With over 70 films to his credit, including some of the most beloved titles in the Horror genre (RE-ANIMATOR, PUPPETMASTER, THE RESSURRECTED), composer Richard Band is something of an institution. Part musician, part intuitive storyteller, he understands the craft of film scoring on an almost subconscious level. I recently had an opportunity to speak at length with Richard about his career that has spanned over 3 decades of film work.


While I was prepping for this interview I was listening to one of your earliest scores, THE HOUSE ON SORORITY ROW from 1983. It is so rich and subtle, with such delicate mystery within the themes; hardly what was in vogue for slasher films of that era. I'd go as far as to say it would be right at home in a Disney adventure film. What inspired you to approach that film in such a way? Were you out to "prove" yourself early on?


To a certain extent, I'd say yes, I was. I mean, that is just how a young man thinks, and I was still in my early 30's. I wanted to be taken seriously as a musician and composer, above and beyond the supposed limitations of the genre. So, I think I did tend to want to imbue those early scores with a great deal of orchestral elegance juxtaposed to the onscreen violence. It is a stylistic choice that worked well for me, and did get me some notoriety early on. I carried this approach into the RE-ANIMATOR score as well, albeit with a more comedic execution.


I've noticed a certain "old school" approach in your scores that involves developing recurring motifs and themes, sometimes tied to certain characters specifically. This style of scoring has a musicality to it that really serves to let the viewer "In" so to speak. I know it was a favorite technique of a mutual hero of ours, Bernard Herman. Could you explain your approach to this style of scoring?


I tend to approach it like a puzzle. At least that's the metaphor I've used to describe my process in the past. In order for it all to come together correctly, you have at least some vague idea of the whole picture before you start. The score is comprised of lots of little
pieces that should fit together in a way that helps tell the story. I take all these bits and pieces; these themes, and motifs and connect them so that they form a connected piece that has a sense of continuity. All the correct beats have to fall into place and be accounted for. As it all comes together, it kind of takes on a life of its own. If I've done my job correctly, the end result should enhance the finished film, and help to convey drama, atmosphere, and mood in a pretty seamless fashion.


I've seen you speak several times at different horror related events, and I've noticed that you've never spoken ill of the Horror genre. I'm sure this is something that resonates with fans. Did you ever feel an uncomfortable association as "The Lovecraft Guy" or "The Full Moon Guy"?


Yeah, sometimes. Not because I wasn't proud of the work I'd done, but because I found that I was sort of "typecast" musically. So, I did take several years off to go do different things and to explore other areas. It was a decided effort on my part to challenge myself as well as to get some distance from the Horror genre. I made a conscious decision to do something different than what I'd been doing for so long. I felt that I'd done so much science fiction and horror that I was tapped out creatively in those genres. I didn't want to do it anymore if I was just going to be basically re-creating scores I'd already done in the past. So, I stopped accepting those offers, and began looking at other opportunities. I wanted to branch out and I expanded my horizons by moving into other mediums. I didn't do a horror film for about seven or eight years while I was composing for television, animation, video games, and comedies.


What brought your attention back to the Horror genre?


A few years ago, Stuart Gordon called me and told me about the episode he was going to be doing for the MASTERS OF HORROR series, "DREAMS IN THE WITCH HOUSE." I thought it was a really good idea, and the prospect of working with Stuart again appealed to me. Plus, the story was from Lovecraft, so I felt a connection there as well. So, I decided to see if I did indeed have something left to say within the horror genre, and as it turned out I did. It all felt very comfortable, and the end result received an Emmy nomination, so I guess it was meant to be. In fact, all the different episodes I've done for MASTERS OF HORROR turned out to be very positive experiences.


I maintain that genre fans are the most loyal people on earth. They are really the ones who obsess over things like soundtracks, as it is a vital component to the films they love. I doubt you'd see a fan of romantic comedies get really excited by a re-issued soundtrack CD for a 25 year old film. How have the fans reacted to seeing you in person at events like Fangoria's Weekend Of Horrors, and the H.P. Lovecraft Film Festival?


It's been great. You're absolutely right about Horror and Sc-fi fans. They are the best. They are the first to embrace and appreciate what I've done throghu so much of my career. So many of them are also really big fans of music in general, and that is so wonderful to see. The volume of mail that I still receive, as well as the orders for the various soundtrack CDs I've put out, is humbling. To this day, it amazes me. The fans are respectful and very courteous in person, and I'm always glad to get a chance to meet them.


Congratulations on your "Howie" award from The Lovecraft Film Festival by the way.


Thanks. I was honored to receive it, not to mention it's just a beautiful statue.


Back to the mechanics of film scoring. Do you feel that technology has helped or hindered the process of film scoring? Has it in some ways lessened the musicality of the modern horror score?


Sadly, I believe that in many cases it has. Sampling technology and the like has made such a huge amount of sounds available that sometimes discretion seems to have fallen by the wayside. It has placed an emphasis on sounds as opposed to memorable music. Back in the day, a director really had to trust you, as there were not such advanced ways of delivering synth mock ups of full orchestrations as there are today. You were hired back then based upon a trust that you'd deliver what was going to be appropriate for the project. Usually you would get together and play them the key themes you'd written on piano, and they would either like it or they wouldn't. Plain and simple. You'd make changes here or there, and that was it. They didn't need every cue spoon fed to them; because there was a trust there. You had been hired because they believed you were qualified to do the job they were asking of you. Often times the director wouldn't hear a really finalized version until the day the actual orchestra was on the sound stage at the recording session.

That would never happen today. In all likelihood a film budget for a studio horror film these days couldn't accommodate a full orchestra, let alone a post production schedule long enough to write for one. In a lot of ways, today's directors want what I call "Music by the pound,".as in, a composer is supposed to deliver so many minutes by such and such a date, end of story. The whole process is less conducive to getting high quality work done. So, you do the best you can under the time and budget constraints.


What is the craziest schedule you've ever had to do a film score?


That would have to be for a film I did in the late 80's called METALSTORM. The film was a summer 3-D release that was to follow Universals JAWS 3-D in theaters, and the street date was immovable due to the fact that it was booked into 1,200 the theaters that had special 3-D lenses installed on the projectors. They couldn't afford to have them removed and put back on at a later date, so METALSTORM needed to go in right after JAWS 3-D. The amount of music was absolutely ridiculous, something like 78 minutes and I had to write AND record it in 11 days. A 90 piece orchestra, live synth players...crazy. I didn't sleep.


How does it hold up in your opinion? Have you listened to it recently?


It's surprisingly good, really. I think orchestral scores endure the test of time a lot better than synth based work.


As in the synth scores tend to be time stamped with the era they were recorded?


Exactly.


Interestingly enough, I've been called on to re-create a lot of older 70's/80's era synth sounds and composing styles for recent projects. I'm wondering if this is a trend other composers are encountering as well. I was curious whether you'd ever found retro instruments and sounds ever coming into vogue again in any serious way?


No, not really. I haven't seen it in what I do personally. Although, I'm only speaking on what I've been called on to do these days.


Anything new and exciting coming up on the horizon?


You know how the business is, there are projects lined up, but none I can really discuss just yet. One of the things I'm the most excited about is the music library I'm a partner in, (as well as marketing director for), GRATIS Music. It's a complete production music library that offers music licensing, plus music and sound FX editing, as well as original compositions from top notch composers. Myself and my friends Harry Manfredini (FRIDAY THE 13th, "WISHMASTER, HOUSE) and Jerry Lambert (he's the CEO) are all working together and it's creating some fantastic results.


Awesome, at last a music library that actually has GOOD music available to it. Hallelujah!! Seriously, thank you so much for your time Richard, it's been a blast talking with you. And thank you for so many years of great music and inspiration.


Thank you Mars, be well.

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www.richardbandmusic.com
www.gratismusiclibrary.com
www.myspace.com/richardband

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Richard Band's IMDB Filmography:

Composer

1. Safe Haven: The Warsaw Zoo (2009)
2. Fortune Teller (2008) (V)
3. The Raven (2007) (TV) (uncredited)
... aka Edgar Allan Poe's The Raven (USA: complete title)
4. Nympha (2007)
5. "Masters of Horror" (3 episodes, 2005-2007)
- The Washingtonians (2007) TV episode
- Valerie on the Stairs (2006) TV episode
- H.P. Lovecraft's Dreams in the Witch-House (2005) TV episode
6. The Silvergleam Whistle (2003)
7. "Modern Marvels" (1 episode, 2003)
- Machine Guns (2003) TV episode
8. My Horrible Year! (2001) (TV)
9. Invictus (2000) (VG)
... aka Invictus: In the Shadow of Olympus (USA)
10. "Stargate SG-1" (3 episodes, 1997-1998)
... aka "La porte des ?toiles" (Canada: French title: dubbed version)
- In the Line of Duty (1998) TV episode
- Singularity (1997) TV episode
- Cold Lazarus (1997) TV episode
11. Star Trek: Pinball (1998) (VG)
12. In the Doghouse (1998) (TV)
13. Clayfighter 63 1/3 (1997) (VG)
... aka Clay Fighter 63 1/2 (USA)
... aka Clayfighter: Sculptor's Cut (USA)
14. Waterworld (1997) (VG)
15. Descent to Undermountain (1997) (VG)
16. Hideous! (1997)
17. Head of the Family (1996)
18. Robo Warriors (1996)
19. Zarkorr! The Invader (1996)
... aka Zarkorr!
20. Josh Kirby... Time Warrior: Chapter 5, Journey to the Magic Cavern (1996) (V)
21. Castle Freak (1995)
... aka Stuart Gordon's Castle Freak (USA: complete title)
22. Josh Kirby... Time Warrior: Chapter 1, Planet of the Dino-Knights (1995) (V)
23. Magic Island (1995) (V)
24. Shrunken Heads (1994)
25. Puppet Master 5: The Final Chapter (1994) (V)
... aka The Final Chapter: Puppet Master 5 (Canada: English title: video box title)
26. Dragonworld (1994)
27. Puppet Master 4 (1993) (V)
28. Dollman vs. Demonic Toys (1993) (V)
... aka Dollman vs. the Demonic Toys (USA: long title)
29. Remote (1993) (V)
30. Prehysteria! (1993)
31. Conquest of the New World (1993) (VG)
32. Trancers III (1992) (V)
... aka Death Lives
... aka Future Cop III
33. Doctor Mordrid (1992)
34. The Resurrected (1992)
... aka Shatterbrain
35. Demonic Toys (1992) (V)
... aka Dangerous Toys (USA)
36. Puppet Master III: Toulon's Revenge (1991) (V)
37. The Arrival (1991)
... aka The Unwelcomed (USA: video title)
38. The Pit and the Pendulum (1991) (V)
... aka The Inquisitor (USA: DVD title)
39. Puppet Master II (1991) (V)
40. Initiation: Silent Night, Deadly Night 4 (1990) (V)
... aka Bugs (UK)
... aka Silent Night, Deadly Night 4: Initiation (USA: DVD box title)
41. Crash and Burn (1990) (V)
42. Shadowzone (1990)
43. Bride of Re-Animator (1990)
... aka Re-Animator 2 (UK)
44. Puppetmaster (1989) (V)
... aka Puppet Master I (USA: DVD box title)
45. Arena (1989)
46. Prison (1988)
47. The Caller (1987)
48. From Beyond (1986)
... aka H.P. Lovecraft's From Beyond
49. Zone Troopers (1986)
50. Ghost Warrior (1986)
... aka Swordkill
51. TerrorVision (1986)
52. Troll (1986)
53. Re-Animator (1985)
54. Ghoulies (1985)
55. The Dungeonmaster (1985)
... aka Ragewar
56. Night Shadows (1984)
... aka Mutant (UK) (USA: video title (working title))
57. The Alchemist (1984) (as Richard H. Band)
58. Metalstorm: The Destruction of Jared-Syn (1983)
... aka Metalstorm (USA: short title)
59. The House on Sorority Row (1983) (as Richard H. Band)
... aka House of Evil
... aka Seven Sisters
60. Filmgore (1983) (V)
61. Time Walker (1982) (as Richard H. Band)
... aka Being from Another Planet
62. Parasite (1982)
63. Lunch Wagon (1981)
... aka Come 'n' Get It
... aka Lunch Wagon Girls
64. The Best of Sex and Violence (1981)
... aka Screams of Flesh and Blood (USA: reissue title)
65. The Day Time Ended (1980)
... aka Earth's Final Fury (USA: TV title)
... aka Time Warp
... aka Vortex
66. Dr. Heckyl and Mr. Hype (1980)
67. Laserblast (1978)
68. Auditions (1978)

Music Department:

o 2000s
o 1990s
o 1980s
1. Cinemaker (2004) (V) (composer: stock music)
2. Beyond Re-Animator (2003) (composer: theme music)
... aka Beyond Re-Animator (Spain)
3. Planescape: Torment (1999) (VG) (composer: additional music)
4. Star Trek: Judgment Rites (1993) (VG) (music arranger: "Star Trek" theme)
5. The Resurrected (1992) (musician: electronic music)
... aka Shatterbrain
6. Kickboxer from Hell (1992) (composer: stock music) (uncredited)
7. Trancers II (1991) (music supervisor)
... aka Future Cop II
... aka Trancers II: The Return of Jack Deth (USA: video box title)
... aka Trancers II: The Two Faces of Death
8. Prison (1988) (conductor)
9. Dolls (1987) (music supervisor)
10. Robot Holocaust (1986) (V) (composer: stock music) (uncredited)
... aka I robot conquistano il mondo (Italy)
11. TerrorVision (1986) (music supervisor)
12. Eliminators (1986) (music consultant)
13. Trancers (1985) (orchestrator)
... aka Future Cop (Philippines: English title)
... aka Trancers I (Australia: DVD box title)
14. Ghoulies (1985) (composer: additional music)

Production Manager:

o 1980s
o 1970s
1. Dolls (1987) (production supervisor)
2. Fairy Tales (1979) (production supervisor)
... aka Adult Fairytales (UK)
3. She Came to the Valley (1979) (production supervisor)
... aka Texas in Flames
4. Dracula's Dog (1978) (assistant production manager)
... aka Dracula contro Zombi (Italy)
... aka Zoltan il cane di Dracula (Italy)
... aka Zoltan, Hound of Dracula (UK)

Miscellaneous Crew:

o 1990s
o 1970s
1. The Resurrected (1992) (synclavier programmer)
... aka Shatterbrain
2. Tourist Trap (1979) (production consultant)

Second Unit Director or Assistant Director:

1. Cinderella (1977) (assistant director)
... aka Cinderella: The Movie (Australia: video title)
... aka The Other Cinderella (UK)
2. Mansion of the Doomed (1976) (assistant director)
... aka Eyes
... aka Eyes of Dr. Chaney
... aka Eyes of the Living Dead (Philippines: English title)
... aka House of Blood
... aka Massacre Mansion (UK: video title)
... aka The Terror of Dr. Chaney (UK)

Soundtrack:

1. Troll (1986) ("Cantos Profane")

Producer:

1. End of the World (1977) (associate producer)

Actor:

1. Last Foxtrot in Burbank (1973)

Self:

1. Cinemaker (2004) (V) .... Himself