Bill Wrobel's DVD - Film Score Rundowns

unison Line 1 E tenuto quarter note to D#/F# tenuto quarter notes to E/G# tenuto half
notes to (Bar 3) G# 8 th followed by rests). Violas play small octave B-B tenuto quarter
notes to B half note to (Bar 3 in 2/4 time) B half note tied to double-dotted quarter note
next bar. VC play Great octave B/small octave G# to B/F# tenuto quarter notes to B/G#
tenuto half notes to (Bar 3) B/G# half notes. CB play small octave E down to Great
octave B quarter notes to E tenuto half note down to (Bar 3) Great octave B half note p
tied to half note in Bar 4. Etc.
As mentioned earlier, the Maverick theme is heard in this score, and specifically
this very cue. On the dvd go to 00:18:30 and you’ll start to hear it! Unfortunately I did
not have time to get to this end section of the cue, otherwise I would certainly delineate it
for the reader.
[Reel 3/part 2] 19 pages, 74 bars, orchestrated by Gus Levene.
[Reel 3/part 3] Tempo di “Rube” in 2/4 time, key signature of three flats. The
ratchet and cowbells were used in this cue.
[end session Thursday, April 07, 2011 at 12:01 pm. Time for lunch, this my day
off!]
-U-571 (2000) ***
http://www.amazon.com/U-571-Collectors-Bill-
Paxton/dp/B00003CXHJ/ref=sr_1_1?s=dvd&ie=UTF8&qid=1292989156&sr=1-1
-Thriller (1960) ***
http://www.amazon.com/Thriller-Complete-Boris-
Karloff/dp/B003NOGNQU/ref=sr_1_1?s=dvd&ie=UTF8&qid=1292991318&sr=1-1
-The Fountainhead (1948) ** [music ***]
http://www.amazon.com/Fountainhead-Gary-
Cooper/dp/B000HWZ4A2/ref=sr_1_1?s=dvd&ie=UTF8&qid=1292991481&sr=1-1
[reviewed May 27, 2011]
There is no introductory Warner Bros logo music here, by the way.
This movie draws a Blanke to me (I mean “blank”) because I never found this
strange Ayn Rand-based film very appealing. Even Max Steiner’s music did not
sufficiently interest me enough to induce me to have the written music pulled for research
(never a strong priority). The dvd is part of the Gary Cooper set I purchased so I am
watching it now for the sake of this brief review. The whole premise of the movie is
false: that individuality is always being stomped upon by en masse conformity.
Ridiculous. Uniqueness and individuality is always quite evident in work. Rand’s
stubborn insistence to conform completely to a rigid root assumption makes this movie
lifeless and unrealistic, despite the good stars cast. Neal and Cooper together is obviously
great chemistry together! The best parts of the movie are when this philosophical
nonsense is thankfully suspended for a while—such as the quarry scene when Cooper and
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