Knowing the Score: Film Composers Talk About the Art, Craft, Blood, Sweat, and Tears of Writing for Cinema

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Format: Paperback
Pub. Date: 2000-12-01
Publisher(s): Lightning Source Inc
List Price: $14.95

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Summary

This collection of interviews with Hollywood composers offers the most intimate look ever at the process of writing music for the movies. From getting started in the business to recording the soundtrack, from choosing a musical style to collaborating with directors, including Martin Scorsese, Stanley Kubrick, the Coen brothers, Terry Gilliam, Kenneth Branagh, and Ken Russell, from learning to deal with editing to writing with time-sensitive precision, the leading practitioners in the field share their views on one of the most important -- and least understood -- aspects of filmmaking: the motion picture art that's heard but not seen.

Table of Contents

Acknowledgments ix
Introduction xi
Panel xv
The Art of Film Music
1(32)
You Can't Go Home Again: David Shire on Return to Oz
18(7)
Suspicion Breeds Confidence: Michael Kamen on Brazil
25(8)
Getting a Foot in the Door
33(14)
Unto the Breach: Patrick Doyle on Henry V
40(7)
Scissors Cut Paper Wraps Stone: Collaboration
47(25)
Backward Prison Gangs, Scandinavian Hymns, ``Danny Boy,'' and Yodeling: Carter Burwell on the Coen Brothers
57(15)
Immersion: Beginning the Process
72(29)
Bait-and-Switch: Elmer Bernstein on The Grifters
96(5)
Collaboration with Other Composers
101(29)
A Friend Like Me: Alan Menken on Howard Ashman and the Rebirth of the Film Musical
104(26)
Bending the Rules
130(32)
Sounds of Apocalypse: John Corigliano on Altered States
131(10)
Life in Transformation: Philip Glass on Koyaanisqatsi and Powaqqatsi
141(12)
The Driving Force: Elia Cmiral on Ronin
153(9)
Period Pieces
162(14)
Steeping Yourself in the Culture: Carter Burwell on Rob Roy
164(3)
Mythmaker: Basil Poledouris on Conan the Barbarian
167(9)
The Shape of the Sound: Orchestration
176(26)
Carnival of the Animals: Mark Isham on Never Cry Wolf and Fly Away Home
185(10)
It's ``The Francie Brady Show'': Elliot Goldenthal on The Butcher Boy
195(7)
Adaptation
202(24)
Everything Old Is New Again: Elmer Bernstein on Reinventing Cape Fear
204(8)
Dream State: Jocelyn Pook on Eyes Wide Shut
212(8)
Like a Duet: Patrick Doyle on Love's Labour's Lost
220(6)
Recording
226(6)
Coda
232(4)
The Organic Score
236(41)
A Reflection, Like the Moon on Water: Philip Glass on Kundun
238(6)
Playing with Paradoxes: Mychael Danna on The Sweet Hereafter
244(14)
Provenance: John Corigliano on The Red Violin
258(9)
I'll Show Thee Wondrous Things, That Highly May Advantage Thee to Hear: Elliot Goldenthal on Titus
267(10)
Lost and Found: Robert Townson on Alex North, 2001, and the Art of the Soundtrack Album
277(13)
End Titles 290(9)
Appendix 299(4)
Index 303

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