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Jerome Moross showed us with Valley of Gwangi that you could create a good score for Harryhausen without using Herrmann's unconventional orchestras. Barry was a great dramatist and would have served the film well, though perhaps not to the liking of a lot of fantasy fans. Remember, it was Harryhausen who first contacted Barry.
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I can't imagine what a Barry score would have sounded like!
Probably like SOMEWHERE IN AFRICA FRANCES DANCES WITH CHAPLIN
or...SOMEWHERE IN AFRICA CHAPLIN DANCES WITH FRANCES
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A curiosity certainly worth investigating, but I'm certainly glad Rosenthal got the job. Early 80's soporific Barry scoring a Harryhausen fantasy would have been absolutely the wrong-headed take on the material.
Well Barry did pretty well with King Kong. I'm sure we'll never know, or hear the music. Those four Herrmann scores are amazing, I'm not really interested in any of the Harryhausen films after Jason & The Argonauts.
But KONG had the dramatic storyline that always brings out the best on JB.
TITANS was lightweight stuff.
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Well, Barry once said--and I'm paraphrasing--that people sometimes forget that film composers do this for a living and you don't always get offered the best films.
Also, I think Barry always decided on a film if he could find something in the film to latch onto. He took one film because it starred Bruce Lee; he might have scored the Legend of the Lone Ranger because it was a film with another iconic character. I think he achieved remarkable results with The Black Hole by latching onto that visual/idea of that massive, swirling death trap. Surely, the psychology of the characters wasn't going to do it for him. The motif for the black hole was inspired. On the other hand, when the producers wanted a Star Wars thing from Barry the only way he could get to it was by treating the request as an exercise; hence, the retrograde version of Star Wars.
Clash of the Titans may have been light, silly fare, but I'm sure Barry would have found something in to go after.
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Also, I think Barry always decided on a film if he could find something in the film to latch onto. He took one film because it starred Bruce Lee.
You mean GAME OF DEATH?
Barry hated that movie.
He told Martyn Crosthwaite he did that movie because he thought it would be fun to do a Bruce Lee movie, but later he confessed he never really wanted to do it and only took it because it was a huge payday for him.
Cheers
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A curiosity certainly worth investigating, but I'm certainly glad Rosenthal got the job. Early 80's soporific Barry scoring a Harryhausen fantasy would have been absolutely the wrong-headed take on the material.
This might come as a shock to you, but when composers take on a film, they write a score for that film. What makes you think he would have deliberately put the wrong kind of music on the film?
No, don't answer. You've obviously made up your mind that you know more about how to score a film than John Barry.
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This might come as a shock to you, but when composers take on a film, they write a score for that film. What makes you think he would have deliberately put the wrong kind of music on the film?
No, don't answer. You've obviously made up your mind that you know more about how to score a film than John Barry.
Touchy, touchy.
Still …
The risk of "The Kraken" accompanied by something akin to the ponderously buzz-killing "Dark Overlord" from Howard the Duck or having some snooze inducing precursor to "Flying Over Africa" weighing down "Pegasus" … well … shudder the thought.
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A curiosity certainly worth investigating, but I'm certainly glad Rosenthal got the job. Early 80's soporific Barry scoring a Harryhausen fantasy would have been absolutely the wrong-headed take on the material.
This might come as a shock to you, but when composers take on a film, they write a score for that film. What makes you think he would have deliberately put the wrong kind of music on the film?
No, don't answer. You've obviously made up your mind that you know more about how to score a film than John Barry.
Thank you. Too many know-it-alls here who've never achieved any creative greatness.
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I 'd love to hear the demos. I'm sure Barry would have delivered an entirely appropriate score that supported the movie well. Just as he did for The Knack, The Lion In Winter, Walkabout, King Kong, Somewhere In Time and many others.
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Too many know-it-alls here who've never achieved any creative greatness.
Testy. Testy.
Still …
Taking into consideration such genre efforts as The White Buffalo, Starcrash, The Legend of the Lone Ranger, High Road to China and Howard the Duck … well … given the competition spanning that decade, they don't exactly stand out as humdingers.
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People "arguing" about John Barry's abilities, inspiration or inventivity to deliver an original music score....
We are talking about one of the master of fim scoring, he had up and downs but he certainly would have hit the ball once again.
Maybe.
But he had several scores rejected because he couldn't change his late career style.
Np: THE LAST VALLEY
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People "arguing" about John Barry's abilities, inspiration or inventivity to deliver an original music score....
We are talking about one of the master of fim scoring, he had up and downs but he certainly would have hit the ball once again.
Maybe.
But he had several scores rejected because he couldn't change his late career style.
Np: THE LAST VALLEY
His many rejections had more to do with his "no compromitions" approach ; that is demos provided, revisions on the final score, and so on.
Why r u winking?
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