 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
I kept reading about how desirable "The Serpent and the Rainbow" was, but I have to say it's the scarcity that probably makes most folks want it. I saw it on cable TV...and..."meh".
Agreed-
The film starts promisingly enough with it's sense of scepticism, but quickly devolves to a fairly out-of-nowhere ending.
The Exorcist, for instance (or even The Omen), has a slow and steady descent into the supernatural this movie misses.
For that, I don't remember much about the music.
Still, how is the Varese LP longer than the Varese CD?
|
|
|
|
|
|
Throw on the three rejected scores and maybe.
|
|
|
|
|
|
|
|
|
|
TSatR has what I deem the second most ridiculous ordeal. Heres the text from my Rejected Film Scores website,m since the host provider has been down for over a month now:
THE SERPENT AND THE RAINBOW -- Babatunde Olatunji, R.I.P.. You may be scratching your head as much as I, but the film's makers wanted something different and they hired this African percussionist who had never done a score before, to score the film, but it resulted in the score being rejected, but that's not where the story ends... [Jeff Koz & Jesse Frederick.]
THE SERPENT AND THE RAINBOW -- Jeff Koz & Jesse Frederick. When we last left off, a score by an African percussionist was rejected, but the film's makers still liked it's general feel, so they hired the composer duo Jeff Koz & Jesse Frederick to "build" upon Olatunji's score; Koz & Frederick had, at the time, gained some attention for a couple films they scored, but this was to be their sour note as their score was rejected -- even though it incorporated Olatunji's score. But again, the story still doesn't end here... [Charles Bernstein.]
THE SERPENT AND THE RAINBOW -- Charles Bernstein. Cue Bernstein who in turn "builds" upon the score Koz & Frederick had made that built upon Olatunji's score. Finally, they rejected a third score and went with Fiedel. Mr. Fiedel did not "build" upon the multi composer conglomeration of rejected scores that came before him, but rather provided his own. This is still the strangest thing I have ever come across. Babtunde Olatunji, by the way, still receives a credit for special percussion tracks; a couple scenes in the film for essentially dancing source, should be Olatunji's. [Brad Fiedel.]
|
|
|
|
|
|
|
Give me Charles Bernstein's Deadly Friend any day! 
|
|
|
|
|
|
Great ideas.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
