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OCTOBER

2012

Bond Music

50

YEARS


…–‘„‡”͚͙͚͘Ȉ‘ŽǤ͙͘ǡ‘Ǥ͠

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63

9

Ear Openers

ƒ‡•–”‘‘ˆ–Š‡‘˜‹‡•ǡ‡…‘”†‘—†—’ǡ ‘—† ŽŽ—‹ƒ–‹‘ǡ‘’‘•‡”••‹‰‡–•ǡ —•‹…‡‰ƒ…›ǡ‹••‹‘ǣ‡•–‘”‡

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͞͝ ‹Ž…‘”‡ ‘–ŠŽ› ’—ŽŽ• ‘—– ƒŽŽ –Š‡•–‘’•ƒ†‰‡–•‹Ǧ†‡’–Š™‹–Š –Š‡…ƒ†‡› ‘ˆ ‘–‹‘ ‹…–—”‡ ”–• ƒ† …‹‡…‡•ǯ ‘—‡–ƒŽ Š‘ƒ‰‡ –‘ –Š‡ —•‹… ‘ˆ ƒ‡• ‘† ƒ† ‹–• ͘͝ ›‡ƒ” Ž‹ˆ‡•’ƒǤ

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11 Mail Bag: Letters from Readers 61 Score: Soundtrack CD Reviews CosmopolisǡThe HobbitǡPrometheus

63 Golden Age, New CDs

High Plains DrifterǡConan the Barbarianǡ Die Hard 2: Die Harderȋ’‡…‹ƒŽ†‹–‹‘Ȍ


If our music survives, which I have no doubt it will, then it will because it is good. Jerry Goldsmith Page 23

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3   October 2012


Ear 

Maestro           At the Hollywood Bowl, John Williams conducts his greatest film scores live!

I

ƒƒ––‡’––‘ƒ††”‡••™‘”Ž†‡˜‡–•ǡ–Š‡…‘…‡”–™ƒ•Š‡ƒ˜› ‘Ž›’‹…—•‹…ǡ™Š‹…Š‹ŽŽ‹ƒ•ˆ‡ƒ–—”‡•‡˜‡”›–™‘–‘ˆ‘—” ›‡ƒ”•Ǥ ǯ‘–•—”‡ ǯ†‡˜‡”Š‡ƒ”†DzƒŽŽ‘ˆ–Š‡Šƒ’‹‘•dzȋˆ‘” –Š‡͚͚͘͘‹–‡” ƒ‡•ȌŽ‹˜‡„‡ˆ‘”‡ǡƒ†–Š‡ƒŽ–ƒ–‡ —ŽŽ‡”–‘‹Ǧ ˜‡”•‹–›‹‰‡”•†‹†ƒƤ‡Œ‘„Ǥ ™‹•Š ǯ†‰‘––‡–‘•‹‰ˆ‘” ‘Š‹ŽŽ‹ƒ• ™Š‡ ™ƒ•‹–Š‡…Š‘‹”ƒ–‹‰Šƒ–‘‘”Ǥ Š‘’‡•‘‡‘ˆ –Š‘•‡‹†•”‡ƒŽ‹œ‡Š‘™Ž—…›–Š‡›ƒ”‡Ǥ–‹…‹‰™‹–Š–Š‡…Š‘”—•ˆ‘”ƒ‘Ǧ ‡–ǡ ƒŽ™ƒ›•‡Œ‘›Amistad‹…‘…‡”–ȋ–Š‘—‰Š ǯ‘–•—”‡™Š›Ȍƒ†

†‹†ƒ‰ƒ‹Ǥ   ‹‘Ž‹‹•– ‹ŽŠƒŠƒ™ƒ••‘Ž‹†‘Š‹•’‡”ˆ‘”ƒ…‡•‘ˆSchindler’s Listǡ –Š‘—‰Š–Š‡”‹…‡••‡‹ƒ†‘—„Ž‡‹ˆ”‘–‘ˆ‡”‡’‡ƒ–‡†Ž›‡š’”‡••‡†–‘Š‡” ˆ”‹‡†–Šƒ–Š‡™ƒ•Dz‰‘‘†„—–˜‡”›•–”ƒ‰‡Ž‘‘‹‰ǤdzŠ‡…Š‹†Ž‡”•‡…–‹‘ ‘’‡‡†™‹–Š–Š‡ ƒ”†‡Ž–ƒ‰‘—•‡†ƒ••‘—”…‡—•‹…‡ƒ”Ž›‹–Š‡ƤŽǡˆ‘ŽŽ‘™‡† „›–Š‡‡š“—‹•‹–‡Dz‡‡„”ƒ…‡•Ǥdz  Š‡‰”ƒ†ƤƒŽ‡‘ˆ–Š‡‡˜‡‹‰™ƒ•ƒ„‘—–ƒ••ƒ–‹•ˆ›‹‰ƒ•ƒ’ƒ›‹‰ …—•–‘‡”…‘—Ž†Š‘’‡ˆ‘”Ǥ ǯ†•‡‡–Š‡Žƒ•–”‡‡Ž‘ˆE.T.: The Extra-TerrestrialŽ‹˜‡–‘’‹…–—”‡„‡ˆ‘”‡ƒ–ƒŽ–‹•‡›‘…‡”– ƒŽŽǡ„—––Š‹•™ƒ•‡ƒ•Ǧ ‹Ž›–Š‡…Ž‡ƒ‡•–’”‡•‡–ƒ–‹‘ǡƒ† …‘—Ž†™ƒ–…Š‹–‘˜‡”ƒ†‘˜‡”ƒ‰ƒ‹Ǥ

Šƒ–•ƒ‹†ǡ‹–ǯ†„‡…‘‘Ž‹ˆ–Š‡›ǯ†’”‡’ƒ”‡ƒ•…‡‡ˆ”‘ƒ†‹ơ‡”‡–‘˜‹‡ ‡ƒ…Š›‡ƒ”Ǥ†…‘•‹†‡”‹‰–Šƒ––Š‡‡†‘ˆE.T.„ƒ•‹…ƒŽŽ›’Žƒ›•‘—–Ž‹‡ƒ ‹•‘Žƒ–‡†•…‘”‡–”ƒ…‡˜‡‹–Š‡Ƥ‹•Š‡†ƤŽǡ‡š–—’ǡŠ‘™ƒ„‘—–•‘‡Ǧ –Š‹‰™‹–Šƒ–‡””‹„Ž‡‹šǡŽ‹‡–Š‡Dz•…ƒ’‡ˆ”‘Ž‘—†‹–›dz‹Empire Strikes Back? 

…Ž‘•‹‰ǡ ™‘—Ž†„‡”‡‹••‹ˆ †‹†‘–‡–‹‘–Š‡•‹‰ƒ–—”‡˜‹•—Ǧ ƒŽ‘ˆ‹ŽŽ‹ƒ•ǯ‘™Ž…‘…‡”–•ǣ —†”‡†•‹ˆ‘––Š‘—•ƒ†•‘ˆˆƒ‡Ž‹‰Š–•ƒǦ „‡”•‹ŽŽ—‹ƒ–‡†–Š”‘—‰Š‘—––Š‡ƒ—†‹‡…‡ǡ‡‰ƒ‰‡†‹ƒ‘ˆ–‡ǦŠ›•–‡”Ǧ ‹…ƒŽƒ””Š›–Š‹…„‡ƒ–‹‰ƒ†Ȁ‘”…‘†—…–‹‰ǤŠ‹•‡˜‡‹‰ǡ–Š‡‰”‡ƒ–‡•– ƒ‘—–‘ˆŽ‹‰Š–•ƒ„‡”•™‡”‡Ž‹–—’†—”‹‰–Š‡ƒ‹–Š‡‡ˆ”‘Supermanǡ„—–‘Ž›–™‘‘”–Š”‡‡†—”‹‰—‡ƒ†‡‹ƒǯ•–Š‡‡ȋ™Š‹…Š™ƒ•‘‡ ‘ˆ–Š”‡‡‡…‘”‡•ǡƒŽŽ‘ˆ–Š‡ˆ”‘Star WarsȌǤ  Š‹•‹••—‡ǣ–Š‡͘͝–Šƒ‹˜‡”•ƒ”›‘ˆ–Š‡—•‹…‘ˆ ƒ‡•‘†Ǩ‡‰‘– ƒŽŽ–Š‡†‡–ƒ‹Ž•ˆ”‘–Š‡…ƒ†‡›‘ˆ‘–‹‘‹…–—”‡”–•ƒ†…‹‡…‡•ǯ…‘Ǧ ’”‡Š‡•‹˜‡…‡Ž‡„”ƒ–‹‘ǤŽ•‘…Š‡…‘—–ǡ‹—”†‡ǯ•ƒ—†‹‘‹–‡”˜‹‡™™‹–Š –Š‡…ƒ†‹†‹””‘••±‘Š‹••…‘”‡ˆ‘”–Š‡Ȁ ‹‹•‡”‹‡•Parade’s End ȋ…ƒǯ–™ƒ‹–ˆ‘”–Šƒ––‘Š‹––Š‡ǤǤȌǡ”‹•–‡‘ƒ‡ŽŽ‹ǯ•…‘˜‡”•–‘”›‘ƒ–Šƒ ‘Š•‘ǯ•Looperǡƒ†—…Š‘”‡Ǥ† ƒ’’›‘•Š ƒ•ŠƒƒŠǨ

October 2012   4


E Record



‡Ž‡ƒ•‡† ‹ ͙͚͡͠ǡ –Š‡ †›•–‘’‹ƒ Blade Runner™ƒ•†‹”‡…–‡†„›‹†Ž‡›…‘––ȋThe DuelistsǡAlienȌƒ†ˆ‡ƒ–—”‡† ƒ””‹•‘ ‘”† ‹Š‹••‡…‘†•–ƒ””‹‰”‘Ž‡ƒˆ–‡”Raiders of the Lost ArkǤ‡Ž‡„”ƒ–‹‰‹–•͛͘–Š‹˜‡”Ǧ •ƒ”›‹͚͙͚͘ǡBlade RunnerŠƒ•„‡…‘‡ƒ …—Ž–ƤŽˆƒ˜‘”‹–‡–Š‡™‘”Ž†‘˜‡”Ǥ

Sound

‘”Ž† ’”‡‹‡”‡ ”‡Ž‡ƒ•‡ ‘ˆ ——•‡† ‡””›

‘Ž†•‹–Š•‘—†–”ƒ…ˆ‘”“—‹”› ‘Š ‡”Ǧ œˆ‡Ž†…”‹‡–Š”‹ŽŽ‡”•‡–‹ǤǤǯ•ƒ ‡”ƒǦ †‘ƒŽŽ‡›Ǥ‡ƒ–Š‹‰ŠŽ‹‰Š–ǣ•—””‘—†‡†„› …‘Ž†ǡ•Ž‹†‹‰•–”‹‰•ǡ•…‘”‡Šƒ•‹•’‹”‡†—•‡ ‘ˆ…Š‹‡•–‘”‡ƪ‡…–‡‡ǯ•—•‡‘ˆ•–‘’™ƒ–…Š –‘‰‹˜‡˜‹…–‹•‘‡‹—–‡„‡ˆ‘”‡†‡ƒ–ŠǤ

– Ž‘‰ Žƒ•–Ǩˆ–Ǧ”‡…‘”†‡† ‡”ƒ”† ‡””Ǧ ƒ͙͡͝͡ƒ•–‡”’‹‡…‡ƤƒŽŽ›‰‡–•ƒ…‘Ǧ ’Ž‡–‡”‡Ž‡ƒ•‡‹†›ƒ‹…•–‡”‡‘ˆ”‘‡™ ƒ•–‡”•Ǩ”‡˜‹‘—•”‡Ž‡ƒ•‡‘Š‹‘Žƒ„‡Ž™ƒ• •’‡…–ƒ…—Žƒ”ƒŽ„—ǡƒŽ„‡‹–•‡˜‡”ƒŽƒŒ‘”•‡– ’‹‡…‡•™‡”‡–”ƒ•ˆ‡””‡†ˆ”‘†ƒƒ‰‡†‡Ž‡Ǧ ‡–•ǡƒŽŽ–Šƒ–™ƒ•–Š‡ƒ˜ƒ‹Žƒ„Ž‡Ǥ

       

A detailed looked at Bernard Herrmann’s The Murder Hitchockȋ –Š‡ƒ–‡”• ƒ—ƒ”›͚͙͛͘Ȍ–‡ŽŽ•–Š‡‹Ǧ …”‡†‹„Ž‡•–‘”›„‡Š‹†Žˆ”‡† ‹–…Š…‘…ǯ•PsychoǤ ‡–‹Ǧ†‡’–Š™‹–Š–Š‡‘”‹‰‹ƒŽ‡”ƒ”† ‡””ƒ•…‘”‡ǡƒ”‰—ƒ„Ž›‘‡‘ˆ–Š‡‰”‡ƒ–‡•– ƤŽ…‘’‘•‹–‹‘•‘ˆƒŽŽ–‹‡Ǥ For Psychoǡ ‡””ƒ—•‡†‘Ž›•–”‹‰‹Ǧ •–”—‡–•ǤŠ‡•Š‘”–ǡ”‡’‡–‹–‹˜‡ǡŠ‹‰ŠǦ’‹–…Š‡† „—”•–•‘ˆ•‘—†ǡ™Š‹…Šƒ……‘’ƒ›–Š‡”Š›–Š ‘ˆ–Š‡‹ˆ‡•–ƒ„„‹‰”‡’‡ƒ–‡†Ž›‹–‘–Š‡™‘Ǧ ƒǯ•„‘†›ǡ…ƒŽŽ–‘‹†–Š‡•Š”‹ŽŽ•Š”‹‡•‘ˆƒ„‹”† ‹†ƒ‰‡”ǡ„‹”†•„‡‹‰ƒ••‘…‹ƒ–‡†–Š”‘—‰Š‘—– –Š‡ƤŽ™‹–Š–Š‡‹ŽŽ‡”ǡ‘”ƒƒ–‡•Ǥ

ȋƒȌ•‘‹…ƒ–…Š–‘–Š‡ƒ„•–”ƒ…–‡†Š‹‰ŠǦ‰Ž‹–„Žƒ†‡ƪƒ•Š‡•

ȋ…Ȍ–Š‡•Š‘™‡”–Š‡‡ȋ—•‹…ƒŽŽ›‹‹…‹‰–Š‡•–ƒ„„‹‰Ƭ•…”‡ƒ‹‰Ȍ ˆPsychoǡ‡”ƒ”† ‡””ƒ•ƒ‹†Š‡™ƒ–‡†–‘‰‹˜‡Dzƒ„Žƒ…ƒ†™Š‹–‡‘˜‹‡ƒ„Žƒ…ƒ†™Š‹–‡•…‘”‡Ǥdz

5   October 2012


Š‡•‘—†–”ƒ…ˆ‘”Cosmopolis”‡—‹–‡•…‘Ǧ ’‘•‡” ‘™ƒ”†Š‘”‡ƒ†–Š‡„ƒ†‡–”‹… ˆ‘”ƒ‘–Š‡”…‹‡ƒ–‹……‘ŽŽƒ„‘”ƒ–‹‘ǤŠ‹Ž‡ ™”‹–‹‰–Š‡•…‘”‡ˆ‘”ƒ˜‹†”‘‡„‡”‰ǯ• ƤŽƒ†ƒ’–ƒ–‹‘‘ˆ–Š‡‘‡‹ŽŽ‘‘˜‡ŽCosmopolisǡŠ‘”‡…‘…‡‹˜‡†‘ˆƒ’ƒ”–‹…—Žƒ”Ž‹˜‡ •‘—†–‘ƒ…Š‹‡˜‡Š‹•˜‹•‹‘Ǥ

ƒ‹‰Š‹•‹•’‹”ƒ–‹‘ˆ”‘•—…Šǯ͘͜•‘‹” …Žƒ••‹…•ƒ•The Postman Always Rings Twice ƒ†Double Indemnityǡƒ™”‡…‡ƒ•†ƒ •–”—… ‰‘Ž† ™‹–Š Š‹• ˆ‹”•– ‘—–‹‰ ƒ• „‘–Š •…”‡‡™”‹–‡”ƒ††‹”‡…–‘”‹͙͙͡͠ǯ•Body HeatǤƒ•†ƒ™ƒ•‡“—ƒŽŽ›ˆ‘”–—ƒ–‡‹Š‹• …Š‘‹…‡‘ˆ…‘’‘•‡”ǣ ‘Šƒ””›Ǥ

͚͙͚͘ ƒ”• –Š‡ ͘͝–Š ƒ‹˜‡”•ƒ”› ‘ˆ –Š‡ ‹…‘‹… ƒ‡• ‘† ƒ† –Š‡ —•‹… –Šƒ– ƒ†‡ Š‹ ‡‘”ƒ„Ž‡Ǥ Š‡ ‡š’ƒ†Ǧ ‡† ͚Ǧ†‹•… ƒ‹˜‡”•ƒ”› …‘’‹Žƒ–‹‘ ˆ‡ƒǦ –—”‡•Ƥˆ–›–”ƒ…•ȋ–‘…‡Ž‡„”ƒ–‡Ƥˆ–››‡ƒ”• ‘ˆ‘†Ȍˆ”‘ƒŽŽ–™‡–›Ǧ–™‘͘͘͟ƤŽ•‹Ǧ …Ž—†‹‰—•‹…„›–Š‡ ‘Šƒ””›”…Š‡•–”ƒǤ

ȋ„Ȍƒ”‹‘ǯ••…”‡ƒ•ȋƒƒ…‘—•–‹……‘””‡Žƒ–‹‘‘ˆ–Š‡’”‡•‡…‡‘ˆƒ”‹‘ǯ•„‘†›Ȍ Žƒ—†‡Šƒ„”‘Žǡ‹–Š‡†‘…—‡–ƒ”›Bernard Herrmannȋ͙͚͡͡Ȍǡ•ƒ‹†ǡDz–Š‡—•‹…‹•Ž‹‡–Š‡‰ƒ•’•‘ˆƒ’‡”•‘™Š‘‹•”‡Ž‹‡˜‹‰Š‹•‡Žˆ‘ˆƒ‘„•‡••‹‘Ǥdz

ȋ†Ȍ–Š‡‡„„‹‰Ž‹ˆ‡ˆ‘”…‡‘ˆƒ”‹‘Ǥ‘–‡Š‘™–Š‡–Š—††‹‰‘ˆ–Š‡†‡‡’˜‹‘Ž‹•…‘—‹…ƒ–‡•–Š‡†›‹‰ƒ†…‘˜—Ž•‹‰Š‡ƒ”–„‡ƒ–•‘ˆƒ”‹‘Ǥ

October 2012   6


E Composer

Howard Shore

Threat





Craig Armstrong—The Great Gatsby Tyler Bates—Not Safe for Work, 7500 Christophe Beck—Pitch Perfect Marco Beltrami—Northern Lights, AGood Day to Die Hard, WorldWarZ, Deadfall, Snowpiercer, Trouble With theCurve, TheSessions, Warm Bodies Carter Burwell—Twilight: Breaking Dawn Part 2, Moving Gracefully Towards the Exit, Gangster Squad, Seven Psychopaths Mychael Danna—Life of Pi John Debney—Alex Cross Alexandre Desplat—Argo, The Spider’s House, Rise of the Guardians, Emperor, Zulu, Renoir Ramin Djawadi—Red Dawn, ÂƒÂ…Â‹Ć¤Â…‹Â?

           R ide

Danny Elfman—Oz: The Great and Powerful, Forbidden Zone 2: The Forbidden Galaxy, Frankenweenie, Epic, Silver Linings Playbook Ilan Eshkeri—Ashes, The Invisible Woman John Frizzell—Loft, Texas Chainsaw Massacre 3D Michael Giacchino—Star Trek Into Darkness Scott Glasgow—The Wanderers, Gearheads Paul Haslinger—Code Name: Geronimo David Hirschfelder—John Doe James Horner—Avatar 2, Romeo and Juliet James Newton Howard — The Risk Pool, Doctor Henry Jackman—Wreck-It Ralph Christopher Lennertz—IdentityThief Clint Mansell—Filth, Noah

of the Va lk y r ies

‹…Šƒ”†ƒ‰Â?‡”ǯ•Ride of the Valkyries”‡Â?ƒ‹Â?•‘Â?‡‘ˆ–Š‡Â?‘•–”‡…‘‰Â?Â‹ÂœÇŚ ƒ„Ž‡Â?—•‹……—‡•‘ˆƒŽŽ–‹Â?‡Ǥ –Šƒ•„‡‡Â?ˆ‡ƒ–—”‡†’”‘Â?‹Â?‡Â?–Ž›‹Â?Â?—Â?‡”‘—• ƤŽÂ?ƒÂ?†–‡Ž‡˜‹•‹‘Â?•…‘”‡•ǥ‘ˆ–‡Â?–‘†‡’‹…–˜‹ŽŽƒ‹Â?•‘”‡š’”‡••‡š–”‡Â?‡Â?‘”–ƒŽ †ƒÂ?‰‡”Ǥ‡…Š‘•‡•‘Â?‡‘ˆ–Š‡Â?‘•–Â?‡Â?Â‘Â”ÂƒÂ„ÂŽÂ‡ÇĄ™‡‹‰Š‡†ƒŽŽ–Š‡‡˜‹†‡Â?…‡ǥ ƒÂ?†’ƒ••‡†Œ—†‰Â?‡Â?–•‘–Šƒ–›‘—ǯŽŽÂ?Â?‘™™Š‹…Š‘Â?‡•–‘–”—Ž›™ƒ–…Š‘—–ˆ‘”Ǥ

Rango Č‹ÍšÍ˜Í™Í™ČŒ

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Š‹Ž‡ –Š‹• Ž‡‰‹‘Â? ‘ˆ •Â?ƒŽŽ ”‘†‡Â?–• ”‹†‹Â?‰ „ƒ–• Â…Â”Â‡ÂƒÂ–ÇŚ ‡† ƒ„•‘Ž—–‡ –‡””‘” ˆ‘” –Š‡ •Â?ƒŽŽŠ‡”‘‡•‹Â?RangoÇĄ™‡ †‘Â?ǯ–Â?‡‡†–‘™‘””›Â?—…ŠǤ

·µ ·µ ·µ ·µ ·µ

The Muppets Wizard of Oz Č‹ÍšÍ˜Í˜Í?ČŒ Š‡ Dz Ž›‹Â?‰ ‘Â?Â?‡›•dz „‹Â?‡” ‰ƒÂ?‰ ‘ˆ Â?—’’‡–• ‹• …‡”–ƒ‹Â?Ž› –”‘—„Ž‡•‘Â?‡„—–’‘•‡•Â?‘”‡ƒŽ Â–ÂŠÂ”Â‡ÂƒÂ–ÇĄ‡•’‡…‹ƒŽŽ›…‘Â?’ƒ”‡†–‘ –Š‡‘”‹‰‹Â?ƒŽˆŽ›‹Â?‰Â?‘Â?Â?‡›•‘ˆ ͙ͥ͛ͥǯ•Wizard of OzǤ

Small Soldiers Č‹Í™ÍĄÍĄÍ ČŒ Š‹Ž‡Š‹’ ÂƒÂœÂƒÂ”Â†ÇĄ ƒÂ? ƒ…–‹‘Â? ˆ‹‰—”‡ Â?‹•–ƒÂ?‡Â?Ž› ‰‹˜‡Â? •‡Â?ÇŚ –‹‡Â?– ƒ™ƒ”‡Â?‡••ǥ ‹•Â?ǯ– ƒ Š—‰‡ –Š”‡ƒ–Š‡•Š‘—Ž†Â?ǯ–„‡‡Â?–‹”‡Ž› †‹•…‘—Â?–‡†ǤŠ‹•ˆ‹ŽÂ?™ƒ•Â‰Â‹Â˜ÇŚ ‡Â?ƒ nj͙͛”ƒ–‹Â?‰ˆ‘”ƒ”‡ƒ•‘Â?Ǩ

Rebel Without a Cause ȋ͙ͥͥÍ?ČŒ ƒÂ?‡•‡ƒÂ?’Žƒ›• ‹Â?–ƒ”Â?ÇĄƒ –‡‡Â?ƒ‰‡” ™‹–Š ƒ –”‘—„Ž‡† Â’ÂƒÂ•Â–ÇĄ ™Š‘•–”—‰‰Ž‡•–‘ˆ‹Â?†Š‹•’Žƒ…‡‹Â? ƒÂ?‡™–‘™Â?Ǥƒ–…Š‘—–ǣ ƒÂ?‡• ‡ƒÂ?’ƒ…Â?•ƒ•™‹–…Š„Žƒ†‡Ǩ

Relatively Harmless 7   October 2012

Jackass 3D Č‹ÍšÍ˜Í™Í˜ČŒ Š‹Ž‡ƒ‰‹‰ƒÂ?–‹…Œ‡–‡Â?‰‹Â?‡‹• ƒÂ?—Â?—•—ƒŽÂ–ÂŠÂ”Â‡ÂƒÂ–ÇĄ–Š‡•Š‡‡” Â?ƒ‰Â?‹Ƥ…‡Â?– ’‘™‡” ‘ˆ ‹– •Š‘—Ž† „‡ ÂˆÂ‡ÂƒÂ”Â‡Â†ÇĄ ‡•’‡…‹ƒŽŽ› ™Š‡Â? ‹Â?–‡Â?–‹‘Â?ƒŽŽ› •‹––‹Â?‰ †‹”‡…–Ž›‹Â?ˆ”‘Â?–‘ˆ‹–ǥœ‡”‘’”‘nj –‡…–‹‘Â?ÇĄƒ–ˆ—ŽŽ’‘™‡”Ǩ


Cliff Martinez—The Company You Keep Mothersbaugh—Hotel Transylvania, Cloudy 2: Revenge of the Leftovers Randy Newman—Monsters University Thomas Newman—The Bitter Pill, Skyfall JohnOttman—HalfSizedHeroes,JacktheGiantKiller, NortheMoonbyNight,VegasFinaglers,SilentVoice John Powell—How toTrainYour Dragon 2, Captain Phillips, The Good Dinosaur, The Smurfs 2, AllYou Need Is Kill, Carrie, Mad Max: Fury Road Graeme Revell—ComicsOpen, LastWill &Testament Gustavo Santaolalla—On the Road,The Last of Us

Howard Shore—The Rise of Theodore Roosevelt, The Wolf of Wall Street, The Spider, Sinatra, The Hobbit: There and Back Again, The Hobbit: The Desolation of Smaug, The Hobbit: An Unexpected Journey Alan Silvestri—Flight, The Croods

Mark Snow—Vous n’avez encore rien vu Brian Tyler—Mortal Kombat, John Dies at the End, Goat Island, Army ofTwo:The Devil’s Cartel Edwin Wendler—Escape, The Mark JohnWilliams—Lincoln, Interstellar, IndianaJones 5 Debbie Wiseman—Rubicon Alex Wurman—The Millionaire Tour ChristopherYoung—New-Gen: Deadalus Rising, Sinister, Wishlist, The BlackTulip, The Vanishment, Scary or Die, The Baytown Outlaws Marcelo Zarvos—The Bay, Won’t Back Down

‡‘ƥƒÂ?‡ŽŽ‹ȄShould’ve Been Romeo Hans Zimmer—Rush, Man of Steel ƒ‹Ž›—’†ƒ–‡•ƒ–ƤŽÂ?•…‘”‡Â?‘Â?–ŠŽ›Ǥ…‘Â?

Apocalypse Now ȋ͙ͥÍ&#x;ÍĄČŒ ‡”Šƒ’•–Š‡Â?‘•–ˆƒÂ?‘—•‘ˆ ƒŽŽ ‘—” Â–ÂŠÂ”Â‡ÂƒÂ–Â•ÇĄ –Š‹• Dz‡ƒ–Š ˆ”‘Â?Â„Â‘Â˜Â‡Çł •…‡Â?‡ǥ ÂˆÂ‡ÂƒÂ–Â—Â”ÇŚ ‹Â?‰ ––ƒ…Â? ‡Ž‹…‘’–‡”• ‹Â?ÇŚ †‹•…”‹Â?‹Â?ƒ–‡Ž› †‡•…‡Â?†‹Â?‰ —’‘Â?ƒÂ?‡Â?–‹”‡˜‹ŽŽƒ‰‡‹•Â?‘– ƒ•—„Œ‡…––‘–”‹ƪ‡™‹–ŠǤ

Watchmen Č‹ÍšÍ˜Í˜ÍĄČŒ ”Ǥ ƒÂ?Šƒ––ƒÂ? ‹• ‹Â?˜—ŽÂ?Â‡Â”ÂƒÂ„ÂŽÂ‡ÇĄ ‡Â?†‘™‡†™‹–Š–Š‡’‘™‡”‘ˆ–Š‡ ƒ–‘Â?ÇĄ…ƒ’ƒ„Ž‡‘ˆ‹Â?•–ƒÂ?–ƒÂ?‡‘—•Ž› Â?ƒÂ?‹Â?‰ ƒÂ?›‘Â?‡ǯ• Š‡ƒ† ‡š’Ž‘†‡Ǥ

Â?–Š‹•”‡˜‹•‹‘Â?‹•–ˆ‹ŽÂ?ÇĄŠ‡†‘‡•–Š‡ ‰‘˜‡”Â?Â?‡Â?–ǯ•„‹††‹Â?‰‹Â?‹‡–Â?ƒÂ?Ǥ

·µ ·µ ·µ ·µ ·µ ·µ

Super Troopers Č‹ÍšÍ˜Í˜Í™ČŒ Š‹•—Â?Â?ƒÂ?Â?‡†’‘Ž‹…‡…”—‹•‡” ȋƤš‡†™‹–ŠĆŞÂƒÂ”‡•ƒÂ?†ƒ„Ž‘™nj —’ Â†Â‘ÂŽÂŽČŒ ‹•Â?ǯ– –Š‡ ”‡ƒŽ –Š”‡ƒ–Ǥ ”‡‡’‹Â?‰ ‹Â? –Š‡ •Šƒ†‘™• Č‹ÂƒÂ?†…‘Â?’Ž‡–‡Ž›‹Â?Â–Â‘ÂšÂ‹Â…ÂƒÂ–Â‡Â†ČŒ ‹•’—”„—”›‘Ž‹…‡ǯ•ƤÂ?‡•–Ǩ

The Blues Brothers Č‹Í™ÍĄÍ Í˜ČŒ

Birth of a Nation Č‹ÍšÍ˜Í˜Í?ČŒ

‘Ž‹‡– ƒÂ?‡ƒÂ?†Ž™‘‘†Ž—‡• ƒ”‡’—”•—‡†–Š”‘—‰Š‘—––Š‡‹” ‹••‹‘Â? ˆ”‘Â? Ԡ „› –Š‡•‡ Šƒ–‡Â?‘Â?‰‡”‹Â?‰ÂƒÂœÂ‹Â•ÇĄ‹Â?–‡Â?– ‘Â? …‘Â?–‹Â?—‹Â?‰ –Š‡Š‹”† ‡nj ‹…ŠǤDz Šƒ–‡ ŽŽ‹Â?‘‹•ÂƒÂœÂ‹Â•Ç¤Çł

Š‹Ž‡ ˆƒÂ?‘—•Ž›ǥ –Š‡ ƤŽÂ? ‹• –Š‡˜‡”›Ƥ”•––‘Šƒ˜‡ƒ…‘Â?ÇŚ ’‘•‡† •…‘”‡ǥ ‹– ”‡’”‡•‡Â?–• ‘Â?‡‘ˆ–Š‡Â?‘•–Šƒ–‡ˆ—ŽÂƒÂ•ÇŚ ’‡…–•‘ˆŠ—Â?ƒÂ?‹–›ƒÂ?†…‘Â?ÇŚ –ƒ‹Â?•ƒ–”—Ž›”ƒ…‹•–ƒ‰‡Â?†ƒǤ

Extremely Dangerous October 2012   8


E Music

  

ƒŽƒ˜‹†1921—2012

‡”ƒ”†‘‘‡œœ‹1964—2012

•…ƒ”Ǧ™‹‡” ƒŽƒ˜‹††‹‡†‘‡’–Ǥ͙‹‘•‰‡Ž‡•Ǥƒ˜‹†™ƒ•”‡•’‘Ǧ •‹„Ž‡ˆ‘”ƒ•–”‹‰‘ˆ…Žƒ••‹…•‘‰•‹…‘ŽŽƒ„‘”ƒ–‹‘™‹–Š—”–ƒ…Šƒ”ƒ…Šƒ† ‹‘‡ƒ”™‹…Ǥƒ…Šƒ”ƒ…Š™‘ƒ•…ƒ”ˆ‘”Dzƒ‹†”‘’•‡‡’ ƒŽŽ‹‰‘ › ‡ƒ†dzȋButch Cassidy and the Sundance KidȌǤ

’ƒ‹•ŠǦ„‘”…‘’‘•‡”‡”ƒ”†‘‘‡œœ‹ǡ„‡•–‘™‹–Š‡ǤǤˆ‘” •—…Š‡†”‘Ž‘†‘˜ƒ”ƤŽ•ƒ•Law of Desire ƒ†Women on the Verge of a Nervous Breakdownǡ†‹‡†‘—‰—•–͛͘Ǥ‘‡œœ‹”‡…‡‹˜‡†–Š”‡‡ ‘›ƒ ™ƒ”†‘‹ƒ–‹‘•ǡ™‹‹‰‘‡Ǥ

Fleeting

 

‹…‡ƒƤŽ•…‘”‡™ƒ•Ƥ”•–…‘’‘•‡†–‘„‡ ’Žƒ›‡† „› ƒ Ž‹˜‡ ‘”…Š‡•–”ƒ ƒ……‘’ƒ›‹‰ ‹”–Š‘ˆƒƒ–‹‘ȋ͙͙͡͝Ȍǡ–Š‡•‹œ‡ƒ†•…ƒŽ‡ ‘ˆ –Š‡ ‘”…Š‡•–”ƒ Šƒ• „‡…‘‡ …‘—–‡”Ǧ‹–—Ǧ ‹–‹˜‡Ǥ Š‡ •‘—†–”ƒ… ȋƒ ƒ””ƒ‰‡‡– ‘ˆ ’”‡Ǧ‡š‹•–‹‰ —•‹… …Š‘‹…‡•Ȍ ”—Ž‡• ƒ„‘˜‡ ƒŽŽ ƒ† ‘‡ǦƒǦ•Š‘™• Šƒ…‹‰ ‘—– •…‘”‡• ‹

ƒ”ƒ‰‡ƒ†ƒ”‡„‡…‘‹‰ƒŽŽ–‘‘…‘‘Ǥ  Š‡”‡ƒ”‡‡š…‡’–‹‘•Ǥ‘‡‘ˆ–Š‡„‹‰Ǧ ‰‡•–„Ž‘…„—•–‡”••–‹ŽŽ”‡…‡‹˜‡–Š‡”‘›ƒŽˆ—ŽŽ ‘”…Š‡•–”ƒ–”‡ƒ–‡–Ǥ‡‰‡†ƒ”›ǡ…Žƒ••‹…ƒŽǦ Ž›Ǧ–”ƒ‹‡†…‘’‘•‡”•™‹ŽŽƒŽ™ƒ›•”‡“—‡•––Š‡ ˆ—ŽŽŽƒ›‘—–„—–ƒ•™‡’”‘‰”‡••ˆƒ”–Š‡”ƒ†ˆƒ”Ǧ –Š‡”‹–‘ƒ•‘…‹ƒŽ‡†‹ƒ†”‹˜‡•‘…‹‡–›ǡ–Š‡ˆ—ŽŽ ‘”…Š‡•–”ƒ™‹ŽŽ„‡…‘‡ƒ‘††‹–›‘ˆ–Š‡’ƒ•–Ǥ

Drive Control The Social Network Cosmopolis Tron: Legacy Girl with the Dragon

The Dark Knight Lord of the Rings

9   October 2012

45%

One-man show or “soundtrack”

25% Band

20%

Modified Orchestra

10%

Full Orchestra

Looper Life of Pi Jonah Hex Flash Gordon Apocalypto Twilight Skyfall Signs


  ǣ

Restore

La-La Land Records remasters Star Trek: The Original Series

‘”ƒŽŽ–Š‘•‡–ƒ””‡ˆƒ•‘—––Š‡”‡™Š‘ǯ˜‡ ™ƒ‹–‡† ›‡ƒ”• ƒ† ›‡ƒ”•Ȅƒ† ›‡ƒ”•Ȅƒ† …Žƒ‘”‡†ˆ‘”•‘‡‘‡–‘”‡Ž‡ƒ•‡‘ˆ–Š‡ —•‹…ˆ”‘–Š‡‘”‹‰‹ƒŽStar Trek•‡”‹‡•ǡ™‡ǯ”‡ ’Ž‡ƒ•‡†–‘–‡ŽŽ›‘—–Šƒ–›‘—”™ƒ‹–‹•Œ—•–ƒ„‘—– ‘˜‡”ǤŠ‹•ˆƒŽŽǡƒǦƒƒ†‡…‘”†•™‹ŽŽ—˜‡‹Ž Star Trek: The Original Series‘—†–”ƒ…‘ŽǦ Ž‡…–‹‘ǡƒŽ‹‹–‡†Ǧ‡†‹–‹‘͙͝Ǧ„‘š•‡–ˆ‡ƒǦ –—”‹‰‡˜‡”›‡’‹•‘†‡•…‘”‡Š‡ƒ”†–Š”‘—‰Š‘—– –Š‡•Š‘™ǯ•–Š”‡‡Ǧ›‡ƒ””—ǤŠ‡—•‹…™‹ŽŽ„‡ ”‡ƒ•–‡”‡†ˆ”‘•–—†‹‘‡Ž‡‡–•ƒ†™‹ŽŽ‹Ǧ …Ž—†‡Š‘—”•‘ˆˆƒ–ƒ•–‹…ƒ–‡”‹ƒŽ‘–’”‡˜‹‘—•Ǧ Ž›ƒ˜ƒ‹Žƒ„Ž‡‹ƒ›ˆ‘”ƒ–Ǥ

ƒƒƒ†ǯ•‡Ž‹–‡•–ƒˆˆ‰‘‡•–‘™‘”ǤŒ‘„–Š‹•˜ƒ•–”‡“—‹”‡•ˆ‹ŽŠ‹•–‘”‹ƒ•ǡƒ†ˆŽ—‡– ƒ•–‡”•‘ˆ„‘–ŠƒƒŽ‘‰ƒ††‹‰‹–ƒŽ–‡…Š‹“—‡•Ǥ –„‡‰‹•™‹–Š†‡†‹…ƒ–‡†”‡•‡ƒ”…ŠǤ

Š”‘—‰Š‘—––Š‡‡–‹”‡’”‘…‡••ǡ–Š‡‘”‹‰‹ƒŽˆ‹Ž‘–‡•ƒ”‡”‡Ž‹‰‹‘—•Ž›…‘•—Ž–‡†ǤŠ‡”‡•–‘”ƒ–‹‘—•–ƒ–…Š–Š‡‘”‹‰‹ƒŽ„”‘ƒ†…ƒ•–…‘–‡–•’‡‡†ƒ†ƒ—†‹‘†›ƒ‹…•Ǥ

Analog transfer engineers carefully prepare over 75 hours of audio to be converted ‹–‘†‹‰‹–ƒŽ•‘—†Ǥ—…Š‘ˆ–Š‹•Šƒ•‡˜‡””‡…‡‹˜‡†ƒ…‘‡”…‹ƒŽ”‡Ž‡ƒ•‡‘ˆƒ›‹†Ǥ

The freshly digitized material is adjusted across the audio spectrum by a seasoned •‘—†‡†‹–‘”Ǥ‘—‰Š•‡‰‡–•ƒ”‡…Ž‡ƒ‡†—’ƒ†…”—…‹ƒŽƒ†Œ—•–‡–•ƒ”‡ƒ†‡Ǥ

Extreme (and tedious) safety precautions are observed to protect the source materiƒŽǤ ‹ŽŠ‡ƒ†•ƒ”‡…Ž‡ƒ‡†”‡‰—Žƒ”Ž›ƒ†ƒŽŽ™‘”‹•…‘†—…–‡†‹Ž‡˜‡Ž‘‡…Ž‡ƒ”‘‘•Ǥ

ƒ•–‡”‹‰‡‰‹‡‡”•ƒ’’Ž›–Š‡ƤƒŽƤ‡••‡ǡ—•‹‰–”ƒ‹‡†‡ƒ”•–‘’‘Ž‹•Š–Š‡•‘—† –‘–Š‡•—’‡”„“—ƒŽ‹–›‡š’‡…–‡†„›Ž‘›ƒŽStarTrekˆƒ•ƒ…”‘••–Š‡‰Ž‘„‡Ǥ

October 2012   10


BON 50

YEARS

11   October 2012


ND The Academy’s Comprehensive Homage to the Music of 007

By Ross Care

Barry created a new style of action-adventure scoring for films. Jon Burlingame

O

ver the last half-century, the actors who have played James Bond have come and gone, and so have the type of villains that the sexy, martini-drinking 007 thwarts before the final credits. But there’s been one constant in the Bond films: “The James Bond Theme,� penned by British songwriter Monty Norman and arranged by composer John Barry for the first Bond film, 1962’s Dr. No. And during the Academy of Motion Picture Arts and Sciences’ “The Music of Bond: The First 50 Years� celebration Friday evening— which also will mark the 50th anniversary of Dr. No opening in England—at the Samuel Goldwyn Theater in Beverly Hills, guitarist Vic Flick, who supplied the famous guitar lick for the jazzy theme, will be playing that music on his original guitar. Flick had been a member of Barry’s instrumental rock group, the John Barry Seven. “Barry knew he would bring the kind of dangerous sound he wanted with his guitar,� said Jon Burlingame, who, as film music historian and author of the new book “The Music of James Bond,� will host the academy evening. On October 5, 2012, 50 years to the day since the British release of Dr. No, Hollywood and the

Academy of Motion Pictures Arts and Sciences lyrically celebrated the indomitable James Bond with an evening exclusively devoted to an essential and, in my honest opinion, one of the best elements of the apparently unsinkable franchise, with The Music of Bond: The First 50 Years. Hosted by Jon Burlingame, the highly enjoyable evening was an impressive overview of the title song sequences, and the composers and scores that accompanied 007 from 1962 through to the latest entry in the series.  The evening began with an all-time high (for this viewer). Vic Flick, lead guitarist and original member of the John Barry Seven, kicked things off with a live performance of the famous Bond theme played on the original guitar with which Flick originally recorded the now iconic track. Yes, I had chills! After Dr. No, which made a superstar out of Sean Connery as Ian Fleming’s spy, Barry became the composer for the Bond movies from 1963’s From Russia With Love through 1987’s The Living Daylights. In 1973’s Live and Let Die, which introduced Roger Moore as Bond, the title song was composed by Paul and Linda McCartney.

October 2012   12


“I wouldn’t say that Bond music changed the face of music, but Barry created a new style of action-adventure scoring for films,� said Burlingame. “It was something we had not heard before in movies because it was partly pop influenced, partly jazz influenced and partly traditional orchestral music. He brought together this unique hybrid style of music in a very effective way for a kind of hero we had never seen before—dangerous yet sexy, and the theme reflected that.� Beginning with Lionel Bart’s song performed by Matt Munro for 1963’s From Russia With Love, the Bond song has been crucial in the marketing success of the films. So over the years, the producers have sought out popular singers and composers—Bono and the Edge composed the tune sung by Tina Turner for 1995’s GoldenEye—which would guarantee airplay on radio and later MTV. Tom Jones, Shirley Bassey, Paul McCartney and Wings, Sheena Easton, Carly Simon, Madonna, Duran Duran and A-Ha have sung Bond theme songs, with McCartney earning an Oscar nomination for Live and Let Die and the late Marvin Hamlisch and Carole Bayer Sager picking up a nomination for “Nobody Does It Better� from 1977’s The Spy Who Loved Me. Earlier this week, Skyfall—the latest Bond film starring Daniel Craig, opening Nov. 9—became a hot trending topic on the Internet when an excerpt from the theme song performed by Grammy-winner Adele was leaked on the Web. (Adele is also the co-writer of the song). One of the Bond song lyricists, Don Black—who penned three title tunes with Barry, for 1965’s Thunderball, 1971’s Diamonds Are Forever and 1974’s The Man With the Golden Gun, as well as 1999’s The World Is Not Enough with composer David Arnold— will be on hand Friday night at the Goldwyn. “With John Barry, I always wrote the lyrics second,� Black said. “You never wrote in the same room with him.� Later he discussed the original Monty Norman theme and how Barry transformed it from an apparently indifferent tune into the dynamic motif today known round the world. A personable speaker, Flick also provided some comments on Barry and the Seven’s break into feature films with 1960’s Beat Girl, and how, after several tries, Shirley Bassey ultimately hit that final note in Goldfinger. (She took off her bra.) After Flick and his well-deserved standing ovation, the countdown began. A brief Dr. No clip (in which the series was just finding its musical mode) led to From Russia With Love, represented by the first appearance of the secondary Bond theme, “007,� composed by Barry, and heard here in the frantic bombing of the Russian embas-

13   October 2012

—‹–ƒ”‹•– ‹… Ž‹…Â? ’Žƒ›• DzŠ‡ ‘Â?† Š‡Â?‡dz ™Š‹…Š Š‡ ‘”‹‰‹Â?ƒŽŽ› …”‡ƒ–‡† ™‹–Š ‘ŠÂ? ƒ””›Ǥ

sy sequence. Other than in the program notes, however, no mention was made of the lyrical Lionel Bart (music and lyrics) title tune, Bart being a hot item at the time (1963) thanks to the global success of his musical Oliver. An early defining peak of the Barry/Bond period was, of course, Goldfinger, represented by two classic clips, the inventively scored murder of golden girl Shirley Eaton and Bassey’s over-the-top title tune.  This classic period concluded with the title sequence to Thunderball, the first Panavision Bond, and here thrillingly seen on the Academy’s great wide screen. Burlingame also described how another tune, “Mr. Kiss Kiss Bang Bang� was originally written and recorded by Dionne Warwick for the fourth Bond, but was later rejected by the producers. However, its theme is heard instrumentally as source dance music and, as Burlingame pointed out prior to another clip, is also a key example of how Barry could intro-


With Barry, I always wrote the lyrics second, you never wrote in the same room with him. Don Black

duce a thrilling interlude of dramatic suspense underscoring (when one of the bad girls takes a bullet meant for Bond) before slipping back in the pop dance music mode. Thunderball, the most aggressive of the Bond titles, also introduced a section of interviews with Bond/film/ theater lyricist Don Black and guitarist Flick. The second movement of the evening took Bond music from the last three Barry scores of the early classic era to the variety of composers, sounds, and new styles that would play out the franchise up to the present. I was pleased to find that one of my favorite Bond songs, “Diamonds Are Forever,� is also one of Burlingame’s. Another of my personal favorites is “You Only Live Twice,� and both tunes are perfectly complemented by two of Maurice Binder’s best title sequences, again dazzling in real widescreen. Sandwiched between was the snowstorm scene from On Her Majesty’s Secret Service, with its intensely lyrical string version of “We Have All the Time in the World,� the only real love theme for one of the only real love scenes in the early Bond series. (That never happened to the other guys.) One of the few disappointments of the evening was that the dynamic OHMSS main title, with its pioneering use of Moog synthesizers, was not included. But time had to be made for the next 40some Bond years, the detailing of which could take another article in itself. Suffice to say this was also the era of the 007 #3, Roger Moore, and of a certain lapse in class and charisma in the films themselves, though certainly not in the Bond song hits, which just kept on coming. Among those showcased: the bombastic Paul McCartney & Wings/George Martin’s “Live and Let Die�; Marvin Hamlisch and Carole Bayer Sager’s “Nobody Does It Better� from The Spy Who Loved Me; and Bill Conti’s spare yet seductive “For Your Eyes Only.� An ensuing interview with Conti revealed that the lyrics were written by the boyfriend of the seductive Sheena Easton. Easton is also one of the few singers to actually appear in a title sequence, and seeing it here for the first time I could certainly understand why.

October 2012   14


It should be seductive, provocative, with a whiff of the boudoir, threatening, dark and dangerous. John Barry The final segment took us from the last great Barry tune, fortunately not a title one for Octopussy, through to the present and a sneak peak at Skyfall, set to the Adele title tune already on the global charts. Personally I was more dazzled by the mind-blowing computer graphics for the Casino Royale titles than either of the latest title tunes, though the clips from Skyfall were spectacular.  Certainly, kudos are in order for Jon Burlingame, who kept things moving, witty and superbly organized, providing just the right amount of information to showcase the musical/visual sequences for the glittering jewels they are—not to mention favoring us with a few vocal excerpts himself.  The evening, produced by the Academy’s Ellen Harrington and flawlessly hosted by film music historian Jon Burlingame, author of the new book The Music Of James Bond, featured a series of terrific clips and several classic opening-credit sequences that highlighted the Bond songs that are a much-awaited part of every one of these films. Onstage guests included Oscar- and Tony-winning lyricist Don Black, who wrote five Bond songs; Bill Conti, who received an Oscar nomination for his title song to For Your Eyes Only (1981); Flick; and a special taped message from Bond star Roger Moore. Burlingame saved the biggest surprise for last when he debuted a montage of scenes from Skyfall scored with Grammy winner Adele’s title song, which she just “secretly� recorded in London with a 77-piece orchestra. She also co-wrote the tune while 10-time Oscar nominee Thomas Newman got to score his first-ever Bond film. Burlingame noted that within the first 16 hours of the song’s release, it was already in the top 10 in 21 countries and No. 1 in 10 of them including the UK. Although Norman’s awards were all from the Roger Moore films. �They were generally not taken as artistic achievements in that era,� says Black. He noted that there is definitely a formula and rules to write by when tackling a great Bond song. “It should be seductive, provocative, with a whiff of the boudoir, threatening, dark and dangerous,� he says, adding that Bond without Barry in those early days would have been like Laurel without Hardy.

15   October 2012

Black says Barry, who shared the same initials as Bond, was very much like the suave super spy himself and had definite ideas on how to make the music soar. When Bassey was recording Diamonds Are Forever (1971), she couldn’t figure out the song and asked Barry, “How do I sing this?� Barry replied: “Just think of the Diamond as a penis�. After that piece of advice she got it in one take, according to Black. On You Only Live Twice (1967), vocalist Nancy Sinatra was so nervous they ended up having to piece the song together from 25 versions she recorded. For my money, that theme is one of the best, but it turned out to be one of the toughest to make. Only one of the multitude of famous singers who recorded Bond songs actually wound up in the movie singing it. That was Sheena Easton in For Your Eyes Only, and as noted it was one of the very few to get an Oscar nomination, so maybe that was the trick. As Conti explained, Maurice Binder, the man who created so many famous Bond opening-credit sequences, was a very short man. When he met Scottish lass Easton, who was even shorter, he instantly became smitten and insisted on having her sing on camera during his credits. Perhaps because this was an evening dedicated to the Bond films of EON Productions and Albert R. Broccoli and his family and co-producer Harry Saltzman, there was no mention at all of one other �Bond song� that stands out for me as perhaps the best one of all: Dusty Springfield’s vocal of Burt Bacharach and Hal David’s “The Look Of Love�, from easily the worst film that ever featured a James Bond (in fact, every agent in it was named James Bond), the disastrous 1967 spoof Casino Royale (no relation to Craig’s 2006 Bond film). It of course took its name from the first of Ian Fleming’s Bond novels, but nothing else. Nevertheless, “The Look Of Love� was nominated for the Best Song Oscar and deserved to win (it lost to “Talk To The Animals� from Dr. Dolittle). How ironic that would have been. Whether the movie itself was an illegitimate Bond, there’s no question “The Look Of Love� was the real thing. Ross Care

‹–ŠSkyfallČ‹ÍšÍ˜Í™ÍšČŒÂ?ƒ”Â?‹Â?‰–Š‡ ͚͛”† ƒÂ?‡•‘Â?†ƤŽÂ?ÇĄ‘Â?†Â?—•‹… Ž‘˜‡”•ƒ”‡•—”‡–‘Ž‘‘Â?ˆ‘”™ƒ”†–‘ …‘Â?–‹Â?—‹Â?‰†‡…ƒ†‡•‘ˆÂ?‡™Â?—•‹…Ǥ


October 2012   16


17   October 2012


ย‡ยƒย”ย…ย”ย‡ยƒย”ย›วกย…ย‘ยย’ย‘ย•ย‡ย”ยˆย‘ย”The Walking Deadวกยƒย•ยย‡ย†ย‰ย—ย‹ย–ยƒย”ย‹ย•ย–ย–ย‡ย˜ย‡ ยƒย”ย–ย‡ยย–ย‘ย‹ยยƒย‰ย‹ยย‡ยŠย‡ย™ยƒย•ยƒย™ย‘ย”ยŽย†วฆ ย…ยŽยƒย•ย•ย„ยŽย—ย‡ย‰ย”ยƒย•ย•ยย—ย•ย‹ย…ย‹ยƒยย™ยŠย‘ย‰ย‘ย–ย„ย‹ย– ย„ย›ย‘ยย‡ย‘ยˆย–ยŠย‡ย—ยย†ย‡ยƒย†วคยƒย”ย–ย‡ยวกย™ยŠย‘ ย’ยŽยƒย›ย‡ย†ย‰ย—ย‹ย–ยƒย”ย‹ยย‹ยย‰ย‘ย‘ย‹ยย‰ย‘ยƒยย† ย…ย‘ยย–ย”ย‹ย„ย—ย–ย‡ย†ย–ย‘ย…ย”ย‡ยƒย”ย›วฏย•ยƒย™ย‡ย•ย‘ยย‡ Battlestar Galacticaย•ย‘ย—ยย†ย–ย”ยƒย…ยวก ย†ย‡ยŽย‹ย˜ย‡ย”ย‡ย†ยƒย–ยย‘ย•ย’ยŠย‡ย”ย‹ย…ย•ย‘ย—ยย†ย•ย–ยŠยƒย– ฦคย–ย”ย‹ย‰ยŠย–ย‹ยย™ย‹ย–ยŠวฏย•ยœย‘ยย„ย‹ย‡ยŠย‹ย–วค

October 2012   18


‘‡–Š‹‰‘ˆƒ‹•–”—‡–ƒŽ ˜‡”•‹‘‘ˆ ”ƒ‡•–‡‹ǯ•‘Ǧ •–‡”ǡ–Š‡„Žƒ•–‡”„‡ƒ‹•ƒ„•‘Ǧ Ž—–‡Ž›‡‘”‘—•Ȅ‡ƒ•—”‹‰ —’–‘͙͠ˆ‡‡–‹Ž‡‰–ŠȄƒ† ‹•ƒ†‡‘ˆƒŽ—‹—ǡ„”‘œ‡ •–”‹‰•ǡƒ†‘˜ƒ„Ž‡‡Ž‡…–”‹… ‰—‹–ƒ”’‹…—’•Ǥ –™ƒ•Ƥ”•–—•‡† –‘•…‘”‡ǯ ‡”ǯ•–Š‡‡‹͙͟͡͡ǯ• Star Trek: The Motion PictureǤ

19   October 2012


ยˆย›ย‘ย—วฏย˜ย‡ย•ย‡ย‡ยยƒย•ย…ย‹ย‡ยย…ย‡ฦคย…ย–ย‹ย‘ยย‘ย”ยŠย‘ย”ย”ย‘ย” ยย‘ย˜ย‹ย‡ย‹ยย–ยŠย‡ยŽยƒย•ย–ฦคยˆย–ย›ย›ย‡ยƒย”ย•วกย–ยŠย‡ยย–ยŠย‡ ย†ย‹ย•ย•ย‘ยยƒยย–ย•ย‘ย—ยย†ย•ย‘ยˆย–ยŠย‡ย™ยƒย–ย‡ย”ย’ยŠย‘ยย‡ ยƒย”ย‡ยƒยŽยย‘ย•ย–ย‰ย—ยƒย”ยƒยย–ย‡ย‡ย†ย–ย‘ยŠยƒย˜ย‡ย•ย‡ยย– ย•ยŠย‹ย˜ย‡ย”ย•ย†ย‘ย™ยย›ย‘ย—ย”ย•ย’ย‹ยย‡ยƒย–ย‘ยย‡ย’ย‘ย‹ยย– ย‘ย”ยƒยย‘ย–ยŠย‡ย”วค ยย˜ย‡ยย–ย‡ย†ย„ย›ย‹ย…ยŠยƒย”ย† ยƒย–ย‡ย”ย•ย‹ยย–ยŠย‡ยŽยƒย–ย‡อ™อกอžอ˜ย•วกย–ยŠย‡ย™ยƒย–ย‡ย”วฆ ย’ยŠย‘ยย‡ยŠยƒย•ย„ย‡ย‡ยย—ย•ย‡ย†ย‹ยฦคยŽยย•ย…ย‘ย”ย‡ย• ยƒยย†ย•ย‘ย—ยย†ย‡ฦกย‡ย…ย–ย•ย‹ยยย‘ย˜ย‹ย‡ย•ยƒย•ย†ย‹ย˜ย‡ย”ย•ย‡ ยƒย•PoltergeistวกThe MatrixวกCrouching Tiger, Hidden Dragonยƒยย†Aliensวค

ย•ยŠย‘ยˆยƒย”ย‹ย•ยƒยŠย‘ย”ยวกย–ย”ยƒย†ย‹ย–ย‹ย‘ยยƒยŽยŽย›ย–ยŠยƒย–ย‘ยˆยƒ ย”ยƒยวกย—ย•ย‡ย†ยˆย‘ย” ย‡ย™ย‹ย•ยŠย”ย‡ยŽย‹ย‰ย‹ย‘ย—ย•ย’ย—ย”ย’ย‘ย•ย‡ย•วค ยŠย‘ยˆยƒย”วฆย„ยŽย‘ย™ย‹ยย‰ย‹ย•ย‹ยย…ย‘ย”ย’ย‘ย”ยƒย–ย‡ย†ย‹ยย•ย›ยยƒวฆ ย‰ย‘ย‰ย—ย‡ย•ย‡ย”ย˜ย‹ย…ย‡ย•ย‘ยย‘ย•ยŠ ยƒย•ยŠยƒยยƒยŠยƒยย† ย‘ยย‹ย’ย’ย—ย”วค ย ย‡ย”ย”ย› ย‘ยŽย†ย•ยย‹ย–ยŠวฏย•ย•ย…ย‘ย”ย‡ย• ย–ย‘ย–ยŠย‡ฦคยŽยAlienยƒยย†Planet of the Apesวก ย–ยŠย‡ย•ยŠย‘ยˆยƒย”ย‹ย•ย’ยƒย”ย–ย‘ยˆย–ยŠย‡ย‘ย”ย…ยŠย‡ย•ย–ย”ยƒย–ย‹ย‘ยวค

October 2012   20


ยƒยย‡ย†ยƒยˆย–ย‡ย”ย‹ย–ย•ย—ย•ย•ย‹ยƒยย‹ยย˜ย‡ยย–ย‘ย”วก ยฑย‘ยยŠย‡ย”ย‡ยย‹ยวกย–ยŠย‹ย•ย‡ยŽย‡ย…ย–ย”ย‘ยย‹ย…ย†ย‡ย˜ย‹ย…ย‡ ย’ย”ย‘ย˜ย‹ย†ย‡ย†ย–ยŠย‡วฒย‘ย‘ย‘ยŠวฆวฆย‘ย‘ย‘ย‘ย‘ยŠวณ ย•ย‘ย—ยย†ย•ย‘ยˆย‡ยƒย”ยŽย›ย•ย…ย‹ย‡ยย…ย‡ฦคย…ย–ย‹ย‘ยฦคยŽยย• ย•ย—ย…ยŠยƒย•SpellboundวกThe Lost Weekendวก ยƒยย†The Day the Earth Stood Stillวค

ยƒย–ย‹ยย‰ย„ยƒย…ยย–ย‘ยƒย–ยŽย‡ยƒย•ย–อ™ออกอ˜วกย–ยŠย‡ ย•ย‡ย”ย’ย‡ยย–ย™ยƒย•ย•ยŽย‘ย™ยŽย›ย’ยŠยƒย•ย‡ย†ย‘ย—ย–ย‹ยยˆยƒย˜ย‘ย” ย‘ยˆย•ย‹ยย’ยŽย‡ย”ย‹ยย•ย–ย”ย—ยย‡ยย–ย•วค ยƒยย‘ย—ย•ยŽย› ย”ย‡ย•ย—ย”ย”ย‡ย…ย–ย‡ย†ย„ย›ย‡ย”ยยƒย”ย† ย‡ย”ย”ยยƒยย ยˆย‘ย”Journey to the Center of the Earthวก ย–ยŠย‡ย•ย‡ย”ย’ย‡ยย–วฏย•ย•ย–ย”ยƒยย‰ย‡ย•ย‘ย—ยย†ยŠยƒย• ย™ย‘ย”ยย‡ย†ย‹ย–ย•ย™ยƒย›ย‹ยย–ย‘ย‡ย’ย‹ย…ย…ย‹ยย‡ยยƒวก ย•ย—ย…ยŠยƒย•ย‡ย”ย”ย› ย‹ยŽยŽย‹ยƒยวฏย•Time Banditsวค 21   October 2012


October 2012   22



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