Could Dr. Welby Practice Without Music?
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. He looks ralher like a long-haired ver- 'sion ol Efrem Zimbalisl J r . , h e talks • rather like a w i l l y v e r s i o n ol Erich Segal, and h e i s a happily Iragmenled man. On one evening a while back he was taking bows alter the Los Angeles Phil- harmonic had performed his "Untitled Inslrumentai-Eleclronic Composition." ,The next d a y h e w a s a t Universal Studios conducting the score h e h a d wrillen lor a Movie ol Ihe Week Western. He then returned t o h i s home in Malibu to work o n h i s newest concert piece. "Foci lor Orchestra Based on .Astronomical Principles." The aslro- •nomical principles were honestly come , by—observed o n a n eight-inch celestial • telescope mounted on a cast-iron pier in his back yard. The next week it w a s time t o g e t down t o t h e year's heavy work, the bread-and-butter stint, and crank up the old Marcus Welby, M.D. Music Ma- chine. I n I h e ensuing 10 weeks he composed and conducted, bar lor bar, . Ihe equivalent ol live Beethoven sym- phonies. H e g o t paid lor this music • probably 10 limes what Ludwig v a n B e e - j thoven was paid l o r a lifetime's work, ) His name is Leonard Rosenman and, at 48, h e i s one ol the most productive and creative spirits in Hollywood, i Other creative spirits have tried to support their "serious" work by dab- j bling their pinkies i n I h e crass morass ol Hollywood. Most ol them couldn't .keep their Muses hitched to Mammon. F. Scott Fitzgerald gave up alter an un- lettered producer "corrected" the dia- •fogue i n o n e o l h i s scripts. William Faulkner packed it in (along with his private slock ol bourbon) and went iback to Mississippi. The great modern- ist composer Arnold Schonborg had one interview with Irving Thalberg, and lied Melro-Goldwyn-Maycr in utter atonal battlement. Leonard Rosenman has not sullered this art-vs.-money . conflict—perhaps because he grew up •'.in the great equalizing borough ol Brooklyn. Philharmonic performances bring sweet balm t o h i s psyche, white television music pays the bills, but' Rosenman takes a score l o r a Welby ' episode quite as seriously a s h e does his "Concerto lor Piano, Saxophone, Flute, Violin and Four Orchestral Groups with Four Conductors," "How could I take Welby lightly," he says, "when I'm such a hypochon- driac? I have developed symptoms, or thought I have, lor everything the doc-' tor's patients ever had. I t ' s a miracle ^ I'm n o t a total wreck by now." Money and hypochondria a r e n o t t h e onlv reasons Rosenman is hooked on writing for Welby. There are creative benefits as well. "Working with film gives m e a n understanding o l t h e re- • lationship between sound and image,, and more and more my bag in concert work is mixed media." Like what? "Like the thing I'm into now. 'A Short History ol Civilization, or. The Death ol Vaudeville,' Scored lor actors, singers, dancers, tapes and movie clips. All kinds ol high jinks. Songs ol t h e ' 2 0 s . Tap-dancing through the war in China. The Depression. Mob-' ster killings. And in t h e e nd they shoot the tap dancers. "The point is, it utilizes everything I've learned doing films, making sound Could Dr. Welby Practice Without Music? A noted composer-conductor explains what it adds to TV drama B y R o w l a n d Barber and image work together." Which is basically a matter of cre- ating music to match the action or the mood o n t h e screen, no? "No. That went out with the nickelodeon piano player—or should have. The role ol music in films should be t o ' s a y some- thing not shown o n t h e screen. I t ' s a waste ol time and effort to say some- thing twice, two different ways, "Example. A movie opens with a New York City scene. Big-city hustle and bustle, right? S o t h e composer pencils in Big-City Music and sound effects. Like the taxi-horn and traffic motif in George Gershwin's 'American in Paris,' right? "Wrong. Not if the composer is think- ing. What isn't on the screen that needs saying? Well, l o r o n e thing, the lost feeling o f a n individual i n a big city. So the thinking composer might write a : lament l o r a single saxophone to play against the hustle-bustle background. "Or let's say Marcus Welby i s a t a ' party. Tinkle ol drinks, lots ol happy talk and laughter, Welby appears t o b e enjoying himself. But we know he's not —he's gravely concerned about the looks ol his host. No dialogue, so how do we know? The music says it. Thirty- five million people who wouldn't recog- nize an E n g l i s h h o r n if t h e y w o r e bopped over the head with o n e a r e told by an English horn that old Doc is worried, and they believe it." It wasn't so many years ago that movie scores were ordered like deli- catessen; 3 minutes love music—5 minutes fight music— 6V2 minutes chase music—1 m,inute happily-ever-after mu- sic—all sliced from the public (un- copyrighted) domain. When I reminded Rosenman of this, he laughed and said, "Hell, when I was hired for The Delenders, o n e o l t h e first things producer Herb Brodkin said to me was, 'We'll want some good Legal Music here.' Actually, the theme I wrote lor The Delenders is almost in- terchangeable with my theme lor Welby. Musically. But heard against different images, they have different meanings." Film producers—both movie and TV —have obviously come a long way, baby. So has Rosenrrian. There i s a quaint' native axiom in Brooklyn: "II you can't be born tough, you'd better be born smart." Rosenman chose smart. At t h e a g e o f 1 7 h e was ready lor a change ol careers already— from art to music, to become a con- T ,t ;^^/r.<r 4 rr%t -
Transcript of Could Dr. Welby Practice Without Music?
. H e l o o k s r a l h e r l i k e a l o n g - h a i r e d v e r -' s i o n o l E f r e m Z i m b a l i s l J r . , h e t a l k s • r a t h e r l i k e a w i l l y v e r s i o n o l E r i c h S e g a l ,
a n d h e i s a h a p p i l y I r a g m e n l e d m a n . O n o n e e v e n i n g a w h i l e b a c k h e w a s
t a k i n g b o w s a l t e r t h e L o s A n g e l e s P h i l h a r m o n i c h a d p e r f o r m e d h i s " U n t i t l e d I n s l r u m e n t a i - E l e c l r o n i c C o m p o s i t i o n . "
, T h e n e x t d a y h e w a s a t U n i v e r s a l S t u d i o s c o n d u c t i n g t h e s c o r e h e h a d w r i l l e n l o r a M o v i e ol I h e W e e k W e s t e r n .
H e t h e n r e t u r n e d t o h i s h o m e i n M a l i b u t o w o r k o n h i s n e w e s t c o n c e r t p i e c e . " F o c i l o r O r c h e s t r a B a s e d o n
. A s t r o n o m i c a l P r i n c i p l e s . " T h e a s l r o -• n o m i c a l p r i n c i p l e s w e r e h o n e s t l y c o m e , b y — o b s e r v e d o n a n e i g h t - i n c h c e l e s t i a l • t e l e s c o p e m o u n t e d o n a c a s t - i r o n p i e r i n
h i s b a c k y a r d . T h e n e x t w e e k i t w a s t i m e t o g e t
d o w n t o t h e y e a r ' s h e a v y w o r k , t h e b r e a d - a n d - b u t t e r s t i n t , a n d c r a n k u p t h e o l d Marcus W e l b y , M . D . M u s i c M a c h i n e . I n I h e e n s u i n g 1 0 w e e k s h e c o m p o s e d a n d c o n d u c t e d , b a r l o r b a r ,
. I h e e q u i v a l e n t o l l i v e B e e t h o v e n s y m p h o n i e s . H e g o t p a i d l o r t h i s m u s i c
• p r o b a b l y 1 0 l i m e s w h a t L u d w i g v a n B e e -j t h o v e n w a s p a i d l o r a l i f e t i m e ' s w o r k , ) H i s n a m e i s L e o n a r d R o s e n m a n a n d ,
a t 4 8 , h e i s o n e o l t h e m o s t p r o d u c t i v e a n d c r e a t i v e s p i r i t s i n H o l l y w o o d ,
i O t h e r c r e a t i v e s p i r i t s h a v e t r i e d t o s u p p o r t t h e i r " s e r i o u s " w o r k b y d a b -
j b l i n g t h e i r p i n k i e s i n I h e c r a s s m o r a s s o l H o l l y w o o d . M o s t o l t h e m c o u l d n ' t
. k e e p t h e i r M u s e s h i t c h e d t o M a m m o n . F . S c o t t F i t z g e r a l d g a v e u p a l t e r a n u n l e t t e r e d p r o d u c e r " c o r r e c t e d " t h e d i a -
• f o g u e i n o n e o l h i s s c r i p t s . W i l l i a m F a u l k n e r p a c k e d i t i n ( a l o n g w i t h h i s p r i v a t e s l o c k o l b o u r b o n ) a n d w e n t
i b a c k t o M i s s i s s i p p i . T h e g r e a t m o d e r n i s t c o m p o s e r A r n o l d S c h o n b o r g h a d o n e i n t e r v i e w w i t h I r v i n g T h a l b e r g , a n d l i e d M e l r o - G o l d w y n - M a y c r i n u t t e r a t o n a l b a t t l e m e n t . L e o n a r d R o s e n m a n h a s n o t s u l l e r e d t h i s a r t - v s . - m o n e y
. c o n f l i c t — p e r h a p s b e c a u s e h e g r e w u p • ' . i n t h e g r e a t e q u a l i z i n g b o r o u g h o l
B r o o k l y n . P h i l h a r m o n i c p e r f o r m a n c e s b r i n g s w e e t b a l m t o h i s p s y c h e , w h i t e
t e l e v i s i o n m u s i c p a y s t h e b i l l s , b u t ' R o s e n m a n t a k e s a s c o r e l o r a W e l b y ' e p i s o d e q u i t e a s s e r i o u s l y a s h e d o e s h i s " C o n c e r t o l o r P i a n o , S a x o p h o n e , F l u t e , V i o l i n a n d F o u r O r c h e s t r a l G r o u p s w i t h F o u r C o n d u c t o r s , "
" H o w c o u l d I t a k e W e l b y l i g h t l y , " h e s a y s , " w h e n I ' m s u c h a h y p o c h o n d r i a c ? I h a v e d e v e l o p e d s y m p t o m s , o r t h o u g h t I h a v e , l o r e v e r y t h i n g t h e d o c - ' t o r ' s p a t i e n t s e v e r h a d . I t ' s a m i r a c l e ^ I ' m n o t a t o t a l w r e c k b y n o w . "
M o n e y a n d h y p o c h o n d r i a a r e n o t t h e o n l v r e a s o n s R o s e n m a n i s h o o k e d o n w r i t i n g f o r W e l b y . T h e r e a r e c r e a t i v e b e n e f i t s a s w e l l . " W o r k i n g w i t h f i l m g i v e s m e a n u n d e r s t a n d i n g o l t h e r e - • l a t i o n s h i p b e t w e e n s o u n d a n d i m a g e , , a n d m o r e a n d m o r e m y b a g i n c o n c e r t w o r k i s m i x e d m e d i a . "
L i k e w h a t ? " L i k e t h e t h i n g I ' m i n t o n o w . ' A S h o r t H i s t o r y o l C i v i l i z a t i o n , o r . T h e D e a t h o l V a u d e v i l l e , ' S c o r e d l o r a c t o r s , s i n g e r s , d a n c e r s , t a p e s a n d m o v i e c l i p s . A l l k i n d s o l h i g h j i n k s . S o n g s o l t h e ' 2 0 s . T a p - d a n c i n g t h r o u g h t h e w a r i n C h i n a . T h e D e p r e s s i o n . M o b - ' s t e r k i l l i n g s . A n d i n t h e e n d t h e y s h o o t t h e t a p d a n c e r s .
" T h e p o i n t i s , i t u t i l i z e s e v e r y t h i n g I ' v e l e a r n e d d o i n g f i l m s , m a k i n g s o u n d
Could Dr. Welby Practice
Without Music? A n o t e d c o m p o s e r - c o n d u c t o r
e x p l a i n s w h a t i t a d d s t o T V d r a m a
B y R o w l a n d B a r b e r
a n d i m a g e w o r k t o g e t h e r . " W h i c h i s b a s i c a l l y a m a t t e r o f c r e
a t i n g m u s i c t o m a t c h t h e a c t i o n o r t h e m o o d o n t h e s c r e e n , n o ? " N o . T h a t w e n t o u t w i t h t h e n i c k e l o d e o n p i a n o p l a y e r — o r s h o u l d h a v e . T h e r o l e o l m u s i c i n f i l m s s h o u l d b e t o ' s a y s o m e t h i n g not s h o w n o n t h e s c r e e n . I t ' s a w a s t e o l t i m e a n d e f f o r t t o s a y s o m e t h i n g t w i c e , t w o d i f f e r e n t w a y s ,
" E x a m p l e . A m o v i e o p e n s w i t h a N e w Y o r k C i t y s c e n e . B i g - c i t y h u s t l e a n d b u s t l e , r i g h t ? S o t h e c o m p o s e r p e n c i l s i n B i g - C i t y M u s i c a n d s o u n d e f f e c t s . L i k e t h e t a x i - h o r n a n d t r a f f i c m o t i f i n G e o r g e G e r s h w i n ' s ' A m e r i c a n i n P a r i s , ' r i g h t ?
" W r o n g . N o t i f t h e c o m p o s e r i s t h i n k i n g . W h a t i s n ' t o n t h e s c r e e n t h a t n e e d s s a y i n g ? W e l l , l o r o n e t h i n g , t h e l o s t f e e l i n g o f a n i n d i v i d u a l i n a b i g c i t y . S o t h e t h i n k i n g c o m p o s e r m i g h t w r i t e a
: l a m e n t l o r a s i n g l e s a x o p h o n e t o p l a y a g a i n s t t h e h u s t l e - b u s t l e b a c k g r o u n d .
" O r l e t ' s s a y M a r c u s W e l b y i s a t a ' p a r t y . T i n k l e o l d r i n k s , l o t s o l h a p p y
t a l k a n d l a u g h t e r , W e l b y a p p e a r s t o b e e n j o y i n g h i m s e l f . B u t w e k n o w h e ' s n o t — h e ' s g r a v e l y c o n c e r n e d a b o u t t h e l o o k s o l h i s h o s t . N o d i a l o g u e , s o h o w d o w e k n o w ? T h e m u s i c s a y s i t . T h i r t y -
f i v e m i l l i o n p e o p l e w h o w o u l d n ' t r e c o g n i z e a n E n g l i s h h o r n i f t h e y w o r e b o p p e d o v e r t h e h e a d w i t h o n e a r e t o l d b y a n E n g l i s h h o r n t h a t o l d D o c i s w o r r i e d , a n d t h e y b e l i e v e i t . "
I t w a s n ' t s o m a n y y e a r s a g o t h a t m o v i e s c o r e s w e r e o r d e r e d l i k e d e l i c a t e s s e n ; 3 m i n u t e s l o v e m u s i c — 5 m i n u t e s f i g h t m u s i c — 6 V 2 m i n u t e s c h a s e m u s i c — 1 m , i n u t e h a p p i l y - e v e r - a f t e r m u s i c — a l l s l i c e d f r o m t h e p u b l i c ( u n -c o p y r i g h t e d ) d o m a i n .
W h e n I r e m i n d e d R o s e n m a n o f t h i s , h e l a u g h e d a n d s a i d , " H e l l , w h e n I w a s h i r e d f o r The Delenders, o n e o l t h e f i r s t t h i n g s p r o d u c e r H e r b B r o d k i n s a i d t o m e w a s , ' W e ' l l w a n t s o m e g o o d L e g a l M u s i c h e r e . ' A c t u a l l y , t h e t h e m e I w r o t e l o r The Delenders i s a l m o s t i n t e r c h a n g e a b l e w i t h m y t h e m e l o r W e l b y . M u s i c a l l y . B u t h e a r d a g a i n s t d i f f e r e n t i m a g e s , t h e y h a v e d i f f e r e n t m e a n i n g s . "
F i l m p r o d u c e r s — b o t h m o v i e a n d T V — h a v e o b v i o u s l y c o m e a l o n g w a y , b a b y . S o h a s R o s e n r r i a n .
T h e r e i s a q u a i n t ' n a t i v e a x i o m i n B r o o k l y n : " I I y o u c a n ' t b e b o r n t o u g h , y o u ' d b e t t e r b e b o r n s m a r t . " R o s e n m a n c h o s e s m a r t . A t t h e a g e o f 1 7 h e w a s r e a d y l o r a c h a n g e o l c a r e e r s a l r e a d y — f r o m a r t t o m u s i c , t o b e c o m e a c o n -
T ,t
; ^ ^ / r . < r 4 r r % t -
c o r t p i a n i s t . B u t a t u n n y t t i i n g h a p p e n e d o n h i s w a y t o C a r n e g i e H a l l : W o r l d W a r I I . W h i l e s e r v i n g i n t h e A i r F o r c e h e t u r n e d t o c o m p o s i n g , a n d t h a t h a s b e e n h i s l o r l c e v e r s i n c e .
H e s t u d i e d w i t h t h e a l o r e m e n t i o n e d S c h o n b e r g , i n L o s A n g e l e s , a n d w i t h i h e A m e r i c a n c o m p o s e r R o g e r S e s s i o n s i n B e r k e l e y , R o s e n m a n ' s f i r s t r e c o g n i t i o n c a m e i n t h e s u m m e r o f 1 9 5 3 , w h e n h e w a s a p p o i n t e d C o m p o s o r - i n -R e s i d e n c e a t t h e B e r k s h i r e I V l u s I c C e n t e r , i n T a n g l e w o o d , M a s s . , w i t h a c o m m i s s i o n f o r a o n e - a c t o p e r a .
T h a t f a l l h e s u b s i d i z e d h i m s e l f b y l e a c h i n g p i a n o i n N e w Y o r k C i t y . H i s m o s t i m p r e s s i v e p u p i l — w h o b e c a m e h i s b e s t f r i e n d — w a s a y o u n g a c t o r n a m e d J a m e s D e a n . D e a n c o n v i n c e d R o s e n m t < W h a t t h e y c o u l d b o t h d o b e t t e r b y t h e U r c a r e e r s I n H o l l y w o o d . T h e r e t h e t w o o l t h e m e n r o l l e d i n a n a c t i n g c o u r s e c o n d u c t e d b y t h e h i g h l y r e g a r d e d J e l l C o r e y — R o s e n m a n f e e l i n g t h a t h e c o u l d n o t q u a l i f y a s a m o v i e c o m p o s e r u n t i l h e k n e w w h a t i t w a s l i k e o n t h e o t h e r s i d e o l t h e c a m e r a .
W h e n D e a n w a s c a s t i n t h e f i l m " E a s t o l E d e n , " h e b r o u g h t R o s e n m a n t o t h e d i r e c t o r , E l l a K a z a n , K a z a n w a s i n t r i g u e d b y R o s e n m a n ' s m u s i c a l s t y l e — w h i c h o l d - l i n e m o v i e m a k e r s h a d d i s m i s s e d a s t o o a v a n t - g a r d e t o b e u s e f u l — a n d s i g n e d h i m t o d o t h e s c o r e .
I t w a s a b r e a k i n g o l t h e m o v i e s o u n d -b a r r i e r , l i b e r a t i n g t h e m e d i u m f r o m i t s b o n d a g e t o 1 9 t h - c e n t u r y m u s i c , a n d o p e n i n g i t t o o t h e r y o u n g , d a r i n g c o m p o s e r s .
T h e " E a s t o l E d e n " s o u n d - t r a c k w o n a G o l d R e c o r d , a n d s o d i d R o s e n m a n ' s s c o r e l o r " R e b e l W i t h o u t a C a u s e , " J a m e s D e a n ' s s e c o n d m e m o r a b l e f i l m . B e t w e e n t h o s e a s s i g n m e n t s R o s e n m a n g a l v a n i z e d t h e t i n e a r s o l H o l l y w o o d b y e m p l o y i n g t h e e n t i r e 1 2 -t o n e s c a l e l o r a n M G M m o v i e c a l l e d " T h e C o b w e b . "
T h e n h e t o s t h i s f r i e n d . I n a f i e r y h i g h w a y c r a s h . J a m e s D e a n b e c a m e a p t o m a t u r o l e g e n d . R o s e n m a n ' s r e l a t i o n
s h i p w i t h t h e a c t o r h a d b e e n e x p l o i t e d b y t h e p r e s s , a n d h e b e c a m e a t a r g e t l o r t h e i n c r e d i b l y m o r b i d c u l t t h a t p u r s u e d D e a n b e y o n d t h e g r a v e , " t m u s t h a v e g o t t e n 5 0 0 0 l e t t e r s f r o m t h o s e m a n i a c s , " R o s e n m a n s a y s . " S i c k . A b s o l u t e l y s i c k . I t a l m o s t d r o v e m e o u t o l H o l l y w o o d . "
B u t h i s w o r k w a s i n d e m a n d , a n d h e s t a y e d o n . S c o r e s l o r f i l m s l i k e " T h e C h a p m a n R e p o r t , " " P o r k C h o p H i l l " a n d " F a n t a s t i c V o y a g e " f u r n i s h e d t h e w h e r e w i t h a l l o r r a i s i n g a f a m i l y a n d I c r r e t u r n i n g t o n o n f u n c t i o n a l c o m p o s i t i o n . M o v i e , w o r k l e d i n e v i t a b l y t o T V w o r k . L a w o l t h e Plainsman. The Road West. Garrison's Gorillas. The V i r g i n i a n . T h e m e m u s i c l o r The De-lenders. H e s p e n t l o u r y e a r s i n I t a l y , a s c o m p o s e r - i n - r e s i d e n c e l o r t h e s e r i e s Combat, a n d a s g u e s t c o n d u c t o r o l t h e m a j o r I t a l i a n s y m p h o n y o r c h e s t r a s , 0 1 t h e Combat s t i n t h e r e c a l l s : " A l t e r l o u r y e a r s o l G e r m a n s s k u l k i n g t h r o u g h t h e b u s h e s , I s a i d , ' E n o u g h a l r e a d y ! ' a n d r e q u e s t e d a t r a n s f e r t o t h e S o u t h P a c i f i c . "
H e g o t a s f a r a s t h e W e s t C o a s t , w h e r e h e s t i l t l i v e s . M o r e m o v i e s : " A M a n C a l l e d H o r s e , " " B e n e a t h t h e P l a n e t o t t h e A p e s . " T e l e v i s i o n s p e c i a l s . A b r o a d s p e c t r u m o l n e w c o m p o s i t i o n s , p e r f o r m e d b y o r c h e s t r a s , c h a m b e r g r o u p s a n d s o l o i s t s a l l o v e r t h e w o r l d . H e l e c t u r e d , w r o t e , t a u g h t a t . u n i v e r s i t i e s .
H e j i v a s t h e n p i c k e d b y D a v i d V i c t o r f o r t h e h a p p i e s t b r e a d w i n n i n g c h o r e h e h a d y e t d o n e — M a r c u s W e l b y , M . D . B u t t r a g e d y s t r u c k b e t w e e n W e l b y p r o d u c t i o n s e a s o n s . A t y e a r ' s e n d ( 1 9 7 0 ) h i s s e c o n d w i l e , a c t r e s s K a y S c o t t , d i e d .
S i n c e t h a t t i m e h e h a s t h r o w n h i m s e l f i n t o h i s w o r k , a l l f a c e t s o f i t , m o l t o con b r i o ( h e h a s r e c e n t l y r e m a r r i e d — h i s w i l e L y n i s a n a r t i s t ) .
L i k e a l l t r u e p r o f e s s i o n a l s , R o s e n m a n m a k e s e v e r y t h i n g l o o k e a s y , " W r i t i n g l o r f i l m Is e a s y , " h e i n s i s t s . " P e o p l e h a v e t h e i d e a t h a t i t i n v o l v e s a l l k i n d s o l a r c a n e t e c h n i q u e s . H e l l , a l l —»
t h e ' t e c h n i q u e s ' c a n b e l e a r n e d b y a h a l l - i n t e l l i g e n t p e r s o n i n 1 0 m i n u t e s . W h a t ' s m o s t l y i n v o l v e d i s p l a i n g o o d s e n s e . I d o n ' t k n o w w h e n I l a s t u s e d a s t o p w a t c h w h i l e c o m p o s i n g . S t i l l , I ' d l i k e t o g i v e a c o u r s e s o m e d a y i n m o v i e a n d T V s c o r i n g . T h e c o u r s e w o u l d b e i n a s c h o o l o l b u s i n e s s a d m i n i s t r a t i o n a n d it w o u l d h a v e n o t h i n g t o d o w i t h m u s i c , t w o u l d t e a c h t h i n g s l i k e H o w t o F i n d a n A g e n t , a n d H o w t o D e a l w i t h U n i o n s , "
T h e s c o r e f o r a n y g i v e n s e g m e n t o l Marcus W e l b y i s b o r n i n w h a t i s c a l l e d a s p o t t i n g s e s s i o n , a t t e n d e d b y R o s e n m a n , h i s " t w o D a v i d s " ( e x e c u t i v e p r o d u c e r D a v i d V i c t o r a n d p r o d u c e r D a v i d O ' C o n n e t t ) , t h e f i l m e d i t o r a n d t h e m u s i c e d i t o r . R u n n i n g t h e e p i s o d e ( a l l f i n i s h e d e x c e p t f o r s o u n d t r a c k ) t h r o u g h m a n y t i m e s , s t o p p i n g , b a c k i n g u p , s c e n e b y s c o n e , t h e y d e c i d e i n c o m m i t t e e w h e r e t h e r e s h o u l d b e m u s i c , w h e r e u n s c o r e d d i a l o g u e a n d a c t i o n .
Victor: Hold ill Music h e r e , w h e r e Bob pauses a t t h e door.
Rosenman: I don't t h i n k so. I'li w r i t e it, but I don't a g r e e .
R o s e n m a n w r i t e s i t . E v e n i f h i s o p i n i o n u l t i m a t e l y p r e v a i l s , t h e m u s i c f o r t h e c o n t e n d e d s c o n e i s n o t l o s t . I t g o e s i n t o c o l d s t o r a g e , t h e " l i b r a r y , " t o b e p u l l e d o u t a n d p u t t o u s e o n s o m e f u t u r e s o u n d t r a c k , p e r h a p s a s a " p l a y - o f f " t o a c o m m e r c i a l o r a " p l a y - o n " t o t h e f o l l o w i n g a c t .
A l l a g r e e t h e r e s h o u l d b e s u r g e r y m u s i c , s t a r t i n g w i t h t h e w o r d " f o r c e p s " a n d r u n n i n g u n t i l t h e s u r g e o n s a y s , " O K , C h a r l e y , w r a p i t u p . " T h i s , a l o n g w i t h t h e o t h e r m u s i c s p o t s , w i l t b e t r a n s l a t e d b y t h e m u s i c e d i t o r i n t o f o o t a g e — n u m b e r o l r e e l , n u m b e r o l f e e t i n t o t h e r e e l , n u m b e r o l p i c t u r e f r a m e s i n t o t h e f o o t — a n d i n t o r u n n i n g t i m e , m i n u t e s a n d s e c o n d s .
W h a t i t a l t c o m e s d o w n t o , o n p a p e r , i s a M u s i c W o r k O r d e r C u e S h e e t f r o m w h i c h t h e c o m p o s e r w i l l t h e n c o m p o s e
' s o m e 1 5 o r i g i n a l c o m p o s i t i o n s , r a n g i n g
i i n l e n g t h f r o m 1 0 s e c o n d s t o f o u r m i n u t e s .
T h e c o m p o s e r t a k e s t h e c u e s h e e t h o m e t o M a l i b u . H e w r i t e s a t a n o l d p i a n o t h a t ' s j a r r i n g l y o u t o f t u n e ; o n e -f o u r t h o l i t s k e y s d o n ' t w o r k a t a l l . T h e f l o o r o f t h e r o o m i s a n k l e - d e e p w i t h p a p e r s , b o o k s , m a g a z i n e s , o l d s c o r e s . T h e c o m p o s e r m u t t e r s , s i n g s , c r o a k s , c h o r t l e s t o h i m s e l f a s h e c r e a t e s , b u t h e c a n b a r e l y h e a r h i m s e l f . T h e t e l e v i s i o n s e t i s b l a r i n g . S o a r e t h e v i s i t i n g k i d s r o m p i n g t h r o u g h t h e c r e a t i v e s y n d r o m e w i t h R o s e n m a n ' s l o u r d o g s . I t i s n o t e x a c t l y a r e i n c a r n a t i o n o f L u d w i g v a n B e e t h o v e n i n a V i e n n e s e g a r r e t , g o o s e q u i l l a q u i v e r w i t h i n s p i r a t i o n .
I n t w o d a y s t h e s c o r e i s f i n i s h e d . T h e n e x t t i m e R o s e n m a n s e e s i t i s i n n e a t n o t a t i o n — a t t h e r e c o r d i n g s e s s i o n a t U n i v e r s a l S t u d i o s .
T h e r e c o r d i n g s e s s i o n i s l o o s e , r e -t a x e d , a n d a s t o n i s h i n g l y e f f i c i e n t , R o s e n m a n , o n t h e c o n d u c t o r ' s p o d i u m , w e a r i n g r e d - s t r i p e , f l a r e p a n t s o v e r h u n g b y s a l m o n - c o l o r e d s h i r t , t e g s e n t w i n e d a r o u n d h i s s t o o l , s u r r o u n d e d b y s h e e t m u s i c , c l o c k ( w h i c h h e l a r g e l y i g n o r e s ) a n d a s h t r a y ( w h i c h h e s t u f f s l u l l o l b u t t s f r o m c h a i n - s m o k e d u n -l i t t e r e d c i g a r e t t e s ) . L a n k d a r k h a i r f l o p p i n g , a B o t t i c e l l i p o r t r a i t c o m e t o l i f e , h e l e a d s 2 5 m u s i c i a n s t h r o u g h t h e b u s i n e s s a t h a n d a s h e w a t c h e s a l a r g e -s c r e e n p r o j e c t i o n o l W e l b y p r o d u c t i o n # 3 2 5 0 2 ,
" I c h a l l e n g e a n y b o d y t o g e t t o g e t h e r u n d e r o n e b a t o n 2 5 b e t t e r i n s t r u m e n t a l i s t s , " h e s a y s d u r i n g a b r e a k . " T h e s e p e o p l e a r e t e r r i f i c . T h e b e s t o f t h e b e s t f r o m t h e L . A . P h i l h a r m o n i c , t h e H o l l y w o o d B o w l o r c h e s t r a , t h e I n t e r n a t i o n a l S o c i e t y o f C h a m b e r M u s i c . "
H e r u n s a h a n d t h r o u g h h i s h a i r , l i g h t s a c i g a r e t t e , a n d s a y s : " I r e a l l y l o v e w h a t I d o f o r Marcus W e l b y . B u t t h e n I w o n d e r — d o e s a n y b o d y o u t t h e r e r e a l l y h e a r w h a t I d o ? R e a l l y d i g i t ? I t ' s , I g u e s s , l i k e w o n d e r i n g d o t h e s t a r s l o o k b a c k a t m e t h r o u g h m y t e l e s c o p e . "
P o r t r a i t o f a m a n e n j o y i n g t h e b e s t o l a l l k i n d s ' o l p o s s i b l e w o r l d s . M u s i c u p a r i d o u t . ©
