MY NAME IS LENNY, is a compelling and fixating story about the life of Lenny McClean, who was a leading figure in the bare-knuckle fraternity in the UK, THE GUV’NOR as he liked to be called was said to have taken part in over 4000 fights and moved in circles that included the more notorious and seedy sides of the London criminal underworld. Directed by film maker Ron Scalpello, MY NAME IS LENNY stars Josh Helman in the title role, Helman of course found favour with cinema audiences in his acting roles in movies such as MAD MAX FURY ROAD and turned in a convincing and memorable portrayal of Commander Stryker in the newer editions of the X-MEN pictures. McClean became an iconic figure within the British fighting fraternity and even made an appearance in Guy Ritchie’s LOCK STOCK AND TWO SMOKING BARRELS, where the fighter made the role of Barry the Baptist his own. Ron Scalpello’s movie shows us the story and background of McClean the man, and the legend he became. Composer Ian Arber has created a musical score that is just as powerful and riveting as the movie itself, Arber is a rising star in the world of film and TV music and has already fashioned memorable and commanding soundtracks for numerous projects which include, documentaries, such as I AM BOLT and SIR MO FARAH (Mo Farah no easy mile). He also acted as musical assistant to Joe Kraemer on MISSION IMPOSSIBLE-ROGUE NATION, and provided the music for BBC 2, s QUACKS. MY NAME IS LENNY, contains a soundtrack that is a combination of conventional instrumentation and synthetic or electronic sounds and samples. The opening theme, on the release MY NAME IS LENNY(suite) has to it a style and sound that is not unlike Hans Zimmer, now we all know how I feel personally about Zimmer’s scores of late, but in this case, I am using him as an example to describe to you the construction of this particular piece, it is basically a four or five note motif that is repeated over and over, with momentum gathering as the composer flesh’s out the theme adding textures and layers giving the piece a commanding persona and a sound that is powerful and haunting, the theme builds and builds gaining volume, then as quickly as it reaches its crescendo of sorts moves into a quieter and more calming interlude, in many ways it has affiliations with Zimmer’s TIME theme, from INCEPTION. As in it begins low and brooding and then opens out into an expansive piece, which, has the ability to make one want to return to it as soon as it has finished. The remainder of the score is constructed from mainly electronic performances of the composer’s compositions, which are for most of the time tense and quite urgent sounding, but there is a guitar solo and plaintive piano present at key points which adds a certain amount of melancholy and emotion to the proceedings. This hint of a theme accompanies Lenny’s girlfriend Val in the movie and is an acknowledgement of her influence upon the fighter.



There is also a rock sounding segment, with fuzzy sounding guitar, enhanced by percussion, both of which work in unison in the cue COME BACK TO ME, the two being hard to separate at times as they are complimenting each other so well. The composer does make effective use of percussive elements throughout the score which at times we are told were made up of the sounds of boxing gloves hitting their target, which is an ingenious and highly creative move on the part of the composer, I suppose this can be compared to Jerry Goldsmith’s synthesised percussion in HOOSIERS that mimicked the sound of a bouncing basketball in many of the on-court scenes that the composer enhanced. This percussive support in MY NAME IS LENNY, punctuates and underlines various instrumentation, both conventional and otherwise, giving it not only support, but also adding depth to the work as a whole and in my opinion becoming the driving heart of the soundtrack. There is a mood or atmosphere of apprehension and darkness throughout the score, that is maintained via the use of a simple guitar rift if that is the correct terminology, the composer also making affecting utilisation of distorted sounds and a grossly distorted cello which represents Lenny’s abusive stepfather, these elements add even more tension and uncertainty to the style and sound of the music, thus adding more colour and more layers to the work. The opening theme returns briefly in a few cues but does not fully develop until we reach track number, 11 THE DECIDER, when it is a more triumph sounding version, and again in the final cue THE GUV’NOR, which is slightly more subdued and emotional, piano adding a tinge of sadness and giving the final track a low key melodic foundation. Overall, I did enjoy listening to the score and discovering the musical colours and textures of Ian Arber, the composer seems to have a unique approach to scoring movies and works with a varied line up of artists, which have included the hip hop performer NAS, and David Rowntree the drummer from BLUR on his score for I AM BOLT. I look forward to more of his work, soon. Soundtrack available on Movie Score Media.





Roy Budd was one of the world’s leading jazz pianists, but of course is also known for his alluring and well-crafted film scores. With the first live performance of Mr Budd’s PHANTOM OF THE OPERA score scheduled to take place on October 8th, 2017 at London’s Coliseum, I thought maybe it’s the right time to post reviews of his soundtracks that were made available on the Cinephile label 18 years ago in 1999. First up is FEAR IS THE KEY, a fast-paced movie based on the story by Alistair McClean. For this project Roy fused the symphonic styles of orchestra with that of jazz influences and the end result was something that sounded like a mix of groovy jazz vibes and full on dramatic orchestral flourishes, it is a testament to the skill of Mr Budd that these two quite differing styles gelled in his hands and not only underpinned, punctuated and supported the full on action on screen, but stood up as a listening experience away from the movie and still remained exciting and a compulsive listen. The style and sound created and achieved by Budd on FEAR IS THE KEY is meeting of so many musical colours and textures, it evokes some of the work done by Jerry Goldsmith and also briefly gives a gentle nod to Ennio Morricone, plus then there are the ingenious and polished jazz influences that glide along with ease and are a delightful and delicious encounter for the listener. It was described as sounding like a fusion of Led Zeppelin and the SHAFT soundtrack, but when you think about it, It, is simply Budd, through and through. I think I am correct when I say Roy was just 25 when he penned this score and already had soundtracks such as GET CARTER, SOLDIER BLUE etc to his credit, FEAR IS THE KEY displays the professionalism and expertise that this then young man had.



The score also includes some outstanding performances by jazz icons such as, Kenny Ball, Ronnie Scott and Tubby Hayes all of whom played their hearts out and jammed all the way through. As well as the dramatic action cues and the flawless jazz performances the score contained one of the composers most haunting themes in the form of IN SEARCH OF THE KEY which although having jazz influences contained a flowing and attractive theme performed by the string section, which as we all know are Roy Budd trademarks, the theme being reprised a few times within the film and an alternate arrangement being performed on the compact disc in track number 10, FROM SEA BED TO SURFACE. FEAR IS THE KEY is a soundtrack that should be in your collection, and if it is not then you should take steps to remedy that, NOW ….


At a recent gathering of FANS OF MUSIC FROM THE MOVIES, in London, a question was put to the panel of composer’s present about the lack of themes either main title or end title in films. After a good deal of chatting it turns out that all the composer’s present would welcome the return to main titles and end titles, and when I say end titles I don’t mean a horrendously boring song that has been tacked onto the end of the movie to generate money for the film company, I mean a full blown fully symphonic or synthetic end title. As collector of a certain age, I remember well sitting down in a cinema the curtains opening and the main titles music starting up on the majority of movies from the 1960’s through to around the early nineties. Even Hammer films which in most cases had a pre-titles sequence, had main title music, as did many other movies who went for this opening approach to the stories that were about to unfold on screen. Even the Bond films, which the majority of which had pre-titles sequences had their respective songs or opening themes. Nowadays do movies have opening credits where the composer can work their magic and introduce the audience to the movie via a theme that maybe, just maybe they might recall after the movie has finished.


Do you remember walking out of the cinema with the theme tune from the movie going around in your head, whether it was good bad or ugly! Also do you remember when themes from movies were making regular appearances in the hit parade, pop chart or whatever it was called at the time. Things like the aforementioned Morricone penned theme, performed by Hugo Montenegro, 633 SQUADRON by Ron Goodwin, A SUMMER PLACE Percy Faith, and many more. Do you also remember the GREAT FILM THEMES compilations that were released back in the day, GREAT WESTERN THEMES, GREAT WAR THEMES, and such like, I am thinking if they released a compilation today, it would be a very short one! But that’s my own opinion. (and a few other collectors too, so I am told). Anyway, I got to thinking on the way back from London about the issue of themes in films, and decided why not ask the people responsible for creating them, the composers. I went through my numbers and e mail addresses and sent out a lot of messages asking composers, DO YOU THINK THAT THERE IS A LACK OF THEMES IN FILM SCORES, SUCH AS MAIN TITLE THEME AND END THEMES, HAVE YOU ANY THOUGHTS ON THIS? I would like to apologise to a handful of composers who got the messages in the middle of the night, early in the morning etc, as I just typed away not thinking of time differences. Any way here are some of the responses.



Lack of themes in film scores is just like fashion, I believe it will come back.
Rahman Altin.





From my experience, you have a few reasons: First, many directors are getting scared of having breathing time (or what they perceive as down time) in a film, like if the audience would get bored. I believe this comes from a big insecurity from some directors. For example, in one of my latest films, the maximum time I had though the entire movie was one scene of 30 seconds where I could develop a theme…which is almost impossible to do… This is a real problem that even Ennio Morricone addressed recently in an interview. Secondly: more and more films have no opening credits scenes anymore (a vast number of directors want to jump into the film as fast as possible and move the credits to the end of the film). Thirdly: many directors follow the lead of their editors who now, are putting wall to wall temp music. Many editors are not able anymore to give a pace to a film without a temp music. The consequence is that our work is not anymore to create (in collaboration with the director) a score who stands as a third character, but instead, to create a score that duplicates a pace developed by an editor. It takes independent films (where the producers are willing to take some risks) and or experienced and mature directors, to imagine a film where the music could be a third character… where themes could bring emotions and transport the audience….and those 2 factors put together are more and more rare in our business.
Laurent Eyquem.








That’s a question I have asked myself a lot and many times… In my opinion (and looking for another’s expensive production) there’s a problem with producers and directors, I don’t know if it’s a new trend or there’s another reason. I am lucky because the directors which I work with, always says to me that music is the soul of the film, every film needs its own music, personal and unrepeatable, and it’s a challenge for me, but an opportunity to show the best music I can make, including to create some themes to lead spectators the way the director’s wants. It’s a sad thing that themes are not being used, because a personal theme is the “body” of an unforgettable soundtrack.

Oscar Martin Leanizbarru.



Yes, I find it difficult judging awards as not many scores these days seem to be more than aural wallpaper to get from one scene to another – they’re treated as another sound effect.
It seems a lot of directors don’t get the power of music – whether that’s a generational thing or MTV or what is a debate in itself.

John Altman.




Actually, there is a lack of themes in scores today…, something really bad and absurd in all aspects. Main themes and leit motivs are part of my label writing for films, and I will keep pushing that idea for always. On that matter, we are living a crisis today, but there are also composers that still defends the use of themes.

Diego Navarro.



I’m totally agree with that. From my personal experience, I have two short explanations for that.
One: it takes time to create a beautiful melody. And often, during the process of post-production, the composer has not a lot of time to compose.

Second: Some directors or producers are afraid of themes. It could take too much emotional space (I can understand that).
But for me melodies (themes) are still very important. (I have to find the right way to compose melodies in tune with the times. New textures, original orchestration etc.) It can give personality to the movie, can also reveal invisible thoughts of the character or situation, The theme contributes to make the film more “unique “.. of course, it can also not work for each movie. Each movie is a prototype!!
A brief summary of my thoughts.

Nicolas Errera.



For the same reason as Brexit and Trump: these times are f***** up.

Marc Shaiman.



In my personal experience working with film, documentary and TV series directors I´ve found in most cases a special fear for melodic lines or to be more specific, thematic music in general. With all diplomacy possible, I always try to get an answer from them to understand this. Some of them say that melodies get in the way of dialogues or that disturb the tone they want in their film. Others actually don’t how to give a precise answer for it. I constantly think in this and have a couple of theories. The first one is the pretentious intent of being accepted in renowned festivals around the world, and for that, they study the style of films that have already been selected for them. There is a kind of modern fashion to be as naturalist as possible to be selected in a festival. To have a film as crude as reality, and of course, music is not well received in that kind of films. The reasons they give are, in my personal opinion, just another reinforcement of the fear to allow another line of a language they don´t quite understand. I constantly hear that music guides in a very manipulative way the emotions of the audience, and they add, that this manipulation is completely artificial and is not the direct idea the film wants to communicate. This answer certainly evades the fact that all cinema is entirely artificial and all its elements manipulate the audience all the time towards an idea that is a personal view from the writers or directors, so their critic to thematic film music is completely invalid. And the second theory is a bit more crude for me to say, but I can´t help to get there when some of the directors I´ve worked for make it evident. There is a huge lack of musical culture in many filmmakers these days, and there is a huge lack of popular music with interesting proceedings and musical content. So, they show an immediate fear to a language they haven´t explore and of course don´t understand in any way. Every country has a different educational system, but most of them lack a proper introduction to music from early ages, so when a filmmaker has only listened to the popular and, let´s say, artists with big marketing campaigns, then their approach to music is extremely small. To be honest with all views, there are also those who actually say to you that the lack of music in their films is just part of the style they like or the aesthetics they want for their films, which is something we composers always should respect, despite our personal views, but being objective, almost none of those films gains the success and the size of audience they seek. For some reason we are bound, as musicians, to filmmaking.
Both languages together and well-crafted make a more effective communication process in a film, and to be more direct, the most successful films of all times have well composed and crafted thematic music. I still think that the most common answer to that question is the fear to an unknown language that they can´t decipher or understand in an emotional way. Fear to appear conventional and receive that specific critic from the audiences or from a festival jury. Sadly, this has put the film industry in a severe problem. There is no human emotion, and therefore no real interest in AAA films besides the fictional VFX characters and stunning visuals. They have forgotten the emotional ride we all want to feel when we go to theaters. The lack of thematic music is one of the symptoms of the illness big studios have nowadays.

Gus Reyes.




I have no real interest in film/TV music these days, preferring to devote my time to my symphonies and concertos etc etc etc. It’s as much as I can cope with! But I do detect a move away from themes towards textures nowadays. Producers and directors don’t want tunes on the whole for fear they detract from the dramatic content of their productions.

Christopher Gunning.



Unfortunately, the time of the great “musical themes” is about to disappear. European composers are somehow trying to advance the idea of musical themes. the main theme, the secondary theme, etc … it’s always wonderful, in the movie queue title, to listen to a medley of all the themes in the movie. it leads you to forfeit them, to remind them, to whistle them and make them become immortal themes. I hope this comes back to life. Because the music always marked the emotional bond with the movie. if you think of E.T. it is clear that your head immediately connects the images with the flying theme, how can you not think of Indiana Jones and do not pitch his march whistling it. Lets hope we will soon return to themes such as, Jurassic park, the lord of the rings, cast away, psycho, vertigo.
Alexander Cimini.



Yes, I think that today producers much prefer to have a new age kind of score, without a strong music theme. I still think that a music theme is important.

Marco Werba.



I do think that but I believe that it’s the films themselves that don’t lend toward themes. It’s a weird time in Film Music. There is a lot of experimentation going on in both the Films and of course the Music. Not sure where it’s all going

David L Newman.



The score is always the result of the collaboration with the director and production team, so it very much depends on what’s required for the drama. It’s hard to generalize about this subject. I love themes in scores and will always try to compose something melodic if the drama needs it, but not everything requires a big theme so it’s very much down to what’s on the screen.

Debbie Wiseman.



Yes, of course… nowadays themes are “exiled”, directors and producers want another kind of music
It’s sad.

Marc Timon Barcelo.




Hi – that’s an interesting question. Almost by default, due to the omission of main title sequences, we’re robbed of decent overtures (in contemporary film). There are the odd exceptions, but they’re few and far between. End Titles, more often than not, are simply edited montages of cues from the score – Giacchino must be one of the few composers still indulging in the practice of purpose-built ‘exit music’. I’m very much with Nic, Chris, et al, on this – I miss the days when composers were allowed prepare us, for the ride ahead, in fullest musical terms, then again, I’m rather spoiled, as I spend most of my time working with scores over 50yrs old, where we get an overture and a main title!!
One of the reasons that so much film music has become largely interchangeable is due to the somewhat generic, and simplistic, approach to thematic construction/presentation – it’s quite difficult to find a really well-crafted ‘melody’ in more recent scores. The contour, harmonic language, and rhythmic flavour of a ‘theme’ all communicate a great deal to the listener…unfortunately, the most popular approach is to now use a cyclic minor modal, ostinato-based, setting, ‘big drum’ punctuations, with a ‘melody’ that mainly utilises whole and half-notes in brass; this results in music that could be described as broadly ‘something’. However, I don’t think the blame lies entirely with composers – they’re generally doing what they’ve been asked (and paid!) to do. There are also signs that we’re gradually beginning to buck this particular trend.
Leigh Phillips.



Yes, definitely, I keep saying that in all interviews.
I don’t think it’s a lack of talent from composers, but sort of propensity, which will probably end someday.

One can think it is the consequence of some kind of egocentric state from directors who may be afraid that music could potentially overshadow their film.
Which is stupid, as public always remember a good film for its director first, far before the composer.

I remember Michel Legrand said that someday, a director was watching a scene he had just scored, and said to him: “Your music is excellent, but I can’t see my scene anymore.”


Anyway, as far as I’m concerned, it doesn’t change anything in my work, and you can see/hear some Main Titles / End Themes etc in all my films or videogames soundtracks, whether it is a propensity or not, as I try to stay far from music tendencies.

(I had even agreed with directors Julien Maury & Alex Bustillo to create a Main Theme for the latest “Leatherface” movie, when I was still supposed to compose this soundtrack, to try to do something different from all previous “Texas Chainsaw Massacre” movies).


A little add to my point: I’m giving the final touch to a feature film documentary about legendary Jack Kirby and his World War II life period. And no matter this is a documentary, there is a real Main Theme right from the beginning/introduction, and the theme is used and declined many times during the film.

Raphael Gesqua.





It’s hard to say.

Some film makers are actually scared of themes, and I worked on one horror film where the guy went through the score and took out anything that sounded like a theme to him
But others are still big on it
I’m working on a big movie right now, and the director is obsessed about who’s theme is playing where and over which character.

Peter Bateman.




Without question, there is. When was the last time you came away from a film with the tune in your head? Part of this of course is because there are no more opening credits for the most part and that is where you would have a theme. Part of this is because people want ambience and sound scape.

Peter Bernstein.








I think it is an absolute disaster what is happening in cinema today on the scoring side of things. I watch just about everything and it’s painful to see all those lost opportunities for making great work. Visually, story wise the industry is excelling exponentially unfortunately the music end of scoring has been declining. Even on the production end it’s heartbreaking. Will stop here……. Had no idea my opinion was worth anything.


Marcello Di Francisci.




This statement is true, but in my opinion the answer is simple: big melodies are considered old fashioned these days (even if the arrangements and sounds used are not). Most filmmakers want a cutting-edge sounding score and as a composer you always have to deliver what they want for THEIR film. It’s just a matter of what’s in fashion. Writing little memorable motifs are almost always OK, but big themes are wanted very rarely. That’s just how it is. Maybe it’ll change again in ten years or someone will come up with a brilliant way of using great themes that still sound cutting edge. This is just my perception and opinion.


Gerrit Wunder.




I agree! Good themes (like good songs) are hard to write and I think that many of the ‘composers’ working today are not capable of thematic writing. just to continue on a little, I do think that we are in a different score music era where the predominant flavor is mood, non-invasive ‘textures” which composers are being required to emulate by directors and producers and this is where we’ll stay until some films or some TV shows take a chance and allow composers to break out and take us down a more interesting and rewarding path. just to continue on a little, I do think that we are in a different score music era where the predominant flavor is mood, non-invasive ‘textures” which composers are being required to emulate by directors and producers and this is where we’ll stay until some films or some TV shows take a chance and allow composers to break out and take us down a more interesting and rewarding path.


Nicholas Pike.





Depends on the needs of the film. We collaborate so it’s not entirely up to us or even current trends. I’m asked for themes all the time.


Scott Glasgow.



I think it boils down to how films and popular music have changed because film music has always reflected the popular music of the time
Films are also very different to how they were 50 years ago.
I have been recently watching on you tube as many as I can find of the 60s and 70s Italian films that Morricone scored – and its extraordinary the importance that was given to the music – it is given space and time to really make a significant impression
I think the film making style allowed for it,
I would say there are fewer poetic directors nowadays,
It’s complicated
I think that it is very much tied to the pop industry
How many pop songs today have really strong melodies ?
Morricone in his latest book talks about the fact that melody doesn’t really interest him
If you listen to many of his pieces they are constructed from a repetition of a handful of notes that occur in different orders. They are not melodies like the love theme from Zefferelli’s Romeo and Juliet, But they are incredibly memorable all the same. In fact, many of the film composers that we would call melodic. They take a handful of notes (a hook if you like) and repeat then though a cycle of harmonies. It is particularly effective in films because you need to make an impression quickly, And you need to have a strong motive that can be presented very quickly.
Legrand also did this and Richard Rodney Bennet.


Christopher Slaski.




In certain films yes, there is a lack of thematic development, particularly in some big action blockbusters. But there is a lot of well scored films, with good themes. The difference is that we have to widen what’s classified as ‘a theme’
It could just be a sound, or collection of sounds. Modern scores rely more on sound design, and therefore somebody could perceive a lack of themes.


Dominik Scherrer.




I am old school when it comes to this topic. I believe themes are the best way to imbue an identity into a film.


Brian Tyler.




It would be a long answer. That is due to the process of the post production. Mockups, going sequence to sequence, a patchwork at the end. With great exemptions in the case of both a good director and a good composer working together on the project of the soundtrack.


Carlo Siliotto.


World premiere of Columbia Pictures' 'Miracles From Heaven' - Arrivals




Well as much as I understand there are artistic reasons to not work with themes or big main title pieces I really dig those movies with great main titles introducing a theme you then will instantly recognize throughout the movie. I think in the more recently released movies Bear McCreary did a really great job on this topic in “10 Cloverfield Lane”, I absolutely love Danny Elfman’s Spiderman-Main title and I could go on for hours. And it’s hard to understand that especially the big blockbuster stuff most of the time are lacking this great moment.

Christoph Zirngibl.



My opinion is that is all about narrativity and the balance of the information the audience can get with a film ( i mean what you hear – noises, dialogues , music ) and see ( images ) . I ‘ve been graduated on narrativity on film music (PhD level) at Sorbonne University and Ircam Paris so I know the topic not that bad + my experience as a film composer. there are different reasons – nowadays we have very quick cuts / edit and special effects, noises which doesn’t leave enough space to the music for instance – and à theme needs time to be developed, to “breathe in a way ” . That’s one of the reasons. As a matter of fact the music themes are now quicker as well – and it looks like more than Wagnerian leit motivs – Wagner had the same problem in his opera: too many informations , density of the music ( tense harmony and tense orchestration), myths topics etc ….another angle is since the successes of the soundtrack : the graduate ( Mrs. Robinson, Simon and Garfunkel) there’s a trend in the industry to use catchy songs . When there’s too much catchy themes in songs there is no place for another catchy theme – so the composer has to score the “ambiance ” cues without big themes. The trend of using music supervisors doesn’t help as well because most of them are keen on suggesting pre -existing tracks to the directors / producers. Well I could talk longer about that! But I think we miss themes and variations which bring the audience in a particular mood. Not all of the films can accept it nowadays, it depends on the style of the director.


Philippe Jakko.





I think, most definitely there has been an emphasis for motif-based scoring instead of melody-based scoring overall in the industry, for I guess about 20 years now. I think in my own work I’ve been able to be more melodic than the average because the Finnish film industry is small enough that I get a lot of freedom and there’s no real pressure to follow a temp track. And also, just those same rules don’t really apply. Will be interesting to see if there’s going to be a wider return to melody.


Panu Aaltio.







I grew up in the “thematic” school of thought with the scores of Rozsa, Poledouris, Goldsmith etc. I do not think that every score should be melodic but such scores always have a stronger impact in my opinion with general audiences. However, this is a general observation and it really depends on a film by film basis. A lot of the times it’s not the composer’s choice but the directors. And of course, the composer takes all the impact of the result! I don’t watch too many movies any more (crazy right?) but I always look out for themes or motives to see how a score is constructed. For example a director that Ian working with right now had a drone like cue for temp music for a scene, I scored it and he had asked for me to go back to a drone like approach so we don’t take away from the “drama” bear in mind we recorded a full orchestra
I mean this only happened once on this movie (score is very thematic) but it happens


George Kallis.




There are less melodies in soundtracks, because today there is a huge diversity in music, and every music has its own characteristics, therefore the classical melodic approach becomes only one among many other ways to approach a score. Also it happens that some directors are afraid that the audience will listen to the melody instead of the dialogue, so they’d rather have a music that doesn’t attract the attention as much. Another factor is that sound design has never been playing such a strong role in shaping moods, so it is another sonic tool to tell a story that is not using melodies. Another reason is the effort of some filmmakers who are trying to have their own voice and tread new territories that leads them to let the conventional melody and variations go. In the end, I guess it is due to this blending of many factors that we call “evolution”.

Vincent Gillioz.




So a little bit of a mix of opinion, but its obvious that it is not up to the composer if a movie has a theme, I think most composers agree that themes are sadly missed and it is a way marking the start of a movie and also signalling its end, are those days gone forever, I suppose we will just have to wait and see, or wait for a composer to think Wait a minute I think this calls for theme, no matter what the producer or director says. Think we might have a long wait, don’t you.





Fans of Music from The Movies, had their first annual gathering at the Angel Studios in Islington London in 2016. This first event was a success and had a panel of composers who spoke of their personal experiences during their careers as composers of film music. Debbie Wiseman, Christopher Gunning, Trevor Jones, Daniel Pemberton and Mark Thomas were in a word wonderful, very open and interesting. This year on September 9th, FANS OF MUSIC FROM THE MOVIES opened the doors at Angel studios once again to welcome soundtrack collectors from all over the world, the panel this time consisted of composers, David Arnold, Guy Farley, Frank Ilfman, Christopher Young and Nic Raine. The host for the event was once again, James Fitzpatrick of Tadlow Music who were also one of the sponsors of the day. I think the day was slightly better attended than last year, but maybe that is because last year was something of an unknown quantity, as in, an event like it had not been staged for many years. I think the last one was way back in the days of the Goldsmith Society. Panel members this time were, DAVID ARNOLD, CHRISTOPHER YOUNG, FRANK ILFMAN, GUY FARLEY and NIC RAINE.


The gathering began on time with a brief introduction from Tim Smith the organiser, who explained a few rules and regulations etc, and then handed over to Mr Fitzpatrick, who in turn brought the guests into the main room and led them to their places on the stage. After introducing them he then showed the gathered audience a short film of Tadlow’s latest re-recording project which is a full version of Rozsa’s classic score for BEN HUR, this I must say was superb, and I cannot wait for the compact disc to be released. James then formally opened the discussion, saying it was obvious from last year that fans wanted the gossip of what had happened to the composers regarding directors, producers etc. So, proceeded to introduce each composer who all received a warm welcome and applause from the gathered audience. Now here’s a thing, I went with the soul intention of concentrating on the events, but to be honest got so completely immersed in the day the conversation and the composers relating their experiences when scoring movies, that I committed the cardinal sin and took very few notes, which I straight away left at the studio after I headed home. So, I am afraid no in depth analysis of the day or the points which composers related and discussed. Instead, I am just going to say that this was one of the most enjoyable experiences of my life, to see four great composers sitting in front of an audience just chatting, and I mean chatting because it seemed that they were talking to you one on one when they spoke of their film music careers. David Arnold especially came over as a warm and friendly man, and cracked jokes and added little one liners here and there that kept the day going along at an easy but lively pace.

Christopher Young too, was amazing, with his stories of being a rookie composer scoring THE DORM THAT DRIPPED BLOOD (PRANKS) when he was still at UCLA, and telling us about him replacing Maurice Jarre on JENNIFER 8. Frank Ilfman, Guy Farley and Nic Raine also gave us so many stories, both funny and some not so, when speaking of directors, producers etc. James Fitzpatrick was as always excellent, and Tim Smith was great too, and I have to say looking a little more relaxed than last year. When asked about any composers that maybe had influenced them all the composers sighted the classical greats, such as Stravinsky, Mahler, Prokoviev, Shostakovich and Tchaikovsky, it was interesting that none mentioned film music composers at first, until Christopher Young brought up a Bernard Herrmann LP which contained suites from films such as JOURNEY TO THE CENTRE OF THE EARTH etc. An LP on DECCA that I think many had in the early days, because the audience kind of sighed when he spoke of it. One question that stuck with me that was put to the composers was, did they miss the main title themes and the end title themes in films, which was asked by Ian from the John Barry society, each composer had an opinion about this subject and although worded differently, I think they were all in agreement that it was something that they missed. There were a couple of breaks for tea and delicious cakes, plus the famous FANS OF MUSIC FROM THE MOVIES raffle, which was great, and this year included days in the studio, with Guy Farley and Frank Ilfman and a day in Prague with James Fitzpatrick recording at the Smecky studios. David Arnold remarked that first prize was a day in the studio with Frank Ilfman, and second prize was two days in the studio with Frank Ilfman, which raised a few laughs. There were also many CDS in the raffle, contributed by, MOVIE SCORE MEDIA, CALDERA and SILVA SCREEN. I felt sorry for one guy who won about four times, on the third trip up to get his prize of CDS David Arnold said to him, “Will you get me a lottery ticket for tonight please”. FANS OF MUSIC FROM THE MOVIES has in less than a year established itself as a must go to event, it is already the event of the year for many collectors, collectors, I might add, that had travelled from all over the world to be there. It was also a time to catch up with many old friends and acquaintances, John Williams from MUSIC FROM THE MOVIES, and Paul Place and Jason Needs who worked on the same magazine as did I. Jason Drury, who has made a name for himself over the airwaves these past 12 months on cinematic sounds with Erik Woods, was in attendance as well, as was the lovely Stephan Eicke of Caldera records and Petr Kocanda, who’s enthusiasm is ever present, boundless and infectious. Then we had the brilliant, no the magnificent helpers, who chatted served and kept everyone happy, thanks Steve and his lovely wife and Gareth


The signing session was amazing, each composer taking time to talk, and letting fans get pictures of them.
Chris Young was brilliant, and seemed in his element, hugging people, and genuinely enjoying the company of his devoted fans.
I had a bit of a chat with David Arnold, and it was like chatting to an old friend, he listened and made conversation so easy.
As did Guy Farley, and Frank Ilfman and Nic Raine. So, what can I say, Well, all I can say is Bravo, and please more of the same. Thanks again to Tim Smith, a true hero and a devoted film music fan, and to James Fitzpatrick, for his support of the event, and if I have missed anyone out I apologise, what a day, awesome, epic, truly brilliant. AND yes there’s more, put this date in your diary, SEPTEMBER 15TH, 2018, That is the date for FANS OF MUSIC FROM THE MOVIES, 3……..




And also coming soon from TADLOW music.





The music for the latest version of Stephen Kings IT, is the work of the popular and accomplished composer Benjamin Wallfisch. The score is an interesting and a haunting one, it contains some beautiful themes and as one would expect a fair amount of music or musical sounds that I suppose can be deemed as being atonal. However, I must say that this is a horror score with a difference as the composer has constructed some highly emotive pieces and some beautiful melodies along the way. The score is one that will please and delight many soundtrack collectors as it is for the most part fully symphonic, with electronic support being just that, “support” and not overshadowing or overpowering the conventional instrumentation at all, yes the synthetic elements do at times come into their own to create jarring affects that accompany moments of violence or sheer dread and the somewhat grating effects during moments of horror lend their attributes perfectly to the job of creating that somewhat blurry and fuzzy sound that is perfect to accompany these sequences. In many ways, the work for me personally evoked memories of the music of Jerry Goldsmith, the composers use of the string and brass sections being forthright and powerful, Wall Fisch also enlists the aid of children’s voices who perform a rather sinister sounding version of the ORANGES AND LEMONS nursery rhyme. But it’s not all sweetness and light as the lilting and initially comforting rhyme, transforms and alters into a sinister and threatening sound that is filled with foreboding, apprehension and virulence, at one point the line HERE COMES A CHOPPER TO CHOP OFF YOUR HEAD, being spoken over and over, gaining momentum and being distorted whilst at the same time being enhanced by swirling and racing strings that are punctuated and embellished by percussive elements and growling brass, this style is pronounced and first heard in the tracks RIVER CHASE and more evident in the cue EGG BOY. To say that this music is scary is something of an understatement, listening to it alone through headphones I would not recommend, but saying this in my opinion this is written in the style of all good classic horror soundtracks, lots of stabs, jumps and rasping brass underlined by racing percussion that booms and thunders along whilst the string section works overtime with driving compositions and searing slices of mayhem that weave in and out of the proceedings, cutting in and out with jagged and harsh hisses at times, creating an atmosphere that is urgent, unsettling and stressful.


This mood is given more support using distorted voices and solo voice performances which are harrowing as well as uncomfortable, but their inclusion is vital and they become an essential part of the scores make up. I think it is the inclusion of these bursts of ORANGES AND LEMONS, sung by children that makes this work even more sinister and fearful, because hearing the nursery rhyme makes one feel safe, but saying this there are still shivers going up one’s spine when they are being performed. This is a score that contains music that you will want to return to many times to savour the sheer creativity and original writing of Benjamin Wallfisch, it is also a score that contains music that will in plain and simple terms scare the pants off you. The music from IT, can be romantic or calming in one moment and purveys warmth and security, then in the next heart stopping second becomes, something that you really do not want to be alone with, and that I suppose is the perfect recipe for a horror movie score. The music serves the film wonderfully, but also can stand alone away from the movie and remain entertaining. The composer has created a classic work, and a work that I think will be popular amongst soundtrack aficionados. This dark, unrelenting, brooding and apprehensively melancholy sounding score is highly recommended.