David Kraft

Alex North

Alex North has always been among my favorite composers, so I eagerly looked forward to meeting him for this interview. I had heard that he was a shy, modest and soft-spoken gentleman. In fact Los Angeles Times critic Charles Champlin recently wrote that North is “reticent to a fault”. Now that I’ve met and talked…

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Carter Burwell on Scoring Psycho III

Much like a Hollywood star-is-born story, 30-year old Carter Burwell went from being an obscure, unknown New York composer for a low-budget thriller (BLOOD SIMPLE) to landing the enviable assignment as composer for a major Hollywood studio feature, PSYCHO III. Even though PSYCHO III fared poorly at the box office, Burwell’s career should profit immeasurably….

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Dan Carlin: The Music Editor

Most film music buffs can rattle off the top composers’ filmographies and discographies, or can hum every note of a favorite score, but few know about all that is involved with the actual scoring of a film. While composers deservedly get the lion’s share of attention, other talented individuals contribute to the success (or failure)…

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David Shire

David Shire’s name is prominently featured in the credits of 2010 but, as it turns out, it isn’t a score for which Shire would like to take much credit. Film music buffs are aware of many scores that have been totally rejected and replaced by other scores, but unless a composer speaks out one never…

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David Shire on Scoring Return to Oz

Film music afficianados have often found that many unsuccessful, otherwise forgettable films are made worthwhile by exceptional music scores; RETURN TO OZ is a recent example. David Shire’s brilliant gem of a score (Page Cook, the hyper-critical film music columnist of Films in Review, called it the best score of the past several years) stands…

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Jack Hayes and Mark Mckenzie: The Film Music Orchestrator

During the past few years, several film music orchestrators have started to receive the attention they deserve. Names like Arthur Morton, Herbert Spencer and Jack Hayes are recognized by film music fans through their association with great composers (Jerry Goldsmith, John Williams and Elmer Bernstein, respectively). However, what a film music orchestrator actually does isn’t…

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Les Baxter

How did you first get into film scoring? I was offered a film through an agent who was interested in my music. It was a sailboat travelogue, but it initially gave me the chance to do my first picture TANGA TIKA, 1953. I had done a number of albums and I’d studied composing at the…

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Miklós Rózsa

DEAD MEN DON’T WEAR PLAID is a comedy and you are not really known for scoring comedies. How did you first become involved with Carl Reiner and DEAD MEN? Well, very simply, they asked for me. I don’t know what the reason was, but they said they had been wanting me all the time. But…

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