Halloween
(Film - 1978 CD - 1985)
Music Composed By John Carpenter
Varese Sarabande
Part Number VCD-47230 Length 33:5001. Halloween Theme - Main Title
02. Laurie's Theme
03. Shape Escapes
04. Meyer's House
05. Michael Kills Judith
06. Loomis And Shape's Car
07. "The Haunted House"
08. The Shape Lurks
09. Laurie Knows
10. Better Check The Kids
11. The Shape StalksMusic Composed By: John Carpenter
Recording Engineer: Peter Bergen
Synthesizer Programming: Dan Wyman
Music Coordinator: Bob Walter
Stereo Re-Mix Engineer: Alan Howarth
Mixed At Pi-West Studios
Halloween
(Film - 1978 LD - 1994)
Music Composed By John Carpenter
Criterion Voyager Company
Part Number CC1399LThe score and effects are isolated on the right (mono) analog channel.
Side One
Chapter 01 Logos
Chapter 02 Credits
Chapter 03 The Watcher
Chapter 04 The First Cut
Chapter 05 A Dark And Stormy Night
Chapter 06 "The Evil Is Gone"
Chapter 07 The Myers House
Chapter 08 The Shape
Chapter 09 Dr. Loomis On The Rampage
Chapter 10 "It Stands Where Man Passes Away"
Chapter 11 The Bogeyman
Chapter 12 The Undiscovered Victim
Television Version
Chapter 13 The First Cut
Chapter 14 The Doctor's Plea
Chapter 15 "You Fooled Them, Michael"
Chapter 16 End Of Sequence
Chapter 17 Michael Makes A MessSide Two
Chapter 18 A Guy With A Car And
No Sense Of Humor
Chapter 19 "He Wants To Take You Out"
Chapter 20 Her Bedroom Window
Chapter 21 Laurie On The Lookout
Chapter 22 Judith Myers, row 18, Plot 20
Chapter 23 Masks, Rope, And A Couple Of Knives
Chapter 24 Night Falls
Chapter 25 A Very Sinister Doctor
Chapter 26 The Bogeyman Is Outside
Chapter 27 Laurie Makes An Oath
Television Version
Chapter 28 "Steve Todd Was Staring At You?"
Chapter 29 End Of SequenceSide Three
Side Four
Chapter 30 Annie All Alone
Chapter 31 The Girl Scout Comes Through
Chapter 32 Annie Steams Up The Windows
Chapter 33 Adventures In Babysitting
Chapter 34 "Death Has Come To Your Little Town"
Chapter 35 Bob And Lynda
Chapter 36 "Fan-TAS-tic!"
Chapter 37 Bob's Last Beer
Chapter 38 Lynda's Last Call
Chapter 39 Laurie Takes Charge
Chapter 40 The Long Walk
Chapter 41 The House Of Horrors
Chapter 42 Laurie Tries To Escape
Chapter 43 The Warrior-Babysitter
Chapter 44 You Can't Kill The Bogeyman
Chapter 45 The Last Round
Chapter 46 End Credits
Halloween
20th Anniversary Edition
(Film - 1978 CD - 1998)
Music Composed By John Carpenter
Varese Sarabande
Part Number VSD-5970 Length 51:43This CD Is Dedicated To The Memory Of Donald Pleasance
20th Anniversary Edition CD:
Executive Producer: Joseph Wolf
Produced By: Alan Howarth and Ford A. Thaxton
Mixed At Dimension Audio (North Hollywood, CA)
Sound Design: Alan Howarth
Mastered By: James Nelson At Digital Outland
Digital Transfers By: Bob Fisher At Digital Domain
CD Package Design: Michael Caprio
01. Halloween Theme (2:21)
02. Halloween 1963 (3:11)
03. The Evil Is Gone! (4:08)
04. Halloween 1978 (2:50)
05. The Boogie Man Is Coming (0:40)
06. The Shape (1:43)
07. The Hedge (1:35)
08. He Came Home (2:40)
09. Trick Or Treat (0:39)
10. The Haunted House (1:43)
11. The Devil's Eyes (1:39)
12. The Boogie Man Is Outside (1:27)
13. Damn You For Letting Him Go! (1:34)
14. Empty Street (0:33)
15. See Any Thing You Like? (2:22)
16. Lock The Door (2:53)
17. He's Here? (0:55)
18. Light's Out (2:49)
19. Cut It Out (1:19)
20. Tombstone (1:19)
21. The Shape Stalks Laurie (1:35)
22. Turn Around (0:33)
23. Unlock The Door (2:09)
24. The Hanger (3:04)
25. Call The Police (0:28)
26. Last Assault (1:34)
27. Was It The Boogie Man? (0:32)
28. End Credits: Halloween Theme Reprise (3:36)Music By: JOHN CARPENTER
Performed By JOHN CARPENTER
And THE BOWLING GREEN PHILHARMONIC
Recording Engineer: Peter Bergen
Synthesizer Programming: Dan Wyman
A Note From The Director And Composer
Halloween was written in approximately 10 days by Debra Hill and myself. It was based on an idea by Irwin Yablans about a killer who stalks babysitters, tentatively titled "The Babysitter Murders" until Yablans suggested that the story could take place on October 31 and "Halloween " might not be such a bad title for an exploitation-horror movie.
I shot Halloween in the spring of 1978. It was my third feature and my first out-and-out horror film. I had three weeks of pre-production planning, twenty days of principle photography, and then Tom my Lee WaIlace spent the rest of the spring and summer cutting the picture, assisted by Charles Bornstein and myself. I screened the final cut, minus sound effects and music, for a young executive from 20th Century-Fox (I was interviewing for another possible directing job). She wasn't scared at all. I then became determined to "save it with the music."
I had composed and performed the musical scores for my first two features, Dark Star and Assault on Precinct 13, as well as many student films. I was the fastest and cheapest I couId get. My major influences as a composer were Bernard Herrmann and Ennio Morricone (whom I had the opportunity to work with on The Thing). Herrmann's ability to create an imposing, powerful score with limited orchestra means, using the basic sound of a particular instrument, high strings or low bass, was impressive. His score for Psycho, the film that inspired Halloween, was primarily all string instruments.
With Herrmann and Morricone in mind, the scoring for Halloween began in late June at Sound Arts Studios, then a small brick building in an alley in central Los Angeles. Dan Wyman was my creative consultant. I had worked with him in 1976 on the music for Assault. He programmed the synthesizers, oversaw the recording of my frequently imperfect performances, and often joined me to perform a difficult line or speed-up the seemingly never ending process of overdubbing one instrument at a time. I have to credit Dan as Halloween's musical co-producer. His fine taste and musicianship polished up the edges of an already minimalistic, rhythm-inspired score.
We were working in what I call the 'double-blind' mode in 1978, which simply means that the music was composed and performed in the studio, on the spot, without reference or synchronization to the actual picture. Recently, my association with Alan Howarth has led me to a synchronized video-tape
system, a sort of "play it to the TV" approach. Halloween's main title theme was the first to go down on tape. The rhythm was inspired by an exercise my father taught me on the bongos in 1961, the beating out of 5-4 time. The themes associated with Laurie (Jamie Lee Curtis) and Dr. Loomis (Donald Pleasence) now seem to be the most Herrmannesque. Finally came the stingers. Emphasizing the visual surprise, they are otherwise known as "the cattle prod": short, percussive sounds placed at opportune moments to startle the audience. I'm now ashamed to admit that I recorded quite so many stingers for this one picture.
The scoring sessions took two weeks because that's all the budget would allow. Halloween was dubbed in late July and I finally saw the picture with an audience in the fall. My plan to "save it with the music" seemed to work. About six months later I ran into the same young executive who had been with 20th Century-Fox (she was now with MGM). Now she too loved the movie and all had done was add music. But she really was quite justified in her initial reaction.
There is a point in making a movie when you experience the final result. For me, it's always when I
see an interlock screening of the picture with the music. All of a sudden a new voice is added to the raw, naked-without-effects-or-music footage. The movie takes on its final style, and it is on this that the emotional total should be judged. Someone once told me that music, or the lack of it, can make you see better.
I believe it.
John Carpenter
February 5, 1983
