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TO MALEFICIO- Thanks , you offer a good service bringing back some of this fine composer's music here every few months. If there is a person who never really took time to listen to this music, it would be a shame if he would had really loved it, but never got to listen. Some people will like him , love him, then of course some people won't, no big loss. But I am curious about the people who do. Like when I see a older film that I really like and I say to myself, what a shame this film fell through the cracks into oblivion for years. I wish I have seen it years before. One can never have regrets or feel bad for trying, only for what you didn't try.
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To Mr. Maleficio:
'a rich, vibrant and sensitive score that also appears to be a tribute to famous predecessors like François de Roubaix, Georges Delerue and Michel Magne, with an occasional nod to Bernard Herrmann'
Who am I and what score are we referring to?
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Well, I mean no disrespect, but he's B) french
(Clark Wayne on Jul 17, 2013 - 1:53 AM)
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Well, I mean no disrespect, but he's B) french
(Clark Wayne on Jul 17, 2013 - 1:53 AM)
By which I mean, he wasn't American/native english-speaking as most of the big-name Hollywood composers were/are, which was I think something of a disadvantage-I have read before that he was not particularly comfortable working on the US films he did.
I was joking, Clark.
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Posted: |
Jul 17, 2013 - 8:22 AM
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By: |
slint
(Member)
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How long will this drought of Delerue releases continue?
Well, I mean no disrespect, but he's A) dead, B) french, C) fairly obscure, D) didn't score much in the way of big name films,
so it's not hugely surprising he doesn't get much attention really. I don't say that's a good or a bad thing, it's just the way it is.
More power to you for championing his work though!
Well, there are Italian soundtracks from the 60s from much more obscure composers that sell very well. For instance, how many threads are found for Carlo Rustichelli here, and he must have 5 or more new releases this yer. Compared to other French composers that I like even more, Delerue is a rather big name I think.
The main problem is that almost no one is releasing soundtracks for French films. In 500 units, I am sure they would sell rather well like the Italian soundtracks. You can't really blame the US for that.
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Well, I mean no disrespect, but he's A) dead,
Jerry Goldsmith is dead too, and we're inundated with Goldsmith releases.
B) french,
But there have been a lot of Maurice Jarre releases in the past few years.
C) fairly obscure, D) didn't score much in the way of big name films,
What about A Man For All Seasons (Best Picture winner), Platoon (Best Picture winner), Anne Of The Thousand Days (Best Picture nominee), Julia (Best Picture nominee), A Little Romance (Best Score winner), Steel Magnolias (which made Julia Roberts a star) and most of Francois Truffaut's films?
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Posted: |
Jul 17, 2013 - 5:41 PM
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By: |
Clark Wayne
(Member)
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Well, I mean no disrespect, but he's A) dead,
Jerry Goldsmith is dead too, and we're inundated with Goldsmith releases.
B) french,
But there have been a lot of Maurice Jarre releases in the past few years.
C) fairly obscure, D) didn't score much in the way of big name films,
What about A Man For All Seasons (Best Picture winner), Platoon (Best Picture winner), Anne Of The Thousand Days (Best Picture nominee), Julia (Best Picture nominee), A Little Romance (Best Score winner), Steel Magnolias (which made Julia Roberts a star) and most of Francois Truffaut's films?
In answer-
a) Jerry Goldsmith was a US composer based in Hollywood who scored popular blockbusters. Therefore much more well known/recognised/more saleable-simple economics.
b) Maurice Jarre worked on some of the biggest Hollywood movies in the 1960s with David Lean and had huge hits with Dr Zhivago and Lawrence of Arabia, so again was seen as more mainstream.
c) and d) Oscar winners/nominees do not mean the films themselves are big hits-I don't think I've seen any of the titles you've listed-Oscars very often go to 'arty' films that don't do well.
And I doubt many lay people could name a Truffaut film. So your definition of popular does not tally with what I would call mainstream i.e. the sort of films/scores Williams does, Goldsmith did, Barry did-popular hits with memorable/hummable melodies. Horner/Williams/Barry get played on Classic FM a LOT. I've never heard Delerue played (and you don't hear much Goldsmith either).
As I stated, I have no problems with Delerue, but I think that he is a very 'niche' composer compared to a lot of the other things that are being released. Therefore there is not the compulsion on the part of the labels to release anything.
I'm not trying to argue the toss-Maleficio's stance is to be admired, but there ARE reasons why some stuff gets released and other stuff doesn't.
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