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Posted: |
Jan 18, 2015 - 7:49 AM
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By: |
PatrickB
(Member)
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Great news, indeed, to get the confirmation he was definitely hired in Automn 2014 for a new film, not an Italian one, : "En mai, fais ce qu'il te plait", by French director Christian Carion. He made nice films as "Joyeux Noel", "Farewell".
He worked often with Philippe Rombi but chose the Italian Maestro this time.
It tells the story of people during the shameful defeat of 1940 in France, the exodus of million people, and a German (not a Nazi) who looks for his son he entrusted to a woman.
Morricone just recorded the score at the Forum Studio, Rome, last week.
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Fantastic news!
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Do you know when will be released the film?
And besides, do you know if Mr. Morricone is recording the new film of Giuseppe Tornatore "The correspondence"?
Thanks
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Thanks for the information!
Do you know if Mr. Morricone will score the music of the new film by Warren Beatty (about Howard Hughes)?
Thanks
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Just meditating on this project after a period where Ennio might not have come back for anything. Falls have marked the end of many a career, particularly those of his advanced age. But thinking back about where Morricone has taken me on his musical journey since the 60s boggles my mind. Right up to the effectiveness of THE BEST OFFER as dramatic support to the resonance of the song he wrote for DJANGO UNCHAINED "Ancora Qui" (which I practically dismissed when it came out but over the months has become the most haunting aspect of that film). The totality of Morricone's musical explorations makes many of the other current composer's voyages seem like a trip around a bathtub on a bar of soap.
nice observations as always henry. It is remarkable that at his age and after such a debilitating back injury we are looking at new concert dates and still more new scores such as this.
Somebody once pointed out - i think it was Stephen Woolston - that unlike a lot of older filmscore titans, Morricone hasnt had his judgement and instincts dulled or weakened, in fact still has his finger on the pulse more than most, still sharp as a razor, still has his instincts and mind in tune with the projects he undertakes.
So many in their later years go like people of that age go in other walks of life - a bit senile and suffer illness and strokes and such like and no longer push themselves - they lose their vitality and if they are still working at all they churn out the same stuff or projects slow to a dribble.
Not so morricone. We are very lucky.
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Posted: |
Jan 22, 2015 - 10:20 PM
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By: |
Morricone
(Member)
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nice observations as always henry. It is remarkable that at his age and after such a debilitating back injury we are looking at new concert dates and still more new scores such as this.
Somebody once pointed out - i think it was Stephen Woolston - that unlike a lot of older filmscore titans, Morricone hasnt had his judgement and instincts dulled or weakened, in fact still has his finger on the pulse more than most, still sharp as a razor, still has his instincts and mind in tune with the projects he undertakes.
So many in their later years go like people of that age go in other walks of life - a bit senile and suffer illness and strokes and such like and no longer push themselves - they lose their vitality and if they are still working at all they churn out the same stuff or projects slow to a dribble.
Not so morricone. We are very lucky.
Indeed but one aspect has a lot to do with Morricone working in Europe. There is now in place in America a system of micromanaging film scores by committee that kills most creativity in film scoring. The number one reason John Williams doesn't do more scores is that most proposals include this caveat and he doesn't even consider them offers. When it first reared it's ugly head to Morricone on WHAT DREAMS MAY COME (his only rejected score) he turned his back on American assignments except for those (Beatty, Tarantino) who have full control of that aspect. In Europe the composer, for the most part, still gets more respect and is far less likely to have a score kicked off. He, like all composers, gets most inspired when the work challenges him and that certainly is something that becomes rarer and rarer.
But putting all that aside I have found he and his 500 scores have taken me to more places than any composer has. There is a whole batch like SHIP HUNTERS, OCEANO, THE THING, L'UMANOIDE, GALILEO, BLUEBEARD, etc. that stick out as sounding like no other scores by anybody. And even the traditional sounding scores play with the medium in fascinating ways like THE RED TENT, METELLO, 1900, I PROMESSI SPOSI, ONCE UPON A TIME IN AMERICA, LA CALIFFA, etc. After more than 40 years of collecting his work his career still seems to be a bottomless pit of discovery.
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WDMC is not his only rejected score.
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Posted: |
Feb 8, 2015 - 10:29 AM
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By: |
Morricone
(Member)
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WDMC is not his only rejected score.
And I say it is. I have seen no evidence that Morricone wrote an entire score for any of these on your site that I have listed below. Some he did demo cues for, some he simply was the first composer chosen for the film and then it was given to someone else as an example:
Here is an Soundtrack Collector's Newsletter/ issue 13 interview excerpt about LE PILLOLE D'ERCOLE:
Ennio Morricone: Salce suggested me for LE PILLOLE D'ERCOLE, a movie produced by Dino De Laurentiis. The latter didn't want me for this assignment because I wasn't known at the time, and the job went to another composer (Trovajoli).
...and another one has an example of the replacement composer hearing temp cues on the score by Morricone (from other films) thought Morricone had wrote the score.
If you have anything concrete I am open to hear it.
LE PILLOLE DI ERCOLE (1960)
Replacement composer: Armando Trovajoli
Morricone has actually discussed the score once or twice in old interviews, though not at length.
Under investigation (which can take years):
"Highlander II: The Quickening"
Soundtrack! magazine reported this as an upcoming assignment for him, at the time)
"The Scarlet Letter"
I still don't know the precise details. This was before Bernstein.
"Vendetta"
Replacement composer Shaw said his first job scoring in sweden, was replacing Morricone.
"La Celestina"
Before Doyle (who was also not the final composer).
"A Civil Action"
For which he recorded an unknown amount of score. Unfortunately the one person who could have shed some light on, that I know of, passed away.
"Jesus: The Epic Mini series"
Replacement composer: Patrick Williams.
"A Midsummer Night's Dream"
Before Kilar (under "DEMOS" on my site).
"Bandits"
Which then went to Zimmer (who was too busy; they even offered to push the film back for him!), then to Moby (who was also too busy), and then finally to Christopher Young.
My site:
http://rejectedfilmscores.150m.com/list.html
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First off, you don't count titles from Supposedly, secondly, if you read the site, you'll note LE PILLOLE DI ERCOLE is fully recorded. That's not a rumor. So, that's two titles, and unless you know him personally, neither of us can not say there haven't been more.
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That quote doesn't say he didn't. If I can do the research, so can you. Alternatively, you can ask The Cat, who wrote the book Torn Music.
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Posted: |
Feb 13, 2015 - 4:31 AM
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By: |
PatrickB
(Member)
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If you have anything concrete I am open to hear it.
LE PILLOLE DI ERCOLE (1960)
Replacement composer: Armando Trovajoli
Morricone has actually discussed the score once or twice in old interviews, though not at length.
Under investigation (which can take years):
"Highlander II: The Quickening"
Soundtrack! magazine reported this as an upcoming assignment for him, at the time)
"The Scarlet Letter"
I still don't know the precise details. This was before Bernstein.
"Vendetta"
Replacement composer Shaw said his first job scoring in sweden, was replacing Morricone.
"La Celestina"
Before Doyle (who was also not the final composer).
"A Civil Action"
For which he recorded an unknown amount of score. Unfortunately the one person who could have shed some light on, that I know of, passed away.
"Jesus: The Epic Mini series"
Replacement composer: Patrick Williams.
"A Midsummer Night's Dream"
Before Kilar (under "DEMOS" on my site).
"Bandits"
Which then went to Zimmer (who was too busy; they even offered to push the film back for him!), then to Moby (who was also too busy), and then finally to Christopher Young.
My site:
http://rejectedfilmscores.150m.com/list.html
It is rather off topic here, but the theme of score rejection is fascinating (and often mysterious !).
Of course What dreams may come isn’t an unique case for Morricone, not speaking about The Bible simply because of rights, and exclusive contract between the composer and RCA which forbade it.
I know other examples but didn’t know some titles mentioned (La celestina, Vendetta, …) that need evidences and confirmation.
You will have, in our future issue #7 of fanzine Maestro, some evidences and certainties about some titles, including some never mentioned, inside a big article about … archives and registration (I don’t say more )
To see the content of the previous issue of mid December : http://www.chimai.com/index.cfm?screen=fanzine&id=6 We always search for serious and documented information, useful to keep for longtime…
Henry, thank you, I didn’t know you were webmaster of "rejectedfilmscores.150m.com" or, is there a mistake in the post ?
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