Immensely talented, Argentinian born pianist, conductor and composer who has written over 100 scores for both television & the cinema including the memorable themes to Mission: Impossible (1966), Mannix (1967), Starsky and Hutch (1975), Cool Hand Luke (1967), and Bullitt (1968). Schifrin has regularly worked alongside Clint Eastwood (another ja...
Show more »
Immensely talented, Argentinian born pianist, conductor and composer who has written over 100 scores for both television & the cinema including the memorable themes to Mission: Impossible (1966), Mannix (1967), Starsky and Hutch (1975), Cool Hand Luke (1967), and Bullitt (1968). Schifrin has regularly worked alongside Clint Eastwood (another jazz music aficionado) on numerous contributions including the theme's to all the Dirty Harry films, plus Joe Kidd (1972) and Coogan's Bluff (1968). During his illustrious career, Schifrin has received four Grammy Awards, and has received six Oscar nominations.Schifrin received his classical music training in both Argentina & France, and is a highly respected jazz pianist. On moving back to Buenos Aires in the mid 1950s, Schifrin formed his own big band, and was noticed by jazz legend Dizzy Gillespie, who asked him to become his pianist and arranger. Schifrin moved to the United States in 1958 and his career really began to take off. In addition to his jazz and cinema compositions, he has conducted the London Philarmonic Orchestra, the Houston Symphony Orchestra, the Los Angelas Philarmonic, the Los Angelas Chamber Orchestra and many others.Schifrin is one of the talented and significant contributors to film music over the past 40 years, and he continues to remain active with recent compositions for the Jackie Chan films Rush Hour (1998) and Rush Hour 2 (2001). Show less «
[on his rejected score for The Exorcist (1973)] What happened is that the director, William Friedkin...Show more »
[on his rejected score for The Exorcist (1973)] What happened is that the director, William Friedkin, hired me to write the music for the trailer, six minutes were recorded for the Warner's edition of the trailer. The people who saw the trailer reacted against the film, because the scenes were heavy and frightening, so most of them went to the toilet to vomit. The trailer was terrific, but the mix of those frightening scenes and my music, which was also a very difficult and heavy score, scared the audiences away. So, the Warner Brothers executives said Friedkin to tell me that I must write less dramatic and softer score. I could easily and perfectly do what they wanted because it was way too simple in relevance to what I have previously written, but Friedkin didn't tell me what they said. I'm sure he did it deliberately. In the past we had an incident, caused by other reasons, and I think he wanted vengeance. This is my theory. This is the first time I speak of this matter, my attorney recommended me not to talk about it, but I think this is a good time to reveal the truth. (...) Finally, I wrote the music for the film in the same vein as that of the trailer. In fact, when I wrote the trailer I was in the studio with Friedkin and he congratulated me for it. So, I thought i was in the right way... but the truth was very different. [2005] Show less «
