Film Score Monthly
Screen Archives Entertainment 250 Golden and Silver Age Classics on CD from 1996-2013! Exclusive distribution by SCREEN ARCHIVES ENTERTAINMENT.
Wild Bunch, The King Kong: The Deluxe Edition (2CD) Body Heat Friends of Eddie Coyle/Three Days of the Condor, The It's Alive Ben-Hur Frantic Nightwatch/Killer by Night Gremlins
Forgot Login?
Search Archives
Film Score Friday
Latest Edition
Previous Edition
Archive Edition
The Aisle Seat
Latest Edition
Previous Edition
Archive Edition
View Mode
Regular | Headlines
All times are PT (Pacific Time), U.S.A.
Site Map
Visits since
February 5, 2001:
© 2015 Film Score Monthly.
All Rights Reserved.
Return to Articles

One of the things I love about the Internet age is the ability to email your childhood heroes. Someone I'd always wanted to send some fan mail to was Sally Stevens—so I did. We had a little chat, in fact. What I loved isn't just that she happily answered my questions about the many films she'd sung on, but the fact she gave me her time. It was just before last year's Oscars and when we finished our chat, she said she was just off to rehearse the chorus for the Oscar ceremony! What the... I had no idea. She's got such a job to do and she was giving time to me? Wow!

But, d'ya know what? I felt a bit two faced afterwards. Why? My appreciation for Sally is absolutely genuine. She's brilliant and I've always loved the vocals she lent to Dirty Harry and Klute. However, I've also been pretty outspoken about what I perceive to be an over-use of choral music in films recently. Why is it that whenever I go the movies, by the time the trailers are finished I've been bombarded with five or six apocalyptic chorales? Even the comedies, for crying out loud! I swear, if they make another Fantastic Four movie, there'll be a scene where Reed Richards will be reaching for his Corn Flakes and it'll be scored with—you got it—son of Carmina Burana.

Now, it's true that some of my favourite scores have choral parts. I love The Lion In Winter and The Last Valley. The Omen was the score that first compelled me to buy a soundtrack album, so that one will always be very, very special to me. But if John Williams didn't need a chorus for Jaws, Superman The Movie or Star Wars—and they worked just brilliantly—I don't think it's necessary for every semi-dramatic moment to be scored like it's the end of the world.

I love Sally Stevens. I really do. What a talent. What a voice. What a great lady. I just think this apocalyptic chorus thing is overdone now and I hope she'll forgive me for saying so.

Return to Articles Author Profile
Comments (0):Log in or register to post your own comments
There are no comments yet. Log in or register to post your own comments
Film Score Monthly Online
Dario's Peak
Anne Akiko Meyers' Serenade to Love and Film Music
1965: The Sound of Music, Money, Moptops, Mayhem and Mutation, Part 2
Callery Counter
Kevin the First
Film Scores Take Center Stage
The People Behind The Creep Behind the Camera
Ear of the Month Contest: Back to School
Soundtrack Obscurities 39: A Hans-on Approach - The Music of Hans Zimmer
Gold Rush: Max Steiner, Part 4
Score Restore: K2
Wong's Turn: Guilty As Charged
Today in Film Score History:
October 10
Andrea Morricone born (1964)
David Raksin begins recording his score for Whirlpool (1949)
Giant opens in New York (1956)
Giovanni Fusco born (1906)
Hawaii opens in New York (1966)
John Green born (1908)
Marco Antonio Guimaraes born (1948)
Michael Giacchino born (1967)
Midge Ure born (1953)
Valentine McCallum born (1963)
Vince DiCola begins orchestral recording sessions for his Rocky IV score (1985)
FSMO Featured Video
Video Archive • Audio Archive
© 2015 Film Score Monthly. All Rights Reserved.