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Index
Contents
Acknowledgments
Introduction
Panel
The Art of Film Music
You Can’t Go Home Again: David Shire on Return to Oz
Suspicion Breeds Confidence: Michael Kamen on Brazil
Getting a Foot in the Door
Unto the Breach: Patrick Doyle on Henry V
Scissors Cut Paper Wraps Stone: Collaboration
Backward Prison Gangs, Scandinavian Hymns, “Danny Boy,” and Yodeling: Carter Burwell on the Coen Brothers
Immersion: Beginning the Process
Bait-and-Switch: Elmer Bernstein on The Grifters
Collaboration with Other Composers
A Friend Like Me: Alan Menken on Howard Ashman and the Rebirth of the Film Musical
Bending the Rules
Sounds of Apocalypse: John Corigliano on Altered States
Life in Transformation: Philip Glass on Koyaanisqatsi and Powaqqatsi
The Driving Force: Elia Cmiral on Ronin
Period Pieces
Steeping Yourself in the Culture: Carter Burwell on Rob Roy
Mythmaker: Basil Poledouris on Conan the Barbarian
The Shape of the Sound: Orchestration
Carnival of the Animals: Mark Isham on Never Cry Wolf and Fly Away Home
It’s “The Francie Brady Show”: Elliot Goldenthal on The Butcher Boy
Adaptation
Everything Old Is New Again: Elmer Bernstein on Reinventing Cape Fear
Dream State: Jocelyn Pook on Eyes Wide Shut
Like a Duet: Patrick Doyle on Love’s Labour’s Lost
Recording
Coda
The Organic Score
A Reflection, Like the Moon on Water: Philip Glass on Kundun
Playing with Paradoxes: Mychael Danna on The Sweet Hereafter
Provenance: John Corigliano on The Red Violin
I’ll Show Thee Wondrous Things, That Highly May Advantage Thee to Hear: Elliot Goldenthal on Titus
Lost and Found: Robert Townson on Alex North, 2001, and the Art of the Soundtrack Album
End Titles
Appendix
Index
About the Author
Also by David Morgan
Copyright
About the Publisher
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