Brett’s filmmaking partner, Jerry R., had mentioned to me a long time before that he wanted me to do a score for him when he made his film that Spring. When he finally called me, it was 2 days before the mix. I obliged, though I ended up arriving at the meeting only to find that he wasn’t there. Brett found me and apologized for his partner; somehow I got a copy of the tape that night because I went home and did a series of eight cues for the film. It was an interesting film, which Brett had shot and done the lighting for, and had Dr. Who comical undertones.
I worked on the score all night. By four in the morning, I was going mad, because I kept realizing that my direction was to make “an Indiana Jones type of theme” (read as REAL big) and all I kept coming up with was something cheesy and small. I only had one synthesizer and could see that I would encounter more and more problems when people wanted real orchestra sounds. I did my best, mostly tweaking the keyboard and hoping that I could manipulate the sounds in some magical way. By the time I went to bed, I had given up.
When I brought Jerry the tape, the following morning, I listened to it with him and realized that somewhere in the night I had created a lot of music that I didn’t remember quite so well. He thanked me and I went home. I remember crashing at 5:00 PM in front of the TV monitor which I had rolled into my studio the night before. I watched a tape of the Residents’ Mole Show. It was a really weird experience, especially when the phone rang at 6:00 and it was Rosa asking me how things had gone.
I invited some friends to the screening; we saw an interesting video about skateboarding by Hisham Abed, where the soundtrack was the Smiths’ Meat is Murder, and when Rick Rational came on, nobody could recognize what I had written because most of it had been exchanged for this saxophone theme from a record Jerry had, called “Theme in Search of a Film,” or something like that. I still found my main cue in there, the “Temptress Theme” and several other cues had been relocated to other parts of the film. I found my name in the credit sequence as though nothing else had happened. I’m still waiting to get a copy of that film.
1985_0112 : Rick Rational’s Temptress
Description
Brett’s filmmaking partner, Jerry R., had mentioned to me a long time before that he wanted me to do a score for him when he made his film that Spring. When he finally called me, it was 2 days before the mix. I obliged, though I ended up arriving at the meeting only to find that he wasn’t there. Brett found me and apologized for his partner; somehow I got a copy of the tape that night because I went home and did a series of eight cues for the film. It was an interesting film, which Brett had shot and done the lighting for, and had Dr. Who comical undertones.
I worked on the score all night. By four in the morning, I was going mad, because I kept realizing that my direction was to make “an Indiana Jones type of theme” (read as REAL big) and all I kept coming up with was something cheesy and small. I only had one synthesizer and could see that I would encounter more and more problems when people wanted real orchestra sounds. I did my best, mostly tweaking the keyboard and hoping that I could manipulate the sounds in some magical way. By the time I went to bed, I had given up.
When I brought Jerry the tape, the following morning, I listened to it with him and realized that somewhere in the night I had created a lot of music that I didn’t remember quite so well. He thanked me and I went home. I remember crashing at 5:00 PM in front of the TV monitor which I had rolled into my studio the night before. I watched a tape of the Residents’ Mole Show. It was a really weird experience, especially when the phone rang at 6:00 and it was Rosa asking me how things had gone.
I invited some friends to the screening; we saw an interesting video about skateboarding by Hisham Abed, where the soundtrack was the Smiths’ Meat is Murder, and when Rick Rational came on, nobody could recognize what I had written because most of it had been exchanged for this saxophone theme from a record Jerry had, called “Theme in Search of a Film,” or something like that. I still found my main cue in there, the “Temptress Theme” and several other cues had been relocated to other parts of the film. I found my name in the credit sequence as though nothing else had happened. I’m still waiting to get a copy of that film.
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