This is an interview that was conducted with Producer Lionel Woodman in 2006.
When did you become interested in film music ?
This would have been around 1965, when I first went to see A FISTFUL OF DOLLARS.
What was your first soundtrack purchase as a collector?
My first LP was A FISTFUL OF DOLLARS AND FOR A FEW DOLLARS MORE, these were on one record, on the RCA Camden label.
You began in business as a mail order company, when did you decide to branch out and move into production ?
I had been selling LP,s etc via a mail order company for a while, but did not decide to go into the production side of things till 1990.
Why did you decide to focus all your efforts upon Italian film music ?
Because that was the music I liked the best, I also love Italy, and when I met the Zamori family for the first time, it was always an excuse for me too go back for the wonderful cuisine of Paola (Roberto’s wife)
How do you begin the process of releasing a soundtrack ?
It was quite simple, once I had produced my first CD I offered it to my mail order customers, this sold well and after that it all just came easily.
You have released a number of soundtracks now, are there any that you have wanted to issue that have not been available, either because the tapes were lost or maybe they were in such awful condition ?
There have been plenty that have been in awful condition, especially by Marcello Giombini, There are also a number of Morricone scores that are in pretty bad condition, ROME COME CHICAGO for example.
Out of all the scores on your label which would you say you liked the most ?
Without a doubt, INDIO BLACK by Bruno Nicolai so far.
Have you a favourite composer, or a composer that you give preference to at all ?
Purely for commercial purposes, I have to say Morricone, but I also like the works of Gianni Marchetti, Sante Maria Romitelli, Stelvio Cipriani and Giacamo Dell Orso, and would give these composers preference over others.
You always restrict your CD releases to a run of 500 or 1,000 why is this ?
It’s very difficult to sell more, it is sometimes difficult to sell 500,but this really depends on the title,the composer and also the genre of film.
You work very closely at times with Roberto Zamori, how did you first come into contact with the Professor ?
It was through the mail, I think Roberto had seen one of my adverts in FILMS AND FILMING, I used to advertise there in the early 1970,s. But we did not meet in person until 1981.
You also have a good friendship with Alessandro Alessandroni, is he still writing music ?
Yes he is, he is also very active playing jazz and other types of music.
Have you ever considered releasing a non Italian score, or if you could do any English score what one would it be and why ?
Yes, I have considered doing this on a few occasions, I would have liked to have done something by either Ron Goodwin or Michael J Lewis, or both.
As the producer of the Cd’s do you have the final say on what the discs content will be?
Yes because I can always refuse the production if the music is not what I want.
There seems to be a lot of rivalry between record companies in Italy, does it worry you if another company releases a score that maybe you might have liked to have done, or do you see it as a good thing that so many CD,s are now being issued ?
It’s a good thing as far as I am concerned, there are so many scores available and many of them I would never produce, because I don’t think that they would sell for me. So I am very pleased when one of those is released.