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 Posted:   Oct 20, 2014 - 8:05 AM   
 By:   Ray Faiola   (Member)

 
 
 Posted:   Oct 20, 2014 - 8:26 AM   
 By:   James Corry   (Member)

"Mr. Steiner" was certainly ahead of his time.

J.

 
 
 Posted:   Oct 20, 2014 - 9:30 AM   
 By:   Morricone   (Member)

Nah. "swing music" will always be the only kind the public likes. big grin

 
 
 Posted:   Oct 20, 2014 - 9:36 AM   
 By:   craig2   (Member)

Wasn't one of the problems issuing serious film score commercial recordings, "pushing" original songs & instrumentals recordings & sheet music the war years???

 
 
 Posted:   Oct 20, 2014 - 9:42 AM   
 By:   Howard L   (Member)

Luv it, Max. Ya write good music and they'll keep coming. But half the audience are music-minded? half?? 'S more like a hundredth.

 
 Posted:   Oct 20, 2014 - 10:53 AM   
 By:   Ray Faiola   (Member)

Max always did have a hyperbolic way of expressing himself!!!

 
 
 Posted:   Oct 20, 2014 - 11:30 AM   
 By:   Rozsaphile   (Member)

Yes, I noticed the same thing. It's impossible to overstate the degree to which the average moviegoer is unconscious of the music. After a screening of BEN-HUR, I remember my mother turning to me and asking, "There wasn't very much music in the film, was there? And she was a musician!

 
 
 Posted:   Oct 20, 2014 - 3:17 PM   
 By:   PFK   (Member)


Neat story Ray, thanks for posting it.

Max is number 1 ! smile

 
 
 Posted:   Oct 20, 2014 - 3:39 PM   
 By:   PFK   (Member)

"Mr. Steiner" was certainly ahead of his time.

J.




I agree James. Maybe Max's card-playing friend Dimitri Tiomkin took Max's advice when he scored High Noon!

 
 
 Posted:   Oct 20, 2014 - 3:40 PM   
 By:   PFK   (Member)

DP

 
 
 Posted:   Oct 20, 2014 - 4:24 PM   
 By:   Rozsaphile   (Member)

The Park Avenue apartment is another interesting detail. I was unaware that a Hollywood studio guy would have had such thing, particularly in the days before air travel became common. I know that Franz Waxman had a New York residence late in his career. That may have had to do with his more classical orientation. And by the late 1950s it had become more practical to shuttle between the East and the West Coast.

 
 
 Posted:   Oct 20, 2014 - 5:40 PM   
 By:   PFK   (Member)

The Park Avenue apartment is another interesting detail. I was unaware that a Hollywood studio guy would have had such thing, particularly in the days before air travel became common. I know that Franz Waxman had a New York residence late in his career. That may have had to do with his more classical orientation. And by the late 1950s it had become more practical to shuttle between the East and the West Coast.



I noticed that too. Steiner lived in New York about 1915 to 1930, so I guess he felt well at home there. Maybe too he didn't feel secure in his Hollywood career until 1943? In the 1930s you pretty much took the train from NYC to Los Angeles, and that took a LONG time!

 
 
 Posted:   Oct 20, 2014 - 5:45 PM   
 By:   PFK   (Member)

DP

 
 
 Posted:   Oct 20, 2014 - 5:47 PM   
 By:   PFK   (Member)

DP

 
 Posted:   Oct 20, 2014 - 7:52 PM   
 By:   ZapBrannigan   (Member)

For our hobby, recorded history practically begins with Max Steiner. He's like Moses or something.

 
 
 Posted:   Oct 20, 2014 - 8:48 PM   
 By:   Preston Neal Jones   (Member)

Ray, thanks so much for posting this remarkable document!

And John, that wonderful story about your talented vocalist mother was the icing on the cake.

 
 Posted:   Oct 21, 2014 - 5:09 AM   
 By:   Ray Faiola   (Member)

Ray, thanks so much for posting this remarkable document!

A pleasure. You'll find some more in the Articles section of my Max Steiner Pages:

http://chelsearialtostudios.com/maxsteinerpages/articles.htm

 
 Posted:   Oct 22, 2014 - 9:14 AM   
 By:   WILLIAMDMCCRUM   (Member)

Max's contribution is frequently underrated, despite his great fame.

The canard that he's some sort of dinosaur who only wrote deedly-dee Mickey-Mousers is tediously overstated. He may not have exactly invented leitmotif cinema technique worldwide, but he certainly mainstreamed it in Hollywood, and this article just shows his influence. Sure, one may say he was fortunate enough to be in at the birth, and some of these ideas would've flown anyhow, but it was he who seized the day and was there.

Later composers who happened to use more dissonance, modernities, and sparseness (though he could do all that too) gave him an Oedipal begrudgement sometimes as though he were second-rate, but he wasn't. He made Hollywood, not the other way round. They owe him a debt.

 
 
 Posted:   Oct 22, 2014 - 11:11 AM   
 By:   joan hue   (Member)

Well said, William. He was an amazing composer who evolved over the decades. In the 1930's we have his King Kong score and many others. In 1960, high school kids were listening to and dancing to his theme from A Summer Place. I thought he did keep up with modern musical changes.

 
 
 Posted:   Oct 22, 2014 - 12:07 PM   
 By:   PFK   (Member)

Max's contribution is frequently underrated, despite his great fame.

The canard that he's some sort of dinosaur who only wrote deedly-dee Mickey-Mousers is tediously overstated. He may not have exactly invented leitmotif cinema technique worldwide, but he certainly mainstreamed it in Hollywood, and this article just shows his influence. Sure, one may say he was fortunate enough to be in at the birth, and some of these ideas would've flown anyhow, but it was he who seized the day and was there.

Later composers who happened to use more dissonance, modernities, and sparseness (though he could do all that too) gave him an Oedipal begrudgement sometimes as though he were second-rate, but he wasn't. He made Hollywood, not the other way round. They owe him a debt.




Very well said William. And if Max wrote scores in the 70s, 80s, etc., I'm sure he would have changed with the times, to a point. In his day, he wrote exactly what Jack Warner and others wanted him to do. Max was a real composer who wrote real music, not what these fakes are doing in recent years. To those who don't like him then that's fine, Max is my favorite! smile

 
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