Film Score

The film score was composed and conducted
by
Russell Garcia

April 12 1916


"I've never worked in my life. I write music and they give me money for it."

Autographs available

CLICK ON THE ALBUM COVER TO SEE THE TRACK LISTINGS FROM THE SOUNDTRACK
The following review printed here with permission from
Film Score Monthly.

The Time Machine - Russell Garcia


    In 1960's The Time Machine (D: George Pal), George (H.G. Wells played by Rod Taylor) is a self-described "tinkering mechanic" in 1899 London. He builds a time machine to travel to the distant future (802,701 A.D.!) where the Morlocks, a cannibalistic race of loathsome mutants who live underground, threaten the Eloi, the mild gentle race living on the earth's surface. George meets and falls in love with a beautiful Eloi, Weena (Yvette Mimieux). When his time machine is stolen by the Morlocks, George must risk capture himself in order to save Weena and the Eloi and rescue the time machine. When he is forced to return to his own time, he decides to go "back to the future" and Weena. The Time Machine, scored by "unsung Hollywood legend" Russell Garcia, did not have a soundtack album release when the film first appeared. Following destruction of the score's parts by the production studio (MGM, boo!), Garcia reconstructed the score from conductor sketches that fortunately still were available, making possible a re-recording of the score and the release of a soundtrack CD (GNP/Crescendo GNPD 8008).

      A sample of the CD's cues conveys the richness of Garcia's score as well as the film's plot: "London 1900," "The Time Machine," "Quick Trip Into The Future," "Weena (Love Theme)," "Fight With the Morlocks," "Time Traveler," "Trapped In The Future," and "Love And Time Return." In scoring The Time Machine, Garcia employed an innovative technique--collecting taped sounds (percussion instruments, gongs, temple blocks, a saw struck with a soft mallet, a table knife vibrating, crinkling cellophane paper, and even a straw blown through gelatin); running the sounds through feedback echoes, backwards and at different speeds; and then writing the sounds into the score as if they were instruments, adding the sounds to the recorded orchestral score in the dubbing session. Although taking an unconventional approach to his scoring assignment, the final product was a romantic score that is rich in melody, expressing human emotions ranging from fear to love.

     In a 1987 interview, Garcia discussed receiving the script from the film's director, George Pal, who asked:"'Russ, could you bring me a few themes after you read the script?' So I thought, 'Well, it goes into the future. I can write some quite dissonant, modern music.' So I did, and played some of these things for George, and he said, 'Oh, very nice, Russ,' but he wasn't too enthusiastic. I went home and wrote down some simpler folk-type themes. I played these for him and he was all happy and all smiles. When it actually came to doing the film I used both, some of the folk-type things and also some of the more dissonant, modern things, because when you hear it with the film it fits."
(Matthias Bodinger, Soundtrack!, Vol. 6/No. 23, September 1987,p.26)

 

 

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