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Mission: Impossible theme composer Lalo Schifrin dies aged 93
Lalo Schifrin, the composer best known for giving the Mission: Impossible series its dramatic theme tune, has died. He was 93.
The Buenos Aires-born musician was a prolific soundtrack composer, writing indelible scores for such classic films as Enter The Dragon and Cool Hand Luke as well as the Dirty Harry and Rush Hour franchises.
His son Ryan Schifrin told Deadline that his father died 'peacefully' on Thursday morning. Variety reports the cause of death was complications from pneumonia.
Boris Claudio "Lalo" Schifrin was born on June 21, 1932. His father was a violinist for the orchestra at the Teatro Colón in Buenos Aires, and the young Schifrin began studying piano from the age of six.
At 20, he won a scholarship to the Conservatoire de Paris, where he also began playing in jazz clubs. He later returned to Buenos Aires and formed his own orchestra, but continued to work with noted jazz musicians, including Dizzy Gillespie.
Schifrin was asked by MGM to score their 1963 adventure movie, Rhino!. He moved to Los Angeles the same year, and began his extensive work in film. In 1965 he wrote the score for the Steve McQueen movie The Cincinnati Kid, and the following year was approached by producer Bruce Geller and Desilu Studios to compose the theme for a new spy television show they were developing.
In 2018 Schifrin spoke to The Independent at length about the writing of his signature theme for Mission: Impossible, recalling that Tom Cruise had hugged him at the premiere of the 1996 film adaptation. 'He said he grew up with the television series and the music was one of the biggest elements that convinced him to get involved in the movie project, not only as an actor but as the co-producer,' recalled Schifrin. 'So he made my day.'
He said the music itself came to him quickly. 'I had a very short time to write it. I had to do it right away,' he remembered.
'I sat at my desk and wrote that theme in exactly one-and-a-half minutes. It was not inspiration; it was a need to do it. It was my own little mission impossible! The whole thing – including the chorus, the bongos, everything you hear – took me maybe three minutes. I was creating sound of impossible missions and making them swing. I didn't know it was going to be so successful.'
The theme was well received by the public, and bolstered Schifrin's reputation. In the 60s he composed the music for the Paul Newman film Cool Hand Luke and Steve McQueen's Bullitt. The following decade his scores included several Dirty Harry films and the Bruce Lee classic Enter The Dragon.
He continued to work consistently throughout the 80s and 90s, finding further success with Rush Hour in 1998. He returned for the sequels, with Rush Hour 3 providing his final film credit in 2007.
In November 2018, Schifrin received an honorary Academy Award.
He is survived by his wife Donna, his three children William Schifrin, Frances Schifrin and Ryan Schifrin and four grandchildren.
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Daily Mail
7 hours ago
- Daily Mail
BREAKING NEWS Legendary Mission: Impossible composer dies aged 93
The legendary composer, who wrote the Mission: Impossible score, has passed away at the age of 93. Lalo Schifrin died inside his Los Angeles home on Thursday from complications with pneumonia, his son, Ryan, confirmed. He was surrounded by his loved ones. Schifrin was a jazz pianist and classical conductor and had a remarkable career in music that included working with Dizzy Gillespie and recording with Count Basie and Sarah Vaughan. His biggest contribution was the instantly recognizable score to television's Mission: Impossible, which fueled the just-wrapped, decades-spanning feature film franchise led by Tom Cruise. Schifrin originally wrote a different piece of music for the theme song but series creator Bruce Geller liked another arrangement Schifrin had composed for an action sequence. 'The producer called me and told me: 'You're going to have to write something exciting, almost like a logo, something that will be a signature, and it's going to start with a fuse,'' Schifrin told the AP in 2006. 'So I did it and there was nothing on the screen. And maybe the fact that I was so free and I had no images to catch, maybe that's why this thing has become so successful - because I wrote something that came from inside me.' When director Brian De Palma was asked to take the series to the silver screen, he wanted to bring the theme along with him, leading to a creative conflict with composer John Williams, who wanted to work with a new theme of his own. Out went Williams and in came Danny Elfman, who agreed to retain Schifrin's music. Hans Zimmer took over scoring for the second film, and Michael Giacchino scored the next two. Giacchino told NPR he was hesitant to take it on, because Schifrin's music was one of his favorite themes of all time. 'I remember calling Lalo and asking if we could meet for lunch,' Giacchino told NPR. 'And I was very nervous - I felt like someone asking a father if I could marry their daughter or something. And he said, 'Just have fun with it.' And I did.' Mission: Impossible won Grammys for best instrumental theme and best original score from a motion picture or a TV show. In 2017, the theme was entered into the Grammy Hall of Fame. Schifrin has composed more than 100 arrangements for film and TV. The Argentine won four Grammys and was nominated for six Oscars, including five for original score for Cool Hand Luke, The Fox, Voyage of the Damned, The Amityville Horror and The Sting II. 'Every movie has its own personality. There are no rules to write music for movies,' Schifrin told The Associated Press in 2018. 'The movie dictates what the music will be.' He also wrote the grand finale musical performance for the World Cup championship in Italy in 1990, in which the Three Tenors - Plácido Domingo, Luciano Pavarotti and José Carreras - sang together for the first time. The work became one of the biggest sellers in the history of classical music. Schifrin was born Boris Claudio Schifrin to a Jewish family in Buenos Aires - where his father was the concertmaster of the philharmonic orchestra - Schifrin was classically trained in music, in addition to studying law. After studying at the Paris Conservatory - where he learned about harmony and composition from the legendary Olivier Messiaen - Schifrin returned to Argentina and formed a concert band. Gillespie heard Schifrin perform and asked him to become his pianist, arranger and composer. In 1958, Schifrin moved to the United States, playing in Gillespie's quintet in 1960-62 and composing the acclaimed Gillespiana. The long list of luminaries he performed and recorded with includes Ella Fitzgerald, Stan Getz, Dee Dee Bridgewater and George Benson. He also worked with such classical stars as Zubin Mehta, Mstislav Rostropovich, Daniel Barenboim and others. Schifrin moved easily between genres, winning a Grammy for 1965's Jazz Suite on the Mass Texts while also earning a nod that same year for the score of TV's The Man From U.N.C.L.E. In 2018, he was given an honorary Oscar statuette and, in 2017, the Latin Recording Academy bestowed on him one of its special trustee awards. Later film scores included Tango, Rush Hour and its two sequels, Bringing Down The House, The Bridge of San Luis Rey, After the Sunset, and the horror film Abominable. Writing the arrangements for Dirty Harry, Schifrin decided that the main character wasn't in fact Clint Eastwood's hero, Harry Callahan, but the villain, Scorpio. 'You would think the composer would pay more attention to the hero. But in this case, no, I did it to Scorpio, the bad guy, the evil guy,' he told the AP. 'I wrote a theme for Scorpio.' It was Eastwood who handed him his honorary Oscar. 'Receiving this honorary Oscar is the culmination of a dream,' Schifrin said at the time. 'It is mission accomplished.' Among Schifrin's conducting credits include the London Symphony Orchestra, the Vienna Symphony Orchestra, the Israel Philharmonic, the Mexico Philharmonic, the Houston Symphony Orchestra, the Los Angeles Chamber Orchestra and the Atlanta Symphony Orchestra. He was appointed music director of Southern California's Glendale Symphony Orchestra and served in that capacity from 1989-1995. Schifrin also wrote and adapted the music for Christmas in Vienna in 1992, a concert featuring Diana Ross, Carreras and Domingo. He also combined tango, folk and classical genres when he recorded Letters from Argentina, nominated for a Latin Grammy for best tango album in 2006. Schifrin was also commissioned to write the overture for the 1987 Pan American Games, and composed and conducted the event's 1995 final performance in Argentina. And for perhaps one of the only operas performed in the ancient Indigenous language of Nahuatl, in 1988 Schifrin wrote and conducted the choral symphony 'Songs of the Aztecs.' The work premiered at Mexico's Teotihuacan pyramids with Domingo as part of a campaign to raise money to restore the site's Aztec temple. 'I found it to be a very sweet musical language, one in which the sounds of the words dictated interesting melodies,' Schifrin told The Associated Press at the time. 'But the real answer is that there's something magic about it. ... There's something magic in the art of music anyway.' He's survived by his sons, Ryan and William, daughter, Frances, and wife, Donna.


Times
7 hours ago
- Times
Pompous Europe take note: no fans are more real than fervent Brazilians
Aside from his natural gifts, there was a reason Seve Ballesteros was such a great Ryder Cup golfer. He had a thing about America. Genuinely disliked the place. Resented that he was tagged the car-park champion, bristled at the lack of respect suggested by the title. Ballesteros could never see the affection, the celebration of the unconventional. And when the wider continent of Europe was invited to join Great Britain and Ireland in 1979, he made it his mission to make America pay. Some have wondered why Brazilian clubs, in particular, thrived early on at the Club World Cup. Was it the heat, a greater love for the competition, the timing that places this in South America's mid-season, after the European campaign has reached its exhausting conclusion? Yes, some of all that, probably; but something else, too. It's very possible that Brazil, indeed the rest of the world, feels about Europe the way Ballesteros did America. That it feels belittled, patronised, treated with contempt. And it thinks Europe has a cheek. Plundering its best players, while disregarding the football cultures creating them. The world has a point. How many times, since the Club World Cup started, have we been told that 'real' fans do not care for it; that 'ordinary' fans will not be watching, as if ours are the only eyeballs that matter. Who is 'real' in this debate, who has the right to speak for 'ordinary'? How presumptuous to consider our affiliations and preferences any more genuine than those of thousands of fans from Rio De Janeiro or Buenos Aires that have descended on this tournament. Our pomposity is staggering. If you're not interested, fair enough. But don't consider your view, your voice, all that counts. In 2005, trying to get Palestinians to vote in an upcoming election, the actor Richard Gere recorded a television message. 'Hi, I'm Richard Gere,' he began, 'and I'm speaking for the entire world'. There are a few back home who appear to believe they do the same. If fans from South America, Africa, and Asia are not real, if their football is so insignificant, try this simple test. Remove every player from those continents from the Premier League champions of the past 20 years. Take Alisson, Mohamed Salah, Luis Díaz and Alexis Mac Allister from Liverpool this season; take the entire forward line of Salah, Sadio Mané and Roberto Firmino, plus Alisson and Fabinho from the 2019-20 side. Then extract Ederson, Sergio Agüero, Yaya Touré, Fernandinho, Pablo Zabaleta, Riyad Mahrez and Carlos Tevez from the various teams built at Manchester City. See how Chelsea fare without Michael Essien, Willian, Diego Costa, Didier Drogba, Oscar, John Obi Mikel or Hernán Crespo. Even Manchester United's most recent title-winning team of 2012-23 contained Javier Hernández, Shinji Kagawa, Rafael and Antonio Valencia, from precisely the type of supposed backwaters being diminished here. So if these are grudge matches, that much is understandable. Europe are football's colonialists, taking the good stuff then wondering why the locals are poor, untrusting and unruly. There was no point in having a Club World Cup, it was said, because it would just be dominated by the big European teams; and no one thought it ironic that the reason those European teams are so dominant is that they are stuffed to the gills with the plunder of far continents. That Jorginho plays for Flamengo and Thiago Silva for Fluminese only now Europe have had their use of them. Look at the players propping up Uefa's contingent: Federico Valverde, Vinícius Júnior and Rodrygo for Real Madrid, Lautaro Martínez for Inter Milan, Enzo Fernández, Moisés Caicedo and Nicolas Jackson for Chelsea. And then, having sequestered the world's product, Europe decries the prospect of there being a competition and haughtily suggests those who wish for one are not real fans. So it is rather delightful that far from the last 16 being almost exclusively European, the remaining teams are spread across four confederations with Uefa involvement amounting to nine clubs from its initial rump of 12. By contrast, every Brazilian entrant made the knockout stage and at least one will be in the last eight. Actually, it would be great if a Brazilian club won this. Unlikely, given that the country's best footballers are all in Europe, but it would be one in the eye for those that run down the thousands who have imbued this competition with life, as if they are in some way inferior to an English fan, sitting on his sofa, sneering. They are real fans here. As real as you, as real as anyone. Never think it means more at Anfield. Never believe devotion is made more special because your team is lousy and in League Two. Anyone who has encountered the fanaticism around River Plate or Boca Juniors knows better than to patronise. In 2000, I stood by the side of the roads around the Maracana as coaches arrived from São Paulo carrying supporters of Corinthians to their Club World Cup final with Vasco da Gama. It was beautiful and terrifying in equal measure. It is six hours, close to 300 miles, between the cities and those that made the journey appeared stimulated by potions unknown. If the coaches had windows, they streamed with sweaty condensation, the product of a ferocious fanaticism. Most inside were stripped to the waist, screaming, broiling, banging on the glass, hanging out of broken panes, flying the skull and crossbones that is the unofficial flag of Corinthians. I would have enjoyed seeing some of the Club World Cup naysayers telling them they were not real, that their fervour was somehow inferior because they weren't on social media tweeting about sportswashing or there being too much football. It is not about money to those fans. It is not about Gianni Infantino, or who is propping up DAZN. This is about their team trying to become the world champions. And if they can do that, they can stare down Europe, too. Think back to when Argentina beat France in the 2022 World Cup final. There seemed a lot of pent-up anger released that day. A lot of players who cared not only about what they had won, but who they had defeated to get there. Looking back, it was almost as if they had something they wanted to say to us. Increase to 48 teams would hurt game. Over to you, Gianni . . . I was wrong about one key aspect of this Club World Cup. I thought it should have been 16 teams. Continental champions only. Tight, clean. No coefficient placeholders. It would have been shorter, streamlined, perhaps less controversial. But it wouldn't have worked. Too small, too many exclusions. If Fifa had just allowed Champions League winners from around the globe, there would have been no teams from Argentina, none from France, Italy or Portugal. Some of the continental champions from Asia, Africa and the Americas would have had to play-off. It would have been too limited in its appeal. This feels right, at 32. Big enough to be widely welcoming, small enough to maintain an elite standard. Almost inevitably it will expand to 48 team, or more, in the future; but that will create its own problems. Just as there is a risk of Fifa money making a single club — such as Auckland City — unstoppable in its own region, so an expanded tournament would create powerful cabals in even the strongest leagues. There does not seem such great danger to competition in the Premier League from the money earned by Chelsea and Manchester City this time around, because it is unlikely to be the same pair in 2029. England having two Champions League winners between 2021 and 2024 shut out any other Premier League qualifiers. Yet Liverpool would almost certainly have featured had Uefa coefficients come into play. Yet what if, with expansion, the limit of two clubs per country — barring continental champions, which is why Brazil have four here — was lifted? Liverpool, City, Chelsea and Arsenal could become a permanent Champions League/Club World Cup bloc, pulling away from their rivals financially. The next stage of the development has to be handled very carefully, then. Do we trust Infantino, the Fifa president, with that? Do we buffalo. Class of 2021 prove form doesn't matter One of the criticisms of the Club World Cup is that the qualification period is too long and there should be more recency bias. How are the present champions of England, Italy and Spain not present, yet Chelsea, the winners of the 2021 Champions League final and subsequently third, 12th, sixth and fourth in the Premier League, are? Put simply, if the competition is to take place every four years, it is right that the four Champions League winners are here. Yet beyond an argument for straightforward meritocracy, the results have also been interesting. With the exception of Al-Ahly, winners of the African Champions League in 2021 who joined the rest of the continent's teams in going out, every champion team from that distant year qualified for the round of 16. Al-Hilal, champions from 2021, are Asia's only representatives in the knockout stage, Monterrey one of only two from CONCACAF, Palmeiras, the Copa Libertadores winners in 2021, made it through, as did Chelsea. By contrast, of the 16 teams going home, nine qualified via coefficient or play-off, which would appear the most up to date assessment of club form. Of the five European and South American clubs to exit at the group stage — River Plate, Boca Juniors, Atletico Madrid, Porto and RB Salzburg — none of them arrived victorious. Keep Club World Cup in USA? It makes some sense… Having written that the next Club World Cup should be in Brazil, a friend made a very strong argument for keeping it here in the United States. Yes, the heat, the travel, the timings, local apathy, the stadiums selected are too big, all well-aired arguments. But, he said, there is no country with the make-up of America. All human life is here, meaning every team has its following. How many of what seemed thousands turning out for ES Tunis from Tunisia were actually Tunisians living in the US? Did Al-Ahly fans really travel in such numbers from Cairo, or were the majority the Egyptian diaspora already here? Brazil cannot deliver like that, and nor can Fifa charge anywhere near as much for tickets. We all know which argument swings it for Infantino, but it is not just American money that makes sense. World Cup win masks failures of Argentina's domestic game Of the top five all-time winners of the Copa Libertadores, four are from Argentina. River Plate and Estudiantes have four titles each, Boca Juniors six and Independiente seven. The only club in that company not from Argentina is Peñarol, of Uruguay, with five. No Brazilian club has been South American champions more than three times. Yet the past six years have brought a clean sweep of Brazilian winners, and four all-Brazilian finals, too. Since 2019, six different clubs from Brazil have reached the final, and only two from Argentina. A spread of seven different Argentinian finalists would require a countback to 1992. Winning a World Cup papers over some pretty big cracks. So does having Lionel Messi. Leaving Qatar in 2022, it was possible to think not much was wrong with Argentinian football. And in many ways, not much is. Even at 38, Messi's allure remains, as has been proven here. Argentinian talent is central to many of the best clubs in Europe, including Premier League champions, Liverpool. Yet its club football is weak, compared to Brazil. While a quartet of Brazilian clubs sailed into the round of 16 at the Club World Cup, both of Argentina's went home, Boca Juniors embarrassed having failed to beat Auckland City, while River Plate missed out to Monterrey of Mexico. Argentina no longer makes the sponsorship deals the Brazilians attract, no longer competes consistently for the biggest club prize. The money here will be a welcome bonus, but it is still swamped by what Brazil's quartet will reap. So Brazil will continue attracting the best of South America that does not go to Europe, Argentina will continue feeding off past glories, and one very present one. Both, however, hide a troubling reality for Argentina's clubs. Werner's reminder of Kaufman's inspired, unruly genius My colleague Matt Lawton's excellent interview with the Liverpool chairman Tom Werner found him telling stories of the comedian Andy Kaufman, who played Latka Gravas in Taxi. Werner, whose credits as a producer also include Roseanne and Third Rock From The Sun, had contracted Kaufman to perform Latka in the style of his character Foreign Man. But Kaufman, having accepted the role, hated Taxi, hated conventional sitcom and hated what the show did with his talent, too. He hated it so much, in fact, that he would stop his shows if anyone starting calling for Latka. He would warn that, if it happened again, he would educate by reading The Great Gatsby aloud for the remainder of the performance. Inevitably, someone in the crowd would test his patience. At which point Kaufman would stop and open the book. He often read the entire first chapter, before asking the audience if they wanted him to continue or to play a record. Kaufman had a lot of very funny routines involving the playing of records. The audience would cry out for the record. At which point, Kaufman would walk over and very slowly and methodically put on a recording — of him reading The Great Gatsby from exactly the point at which he had just stopped. For inspired, unruly genius, Mario Balotelli had nothing on that man. You've changed, Andy According to the Wimbledon chairwoman Debbie Jevans, Sir Andy Murray will help with the design of the statue to be built in his honour at the All England Club. If true, that is the least Andy Murray thing the man has ever done in his life. Unfairly treated, but Ruud should have put Leicester's needs before his own reputation Ruud Van Nistelrooy was not treated well by Leicester City, left hanging until long after the season ended. Some of his players seemed a poor lot, too, and much of the uncertainty around Leicester was a combination of dismal management and the continued vindictiveness of modern football administrators, folk who will not be satisfied until they have pushed a struggling club over a cliff. However, from the start, Van Nistelrooy did not look a good fit. Leicester were hardly thriving under Steve Cooper but he was working with significant limitations and had kept them out of the bottom three. They needed hands-on management, instead Van Nistelrooy watched his first game, away to Brentford, from the stands. Ostensibly, this was to learn more about the team. Yet Van Nistelrooy had taken four games in charge of Manchester United, and two were against Leicester. He probably knew more about them than any manager bar Cooper. It smacked of shielding his reputation. Brentford, at the time, had the best form of any home team in the country, including Liverpool — and duly beat Leicester 4-1. It meant, however, that Van Nistelrooy's first game was at home to West Ham United who were in equally pitiful form. He won that match, and then one other, before Leicester were relegated. So, yes, Van Nistelrooy was poorly served by Leicester; but it cuts both ways. Shattered players? Don't be so sure The prevalent wisdom is that the two English clubs at the Club World Cup will be shattered come the middle of the domestic campaign, having moved from here to pre-season training with barely a break. Do not be so sure. Both seem to be using this as pre-season, and will probably give the players extended time off when the tournament concludes. New signings will have bedded in, too. Not saying it works. But not saying it won't.


Daily Mail
13 hours ago
- Daily Mail
EXCLUSIVE Timothee Chalamet being considered for Bond role as his Dune director Denis Villeneuve takes on 007
He has been lauded for his turn as Paul Atreides in Denis Villeneuve's two-part Dune adaptation, with the pair recently partnering up again for number three. So, it is perhaps no surprise that Villeneuve is considering casting Timothée Chalamet in his first ever James Bond film. The French-Canadian filmmaker, 57, will helm the next instalment in the British spy franchise – the first since Amazon completed its massive $8.5 billion acquisition of MGM Studios and parted ways with longtime producers Barbara Broccoli and Michael G. Wilson. Chalamet, who has twice been nominated for the Academy Award for Best Actor, saw his odds increase in the wake of the news. But the 29-year-old, famed for playing Willy Wonka and Bob Dylan and dating Kylie Jenner, won't be Daniel Craig 's successor, with a source insisting 'an American actor will not play Bond.' 'Timothée Chalamet could be a part of a future Bond film, but in no way shape or form will he be James Bond,' the insider told 'An American actor will not play Bond, it is not going to happen, so that leaves Timothée out of the running for the lead.' There hasn't been a new 007 film since 2021's No Time to Die, which marked Craig's swansong as the famous secret agent after five outings. Since then the fate of the franchise has been up in the air after Amazon bought MGM. The company partners with Eon Productions on Bond. A statement released in February revealed Broccoli and Wilson will 'remain co-owners of the franchise' but that Amazon MGM Studios 'will gain creative control.' Wilson, 83, said he was 'stepping back from producing the James Bond films to focus on art and charitable projects' while Broccoli, 64, added: 'With the conclusion of No Time to Die and Michael retiring from the films, I feel it is time to focus on my other projects.' According to the Wall Street Journal, when asked about the deal last year, she told friends: 'These people are f***ing idiots.' Villeneuve described himself as a 'die-hard Bond fan' after news of his directing gig was announced this week. 'To me, he's sacred territory,' he said in a statement. 'I intend to honor the tradition and open the path for many new missions to come. This is a massive responsibility, but also, incredibly exciting for me and a huge honor.' Bond has yet to be cast, with Aaron Taylor-Johnson – who was said to have completed a screen test at Pinewood Studios with Broccoli in March 2022 – the current favorite. 'The role of Bond is Aaron's to lose,' our insider said. 'He is still on the top of the list. The film is going to be put together pretty fast but Denis understands how important it is to get the casting just right.' Pierce Brosnan previously threw his support behind the BAFTA-nominated star, whose breakout role was playing John Lennon in 2008 film Nowhere Boy – which was directed by his now-wife Sam Taylor-Johnson. Brosnan, 71, who played the intelligence agent in GoldenEye, Tomorrow Never Dies, The World Is Not Enough and Die Another Day, said he believes his former co-star has the 'chops' to take on the mantel. 'I would definitely tip my hat to the fellow,' he said last year. 'I think the man has the chops and the talent and the charisma to play Bond, very much so.' George Lazenby, 85, who enjoyed one stint as the 007 agent in On Her Majesty's Secret Service, also endorsed Taylor-Johnson, as well as former Bond villain Jonathan Pryce. The actor, 77, who starred opposite Brosnan in Tomorrow Never Dies, previously told Good Morning Britain: 'He's grown into a wonderful actor and when he was a little younger, he did this extraordinary sort of action film where he played a superhero. 'And he's great, look at him now, he's black tie, handsome and yeah, he'd be a great Bond.' Johnson, who has offered cryptic responses to interviewers desperate for clues about Bond, could face competition from Theo James, Henry Cavill, Callum Turner, James Norton and Aaron Pierre, whose names have all been in the mix.