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the most iconic and immediately recognizable music of his generation for Zemeckis' films. When asked how he views the role of music to the storytelling process of a film, instead of answering, Silvestri calls up the scene in "Forrest Gump" in which Forrest learns that he can run. He first plays a version of the scene sans accom- paniment. It's a stirring moment in young Forrest's life, but the clip comes to life when it's played again, this time containing the richly swelling crescendo of music that is a Silvestri trademark. The scene transforms from interest- ing to inspirational. "Alan knows how to write a theme," Mancina says. "That's a bit of a lost art; there aren't a lot of composers who can do that. He and John Wil- liams can. As soon as you hear that theme—like "Forrest Gump"— it puts you right into that f ilm." "The music brings into relief what is happen- ing emotionally on the screen," Silvestri says. "It's a powerful part of the equation. It's part of why cinema is such a powerful medium." Frequent collaborator, songwriter Glen Ballard (they shared the Oscar nomination for "Believe" from "Polar Express" and are working on an upcoming stage musical version of "Back to the Future") says: "I'm lucky to get to work with guys like Alan. It's always a learning experi- ence. He's a true genius." Goodbye to Hollywood Silvestri first visited Carmel around 1972 as part of a trip to Afghanistan with a group led by intrepid Carmel explorer Peterson Conway. After Alan and his wife Sandra married, they found themselves coming to visit the Peninsula once a year while living in LA. After they had their first child (daughter Alex was born in LA and two sons, Joey and James were born here) the couple decided that LA was perhaps not the best environment in which to raise a family. They considered Santa Barbara, but that was still too close. "They could still make me drive down there," Silvestri jokes. The couple found their Carmel Highlands property and have never looked back. "It was a big risk for Alan to leave Hollywood," Sandra says. "But moving here was the best thing we ever did." The movie music magic happens in a tidy stone building set on the park-like grounds of the Silvestri's home. Surrounded by one large and three smaller video monitors, keyboards and an array of guitars and computer equip- ment, he looks like he could be directing a space shuttle mission instead of scoring a movie. Identical setups are at the family's Carmel Valley property and in Alamo, where they have a home in order to facilitate visiting their daugh- ter and grandchildren. Even with all the technol- ogy at his fingertips, Silvestri is still pretty much doing what he did in the "CHiPs" days. "The basic job hasn't changed," he says. "I'm still helping the director to realize his vision and tell the stor y." A Wine Is Born As his surname implies, Silvestri is half Italian. "Growing up in Teaneck, all my relatives lived within walking distance. My grandparents, Joe Silvestri and Eugenia "Jenny" Martinetto had been in the restaurant business," he says. "Each year, a few train cars full of grapes would arrive from Lodi. My family would get a couple of crates and make wine in the basement. I have fond memories of those times." His daughter's skill at horseback riding led C A R M E L M A G A Z I N E • W I N T E R 2 0 1 7 159 Three generations of family Silvestri at Alan and Sandra's Carmel Highlands home. "Moving to Carmel was the most wonderful thing we have done," Sandra says. Photo: Courtesy of Silvestri Family Collection