An unsurprisingly interesting British Film Institute interview with writer-director Nicholas Meyer, in which he, also unsurprisingly, expresses fond memories of Rózsa and TIME AFTER TIME:
if you'd like to read the whole interview, it may be found here:
www.bfi.org.uk/sightandsound/filmmusic/detail.php?t=d&q=31
The broader part of the BFI's film music articles may be found here:
www.bfi.org.uk/sightandsound/filmmusic/
Quote:
S&S: What is the most effective sequence of music in your own films?
MEYER: "Choosing amongst the scores written for my own films is a bit like selecting a favourite child. I'm glad my name isn't Sophie. I've been privileged to work with some of the most talented composers in the relatively brief history of the medium, from the grand old men of the business like Miklós Rózsa, to more recent arrivals like James Horner and Cliff Eidelman. I have a special soft spot for the Rózsa Time after Time (1979) score, which I felt did so much to provide the 19th century (symphonic) perspective for H.G. Wells as he wandered about the alien 20th. In addition, Rózsa's affinity for what may loosely be termed "fantasy" came in very handy in selling what was essentially a tall tale. Wells' whole time travel trip was made immeasurably better, more exciting and convincing by Rózsa's music.
if you'd like to read the whole interview, it may be found here:
www.bfi.org.uk/sightandsound/filmmusic/detail.php?t=d&q=31
The broader part of the BFI's film music articles may be found here:
www.bfi.org.uk/sightandsound/filmmusic/
