The sound design supervisor for TRON was Michael Fremer, whose responsibility it was to provide a finished soundtrack, consisting of music and sound effects, for the film. Fremer, whose background in sound began in radio while in college during the mid-60s, gained his first motion picture experience as a co-writer and editor on Stephen Lisberger’s...
Category: Dossier
Randall Kleiser on Basil Poledouris
How did you meet Basil? Basil was a classmate of mine at the D.S.C. film school. We were both studying directing and were working on each other’s films as crew members. I even played a corpse in one of his student films! What films has he scored for you? He did BLUE LAGOON, SUMMER LOVERS, WIDTE FANG, and IT’S MY PARTY...
Paul Verhoeven on Basil Poledouris
I met Basil around ‘84 when I was doing FLESH AND BLOOD for Orion. We were looking for a composer and Mike Medavoy, head of production at Orion, mentioned him together with Horner and Goldsmith. At that time we were beyond our budget. Originally I used the temp music of James Horner. I used STAR TREK 2 and one of his older Roger Corman movies...
Emilio Estevez on Basil Poledouris
I’ve been a fan of his work for years and I was thinking, with a movie with a total budget of 4.2 million dollars, the chances of getting someone like Basil, who does enormous orchestral scores, was slim to none. I don’t really know that many film composers. On the two previous films I directed, Danny Elfman did WISDOM and Stuart Copeland did MEN AT WORK...
John Milius on Basil Poledouris
What films has he scored for you? All of my films except THE WIND AND THE LION and DILLINGER because they wouldn’t let him then. And the one I just finished, THE ROUGH RIDERS, he didn’t score because Verhoeven wouldn’t let him. He scored BIG WEDNESDAY, CONAN THE BARBARIAN, RED DAWN, FAREWELL TO THE KING, and...
Basil Poledouris: A Man and His Music
Film composer Basil Poledouris unfolded a tapestry of musical styles in over 55 television and motion picture scores. When you have a wide palette of styles and ideas that can fit almost any film genre, your talent is welcome in an industry that demands flexibility. This gift combined with sensitivity can take you a long way. Basil s emotions speak for themselves...
The Musics for Legend
Few film scores have aroused such controversy among moviegoers as that of Ridley Scott's 1986 fantasy, LEGEND. Originally, Jerry Goldsmith provided a lush symphonic score utilizing strings, woodwinds and a striking use of choir, a score that the composer, and not a few of his colleagues including Ridley Scott himself, felt was among Goldsmith's best work...
Frank Serafine
Frank Sernfine was brought in to provide the synthesized sound effects for TRON. Operating a small sound effects studio in Los Angeles, SFX, Serafine’s background was in the music and audio synthesis recording field before he began to work with motion picture sound effects in STAR TREK: THE MOTION PICTURE. Subsequently, Serafine has been involved...
Wendy Carlos
Wendy Carlos first achieved notice with the release of a pair of Switched-On Bach recordings in 1968, adapting the famous classical material for a synthesizer developed by Carlos and engineer Robert Moog. Carlos later adapted the classical music for Stanley Kubrick’s A CLOCKWORK ORANGE (1972) and continued the association by scoring...