Edit] Film music

Zorn has written music for documentaries, underground films, television advertisements and cartoons which are documented in the Filmworks albums on the Tzadik label. Some of these film scores are jazz-influenced, others classical, and most feature ensembles consisting of rotating combinations of downtown musicians. Zorn has often used his cinematic and television commissions to experiment with line-ups and forms that would become more established parts of his musical canon.

Zorn stated that "After my record The Big Gundown came out I was convinced that a lot of soundtrack work was going to be coming my way".^[36] While Hollywood acclaim was not forthcoming he attracted the attention of many independent filmmakers. The first director to commission him was Rob Schwebber for the 1986 short White And Lazy followed by his work for Sheila McLaughlin's film, She Must Be Seeing Things (1986). In 1990 he composed the soundtrack for the Raul Ruiz film The Golden Boat. All these soundtracks appeared on Filmworks 1986-1990 along with a sixty-four second interpretation of the theme from The Good, the Bad and the Ugly which featured future members of Naked City.

Zorn's second Filmworks release documented his Music for an Untitled Film by Walter Hill (1996) which was composed for the film Trespass (1992) but replaced by a score by Ry Cooder.^[37] Filmworks III: 1990-1995 (1997) featured the first recordings by the Masada lineup for Joe Chappelle's Thieves Quartet (1993) along with early drafts for the Cynical Hysterie Hour project, duets with Marc Ribot which featured in Mei-Juin Chen's Hollywood Hotel (1994), and a series of commercial soundtracks for the advertising firm Weiden and Kennedy, including one directed by Jean-Luc Godard - a long-term Zorn inspiration.^[38] Filmworks IV: S&M + More (1997) and Filmworks V: Tears of Ecstasy (1996) both included music written for films dealing with BDSM.^[39] Filmworks VI: 1996 contains the soundtracks to three underground films produced in 1996; Dina Waxman's Anton, Mailman, Henry Hills' Mechanics Of The Brain, and Maria Beatty's The Black Glove.

Filmworks VII: Cynical Hysterie Hour re-released the themes that Zorn produced for a Japanese cartoon which had only been previously available in limited release in Japan. Zorn regained the rights to these recordings by trading a booking at The Knitting Factory to Sony executives.^[40] Filmworks VIII: 1997 features music for the documentary Port Of Last Resort (1998), which detailed the experiences of Jewish refugees who fled to Shanghai during the years preceding World War II, and the soundtrack to the underground film Latin Boys Go To Hell (1997).^[41][42]

Zorn's next soundtrack work did not appear until 2000 with Filmworks IX: Trembling Before G-d featuring music for an award winning documentary about gay and lesbian Orthodox Jews trying to reconcile their sexuality with their faith directed by Sandi Simcha DuBowski.^[43] The following year Filmworks X: In the Mirror of Maya Deren (2001) featured music for a documentary on the life and work of underground filmaker Maya Deren.^[44]

The year 2002 was a very productive one for Zorn's cinematic scores. Filmworks XI: Secret Lives (2002) featured the Masada String Trio performing music for Aviva Slesin's documentary film on Jewish children hidden from the Nazis.^[45] Filmworks XII (2002) features music for three documentaries; Homecoming: Celebrating Twenty Years of Dance at PS 122, Shaolin Ulysses, a film about Shaolin Monks in America, and variations on the theme for Family Found, a documentary on outsider artist Morton Bartlett.^[46][47][48] Zorn released his third soundtrack collection of 2002 with Filmworks XIII: Invitation to a Suicide, written for a black comedy about a man selling tickets to his own suicide to save his father's life.^[49]

Zorns next two Filmworks releases featured in documentaries examining Jewish identity and antisemitism. Filmworks XIV: Hiding and Seeking (2003) provided the soundtrack a documentary about an Orthodox Jewish father attempting to alert his sons of the dangers of creating barriers between themselves and those outside their faith.^[50] Filmworks XV: Protocols of Zion (2005) featured music for a documentary about a resurgence of antisemitism in the United States in the wake of the September 11, 2001 attacks.^[51]

Filmworks XVI: Workingman's Death (2005) presented themes for a documentary portraying hazardous employment undertaken in the Ukraine, Indonesia, Nigeria, Pakistan, and China.^[52]

Filmworks XVII (2006) featured music for Martina Kudlacek's documentary Notes on Marie Menken intertwined with Zorn's percussive score for Beth Cataldo's portrait Ray Bandar: A Life with Skulls. ^[53][54] Filmworks XVIII: The Treatment (2006) featured music for Oren Rudavsky's romantic comedy based on the tango music of Astor Piazolla.^[55]

Filmworks XIX: The Rain Horse (2008) was written for an animated children's short film by Russian director Dimitri Gellar. Also released in 2008 were Filmworks XX: Sholem Aleichem containing music for a documentary on the Jewish writer Sholem Aleichem, Filmworks XXI: Belle de Nature/The New Rijksmuseum featuring soundtracks for another of Maria Beatty's films and a documentary on the restoration of the Rijksmuseum Amsterdam, and Filmworks XXII: The Last Supper.

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