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About the Soundtrack "Star Kid"
It happens every time.
I call it Manny Coto's Film Postulate #18 [there are a total of 27 so far) and it goes like this:
On every movie ever made,
one person, usually an
associate producer or an
associate studio executive
or an associate something,
will sidle up to the director
during shooting and announce
in the most solemn manner
the following, earth-shattering
eye-opener of a revelation: "Y'know, music's gonna be
very important to this film."
It happened to a director friend of mine on his movie. It happened
on each of the four movies I've directed. It even happened on my
student film.
The point is, of course, that music is important to every film.
So many movies are cursed with the "noodling score." That is,
a conglomeration of notes that noodle around in the background
doing not much of anything except keeping the silence at bay.
Not so with Star Kid. This is a Nick
Pike score, and arguably his best.
I first worked with Nick on Tales From
The Crypt. The music he produced for my
episode was like something from an ori-
ginal Twilight Zone, a dark and cabalistic
concerto that earned him a well-deserved
CableAce nomination. Through the years,
I'd wanted to work with Nick again.
I finally got the chance on Star Kid.
What Nick created goes
beyond my wildest dreams.
The music enhances and
elevates the movie, yet
stands as its own
sparkling symphony. From
the quasi-secret-agent
ditty as Cy lumbers
through the town fair . . .
to the sweetly melancholic
theme when Spencer
and Cy commiserate on
an old wooden bridge . . .
to the edge-of-your-seat orchestral stampede when
the Broodwarrior is
pounding Cy into alien
splinters, Nick's score is
packed with enough great
moments for five movies.
I'll confess something:
every so often, I'll pop
my copy of Star Kid into
a VCR and fast forward
to the end credits so
that I can hear the
music without all that
pesky dialogue and sound
effects. I'm not only
proud of what Nick has
done here, I'm a fan. He
is in every way one of
the stars of this produc-
tion, and I can't wait to
work with him again.
Maybe, with a littIe
luck, Nick will choose
me to direct the movie
that will accompany his
next score.
Manny Coto
Director
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