Thanks to this thread, I just realized that Talgorn has recently been uploading symphonic suites from a number of his unreleased scores on Youtube -- for instance, from the 2000 documentary MAYBACH: THE CREATION OF A LIVING LEGEND:
There's much more!
Fantastic, isn’t it? There is still hope for intelligent, well crafted filmmusic.
Folks
Tons of unreleased music are available on FT's You tube channel
two tracks from Edge of Sanity the robots of Mars suite The Olympic music from Albertville 1992 The end credits from Monty Spinnerratz the Young Indy scores The Cousteau Documentary
I stand by my point, Talgorn is the perfect replacement for Williams, after he retires.
This crazy busy, zany score for a kids movie I never heard from oozes skill, and has so so many little stand alone musical ideas… it’s just… crazy.
Reminds me of the busy Temple of Doom writing, mixed with Carl Stalling. Not for the fainthearted, very dense and hectic… but superb imho. Example: around the 15:30 minute mark onwards.
Hah. So funny you posted about Robots Of Mars. I actually worked on that film, produced by Midland Productions in Berkeley, CA. Robots Of Mars crashed and burned before completion due to the ineptitude of the producer and the director. I have stories, as the film was something of a fiasco. I was a production artist and Art Dept manager/wrangler on the project. I spent two years working on this thing. At least I got paid. The film never materialized, but the work was repurposed into a 3D ride film.
Thanks for the info! I stand by my point, Talgorn is the perfect replacement for Williams, after he retires.
This crazy busy, zany score for a kids movie I never heard from oozes skill, and has so so many little stand alone musical ideas… it’s just… crazy.
Reminds me of the busy Temple of Doom writing, mixed with Carl Stalling. Not for the fainthearted, very dense and hectic… but superb imho. Example: around the 15:30 minute mark onwards.
Hah. So funny you posted about Robots Of Mars. I actually worked on that film, produced by Midland Productions in Berkeley, CA. Robots Of Mars crashed and burned before completion due to the ineptitude of the producer and the director. I have stories, as the film was something of a fiasco. I was a production artist and Art Dept manager/wrangler on the project. I spent two years working on this thing. At least I got paid. The film never materialized, but the work was repurposed into a 3D ride film.
I stand by my point, Talgorn is the perfect replacement for Williams, after he retires.
This crazy busy, zany score for a kids movie I never heard from oozes skill, and has so so many little stand alone musical ideas… it’s just… crazy.
Reminds me of the busy Temple of Doom writing, mixed with Carl Stalling. Not for the fainthearted, very dense and hectic… but superb imho. Example: around the 15:30 minute mark onwards.
Hah. So funny you posted about Robots Of Mars. I actually worked on that film, produced by Midland Productions in Berkeley, CA. Robots Of Mars crashed and burned before completion due to the ineptitude of the producer and the director. I have stories, as the film was something of a fiasco. I was a production artist and Art Dept manager/wrangler on the project. I spent two years working on this thing. At least I got paid. The film never materialized, but the work was repurposed into a 3D ride film.
Thanks for the intel, Greg. At least you got paid, that's good. I've just listened to the 18 minute suite from it. Busy, broad symphonic, Williams-esque...typical Talgorn really. The kind of music that's put the likes of Broughton, Eidelman, D-Newman out of work. I enjoyed it in parts, but it did get too frantic at times. I'm now playing his Young Indiana Jones music. Very dark and foreboding (Trenches Of Hell).
The Cousteau Suite (Across China With The Yellow River) actually sounds like John Scott at times, in its lushness and brilliance (Scott scored many previous Cousteau docs). I've only ever heard Talgorn riffing on that John Williams sound within his music. His chameleon-like abilities are spread wider here.
Great score for sound and light show, single day recording session at the studios de la Grande Armée in Paris. "La fête" (14:40) remains my favorite track.
Thanks for the intel, Greg. At least you got paid, that's good. I've just listened to the 18 minute suite from it. Busy, broad symphonic, Williams-esque...typical Talgorn really.
It was an interesting experience. The project lasted from 1998-2000. I was the only person on the crew who knew anything about film music, and the powers that be wanted me to bring in some of my discs for their perusal. I declined and offered to arrange to burn some discs for them. I never would have seen some of those scores again if I'd loaned them out.
They really didn't know what they wanted. I still have a copy of an animatic of the entire temp-tracked rough film (just storyboards and unfinished CGI). It was temp-tracked with a lot of Williams and Horner, as I recall.
The Talgorn music was easily one of the best things attached to the film.
I had lunch with Talgorn a few months before the pandemic lockdowns here in Los Angeles back in late 2019 - to my surprise, he still presides mostly in East LA despite not having worked in Tinseltown for ages now. He's a lovely, kind, unassuming man and I wonder if the grumblings about him being "difficult" are either overstated, apocryphal, or if time has simply tempered him a bit. In either case, he was a delight and our conversation was wide-ranging in the best ways possible. He remains, alongside Christopher Gordon, John Scott (who introduced Talgorn and I) and a small handful of others, among the few living, *working* Western film composers I hope to engage for a film.
Speaking of J. Scott it was such a delight to discover they've been old friends for nearly 30 years, having set down LA roots about the same time and sharing agency representation back then as well. Talgorn had some funny stories about the two of them and their wives having skiing debacles at Sundance '94. I wonder if the Scott connect is how Talgorn got a gig writing a Cousteau doc? I didn't know that had happened. Great suite of that up on YT too. And his Olympics music is very unusual and evocative stuff - not at all what I would have expected to hear. LOTS of gems up on there begging discovery.
He does have the complete DAT elements for EDGE OF SANITY (presumably where those two YT clips are derived from) but said himself that he would rather hunt down proper first-generation masters for a release. He insists the clarity difference is night and day, and I have no reason to assume otherwise. Indeed those are still MIA last I heard.
I ought to give the ol' Monsieur a call for another lunch soon...
Thanks for the reply, what type of films would you hope to engage him for? Any genre in particular? Anyways, enjoy the upcoming lunch if that will go ahead and ensure him that his work is sincerely appreciated!
Greetings from the Netherlands ??
I had lunch with Talgorn a few months before the pandemic lockdowns here in Los Angeles back in late 2019 - to my surprise, he still presides mostly in East LA despite not having worked in Tinseltown for ages now. He's a lovely, kind, unassuming man and I wonder if the grumblings about him being "difficult" are either overstated, apocryphal, or if time has simply tempered him a bit. In either case, he was a delight and our conversation was wide-ranging in the best ways possible. He remains, alongside Christopher Gordon, John Scott (who introduced Talgorn and I) and a small handful of others, among the few living, *working* Western film composers I hope to engage for a film.
Speaking of J. Scott it was such a delight to discover they've been old friends for nearly 30 years. Talgorn had some very funny stories about the two of them and their wives having skiing debacles at Sundance '94. I wonder if the Scott connect is how Talgorn got a gig writing a Cousteau doc? I didn't know that had happened. Great suite of that up on YT too. And his Olympics music is very unusual and evocative stuff - not at all what I would have expected to hear. LOTS of gems up on there begging discovery.
He does have the complete DAT elements for EDGE OF SANITY (presumably where those two YT clips are derived from) but said himself that he would rather hunt down proper first-generation masters for a release. He insists the clarity difference is night and day, and I have no reason to assume otherwise. Indeed those are still MIA last I heard.
I ought to give the ol' Monsieur a call for another lunch soon...
Thanks for the reply, what type of films would you hope to engage him for? Any genre in particular? Anyways, enjoy the upcoming lunch if that will go ahead and ensure him that his work is sincerely appreciated!
Ps I always thought Talgorn and Paul Verhoeven would be a fantastic match. I find his score for Anthony Zimmer a bit like Goldsmith. (Basic Instinct vibes)
Greetings from the Netherlands ??
I had lunch with Talgorn a few months before the pandemic lockdowns here in Los Angeles back in late 2019 - to my surprise, he still presides mostly in East LA despite not having worked in Tinseltown for ages now. He's a lovely, kind, unassuming man and I wonder if the grumblings about him being "difficult" are either overstated, apocryphal, or if time has simply tempered him a bit. In either case, he was a delight and our conversation was wide-ranging in the best ways possible. He remains, alongside Christopher Gordon, John Scott (who introduced Talgorn and I) and a small handful of others, among the few living, *working* Western film composers I hope to engage for a film.
Speaking of J. Scott it was such a delight to discover they've been old friends for nearly 30 years. Talgorn had some very funny stories about the two of them and their wives having skiing debacles at Sundance '94. I wonder if the Scott connect is how Talgorn got a gig writing a Cousteau doc? I didn't know that had happened. Great suite of that up on YT too. And his Olympics music is very unusual and evocative stuff - not at all what I would have expected to hear. LOTS of gems up on there begging discovery.
He does have the complete DAT elements for EDGE OF SANITY (presumably where those two YT clips are derived from) but said himself that he would rather hunt down proper first-generation masters for a release. He insists the clarity difference is night and day, and I have no reason to assume otherwise. Indeed those are still MIA last I heard.
I ought to give the ol' Monsieur a call for another lunch soon...
Thanks for the reply, what type of films would you hope to engage him for? Any genre in particular? Anyways, enjoy the upcoming lunch if that will go ahead and ensure him that his work is sincerely appreciated!
Ps I always thought Talgorn and Paul Verhoeven would be a fantastic match. I find his score for Anthony Zimmer a bit like sounding like Goldsmith. (Basic Instinct vibes)
Greetings from the Netherlands ??
I had lunch with Talgorn a few months before the pandemic lockdowns here in Los Angeles back in late 2019 - to my surprise, he still presides mostly in East LA despite not having worked in Tinseltown for ages now. He's a lovely, kind, unassuming man and I wonder if the grumblings about him being "difficult" are either overstated, apocryphal, or if time has simply tempered him a bit. In either case, he was a delight and our conversation was wide-ranging in the best ways possible. He remains, alongside Christopher Gordon, John Scott (who introduced Talgorn and I) and a small handful of others, among the few living, *working* Western film composers I hope to engage for a film.
Speaking of J. Scott it was such a delight to discover they've been old friends for nearly 30 years. Talgorn had some very funny stories about the two of them and their wives having skiing debacles at Sundance '94. I wonder if the Scott connect is how Talgorn got a gig writing a Cousteau doc? I didn't know that had happened. Great suite of that up on YT too. And his Olympics music is very unusual and evocative stuff - not at all what I would have expected to hear. LOTS of gems up on there begging discovery.
He does have the complete DAT elements for EDGE OF SANITY (presumably where those two YT clips are derived from) but said himself that he would rather hunt down proper first-generation masters for a release. He insists the clarity difference is night and day, and I have no reason to assume otherwise. Indeed those are still MIA last I heard.
I ought to give the ol' Monsieur a call for another lunch soon...
I had lunch with Talgorn a few months before the pandemic lockdowns here in Los Angeles back in late 2019 - to my surprise, he still presides mostly in East LA despite not having worked in Tinseltown for ages now. He's a lovely, kind, unassuming man and I wonder if the grumblings about him being "difficult" are either overstated, apocryphal, or if time has simply tempered him a bit. In either case, he was a delight and our conversation was wide-ranging in the best ways possible. He remains, alongside Christopher Gordon, John Scott (who introduced Talgorn and I) and a small handful of others, among the few living, *working* Western film composers I hope to engage for a film.
Speaking of J. Scott it was such a delight to discover they've been old friends for nearly 30 years. Talgorn had some very funny stories about the two of them and their wives having skiing debacles at Sundance '94. I wonder if the Scott connect is how Talgorn got a gig writing a Cousteau doc? I didn't know that had happened. Great suite of that up on YT too. And his Olympics music is very unusual and evocative stuff - not at all what I would have expected to hear. LOTS of gems up on there begging discovery.
He does have the complete DAT elements for EDGE OF SANITY (presumably where those two YT clips are derived from) but said himself that he would rather hunt down proper first-generation masters for a release. He insists the clarity difference is night and day, and I have no reason to assume otherwise. Indeed those are still MIA last I heard.
I ought to give the ol' Monsieur a call for another lunch soon...
I had lunch with Talgorn a few months before the pandemic lockdowns here in Los Angeles back in late 2019 - to my surprise, he still presides mostly in East LA despite not having worked in Tinseltown for ages now. He's a lovely, kind, unassuming man and I wonder if the grumblings about him being "difficult" are either overstated, apocryphal, or if time has simply tempered him a bit. In either case, he was a delight and our conversation was wide-ranging in the best ways possible. He remains, alongside Christopher Gordon, John Scott (who introduced Talgorn and I) and a small handful of others, among the few living, *working* Western film composers I hope to engage for a film.
Speaking of J. Scott it was such a delight to discover they've been old friends for nearly 30 years. Talgorn had some very funny stories about the two of them and their wives having skiing debacles at Sundance '94. I wonder if the Scott connect is how Talgorn got a gig writing a Cousteau doc? I didn't know that had happened. Great suite of that up on YT too. And his Olympics music is very unusual and evocative stuff - not at all what I would have expected to hear. LOTS of gems up on there begging discovery.
He does have the complete DAT elements for EDGE OF SANITY (presumably where those two YT clips are derived from) but said himself that he would rather hunt down proper first-generation masters for a release. He insists the clarity difference is night and day, and I have no reason to assume otherwise. Indeed those are still MIA last I heard.
I ought to give the ol' Monsieur a call for another lunch soon...
