Mission possible for score master

By Derek Paiva
Advertiser Entertainment Writer

Lalo Schifrin, composer of scores for film and the TV show "Mission Impossible," performs on the piano tomorrow at the Hawai'i Theatre. Lalo Schifrin At the 11th annual Hawaii International Jazz Festival 7 p.m. Saturday, "International Jazz" night Hawai'i Theatre $20, $35, $45 528-0506 Other jazz fest events: 7 p.m. today, Hawai'i Theatre, "Swingtime In Hawaii"; 7 p.m. Aug. 6, Maui Arts & Cultural Center, "International Jazz" night; 7 p.m. Aug. 7, Maui Arts & Cultural Center, "Swingtime in Hawaii" hawaiijazz.com, 941-9974

So well-known is the composer/conductor/pianist's 1968 theme for "Mission: Impossible" that it's easy to overlook the hundred or so other scores the Argentinian-born Schifrin has written for film and television. Among them: "Dirty Harry," "Enter The Dragon," "Rush Hour 1 & 2" and "Cool Hand Luke."

He's even scored for queens: a symphony for Lili'uokalani and a movie for Latifah.

We reached Schifrin, 72, at his Beverly Hills office, a few weeks ahead of his appearance at this weekend's Hawaii International Jazz Festival.

You've stated that there is no such thing as a composer of film music, there are just composers. Care to elaborate?

"Actually, I was quoting Bernard Herrmann, who was (Alfred) Hitchcock's composer. ... And he was absolutely right. ... If many of the great opera composers were alive today, they would be the busiest composers in Hollywood. That's because they have to follow passions, action, drama, comedy — the spectrum of human emotion. This is one thing that, besides being a composer, one has to have."

Who among your peers have you admired most?

"There are so many: Bernard Herrmann, Henry Mancini, Ennio Morricone, Jerry Goldsmith and John Williams. The dean of American (film) composers was Alex North, who was very versatile. He could write music for an epic like 'Spartacus' or an intimate drama like 'Who's Afraid of Virgina Woolf' or 'A Streetcar Named Desire.' The variety of things he wrote ... they were incredible scores. He was an inspiration to many of us."

Is there a process you have for composing for film?

"The only process is discipline. I really don't follow any process except the discipline of starting at the beginning of a movie and (continuing) until I finish."

Has your decision-making process as far as the projects you choose changed over the years?

"That's always tough. My agent gives me a script and tells me someone is interested in having me (score the film). In many cases, I read it and I like the script. But it takes nine or 10 months before they finish the movie. And by the time they finish (sometimes) the movie doesn't work. It's a bad movie. But I have to do it because I've signed a contract. In those cases, since I'm a professional, I just try to write the best score I can. I put myself in the position of, 'This is the best movie I've ever had. And I'm going to do the best score.' I'm not ashamed of the scores I complete."

You wrote an entire score for "The Exorcist" that director William Friedkin famously chose not to use in the final cut of the film. I've always been curious about what happened.

I had an argument with the director. (Long pause)

It was as simple as that?

(Somewhat reluctantly) "We had an argument. ... I had known him for a long time. He was a fan of mine. ... We were friends. When (he started working on) this movie, he said, 'I want you to do it.' ... He invited me to New York City to see it. There was a panic, because he was late in delivering the movie to the studio. ... (The studio) asked me to work in a hurry. I said, 'OK.' They wanted me to (have a spotting session) with him. A spotting session is the session where the director and the composer, with the help of a music editor and a film editor, makes decisions where music starts and music ends (in a scene). It's a very important part of the filmmaking process. ... I thought there would be the four of us — the music editor, the film editor, him and me. And, all of a sudden, he brings a whole bunch of friends — girls, young men, old friends, all kinds of people. He wanted them to see the movie. ... I stood up and said, 'I thought we had a spotting session. I didn't know I was coming to a party.' This was a Sunday morning. I could've stayed home with my children and gone to the swimming pool or something ... go somewhere else. He got mad at me. He never forgave me. ... One day, I'm going to tell the whole story."

Reach Derek Paiva at dpaiva@honoluluadvertiser.com or 525-8005.