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What happened to Intrada’s connection with Disney?
Haven’t seen any new Disney releases in a long time.
(Same goes for TCM. No more Disney showings in quite a while.)
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I ended up there when I was checking out the EIGER SANCTION upload sample, and the first page was mostly complaints about Intrada's art and art department, which was quite toxic. Followed by the usual posts by Thor who will stick with his LP and people trying to convince him otherwise (why bother). But since then, it appears more fans have chimed in to express some positive enthusiasm.
It's true that they do seem to care more about art over there and since there is less presence from people representing the labels, they don't really tone down their negative opinions on such things. And I wish there was more interest there in this new Kickstarter too, but then it's not a Williams release!
Yavar
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All I can say about this project is that, regarding Goldsmith unreleased scores for which original tapes are missing, it is perfectly targeted.
Especially for THE MAN, as TV movie scores get so little CD treatment. So, a rerecording job commitment for a TV movie score is ultra-rare....and, yes, it would probably had never happen if not Goldsmith related.
Well, I think one reason The Man was chosen (over say the even more substantial scores for Crawlspace and Pursuit) is that of all Goldsmith's TV movies, this one actually transitioned into theaters as well (so did The Red Pony actually, but we already got that from Varese because the original tapes survived). Another film in this boat (that is: originally a TV movie, but got released theatrically in certain territories) is the incredible Jane Eyre by John Williams -- my #1 favorite score of his. That's one which I desperately hope gets a complete re-recording some day, because the existing half hour album leaves off a whole bunch of the score, and while half of the album was taken from film cues, the other half (similar to ET) is stuff arranged and recorded specifically for the album.
Another TV movie score that I hope gets newly recorded due to the stature of the composer is Bernard Herrmann's Companions in Nightmare. The film is virtually lost I think, but the score is out there and could be reconstructed...would be the perfect unreleased Herrmann project for Bill Stromberg (the greatest Herrmann conductor of all time IMO), since Endless Night and The Bride Wore Black were already tackled by Quartet.
Yavar
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Less than $9000 left for this thing to happen.
Yavar
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Williams' Jane Eyre is really gorgeous, would love to hear more of that. And as a Herrmann obsessive/completist, I'd absolutely love to hear/own Companions in Nightmare.
(One of my most pleasant surprises from one of the few Williams concerts I've attended was hearing him conduct "Restoration" from Jane Eyre)
Hoping Intrada's campaign is a success (obviously). I'd assume a Goldsmith would automatically get more attention than a Tiomkin, but Dial M is a famous Hitchcock film while the two Goldsmiths are mostly known only because they're Goldsmith.
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What are arguing about here? Maybe I’m just being clueless, because it seems to be along the lines that because Goldsmith is a favorite of the folks at Intrada, and popular among their customers, and since that popularity might actually successfully fund this Kickstarter, Intrada should have chosen something else instead.
What am I missing here?
That's pretty much it in a nutshell. :-)
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BTW Has anyone mentioned both these scores will probably have a bigger orchestra for these two films than the originals. BLACK PATCH was a pretty low budget independent film picked up by WB and THE MAN was made as a TV movie when those budgets were limited.
That does seem possible, if not likely, doesn't it. Leigh beefed up the Thriller scores where appropriate, and their success probably wouldn't discourage any method used in their undertaking.
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Hey moolik I think you might be right -- next can you wish for Roy Webb's Sinbad the Sailor and Jane Eyre complete by Williams? 
Let's hope they can find a spare 30 seconds at the end of the RSNO sessions to record a spanking new version of the End Credits coda from TWILIGHT'S LAST GLEAMING.
A great idea if the original tapes are indeed lost, Kev! Kinda similar to a suggestion I made to Doug when I first found out about this: rerecord the unused orchestral end credits to Rambo: First Blood Part II. But what Doug pointed out to me when I began suggesting potential add-ons (some other great ones would be 1489 Words, "Tongues of Angels" from Studio One, or "The Tunnel" from Playhouse 90 -- Jerry's only Civil War score!) was this: the orchestra make-up matters. This is more a problem with composers like Goldsmith and Herrmann who often wouldn't just use a standard orchestra. For example, Black Patch has a rather different orchestra than The Man. It will require two sessions (and they'll already be tight, to record over half an hour of music) while The Man will get its own separate session with different orchestra make-up. One cannot simply throw Rambo on the end of one of those because even if there turns out to be extra time at the end of a session, the proper forces probably haven't been booked. One would have to find something with a virtually identical orchestra (or at least something that's done for a smaller orchestra with no addition instruments, so some players can simply be sent home while the rest that are needed can stay). The logistics of making these recordings happen is more complicated than most people realize.
BTW Has anyone mentioned both these scores will probably have a bigger orchestra for these two films than the originals. BLACK PATCH was a pretty low budget independent film picked up by WB and THE MAN was made as a TV movie when those budgets were limited.
That does seem possible, if not likely, doesn't it. Leigh beefed up the Thriller scores where appropriate, and their success probably wouldn't discourage any method used in their undertaking.
Indeed, and frankly for me THE MAN is THE Goldsmith score that would most benefit from such an expansion. His Coplandesque theme deserves a Coplandesque sized orchestra!
Sorry to put a damper on this my friends -- I checked in with Leigh Phillips recently, writing “Any plans to enlarge the orchestra over the originals, as was done on Thriller? Or will these be for the original forces (particularly Black Patch since you have the exact score sheets)?”
and since he’s too swamped with work on this right now, he gave me permission to share some of his FB Messages here, including his answer to this:
“Nope - might be like a couple of extra desks in the strings, but it’s all being kept pretty much as was/is”
When I inquired about the size of the orchestra of The Man in an earlier conversation, he actually assured me that the centerpieces of that score (obviously there are some more low key intimate cues too) were actually written for a decently sized orchestra, it was just hard to tell because the sound quality was so poor. I think people will be pleasantly surprised by this recording when it is finally out.
Some other news may be substantial cause for excitement though, and make up for any disappointment over The Man:
“FYI - out of the 4 cues so far set for Black Patch, 2 have extra music - this might turn out to be more interesting than first thought. I get the impression (from the pencil marks) that Jerry was zigging out groups of bars to make for better/easier sync.”
So we are getting MORE music than exists in the film itself, for Black Patch, thanks to having the original written scores (in Jerry's own hand -- he did all his own orchestration on his first four feature film scores) courtesy of the Margaret Herrick library.
As for The Man, Leigh has had to reconstruct that by ear since written scores don’t seem to survive (but if you know the whereabouts for written scores for The Man please do speak up now!)
This created some question in my mind whether some cues for that would necessarily be truncated compared to what Jerry originally wrote, since one or two cues in the film seemed to end weirdly. On that matter, Leigh says:
“The way The Man has panned out it doesn’t seem as though there is a whole lot missing (maybe just the occasional longer lead-in or outro). The cues, in of themselves, are all pretty concise (I doubt there was much room for music. I found the film a bit more like a piece of theatre, so am not surprised there’s so little score)”
So there you have it. We are getting more Black Patch than we expected, and every note of The Man that’s in the film (which is probably 99% of what Jerry wrote). This is going to be awesome.
Yavar
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For $30 you get either a hi res download or a CD (in which case the $30 includes shipping cost so it’s actually a decent price even though for Dial M for Murder three years ago they only asked for $25 at this first tier).
For less than $30 you can still pledge but it’s just a donation. For more than $30 there are a lot of cool extra perks and add-ons.
Yavar
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