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 Posted:   Aug 4, 2006 - 4:53 PM   
 By:   larry bender   (Member)

I"ve been waiting for years for this Quincy Jones score. Any one else would like to see it released? Outstanding film.

 
 Posted:   Aug 4, 2006 - 5:32 PM   
 By:   Stefan Miklos   (Member)

I"ve been waiting for years for this Quincy Jones score. Any one else would like to see it released? Outstanding film.


It's one of the greatest 1960's films along with John Frankenheimer's "Seconds".


I watched "In Cold Blood" in a movie theater at the age of 16 and I was shocked by it: the agony of Robert Blake in his cell and the hanging.
The black and white mood created by cinematographer Conrad Hall is incredible. Hall shot that film like the most radical modern Film Noir ever.
The film score is equally excellent: inspired, cutting edge, chaotic with weird percussions use, moody, low-key jazz a la "Killer Joe", sad, abstract, dense.
One of the greatest soundscapes of that era!

 
 
 Posted:   Aug 4, 2006 - 7:52 PM   
 By:   larry bender   (Member)

Conrad Hall won an oscar for cineamatography for Butch Cassity even though his work for IN COLD BLOOD should of won an oscar in 67.

 
 
 Posted:   Aug 7, 2006 - 5:42 AM   
 By:   clipton   (Member)

I"ve been waiting for years for this Quincy Jones score. Any one else would like to see it released? Outstanding film.

Me!

 
 
 Posted:   Aug 7, 2006 - 3:54 PM   
 By:   zippy   (Member)

It's Columbia, right?
It's a classic and deserves the full release treatment.

 
 
 Posted:   Aug 7, 2006 - 4:17 PM   
 By:   shureman   (Member)

I think LK has previously advised there's a problem trying to release COLGEMS original releases. Otherwise I would add Delerue's haunting INTERLUDE to this list (one gorgeous sounding track appeared on the French 30 ANS disc). So the tracks must still be available...somewhere.

 
 
 Posted:   Aug 7, 2006 - 4:31 PM   
 By:   Howard L   (Member)

Right now I'm listening to Bryan Adams' Have You Ever Really Loved a Woman and the guitar has me thinking of that incredible scene with music when Dick brings his Mexican chippee into the flat and Perry flashbacks to a harrowing episode from his father's abusive past. The scoring, direction and b&w cinematography fuse into an astonishing tableaux. And then the music dissolves into a strange, disturbing marchlike beat that I have also heard, if memory and mind's ear serves, in Billy Jack and the end credits of WarGames.

Such a contrast to the incredibly tense suspense when they enter the Clutter home, unscored save for the wind. Haunting.

 
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