Music

MK**>

film

music

^^

Published by Dunvagen Music

/

Chester Music

©

2000

Silva Screen Records Ltd.

DEAD RINGERS

10.

Finale (3:20)

le

lited

Partners hip

Music composed by Howard Shore

The London Philharmonic Orchestra

Records Ltd.

conducted by Howard Shore Orchestrated by

Homer Denison

Published by South Fifth Avenue Publishing

(4:51)

©

llo Schifnn

1988 Silva Screen Records

Ltd.

|ilharmonic conducted

EDWARD SCISSORHANDS

11.

Le

Ma.n

Records

Title

Ice

/

Dance

(5:32)

Music composed by Dannv Elfman

Chappell

The

Ltd.

City of Prague Philharmonic

conducted by Paul Bateman

ER'S

HUSBAND

End

Festival

/

The Crouch

Chorus conducted

by David Temple lichael

Nyma

Orchestrated by Steve Bartek

ilharmonic c onducted

Published by

©

EMI Music

Publish, ng

1998 Silva Screen Records

Ltd.

Lei N'yman

Control

Records

THE DOUBLE LIFE OF VERONIQUE

12.

Concerto In E Minor (5:03l

Ltd.

Music composed by Zbigniew Preisner

flENT

Soprano: Charlotte Kinder

/

The

City of

Lperl Bean4:06l

Prague Philharmonic conducted by

Ibnel Yared

Paul Bateman

llharmonir

,

onducted

/

The Crouch End Festnal

Chorus conducted

bj

David Temple

Orchestrated by Zbigniew Preisner

HcGurty Music

Published bj

©

1998

SDRM

Silva Screen Records Lid.

1 13.

MERR1 CHRISTMAS, MR

LAW

REM

Theme

posed b] Ryniehi Sakamoto

lulip Gla*s Il.
1

Chorus

led bj

1

(4:42)

/

The

Arranged and performed by Mark \yres Published bv

©

1997

-

FMI

V,rgin

Mum. •

Ltd.

cc

< cc

CO

—

2"<

tym Ubi^

film

music

Itf"

&

mark russell james young

film

music

series devised bv barbara mercer

© Focal Press

Boston Oxford Auckland Johannesburg Melbourne

New De

Focal Press

is

an imprint of

Butterworth-Heinemann

,(^

A

member

of the Reed-Elsevier

Group

http://www.focalpress.com

The publisher

offers special discounts

on

bulk orders of this book. For information, please contact:

Manager

of Special Sales

Butterworth-Heinemann

225 Wildwood Avenue Woburn, Tel:

MA 01801-2041

781-904-2500

Fax: 781-904-2620

Copyright

© RotoVision SA 2000

No

All rights reserved.

retrieval

part of this publication

system or transmitted

in

am

form or bj

may be reproduced,

photocopying, recording or otherwise, without permission

of

ISBN 0-240-80441-4 10 9 8 7 6 5 4 3 2

Design Copyright

1

©

1998 Morla Design. Inc. San Francisco

Layout by Artmedia. London

Production and separation by ProVision Pte. Ltd., Singapore Tel:

Fax:

+65 334 7720 +65 334 7721

stored

in a

any means, electronic, mechanical, the copyright holder.

/

I

«*
^'Oi ,

i

^

)

'

I

H

contents introduction

146

danny elfman

18

bernard herrmann

160

zbigniew preisner

32

elmer bernstein

174

ryuichi sakamoto

44

maurice jarre

186

glossary

58

jerry goldsmith

188

picture credits

189

index

8

70 John harry

82

lalo schifriri

94

michael nyman

108

gabrielyared

120

philipglass

1

32

howard shore

»

• •

•

•

t

jfi •*•».», ,p •#••*» •«»., V

3 MM

| *

*

Mm

»

•

•

}•*• 1

•

|

•

Mi •• 1 ••

-

*•

r ••

•

•

•• •••••

•

•

aft

^M Wl A A

••<•

|^g ^H

fl

*•

•

11

m tP

••

••

•

*l

tt. %

...If ••

99tA*»

introduction "Cinema

is

undoubtabl) the most important

development of die

20tli century."

So said Bernard Herrmann,

the single most influential dramatic film

century.

Cinema, and more recently

become

the greatest patrons

time. In the IHlh centur)

music

for their

artistic

composer of the

television,

have certainly

commissioned music of our

ol

Mo/art and Haydn wrote dinner

employers and Bach dashed

Church

off a

contracts, not just for film

music but

new concert works.

for

Film composers have their own internet

sites, often run

enthusiasts and you can follow their every

move

like

magazines

in

Film Score Monthly. With declining interest and

sales in contemporary classical music, record

looking

composers

to film

by

falling

companies are

provide today's accessible,

to

popular orchestral music.

Cantata every week. Today, countless composers, orchestras.

conductors, orchestrators, copyists, music editors, music

The power

contractor^, music supervisors, studios, music engineers, and

watching Planet of the Aprs (1968) or Psycho

a»ent> are kept bus) b\ the film and television industry.

the sound turned

of the

music score

down and

it's

is

easy

to

evaluate. Just

( (

immediate!) obv ious

>f)0)

Irv

with

that Jerr)

Goldsmith's and Bernard Herrmann's ingenious, (hilling

And

the

modem

well.

It's

not unusual for a soundtrack

million copies,

film

in fact

composer

some

-ell

Composers

like

now

a

recording star as

album

over one

to sell

man) more (Titanic

date has sold eleven million and

million).

is

The Lion King

I

l'^

(

>7i to

(1994) ten

-core- carry almost

Hitchcock

the tension and drama.

saw the rushes to

dial

have thru own recording

and

die-

he could change the mood

result is

Psycho

lor

turn

television drama. Fortunately, Bernard

him

all

ol

disappointed that he decided

John Barry, Michael Nyman, John

William- and .lame- Horner

first

all

"I

it

into

hen

he was so

.1

one-lioui

Herrmann convinced

the film with

one of the most memoi

\\

ibli

hi

all

time.

But how did music come

be so central in

to

with film? Today the score

is

its

association

often used to convey what the

word cannot, a musical version of the Greek chorus, but early days of silent films the music

whole

story.

From

the

first

accompaniment

told the

the turn

at

was a piano performing a medley of

appropriate classical themes and popular tunes, doing

to

and

flickering images of trains

workhouses conjured up by the Lumiere brothers of the century there

in the

best

its

keep up with the picture. For action scenes Rossini's

"William Tell Overture" was hastily wheeled out, whereas no

romantic scene would be complete without Tchaikovsky's "Pathetique Symphony' or Isolde's lovesong from Wagner's Tristan and Isolde". Bui the honour

ol

having written the

actual film scon- goes to the celebrated French

Camille Saint-Saens.

filmed theatre production

He

later

developed

this

l2o" for strings, piano

composer

L908 he composed music

In

ol

"I

music

"

first

for the

Assassinat du Due de Guise'.

into a concert piece, his

and harmonium,

but.

mainK due

'Opus

to

the

expense, the idea of specially composed scores did not catch on. Instead manuscript book- with suggestions

specific

moods

or dramatic situations

became

ol

music

the

to

norm

lit

for

theatre orchestras and pianists everywhere.

When

-i

lent film turned into talking pictures

Hollywood

studio head- brought over Europe's most respected composers; the) became advisors and orchestrators who could

edit classical

music

to

fit

scenes. But

Steiner, the Viennese godson

producer David 0. Selznick

cues

for

Symphony

ol

to let

it

wasn't until

Ma\

Richard Strauss, convinced

him compose some

of Six Million (1932)

original

that the full

composed dramatic underscore was

significance of a speciallj

grasped. Such was the effect

ol

those few scenes on audiences

that, soon, ever]

Hollywood studio had

department with

its

composed

Steiner

shaping the

own music

the seminal score which was responsible for

classic'

Hollywood sound.

a character or situation has

texture and

LtS

The following year

roster ol composers.

In

King Kong (1933)

ol

leitmotifs, devices

he borrowed from opera the concept

where

have

to

embedded them

in

its

own recurring melod)

or

the opulent orchestral textures

of late 19th-century romanticism. His

through-composed

score, for the first time fully integrated with the picture, set

the template for film music which

listen to

John Williams' soundtracks

and his more recent (1997)

still

(a

deliberate

obvious that,

in

exists today.

for the

homage

Wars

trilogy

Gone With

King Kong)

to Steiner's

mainstream mo\

in the art of film scoring.

in

hen you

The Lost World: Jurassic Park it's

apart from the

ies.

introduction of a few modernisms, nothing

technique

Star

\\

much has changed

Steiner went on to refine his

the

Wind

(1939), a year when,

incredibly, he wrote a total of eleven film scores.

But in Russia something altogether different was going on. Director Sergei Eisenstein's silent epics

Potemkin

1

1925) and

kind of score. historic

October

(1927)

demanded

The Battleship Potemkin

mutiny aboard

a battleship

audience must he lashed

into a fur)

dealt with the

the-

and shaken

the sound... tin- sound can't be strong

to the limit of the

a different

during the unsuccessful

revolution of 1905. Eisenstein -aid of

tuned

The Battleship

music "the violentl) by

enough and should be

audience'- physical and menial llijrli

Noun

i

I

12 (;»n<-

With

tin-

Win.!

ll'l.'SO

Dau.l 0. Selzni.-kl

capacity."

The German composer Edmund Meisel

his word,

and aided by

took him

at

a colossal battery ol percussion,

created an orchestral score

of

immense dramatic power, which

places the director cut scenes

relationship later mirrored

with composer Michael

overwhelming was MeiseFs -core

Philip

Germany showed

it

was banned. But

that

this

accompanying music

relationships with the movie

a contemporary

didn't merely have to

— and

it

in

musical language. This tradition of scoring

reworkings of Intolerance

lather

set

could be expressed

1

1916) and

more modernistic

Da\i>"

Napoleon

monumental ( i

1

>27> and,

vein, with Philip Glass"

minimalisl soundtracks for films like

Dracula 1931 and La

Belle et la Bete (1946). Eisenstein

later forged a similarly

fruitful association with the

famed Russian compi

Prokofie\ for the nationalistic epic

(1938)

1

1

s<

S

p

Alexander \e\»k\

fheirs was a truly two-way collaboration: in

in

(da—, both

was unthinkable

in

Nyman and Godfrey 1980s - but

the

at that

Peter Greenaway's partnership

l>\

time

a

Reggio's with

way of working

thai

Hollywood.

in

mimic

much more complex

silent classics continues today with Carl

in a

film's release in

ground-breaking soundtrack

the screen action, but could create a

of

on the

pre-recorded music,

fit

others the compose! wrote to the final cut - a method and

radically increased the punch of the film. In fact, so

that

to

some

Back

in

Vmerica, however,

1

was soon

—

1 1 i

to

change with the

collaboration between Orson Welle- and Bernard

on Citizen

Kane

(1941).

Herrmann was involved from

\er\ outset of production.

constantly

made

He was present on

to the film

it

afforded

musical experiment. long enough

to

and

It

permit

in

sections.

Kane

was so unusual,

me many unique

opportunities tor

said of the film "Citizen

technically, that

set

the

notes; his -cor.- was recorded over a long

period of time and dubbed on

Herrmann

Herrmann

abounded

me

to

in

montages, which were

compose complete musical

numbers, rather than mere cues

to

lit

them. The emotional

impact

of

these musical numbers was

much

greater than that

of background music, which has no beginning or ending." In

an echo of Eisenstein and Prokofiev. Welles cut his

fact, in

Rosza used an electronic instrument, the "theremin". This

is

an instrument played by hand movements controlling sound-

wave

oscillations;

it

has a vast range and produces a ghostl)

Herrmann redefined

sound almost as expressive as the human voice. Of course,

the dramatic potential of music to picture in this and in his

once Rosza got the idea past producer David 0. Sel/nick.

Collaborations with Alfred Hitchcock. In the process he

Hollywood loved

updated Hollywood's musical language, making modernistic

month. But

orchestrations and harmonies widely accepted, and in his use

alternative sounds, especially in science fiction and horror

film to

fit

these complete musical pieces.

of repetitive rhythmic cells he predated

minimalism

b)

some

twentv years.

it

it,

and the theremin became flavour of the

had opened the door

movies. The apotheosis of this

first

totally electronic score by

Forbidden Planet Film subjects tended

1940s

a

invoking

to

come

in

cycles. In the early

popular one was the psychological

a

main character with

and mid-

thriller,

usuall)

a psychological defect, like

amnesia. One of the better movies of this type was Hitchcock's

Spellbound (1945)

with an Oscar-winning score

by the Hungarian-horn Miklos Rosza. To heighten the sense

of

eeriness and

to

describe the hero'- warped menial state

in a

extreme

that

it

( (1 ).S6).

to

electronics and

mainstream movie was the

Louis and Behe Barron for

In

facl

their

was described as "electronic

music was so

tonalities'".

The)

invented their own electronic circuit hoards for each character, so raising

leitmotifs to a

exciting and

new

is

a

level.

Max It's

Steiner's concepl

a score thai siill

good example

parallel with concert music.

ol

film

ol

distincl

sounds fresh and

music developing

in

German composer Stockhausen

was working along similar electro-acoustit

line*

;

the time.

In fact this relationship with concert

music

an important

is

one; film has a worldwide audience and through this movie

become accustomed

goers have unwittingly

the

to

development of 20th-century classical music. Through Leonard Rosenman's avant-garde scores (1955) and

The Cobweb

heard serial music for the

for

of

time.

2001: A Space Odyssey

Now

encompass

is

it

a

totally

Through the soundtrack

would have become

Ligeti

acceptable

for a

mainstream score

to

modernistic soundworld; John Williams"

exhilarating atonal music for Close

Third Kind (1977) and breaking score

Eden

(1968) the atmospheric works

Hungarian composer Gyorgy

familiar.

East of

many people would have

(1955)

first

for

for

Knnio Morrjcone's ground-

parts of

The Mission

( (

Encounters of tbe

\

)V><»

are ob\ ious examples.

While Rosenman was bringing cutting-edge orchestral modernism same with

Hollywood, Elmer Bernstein was doing the

to

jazz. In

medium

he chose the narrative.

readil)

<>l

He

The Man

says, "I

\\

Ann

(1956)

of jazz to reflect the disturbing

wanted an element

could Bpeak

that

hysteria and despair, an element that would localise

these emotions to our country,

jazz."

with the Golden

to a large cirj

il

possible

I

hile the score didn't incorporate the crucial

jazz

ingredient - improvisation (not a happ) bedfellow of split-

second timing requirements) -

it

did incorporate the talents of

two brilliant jazzers. Short) Rogers arranged the band

numbers while

Shellj Marine created his

score was a huge success, the main

and Hollywood, true with ui// scores.

•

to

title

own drum

became

a

part-.

popular

The

Int.

form, put into production several films

The

song was

hit

a

new development

years before Bernstein's main

Homkin

for

Hollywood. Three

success, composer Dimitxi

title

burst into the .•harts with the song 'Do Not Forsake

Noon

Me, Oh, Mj Darling' from Hijih success of the song

(it

(1952). In fact, the

sold over one million copies) translated

The result,

into

box office triumph for the

that

suddenlj ever) major motion picture had

song.

I

hen

in

(

1

)(>7

Graduate

Tin*

composed

for the specially

film.

score.

its

that the

course, was

to

have a

title

raised serious problems

The immense

the songs written for the film by Paul

Garfunkel meant

oi

popularity of

Simon and Art

soundtrack album as an idea, with

crop of pop songs and hits of rock scoring, became

a

prerequisite sales and marketing opportunity. Soon, respected

composers

like

Bernard Herrmann and Miklos Rosza found

themselves out of work and moved

to

Europe, where they

felt

they were treated with more respect. Rut the soundtrack

album wa> now considered such was

it-

at

the planning stage of a film,

money-spinning potential.

Today the film soundtrack has assimilated developments. Album,

hit

all

these

songs and score co-exist more

comfortably. Younger composers have often grown up with pop

music and do

not necessarily

view

it

with suspicion. Indeed

pop element- and instrumentation are now brink

composer's armoury. (1999)

In a

Thomas Newman's

-core like

part of the

American Beauty

eclectic instrumental textures

integrate perfectlj with the ten -elected songs, while the

balance of dramatic ten-ion

is

not disturbed.

The same can be

said of Gabriel Yared's more orchestral -core lor

Talented

Mr

The

Ripley (1999). Thr Talented Mr

Riple) (1999, \riilmin

\i

16

2001: A

Spar.- Odyssey

With advances

in

!<>(,!;.

I

kulmckl

StanlcN

computer technology the process

of

film

Barry feels

crucial. Michael N

it's

\

man and /higniew

Preisner

scoring has suhstantiallv changed. While the aesthetics ami

present the outsider's view lo working

dramatic requirements may remain the same as one hundred

Jerrj

Goldsmith and

line.

Elmer Bemstein and Maurice Jane -how how composing

years ago,

it

is

now possihle

to put

together reasonable

orchestral mock-ups with samplers, synthesizers and

in

computer sequencers: most home studios can synchronise

other hand, comes

film to music.

The whole process has become more

instant,

HolKw

I

Damn

Hollywood, whereas

in

Elfman describe

life

on the front-

ha- (hanged over die years. Philip (da--, on the

at

film from the angle of established

classical composer.

perhaps filtering down from the rapid turn-around requirements of television scoring. Gone are the days when

We

the director would

Herrmann

first

hear his score

at

the orchestral

recording session.

hi-

-tail

\

with a chapter on Bernard Herrmann.

lew-

i-

in hi-

that virtuall)

On

the following pages you will read the thoughts of twelve of

the most important, and influential composers working in film

today. Nol jusl in

that (here

all

i-

Hollywood hut across the world.

no definitive wa\

lo

It'-

evident

not alive,

realise thai

and we are therefore unable

own word-,

everj

We

but such

i-

hi-

composer we -poke

to

lo

present

enduring influence

stressed the value

of hi- contribution to the art of -coring. So

main thank-

to

Professor Mervyn Cooke tor In- enlightening word- on the

acknowledged master.

score a movie and that the)

have verj different viewpoints. Howard Shore

orchestration, a- pari of composition,

i-

feels that

immaterial: John

i

t

die ol the side-effects ot reading about

hat

it

make-

\..u

want

to listen

lo

music examples

them. We've

tried

i-

lo

17 Titanic

1

1997, James Cameron)

address this situation In compiling an accompanying CD.

in

Obviously we can'l cover everything but we 've settled on one

Collection and Simon Audlex from The Ronald Granl

track for each

composer and we've

-election as pertinent as possible

relevant chapter.

Many thanks

Screen Records

making

for

lliis

make each

points raised in the

David Stoner and Silva

to

CD

to

tried to

Brighton, Phil

Archive. Also, many thanks

for

sharing their

insights and experiences, and contributing scores and

also like to thank their agent-, assistants,

partners and everyone

them de-pite Mermelstein interviews

who has made

their bus) schedules.

(or his

in

Maurice Jarre.

Jerrj

nameh

Goldsmith,

and Ryuichi Sakamoto.

who have helped

it

possible

Main thanks

to liaise

with

also to David

valuable help and lor conducting the

America,

those with Elmer Bernstein,

Damn

We would

f.llman. Philip (ilass

also like to thank

all

those

us with their time and advice -nice this

project started, including Judith

book's designers

at

for

their patience as well as their fabulous Layout.

a reality.

Apart from thanking the twelve composers

we would

to the

Artmedia, Andrea Bettella and Franceses Wisniewska,

we would

Lastl)

pictures,

Moad and Dave McCall from The Kobal

Bums

from The

Home

Office

team

at

like to express our gratitude to the editorial

RotoVision — Zara Emerson, Erica Ffrench, Natalia

Price-Cabrera and Gary French. This hook has been

mammoth

task

- contacting and

a

working with the

contributors, and assembling, cataloguing and editing a vast

amount

of material. I.ike a feature film, the

book- are the product

of a

\

I'

collaborative effort, and without the

commitment, expertise and enthusiasm would

SCREENCR

of tin-

team, the series

not be possible.

MARK

III

SSE1

I

WD JAMES Y01

\<,

biography Bernard Herrmann was

training

I

in

for

CBS

in

in I'M

I

and received

composition and conducting

and the

niversirj

bom

a classical

New York

at

work

Juilliard School of Music. lli> earl)

the 1930s led to radio collaborations with Orson

Welles

for the

liini to

film scoring with Citizen

Mercurj Theatre of the

which Herrmann won his onl\

\ir.

Kane

Welles introduced

in

1941, the year

Wadeim Ward

for

The

in

Devil

bernard herrmann and Daniel Webster (1941, William collaboration with

Ufred Hitchcock was

Dieterle). His first

in

1955.

It

was

for

Hitchcock that he would produce some of the most inventive film scores of the century, including

Vertigo (1958), North

by Northwest (1959) and Psycho (1960). Herrmann's was equally suitable

for the fantasy/science-fiction films

worked on during the 1950s and

Day

the Earth Stood

Journey

After the breakdown

Hitchcock. commercial

In-

'60s,

Still (1951,

which include

of his

in

bias. Alter collaborating with the

1972.

Levin).

became disillusioned with Hollywood's

The Bride Wore Black

U.K.

The

ten-year creative partnership with

French nouvelle

vague director Francois Trulfaut on Fahrenheit

and

he

He

(1967).

died on 24th

451

(

1976).

(1966)

Herrmann moved

December 1975.

to the

shortly after

attending the final recording >e>>ion of hi^ score

ScorseseV Taxi Driver

film

composers whose work came

decade of the sound talents such as

Herrmann

film.

to

prominence

Along with other native American

Aaron Copland and Leonard Rosenman,

injected a

much-needed dose

modernism

of

mainstream film scoring and opened up creative that

after the first

into

possibilities

would be exploited by numerous younger composers.

Robert Wise) and

Centre of the Earth (1959. Henry

to the

style

Bernard Herrmann was arguably the most influential of the

to

Martin

Hollywood scores of the Golden Age relied heavily on the

techniques of classical music

in

the romantic and

impressionist eras: the music was essentially narrative

in

function, strictly subordinate to both dialogue and visual

image, and mostly based on the leitmotif, the structure

ol

Wagnerian opera. The harmonic language was fundamental!) tonal, lagging several

decades behind the more advanced

harmonic idioms of modern concert composers, but

ideall)

suited to the expression of the predictable emotions

melodrama. With Herrmann's work

in

thi

l'

1

!''

ind

<>l

1950s,

all lliis

to

began

to

change: comforting tonal harmonies gave way

acerbic dissonances (influenced by contemporary

thematic transformations

to highlight narrative events.

when Herrmann began

devote more sustained attention

composers such as Stravinsky); extended melodies were

film

work

favour of brief and repetitive motivic patterns;

first

significant

abandoned

in

in the early

to

But

to

1950s, his style changed markedly. His

achievement was the development of an idiom

and experimentation with tone colours and unorthodox

tailored to suit the fantasy

instrumentation resulted in innovative and unpredictable

then on the increase. Herrmann's penchant for unorthodox

musical textures.

instrumentation (nurtured by his earlier work with Welles in

and science-fiction screenplays

experimental radio drama) became the perfect

Herrmann was

fortunate in working, for the most part, with a

succession of directors

who respected

his artistic integrity

and

tool for

creating other-worldly sonorities that were light years

removed from standard orchestration. As Herrmann once

20 allowed his distinctive style

undue pressure on him

to

to

develop without exerting

conform

to

commercial formulae.

Orson Welles, Alfred Hitchcock and Francois Truffaut involved him in discussions of their projects

and accorded

collaborations. In the case of

film score, for Welles* Citizen

first

this respect

an earl) stage,

was demonstrated by the

sequences were edited cues include the

to

Kane

set of variations

fact that certain

accompanying first

the

montage

marriage, and the

miniature dance movements underscoring events office.

(1941),

pre-composed music. Memorable

depicting the breakdown of Kane's

uewspaper

in

the

Here Herrmann demonstrated how pre-

existing musical forms could

lie

adapted

lor the

cinema

without being accorded undue prominence: the structures

neatly

complement

certain degree

feeling

hound

to

in the

no rationale in

use a conventional symphon) orchestra lor

film scores which.

once-

is

I>\

their very

nature, are onlv performed

recording studio.

his musical ideas a respect sadly lacking in

many composer/director Herrmann's

at

all

pointed out with incontestable logic, there

oi

the action on screen while retaining a

structural autonomy.

This philosophy led

to a

succession of bizarre hut always

telling instrumental combinations, in

played

a

prominent and pioneering

role.

Devil ami Daniel Webster (1941), received hi- onl)

which electronics

for

\s earls a-

The

which Herrmann

\cadem\ Ward, the Satanic elements were

reinforced bj experimental recording techniques

combined

with animated sound (artificial musical effect- created bj

painting directl) onto the celluloid soundtrack). In

the Earth Stood

Still (1951),

The Daj

Herrmann employed two

theremin- - an earl) electronic instrument previous!) featured

in

certain film- noirs - alongside electric ha--.

electric guitar, electric

violin, three

organ- and multiple brass

and percussion. No fewer than nine harp- were heard on the

Both Citizen

Kane

and

hi- nexl Welles project,

Magnificent Ambersons (1942).

The

sed fairl) conventional

soundtrack

t"

Beneath the 12-Mile Reef, and

drummers dominated Kin* of the Mi\h«r

multiple

Rifle- (1953)

(1-4) Citizen

the

composer

Kane: Herrmann's debut in

film

score involved

with Welles at both

a close collaboration

shooting and editing stages. Herrmann conducted the score at the

RKO

studios, and several sequences

recorded music. (5-6)

were edited

to pre-

The Magnificent Ambersons: Over second Welles

half an

hour of Herrmann's music for

picture

was cut by studio executives while the director was

absent.

Much

of the film's music

when

his

finally

composed by Roy Webb, and Herrmann was not

released was consulted.

(I)

Beneath the 12-Mile Reef: Herrmann's score provided

soundscape.

(2)

The Day the Earth Stood

Still:

An

early

a vivid

experiment

underwater in

electronic

22 techniques and idiosyncratic instrumentation, Herrmann's music captured the novelty of the robot

Gort and

his

passengers from outer space.

of the Earth: Herrmann used

a rare

wind instrument

the dark depths of Jules Verne's fantasy. (4) Jason

(3)

Journey to the Centre

called the serpent to suggest

and the Argonauts:This

film

from

1963 was one of Herrmann's many collaborations with animator Ray Harryhausen.

(5)

The Wrong Man:

lyrical

music

in

In

his third

collaboration with Hitchcock,

Herrmann avoided

favour of a cold precision and occasionally violent expressionism

which perfectly matched the fluctuating moods of the drama. (6-7) Martin Scorsese remade this 1962 chiller original, including

Herrmann's score.

in

(8)

Cape

Fear: When

1991 he retained several elements of the

The

Devil and Daniel Webster:

Herrmann's highly experimental music won him an Oscar for

this

score

in

1941.

24

(2-5) Psycho: Hitchcock had

of his

most famous

downgrading

it

little

confidence

project, and at

in

the potential

one time contemplated

into a television drama.

Herrmann's

brilliant

music - by turns brooding and violent - transformed the venture by injecting the tale with dark poetry and sinister

resonance that linger

in

image has faded from

the mind long after the film's

sight. (I)

final

Carrie: Herrmann wrote

several scores for films by Brian de Palma,

who

later paid

tribute to the composer's celebrated music for Psycho's

notorious shower scene

in his

horror movie Carrie (1976).

si

i m.

wi.

*.

five organs were featured in

Earth (1959),

that

Centre of the

northodox orchestrations such as these

I

each Herrmann score had

and

identity,

to the

score from which the strings were boldl)

a

omitted altogether.

ensured

Journey

ihis respect his

in

its

work

own sonorous formidable

set a

musical textures that tread between

stability

was Herrmann's ten-year collaboration with Hitchcock

allowed him

influential

to

develop compositional techniques

The Wrong Man

even today.

(

I

«>>7)

thai

that

remain

was the

first

a

of instability

is

dissonant harmonic language thai

persistently avoids resolution into familiar concords, even

the end of long cues: the title

lor

conclusion of

It

The sense

instability.

conveyed primarily by

Northwest,

standard of inventiveness.

and

precarious middle ground

a

dissonance

that

sequence

of

at

North by

example, ends without resolution, while the

Psyeho

accompanied by an unresolved

is

can only leave the viewer uncomfortable.

In

handling both ostinato and harmonic elements, Herrmann skilfully

manipulates the audience's responses: the listener

is

25

encouraged

to

music of claustrophobia and oppression. These distinctive

resolution

imminent, but

atmospheres were developed

the visual image, a listener lo Herrmann's music might led

Hitchcock project

scores,

to

showcase Herrmann's

now considered

in

three sophisticated Hitchcock

he amongst the finest film music

to

ever composed: Vertigo (1958),

il

(

>.V>i

and Psycho (I960).

graphics

of

main

die

title

come. While

in

North by Northwest

In all three, the starkly abstract

sequences, designed

allowed Herrmann free rein

to

ability to create

in selling the

some respects these

mood

l>\

Saul Bass,

'overtures' were a

when Brian de Palma suggested

(1973) should

commence

never (or rarely

il

constantly cheated, but

in

its

comes.

)

\\

ithoul

cinematic context

this

inconclusive and ambiguous music precisely achieves

that

Sisters

without mood-selling music), the

b\

Royal

S.

Brown as "music of the

irrational".

Herrmann's score

to

Psyeho

is

universally acknowledged as

one of the most original and influential Another example

of

unorthodox scoring

in its

strings (often said, perhaps fancifully, lo

visual image), the

cinema

in

history.

exclusive use

complement

Psycho music

Most prominent was Herrmann's heavj reliance on ostinato

is

the Italian word

la

short, repeated pattern of notes; the term

lor

obstinate). In

-core--, ostinato figurations

Herrmann's Hitchcock

stubbornl) refuse

to

transform

saturation point. Most celebrated of

all

is

the

scene, which Hitchcock originally intended

music: Herrmann persuaded him director later bluntly

commenting

themselves into conventional melodic-: instead, the

have music had been an "impropei

fragmentary repeating patterns are formed into kaleidoscopic

were the screeching and

slithei

lo

the

to

famous shower

to play

think othei

that his propos

i

ol

brings the

simple vet intense techniques of Herrmann's earlier work

am

In-

desired emotional effect, and has been memorably described

monochrome

compositional techniques the) employed were idiosyncratic.

label applied to

I

of the picture

thoroughly conventional idea (Herrmann famously reacted with horror

is

think thai an extended melody or harmonic

without

26

V (1-6)

North by Northwest:

to be canned music

underscoring as

it

more

(3) In

one scene on board

the restaurant car

a train,

what

Saint. (6) Like

all

until

the

moment when

appears

between Cary

good composers, Herrmann knew when

effective than music: in this film he supplied

aeroplane sequence

at first

subtly transformed into lushly romantic

is

gradually lends support to the flirtatious dialogue

Grant and Eva Marie could be

in

silence

no music for the climactic

the plane crashes into the ground. (7-8)

Vertigo: Herrmann's music experimented boldly with unresolved dissonances and kaleidoscopic figurations ideally suited to the late

film's disquieting

subject matter. By the

1950s Herrmann's responses to Hitchcock's requirements had become so

consistent that there are

many obvious

he evolved for both Vertigo and

similarities in the

North by Northwest.

thematic and harmonic ideas

accompanying Janet Leigh's watery demise at

that

some

critics

the time thought thev were electronically generated, while

the sheer brutality of the music led others into thinking the

scene

be

to

Among

far

the

more gruesome than

many

really

it

is

in visual terms.

self-confessed imitations of the

Psycho

Truffaut.

Black

Fahrenheit 451 (1966) and The Bride

(1967). His music for the futuristic

Fahrenheit 451.

Wore

Ray Bradbury

story

in particular, is brilliantly inventive.

Especially impressive

is

the mechanical

march accompanying

the shots of the futuristic fire engine as

crew heads

its

burn yet more books. Instead of the

score was that in de Palma"s Carrie (1976), for which

impassively off

Herrmann's music had served as a temp track. The legendary

anxious, exciting music

shower scene has overshadowed subtler elements

an image, we hear clinical precision, with a quirky xylophone

of

to

we might expect

to

accompany such

Herrmann's score, such as the precise synchronisation of the

melody, almost childlike in

doom-laden pulsating music with the action of the windscreen

the story that

Herrmann shows

wipers of Leigh's car as she drives through the night. There

critical of the

flamboyant waltz composed by Richard Rodney

its

naivety. (Given the insight into

here,

it

is

odd

he was so

that

28 is

nothing inherently disturbing about the way in which this car

journey

is

photographed: without the panic-stricken music, as

Herrmann himself observed. Leigh could her way

to a

just as well

be on

Bennett

to

characterise the luxurious train in

Murder on the

Orient Express (1971. Sidne) Lumet). According Goldsmith, Herrmann

felt

the suave

melody

to

be

much

Herrmann on Fahrenheit 151 because he wanted Hitchcock and Herrmann parted company when the music

to

Torn Curtain

(1966) was rejected by the director,

ostensibly because he desired a pop score which

was unwilling

for

to

the rupture, which was

interests,

and the

a

futuristic vision to

to

commercial

be accompanied b\ music of

almost neo-classical -implicin -

contrast

it

creates

love music that

combination of Herrmann's

is

\lter the project

thank him

lor

all

when juxtaposed finally

allowed

the

more

clarity

and

effective lor the

with the tender

to

bis

and

lyrical

dominate the underscore.

was complete, Truffaut wrote

to

Herrmann

to

"humanising mj picture".

director's uncomfortable realisation that

in the

opinion of main, been the

defining factor behind the success

French director Claude Chabrol put

oi

it.

his greatest films.

\-

"once Hitchcock

gol

Herrmann. Hitchcock's music was good only when

was imitating Herrmann". Hitchcock had been influence on certain French directors, and

that

Herrmann

the real reason

saw as Hitchcock's sell-out

Herrmann's music had.

rid of

ma>ked

provide. This pretext

distrust oi what he

latter's

too

employed

flippant for a "train of death".) Truffaut had

supermarket as fleeing from a crime.

to Jerrj

Herrmann went on

to

compose two

mi

it

a

it

potent

was appropriate

Herrmann-

1

final

-core was lor Martin Scorsese's

I

axi Driver

19761. which featured a -nltn blue- theme that paid tribute

to the

long-standing cinematic tradition of equating jazz with

urban decay and corruption. Scorsese praised Herrmann's success

film,

in

establishing the psychological basis

and the music's combination

violent modernistic elements

ol

od

ij// with

seemed

to

the entire

sometimes

presage

a

new

direction in Herrmann's s

his earlier

experiments

it

advanced harmonic and rhj

title

the

music

title

for

The Wronj

sequence

in

Nortl

disquieting habanera that

Carlotta in Vertigo). Thi

garde was another of

Hi

HMIN

^^B£^\_.i

fill -^^5^^^^ (I,

4)

The Bride Wore Black: combination of

Truffaut's distinctive

elements inspired by Hitchcock and Renoir elicited from Herrmann a score in

which the musical shapes often

mirror the (2, 3, 5)

toy-like

fluid

camera movements.

Fahrenheit 451: The almost fire

engine

in

Truffaut's

nightmarish vision of a future world

deprived of books

is

captured by

Herrmann's oddly chirpy music.

The Bride Wore

and

)

ristic

is

Ray Bradbury

story

brilliantly inventive.

ical

march accompanying

gine as

its

crew heads

books. Instead of the pect to

accompany such

with a quirky xylophone

.

(Given the insight

into

(1-5) Taxi Driver: Herrmann's last score proved to be one of his

most hauntingly memorable.

saxophone theme had

originally

Its

searing blues-tinged

been written

as

"source

music", intended to be played as a realistic part of the action,

but the

composer adopted

it

as the

background score and conjured up

a

mainstay of

his

sound-world that

disconcertingly combined the sleazy and the profound.

In

its

unique combination of violent dissonance, jazz and atmospheric impressionism, Herrmann's music was

conclusion to

a

a fitting

career distinguished by the composer's

consistent ability to penetrate to the psychological heart of a

drama and encapsulate (left)

it

in

music of economy and

Bernard Herrmann conducting

at a

originality,

recording session.

The

direction in Herrmann's style.

experiments

his earlier

idea grew naturaUj

fusing Latin dance rhythms with

in

advanced harmonic and rhythmic techniques music

title

the

title

for

Wrong Man.

The

sequence

in

from

North

1»>

the relentless fandango of

Northwest, or the

disquieting habanera that conjures

Carlotta in Vertigo). This fusion

main

(as in the

n|>

oi

the aura of

lilting but

«

1 1 1

-

ghostly

the popular and avant-

garde was another of Herrmann's enduring legacies subsequent film composers, and the combination

oi

to

Scorsese's

haunting close-ups of a yellow cab cruising the streets of New

York

ol

at

night

and Herrmann's brooding music constitutes one

Herrmann's influence thus persists both scoring methods and

composer able

the directors with

younger composers than

Herrmann's innovative compositional techniques was the realisation

with

that,

uncompromising

Herrmann saw no

i-

music had

distinction between

music and working "America

work of such consistent and

quality, film

for the movie-.,

at

last

come

ol

age.

composing concert

and declared that

the only country in the world with so-called 'film

composers' - every other country has composers who sometimes do films". His commitments

in

the classical arena

as hoth

composer and conductor forced him

strictl)

limited

approached

number

his film

to

work on

to

a

of film project-, hut he always

commissions with undiminished

standards and refused

compromise those standards

lace of commercial pressure. His disgust

at

artistic

in

the

the motion-

picture industry's refusal to accord film composers the respect

and recognition he

felt

whom

they deserved led to lu- resignation

from the \cadem\ of Motion Picture Art- and Sciences.

specific

ol

the

roped

(not

i<>

saj

dread) of

he worked. Hi- cutting remarks on

producers ("musical ignoramuses"), director- ("the) have no

what

taste al

all...

a picture ()0

per cent:

have endeared him

stream

ol artistic

ensured

that

to

and

in

really

rather not do a film than have to take

I'd

a director >a\s").

and even Hitchcock ("he onlv finishes

1

have

to finish

it

for

him") may not

the Hollywood moguls, but the stead)

successes produced b) his stubbornness has

he has remained

communicating to

command

to

terms

his almost mythical -tain- a- a

generation of film composers.

the high points of film scoring in the 1970s.

Perhaps even more important

in

in

link

a potent role

Herrmann

felt

model music

for a

to

new

he "the

between the screen and the audience".

exploiting this link with such constant resourcefulness

he -bowed how the composer, not the director, could

sometimes be a

film's true auteur.

MERVYN COOKE

biography Elmer Bernstein, barn classically trained,

and

New York

in

is

Cit)

in

D>22. was

indisputabl) one of the giants of

film music. His store- are recognised for their rhythmic

intensity

range

and strong emphasis on melody. The great

of his

work always manages

purpose of the film while

unique identity as one

at

the

of film

to

stylistic

serve the dramatic

same time

retaining his


own

music's most creative \oiees.

elmer bernstein n

His early grounding

in

compositional method, notably with

Aaron Copland and Stefan Wolpe. ensured equally

at

home

that he

was

with the European tradition as well as with

20th-century American modernism. He has been nominated

for

13

Academy Awards and awarded an Oscar

score to

He

Thoroughly Modern

for his original

Millie (1967. George

Hill).

has worked with a wide range of directors, among them

t

e

v

r

I

i

w

e

grew up

New

in

My mother

arts.

was

father

York

City.

My

good amateur singer.

a really

wanted

I

to

I

He decided

basic training and so

I

started piano

decided around 12 years old

do something with music.

with Aaron Copland.

in the

Duncan and my

studied dance with Isadora

lessons at the age of nine and

that

parents were interested

that

I

began studying

I

needed some more

studied with the composer Israel

I

David Miller (Saturday's Hero. 1951). Otto Preminger (The

Citkowitz. and then later with Roger Sessions and ultimately.

Man

with the

with the Golden Arm. 1956) and Cecil B. De Mille

(The Ten Commandments. 1956). for

many genre

Sturges):

To

of film:

Walk on

Kill a

He

has written scores

The Magnificent Seven

(1960. John

the Wild Side 11962. Edward Dmytryk);

Mockingbird 11962. Robert

Great Escape (1963. John

More

Sturgesl.

Mulligan) and

The

recently. Bernstein

has worked extensively with director Martin Scorsese on films

including

Cape Fear

(1991).

(1993) and Bringing out the

The Age of Innocence

Dead

i

1999).

man from whom

I

learned the most. Stefan Wolpe.

involvement with movies happened by accident.

in

the

army

assigned

wanted

to

air force in the

Second World War and was

song on each of the propaganda shows and as

knew something about American

When

folk music.

who wrote

the fellow

I

was brought

the

in

and asked

if

I

could do

it

I

I

in

background

scores for the shows absented himself and the dint

me

My

was serving

Special Services, propaganda broadcasts. The)

a folk

as arranger.

I

said, "certainly".

tor called

33

34

*r

i

/^K.

V

35

_.>**)*«. (1-4)

i

The Man with the Golden Arm:

By opting for

a jazz

score instead of the usual symphonic score, Bernstein broke

new ground with thing to jazz

do -

it

drummer."

this film: "It just

was

a film

(2) Silence

about

seemed the appropriate

a junkie

who wanted

to be a

was adopted for some of the card

scenes: "There used to be a tendency until the late '30s to

have music wall-to-wall. Then composers

Herrmann began making the music well as functional." (4)

theme. Drama without humour

is

Bernard

dramatically precise, as

"Kim Novak had

sadness - an important factor for

like

me

in

a

gentle kind of

the creation of her

boring and violence without

the sense of sadness that accompanies

it

goes beyond boring."

—

24 D

EGf'DL'CTSa

END TITLE

11S15 fM

T 0-&

-fC^ -

ft

^

=

l4

©

®

ol

-K r

^optionally)

i-^

¥ [>

f

-:

|5K

36

©

® 1

^r mfiY 45

OSS

(revised!

r

j

—

©

4= L-a

Up

37

(1-6)

The Ten Commandments: when he composed

Bernstein was 34 for his first is

Hollywood

epic. His score

and dramatic, and

richly thematic

unusually for film music dealing with a biblical

subject he doesn't use

heavenly choir. "The

was

a

a

God theme. That

very big problem!" (1-2) The

opening two pages of Title' music. This

orchestration.

credit

is

hence

score,

Bernstein's 'End

the conductor's

the

condensed

Note the orchestrator's

(Lucien

Cailliet)

and

the

handwritten instruction from the recording session 'Please save Take 6 -

complete

take'.

Presumably many

versions were recorded and version

number

six

was the preferred choice

for the soundtrack.

\fter the

war

one of

later

worked on a musical radio show. Sometime

I

my mates from

sold to the movies,

movie. So

went

I

and

after that

Hollywood

to

was superior

in

Hero

to what's

producer of the

to the

1950 and did the score

(1951). That was

stayed on in L.A.

I

me

and he also sold

Saturday's

film called

the army wrote a book which he

my

for a

film

first

think the studio system

I

going on now, especially for young

people, because you were given a chance to learn something.

You weren't given a major film into the

away but you could

right

system and learn your

get

craft at the feet of giants like

me

you throw

said,

He

out of here".

"Think of

it

asked, "Well, what

is it?" I

as a score for a jazz orchestra rather than a

symphony orchestra". So Otto

said something you would

never hear today: "That's what

hired you

I

you think then you should go do suggestion

I

had no idea

ground-breaking.

do. After all,

just

seemed

I

am

When

it!"

was going

to

made

I

the

be so sensationally

a junkie

who wanted

not a jazz player although

up with the music.

what

be the appropriate thing

to

was a film about

it

drummer.

jazz

It

it

for. If that's

to

to

be a

was brought

I

worked with a team of arrangers, Jack

I

38 Bernard Herrmann, Franz Waxman, and Max Steiner.

Hayes and Leo Schuken, when the band was playing along

Where

with the orchestra.

In

1952

that

did a film called *

I

was unusual

n Fear which had

for the time, in that

it

a score

considered

attention,

and there was

Green of Metro. Roy

Fiesta.

Igor Preminger. a prominent agent.

Golden Arm.

Igor

remembered

\lier

inc.

being lured

daj and saying

waj

I

want

in

do

to

I

me

piano was

this

1

didn't reallj

what

I

The Man

"W ho

with the

Sudden Fear

the hell

Green

at

is

he?"

Metro and

into Otto's

ol

have an idea about the

thought

I

might

thi>.

We had

a

drug

good lime.

tell

you before

know about drug dependency

was conscious

ol

over the whole thing.

directl)

remember going

61m, but

I

Otto's brother.

a terrific -end-tiff. S> Otto hired

I

worked together on

He was

up.

him, "You know,

all

There are

said Otto. Igor suggested he call John

!>le» him, gave

We

Paramount and

the score for

me

and suggested he should look

God

the

at

Three years later Otto was making

John,

in

which we invited John

Music

of

a

and orchestra

for the time, as the

Head

Shorty Rogers. There's also

which depended verj much on Shells Marine's improvisation.

for two pianos

a screening to

playing solo the

those days was a

in

be a parlour instrument. This attracted some

to

is

withdrawal scene which features drums ver) prominent!) and

symphonic, big orchestra kind of thing. The car chase

which again was unusual

b)

band

relied heavily on solo

woodwind instruments. Film scoring

movie consisted of a big piece

arrangements are

the

lirne>

musical,

when in

was

that there

to

was an aura

Kim Novak had

oi

sadness

that gentle Badness.

I'm affected by things that are not

this

case

it

"Molly". Those two syllables, the

linked

those days but

in

was her character's name,

first

two notes of the music,

her character which starts a- a piano theme and

then goes into the flute, are linked

was the same thing with the

to the

first

name

"Molly**.

two note- of

It

The

Magnificent Seven - you could hear the word "Seven**. \lter the

magnanimous "You do what you

Preminger began

He wanted

to

to

a-k questions.

know what

it

He could

was going

to

think

\><-

sound

i-

right",

vet)

tough.

like.

Finally,

«•

•

•£

#,/««/.<.

:

„J1# ^sJcr* L*

compos..

£tfty

—

;

/

/,-'

<" 1

-

^

r~. f-

"V

"'J^

:.'

*

r

.

W

i

i

'

1——=-— _

\

&., )

'

._

U;

-;-.

A,,, _

IF *

A,

;

v

t

i=±=

v

1

1

_

«£>

— ^

4

»^v>

ffl

—A=

\

.

1'

nrr-tr OL

* *» *»

T?\.l

,

.

^«;.

t

$^\

4

-IS

-^

^r_

^

ST*

^^J^

'

&

^

:U

=

=5

'

V


liL

i

u>

'

--J|:,

H'l Ooj i

»

'\

.V

tV;

t

1

4

;

1

'.l

;;;;^

.

j(

'

';.:'

i

'

,j

',;'

(

'I'll

i

A. •

r

(

1-3)

The Magnificent Seven:

(2)

The 'Overture', containing

the famous main theme. (3) 'Harry's Mistake': Spanish-

'-

_-=

'T

''I

1*

American dances mix with urgent action music and prominent percussion - one of Bernstein's most inventive scores.

after a few

weeks of

me

recording with

Some

Manne and

made

I

on piano. Preminger was fine with

directors are

discredit. If

Shelly

this,

much more

a

director couldn't even think

of. It's

own

to.

intrusive, to their

another world.

If

Otto had

used a temp score of something that was not jazz and said, "this

for

what

is

want", then he'd never have had that jazz score

I

The Man with

Arm.

the Golden

be

brought authentic Egyptian instruments which we could listen

contribute something that the

is

We would

what they played?

that.

you hire a composer who's worth anything, the

best thing he's going to do

Who knows

was very hard.

They were

playable. You'd have a sense of the

still

instruments, but not of the music. That was doubly so for the

Hebrews.

would

We

had no

idea, so

listen to the pieces

every single note.

He

more about thematic

just started inventing.

I

De

Mille

played on the piano, maybe not to

wasn't so worried about orchestration,

He had

use.

a very

the themes followed the characters

Wagnerian idea

that

and identified them. The

whole movie has a no-holds-barred presentation because De

40

When

came

I

kept

initially

to

The Ten Commandments, De

do

me on

week-to-week.

Mille

began as a composing

It

Mille always thought big in an unremitting style.

am

excuse-, itself al

point,

and

lends

it

to

never

It

take you with

it.

job to write the 'Egyptian Girls' Dance*. Victor Young was

supposed

to

was no way he could do the

said there

my

me. "be

do the scoring but he was terminally

guest".

film

ill

and he

and so he said

De Mille needed more

things:

to

more

dances, more pieces for harps or flutes etc. Eventual 1\ he

asked

me

to write

the entire movie.

making dotted

even

i.

was

that

it.

fixed.

did

I

anybody ever knew more about

don't think

a film than Cecil B.

what he wanted

film

I

some themes and

De

Mille.

He approved even for the extras.

He

crossed ever)

t

and

single costume, including

There was no indecision. The

opens with an overture which precedes an appearance b\

De Mille

himself.

I

had

in

mind the atmosphere

ol

The Magnificent Seven

was something

m) own

my to a

great degree

always found

-(or.-

fm

theme on

it

that,

was the hardest thing

maybe an

to get to.

1

-pent

entire month, something you

able to do anv more. Historically

me

to

a lot

make

a

of time

would not be

The Ten Commandments

-

great deal about, parti)

folk

The

Bi«i

had been

in

and

He invented American music

Id wanted

to

and magnificent score

was.

The Magnificent Seven

m\ head

I

of

bj

do

got to

music, and also because

Country, which was done

time

1

ol

ver) attractive. Originall)

it

for years

it

because

and

a certain Style, a certain -oiind.

a beautiful

of enerj_r \

Mille specifically wanted

a

do an American type of theme a-

American

Moross and

The main theme throughout

When De

to

relationship with Copland.

>et free,

problem.

knew

I

interest in

nostalgically old Hollywood, a >en-e of Hollywood theatre.

the film. God'- theme, was a big

wanted

that for years I'd

scon- really benefited from the fact

it

all of this

and \ear- had

do the

Jerome I>\

the

stun thai

chance

a

I

to

be

think that accounts for the tremendous amount

and rhythmic

was Tex M»\. and

I

intensit) in that -core.

also brought in a

lot

Mexican percussion instruments, ami wasn't drawing on folk themes -

I

The influence

of characteristicall)

guitar.

was drawing on

However, feelings.

I

(I)

Cape

for the

1

Fear: Bernard Herrmann wrote the original score

962

film by

J.

Lee Thompson. The

terror, telling of a family

whose

film

is

an exercise

in

peaceful lives are transformed

into a nightmare of fear through a psychopathic ex-convict.

(2-3)

Cape

Bernstein

music the in

is

Fear: For Martin Scorsese's remake

worked

not necessarily

first film.

He came

the Scorsese film was

was

in

in

the same place as where

across

like a

more

the original movie."

in

1991

Herrmann's score: "Herrmann's

closely with

prophet to

me -

it

his

was

in

score

pertinent 30 years later than

it

41

(1-3)

The Age

Described by

of Innocence:

most

critics as the

42 violent movie Martin Scorsese ever

made, although for

its

emotional and

psychological, rather than physical violence. Bernstein's score aimed to

capture

the

but

stifling

refined

elegance of the era, incorporating

many waltz themes. where Michelle

(2)

Pfeiffer

"The scene and Winona

Ryder are watching the opera beginning of the film

is,

at the

as far as

I

am

concerned, the most interesting piece of scoring

we

in

the

film.

On

the one hand

are hearing the music of the opera,

and on the other hand, the scoring music introduces

a

very

thin,

element which addresses sense of discomfort."

nervous

itself to a

I"m also a great believer in silence as part of the design.

film score

is

the area-

\

sound design

a part of the general

ou don't have music are

just as

\

the film and

oi

important as the

areas where you decide to score. In the early days

of

film

scoring there was a tendencj to have music wall-to-wall.

bring in the music as he's editing the film. In the case of

Age of Innocence, liked ami

I

1

wrote some themes

then suggested that

we make

a

lor

The

him winch he

temp score based

on these themes, xi he was always working with what became

the final score.

Then, with the emergence of people like Bernard Herrmann,

who came with

became more dramatically

Herrmann

is

one

American voice,

a peculiarly

of

my

precise.

idols

some time working with

and

1

Scorsese that

told Martin

would

1

the music

really like to

his old score for

spend

Cape Fear.

1

I"\e

been blessed

in

m\

life.

I

was luckj

'50s. the halcyon days of film scoring.

film

music

is

in

an abysmal state

music designed

to

germane

dramatic work,

to

be there

Even though the

in the

in

the

art of

United States, with

be specifically commercial rather than 43

probably only wrote about ten minutes of music

The

first

main

half of the

title

Herrmann. What's interesting necessarily in the

same place

thing that thrilled

me was

prophet

in the

sense that

is

original movie. Actually

because I'm more of

is to

I

later than

don't write

lot.

to

clarinet.

Scorsese

example

one of those directors who

listening to music

finds

it

like

i~

in the

Herrmann I

did learn

I

also

which he employed

Those low woodwind- can be ven

i>

like a

alto flute, has- flute, the contrabass

sequences and the wa\ he would

director.

much

was

it

be really economical.

learnt his use of low-end instruments

for

not

is

didn't necessarily have the instinct to

repeat things a

frequently -

it's

thought his score in the Scorsese

melodic composer. But what

a

from him. and which

I

music

that his

Herrmann came across

was more pertinent 30 years

film

do.

was me but basically

as in the original film. But the

that

I

for that film.

effective.

will talk

like the

music.

what made him want

through the

He lo

said that

become

For him the image and the music are inseparable.

a

He

\er\ difficult to edit a film cold, so he will tend to

to the

it'll

probabh

around. These things usually do - I'm an optimist.

turn itself

—

-

V

j

.

I

1 •

y

-

\

j

IV

mN 1 1

i

i

biography Maurice Jane was born

He worked

in Lyons.

Frame,

in

WHHHM

September L924.

as musical director of the Theatre National

Populaire in Paris for 12 years before becoming a full-time film composer. His earl)

scores were for short features In

young French directors of the time such as Resnais and Franju before moving on

to

large scale international

productions. Arriving in L.A. in 1964. his attitude

to film

maurice jarre n t e r v

scoring was radically different from the old Hollywood style

ol

I

i

e

45

w

was born

in Lyons.

My

My

parents were not musical.

father

grand orchestral gestures, favouring a more restrained, almost

was the technical director of broadcast radio

chamber approach,

one day he came back from the radio station with some

often incorporating electronic sounds and

musique concrete. Jarre has won three Academy Awards his scores to

for

Lawrence of Arabia. Doctor Zhivago and A

Passage to India. Early French

films he wrote scores for

records.

I

played one, the second 'Hungarian Rhapsody' by

Liszt recorded

and arranged by Stokowski and the

Philadelphia Orchestra. Suddenly

include Hotel des Invalides (1952. Georges Franju) and

-

Les Dimanehes de Ville d'Avray (1962, Serge

conductor. However,

Bourguignon). Jarre has enjoyed long-running relationships

become

with directors David Lean and Peter

have taken 15 years

Jarre

composed

YAeir.

For the former.

the music for arguably three of the most

famous and well-loved films ever made: Lawrence of Arabia (1962l. Doctor Zliivago 11965) and India ll984l. He

of Peter Weir"s films including

Dangerously

(1982).

The Year of Living

i-

extensive, including

others Fatal Attraction (1987, Adrian Lyne).

had discovered something

I

I

wanted

was 16 years old and

was

for

me

to

a

too late to

a conductor or violinist or clarinet player.

It

would

have become a decent player.

was advised

to

take up percussion.

and was admitted

to

the Paris Conservatoire.

I

it

become

to

I

worked

really hard

to

number

Witness (1985) and Dead Poets

Society (1989). Hi- filmograph)

among

A Passage

has written scores for a -ignificant

I

the sound, everything. Immediately

So

France and

in

I

became

quite a good percussionist and got a job with the

Jean-Louis Barrault Company.

He wanted

play the music for his productions.

The

two musii

otic

Boulez. The two of us played together for four years,

percussion instruments from timpani

to

xylophoni

me

on

al

46

M iff^l l^jfl ~^E

ilii^^l

L

(1-3)

Lawrence of Arabia:

"I

r^^^H tried to find a beautiful, idealistic

have a main theme and to manage to

many

different

for the score:

make

themes which then become

"I

was

totally,

The director David Lean

in

absolutely

as

many

lost." (3)

Watching the

amazed by the beauty

it

theme

for this film.

I

think

it

is

very important to

variations as possible instead of disturbing the audience with too initial

40-hour screening gave Jarre the inspiration

of the desert

conversation with Maurice Jarre.

music should start growing and where in

i

"I

- you

feel

the sand, you feel the heat." (4)

learned a lot from David Lean.

He knew where

the

should fade out. Sometimes he even put the beginnings and endings of music

the script." (5) Maurice Jarre working on the film's score.

#

*

47

Ondes Martenot. When we needed other

playing piano and

we used

instruments, such as trumpets for example,

We

were just two crazy

to there with the

sound bubbling over

player with the needle in the band.

guys rushing from here

a record

so that the audience thought

it

was

a big orchestra.

It

truly

was a wonderful time.

Then

I

was invited by Jean Vilar

to write the

music

for a play,

Of Homburg', which was being performed

Kleist's 'Prince

my

the Avignon Festival. This was

first real

at

composition.

Armenian

to write

Benjamin Britten

Arabic music. Then he said,

me

do?",

to

write the

programme music and do the

young so

I

company

of Britten

come

London

to

was happy

want

music". That made

to write the British

sense. "But what do you want

"I

I

asked. "You will

orchestration."

music

just to be able to write

I

was

in the

and Khatchaturian. Spiegel suggested

I

to see the film as they'd just finished

shooting in Jordan and Morocco, so

got all the books

I

I

could

on the subject and began research.

I

48 was also the conductor and

decided

place the musicians

to

some would play behind the audience

differently:

battle scene.

Paris,

I

was a big success.

It

for the

When we came back

to

Jean became director of the Theatre National Populaire

and he asked me

be musical director.

to

and wrote music

for

I

had 30 musicians

was a great exercise

It

stayed for 12 years

about 70 different plays - Moliere.

Shakespeare, Brecht, O'Neill. with every night.

I

in

to

work

both orchestration

The

Lean wasn't there as he was busy

I

Invalides.

did

I

my

first

feature, a short called

more films

started to do

directors like Alain Resnais

I

nine

in

Sam

liked the music.

He wanted

France with voting

and Jacques Demy. Then

did a film for Serge Bourguignon called

Ville d'Avray.

Hotel des

in

editing. After three hours

see me.

Les Dimanches de

He

said. "I just did the

biggest production ever made, a film about Lawrence of

Arabia and because

it's

the biggest

a-ked who the\ would be. Arabic music."

1

"I

want

I

want three composers".

Kliati liaturian

-aid this was strange in

,i-k

I

Peter OToole, no

bark

at

Omar

Sharif.

So Spiegel said

two and we'd continue. By six

o'

I

should come

clock there was

still

no OToole or Sharif, onlj desert and a lew camels. By the Thursday, after M) hour- of film,

-aid.

"\l\

God,

I

finally

saw Peter OToole.

down

I

this is three or lour film-". Spiegel -aid that

to

about four hours.

month-

were onl\

-i\

front of the

Queen.

to

I

hi-

that

he would cut

wa- Jul) and there

go before the premiere opened in

1962

Spiegel, the producer, saw this and he

to

clock. David

o'

had only seen beautiful, spectacular film of the desert, no

the film

1952

at

Lean knew exactb what he was doing and

and conducting.

In

screening was on a Monday

first

I

t<>

write the

.i

Russian

I

wa- concerned about the technical process of putting music

to film.

Then Spiegel

said that Khatchaturian couldn't leave

Russia and that Britten wanted a \ear and a half

to write hi-

share because he had some other project >pie^e| suggested

that

In

I

should continue

to

work mi

it

because he had

to return

the Nate-.. Then, in the middle of Aupi-t. he called

-a\ that he had good

new- and had made

a

me

In

deal with an

(1-3)

Doctor Zhivago:

(2) Jarre

wanted to use

balalaika

initially

a

orchestra for Lara's theme but

A.

L.

was unable to supply one. However, he did find a Russian

if

"I

went

Orthodox church and asked

to the

guy

community:

he could play the balalaika.

said yes,

players.

a

He

he could get another 25 to 30

They

recording

I

all

played by ear.

On

the

was miming the rhythm

and they followed

my

lips."

(1-3)

Doctor Zhivago: "David Lean

said that in a

way the

film

composer

is

doctor. Sometimes you can

like a

repair a bad cut but at other times the

patient

is

confident

dead.

If

when he

the director is

is

not

shooting and he

thinks the music will help, he's wrong. It's

better sometimes to have silence

because the music should always arrive at the right

moment and

for the right

reason." The music department at

MGM

was

initially

sceptical of David

Lean's choice of Jarre for this score, saying they had "better

Russia and snow".

composers

for

American composer, Richard Rodgers,

me

the score leaving

write

to

l

)()

per cent of

the remaining ten per cent.

Richard Rodgers but he seemed

liked

I

strange choice.

a

Furthermore. Spiegel said thai Rodgers wouldn't be coming

London

view the film as he knew the

to

some themes

simpl) send

me

for

to

arrange.

slor\

I

to

and would

was stupefied.

like ih«'

middle

would

September there was

oi

clusters so thai instrument.

from

he had a

meeting

which

at

I

a pianist.

was very impressed

1

Lean -

bj

of class, very British, very cool. "Nice to meet

lot

you", and that's

it.

The

pianist

began

to

play the love theme.

I

piano became

ih.'

at

the bottom in lone

a

bass percussion

Arabic instruments.

didn't use anj

Western point of view about Arabia,

a

inside.

meet David Lean and also hear Rodgers'

finally get to

themes played by

a

the keyboard was not

used as a melod) instrument hut played

I

had come

to

It

was music

not from the

Lawrence theme by researching

the

and realising what

life

In the

Ondes Martenot. Sometimes

human person he was

a

the

as well as

being very idealistic. Also after having seen those 10 hours of

film

I

was amazed bv how beautiful the desert was.

had the feeling

that

dreamy

yet realistic also, as

if

sand.

got the feel for the

theme

I

I

I

somewhere

wasn't in the desert but

I

fact

In

could feel the heat and the

away and

right

I

didn't

then the Arabic theme, then an English military march, at

change one note from the beginning. The same thing

which point Lean jumped up saying. "You stopped me from

happened with Doctor Zhivago, although the process

work

arriving at that point was

to listen to this?

has nothing

It

So Spiegel turned

Arabia!'"

to

me

to

in

do with Lawrence of

although

I

was not a

I

said that

I

did

could give him an idea of

I

it.

After

he

Lawrence Of Arabia. Lean went

lost

my connection

as I'd

thing

first

finished

what

I

I

felt

I

played was Lawrence's theme and before

David's hand touch

truth.

I

~till

Then David

feel the

to

told

I

couldn't belie\e

me

that the

work might he

to edit the

second

begin there and imagine what

first part,

of the

shoulder. "That's exactlj

plus

I

had

it!

hand of David on my shoulder

because he had started have

my

I

want. Sam. This young chap should write the music

and we should help him."

to

do

it

moved

to

began work on Doctor Zhivago he

pianist.

calling the music department

The

painful.

an accusing voice —

"Well, you didn't bring anything to show u>!"

have something and that

more

all in -i\

I

of

To

difficult for

was going

I

the

to this day.

part first.

week-.

tell

to

I

do

me

would

in

the

knew the basis

music would be percussion and strange m-truments

do you want Maurice

for.

at

to

the

India to rest and

USA. When he

tried to find

MGM. The

It

was

each studio there was

even

if

Mr. Lean? He's very good for open

all

for

Kussia and

part of the studio bureaucracy. In

guy who specialised in main

titles,

you had different composers there was always

special orchestrator.

period sound a

orchestra.

old

a

I

little

If

you

listen, all

hit alike.

style.

the

main

titles ol

a

that

Rig sound, lug themes, big

arrived in 1964, during

Hollywood

bj

guy said, "What

space and desert but we have better composers snow." Incredible!

me

thi

ths of the

52

(1-6) Witness:This film score was a departure for Jarre from

conventional orchestration. create

a

felt

would

that an orchestra

sentimental feeling whereas he wanted to create

cold, alienating like

He

instrumental music. Electronic music was the most

interesting and logical choice, as

it

doesn't have that acoustical

sound." (6) Jarre tried to "go against the picture" with

a

organ sound when Kelly McGillis and Harrison Ford kiss:

a

atmosphere: "Also, the Amish people do not

"An electronic

violin

would have been the worst

heavy finally

thing."

53

i

,

'

(1-3)

Dead Poets

Joy' as the

(I) Jarre

used Beethoven's 'Ode to

source music for the football game where they recite

poetry. (2) Jarre's

when

Society:

s

they meet

moody in

synthesizer piece accompanies the boys

the cave.

especially important;

Weir

(3)

The

finale, 'Keating's

Triumph' was

instructed Jarre: "Look, he didn't lose,

he won. This conclusion has to be made

'

*^5

musically."

1 —

.*L

K

•'*

ifli

H

-

«J

*'"'?"

Eventually David and

he was shooting.

1

connected and

for Lara's

to

Spain where

He had reconstructed Moscow about He

kilometres outside Madrid.

music

went

I

said he'd found the perfect

theme and he played me

Russian song. That was tine -

it

15

meant

1

this beautiful old

could concentrate on

MGM

other themes in the film. But then

said that they

Peter Weir has a wide cultural knowledge of different music

pop

Iron, electronic to

to jazz, classical, opera.

For a while

Weir was concentrating on electronic sound. Independent his preference

I

also

deeded

that

better than orchestral music for Witness. Firstly,

that (he

lv

of

electronic sounds would be

music should be without sentimentality, so

thought

I

that

il

was

couldn't clear the rights lor the Russian song so David asked

almost cold, detached. Secondly, the Amish people don't waul

me

instrumental music as the)

to write

something.

sav

it's

from the devil.

Nevertheless electronic music can have a slightlv acoustical

We

got

back

to

L.A. for the editing.

started to write a

1

theme

sound, like an aura.

55

and went

me ami

present

to

"You can do

-aid.

started on another.

"Too

fast."

It

teel you're

David.

to

it

was

I

played

it.

it

and he looked

at

was disappointed. So

I

"It's too sad."

Lean

said.

Go with your

mountains and think about Zhivago." Suddenly

it

Then

I

a third.

"Look Maurice.

much on Zhivago and

concentrating too

off.

played

better".

a Friday night.

Take the weekend

I

I

Russia.

girlfriend to the

theme, not Russia, not

a love

dawned on me

that

1

had been more or

less subconsciously trying to imitate the old Russian song he

had loved so much, trying returned on

Monday and

in

to

make

one hour

I

it

sound Russian.

I

for the barn-building scene Weir had been using

score

was

editing very carefully and

plan.

make-

it

theme ha> nothing

sound Russian

i>

to

do with Russia.

else.

Ml

the orchestration

is

on the balalaika-. 30 of them, bass, baritone,

\\

hen vim play

Lean had

on the piano

a very big input

hat

the balalaikas, that -weeping

sound you can't get with anything

it

\\

it

-mind-

alto,

lot

from him.

made

how

started to think

it

with

my

music.

the

I

it

so

il

studied his

I

a sketch like a geographical

Amish have something

religious but also very straight, not sentimental.

different synthesizer players.

to

I

very

used eight

found this fantastic instrument

invented by Nyle Steiner called an Electronic Valve Instrument (FVI).

quality as

It's

it

an electronic instrument but

has

to

be blown.

When

the

it

has a

theme comes

Kelly McGillis and Harrison Ford finally kiss there's

suddenl) an organ sound. Instead

tried lo

of

obviously using a violin

go against the picture with something that was

aggressive

in a

I

reall)

way.

soprano.

completely different.

because he always knew, even

the script stage, jusl where the music would begin ami end.

learned a

I

human

got the love theme.

Pachelbel canon. He'd edited the scene

really difficult to replace

in as

In fact Lara's

of the

temp

a

at

I

Whenever right

awav.

I

see a film, a good film.

W hen

I

-aw

The

War

I

feel the orcl

of Living: Dangerously,

immediately thought of the gamelan,

not

as the basis of the sound. I intended to u

foi

I

I

(1-3) Fatal Attraction: Although

considered

a classic, its

immense.

is

has

It

really the first of the

spawned many

this film has

impact on the

similarly

themed

never been

film industry has

romance/slasher films, (right)

been

thrillers

Maurice

Jarre.

and

became

that

finally

difficult for logistic

and even

political reasons, so

sampled each instrument of the gamelan.

I

with a great engineer in Sydney tor

month-. That's why there

such

is

1()

hours

a unit) of

day

a

worked

I

lor four

sound. There

an

is

instrument on the gamelan with about 15 dilleient sounds,

gongs,

tuned - and they're

all

Western instrument.

also used piano in places to give a

1

When

subtle background texture.

the percussion sound, but

becomes something

tuned differently from a

all

you plaj a chord you hear

you record only the resonance

ii

else. If

it

you then mix different chords

57 together

it

becomes a strange

You know.

think

I

sometimes more for

money

thing.

when you age and become more

difficult to

or glory.

to hit

you see the film finished and you there are a lot of people

then

it

is

I

finish a film

to listen to the

do

it

start to

time

first

think "I don't

know

are going to see this film".

And

a big success!

Every time

to

who

it

something inside you.

Sometimes you can make a judgement mistake - the

if

it's

choose a film when you don't do

has

It

critical

music.

I

don't want to watch

I

spend a

but the last time

performance as a member

I

want

of

lot

to

it

of energy on

see

it

i> at

and

it

the

the audience. That-

anymore or

first

it.

I

love

public

biography Horn

in

LA.

in

February

( l

>2<>.

world's mosl prolific and talented

term "film composer").

He

Goldsmith

J.'in

is

one of the

composers (he dislikes the

studied with a variety of musicians

including Jacob Cimpel, Marin Castelnuovo-Tedesco and

Miklos Rozsa. His career began

composing scores

for

in

radio and television,

popular shows such as The Twilight

/one. Gunsmoke and The Man from U.N. CLE. During

a

jerry goldsmith n

career that has already spanned half a century, Goldsmith has

written

at

least

173 -cores. He has enjoyed

working

fruitful

relationships with directors Franklin Schaffner

(The

Stripper. 1963: Planet of the Apes. 1968: Patton. 1969:

Papillon. 1973: Islands in the Stream. 1977:

from

The Boys

Brazil. 1978) and Paul Verhoeven (Total Recall.

1990: Basic Instinct. 1992:

The Hollow Man.

Goldsmith has scored main of the history of

Polanski);

truly

2000).

classic films in the

Hollywood cinema: Chinatown (1974. Roman

The Omen

(1976. Richard Donner),

won an Academy Award: Alien

I

for

which

In-

t

e

r

v

I'd

i

ew

been taking piano lessons since

my

about 12

parents thought

they would invest

Jacob Gimpel.

I

I

was

In the

I

wanted

1940s L.A. was

a

for all

I

compose and my parents arranged

was 16

thai

the

escape the war.

to

for

I

me

decided

to

lessons as well as harmony and counterpoint.

theory

when

haven

a great teacher. Shortly alter that, at 13.

to

was

started Studying with

I

European intellectuals who came here Cimpel was

I

was serious and decided

good teacher, so

in a

and when

six

have

Then

started studying composition privately with

I

Mario Castelnuovo-Tedesco.

1979. Ridley Scott);

Poltergeist (1982. Tobe Hopper) and L.A. Confidential

Tedesco was

(1997. Curtis Hanson).

but he was stylistically

composer.

I

a wonderful!) skilled

at

confusing. You take

i>

real!)

i-

at

* 1

>t

1 1

centurj as

a

piece you've written

ol

it.

a

College with Ernsl

City

the other end ol the spectrum,

give you his opinion

a very

the late

in

was also studying

Krenick who was

he can do

locked

musician and a lovelj man.

I<

to a

ach

subjective thing. You're bette

!

i

ll

59

60

(

I

-5) Planet of the Apes: Goldsmith's score was an essential

factor

in

establishing the

the opening scenes

atmosphere for

where the action

music increased the tension

appear for the

first

time:

until

the

this film, especially in

builds slowly, yet the

moment when

"The music for

this film

the apes

was primal

and organic. What could be more basic than an animal's horn?

There are

a lot of unusual instrumental devices like

tones from an amplified harp and divider.

I

a bass flute

low string

with a tone

created a serial score - there was the freedom to do

that sort of thing

in

those days."

the Beethoven Piano Sonatas for fonn and structure - they're

long relationship.

such perfection.

with him: Planet of the Apes. Palton. Papillon. Islands

wanted

to

compose and heroine immortal

hut then the pragmatic side of

I

didn't

want

to starve.

me

took over and

At City College

I

was getting

a

were a way

I

I

realised that

want

could compose and

1

in the

was also the

line

make

realised

I

the besl things I've ever

done were

music before

hear

to

came on

1

and he never put temp music

it

He

the scoring stage.

didn't

movies.

in his

opera

wonderful applied

music background and somewhere along the that films

a note of

worked

I

department, the company dance classes and editor of a radio show. So

concert hall

in the

ol

Stream. The Boys from Brazil. Frank never heard

in the

1

Some

a living. So

I

Paul Verhoeven, who I'm working with now. also has

He comes

attitude.

everything.

In the old

my

to

studio and we

done electronicalh and

It's all

and

sil

that's a

a greal

listen to

good thing.

days you played the theme for the producer and the 61

got a job as a clerk at

CBS and

months

after six

I

went

head of the music department and said. "Here showed him some things

I

to the

am!"

I

had written and he gave me a job

I

doing bits of everything like writing cues for radio shows.

Then

1955 and they needed someone

television started in

young and cheap.

I

was doing a weekly television show with a

small orchestra. You had to be inventive and very

was a

lot

of

music

to

be written

rehearsal and going on

You learned

air.

We

those days.

went out and

It

There

hour between the dress

in the

didn't have time to rehear>e

live

that

was

-

there was no filming in

it.

would

couple of tunes with the orchestra. Now

of

often

come

in

including the mistakes.

with a predisposed idea

how they think the music should be because of

tracking that

movie

i-

i>

constantly being done.

wall-to-wall with music.

Apes. Franklin Schaffner. the what

I

really

wanted

to do.

When

It's

I

director,

There wa>

this

Schaffner was the dream director for me:

this

a curse.

temp Every

did Planet of the

and

I

talked about

kind of organic fed.

we had

a great

I

finished Basic Instinct and Paul

I

can go

making music and

or less spend the time

it.

the resl

in

go in the movie".

And

it

He

first

and more

not worrying about

left,

and

1

did the

recording in Europe. Paul didn't attend the recordings.

think he ever heard them.

us

ol

hold our breath until we got through the

sort of

I

just said. "That's the

way

don't

I

it

will

did.

started working with Schaffner back in the '50s in television.

The

first

film

we did was

under contract

to Fox.

Apes Frank and Nowadays film-maker-

Then

it.

it.

They were wonderful times

to ad-lib a lot.

because the shows were done

fast.

director on the piano and that was

and

I

called

The

Stripper.

When we worked

talked a

lot

\\

were both

on Planet of the

about the music, about rocks

and indigenous instruments, whatever

me even morning

We

that

means. He'd

(ill

eight o' clock to ask

"Are you working?

hat scene arc you working on?". I'd tell

him and he'd make

some was

little

joke and that was

fantasy,

anything

and did

I

it.

at

it

was

it.

The subject was

in the future,

wanted. So

1

and so

decided on

l

In the period of the earl)

tin-

serial

primitive -

music could

I

went

it

n<

off

'60s until the mid-'TOs

you could do anything you wanted. do

that today.

The

closest

I

got

I

don't

was when

know

if

you could

did Total Recall

I

with Verhoeven and people would say, "Where's the tune?"

And

shake

I'd

my head and

them, "There

tell

isn't a tune,

actually

worked with Bob Evans on Chinatown. He said

And

should have a period

feel.

the screen

why make

asked

perfect,

is

me what

was going

I

have an orchestra:

theme".

there's a

I

to

going

it's

harps, a solo trumpet and a

As

far as

Planet of the Apes

know where doing

J

it.

came

the music

had an

is

from.

office at Fox.

I

I

concerned

I

don't really

down and

just sat

was writing on the

hanging out with the musicians. They knew

I

started

and

lot

was always

sounds great". And

was talking about.

to

said, "No. If

it

sound

do and

1930s?"

like the

He

said, "I'm going to

I

little

He

percussion".

He

said, "It

had no idea what

I

was an interesting situation because the

dubbed and previewed.

picture had been

what you see on

be strings, four pianos, four

said, "It does?".

I

It

I

it

were as they were going

(o be. All

All the

sound

effects

they had to do was go back

62 looking for things and they'd always

gadgets.

I

remember

come up

with the latest

a flute player in the orchestra,

who came over with some

early electronic stuff.

He

Vbe Most,

hail a

bass

flute

and a tone divider. You'd play one note and you'd

two.

You could

set

to intervals

ii

simplistically naive hut

it

made

interesting about the music for

I've

been playing

those effects.

sounds

1

it

interesting noises.

do

it

I

hat's

i>

that

don't have an) of

with a normal orchestra and

remember

in.

So

I

got the

scene with

that

this

it

-till

and

last

was

minute Roman Polanski called me and

days.

I

u>ed and

not

I

wrote

it

at

the

been spotted. He talked about everything except the movie.

I

talked to

him once though.

London and he was with Robert Evans, called

me and

-aid.

the producer,

"Thai was nice musi<

was the only feedback

I

ever had.

I

kept that

mind

in

The) never heard

a note ol

it

until the scoring stage.

Hob

Evans was running the studio and he was head

of

production.

He's a reall) good producer but he was driving

me

nuts. ""That

note,

little

can win gel

studio!"

Still,

I

We

went on

foi

hours,

music department came and -aid "Can

the

of

thai little note.'""

must

say,

we

I

can't

do

got a beautiful

it.

he's

head

of

the

performance.

in ten

met with him and saw the picture, which had ahead)

never saw him again.

I

aclualh wrote around the sound of that lb.

I

anybod) out there pull the plug? original score

always

I

buzzing around Jack

ll\

Nicholson. You got this arid feeling and

The head

line.

With Chinatown, the

sound effects and

was

Il

\\

Planet of the Apes

concert recently and

in

just

and repeat notes.

get

and

put the music

was

I

in

and he

you wrote". That

Film-makers

temp music

live with

when

editing room, so

the

composer comes

think the\ know what the) want

that

don't

I

write

is

such contrast

in

know what

to

make

editor had pui a piece

of

ol

for month-,

it.

I

for the film.

to the

now

in the)

the

ahead)

Often the mu-ic

temp music

remember

in

ihat the)

with Papillon. the

music on the ver) ending

picture and Schaflher went craz) - "Gel thai out!".

o(

the

\

(1-3) Goldsmith had only ten days to

write the music for "Originally they

but

I

talked

Chinatown:

wanted period music

them

off that idea.

used

I

pianos, harps, guitars, a solo trumpet,

and

at

one

point, the shocking part of

the story, the mother/sister thing, there's a

low moaning sound created

by rubbing

a

rubber

ball

hollow piece of wood."

against

(3)

The

buzzing around Jack Nicholson

in

a

fly

the

reservoir scene gave Goldsmith an "arid feeling" which he kept

when "It

in

mind

writing the music for this scene:

was wonderful to have the picture

dubbed sound-effect-wise."

sic

4

*^*SF

Si'

sM

A

~

^P

:

i tt^VvS^^jB

J

4

4

64

f$f

ft

' .-

'"

:'

"'

(1-6) Alien: This film

remembered

for

its

is

grisly

disturbing special effects. offered up

some

classic

mostly

It

and also

atmospheric

situations for Goldsmith's score:

"Although

was

quite

really."

However, working on

was not

a particularly pleasant

romantic this film

score

the

experience for Goldsmith:

"As with

the original score for 2001:

A

Odyssey

casualties

of the

there were

temp track

the scene

in

some

this film

Space

-

where the pods open."

as in

m

S\

*

(I,

3-6) Poltergeist: Goldsmith's score for this film

cleverly divided

is

classic horror. His

score

between the mystic quiet scenes, those featuring Carol Anne's

theme, and the loudly scored terrifying poltergeist scenes.

In

is

lullaby

true horror style the

music manipulates the viewer into believing that the end has been reached when Carol

Anne

has been rescued for the

first

time. (2) Jerry Goldsmith conducting.

67

(1-3) Basic Instinct: Here, Goldsmith heightened the terror

through a successful mix of music and silence: "The silence

was

essential to the structure of the piece and

music in

68

a

it

gave the

chance to breathe. There's definitely too much music

films today."

two casualties of temp-tracking

["here arc

where the pods open, where

the scene

from Freud. They

that

it's

was

buying

all said. "Isn't that

terrible".

It

doesn'l work

In per

of ni\ nuisic

wonderful?" \nd

at

all.

I

said.

wrote something

I

scene and thej ended up

really wonderful For that

music from Freud. They

in the

["here's

wake from

the)

and which they'd temp-tracked with sonic

sleep,

"No.

Alien,

in

fell

love with the

in

temp music. Then they took the Freud Symphonj as the end

title.

What

wrote didn't work for them.

1

Freud Symphony

in there.

It

teach them how

certain scene.

max do might

It

I

to

score

When

don't think

I

Sometimes

works and sometimes

think about

whal

I

il

the

write music lor a

works

fine, bul thej

works bul

a director

I'm sitting and willing something

explain win

il

do

I

to

whuh

nun do u one way,

another which

like.

how

a film,

it

or how.

il

more trouble

happens.

just

I

il

It's

a

doesn'l. hul the

gel into. So.

I

just

I

can'l

feeling.

more read

I

to

see.

didn't want the

1

wasn't a happy time because the

69

music was churned around and moved. wrote

it

and a

of

lot

it

was

It

wasn't the way

left out.

composing

knowing where

The happy

art of

and not

play in the spotting of the music.

to

for film

two or three day job just

to sit

where

not.

to

do

it

and where

with John Huston

when

e\en know where

to spot

I

I

is

It

play

was always a

with the director and decide

remember

I

it

took three days

did Freud, whereas today

it

to

I

don't

because the\'ve already spotted.

There are guys now whose job

is

just temp-tracking movies.

They even

get a credit at the

The most

significant pictures that people constantly talk

end

about of mine are Patton and

great movies to begin with.

premise of

a great script.

got anything. Plus thev

there isn't that

Something

that

of

the picture!

Chinatown because

You have

to start

they were

with the basic

Without the screenplay you haven't

were so well spotted

for

music and

much music, which must mean something.

I

trj

to

explain

to

my

students

is

that

I

can"

'feS.

\ -

biography Born

B. Prendergast in

J.

1933

in

Yorkshire, England, John

Barry studied classical music and jazz before forming the

John Barry Seven

in the late

success as a composer

in film.

James

tor

TV

1950s,

\ftcr several hits,

commercials,

He won Academy Wards

lor

Harvey),

Out

began

Born Free

The Lion

Hill) (Best Score and Best Song),

(1968. Anthony

lie

of

in

lo

and

work

(1966,

Winter

Africa (1985,

John barry n

Sydney Pollack) and Dances with Wolves (1990, Kevin Costner).

He

received great acclaim as the composer and

t

e

r

v

i

e

w

You could say

me

Dr No

half years old

theme. Other Bond scores by John Barry include

From

Russia with Love (1963, Terence Young); Goldfinger (1964.

Guy

Hamilton):

Thunderball (1965, Terence Young);

You Only Live Twice with the Golden

(1967. Lewis Gilbert): and

Gun

(1974,

Guy

The Man

Hamilton). Barry began

I

was brought up

back of the

into the

Subconsciously

I

think

from very early on.

I

working

relationship with director Bryan Forbes on a succession of

films

(The L-Shaped Room. 1962: Seance on a Wet

Afternoon. 1964: The Whisperers. 1900). before >cores for directors like Richard Lester

John Schlesinger (Midnight

writing

(The Knack. 1965),

Cowboy.

1969). Hie hard

owned

remember him

eight

lifting

was about three and

I

a

black-and-white mouse on

this big

I

paid particular attention

studied piano

at

music

to the

school and when

die organist and choir master at York Minster.

while

a

father

I

led

I

studied harmony and counterpoint with Dr Francis Jackson,

Edmond

He then developed

when

1

Mv

the screen, which was the early version of Mickey Mouse.

trumpet and played

Greville).

stalls

and seeing

work on low-budget. British films such as Beat Girl (1959, T.

in film.

theatres in the North of England and

arranger for the highly successful Bond series, particularly

(1962. Terence Young) for which he composed the

71

I

dance hand three nighls

was also doing publicity

theatres.

called

in a

The Joseph

Schillinger

for

my

was

a

him. and

ii

Attenborough (Chaplin. 1992) and Roland Joffe (The

mathematics

Scarlet Letter. 1995).

this

at

Russian immigrant who taught

was fascinating because of music. I'd studied oth

was so enlightening

l»

cau

Mill*

il

week.

that time

Schillinger System of Music b)

Gershwin. Benny Goodman and Glenn

a

father for the eighl

also did a correspondence course

I

learned the

I

i

all

in

Maths'.

New

York.

5*7

THE FIRST

JAMES BOND FILM!

&&&&

in fIflIGS

no

(I, 4, 5)

The Bond

style

was defined

in

Adams' sets and Robert Brownjohn's

Goldfinger with

title

r

Barry's

hard, metallic sounds into the score: "of gold, the hardness of

Moviola

Twice

1967. (3) Poster for

in

in

registers

1967. "In the in

Dr No.

Bond movies

I

(6)

coming

at

it

the

score,

Ken

it".

(2)

John Barry with the

Conducting the orchestra for You Only Live

used the theme dramatically throughout. Melody

the most fundamental way with audiences.

repetition so I'm not

theme and

sequences. For key scenes Barry incorporated

same way every

I

like

to get a melody that

time." (7)

Diamonds

will

stand

are Forever

J IHfcB^^^y

why

out

scales and harmonies are structured the waj the] are.

purel) through mathematical form.

musical structure for

all

the rest oi

—

it

me

- he went

clarified the

It

whole of

into the 12-tone scale

and

so you understood everything from a purely

technical point of

Barn Seven in

\t

l

)

went into the arm) and joined the military hand with

1

Green Howards. We were stationed

the

lead

Downbeat magazine

in

Kenton's composer, had

that

left

Bill

Cyprus, and

in

I'd

Russo, who was Stan

hand and was giving

the

a

ambodv

lor

else, so

formed the John

I

three local musicians and three

will,

We

we were

contemporar)

all

had been

I

was coining out

started b) copying what

of Vmerica. Essentially,

jazz fans.

I

bass guitar that an English group e\er had - a

first

Iloflner - and

l

work

the arm) with.

bought the

iew.

\

didn't want to

had

I

wean Fred

to

kirk, the bass player, off

He

the double bass and on to tins thing.

and we had pretty immediate success.

It

learned

was

it

quickly

a very viable

group — we were playing contemporary music; we could do

20-minute spot

oi

a

We

our own and accompan) other acts.

75

correspondence course from Chicago called 'Composition and Orchestration for the Jazz Orchestra".

and so -end

own

I

used

to

was a big Kenton

go into Larnaea every week

Busso so

to Bill

I

I

could do the course.

with a piano, so for the 16 months

I

I

to

fan.

buy dollars

to

had a hut on my

was there

I

studied

with Busso which was fantastic because there were no

distractions.

It

was

20 students, but

me because

I

a very detailed course

think he used

I

to

devote a

and he had about extra time to

little

toured with Paul

EMI. During

that time

illoughby

gone

army

in the earl)

'50s knowing

all

the

when

I

came

out

father's theatres,

I'd start

and so

I

thought that

doing arrangements. But over the

three year- things had changed - the big bands were struggling: the)

Now

it

was

were L6-piece bands and the) were dying.

skiffle

groups

and the Comets. Fredd)

roll

thing had started

start a small, reall)

in

Bell

in tin-

London - people and the

whole

a

by a producer called George

a

kind of

English beatnik movie, pretty terrible but there was room for

me

to

move.

I'd

always wanted

to

do film scores and

was dominated by

it

difficult to get

involved

composers

Muir Mathieson and Malcolm Arnold. At

like

as

in.

it

was

classical

that

Bell

like Bill

But

field.

it

was

just starting to

change then.

band

leaders like Ted Heath. Johnny Dankworth and Jack Parnell

because they played my

we had

time, 1959, there were no young composers coining up

was the only European.

into the

Faith -

do a movie called Beat Girl -

to

through the pop

I'd

Adam

met

I

got a recording contract with

He was picked

slew of big hits.

W

Anka and then

Hayley

Bo\s - the rock and

Nates. Jack Parnell suggested

commercial group because he knew

I

also did a

lot

of commercials,

also educational

abbreviate,

to

-

it

taught you

worked with directors like

how

cram something

work

to

to a brief,

into a short

like Karel Reisz

The Knack,

ision work. So

|.-l.-\

I

coming up through pop

I

to

space and be

lor

and Dici

•

example, you can see how

was the onl)

•

I

music' at that time.

|

u

I

I

Lester had learned that new style of quick cutting

I

how

\nd through doing commercial

immediatel) effective.

movie

which was very lucrative and

Di<

I

other elements

was

my musical

when

jazz. Later on,

it

in

did

I

new departure

a

The Lion me, but

for

-

training

the classical and the

in Winter, people said

it

-

wasn't

it

was just my

early training with Francis Jackson, the choral music I'd

And

studied.

again,

when

wrote a jazz club sequence for

I

The L-Shaped Room, was

able to use this other part of

1

my

early training.

I

was chosen

Dr No.

do the main

to

because

title

music

for the first

Bond

film.

already had two or three instrumental

I'd

From

Russia with Love - Lionel

Bart,

with Oliver, wrote the song, which

hit

who'd just had a big

orchestrated and then

I

used the theme occasionally throughout the movie. On Goldfinger, the next one along which came out told

them

wanted

I

theme and then

do everything

to

who wrote

sing

it.

hate the idea of just sticking a song

of a

movie -

I

I

wrote the

I

called up Anthony Newley and Leslie

I

Bricusse

I

So

this time.

in 1964,

the lyrics and

wanted

I

asked Shirley Bassey

at

to

the beginning

use the thematic music in the song

to

dramatically throughout the movie.

\ lot of

writers in the '30s

76

They were

hits.

dissatisfied with

wanted something quick.

what thev alread) had. and

worked on

I

it

booked the orchestra and we recorded Wednesday morning. Fleming book, but Mail.

I

1

"I

hadn't seen the movie, or read an Ian

and

thi>

knew

the

of

James Bond something

strip in

like

The

theme

was the Bond

two minutes 20

how

it

it

stands up, but

still

develops from

my

when you

earlier work.

listen to

it

you can see

has the same rhythms as 'Bee's Knees', the signature tune

Beat

had

a similar guitar riff

whole opening

is

like

which the orchestra then what

I

learned from

ol

Girl, which

built on.

The

Russo - the

Bill

In ihi> way,

for greater

resonance.

Oddjob.

\.r\

then

i-

it

break- into

a

swing thing and that whole bridge, which

almost like a Dizzy Gillespie be-bop phrase.

mixed bag

<>l

wanted me

tricks. I nited

to

riff:

\rti-t-

earn on with the

It

was

a reall)

were delighted with

series.

1

did

tin-

it

score

and

f«>r

to be,

In

Goldfinger,

ol

it

in

the songs.

composition process,

so they're inseparable.

the whole idea of metal, of gold

this too in the

an unusual wa)

example,

the

firsl

I

used the

time you Bee

"tin<.'"

sound -

and the hardness

u-e of bra—

in

for

in

metal, and finger cymbals are

small but the) have a distinctive

trombones and horn-

the guitar

going

is

wanted the sound

I

trumpet

it">

pari of the

sound of finger cymbals - you hear

can hear

sound; then

is

you can use the orchestration

Stan Kenton Brass; big, open, low trombones, and light for that \er\ explosive

did, but this v\a- the classical

because when I'm writing I'm making menial nolo about

The James Bond theme

the John Barry Seven, and the opening of

throughout -

srj le.

For me, orchestration

what the orchestration

think

I

it

l)
seconds, and told the\ wanted a contemporary sound.

I

movie and repeal

for a

scoring movies. Bui mj main themes were

waj

it

a

perhaps not as expansive!) as

the following

was given a timing

I

over a weekend,

would write

at

of

it

was

it.

You

the beginning

- the

the introduction to the song. In

Goldfinger. eveiything came together - musical!) and also

in

term-

ol

design.

the whole series.

Goldfinger defined

the

mood and

-t\le for


BL".

t

III'

/

i

71

.*j (1-3)

Midnight Cowboy: The

harmonica theme became

a

deliberately unsophisticated

very big

hit in

America soon

the film opened: "The counter-melody important than the melody,

in

just this repetitive thing, like

that

it's

is

after

much more

going nowhere -

when you

travel

around

it's

New

York and see the homeless and you see these people going

nowhere. That's where the character comes from."

falling

motif for John Voight's

(1-3)

Out

of Africa: Barry succeeded

memorable and melodic score screenplay had very

little

in

for a film

narrative.

He

writing

whose

a

highly

original

involved himself deeply

with the two main characters, producing

a

theme based

primarily on their interaction with the landscape surrounding

them: it

is

"I

tried to put myself

what they are seeing

in

their situation as a dramatist, so

that the music has to reflect."

On Midnight Cowboy, we used

an existing song, Harry

mood

Nilsson's 'Everybody's Talking", which set the

whole

why

film, hut

it"s

so tight

we re-recorded -

it

to

specific Lengths and that's

the other songs were written specifically for the film,

didn't just

buy records and lay them

in.

happens today. John Schlesinger, the that

we shouldn't have any song

which

is

director,

serving the overall vision, and this was observation.

Once we

-

a little off-kej

it

gives

we

\i

the other

score which was lyrical, sweeping and romantic.

would be

insistent

that wasn't

very astute

it

became

The

for a

director,

Sydnej Pollack, stressed the importance of using the score

was

a

a certain strangeness.

it

end of the scale, Out of Africa called

make an emotional connection

movie

started to plot the

it

what so often

movie

in the

make

for the

wasn't just lading in and lading out. All

it

to

to

with the audience - the danger

simply end up just using big music and playing

to

the scenery.

1

used the same approach here as

Dances with Wolves;

I

I

did for

picked two main themes and used

them as a dramatist might, imagining what

the character

is

79 evident there was going to be a score, and so

harmonica theme

in

I

wrote the

which the counter-melody

is

more

important than the melody, giving a general repetitive feeling

like going

nowhere,

the actual melody.

that

We

any guy

to reflect the

I

underbelly of

York. For

wanted something very unsophisticated

-

rhythm section and the harmonica, so "Midnight Cowboy' in the score would language of the Nilsson song.

- what

of the place

at that time.

theme

of

which

into the musical

fit

warned me

Then Karen's theme comes

that the story

was also important not music

for

something happy and corny. the

sequence we wanted

remembered

I

a sergeant from

army who was always drunk and who played tenor

I

and here

it

was

a

real narrative

it

was

—

"it's just

vital that the

two

music

overscore.

I

wrote only 35 minutes

It

seems

with

90 minutes

like a big score

for

because

dictated where the music should go, hut we loved the silence

and the sounds of Africa - the animal sound- or the winds which seemed

to reflect

used a Moog synthesizer just

the farm burns

-

terrific

to

Sydney's direction was so specific and the structure Inn,

- he was

saxophone really badly but thought he was the inspiration for this section.

had no

Out of Africa (compared

Dances with Wolves). for the Florida

in,

saw as a way of

of

music

the mystery

should dramatise the characters' thoughts and emotions.

helps you to focus in on Joe and the horror of his situation.

contrast, for the

mood and

Africa must have been like to those people

people behaving". For this reason

It

By

sets the

position her firmly into the heart of the film. Sydney had

subconsciously describing what was going on in the picture —

it

initial section

memorable, with a strong emotional resonance which would

that the

I

an

the hack of the train,

at

12-string guitars, a

nightmare sequence flashbacks - futuristic elements,

old Texan nursery rhymes - which

there's

the

question of writing music which would be very melodic and

used other musical elements

I

opening shot, when Karen stands

to reflect this. In

Texas could play.

sitting outside a gas station in

kept the instrumentation very simple

for the

New

seeing and thinking, and used the music

I

it>

vastness, the sound of

didn't want to

swamp

an)

:

(1-2)

Out

of Africa:

scene.

He had

down

as Karen's

initially

(I)

John Barry re-recorded the

written

it

80

this:

"He

said,

'I

triumphant'." (2)

"What

one thing that

essential

is

want

struck in

a

it

it

and asked Barry to

to start small and

me was

become

the scale of Africa.

good score

is

(right)

j

it.

That's a major part of

John Barry at

??:

'Mi

his piano.

The

getting the scale

of the scene right, the environment, the size, the look of

intimacy of

it

journey progressed. Sydney Pollack was

unhappy with the way he had shot reverse

safari

"big" to begin with, taking

composing for

it,

the

film."

In oilier places.

open spaces important.

I

that tor

tell

triumphant.

air of

I

grandeur

thai

the voices here,

this

is

the wide

particularlj

two people flying over this landscape

experience would be spiritual and not

llie

think

to reflect

Hying scene

\frica. In the

ol

small plane,

in a

used the orchestration

1

would have been a sense

it

ol

mystery, an

was beyond comprehension, and so

I

used

and the images on screen - when the plane

swoops down and

the birds start to

all

- seemed

ll\

to

reinforce this theme. In terms of orchestration, this was a verj

classical piece ol work, with a verj strong, falling melodj

the violas -

In

it

wasn't highh

>t\ lised at all.

working with the director,

- you

able to surprise them

want and no more. This

like

is

in

its

important that you should he

shouldn't just try to do what the)

why

I

working with directors

like

Sydney Pollack or John Schlesinger.

(»

I

directors will

leap on a surprise and see that you have added something

fresh

and valuable: there are always areas where

vastly help in the telling of the story.

thing

is

to find

your own voice as

orchestration, hut

voice.

it">

Having done

whether

its a

that,

or

will

The most important

a film

composer -

it">

own harmonic and melodic

Midnight

all vastl) different

music

can

you can work on contrasting scores.

Bond movie

Africa: they're

style, hut the

also your

a score

Cowboy

subjects, period,

or

Out of

theme and

ha\e a certain characteristic voice

which always comes through - your own musical l)\

A.

biography Born

in

Argentina in 1032. Lido Schifrin studied

at

the Paris

Conservatoire and was later talent-spotted playing jazz bj

A move

Dizzy Gillespie.

the U.S. led to a contract with

to

Verve Records, a division of

composed

in

MGM.

His

first

film score

was

Argentina for El Jefe/The Chief (1957), and.

Hollywood

having settled

in

music

such as

for films

in

1964, he went on

The Cincinnati Kid

to write

(1965,

Norman

lalo schifrin

83

interview Jewison);

Flickeri:

The President's Analyst Cool Hand Luke (1967.

(1967. Theodore

Stuart Rosenburg);

J.

and

I'd

say

I

had

a very classical

was concert master of the Buenos Aires Philharmonic

Bullitt (1968. Peter Yates). During the 1970s, he wrote a

Orchestra for 35 years.

wide range of scores including Kelly's Heroes (1970. Brian

piano lessons from the lather

G. Hutton):

The Beguiled

both directed by

Don

(1970) and Dirty

Siegel;

Harry

( (1 )71).

Enter the Dragon (1973.

musical education. Mv lather

was about seven years in

went

I

old.

to all

ol

the rehearsals and

Daniel Barenboim.

movies, along with some (lass mates.

We

went

movies, and after one particular horror film

He has

conclusion

When

frightening.

Osterman Weekend.

times a week on mv

has written scores for

Hour

1983). In more recent years Schifrin

Tango

(1998. Carlos Saura) and

He

11998. Brett Ratner).

has also written music

Rush for the

music,

that, without the

(Sudden Impact. 1983) and Sam Peckinpah (The

I

I

just to see (he

you couldn't buj soundtracks then.

Nevsky

hen

I

I

I

to

see main

arrived

at

the

wouldn't have been so

it

was old enough.

own

look

started to get interested in music

I

Robert Clouse) and Rollercoaster (1977. James Goldstone). since worked with directors such as Clint Eastwood

\\

I

would go four or

five

same movie because

went

to

see

Alexander

14 times because of Prokofiev's score.

concert hall, including a series, "Jazz Meets the Symphony'

and an

oratorio.

The

Rise and Fall of the Third Reich'. The

characteristic "Schifrin sound"

contemporary music with

a

is

a

blend of

}
and

seemingly Limitless ability

to

1

began

lo

wake up

to the

attending a masterclass

at

music of the 20th centur)

the National Conservator)

and im teacher was Juan Carlos Paz, who had been Vienna before die war. He

create melodies that staj with an audience long after the

Schoenberg

credits have finished rolling.

the music of Boulez and together

in

introi

we analysed

thi

-

a

pupil ol

84

(I) Lalo Schifrin playing the piano.

(2-3) Hell in the Pacific: "Sometimes I'll

integrate sound effects as

in

the Pacific where there's

in

Hell a

cut

which starts with the sound of cicada.

same

Then

I

took two piccolos

pitch and continued the idea: the

audience didn't effect

a

at the

know where

ended and the music

the sound

started."

Marteau sans scholarship

He advised me

mfiitre'.

appl)

to

the Paris Conservatoire:

to

for a

passed the

1

instrumentation lor that nun

examination and was accepted into the classes of Olivier had

Messiaen. Parallel

to all this.

don't believe yon

ran actuall) "learn"

sense, but

Thelonious

would

1

I

a serious interesl in jazz.

down

slow them

could copj the parts as their lines were so course.

1

tried to

an academic

jazz in

Tatnm and

listen to pianists like Art

Monk on 78s and

my own

develop

I

to

33 so

fast.

that

me

score. The) gave

\oadeim U.S.

I'd

\uaid

lor

become

working with

ie,

wouldn't .all

I

it

a jazz

Argentinean equivalent of an

the

hut in

it,

though

that

tunc

was alreadj

I

in

the

the in-house arranger lor Verve Records,

artists like Ella Fitzgerald,

Getz, Sarah Vaughan and. of course.

Count Basis, Stan

Gillespie.

|)i/,/.\

I

Then, of

style as a jazz musician.

It

MGM

was through

was

film

The

work with

that

I

went

Hollywood.

to

Cincinnati Kid. and

I

first

major

was lucky enough

good director. Norman Jewison.

a

My

I

that

fell

to

the

8S \\

hen

1

went

to Paris

led a double

I

life.

decided

I

needed

I

to

have my own apartment as the City University dorms were terrible, so

started to play jazz for a living in the evening.

I

W hen Messiaen found

out that

practically stopped talking rhythmically boring

own dynamics,

1

returned

to

me. He thought

was

it

articulation in terms ol rhythm.

at the

age

22.

ol

W

its

hen

was given the

I

My

to

ol

\er\

knows

inside out and he

all

just

need some music

occasionally in

The

to

help

him

had. he asked

if

I

played the piano with

wrote the arrangements.

me

if

I

would

my \\

band, lb-

hen

like to go to the

thought he was kidding hut he wasn't.

took

It

me

I

I

nearl)

told

,S.

two

years to get to the States a- an immigrant, during which time

in

Argentina.

The

kind of allegory of the Peron era.

Chief, which was

I

I

lilt

a

the piece

scene. This happened

where the music creates

interesting scenes

Gillespie

I

knows

Cincinnati Kid. but there are also some

when Dizzy

a

been involved

the actors aren't giving him quite what he wants, and he might

where the music

and then- was

that he's

the scenes where, for instance,

of a cock-fight,

his \11 Star band,

is

inception, so he

band he'd

jazz,

next lucky break was

movie

movie from the

in a

write all the arrangements for a

me and asked

first

advantage over a composer, which

-

Buenos Aires with

my

band, the leader being the director. But a director has an

parallel motion

heard

did

a collaboration, like playing in a

and he'd heard about

reception for him where

I

a jazz musician, he

didn't understand that jazz has

and Radio loved

me and asked me

visited

to

was

have my own Big Band. The new Director

State Television

established.

own

Argentina

to

opportunity

its

- he

I

film-making process was

to the visuals.

when

the cock-- get

clusters, so

it

almost comic.

i>

you

becomes something

had some percussion I'm ver)

if

in

a little like

in there as well, all

ol

remember

I

countr) music, but

listen closel)

satisfied with that particular

underlined the cruelt)

counterpoint - a

There's quite a brutal scene

using a banjo anil a fiddle like the) do together -

a

-

I

do brass

Charles

Ives.

I

ignoring each other.

music -

it-

corned)

the scene.

I

a

used some jazz

I

used the same technique

classic

example

in

Rollercoaster.

i

rhere's a

of this audio-visual counterpoint

in

Date

Reel

^

Part

2.

m. '4e

86

-

SLfi-vz

Ci/JctAiAjari

fC'uD"

Lau

4$

7 1-£

Scmfrik)

(3-7)

The Cincinnati

Kid: This was Schifrin's

feature score. (3) This manuscript for 'Mr Slade'

first

is

major

from the

conductor's score; note the short score orchestration. Schifrin's

score often runs contrary to the action. (1-2, 4) This type of

juxtaposition

something he particularly admired

is

fairground scene of Hitchcock's

subsequently used

it

to effect

and for the brutal cock-fight comic banjo and

in

in

his

score for Rollercoaster

The Cincinnati Kid

fiddle music. (5-6)

"There was

was the influence of Messiaen."

with

a lot of tension

during the poker games where there was no jazz at instead there

the

in

Strangers on a Train and he

all,

but

87

Hitchcock's Strangers

on a Train, where

murder takes

the

trio playing.

The

interesting thing about that scene

is

he

that

place in an amusement park and as this happens you hear the

does

merry-go-round predominantly on the soundtrack.) Another

faces to the jazz trio and back again, and you understand what

scene

I

think works well

is

when Edward G. holds up

joker in the final card scene.

The brass

faces of the people at the table.

very simple -

It's

the

all

has

it

the relationship

is.

was

cluster there

structured by following the camera cutting between

the

without them saying a word, he just cuts from their

all

it

do

to

Going back

absence of music, people always

to the

what great music

wrote for the car chase, but

I

me

tell

didn't,

I

I

with the psychology of perception, as the audience imagines

wrote four minute- before the chase, where the villains are

what the actors must be thinking.

playing cat-and-mouse with

is.

tr\

ing to guess which card

The music here had an important function -

had

it

to

il

bind

wh«n McQueen

do

them the orchestration had

McQueen, and

built the tension

1

and then the chase began.

-lulled gear-,

I

told

88

—

the scene together and build tension

again now.

I'd

probably do

but

il

had

I

to

it

important thing was that there were two different cars and

a completely different way!

it

each

It's

verv

ends.

I

instead

important

to

decide where music

common denominator

like to catch the

ol

catching everything like

more interesting

to

once

with an accent of

in a while,

in a

I

some

don't think

movie with music wall-to-wall, which

showing too have done

in Bullitt, the

l>\

putting

i-

I

for

bom

ies,

would have made the film muddy.

a

it's

scene

villain.

Mso,

I

and instead

all

ol

doing

the police problem-

he cuts

i"

t

bar

and investigations, and the

1

proportion

come on

Id

everything else

i-

Il

with a big,

so understated, so

rhythmic thing- happening.

and McQueen inspired me

Bullitt

to

want

Dirty Harry

i-.

\en

.iw.c.

from

I

sometimes

there'- just

after all. a very cool guj

to reflect tin-.

used rhythm rather than big

it'-

subtle and

doesn't have an obvious pulse like congas or boi

opening sequence and voices. character

going

ol

\\

i-

a

combination

use voices for him.

to

ol

I

s

t * »

I

* I

me

about the

immediately decided

Maybe

it

it

bell-, harp, clusters

hen Don Siegel, the director,

Scorpio, the killer.

ol

pompon- theme when

theme- - the tabla wa- perfect here, because

in a

much music

would have been out

could

in

use that so the

the image on screen. Too

I

McQueen and Jacqueline Hi— et.

a love scene,

1

Again, earl] on

subtle way. Verj earl) on in the movie he wanted to convey

the love affair between Steve

just

*

avoid

think the director,

Peter Yates, establishes character- and relationships

<

to

hi- scenes to music, but that

plot.

i

to

which car was which - you couldn't

always

to "fill" a

me wa-

sound: we had

scene,

tendency nowadays.

a

a different

identify

think silence

necessary

Vaughn wa- the

all

would have given away the

it's

kind.

main thing

early that Robert

that

cartoon. In mo>

them had

ol

audience could

a

ol

capture the general atmosphere of

can be very effective -

For instance,

and music

-tail-

be done with sound effect-. The

to

was because

I

<•(

«a« the

Charles Man-on thing, when the) said they were hearing voices

-

I

don't know,

I

didn't

do

it

consciouslv.

I

derided

to

I

T

\^

(1-3)

shows

Tango: The music

equally at

home

with

score. "This film

a jazz

the other films

composer or classical

was the only time

thought about the music

come

for this film

Schifrin's versatility, a

I've

first,

but

I

in all

done the music has

afterwards, and the influence, the

texture, the photography, the

way the

actors act - that influences

a lot."

me

90

CotlDOcJiiL

infill-

4dUK

(1-4) Bullitt: (1-2)

The

car chase

is

one of the most famous action scenes of film history: that the music fantastic, but

for this scene

"Many people have

wrote for the chase

I

-

I

wrote four minutes

cat-and-mouse

and then

I

build

villians

and build the tension. shifts

gear, bang, they are going." (3)

page of Schifrin's 'Main

drum

are

the traffic,

in

Then when Steve McQueen

score. The

is

didn't write any music

I

before the chase, where the playing

said

Title'

the

Opening

conductor

part (bottom stave)

is

completely notated. Note big-band type brass stabs

laid-back

in

music

bar eight. This cool,

with

dissonance infuses the of

its

style

film

and excitement.

a

hint with

of

much

(1-3) Dirty Harry: "There are three traditions with thrillers: the French tradition

psychology, the British tradition

Dirty Harry

conga drums or the bongos as and

is

suspense, and the American tradition

Schifrin provided the

build... into silence." (right)

I

rhythm with

needed to

tablas: "I

is

is

action." For

used these instead of the

establish a pulse.

Then you

Lalo Schifrin with Dizzy Gillespie.

build

and build

have die voices

but

enough

an unusual interval, not exactly unpleasant,

at

build

to

when

tension so that,

(lie

the character

is

the sound, the dialogue

in

and also

doroDerh

the

the finished film.

running, there are three or tour voices together and the music

seems

to

become

hysterical.

cool Dirty Harry character doubling up

the bass

of

would

I

(heme

for the

masculine, with

verj

is

the

saj

its

with cellos. He's a gin who's very

ritf

sure of himself- despite the fact that he doesn't have a clue

who

the killer

is.

he knows his business. There's pathos

there too. like with the electric piano motif, which

when they discover

the

girl.

comes three

It

I

feel that in

mv work

l'v

the 20th cenlurv -jazz

me

because, when

as sou can

now -

I

I

«•

embraced

and

film.

the two great art forms

This

still

seems

uiciedibl.

began, vou couldn't sludv those subjc

just

arrived there by Intuition.

in

introduce

I

or tour times in the

93 film,

and

at

end when he throws away

the

his badge.

People talk about the so-called "Lalo Schifrin sound" and

its

combination of jazz with contemporary music, and sometimes they expect a certain thing, that you can repeat a score. After

Dirty Harry. just couldn't

I

was asked

do

-

it

I

to

had

do another crime

to let

some time go

thriller but

I

This has

by.

happened on a few occasions.

I

like to

have control over

a jazz feel.

my music

and. even though there's

don't allow improvisation:

I

always like

to

conduct my work and

orchestrating, although

I

- he was

verj

me

more tran>parent. the

I

It'^

Mancini and

I

trv

my own

all

aware of the frequencies

would say

that

I

to follow

bass

now mv bass writing

was given

it

ol

rumble. This was

a

also a good thing to

dubbing process -

do

reinforce the bassline

to

instruments and that they can cause u>eful advice, and

I

I

have taken advice occasionally. For

instance, an orchestrator advised

with bassoons

score even thing.

I

to protect

make time

this

to

i-

attend

advice bj Henrj

mv work,

to

make

sure

biography Horn

with

in

London

in

Man Bush

1944. Michael \\inan studied composition

at

The Royal \cademj Of Music and

musicolog) with Thurston Dart

a

music

critic

at

King's College, London.

\s

he wrote for The Listener. \eic Statesman, and

The Spectator. He coined the term "minimalism" a> description ofmusic

Michael

in

October L978.

Nyman Hand which

In

a

L976 he formed The

has performed manj of his

michael nyman n

concert works and film scores. As a composer he's written four

String Quartets, two Operas, five Coneerli and

many

works. Nyman's reached his largest audience as composer, most famously lor Peter Greenaway, with

other

a film

whom

he

t

e

r

I

v

i

ew

can remember being conscious of soundtracks as

remember going

never heard

Zed

(1978):

& Two

(19881:

suppose m\ all-lime favourite as

who

score by Jerome Moross.

a

I'd

\s a child (here was absolutely no music

in

but

when

(1985):

1

A

changed priman schools

discovered" gave

me

a

b\ the

Her Lover

went into musicolog} and became

).

director-: Robert

He has

written scores

Young (Keep

it

Up

Spectator.

Vround mv time

Greenaway. He was working lived in this rambling

The Hairdresser's Husband,

cinema

L990); Jane

Campion (The

Piano. 1993), \ndrew \iccol (Gattaca, 1997) and

End Of The

Affair. L999).

Neil

in

at

at

was kind

I

a

«>r>

1

music

was

I

L963. Then

to

ol

Vcademv

I

at

I

on The

critic

met Petei

the British Film Institute and

house where he'd actuall)

(he back room.

lik<-

I

the

He used

them on Frida) and Saturda) nights

people

052

1

broad and intensive musical education.

The Royal \cademj Of Music from

1')<)|

in

music teacher. From the age of seven he

Drowning by Numbers

the Thief, His Wife and

Books

(1982):

1

Downstairs. 1976); Patrice Leconte (Monsieur Hire. 1989;

Jordan (The

English composer

l>\

as the best-selling living British classical

Noughts

numerous other

of.

Vultures

house, apart from what was on the radio and television;

(1989) and Prospero's

lor

I

soundtrack

I

my

it

The Draughtsman's Contract

The Cook,

a

-

has sold three million copies,

The Piano:

composer. He has collaborated with Peter Oreenawav on

1-100

had

The Big Country

spectacular has been the success of the soundtrack album for

Nyman

it

a child

Where No

see a film called

Alan Rawsthorne. Then kid was

establishing

to

Fly. and noticing

collaborated on 11 movies between 1976 and 1991. Most

Jane Campion's

95

to

i

n

borrow films

experimental

Eisenstein and Godard.

It

was

-

TV (plc>

,/>WM,

Mr'

fKvq,kiH,tx *»* to*

96

.•«WA3

(1-3)

18 STAVE

The Cook, the

Thief, His

Wife and Her Lover:

(I)

Nyman's manuscript for 'Memorial'. Peter Greenaway wanted "slow, processional, menacing, dark, repetitive piece".

played him a cassette

of Memorial'

a

Nyman

which he had written four

years earlier, and Greenaway choreographed the whole procession sequence to that recording: "The tape was the

performance of that piece changing tempos. listening

When

I

this

first

was very shaky and kept

re-recorded

on headphones to the

waywardness of

it

it

for the film

I

was

original, trying to duplicate the

performance."

My

education for me.

much

film composition career actually started

two radical!) differenl experiences

Later after

Greenaway asked me

1-100.

which

for

Simultaneously

I

to write the

1

soundtrack

1

wrote highlj intellectualised music.

did a mainstream

EMI

keep

film called

me making

;

arrangements of Edwardian salon music.

certainly had no

I

way my career would go - even

it

if

there was going

be a career.

to

is

being locked into the musical frame.

a sens,- of

\nd though the ground bass

)7(>.

for a film called

L p Downstairs, a British romp which involved

idea which

(

in

of thai form

I7th-centurj concept,

a

is

composer of

also tuneless. Purcell was the best English

era and as a musicologisl

ground basses. So

I

Music Library and appealed

went back

me. For the

to

The University

to

of

London

picked out the bits that really drawing,

first

ground upwards: the bass

more again,

studied his music and his u-e of

I'd

just

it's

that

more

part, then a bit

until the sixth version,

music from the

built

I

which was

detail,

and

represent the

to

finished drawing. But Peter heard this sixth version and

97 I

took the

together.

Greenaway route because we enjoyed working

thought,

We

as they're tramping across the fields with

established a method of working which

continued for another 15 years. While

1

was writing the music

Peter would be shooting and editing the film.

I'd

give

music, and he would say. "oh yes. this piece

fits

much

at

him the better

the end. instead of at the beginning". So the music created

an editing rhythm. The traditional Hollywood way

final edit, list the

round

it

meant

I

is to

cues then ask for the music. But

wasn't just a

dummy who

slotted

do the

way

this

music

"it's

amazing, we have

paraphernalia

in the

opening music you get

The Draughtsman's Contract Greenaway wanted

music

to act as a

locating device.

the

The "draughtsman" makes

12 drawings from different viewpoints, and each requires

own piece

of

music which the audience can

pieces, like the drawing process, grow and develop

stage-.

The concept-

1980s', but being set

of

at

in

The Draughtsman's Contract the end of the 17th century,

it

six

were

had

to

have a 17th-century content. Since we were dealing with drawing-, frame-, and something that was fixed, logical to u-e

it

all its glory.

to

Another time,

harpsichord arpeggios. Greenaway used this music

accompany

the drawings being burned.

I

me

would have

said, "I can't

do

to

it",

represent

because

I

to

think that's a

was

it

fire

totally

musically

I

hate doing those

descriptive things.

its

These 12

identify.

intended

I'd

used the bass as a melody and overlaid multiple cascading

unintentional. If he'd asked

In

which

this great fanfare

fantastic representation of burning, yet

in.

the drawing

all

heavy mist, instead of rather hesitant

represent the completed drawing in

I

with this". So,

to start the film

seemed

ground basses - because one of the attractions

In rriosl of the films I've

done

for

Greenaway

there's a

sense in

which the music grows and develops maybe more than the film does.

Music

sure what

it's

picture

is

going

- and how

of this tolallv

something

unexplainable, even the composer

to

sound

(he scene

alien art

that's

i-

foi

added on

music

like until the

going

m.

at

to feel

\n
<

the end

I

ol

with

US

is

th

is

never

laid to the

The

(1-5)

Hairdresser's Husband:

The

bizarre tale of the film (a young

boy

falls

in

love with his hairdresser

and attempts to recapture

adult

life

by marrying

this love in

a

different

hairdresser) unfolds through a series of character revelations and bizarre

flashbacks, and

is

well explored by

Nyman's minimalist score.

99

The

process.

have

days

just six

composer

having spent

director,

to

it,

months editing may

put the music on. So

in a very unfair position;

can come out of

six

sometimes they

it

actually puts the

sometimes

brilliant things

I

sampled Chopin,

'Mazurkas' and

I

music, which

timeless.

that

is,

Greenaway, a film-maker who creates

like

kind of visual emotional world, and she recognised

me

in

the ability to create a self-contained independent world in

music

The Piano.

for

would be

until

I

I

saw the

how important

didn't realise

film.

based a

Ada's music, and so

don't.

lot

music on Scottish folk

of the

Campion edited

made

temp track

to a

-

decisions about the film

of

for the

sequence where Sam Neill chases Holly and

terrifying

Jane Campion

is

segments repeated from Chopin's

just little

Campion used

eventually cuts off her finger,

There's no

way

I

the

would have had the nerve

wouldn't have occurred

to

me. But

it

to

main theme. do

it,

works extremely

it

just

well.

that

The major problem with The

When

it

came

to

Gattaca, Andrew Niccol, the

director, again

100

Piano was

creating

conflicting elements;

my own

voice.

I

its

it

musical language: there were two

had

was writing the music

even before the film was shot.

went

to the

be mid- 19th century but also

to

I

that Holly

met her

Hunter plays

New York and we

in

Steinway Showroom where she played her party

pieces. She's really quite a good pianist so that encouraged

me.

1

was

fearful that the

music might be limited by her

technique, as the piano music

a crucial part not only of the

sound world but of the expression

film's

Campion and

I

I

of

Ada's character.

went through the script and blocked out where

the piano pieces

how

is

would be.

I

spent a month agonising over

should write thi- music.

problem was realising

that

if

1

think the solution to the

Hunter's character. Ada. had

spoken, she would have used her own word- - so -he had be a composer. Once

-lie

I'd

decided

that,

t

h

i

iiii-

became

to

easier;

could write an) kind of music and since she wasn't a

trained composer she could write music that sounded like

could lake a theme that -he

1990s" minimalist music, or

-lie

might have beard locally

Scotland and

Mendelssohn's 'Songs

W

in

ithoul Words'. For

treat

some

it

"I

like

recognised dii- ability

conjure up a self-contained musical

to

world. Gattaca's a film with a European attitude

Hollywood money. Composing different to a

system

iii

European

Hollywood

music editor -

i>

for a

made

Hollywood movie

is

with

very

movie. For one thing the support

art

overwhelming - you've

for everj film

1

got copyists, a

Gattaca

did before

had

I

to

do

everything myself. Niccol knew exactly what kind of soundtrack he wanted.

futuristic sci-fi

In

fact,

when

him

told

I

music, bleep- and blob-, he >aid

don't do

I

that's not

what he wanted. Hi- temp track was Corecki'- "Third Symphony', pin- a few

(da—.

bit- of Philip

If

there'-

wood temp track on a movie you actual!) don't need the film, and

Gattaca wa-

write whatever music

I

,i

to look at

like that. Niccol invited

wanted

- he

to

-aid.

"we

nealrj

me

to

don't need to

svnchroni>e with anything, we'll just have the music flowing over the sequences''. From that

sophisticated musically.

I

also

I

could

knew

a- a -tartin^ point but deviate from

it

I

tell

had

to

Niccol wa- very

take the Gorecki

radically.

one of

the music

I

tiMik

the instrumentation directly from In- 'Third ^vmphony'.

(1-2)

Drowning by Numbers: Nyman

the slow

movement

then developed

based

his

score on

of Mozart's 'Sinfonia Concertante', and

a set of variations as

deconstructions which

match the mood of the sumptuous images, making possibly his

most accessible Greenaway score:

the Mozart because

we

difficult thing

Abbey Road

studios

in

this

re-recorded

couldn't afford to pay for the rights of

the recording we'd used. Recreating the

the most

"I

I've

1991.

tempo changes was

ever had to do." (3)

Nyman

at

m^Jt^

I,

(1-7)

The Piano

site at

I

sat

down

to write

in

my

house,

the time, with the synthesizer resting on

- the

first

most

sensitive scores

sensitivity

time

I

had composed not on

a piano.

a

a

building

workbench

So one of my

was written on an instrument with no

whatsoever" Jane Campion rejected some of the

score, preferring Nyman's

temp

track of pre-cropped pieces

"Campion's since admitted she was over-cautious with the music" (5-6) Two pages of Michael Nyman's manuscript and score for

The Piano

"

n

* !

> /

|i

'hi,

|);

li'T

:

/

i 1

J

1,,

i

r.

,

i

••

H

,

i

f.i

.--

/

'

104

.

n

N

ypi

'.}£'.-

"'>T

\

„""-

,

'((-";,

i*lr

itM )

^u^-

i

r

.

,--

1,-n

fi

'

^

1

(1-7) Gattaca:"l told

Andrew

Niccols.'l don't

blobs' and he said, 'Fine, that's not

Symphony'

as a starting point." (3-4)

Gattaca.The

I

do

futuristic sci-fi music,

want'.

I,

Music cue

I

.

He wanted me

I

don't do bleeps and

to use Gorecki's 'Third

Two pages from Nyman's manuscript score

figures at the top refer to the "Reel"

so IMI refers to Reel ideas,

what

The

first

number.

A

film

is

for

divided into five Reels,

page contains sketches for various musical

complete with timing calculations, while page two

is

Nyman's

final

orchestral score.

105

wMkvj*Mt'

2?

5

106

(I,

The Draughtsman's Contract:

3-4)

Nyman's music

for 'Drawing'.

Note the top

(I)

The score

stave

is

for

the ground

bass part taken from music by 17th-century English composer,

Henry music

Purcell: is

it

added.

volumes that

I'd

repeats over and over, above which "I

new

returned to the same Purcell Society

looked

at

when

I

was

a

student and just

picked out the bits that really appealed to me." (2) playing the piano while reading the paper.

Nyman

same

hut achieving the

— you

style

effect

was more

do with pace and

to

don't hear Oorecki as a background.

understand mv music, and Unsuitable scripts.

Niceol was absolutely drivingly meticulous, nol onlj as

what music

wanted but

lie

da\ be would say, "yes,

then

this

1

would

like

1

90 per rent

this

1

of this score",

total

I

don't write conventional film music.

do With the sound

I

make and

the wa)

in

and

other film music does. Thai's because I'm an experiment

end up

and Niceol was

are.

lo

me

music moves -

cue doesn't work,

I'd

Suppose H has

do the) give

thc\

One

respect directors differently

how musically sussed they

to

to rewrites.

one doesn't work", so

50 per cent again. But

according

approach

his

get a fax saying, "well, this

one doesn't work,

rewriting

in

to

I

if

composer;

hire

it

doesn't just

that's just

how

it

fall

comes

into that easy motion

lli;

out naturally. Yes, people

me, hut sometimes they don't know what they're gelling

and sometimes, as with Campion and Niceol. they've asked

me

to

do things

that

even

I

didn't

know

I

could do.

107 sharp -

it

I

knew

didn't work.

that

So

if

he didn't think something worked then

didn't

I

mind rewriting

days before the recording session

Because Niceol metaphorically.

sort of

was doing rewrites.

I

I'd

literally

make

to

like the final orchestral version as possible.

never do synthesizer demos because they take too

and

I

think they sound terrible.

Fve written

is

the

I

and

never done before which

was a synthesizer demo of the whole score

much

Even three or four

hovered over me.

did something

I

it.

it

sound as

Normally

I

much time

think one of the best things

end music of Gattaoa.

It's

got this forward-

looking grandeur hut also a sense of tragedy. Two things

happen simultaneously; Ethan Hawke leaves fulfilling his

dream, and Jude Law

immolates himself. Originally

complex so

I

edit,

left

a spaceship,

behind and

sequence was much more

wrote a piece which kept changing as

the spaceship to the furnace.

new

that

is

in

much

Then

smoother. Straight off

paralleled

I

When like in

cut from

very late in the da)

I

I

got a

wrote the theme you

hear, based on the harmonic-- ol the three earlier

sequences.

it

swimming

there are situations in a film that are

have variations of the same music.

fl

%

-

^5* J

>

L.

Born

in

1949, Gabriel Yared was passionate!} fond of music

from an early age and

in

1970 he decided

studies to devote himself to

debut

moved

i

1\

biography

it.

to

He made

abandon

his professional

working with Elis Regina and [van

in Brazil,

his law

I. ins.

He

P>72. where he composed and orchestrated

to Paris in

songs for French stars such as Charles Aznavour and Sylvie Vartan, and in

1980 began

to

collaborate with the director

gabriel yared n

Jean-Luc Godard.

to

Qui Peut. La Vie

produce his

first

film score for

Blue

(1980). Betty

Sauve

(1986). with the

director Jean-Jacques Beineix. brought him international

Moon

acclaim. They also collaborated on

(1983) and

IP5

(1991).

He worked

Gutter

with Robert Altaian on

Beyond Therapy

(1987) and Vincent

other films include

Haima

K

in the

&

Theo

(1990). His

(1984. Costa-Gavras): Cainille

Claudel (1988. Bruno Nuytten): The Lover (1991. JeanJacques Annaud): Vincent Ward):

Map

of the

Human

Wings of Courage

Heart (1992.

(1994. Jean-Jacques

Annaud): City of Angels (1998. Brad Silberling) and

Message

in a Bottle lLui> Mandoki. 1999).

Oscar and a Golden Globe Award

for

He won an

The English

Patient

(1996. Anthony Minghella) and worked with him again on the

music

for

The Talented Mr Ripley

1

1999).

te

r

I

v

109

ew

i

didn't have a musical background, except for one hour a

week

of piano lessons at boarding school.

'Invention' by Bach, and instead

decipher

it

not French or English.

when

I

became

so that music

was ten vears

learning

of

the

was very easy

It

and

old.

began

I

language

first

for

it

me

for

I"

me,

read music

to

the things I've learned are

all

went

was given an

I

The

from reading music. Later

I

Song

sta\ed in Brazil with a small band

in

Rio de Janeiro.

I

to Brazil for

which played my compositions. At the time

way back

I

I

left

Brazil to return to

came through

worked as an orchestrator

Pari-.

for

I

I

ended up -taxing

French pop singers

Dutronc. was acting with Jean-Luc Godard.

But

I

I

didn't

met him. and began

time someone was a.-king

to

know

to

I

ani

work with h

me

Stevie

Lebanon, and on the

like

Hallyday and Francoise Hard\. whose husband,

director's work, in fact

read

ol

was verj

Newman and

influenced by The Beatles. Bandy Wonder. Then

Festival

a

•

didi

I

here.

I

Johnn)

10

R 1

|M

p U iil

*

•

f

T=Srr

s?

fr-^*-

\

i

^^i

jT

-

—

.

T

I

fgf?

m

¥^9

m ^^

|

P
(1-5)

Betty Blue: The

was recorded on

many

a

of the sounds

original score

small budget so

were played on

synthesizers. But the music has been

so successful that Yared has

made

a

'Betty Blue Suite' for Orchestra. (2) Part of the opening section

main theme Violins

is

where the

played on the First

marked "cantabile"

sung"). This

is

Yared's "simple

a

good

exarr.

("as

if

;

theme with elegant

harmony". Note the piano part above the harp's forYare:;

nothing visual, no pictures, no cuts, no frames - just the

script.

told

I

He

for a movie.

He

me

told

him

to

I

said, "don't worry, just use your imagination".

compose my

images. At the time,

Godard came

music and he would adapt

I

the

first

time,

I

result

realised

I

read

it,

and he suggested we do something very intimate musically. felt

exactly the same.

I

annotated the script with musical

I

my DX7

interventions and began playing with

synthesizer,

working on a few themes. Then Jean-Jacques Beineix brought the actors round to

my

place so that

we could

create a duet

away

between Beatrice Dalle and Jean-Hugues Anglade. Beatrice

was very surprised

said she could only play piano with one finger but Jean-

- Sauve Qui Peut, La Vie. For

Hugues was learning Debussy ('Doctor Gradus ad

and took

with him to edit with the rest of the film.

I

to the

worked with a programmer on

I

to the studio

and pleased with the

it

only had one keyboard - an old

- and

analogue synthesizer

this.

know anything about making music

didn't

found a beautiful story in a novel by Philippe Djian.

I

all this stuff

how powerful music could be when

it

Parnassum*) so

created a synthesis

I

their two

ol

approaches

12

was combined with

making music

pictures. This

for film

was my

and everything had come from

which —

13 years now -

after

the best approach. This

is

way

the

still

I've

Betty Blue. The English Patient -

seems

done

it's

all

to

me

to

a crucial element

this

my

this

could only have happened through meeting the people

be

mj work -

music composed

involved and talking

over.

it

and one percussionist -

all

accordion which

The music -peak-

I

play.

it'-

tell

my

agent to ask the director when he's casting his

actors and choosing the location to "cast" me.

come

in

involved.

on a movie which

I

can't

picture and a-k

work

me

am to

is

alread) shot.

other wa\ -

to

I

don't want to

1

present

want

me

to

be

with the

do "spotting" would be completely

barbaric. After m\ conversations with the director and

reading the script, characters.

1

start

I

trj

to

create a theme for one or two

making my demo, and give

director. Usually they play

it

on the

cinematographer - so everyone runic-

the film

is

this to the

set, to th«' actors, the

to

know the music

Beineix and

the real

is

the kind of

decided not

I

way, but to -impl\ use

it

to

where

I

use

a

to

music

didn't

m\

life.

guitarisl

some

Jean-Jacques

I

in a

dramatic

instance, ai

"i

want

to

create

-light suggestion ol

piano with samples and there'-

subliminal vibration. I'm particularly proud

saxophone theme, a-

the

would please

thai

like a point oi view.

in

you because the

listener.

melodramatic music. There"- onlj one this,

one

synths, except for

push the niu-ic

become- more mad. we

Bettj

again,

The themes and melodies

musicians as well as the untrained always

the film.

in

film are very simple. There's onlj one sax player,

harmonic- are elegant;

before the picture.

I

Once

and

conversation with the director Godard and from reading the

script,

became

in

experience

first

it"-

a

homage

the

ol

to the Brazilian

a

main

period of

For me. Betty Blue was the best marriage between

music and picture.

as

being made. This was the process we used on

Bett\ Blue. Jean-Jacques Beineix, the director, said he had

I

-.>!

Vincenl

& Theo,

television, Hubert

which started out a-

Utman showed me

a film for

the script and then

I

yiniM^

3Hi

r,P^

^rf_9,

^

til*

t./-

(1-4)

Vincent

seeing the

film.

& Theo:

(1-2) Yared wrote the music before

Although much of the score

is

synthesised you

can see from the short score manuscript that Yared notated everything.

Note

that the top three parts of this cue are

for piano. (5) Yared's inspiration:

by Vincent Van Gogh.

my

eyes on paper."

"I

'Bedroom

don't trust

my

ear.

at

I

all

Aries' (1888),

trust

much more

Vincent & Theo:

(1-8)

work came much more from Van Gogh's

"My

(2, 6)

dramatically

paintings, particularly

'Sunflowers', (1887) and 'Starry Night',

(1888), than from the film In

this

itself."

music cue the texture

is

(3-4)

much

more dense and chromatic. Notice

how

the instrumentation

is

more

colourful: cellos, bass clarinet, strings, flutes and,

effects.

on the bottom

Notice also

at the

stave, synth

top of the

score page that the same cue has different

numbering for the

television versions.

film

and

10 4

<1

M 1

Fiftu

-

M 1 r-v

I

15

worked out some themes. Once again, to the picture,

and had a destructive element

me and

I

what you play on the piano whereas

in writing

the only part you can hear,

develop the theme as a whole.

try to

I

is

painting, 'The Sunflowers'

Altman said he wanted music

a leitmotif for

my music

didn't write

began with one image, which became very

me - Van Gogh's

important for

(1887).

I

I

in

was both haunting

'The Sunflowers' became

it.

drew on

that

it

for inspiration for the

For me, orchestration

until

The English

now have an

number one preoccupation, and

the

is

Patient.

did

I

all

my own

orchestration.

who works with me,

orchestrator

—

but

give

I

I

him

Vincent theme. For certain scenes Altman wanted

everything on

sophisticated instrumentation, perhaps influenced by jazz or

separately annotated so there's nothing to create and nothing

gypsy music, using violin and accordion - nothing vulgar. For

to

the

sequence

title

had

I

to try to

match the vision of both Van

my

MIDI

Vision

add harmonically.

file

that

is,

eveiy instrument

have a small home studio, with a

I

mixing desk, two Emulators, a Canvas, a Kurzweil (which I'm

16

Gogh and Robert Altman,

creating a multi-layered effect with

verj

attached

synths and other instruments introducing harsh stabbing

with

all

sounds -

m\ pen and

was music

it

wanted the music

to

that

came

straight from the heart.

be bold enough

representation of Van Gogh's paintings.

paintings and

1

used different ones

had another image

1

in

I

when

the painting of his

felt

this

seemed

\

mind -

Nuit EtoileV ('Starr) Night') (18881. obsessively and the music

had

a verj

a

to

a

1

looked

come from a

line,

which would

it.

to

at this

also used

I

chair- and like

lie

this

and nn computer.

when

these elements and

because

start

I

I

begin by improvising

I've finished

I

then take out

working on the development.

my

don't trust

ear.

I

trust

have

I

much more m\

to

I

Mozart

something

eyea

on paper.

\iitlni!i\

for

The

anil a

Minghella. who directed and wrote the screenplay

English Patirnt.

musician.

He ha-

interest in all music.

originallv

a

wanted

he a composer

to

wonderful car and a verv eclectic

When

he write-, he ha- a vision of how

the music could be with the -celle-:

fact.

ill

I

SUSpeCl he

write- while listening to music because in hi- scripts almost

all

the source music

i-

mentioned.

It'-

-o interesting to work

with this kind of director - a real soul mate.

verj bizarre.

It

was

hi- idea to

use Maria Sebestyen singing a Turki-h/Bulgarian folk song

Although

a lot ot the

music

i-

electronic, the whole thing

scored together with the traditional instrumentation

violin

When

and accordion. Ihat wa\

1

ot

i-

the

can build up a counterpoint

you're writing, you can go

much deeper

do

for

the painting. 'La

room - the small room with

Berg or a Bartok

music

incenl goes

would "sound" completely awkward,

mixed with

good

book of the

to inspire the

different scenes. For the scene

Provence.

be

to

I

u>)

into the

creative process than by just playing piano or synth, because

Hungarian, and

it

was also

Binoche's character,

piano.

are

I

all

cultural

love

it

when

t<>

it'-

plaj

tin-

hi- idea for

the-

'Goldberg

in

Lebanon,

me -

Brazil,

Juliette

Variations''

melting pot, because

these different element- in

background

Hannah.

there'-

I

in

on the

feel there

mv multi-

Europe; mj love of

(1-3)

The

English Patient: "One of the reasons

the music with a cor anglais, beginning the melody

in

I

started a

minor

key and then going into this very Slavic/Arabic harmonic

combination, was to evoke desert." Yared script,

a

sense of spaciousness, of the

composed the music

as a

before any shooting took place:

involved

in

the picture." (3) Yared

in

a

"I

response to the

always want to be

recording session.

(1-3)

The

English Patient: "In

this film,

I

joined together the

elegance of classisism, the writing of Bach and deep-rooted folk forms.

As

I

originate

from so many

project really illustrated Minghella

who

I

different cultures, the

was." Director Anthony

made Yared rewrite the "swinging

scene" several times. lifting feel

interlocking,

He was keen

of the music. (3) lilting

In

18

J) CSAD6

the church

the manuscript note the

string pizzicato figures

in

the bass and viola

parts and the celeste part doubling the violas.

I

in

to maximise the swinging,

Slavic music, classical music, black music: m\ interest in

Bach. For this reason.

felt

1

best project to express

tlie

Anthony unity of

lelt that

music

who

1

am

Patient was

was the person who could achieve

1

the end.

at

dying and Juliette Binoche

is

is

a sort of

when

close to him.

was used during the shooting - and up

that

the

until

two weeks before they cut the negative - was Bach's 'Goldberg Variations'. But Anthonj wanted

me

expand on

to

Music

for

me

is

a great

her that she gi\cs

to

spirit that

in

return.

play and themes come, f'm \er\

maintain mj respect

1

spend

all

my

for

have

I

harp and

sit

I

I

I

music then one da) she

time loving music, and

if

I

gave so much the piano and

at

and

lucky,

and

to protect

music so much and

me

The

did on the piano solo.

I

than the Neapolitan mandolin.

to \ ixaldi

respect. I\e alwa\s loved

to

that

\una". with pizzicato -lungs

ConvetltO di Saul'

mandolins - closer

musically.

these elements. For instance,

all

English patient

the

The English

that

end we used the same theme

leel

if

I

don't

will leave

have lime

to

me.

spare

119

Bach theme and create something new which completely

the

matched the mood

the scene.

of

same musical

identity as Bach.

ask a composer to do

tried to get the

I

make

to

same tempo and geography, but never

the

to

had

I

—

music

to try

the

same key

was the most

It

the music

lit

or the

terrible thing

and match Bach!

to reflect the

sense of space

in the

desert by starting with a cor anglais in a minor key. and then

developing into a Slav/Arabian harmony. shooting began. Anthony

much more

get

the film.

as

felt

the

same

we went on during

The music

in

The

did this before any

I

as me. that

we would

the process of

English Patient

is

making

much more

complicated thematicallv than, say, Betty Blue, because each theme

into a

i-

borrowing from previous ones and developing

new one -

flashbacks.

It

the story itself

made me

i-

like that, with all those

try to find a

relationship between

e\ery theme, but by -ugge-ting rather than being ton obvious.

In the

at

>cene when Hannah swings

the wall painting-.

the

music

to

in the

church a-

Anthony kept stressing

suggesl (hi-

lifting,

that

-lie

looks

he wanted

-winging notion, and

in

the

the only thing

Stravinsky...

just a

I

I

do

is

read -

some Bartok. some Byrd. some

don't feel I'm a great

lucky person

who

composer or anything. I'm

loves music and

whom music

loves.

#

•<>

'••-.

biography Philip Glass was horn in L937.

Conservator)

in

Baltimore, the

Music

Juilliard School of

Fulbright scholarship

From

the age of

28

to

to

in

I

He

studied

niversitj of

New

al

the Peabody

Chicago and the

York, as well as winning a

stud) with Nadia Boulanger in Paris.

35 he continued

his

own course

of

learning in music and Eastern philosophy with Ravi Shankar,

the sitar virtuoso. Glass has

worked

in

most musical forms

ass

philip

121

nterview from chamber work always excelled

to

opera

anil his

musical language has

being both innovative and accessible.

in

He

has collaborated very closely with director Godfrey Reggio on

both Kovaanisqatsi (1983) and

worked

at

length with Martin Scorsese on

Other Films he has composed

Mark Di Suvero

(1988). and

Kundun

for include the

Errol Morris);

Hamburger

(1997).

documentaries

(1977. Francois l)e Menil) and

Blue Line (1988. Schrader):

Powaqqatsi

Mishima

Hill (1987. John Irvin):

The Thin

came

film,

to film

by Barbara Hose, was

Di Suvero. Basically

1

really a film score but

was

it

in

worked a

lot

The Secret

Godfrey Keggio asked

iew, simply

me

It

a wonderful compilation ol

which

see film

I

is

maybe

wasn'l

image

a little

with image and movement: ballet.

opera, theatre. These areas have in

elements of movement,

first

1977. about the sculptor Mark

in

wrote music (or the sculpture.

and music. The context different, ['ve

My

very late, really through the side door.

(1985, Paul

Agent (1996. Christopher Hampton); and The Truman

Show

I

text,

to

common

a synthesis ol the

image and music. So when

work with him

another form

to

work

it

was, from my

point of

\

Film

peculiar however. There are several different kinds.

in.

(1997. Peter Weiri. Glass has recently written new

-core- for three of director Jean Cocteau's classic films:

Belle et la Bete

1

1946).

La

Les Enfants terribles (1948) and

We

is

have,

let's call

them, "industry" film-.

Orphee

|1949|. a- well a- a -core lor Tod Browning's

working

Draeida

(1931).

studio.

There an- some directors whose

prevail

because of

in

the "industry" then you're really

Bui they're rare.

their stature

and expei

When

workin)

artisti*

you'r<

(1-10) Mishima: Glass read every 22

book

of Yukio

Mishima's

before

embarking on the project, including 'Sun and Steel', which talks about Mishima's suicide before

it

took place.

Mishima: The

film

was

a "life in four

chapters"; the black-and-white parts represent Yukio Mishima's

life,

and the

colour parts (the fantasies) are from his novels.

Glass chose a string quartet

for the biographical parts and fully

scored music for the fantasy scenes:

"The music would create for the film."

a

structure

(1-3)

Glass

Kundun

began

his

work on

before the filming began,

spotting the film with Martin Scorsese:

"The matching of music and image something

working

is

I'm intrigued by

is

- my way of

quite different to that of

other composers,

I

suppose."

Independent films are a

bit different. If a

film score they'll throw

out

it

and hue another composer.

Independent film-makers don'l do limitless

amounts of money.

much more

studio doesn't like a

don't have

that, the)

So. therefore, the

work becomes

collaborative.

even

in

some cases experimented with anticipating

cinematograph) b) writing the music before

was interested

m

scene from the Sena IVIada mines

Footage of that setting. Originall)

and then we made

the scene

il

Powaqqatei

in the process.

Brazil.

begins with

looked

I

wrote ten minutes to set

I

work tape and Hew down with

a

the whole crew, listening to the tape while filming

Godfrey Reggio and

mines. These films have

kinds

in-between people like Paul

of

Schrader. The convention of film-making, obviously,

made

the artistic derisions are primarily

is

that

by the director. But

documentar)

a

I

a

othei

at

Then, of course, you have the experimental film-makers like

all

the

was filmed.

the

at

style in that the) are

mines wanted

shot in the real world. People

at

music and were interested

what we were doing. So. on that

in

the

hear the

to

125

Godfrej Reggio and

entered the project as equals. With

I

Godfrey, the process was that he had images and

Sometimes the music came

1

had

music-.

sometimes Godfrey had

first,

dramaturgical outline of what he wanted

to do.

into

assemblages of imagery, which would then be turned into rough cuts, so that allowed us

to

fitted

it

an overall plan. This method

work side by side on Koyaanisqatsi. although

Godfrey was mostly

California in order to access the film

in

was actuall) able

I

normal way of working.

Martin Scorsese and

he went

shoot

to

the scenario.

We

had

think

a screening

room

we might have done set

up

at the

which could be a> short a> a day. take

it

to

my

studio.

I

have

a

performer and he would assemble

we would then show the

work tape

New

York.

We

would write music, and

1

group of \er\ wonderful

a

picture.

would begin cutting the film

in

end of ever) work period,

musicians like Michael Riesraan who

also put the

I

in

it

talked about Kuiiduii a month before

Morocco and

Morocco and he played the set.

to (hi-

to the film.

is

a

that point the editors

and listened

fhe interesting thing about this method

at the

like, "alter

collaboration

could go either way.

I

way

to

W

same

hat I'm

is

on

it

that

strange,

it

il

is

must come

into the

happen

time.

As

the)

which comes

to

happening on

is

isn't

to

in

together

on monsieur"...

\

doing

him

make music and images work

presented this model

intrigued

will

work tape but

It

the scenario.

of

sent the music to

I

to

it

first,

il

When

doesn't mailer.

thai level

becomes

anyone can go

the

first.

conductor and

work tape. Based on that

\t

began writing music

for the actors

it

organically anil lor this to

world

I

spotted the film on the basis

not on the basis of a finished film.

in fact the onl)

I

considered the

is

also did that with Kuiidiin.

I

should be seen as unusual.

world technology.

Powaqqatei

reverse what

to

a

He would

produce masses of imager) which would then be put

occasion

I

l>\

we do

and then

working

to

done

it.

but he had never

it,

it'.'"

ill

I

said. "Lei

we'll see

me

-,

ore

what happens".

il.

I

Mart) and he was

He

I'll

In n

said, "Well, ho

send

h(

yi

u

126

Powaqqatsi:

(1-6) in

(2) Glass' strategy

Powaqqatsi was

that

was very

far

to create music

from the image, an

unbridgeable gap between audience and the picture. This was to emphasise

the contrast between traditional societies and the transformations they

have had to endure: "The music

I

wrote for the scenes with men working

in

the Serra Pelada mines

is

not slow and lethargic but quick and light."

whose

(7-8) Koyaanisqatsi: title

criticises

means

our

"life

The

film,

out of balance"

commodity-driven

society through an apocalyptic vision.

127

with

it

we

until

where the music

got to the point of the film

was not ready because "escape" scene, the

"Come back and do

last

I

was touring —

in this

20 minutes. He was

the music so

I

case the

willing to say.

musical move. That happens when you look

Daffy

Duck

"clunk!"

It

at a

cartoon and

somebody over the head and you hear

hits

doesn't provide any space for the spectator to

enter the experience of watching. Commercials, jingles, are

can go forward".

almost always done where the image and the music are right

The way Marty works he'll edit the

is he'll

edit the

whole picture and then

same scene ten times. So then we have

go

to

back and re-edit the music. Some of the scenes were done over and over again. The scene where the choosing his clothing was constantly changed.

little

I

boj

on top of each

The

other...

and

it's

done

intention of the jingle director

for

propaganda purposes.

is to

control your seeing so

the music doesn't leave any space for you.

is

had created

The other way. by

contrast,

when you

is

leave a certain space

28 this motif

where vou hear the cymbals and the drums. There's

between the image and the music and the spectator has

a kind of suspense music while he's thinking and then the

psychologically cover that -pace.

cymbals and the drums come

that

had

to

move them

So every time

in.

to a different place.

Kundun

for 14

command

of visual language

months. Mart)

frustrations working with

is

is

lie

changed

it

I

Although we worked on

such

a master,

and

his

him was most

a cognitive process that

measuring

Where,

exciting.

of image and music

i-

we

music as being above

it

music

far

or below

i-

a

it.

in

Powaqqatsi. there

are.

We've gone from the village-

It's

on top of an image or being behind

or

alienated music.

In fact the relationship of the

image

t<>

the

i-

not slow

i-

of

men

and lethargic. hea\y music.

actually verj quick, light music, and \ery rhythmic.

Sometime- you want thins: i- the

complete garbage. And so (he music

looking

it

to

work away from the image. The worsl

"Mickey Mousing" where

for

even image

there"- a

and India

of Peru

to

the

advanced world of high communication- where what vou're

oi

mine-,

television, Godfrej was

of

As an analogy

precise one. for example, the music for

in the

are BCenes of television

presenting the worsl nightmare of modern media technology.

Powaqqatsi's Sena Pelada. where the image working

-kill lie- in

that distance.

away from an image. Or you can think

right

undertake and the

all

is

understanding

you can think of a physical description, of music being close an image or

the act of traversing

so complete, that despite those

what the parameters of that relationship

to

in

space that their experience become- personalised. Tin-

commercial- and snippets The more general aspect

It'-

to

at

i-

It

a

i-

music

image because vou don't want "alienated" because

i-

that feeling of

I

that

to

doe- not invite vou

be part of

think the malai-e

being cut

off

working with Godfrey's kind

-ame thin»

use the word

life

from the world. The danger

oJ

messages

The music and image- could entirelv

I

to the

contemporary

oi

i-

direct and articulate that to under-core the

the message.

it.

an

i-

because

if

that the)

me— age not

l>e

in

are bo

i- to kill

saying the

thev did thev would be

The Truman Show: appears

on

in

a piece

'Truman

Glass actually

this film playing

the violin

he composed for the

Sleeps'.

film,

(1-4) Dracula: Glass was asked by Universal

pictures to write a score for

the 1931 version of

Dracula

starring

130

Bela Lugosi: "Theatre and opera are interpretative art forms, film

wanted to allow in

film.

I'm

is

not.

I

for re-interpretation

proposing film

as

a

performance work where we're not talking it's

about music as background -

music with film and not

music.

film

with

The partnership between music

and image becomes unmistakable. The

whole function of watching

is

different,

the whole emotional effect of a piece is

quite different also.

things

in

We

can say

music that are never said

the works."

in

unwatchable. So.

tried to

1

images, of being close

do a complicated dance around the

them and

to

constantly shifting this point of

\

and (he music

far a\\a\

is

iew.

something verj poignant about film could be interpreted.

the possibililN of re-interpretation.

to

my

Mi-hiina was really

first

narrative movie and

carry over the techniques which

Godfrey.

where

I

1

needed a method which

work with the w

much

myself with as

or image.

liter

wanted

to

had been honing with

1

1

I

used a

lot

in the theatre

turn the

I

volume down on the

I

to

can only be done

sensory data as

can. whether

1

for all her

pinned them on the wall of my studio while

the music.

He

me

a

I

word

it's

drawings and

I

was composing.

play im music.

lot of

room about where

1

could put

calls the film, "a life in four chapters".

Mi-hima and the colour parts are from is

that the film

and

so that his life

that the

art

and

The

the novels.

his life gradually

become one

thing.

I

The device

come

suggested

together

Paul

to

music should be as follows: the black-and-white

part

should be string quartet and that this would represent his biography: the more fully scored music would represent the

scenes from the novels and that

themes

that

could work

in.

The music became

He

invited

the -en-e that the music

What

at

the

end we would take the

had been biographical and give them

orchestration.

interests

me

me

to

a container that Paul

become

would function

a full

and

I

a kind of co-author in

structurally.

about theatre and opera

i-

the fact that

these are interpretative art forms and what"- curious about

film

is

that

it'-

not.

When

to gel the rights

\\

Les Enfants terribles;

hat

I'm doing, therefore,

live.

I've

invented

frustrations

a

number

of

ways of working around (he

and conventions of (he industry, where

be part of performance, where

black-and-white parts are the biographical past of Yukio

of the film

think of how a

original soundtrack of three

it

you make a

film,

it'-

done So then"-

film can

can be dynamic, where

work and where the impact on the audience Paul Schrader gave

to

managed

Cocteau films (La Belle el la Bete;

Orphee) and

began

and the designer and surround

asked Eiko lshioka

I

I

that.

took on a project which allows for

higher than you would find otherw

ise.

is

it

can

immeasurably

':

biography Born

Canada,

in Toronto.

the Berklee School of

in

Music

1946 Howard Shore studied in Boston.

He began

at

as a

life

professional musician touring with the rock group Lighthouse

in the late *()0s. alter

of

T\

*s

which he became the

first

music director

Saturday Night Lire before embarking on

full-time film composing.

He

initial!}

a

career of

worked on Low-budget

pieces, significantly with the director David Cronenberg

(The

howard shore

133

interview Brood. 1979: Scanners. 1980: Videodrome. 1982: The Fly. 1986:

Dead

Ringers. 1988:

Naked Limch.

1991:

M.

I

studied

the Berklee School of Music in Boston.

at

Then

beginnings with Cronenberg. he moved towards scoring for

with the group Lighthouse until

Scorsese):

Hours

(1986. Martin

The Silence of the Lambs

(1990) and

Philadelphia (1993). both directed by Jonathan Demme;

Ed

Wood

(1994. Tim Burton): and

Game

(1997). both directed by David Fincher. Other films

Seven (1995) and The

include Big (1986. Penny Marshall):

Chris Columbus):

Mrs Douhtfire

Looking for Richard

(1995.

(1996. Al Pacino)

and Analyze This (1999. Harold Ramis). His most recent work

is

Dogma

1

1999. Kevin Smith).

me

the foundation for writing, orchestration and composition.

Butterfly. 1993: Crash. 1996: eXistenZ. 1999). After his

major productions such as After

gave

It

I

was on the road playing rock and

I

was 22.

roll for

It

four years

was the

late "60s"

music revolution and we toured with the Grateful Dead and Jefferson Airplane.

Wight Festival.

We opened

Hendrix

for Jimi

at

the Isle of

played the sa\. The sound was modelled

I

after groups like Blood Sweat

section and a horn section. But

and

fears,

we had something

a string section, an electric string quartet.

Don Dinovo, was 20

a rock

i.e.

I

me and

years older than

rhythm

different -

he viola player,

he had a great

knowledge of 20th-century music. He made me aware Schoenberg, Berg and

Webem. When

I

got ofl the road

and collaborated with some theatre people began working

The group

I

foi

the

Canadian Broadcasting

was working with mused down

1075 and created the Saturday Wight

md

tl

i

ot

in Toroi

film music.

Lit

I

of

met

1

%$V^

TV\E"FL

i'44

—ih^

134

IB?

Ir

^B

(1-3)

to

Dead

move

Ringers: "Everything had

in

very specific way.

a

I

wanted to match the cinematography, production design, lighting and acting.

The colours were very grey's precise.

- the

specific

wanted the score to

I

have a black-and-white quality." (4-7)

The

Fly. (4) Orchestral short score of

the cue 'Run

Up

Stairs'.

An

"action"

line

describing what's happening

film

runs across the top of each stave.

The music

is

which mingle

the

scored just for strings in

but which then

no movement

in

at

a

dissonant fashion,

settle

down

around bar

to almost nine.

^H

"^

a

1

Pd worked on

Canadian feature

a

with Da\itl Cronenberg that

I

was

I

really interested in.

good way

collaborative.

natural

It

way

)78 but

l

was working

it

got tlie opportunity to

things

tr\

thought film music might be a

express myself creatively. Like theatre,

to

musician.

1

l

in

It

had

was used

I

work and experiment

to.

same

the

at

seemed

It

real guerilla

time.

a

the music. Eventuallj Starling knocks on

end -

thai

suburban house

opens die door and she's

lor the entire film.

but with a

darkness

and

in

it.

him. the

it's

moment

dial

\i

vers operatic

ol

lot

molh

(he living room; a

in

searching

music becomes

Comb's door

the railway track

b)

Being

much money

concentrate

to

on her emotional side. You follow her through the Mors with

room and suddenly she discovers

film-making. You

could do whatever you wanted. There wasn't

vcn dramatic and you're made

It's

like a

The Brood.

involved with David on those early films like

Scanners. Videodrome. was

was

and

a director, actors, a writer

was the context

to

it

with l.ecier.

I

al

and he

-

III.- in

man

the

she's

I

!

<

-

been

of realisation the

actually quite beautiful

it's

love dial scene. There are

electronic ambiences mixed in to create a kind of ghost score.

I3S

around so everyone was happy. Those scores were often w ritten after one viewing of the film.

the feeling of

it

for

trying to get into

is

a very

about a week and

some subconscious

dreamy period when I'm

of the film

and how

musically.

I'll

improvisation.

it

affects

record a

Then

I

and breathe

live

write a

lot

of music,

composing. This

level of

just thinking of the

music

I

imagery

might match

I

was feeling and what

I

it

mostly

at that point,

spend another week analysing

trying to understand what

and what

I'd

me and how

lot of

I'll

would

I

it.

created

could use in the film.

Once

I've written a score

the notes of the score and

been doing

I've

of the lambthat

this for

I'll

programme

programme

many

years.

there's quite a lot of

die computer, lake

very non-tonal sounds.

think in

I

The

Silence

underwater whale sounds

have been slowed down. The computer plays these

sounds, along with the orchestra, based on die notes

score

in a

very condensed version. So

suddenly grows larger that, bul

il

may do

it

in

the orchestration

if

one spot (he computer

a few

in die

will also

do

bars later because die notes are

triggering sounds that might have a long pre-dela) before you

It

was a different musical starting point

the Lambs.

I

began by reading the

for

script.

The

Then

few cuts of the film and met with Jonathan

times prior

to the actual spotting session.

I

even hear them.

looked

general shape of the orchestration, yet

Demrne

directed

for a

me

and

a real subtext

a few

music had

focus on the Jodie Foster character. Clarice Starling.

of emotional depth

at a

and you're not

It's

quite a

it

that follows the

creates an unease

really quite sure why.

The spotting was

very important on that film as contextually the

lot

random process

Silence of

It

to

has a

With

Naked Lunch

sound

in the editing,

some manipulate

some overlapping

thing'- thai

onnects with the cul and paste

which Jonathan

ghs used

towards. In the opening section where -he goes

run the music, in a sen-e. describes her relationship

there was

music

i-

in

the book.

Some

"!

techni

On

superimposed over certain piece-

thai

!

'

Naked Lunch: "The

(1-8)

-

it's

chronology of

out of sequence." (5-6)

Title' cue.

notes.

On

In his

Two

this film isn't linear

versions of the same 'Main

the right Shore's sketch with orchestration

notes at the bottom of the page he

clarifies his

Homer Denison. On

thoughts to orchestrator

the

left

136

Denison's

final

orchestration. "The orchestra

kind of tango, very exotic with a lush,

atmosphere, but over sax very quickly to a

this

much

is

playing a slow

somewhat

erotic

you have Ornette Coleman playing faster

'

rhythm than the orchestra."

('.<<(•

'iM^y

FA. itr-a

liAjfH

/J -

t»)

(m. turn

Production i:tte :l*i]_it+. /l .t1(?>0')f<Jb

ty^MfJ

fritj

&&

l!*«tr

i/

tt
NAKED LUNCH x

Cut

MAIN TITLE(lml)

(T.mpo Form..: 24 Fr.) Pig* 1 8/2/91 2 39 PM

-^0

tAflii

»*

J7

I37

©1991 Howard Shore. SFA (ASCAP)

J

The Silence

(1-7)

of the Lambs:

"Sometimes women musicians come up to

me when

recordings.

them

felt

It's

I

do orchestral

amazing

The Silence

how many

of the

of

Lambs

38 to be an emotional experience.

they

felt

I

think

something partly because of

the way the music focused on Starling, the Jodie Foster character."

**¥!

r «-3

OH*

r^

Jj

^^^^H

^.Tl^tT

^1

ftr^T

A

*

bK

„

^j2

y

K **l

i

jj ^m

*-*-*

It

!

•**

It

rat. ^^^mt

D !

P^5^*-V j| •

»

t^B^KkSI

The Silence

of the

Lambs:

(7) Shore's

sketch with

orchestration notes for the cue 'The Beating'. The piano part

above the strings

is

Shore's composition with a timpani part

and notes for the brass added. From filled

out the

final

orchestration.

this

Homer Denison

And these

has

orchestrations are

often densely packed with instruments performing at the

lower

limits of their register. This often helps to

unsettling feeling and at other times sheer terror.

evoke an

vice-versa but

hear

is live.

month

would say

I

90 per cent

that about

tried a lot of different things

I

of editing

and mixing

I

went back

and

of what you

after

to the live

about a

recordings

with the orchestra and Ornette.

scene in the apartment with Joan where he calls her a junkie

and says she's no good and then

her he loves her.

I

recorded Monk's 'Misterioso" which Ornette arranged. Then

I

also wrote a piece to

accompanying,

I

approached the score by reading the book and thinking

about the period and geography

- New \ork and Morocco,

bop jazz and North African music.

made

Ornette Coleman had

I

played

it

to

remembered

I

in the "60s with

Cronenberg and he loved

it

be-

accompany

on another

it's

the score though

it's

tells

that,

except

not really

it's

level. There's a lot

going on in

not really to do with individual

characters but with creating a feeling for the movie.

a recording

Berber musicians.

and thought

it

could

In

Ed \Sood

tried to give the orchestration a

I

Woodness". The idea

that nothing could

kind of "Ed-

be wrong. In the Ed

140 be the Interzone National Anthem.

performances.

I

wanted

also started working with

Dean Benedetti had made

tapes that

them.

I

I

looped them and made

piece- out of

little

played Ornette the Parker stuff and asked him

to

re-record

it

but he

felt

suggested he should write some other

as well as playing on

So.

of Charlie Parker

my

it

trio

if

he

was definitive and pieces for the movie

score with the London Philharmonic.

based the score on the Parker loops and then worked

1

with Ornette for

a

week

until finally

lie

came

and

in

wanted the opening

world

ot

ol the

title

music

to

movie. The orchestra

tango, verj exotic with a lush,

i-

take people right into the

playing a \ery -low kind

somewhat

erotic-

atmosphere,

own world and

Cuban music, was

'50s jazz,

Tim and

did

I

some

fairly

jusl

perfect for

with idea- so the process of elimination

I'd

decided on certain element-

iheremin and

pereu--ion then

a lot of

The orchestration -tuff:

i-

Mancini.

I

used a 4o-piece group,

work

to

in.

I

wa> overflowing

became important. like the u>e of the

I

could create the

was

the rabbit hole and Ornette

of

be-bop and the erazine—

the -cene- in the

movie were created with

little bit-

overlapping technique- and the music mirror-

tin-.

F<>r

the

period

of

like the Universal horror

it

o\

me

horror movies, -tripper music, bongo music, Henrj

'50s. But. of course,

Some

that period of

from a million different -t\le-

rhythm than the orchestra. So you ha\e the dreamy

all.

way. there was

e\ten-i\e spotting sessions on the

where the music should be used.

film as to

Once

and

invites you in to play

Novachord organ,

blasting your brain with

it

his

a

down

in a

an optimism and a kind of make-do sense. Tim Burton creates

music orche-tra and

orchestra taking you

of

same

much

but over this you have Ornette playing very quickly to a

faster

world, good and bad were the

particular sound of the film.

improvised with the orchestra.

I

Wood

like they

had

in

the

going through mj imagination.

all

mj concept, mj melodie- and harmonie-.

I

think the opening animation

The animator-

<

reated a

i-

choreographed

brilliantly.

mock-up with Tim and then

I

wrote

(1-4)

I

Ed Wood: "Tim

sent

screened them. Once

sounds of the

I

'50s: jazz,

me some

had the imagery

like

Ed

Wood

title.

himself."

Wood's movies and I

thought of

Cuban music, horror music.

lot of percussion. There's a

playing the main

of Ed

I

all

the

used

a

seven-piece percussion section

There's a lot of optimism

in

the score, 141

142

01994 Howard Shore,

61994 Howard Shore

s'a

»SC»=

•9»a

Mont

S-«»

s'a

l
(ASCAP)

iASCAP.

Ed WPPd

cue

Main Titletm

1)

(

r.m Paoe 2

4:25/9.1

12 56

PM

m V

V

i

143

r-\ '.?•

i

Shore, sla (ASCAP)

1994 Howard Shore, sla (ASCAP)

HOUJIW)

*ty&

(1-7)

Ed Wood:

(2-6)

The

first five

pages of

Howard

Shore's conductor's score for the 'Main

Title' of

Ed Wood: "The opening

rhythmic, animation

is

world of the

brilliant film

and

it

a

very

piece.

The

title

choreographed

very

is

takes you into the

very quickly." Note the exotic

instrumentation: marimba, vibraphone, bongo and

conga, pipe organ, and on page two, bar

six,

the

entry of the theremin main theme. Note also at

the top

of the

score that Howard Shore

orchestrated this highly colourful score himself.

used a 45-piece group, music orchestra and

had

in

through

my

Novachord organ,

imagination,

for

(7)

my

Howard

Ed Wood.

"I

the Universal horror

the '50s. But of course

and harmonies."

themes

a

like

it

was

concept,

like

all

they

going

my melodies

Shore's worksheet of

(1-2) film

eXistenZ:

In

his

score for

this

Shore was expressing the idea of

aural perception: "This film virtual reality

and

I

virtual aural experience.

was recorded

in a

is

about

was attempting

way

a

The orchestra

that played with

the listener's perception of what an

orchestra should sound top)

Howard Shore

bottom)

A

like."

(right

conducting, (right

recording session.

the piece.

thai

lliink

1

rhythmic

it

flow.

was tweaked

lt" rel="nofollow">

a little afterwards to

keep

imager} and music working reall) well

together, taking you into the world

where image and music blend

oi

realrj

the film, \nother scene

well

i>

the Funeral

in

scene where Bela Lugosi dies and you hear Tchaikovsky's 'Dying Swan" theme from 'Swan Lake", which

from Dracula (1931, Tod Browning). melodies and some theremin.

I

ot

the

1

added mj own

odd '50s instruments

1

compose with pen and paper and

music and hear the weight

intellectual process. Sidney

compliment

in his

the score to

The

it.

I

that

you can

feel

it.

1

can

Its not so

to

Silence of the

much an

Lambs

Its not so

He

said he liked

because he could

much about hearing

cinema when you're watching the scene:

it.

see

soil of

Lumet paid me the greatest

book. 'Making Movies".

know what he meant.

the music in the

ol

have

I

the relationship of the notes in black and white.

feel

like the

think the symbolism worked realb well.

Even though

teel the

also a quote

is

it's

X

t \

\

biography Born

in

1985 while Boingo.

m

L.A.

1954 Elfman began composing

founder member of the rock group Oingo

a

He began an

started with

and highl) post-modem

which often refers whilst

at

Tim Burton

informal partnership with

Pee-Wee's Big Adventure. He

for a with, surreal

Herrmann

for film in

the classic

to

is

recognised

style of scoring

Hollywood period

of

same time embracing contemporary

the

danny elfman n ideas.

Danny Elfman has composed scores

Tim Burton's

films to date

for

all

of

(Pee-Wee's Big Adventure.

1985: Beetlejuice. 1988:

Batman.

1989:

Batman Returns.

Scissorhands. 1990:

almost

Edward

1992:

The

t

e r v I

i

grew up

(1990, Warren Beattv):

Sommersby

Die For (1995. Gus Nan Brian de Palma): and Sonnenfeld).

An

instant

Sant):

theme

for the

To

Mission: Impossible (1996.

Men

example

TV

Dick Tracy

(1993. Jon Amiel):

in

of

Black (1997. Barry the

heard almost daily on a global basis virtuosic

include

Elfman

style

can he

in his brilliant

cartoon series The Simpsons.

and

1

spent

m\

all

horror, science fiction

God

free time.

my gang

It

and

It's

there that

romance -

was during

fantasy, preferablj the bloodier the

and of an

uncommon

not

a screening of

(1951. Robert

\\

Ise) that

artist

moment

me. and

was

a

music machine

that

I

Bernard Herrmann'- name

it

in

boys

dancing

It

was

where m\ love

of film

a bit ironic thai a-

,i

the Earth Stood

out.

moved

artistic effort, not

From

that point on.

the beginning of a ino\

enag<

as a cinematographer, an editor,

Still

of film music

realised that the music

music

ti

period.

in that

b

i

pi

i

rl

tho

il

ie,

there wa- something special, something extra, and

that's

or.

the film music - Bernard

human, personal

turned

lor

anil

became aware

who created

that

it

The Day first

I

Herrmann. At that

realb

I

consisted primarily of

and absolutely nothing with singing

forbid,

mm ie

L.A. in the "60s. around the block from the

discovered film. Cinema lor

1996: Sleepy Hollow. 1999). Other major Hollywood lor

in

where

theatre

better,

productions he has written scores

w

e

Nightmare before Christinas. 1993: Mars Attacks!.

147

I

I

some

I

-aw

knew think

(1-4) Beetlejuice: Elfman feelings

about theme versus

work on Beetlejuice.

(2)

that he had

felt

cemented

style by the time he

came

his

to

The waiting room scene gave Elfman

the chance to invoke a lounge-like

feel:

"Tim [Burton] and

had a fondness for a strong Dean Martin influence which 148 really

enjoyed doing. Sometimes

piece of music and lounge-ise

s

it,

I

do

little

and Tim

gag versions of

I

I

a

really loves that."

ft

loved film bul

Although occurred

fell

more aligned with the

visual side.

appreciated the music verj much

1

to

always

I

me

would be my

thai that

it

never

My elementary

calling.

school music teacher declared almost immediate!) when

attempted

trombone

to play

whatsoever, and

I

tliink

Later as a teenager

1

that

discipline to

in fact

sit in

had no musical propensity

believed her

I

seemed

I

became almost phobic about

1

laek the

to really

front of a single teacher

and play

for

However, what

them

I

did

had a good memory

for

it.

and hans. id>ing

correct.

did a

It

the parts, especially the piano solo winch

all

was actually quite

1

and being able

difficult

lot

get u absolutely

t«.

my confidence because

for

could hear a phrase and write

it

down

learned

I

I

jusl right.

long time.

for quite a

took lessons on a few instruments, bul

never with mueli luck, as

-

I

I

an old recording of Duke Ellington's 'Black and fan Fantasy

1985

In

met Tun burton and IVc-Wcc Herman, aka Paul

1

Rubens, when score for

they

asked

me

il

1

was interested

Pee- Wee's Big Adventure.

wanted me. Although

had done

I

I

writing the

in

was baffled why

they

my

a wild cull film lor

149 learn during those lessons was that

music.

I

1

would often memorise the early melody books and

play them back without actually reading them.

performance was on the

violin at the age of lo in

Grand

a musical troupe called the

accidental that

a

I

member, and

months

at that

my

I

had only been playing the

point, but the director thought

first

it

I

was also

composition, which was done

love of percussion and ethnic music which

I

France with

It

was quite

joined my brother

LA.

in

I

did have a vibe about the movie.

comedic musical

the

that

Nino Rota as my influence,

I

wrote a piece

mandolin.

cemented my

still

care lor

it

was the bike race

come from main

it

title lor

of

lot

of

was forced

to

with a theatrical troupe

During se\en or eight years

teach myself to write. Uso, we did a

arrangements of L930s' jazz like Duke Ellington, Cab

Calloway, Django Kheinhart

-

I

became

transcribing solos absolutely correctly ami

I

got

my

best ear training.

1

remember

a bit

I

obsessed with

think that"- where

distinctly

didn't connect

at

all

I

with

and my feeling was

for

at

1

me

the beginning that led

don't know, but

it

felt

right.

them never expecting anything

that piece of

to

I

to

music ended up becoming (he

to

It

was doing Pee- Wee's

specific action

1

thought

the film.

m\ musical training them

music

and

hooked on

with

I

In a

lacked the training

-tyles of that time

I

lor

1

I

lc.nl

Pee Wee was not an American contemporary character.

called the Mystic Nights of the Oingo Boingo. That was where

really began.

me because

they were crazy talking to

was good and

that

to

it

legitimate orchestral film score. But even though

Maybe

them

never expected

I

violin for four

for

After spending a year in West Africa, which

this day.

first

ended up with them. Mv brother was already

went on the road with them. And played

.Magic Circus.

My

brother five years earlier.

listening to

to

Adventure

film -coring. Being a

and

it

what

but do

really

it

I

comedy

was not uncommon

be hitting M) or 10

difficult, but

it.

Big;

hit-.

I

was

abli

editor, and write in -uch a way that

cutting to

in a

my music, which

i-

to

fit

m

how musii

got

lots ol

me very

two-minute cue

beginning

I

really

had

il

learned was thai

really

well.

In the

that

that

could

n

Batman:

(1-5)

was Danny

This

would

Elfman's first big feature film: he

go on to score the sequel,

Batman

Returns, also directed by Tim Burton. (1-2) Burton associated 'Beautiful

Dreamer' with the Joker: complete agreement and blending

it

some

light

there

is

so

in.

It's

a

moments much

really

to

fall

music." (3)

enjoyed

when

into In

spite of

theme

for the

romance between Vicky felt

in

pleasure to have

having to write a love

Batman, Elfman

was

"I

Vail

and

the real romance

was more to do with "Batman's own dark impulses". (4-5) Elfman based the car chase on 'Carmina Burana'.

It

also

gave him the opportunity to write choral music: it's

just

"I

love writing for choir

another instrument for me."

-

151

\

-

ll

I

»<»e.

BATMAN

152

(4-6)

Edward Scissorhands: The

opening

cue

orchestral score:

of "I'd

Danny

Elfman's

been writing

a lot

of busy music for busy movies and

was such where

a

it

pleasure to do this film

there's this simple storyline and

simple characters." (6) The entry of the wordless choir as the strings play

pizzicato, creating a very ethereal,

open orchestral texture.

j^st^r*

iZrnl

(1-3)

the

Batman: The opening

page of

orchestral score of the cue

full

'Cathedral Chase'.

Note the

credit for

Elfman's regular orchestrator Steve

my music

Bartek: "Steve understands

very well, and knows not to elaborate

on

it

a

in

want."

way

Note

denoting

that

I

am not

going to

also the pipe organ part

location.

The

rough

annotation of on-screen action (rear shot... steps...)

for the

above the

violin part

is

conductor to synchronise to

film as the

orchestra plays. Elfman's

rich, colourful

music harks back to the

grandeur of Korngold's scores, and perfectly vision of

53

complements Tim Burton's

Gotham

City.

EDWARD SCISSORHAK'DS

l^J^

EDWARD SCISSORHANDS

IMlA

(1-6)

Edward Scissorhands:

(I)

The

piece: "It started Spanish gypsy, then

influence for the haircutting scene

was

a

gypsy

became Hungarian and then went back

to

154 Spanish again." (4) For the suburban scenes Elfman wanted to invoke a lounge feel "like Escovel". In

many ways, the score has an almost

trying to be religious but quasi-religious tones.

I

I

religious sensitivity:

"I

wasn't

think that the ethereal side of a fairy tale can cross into

think that probably goes back to

^5

my

ballet

music influences."

SUM

feel if

done

correctly.

stage hearing the

1

remember cue -

first

the

day

first

was the bicycle

it

only a medium-sized orchestra, but yet, biggest, most exciting sounds

injection or something

- and

it

race.

It

was

was one of the

it

had ever heard.

I

the scoring

at

It

was

like

an

big choir piece, very reminiscent of 'Carmina

first

Burana". and

will

I

never forget the excitement of hearing the

choir sing that piece.

-

suppose

I

happen

me.

really got to

was the

have been using choir ever since then

I

has become one of

it

love choral music:

to

my

my

signature devices.

I

favourite parts of most

operas are the choral pieces between the major arias, and

I

suppose

it

was very lucky

developed an

is.

I

seem

that

I

started out with Tim.

affinity right away.

don't really

1

and we

know wh)

that

understand his film-making, where he

to really

coming from, and most importantly, the unusual and

is

difficult

what

that's

over and over for myself. The choral

will play

I

Fame were

music of Mozart, his requiem, of Carl Orff and of

very big influences on me. as was the exciting, propulsive

music

nl

Stravinsky, Prokofiev, and Tchaikovsky.

seem

I

to

156 musical tones that his movies seem

when

very pleased

and

theatrical,

I

to have. Also,

comes along

a film

myseb

get to express

operatic, ballet or theatrical >t\le.

strokes on a big canvas

when

I

I

that

in a

i-

makes me

it

visual

and

grander, more

like writing with

broad

have

a strong

never

people asked

other hand

can.

me about mj Wagnerian

that

I

wa-

1

never

reall)

saw there was this chance

Batman.

was Hm's and m\

It

producer- were

rightly so.

to write a

1

Grsl big action feature

think, a bit sceptical about

had

really

I

to

them

the cues and play

prove myself.

for

the producer hearing the

and down, waxing baton.

\t

that

his

arms

moment

I

I

everybody -

prove m\ abilities on that film.

when

very ambition- score for

1

will

first

like

knew

had

and the

m\

ability,

and

to

mock-up

sweated blood

1

to

never lorget the da)

he was conducting with his

1

had succeeded

of

been

fact

inv

in

winning them over.

It's

-trough a-

first

I

did.

I

remember

see the Batmobile and

it

first

time

there was a

I

used

a

composers such as

I

probablv was indirect!).

musical influences are classical which have

tillered

in

through other film composers.

choir as

moment when sou

drive- to the batcave and that

between Beetlejmce,

also in that period

Edward >
reall) onl) a

it"-

i-

thai

theme versus

of orchestration,

it

have been the

my

think the) were probably

I

bv Wagner. BO

and

it

reall)

I

style.

If

the

cement m) own

no theme

it's

jusl lots

If

t<,

me.

On

the other

hand

becomes monotonous and

it

you look

Golden \»e the) understood style

to

Batman and

could be a brilliant orchestration but

nothing but theme

between theme,

began

there*-

huge temp -core

doesn't work either.

Batman maj

a lot of

all

cue began jumping Up

that

Man)

can

influences and

verv influenced b\ other

much influenced

verv

I

listened to Wagner. **n the

Komgold, Tiomkin and Steinei and

I

that

Batmun

remove mysell from. Alter

totallv

answer was

Russian and Eastern European bent

it

at

the

composers

of

that

the

perfectl) - the balance

and orchestration - planting the seeds

theme so you could use

it

if

full-grown

when

v..u

want

at

at

the

*:«#£

•

(1-2)

The Nightmare before

Christmas: Even though the lasts

film only

75 minutes, the scoring was

a

two-and-a-half-year project, as the film

contained no

themes.

less than ten

Paul

Rubens,

separate

Catherine

O'Hara and Danny Elfman's voices featured on the tracks:

"One

night

cut every song and did the voices

-

I

all

the synth tracks with instrumentals so

now we

with

clicks,

to animate."

had demos to synth music

and

that's

what they used

(1-3)

main

Mars Attacks!: titles for

inspired as to

Elfman saw the rough cut and

initial

the film quite early on and was immediately

what would be the main

title.

He

structured

it

around two themes: the Prokofiev-style March

signalled the

oncoming

was used to

ships of the aliens and a theremin

denote an extra science-fiction element. He to the style of that

in

likens the

The Day the Earth Stood

scored by Bernard Herrmann.

music

Still, a film

end of the

film. Ultimately

certainly

my own

do with

- how you take

it

isn't

1

think a composer's real style and

the writing of the

it.

turn

it

theme hut what you

inside out.

thai

waj and Tim fortunateh doesn't ilunk that waj either.

much more on

thinks

for

him

viscerallv. so

were. Tim

With

Edward Scissorhands

everything happened verj

Batman.

organically and simply, quite the opposite of

that

was

it

a very

hat

I

favourites,

for

simple through-line.

I'd

been

speak

in a

period of writing some very busy music for films, and often

didn't mallei

him what

In

I

actually prefer thai -

most of our

in

when

il

usually leads to confusion, bul

He

emotional terms.

in

a director Btarts

Tim and

me how

tells

origins

lis

trying to explain in musical terms what he or she

my

it's

it

and the music worked

level

very (dear bul not verbal

is

communications.

ol

loved about writing that seore. and

was

one

\\

a visceral

He

looking

is

generally

I

he feels aboul the

characters and scenes and how he feels about the music.

forcing things in to try to enhance something that might not be

159 there, a very

to

do

told

common

job for a composer, so

Edward Scissorhands where

was a pleasure

simple storyline was

this

from an internal standpoint of this one charcter, and

musically

1

simply had

to follow that.

just as

I

saw

it.

think the film was

I

clearly an old-fashioned, sweet fairy tale

it

it

and

1

think

I

played

Also the music was very sappy and romantic

and emotional and

when

I

my

think

greatest joy in writing a film score

surprises that happen during the process.

intellectualise

theme wants

happen

to

begin writing

themes

my music and when

I

have

if

intense, really violent, really sappy, actually just about really

dramatic or funny.

I'll

anything.

and

When

it's

that.

I

love

none of those things

flop about in the water

and

it

struggle and die

I

feel like I'm

it's

drowning.

themes to

until

work

for

I

try

first

time for the director

already. In

I

believe

I

popping up

fact,

would say "this music

Eastern European, so

it'-

example, then- are

for

is

I

very unusual.

One

European, Hungarian bent, and

had no idea how Tim was going

is

that a

have done nine films with

Edward Scissorhands.

a very Eastern

shocked

character -

two primary themes, not one. which

them had

one

could possibly

of the most terrifying experiences that

imagine — even Tim. who

is still

to react.

making me

Main

feel this

ol

I

directors, in

character

is

wrong" but people are very forgiving

it

theme

maniacal moments,

let

I

to

I

lake the

a kind

I

to go. In

had written

themes are going

they evolve themselves

Sleepy Hollow

for

a children's

theme

headless horseman, often

yel

worked.

il

I

think

Bernard Herrmann's

science-fiction films that he did and

the Hitchcock film-. \n

th

thi

I

was

Johnny Depp's child

it

at

si

i

-

kept

il-

most

goes hack

feeling that there really are no rules. That's what

from listening

Before

it.

blocking out two or three major

was originally

for the

I

and put then through

that, of course,

and go wherever they want Playing the music for the

try to

homework.

feel really confident that the

me. After

never

they can turn emotional, whimsical,

of acid test to see

enjoy doing

of

lot

that I'm thinking of using

really

I

do a

many

a particular variation on a

at a particular point.

to

I

the

is

to tin

/

biography Bora

L955 Zbigniew Preisner

in

is

Poland's leading film

composer. Between the years 1985 and 1996 he enjoyed

a

close collaboration with the director Krzysztof Kieslowski and

liis

script writer Krzysztof Piesiewicz. His scores for

have broughl

Kieslow

ski's films

well as

numerous awards. These include two Cesars from

liim international

acclaim as

the

French Film Academy and three consecutive citations as the year's most outstanding film

composer

in

The L.A.

zbigniew preisner interview Awards of 1991. 1992 and 1993.

Critics Association

In

1992

My

father

was an amateur musician who played the accordion

he received the Award of the Minister of Foreign Affairs for

at

outstanding achievements in the presentation of Polish

life

Culture abroad. Around the world his soundtrack albums for

university in Krakow.

Kieslowski's films have sold over one million copies. His film

people wrote topical songs about the world they lived

Dekalog 1-10.

scores include the short film series

The Double

Life of

Blue

Three Colours: White

(1993):

Colours:

Red

(1994):

Veronique

all

(1991);

(1988);

Three Colours:

(1993); and

Three

directed by Krzysztof Kieslowski.

Other important scores are Europa,

Europa

(1991,

Agnieszka Holland); At Play in the Fields of the Lord (1991. Hector Babenco):

Damage

(1992. Louis Malle):

Secret Garden (1993. \gnieszka Holland):

Loves

A Woman

The Last September (20(10.

When A Man

(1994. Luis Mandoki); Fairytale -

True Story (1997. Charles

Aberdeen

The

Hans

Sturridge); and

A

so

I

didn't study

it,

parties;

instead

Then

I

I

music was

part of

studied history and

everyday

played the piano, wrote and sang songs and then

I

in.

I

was very much influenced by the leader

The people who surround you you are inspired

grow up with learned, but

where

it

folk

when

life,

I

painting, people.

music from which there

is

I

so

happened

much

to

to

be

you're composing music you're never sun-

in and write emotional]

important to understand how the narrati

for

group.

by music. I'm interested

comes from.

music. But

text

more important than what

by. I'm not inspired

philosophy,

in literature,

are

ol this

I

taught

myself music theory and compositional techniques from

books;

the

art at

joined a political cabaret, where

more recently

(1999, Deborah Warner) and

Petter Moland).

weddings and birthday

me

the

.

161

(1-4)

The Double

this film

is

uses what

a

is

Life of

Veronique:

good example of

instrumental economy; he

required and nothing more.

played almost solely by

The main theme

woodwinds and many

are written for piano and guitar.

162

his

Preisner's score for

is

of the others

\nd

silence.

prepare

it

order for the silence

in

with something before and

has

to play, <>iu-

hear a

after. You'll

lol

to

perfect symbiosis of

of

effects.

silence in m\ scores.

Dekalog was

About M\ approach now. once director,

is to

The

on,- to ten.

I've

received the brief from the

spol the music cues, develop ideas

and then write straight

to

paper;

I

I

compose

first

the

think about textures which then

just

I

one was Dekalog 5 (A Short Film

first

Dekalog 6 (A Short Film

Killing) followed h\

About Love). Music recording The recording

separate.

proper sequence from

not filmed in the

those two films was

for

remaining Dekalog films was

for the

divided into just three recording sessions.

no straightforward

is

recipe for writing film music. Sometimes

themes or sometimes

the piano,

use anj kind of

rarelj

synthesizers or sampling. Bui there

at

music and heightened natural sound

Dekalog: 9 (Thou shalt not Covet thy Neighbour's

In

mam

Wife) the

character. Dorola. has a

moment

of revelation

163

become

the basis of themes.

The orchestration

Inseparable from the film themes. Sometimes

to a

lew instruments

and

at

narrow

I

other limes

for

me

is

down

it

go for a big

I

in

her

better that

that

wrote music for

Kieslowski.

It

many

television films before

was through scoring my

Weather Forecast recommended me

to

first

met

I

The

movie,

(1981). that director Antoni Krauze Krzysztof Kieslowski. Kieslowski and

developed an unusual way of working.

We became

I

friends and

the music in his films was considered as pari of the initial

concept. At that time

I

was

a

young composer.

writing the music for 12 films in total

feature films I.

music

for

music

in

it

each

was my ambition film.

I

wanted

to write

to

When

I

was

would write

I

to

we decided

composer as

Budenmayer could crop up an- references to

(he

is

him

in

in

each

il

this

Three Colours: Blue where to

some

of his vocal

music

il

was

in

il

composer existed into being:

-

that

il

was

a

Van den

the films. In fact there

ol

The Double

credited with the 'Concerto

that

music. And having done

a piece of

red herring. But then the idea developed

Veronique

Life of

E minor")

through

right

to

Julie (Juliette Binoche) listens

record shop booth.

in a

I

le

became

an alter-ego.

completer) different

prove mj abilit)

to write

is

the

I

think the success of

classical

music but

instruments. Obviously another verj important issue

20th century,

al

the

time was how music and sound design could work together.

discussed how

to

achieve the

my music

at

the

same time

creative music: the times

replaced

with the

it

now

ol

is

started with

m\ scores

for

The music was on a borderline, h wasn

Kieslowski's films.

make

I

a

but

thought about using a

was how Van den Budenmayer came

feeling of intimac) you get with music written for a lew

and

imenl

We

(Dekalog and two

various styles. Something I've always liked

All the time Kieslowski

a record on.

some kind

classical recording of

we decided

orchestra] sound.

I

and she puts

flat

ol

same orchestra

filn

dodecaphon

difficult music, ha

some kind

wasn't

it

i

of romantici

Sinfonia Vai

so

m.

I

1

i

64

f i

(I)

Zbigniew Preisner

at his

Preisner's score follows

ruinous

mixing desk. (2-6)

Jeremy

Damage:

Irons' British politician in his

with his son's girlfriend, played by Juliette

affair

Binoche. Instead of a scene of sexual tension, Preisner opted for a classical

sound to

reflect the stuffiness of the English

family.This counterpoints the action and

that

much more

"seedy".

makes the

affair

seem

(1-5)

A

Short Film about Love:

"Another very important issue time (of Dekalog) was

how

at the

music and

sound design could work together. For

me, the music and

film effects are

one." This desire for cohesion may

account for Preisner having recorded eight of the ten in

Dekalog

only three sessions.

film

scores

(6-9)

A

Short Film about

Preisner

Dekalog

wrote as a

music

for

his ability to

write

various different styles.

and Kieslowski discussed

create

Killing:

scores

young composer, and

wanted to prove in

the

perfect

He

at length to

combinations

of

instrumental music and sound effects.

more we recorded together the and

I

how

did not have to explain

my

melodies. They

became

faster the recordings

to

play their parts or

how

to

felt

it

automatically. They're very

good, particularly the strings,

at

playing

phrase

note. Often

I

and

Patrice's assistant Olivier re-orchestrate Patrice's

and you hear the

we were

results instantly in the film score;

how

playing, showing

music

you see,

the character of the

same

the edge of the

music may be influenced by changing the instruments.

write long single notes, which appear

Kieslowski thought that the best expression of the feelings or

at

ambiguous, they're not quarter tones but they're hard you hear them quite a

Dekalog. I'm

lot in

with Sinfonia Varsovia because

homeland. You have

to

I

also

to place;

keen

to

work

like recording in Poland,

remember

that in

my

Poland nobody had

important experiences of his main characters should be through the music. This

metaphysical and nothing

is

do

to

with acting. In other words, the music was to play the part of

actors" internal emotions.

It

very often happens that

when we

passports until 1990. To get out of the country to work with

experience the greatest joy or tragedy, we stay calm on the

any foreign organisation was a bureaucratic nightmare. Now.

outside but we go through

sometimes

Krzysztof's films the music was this inside. At scoring

168

I

like to record with orchestras in other countries,

it

really deeply inside. In

mv music

as these sessions often introduce fresh elements into the

sessions Krzysztol very often reacted to

music. Generally, the choice of the orchestra depends on the

bring out and highlight the mosl important thing for him -

kind of music I've composed.

inner feelings.

Three Colours: Blue was

the

first

of Kieslowski's trilog\

In

Three Colours: White When,

exploring the themes of France's national motto: "Liberty,

ironic.

Equality and Fraternity". The music was 90 per cent

thrown on

composed and recorded before filming

exclaims.

in detail in kieslowski":-

described

music

is

a central character in

Patrice, an

from and eventually coming

to

It

was

screenplay. Ot course

Three Colours: Blue.

acclaimed European composer

crash and his wife Julie spends

started.

much

killed in a car

is

of the film escaping

terms with his music. Krzysztof

Kieslowski liked simple music, although played b> a huge orchestra. That

emotions and

in

to

is

whj \er\ often

achieve

a strong effect

widel) spaced octaves.

music

i>

verj expansive

It

order

in

I

wrote

to stress the

in

\t

garbage

"Home

at

hero arrive- back

dump last".

Chopin, a Polish cultural

music score in

completely

i-

Warsaw and

is

he surveys hi- surroundings and

The mu-i< becomes

icon -

it

was

ironic.

ver\

like

that time

\t

Poland was one hu^e garbage dump. The juxtaposition with the

Chopin piano music was

to

emphasise

That was also

tin-.

the idea behind the tan^o music which plays a- the hero

begins

to

common

gain strength. Tanjjo in Poland

people, ironic and primitive, >et

has a real forward

at

i-

the

the

dance

for

same time

it

momentum.

unison but

gives the impression that this

and monumental.

to a

finally, the

tin-

h\ trying to

one point Julie

In the film

Three Colours: Red.

the

wa- written before filming. We wanted

main theme.

to stress

Bolero",

the recurrence

169

(I)

Zbigniew Preisner

desk r

Ci^l

IU Iff

Hv

iBr^ti'.^

ISA

f^i

^* J

«•

? wfi!>

*

F

' '

in

his studio.

Garden:

(2-6)

at his

mixing

The Secret

Preisner recorded the music

M&f^ with the Sinfonia Varsovia and the boys'

choir

of

Philharmonic: "The

the

Cracovian

more we recorded

together the faster the recordings

were. They automatically

felt

the

music." Preisner's music sometimes appears elementary and uncomplicated but this

is

often due to the ease with

which the orchestra performs

it.

(1-4)

Three Colours: White: Some

of Preisner's

structured and detailed music was written for this

music has

a

melancholic

instrumentation: "All the music state of Poland at that time."

feel is

to

it,

with

its

most

film.

The

sparse

ironic, reflecting the terrible

MJr

(5-8)

Three Colours:

Blue: "90 per cent of the music was

recorded before anything was filmed. in

It

was described

in detail

Krzysztof Kieslowski's screenplay." Preisner uses

orchestral palette

in

short, broken cues,

full

colour. But despite the size of the instrumental forces retains a characteristic starkness, often

unison voicings.

1

a

big

of resonant it

still

due to widely spaced

171

JL

jsm 7-J*d^^A

(1-4)

Three Colours: Red:

melodic score based on

'Bolero' form, with repetition,

is

Preisner chose to write a rich,

a 'Bolero' its

theme. The repetition

in

increased expression for each

used to represent the recurrence of

situations and events, (right) Zbigniew Preisner.

-PS

the

life

1^

of

and events

situations

our

in

lives.

Bolero

musical form

a

is

based on the repetition of the theme, with increased expression after each repetition.

music about

i

will

lie

to

was supposed

It

the will

fight,

to

more about other people. The Three Colours

meant

to

be the

the

live,

to

unexpectedness of events and the willingness

three different films and the music and

to

discover

was

series

everybody. This

to

Hollywood.

In

then individual view. The) arc artisticall)

Bui the director

results.

film

In

I

m\

,-

,„

responsible for

is

cleai

tall)

foi

the

who neat,-

die

it.

have never thought about moving

one occasion when,

in

,i

I

one ultimatel) responsible

themes were not

it-

be interrelated.

Nothing has happened accidentally

the

is

Holly*

and who

Europe and

Europe the director and his team usuall) takea

ri-k in presenting

Ire,-.

the difference between

is

Since Krzysztof

life.

Critics Award:

lor the third time,

was

it

lor

m) score

America.

to

remember

I

received an

I

Damage.

for

\iihi n ,m

Right after

173 Kieslowski's death in 1996 I've

become more

writing music independently of film. That

interested in

why

is

I

have

felt

the need to meet new people, new musicians, because the)

inspire me.

As

composer

a

with strong personalities.

film director.

My

it's

important

musicians

to find

like the casting process for a

It"s

leading actors are the musicians of the

orchestra - and without doubt they convey (he character

the music.

then,

My

consideration

first

is

depending on the subject, how

may be

a kind of

what

music monodrama or

Sometimes

it.

a

an

orchestrator.

misunderstanding-. since

the boundaries between

course

I

like

very

it

rearranged, but then

It

I

my

would

have never

I

inevitably

have no idea how creation and

I

create

could define

somebody

else's. HI

much when my musical themes it"-

no longer

me

it

small musical

discussion, another time an orchestral storm.

used

about and

to talk

to >a\

ol

driving tin- car.

are

am

I

only a passenger.

Hollywood now

trie- to -tide

main preoccupation there

i-

an) individuality

in

music.

I

he

writing music that will appeal

ceremon)

the

Brothers, the

Garden. its

\\

in

compan)

in

for

which

America, he

Hollywood.

American

meeting with the president

a

lule congratulating

importance

was

had

I

style.

For

in,'

me

it

on the \ward and stressing

start

was

scored Tin- Secret

I'd

persuade

tried to

should

I

like

me

composing -

to sta\

\n absurd situation. Progress

which includes

art.

is

in

ever)

in

that, as

a

I

more

with the car

analogs - driving the car forwards and backwards

time.

Warner

ol

at

the

same

field of life,

founded on rebellion and setting up

new trends, new directions.

It's

impossible

constantly look back to old reference points.

to

do

dial

il

you

biography Born

in

Tokyo National

became

One

(

January

a

I

I

)~i2.

Sakamoto studied composition

niversit) ol Fine

member

founder

\n> and Music.

of the Yellow

In

l

the

at

(

)7<S

he

Magic Orchestra.

of the earliest techno-pop groups, the) gained a huge

international following. Sakamoto's

Merry

Christina!*.

awarded an Oscar

Mr Lawrence.

for the

soundtrack

first

Rim score was

Four years

to

later he

Tin* Last

for

was

Emperor.

sakamoto

ryuichi

n

His musical influences and interests are diverse and his style

might

at

anj time incorporate elements from electronic music.

t

e

r

I

v

i

w

e

when

started playing piano

the time

was

I

1

I

was three

no one was doing

1

me

teacher advised

pop. Sakamoto has worked with several international directors

my

on a collection of astonishingly diverse productions. After his

piano teacher was very passionate that

beginnings with Nagisa Oshima (Merry Christmas,

Lawrence. 1982) he went on directed

1>\

to

Mr

write scores for a trio of films

Bernardo Bertolucei (The Last Emperor. 19B7:

The Sheltering Sky.

L990; Little Buchlha. 1993). The

education so

in

several ol the films mentioned above.

thought.

"Maybe

I

haw

should get a musical

I

something". Although

we formed mv

is

album

of

^

It

was onl)

the Yellow

job for life".

Magic Orchestra,

When we

MO. which was

that

I

were working on

thought,

that first

"79 to '80, the tracks were

some kind

of visual

imag<

i

ith<

virtuall)

- even when writing pop music

image-

mv head.

Mv

in

first

I

vcrv recently, even a yeai

influenced b) movie-, especiall) Godard movies. Most

writing has

I

different things: science, literature, art.

sports, girls, everything.

"This

acted

I

many

also liked

Almodo\ar"s film High Heels (1991), was also scored In music composer, he has also

Initially

loved music and played the piano lor three bouts ever) da)

after

for a film

composition.

in

parents and even invsell were against the idea but mv

hugely popular and contemporar) Spanish director Pedro

Sakamoto. Unusually

lake lessons

to

except me. Mv piano

it

contemporar) classical music, jazz, world music and Japanese

kindergarten. Bj

in

soundtrack was

lor

Merr\

<

i

I

I

ol

mj

175

(1-4)

Merry Christmas, Mr Lawrence:

Sakamoto played the character film:

"When

of Captain Yonoi

saw the rough cut

I

bad acting, so

I

put

my

I

(2, 4) in

the

was shocked by my

passion into writing the score

to compensate." (2) Bernardo Bertolucci later would

ask Sakamoto to write the music for

76

his film

The Last

Emperor,

having heard the music for

Christmas,

Mr Lawrence: "He

thought that the love scene strongest love scene ever

in film

was between David Bowie and

Merry

had seen the film and at the

end was the

history.

myself,

Because that

two men!"

^

177

Merry Christmas, Mr Lawrence: "When for this film

I

was 100 per cent amateur -

to write film music!

I

I

I

wrote the music didn't

know how

asked the producer to give

reference point for writing the film music and

his

me

a

answer was

Citizen Kane, which, of course, was done by Bernard Herrmann.

some

I

knew

his

music from before, so maybe there was

influence from him.

I

also

wanted to express the

complicated relationships through leitmotifs, as they were created enough express that."

in

the film or by the images, so

I

had to

Lawrence.

never dreamed

I

loved film music a

I

lot

I

would work on movies although

- Maurice

was 100 per cent amateur. At our

I

Oshima, the

wanted

director,

showed me the

do the music, as a kind of trade. The

meeting, Nagisa

first

script

Immediately

to act in the film.

was one of my heroes.

Jarre

I

and asked me

asked him

story

if

I

communication and mis-communication between East and West.

that

It's

also about love.

would make us

worked hard

I

kind

leel a

to get the right

music

of nostalgia, not for a real

place, or country or time but a nostalgia for nowhere.

I

England the music had

to

be very pure. The young brother represents a kind of human

and David Bowie ruins

purity

and

this purity

feels guilt

ami

remorse. So as a contrast to this the music had to be pure.

could

if I

about a kind of

is

of images alone. For the scenes in

wauled

Bertolucci said he loved the film and the music. In fact he

Merry Christmas, Mr

said that the love scene at the end of

Lawrence was

the most beautiful love scene in the history of

cinema. However, when

came

I

compose

to

Last Emperor. Bertolucci didn't want

the music lor

me

to

The

use samplers

178

music

to write

that

Western people and middle.

I

wanted

would sound sometimes oriental Eastern people - something

for

lor

in the

and

'80s.

at

the beginning of sampling in the earl)

The main instrument was the EMU1.

I

laid out

everything with synthesizers and sampling machines and

overdubbed university,

later with

course,

ol

pieces but

I

hated

I

piano and some real strings. Back

first

of cues where

1

1

it.

wanted

I

to gel

Mr Oshima and he got.

So after

know how

didn't

wanted

I

in

wrote some orchestral and symphonic

to

to

proceed

put the music.

>aid that

that everything

I

was using

><>

made

I

showed mj

I

99 per cent was

was done

from writing.

a\\a\

Synthesizers, computers, samplers were what

the time. At

the

same

a

at

li-t

list

to

a- he

bj me.

Lasl

first

I

Emperor,

was expecting him

I

music but once again -aid

immediately.

jres

Cinecitta

in

We

wanted

the

to

reconstruct the whole storj with

Wagnerian idea

ol

leitmotifs.

relationships needed the support

successfully,

flu-

would

not

i>t

I

was asked

I

I

In fact

I

However,

I

to

in

in

I

to write the

was surprised.

China and then

for the acting part.

Then

I

in

a

Tokyo.

I

Tokyo and

had

at

cancelled

I

to find

the

some good

same time

I

had

wasn't so familiar with Chinese music.

rather di-liked

different also.

to act.

have two week-.'' "What?"

onlj

some themes.

I

it

me

a-k

from Hertoliiooi: "Start writing

got a call

Chinese instrumentalists write

was

that

everything and went bark

to

to

spent two month-

I

Rome and

lew month- later

now.

The

met Bertolucci and we began talking about

22-record anthology.

1

score and record a

be in-between.

to

wrote the score

to write a

real orchestra.

When I

- he wanted me

nthesizers

-\

it.

I

It'-

went

close

to a

to

Japanese music but

record -hop and bought a

listened to everything.

mj music using

he complicated

the music to be expressed

have occurred simpl)

l>\

means

Bertolucci and

I

had

completel) different

he arrived

at

got

on well during the -hooting but

in the

the studio

recording studio.

and started

to yell,

On

"W

the

here

it

fir-t

i-

wa-

da)

the big

.saL

•

/

—

1-2)

.

__

Merry

« «•

Christmas,

Mr

Lawrence: "You know, although looks

like a

war

film

soldiers and British soldiers, to

was

it

between Japanese

me

it

a love story, a twisted love story."

(1-6)

When

The Sheltering I

Sky: "There was a special

was writing the music

I

moment

me

for

was watching the video of the

film.

during this

film.

The camera was

very slowly moving towards these two people, so slowly that you could hardly notice.

Suddenly I

180

I

got a view of what the director was seeing

could share the same aspect."

you hear

a

moment

of the

(4)

"At the

theme music;

right a

in his

eyes.

moment you

I

got the feeling that

see the white hat and

simple melody, but

it

contains mixed

emotions - now and the future and maybe the past - the differences of cultures

between

New York

and Africa."

181

^

He

screen?"

only

knew

the old style of recording film music

where you look

in front of a big screen,

My method was

holds a clock.

all

at

and the conductor

it

computerised. Everything

liked the idea as

I

it

made

Morocco when the people come from New York

Then

there's

some Arabic chant on the

moment, you see the white hat and you

an orchestra. Everything was played

theme music.

calculated time

sequences. Bertolucci didn't understand

all this.

He

didn't

at

it

emotions and mixed times: the present and the future, as well

mixed

and cultures. There's

as

with brass and woodwind to be added

because the couple know about their future, how they

shout.

Bertolucci would

"More emotion, Ryuichi. we need brass

the brass?"

I

would

Where

here!

is

"Bernardo, don't worn, we'll have the

say.

the right

contains mixed

have any idea about overdubbing. Scenes would have strings

later.

Sahara.

hear, veiy thin, the

simple melody but

a

It's

to the

Then,

ship.

was sequenced even though we used acoustic instruments and to the

America and

the contrast between

localities

up because they are coming from New York

a tragic feeling

to

will

end

Africa without

an) goal. The) are travellers without a destination.

182 brass tomorrow". "No. no. that's impossible!" Gradually, as he

observed the process, he began communication

to

understand and our

was fanatical about ethnic music

I

become an ethnomusicologist,

got better.

real

The Sheltering Sky Bertolucci.

also began with a

He had been

in the

phone

deep Sahara

lor -i\

months

and he didn't have any idea about what was going on

had spent give

in

all

me any

his

got

lor

him

He

political.

emotions shooting

in

wasn't sure. So

I

felt

so empt\.

the Sahara.

directions about the music.

opinions and ideas but

music

ut\

'60s,

tin-

in

the

come down and he was

world. The Berlin Wall had

communist

from

call

we

I

He

He

couldn't

did have

some

dub

on

it

behind and -tailed

to

some

to write

of the film.

who was working on

music

samplers.

\er\ deeply,

Vlthough

style Bertolucci

deeper

level,

some kind

lime. I'm not sure

I

took

me

Then

I

left

I

thai

from -cratch.

three or four days to

tried everything

I

had

at

right note, the right key.

i_'et

the time

Vnother phone

wanted me friends,

Ii

to

working with

specialist,

Richard

I

used

a lull orchestra,

no

Western classical

in a verj

bring up m\ Japanese-ness

in a

of mystical thing about -pace

and

to

100 per cent

that

I

don't think I'm a

This time

call.

to \i-it

bom

Pedro Umod6var. He

Madrid, introduce me

and of course

to hi- film

m<- for the

to

the city, hi-

High Beds. He

movie but he did

didn't -a\

<:\\<-

me one

the Brsl idea of the theme.

reference winch was Miles Davis, lb- explained how deephj

-

Mile- understood Spanish culture

it

was

-<>

hard

In gel

The movie opens with some

existing jazz taken from the '20s.

wanted

Japanese person.

typical

whj he wanted

It

have

I

I

Arabic music and he knew

the

flu- tunc

wanted me

different

a great

was working

I

it's

university,

Listened to lot- of

two weeks. Finally we found Verdi's 'Requiem' and

to

a

this

but

musicians. Luckil) we had

Horowitz,

at

the

pre-

was chosen bj Bertolucci.

in

the

lor the

same wa) Miles had. movie but

In-

I

He wanted me

to dig into

it

even wrote the opening musk

didn't use

m\ music, instead he used

183

(1-3)

High Heels: The

given to

Sakamoto by

only reference

Pedro

director,

Almodovar, was the sound of Miles Davis:

"He explained how deeply

understood Spanish culture."

Miles

In

the

end Almodovar was to replace the

opening theme with Miles Davis' music: "This often happens with film

composition - you write 40 pieces of music and the director

will

maybe only

use half or two thirds. But film,

not mine."

it's

their

(1-3) Little

Buddha: The

journeys: that of spiritual

a

film charts

two concomitant

young Lama monk to Seattle and the

journey of Siddharta to become the Buddha. From

unique musical background, Sakamoto produced

was

highly successful

and West,

in

(right) Ryuichi

a

his

score which

expressing this meeting between East

Sakamoto conducting

his

opera

'Life'.

Miles' music for the Introduction.

I

don'l

>iill

know how much •

he liked

music!

ni\

Many times

attended the premiere

I've

wrote 40 cues,

have used

half,

10 piece- of music,

What

their film, not mine.

it

to

freedom

to

reverse

it.

1

have

a Film

I

gel reallv

in a different

to

the director or producer,

and

let's

saj

I

and the director might

and main are missing.

because thev even put the music

hand

ol

do

is

frustrated

place. Bui

it's

deliver music and

t^

'£

i lA& ^^•^JL^^^^ jj

In

have the

\lter that they

do whatever the) want. They can burn

"^

J^^k

it.

ruin

it.

I8S

place

wrongly, as they like.

it

composer understands music that doesn't

mean

that

perfectly,

()l

course the

more than anyone, hut

he necessaril) ha- the right point

of

view about the balance between images and music or even

-ton and music.

Not manv directors,

don't

know how

general

it's

to

in

mv experience, know music. They

describe what thev want musically.

very hard to express music in words.

guess what they want, what thev are hearing

leel like I'm

I

in their

an interpreter between two language-.

have mind.

In

to

I

glossary TERMINOLOGY

leitmotifs acting as signatures for certain

characters.

Arranging: Close

to orchestration.

Often

involves adapting a musical piece or idea to

another context

e.g.

from piano

Mickey-mousing: When

the music

mimics the physical nature of the

to

action,

as opposed to playing against the action of

orchestra.

the scene.

Click track: Beats produced

digitally at

so-called because this

It is

common

characteristic extremely

a selected tempo and heard through

cartoon music, and

headphones by players and conductor

considered out of place

with the intention of achieving total

the emotions of a scene are

precision timing.

commonly explored

is

is

a

to

therefore often

where

in a film

in the

more

music.

Mixing: Once the music has been

Counterpoint: The layering of individual melodic lines to create

made

recorded adjustments can be

.1

musical piece.

to the

balance of sound. Certain instruments or groupings of instruments are alloted

186

Cue

sheets: Listing of where

action the music exits with times

makes

its

separate tracks whose dynamics can be

in the

entrances and

and frames.

enhanced or diminished.

use

Duhhing: The moment composer. The point fits

(hopefully) into

film,

and

is

of truth for the

alloted place in the

balanced with the other sound

elements (dialogue, sound effects

etc.

Moviola: Before computers the moviola was used

of

the

s\

stems), a

tle\ ice that

KM

can record sounds

you could

a scale of

realistically

dogs harking or

recorded tracks the music editor would return to the mov mla to cut the music to

run

-vnch with the picture.

in

Music editor: -v

Glissando: \n French word

Italian formation

glisser, (to slide).

to the effect deliberately

It

ol

1

th«

to film bj

keeping cue sheets which contain detailed descriptions

ol

the scenes requiring

ol

music. the

the instrument.

\

Oversees

from the

achieved b\

bass: Popular in

17th-centur\ music.

I

nchronisation of music

applies

dragging the fingers across the ke\s piano/strings/keys

6th- and

short bass line

<

Orchestration: Scoring

lor

an orchestra

or instrumental

ensemble which, unless

cleaiiv defined,

can involve

artistic

decisions concerning instrumentation and reason man)

repeated over and over again with

dynamics. For

harmonic variations and.

composers prefer to do their own

vocal

it

required, a

hue written above.

Leitmotif/motif: A melod; or theme to

denote

this

orchestration rather than to a

used

dubbing

the

simulate a section

of violins.

Ground

The picture wa- inn on

taken from a counter. To assemble the

I

and reproduce them across the keyboard.

You could have

timings

lor the

machine and the timings required were

samplers

first

(made by American compan)

lor getting pre-scoring

and assembling the tracks

I.

session.

Emulators: One

such as dela) or graphic

equalisation.

which each cue

at

its

effects

ol

Similarly,

can be "treated" b\ the

indiv idual tracks

<_'ive

their

professional orchestrator, or

give verj detailed sketches.

a particular character,

place or even -tale of mind, a dev ice that

Keel:

derives from L9th-centurj opera.

reels,

\

film

i-

nonnallv composed

.

title:

Music over opening credits

onsisting of the

mam

theme and other

of five

each approximately twentj minutes

long.

Main

work

at least

Rhythmic edk:

Short pattern-

of

rhythm

can be repealed or used as

thai

the basis for variations.

\

LNSTRl

MINTS

method much

Favoured bj contemporary minimalist

Balalaika:

composers but pioneered

instrument of the guitar type.

in film In

Bernard Herrmann.

Scoring Session: Occasion where

the

music

for the film is

in the

presence of the producer and

need

It

max

lie

Russian stringed It

is

triangular in shape, has three strings lour

director.

\

movable

frets,

and

is

i

played with

plectrum.

recorded. Irequenllx

decided

Canvas: A type of electronic sound

some cues

that

module replicating many musical

he adjusted by adding or deleting

to

certain heats or sometimes complete!) rewritten on the -pot.

Celeste:

keyboard instrument from the

\

L880s in which tuned metal bars are

Source music: Music

that

is

an integral

part ol the scenario e.g. a car stereo,

hammers

struck by

similar to those of the

piano.

supermarket muzak, nightclub ambience.

EMU1:

The

first

emulator (see above).

187

Spotting session: Meeting with the director to decide where music

Often the music editor

needed.

is

Gamelan: Indonesian

orchestra

consisting of percussion instruments of

will assisl in

noting the specific frame where music

the fixed-note type, such as xylophones.

should he. There will also he creative discussions between composer and

Kurzweil: \n electronic instrument

director as to the nature of the music.

company

famed

originally

for then

synthesizers which realistically simulated

Streamers: Old method music

the recording of line

by

running from

Literal!)

film.

The

ol

synchronising

left to right is

created

scraping the emulsion

line

equivalent

is

determined time

e.g.

to

the acoustic piano.

\ diagonal

to film.

oil

the

Ondes Martenot: Martenot

in

Invented by Maurice

1928. Electronic instrument

similar to the theremin hut operated by

a

two seconds of film.

The composer/conductor must keep an eye on both orchestra and screen

means

of a

dummy

key hoard thus

enabling greater control of pitch.

to

determine the "synch point", the moment

Serpent: Obsolete brass instrument

when

apparently invented

the streamer ends, which

is

century.

making

wooden tube

a hole in the film.

feel

Temp

traek: Pre-existing music

used as a temporary soundtrack to aid the

pace of editing and. so

believed,

to

give the

that

in it

composer the

is

order

in the

late-16th

consisted of an S-shaped

indicated bj a hurst of light created b)

It

of wide hore. ahout seven

long and hound with Leather.

It

was

played with a cup mouthpiece and had

six

linger holes.

is

'"feel"

Tahla: \n Indian drum.

of what the director want- from a -core.

Theremin: Invented Vision MIDI:

\

computer software

music-composing system (made

l>\

(Russia)

( l

b)

Icon Theremin

>27. Earl) electronic

instrument which produces

a

sound achieved

There are three other similar systems

of an oscillating valve circuit.

Emagic Logic Steinberg Cubase, and

i

Mark Of The

I

nicorn Performer) around

which most film music composers'

computer composing systems

)>\

the

"pure"

manual operation

American company Opcode Systems).

picture credits Counts) of The Kobal Collection: p In L'Arriree d'nn tram a

Films/Gaumont/MGM;

l)r

High Noon, United

p

I

1

King Kong, RKO; p

1

Qose Encounters

p IS

Alexander Nevsky. SMOSFILM; p 14 East of Eden. Warnei Bros.; p

1

p 13 Psycho. Paramount;

Vrtists;

Forbidden Planet, MGM;

Ciolat, Lumiere brothers; p in

la

Goskino; p 10 October, Sovkino; p 10 Napoleon. Society General

The Battleship Potemltin,

|>

11 11

of the Third Kind, Columbia/Tri-Star, p 15

Belbo/Central/Telepool

Warn,

The

niversal (1-4); p 132

I

Fox

The

131

p

(2);

koyaanisqatsi. The

Skreba/Nef/Channel 4/CanaJ +

1

'

1

entur)

I

ox/Paramount; p 18 Psycho. Paramount: p 19 portrait of Bernard

I

RKO

Herrmann; p 21 Citizen Kane.

Beneath the 12-Mile Reef. 20th Centurj

p 22 2tl

The Magnificent Ambersons. RKO (5-6); Fox 111: p 22 The Day the Earth Stood Still.

(1-4); p 21

lh

Centurj Fox

|2|;

22 Journey to the Centre of the Earth. 20 th Century Fox

p

(4); p 23 The Wrong Man. Warnei The Devil and Daniel Webster. RKO (8):

Jason and the Argonauts. Columbia Fear. Universal (6-71: p 23

Psycho. Paramount

Vrtists (1):

Wore

MGM

26 North by Northwest.

(2-5); p

p 22

(3);

23 Cape

Bros. (5); p

p 21 Carrie.

nited

I

28 The Bride

(1-6); p

30 Taxi Driver. Columbia/Tri-Star (1-5); p 31 Bernard Herrmann conducting; p 32 The Age of Innocence. Columbia, photograph) by Phillip Caruso: pp 34-5 The Man With the Golden Arm. United Artists (1-5); p 37 The Ten p

5);

Commandments. Paramount (4-5); p 41 Cape Fear (1962). Universal (1); p (1991). Universal (2); p 12 The Age of Innocence. Columbia, photography by

MGM

Zhivago.

1

Dead Poets

(2.

Society. Touchstone

pp 56-7 Fatal Attraction. Paramount (1-3); p 57

(2):

th

63 Chinatown. Paramount

1-5); p

lh Centur) Fox pp 64-5 Alien. 20

1-3):

(

1

Centur)

1-61:

pp 66-7

Poltergeist. MGM/United Artists (I. 3-6): p 68 Basic Instinct. Carolco (1-3); p 71) Midnight Cowboy. United \rtists; p 72 Goldfinger. United Artists (1,4); p 74 Midnight Cowboy. I nited niversal (1-3); krtists (2-4); p 77 Midnight Cowboy. I mled Artists p 78 Out of Africa. (

I

);

1

(2); p 82 Sudden Impact. Warner Bros.: p 86 The Cincinnati The Cincinnati Kid. MGM Filmways (5); p 89 Tango. Irgenl Sono (1-3); p 92 Dirty Harry. Warner Bros. (2): p 94 The Piano. Jan Chapman Produetmns/CIBI 2000; p 96 The Cook, the Thief. His Wife and Her Lover. Ularts/Erato (2-3); p 09 The Hairdresser's Husband. Lambert/TFI/Investimage (3-4); p 100 Drowning b] Numbers. Allans (2): The Piano. Jan Chapman Productions/CIB'i 2 (2); p 103 The Piano.

Out of

p 80

The Double

by Sophie Baker

about Love. Film

(4);

p 87

Chapman

(61:

p 108 Betty Blue. Constellation-Cargo/Alive-Gaumont Productions; pp

2000 (4);p 104 Gattaca,

Productions/CIB'i

Constellation-Cargo/Alive-Gaumonl Productions

&

Belbo/Cential/I'olepool (3-4); p 115 Vincent

English Patient.

The

17

fig.-i

.....I

li/Mirama\

iolumbia

Kun. Inn

p 121

(8);

kundun.

p 105 Gattaca,

(2);


Short Film about killing. Film Polski

The

Belbo/Cenlral-Telepo.,1 (7-8); p 117

The

English Patient. Tigcrmntli/Miraiuav

Christmas,

Mr Lawrence.

Recorded Picture Company-Cineventure- \-aln/0-liinia

The Sheltering Sky, Warner

High Heels.

Bros. (1-2. 4): p 183

Deseo

El

S.

Courtesy ofHulton Getty Picture library: p 7 Portr

Barn with the moviola

P 72 John

(6-8): p 171

pp 180-1

(2):

V./CIB1 2

1

''

ill:

Touchstone/Capia/I)e Fina. photograph).

Main,

In

lur-i

1

1

p 2

1:

(2).

ofBFI Films: p 74 John

Courtesy

pill

(7);

Courtesy

1

th

Gerlitz (1-2); p

\

Centur) Fox; p 118 Beetlejuice, Geffen/Warnei Bros

I

16

(3-4);

p 157

(I. 6);

Mar-

Vtlack*!. Warnei

.

Short Film about Love. Film Polski photograph) b) Pathe Releasing (2-6); p I7(i

Production-/

p Id7

ill:

(5

6);

P

1',, 1

I.

The Sheltering 3); p

Buddha.

184 Little

p 181 Little Buddha.

(2);

I

Wain,

VB

<

lilar.

-

5-6); p 183 High Heel-.

(3,

1

IB'l

2000 Recorded Picture

(

\VA

2000/Recorded Picture

Buddha, CIB1 2000 Recorded

184 Little

p

'.

Roberl

the

Symphony of

Lambs.

<

Pi.

0..

Br,,-.

I,,

The fen

i

<

iommandments

foi

Hi.-

RKO:

Br..-.:

Francois Duhamel; p 16

1

Pacifi.

with thank- and i

hank- and

Lalo Schifrin

acknowledgement

know

a.

mini

le.lg.

to

(2

3),

Unite.

17

pp

I

1

I

.1.

Her Lover

knowledgemenl

Nyman

Michael

I

luni, ..1. 1-

Mar) Robert; p 101

Nyman, photograph) by Jim Four

Elmer Bernstein: p 36 page- bom kn.mloilgemeni

...

to I'.n.u to

I

39

p

i:

•dgemenl

B6 Page from

p

MGM/Filmways;

to

Wamer Bo- p 93

port

.

''I

p i

.11

1

,,1

-,,,n

lb.

|,n

bom

page

<;..,:.

score

nited

Ki.l

ij

Bullitt

foi

Lalo Schifrin and

i.'ii.

with

I)

I

Gillespie

l)i//\

IB

ii..ii-/(

I

|

I,

Lld./Chester Musii 1

2000; p

!

\

Nyman

PH

mled

1

olumb

I

oasti

I!K<>: p

(1):

II

\rti-t- (1); p

p 54 Dea.l Poets *

&

lb...

in., in

t<-

A

17 |«.nraii

I

..I

Draughtsman's

1

ontract.

BI

I

11.11

b\ p

Howard

~l...r.

133 portrail

ol

Ltd.. with

1996

I),

rigei

-

I

Howard Shore; :

:

bj

I

shed bj Brookfdn

Comp Lambs composed

In

Silence of

Orion Pictures Corporation

'•

p

ITn

'

;

Silence

..I

the

Halemounl

IP), published by

Shore (AS*

!..rThe b)

Howard

SI

\-<

\P

.

publ shed b) Orion Pictures I

I

S< .-..rb.,,,.l-

Danny Elfman. with

in the Visual material contributed b\ Zbignie*

\nn. i

IV -

HI...

Rigrns

•

\- \P. puUishe

h\ l)nnn\

\ll

tnposed b)

Id W

\Uual material ciintrihuted

Lamhi

tin

1990

Frj

rued Picture

i>\

Beltj

to

I

Molhei Music, with thank- and

Batman

1

-

I

Blue

thanks and acknowledgement

Howard S VSCAP), published

.

-

Strangers on a Train,

Numbers

Nyman

10 Belt)

Gabriel Yared, photograph) b\ Tern Lofl

Edward

B

I

ontract

figermoth/Miramax.

Visual material contributed by

composed

b)

Africa

•

I.e. with thank- and acknowledge!

Ihc Enghafa Patient

foi

knowledgemenl

I

No

Dr.

Jan

ledgi

II

I. .,11.,.

I

lo

published b) Michael

thank- and arki

Ltd., with

1990 Virgin Musii

.'

ntral/Teiepool (3-4); p

h.

stj

60 Planet of the kpec

r

ling bj

li.

(3

The Draughtsman's

The

the Hairdresser's Husband.

D

foi

the Thief,

published b)

(5 6),

with thank- and acknowledgement to ConsteUation-Cargo/Alive-Gaumonl Productioi

Vh»

I

Ml

II... r>

Piano

IBl

Forever

ol

In-

Visual material contributed In Gabriel YaretL p 109 Portrail ol Gabriel Yared; p (2).

page from score

/Tri-S

Kong.

I

Vrtists

Uigelo

imer Entertainment; p 14

The Cook,

/Ch. -lei Music Ltd., with ihank-

I.

foi

Gattaca

foi

Nyman LtdVChestei Music

1

-,,... foi

I.I.

-

thank- and acknowledgement

Ltd., with

page- from score

published b) Michael

a.

graph) bj Laurie

b)

I

Industries; p H*. page from score

1-2

1:

published b\ Ml, ha.

Ularts/Erato; p 103 page- lr.nu

t,,

graphy bj

72

(2

..r.

Out .

incirmati Kid

Lambert/Tl

lb.

Wind

of Jerry Goldmitl

U..I1.

[he

and

UdVColumbia Pi.tun-

7<>-7

photograph) b) Richard

Magnificent Seven, United

Ph.

I

-

Dirt)

Piano.

15

I

Art Library (61.

(1).

with thanks

Michael Vymon.' p 96 Page from

Visual material contributed In

Hi- Wife and

\8

I

I

Vertigo p

(3);

I

-

Willi the

Goldsmith condu ting

1

Midnight Cowboy.

Cone

rait

I

Warner Bi

p 12

Dead Poets Societj Lawrence .>! Irabia, Columbia

Touchstone Pictures

Goldfing.

p

(2);

Vrtists.

\

e

-

-.

I'.

I

hire Co., photograph)

Vrahiu.

Wan

Paramount

Fear

Centurj

Schifrin

graph) bj

pi

Portrait of

(l-2i. with thank-

Magnificent Seven

Visual material contributed by

\ in., in

-

V-alii/O-llima I

Co., ph 1

Orion, photograph) h\ Ken Regan: p 8 kin-:

Si\ Million.

..iiiiiiaiiiliuents.

Lawrence of

irchive: p 2

Graduate, Embassy; p 14 Star tap.

Hiidgcman

\ineoul

b)

Mi-bin

3

Naked Lunch Courtesy oj the Ronald Grant >>l

p 84 Lalo

p 106 Michael

(3);

Elmer Hernstrin: p 33

Visual material contributed In

score

Howard

Silence

I'aris/The

95 Michael Nyman,

Man

pp 122

produi

MK2 CED/1 ram

Picture Company-Cine\i

Bros

1

Productioi

IV,, hi. 11..11-T...

Blue.

Polski,

Zoetrope Warner

The Sheltering Sk\. Warner

p 171

!i;

'

Merry Christinas. Mr Lawrence. Recorded

(1);

US

i

I

172 Three Colour-:

p

Sky

.on,

Blue MK2/CED/Franc«

Three Colours:

<

Short Film about killing. Film

\

The Secret Garden, Wl

p 169

td. (9);

I

Three Colour-: While. MK2

171

Productions/) anal-t

Blansl

Musee ITOrsa).

1887)

(

Art l.ihian

i

\*"

cXistenZ. \llian.e Ulantis, photograph) b)

I

I.

'Sunflowers'

1

I

I

The English P

18

(1-2);

Produ,

(1-2); p 158

1

p

(1),

the Lebrecht Collection: p

,,/

Michael Nyman, photograph) b\

The Nightmare Before Christmas. Touchstone/Burton/Dinovi Bow pholograpln l,\ Bruce lalamoll (1-3), p l
Zade Rosenthal

Sparham

Dree

Vincent Van Gogh,

Aries' (1888) bj

at

(5):

New York/The Bridtieman

Courtesy of Christian Hint's Jazz Index: p 83 Lalo Schifrin;

and

pp 180-1

Barrj

Library

Art

of Art.

'Starry Night' (1888) b) Vincenl \an Cotih.

1 ' 1

p 131

(1, 3);

Scis.orhan.l-. 20

p

Museum

Van Gogh, The Metropolitan

pp 150-1 Batman. Warnei Bros. (1—5); p 153 Batman, warnei Bros (3); Edward Sciseorhands. graph) In 20th Centurj Fox il-2. 5); pp 151-5 E.lwar.l Scissorhands, 20™ Centurj Fox, ph

1:

V

II.

p 80 John Bar

Bridgeman

Ri jksniuscuin, Amsteiilain/I'lie

1

The Truman Show. Paramount (3-4); p 131 Dead The Fly. 20 Centur) Fox (7); p 136 Naked Lunch. sl o./l Independent (1); p 137 Naked Lunch. Recorded Picture

Centur) Fox

Recorded Picture C.../P Independent

Edward

(2);

igraph) bj

Bridgeman \n Library: p 113 "Bedroom

Courtesy oj The

Phil Bra) (2); p 123 Mi-liima.

b)

Melinda Gordon (1-2); p 129

b)

Ringers. 2d

leu

I

I.e.,

I

h-iene/Capra/De Fina (2-3); pp 126-7 Powaqqatsi, Cannon (1-6); p 127 (8); p 12'IThe Truman Show. Paramount.

loll.

photograph)

2000

A

Polski (2-5): p 167

Columbia

K,,\ aani-i]al-i. The Institute lor Regional Education

1

p 148 Beetlejuice. Geffen/Warnei

111:

Betty Blue.

1

Vincent

3-4); p 113

(1,

10— 1

I

Theo.

p 117

):

1

1

I

English Patient. Tigermoth/Miramax, photograph)

Warner Bros.

(1

Touchstone

Three Colours: Blue. MK2/CED/France 3/CAB/Tor Productions/Canal + (7-8); p 172 Three Colours: Red, MK2/CED/France 3/ CAB/Tor Productions/Canal + (1-2. 4): p 176 Merry

1

Jan

I

(

Ed Wood.

Life of Veronique. Sideral/loi Studies/Canal +: p 16

Damage. (3): p 16.5 Damage. Skreba/Nef/Channel 4/Canal +. ph graph) Damage. Skreba/Nef/Channel 4/Canal + (6); p 166 A Short Film

p 165

(5);

pp

" Centurj

1

(5-6);

Africa. Universal

Kid. MGM/Filmways

p

8):

Touchstone (1-4); p 142

Bros. (1-2); p 162

Dead Ringers, 20

pl36 Naked Lunch. Recorded Picture The Silence of the Lambs. Orion 1-6): p 141 Ed

1.38-9

Phillip Caruso;

Maurice Jane; p 58 Basic Instinct. Carolco; p 60 Planet of the Apes. 20

portrail of

Fox

:ompany/l

Independent (3-5,

Cape Fear

41

Manure Jane: pp 46-7 Lawrence of Arabia. Columbia (2-5): p 49 Doctor 1-3): p 50 Doctor Zhivago. MGM (1-3); pp 52-3 Witness. Paramount (1-6);

13 portrait ol

p 54

s1

Dracula,

(7);

Black. Films du Carosse/Artistes \ssocies (1-4); Fahrenheit 451. Anglo

Enterprises/Vineyard (2-3,

p

I

Theo.

Mishima.

p 130

Education

Silence of the Lambs. Orion: p 134

Titanic. 20

15

&

pp 114-5 Vincent

(5);

Bros.: p 121 Philip Glass; p 122

Institute for Regional

20 th Century Fox

Fly.

Wood.

ni\eisal anil Amblin: p

Mishima, Warner

p 120

(1, 5);

Bros. (1); p 127

1

American Beauty. TN and I Dreamworks LLC, photograph) In La.re\ Sebastian: p 15 The Talented Mr Ripley. Paramount/Miramax, photograph) b) Phil Bray; p 16 2001: A Space Odyssey. MGM: p 17

Jurassic Park: The Lost World.

88

Constellation-Cargo/Alive-Gaumonl Productions

-

•

index Aberdeen

161

Adams, Ken

72

After Hours

The Age

133

of Innocence

32,33,42,43

Alexander Nevsky

II,

12,83

Alien

59, 64, 65,

Almodovar. Pedro

175

182, 183

Altman, Robert

10°

1

1

2,

69

1

1

American Beauty American

6

Boulez, Pierre

45

Bourguignon, Serge

Bowie, David

176

The Boys from

Brazil

76

The Bride Wore Black Bringing Britten,

The Brood

48 133, 135

Brown, Royal Browning, Tod

Analyze This

133

Brownjohn, Robert

Anglade, Jean-Hugues

112

Bullitt

Annaud, Jean-Jacques

109

Burton.Tim

in

the Fields of the Lord

1

Attenborough, Richard

Barry.

Bebe

13

John

70-8

6,

9,

Basic Instinct

Cailliet,

Camille Claudel

(

Cape Fear

(

Bassey. Shirley

76

Carrie

147. 149- -153. 156 147, 150 10,

'The Beating', Shore Beatty,

5,

Warren

'Beautiful

1

Dreamer', Elfman

Beetlejuice

109,

Beneath the 12-Mile Reef

Bertolucci,

14,

75

Betty Blue

08

'Betty Blue Suite'.Yared

1

1

2,

'Bolero', Preisner

Born Free Boulanger Nadia

67

59 152, 153

28

Chaplin

71 59, 62, 63,

Gmino, Michael

12

Citizen

1

1

1

1

40.95

88 172, 173

69

45

Cincinnati Kid

Kane

Gtkowitz.

Still

1

20,

9,

22, 147, 158

De

Menil, Francois

De

Mille, Cecil B.

De

Palma, Brian

121

33,40 24,25, 147

Dead Poets Society

45,54

Demme, Jonathan

133, 135

Demy. Jacques Denison,

48

Homer

83, 12,

85-87

19-21, 177

33

Israel

City of Angels

109

159

Devil and Daniel

14, 15

Dick Tracy

1

20,25

'Do Not Forsake Me, Oh,

Life of Veronique

Dr No Dracula

The Draughtsman's Contract

19

Nyman

Drowning by Numbers

Cooke, Mervyn

16,31

'Dying

Swan theme'.Tchai

83 1

1

1

,

55

133

'Drawing',

Cooper Merian C.

49-5

59

Richard

95,96

121

45,

Dogma

Her Lover Cool Hand Luke

Darling',

15

The Cook, the Thief, His Wife and

71

33.

My

Tiomkm

The Double

Sant'Anna'.Yared

83,88,92,93

Dmytryk, Edward

14

133

19

133

Dirty Harry

The Cobweb

di

147

Dissonance

Donner

121

9, 20,

23

83

135, 136, 140

1

Diamonds Are Forever

Clouse, Robert

'The Convento

Webster

Doctor Zhivago

Close Encounters of the Third Kind

Cocteau, Jean

136, 139

Depp, Johnny

The

Dmovo, Don

119 163, 165

68

Goldsmith

Chabrol, Claude

Columbus, Chris

Bisset, Jacqueline

The Day the Earth Stood

161, 163, 166, 168

24,28

133

16

183, 185

Dekalog 1-10

33,41

lullaby',

Big

1

12

Davis, Miles

1

Coleman, Ornette

Big Country

95

Davis, Carl

150, 156

1

71,79

Dart, Thurston

23,41,43

99

109

Binoche, Juliette

Dances with Wolves

133, 134

'Cathedral Chase', Elfman

The

112

10

161, 164, 165, 173

Dead Ringers

962)

Beyond Therapy

The

1

Damage

Choral music

178. 182 -

Dalle, Beatrice

150

1

133, 135

100, 102, 107

32-43

6,

76

Cronenberg, David

Dieterle, William

28

1

,

Castelnuovo-Tedesco, Mario

83

16

133

100, 168

140

Bernardo

95

1

1

Crash

Chopin, Frederic

Rodney

Bernstein, Elmer

85,88,

Chinatown

20,22

Dean

Bennett, Richard

71

Counterpoint

147

147 148, 156

Bemeix. Jean-Jacques

109

Costner, Kevin

139

The Beguiled

Benedetti,

1

71,75,76

Girl

109

Campion, Jane

Cape Fear

Battleship Potemkin

37

Lucien

'Carol Anne's

Beat

147-150,

141,

95

25

The

133, 140

76

Batman Returns

72

Bush, Alan

Bass. Saul

Batman

121, 145

83,88,90,91

58.59,61,68

Bart, Lionel

33,40

Costa-Gavras

153-155

161

Barron, Louis and

25

S.

6 71

Babenco, Hector

Copland, Aaron

33

Benjamin

15

40

At Play

19,28,29

Out the Dead

147

music

59,61

Bncusse, Leslie

Amiel.John

folk

45,48

East of Eden

1

6

189

Eastwood, Clint

83

Ed Wood

133,140-143

Edward Scissorhands

147 152

156, 159

'Egyptian Girls' Dance', Bernstein Eisenstein, Sergei

El

1

0,

1

I

1

,

Jefe/The Chief

Electronic music

I

3,

20, 53, 55, 62,

Danny

Elfman,

Ellington,

2,

16,

I

1

2,

I

End Title

Goldstone, James

Gone With

95

The Graduate

6,

1

1

4,

05

The Great Escape

Greville,

Ground basses

36,

Gypsy music

1

2,

95-97,

1

1

97.

1

The

English Patient

109,

12,

I

16-1 19

I

Enter the Dragon

Evans,

I

Robert

eXistenZ

Fairytale

-A True

Story

Fatal Attraction

The

45,56

David

133

83

J.

133, 134

Fly

Forbes, Bryan

71

Forbidden Planet

Foster Jodie Franju,

From

99

is

Becoming

a

Gattaca

1

2

Journey to the Centre of the Earth

Harryhausen, Ray

22

'Harry's Mistake', Bernstein

39

'Karen's theme', Barry

Harvey, Anthony

71

Kazan,

107

38

Keep

84

Kelly's

Nyman 9.

1

Gilbert. Lewis Gillespie,

Dizzy

Gimpel, Jacob Glass, Philip

'God's theme', Bernstein

'Goldberg Variations'. Bach

Goldfinger

95.

1

09.

I

•

1

1

2.

1

Khatchatunan, Karen Kieslowski. Krzysztof

II,

1

,

Holland. Agnieszka

15

The Knack

161

The Hollow Man

59

Hopper. Tobe

59

Horner James

9

182

Horowitz, Richard

45.48

Hotel des Invalides

No

83

75 Instru rr-;

Intolerance IP5

20.25. 114-115 12

109

67.

1

68.

1

7

20

53.

1

I

I

56

163

59

Krenick. Ernst

Kubrick. Stanley

1

Kundun

121. 124. 125. 128

The L-Shaped Room La Belle et

la

Bete

La Cava, Gregory

I

L'Arrivee d'un train a

Hutton, Bnan G.

1

1

1

'Lara's tf

Huston, John

97

121. 125. 127

69

Hunter Holly

59

63.

Eric.

00

93

1

Rifles

L.A. Confidential

'Hungarian Rhapsody

bszt

,

45

7

2",

1

8,

Krauze. Antoni

13.19. 20. 23-29. 3

6

King Kong

87,

Hitchcock. Alfred

95,

48 1

King of the Khyber

Koyaanisqatsi

119 ;

Downstairs

103

175. 182, 183

54

Heroes

Korngold.

37.40 16,

Up

it

33

12,16,100,120-131

Godard, Jean-Luc

14

113,15,16,19-31,

35.38.41.43. 147. 158

79

'Keatmg's Triumph', Jarre

Hell in the Pacific

Herrmann, Bernard

11,15

Elia

Hayes, Jack

'Here to There',

76

19,22,25

ParkrThe Lost World

Jurassic

71

00, 104. 105. 107

75,

95

George

15

95.

7

James

106

Garfunkel. Art

Roland

John Barry Seven

109

Hawke, Ethan

85

83,

128

Hill,

Robe Room'.

22

14,30,35,38,75,76,85,93

Hill,

10

Nyman

Joffe,

76

16,44-57, 178

Norman

Jewison,

76

, 1

72, 73,

Maurice

Jarre,

69

133

7

Francis

Jordan, Neil

oo

'The Garden

Dr

Bond theme', Barry

45

71,76

Gance.Abel

'James

71

59

High Noon

The Game

85

Jazz scores

Hanson, Curtis

135, 138

Russia with Love

1

HannaK

High Heels

Georges

95, 98,

Guy

53.55

Freud

Charles

Jason and the Argonauts

121

14

13,

Ford, Harrison

Husband

Hill

Hampton, Christopher

19,28,29

Flicker Theodore

Hairdresser's

62

161

Farenheit 451

Fincher,

The

Hamilton,

133,144

59,61

71

154

6

74,79

'Everybody's Talking', Barry

Stream

Jingles

Hamburger

Europa, Europa

131

Islands in the

06

37

190

121

Ishioka, Eiko

Jackson,

38

EdmondT

95

165

John

Irvin,

Ives,

1

Jeremy

Irons,

27

Greenaway, Peter

The Ten Commandments

00,

Grant, Cary

146-159 149

11,12 1

Green, John

of the Affair

83

the Wind

135, 178

Duke

The End

9,16,28,58-69

Goldsmith, Jerry

Gorecki, Henryk

1

11

1

40

83, 85

6

5

11

I

49. 55

L'Assassinat du

Last

Emperor

The

Last

September

Law.Jude

Ciotat

Due de Guise

The

--ims

la

31

107

Lawrence of Arabia

45-47,51

'Lawrence's theme', Jarre

5

Mendes, Sam

1

Merry Christmas, Mr Lawrence

45,47,48,50,51,55

Lean, David

175-179

Leconte, Patrice

95

Message

Leigh, Janet

28

Messiaen, Olivier

Leitmotifs

I

1

,

1

9,

40,

II 6,

1

77,

1

78

in

a Bottle

Cowboy

Midnight

Les Dimanches deVille d'Avray 45,48

Miller

Les Enfants terribles

Mmghella, Anthony

121, 131

7

Lester, Richard

'Life',

,

75 1

Sakamoto

1

Gyorgy

Ligeti,

The

1

Henry

Levin,

85 1

Winter

in

7

Buddha

Little

1

,

76

175,184

Looking for Richard

I

The Lover

1

George

Lucas,

85,

15, 109,

16,

I

I

121, 122, 123,

I

Mission: Impossible

The

Mission

09

Morris, Errol

1

Lumet, Sidney

30,

28,

1

1

Lumiere Brothers

Overture,

The Ten Commandments 40

3

I

Pacmo.AI

133

Papillon

59,61,62

Parker Charlie

A

95

Paz, Juan

I

McGilhs, Kelly

53,

McQueen. Steve

The Magnificent Ambersons The Magnificent Seven

33,

'Mam Title', Ed

'Mam

Title',

2

Pee- Wee's Big Adventure

62

Philadelphia

87

The Piano

Mrs Doubtfire

133

Robert

33

Piesta,

28

Planet of the Apes

45

Murder on the Orient Express

33

Naked Lunch

Title',

Wood

55

Napoleon

88

Narrative style

Naked Lunch

Preminger Otto

153

The Nightmare Before Christmas

I

14,

71

Human Heart

Penny

Men

I

in

Nyman

Black

33 33

of Scots

Edmund

'Memorial',

Harry

74,

North By Northwest

1

9,

35,

Nuytten, Bruno

Nyman, Michael

1

9.

2,

I

I

96

67

59, 66, 1

2

1

,

1

25- 28 1

16,160

173

38

33,38,40

President's Analyst

Prokofiev, Sergei

1

2,

83

Psycho

9,13,19,24,25,28

97,106

38

Ramis, Harold

133

09

Ratner, Brett

83

Rawsthome, Alan

95

1

Purcell,

131

Re-interpreting films

128

10,11

Reggio, Godfrey

54

Reissen, Michael

57

Reisz, Karel

Oliver

76

Renoir, Jean

29

The Omen

59

Resnais, Alain

48

October Joy',

Beethoven

O'Hara, Catherine

1

1-100 Orchestration

1

62

59,

71,79,80,81

I

94- 07

6.

The

38

9,59,60,61

Henry

79

25-27, 3

Novak. Kim

Preisner,

6

Prospero's Books

147, 157

Nilsson,

'Ode to 121

I

Danny

Mary Queen Meisel,

14

37

Mars Attacks!

Martin,

95.100,105,107

109,161

Di Suvero

Marshall,

Andrew

Nichols, Mike

14,38,40

Shelly

of the

Niccol,

152.

1

Zbigniew

15

93, 140

Mandoki, Luis

Mark

100

Newman, Thomas

33-35,38,40

Map

Powaqqatsi

Preminger Igor

The Man with the Golden Gun

Manne.

Poltergeist

76

161

Henry

12

20

49

95,100,102,103

Roman

9,

Sam

1

133

Sydney

Newley, Anthony

The Man with the Golden Arm

Mancini.

Pollack,

10,

1

47,

Roy

Neil,

142,143

Malle, Louis

133,135,136,137

1

Piesiewicz, Krzysztof

20,21

91

Edward Scissorhands

83

38-40

'Mam Title'. Bullitt

'Main

83

Sam

Peckinpah,

Polanski,

M. Butterfly

Carlos

14

'Mr

86,

10

59,61,69

45

Slade', Schifnn

45

'Pathetique Symphony', Tchaikovsky

Patton

I

140

Passage to India

109 40,

25

19

95

Abe

Mulligan,

39

Overtures

45

1

Lyne, Adrian

Most,

71,78-81

87

14

Moross, Jerome

Morricone, Ennio

of Africa

The Magnificent Seven

161

the Gutter

33

1

Lugosi, Bela

in

Out

Overture',

147

Moland, Hans Petter

Moon

48

09

33

Mishima

25

OToole, Peter

71,74,77,79,81

David

Monsieur Hire

Lion King

The Lion

1

Ostinato

95,97 76, 8

1

,

93,

I

1

6,

1

39

Orphee Oshima, Nagisa

The Osterman Weekend

Rhythm Robinson, Edward G.

Rodgers, Richard

175,178

Rogers, Shorty

Rollercoaster

12, 121, 125,

125

75

191

2

1

BOSTON PUBLIC LIBRARY

Mil

3""9999 04320 405 4

No

8 Rose, Barbara

* 121

.

Rosenburg, Stuart

Rosenman, Leonard Rosza, Miklos

Up

Shore

Sisters

14

Sleepy Hollow

134

Rush Hour Russo,

83

149, 157

Stairs',

83

75,76

Bill

of this material benefited the Smfonia Varsovia

13, 15

Rubens, Paul 'Run

ionger'tha property of the

Boston Ptefe Lferary 163

168,

25

Mane

Eva

Saint-Saens, Camille

147, 159

Hero

Saturday's Saura, Carlos

192

147

The Truman Show

147

Truman

84

effects

Soundtrack albums

Scarlet Letter

48

124 135, 149

Star Wars

1

Steiner,

Max

Steiner,

Nyle

71

15

Spotting

12

133, 135

The

Sam

83

Scanners

1

10,

14

1,

13,

1,

Stockhausen, Karlhemz Stokowski, Leopold

,

19,23,28,33,4 -43, 125

Selznick,

Sessions,

The Sunchaser

45

The Weather Forecast

128. 133

'Swinging

in

Symphony

of Six Million

169. 173

Roger

33

The Talented Mr Taxi Driver

Omar

A

Television

75

themes

59.61

Temp-tracking

48

Thompson.

16

132-145

Thoroughly Modern

Thou

Killing 163. 167

(Dekalog 6)

Silberling,

The

163.166

Don

83.

Brad

Silence of the

88

109

Lambs

Paul

36. 37.

shalt not

a

Man Loves

Where No Vultures

'William Tell Overture'.

88

161

95

Fly

71 14

Rossm

10

Williams. John

Wings

of

9.

Courage

Witness

1

1,

14

109 19

45,52.53,55

Wolpe, Stefan

The Wrong Man

33 23. 25. 3

33 Yared.

Neighbour's Wife, (Dekalog 9)

G

15.

108-119 83.88

Yates

Three Colours: Blue

168. 171

The Year

Three Colours: Red

168. 172

You Only Live Twice

Three Colours: White

168. 170

71

of Living Dangerously

95 Young. T«

40 9

Titanic 43, 68.

19.20.21

13,

Woman

Wilcox, Fred M.

Wise, Robert

Covet thy

Thunderball

1

a

The Whisperers

69

41

Millie

Orson

When

40

100 105. 107

Lee

Welles.

133. 135,

38 Silences

J.

33

121

Third Symphony'. Gorecki

180-182

Short Film About Love

Siegel,

1

109

Television commercials

175

5)

1

19.28,30

The Thin Blue Line

(Dekalog

45,55, 121

83.89

121

Howard

21

Weir. Peter

15.

Tango

Shankar Ravi

Short Film About

Webb, Roy

10.

Ripley

163

118

71 16

38

Franz

101

the Church'. Yarec

'Symphonia Concertante'. Mozart

The Ten Commandments

A

33

of Innocence 42

121,

133

Shore.

161

The Age

161

61,62

The Sheltering Sky

the Wild Side

Waltz themes.

Waxman,

Sturndge, Charles

Seven

Sharif,

77

83

10. 13

Serialism

112-116

Sudden Impact

121

David O.

Walk on

109,

38

1

161

48

&Theo

109

100

The Secret Garden

133, 135

Jean

Warner Deborah

Seance on a Wet Afternoon

The Secret Agent

19,25,27,31

Ward, Vincent

1

59

Sebestyen, Marta

59,61

Vertigo

38

Scott, Ridley

Scottish folk music

Verhoeven, Paul

Sudden Fear

79, 8

125, 131

Schuken, Leo Scorsese, Martin

88 182

33

Sturges, John

147

Giuseppe

Verdi,

Voight, John

59,61

1

Gus

45

The Stripper

7

Sant,

Vincent

82-93

121

14,65

Vaughn, Robert

13

Schifrin, Lalo

Schrader Paul

Van

Videodrome

87,88

Schlesinger, John

129

Space Odyssey

Vilar,

Strangers on a Train

71

A

38

59,61

Joseph

121, 129

Sleeps', Glass

55

Schaffner, Franklin

Schillinger

2001:

10

19,20,28,29

15 13

Spielberg, Steven

109,

Tristan and Isolde', Wagner

Sonnenfeld, Barry

Sound

28

59,62

Sommersby

10

Sauve Qui Peut, La Vie

Curtain

Total Recall

Truffaut, Francois

Spiegel,

33,38

e

133

27

174-185

Sakamoto, Ryuichi

m™ToOT

Smith, Kevin

Spellbound Saint,

i

169''"

To Die For To

Kill

a

Mockingbird

A Zed &Two Noughts

herrmann

bernarcl

psycho, north by northwest vertigo

elmer bemstein the ten commandments, the magnificent seven, the age of innocence

maurice jarre lawrence of arabia. doctor zhivago. witness

goldsmith

jerry

planet of the apes, chmatown, alien

barn

johll goldfinger. midnight

cowboy, out of afnca lalo Bchifrin

dirty harry, bullrtt the Cincinnati kid

michael mntan the piano, drowning by numbers, the hairdresser's husband

gabriel yared vmcent

&

theo. the english patent betty blue

glass

l>liili|p

mishima. koyaanisqatsi, kundun

boward

-liore

the silence of the lambs, naked lunch, ed

damn

wood

J

t-li'man

batman, edward scissomands. beetlejuice

ihtgnifrw preisnei the three colours

trilogy,

the double

life

of veronique. damage ryuirlii

merry chnstmas. mr lawrence. the

Sakamoto

sheltering sky. high heels

ISBN 0-240-80441-4

0000>

vnzmkwmKk^

®

Focal Press An

imprint of Butterworth-Heinemann

http://www.focalpress.com