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1. This is Cinerama
(Max Steiner)

... Max Steiner, Roy Webb, Paul Sawtell, and others. Steiner provides the main theme, a sweeping, romantic piece of Hollywood sensationalism (and that is not meant derogatorily), which later reappears in other ...

2. Curse of the Cat People
(Roy Webb)

Obscured by the fame of such Hollywood legends as Steiner, Korngold, Tiomkin and Newman, RKO’s main composer Roy Webb has been unfairly neglected by film music history. His music easily rivaled that of ...

3. Joel McNeely meets Peter Pan in RETURN TO NEVER LAND
(Soundtrack/Scoring Session)

... these scores? It’s just an incredible education, and then being able to stand up and conduct one of the great orchestras of the world, The Royal Scottish National Orchestra, it’s a gas. These projects ...

4. Danny Elfman on Scoring the Action-Adventure Battlefield
(Soundtrack/Scoring Session)

... makes your score succeed? Danny Elfman: The recording part is really technical. The writing of it is the critical part, and the dubbing of it is where it gets destroyed, so those are the two critical ...

5. Franz Waxman: An Appreciation
(Soundtrack/Composers)

...  What If...? Franz Waxman turned down the film MARTY (ultimately scored by Roy Webb and analyzed by this writer in Soundtrack Vol. 20, No. 77), as his son comments “he did not think the public ...

6. Jeff Danna: Making it More Purple
(Soundtrack/Interviews)

... said “make it more purple!” THE BOONDOCK SAINTS was an experience where Troy Duffy, - despite the fact that he’s a musician in his own right - just did not speak about music in this film in anything resembling ...

7. Don Davis Goes Ballistic
(Soundtrack/Scoring Session)

... Film music comes from opera and ironically, film has essentially destroyed opera. Prior to 1929 and the application of sound in movies, opera was the ultimate expression of drama and music. The realism ...

8. John Williams: Classical Guitarist
(Soundtrack/Interviews)

... It’s the shape of it that doesn’t quite… Greg Marshall: I think the first time I saw his name was in the mid-sixties. He was the musical director for the Royal Shakespeare’s production of… John ...

9. Alexander Courage: The Story of His Life
(Soundtrack/Interviews)

... 1 because I had a different teacher, a man named Edward Royce, who was the son of Josiah Royce, the famous New England philosopher. Edward Royce, the composition teacher, really didn’t care that much teaching ...

10. Kendall Schmidt: The Subtle Art of ReScoring
(Soundtrack/Interviews)

... However, because of the contractual arrangements they had with the Italian producers, Kaplan could not receive credit or ASCAP royalties for the project. “My score is not used in the version which, ...

11. Jerry Goldsmith on Scoring BASIC INSTINCT
(Soundtrack/Scoring Session)

... that it hasn’t produced a Mozart or Beethoven yet. Maybe we will, and maybe we won’t. What we’re doing in movies isn’t so different from the composers who wrote for the Church and royalty. But I’m not ...

12. Barry Gray: Music with Strings
(Soundtrack/Composers)

... young lad takes to manuscript paper like a duck takes to water!” Born of musical parents, Gray went on to study at the Royal Manchester College of Music and at Blackburn Cathedral, where he learned harmony ...

13. Pino Donaggio on Scoring RAISING CAIN
(Soundtrack/Scoring Session)

... expensive. Then, if you record in foreign countries (USA, England, etc…) and you want to publish a record you have to pay the royalties to each musician of the orchestra, and it costs twice as much. I ...

14. Philip Glass: Collaboration
(Soundtrack/Interviews)

... however, as the visual grandeur is suddenly disrupted by shots of mining operations and other manmade land-destroying operations (culminating with atomic bomb detonations), as man destroys nature. At other ...

15. The Alamo Remembered
(Soundtrack/Analyses)

...  It isn’t long, though, before the camera and composer pass from the periphery of action into action itself. The first military engagement concerns a night sally to destroy some heavy artillery employed ...

16. Malcolm Arnold just writes what he would like to hear
(Soundtrack/Interviews)

... as music for ballet and the theatre. The conversation took place at the Royal George Hotel, Perth, on 27 May 1987. Christopher Ritchie: You were barn in Northampton, the youngest of five children. ...

17. Henry Mancini: A Gifted Musician and a Gentleman
(Soundtrack/Interviews)

... in today’s cinema. I was lucky enough to meet “Hank” in London, where he stayed one week last November to conduct a concert at the Barbican Hall, with the newly formed ‘Royal Philharmonic Pops’. ...

18. Carl Davis Unbound: Monsters over the Rainbow
(Soundtrack/Interviews)

... commissioned to create a weapon that destroys specific things with some kind of molecular displacement. While he works on it he is caught up in some sort of time-storm and transported back into 1817 which ...

19. Ron Goodwin: Of Human Bondage
(Soundtrack/Interviews)

... music for 60 films since 1958. The conversation took place at the Royal George Hotel, Perth. Christopher Ritchie: Did you grow up in a musical environment? Ron Goodwin: My mother thought I ought ...

20. Henry Mancini: Did they mention the music?
(Reviews/Books)

... good look at the nuts-and-bolts aspects of soundtrack record production and royalties; and observes the sobering truths of the way film music has been treated by the studios who commissioned it: “From ...