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I still have pent up nerd rage from using computers like that. Just seeing one makes me want to whack it to pieces for the sake of every other human being that ever used one.
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That was great. Thanks! This has a 2000 copyright, but the material would have probably been compiled from as early as 1997, with Doug Fake's mention of Lady Diana's funeral. Fascinating to see "real people" outside the cinema ("I y'know like the creepy music, because you kinda like know that something scary's gonna happen, y´know?"), and the way those in the biz (both composers and soundtrack producers) seem to come across more level-headed than some of the fans.
Basil Poledouris was really down-to-earth. Loved his observation that it's in many ways a misconception that film music offers composers less freedom than "serious" commissions. It reminded me of how Elisabeth Lutyens and Don Banks both actively looked for film work, not only to pay the bills, but also to stretch their creative wings. Lots of goodies from Basil Poledouris in this - how soundtracks were originally just a marketing tool before the collector craze started.
Then there's Recordman to make us feel OK about collecting as a hobby. A big part of me can identify with that.
Great input from LK himself - a lot of what he said might rile even the fans! I agree that too many people try to equate film music with classical music, when in fact it has more in common with pop music. Also his rubbishing of the mentality that states "If you've got nothing good to say, don't say anything"! Couldn't help smiling when he said "People still bitch about what isn't out. Look at the stuff that HAS come out!", and this was what, 15 years ago?
And Roy Donga's voice. Loved it. If he had had a heavy Scottish accent, he would have been me, but I wouldn't say "I used to tape all the 'ol 'orror music off t'telly n' stoof". I did actually use to do that, but I wouldn't have expressed my story using his voice.
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Did you understand yourself, Roy?
Just to add to my previous comments, I'd say that the whole thing made me more aware than ever of the passing of time. I don't know if it's just me getting old, but time is snowballing. Sometimes when I count back the years I miss out a whole decade and think that 1997 was six years ago.
Interesting to see Lukas talking about how he was impressed by the (very few) printed film music mags on the go when he was photocopying fanzines two sheets thick in his bedroom, and how, holding up a copy of the "improved, glossy FSM" (I think the first one was January/February 1997), he mentioned that he'd like to see it develop into a "real" magazine.
Another thing that made me think was when some of the interviewees said that the "new era" of film music was well underway with the Zimmer sound. Hasn't that been the dominant sound for about twenty years now? If that's the case (and correct me if I'm wrong), is this the longest period of time in which there have been few real developments in film music, for better or worse? I think I can more or less tell the difference between a score written in 1933 and one written in '53. There's a big difference too between a score from a '53 film and one written in '73. But between 1993 and 2013?
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Posted: |
May 9, 2013 - 4:34 AM
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By: |
Thor
(Member)
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Did you understand yourself, Roy?
Just to add to my previous comments, I'd say that the whole thing made me more aware than ever of the passing of time. I don't know if it's just me getting old, but time is snowballing. Sometimes when I count back the years I miss out a whole decade and think that 1997 was six years ago.
Interesting to see Lukas talking about how he was impressed by the (very few) printed film music mags on the go when he was photocopying fanzines two sheets thick in his bedroom, and how, holding up a copy of the "improved, glossy FSM" (I think the first one was January/February 1997), he mentioned that he'd like to see it develop into a "real" magazine.
Another thing that made me think was when some of the interviewees said that the "new era" of film music was well underway with the Zimmer sound. Hasn't that been the dominant sound for about twenty years now? If that's the case (and correct me if I'm wrong), is this the longest period of time in which there have been few real developments in film music, for better or worse? I think I can more or less tell the difference between a score written in 1933 and one written in '53. There's a big difference too between a score from a '53 film and one written in '73. But between 1993 and 2013?
The Zimmer 'power anthem' style that Doug Fake talked about here more or less dwindled away with the PIRATES OF THE CARIBBEAN films. Since then, it's been all about the ostinato, man! (inspired by John Powell's "Bourne riff", no doubt), including Zimmer himself. So a lot has changed there too.
But yeah....lots has changed in the 16 years since then, and like you I feel like this was 'yesterday'. Can't believe it's currently 20 years since I graduated from upper secondary school. 
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Posted: |
May 9, 2013 - 7:09 AM
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By: |
CédricD
(Member)
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Terrific doc.
It made me smile when they talk about Soundtrack ! as the grand-daddy of film music publications, as it was the 1st one where I contributed when I was in my twenties, from 1992 to its end.
If I can share some memories, before that I was writing in the French mag L'Ecran Fantastique and I remember having been in touch with Doug Fake for the first time, he agreed to send me Intrada promos for my column.. and about 20 years later, I still collaborate with Intrada for another magazine, with his daughter Regina and of course Roger F. Great people. It's awesome how much American labels (counting also LLL) can be supportive of a French magazine.
I remember sending questions for the dedicated column in FSM to Lukas in 1993, who said once "stop sending so many questions!!!" before publishing some of my reviews in a not-so-fluent English. It was so nice, Lukas 
Never met them face to face, but these guys are part of my life.
Well, we're still young, aren't we ?
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Cool video!
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many thanks for putting this up,
a mega blast from the past
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