Film Statement

In this class, you'll learn how to craft a compelling and professional document to present your film project to investors. I share the tools for making a Film Proposal that has helped me finance twelve feature films.

At last! All-important cue underscoring first appearance of Robocop - with dynamic first statement of main theme, right down to clanking metal - makes it to CD! ROBOCOP has hit the market twice before, but both releases inexplicably deleted important cue plus subsequent variants as Robo first goes into action with hostage crisis. Paul Verhoeven sci-fi/actioner with Peter Weller inspires Basil Poledouris to create powerful music: otherworldly for creation of Robo, emotional for Robo's memories, riveting for explosive action set-pieces. Intrada also presents first-ever assembly of complete end credits on CD, as well as restoring cues to proper chronological order. Advertisement sequences (trademarks in numerous Verhoeven films) are scored by Poledouris and included in sequence as they comment on scenes outgoing or incoming. Intrada presents complete score in vibrant stereo, newly re-mixed and re-mastered from recently-discovered original 2" 24-track session masters plus 1" 8-track electronic session mixes, all stored in mint condition, courtesy MGM. Informative liner notes from Jeff Bond complete exciting package.

Jerry Goldsmith was at the peak of his phenomenal powers when he scored Poltergeist, Steven Spielberg’s 1982 film about paranormal activity. With this 2CD set, FSM presents the definitive edition of one of Goldsmith’s finest and most popular works—including the complete film score on Disc 1 and the original LP soundtrack album (along with a few previously unreleased bonus cues and alternates) on Disc 2. Poltergeist was produced by Spielberg and directed by Tobe Hooper (The Texas Chainsaw Massacre). Set in a fictional Southern California development, it tells the harrowing tale of a typical suburban family whose home is invaded by demonic spirits. It blends elements from previous Spielberg films in a new mix that is part sci-fi, part horror, and part contemporary thriller—all genres in which Jerry Goldsmith excelled. Goldsmith’s score flows effortlessly between hard-core, dissonant modernism and some of the most lyrical, humanistic music he ever wrote. It is both a marvel of musical construction and a visceral listening experience. Composed over an uncharacteristically long period of fifteen weeks, the music for Poltergeist evokes both child-like simplicity and sheer terror.