I had to take awhile to think about my "leaving" this forum and abruptly decided against it. I'm not going to let anyone run me off from anywhere. Don't like it? Tough.
On topic: I first read this bewitchingly awesome Bradbury book when I was a young'un and to this day it's been an all time favorite. I actually though Bradbury wrote a more readable dystopia than Orwell and Burgess!
The movie was somewhat of a disappointment (though I enjoyed the Veldt at least partly for sentimental reasons).
Before I comment on the score, I'd LOVE to hear others' feeling regarding this awesome bit of fiction and its manifestations...amazing to me this hasn't been remade.
Glad ya stuck around WA....after some time you'll just snicker at the idiocy.
Ill. Man, classic JG, terrific FSM album that has classic Jerry architecture, straddles serialism & lyricism, flirts with later electronica work. Get it!
The film is a bit of a joke, hoping Jeff Bond jumps in here - some good ideas weakly executed, and dull all around.
Side note, my wife still grumbles I dumped the bootleg I had, which used the film tracks for the main title, and which I often played Sunday morning for quite a few months. She insists the nature sound efx are a nice listen. Had to correct her, haha! Be glad you missed the single track (!!) boot from 94 that was the epitome of why those are bad lol.
Glad ya stuck around WA....after some time you'll just snicker at the idiocy.
Ill. Man, classic JG, terrific FSM album that has classic Jerry architecture, straddles serialism & lyricism, flirts with later electronica work. Get it!
The film is a bit of a joke, hoping Jeff Bond jumps in here - some good ideas weakly executed, and dull all around.
Side note, my wife still grumbles I dumped the bootleg I had, which used the film tracks for the main title, and which I often played Sunday morning for quite a few months. She insists the nature sound efx are a nice listen. Had to correct her, haha! Be glad you missed the single track (!!) boot from 94 that was the epitome of why those are bad lol.
-Sean
Great to hear from you Sean! Yes it seems to me the FSM release is a no-brainer, especially for folks into Maestro Jerry.
By the way something, have you heard 'The Color Purple' now THATSA score!! So sorry, I couldn't resist, someone would've done it sooner or later!
To keep it a little related, a semi-cousin to "that" composers work of who we will not speak, found in the JG catalog is THE TRAVELLING EXECUTIONER, written around the time of ILLUSTRATED. It's a nifty melange of 60s, 70s funk bluegrass gospel....it's all over the place but one I'm very fond of. Who knows about the film, I never tracked it down. But for versatility, Trav. Exec. definitely a cool find. I probably posted my praddling on, on the FSM CD page of that release, have to check.
By the way something, have you heard 'The Color Purple' now THATSA score!! So sorry, I couldn't resist, someone would've done it sooner or later!
To keep it a little related, a semi-cousin to "that" composers work of who we will not speak, found in the JG catalog is THE TRAVELLING EXECUTIONER, written around the time of ILLUSTRATED. It's a nifty melange of 60s, 70s funk bluegrass gospel....it's all over the place but one I'm very fond of. Who knows about the film, I never tracked it down. But for versatility, Trav. Exec. definitely a cool find. I probably posted my praddling on, on the FSM CD page of that release, have to check.
-Sean
I really like the Color Purple movie, and I'll honestly give the score a spin.
And thanks for the cool JG info, I LOVE that stuff!
Even though I do consider Quincy Jones a legit film composer (FSM released some of his stuff, BTW!) I must point out that if you end up liking The Color Purple, it would make more sense to further explore the fantastic output of the great French composer Georges Delerue, rather than trying to find other scores like Color Purple in Jones's output.
Even though I do consider Quincy Jones a legit film composer (FSM released some of his stuff, BTW!) I must point out that if you end up liking The Color Purple, it would make more sense to further explore the fantastic output of the great French composer Georges Delerue, rather than trying to find other scores like Color Purple in Jones's output.
Yavar
To a degree, I honestly wanted to play devil's advocate with the QJ thing...though I do see his music as being not the equal of his accomplishments as a producer. And in my defense, I made darn sure to verify my thoughts that he is a man of great accomplishments. It's just a thread that never needed to be opened.
I've made the Quincy rounds today, and had forgot about In Cold Blood before I wrote that post...another mistake. That's just great, period, all perspectives imo.
Will now remember Delerue, first I've heard of him.
Whaaaa? One of *the* most famous film composers of all time, WA. In fact he's probably tied with Maurice Jarre as the most famous French film composer ever. You're going to be getting reactions like you did when you said, "Help me get into James Horner"...
Here's the sublime theme Quincy helped himself to for Color Purple:
Obviously he worked in France a great deal and had many famous director relationships, including Francois Truffaut (I think I read he and Herrmann were Truffaut's favorite composer collaborators, though there were many other talented ones.) The French Revolution might be his magnum opus.
Some of his more famous American scores are Platoon, The Day of the Dolphin, A Little Romance (lovely score but undeservedly won the Oscar that year, beating Star Trek: The Motion Picture!), Julia, Agnes of God, Anne of the Thousand Days, A Man for All Seasons, True Confessions, An Almost Perfect Affair, A Summer Story, Black Robe, Joe vs. the Volcano, and The Black Stallion Returns.
Listen to the sound clips. It is seriously a must.
He also wrong an infamous score to Something Wicked This Way Comes which ended up being rejected even though some creative forces behind the film wanted to keep it. It is brilliant, one of his absolute best. James Horner wrote a very good replacement score. If you're curious to compare them Intrada released both scores, though they are both now sadly out of print and probably pricey (though I haven't checked). However, Intrada did leave up sound clips for you to sample them if you're curious: http://store.intrada.com/s.nl/it.A/id.9969/.f http://store.intrada.com/s.nl/it.A/id.6145/.f
What an incredible clip, no wonder it got purloined.
I know pretty much all of the movies above...it amazes me I didn't know the composer for Day of the Dolphin, as that's one of the first movies I ever saw (still kind of bums me out that Bernard turned it down).
I don't think I ever read all of the stories in the collection "The Illustrated Man". It's possible I may ever even had the book. The ones I remember most from my youth are his novels, especially "The Martian Chronicles" and "Something Wicked This Way Comes". They struck a nerve with me in my youth, and I'm sure I'm not alone. Bradbury was always tapping into childhood fears and awe. And he kept a certain innocence for magic right up to the end of his life, something I think he shared with his dear friend Ray Harryhausen. Neither lost that "sense of wonder".
THE ILLUSTRATED MAN is a film which I like very much indeed. It must have been difficult to work four stories into some kind of coherent whole (perhaps it failed at that), but it's got a lot going for it. It's often quite hauntingly beautiful to look at, and there are many moments which are striking. I like to think of it as a flawed masterpiece in a way.
The Goldsmith score is sheer perfection. It's great in the film, so it's great film music, but it's also marvellous music in its own audacious right. It's got that sublime balance of innocence and wonder, fear, trepidation, sorrow, loneliness and outright terror and madness. The FSM release is a joy.
Bradbury himself praised the score (as he did Herrmann's FAHRENHEIT 451), and I think I'm correct in saying that on the strength of Goldsmith's scoring of THE ILLUSTRATED MAN, the author hooked up Goldsmith with the California Chamber Symphony to score the cantata "Christus Apollo" based on Bradbury's text.
In short, Ray Bradbury - great author, great man (despite my not having read "The Illustrated Man"). THE ILLUSTRATED MAN - almost brilliant film, totally brilliant Goldsmith score.
I had to take awhile to think about my "leaving" this forum and abruptly decided against it. I'm not going to let anyone run me off from anywhere. Don't like it? Tough.
I like it! That's the spirit. And glad you're back.
I don't think I ever read all of the stories in the collection "The Illustrated Man". It's possible I may ever even had the book. The ones I remember most from my youth are his novels, especially "The Martian Chronicles" and "Something Wicked This Way Comes". They struck a nerve with me in my youth, and I'm sure I'm not alone. Bradbury was always tapping into childhood fears and awe. And he kept a certain innocence for magic right up to the end of his life, something I think he shared with his dear friend Ray Harryhausen. Neither lost that "sense of wonder".
THE ILLUSTRATED MAN is a film which I like very much indeed. It must have been difficult to work four stories into some kind of coherent whole (perhaps it failed at that), but it's got a lot going for it. It's often quite hauntingly beautiful to look at, and there are many moments which are striking. I like to think of it as a flawed masterpiece in a way.
The Goldsmith score is sheer perfection. It's great in the film, so it's great film music, but it's also marvellous music in its own audacious right. It's got that sublime balance of innocence and wonder, fear, trepidation, sorrow, loneliness and outright terror and madness. The FSM release is a joy.
Bradbury himself praised the score (as he did Herrmann's FAHRENHEIT 451), and I think I'm correct in saying that on the strength of Goldsmith's scoring of THE ILLUSTRATED MAN, the author hooked up Goldsmith with the California Chamber Symphony to score the cantata "Christus Apollo" based on Bradbury's text.
In short, Ray Bradbury - great author, great man (despite my not having read "The Illustrated Man"). THE ILLUSTRATED MAN - almost brilliant film, totally brilliant Goldsmith score.
Great post Graham! Please allow me to strongly recommend the book...it is a real keeper, and I can think of at least one story that will blow your mind, movie or not. The Veldt is a total classic short story...Bradbury really went for and achieved the effect he wanted to with it. And the other stories are quite fine as well imo.
I had to take awhile to think about my "leaving" this forum and abruptly decided against it. I'm not going to let anyone run me off from anywhere. Don't like it? Tough.
I like it! That's the spirit. And glad you're back.
It's impossible for this not to be especially awesome to me, considering the man in orbital's avatar. Many thanks....you folks make me feel like I did the right thing!
I think the movie is worth it for Claire Bloom alone, but yeah, the score is one I listen to periodically. The balance is very taut - you only have the vocal at the start, where it is at it's densest, and as the full stop right at the end of the score. Yet, in that main title the voice weaves in and out of the small orchestral ensemble with great deftness. You don't really notice to begin with but it was cleverly done - no menace attached - she's drawing you in, all sweet and innocent.
With all due respect, WA, no one ran you off. Assuming you are talking about the exchanges in the various Quincy threads, some of the other members were doing a bit of teasing and your reaction was to say you were leaving the thread. I don't think anyone assumed you meant the board. Seeing as you made a comment on it in your original post on this thread, it was only fair that there also be a response allowed--so please don't interpret this post as going off-topic.
Having said that, I would not want anyone to leave for any reason (other than simply not wanting to hang around anymore), and I hope you will still consider contributing some samples of your music to the thread I created on the other side.
With all due respect, WA, no one ran you off. Assuming you are talking about the exchanges in the various Quincy threads, some of the other members were doing a bit of teasing and your reaction was to say you were leaving the thread. I don't think anyone assumed you meant the board. Seeing as you made a comment on it in your original post on this thread, it was only fair that there also be a response allowed--so please don't interpret this post as going off-topic.
Having said that, I would not want anyone to leave for any reason (other than simply not wanting to hang around anymore), and I hope you will still consider contributing some samples of your music to the thread I created on the other side.
Sigh...I know, Octoberman. First I made the mistake of playing that DUMB and USELESS game with the topic, then I left for nothing. I was mostly disappointed and mad at myself.
However, though the post has been taken down since, I was accused of being a racist...nothing I wrote was remotely racist (btw I'm a quarter black).
Still, there was no excuse for my starting crap and then taking off when things heated up. And I won't be posting garbage like that again.
[BUT, there are some members here I wouldn't mind seeing "run off" ] b
The one who told me to have sex with my own butt and called me a racist (before somehow getting it completely deleted in record time) can go. I didn't go that far in my stupidity.
Aw hell, what am I doing. I have to woman up and own what I did, no excuses. I was being stupid and I'm honestly sorry.
