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Making Music for the Big Screen
Todd Miller
Todd Miller reviews some music with students Kyoko Kamei and Susan Willmering during a percussion ensemble class. Off campus, he has played with Southern California’s major orchestras, as well as on television and motion picture soundtracks, records and CDs.

October 27, 2005
By Gail Matsunaga

This fall marks Todd Miller’s 35th year at Cal State Fullerton. Like many of his colleagues in the College of the Arts, Miller works professionally outside the classroom. He then brings that variety and depth of experience and knowledge back to his students. Miller’s external gigs span numerous aspects of the entertainment industry, as the musician recently took the time to discuss.

Q: What have you worked on beyond your classes?
   
A: I’ve worked as a freelance musician since I was 19 years old ... in many different venues, from Las Vegas to the Los Angeles Philharmonic. I’m a tenured member of the Pacific Symphony Orchestra, where I play timpani; and the Pasadena Symphony, Hollywood Bowl and Opera Pacific orchestras, where I play French horn.

Q: On what occasions would an orchestra, that you’re not a member of, call you?
   
A:

When they need an extra person — somebody takes off, or a piece may call for more French horns than they have. I’ve played hundreds of concerts and numerous recordings with the L.A. Philharmonic as an "extra" player.

Most of the other work I do is in music scoring — recorded music soundtracks. Early in my career, I worked on TV shows, but during the last 20 years, I’ve done hundreds of motion picture soundtracks.


Q: What are some of your most recent soundtracks?
   
A: The most recent one was a remake of the movie "Yours, Mine and Ours."

Q: What about your early soundtracks?
   
A: I’ve been fortunate to work on several Academy Award-winning movies scores — "Out of Africa," "Dances With Wolves" and "Titanic." In TV, I worked on "Columbo," "A Team," "Rockford Files," "Greatest American Hero" and "JAG." I also worked on some of the last "Gunsmoke" episodes, which really shows my age.

Q: Did you work on the TV shows regularly?
   
A: I did different ones on different weeks. It was fun. I also worked on a lot of records with different musicians, like Julie Andrews, Willy Nelson, Randy Newman, Frank Zappa, the Four Seasons, Dionne Warwick, Barbra Streisand and Celine Dion.

Q: In an earlier conversation, you mentioned that you worked at Disneyland — any special occasion?
   
A: Yes, the ceremony for the opening of their 50th anniversary.

Q: Do you work there very often?
   
A: Not at Disneyland. Sometimes I’ll record music for a ride or for their fireworks shows; or for some other feature. And, I often work on music for Disney films.

Q: What is your involvement with the new Performing Arts Center?
   
A: Aside from being involved in some of the initial planning, I communicated with one of my former teachers, William Kraft, who is a world-renowned composer. He’s agreed to compose a new piece for the CSUF Wind Ensemble for the dedication ceremony.

Q: Do you ever see your former students in professional positions?
   
A: I’ve regularly worked with a number of them through the years. It’s kind of been a neat thing. Several of my students are members of the Pacific Symphony and Hollywood Bowl orchestras, and several have also become recording musicians. A lot of them have moved and are professionals elsewhere. In this day and age, it’s not the easiest thing to become a working musician.

Q: What are the difficulties?
   
A: There’s a lot of competition and in recent years, the amount of work has shrunk, as far as the recording industry is concerned.

Q: What has changed?
   
A: Projects have gone elsewhere. The world has shrunk — it’s easier for projects to go wherever they want. I think technology has also played a part, especially in TV, because live orchestras are not used as much. Also, a typical symphony audition attracts more than 200 applicants, so the odds are not the greatest in that field either.

Q: The fact that you play French horn and timpani seems very different.
   
A: They are. Growing up, I had an interest in both, and I studied them very seriously. I am extremely fortunate that I have found avenues for both professionally.

Q: In your experiences with orchestras, have there been any significant moments for you?
   
A: In my symphonic work, I’ve had the honor to work with some of the greatest conductors and soloists in the world. In the recording industry, I think the greatest thing is working with colleagues who are some of the best musicians on the planet. Seldom do I go on a job that I don’t learn something. I’m extremely thankful for both my academic life and professional life.


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