Joel Schumacher is an award-winning Hollywood director of more than 20 films including film adaptations of two of John Grisham’s best-selling books, The Client and A Time to Kill, several Batman movies and the film version of the Broadway musical Phantom of the Opera, which was nominated for three Academy Awards. And it was through film as a young boy that he first discovered his passion for classical music.
In an interview with host Gilbert Kaplan, Schumacher reveals:
-- That the music soundtrack accounts for half of the success of a movie.
-- Why the impact of Mussorgsky’s Night on Bald Mountain made such an impression on him.
-- Why the love duet in La bohème is something you remember your entire life.
-- How he learned about Mahler from Woody Allen.
-- Why rap music is such a significant window on today’s issues.
-- In his fantasy, he would have been a singer – “to walk on the stage and use this God-given instrument and sweep audiences away.”
Modest Mussorgsky: Night on Bald Mountain [excerpt]. New York Philharmonic. Leonard Bernstein. CBS MYK 36726.
Giacomo Puccini: La bohème, “O soave fanciulla” (“Oh, gentle maiden”). Berlin Philharmonic. Herbert von Karajan. Luciano Pavarotti, tenor. Mirella Freni, soprano. London 421 049-2.
Sergei Prokofiev: Romeo and Juliet, “Dance of the Knights.” London Symphony Orchestra. Valery Gergiev. LSO 0682.
Gustav Mahler: Symphony No. 9 [excerpt]. Berlin Philharmonic. Herbert von Karajan. DG 439 024-2.
Deborah Harry & Chris Stein: Rapture. Blondie. Chrysalis 72435-33595-2-2.
George Gershwin: Rhapsody in Blue [excerpt]. Philadelphia Orchestra. Eugene Ormandy. Oscar Levant, piano. CBS MK 42514.