Harry Manfredini: Jason’s Musical Master (and so much more!) Interview by Brian Kirst.
The incredibly talented Harry Manfredini will always be known as the man who created the shockingly famous Friday the 13th theme. But, Manfredini has done so much more, musically, than just "kill, kill" – he has actually helped create the atmosphere for many of your Halloween favorites. Besides, scoring projects such as WishMaster, the House series, Horror Show and Deep Star 6 – Manfredini is also a Chicago native. Since Horror Society has its roots in Chicago -I thought it would be fun to quiz the friendly Manfredini about his Windy City roots and the enduring legacy of his Friday the 13th association.
Brian: You’re a Chicago guy! Where did you grow up in Chicago?
Harry: I grew up on the near north side. I went to St. Teresa’s and De Paul Academy. So – Seminary Avenue between Armitage and Fullerton.
Brian: Do you have any favorite places that you must hit when you return for a visit?
Harry: I don’t get back as much as I would like. Well, first of all, I have to have a Lou Malnotti’s pizza, as soon as possible. Usually my family fills in all the rest of the food that I crave. I love to go downtown. The Art Institute is always at the top of the list. Orchestra Hall if there are concerts going on at the time. Wrigley Field if that is possible. Always check out the small theater schedules, and who is playing in town.
Brian: Chicago has such a great music scene. Are you more of a blues or jazz guy? (Yippy, Green Mill!!)
Harry: I have not been part of the Chicago Music scene for so long; I am a bit out of the loop. Pun intended. What I can tell you is that when I was lived there THE BIRD HOUSE was my absolute favorite. Major jazz acts were there in a setting where there was an aisle which divided the alcohol from the non-alcohol section, so teens were able to go and listen. I was there a lot. – Great Burgers and soda. And of course great, great jazz. What a wonderful idea.
Brian: Do you find there is any of a Chicago influence in your film scoring work? Or do just influenced by the esthetics of each particular project and go where it leads you?
Harry: I think it’s more of each particular assignment touching me in a certain way that influences my music. I think my growing up in Chicago, and the mindset of the city has roots in my personality.
Brian: What has been your favorite scoring experience?
Harry: That is almost impossible to answer. Each project has its own special and enjoyable aspects. Sometimes it’s the actual film itself, (A Gun, A Car, A Blonde) or the chance to have a huge orchestra, (DeepStar 6, Timemaster) or the opportunity to create an interesting sound and theme for a character, (a baby pterodactyl in House 2, a worm dog,) or sometimes, to look at from a completely monetary point of view, it is just the reality of a nice paycheck and some good residuals.
Brian: Friday the 13th‘s Sean Cunningham calls you an equipment junkie. What is your favorite piece of equipment – the one that helps you put the most into your musical scores?
Harry: Ha-Ha! Well I don’t know if that is true. I am not really a junkie. I do strive to get the best sound I can, and I am always looking for new sounds. So if that is an equipment junkie, then I guess it is true. But I am not at all a "techie". I think of equipment junkies as guys who know every keyboard, and all the different versions of all sorts of software, and know how to run everything and know all the makes of instruments, old and new. I am not at all that. I used to have a whole lot of equipment, but now I have honed it down to just a few pieces of gear, and hope to even get it down more in the future.
Brian: Your association with Friday the 13th must be both a blessing and a curse. What is the best thing about being involved with the series and what is the worst?
Harry: This is of course true. It has and continues to be a bit of a double edged sword. On the positive side, it of course has created a career. I have met and continue to meet so many wonderful people, and have opportunities at so many films as a result. The negative side is of course that it pigeon holes me to a great extent. Some people think it is all I can do, but I have created so many different scores in different styles, but the sword still cuts. Those who know and understand and realize the contribution of that score to that film, and that I am more than able to create a very memorable and effective score for any film assignment.
