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Posted: |
Nov 8, 2005 - 7:57 PM
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By: |
Bond1965
(Member)
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Regarding that interview where Bennett mentions BILLION DOLLAR BRAIN, I found out it was our own FSM where the interview ran. Here is a quote that I found on a Harry Palmer fan site:
Here are some quotes by Sir Richard Rodney Bennett on BILLION DOLLAR BRAIN during an interview at his Manhattan residence on December 17, 2001.
The complete profile and interview will appear in FILM SCOREMONTHLY.
"The main titles of BILLION DOLLAR BRAIN are of computer printouts about Harry Palmer. So you saw all these machine like happenings. I had recently seen Labaie des anges (BAY OF ANGELS) scored by Michel Legrand which is about gambling.He used a lot of piano keyboarding sounds, and so I did steal that idea, so the title music is three grand pianos playing in front of an orchestra. I did not use any instruments that sounded sympathetic like strings or flutes. I used alot of percussion, brass, and pianos, and this extraordinary French electronic instrument called a ondes martenot. It was a coloristic decision. I did not know John Barry's score, and BILLION DOLLAR BRAIN was kind of fun in that kind ofway. You often get a cue for a film from a)something from in the film itself,and b)from somebody else's score."
Sir Richard Rodney Bennett, interviewed by James Phillips, New York City, December 17, 2001.
James (NOT Phillips)
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Thanks a million for mentioning the interview which appeared in FILM SCORE MONTHLY, Vol. 7, Number 2, February 2002.
Sir Richard is a true music scholar and gentleman who loves American Jazz and the Great American songwriters (Berlin, Arlen, etc.) and has many stories under his belt about the film music industry in Europe and the USA.
One very influential and helpful person to Bennett in the early days was conductor and music director Muir Mathierson. You should also check out his early Hammer horror scores THE DEVIL'S OWN (1966), SATAN NEVER SLEEPS (1962), and THE DEVIL'S DISCIPLE (1959) especially after listening to THE MINES OF SULPHUR, an opera he composed when he was twentyeight. Dedicated to Benjamin Britten, THE MINES OF SULPHUR is a very unusual scored Gothic work, almost the antithesis of the lush Romanticism Bernard Herrmann used in his WUTHERING HEIGHTS opera.
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Posted: |
Nov 9, 2005 - 12:20 AM
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By: |
Bond1965
(Member)
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Thanks a million for mentioning the interview which appeared in FILM SCORE MONTHLY, Vol. 7, Number 2, February 2002.
Sir Richard is a true music scholar and gentleman who loves American Jazz and the Great American songwriters (Berlin, Arlen, etc.) and has many stories under his belt about the film music industry in Europe and the USA.
One very influential and helpful person to Bennett in the early days was conductor and music director Muir Mathierson. You should also check out his early Hammer horror scores THE DEVIL'S OWN (1966), SATAN NEVER SLEEPS (1962), and THE DEVIL'S DISCIPLE (1959) especially after listening to THE MINES OF SULPHUR, an opera he composed when he was twentyeight. Dedicated to Benjamin Britten, THE MINES OF SULPHUR is a very unusual scored Gothic work, almost the antithesis of the lush Romanticism Bernard Herrmann used in his WUTHERING HEIGHTS opera.
And don't forget his score to the Bette Davis movie THE NANNY!
James
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With the release of Frank DeVol's HUSH...HUSH, SWEET CHARLOTTE score, and hopefully Andre Previn's DEAD RINGERS, maybe we can add Bennett's THE NANNY to round off a Bette Davis cinematic triptych.
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""It's one of Bennett's better scores and I believe the first use of the Ondes Martinot by him. The Maurice Binder main title with Bennett's cascading piano melody is brilliant. (I believe he said in a recent interview he was inspired by Michel Legrand's score to BAY OF ANGLES when writing that piece.)""
It never occurred to me Bennett was influenced by Legrand's Bay Of Angels when composing his main title - but now I can see the similarity - especially as Bay Of Angels was a prized EP of mine back in the late Sixties. Of course Bennett's music is something else again - and I think he utilises more than one piano - as did Dave Grusin on The Firm.
Richard Rodney Bennett also told me that Michel LeGrand had an enormous influence on his piano style and that was why he used the pianos and ondes montinet in that stylistic way.
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). Glad to have the score. Just a pity sound quality is poor. I should check the LP sound...but I guess the distortion stems from the LP.
