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Great score, great film.
I will buy a CD if released!
Yavar
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Posted: |
Oct 16, 2014 - 11:05 AM
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By: |
manderley
(Member)
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But not as easy as it used to be, thanks to:
http://www.amazon.com/Hitchcock%C2%92s-Music-Jack-Sullivan/dp/0300136188
Judging by the critiques, the book is a mixed blessing, but a blessing nonetheless.
I hope the author, Jack Sullivan, does not presume to argue that Hitchcock had much say whatsover in music choices on the early films controlled by strong producers---films like REBECCA, FOREIGN CORRESPONDENT, SUSPICION, SPELLBOUND, NOTORIOUS, THE PARADINE CASE......
It should also be noted that during the first several decades of his career, Hitchcock was also pretty much required to use composers contractually attached to the studio at which he was working---Franz Waxman, Alfred Newman, Roy Webb, Frank Skinner, Dimitri Tiomkin, and Franz Waxman, again, at Paramount. That speaks more to studio control than Hitchcock choice. Most of THESE composers worked well into the 1960s. Why didn't Hitchcock ever use any of them again?
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Posted: |
Oct 16, 2014 - 11:24 AM
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By: |
RcM
(Member)
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But not as easy as it used to be, thanks to:
http://www.amazon.com/Hitchcock%C2%92s-Music-Jack-Sullivan/dp/0300136188
Judging by the critiques, the book is a mixed blessing, but a blessing nonetheless.
I hope the author, Jack Sullivan, does not presume to argue that Hitchcock had much say whatsover in music choices on the early films controlled by strong producers---films like REBECCA, FOREIGN CORRESPONDENT, SUSPICION, SPELLBOUND, NOTORIOUS, THE PARADINE CASE......
It should also be noted that during the first several decades of his career, Hitchcock was also pretty much required to use composers contractually attached to the studio at which he was working---Franz Waxman, Alfred Newman, Roy Webb, Frank Skinner, Dimitri Tiomkin, and Franz Waxman, again, at Paramount. That speaks more to studio control than Hitchcock choice. Most of THESE composers worked well into the 1960s. Why didn't Hitchcock ever use any of them again?
As you note - Hitchcock used Franz Waxman on Rear Window - which would not have been a studio dictate at that time in his career. I imagine he might have used Waxman again, but the next year he met Herrmann.
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Because he'd found Herrmann? By the time Herrmann was ditched in the mid 60s most of those composers were retired or near it. And after hearing what happened to Herrmann maybe Newman, Waxman, and other friends of his weren't in such a hurry to work with the man
Yavar
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Posted: |
Oct 16, 2014 - 5:28 PM
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mfox
(Member)
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There were a few things happening at the time that might explain this: The studio system was collapsing at the time and studios, probably realizing that big orchestral scores were giving away to rock and popular music, seriously reduced or eliminated their music departments.
Also, Hitchcock had only just moved to Universal before The Birds (1963) and he was eager to ingratiate himself with his friend Lew Wasserman, and accepted the studios idea to go for lighter, popular music that could be cross-promoted, rather than the heavily dramatic "old fashioned" music favoured by Herrmann. The failure of Marnie in 1964 surely hurt Hitchcock deeply. He was also frustrated that Torn Curtain was forced into production without a script he was happy with, and that he'd been saddled with Andrews and Newman, two opinionated "stars" who weren't malleable to Hitchcock's ways and were poor fits for the film and each other onscreen. He probably didn't lose to much sleep when he was forced to fire Herrmann when he delivered the exact bleak and heavy score that he'd been told not to.
Because he'd found Herrmann? By the time Herrmann was ditched in the mid 60s most of those composers were retired or near it. And after hearing what happened to Herrmann maybe Newman, Waxman, and other friends of his weren't in such a hurry to work with the man
Yavar
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