Halfway through the '60s, Hollywood was floundering its way trying to get in sync with and, more importantly in the studios' little bottom-line mind, trying to exploit the revolutionary tide of the times which emboldened that decade to consider itself the epiphany of the century.
Fifty years ago, Shirley Bassey's Goldfinger, arguably the greatest James Bond theme of all, and one of the most explosive musical compositions in the history of cinema missed winning the Academy Award for Best Song -- in fact, it missed a nomination altogether.
True music lovers have a soundtrack for everything. When it comes to under-the-covers jams, there's one disc that resonates in my core. It's Gato Barbieri's alternately lush and animal-depraved soundtrack for the great Bernardo Bertolucci flick, "Last Tango in Paris."
We might also encourage every orchestra to look into its past and how it dealt with issues like anti-Semitism (and this includes our American orchestras) and what music was played during the war years and after.
The genius finds the way, in spite of all the words and all the heated discussions, into the heart and into the mind. If the mind cannot comprehend, the heart cannot be reached. Without both, there is no music whatsoever.
I want to offer a few general thoughts about music - what we call classical music and what it actually is - free of politics and free of esthetic evaluations--and the latter frequently acting as a mask for the former.
After some prying, we got to an answer. I then asked why this was such a tough question, and why, say, if I had asked this same question 100 years before, there would have been an avalanche of answers.
Surveying the historical span of filmmaking, the use of original music appears more prevalent from the dawn of sound through the 1970s -- or perhaps it's just that the scores themselves were more memorable over this period.