A number of months ago Colin kindly agreed to answer some questions for this site. Visitors were asked to submit their questions, and in particular I'd like to thank Geoff Proudley and Mark Rennocks for their input and continued support of the site. I'd also like to thank Colin for giving up his valuable time, and to Jo for arranging it all. Below are those very questions and answers..........
COLIN TOWNS WEBSITE INTERVIEW (AUGUST 2001)
Q1: If I was a film director / producer, what processes would I have to go through to ensure you write music for my film?
A: It used to be fairly simple in England. If the director and producer agreed you were the right choice you were booked. In America they work on the idea that if you'd worked for them once already - you were O.K. Getting through the door is the hard part - never mind if the director desperately wants you. In England now it has changed and become a bit more American. Very often - someone you've never heard of but has power can override everyone. So - I recently lost a job with a director I've worked with about 15 timesQ2: What do you consider before accepting or turning down a job?
A: Can I work with the director? Where will the job lead - experiences? Future? Budgets in England are now ridiculously low - great job! - no money seems to be how it is at the momentQ3: At what point do you normally accept the job - before the production is made, part way through or when it's 'in the can'?
A: I can get involved at anytime. Sometimes I've replaced an existing score - that's very fast!Q4: Can you briefly describe how you go about writing a score? Have you any preconceived ideas or do you sit at the piano bashing out music until something sounds right or appropriate? Where does your inspiration come from?
A: Finding the right musical language for a film comes from conversation with the director / producer / sometimes editor and playing with ideas e.g. you want to go to London, you have no map so you have to work out how to get there. You know where you're aiming for! I sometimes write from the piano. Sometimes straight onto tape using sounds and very loose sketches (Essex Boys). If I'm scoring I use pencil and paper. Inspiration could come from many places. If I'm at the piano trying to find a theme, I may write 10 or 20! And through elimination find the answer. I may write all day - still not get it. 1AM in the morning see the problem differently and solve itUnfortunately, your mind is full of all this stuff most of the time!
Recording sounds - after one sound suggests the next move, but I have a huge amount of CD ROMs (which is essential in todays world) - containing thousands of sounds. I can work all night and get it wrong. It's important to realise the director's (his / her) vision. They're not saying you can do it, they're saying look at it again. Some directors are brilliant at 'briefing' - some will accept that your vision is better than what they had in mind
Q5: How much of what you write do you score in your head and how much comes from improvisation?
A: It's in my head. 3/4 from playingQ6: In what sort of time frame do you normally have to write a score - days, weeks or months?
A: The time frame for scoring is usually tight, I recently recorded a six part series, it had to be written (40 piece) in 5 weeks and was recorded in 6 (3 hour) sessions - approx 25 mins in each. We record 10AM - 1PM, 2PM - 5PM, 6PM - 9PM Saturday and Sunday. No room for error! And if there's a breakdown of equipment it's 'try not to panic'! If you're controlling the session, it's important to keep everyone happy and on your sideOccasionally I'm brought in early - before shooting. My normal working day is 10AM to 1PM, break for lunch, then 2PM to late in the night and Saturdays until 6PM. Although I take Sunday off, I usually have to do a bit, or when pushed it's a 7-day-week and sometimes all night as well!
Q7: When scoring for a film or mini-series, are you told what type of music is required and where to place it, or are you pretty much left to your own devices?
A: Type of music and where it goes (music spotting) is discussed with the director. The only time I'm left to do it completely on my own is some of the recent Catherine Cookson films and a children's animation I'm working on, Angelina BallerinaQ8: Are there any jobs you have declined that later regretted not taking?
A: I've been lucky enough in the past to have times when I couldn't do all the work on offer. But I think I've made most of the right decisions - nothing comes to mind - Bartholemew's Fair, maybe RSCQ9: Out of all the projects you have undertaken, can you single out any particular one as being a real 'stinker' to complete, and why?
A: Complicity was very difficult. Same director as Crow Road, but the money people got involved and messed about with everything including music. Not a bad film at all but would have been better. Sometimes people (usually don't know much) can give you reams of notes. I just have to work through them - it slows you up, but that's how it isQ10: Similarly, which project have you been the most satisfied with? I'm particularly fond of Wolves of Willoughby Chase and The Buccaneers
A: I really enjoyed both films, also Crow Road, The Sculptress,Q11: Do you have a favourite keyboard instrument?
A: No favourite keyboard at the moment (the piano of course!) - I use Akai Samples and Giga samplerQ12: You're probably a fair way into recording the next Mask album. Has it been a pleasant experience and how easy is it to get everybody together at the same time?
A: The new Mask album - Another Think Coming - is finished. Everyone had a great time. We recorded on return form Bilbao, Spain where we played the Getxo Jazz Festival. The Mask Orchestra is now like a special occasions family, everyone wants to be there. It's sometimes difficult with availability, but Ian Thomas (drums) recently turned down Tom Jones to play with the Mask! Dave Hartley (piano - who wrote a Disney film with Sting) also turned down a whole film to play 2 days with the Mask!Q13: Working with top musicians, does the music always turn out the way you have planned and conceived it, or do you have to compromise? Are there certain pieces that are not played in the way you intended them to be played?
A: There's never a compromise. When the goal is to make the best music you can, compromise cannot enter into it. I always leave drums/percussion open - they get a map of what's happening and a few indicators of what I think is needed. Usually a simple conversation and Ian Thomas and Paul Clarvis make it their own. I'm always surprised. Initially it's exciting hearing them played. Usually months later is the time I can really judge what I've done and I could always make it betterQ14: How much time is given to rehearsing new tracks before you enter the studio with a full orchestra, or is it all done during 'studio time'?
A: Film - no rehearsal time. Play it - check it - play it - record - next. With the Mask e.g. 2 hour concert rehearsal - one day rehearsal - morning and afternoon. If it's really difficult or new - probably 2 daysQ15: Are you always conscience of the need to balance an album (eg. you may not want too many tracks of one type) or is it a case of 'sod it, let's see what happens'?
A: I try to balance an album. There are too many CDs released. I feel you owe to anyone forking 15GBP to make it special and I always over record so I can make choicesQ16: You play keys on some of the Mask albums but not on others. Why?
A: I love playing piano but I spend all my time writing and there are players I love to hear play. However, plans are being laid for an electric group, and I play keyboards with thatQ17: The Mask Orchestra seems to go down much better in Germany than in the UK. Why do you think that is? Is it simply the UK have not woken up to you yet?
A: Europe is very exciting. For some reason some of the audiences here still think that to have an American passport makes you a better musician. Of course, America gave us jazz, but they've turned their back on what's happening now and Europe's the place to be. Whether it's World - anything. The American musicians of course spend their summers touring European festivals - they also know that some of the world's leading players are European. England is still somewhat conservative, but it's changingQ18: Would you ever consider doing an arrangement for the Mask of some of your early stuff. She Tears Me Down (from Gillan: Mr Universe LP) would sound great arranged for the Mask Orchestra
A: I'm really only interested in writing new stuff, but who knows maybe one day I could look at Gillan stuffQ19: Which drummer would you like to have in the Mask Orchestra driving you on - Buddy Rich or Gene Krupa?
A: Gene Krupa was a maniac! Buddy Rich's ego may have got in the way. I prefer mad peopleQ20: You're about to play at the Coventry Jazz Festival on 25th August. What can we expect to see and hear?
A: At the Coventry Jazz Festival we will be playing tracks off the new album Another Think Coming which is released in October, including I Am The Walrus and Prayer. The second half of the gig will be pieces from the Theatre of Kurt Weill and also Bolt from the BlueQ21: I suppose it's a misconception, but generally it's thought that if you are able to score for orchestra, you must be able to write (notate) music. Have you ever struggled with reading/writing manuscript?
A: I have a sight reading problem! Crazy. I have to live with it. Score reading - no problem. As I write all day it's odd!Q22: What kind of formal musical training have you had (if any) and how much is self-taught?
A: No formal training. Books / records / earsQ23: Some musicians can't read a note of music (e.g. Vangelis) and yet can carve out a decent living in films. Others can read music from an early age and can write out parts with no difficulty at all. Where do you fit in?
A: I'm an intuitive writer. No formal training means I don't say I can do this or that. Try it and see. No rules. Throw it away if it doesn't work - no big dealQ24: Who are your musical heroes? I guess Duke Ellington and Miles Davis feature prominently
A: Debussy, Stravinsky, Britten, Copland, Bernstein, Miles Davis, Duke Ellington, Charles Mingus, John Coltrane, Beatles, Bowie etc., etc., etc.Q25: Miles Davis used different musicians in his band depending on the type of music he was trying to write. He would bring in fresh talent while keeping most of the band static. Have / would you do this, or do you think the members of the Mask are 'all you will ever need'?
A: The Mask Orchestra will continue as it is - for me it's endless what can be done with this line up. However, I'm planning different bands and different line ups with different musiciansQ26: What's your favourite film score (your own and someone else's!)?
A: I enjoyed Vampire's Kiss and The Buccaneers very much. Bernard Hermann, Vertigo, MorriconiQ27: Is there anybody in 'film-score' circles that you look up to and wish you could be like them (and as 'big' as they are!), e.g. John Williams or John Barry?
A: John Barry, John Williams and Jerry Goldsmith have all made a major contribution to the art and craft of music to film. No one of today's batch is anywhere near it and because so many other people are involved (actually writing) orchestration and who knows what - it's difficult to applaud someone's score you enjoyed as it's probably not all 'them'Q28: Many years ago in an edition of Darker Than Blue (Deep Purple's fanzine), it was mentioned that you were looking into the possibility of releasing one of your albums, possibly with extra tracks. Many people would like to see this become a reality - have you any plans to do this?
A: The problem of reissues is - is it really any good? And time has a great way of giving you the truth. It's bad enough that [John] McCoy continues to put out rubbish that was supposed to be thrown away of Gillan stuff. I'm concerned with today and tomorrow and if I reissue something it has to feel rightQ29: Would you ever consider giving a commercial release to any of your 'library' or promo albums?
A: No to library albums. It's not possible with promo CDs - it's illegal!Q30: It looked like you were going to release Clarissa and the re-recorded Vampire's Kiss soundtracks a few years ago. However, these have still to get a commercial release. Can you explain why?
A: Clarrisa has proved too expensive to issue as an album. Vampire's Kiss may do the rounds of the cinemas again. Nicholas Cage has bought the film. It is hoped to issue a CD although the cogs of 'the machine' move very slowlyQ31: Do you think you would still be with Gillan (the band and the man himself) if Ian hadn't split?
A: No - I probably stayed too long in the band. I did consider other rock options (e.g. Gary Moore asked me to join him) but I made the right career move I think. At least the work I do now I'm recognised forQ32: Ian is well known for holding band reunions at the drop of a hat (The Javelins, Episode 6, Deep Purple several times!). Imagine it's 2002 / 03 and you receive a call from Ian to do a Gillan reunion (Ian, Mick, Bernie, John and yourself). If the terms were right, would you be up for it?
A: No I wouldn't do a reunion. Forward is the only wayQ33: What are your favourite Gillan tracks (IGB or Gillan) and why? Also, what's you favourite Gillan album?
A: Fighting Man - although I refused to sing it live. Mr Universe, I felt set a 'blue print' for a solid start. My thing is writing - I feel the other albums contained ordinary and some bland songs and ideasQ34: Do you write music about your personal experiences in life (e.g. Breakdown, She Tears Me Down, Hold Yourself Up Boy, Nowhere And Heaven)? I suppose in a way, scoring music is your own version of a home video?
A: Occasionally I write about what has affected me. 'Tears For A Traveller on Nowhere and Heaven (Mask Orchestra album) is self explanatory. Roger Daltry recorded How Does The Cold Wind Cry - you can draw your own conclusionsQ35: Are you happy with your life as musician / composer / arranger?
A: I've been lucky - but it took a very long time. Ian Gillan gave me my first real break and it's no easier now than when I first started. Yes, I'm happyQ36: What do you think you would be doing today if you were not successful as a musician?
A: I only ever wanted to write music. "Something always comes from Something!". If it really hadn't worked, I'd have been a pretty sad case. Music woke me up!Q37: How old are you?
A: 18 and 3 months I think!Colin Towns, thank you very much