SOUNDTRACK FAN

Tom Hoover: How long have you enjoyed movie soundtracks, and what scores cemented your love for film music? Was it an impression gained at an early age or later in your life?

Mark Renshaw: I have enjoyed movie soundtracks in ignorance for as long as I remember. As a young “whippersnapper,” I listened to the Jungle Book vinyl album on an old gramophone player so often (sometimes at the wrong speed!) I literally wore it out. My grandfather was a Royal Marine, so we would watch World War II movies together. I don’t think I will ever forget the goose bumps and the patriotic feeling I experienced the first time I watched The Dam Busters. I have no doubt that subconsciously a large factor of my enjoyment was due to Eric Coates’ signature march around which the rest of the film’s score was based.

I mention “in ignorance” and “subconsciously” above due to a rather embarrassing confession. To me, a score written by a composer was just classical music created by people like Mozart. As hard as it may seem to me now, I failed to separate the two mediums. Music was just part and parcel of the movie, something added as an afterthought by the director when the filming was finished. Sacrilege, I know!

I would say it was about 10 years ago that I realized how much of an art form soundtracks can be and how much they envelop a scene, set a mood, build tension, or enhance a reaction. I think it was Gladiator that gave me the much-needed slap in the face. Suddenly, I realized all my favorite movies had amazing soundtracks, and the music played a major role in their success. It was like the world’s biggest facepalm!

Tom Hoover: As someone who has a good knowledge about the entertainment scene both here in the U.S. and where you’re at in England, how would you say the soundtrack fandom might differ between the two countries?

Mark Renshaw: We always seem to be behind the U.S. when it comes to recognizing the true talent in the entertainment industry. While you guys were applauding geniuses like Jack Kirby and comparing artists in comics, we were discussing who would win in a fight between Spider-Man and Batman. Similarly, over the last decade or so, writers in movies and TV shows are finally receiving the recognition they truly deserve. Again, this was primarily led by the U.S. fans, and I feel it has been the same story with composers.

The passion in the U.S. for the entertainment industry is like nothing I’ve experienced in the U.K. We see the whole package and simply decide whether we like it or not. For too long we have been guilty of only recognizing the actors and the director. In the U.S. they dig deeper, dissect the entire cast and crew, pick up on the good writers, composers, even cinematographers!

The good news is the Internet has helped us to catch up quickly. When The Dark Knight was released, people discussed the soundtrack with as much awe as the movie itself. The CD was a big hit here; it reflected how commonplace it has become to see soundtracks in the stores being treated with equal prominence. It pleases me to see that the number of fans and the appreciation of movie, TV, and even game scores has grown exponentially in the UK.

Tom Hoover: In your opinion, how big of an impact can a proper score make on a film? For example, have you noticed some scores have turned average pictures into better movies?

Mark Renshaw: I cannot emphasize enough how much a great score written by a great composer can impact a film. Music can adopt a range of roles, from being background atmosphere enhancing the emotional reaction to being an intrinsic part of the entertainment. A prime example: If you watch the slow-motion running scene in Chariots of Fire without sound, then again with, there is no doubt Vangelis’ theme makes it one of the best scenes in modern movie history.

There cannot be any discussion about soundtrack scores without mentioning John Williams and Star Wars. The original made a massive impact on the scene, rekindling the demand for full-scale orchestral scores after something of a lull, and even daring to bring back the concept of different themes to differentiate between the protagonist and antagonist. The prequels continued this legacy; you simply cannot separate the fight between Darth Maul and Obi-Wan Kenobi/Qui-Gon Jinn from the stunning “Duel of the Fates.” A lesser score or no score at all would have made the whole fight seem like a broken pencil—pointless.

Yet a score does not need to be a huge orchestration affair blowing out of the speakers to have a significant impact on the audience. Movies like Jaws and Halloween proved just a few bars of music can be sufficient to signify a menace. Sometimes less is indeed more. Great composers know the exact moment to include a silent segment in the score—occasionally right in the middle of the action or dialogue to provide the most impact.

As for scores that have turned average movies into better movies... Personally, I think X-Men: The Last Stand is a great addition to the X-Men franchise, but it appears I am in the minority with this opinion. I believe the main reason the film works so well (for me) is I find John Powell’s score incredibly powerful and deeply moving.

There are some movies that cannot be saved no matter how great the score. Battlefield Earth, for example; in my opinion, even if John Williams, Jerry Goldsmith, and Hans Zimmer had joined forces to work on the score for BE, it still would have turned out to be a great big pile of poop!

Tom Hoover: In the U.K., there are quite a few noteworthy scores that hail from the television circuit. Is this something you also keep an ear on, and if so, what are some of your favorite TV scores?

Mark Renshaw: Oh, yes! I am a huge Doctor Who fan, for a start. Undoubtedly Murray Gold’s magnificent scores for Doctor Who and Torchwood have played a major part in making them huge hits both in the U.K. and internationally. His efforts achieved national recognition when his work was played by Ben Foster and the BBC Philharmonic at the Royal Albert Hall for a Doctor Who at the Proms special.

Other noteworthy scores from the U.K. television circuit include Spooks, the latest adaptation of Merlin, Life on Mars/Ashes to Ashes—plus going further back, Red Dwarf, The Avengers, Space 1999, and I had best stop there before I look both geeky and old!

Tom Hoover: Do you find that soundtracks help inspire you in your creative endeavors, such as when you do your writing or video editing?

Mark Renshaw: I find all types of music can inspire me creatively, but soundtracks motivate me the most. I have created hugely complex actions scenes and some intense dialogue in my mind when listening to a great soundtrack.

For example when I listen to “Molossus” from Batman Begins, the adrenaline starts to pump, and I am whisked away to another world in my mind, where a group of heroes are battling a demigod. I can visualize the characters, create their background stories, and dictate the steps that lead them to this encounter. I can choose the camera angles plus edit the footage, adding slow motion and other effects to the scene. The music tells me when a hero should fall or when a fatal blow is to be struck on the protagonist. It sets the flow of the scene, the tempo, the look, the feel—even the smell of it!

I can do all this in my mind in the 4 minutes 50 seconds the track takes to run. I find it great fun and quite therapeutic! The problem is that although music inspires my creativeness, I am faced with restrictions in the tool I am trying to use to convey my ideas, or real life gets in the way. I always find I have to make a compromise from the original ideas the music inspired.

Tom Hoover: As a father, do you plan on introducing soundtracks to your children, and if so, which scores will be included in this starter kit?

Mark Renshaw: I have a 20-year plan, each set into five-year segments that follow certain themes. This includes a year-long session in an isolation chamber with an iPod, tools to make a rudimentary lathe, and a copy of Keeping Score by Tom Hoover.

I am kidding, of course—especially if any members of the social services are reading this!

The actual plan is to let my children grow to like the TV shows and movies they naturally would as they develop. Remembering my own ignorance, rather than let them take the music for granted, my aim is to find ways to demonstrate to them the importance of soundtrack and to appreciate it as a separate entity. My son is seven now and already loves Doctor Who and Star Wars. So I let him watch Doctor Who at the Proms, and he loves watching the “Duel of the Fates” trailer, which includes clips of The Phantom Menace along with segments of the soundtrack-recording sessions with the orchestra.

I hope as time goes on the penny will drop, and he will start to purchase soundtracks and show much more recognition than I did at his age. If not, it will be time to get the cricket bat out! Members of the social services, please refer to my last comment, which included the word “kidding.”

Tom Hoover: How impressed are you with the elaborate nature of today’s videogame music? Also, how do these scores heighten your own game-playing experience?

Mark Renshaw: In my opinion, one of the greatest instrumental solos ever is from a videogame—the “Tristram Village” theme from the Diablo II soundtrack. Anyone who ever played this game is instantly transported back when they hear that song, even though the game was released 10 years ago.

As a self-confessed “gamer,” I find music helps immensely. Some games have full orchestral scores, like World of Warcraft and Lord of the Rings online. In these MMORPGs, each “zone” or area has its own score. The beautiful Scottish-inspired music that plays as you explore the majestic mountains of Howling Fjord in World of Warcraft helps make this a truly immersive and memorable experience. Similarly, the music that plays in Rivendell in Lord of the Rings as you wander around near the cascading waterfalls is simply stunning.

In survival horror games, music plays as much a part of driving home the tense atmosphere as it achieves in movies. The best example of this personally is Akira Yamaoka’s haunting score for Silent Hill 2, but as the case was with Halloween, sometimes a simple score is just as effective.

I recently played Prototype, which can be best described as I Am Legend meets an ultra-mutated Spider-Man/Wolverine type symbiote. The soundtrack for the game is simple but incredible. Every time you load the game in, the camera pans up the side of a building to reveal a brooding Alex Mercer poised at the top as he overlooks a city consumed by a super virus, the music kicks in, and you are hooked; it is simply brilliant.

Tom Hoover: What message would you like to have conveyed to the composers of today?

Mark Renshaw: Personally, I would like to first thank them for the extraordinary music they create. They make the mundane manageable, the average enhanced, the decent delicious, and the remarkable truly breathtaking.

I would like to convey a word of warning, though. As scores have become more mainstream, it appears the demand has increased exponentially. Faced with tight deadlines and increasing pressure from the studios, it is becoming obvious some movies are using scores from other movies. In other instances, it is apparent when a new score has been influenced, sometimes almost to the point of plagiarism by another score.

I would appeal to composers to try and turn this tide around, although I do realize a lot of this is outside their control. They need to continue to push the boundaries, stand up to the studios, experiment, and really continue to flex their creative muscle; otherwise, this new “golden age” of soundtracks we are experiencing may end abruptly.

SOUNDTRACK FAN

Tom Hoover: What should the movie industry know about the soundtrack fan of today?

John Schanen: That we still love for the films to be accompanied by strong orchestral music.

Tom Hoover: Before the Internet Movie Database was prevalent, one of my first action items when I saw a movie poster was to look at the credits to see who was doing the music. My next question takes that a step further, as I’d like to ask if you’ve ever decided to see a movie based on who the composer of that film was?

John Schanen: No, if it looks good regardless of the composer I will still see it, but I can tell you it makes me more excited to see the film if the score is composed by a composer who I like.

Tom Hoover: Would you categorize yourself more as a collector of soundtracks or a fan of the music? Or both?

John Schanen: Both. I am a huge fan of the music, but I also like to grab any score that is a classic regardless of how much I will probably be listening to it.

Tom Hoover: As someone who is engaged in various film-music communities and networks, can you speak to the camaraderie that exists between soundtrack fans and to the deep passion that listeners have for the music?

John Schanen: I believe the best way to describe it is as if we are all in love with the same basketball team. We all know every detail about the team, which makes for some great conversations. It is amazing how much detail we can all go into about a theme, motif, or composer. I have met people all around the world who can all connect through a common interest.

Tom Hoover: Who are some of the composers that seem to stir up the most heated debates, and what is about them that ignites these conversations?

John Schanen: Geoff Zanelli, Steve Jablonsky, and Ramin Djawadi—or as the film-music community calls them, Zimmer clones. I think what stirs up the heat is the repetitiveness. They all sound the same, but I could care less because if it sounds good to me, I will buy it.

Tom Hoover: For the most part, composers are quite appreciative of their fans and are often quite accessible to interact with in some way. Can you share some thoughts on the goodwill that exists there and tell us about some of the composers you’ve had a chance to meet over the years?

John Schanen: I have met Michael Giacchino, Brian Tyler, Chris Young, Hans Zimmer, James Newton Howard, Don Davis, and Marco Beltrami. I must say they are all down-to-earth people who welcome your enthusiasm.

Tom Hoover: As an optimistic person and an appreciative fan, do you often find at least some small component to enjoy from the majority of scores you listen to? Or are there some offerings that can only be described as debacles?

John Schanen: Yes, there is always something there for everyone, including me, to enjoy. On the other hand, there are a few soundtracks out there that are not worth listening to.

Tom Hoover: Do you tend to purchase soundtracks after you’ve heard the music in the film, or do you buy the material based on a composer’s track record?

John Schanen: The only composer I can faithfully buy before I see the movie is John Williams; he never lets me down. Every other composer I tend to buy after seeing the film.

Tom Hoover: Does the inclusion of non-score material on a soundtrack release ever deter you from buying the album? Also, how does a soundtrack’s running time factor into your purchasing decision?

John Schanen: I would rather put up with five songs on an album than [junky] dubbed dialogue on a soundtrack that sounds like a children’s read-along book. As for the running time, it does not matter to me as long as the cue I am looking for makes it on the CD.

Tom Hoover: When it’s all said and done, what is it about film music that generates the most excitement in you?

John Schanen: The songs today are limited by their lyrics. Film music goes beyond that, speaking to your emotions in a deeper way than lyrics alone can do.

Soundtrack Nation Bonus Question: If you had a chance to create the ultimate film-music compilation album, what are some of the cues you would include in it?

John Schanen:

SOUNDTRACK FAN

Tom Hoover: How deep-rooted is your appreciation for soundtracks, and when did this passion first emerge in your life?

Alan Dull: I have been a fan, collector, and “soundtrack geek” for many years now, and I appreciate the music on many levels. As a graphic artist, I have often worked on projects with just a vague idea of what was needed to achieve the desired impact. Therefore, I appreciate the challenges that a composer faces in creating a meaningful score. I have been listening to soundtracks steadily for more than 25 years. I still have some vinyl and cassettes in my collection, but the majority of my collection is on CD. As I write this, I have more than 1,900 scores and soundtracks—not as many as some, but a few more than others. When I go to a store or shop online, I always want to check out what soundtracks are available. There are a few used-CD stores around me, and I visit them often, hoping to find something new to add to my collection. As I sit at work, my headphones are almost always playing a film score. Depending on how my day is going, my choice in music will reflect that.

I can remember when I was just a kid that my sister Nancy had the double album of Star Wars. I don’t think I saw Star Wars in the theater. I was only four, but when I think back I do remember that album, and more importantly, I remember the music. I think it’s fair to say that I owe my love of film music to John Williams and to my sister. As a teenager, I would go to movies, and if there was some musical element that caught my ear, I would look to see if I could find the soundtrack on cassette. Sometimes I did, and I still have those “relics” today. I still have some soundtracks on cassette that sadly still haven’t been released officially on CD. Based on the crop of “holy grails” that have been released lately, I’m sure it’s a matter of time.

Tom Hoover: To give us a clear sense of your fandom, how vast is your personal soundtrack collection, and what are your most prized titles?

Alan Dull: As I mentioned before, I have quite a few soundtracks in my collection. There are film scores, TV soundtracks, and music from videogames. All genres of soundtracks are present. It’s hard not to sample and try different types of scores, especially when a lot of my favorite composers write a wide range of music. John Williams has written music for every type of genre out there. The same can be said of other favorite composers, like Christopher Young, Jerry Goldsmith, Howard Shore, and Michael Giacchino.

I have been lucky enough to have several of my CDs signed by their composers, and they adorn the walls of my den. Among them might be my most prized titles. Here are a few favorites, in no particular order: The Ghost and Mr. Chicken, signed by the late Vic Mizzy; Hellraiser, signed by Christopher Young, Clive Barker, and Doug Bradley; Young Frankenstein, signed by John Morris; Neighbors, signed Bill Conti; Halloween, signed by John Carpenter; and Medal of Honor, signed by Michael Giacchino. A few other titles that have a special place in my collection are Silvestri’s Predator, Goldsmith’s The ’Burbs and Psycho II, Young’s The Core and Urban Legend, and Williams’ Jaws and both his Star Wars and Indiana Jones series.

Tom Hoover: What are some of the factors that play into your soundtrack-purchasing decisions?

Alan Dull: I normally start with the composer. I am a follower of several composers, and I try to listen to everything they score. Another factor is genre. I am a horror fan, so any “horrific” soundtrack, past or present, automatically has my attention.

Tom Hoover: Please tell us which music labels are your favorites and why.

Alan Dull: I would have to say that Varèse Sarabande, La-La Land Records, and Intrada are my favorite labels. They certainly contribute the most to the soundtrack community when it comes to original releases and reissues.

Varèse Sarabande is the flagship when it comes to new, current soundtracks. A lot of big Hollywood movies get their soundtracks released through Varèse. Oh, let’s not forget their incredible Soundtrack Club. I know that I’m always up early when they announce their new club titles. Since I live in Ohio, that means I need to be up, awake, and ready to order at 3:00 a.m. That is small price to pay so that I get my order in before they sell out. They sure go fast, don’t they?

It’s always fun to see what La-La Land will be offering, and it’s a game for those of us on the message boards to read the vague clues and to speculate about what Intrada will release next. Thanks to Intrada for making it fun and for the spectacular releases over the years!

Other labels that I like are Percepto Records, Perseverance Records, Howlin’ Wolf Records, Buysoundtrax, and MovieScore Media.

Tom Hoover: How would you say the love of music with soundtrack enthusiasts compares to the fandom that individuals exhibit for movie franchises such as Star Wars or Star Trek? Is the appreciation at a comparable level?

Alan Dull: As a soundtrack enthusiast, I am just as passionate as any “Trekker.” In a lot of ways, we are very similar. We both have a deep level of emotional tie to our subject. We both share in the love of collecting and finding new items to add to our collections. We both have our favorite composers/characters and will defend them until our last breath when someone else disrespects them. We both enjoy the sheer volume of information available and love to share our knowledge with others—whether they want to hear it or not. We both have been affected enough to attend conventions and chat online in order to meet others who share in our common interests. While we soundtrack enthusiasts argue “Williams or Goldsmith,” the “Trekkers” argue “Kirk or Picard.” I have made a few great friends discussing and sharing opinions and information about soundtracks, and I feel very lucky to have been able to find these friends. We are somewhat under the radar compared to franchise fans, but we have just as much love and respect for our composers and music as they do for their Tribbles and Phasers.

Tom Hoover: From your vantage point, what are some of the key attributes you’re looking for out of the young, emerging composers on the scene? In short, how do the composers of tomorrow win you over today?

Alan Dull: I want them to entertain me and give me something worth listening to. I want their music to work with the film, TV show, videogame, et cetera. I want them to put their hearts and souls into their music and make a connection with the listener. My message to them would be: Try and find your own sound. I know that must be hard to do today, but if you want to be remembered, compose something memorable. There are a lot of new, talented composers out there, and I hope they all get their chance to be heard.

Tom Hoover: What would you like to see changed in how soundtracks are sold to the consumer? Are there any improvements that you can suggest?

Alan Dull: Definitely more physical releases! Let’s all just stop with the “download only” releases. Yeah, it might be cheaper for the studio or composer, but it’s not really fair to us collectors. Perfect example: Michael Giacchino’s Academy Award–winning score to Up...download only. Really? I don’t know about you, but I have a hard time accepting that the studio can’t release it, or doesn’t want to, or whatever the reason is. If it’s about money, I have a question: Wouldn’t you make more money officially releasing a soundtrack (even at a limited quantity) than you would having it as a download only, so that once it’s been downloaded, it can be easily spread all over the Internet, and people can get it for free? My money is always on a physical release!

I would also like to see more releases, period. There are a lot of composers who work really hard on their music that never gets officially released. Sometimes they are able to offer a few tracks on their website, or the ever-popular “Composer Promo” might be available to some, but I wish the composers were able to better control the availability of the music so it can reach us fans. I look at different composers’ discographies, and I see so many interesting titles that are simply not available on any format. I’d love to hear some of this music, but how can I? Thankfully, some labels are able to resurrect some of these lost titles and release them, but there are so many lost scores out there.

Oh yeah, please present the tracks in chronological order. Thanks!

Tom Hoover: Earlier, you mentioned having a liking for horror scores. Is this one genre of film music that appeals to you the most, and if so, who would you say are some of the masters at composing in this vein?

Alan Dull: Yes, horror scores are definitely my favorite and a large part of my collection. I feel that there is a lot to composing a horror score. You need a theme for your villain, as well as your hero or heroine. You need to be able to twist the themes in order to create tension, terror, and sympathy. I know a lot of soundtrack fans wouldn’t pick horror as their favorite genre, but I enjoy the thrill ride that goes along with listening to a truly entertaining score.

There are so many horror scores that are so iconic that the films simply wouldn’t be the same without them. Could you image the shower scene in Psycho without Herrmann’s frantic screaming strings? How much does John Carpenter’s score to Halloween add to the tension of Michael Myers’ path of destruction? Doesn’t the pounding theme to Jaws play in the back of your mind just before you step into the ocean? I know I hear it....

I think that there are several composers that I would term a “master of horror.” Here are a few composers that I would label “masters”: James Bernard is a horror music legend. All his work with the Hammer horror films over the years has created a legacy that not too many others can compete with. Goblin is the standard in classic Italian horror. Harry Manfredini has his iconic “KIL KIL KIL MA MA MA” from the Friday the 13th series. Everyone who hears it knows that Jason is nearby. Christopher Young has been providing incredible horror scores for years. From Pranks (1981) to Drag Me to Hell (2009) and everything in between, including my favorite, Hellraiser, Mr. Young has proven time and time again that he can provide a solid, thrilling score. John Carpenter and Alan Howarth have worked together several times over the years, and they have been able to create some of the most iconic music in the history of horror. Not too many themes can compete with the simple, yet unnerving score to Carpenter’s masterpiece, Halloween.

Don’t get me wrong; there are many great horror scores out there by many different composers. John Williams has Jaws, Jerry Goldsmith has The Omen, Lalo Schifrin has The Amityville Horror. The major difference is that when you think of these composers, you automatically think of their other scores, not their horror scores. Some might argue that Christopher Young might fall into this category, but I think that his discography shows that Mr. Young has been composing horror scores successfully for a very long time. I know when I think of Christopher Young, I think of Hellraiser first, then The Core.

Honorable mention: Hans J. Salter, Bernard Herrmann, Les Baxter, Robert Cobert, Pino Donaggio, John Ottman, and Richard Band.