: they were
nowhere near as fresh and exciting as Goldfinger, but there's no
one else you'd rather have doing them, and the "sound" overall
was correct for the franchise. Watching Octopussy, the music is
slow and somewhat dull, but there's at least a new title song from the
familiar composer. So ST: TMP is Goldsmith's Goldfinger, and Insurrection
is his Octopussy. I had this realization when I was watching
the film and the bad guy superweapon was deployed, and it even sounded
like a Bond cue, with low, deliberate trombones over an ostinato-- if it
was in 4 and not 7 it could be Barry.
John Addison
See the obituary
last Monday on this late, great composer.
From: Dominic Derasse, Derasse@aol.com
John Addison will forever hold a very special place in my heart
and memory. I played his concerto for trumpet in 1978 at the Paris Conservatory
and that is what got me noticed by Maurice Andre ( International Trumpet
soloist). I had the pleasure of working with John Addison in Paris during
the filming of "Phantom Of the Opera" for NBC in 1989. What a
superb composer and a gentleman. I am sincerely saddened by this news.
From: "Remy G.Voyron" <dewey@enter.net>
There is a particular sound to Mr. Addison's work which I have enjoyed
for years. I liked many of his melodies years before I learned he had written
them. Here are the most memorable for me: "A Bridge Too Far",
"Centenial" and "The Seven-Per-Cent Solution". I would
also include the theme for the TV series "Nero Wolfe". I also
remember enjoying the replacement score for "Torn Curtain".
From: "Harnsberger, Bill" <HARNSBH@TALKAM.net>
I was saddened to hear of the passing of composer John Addison.
Although I can't say I know a lot of his work, there was one score that
struck me like a bolt of lightning during my fledgling years as a movie
music buff: A Bridge Too Far.
I was 13 years-old and living in Germany when the movie came out
in 1977-I saw it at the local theatre for the British troops and their
families stationed there. I loved everything about the movie but the score
really knocked my socks off. In later years back in the U.S., I would set
up my tiny tape recorder in front of the TV set any time a station would
air it...and listen to that glorious overture over and over and over. Finally,
one Christmas, Santa got me the original soundtrack album and I could finally
enjoy the other great cues from the score. It's one of the jewels in my
collection and I'm thrilled to hear it's being released on CD in '99.
Star Wars Speculation
From: Todd Reifinger, PTAL47B@prodigy.com
There have been a lot of interesting suggestions for who should
compose the next Star Wars film if John Williams were to become unavailable,
yet no one has, to my knowledge, suggested Bill Conti. Am I the only person
who remembers his masterful sci-fi/fantasy scoring epic, "Masters
of the Universe"? Am I the only person who openly danced with joy
upon first glimpsing the Edel/Silva Screen reissue containing Conti's complete
"Masters" score? (Well, okay, I may be alone on that one.) Although
I'm not very familiar with Conti's work (my only other Conti album is "Year
of the Gun"), Conti's "Masters of the Universe" score contains
everything that made Williams' Star Wars scores so great: a terrific main
title, a majestic (yet sinister) theme for the villain, driving action
rhythms, lush orchestration, and a big ol' heapin' helpin' of brassy leitmotifs.
(Remember the He-Man motif when it slapped you right in the face during
the battle in the gym?) While "Masters of the Universe" ranks
nowhere near the classic status of the Star Wars trilogy, it nonetheless
shares many of Star Wars' space-opera qualities; and, while I am very curious
as to what Jerry Goldsmith would do with a Star Wars film, Conti's skill
in scoring "Masters of the Universe" makes him, in my opinion,
the logical runner-up should Williams abdicate his Star Wars throne.
I do remember Masters of the Universe and am not surprised to
hear this suggestion. But my point still stands that NO ONE can even come
near Williams in this genre. True, I've heard Star Wars like 800
times, and Masters of the Universe around 4 times, but Masters
of the Universe has like one main theme and some overly Holst rhythms.
In Star Wars, even the transitions are unforgettable.
Zimmer
See the new
interview on the site.
From: mw <mwharr@worldnet.att.net>
I can't stop laughing! Zimmer has the gaudy nerve to laugh at Goldsmith's
miracle, entertaining score for Air Force One (he did it in an amazing
short time)? And then complain about the similarities in Goldsmith's Chinatown
and L.A. Confidential? There's more creative differences in those two scores
than in his scores for Crimson Tide, etc. which are ALL the same score!
Don't throw rocks unless you yourself know how to duck!!!...I can't stop
laughing!!!
I'm not laughing - I like Hans, he's a great interview, and I can see
his point. Isn't it obvious to everyone by now that when we like something,
we can distinguish based on very small differences, but for unfamiliar
genres, it all sounds the same? Many film music fans think, for example,
all rap sounds the same, when obviously it doesn't to the people who like
rap (of whom there are many more than those who like film music). Hans
has been enormously successful because he has come up with ways of scoring
film that "skin the cat" in new and different ways. I agree that
many of his action scores following Crimson Tide were undistinguished,
but that's beside the point.
Copeland Correction
From: randall <julymark@swbell.net>
Stewart Copeland did appear on the television show, "The Equalizer,"
but not as a newspaper vendor. He played a pickpocket in the episode, "Re-entry."
The episode also featured John Goodman, Joe Morton, Steve Buschemi and
David Johannsen (Buster Poindexter).
I felt compelled to make this minor correction since both Stewart
Copeland and The Equalizer are two favorites of mine. Thanks.
Thank you. I cannot for the life of me recall what this is correcting,
but everybody, write this down.
Have a great weekend! See you next week -- and it's not too late to
order our brand
new Gerald Fried 2CD set and get it for Christmas.
MailBag@filmscoremonthly.com
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