Film Score Focus

Have you ever heard of the name Scott Bradley? If you haven't I would bet that you are already quite familiar with his work. He's one of America's greatest composers but you won't find him in the concert hall or in any conservatory. He's the man behind the music of TOM AND JERRY.

When MGM started their first animation studio in 1939, William Hanna and Joseph Barbera teamed up to create their first animated short film which was entitled PUSS GETS THE BOOT (1940). It featured a charming brown mouse and a cat named Jasper who was hell-bent on catching him. The film, featuring music by MGM composer Scott Bradley, garnered Hanna-Barbera their first Oscar nomination and launched a franchise which would eventually turn into TOM AND JERRY.

Hanna-Barbera continued to produce TOM AND JERRY cartoons (among others) while Scott Bradley continued to score them until 1957 when MGM shut down their animation department. This week on FILM SCORE FOCUS I want to reintroduce you to the glorious music behind TOM AND JERRY and ignite a well deserved spotlight on the acrobatic musical talents of Scott Bradley.

Here is the lineup for FSF-103 Tom and Jerry and Scott



Each selection on the program this week features an entire score from a TOM AND JERRY short film. Much of Bradley's music has never been heard apart from the short films until the good folks over at FILM SCORE MONTHLY released a 2-CD set of Scott Bradley's music from the TOM AND JERRY series as well as his scores for Tex Avery who was the brainchild behind Droopy Dog and other zany cartoon characters. Of all the CDs that were released in the last year, this is one set I truly cherish the most. I have been a humongous TOM AND JERRY fan since I was a child so it's a real treat to finally own at least a little bit of Bradley's music on CD.

There are three volumes of TOM AND JERRY cartoons out on DVD that any fan of the series should own.



Along with Carl Stalling who is credited with the large majority of music for the Looney Tunes series with Warner Brothers, Scott Bradley has helped define the art of scoring for cartoons. As a composer myself, I'm in awe of this form of highly concentrated film scoring where not a second goes by where the music isn't accenting or hitting a mark with something on screen. The music can turn on a dime and change at a moments notice yet each measure is seamlessly woven together as if to be inevitable. When you listen to this music you can close your eyes and almost picture the entire cartoon in your mind. Bradley is one of many geniuses behind the epic masterpieces that is TOM AND JERRY.

Enjoy!

The end of the year is rapidly approaching and to cap it off I have planned a very special edition of FILM SCORE FOCUS that I need your help to program.

ATTENTION! CALLING ALL LISTENERS!
What are your favorite scores of 2007?

For the last show of the year I have decided to compile a program featuring your favorite film music from 2007. I'd like to ask you to email me at brian@filmscorefocus.org and let me know what your favorite scores of the year are. You can list one, or three, or however many tickled your fancy this year. There really is no limit. If you list a bunch be sure to rank your top three. I'll then compile a program of scores that appear the most from everybody's collective emails.

Can't remember what scores came out in 2007? Look it up on IMDB.com.

Will your favorite score be included? Will mine? You'll have to wait until December 27th to find out. Don't delay. Email me today!!

Happy Thanksgiving! It's November and next week people all over America will be thanking their way through the weekend with a celebration of food, football, families, and hopefully, film music. There aren't too many Thanksgiving films out there but there are plenty of movies highlighting an integral part of our Thanksgiving culture and that is the culture of Native Americans.

Now, it's widely documented that our nation's history hasn't always been spectacular in regards to Native American relations but mired in the popularity of negativity there are stories of generosity, hope, courage, friendship, and humility. This week on FILM SCORE FOCUS we're going to celebrate the spirit of Native Americans past and present with film music from movies with a Native American centerpiece.

Here is the lineup for FSF-102 The Native American Spirit



Our first selection is THE NEW WORLD (2005) which was directed by Terrence Malick who was born in Waco, Texas and is a resident in the Austin area. James Horner composed the music which falls right in line as a definite work by Horner. Soft, lush strings, swelling phrases, delayed entrances in the basses, modulating climaxes...these are all very characteristic of James Horner's music which is heard prominently in this score. I especially like the usage of birdsong recordings in in the music.

THE NEW WORLD chronicles the story of John Smith (played by Colin Farrelll) who left the settlement of Jamestown in search of trading partners among the Native Americans. Along the way he meets and falls in love with Pocahontas (played by Q'Orianka Kilcher) thus challenging his duties as governor.

If you polled a group of one hundred film music lovers and asked them what their favorite scores are, I would expect to see DANCES WITH WOLVES (1990) composed by John Barry, crop up on many fans' lists. I couldn't have a show on Native Americans and not include this modern classic directed by Kevin Costner. Barry also won the Oscar for Best Original Score for his efforts.

Another modern classic to highlight the Native American spirit is THE LAST OF THE MOHICANS (1992) which was adapted from the classic novel by James Fenimore Cooper and directed by Michael Mann. Two composers were hired to craft their magic into this film: Trevor Jones and Randy Edelman although on the program this week we'll only be hearing cues from Jones.

One film that might have slipped under your radar is the independent film SMOKE SIGNALS (1998) which was one of my favorite movies of that year. This film tells the tale of two young teenage Native Americans growing up on a reservation trying to find their way in life. One is quite the nerd who loves to annoy everybody with his tall tales and stories of his heritage while the other seeks out his father whom had deserted him a decade ago. It's a touching tale that casts subtle light on the various facets of growing up as a Native American in modern times. If you missed it, I highly recommend sitting down with some frybread and this movie.

WINDTALKERS (2002) is a heroic tale of how the Navajo code helped beat the Nazis in World War II. Toward the later half of the war, the Germans were able to intercept and break many of our codes used to convey secret plans and troop movements. The one code the Nazis never broke were the ones using the Navajo language. This film starring Nicholas Cage, chronicles the story of two marines stationed to protect the Navajo Marines.

Having composed several Native American themed films in the past, James Horner was called upon once again to head up scoring duties. Like THE NEW WORLD which we heard earlier or some of this other Native American themed scored like THE MISSING (2003), LEGENDS OF THE FALL (1994), or THUNDERHEART (1992), Horner composed rich, dynamic orchestra music while incorporating subtle variations of Native American music within its boundaries. It's another luscious score that Honer fans will certainly embrace.

The final selection for the week is BURY MY HEART AT WOUNDED KNEE which was made for HBO earlier this year and features a gorgeous score by George S. Clinton. He employed the talents of famed Native American Lakota flutist, John Two-Hawks within his lavish and epic sounding orchestral music. He was nominated earlier this year for an Emmy for Best Score while the film garnered the award for Best Film. Varese Sarabande has announced it will be releasing the score on CD before the end of the year. Visit Varese Sarabande for more information.

BURY MY HEART AT WOUNDED KNEE tells the story of Charles, played by Adam Beach, who was taken from his reservation and assimilated into "white" America. It's another telling tale of Native American culture and how our histories both feature actions in which we are proud of and others we as a people are not so proud of. It's a great film which just came out on DVD a few months ago.

All of the films featured on the program this week have more in common than meets the eye. Adam Beach, who starred in BURY MY HEART AT WOUNDED KNEE, also stars in SMOKE SIGNALS and WINDTALKERS. It should also be noted that famed Native American actor Wes Studi starred in THE NEW WORLD, DANCES WITH WOLVES, THE LAST OF THE MOHICANS and BURY ME AT WOUNDED KNEE.

This Thanksgiving I hope that you give thanks for everything that you are thankful for in your life. Me? I'm very thankful for a lot of things and one of them is the ability to bring a collection of great film music to audiences each week. I'm thankful for my family and for all the blessing bestowed upon me. I hope this Thanksgiving season a little bit of music can help you reflect on the things you are thankful for and bring you comfort during this festive time. I hope you enjoy the program and I wish you a very Happy Thanksgiving!

A couple of months ago I got an email from an avid listener of KMFA and a fan of FILM SCORE FOCUS asking me to do a show on Greek composer extraordinaire Mikis Theodorakis. I get great show ideas all the time and I'm always open and attentive to any and all ideas that fit the format of the program and this occasion was no different. However I had to humbly reply back that I had very little exposure to the composer and had absolutely zero recordings in my personal collection from which I pool most of the programs together. I was actually more familiar with Theodorakis' concert music than I was with any of his film scores. I also told him that although I'm not opposed to the idea it would take some time to track down the necessary titles to do a worthy program. Well, I was wrong.

Within a week I received a package of eight or so CDs containing Theodorakis' film music. He had graciously lent me his entire collection too pool a decent program from. What a treat! Here was a composer I knew very little about and had very little experience with which was now all at my doorstep in abundance. I spent the week pouring through the materials and indeed found a wealth of interesting film music. After that the show was very easily put together.

Here is the lineup for FSF-101 It's All Greek To Me



I decided to kick off the program with one of two scores that stood the greatest probability of familiarity with U.S. audiences amongst all of Theodorakis' film scores. It's SERPICO (1973) which starred legendary actor Al Pacino and was directed by another legend, Sydney Lumet. The other Theodorakis score that might have the best chance being known among many U.S. movie-lovers is ALEXIS ZORBA or ZORBA THE GREEK (1975) which starred Anthony Quinn in the title role.

But this show doesn't have to be about what's already familiar. After all, what I love about FILM SCORE FOCUS is the opportunity to discover film music which is what this particular show is really all about for me.

Thus enters two of my new favorite Theodorakis scores. The first is simply titled Z (1969) and the second which I truly love is ÉTAT DE SIÉGE or STATE OF SIEGE (1972). These scores reflect the Greecian folk roots and religious influences embedded in all of Theodorakis' music. No matter what context the film brings, a sense of "common-man" folksiness permeates his film music. The infectious flute tune opening STATE OF SIEGE has been engrained in my brain since I first heard it.

PHAEDRA (1962) and ELECTRA (1962) are two films that I haven't seen but upon listening to the scores further cement the lasting traditions that Theodorakis expresses in his music.

I decided to close out the program with LE COUTEAU DANS LA PLAIE or FIVE MILES TO MIDNIGHT (1962) which is a French film starring Sophia Loren and Anthony Perkins. Suspenseful thrillers became one of Theodorakis' calling cards making him the European Bernard Herrmann which is evident in this score.

For to truly appreciate the music of Theodorakis it is important to understand the man. Reading over his biographical notes it struck me the pains and tribulations he went through during a time of great turmoil.

Here are some biographical excerpts from his web site:

Mikis Theodorakis was born on July 29th 1925 on the Greek island of Chios. Fascinated by music already as a child, he taught himself to write his first songs without access to musical instruments. In Pyrgos and Patras he took his first music lessons, and in Tripolis, he formed a choir and gave his first concert at 17.

After having been active in the resistance against the occupation troups and terribly tortured during World War II and later on, during the Greek Civil War, he studied at the Athens Conservatory in the class of Philoktitis Economidis and at the Conservatoire of Paris, where he studied musical analysis in the class of Olivier Messiaen and conducting under Eugene Bigot. The time in Paris was for him a period of intense artistic creation.

His first symphonic works, Concerto for Piano, First Suite, First Symphony, were internationally acclaimed. In 1957 he won the Gold Medal in the Moscow Music Festival; in 1959, Darius Milhaud proposed him for the American Copley-Music Prize as the Best European Composer of the Year after the performances of his ballet "Antigone" at Covent Garden.

Theodorakis went back to Greece and to his roots, to genuine Greek music, and with his song cycle "Epitaphios", he started a cultural revolution in his country. With his marvellous works based on the greatest Greek and world poetry: "Epiphania", "Little Kyklades", "Axion Esti", "Mauthausen", "Romiossini", "Romancero Gitan"… he gave Greek music back its dignity and, while developing his concept of metasymphonic music, he was soon recognized internationally as a musician of genius, and, indeed, Mikis Theodorakis is undoubtedly Greece's greatest living composer.

He founded the Little Orchestra of Athens and the Musical Society of Piraeus and gave many concerts, while in 1963, he founded the Lambrakis Democratic Youth and was elected its president. In 1964, he became a member of the Greek Parliament.

In 1967, a fascist Junta putsched its way to power. Theodorakis went underground and founded the Patriotic Front. The Colonels published Army decree No.13, which banned playing, and even listening to his music. Theodorakis himself was arrested, jailed, banished to Zatouna with his wife Myrto and their two children Margarita and Yorgos. Later he was interned in the concentration camp of Oropos. An international solidarity movement, headed by such figures as Dmitri Shostakovitch, Leonard Bernstein, Arthur Miller and Harry Belafonte managed to get Theodorakis freed and his sentence converted to exile in 1970.

In exile, Theodorakis fought for the overthrow of the colonels and the unity of resistance forces. World-wide, he gave some thousand concerts as part of his struggle for the restoration of democracy in Greece. He became an universal symbol of resistance against dictatorship.

After the fall of the Colonels, Theodorakis triumphantly returned to Greece, continued his work and his concert tours both in Greece and abroad. At the same time he participated in public affairs. He was later elected several times to the Greek Parliament (1981-1986 and 1989-1993) and for two years, from 1990 to1992, he was Minister in the Government of Konstantin Mitsotakis. After that, he was appointed for another two years General Musical Director of the Symphony Orchestra and Chorus of the Hellenic Radio and Television.

Mikis Theodorakis has always combined an exceptional artistic talent with an intensely deep love of his country. He is also committed to heightening international awareness of human rights, of environmental issues and of the need for peace. It was for this reason that he initiated the Greek-Turkish Friendship Society together with the renowned Turkish musician and singer Zülfü Livaneli.

© Guy Wagner. List of works based on the researches of Asteris Kutulas

Whew! That's a hard life for somebody merely trying to inject the world with infectious music.

I'd like to thank Charles Anderson for the suggestion and for his help with the assembly of this program. I definitely couldn't have done it without him.

Wow! It's amazing how time flies. Two years. One-hundred shows.

It doesn't seem that long ago when I received a phone call from Stephen Aechternacht, the founder and original host of FILM SCORE FOCUS, who called to tell me two things. First, was that he was stepping down as producer and host of my favorite film music radio program. I had known Stephen since he first developed the show back in 1999 and throughout the course of his tenure had made about two dozen guest appearances on the program. It was always a treat for me to get on the air and chat with Stephen about our favorite topic. There aren't too many people in the world who can match my passion for film music and Stephen is definitely one its champions. As a rabid fan of music and of FILM SCORE FOCUS I was sincerely bummed that he was stepping down.

But then, he told me the second thing...

He said he had recommended me to the station to take over the show. I was shocked! I had never in my life ever thought I'd be doing a radio program. I didn't hesitate to say "yes" and after a meeting with Jack Allen, station manager at KMFA, FILM SCORE FOCUS was going to continue with yours truly behind the mic.

When the time came to actually program my one-hundredth show I didn't know what to do right away. I toyed with several ideas before eventually realizing that there is no better way to celebrate the occasion than by taking everybody, including me, on a trip down memory lane. I've never done a "greatest hits" show before so now was perfect time to indulge in it.

I looked back on all of my one-hundred shows and pooled together some selections from some of my very favorites.


Here is the lineup for FSF-100 100 Shows and Counting...



Ever since my first program it has been a goal of mine to uncover and introduce new and exciting film music that listeners might not normally be privy to listening to. Although I love to include the old classics and fan favorites, it's these less exposed works that I think make up the true heart of the program. I try to push the boundaries a bit really broaden what many people's definition of film music is or what it can be.

The first time I felt daring enough to venture outside of the "normal" realm was on February 7th, 2006, three months after taking over, when I programmed a show entitled THE WILD WILD EAST (FSF-014) featuring film music from modern Asian cinema. I a HUGE fan of Asian cinema and had been listening to a lot of great new film music coming out of Japan, China, and Korea, and wanted to share that with the audience.

I thought that this may be the first show that people wouldn't like and assumed the response wouldn't be terribly favorable. Well, I learned quickly what kind of audience I was dealing with because I received more emails from people loving this show than any previous show up to that date. People asked me questions about what they heard, where they could hear it again, and I was thrilled that it resonated so soundly with so many.

The next time I tried to push the envelope again was on June 7th, 2006, with a show entitled EVERYBODY VS. GODZILLA (FSF-029). I love Godzilla movies and there are so many to love. There's also a wealth of great film music attached to each movie. Legendary Japanese composer Akira Ifukube composed the majority of the Godzilla films and I couldn't wait to assemble as many titles as I could cram into an hour. This one was probably one of my top three favorite shows to date.

One show I wanted to do for a long time first aired on June 2nd, 2007,was called YOU'RE FIRED! (FSF-079) featuring rejected scores. Yes, composers get fired too and they're music is often lost along with their canning. However a few rejected scores have found there way to audiences which I thought would make for an educational and interesting listening experience.

On February 10th, 2007, I aired a program entitled TWO "LEGEND"ARY SCORES (FSF-064) which featured a side-by-side comparison of the score Jerry Goldsmith did for the 1985 film LEGEND by Ridley Scott which was only used in the UK release of the film with the score that Tangerine Dream composed which was released for the US version of the film. It's a rare circumstance where two composers composed two scores for two different releases of the film.

I love Danny Elfman and I especially love his main titles. I assembled an hour's worth into a show called MAIN TITLES OF DANNY ELFMAN (FSF-036) which aired on July 22nd, 2006.

One of the most requested and often asked about pieces of film music I've ever played on any program came from the 2005 film THE ISLAND directed by Michael Bay. I had actually played "My Name is Lincoln" several times throughout the last couple years and people really seem to respond to it each time I play it. It's a favorite of mine especially when I run so I featured it on a show which aired on June 20th, 2007, called BRIAN'S IPOD RUNNING MIX (FSF-083). I got a lot of emails about this show from fellow runners who really enjoyed the suggestions. If you're a runner and you enjoy film music then combine the two together for a truly remarkable running experience. I really liked this show in that it added a new category to the program. Shows are entertaining, educational, and now utilitarian.

I'm a big baseball fan so in the winter of 2006 I was really missing it. I decided to revisit the diamond with a show on baseball-themed film music which I called A WINTER WORLD SERIES (FSF-012). It first aired on January 28th, 2006.

My top two favorite FILM SCORE FOCUS programs round out the final two spots on this weeks show. It's hard to pick one over the other so I'm going to declare these last two a tie for my very favorite show. MIYAZAKI'S MASTERPIECES (FSF-053) which aired on November 25, 2006, featured music by Joe Hisaishi for many of Hayao Miyazaki's animation masterpieces. If you have never seen a Miyazaki film I highly urge you to pick one, any one, and indulge yourself.

Not far behind that program is a rather interesting show I did on piano-exclusive scoring called MUSIC FOR EIGHTY-EIGHT KEYS (FSF-071) which aired on March 22, 2007. There isn't a whole lot of solo piano scoring in film music so it was a real treat for me to hear it all collected into one show.

I can't believe it's been two years but I'm thrilled and honored to be continuing the traditions set forth by KMFA and Stephen Aechternacht for as long as I am able. I'll do my very best to bring as much great film music as I can week in and week out. When I first started the program I complied a huge list of show ideas I could farm throughout my tenure. During the course of two years that list actually grew so there's still many more great programs to come.

Thanks again to KMFA, to Stephen, and to each and every listener who is truly the one making this show great.

Happy listening!