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Ennio Morricone in Hollywood – Todd McCarthy Column – Deadline

 


When the late and great director-screenwriter Samuel Fuller finished shooting what turned out to be his last Hollywood studio film in 1981, his producer Jon Davison asked who he had in mind to compose the score. After a reflective pull on his cigar, Fuller barked, “Let’s go Morricone.”

And this is how one of the greatest film music composers of all time made one of his first escapades to Hollywood to record an obsessive soundtrack which, for more than 20 years, was not available. on vinyl or elsewhere. And neither the film itself, nor the controversy White dog, which was barely released and was only released on DVD, from Criterion, in 2008.

Although August film composer Ennio Morricone, who died last weekend at age 91, became internationally known in the late 1960s as a result of his sensational scores for Sergio Leone’s Western Dollars, only a small minority of his work has come on Hollywood movies. His first work on a major American studio production inspired him to unusual and very effective results on a cursed sequel, Exorcist II: the heretic, in 1977. Then Terrence Malick engaged him in a difficult collaboration but ultimately Paradise days.

Ennio Morricone: Seven Timeless Film Compositions – Photo and Video Gallery

Four years and 45 film scores later (Morricone was nothing if not prolific; he ultimately created the music for some 400 images, including many Italian co-productions or Europudding), the composer took on two other Hollywood missions. One was John Carpenter’s remake of the horror sci-fi classic The thing, for which Morricone composed a strange and unusual synth score which Carpenter then developed. The other was Fuller White dog, a cursed movie, as the French say, if there ever was.

The book was based on a semi-autobiographical, partially fictionalized 1970 novel by French writer Romain Gary in which he controversially wrote a German shepherd who was originally trained by a white man to attack black people. Subsequently, the dog was sold and recycled by its new black owner to attack the whites.

When Paramount wanted to rush several films into production to beat an impending strike, one of the projects the studio chose was White dog, produced by the studio Plane! producer Davison (who continued to make the original RoboCop and Starship Troopers, among others). Fuller, who knew Gary, felt that the key change was not to have the dog simply reverse the racial identity of its victims (and therefore simply perpetuate racial violence), but that its new owner (played by Paul Winfield) try to train it to be non-racist, clearly a much more desirable goal.

However, some civil rights groups had problems with the project. As a result, the film, which was generally well reviewed by the few critics who managed to see it, barely opened, generated minimal revenue and, after years of oblivion, was released on the DVD Criterion. Two years later, an official Morricone CD White dog the score was finally issued (all you could have encountered earlier was a bootleg). And it’s great to listen.

After Morricone passed away, I called Davison, with whom I had worked for a few years at Roger Corman’s New World Pictures and who had generously arranged for me to attend Morricone. White dog recording session in Hollywood almost 40 years earlier. As Jon remembered, “Sam wanted it, Paramount had no problem with that and it just happened. We sent him a video of the photo, he came here and knew pretty much exactly what he wanted. He played the piano score for us before recording it. Registration only took two or three days. “

My memories of the sessions are that they were calm, well organized and very controlled, without frills or nonsense. Morricone really didn’t seem to speak any English at all – he certainly didn’t try it – but he was able to communicate in a simple and direct way with his Hollywood musicians. Davison remembers having sent letters to the composer beforehand informing him that Fuller’s only request was not to include choral passages (a motif that Morricone has practiced many times), and I did not detect any tension or difficulty during work.

In fact, the only problem appeared at lunchtime. My request to interview the maestro for Variety had been granted a few days before, but when we had to sit in the police station, Morricone gave me a surprisingly difficult time. “What do you know about music?” He barked, through a translator, renouncing all subtlety. “I don’t know if I can talk to you.” Rather taken aback, I let it be known that I had grown up in a musical home, that I had studied the piano for 12 years and the clarinet for almost as long, that my mother was an orchestra cellist and my sister and my beautiful -brother were professional opera singers.

It seemed to calm him down a bit and, via a translator, we managed to have a very engaging time, talking about Sergio Leone, of course, but also about the opera, Fuller, his life in Rome and some of his other works. He was a man, I felt, who was a complete master of his trade, inexhaustibly inspired, fully prepared, extremely precise and extremely serious about his work. He treated musicians with respect but was extremely demanding.

Davison told me the other day that, one of the nights when Morricone was in town, they and a little party had dinner at Rex, the Italian restaurant then in downtown Los Angeles. “At the end of the evening, he took several napkins and wrote a different musical theme for everyone at dinner.”

Always creative, always charged with music in his blood, such was Ennio Morricone.



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