CD Cover

About the Soundtrack
"Star Kid"

It happens every time. I call it Manny Coto's Film Postulate #18 [there are a total of 27 so far) and it goes like this:
On every movie ever made, one person, usually an associate producer or an associate studio executive or an associate something, will sidle up to the director during shooting and announce in the most solemn manner the following, earth-shattering eye-opener of a revelation: "Y'know, music's gonna be very important to this film." It happened to a director friend of mine on his movie. It happened on each of the four movies I've directed. It even happened on my student film. The point is, of course, that music is important to every film. So many movies are cursed with the "noodling score." That is, a conglomeration of notes that noodle around in the background doing not much of anything except keeping the silence at bay. Not so with Star Kid. This is a Nick Pike score, and arguably his best.

I first worked with Nick on Tales From The Crypt. The music he produced for my episode was like something from an ori- ginal Twilight Zone, a dark and cabalistic concerto that earned him a well-deserved CableAce nomination. Through the years, I'd wanted to work with Nick again. I finally got the chance on Star Kid. What Nick created goes beyond my wildest dreams. The music enhances and elevates the movie, yet stands as its own sparkling symphony. From the quasi-secret-agent ditty as Cy lumbers through the town fair . . . to the sweetly melancholic theme when Spencer and Cy commiserate on an old wooden bridge . . . to the edge-of-your-seat orchestral stampede when the Broodwarrior is pounding Cy into alien splinters, Nick's score is packed with enough great moments for five movies. I'll confess something: every so often, I'll pop my copy of Star Kid into a VCR and fast forward to the end credits so that I can hear the music without all that pesky dialogue and sound effects. I'm not only proud of what Nick has done here, I'm a fan. He is in every way one of the stars of this produc- tion, and I can't wait to work with him again. Maybe, with a littIe luck, Nick will choose me to direct the movie that will accompany his next score.

Manny Coto

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