July 15, 1997 |
When "Air Force One" opens July 25, audiences will be treated to a stirring score by legendary film composer Jerry Goldsmith. What they won't hear is any of the music that Randy Newman wrote and recorded for the same movie just a few weeks earlier. Rejected, rewritten and replacement scores have become almost commonplace nowadays, particularly on high-profile, megabudget major-studio pictures where the pressure is especially intense to deliver as "commercial" a product as possible.
March 10, 1997 |
The studio has enough electronics to steer a space shuttle: One wall is covered with racks of music synthesizers, sound processors and mixers; another rack is filled with about 20 samplers, themselves storing thousands of megabytes of sampled musical instruments and other sounds. In front of Hans Zimmer, film score composer, are three large video monitors. Two are for his Macintosh computer; the third is a letterbox Proscan monitor on which the new movie he's scoring plays.
January 17, 1997 |
Maybe what the Oscars need is a new category: Best Mogul in a Supporting Role. This is the time of year when the entertainment trade publications are fat with ego-stroking "For Your Consideration" ads bought by studios suggesting that various stars and directors are worthy of an Oscar nomination, no matter how bad the movie. Now Universal Studios Inc. is taking it a step further by suggesting the boss is worthy of a nomination.
November 30, 1996 |
"Build it, and they will come." That's the unspoken mantra chanted by many Hollywood soundtrack directors, looking to construct their own musical "Field of Dreams" from a marketing and sales standpoint. They mash as many top-selling acts onto a soundtrack as the budget allows, even if the artists or songs have nothing to do with the emotional fabric of the film. The goal: a home run, i.e., going multi-platinum.
February 11, 1996 |
Even now, two decades after it first appeared, the image remains one of the most arresting openings in modern American film: A yellow Checker cab, massive, unyielding, sinister, pushes its way through a cloud of subterranean New York City steam. From frame one all the way to the end, "Taxi Driver" was a film that never doubted it was going to make an impression.
June 21, 1995 |
In an episode of the old "Batman" TV series, a villain ties Robin to the clapper of a giant clock bell. When the clock is to toll at midnight, the gonging is supposed to spell a particularly gruesome auditory doom for the Boy Wonder. Not to suggest that the makers of "Batman Forever" have plotted the same fate for moviegoers, but if you see and hear the movie in the right theater, the experience can be akin to hanging out in that bell with the Caped Crusader's hapless sidekick.
March 14, 1995 |
A tiny Bay Area company claims that five major movie studios, including Burbank-based Walt Disney Co. and Warner Bros., are probably infringing on two patents it holds for a digital sound technology used on such motion pictures as "Forrest Gump," "The Lion King" and "The Fugitive." But instead of battling the movie studio Goliaths in court, this David is hoping to sell the rights to the patents and let somebody else shoulder the enormous costs of litigating the dispute with the studios.
July 28, 1994 |
Sony Corp. scored a victory in the digital movie soundtrack wars Wednesday by signing an estimated $25-million deal to install its Sony Dynamic Digital Sound system in AMC Entertainment theaters. The agreement calls for AMC to purchase 1,700 SDDS digital film playback units for exclusive use in its theaters. The Kansas City, Mo.-based chain has 1,618 screens, with roughly 400 more planned or under construction.