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 Posted:   Aug 10, 2018 - 5:58 AM   
 By:   jackfu   (Member)


If nothing else, this thread has made me decide to pick this up on bluray and re-watch it for the first time in quite a few years.


I'm thinking the same thing! Somehow I missed it, but a "Special Edition" was issued in 2016, and it's available for <$20. I haven't found much in the way of reviews and what makes it a special edition, but I'll likely buy it anyway.

 
 Posted:   Aug 10, 2018 - 8:38 AM   
 By:   Mr. Marshall   (Member)

The orchestrating of Satie's "Gymnopedies" also transformed the piece.
I think it was by Ravel.


Debussy, I'm sure.


Right..they both were great orchestrators!

 
 Posted:   Aug 10, 2018 - 2:30 PM   
 By:   Mr. Marshall   (Member)

'>>> it was Rollerball and Rollerball alone that got me into Shostakovich, and for that the film will forever live in blessed memory!

I started a thread awhile back "Classical music you discovered in films....." something like that!!!
smile

http://filmscoremonthly.com/board/posts.cfm?threadID=102593&forumID=1&archive=0
brm

 
 Posted:   Aug 10, 2018 - 2:37 PM   
 By:   Adm Naismith   (Member)

Outside of high-minded, indie, period dramas, do classical needle-drops get used a lot any more? I mean, without a really specific reason?

 
 Posted:   Aug 19, 2018 - 9:15 PM   
 By:   Mr. Marshall   (Member)

Just watched ISLE OF DOGS with used LT. Kije

 
 Posted:   Aug 19, 2018 - 9:19 PM   
 By:   Mr. Marshall   (Member)

MCD I LOVE YOU!

I have raved about that piece and arrangement since I first saw the film.
It is used brilliantly by the director accompanying a montage of events in the life of the main character.

I looked for the cd for ages before finally nabbing a copy!!!!!
brm

p.s I am sure you notice that Convertino's 'original" score is imitative of the Part pieces and style.

.........
Yes, I noticed that Convertino is very much trying to channel Part throughout. In all of his contributions, whether he sounds like he’s already been through the telepod but still looks mostly like Convertino in A New No-Life. Or when he’s gone full Brundlefly on The Hanging Man, the best piece Arvo Part never wrote for a film. (Actually the end from about 2:40 sounds more Goreckian).



One piece he did go over the plagiarism line; "The Jews Are Eating us.." is a blatant copy of "Fratres".
Brm

 
 
 Posted:   Aug 19, 2018 - 11:34 PM   
 By:   Disco Stu   (Member)

"Also sprach Zarathustra".

Oi Zarathustra; shut it!

D.S.

 
 
 Posted:   Aug 19, 2018 - 11:45 PM   
 By:   Disco Stu   (Member)

I wonder why he used other classical pieces for the bulk of the score.
Sometimes classical is a good fit, but I really prefer the composer use their own work.
Maybe once you've committed to classical for your main title, you have to go classical the rest of the way.


Well, it worked for Georges Delerue, especially since it won him his Academy Award. The classical pieces worked well in the film and added class and gravitas but with the amount of music not composed by Delerue, all above the waist of the statue should have gone to Vivaldi.

D.S.

 
 Posted:   Aug 20, 2018 - 3:44 PM   
 By:   McD   (Member)

MCD I LOVE YOU!

I have raved about that piece and arrangement since I first saw the film.
It is used brilliantly by the director accompanying a montage of events in the life of the main character.

I looked for the cd for ages before finally nabbing a copy!!!!!
brm

p.s I am sure you notice that Convertino's 'original" score is imitative of the Part pieces and style.

.........
Yes, I noticed that Convertino is very much trying to channel Part throughout. In all of his contributions, whether he sounds like he’s already been through the telepod but still looks mostly like Convertino in A New No-Life. Or when he’s gone full Brundlefly on The Hanging Man, the best piece Arvo Part never wrote for a film. (Actually the end from about 2:40 sounds more Goreckian).



One piece he did go over the plagiarism line; "The Jews Are Eating us.." is a blatant copy of "Fratres".
Brm


Um... he uses the same instrument, in the same register. It’s still no more than ‘in the style of’. Of course you can take a hardline on it as a plagiaristic infraction, but it’s certainly less so than John Williams’s Theme from E.T. for example. IMHO.

 
 Posted:   Aug 20, 2018 - 4:37 PM   
 By:   Mr. Marshall   (Member)

GODZILLA trailer reuses 'Dabney & Coleman '
(OCEANS 11)

 
 
 Posted:   Aug 27, 2018 - 5:24 AM   
 By:   pp312   (Member)

Mozart's 'Eine Kleine Nachtmusik' has been mentioned in passing but I'll mention it again because it drives me crazy and must be, surely, the most overused classical piece in history. Every time a highbrow setting is suggested there's
'Eine Kleine Nachtmusik'--it's like shorthand for upper-class, rich and swanky. Please, filmmakers, please stop.

 
 Posted:   Aug 27, 2018 - 5:43 AM   
 By:   jackfu   (Member)

Mozart's 'Eine Kleine Nachtmusik' has been mentioned in passing but I'll mention it again because it drives me crazy and must be, surely, the most overused classical piece in history. Every time a highbrow setting is suggested there's
'Eine Kleine Nachtmusik'--it's like shorthand for upper-class, rich and swanky. Please, filmmakers, please stop.


Excellent point, thanks!
Maybe someday someone will include in a film a scene with "Redneck Trailer Trash" sitting around guzzling beer, smoking, belching, passing gas, all while "EKN" plays over.

wink

 
 Posted:   Aug 27, 2018 - 5:47 AM   
 By:   jackfu   (Member)

I only ever saw as reruns and have as vague memories the Ernie Kovacs show, but this ("1812") was always an enjoyable one for me: