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The Best Music in Film
Branford Marsalis
(A regular saxophonist on Spike Lee's films, including Mo' Better Blues, Malcolm X and Do the Right Thing)
- S&S: What is your favourite film soundtrack music and why do you like it so much?
- "That's a tough one. I don't do favourites. I would say Elmer Bernstein's score for The Magnificent Seven (1960) and Dmitri Shostakovich's score for Battleship Potemkin (1925). I love them because it is reflective of a time when the music could be challenging and (obviously with Potemkin) there was no fear that it would detract from the dialogue. In addition there is the notion that the composer was trusted to do the right thing and did not feel the need to placate the director, who generally speaking has no concept of music. In addition, I must add that I appreciate most of John Williams' and Terrence Blanchard's work. The wide berth given to them by Spielberg and Lee is quite refreshing in these times."
- S&S: In what ways does music best enhance a film?
- "When done well, the music can create the emotion that the scene requires before the dialogue or action establishes it. Kubrick had a keen understanding of this, as best exampled in Barry Lyndon (1975). I heard an excellent Elliot Goldenthal score for the movie A Time to Kill (1996). The music seemed more ominous to me than the ominous scenes in the film. Unfortunately, when I saw the movie in the cinema, most of that music had been changed. See question 1."
- S&S: Which film either has music that you wished you'd written or is one you would like to rescore and why?
- "I love music that has strong melodic sense and plenty of passion. While much of what I hear is less craft than manufacturing, there are many that fit the description. It was great to hear James Horner return from the musical graveyard of Titanic (1997) in the beautiful score to House of Sand and Fog (2003). The music he wrote for Sneakers (1992) was also fun to listen to as well as be a part of. Vangelis' music to Blade Runner (1982) is great, as is Franz Waxman's work on Sunset Blvd. (1950), My Geisha (1961) and Taras Bulba (1962). Goldsmith's work, from the melodic (like The Russia House (1990) to the ultra-modern (like Planet of the Apes (1967), is also great to listen to. There are many more, but I'm sure you don't have room for it. I'm a big music fan."