 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Just watched that trailer. It sounds like the piece used comes from the last part of Ultralite #3 alternate. So maybe not necessarily re-recorded. But who knows?
Those folks who were involved in preparing music elements with the Twilight Time Blu-Ray will know. Given they were trying to get permission to include Barry's unused score on their Blu-Ray, they will have heard it.
|
|
|
|
|
|
I finally got my cd yesterday along with Intrada's An American Tail, The Last Starfighter and La La Land's Child's Play 2...all from Intrada's website. S.A.E. charges way too much for shipping. 4 cd's guys, would have cost me $17 something and on Intrada it only cost me $8 something. One cd alone on S.A.E. cost about $7 something, maybe $8. I am still trying to find Intrada's WFRR? too. 
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Nov 15, 2019 - 8:57 AM
|
|
|
|
By: |
Alex Klein
(Member)
|
I don't know if that's as a fair assessment of Barry's score for TLD - there are three new songs he co-composed for the movie and multiple new sub-themes, even though they only show up a few times, such as the new theme during the sniper sequence, that descending motif when Bond is tracking down Kara to her home, the fanfare when landing in Afghanistan plus the ensuing action cue, all the sweeping music for the desert sequence, that great standalone cue when Bond drops the bomb on the bridge.. TLD is almost as thematically rich and varied as Barry's own score for Diamonds Are Forever.
It's a good argument. But Barry barely wrote anything in the title song, and Daylights, after all, was a Bond movie, which meant Barry was going to put a lot of effort in it.
In things like Masquerade and Hearts of Fire, it sounds like he didn't even try. And the beautiful theme in Masquerade was a recycled theme from The Prince & The Aviator.
Bottom line is: there's something different about Howard the Duck. The music has an energy and variety I feel was very much gone in the following years of Barry's output, Dances with Wolves excepted.
Am I nuts?
Alex
|
|
|
|
|
|
|
Elmer Bernstein, in a Starlog interview from the early 80s, said--and I'm paraphrasing--that Barry was very special and very strange in that his scores totally depended on how much he cared for the film, citing the early Bonds and The Lion in Winter as pictures he was devoted to.
|
|
|
|
|
|
I think I know what you're getting at Alex.
As lovely as Barry's music was in the 80s, there is a sense that Barry had found his formula and wasn't really 'reaching' the way he used to do in the 60s and 70s.
There is a sense that in Howard The Duck, he worked harder—went the extra mile.
I do think The Living Daylights is a greater score, and indeed I hold scores like Frances, Body Heat and Out of Africa as greater scores than Howard The Duck, but there is a sense that Barry worked harder to make Howard special, harder than he was working on average, and definitely harder than, say, High Road To China or Masquerade.
Cheers
|
|
|
|
|
|
|
|
|
Posted: |
Nov 15, 2019 - 12:53 PM
|
|
|
|
By: |
Alex Klein
(Member)
|
I think I know what you're getting at Alex.
As lovely as Barry's music was in the 80s, there is a sense that Barry had found his formula and wasn't really 'reaching' the way he used to do in the 60s and 70s.
There is a sense that in Howard The Duck, he worked harder—went the extra mile.
I do think The Living Daylights is a greater score, and indeed I hold scores like Frances, Body Heat and Out of Africa as greater scores than Howard The Duck, but there is a sense that Barry worked harder to make Howard special, harder than he was working on average, and definitely harder than, say, High Road To China or Masquerade.
Cheers
Thank you, Stephen. Your eloquent words explain better what I wanted to say.
With Howard the Duck, Barry even agreed to write completely different alternates for certain cues (something he never liked to do), and he also wrote completely new themes for short scenes such as Howard's melancholic walk in the street (boy, that's a lovely cue). I suppose Barry really thought that George Lucas' name was going to make Howard a box office spectacle, and that was a golden chance for Barry to get his name on more blockbusters.
Alex
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
So, this title appears to be OOP everywhere. I thought this was an Intrada "while interest remains" release? Is it gone forever, or will it get a repressing?
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Nov 21, 2019 - 4:04 PM
|
|
|
|
By: |
leagolfer
(Member)
|
For those who still doubt Barry put an unusual effort into Howard the Duck, please compare the beginning bars of the following:
- So Long Ducky (track 14, Howard the Duck) with the Alternate End Titles of The Living Daylights.
As far as my ear can tell, the love theme from Daylights was definitely inspired by the two chord progression heard in "So Long Ducky".
I'm telling 'ya: Howard was special for Barry, and he wrote so much good material for the talking Duck that the composer ended up using much of this material for future scores.
Alex
Since you've had HTD your tune has switched-lanes too call yourself a top-fan, giggling. JB didn't need too impress any-one its LITTLE Howard that's all vs superior works, If Barry was working Bonds or not he got big-projects pal when he needed em like Day-Lewis. How was JB lazy, stealing whatever, most composers take enough colours they want from earlier materials been hearing that since 1940s, Jerry-G big-fan of doing that, also lots of composers taking classical pieces padding I guess, so I don't understand your silly-duck dilemma.
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
