 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
I actually got to see this at the Academy theater less than a year before I left L.A. I'm pretty sure it was 35 mm and it looked great. It was really great to see the film in theater and hear Moross's powerful score.
Yavar
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
There have been claims made in biographies that Wyler was slightly deaf in one ear, a tad tone-deaf too, and that he hated bass layers.
I'm not sure if any of that is true, though it might imply a problem with certain frequencies, not uncommon. But actually none of this need preclude him from being a great connoisseur.
I suspect his best skill re music was in picking 'horses for courses' and he felt each project needed its own approach. He was a caster of excellence.
What is interesting is that these two scores in particular stand out in history as the greatest of their genres, and were composed virtually simultaneously. That says something about that era musically, when film composers were sliding out of the romantic to the post-impressionist, and held the best of traditional and modernity both.
|
|
|
|
|
|
|
 |
Posted: |
Oct 29, 2016 - 12:37 PM
|
|
|
|
By: |
Morricone
(Member)
|
There have been claims made in biographies that Wyler was slightly deaf in one ear, a tad tone-deaf too, and that he hated bass layers.
I'm not sure if any of that is true, though it might imply a problem with certain frequencies, not uncommon. But actually none of this need preclude him from being a great connoisseur.
I suspect his best skill re music was in picking 'horses for courses' and he felt each project needed its own approach. He was a caster of excellence.
What is interesting is that these two scores in particular stand out in history as the greatest of their genres, and were composed virtually simultaneously. That says something about that era musically, when film composers were sliding out of the romantic to the post-impressionist, and held the best of traditional and modernity both.
Indeed! I believe that hearing loss happened when he was doing the WWII doc "The Memphis Belle" where he rode inside and filmed while it was being torn by heavy fire. Although, without a doubt, his dramatic sense never abandoned him. His casting choices in every category (he worked with Gregg Toland more than Welles or any other director did) were great!
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
