It's been a longer delay than planned between blog posts, but I hope to get myself back on track with this one!
Twenty years ago I spent the Summer at an internship in Los Angeles I expected the experience to have fast-tracked a career in the film business once I graduated college the following year, but that never materialized. Instead, upon my homecoming to North Carolina to start my senior year, I was more confused about my future than ever. Thankfully, a circuitous route finally deposited me back in L.A. in 2007, but I wanted to share a highlight in the realm of movie music from that Summer of '94, one that can still echo fondly among my current life every so often. It concerns meeting and interviewing composer Christopher Young. Of course, this is tied to a soundtrack to mark the experience and in this case it's a 2-CD set called CINEMA SEPTET, featuring music by Mr. Young from seven of his early films.
Twenty years ago I spent the Summer at an internship in Los Angeles I expected the experience to have fast-tracked a career in the film business once I graduated college the following year, but that never materialized. Instead, upon my homecoming to North Carolina to start my senior year, I was more confused about my future than ever. Thankfully, a circuitous route finally deposited me back in L.A. in 2007, but I wanted to share a highlight in the realm of movie music from that Summer of '94, one that can still echo fondly among my current life every so often. It concerns meeting and interviewing composer Christopher Young. Of course, this is tied to a soundtrack to mark the experience and in this case it's a 2-CD set called CINEMA SEPTET, featuring music by Mr. Young from seven of his early films.
Released as a special, limited edition promo by Intrada Records in 1993, CINEMA SEPTET collected previously unavailable and often never heard before TV and film scores composed by Christopher Young. I learned about all these details, but my disposable income still hovered at impoverished college student levels so I had to let it pass. I'd been collecting albums of Young's music since HELLBOUND in 1989. I found his music absolutely hypnotic, engaging and even beautiful, in a melancholic fashion. I'd wondered about his inspirations and approach to scoring films, but interviews with him were as rare as finding his albums on record store shelves. Little did I imagine I'd be spending time in his studio only some months later with the chance to talk at length on these topics and more.
My declared major at UNC-Chapel Hill was listed as Film & Television. It actually wound up as the final year it was offered as such before being merged with the Communications department. One day during the '94 Spring semester, I crossed the bustling campus and encountered an acquaintance of mine, Shane. He and I had met earlier during orientation for junior transfers and both planned for the same field of study, but we never met up again until that afternoon. This proved to be a fortuitous meeting as Shane explained to me how UNC offered a Summer internship program and evening classes in Los Angeles specifically for juniors and seniors, all for school credit. That very day was the last for sign up. I immediately took his direction, tracked down whomever was in charge and tossed my proverbial hat into that ring. Who knew how many others I competed against, as only ten students would be chosen.
Weeks later the news was delivered. Happily, both Shane and I turned up on the list and were now set to spend part of the Summer in sunny So Cal. It seemed the most exciting springboard to a life I'd always imagined and couldn't arrive fast enough. Preparatory meetings and mixers soon occurred among the ten of us selected. Internship options announced included a script reader for STAR TREK and post-production slot for the NBC TV series "Unsolved Mysteries". Unsurprisingly, STAR TREK was my number one choice, but alas I was informed that the producers requested either a woman or a minority. So instead, "Unsolved Mysteries" would end up gaining my distinctly minimal skills as an intern.
I then reached out to Lukas Kendall, who at that time self-published the magazine Film Score Monthly, and alerted him of my good news. He and I had corresponded by phone and letters since 1990, so it wasn't uncommon to catch up now and again. This time, however, I had a favor to ask - could he put me in contact with a composer out in L.A. that I might interview for the magazine? Lukas asked for a name and I replied "Christopher Young". He shared his contact info and following a few days of anxiety over making this call, I dialed Mr. Young's number on a weekday evening. It felt positively surreal to actually be speaking with one of my favorite movie composers, as if he were some historical figure brought back to life. Mr. Young proved to be incredibly amiable and chatty, graciously inviting me to visit his studio in Venice Beach once I'd made the Westward journey.
Life in L.A. for our eager platoon of UNC students consisted of weekdays at our respective internships, supplemented by an evening class twice a week. We resided at the infamous Oakwood Apartments on Barham, a complex well worn by late night talk shows who scout for gullible subjects. The evenly split group of five guys and five girls were crammed into dual two-bedroom apartments, a living situation which wore out its novelty after the first weekend as everyone struggled for privacy. On my first Saturday, I made plans to visit Chris Young at his studio. Since I had no car of my own, I naively ordered a cab from Burbank to Venice Beach. I promptly realized upon arrival that I was supremely short of cash. Embarrassingly enough, my first in-person encounter with Chris involved me sheepishly explaining that I couldn't pay the driver. He amazingly paid the man the remaining amount without complaint, proving what a generous person he is. To my surprise, this wound up being the first of three visits to his studio during that Summer and I took the opportunity to learn all I could. I also took the opportunity to learn the L.A. bus system as a cheaper means of travel.
We chatted about what makes a film score truly memorable and how even
the music of classic-era stalwarts Max Steiner and Franz Waxman may not
always be considered quality every single time. Chris shared much about his experiences in the industry up until that time, both inspiring and frustrating. The key trick was balancing art and commerce, as this industry was both the composer's livelihood and their muse. One half of him operated from a need to write a
theme which could be known by everyone while the other half was simply
more interested in the esoteric, avant garde side of scoring. To me it seemed as though he felt better suited to stay constantly struggling rather than accept he had achieved anything worthwhile, but maybe this mindset is for any artist. I remember one funny anecdote he said then was that when stuck for inspiration, listening to Jerry Goldsmith's score for DAMIEN: OMEN II would often kick start the creative juices, reminding him to reach for more creative solutions.
In the years prior to this, I was a self-taught aficionado of movie music. Education materials consisted of album liner notes, infrequent composer interviews in magazines and the "by-fans-for-fans" publication Film Score Monthly. There were even a few pen-pal letters with other fans. Yet in a way, this was akin to auditing a class at USC or UCLA, with Chris as my unofficial professor. He talked about his strongest influences - Bernard Herrmann, Jerry Goldsmith, Alex North - and where he thought their sounds could be discerned in his. Over lunches in Venice, I tried to memorize every insight and anecdote imparted and was glad to have
recorded it partially to cassette for possible publication. Chris also relayed some unfortunately disheartening stories of working in the
industry, the harsh reality of casual betrayals and fickle natures of many. It was an
honest assessment of Hollywood and I appreciated it, but silently wondered whether I'd be able to manage it. I became a bit disillusioned by
Summer's end, admittedly, unsure if I was prepared to plan the permanent move after graduation.
Before I departed L.A., he presented me a gift of several albums of his music, including the aforementioned, pricey-for-1994, 2-CD promo CINEMA SEPTET along with other rare, not-available-in-stores items. I was overwhelmed, not expecting anything like this and he even signed the liner notes, which became my first composer autograph. For a poor college student with a frequently expensive hobby, these CD's became and remain treasured items in my collection. Sadly, after hours spent transcribing my recorded interview with Chris, it failed at being published. However, this disappointment never diminished my recollections told to friends and family.
While it ended up taking thirteen years until I finally replanted myself out here, I made up for lost time by diving into the film music community through various concerts, composer panels, signings and all manner of gatherings. Friendships have been forged and I've had the privilege of connecting with great talents throughout the town, even reconnecting with Mr. Young. Granted, my return didn't involve me actually working where I thought I would, nevertheless, living in L.A. is still the best place for me to be.
Before I departed L.A., he presented me a gift of several albums of his music, including the aforementioned, pricey-for-1994, 2-CD promo CINEMA SEPTET along with other rare, not-available-in-stores items. I was overwhelmed, not expecting anything like this and he even signed the liner notes, which became my first composer autograph. For a poor college student with a frequently expensive hobby, these CD's became and remain treasured items in my collection. Sadly, after hours spent transcribing my recorded interview with Chris, it failed at being published. However, this disappointment never diminished my recollections told to friends and family.
While it ended up taking thirteen years until I finally replanted myself out here, I made up for lost time by diving into the film music community through various concerts, composer panels, signings and all manner of gatherings. Friendships have been forged and I've had the privilege of connecting with great talents throughout the town, even reconnecting with Mr. Young. Granted, my return didn't involve me actually working where I thought I would, nevertheless, living in L.A. is still the best place for me to be.
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