The Silent Film Music Podcast with Ben Model: Recent Episodes
Ben Model
A podcast from renowned silent film accompanist/historian Ben Model covering the techniques of creating and performing live scores to silent films, as well as a discussion of the language of silent cinema. Find what goes on in the mind of a silent film accompanist before, during and after playing for a show. Learn about the aesthetics of silent filmmaking and storytelling language.
Ben and Kerr discuss Ben’s performance schedule being back to or surpassing 2019 levels, the scoring and restoration of “The Cardboard Lover” (1928) with Marion Davies, accompanying Davies’ “The Patsy” (1928) at the TCM Classic Film Festival in Hollywood, live-scoring Chaplin’s “The Gold Rush” (1925) for shows at a few different theaters, scoring “St. Wenceslas” (1930) and other silents by the Czech director Jan S. Kolár for a new Blu-ray from Deaf Crocodile, Ben announces the newly-created browsable/searchable podcast index and encourages listeners to explore it, and much more.
Show notes for episode 73 can be found here.
Ben and Kerr discuss accompaniment Ben’s accompaniment techniques for films he played for toward the end of 2025: Keaton’s “Steamboat Bill, Jr.” at the Barrymore Film Center, Mary Pickford in “Sparrows” at the Library of Congress, and Max Davidson in “Pass the Gravy” at the Silent Clowns Film Series in NYC. Ben gives an update on the Undercrank Productions releases currently in production, of rare silents with Roscoe Arbuckle and with Marion Davies. Ben shares some advice for aspiring accompanists about the kind of music light to bring to a show. Ben and Kerr close out the episode discussing ideas about the current status and next-steps for silent film restoration and exhibition.
Show notes for episode 72 can be found here.
Ben and Kerr talk about Ben’s busy Halloween season, underscoring the unmasking scene in “The Phantom of the Opera” (1925) at Angel Nyack, and his encounters with theater ghosts; also covered are Ben’s accompanying “Her Sister From Paris” (1925) with Constance Talmadge at the Silent Clowns Film Series, the differences between playing a church pipe organ and a theatre organ for silents, and more. The episode includes performance excerpts from Ben’s scores for the two films mentioned above as well as from a show at the Library of Congress Packard Campus Theater of Josef Von Sternberg’s “Underworld” (1928).
Show notes for episode 71 can be found here.
Ben and Kerr talk about Ben’s shows at MoMA’s “Silent Movie Week” of “Saxophon Susi” and “Berlin: Symphony of a Great City”, and at the Rubinstein Atrium at Lincoln Center for an early Louise Brooks Paramount feature. Ben discusses adjusting his approach to laying down a recorded score when scoring “Poisoned Paradise” (1924) with Clara Bow for the National Film Preservation Foundation, and for Keystone shorts for the “Rediscovering Roscoe” Blu-ray set due out in 2026. Ben and Kerr discuss their both noticing a growing and a younger audience for silent film in recent years, with Ben observing this at Capitolfest this past August. Performance excerpts include “Saxophon Susi” (piano, at MoMA), “Love ’em and Leave ’em” (1924) (piano, at the Atrium), and “Finders Keepers”(1928) starrring Laura LaPlante (theatre organ, at Capitolfest). The latter is also included as an example of a live score being affected by the film’s introduction, in this case by historian/author Laura Jerrolds.
Show notes for episode 70 can be found here.
Ben and Kerr talk about Ben’s recent shows in the Adirondacks and NYC, his in-progress recording of scores for a new Arbuckle Blu-ray set, the art and craft of a venue’s developing an audience for silent films, accompanying Chaplin’s “The Kid” (1921) and Harold Lloyd’s “The Freshman” (1925), and Ben’s managing being able to practice or rehearse; also updates on his book “The Silent Film Universe”, a new Blu-ray release of NJ-made silents, and upcoming shows in August..
Show notes for episode 69 can be found here.
Ben and Kerr talk about Ben’s new book “The Silent Film Universe” on this mini-episode. Ben discusses the various aspects of silent film language covered in each chapter and how we as viewers are engaged with them, his own development and honing of the ideas in the book, and his rationale for writing and publishing the book. The publication date for “The Silent Film Universe” is June 17, 2025, and can be purchased in paperback and hardcover wherever you buy books.
There is information about “The Silent Film Universe” – as well as endorsement quotes and ordering links – on the book’s web page.
Show notes for episode 68 can be found here.
In this episode, Ben and Kerr talk about accompanying a rare Wallace Reid Film “The Valley of the Giants” and other films at the Kansas Silent Film Festival; playing for the newly restored “The White Heather” and for Francis Ford’s “The Craving” (both 1919) at MoMA’s “To Save and Project” festival; creating a new theatre organ score for “Ramona” (1928) which will be released in May by Kino Lorber; Ben’s returning to the TCM Classic Film Festival to live-score a silent film – this year it’s Harold Lloyd in “The Freshman” – and more.
Show notes for episode 67 can be found here.
In this episode, Ben and Kerr talk about: Ben’s accompanying a rare Reginald Denny feature, sight-unseen, at Capitolfest 21; the rediscovery of “The Gorilla” (1927) and accompanying it on both piano and on theatre organ; Ben tries a new approach to underscoring the house-fall in Buster Keaton’s “Steamboat Bill, Jr.” (1928); the challenges and concerns in approaching the live-scoring of sound-era films like the 1931 “Dracula” and “Frankenstein”; Ben’s accompanying of “Her Wild Oat” (1927) starring Colleen Moore, and his initiative to renew interest in the 2010’s restoration of this film.
Show notes for episode 66 can be found here.
In this episode: On this episode, Ben and Kerr talk about Ben’s process for scoring Roland West’s “The Bat” (1926) for a home video release. The new restoration was produced and released by Ben’s Undercrank Productions home video label.
Show notes for episode 65 can be found here.
In this episode: Ben talks about accompanying Laurel & Hardy’s pie fight in “The Battle of the Century”, for a decisive moment for Keaton’s character in “Steamboat Bill, Jr.”, for Ozu’s “A Story of Floating Weeds”, and for Raymond Griffith and Max Fleischer silents at the 15th TCM Classic Film Festival. Performance clips include recordings from shows at the Strand Theatre in Schroon Lake NY, the Strand Theatre in Plattsburgh, and at the Museum of Modern Art in NYC.
Show notes for episode 64 can be found here.
In this episode: Ben recaps his month’s activities in March 2024, talks about the subtleties of underscoring dramatic moments when a main character thinks through an important decision, a creative way to invent main themes for a program of 7 animated shorts, accompanying a 1914 “Italian Diva” melodrama, and picking up on something about the film from its spoken introduction that affected the score created during the show; plus live-performance excerpts from scores for “Shoes” (1916) by Lois Weber at NYU, a restored Koko the Clowns cartoon at MoMA, and “Sangue Bleu” (1914) at Casa Italiana Zerilli-Marimò; and more.
Show notes for episode 63 can be found here.
In this episode: Ben accompanies Tom Mix in “Sky High” at the Library of Congress, adapting for organ some themes he originally composed for piano; Ben and Kerr discuss the importance of seeing silents with live music, and how a film may play one way when watched alone and completely differently at a show; Ben and Kerr discuss the hilarious and gifted silent film comedian Marcel Perez; Ben covers an upcoming Blu-ray/DVD release from Undercrank Productions; discussion of the newly restored “Man, Woman and Sin” screened at MoMA in January; news about upcoming shows, and more.
Show notes for episode 62 can be found here.
In this episode: Ben shares his experiences accompanying the silent era blockbuster “The Big Parade”, the rare Italian film “A’ Santanotte”, Laurel & Hardy shorts, and others; he and Kerr discuss the practices of creating leitmotifs on the fly during a show, and then repeating them later in the film’s score; there’s some deep info and history on the different pianos at MoMA, and how the feel of playing these pianos – and the many others Ben encounters in his work – affect his playing and live-scoring; Ben’s New Year’s resolution for his silent film accompaniments (with a nod to Akira Kurosawa); and more.
Show notes for episode 61 can be found here.
In this episode: accompanying several films at MoMA in August of new restorations and a series of early color process silents; audience response difference between San Francisco Silent Film Festival and MoMA screening, and how this affected Ben’s score in NYC; Ben talks about pivoting when presented before a show with a change of running time or of musical instrument; audience laughs during the climax of Harold Lloyd’s “Safety Last”; accompanying a film where only way to preview was by reading trade reviews; live recording excerpts from “Loves of Casanova” at MoMA, “Safety Last” in Schroon Lake, “Second Fiddle” at Capitolfest, and “The Mark of Zorro” at the Williams Center in NJ; and more.
Show notes for episode 60 can be found here.
In this episode: Ben talks about preparing for his performance at the San Francisco Silent Film Festival, his first time at the fest; his Undercrank Productions home video label celebrates its 10th anniversary in 2023; Ben talks about the two newly restored Tom Mix silent films that were released by Undercrank on Blu-ray in July; he shares some tips and insights on having music light on the piano at different venues, some thoughts about scoring a few different scenes from Harold Lloyd's "Safety Last"; and…don't click away during the wrap-up, or you'll miss a nice surprise at the end of the episode.
Show notes for episode 59 can be found here.
In this episode: Ben talks about doing double-duty as both silent film accompanist and Blu-ray producer-distributor; Ben talks about accompanying “Clash of the Wolves” starring Rin-Tin-Tin at the TCM Classic Film Festival and the differences between this performance and the one of recording a score for this film, along; Kerr and Ben talk about the upcoming Ernie Kovacs book “Ernie in Kovacsland”, and Kerr takes a real deep dive into the history and recordings of “Die Moritat”, known to Kovacs fans as the music heard during the comedian’s “oscilloscope” gag sequences; Ben talks about the 10th anniversary of his first DVD release, about starting what became his homevideo label Undercrank Productions, and about he’s celebrating; musical performance excerpts are heard from a show for Kindergarteners, and from a recent performance on piano accompanying “Wings”.
Show notes for episode 58 can be found here.
In this episode: Ben and Kerr discyss about Ben’s process for creating and recording silent film scores for home-video releases, and how it differs from scoring a silent in performance. Ben talks about composing by using the start-stop possibilities of recording in place of traditional notation, as well as using underscoring to help audiences register certain kinds of transitions or to grasp subtleties in the mood or intent of certain kinds of scenes. Recording examples includes segments from Tom Mix in “The Best Bad Man”, recently restored by the Museum of Modern Art,; Tom Mix in “Sky High”; newly restored by Undercrank Productions; and “Clash of the Wolves” starring Rin Tin Tin, newly restored by Kino Lorber, aired on TCM and also presented at the TCM Classic Film Festival.
Show notes for episode 57 can be found here.
In this episode: Ben and Kerr talk about the current theme music for the podcast and its impending replacement; Ben talks about playing for a recent screening of the newly restored Chaney film “The Unknown” and how he musically meets the issues of possible inadvertent laughter in this and other silent dramas; Ben and Kerr discuss Ernie Kovacs’ use of music in Kovacs’ commercials for Dutch Masters cigars; Ben talks about a scoring films with extensive WWI battle sequences, how these utilize a 1910s form of silent film’s visual language and how this can affect scoring these scenes; plus news about other recent and upcoming shows, and live performance clips from “The Unknown” (at MoMA) and “Wings” (at the Library of Congress).
Show notes for episode 56 can be found here.
In this episode: Ben talks about scoring silent films that lack a traditional narrative – films made for educational purposes – and creating music that is more “visual” than what is usually done for silents; films discussed are the 1922 “Making of a Bronze Statue” and the 1970 “Spirals” produced by the Metropolitan Museum of Art; Ben has been hired to score these and others for the Met’s online “From the Vaults” series; also covered are the live-scoring of polar exploration silent films shown at the Stumfilmdager (Silent Film Days) festival in Tromsø, Norway, and the accompanying of college graduates receiving their diplomas at Radio City Music Hall; Ben talks about creating and recording musical motifs, transitions and underscore for the streaming children’s program “Danny Joe’s Tree House”.
Show notes for episode 55 can be found here.
In this episode: Ben talks about the fun and challenges of playing a number of different organs at silent film shows during October and November in Ocean Grove NJ, Ursinus College in PA, and at the historic Everett Theatre in Delaware; Ben and Kerr discuss how often to use leitmotivs and some techniques Ben uses to create themes before or during a show; Ben talks about the sixth sense silent film accompanists develop and use to sense an audience’s engagement with a silent film during a screening; plus some thoughts on Lois Weber’s direction of “Shoes” (1916), meeting a Silent Comedy Watch Party fan at a show, using a Zoom digital recorder for show recordings, and more.
Show notes for episode 54 can be found here.
In this episode: Ben reflects on his conversation with William Perry heard in the previous two episodes of the podcast; discusses how considering a show's intended audience is part of his programming process; covers the different film options for Halloween shows; talks at length about his recent live-underscoring of the 1931 "Frankenstein" at the Library of Congress, incl. multiple examples recorded during the show; shares a few minutes of his pipe organ accompaniment for Harold Lloyd's "The Freshman" at South Dakota State University; answers listener questions, and more.
Show notes for episode 53 can be found here.
In this episode: Ben interviews composer, silent film pianist and television producer William Perry. Perry is probably best-remembered for his scores for the now-legendary television series "The Silent Years", produced by Paul Killiam, that ran for two seasons on public television, in 1971 and 1975. For twelve years Perry was the music director and composer-in-residence at the Museum of Modern Art in New York. In the second part of this interview, Perry talks about his work as MoMA's full-time silent film accompanist, his friendship with Lillian Gish, how he approached composing his "Silent Years" scores, how he orchestrated them for symphonic performances and recordings in later years, his decision to leave MoMA and film accompaniment, his serving as producer and composer for series of Mark Twain films for PBS, and more. The 1st half of the interview was posted in September 2022.
Show notes for episode 52 can be found here.
In this episode: Ben interviews composer, silent film pianist and television producer William Perry. Perry is probably best-remembered for his scores for the now-legendary television series "The Silent Years", produced by Paul Killiam, that ran for two seasons on public television, in 1971 and 1975. For twelve years Perry was the music director and composer-in-residence at the Museum of Modern Art in New York. In the first part of this interview, Perry talks about his impressive musical background, how he became MoMA's full-time silent film accompanist, the origins of the "Silent Years" shows, and more. The 2nd half of the interview will be posted in October 2022.
Show notes for episode 51 can be found here.
In this episode: Ben accompanies a bunch of shows of silent serials during June, and talks about the musical challenges of accompanying serials and in scoring an entire program of them; Kerr and Ben continue their conversation about Ernie Kovacs's use of music, and discuss Kovacs' "Street Scene" video of Bartok's "Concerto For Orchestra", and for music by Stravinsky, Karajev and Esquivel; Ben gives a progress update on his new book "The Silent Film Universe"; Kerr and Ben talk about silent film comedian Raymond Griffith, and Ben discusses the nuances of accompanying a comedian whose humor is more personality-based than others.
Show notes for episode 50 can be found here.
In this episode: Ben plays with holding back musically to help an audience of art deco fans connect with Valentino and Nazimova during a show of "Camille" (1921); he and Kerr Lockhart dig in to details about "Oriental Blues", the theme song Ernie Kovacs used for all of his shows from 1951-1962; and Ben discusses the various intricacies of live-scoring Keaton's "The General" in order to help one gag, get out of the way of another, and to create a musical arc for a feature-length comedy that's essentially one very long chase.
Show notes for this episode can be found here.
In this bonus episode, podcast co-host Kerr Lockhart talks with Rick Benjamin, musical director of The Paragon Ragtime Orchestra, about mood cues and photoplay music from the silent era.
In this episode: Ben trusts his instincts and has a little magic happen during a show of "The Patsy"; makes a decision and tries something new when it comes to using a "characteristic" musical mode in scoring Keaton's "The Cameraman" and "The General"; pays tribute to Gilbert Gottfried and talks about getting to do a comedy bit with him when Ben was a guest on Gilbert's Amazing Colossal Podcast in 2021; pulls back to help the audience zoom in for a tender moment in "The Cameraman"; plus performance clips from shows at St. Francis College and the Oxford Community Center; and a teaser for a bonus episode (no. 48), in which podcast co-host Kerr Lockhart interviews the Paragon Ragtime Orchestra's Rick Benjamin
Show notes for episode 47 can be found here.
Ben talks about: being a guest accompanist at the 25th annual Kansas Silent Film Festival; playing for Edward Everett Horton in a Cathedral, and the use of a "Bowery waltz"; introducing Marcel Perez to fans at the KSFF; playing for William S. Hart in Brooklyn; being able to turn on a dime in underscoring and have it make sense musically; live-scoring "The Goose Woman" on piano; new Marion Davies Blu-ray and DVD releases from his Undercrank Productions label and the new Kickstarter for Raymond Griffith films; and more.
Episode 46 show notes are available here.
Ben talks about: the process of scoring "Zander the Great" and "Beverly of Graustark" for home video release; a recent Kickstarter that funded super-quick; Marion Davies's talents as a silent film actor; teaching in-person and on-campus again after two years; accompanying Edward Everett Horton shorts and "The Fire Brigade" at the Museum of Modern Art; various silent film accompaniment techniques; upcoming streams and shows, and more.
Episode 45 show notes are available here.
This is a re-posting "flashback" of episode 8, which originally posted on February 4, 2015. Welcome – News from January: composing and performing music for Parallel Exit's "Everybody Gets Cake", running off-Bway thru Feb 8, 2015 – Recording: instrumental from "Cake" show: "A Shakespearean Smoke Break" – the restoration of Georges Melies' "A Trip to the Moon" with narration – recording: live performance piano and narration for "A Trip to the Moon" in Tromsø, Norway – funeral organists workshop in Oslo, Norway – Recording: live accompaniment to DeMille's "King of Kings" on the pipe organ at the Holmen Church in Oslo – Upcoming performances, Egyptian Theatre in Boise, with Boise Philharmonic Chamber Ensemble, release of Marcel Perez DVD, Hal Roach at Silent Clowns, Zorro in Bklyn, Keaton at Wesleyan, and more – Closing.
Somewhere back in 2017 when I absorbed my blog and podcast into my website, episodes 1-8 of the podcast became unexplainably unavailable. Some listeners have inquired about getting to hear these early shows from 2012-2015 and the easiest thing for me to do (tech-wise) was to re-post them. Here's episode 8!
This is a re-posting "flashback" of episode 7, which originally posted on January 21, 2015. Welcome – News from the road – December 2014 recap: the Silent Clowns Film Series, Chaplin Mutuals, Library of Congress holiday party, the Powers kids in "The Skeleton" – Recording: live performance, accompaniment to "Peter Pan", Peter saves Tinkerbell –Using ragtime to accompany silent films, then and now, pros and cons – On accompanying the murder scene in "Blackmail" – Recording: live performance, from Hitchcock's "Blackmail" at Alden Theater – Silent film series at the Alden Theatre in McLean, VA – Upcoming performances, Egyptian Theatre in Boise, with Boise Philharmonic Chamber Ensemble, release of Marcel Perez DVD, off-Broadway show "Everybody Gets Cake" – Closing.
Somewhere back in 2017 when I absorbed my blog and podcast into my website, episodes 1-8 of the podcast became unexplainably unavailable. Some listeners have inquired about getting to hear these early shows from 2012-2015 and the easiest thing for me to do (tech-wise) was to re-post them. Here's episode 7!
Ben relates the journey of playing piano as part of a full orchestra live accompanying Chaplin’s City Lights under the baton of the score’s restorer, Timothy Brock, during the Silent Film Days Festival in Tromsø, Norway. Ben also explores how he experienced Chaplin’s score “from the inside” and what he learned about making music to support silent film as a result. He describes the technical difficulty of playing live accompaniment with a large group, and analyzes Chaplin’s choices of accompaniment, the structure of his melodies, matters of authentic technique and style in a 1931 score for a 1931 film, and Chaplin’s innovations in scoring at the dawn of synchronized sound.
Episode 44 Show Notes:
IntroductionHow Ben was invited to play piano and celeste with the Arctic Philharmonic playing the score of City Lights by Charles Chaplin live under the baton of Timothy Brock, music restorer and consultant to the Chaplin estate.Timothy Brock on restoring the score of City LightsLearning to play the piano scoreStudying and learning the score leads to revelations about Chaplin’s choices in scoringExcerpt from Ben’s accompaniment for His Nibs starring Colleen Moore (1921) recorded at CapitolFest in Rome, NY on August 24, 2021 on the theater's original 1928 Möller theatre pipe organ.How Timothy Brock kept the music in tight synchronization with the film in a live performance Use of sound effects on the film soundtrackThe agitato theme as conducted by Timothy BrockPeculiarities of the copyright deposit score (lyrics, wrong keys)The interrupted waltz as The Tramp examines the statue - turning pantomime into danceKeeping on the beat with a large orchestra, given the delay of sound wavesHow undercranking works with the synchronized musicHow the agitato motif in the boxing scene works across the rhythm of the physical movementThe City Lights score as innovative in underscoringUse of scalar melodies to avoid drawing attention to the musicExcerpt from Ben’s accompaniment to The Ploughshare (1915), an Edison/Biograph film directed by John Collins, improvised at a performance at the Museum of Modern Art in New York, NY on September 17, 2021Matters of authenticityChoke cymbalVibratoPortamentoSwingBen becomes a section by name: Strings, Brass, Percussion, “Ben”Observing the film while playing to see how Chaplin uses musicChaplin’s use of 7-bar phrase rather than the standard 8Ben sums up how Chaplin broke away from silent era scoring technique of music beds and mood cues to create genuine film underscoring as it developed in the synchronized sound era.Sign-offs
This is a re-posting "flashback" of episode 6, which originally posted on January 7, 2015. Welcome — Mea culpa, and welcome to the podcast reboot — The Silent Film Sound and Music Archive — My new DVD label Undercrank Productions and the LoC — Live performance: "My Best Girl" at St. Francis College — Using pre-existing music in film accompaniment — The Herb Graff show: silent comedies on public TV in the 1970s — Recording: Arthur Kleiner playing "The Philanderer" — Arthur Kleiner, MoMA's first silent film pianist — Composing silent film scores for concert band — Recording: the Palisades Virtuosi playing my "Spice of the Program" — Upcoming performances, release of Marcel Perez DVD, off-Broadway show "Everybody Gets Cake" from Parallel Exit — Closing.
Somewhere back in 2017 when I absorbed my blog and podcast into my website, episodes 1-8 of the podcast became unexplainably unavailable. Some listeners have inquired about getting to hear these early shows from 2012-2015 and the easiest thing for me to do (tech-wise) was to re-post them. Here's episode 6!
This is a re-posting "flashback" of episode 5, originally posted on March 18, 2013. Welcome – A whirlwind week of performances and travel - 7 shows in 8 days Live performance: "The Mark of Zorro" at Central Baptist Church – Preparing for a performance: music prep, bench height, piano light, etc – Live performance: "My Best Girl" at Port Washington library – Upcoming performances, including a week of Mary Pickford in April – Closing
Somewhere back in 2017 when I absorbed my blog and podcast into my website, episodes 1-8 of the podcast became unexplainably unavailable. Some listeners have inquired about getting to hear these early shows from 2012-2015 and the easiest thing for me to do (tech-wise) was to re-post them. Here's episode 5!
This is a re-posting "flashback" of episode 4, originally posted on January 14, 2013. Welcome – Playing the organ at the Library of Congress theater – My Kickstarter project to release rare/lost silents on DVD and YouTube – Live performance: Raymond Griffith in "You'd Be Surprised" at Silent Clowns – Listening to a film's spoken intro can give clues for a score – Thoughts on scoring "Oliver Twist", W.C. Fields in "It's the Old Army Game" and Larry Semon in "The Wizard of Oz" – Live performance: "Oliver Twist" at MoMA – Upcoming performances and orchestral scores in Boise – Closing
Somewhere back in 2017 when I absorbed my blog and podcast into my website, episodes 1-8 of the podcast became unexplainably unavailable. Some listeners have inquired about getting to hear these early shows from 2012-2015 and the easiest thing for me to do (tech-wise) was to re-post them. Here's episode 4!
This is a re-posting "flashback" of episode 3, originally posted on July 12, 2012. Welcome – Playing for "The Avenging Conscience" and "Paths to Paradise" – Live performance: "Paths to Paradise" at Silent Clowns – Thoughts on scoring "The Saphead" and "The Devil's Needle & Other Tales of Vice and Redemption" on DVD from Kino Lorber – Downloadable mp3 scores – Live performance: "Cat and the Canary" on Steere & Sons orchestral organ – Upcoming performances, and preparing to work with funeral organists in Oslo – Closing
Somewhere back in 2017 when I absorbed my blog and podcast into my website, episodes 1-8 of the podcast became unexplainably unavailable. Some listeners have inquired about getting to hear these early shows from 2012-2016 and the easiest thing for me to do (tech-wise) was to re-post them. Here's episode 3!
This is a re-posting "flashback" of episode 2, originally posted on June 29, 2012. Welcome – report on what was the first “Mostly Lost” film identification workshop – live performance recording "Ten Commandments" on Steere & Sons organ in Brooklyn – an ethical issue on uploading silents to YouTube from DVDs – on quoting popular songs of the day in silents – a record "heard" in Vidor's "The Crowd" – upcoming performances: films by both silent Griffiths – closing.
Somewhere back in 2017 when I absorbed my blog and podcast into my website, episodes 1-8 of the podcast became unexplainably unavailable. Some listeners have inquired about getting to hear these early shows from 2012-2016 and the easiest thing for me to do was re-post them. Here's episode 2!
This is a re-posting "flashback" of the very first episode of The Silent Film Music Podcast, originally posted on June 9, 2012. Welcome - score for "The Eagle" - new web series - Mabel Normand - Raymond Griffith at The Silent Clowns - score for "The Night Club" - playing for Ernie Kovacs - unidentified silents at Library of Congress - King Vidor's "The Crowd" - score for "Chicago" - underscoring cross-cutting - closing
Somewhere back in 2017 when I absorbed my blog and podcast into my website, episodes 1-8 of the podcast became unexplainably unavailable. Some listeners have inquired about getting to hear these early shows from 2012-2016 and the easiest thing for me to do was re-post them. Here's episode 1!
In the second half of this 2-parter, Ben Model recaps the past pandemic year: producing and releasing the Edward Everett Horton DVD set, a handful of DVD release projects in development, remembering MoMA's Eileen Bowser, and looking toward the future of silent film live-streaming in 2022.
Episode 43 Show Notes:
Announcement: Episodes 1 through 8 of the Silent Film Music Podcast will be reissued in the podcast feed.Discussion of the development of the Edward Everett Horton short comedy project; filming locations and thanks to Richard Simonton in connection with the films; getting to hear audience reaction to the filmsMusical Interlude: excerpt of Ben’s performance of The Kid Brother at The Linda, WAMC’s Performing Arts Studio on November 4, 2021. Ben’s blog series about The Language of Silent FIlm begins here. Will it become a book? Underwriting Announcement:Beauty’s Worth starring Marion Davies, on DVD by Undercrank Productions/Library of Congress in association with Ed Lorusso Upcoming release from Undercrank Productions/LIbrary of Congress: Zander The Great starring Marion Davies in association with Ed Lorusso; projects in development with Jon Mirsalis for early Lon Chaney films, with Kathy Fuller Seeely of The Craving starring Francis Ford, and with Andrew Simpson for Back Pay directed by Frank Borzage; shout-out to associate producer Crystal Kui for getting home video titles produced, including the video essay for Edward Everett Horton and making films available to the public Captain of Her Soul: The Life of Marion Davies by Lara Gabrielle, due from the University of California Press in late 2022Live events and venues hoped for in 2022: hoping for a Mostly Lost, The Silent Clowns Film Series in New York, Film Forum and MoMA with and without masks, Epsilon Spires in Brattleboro VT, Union County Performing Arts Center in Rahway NJ, the Cinema Arts Center, Huntington NY, and more…Ben’s innovation: The Silent Cine-Stream; live-accompanied classic silent features via live streaming (Watch for future announcements!)Upcoming virtual appearance: Slapstick Festival from Bristol, UK, 26 - 30 January 2022; Ben is presenting Horton comedies together with Steve MassaMusical interlude: The Cat and The Canary - Syracuse, NY, October 12, 2021 on a Wurlitzer theater organ at the New York State FairgroundsRemembering Eileen Bowser; Silent Comedy Watch Party Episode 43 - 21 Jan 2021 with guest Ron Magliozzi; “A film restoration is not complete until it’s been shown to an audience.” And, we add, with live musical accompaniment!Kerr’s recommendations: Cartoon Carnival - a history of silent film animation; The Lost Laugh - free digital magazine about silent film comedy; Maryland Symphony Orchestra accompanies silent comedies, 2-3 April 2021Sign-offs
"End of the Year 2021 Recap" – in the first half of this 2-parter, Ben Model recaps the past pandemic year of silent film live-streaming, rediscovering the meaning of providing entertainment for fans, the return to in-person accompaniments, and ponders the future of the silent movie virtual cinema.
Episode 42 Show Notes:
Live shows return in early summer; re-adjustment to in-person performance; getting to leave the house; no longer having to be “the booth” as with the Silent Comedy Watch Party; variations among keyboard instruments - need for flexibility; meeting fans of the SCWP - Wearing the MerchandiseMusic Interlude - Metropolis on the Estey pipe organ at Episilon Spires in Brattleboro, VT, August 30, 2021What the Silent Comedy Watch Party means to its viewers: a respite, some laughter, and an anchor to the week; comparison to Bob Hope entertaining the troops; no longer just another film show; with all the difficulty in pulling the SCWP off, the audience counts on the show; that appointment is an emotional responsibility; shout-out to Marlene Weisman for the SCWP logoUnderwriting Announcement from Undercrank Productions: Marcel Perez Volume 2Live-Streaming at Arthouse theaters and elsewhere in 2021 and beyond: plans to continue live-streaming with Cinema Arts Centre, Huntington, L.I., NY; Dylan Skolnick, Co-Director; many theaters want to return to in-person only; future of digital performance in live theatre is in doubt; Ben’s feeling of responsibility to the new audience who has just discovered the difference live music makes in the enjoyment of silent film, and believes in the future of live-streaming; programming “the PD Classics” (Shirley Hughes, Toronto Silent Film Festival)Music Interlude - Our Hospitality at the Museum of Modern Art, July 2021Sign-offs
"Live-Scoring for the Virtual Cinema" – in part two of this conversation, Ben Model discusses what it's been like to accompany silent films throughout 2021 via live-streams he's produced and presented out of his home. Ben and co-host Kerr Lockhart discuss: the differences for Ben between the creative mindsets of scoring a silent film while performing in a theater, when recording a score and when hosting a live-stream; the reasons Ben prefers live-scoring a stream to pre-recording the music; thinking of the home viewer as the audience, and more.
Episode 41 Show Notes:
To preview or not to preview films before accompanying themview The Eagle with synthesized orchestral score based on cue sheetsEyewitness account of accompanist in the silent era preparing by looking at the poster and lobby picturesWhy authentic compiled scores are often not suitable; often repetitiveSilent Film Sound and Music Archive (sfsma.org)Score materials for The Birth Of A NationThe Mont Alto Motion Picture Orchestra, Rodney Sauer, music directorThe Paragon Ragtime Orchestra - Rick Benjamin, music directorAn excerpt from Metropolis using the original Gottfried Huppertz scoreOne of many explanations of the whole tone scaleOpening of Modern Times“In A Mist” by Bix Beiderbecke as an example of whole-tone composition from 1927Sponsor announcement by Undercrank Productions: Accidentally Preserved Volume 4How has playing for live-streams influenced Ben’s playing?Ben discusses scoring the 1916 Italian film “Ceneri” (view here with a score by someone else.)Having to play while being a television director“You can always play less”Excerpt from Ben’s score for The Making of a Stetson HatErnie Kovacs as a model and playing in the “intimate vacuum” of television (or streaming)Sign-offs
"Live-Scoring for the Virtual Cinema" – in part one of this conversation, Ben Model discusses what it's been like to accompany silent films throughout 2021 via live-streams he's produced and presented out of his home. Ben and co-host Kerr Lockhart discuss: the differences for Ben between the creative mindsets of scoring a silent film while performing in a theater, when recording a score and when hosting a live-stream; the reasons Ben prefers live-scoring a stream to pre-recording the music; accompanying Keystone comedies so they work and entertain better; playing the audience into the film, in the virtual realm, and more. Part two of this conversation will be posted next month.
"Adventures In Sound!" - Ben tracks his own journey to find the digital devices that best re-create or at least evoke the classic theater pipe organ experience under modern screening conditions.
Topics
Ben discusses the “temporary” theme for the podcast, “Those Keystone Comedy Cops”
Ben’s instrumental evolution
Learning to play the organLee Erwin, theater organist, as a mentorDifference in technique between piano and organExpanding colors and instrumentationDeveloping the Synth-Org (Sample sounds included)Synth(esized) sounds vs. Digital samplesLimited availability of real theater organsDeploying the Kurzweil PC-2 system with a MIDI pedal unitExamples from two scores for Edison: Invention of the Movies
Underwriting announcement: The Alice Howell Collection on DVD from Undercrank Productions
Ben’s musical journey continued
Jim Henry introduces Ben to the MiditzerAn excerpt from a Miditzer score Ben created for The PenaltyThe difficulty of recording and reproducing a real theater organ for home videoIntroducing the sound of the theater organ to the modern audience, the authentic sound of silent filmOrchestration is fun in theory, but...Graduating to Hauptwerk, courtesy Paramount Organ Works, and adapting it to a single 88-note keyboardPlease rename the system! And suggest how to talk about silent film without using the word “silent”!Scoring for home video as contrasted with a live appearanceThe piano is more suitable for the intimacy of The Silent Comedy Watch Party
Recommendations:
The Eye Film MuseumThe National Film Preservation Board
Links from the episode:
The Silent Comedy Watch Party, Sundays on YouTube“Those Keystone Comedy Cops” by Charles McCarron. Download a copy, learn the words, sing it with your friendsAppreciation: Silent Cinema Organist Lee Erwin - A four-minute radio story about Lee Erwin featuring some of his music.Watch Man Without A World directed by Eleanor Antrim at VimeoEdison: The Invention of the Movies distributed by Kino Lorber - With scores by Ben and many othersLearn about Ray Kurzweil, inventor of the music system and many other thingsThe Alice Howell Collection from Undercrank Productions, 12 rare silent comedies with a female star who foreshadows Lucille Ball, Carol Burnett, and the great women physical comedians.A review of the Alice Howell Collection which highlights the major contribution Ben’s scores make to the set.What is a “sound font”?The legendary Hauptwerk Digital Virtual Theater Pipe Organ
Recommendations:
The Eye Film Museum in Amsterdam. Explore the online offerings here.The National Film Preservation Foundation. More free fun here.Sign up for Ben’s e-mails here.
On this episode Ben talks about meeting an audience's expectations of a score when a certain piece of music or style is indicated onscreen, and in a rare case of a non-narrative film made after the silent era. Also covered are silent era mood cues and cue sheets, Marion Davies in "When Knighthood Was in Flower", techniques in performance to match music to action, this episode's FAQ, and more. Live performance clips include Valentino's tango dance in "Four Horsemen of the Apocalypse", Keaton's pantomime to "The Prisoner's Song", and Ben's new score for Helen Levitt's "In the Street" (1948).
episode 38: Existing Music, Mood Cues and Cue Sheets
Historically authentic accompaniment vs. modern scores for silent filmsTango, dancing on-screen and staying in synch with the dancersBen’s score for Four Horsemen as played at MOMA in November 2019Improvising so that it sounds like a piece that had already been writtenListener Erik Andersson talks about The Silent Comedy Watch Party from Salem, OregonAccompanying a non-narrative documentary, In the Street by Helen Levitt for the Metropolitan Museum of ArtArthur Kleiner, accompanist for MoMA, and his score for In The StreetBen’s score for In The StreetA documentary written and hosted by Arthur Kleiner, Hollywood’s Musical MoodsSponsorship announcement: When Knighthood Was in Flower from Undercrank ProductionsPre-existing music: Victor Herbert themes for When Knighthood Was in FlowerPerforming Steamboat Bill, Jr. exclusively for Cinema Arts Centre via live streamingAcknowledging “The Prisoner’s Song” without risking copyright violationStaying in synchronization with physical action -- the “pick up”How playing for live streaming differs from a theatrical performancePreparing applause moments in Buster Keaton filmsFrequently Asked Questions: Do you use published cue sheets and mood cues? What about music or songs referred to on-screen?Mood cues are often too long and have insufficient changesHow expectations of musical underscore changed in the sound eraAdapting mood cues as part of an improvised scoreIf the title of a piece of music is shown, you must use itRecommendations: Kerr: The Laurel and Hardy Definitive Restorations from Kit Parker FilmsBen: The Spiders by Fritz Lang with a score by Ben from Kino Lorber
Links from the episode:
The Silent Comedy Watch Party, Sundays on YouTubeThe Alloy Orchestra In The Street scored by Ben for the Metropolitan Museum of ArtIn The Street scored by Arthur KleinerHollywood’s Musical Moods documentary with Arthur KleinerWhen Knighthood Was in Flower on Blu Ray and DVD from Undercrank ProductionsVictor Herbert’s music for When Knighthood Was In Flower discussed at Ben’s blogSheet music for Victor Herbert’s When Knighthood Was In Flowertix for The Kid live-stream at Cinema Arts Centre in Huntington, NYThe Paragon Ragtime OrchestraAfter the Silents by Michael SlowikThe Music of the Silent Films edited by Ben Model Send us a question here, whether or not it’s frequently asked!box set: Laurel and Hardy: The Definitive RestorationsThe Spiders by Fritz Lang with a score by Ben Model from Kino Lorber
On this episode Ben talks about: the annual Mostly Lost film identification workshop at the Library of Congress, currently postponed until 2021; underscoring a key scene in Keaton's "The Cameraman" and noticing a parallel with "Singin' In The Rain", playing for "Spite Marriage", the challenge of introducing and presenting "The General" at a college show; playing for Laurel & Hardy on a 1980s electric theatre organ, and using that console's MIDI function to bring the sound of the Wurlitzer to a cinema; how Ben chooses and utilizes piano or organ for score recordings, and much more.
episode 37: "Comedy Today! – Buster Keaton and Laurel & Hardy"
Missing the Mostly Lost workshop, cancelled this year due to the pandemicMaking an alternate accompaniment for The CameramanThe Cameraman’s kiss in the rain and Singin’ In The Rain: Copy, homage or coincidence?Spite Marriage comes to life with an audienceMark Fuller, member of Southwest Silents in Bristol, England talks about The Silent Comedy Watch PartyPutting The General in context and avoiding too much chase musicSponsorship: Found at Mostly Lost, Volumes 1 & 2 from Undercrank ProductionsHow Ben became a home video distributor Finding different ways to accompany the scare gags in Liberty with Laurel & HardyPlaying Wurlitzer sampled sound through MIDI at the AFI Silver Theatre on an Allen 3600 electric organFAQ - How do you record your prepared accompaniments?Kerr recommends the podcast You Must Remember This: Episodes 121-131, Fact-checking Hollywood Babylon - the Silent Era
Links from the episode:
The Mostly Lost workshopBuster receives a kiss in the rain in The Cameraman (We recommend you turn the sound off.)The Cameraman and Singin’ In The Rain side by side on YouTubeSpite Marriage - Buster puts his drunken bride to bed (Ignore the Oscar Peterson music track)Found At Mostly Lost Volume 1 - DVD from Undercrank ProductionsFound at Mostly Lost Volume 2 - DVD from Undercrank ProductionsLiberty with a non-synchronous Victor music trackYou Must Remember This: Fact-Checking Hollywood Babylon - Episode 1: Griffith and the Gish Sisters
On this episode Ben talks about: using music an audience may or may not expect to hear during a film in preparing scores for shows of Fairbanks' "Robin Hood" and Raoul Walsh's "Loves of Carmen"; using underscore to help smooth over missing footage; playing the theatre organ like it's an orchestra and sparingly using its "toy counter"; expanding his live-streamed silent film shows beyond his weekly "Silent Comedy Watch Party", and more.
episode 36: "Famous Players and Famous Melodies"
Silent Comedy Watch Party updateAccompanying Westerns - Art Acord in The Showdown and William S. Hart in Three Word BrandFairbanks’s Robin Hood; incorporating songs written for the film by Victor SchertzingerProgramming Douglas Fairbanks films for performance todayKelly Kitchens from Dallas talks about The Silent Comedy Watch PartyThe Loves of Carmen versus the melodies of BizetImprovising in the style of traditional folk music formsCreating musical bridges for missing frames and scenesExpanding live streaming accompaniment to silent film online for art houses and institutionsSponsorship: Accidentally Preserved Volume 4 from Undercrank ProductionsPlaying more orchestrally for The White Sister starring Mary Pickford and Ronald ColmanFAQ: “Don’t”s and “be careful”s for sound effects on a theater organ (the “toy counter”)Kerr recommends Kanopy, a streaming classic film service.
Links from the episode:
Watch The Silent Comedy Watch Party Episode 11Watch The Silent Comedy Watch Party Episode 12Watch The Showdown starring Art Acord, accompanied by BenWatch Three Word Brand starring William S. Hart accompanied by BenRead Rosie Taylor’s blog post about Three Word Brand at Southwest SilentsHewlett Woodmere Public Library“Just An Old Love Song” by Victor Schertzinger written for Robin Hood (1922)The Museum of Modern Art Department of FilmSteamboat Bill, Jr. online with live accompaniment by Ben Model for The Cinema Arts Center (Huntington NY)Accidentally Preserved Volume FourSuggest a Frequently Asked Question for Ben to answer in the podcastNick White’s Vintage Sound EffectsMike Dobson - composer, sound designer and foley artistKanopy Streaming Classic Film
On this episode, Ben Model talks with co-host Kerr Lockhart talk about a cancelled gig at the Metropolitan Museum of Art turning into an online one, Gage County Nebraska and Hollywood, accompanying Russian silent films, scoring a French film for an audience with live-translated intertitles. Plus: using leitmotifs, finding a lost reel of a Baby Peggy comedy, piano tuning and this week's silent film book recommendation. You'll hear excerpts from Ben's last show before the pandemic shutdown, a screening in Brooklyn and one with theater organ on Long Island.
Episode 35 Show Notes
Ben talks about accompanying two short documentaries for the Metropolitan Museum of Art, The Pottery Maker(1926) directed by Robert Flaherty (Nanook of the North); and A Visit to the Home of Childe Hasam. Ben discusses accompanying Behind The Door, a film with Nebraska roots at a screening in Beatrice, NE on March 7, 2020 hosted by the Gage County Historical Society and Film Institute. He talks about making an effort to play more simply to match the broad melodrama of the film.We reflect on the number of very famous performers from Nebraska, Henry Fonda, Marlon and Jocelyn Brando, and Johnny Carson, who gave his name to the performance arts center at the University of Nebraska, where Ben appeared on the local public radio performing arts program. Another Nebraska notable -- George D. Baker, prolific director for Vitagraph.Ben introduces his February 11, 2020 live performance of Strike at St Francis College in Brooklyn for Prof. Scott Weiss. The challenges include (a) how much should the accompaniment indicate the national or ethnic setting of the film; and (b) how does the accompaniment deal with Eisenstein’s associative montage?Kerr asks Ben how he keeps mind and fingers nimble during this stay-home time. Ben has renewed his skills at tuning and repairing his piano. Also, he keeps working on how to play for an audience of one over the internet on the Silent Comedy Watch Party, and on developing new musical phrasings and ideas.Ben introduces his December 11, 2019 performance to support Rene Clair’s Les Deux Timides at The Cinema Arts Center at Huntington, Long Island. He talks about how loyal and receptive the Cinema Arts audience is to lesser-known titles. Ben also explains how they perform live spoken titles for foreign-language titled films.Ben talks about how strong audience reaction at the live exhibitions of unusual films and new restorations can often drive home video release.FAQ: How important is the use of motifs to accompany silent film. Ben talks about how there often was overuse of the idea in the silent era; but when they are used to represent not only the characters, but the character’s journey, the judicious use of themes, perhaps three times in a film, help the audience follow the progress of the film; he talks about the trap of making the audience overly aware of the motifs.Recommendation: Kerr recommends Rediscovering Roscoe: The Films of “Fatty” Arbuckle by Steve Massa.
Links from the episode:
Watch The Pottery Maker (1926) on the Metropolitan Museum of Art's Vault Series website and read the article about it on the museum's blog.It's true...I'm in an oil painting by Max Ferguson. See it here, and also you can buy the book of Max's paintings, Lulu in New York, that has the painting I'm in on the coverBehind the Door (1919), restored by the San Francisco Silent Film Festival, is available on DVD and Blu-ray from Flicker Alley.Beatrice NE mentions: The Gage County Classic Film Institute, the Beatrice Community Players theater, the Johnny Carson Center for Emerging Media Arts, and Friday Live with Genevieve Randall on NET radioBaby Peggy in The Family Secret (1923) is available on DVD from Undercrank ProductionsThe Cinema Arts Centre is Long Island's arthouse cinemaSign up for emails so you don't miss out on gig updates and Undercrank Productions DVD news.
Recommendations:
On this episode of the podcast, Ben Model discusses the creation of the Silent Comedy Watch Party and the response so far; talks about teaching his silent film course at Wesleyan using Zoom; shares an excerpt from his score for Alfred Hitchcock’s Champagne for the Hitchcock British International Pictures Collection for Kino Lorber; talks about the annual show at the Idaho State Museum and his collaboration with the Boise Philharmonic, and shares an excerpt from his score for the Nell Shipman film Light On Lookout; discusses the rediscovery of Julia Crawford Ivers during the development of the Kino Lorber box set: Pioneers: First Women Filmmakers; and shares an excerpt from his score for The Intrigue; Kerr Lockhart joins the podcast and begins the new segment: Frequently Asked Questions. This Week: Do you really make it all up as you go along? (Look for an FAQ transcript page coming to this website soon.) Finally, Kerr and Ben exchange self-quarantine recommendations. Kerr recommends Hollywood: A Celebration of the Silent Era and Ben recommends the latest Undercrank Productions DVD Release: The Douglas MacLean Collection
Links from the episode:
The Silent Comedy Watch Party - Episode 8Hitchcock British International Pictures Collection from Kino Lorber - Champagne score by Ben ModelThe Light On Lookout - Boise State Museum; the Boise PhilharmonicPioneers: First Women Filmmakers from Kino LorberThe Intrigue: The Films of Julia Crawford Ivers from Kino LorberIf you're interested in seeing me perform live, visit my show page; or better yet. sign up for my emails so you don't miss out on gig updates and Undercrank Productions DVD news.
Recommendations:
Kevin Brownlow's Hollywood: A Celebration of the American Silent Film – streaming on Amazon PrimeThe Douglas MacLean Collection DVD, from Undercrank Productions
On this episode of the podcast -- I use a song-title-pun during Mostly Lost, play for the same Chaplin shorts three days in a row to work on an orchestral score, play a Möller in Rome like it's an orchestra, bring silent comedies to the Adirondacks, score two Marion Davies films in a recording session and at the Library of Congress, and make the sun rise a little faster in Pennsylvania. Plus news about Douglas MacLean, upcoming shows and more.
Subscribe to the podcast on Apple Podcasts, Stitcher, Google Play Music, Spotify or Overcast; please consider supporting the podcast at Patreon. And, if you want to say "thanks!", why not buy me a cup of coffee?
Links from the episode:
My blog post about the historic 1911 Park Theater is here.Read all the backer updates about the Douglas MacLean DVD project on the Kickstarter site's page.The Silent Clowns Film Series has monthly screenings, for free, at the NYPL at Lincoln Center.My orchestral scores are available for performance here.If you're interested in seeing me perform live, visit my show page; or better yet. sign up for my emails so you don't miss out on gig updates and Undercrank Productions DVD news.
On this episode of the podcast, I discuss meeting an audience's expectations while staying true to the film's original culture, choosing a comedy short to show newbies, and playing for a show where someone else's music credit is onscreen; also, Arthur Kleiner accompanies a Harold Lloyd short with an iPhone, 700 kids in Boise laugh at Buster Keaton, I play a MoMA premiere of a newly-discovered film from 1898; plus – news about recent and upcoming shows.
Subscribe to the podcast on Apple Podcasts, Stitcher, Google Play Music, Spotify or Overcast; please consider supporting the podcast at Patreon. And, if you want to say "thanks!", why not buy me a cup of coffee?
Links from the episode:
You can view Something Good – Negro Kiss (1898) at the USC Hugh M. Hefner Moving Image Archive's Vimeo page. My mini-doc about USC archive director Dino Everett and 28mm film is on YouTube.Mostly Lost 8 will be held June 12-15, 2019.The Silent Clowns Film Series has monthly screenings, for free, at the NYPL at Lincoln Center.The Boise ID ABC affiliate did a news story on last year's concerts, interviewing both me and conductor Eric Garcia.If you're interested in seeing me perform live, visit my show page; or better yet. sign up for my emails so you don't miss out on gig updates and Undercrank Productions DVD news.
On this episode, Ben Model talks about creating and performing a live score on theatre organ for the 1931 "Dracula" with Bela Lugosi, shares some insights about programming the "Silent Comedy International" series at MoMA, and discusses why playing at a suburban library is just as important as playing a big film festival. Performance recordings on this episode are from "Dracula" at the Library of Congress, "Vester Vov Vov" with Danish comedy duo Pat & Patachon ("Fy og Bi"), and Harold Lloyd in "Ask Father". Plus, there's news about Ben's upcoming silent film shows and DVD projects.
Be sure you're on Ben's email list, so you don't miss a show or new DVD.
And, if you want to say "thanks!", why not buy him a cup of coffee?
Subscribe to the podcast on iTunes, Stitcher, Google Play Music, Spotify and Overcast; please consider supporting the podcast at Patreon.
On this mini-episode, Ben Model gives you some tips and some do's & don't's on how to accompany a silent movie if you're doing one this Halloween...or any time of the year. Plus, there's news about Ben's upcoming silent film shows and DVD projects. Be sure you're on Ben's email list – and if you want to say "thanks!", buy him a cup of coffee here at Ko-Fi.comSubscribe to the podcast on iTunes, Stitcher, Google Play Music, Spotify and Overcast; please consider supporting the podcast at Patreon.
On this episode, Ben Model recaps his summer silent film shows, discusses musically wrapping up a scene to match the film, talks about what to do musically when the film breaks, traces a 14-year trajectory in a "how'd you get that gig?" story, shares some info on Lee Erwin's synthesizer-based theatre organ and his novelty song "Tootsie Oodles", and more. All this plus news about upcoming silent film shows and DVD info.
Here are links to Kino Lorber's new release of Pioneers: First Women Filmmakers, a video of "Matchmaking Mammas", and Ben's email list.
Subscribe to the podcast on iTunes, Stitcher and Overcast; please consider supporting the podcast at Patreon.
I've recorded and posted a new episode of The Silent Film Music Podcast with Ben Model. It's the podcast that takes you inside the mind of someone as they prepare for, perform and reflect on performances of live musical accompaniments to silent movies.
In episode 28 I discuss scoring a Laurel & Hardy silent comedy utilizing a tune many fans of theirs know, recording a new score for Lois Weber's Hypocrites for the new Pioneers: First Women Filmmakers box set for KinoLorber currently screening in select cities, accompanying The Golem at the Morgan Library and Museum, and other insights into the silent film accompaniment process.
You can listen below, and can subscribe to the podcast on Apple Podcasts, Stitcher and Overcast.
On this episode, Ben Model takes you above the Arctic Circle to hear a pipe organ accompanying a Swedish silent, to Boise ID to its historic 1927 Egyptian Theatre, and to Hollywood for the TCM Classic Film Festival. Ben discusses choosing a main theme for his score "Show People", the importance of John Morris's music for Mel Brooks films, plus some insight on the use and usefulness of a silent film score's main theme. All this plus news about Mostly Lost, upcoming silent film shows and DVD info.Show links: Tromsø International Film Festival, Arctic Cathedral, TCM Classic Film Festival, Mostly Lost 7. Subscribe to the podcast on iTunes, Stitcher and Overcast; please consider supporting the podcast at Patreon.
Welcome and intro - reports on recent shows and recordings, and October DVD releases - starting a score at a performance: playing the audience into the film - performance clip: "The Temptress" with Garbo & Moreno, on organ at the LoC - explanation of the podcast's theme - anticipating mood shifts and when to make the change - performance clip: "Metropolis" in Brooklyn - finding a way to make the most of "Spite Marriage" with Buster Keaton - score clip: original 1929 score recording - reasoning behind my choices for the same sequence - performance clip: "Spite Marriage" at the Iola Buster Keaton Festival - my defunct altscore.com service lives on? - upcoming show info: shorts at the Silent Clowns, Nosferatu in Nyack, Keaton and Slapstick Divas at the AFI Silver - signoff and thank you.Subscribe to the podcast on iTunes or Stitcher; please consider supporting the podcast at Patreon.
Welcome and intro - "Silent Film Days" in Tromsø, Norway - demonstrating musical moods for 5th graders - the universality of silent comedy - recording of score for One Week for students - making underscoring fit physical actions in an unobtrusive way - performance recording ofexcerpt from score for L&H in From Soup To Nuts - waiting for just the right moment for the first instance of a love theme - excerpt from performance of Borzage's Seventh Heaven - upcoming DVD release and project info - signoff and thank you.Subscribe to the podcast on iTunes or Stitcher; please consider supporting the podcast at Patreon.
Welcome and intro - Stuart Oderman - DVD/Blu ray release of "When Knighthood Was In Flower" - holding back in playing in order to get audience inside a character's head - performance excerpt from "Show People" - underscoring a moment that extends into a scene with different energy - performance excerpt from "The Crowd" - Silent Film Days in Tromsø again next month - score recording of Lee Erwin accompanying "The Thief of Bagdad" - upcoming DVD release and project info - signoff and thank you.click to download or subscribe to podcast on iTunesIf you cannot see the audio controls, your browser does not support the audio element
Welcome and intro - "Silent Film Days" festival Tromsø (Verdensteatret 100 År!) - performance clip "Madame de Thebes" - scoring "Why Change Your Wife" and hunting for "Hindustan" for the Kansas Silent Film Festival - performance clip "Why Change Your Wife?" - more about scoring WFYW and about seeing William DeMille's films - show prep is more than just musician prep - performance clip "It's The Old Army Game" - being in an oil painting and on a book cover - premiere of my restoration of "When Knighthood Was in Flower" at the Toronto Silent Film Festival - upcoming shows - how you can help silent film - signoff and thank you.
click here to download or subscribe to podcast on iTunes
00:00 Welcome, and intro to Cruel and Unusual Comedy -- 04:02 More Plots and Plotters -- 11:21 Ethnic Profiling: Stereotypically Speaking -- 19:47 Loco Motives: On the Wrong Track -- 27:52 Scared Silent -- 36:27 Hits of the Past -- 45:29 Working Girls.This episode contains chapter stops. (Your podcast player may or may not recognize these.)click here to download or subscribe to podcast on iTunesClick here to stream podcast:If you cannot see the audio controls, your browser does not support the audio element
00:00 Welcome, and intro to Cruel and Unusual Comedy -- 04:31 Westward Whoa -- 14:36 Love and War: Romantic Skirmishes -- 26:16 Family Jewels: Child Progeny -- 34:29 Wage Slaves and Working Stiffs -- 40:00 Slapstick HashThis episode contains chapter stops. (Your podcast player may or may not recognize these.)click here to download or subscribe to podcast on iTunesClick here to stream podcast:If you cannot see the audio controls, your browser does not support the audio element
00:00 welcome; intro to special "Cruel and Unusual Comedy" series and podcasts - 05:40 Plots and Plotters - 14:07 Chaplinitis - 26:15 Sports Injuries - 36:11 Arts Deprectiation. This episode contains chapter stops. (Your podcast player may or may not recognize these.)click here to download or subscribe to podcast on iTunesClick here to stream podcast:If you cannot see the audio controls, your browser does not support the audio element
coming in January 2017: 3 special episodes of the podcast This mini-episode is more of a trailer of sorts for three special podcast episodes that I will post simultaneously in the first half of January 2017.In this 10-minute mini-podcast – first off, I recap some fall DVD releases and a couple that are on tap for spring of 2017. Then you'll hear about some orchestral score performances coming in February, as well as a "Director's Speed" screening of "Sunrise". Finally, the piece de resistance (if you'll pardon my French), some news about "Cruel and Unusual Comedy" at MoMA January 13-26 and the podcasted film notes by Steve Massa that I've produced as a companion guide. Thanks for listening!click here to download or subscribe to podcast on iTunesClick here to stream podcast:If you cannot see the audio controls, your browser does not support the audio element
episode 19: a trip to Egypt?, Keaton and Lloyd in South Korea, prepping for a 1915 Swedish silent
Welcome. I get lost en route to a gig whilst dealing with a snafu in overseas travel. Next, I talk about explaining the onscreen music credit (attributed to someone who is not me) to 3,000 people in Jecheon, South Korea. Performance recording: accompanying "Steamboat Bill, Jr." starring Buster Keaton at the 12th Jecheon International Music and Film Festival. I talk about preparing for and playing during two outdoor shows at JIMFF for huge crowds, outdoors by a lake, as well as my recent experience with the universality of silent film. Performance recording: accompanying "The Freshman" starring Harold Lloyd at the 12th Jecheon International Music and Film Festival. Preparing to accompany "Madame de Thebes", a 1915 Swedish silent film, at the 11th "Silent Film Days" festival in Tromsø, Norway; the challenges of a contemporary audience decoding the cinematic storytelling language of a 1915 drama, and in particular one with footage missing, and how creating a new score can help the film go over better. DVD/BluRay recording: a few minutes of my score for Fritz Lang's "The Spiders", recorded using multi-tracked orchestral samples on the Kurzweil PC2 digital keyboard for a restoration just released on BluRay by Kino Lorber. I share a brief rundown of my September shows, and some news about coming to L.A., and wrap up with a note about the "ripple effect" and filling empty seats. Thanks for listening!
episode 18: scoring The Bride's Play, explaining the 1920s jokes, travel to South Korea and NorwayWelcome (back)! Long time no podcast, so I recap a few highlights from March-July. Such as: finishing a year of being Professor Model, releasing the "Found at Mostly Lost" DVD, et al.Performance recording: accompanying "The Moth" starring Norma Talmadge at Mostly Lost 4 in 2015 on the Walker Digital Theatre Organ, at the Library of Congress.A discussion of the unique situation of being able to play a live show of a rare film just before recording a score for it, in this case Marion Davies in "The Bride's Play". (Did you pledge to Ed Lorusso's Kickstarter for this project?)Performance recording: accompanying Ozu's "Tokyo Chorus" at the Cinema Arts Center on theatre organ, using Paramount Organ Works' sample set via Hauptwerk.My upcoming trip to play at a big festival in South Korea, plus news about an award from the American Theatre Organ Society. Then - a tip to presenters and accompanists about the merits of giving an audience cultural historical context for a silent film before a show.Performance recording: a few minutes of a live score on piano for Laurel & Hardy in "Putting Pants on Philip" at the Silent Clowns Film Series.Looking forward to my 11th time at the "Silent Film Days" festival in Tromsø Norway, plus fall plans to release a few DVDs and some news about the current Silent Clowns shows. We close with a call-to-arms about Audience Preservation and the fact that you can't wonder "why wasn't this advertised more?" Thanks for listening!click here to download or subscribe to podcast on iTunesClick here to stream podcast:If you cannot see the audio controls, your browser does not support the audio element
episode 17: organs and orchestras - choosing music for a scene, Boise world premiere, Steamboat Bill Jr, Hammond theatre organWelcomeRecent shows recap: William S. Hart, Bert Williams, Criterion release of "The Kid"Boise Philharmonic - world premiere of new score for "Dog Shy" with Charley ChaseRecording: in performance at Wesleyan silent film course, Larry Semon in "The Bellhop"Choosing music for a scene: Chaplin filmsA minidisc miracleRecording: in performance at Sedgwick Cultural Center (Philadelphia) in 2002, accompanying "The Cat and the Canary" on a Hammond theatre organ.Keeping it fresh, trying new things - 2 months of William S. HartAccompanying "Steamboat Bill, Jr". on a Jaeckel pipe organ Recording: in performance at the Sluberski Film Series at Concordia College, accompanying Buster Keaton's "Steamboat Bill, Jr."RIP Harry Weiss, silent film accompanist Upcoming performances at LoC, Cinema Arts Centre, Silent Clowns Film Series Recording: in performance for 700 school kids at the Egyptian Theatre in Boise, ID, for Stan Laurel in "Oranges and Lemons"Audience preservationThanks, and closingclick here to download or subscribe to podcast on iTunesClick here to stream podcast:If you cannot see the audio controls, your browser does not support the audio element
episode 16: Norwegian edition - Too Much Johnson, Roald Amundsen, Chaplin's City LightsWelcome10th anual "Silent Film Days" festival in Tromsø, NorwayShows for 6th grade school kids, childrens' show on SaturdayRecording: in performance at Verdensteatret cinema, Baby Peggy in "Carmen Jr." October DVD release of Baby Peggy in "The Family Secret", restored by Library of CongressChallenge of scoring workprint-rushes of "Too Much Johnson"Recording: in performance at Verdensteatret cinema, accompanying Orson Welles' "Too Much Johnson"Performing as part of Arctic Philharmonic accompanying Chaplin's "City Lights" conducted by Timonthy BrockRecording: in performance at Verdensteatret cinema accompanying Roald Amundsen north pole expedition film Upcoming performances at LoC, Cinema Arts Centre, Silent Clowns Film Series "Mark of Zorro"Thanks, and closingclick here to download or subscribe to podcast on iTunesClick here to stream podcast:If you cannot see the audio controls, your browser does not support the audio element
episode 15: Laurel and Hardy, orchestral Chaplin gig, scoring Technicolor at MoMAWelcomeSilent Film Sound and Music ArchiveRecap of June shows: Clara Bow in "Mantrap" in Lake Placid, Mostly Lost 4 at Library of Congress, a special L&H program concept from Bruce Lawton at Silent ClownsRecording: in performance at Silent Clowns Film Series, Laurel and Hardy in "Duck Soup"Returning to Tromsø, Norway for "Silent Film Days", and special Chaplin accomp assignmentRecording: in performance at MoMI, accompanying Chaplin's "The Immigrant" for 5th gradersUpcoming shows: Silent Clowns' "Men In Trouble", Cinema Arts Centre shows of Ernie Kovacs plus restored Baby PeggyRecording: in performance at MoMA for "Toll of the Sea" from Technicolor seriesThe importance of participating in audience preservation Thanks, and closingclick here to download or subscribe to podcast on iTunesClick here to stream podcast:If you cannot see the audio controls, your browser does not support the audio element
episode 14: silence in the theater, Docks of NY, playing into the film, an orchestral organWelcomeSilent Film Sound and Music ArchiveRecap of May shows: Mary Astor in "Heart to Heart", Buster Keaton in "Battling Butler", plus "Docks of New York" and a faster fpsRecording: in performance at MoMA, from 2008, playing the audience into the beginning of Douglas Fairbanks in "A Modern Musketeer"Rules of the Game: playing an audience into a film, keeping the show momentum goingRecording: in performance at MoMA, from 2009, accompanying, "Poil de Carotte, a French film with live translation of intertitlesUpcoming shows: Lake Placid Film Forum, Silent Clowns' Laurel & Hardy, Mostly Lost 4 at Library of Congress Packard Campus Theatre Recording: in performance at Baptist Temple in Brooklyn NY, from 2010, on Steere & Sons orchestral organ, accompanying "The Ten Commandments"The importance of participating in audience preservation Thanks, and closingclick here to download or subscribe to podcast on iTunesClick here to stream podcast:If you cannot see the audio controls, your browser does not support the audio element
episode 13: programming vs. what I like to play for, staying inside a character's head, legacy piano at NYUWelcomeSilent Film Sound and Music ArchiveRecap of April shows, playing for 5th graders at the Museum of the Moving Image playing and presenting at the Toronto Silent Film Festival(correction: Toronto SFF shorts curator is Chris Seguin, not Paul)Recording: in performance at Toronto Silent Film Festival, Stan and Ollie discuss rich people doing things "just the reverse" in WRONG AGAINRules of the Game: staying inside a character's head, regardless of the physical action of the scene when it doesn't matchRecording: in performance at the Alden Theatre in McLean VA, Raymond Griffith takes in the end of the Civil War in "Hands Up!"Upcoming shows: Silent Clowns' series season of Hal Roach comedies, Library of Congress Packard Campus Theatre, High School band in Connecticut, Mostly Lost 4Returning to the scene of the crime: playing annually at a silent film class at NYU on the piano I picked out in 1983Recording: in performance at NYU Cinema Studies, sequence from Mikio Naruse's "No Blood Relation"Closingclick here to download or subscribe to podcast on iTunesClick here to stream podcast:If you cannot see the audio controls, your browser does not support the audio element
episode 12: cineconventions, music from out-of-print DVDS, being easy to work with, Marcel Perez reviewWelcomeSilent Film Sound and Music Archive35th annual/final Cinefest, the future of cineconventionssilent film in a church and at Columbia U. film schoolRecording: from out-of-print DVD from Unknown Video "Flaming Flappers", performed on Miditzer organJim Henry, creator of Miditzer virtual organ program; the TCM Film FestivalRules of the Game: show prep that goes beyond the music; plus being versatile and being easy to work withRecording: review of Musty Suffer and Marcel Perez DVDs from Sergio Mims of WHPK Chicagoupcoming shows: Marcel Perez show at NYPL, Clara Bow in "It", Raymond Griffith in 35mmthe birth and demise of altscore.com, a great idea that didn't take offRecording: excerpt from formerly-downloadable alternate score for "Heart O' the Hills" with Mary PickfordAudience preservation tips.Closingclick here to download or subscribe to podcast on iTunesClick here to stream podcast:If you cannot see the audio controls, your browser does not support the audio element
episode 11: song cues gone wrong, scoring One Week, Lee Erwin, silents in schoolsWelcomeSilent Film Sound and Music ArchiveLibrary of Congress shows: Leap Year, The Patent Leather KidCinema Arts Centre show: Linda, dir Dorothy DavenportRecording: Patent Leather Kid, live in performance at the LoC Packard Campus Theatre, on their Walker digital theatre organRules of the Game: when existing music must be used…but no longer worksRecording: excerpt of Lee Erwin playing his score for America, dir DWG, on a Wurlitzer Theatre OrganOn scoring One Week, borrowing a leitmotif device from Mussorgsky, and squelching inadvertent audience reactionRecording: audience of 4-5 year olds watching Oranges and Lemons with Stan Laurel, on a Yamaha uprightUpcoming performances: 35th annual Cinefest, Toronto Silent Film Festival, cinema studies classes at Columbia and NYU, and more.Closingclick here to download or subscribe to podcast on iTunesClick here to stream podcast:If you cannot see the audio controls, your browser does not support the audio element
episode 10: presenting silent films to kids and to seniors, interview with Harry Weiss pt 2, listening to the audienceWelcomeSilent Film Sound & Music ArchiveThe Cinema Arts Centre on Long Island - "Within Our Gates", virtual theatre organPalace Theatre family programming, Stamford CTRecording: Charlie Chaplin in "The Adventurer", live in performance at the Palace Theatre in Stamford CT, on a Yamaha upright Yes, I was a piano tunerListening to the audience when playing for a comedy, and not always being able to hear the reactionInterview with 98-year-old silent film pianist Harry Weiss, part 2Why I bring a tuning lever to showsAudience building: this means YOURecording: Harold Lloyd in Grandma's Boy, live in performance at the Osborn in Rye NY, on a Steinway L; Feb 2015Upcoming performances: Arbuckle in "Leap Year" and Barthelmess in "Patent Leather Kid" at Library of Congress, 35th annual Cinefest, The Marcel Perez Collection DVD, and more.Closingclick here to download or subscribe to podcast on iTunesIf you cannot see the audio controls, your browser does not support the audio element
episode 9: Boise Philharmonic, musical cross-cutting, interview with Harry Weiss pt 1, inspiration for main themesWelcomeSilent Film Sound & Music ArchiveBoise, ID: working with Boise Philharmonic, playing at the historic Egyptian Theater, showing One Week to 700 5th-gradersRecording: Charley Chase in "Dog Shy", live in performance on the Robert-Morton theatre organ at the Egyptian in Feb 2014Rules of the Game: musical cross-cutting to help underscore scenes in early dramatic shortsRecording: Alice Guy-Blaché's "A Fool and His Money", on Steinway piano at MoMA in Feb 2015 Interview with nonagenarian silent film pianist Harry Weiss, part 1 A trick to come up with main themes for all those comedy shortsRecording: Max Davidson in "Don't Tell Everything", on Steinway D piano at Bruno Walter Auditorium, Silent Clowns Film Series Feb 14, 2015Upcoming performances: comedy shorts at the Palace in Stamford CT, Harold Lloyd in Westchester, Keaton at Wesleyan, The Marcel Perez Collection DVD, and more.Next episode: Harry Weiss, part 2.Closingclick here to subscribe to podcast on iTunesIf you cannot see the audio controls, your browser does not support the audio element
coming in 2015…the podcast is back!
Welcome A brief recap of how it came to pass that the podcast is being resuscitated for 2015 Closing