Advertise on podcast: The Silent Film Music Podcast with Ben Model

Ben and Kerr discuss Ben’s performance schedule being back to or surpassing 2019 levels, the scoring and restoration of “The Cardboard Lover” (1928) with Marion Davies, accompanying Davies’ “The Patsy” (1928) at the TCM Classic Film Festival in Hollywood, live-scoring Chaplin’s “The Gold Rush” (1925) for shows at a few different theaters, scoring “St. Wenceslas” (1930) and other silents by the Czech director Jan S. Kolár for a new Blu-ray from Deaf Crocodile, Ben announces the newly-created browsable/searchable podcast index and encourages listeners to explore it, and much more. Show notes for episode 73 can be found here.

Ben and Kerr discuss Ben’s accompaniment techniques for films he played for toward the end of 2025: Keaton’s “Steamboat Bill, Jr.” at the Barrymore Film Center, Mary Pickford in “Sparrows” at the Library of Congress, and Max Davidson in “Pass the Gravy” at the Silent Clowns Film Series in NYC. Ben gives an update on the Undercrank Productions releases currently in production, of rare silents with Roscoe Arbuckle and with Marion Davies. Ben shares some advice for aspiring accompanists about the kind of music light to bring to a show. Ben and Kerr close out the episode discussing ideas about the current status and next-steps for silent film restoration and exhibition. Show notes for episode 72 can be found here.

Ben and Kerr talk about Ben’s busy Halloween season, underscoring the unmasking scene in “The Phantom of the Opera” (1925) at Angel Nyack, and his encounters with theater ghosts; also covered are Ben’s accompanying “Her Sister From Paris” (1925) with Constance Talmadge at the Silent Clowns Film Series, the differences between playing a church pipe organ and a theatre organ for silents, and more. The episode includes performance excerpts from Ben’s scores for the two films mentioned above as well as from a show at the Library of Congress Packard Campus Theater of Josef Von Sternberg’s “Underworld” (1928). Show notes for episode 71 can be found here.

Ben and Kerr talk about Ben’s shows at MoMA’s “Silent Movie Week” of “Saxophon Susi” and “Berlin: Symphony of a Great City”, and at the Rubinstein Atrium at Lincoln Center for an early Louise Brooks Paramount feature. Ben discusses adjusting his approach to laying down a recorded score when scoring “Poisoned Paradise” (1924) with Clara Bow for the National Film Preservation Foundation, and for Keystone shorts for the “Rediscovering Roscoe” Blu-ray set due out in 2026. Ben and Kerr discuss their both noticing a growing and a younger audience for silent film in recent years, with Ben observing this at Capitolfest this past August. Performance excerpts include “Saxophon Susi” (piano, at MoMA), “Love ’em and Leave ’em” (1924) (piano, at the Atrium), and “Finders Keepers”(1928) starrring Laura LaPlante (theatre organ, at Capitolfest). The latter is also included as an example of a live score being affected by the film’s introduction, in this case by historian/author Laura Jerrolds. Show notes for episode 70 can be found here.

Ben and Kerr talk about Ben’s recent shows in the Adirondacks and NYC, his in-progress recording of scores for a new Arbuckle Blu-ray set, the art and craft of a venue’s developing an audience for silent films, accompanying Chaplin’s “The Kid” (1921) and Harold Lloyd’s “The Freshman” (1925), and Ben’s managing being able to practice or rehearse; also updates on his book “The Silent Film Universe”, a new Blu-ray release of NJ-made silents, and upcoming shows in August.. Show notes for episode 69 can be found here.

Ben and Kerr talk about Ben’s new book “The Silent Film Universe” on this mini-episode. Ben discusses the various aspects of silent film language covered in each chapter and how we as viewers are engaged with them, his own development and honing of the ideas in the book, and his rationale for writing and publishing the book. The publication date for “The Silent Film Universe” is June 17, 2025, and can be purchased in paperback and hardcover wherever you buy books. There is information about “The Silent Film Universe” – as well as endorsement quotes and ordering links – on the book’s web page. Show notes for episode 68 can be found here.

In this episode, Ben and Kerr talk about accompanying a rare Wallace Reid Film “The Valley of the Giants” and other films at the Kansas Silent Film Festival; playing for the newly restored “The White Heather” and for Francis Ford’s “The Craving” (both 1919) at MoMA’s “To Save and Project” festival; creating a new theatre organ score for “Ramona” (1928) which will be released in May by Kino Lorber; Ben’s returning to the TCM Classic Film Festival to live-score a silent film – this year it’s Harold Lloyd in “The Freshman” – and more. Show notes for episode 67 can be found here.

In this episode, Ben and Kerr talk about: Ben’s accompanying a rare Reginald Denny feature, sight-unseen, at Capitolfest 21; the rediscovery of “The Gorilla” (1927) and accompanying it on both piano and on theatre organ; Ben tries a new approach to underscoring the house-fall in Buster Keaton’s “Steamboat Bill, Jr.” (1928); the challenges and concerns in approaching the live-scoring of sound-era films like the 1931 “Dracula” and “Frankenstein”; Ben’s accompanying of “Her Wild Oat” (1927) starring Colleen Moore, and his initiative to renew interest in the 2010’s restoration of this film. Show notes for episode 66 can be found here.

In this episode: On this episode, Ben and Kerr talk about Ben’s process for scoring Roland West’s “The Bat” (1926) for a home video release. The new restoration was produced and released by Ben’s Undercrank Productions home video label. Show notes for episode 65 can be found here.

In this episode: Ben talks about accompanying Laurel & Hardy’s pie fight in “The Battle of the Century”, for a decisive moment for Keaton’s character in “Steamboat Bill, Jr.”, for Ozu’s “A Story of Floating Weeds”, and for Raymond Griffith and Max Fleischer silents at the 15th TCM Classic Film Festival. Performance clips include recordings from shows at the Strand Theatre in Schroon Lake NY, the Strand Theatre in Plattsburgh, and at the Museum of Modern Art in NYC. Show notes for episode 64 can be found here.

In this episode: Ben recaps his month's activities in March 2024, talks about the subtleties of underscoring dramatic moments when a main character thinks through an important decision, a creative way to invent main themes for a program of 7 animated shorts, accompanying a 1914 "Italian Diva" melodrama, and picking up on something about the film from its spoken introduction that affected the score created during the show; plus live-performance excerpts from scores for "Shoes" (1916) by Lois Weber at NYU, a restored Koko the Clowns cartoon at MoMA, and "Sangue Bleu" (1914) at Casa Italiana Zerilli-Marimò; and more. Show notes for episode 63 can be found here.

In this episode: Ben accompanies Tom Mix in "Sky High" at the Library of Congress, adapting for organ some themes he originally composed for piano; Ben and Kerr discuss the importance of seeing silents with live music, and how a film may play one way when watched alone and completely differently at a show; Ben and Kerr discuss the hilarious and gifted silent film comedian Marcel Perez; Ben covers an upcoming Blu-ray/DVD release from Undercrank Productions; discussion of the newly restored "Man, Woman and Sin" screened at MoMA in January; news about upcoming shows, and more. Show notes for episode 62 can be found here.

In this episode: Ben shares his experiences accompanying the silent era blockbuster "The Big Parade", the rare Italian film "A' Santanotte", Laurel & Hardy shorts, and others; he and Kerr discuss the practices of creating leitmotifs on the fly during a show, and then repeating them later in the film's score; there's some deep info and history on the different pianos at MoMA, and how the feel of playing these pianos – and the many others Ben encounters in his work – affect his playing and live-scoring; Ben's New Year's resolution for his silent film accompaniments (with a nod to Akira Kurosawa); and more. Show notes for episode 61 can be found here.

In this episode: accompanying several films at MoMA in August of new restorations and a series of early color process silents; audience response difference between San Francisco Silent Film Festival and MoMA screening, and how this affected Ben's score in NYC; Ben talks about pivoting when presented before a show with a change of running time or of musical instrument; audience laughs during the climax of Harold Lloyd's "Safety Last"; accompanying a film where only way to preview was by reading trade reviews; live recording excerpts from "Loves of Casanova" at MoMA, "Safety Last" in Schroon Lake, "Second Fiddle" at Capitolfest, and "The Mark of Zorro" at the Williams Center in NJ; and more. Show notes for episode 60 can be found here.

In this episode: Ben talks about preparing for his performance at the San Francisco Silent Film Festival, his first time at the fest; his Undercrank Productions home video label celebrates its 10th anniversary in 2023; Ben talks about the two newly restored Tom Mix silent films that were released by Undercrank on Blu-ray in July; he shares some tips and insights on having music light on the piano at different venues, some thoughts about scoring a few different scenes from Harold Lloyd's "Safety Last"; and…don't click away during the wrap-up, or you'll miss a nice surprise at the end of the episode. Show notes for episode 59 can be found here.