Before we begin, we would really like to thank you for according to this interview, Gary.
You're welcome.
We would love to begin with the way you got into music in general, and film music in particular. What was your stimulus into it and what relevant studies did you attend? What was the first instrument you learned?
Piano was my first instrument. I was encouraged in music by my Mom who was a jazz singer in clubs during the 40s in Los Angeles. Piano lessons, and early influence with especially vocal music were the early stimuli. Later, I attended a theatre college thinking I wanted to become an actor or director but when they fond out I could play piano I wound up doing all the music direction for their shows, conducting, and writing musicals. So that was how I got into writing dramatic music. Plus an early hearing of Kurt Weill and Bertolt Brecht's "The Threepenny Opera" showed me the power of music for theatre. From there it's an easy move to film music.
You were a musical theatre composer, in the early years, and music director for the Los Angeles Free Shakespeare Festival and the Inner City Cultural Center. What can you tell us about these days and the style of / influences on the music you wrote for them? Is any of it commercially available today?
Non of the music we did then was recorded, although I will probably revisit a few of the shows I did then at some point. Stylistically, as I said before, everything changed when I heard Kurt Weill. He is still a major influence and hero of mine. Also, because I went to an inner-city college (Los Angeles City College) I gained a lifelong love for R&B and Gospel music (I like listening to Gospel, not believing in the fairy stories) which has had a profound influence on the music I write.
Working for so many different mediums: the theater, television, film. What significant differences would you spot between them and for which one do you feel most comfortable working at?
Oh!, that would be like choosing one of your children over another (a hackneyed comparison, I know, but true nonetheless). They each present specific challenges,
but when you are able to write without restrictions for any of the separate forms, it's all a joy. The biggest problems in writing for TV and movies is that there are often too many "cooks" making creative decisions which are best left to the composer and the
director. And in the theatre, you may have more freedom but it's a lot longer process to get to earning a buck.
What do you think of new, popular mediums for composers, as Pc/console-games´ music? They tend to become huge nowadays, with fans digging more and more into them and large orchestras / choirs being brought in to work on. Also, popular composers like Michael Giacchino and Howard Shore are moving into the area as well.
One day all content will be just that: content. Artistic content will move effortlessly from one system, one "box" if you will, to the other. Actually that's pretty much already here. You just write the right music for the project. The media you write for
will matter less and less.
It is known that you had a very important experience when working with, and learning under legendary compose Henry Mancini. How and when did that happen?
At what state were you as a human and composer at the time? Do you remember any special events from that era?
The whole experience of knowing Henry and being able to spend as much time with him both in a professional situation and just hanging out with him was life-changing for me. Imagine going on vacation with Puccini and sitting around smoking cigars with him while you discuss music, or the events of the day, or good food, etc.
I actually got to know Hank through his daughter Felice and his son Chris, both of whom I was very close to, and I actually lived with Felice for 8 years. But even after she and I ended our relationship, he remained available for questions and more than a few times I was able to bring work to him and he would give me suggestions and guidance.
During the time I was part of the family, I studied his scores, his conducting style, his orchestration and soaked up as much of his knowledge as was possible. Additionally, I was able to work as a singer on many of the movies he scored in the '80's so I was
right there during the music-making.
Henry was one of the few truly great men one could meet in a lifetime. A genius not only in music, but in how to enjoy the finer things in life. I remember Felice and I sitting at dinner tables with him and the likes of James Stewart, Milton Berle, Blake Edwards and Julie Andrews. I met Pavarotti when Henry was working with him. In fact, I'm trying to think of any time spent with Henry that wasn't a special event.
He also introduced you to another known composer, Lalo Schifrin. What was your experience with him like and what exactly did you do at the time you were working with him? Do you still follow his projects to date?
I was very lucky to have gotten to know Lalo at a time when synthesizers and drum machines were increasingly being used in film and TV scores. I had some experience working with that stuff, so he took me on to arrange and program for him. So I was able to work on some pretty big movie and TV projects with him and get paid well while getting even more experience at working with orchestras made up of some of the best musicians in the world, which are here in Los Angeles. And Lalo himself is such a unique jazz-oriented composer so by working so closely with him I was able
to get very deep into his harmonic and compositional language.
You scored two films for the legendary producer Roger Corman, including the art film, vampire story "Dance of the Damned" directed by Katt Shea . What do you remember from Corman, Shea and your collaboration with them? What can you tell us about the score, as it was a very important one for you, at that early time.
A lot of composers and filmmakers, obviously, have cut their teeth at Corman's studio. Katt Shea was an extremely talented young director who took the severely limited resources available at that studio and make quite a beautiful artistic bit of film with
"Dance of the Damned," which was kind of a moral argument between a vampire and his victim, with the more human side of the beast winning out.
The great thing was that there was very little, if any, input from the top so I was able to do what I wanted as long as it fit in with Katt's vision.
How I wound up scoring TWO films for Corman was due to the fact that after shooting "Dance of the Damned," he decided he wanted to get more of his money's worth out of the sets that were built for that film, so he asked Katt to write and direct a sequel to her movie "Stripped to Kill" in about 3 or 4 weeks, on the same set, so I also scored that for Katt.
Not so long after this, you further moved into the cult/exploitation genre with scores for "Hard Ticket to Hawaii," "Savage Beach" and "Picasso Trigger," all by director, Andy Sidaris. He worked in a very special way, casting centerfolds in leading roles, shooting titillating scenes and in contrast, spending more than 20 years as a top director at ABC Sports, winning numerous Emmys along the way. We would really love to hear some insider info on this prying man and your work with him; was he a hard man to collaborate with?
Actually, though Andy was the director and "writer" for these films, I wound up working more closely with his wife, Arlene, who was the producer. Those films
were planned and budgeted down to the nth degree, so Andy didn't spend a lot of time micro-managing the music, therefore I was pretty free to do what I wanted. I didn't think anyone would see the films anyway. I was wrong. They're still playing on Showtime and HBO now and then.
Well, in truth, my only problem is that the have recently released all the films in that "series" on DVD, but I have not yet been sent a copy of the DVD. So, Arlene, if you're reading this, how about a copy for your old composer?
1990 was a very significant year for you, as you met the dynamic duo Penn & Teller and formed what has become more than a decade-long association, with your
latest work for them being the critically-acclaimed Penn & Teller: Bullshit. We would love some info on the duo, your collaboration with them and of course, the latest project. Where can we catch it and how´s the music like?
Yes, meeting Penn & Teller and getting to do music for them was another life-changing chapter. They are performers who have taken the practice of stage magic - which up until then had pretty much been about "Ooh-look at that!" - and found a way to make meaningful art without losing any of the "wow" factor.
They've always expected (and hopefully I continue to deliver) music that makes people sit up and take notice. The music I've written for them has always been challenging and some of the richest music I've written. I'm so very lucky to be a trusted creative partner with them.
Now, besides our 4th season of “Penn & Teller: Bullshit!” starting after the first of next year, I am scoring a new NBC special called "Penn & Teller - Off the Deep End" which features tricks and various crazy stunts completely underwater, and shot entirely on location in the Bahamas. Look for it this fall on NBC.
In 1999 you received an Emmy nomination for composing, music-directing and being a bandleader for the television variety series Penn & Teller's Sin City Spectacular. In the same year, you were selected to be the Music Director and Conductor for the Creative Arts Emmy Awards. How was it to work for this project on so many, different roles and how did you feel for the honour for being nominated for such a prestigious award?
As far as working on Sin City Spectacular is concerned, I felt as Sammy Spear or David Rose must have felt (they were music directors for The Jackie Gleason Show and The Red Skelton Show, respectively). Being able to conduct and write music for an hour-long variety show PLUS write and arrange the original musical numbers that opened the show featuring dancers and singers, and be the backup band for countless great entertainers was like a dream come true. AND we got to do 24 episodes, shot in Las Vegas - Sin City itself.
When the nomination was announced I was overjoyed, since we were a popular show but our network had already decided not to renew the show because cheaper shows like "The X Show" seemed more attractive to them at the time. We thought the nomination might get them to bring us back but, alas, it was not to be.
What´s your general view on this kind of awards, such as the Academy Awards, Golden Globes and all, as far as composers and film / tv music is concerned?
Awards are great if you get them. Nominations are very good too. If it helps your career or helps the show be seen by more people, that's all good. That's really the most important purpose as far as I'm concerned.
You also scored the tv hit series Sabrina, The Teenage Witch for Nell Scovell and a bunch of various directors. How was working on it? Did you compose the score completely and at one time or was it more of a continuing and constantly changing / renewing effort. Did you have any contact with all those directors or did you work with someone specific.
I worked very closely with the wonderful writer and producer Nell Scovell on the score to "Sabrina". Although there was a Main Theme which played on every episode, each one presented different situations and, hence, different stylistic choices so I was always changing. It was a lot of fun.
You also provided the score for what has been called the most fouled mouthed movie ever, "The Aristocrats". Directed by Paul Provenza, who conceived the show along with Penn Jillette, premiered at the 2005 Sundance Film Festival, raising huge critical acclaim. How do you feel about this?
”The Aristrocrats” a celebration of free speech and artistic freedom, and a real inside look at the way great comedians' minds work. At the same time it is either the dirtiest funny movie you'll ever see, or the funniest dirty movie - I'm not sure which.
I believe very strongly in having no rules about artistic content, especially from the government or religious censors. The movie states very plainly that it is not for children and that it is obscene. In fact, a line which was used in the publicity states, "If you've even HEARD of Pat Robertson, this movie is not for you!"
Of course, that's exaggerating because we've all heard of him, unfortunately. But this movie is for people who think for themselves and don't allow their sense of humor to be dictated by demigods. It's art, and its medium is strong language.
I'm proud to be a part of it. Paul Provenza has done an amazing job. I hope every smart person sees it.
How did you become involved in this? What´s the music like and what do you
remember from the production of the movie, and score?
We looked at many ways to incorporate the music and finally found the right one. What happens is that the last eight minutes of the film is all music with some of the comedians having a little last say here and there. It's almost as if once the joke has been ravaged and beaten to the ground and left panting and naked in the street, there's no place else for you to go verbally, so that's where music comes in.
Since the comedians were improvising so wildly with their telling of the joke, I thought we needed a musical style that would reflect that so I went with jazz, and, more specifically, the kind of straight-ahead challenging jazz of the Miles Davis, Oliver Nelson, Thelonius Monk era, where they were all about pushing the envelopes of harmony, rhythm and improvisation. And my choice of players was crucial. I had to get the best jazz musicians in the business to match the fact that the comedians in the movie are artists at the top of their game. Luckily, with Alan Pasqua, Ralph Humphrey, Ken Wild, Bob Sheppard and Clay Jenkins, I got what I wanted.
Penn Jillette is one of your most frequent, and valuable collaborators. What can you tell us about him and the 'Bullshit!' theme?
Well, only that he liked the theme from the first time I played it for him and I am grateful to him and Teller for that and much more. Both Penn & Teller are two of the people I respect most not only as artists, but as people.
The show “Bullshit!” is an idea that they have had for a long time, since they have always been champions of rational thought, maintaining a strong skepticism and supporting people like James "The Amazing" Randi with debunking claims of paranormal activity. So this, in many ways, is the culmination of what they've been involved in their whole creative lives.
Your credits are huge, including many artistic roles (apart composer) such as:
arranger, music director, singer and songwriter. You have also worked for other genres apart film / tv music, like pop music, where you played keyboards for the very important The Brian Setzer Orchestra's debut CD among and also writing songs for different artists, such as Angela Bofill and Roberta Flack. How difficult is for you to shift through all these completely different tasks and musical genres?
I always say that one needs to be a moving target in this business. The truth is, I love jumping from genre to genre, and style to style; it energizes me and keeps my ideas fresh. I'd hate to have to write only one type of music.
If I'm hired to do something, I just do it. Pretty much the same as anyone. Luckily, my job is music, so even when it's hard, it's fun.
Apart this, you also participated as a soloist and actor in the cult-classic television show, Cop/Rock, with your scene recently featured in VH-1's 100 Greatest Rock 'n' Roll Moments on TV. Did you like this experience? How did you become involved and what was it like? Are you looking forward on repeating on something similar in the future?
Oh, acting is something I thought I wanted to do at one time. It takes a lot of skill and craft to be even a moderately successful actor and I know I'd never be able to devote enough time to it. But if someone were to offer me a part, I think it would be fun. I played a crazy cat-owner who resembled James Bond-villain Ernst Stavro Blofeld for an episode of "Sabrina" as well, and sinisterly held and petted the same white Persian cat used in the Bond movies, as well as the "Fancy Feast" commercials. I think the cat's name is "Shithead." Really.
On a further extensions of motions, you are a member of one of Los Angeles´ longest-running and most popular rock bands The Jenerators featuring actor/songwriter Bill Mumy (of Lost In Space and Twilight Zone fame) and Miguel Ferrer (from the Steven Soderbergh´s Traffic-fame). How did this come up? Do you listen to this kind of music as well?
I listen to every kind of music, and I like to play in different bands. The Jenerators have been together for many years and, though we have a new CD out which is certainly available for sale (), the best thing about the band, for me, is playing music with my friends Billy, Miguel and David Jolliffe, who was also a teenage actor in the ´70´s series "Room 222."
I am also currently starting a new band myself, for which news can be found on my website, .
And I recently joined a band whose leader and main songwriter is writer and perfomer Vance DeGeneres called "The Famous Pies" (http:/thefamouspies.com).
You have just finished scoring the comedy on the Oxygen Network, Good Girls Don´t, (by Claudia Lonow). How did you become involved? How´s the music like?
Mostly contemporary rock, but we did do a Mission Impossible-esque episode where I was able to venture out of the alt-rock mode. It was a great show and Claudia Lonow is an amazingly brilliant and funny writer and performer. That show deserved to be brought back.
Generally speaking, what are your musical references? Do you listen to certain, different music according to the kind of your current work each time? Also, do you follow any particular composer´s work nowadays?
I mentioned Weill and Mancini. I also love the work of Hindemith, Steve Reich, John Adams, The Beatles, Bob Dylan, Stevie Wonder, Donny Hathaway, Thelonius Monk...the list goes on and on.
I try to listen to everything. Music just keeps getting better and better each generation. And now there´s so much more of it to discover. We´re in a very good time, musically.
Thank you very much for the interview and best wishes for the future.
Special Thanks: Tom Kidd (Costa Communications)
English Translation: Pablo Nieto
20-october-2005
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