But it seemed to be unanimous that theme number two was basically the winner. There was a little something I liked in all of them - and they too. (Debbie is my psycho/little girl voice when I'm in need of that.) The following Monday, John, Barry Josephson (producer), editor Jeff Ford, and the Fox music execs, Robert Kraft and Mike Knobloch squeezed into my little studio. I was using a little girl's voice as the driving force in all these versions, so I had my colleague, Debbie Lurie, sing la la's for my mock-ups of the cues after I feverishly wrote all the orchestral parts. So over one weekend I wrote three more main themes to the opening title sequence. But it's always very important that a theme be embraced - especially by a passionate director. So I had a lot to prove - and a lot to write in a relatively short amount of time.Īfter my first prototype of the theme, I was asked if I could I write a few more to chose from. I'm sure John had trepidation about losing a good theme they had temped in for so long. I went home, had my usual anxiety attack, gathered myself and dove in to start writing. After I gave my take on the film, I got hired. UGH! Now I had to write a theme to make everyone forget what they had gotten used to. It was a little daunting being that Chris Young had been on the project for awhile and had written a couple mock-ups to picture. Who would have imagined that the very next morning I got a call from my agent that there was a scheduling conflict with its composer, and I should go meet on the project. I told him how I had met on the project a long time ago and wondered how it had gone. I'm not sure what I said wrong! You can't get them all, I remembered.Ĭut to a year or so later, I was on a flight back from Seattle just after having recorded Kiss Kiss Bang Bang, and my conductor happened to mention in passing Hide and Seek. Weeks went by and a couple months later I learned I didn't get the job. John's friendliness is matched equally by his intensity - extremely focused. A blizzard attacked the city just after I arrived, but I was able to meet him for breakfast the next morning. It's always great to find an excuse to go there, so I flew out to meet him. The director, John Polson, was doing pre-production in New York. I remember how the story started conjuring up musical imagery for me as early as the first few pages. Over a year ago I was sent the script to Hide and Seek.
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