Chris Walsh (chris_walsh) wrote,
Chris Walsh
chris_walsh

Walker on Walker Part Two: meet Danny and Hans

Part Two of Film Score Monthly's "Walker on Walker," where composer Shirley Walker narrates her own career. This time we start around 1982 and reach the late '80s, where she started collaborating with two of the most influential film composers of the last two decades, Danny Elfman (starting with Scrooged in 1988) and Hans Zimmer (starting with Black Rain the next year).

I'm really wishing I'd had a chance to meet Walker. She sounds like a great person: gracious and funny as well as talented. (I love Elfman, but even he admits he's prickly.) And I've once again been surprised at how much work she did ("Oh, she worked on that film, too? And that show?"). She also worked well in a pinch, helping Elfman by writing a cue on Nightbreed (for which she was properly credited; she explains that in this excerpt). And, unfortunately, she dealt with biased cluelessness, like here:
Someone who I will not name but a composer who is a good friend of mine when he heard a cue I had written for Dick Tracy, which ended up not being in the film. They didn't want to have music in that scene; it was where the boiler explodes. And this guy who prides himself on his open-mindedness was just at a loss for words. And he finally blurted out to me, "Shirley! It sounds like a guy could have written that." You know? And then he was stumbling all over himself because of the implications inherent in that statement.
Tags: music
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