Bob Mithoff, Conductor and Film Score Composer for such films as New York Cop, Dragonfight, Dead Giveaway, Something for Nothing and FenderBender 500 talks about classical music, composing and writing music at The Celebrity Cafe.
DM) Why did you choose to put the 5 movies, "New York
Cop", "Dragonfight", "Dead Giveaway",
"Something for Nothing" and "FenderBender 500"
on the compilation as opposed to some of your other movies?
BM) These are just some of my favorite scores - because on
each of these films I was allowed to be totally original, and
I was pretty much given free expression. I always try something
completely different for each picture, depending upon what I
think it really needs. It's almost like "casting" an
orchestra or palette of sounds that work for that picture. So
the scores represented on this CD reflect an appreciation for
that part of my work.
DM) Can we go through each of the films on the CD?
BM) Sure. "New York Cop" is TriStar's balls-to-the-wall
(literally in some instances) tale of Latino gang warfare in
New York. The story does not entail any completely new concepts
or revelations, but the actors made the movie work (Mira Sorvino
and Chad McQueen - as well as a host of really talented but unknown
guys in the gang). The producer wanted orchestral, but also a
gritty feel because of the subject and the location. So it's
a combination of orchestral instruments and arrangements over
some synth and percussion. Pretty ugly but moving. I loved doing
it. Warner's "Dragonfight" is a futuristic tale of
corporate greed being settled by gladiators out in the desert.
Very uncomfortable situation. So here the score is all synth
and brutal electric guitar. But once again, it's what the film
really demanded. "Dead Giveaway" is one of my favorite
scores because of the instruments- it's Dobro slide guitar, cello
and electric guitar over some dark synthesizer sounds. Somehow
tragically beautiful. I don't know, but whenever I hear that
score I just want to give up and die a horrible death or something.
But of course, that was the movie. You won't see it on the Family
Channel, however the score is terrific. "Something for Nothing"
is a beautiful story set in the post-holocaust future (the next
holocaust). But since there is no electricity in the ruins of
the time period, the whole score was done on acoustic instruments
including violin and French horn (even "played" on
screen by the actors in one scene). The idea was that the score
was something that these people could have created. It worked
really well. Plus I love playing acoustic guitar and harmonica,
so those themes had to be on the CD. And the "Fender Bender
500" had to be on the CD just to relieve everyone from the
brutality expressed in the first three scores. This show is all
of Hanna-Barbera's best characters that go on a road race in
a different city of the world in each episode. I love cartoons.
And there are no built-in expectations like "we want a John
Williams type of score..." - the bottom line is if you make
the kids laugh then you hit it right. I like that about kids.
DM) What was the soundtrack that you're most proud of?
BM) That's a tough one because each film has had its particular
challenge -and that challenge is usually the thing I'm proud
of in that score. Like in "New York Cop" it was getting
an orchestral recording done and a great score for NO recording
budget! Or on "Dead Giveaway" I'm proud of having learned
to play Dobro.
But I think the music I like best is on "Something for
Nothing." It's a folky thing that harkens back to my own
roots. That kind of music has always been my favorite.
DM) Using the old saying, "music is expression",
which song expresses what you want to say as close to possible?
Would that change your answer?
BM) No. I'd probably stay with the score from "Something
From Nothing." It's about love and honor and friendship.
Those concepts are stronger and more personal to me.
DM) What do you mean, "Those concepts are stronger and
more personal to me"?
BM) Well - I haven't been a drug dealer, gang member, cop,
or Kung-Fu boxer in this lifetime, but I have had some very interesting
interpersonal relationships. So that stuff is more real to me,
I guess. Not that I don't enjoy a good car chase that ends with
expensive pyrotechnics. But real people in real situations are
just closer to my more recent personal experience.
DM) What do you listen to when you're at home?
BM) The creek out behind our house!
But when I listen to music, I'll listen to anything that is
a little bit original or different. Or if I get really crazed,
I will turn on the T.V. to the Psychic Network, turn the sound
off, and put on the soundtrack to "Cape Fear." Wonderful.
Keeps everything in perspective. Of the "music by dead guys"
I really appreciate Bartok, Stravinsky and Berlioz. And of course
J.S. Bach simply because he was so ingenious in his use of the
"new music." He was such a craftsman. And sometimes
maybe Schubert because of the melodies.
But I also like to sit around and listen to Big Bill Broonzy
or the Beatles or Bob Wills. These were all innovators. I like
different stuff.
What I'd really love to hear is an original live recording
of Pythagoras twanging away, but I don't think it's available.
DM) I can't tell whether you're joking, serious or somewhere
in between.
BM) Well, I guess I did go over the edge in wishing for a
recording of Pythagoras. But it sure is great to imagine the
impact he must have had standing up and saying "OK here
it is - the natural seven tone scale..." Did it evoke immediate
positive emotional response or did everyone think he was a crackpot.
It's just an interesting concept.
DM) Do you consider yourself a deep thinker?
BM) Ouch. That sounds dangerous. I never really thought about
it (maybe that answers your question). But I know that sometimes
I get bored with normalcy and my attention will drift to things
like wondering what people thought of Pythagoras in his day.
Or things like (if reincarnation is real to you) - how does the
reincarnated Alexander Graham Bell feel when Pacific Bell shuts
off his phone because he forgot to pay the bill. See what I mean?
I get bored and then look what happens. But that's why I enjoy
talking to you - I can say what's on my mind and not worry about
the consequences. I think Oscar Wilde said it very well - "Life
is too important to be taken seriously."
DM) Somebody once described movie soundtracks as "modern
classical
music". How true would you say that is?
BM) Oh boy. Classical. That's a funny term. It originally
referred to the works written in the late 18th and early 19th
Century. And then it got stretched to include any work besides
popular, folk or jazz. Or in some people's minds, it probably
meant any music you didn't get paid for. Nowadays the term "Classical
Music" probably means "anything with more than one
violin in it" - depending on who you talk to.
But I like to use the English definition of "classic"
when I think about the definition of "Classical Music."
I think a "classic" piece of music would be any piece
which was a new and different idea and which stands the test
of time. It becomes a valuable and permanent part of the culture.
Hence J.S. Bach, Mozart, Beethoven et al - up to modern innovators
such as Cage or Stravinsky. But then I would also have to include
"Hound Dog" and "Blowin' in the Wind" and
"Eleanor Rigby" wouldn't I? But that's ok. These were
all new and different and valuable ideas which did become a part
of the culture and which will be just as valuable 200 years from
now or 2000 years from now.
Film music is very interesting to me in this light because
it nearly always relies upon the film for its meaning. Just like
"Faust" or "Midsummer Night's Dream" relied
upon a known story for their meaning. There are definitely film
scores that are "classics" now by my definition. But
would they have become classics without the film? Don't know.
For instance the Star Wars themes, or (ten million copies later)
the Titanic theme. If the Composers had just sat down one day
and said "Hey I have a good idea for some music..."
and then they recorded or performed the scores independent of
the film, and then went out and tried to sell these works - would
anyone have cared? Both of those are such fine pieces of music
that the answer is probably "yes."
But the fact that they were coupled with stories that impacted
the audience so greatly gave them the guaranteed attention they
deserved.
There have been good scores connected with terrible films,
and they alas will not become classics. And there have been meaningless
scores connected with good films that likewise will not become
classics. It is a common thing to hear some of the best (and
best paid) Composers of our age refer to some of their work as
"wallpaper." It depends on the project and probably
largely on the film's Director what voice the music is allowed
to express. Possibly some of the earlier films and Composers
had more frequent opportunities to be able to deliver "classics"
or
"classical music." Like the themes from "Laura"
or "Dr. Zhivago" or "Cape Fear." Maybe melody
and depth of expression were more in vogue then than now. Today
there is definitely a bent for song-driven soundtracks. But even
those can become classics like "As Time Goes By."
So I guess, after all that, my answer would be simply that
film music is not by default today's Classical Music. It is simply
the most readily available and highest profile output channel
for modern masterpieces. It gives today's great Composer's a
vehicle and a way to publish music that could become "classic."
But like everything else today, due to expanding lines of communication,
you are also going to have a plethora of truly mediocre copy-cat
stuff as well as some downright garbage.
But you will have Classics. And film scores are probably one
of the best outlets.
DM) However, I'd think that if you listed all the classical
"successes" those on film scores would surely dominate
the list.
BM) Yes. They all tell a story and to me that is important
in a piece of music.
