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Haineshisway- SO YOU LIKE DELERUE'S MUSIC, YOU HAVE CLASS. I searched the windmills of my mind to remember when I first heard Mr. Delerue and fell in love with his music - it was easy to figure out and funnily it was this very score - I saw That Man From Rio on its opening day at the Fine Arts theater here in LA and I stayed a second time to watch the film, one of the reasons for doing so was to catch Mr. Delerue's name (in those days you could just stay in the theater and watch the show as many times as you could stand) - it was the heady combination of Francoise Dorleac and Delerue that did me in. The following day I went to a French bookstore in the Hills of Beverly - this store carried EPs and lo and behold I found the French EP of Rio (later I would also find the UK EP with completely different selections). Then a few months later I saw Truffaut's The Soft Skin on its opening day and that was it - once again, Dorleac and Delerue made mush of my poor teen brain. Then the following year, Rapture - I was very taken with Patricia Gozzi from Sundays and Cybele, so I went to a sneak preview and it was Rapture and the minute the music came on I knew it was Delerue. From then on, I actually sought out any film that had a score by him.
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You guys should'nt rely as much as you do on a Google translation. When Colette talks about "saucissonnage", she doesn't mean "salami" at all. She means that she don't like the very important amount of seperate cues (52, if I remember correctly) and the fact that everything is there, in chronological order, without any editing or merging several cues together to improve the flow of the music and the listerner's experience. And that's it. The score proper (not counting the bonus tracks) has plenty of editing and "merging" - one only needs to look at the track listing. She's quite incorrect about this. I doubt she has the CD and is just looking at the track list. The score proper would have had over sixty cues had I not edited and merged for a better listening experience. And it is hardly all chronological because if it was you'd have twelve bossa nova cues all in a row. Would you have left out score and source cues that are wonderful just to have a shorter album? She made her That Man from Rio album - it's four or five cues - hardly representative of this great score. Sorry, don't buy any of this. I'm not one to put every last note of music on a CD, I think everyone here knows that. I am ALL about the listening experience - and if one listens to the thirty-one or so score proper tracks, that is, at least to me, a terrific listening experience and one which perfectly captures the flavor of the film from which this comes. I have no doubt Ms. Delerue is a very nice and sweet lady. That, however, doesn't make her a record producer or knowledgeable about what does or does not make a good presentation. Again, I truly doubt she's heard our CD or she would not have made the comments in the way she's made them.
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She and Stephane Lerouge always leave certain cues out on their Ecoutez-releases which is fine with me. But not with me -- SOMETHING WICKED THIS WAY COMES for example. Bruce did a wonderful job on THAT MAN FROM RIO and if some people prefer shorter scores they just have to select some of the cues -- the other way around will be always pretty tricky.
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We can only hope Intrada is working on a proper version of this score. Are you expressing only hope or shall i read between the lines?
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She and Stephane Lerouge always leave certain cues out on their Ecoutez-releases which is fine with me. But not with me -- SOMETHING WICKED THIS WAY COMES for example. Bruce did a wonderful job on THAT MAN FROM RIO and if some people prefer shorter scores they just have to select some of the cues -- the other way around will be always pretty tricky. Yes, I prefer a smorgasbord release where one can, if one wishes, pick and choose cues for a personalized and coherent listening experience. Colette's and Stephane's nouvelle cuisine approach second-guesses the composer as to which cues he would have perceived as more important, and often leaves the listener hungering for more. Bruce's personalized and coherent selection was no salami.
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I had a mini Belmondo/Delerue film festival this week - the wonderful Kritzerland release of Rio plus a gorgeous bluray import box set from France of three Belmondo/De Broca films: L'Homme de Rio, Les Tribulations d'un Chinois en Chine, and Le Magnifique. Just utterly enjoyable films looking quite grand on bluray -- and, of course, the joyous Rio CD! Thanks again for releasing this, Mr. Haineshisway. I also recently acquired the Desplat rerecording of Rio cues (the CD that includes Les Tribulations d'un Chinois en Chine -- and it is also huge fun). But the original cues from Rio are just in a league of their own. In watching Rio again after a great many years, it was interesting to see how the score really does weave everything together with a huge infusion of forward action and excitement. They don't make 'em like this anymore.
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I think we know exactly what that is, don't we? It's someone's last-ditch attempt to get in yet another European copyright dodge before the change that's happening this year. I don't think that there is any EU country left nowadays where the new legislation with sound recording copyright valid for 70 years has not yet come into force. For example here in Germany it is valid since summer 2013 and in Italy and the UK since November 2013. Here is the EU directive from August 2013: http://www.ipo.gov.uk/directive201177eu.pdf In principle all EU countries had to adapt to this directive till the end of 2013 which means that this MAN FROM RIO "boot" is of course now also illegal here in Europe!
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