James Lipton

James Lipton discusses the Inside the Actors Studio Suite.

on Jan 4, 2010

Undaunted and, as always, inspired, Angelo delivered a score that was evocative and unforgettable, becoming instantly one of the hallmarks of the series.

Over the next fourteen years, we were besieged with questions about our music: “Is it Brahms?” “Delius?” “Where can we get the full score?”

For every hundred requests we’d had for the non-existent “full Inside the Actors Studio score,” Angelo had received a thousand. It was, in short, time to update the show’s score.

As gracious and fertile as ever, Angelo prepared to go into a studio with a full orchestra to record a cache of captivating new music cues, designed to match any mood the show’s hundreds of conversations might evoke, in a flurry of imaginative variations on the central Inside the Actors Studio theme he’d written and played fourteen years previously – the theme that evoked the deluge of questions and requests.

As Angelo was composing the cues, it occurred to me to ask whether an orchestral suite might be written to satisfy the constant demand for “the full score.”

Angelo being Angelo, I got a call from him a few days later to tell me that, in a creative burst, he’d composed the suite, and would record it with the cues at the session.

So, in response to what can honestly be called popular demand, the symphonic Inside the Actors Studio Suite, nine minutes of unmistakable, unforgettable Badalamenti, now exists, and, in answer to your question, Sharon and David – and to the questions of the many others who have inquired – check Badalamenti out through this website – and enjoy his wondrous work.

And continue letting me know your thoughts and wishes. As you can see, I read them as carefully as I read the material that winds up on those blue cards.