by
Paul Tonks
soundtrack -- n. / Pron. "sound ( trak"
1. The narrow strip at one side of cinema film carrying the sound recording.
2. The music that accompanies a movie.
3. A commercial recording of such music.
4. A bastardised phrase record labels use to sell you crappy songs that have nothing to do with the movie they're apparently associated with.
FANDOM: SOMETHING TO SAY?
Allow me to make a presumption. If you’re reading this, you’re motivated by more than a passing curiosity of the film music craft. I’ll also assume that if you’re reading about the subject here, you’re also aware of similarly interested parties holding court elsewhere on the Internet. Going further, I’ll wager you have highly formed opinions about certain composers, certain scores and have at some point engaged in an exhilarating conversation or two about them. So do you know what that makes you?
In 1998 I asked and arranged for Danny Elfman to provide an Introduction to the Gramophone Film Music Good CD Guide. Here’s the important opening of that Introduction:
“I was about 10 or 11 years old when I realized, while watching the brilliant THE DAY THE EARTH STOOD STILL, that there was something commanding my attention which I had never been consciously aware of before. The music! Until that time, I had assumed, like many people, that the music simply existed. It just was. When it was done well, it just seemed so perfectly glued to the movie that it was impossible to imagine the movie without it. But at that moment, I also became aware that an individual’s personality went into it and it wasn’t all the same. From that moment on, whenever Bernard Herrmann’s name came on the screen of one of my many favourite films, I knew I was in for something extra, something special. And, from that moment on, I became what we all know as a ‘Film Music Nerd.’ In other words, one of those strange people who not only noticed film music at all, but cared about it, talked about it, argued strenuously about it, and occasionally was ready to take off my jacket and fight over it…”
We of the Film Music Nerd Community are a wonderful, fickle and woefully mis-represented bunch. First of all, the dictionary definition (I’m really getting into doing these!) of “Nerd” is hardly flattering:
1. A foolish, inept, or unattractive person.
2. A person who is single-minded or accomplished in scientific or technical pursuits but is felt to be socially inept.
Elfman’s choice of “Nerd” is appropriate inasmuch as he’d approve of the word’s origin, which first appeared in 1950 in Dr. Seuss's IF I RAN THE ZOO: “And then, just to show them, I'll sail to Ka-Troo And Bring Back an It-Kutch, a Preep and a Proo A Nerkle, a Nerd and a Seersucker, too!” There, the Nerd is a small humanoid creature looking comically angry.
Nowadays, in our Orwellian Newspeak society, the term is interchangeable with a couple of others. The most popular is “Geek.” The dictionary definition?
1. A person regarded as foolish, inept, or clumsy.
2. A person who is single-minded or accomplished in scientific or technical pursuits but is felt to be socially inept.
3. A carnival performer whose show consists of bizarre acts, such as biting the head off a live chicken.
It’s not getting any better, is it? Especially that last one, although the circus is, in fact, the original source of the word. I also learned this is where we derived “bandwagon” and “ballyhoo” from. So we can all finally get a decent night’s sleep having had these things explained for us now.
I actually feel that name-calling has long since lost the power to affect anyone today. Definitions in the common parlance are so muddled and vague, words really do rarely hurt me. (Sticks and stones still do, however.) The part about “Geek” that I don’t mind at all is its most regular association with a computer user. Gone are the days where someone fluent in programming language is considered a social outcast. Even I am in on the game now, doing html coding for this very page! And now that I’m finally getting to the point of this article, “Geek” is a fitting moniker for all of us that have embraced the Internet as the place to get together and take off our cyber-jackets to fight about film music.
So -– who are we, how many are we in number, where are we and how do we fight / communicate?
According to Los Angeles Attorney Brian Lee Corber (who represents FILM MUSIC MAGAZINE): "The hard core world-wide soundtrack community is about 5,000, with a majority of those in the United States. These are the people who will buy about
anything that is a score soundtrack. However, note that many of the Film Score Monthly and Varèse Club releases are limited to pressings of 3,000 and many have still not sold out (some, in the case of FSM, have been available for more than a
couple of years). Yes, we are a grand community, but we are a small one.”
This information recently appeared (and is re-printed with permission) at one of several Internet film music watering holes; FILMUS-L. Established in 1993, it’s an e-mail list available in digest or individual message basis, and is administered by H. Stephen Wright (Associate Dean for Public Services at Northern Illinois University Libraries). He estimated that the list has at its peak broken 400 members. The spread of those members incorporates some 300 in the United States and Canada, about 50 across Great Britain and Europe, and then there are a scattered few others as far apart as Australia, Brazil, Japan, New Zealand and Pakistan. Factors such as the economy of Internet access in some countries ought to be taken into consideration of course, but that’s a fascinating breakdown of how the community is roughly spaced out.
Not long after the creation of FILMUS-L, there was a call for something similar in Newsgroup form. rec.music.movies began in 1994, after a petition of votes was collected together. To give you the idea of the wholesome original intentions. Here’s the original proposal:
Date: 94-04-20 14:11:24 EDT
CHARTER
Rec.music.movies is an unmoderated newsgroup welcoming discussion and information on all aspects of music as it is used in motion pictures and television, including:
--Film / television score collecting and appreciation, whether it be serious or casual.
--Film / television music history.
--Film / television music composers or artists.
--Reviews of film music soundtrack releases on CD or LP.
--Reviews / discussion of music used in TV series or miniseries.
--The aesthetics of the use of music in film and television.
--The film / television music industry.
Sigh. How naïve we all were. Discussion schmiscussion. With years of hindsight, what anyone will tell you now is that the main use of such places is to follow Elfman’s definition finale – and fight! Of course there are news announcements, excited anticipation, casual enquiries and the occasional accidentally posted private missive. But on the whole the most fun to be had is participating in, or ducking under the spray from “heated debate.” I’ll have a little fun myself here and pluck an imaginary debate from the air:
Subject: Goldsmith’s Latest Disappoints
From: ScoreLad
Sum of all Fears is run-of-the-mill Goldsmith. Wish I hadn’t bothered. When will he get a decent movie?
From: GoldsmithisGod
you suck! sum of alll fears is genius stuff. if you don’t like itgo away
From: Whatever
Just to be a bit more constructive. What is it you think is “run-of-the-mill”? I really like the action material. Some of his best for years IMHO.
From: GoldsmithsNumberOneSun
RUN OF THEMILL? ITS BETTER THAN HORNERS 2 CARP JACK RYAN SCORES & EVEN BETTER THAN RED OCTOBER
NP THE HAUNTING
From: UncleFu**a
“CARP”??!!??
From: GoldsmithsNumberOneSun
YOU KNOW WHAT I MEAN MORONN
NP THE LAST CASTLE
From: ScoreLad
I just think I’ve heard the action licks too often recently and it’s a badly sequenced album. God knows why we need all those songs or Nessun Dorma again.
From: GoldsmithisGod
because they sell the album.
From: UncleFu**a
THANKS GOD
From: MODERATOR
That’s all folks!
You see? It’s fun isn’t it? Obviously the names, subject, language and typos have been changed to protect the guilty, but that’s certainly the flavour of a lot of what can while away the hours. The problem, though, is it’s hardly an interesting fight…
Back in the Dark Ages before we began subjecting ourselves to the likelihood of computer-related RSI (Repetitive Stress Injuries), our grand community simply had magazine Letters Pages to vent in. Kids today think they got it bad when a page won’t download for a few minutes. Just try waiting for a quarterly produced periodical to arrive through snailmail when you’re hoping for an answer to something! There have been plenty of magazines to come and go over the years, but inarguably the one to have attracted most interest and members from all walks of the industry is FILM SCORE MONTHLY.
FSM was born in June of 1992 to proud father Lukas Kendall. It’s a shame he and his team didn’t celebrate their 10th Anniversary in print this year. In fairness, the full extent of the FSM enterprise does keep them rather busily distracted. In addition to actually keeping (more often than not) to their MONTHLY schedule, they’re working through the exhausting process of regularly producing classic albums. As of 1997, they also had a website to maintain too. Film Score Daily similarly manages to keep to its promised schedule more times than not. But if there’s one thing likely to be more time-consuming than most, it’s any participation in their Message Board. Starting in late 1998, it’s remained the most popularly frequented hotbed for film music debate, with 1848 members currently registered.
You’ll find a handful of similar Boards elsewhere on-line. The majority sit idle for some time in between postings. There are composer fan pages that attract a fair amount of traffic to discuss their particular career. But there’s only one other general topics competitor at MovieMusic.com, which, by my own painstaking maths (gasp), has just over 1500 members. What you have to figure into any such numbers is the likelihood that several individuals will have rejoined multiple times so as to conduct conversations with themselves, and generally piss off the masses. And it’s to these sorts of personality and their behaviour I turn to now…
Anyone remember the Shootback Forums we had here originally? Sadly, they didn’t last long. I am gratified on an almost daily basis for the private e-mail I receive thanking me for the Column / asking me questions / inviting me to take out a Loan. There was something about my own Board that was far more fun in its immediacy and ability to incite riots, though. It and all the others disappeared simply because they became overrun by people who apparently have nothing better to do than spout profane abuse. Hopefully the irony in the scenario wasn’t lost on anyone. Movie Poop Shoot exists because of the movie JAY AND SILENT BOB STRIKE BACK, wherein they take revenge on all such time-wasting idiots.
I’m pleased to say there really is only a small handful of this personality type drizzling their poison into the film music community. I only wish more people could learn to ignore them as I have come to. If I spent the time reacting to every subtle or vitriolic disagreement with things I’ve said, I’d have no time to be writing anything else. Hang on – that logic imploded in the cold vacuum of space pretty fast. But I hope you get my point. “Life’s too short” etc., etc. Cliché ad finitum.
No, my point isn’t a futile request for people to play nice. My point is people don’t converse. FILMUS-L, rec.music.movies, FSM and MovieMusic.com were all set up to allow the world to “fight” over film music. I just think what’s been lost along the way is an understanding of what it means to fight about something. It should mean “discussion”, as was highlighted in the CHARTER above. All too much is merely bickering today sadly.
I believe that anyone who has a passion for film music has something intelligent to say. Nerds, Geeks, Buffs, Fans, Aficionados, Enthusiasts, Devotees and Followers I implore you to take your jackets off and say it. What’s needed is not for more people to say more, but to say more!
I wholeheartedly agree with how Elfman closed his Introduction: “…God bless all the ‘Film Music Nerds’ who keep the torch burning.”
NEWS NUGGETS:
Recommended recent score CD releases to check out:
FAR FROM HEAVEN – Elmer Bernstein, Varèse Sarabande VSD- 6421 ****
Todd Haynes attempts a 50s’ throwback movie, even if unable to completely escape the political correctness that tinges all contemporary movies. Greatly in its favour is this gorgeous score from Master Bernstein. Piano is a dominant voice, but backed by often surprisingly dramatic writing for full orchestra. When reviewers trot out the old cliché about them “not writing ‘em like they used to”, it’s not this score they’re talking about (!) Is that Oscar I hear calling?
ARARAT – Mychael Danna, Milan 198 936-2 ****
This was the subject of my trip to Toronto earlier in the year. As such, I sort of feel talked out about the score, but there really is a lot to talk about. It’s Danna’s seventh feature collaboration with director Atom Egoyan and possibly the most dramatically ranging in terms of music. Principally that’s down to the structure being that of a film within a film. Danna travelled and heavily researched the subject of the Armenian people, resulting in the most appropriate and affecting use of the duduk reed instrument there’s ever been in film. And before that seems like a flip comment, the frame of reference here takes in: GLADIATOR, RONIN, THE CROW and THE 4th FLOOR amongst others. Danna is renowned for an ability to think outside the box, ranging stylistically in unpredictable ways. To me, this is best time he’s spent within the box. He’s given the inner walls of Egoyan’s very personal tale a beautiful lining.
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THE DYING SWAN – Joby Talbot, Black Box BBM1078 ****
This British composer’s name is mostly known in connection with the TV show THE LEAGUE OF GENTLEMEN and the band THE DIVINE COMEDY. He has also dabbled in film however, with a very fine addition to the previously Silent THE LODGER by Alfred Hitchcock. Apparently following that up is this Russian Silent hailing from 1916, and telling the tale of an artist’s attempts to depict death. This album’s sub-heading is “Music for 1 to 7 players”, and the score’s Suite itself is sub-headed “for piano trio”. The film and score have actually been on a tour of live performances in the UK. It’s probably a little redundant to say so, but that’s really the best way to enjoy the project. With a heavy sigh, I regret not having had the chance to experience the live event, but this album certainly conveys the hardships a composer faces in such a gig. To say it is a complicated work is not being disrespectful in the least. But when there’s no dialogue or soundtrack to compete with, a lot of the normal film scoring rules no longer apply. As such, tracks of 15 or 10 minutes length are quite appropriate. The upshot is a large ranging of emotions and ideas, difficult to encompass within the usual soundtrack-reviewing format (see the Dictionary a few Columns back!) The album is also doubled up with 4 pieces of his classical works, and since they’re sequenced first, they have the effect of lumping the film score in as of the same ilk. I would personally have much preferred to see THE LODGER or other TV work represented together. Nevertheless, the concept is to show range, and it does so. It’s the only real introduction currently available to the composer out there. So seek it out with all haste!
THE INDIANA JONES TRILOGY – John Williams, Silva Screen FSMCD 365 ***
Anyone close to the material will naturally be reacting to every differing nuance in the performance. Anyone with an even vague familiarity with Silva’s output will be prepared for this though! That’s not to take away from the concept or the spirit of this re-recording, but it is precisely that – a re-recording. And whereas buyers of their GODFATHER TRILOGY might be less familiar of more forgiving of their purchase, the Jones / Williams fans won’t be. Anyone who doesn’t have the international album of TEMPLE OF DOOM will be curious about the couple of tracks featured (“Nocturnal Activities”, “The Mine Car Chase” and “Finale & End Credits”). Otherwise I’m a bit stuck for how to recommend the collection.
We celebrate the following Birthday:
Rachel Portman (BENNY AND JOON / EMMA / THE CIDER HOUSE RULES)
- born 11 December 1960, Haslemere, England.
LINKS:
FILMUS.L
rec.music.movies – can be found in your Newsgroup List.
FILM SCORE MONTHLY
MOVIE MUSIC.COM
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