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I am not sure I understand what is going on here...nor do I care to try. I have a great relationship with Intrada, if I am allowed to characterize it. Yes, we are competitors, but I hope in a good sense in that we try to outdo each other in a friendly rivalry. We do assist on each others' productions from time to time, including several going on at the moment. And we share an art director (Joe Sikoryak). Some things we do a little differently... but it would be a boring world if everyone did things the same way.
I hope I don't sound too cool for school but I don't keep track of the rivalries and antagonisms on this message board unless something blows up to the point where I have no choice -- and even then, I find it tiresome beyond belief. I look at Intrada's board but I barely have enough time to post on this one.
I give people a wide berth here to criticize. There are many reasons: It's in the spirit of how FSM started (20 years ago!), it inspires debate, it grows the board, it fosters ideas. For a perfect example, 10Arrow's post above: I can't say that's going to help us move Black Sunday CDs, but it's thoughtful, it's couched fairly, it's interesting, and I even agree in some ways. I'm glad that people feel the freedom to chime in like that.
It's when people get hair triggers and simply act in an antisocial manner that I'm simply disappointed and wish they would show some emotional maturity.
Lukas
p.s. Robert Eastman, this song is for you: http://www.filmscoremonthly.com/store/MP3/0604/05_BE_HAPPY_AGAIN__JINGLE_O.MP3
Well said Maestro!
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I really enjoyed the film, a lot. Johnny Williams' music was incredible. Too bad it was mostly shadowed by Star Wars and Jaws.
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My copy arrived today (along with islands in the stream).
Black Sunday sounds great, and the liner notes are an interesting read! I enjoy the cover art, it really looks like the LP probably would have looked. Thanks FSM!
Fantastic stuff! The main motif (first time heard in the unused "Beirut") is one of the most infectious little things Williams has ever written. I love it! From the first time I listened to that old crappy b*** years ago, this theme never left my head.
And now it's here - in perfect sound! B*** goes into the bin, pretty FSM CD goes into the rack ;-)
Thanks, Lukas!
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I agree, the climactic action is really a "created in the editing" number with really lousy footage to work from, seriously gutting the suspense. Williams score still remains the best single element of the film.
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I agree, the climactic action is really a "created in the editing" number with really lousy footage to work from, seriously gutting the suspense. Williams score still remains the best single element of the film.
I agree - the climax looked amateurish. Still, fun in it's way and since I just ordered the FSM today, will have to wait to comment!
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If you only saw the first 5 minutes you did not make it through the opening credits. It was for the best. After the credits it's all down hill. A 143 minute endless hill. Falling off Everest would be quicker and far less painful. What makes you think I didn't enjoy it? I really enjoyed the 1st 5 minutes just like you did. It was the ensuing 138 minutes that made me feel like I was watching a live action version of Clutch Cargo. Look it up.
Clutch Cargo? Sounds like a drag queen.
I know Clutch Cargo, she is friends with Anita Dick,and Anita Mann. and Augusta Wynd, and all three have this thin friend Anna Rexa. And let's not forget Marsha Dimes. And no one can forget Sofonda Cox. AND Sharon Needles.
You is so NASTY! 
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Posted: |
Feb 1, 2010 - 6:37 PM
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By: |
RoryR
(Member)
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Okay, I have a question for fellow score collectors. So many times, something from the past is rereleased and there is much fanfare, excitement that another Holy Grail has been released. Black Sunday for example. I've heard it, and it is one of the most boring scores I have ever heard.
So, my question. Why all the hoopla? Is this just a collecting thing, where it is a chance to plug a hole in your collections, never do be heard again; or is it that I'm just out of the loop, and everyone does think this is a wonderful listen.
Not my intent to insult anyone's musical tastes, different strokes and all that. I have just seen this happen a lot in recent years, great jubilation over a new release of an old score I never found interesting in the first place.
I would be interested in people's views. Thanks!
I think this release was "hooplad" because it's known that there's a large John Williams cult among score collectors. CDs like this aren't created NOT to make a profit, and obviously someone at FSM thinks this will sell. As for me, I buy a film score CD based on how much I like the film and the score to it, not who composed it. If I don't like the film, I'm not very likely to buy the score, but if the score is exceptional -- and I know it -- I'll buy it. I currently own just under 200 scores on CD, most of these reflect my devotion to Jerry Goldsmith, but I don't own everything of his that's been released. There's some you'd have to pay me to own. In the case of John Williams, I'm not a big fan of his. I only own one Williams score, "The Accidental Tourist." I played my LP of "Jaws" to death back in the '70s and so I've never cared to get it on CD, and I'm not a big fan of "Close Encounters" or "Star Wars." (I don't even have them in my DVD collection.) I've bought many FSM releases (just got "Bullitt" last week), but I'm not getting "Black Sunday." (No offence, FSM, but 10,000 copies?!!! What were you thinking?) I have nothing against John Williams, I'm just not a fan, and I'm sure not a fan of the film. I've listened to the score samples and it's the kind of film music I like, but I'm still not getting it. Jerry Goldsmith I'm a huge fan of, but will I be getting "Players"? Nope. I can't recall if I've ever seen the movie, and until talk of the release, I don't even remember such a movie. I've listened to the samples on Intrada's site. It's Goldsmith. It's good -- of course! But really, I've only got so many $19.95's plus postage to throw around, and this one won't kill me to live without. So there you go.
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except for that rushed finale, Frankenheimer's international thriller is excellent. Terrific pacing, starring, lensing (John CHINATOWN Alonzo) and score, of course.
I do agree that the end of the film suffers from poor pacing (and very poor effects), but the book has the same problem. In fact, if memory serves, the entire end sequence happens in about 2 pages.
As for the score, I've been waiting for this one for a while. I love these "before they were REALLY famous" scores, and a lot of the music doesn't sound like "John Williams™" (except for the fanfare at the end that is "John Williams™" cranked up to 11).
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Having had a few days to listen to this post-JAWS/pre-STAR WARS Williams effort, I find I'm just addicted to the "lean, mean" quality of this score. It truly IS John Williams in a Jerry Goldsmith mood, with lots of great suspenseful underscore in place of Williams' melodic overflow that followed--not that that was a bad thing. It's just fun to hear this earlier dark, gutsy Williams in such sonic splendor.
Thanks, Lukas. This is a real treat.
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