(re)Search my Trash

<body> <div align="left"> <table border="0" cellspacing="0" width="800" cellpadding="0" height="100%"> <tr> <td width="100" rowspan="3" background="../stylepix/square.gif" valign="top">  </td> <td width="4" rowspan="3"></td> <td width="592" height="1%" valign="top"> <p align="center"> <a href="../research/resultperslinks.shtml?Ed Hartman"><b>Ed Hartman</b> on (re)Search my Trash</a> <p align="center"> <a href="../research/resultperslinks.shtml?Richard Lyford"><b>Richard Lyford</b> on (re)Search my Trash</a><p align="center">  </td> <td width="4" rowspan="3"></td> <td width="100" rowspan="3" background="../stylepix/squareright.gif" valign="top">  </td> </tr> <tr> <td width="592" valign="top" height="99%">  <table border="0" cellspacing="0" width="385" align="right"> <tr> <td width="100%"> <p align="right"><img border="0" src="../stills/astheearthturns-art.JPG" width="380" height="278"></td> </tr> </table> <p><b>Your "new" movie <i><a href="../movies/astheearthturns(2019).shtml">As the Earth Turns</a></i> - in a few words, what is it about?</b> <p>  <p><b><a href="../movies/astheearthturns(2019).shtml">As the Earth Turns</a></b> is a 1938, unreleased silent sci-fi film. After 80 years, the film was finished in 2018. I produced and scored music for it.<p> </p> <p><b>Made in 1937/38, <a href="../movies/astheearthturns(2019).shtml"><i>As the Earth Turns</i></a> has been lost for decades - so how did it finally resurface, and how did you get your hands on it and got to be producer on the restauration? And what about the movie appealed to you in the first place?</b><p>  <p>How I got the project is as wild as the film itself. In 2013, some discussion appeared on the <i> Classic Horror Film Board</i> (<b><a href="https://www.tapatalk.com/groups/monsterkidclassichorrorforum/two-1930s-amateur-monster-movies-from-monster-cras-t51463.html" target="_blank">https://www.tapatalk.com/groups/monsterkidclassichorrorforum/<br> two-1930s-amateur-monster-movies-from-monster-cras-t51463.html</a></b>). There was an earlier DVD released called <b>Monsters Crash the Pajama Party</b> by <i> Something Weird Video</i>. Film historians and industry people began to research a few mysterious, uncredited scenes in the video. They discovered the director to be Richard H. Lyford (1917-1985). A few years later, they contacted the great niece of the director, Kim Lyford Bishop. She worked with the son of Richard Lyford, and began to digitize the films. I am also a music teacher. Kim began to take lessons from me. I played some music I put against an old Buster Keaton scene to promote the music (<b><a href="https://youtu.be/osBEEpcCVHU" target="_blank">https://youtu.be/osBEEpcCVHU</a></b>). She asked if I would possibly score one of the films she digitized. It was <b><a href="../movies/astheearthturns(2019).shtml">As the Earth Turns</a></b>. It took about a month to score. It was mixed professionally, and came out well. We started to promote the film, hoping to get into a few film festivals, and I was drafted to be a co-producer. Over the next year and a half, the film was in 120 festivals and received 134 awards/nominations! We actually entered it into the Oscars in 2019 (to get more eyes on it), and started to attract interest in distribution. In 2020, I took over the LLC and film-estate. The film is now being prepared for distribution, and will be on <i> TCM</i> in the fall of 2020. <p>What blew me away about the film, was learning that it was a 20-year-old in Seattle that made it, with no money. His mastery of directing, acting, editing, special effects, make-up, set-design and all around ability to manage a film production with dozens of cast-members is mind-blowing, done outside of Hollywood, in the 1930s, all in his youth. All along, I have been doing a ton of research about Lyford’s life and films. I’ve interviewed his son, Chris, extensively. I have created a mini-documentary, and am working on a narrative biopic about Lyford, himself.<p> </p> <table border="0" cellspacing="0" width="455" align="left"> <tr> <td width="100%"><img border="0" src="../stills/astheearthturns-1.jpg" width="450" height="289"></td> </tr> </table> <p><b>Do you know whether <i><a href="../movies/astheearthturns(2019).shtml">As the Earth Turns</a></i> has ever been screened publicly back in the day, and given the film's quality, have you got any explanation why it has remained "lost" for that long?</b><p> <p>The only “screenings” for the film were done for family and friends. Because Lyford went to Hollywood to work for <i><a href="../research/resultprodlinks.shtml?Walt Disney Productions">Disney</a></i>, this film marked the end of his “amateur” film career. He was even in the <i>Amateur Cinema League</i>, and wrote articles in <i>American Cinematographer</i> as an amateur. For him, this was his thesis, although there were no film schools at the time! The 16mm film that we restored was the original cut, with actual edits in the film. It was from Lyford himself. The film was likely longer (based on articles). We started with 35 minutes, and then I found another 10 minutes that I edited back in myself. Lyford did make at least one other dub (discovered from a family of one of the actors at a film festival!), which helped us establish that my cut was nearly identical to the official “director's cut”. That was a big relief! The film really had just been stored in film cans over the years. Three different companies in Seattle helped scan, edit and master the film, along with others we are still working on.<p>  <p><b>Do you know what led to the production of <i><a href="../movies/astheearthturns(2019).shtml">As the Earth Turns</a></i> back when? And what can you tell us about the film's director Richard Lyford's filmwork prior to <i><a href="../movies/astheearthturns(2019).shtml">As the Earth Turns</a></i>?</b><p> <p><b><a href="../movies/astheearthturns(2019).shtml">As the Earth Turns</a></b> was the ninth film by Lyford in his youth. There was war brewing in Europe, and he thought it was a great backdrop for a science-fiction film. He wanted to do something epic. A friend bet Lyford that it couldn’t be done, or the friend would “eat his hat”. What is truly remarkable is that this film foresaw WWII, only a few years later.<p>Through research we have a list of all Lyford’s earlier works. I only have two other films, and some fragments. In fact, finding those films was equally odd. The original two short films in the <b>Monsters Crash the Pajama Party</b>-Halloween video were from S<i>omething Weird Video</i>. I knew about that company, seeing odd films on cable. They were still in business, and after a number of months contacting them (incredibly only a few miles from my house in the Pacific Northwest!) I did meet with the owner, and she found the original film, and gave it back to us. Those films are <b><a href="../movies/ritualofthedead(2019).shtml">Ritual of the Dead</a></b> - a mummy film -, and <b><a href="../movies/scalpel(1936).shtml">The Scalpel</a></b> - a <b><i><a href="../research/resultserieslinks.shtml?Jekyll and Hyde"> Dr. Jekyll and Mr. Hyde</a></i></b> type story. They are amazing,as well, and feature really good special effects and make-up. They are only fragments, so I don’t know the complete plots. I have scored music for them.<p> Richard Lyford did experiment with sound and picture. I didn’t know this when I scored <b><a href="../movies/astheearthturns(2019).shtml">As the Earth Turns</a></b>. He devised a way to synchronize dual record-players to a 16mm projector with a cable. No one had ever done that. When Disney found out about it, he hired Lyford. Based on Lyford’s probable musical tastes, along with interviews with the family, I believe my scoring choices are aligned with the director’s wishes. <p> Lyford wrote 58 stage and screenplays before he was 20 years  old. He was a tremendous storyteller, which is why I am so interested in telling his personal story. <p> </p> <table border="0" cellspacing="0" width="325" align="right"> <tr> <td width="100%"> <p align="right"><img border="0" src="../stills/astheearthturns-2.jpg" width="320" height="259"></td> </tr> </table> <p><b>Richard Lyford has had a pretty decent film career after making <i><a href="../movies/astheearthturns(2019).shtml">As the Earth Turns</a></i> - so could you talk about his later life and work for a bit?</b><p> <p>The big question for everyone who has been involved from the online groups on is “Why do we not know who Richard Lyford is?” He worked for <i><a href="../research/resultprodlinks.shtml?Walt Disney Productions">Disney</a></i> on <b>Dumbo</b>, <b> Pinocchio</b> and <b>Fantasia</b>. He was as a director, editor, and made reference models for the animators. He was handed his draft papers from Disney himself. He worked for the Army Air Forces in WWII and made both classified and propaganda films (like many other Hollywood directors). Lyford loved planes and did a lot of traveling around the world. When he got back to the states, he was an independent filmmaker and got married. He teamed up with two famous documentary producers, Robert Snyder and Robert J. Flaherty (<b>Nanook of the North</b> - the FIRST documentary!) and created <b>The Titan</b> about Michelangelo. It won an Academy Award in 1950. Lyford directed and edited that film. He did go back to work for <i><a href="../research/resultprodlinks.shtml?Walt Disney Productions">Disney</a></i> to work on <b>The Wonderful World of Color</b>, and make some films in the Mideast that were incredibly important about water conservation and disease, that saved 1000s of lives. He did a lot of documentary-style films, but never really returned to pure narrative films, like in his youth. It is tremendously satisfying for me that his early narrative work has been somewhat made available. As much as he thought his early films were “amateur”, I do know he loved them. I understand. I made Super 8 films as a kid, and still have come back to them to see the innocence and pure creativity that everyone has growing up. For Lyford, his skills were so good that you can see the early sparks of a great filmmaker, before he was caught up in Hollywood and beyond.<p>  <p><b>Let's get back to <i><a href="../movies/astheearthturns(2019).shtml">As the Earth Turns</a></i> - since you've scored the movie, do talk about the music in the film for a bit, and since you scored everything without any input from the director, how did you go about picking the right musical style(s)? And what is it like to score a film without any input in the first place?</b><p> <p>I have been watching older films all of my life. I prefer to write music that is period-appropriate for these kind of films. I do create experimental and electronic music, but usually prefer lyrical and orchestral sounds. Not having input from a director is both freeing and challenging. A silent film isn’t really silent. Music is end to end, and doesn’t disappear under the dialogue. It has to support the emotions, the atmosphere, the ambient sounds, and propel the story forward. When I work with a director, I may have to score a scene a dozen times until it is right. My co-producer gave me full reign on my choices. It was a "labor of love" at the time for the family. The music is a combination of classical and jazz. Both are styles I love to play and write. I also didn’t want a chamber orchestra sounding score, typical of modern scoring of silent films. This is an epic story, that requires epic music. My goal was to create that kind of score, as it might have been written in the 1930s. I just re-watched “Metropoiis” from 1927, and that is exactly what I was working to create. In the 30s, <b><i><a href="../research/resultserieslinks.shtml?Flash Gordon (Buster Crabbe)"> Flash Gordon</a></i></b> serials were popular, and I was addicted to them on television in the 1960s. The music was classical orchestral pieces. All of these types of scores have led to the classic <b><i><a href="../research/resultserieslinks.shtml?Star Wars">Star Wars</a></i></b> style. I love John Williams’ lyrical and character-based scoring. My score does have character-driven themes that reoccur. That creates nice form in the music itself. I just released the soundtrack digitally, and I only moved a few pieces around for format. The music seems to hold together like a multi-movement symphony.<p> </p> <table border="0" cellspacing="0" width="325" align="right"> <tr> <td width="100%"> <p align="right"><img border="0" src="../stills/astheearthturns-3.jpg" width="320" height="251"></td> </tr> </table> <p><b>Now for all those unfamiliar with the art of film scoring, do take us through the recording sessions for <i><a href="../movies/astheearthturns(2019).shtml">As the Earth Turns</a></i>?</b><p>  <p>(If you have not seen the film, please don’t read this spoiler.)<p>I hate to say, the except for the percussion, I performed all of the orchestral parts electronically. We really didn’t have a budget for a live orchestra. Most composers doing independent films don’t have budgets for live orchestral music. The state of digital recording has only really come into its own, with a composer being able to truly create a realistic sounding orchestra. I consider what I do is similar to “impressionism” in visual art. It’s not about sounding exactly like an instrument, but creating a soundscape that evokes orchestral sounds, colors, and textures. I would like to record the score with a live orchestra in the future, and it will be interesting to hear the differences. <p> Using <i> Logic</i> (MAC) and plug-in orchestra sample sounds (<i>EastWest</i>), I was able to create a full symphonic orchestra. I am also a percussionist, so those are real instruments in the mix. <p>The score then went to <i>Clatter&Din</i> in Seattle, an excellent post-production studio. With a a talented staff, state-of-the-art equipment, my score was elevated to a true Hollywood level of production. That is something that doesn’t always happen on independent films, either. I was very lucky to have the support to really finish my score professionally.<p> <p><b>The $64-question of course, where can <i><a href="../movies/astheearthturns(2019).shtml">As the Earth Turns</a></i> be seen?</b><p> <p>The film will be released in 2020 digitally in a number of outlets (TBA). It will be on <i> Turner Classic Movies</i> (<i>TCM</i>) starting in the fall of 2020. I am working on limited theatrical presentations (seeing on a big screen is so much better, especially with a BIG score). I am looking for silent film organizations, film schools and specialty theaters, any private locations that might be interested in a live presentation of selected Richard Lyford films along with Q&A. There are a few upcoming film festivals, although they have been, or are likely going to be delayed due to the pandemic.<p> </p> <table border="0" cellspacing="0" width="305" align="left"> <tr> <td width="100%"><img border="0" src="../stills/astheearthturns-4.jpg" width="300" height="312"></td> </tr> </table> <p><b>Anything you can tell us about audience and critical reception of <i><a href="../movies/astheearthturns(2019).shtml">As the Earth Turns</a></i>?</b><p> <p>It has been a wonderful experience for me to score, produce and present the film. The Oscar run in LA, put the film in front of many industry people. I am hopeful this will create a new appreciation for the film and the director. I do believe if Lyford had not have been drafted, we would have been talking about him similarly to directors such as Orson Welles, who had nearly an identical lifespan and trajectory. Getting reviews for the film is very rewarding, and everyone has jumped on this film as an unusual and unique film experience. All ages have enjoyed the film as well. I believe the film and story of Lyford will become an inspiration for anyone in filmmaking along with all of the creative arts it requires.<p> <p><b>From what I know, you're planning to do a movie about the life of <i><a href="../movies/astheearthturns(2019).shtml">As the Earth Turns</a></i>'s director Richard Lyford - so what can you tell us about that project yet, and any other future projects you'd like to share?</b><p> <p>As I mentioned, I am working on a biopic. I have created a thorough outline of Lyford’s early life. I may expand it through his complete career, but I feel the first 20 years are the best way to start. I am currently seeking out co-producers and a screenplay. There is interest in it both in Hollywood and the Pacific Northwest. What the percentage of that mix will eventually be is unknown. Considering Lyford’s own story, I want to make it as much locally created as possible. I feel that would be truest to the story. Because of all of the film festivals, I have been collaborating on other projects. A very big feature coming up will be a scoring a holiday film, <b>A Carolina Christmas</b>. I continue to score many short films, year round. As I add producer to my career, I am getting interested more and more in creating narrative films myself. I just created a very short film for the <i>Roger Corman Quarantine Film Festival</i>. I also create a lot of music videos to feature my music. Ironically, I am busier right now making films and music during the pandemic than any other time!<p> <p><b>Let's talk about you for a bit - what got you into making music in the first place, and film scoring at that, and did you receive any formal training on the subject?</b><p> </p> <table border="0" cellspacing="0" width="455" align="right"> <tr> <td width="100%"> <p align="right"><img border="0" src="../stills/astheearthturns-5.jpg" width="450" height="317"></td> </tr> </table> <p>I have been a musician all of my life, and a movie-nut to boot. When anyone ever asks me what my favorite films are, there are inevitably ones with great music. I was trained as a percussionist at Indiana University, but always loved to compose. For my junior and senior recitals, I played some of my own compositions, although it was against the policy of the school at the time! When I moved out to Seattle, I continued to compose music and create performance events for composers. I did go back into performing and teaching for years, only to return to composing as I got involved in music licensing, and getting my tracks into films and television. Those skills led to being able to sync-to-picture my music, especially as the software matured. I became involved with the <i> Seattle Composers Alliance</i> (<b><a href="http://seattlecomposers.org/" target="_blank">http://seattlecomposers.org/</a></b>) and began organizing composer and filmmaker events. Those contacts eventually came full circle with <b><a href="../movies/astheearthturns(2019).shtml">As the Earth Turns</a></b>, when the film premiered at the <i>Seattle International Film Festival</i> in 2019 at the <i> Egyptian Theatre</i> (built in 1915!). <p> Basically, I’ve never taken any composition or film scoring classes, but I have spent a lifetime learning about film, scoring and music. I was also involved in electronic music in high school (very unique program), and learned about acoustics, mixing, recording, and synthesis. My teacher also exposed me to very avant-garde music and performance. I did continue in college using the first Moog synthesizer, and very early digital recording equipment using business computers of the era.<p> <p><b>What can you tell us about your filmwork prior to <i><a href="../movies/astheearthturns(2019).shtml">As the Earth Turns</a></i>?</b><p> <p> My only filmwork prior to this film was doing music videos featuring my music. I did learn how to cut image to music. Scoring films taught me how to cut music to image. My early Super 8 work as a kid did teach me about cinematography, editing, and even experiments with syncronizing music with classical records and my Super 8 projector, just like Lyford! There is a terrific irony there. It was always my goal to syncronize music to film, and <b><a href="../movies/astheearthturns(2019).shtml">As the Earth Turns</a></b> was the true test.<p> </p> <table border="0" cellspacing="0" width="405" align="right"> <tr> <td width="100%"> <p align="right"><img border="0" src="../stills/edhartman-1.jpg" width="400" height="400"></td> </tr> </table> <p><b>What are some of your musical influences and preferred musical styles, both in regards to film scores and privately?</b><p> <p>For film: John Williams, Elmer Bernstein, Bernard Herrmann, Henry Mancini. Composer-wise: Beethoven, Berlioz, Bach especially, but I listen to everyone. Zappa is my true hero<p> <p><b>Your favourite movies?</b><p> <p><b>2001</b>, <b>It’s a Mad, Mad, Mad, Mad World</b>, <b>Casino Royale</b> (1960s), <b>Metropolis</b>, <b>Citizen Kane</b>, <b>The Great Race</b>, <b>Ben Hur</b>, and many more modern films, including everything <b><i><a href="../research/resultserieslinks.shtml?Star Trek">Star Trek</a></i></b>, <b>Superman</b> (first one), and <b>Star Wars</b>. Small movies are great, but epics are where film is king.<p> <p><b>... and of course, films you really deplore?</b><p> <p> Such a tough question. I’ve never met a movie I hated. I have seen more boring and forgettable films, but frankly, I forgot what they were!<p> <p><b>Your/your movie's website, social media, whatever else?</b><p>  <p> <b><a href="../movies/astheearthturns(2019).shtml">As the Earth Turns</a></b>: <b><a href="http://astheearthturns.com/" target="_blank">astheearthturns.com</a></b> <p><b><a href="../movies/astheearthturns(2019).shtml">As the Earth Turns</a></b> soundtrack: <b><a href="https://music.apple.com/kg/album/as-the-earth-turns-original-soundtrack-recording/1489253886" target="_blank">https://music.apple.com/kg/album/as-the-earth-turns-original-soundtrack-recording/1489253886</a> </b> <p> Ed Hartman website: <b><a href="http://edhartmanmusic.com/" target="_blank">edhartmanmusic.com</a></b> <p> Ed Hartman on IMDb: <b><a href="https://www.imdb.com/name/nm3047539/" target="_blank">https://www.imdb.com/name/nm3047539/</a></b> <p> Ed Hartman on Twitter: <b><a href="http://twitter.com/edhartman" target="_blank">twitter.com/edhartman</a></b> <p> Ed Hartman on Facebook: <b><a href="http://facebook.com/ed.hartman1" target="_blank">facebook.com/ed.hartman1</a></b> <p> Ed Hartman on YouTube: <b><a href="http://youtube.com/user/edhartman1" target="_blank">youtube.com/user/edhartman1</a></b> <p> Ed Hartman on Instagram: <b><a href="http://instagram.com/edhartmanmusic" target="_blank">instagram.com/edhartmanmusic</a></b> <p> Ed Hartman on Stage32: <b><a href="http://stage32.com/profile/92125" target="_blank">stage32.com/profile/92125</a></b> <p> Ed Hartman on LinkedIn: <b><a href="https://www.linkedin.com/in/edhartmanmusic" target="_blank">https://www.linkedin.com/in/edhartmanmusic</a></b> <p> <i><a href="../research/resultprodlinks.shtml?8th Sense Productions"> 8th Sense Productions</a></i> on Twitter: <b><a href="https://twitter.com/8thSensePro" target="_blank">https://twitter.com/8thSensePro</a></b> <p> <i><a href="../research/resultprodlinks.shtml?8th Sense Productions"> 8th Sense Productions</a></i> on Instagam: <b><a href="https://www.instagram.com/astheearthturns/" target="_blank">https://www.instagram.com/astheearthturns/</a></b> <p> <i><a href="../research/resultprodlinks.shtml?8th Sense Productions"> 8th Sense Productions</a></i> on Facebook: <b><a href="https://www.facebook.com/As-the-Earth-Turns-263227414382750/" target="_blank">https://www.facebook.com/As-the-Earth-Turns-263227414382750/</a></b> <p> <b><a href="../movies/astheearthturns(2019).shtml">As the Earth Turns</a></b> distribution: <b><a href="https://www.indierights.com/" target="_blank">https://www.indierights.com/</a></b> <p> <i>Turner Classic Movies</i>: <b><a href="http://www.tcm.com/" target="_blank">http://www.tcm.com/</a></b> <p> <p><b>Anything else you're dying to mention and I have merely forgotten to ask?</b><p>   <p>I am always looking for filmmakers and musicians to connect with. I am happy to share my experiences with music licensing/scoring (I have a free monthly newsletter), and have many resources on my website. I am also happy to share what I know about film production, promotion, film festivals (<i>FilmFreeway</i>), and now film distribution. I can offer one final piece of advice: Your success will be based on what you do for your community. Information is always in need. You will eventually become a mentor of what you know. Don’t wait for that to happen. As soon as you learn something, teach it to someone else. You will get it back exponentially. Richard Lyford was always a teacher, and he knew how to create community. That is how great things happen. Nothing happens alone. (Food for thought as we are all in “self-isolation”!)<p> <p><b>Thanks for the interview!</b> <p>  <p> Thank YOU! <p>   </td> </tr> <tr> <td width="592" valign="top" height="1%">  <SCRIPT LANGUAGE="JavaScript"> currentyear = "2010"; </SCRIPT> <SCRIPT language="JavaScript" src="../scripts/endcreditsart.js"></SCRIPT> <SCRIPT LANGUAGE="JavaScript"> dosworsdonn(); </SCRIPT> </td> </tr> </table> </div> </body>