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Finally!
A great John Williams score to a good Hitchcock film.
While my own personnal preferences gravitate towards the Bernard Herrmann- Alfred Hitchcock collaboration, this wonderful work reminds me once again of the reasons why I love film scores so much. Classy, lighthearted and nimble... John Williams in a few short words.
Cheers!
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I'm only sorry that we have to wait until Friday for four MORE releases - we simply haven't had enough today.
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I'm only sorry that we have to wait until Friday for four MORE releases - we simply haven't had enough today.
We'll live.  I'm still buzzed from Family Plot and will be until I close my eyes and hear those notes coming out of my speakers for the first time.
Carrie and Family Plot are two of the greatest releases this year or of any year. I'm just exasperated from the giddy anticipation!
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Posted: |
Nov 22, 2010 - 9:56 PM
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By: |
That Bloke
(Member)
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Incidentally, for completists who are really really COMPLETISTS, the "making of" documentary features the few seconds of music Williams composed for the open window shot that was later cut, and therefore not on the Varese CD.
How do you know? Just because some footage was cut from the film
prior to the release, does not mean the score is not completely
intact on the Varese cd. I seriously doubt this not the complete
presentation of the score - meaning everything Williams composed
for the film. Whether or not some of the music was used in the film,
is irrelevant to a score cd release, especially 35 years after the fact.
Den
The footage to which I refer was not cut from the film. The "open window shot" is in the film (cleverly it's a "rear' window too). Wiliams wrote music for it and we hear it -softly and briefly- when the scene is referenced in the documentary.
Hitchcock suggested that Williams not have music for it, explaining to Williams why. Williams understood what Hitchcock wanted to achieve by the silence. The music Williams wrote for the open window was dialled out.
Of course, the music that was dialled-out may be on the Varese release, so I may be wrong in my earlier statement when I said it was omitted from the CD. Someone slap me -hard- for my possible faux pas.
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So what is the source of this c.d.? Is it really mono? Why doesn't it say in the description like it usually always does?
It doesn't affect me purchasing it but I'd like to know
Doesn't the back cover mention the word "mixed" adjacent to Mr Matessino's name?
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In response to some emails I received and some comments here I thought I'd post some clarification. The only surviving elements for "Family Plot" are the 3-track mono mixdowns which we encounter often in scores from this period. Rather than just present mono, some very careful and attentive engineering was implemented to bring out the best of what the element offers but stopping short of things sounding weird and unbalanced... as was the case with the End Credits on the Hip-O label a while back. That release accessed the same element for that track (truncated and somehow presented at a noticeably slow speed) and you could hear there how odd it is to have all the strings on the left channel and the harpsichord on the far right.
Our booklet has a technical note explaining this a bit further, but actually Bruce Kimmel recently went into detail about this phenomenon at the Kritzerland site in discussing his "Carrie" release, explaining how you can basically get a stereo "field" but not a traditional stereo instrumental "spread." On that title he had the luxury of going beyond the 3-track mono element and back to the multi-track for a proper remix, just as FSM was able to do for "Black Sunday," but sadly no other elements from "Family Plot" were located in the Universal archives. This being the case, we worked hard to give a consistent and full-bodied sound to this long sought-after score.
Mike
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