Soundtracks

Elmes has been working with the director since Lynch's first film, Eraserhead. He joins Fresh Air to talk about their visual, technical and narrative approach to moviemaking.

Rock critic Ken Tucker reviews the music featured in Days of Thunder, The Adventures of Ford Fairlane, and Dick Tracy. Whatever you may think of the movies, each soundtrack album has at least a few gems.

Classical music critic Lloyd Schwartz says the one downside of the current crop of Broadway CDs is that few releases feature excellent singers. A reissue of the once-rare Mary Martin Sings, Richard Rodgers Plays is a noteworthy exception.

Rock critic Ken Tucker reviews Madonna's new album, "I'm Breathless." It's music from, and inspired by, the new movie, "Dick Tracy." The album's on Warner.

Singer, songwriter and guitarist Mark Knopfler (NOFFler). He's the guiding force behind the British band, Dire Straits. He's recently joined an informal group of musicians, The Notting Hillbillies. Their new album, "Missing...Presumed Having a Good Time," blends rock 'n' roll, blues, gospel, jazz-boogie and country & western. Knopfler has also written soundtracks for "Local Hero," "Cal," "Comfort and Joy," and "The Princess Bride."

World music critic Milo Miles samples film music from India.

World music commentator Milo Miles explains how Peter Gabriel transformed folk music of the Middle East into the world pop sound that became the soundtrack for Scorsese's film "The Last Temptation of Christ."

Classical music critic Lloyd Schwartz reviews three reissues of music by composer Erich Wolfgang Korngold. Korngold was a success at both serious composition and writing music for the movies...among his film scores are the classics "The Sea Hawk," and "The Adventures of Robin Hood."

The new Batman film has spawned two soundtrack albums -- one of Danny Elfman's orchestral score, and the latter a collection of songs written and performed by Prince. Rock critic Ken Tucker says the artist doesn't quite succeed in crafting the rock opera he strove for, but it's refreshing to hear hear him loosen up and let it all hang out.

Coppola has written the music for several films of his son, Francis Ford Coppola, including the Godfather I and II. He has written a new score for the silent film Napoleon; he'll soon conduct a live performance of that music during a screening at Radio City Music Hall.

Part II of the Fresh Air interview with Danny Elfman. He talks about writing the score for Tim Burton's new Batman movie. He sees his film composing as entirely distinct from his work in the rock band Oingo Boingo. The different approaches, he says, serve both efforts.

Part one of the Fresh Air interview. Elfman is a rock musician who fronts the band Oingo Boingo. When Tim Burton hired him to write score for Pee-Wee's Big Adventure, Elfman had to teach himself to read music -- a skill he never needed in the past.

Classical music critic Lloyd Schwartz says that some composers elevate film scores, including Bernard Hermann, who wrote the music for several Alfred Hitchcock movies. A new collection of those compositions is now out on CD.

Jazz critic KEVIN WHITEHEAD reviews a reissue of a MILES DAVIS album that was originally the soundtrack for Louis Malle's first feature film.

Part one of the Fresh Air interview with Bob Balaban. He made his directorial debut with Parents, about a suburban family's dark secret. As an actor, he starred in Close Encounters of the Third Kind and Absence of Malice.

Rock critic Ken Tucker says that sales of movie soundtracks have become inextricably tied to the films they come from. He takes a look at three recent CDs featuring songs from Twins, Beaches, and I'm Gonna Git You Sucka.

Oz's new crime comedy, Dirty Rotten Scoundrels, stars Steve Martin and Michael Caine. Oz also worked with Jim Henson to create several Muppets, including Miss Piggy and Fozzy Bear.

Hackford produced the Ritchie Valens biopic La Bamba. He recently produced and directed Everybody's All American, about the life a college football hero. Hackford joins Fresh Air to talk about his early successes and failures, and the role songs play in his films.

Rather than features songs from the 1970s in the recent Patty Hearst biopic, the filmmakers recruited composer Scott Johnson to write the soundtrack. His dense score combines synthesizers with heavy percussion, but retains the accessibility of pop music.

Jazz critic Kevin Whitehead reviews the latest album from avant-garde saxophonist and composer John Zorn, in which Zorn plays homage to the detective writer Mickey Spillane.