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Lukas Kendall: Today, some random thoughts about KRULL!
Lukas, I think the underwater production challenges of The Deep, as well as being an Englishman, while having an existing relationship with Columbia Pictures, made Peter Yates the studio's choice for Krull.
And, I would point out, Peter Yates had, I think, a best director nod from the Oscars for his outstanding piece of Americana, Breaking Away, which has some superb little character scenes.
If there's anything Krull got right beyond the music, it was some of those intimate character moments
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Warner Bros. is a magnificent studio with a ton of film and TV music that they could monetize—and at the moment they don’t want to invest the resources into the legal clearances and research to do it.
Lukas, if you could get any scores licensed out of WB and port them over to La La Land, what titles would you go for?
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Warner Bros. is a magnificent studio with a ton of film and TV music that they could monetize—and at the moment they don’t want to invest the resources into the legal clearances and research to do it.
Lukas, if you could get any scores licensed out of WB and port them over to La La Land, what titles would you go for?
There are really a ton of them, but among the ones I really cared about...
St. Ives (Lalo)
Scarecrow and Mrs. King (Rubinstein)
Funny Farm (Elmer)
The Betsy (Barry) - we found mono tape on this
The Corn Is Green (Barry) - TV movie
There were a bunch of other TV projects. I think Probe by Frontiere?
I had a huge wish list but can't remember any others off the top of my head. I'm sure there are lots.
Lukas
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Posted: |
Apr 18, 2022 - 10:18 AM
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By: |
Tom Servo
(Member)
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Today on my blog: the unrealized, unreleased FSM–Turner Sampler CD circa 2009, the packaging and track list. Guaranteed to be the rarest collectible ever—because it doesn’t exist!
https://www.lukaskendall.com/post/the-unreleased-turner-fsm-sampler-cd
Fascinating project, sorry that it didn't materialize! That topic of how to garner more film score fans is a tough one, as what I've observed through the years is that most moviegoers can't mentally separate the music from the experience of watching the film. And they don't seem to have any interest in recreating that same experience with music only, these fans will simply watch the entire movie again, as the music is seen as an aural element that only exists alongside dialogue and sound FX, like all the ingredients in a dish that they ordered for dinner.
I wonder, would our niche be akin to that subset of film fans who love the costumes and seek to purchase a film's wardrobe for display in their home collection? It's another aspect that for most audiences only exist within the frames of the film as its being viewed.
Oh, and I always forget one obvious roadblock... strangely enough, most people seem to want lyrics in the music they're listening to!
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That topic of how to garner more film score fans is a tough one, as what I've observed through the years is that most moviegoers can't mentally separate the music from the experience of watching the film. And they don't seem to have any interest in recreating that same experience with music only, these fans will simply watch the entire movie again, as the music is seen as an aural element that only exists alongside dialogue and sound FX, like all the ingredients in a dish that they ordered for dinner.
One big difference is that it is now far easier to rewatch a movie these days. When Star Wars and Empire Strikes Back came and left the theater, there was a pretty significant gap before either movie was available for home viewing. The best I had before it became available was an abridged cassette tape with an accompanying picture book. Other actors provided the voices, and there was some music, dialogue and lines from the movie. Not a bad recreation for what it was, but if given the choice, I would have always chosen to watch the movie again every time. Today though, movies are hitting streaming services as quickly as 45 days from release and Blu-ray releases aren't that far behind, so no need to recreate the experience through some other release when the movie is easily available.
The last 15-20 years of aural sludge that passes for "music" in cinema hasn't helped. It's one thing to come out of Star Wars humming the theme music and wanting to buy the soundtrack album, but something earsplitting like Tenet?
Hard to say. I don't know how much perceived quality makes a difference. If I were to play themes from say Star Wars, Indiana Jones, James Bond, Superman: The Movie, etc., most people would instantly recognize the music and even acknowledge that it is a great theme. How many of those people own any of those soundtracks in their collection, or even listen to film music on a music streaming service? Very few. There is a reason many film score releases are limited to 3,000 copies or fewer.
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