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CNN Live Saturday
Interview With Film Scores Expert Phil Ramone
Aired March 23, 2002 - 17:22 ET
THIS IS A RUSH TRANSCRIPT. THIS COPY MAY NOT BE IN ITS FINAL FORM AND MAY BE UPDATED.
THIS IS A RUSH TRANSCRIPT. THIS COPY MAY NOT BE IN ITS FINAL FORM AND MAY BE UPDATED.
KATE SNOW, CNN ANCHOR: We have a look at which films are competing this year for that honor. Here's the list. Steven Spielberg's "A.I.: Artificial Intelligence," "A Beautiful Mind," "Harry Potter and the Sorcerer's Stone," "The Lord of the Rings" and the animated feature "Monsters, Inc." That's the list for best score. It's certainly a diverse group.
Let's bring in music producer Phil Ramone to not only give us some predictions about that group, but also some insight into music's effect on films. Phil, thanks for being with us this afternoon.
PHIL RAMONE, MUSIC PRODUCER: Pleasure.
SNOW: Let me start with the big question. What do you think that list that we just showed, who's going to win best score?
RAMONE: Well, it's an interesting bit of a problem here, because John Williams is up for two. And then there's a beautiful score by James Horner. So that's going to be really a tough call.
SNOW: Which one is James Horner?
RAMONE: "A Beautiful Mind."
SNOW: So that may get it, you think?
RAMONE: You know, it's one of the great things about motion pictures is that I'm so excited this year that we have musicals, we have real pictures that have some incredible musical scores.
SNOW: Yeah. There's a movie that's not on that list, we just mentioned it, "Moulin Rouge." Why do you think it's not on that list? Do you think it should be?
RAMONE: Yeah, I personally do. I guess maybe because it has no category for it. But it has changed, I think, the concept for all of us in the musical world -- it's an incredibly wonderful movie.
SNOW: Tell me about the music that they've used, because I know they've actually recycled some music?
RAMONE: Yes. It's a great personal feeling that somebody had the guts and courage to recycle great music. I mean, not since "American Graffiti" and "Midnight Cowboy" and pictures like that they really used the songs in a whole other way, that you see a musical.
SNOW: What does music do for a movie? I mean, what role do you think the music plays? I think a lot of people often don't pay attention to the music?
RAMONE: Well, I've been working on a show about the scores and how the director and the score go together, and I find that when you've not played the scene with music, it's one kind of drama, but when you do, it changes your whole feeling. And, of course, you're not trying to highlight that for the audience. It's just something happens. It's like moments in music that happen, like in "Jaws" and things like that, that you know something's going to happen. It highlights drama, plus sometimes the comedy.
SNOW: Yeah. I know you were talking about "Jaws" and sort of that incremental build-up that the music created there. That's a feeling I don't think any moviegoer is ever going to forget. There's the clip. Is music always used that way? Are there other times when it's more appropriate for the music to sort of blend into the background?
RAMONE: I think music has to blend into the background. It's part of the score, it's part of the fabric, part of the script. You never want to overtake the moment, unless the author or the director says, here it is. It's your moment. You know -- and "Titanic," things like that, you can't help it. It has to take over.
SNOW: Yeah. How closely do they work together, the composer and the director of a film? How close? Are they side by side making the music?
RAMONE: Most of the time, yes. I mean, it's not the days of the Alfred Hitchcocks and you know, where Bernard Herrmann would come in with the score and Hitchcock would make his comments. Nowadays, it's a total, complete business between the two of them. Some directors like to get the composer in a lot earlier. And then there are people, like myself and others, who started out as music supervisors.
SNOW: Yes, last quick question for you. If you win an Oscar, I know you've said that sometimes the next job can be even harder. Why is that?
RAMONE: I think somehow there's almost a jinx for a lot of the people who win the Oscar. The next year, they go to do a score and something happens. I don't know what that is, but I know I wouldn't mind seeing a couple of -- I wouldn't mind an Oscar, actually.
SNOW: Well, neither would I. Thanks so much. Phil Ramone, working on a new show on Trio called "The Score." We appreciate you coming in and sharing a little wisdom about the musical scores. And we'll be watching the Oscars tomorrow night, won't we? Thanks.
RAMONE: You bet. Thank you.
SNOW: Thank you.
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