 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
That's good news Max.
Just got word that my damaged booklet for "Fivehouse Five" will be replaced shortly.
Which volume was damaged? You might want to wait for when THE BROWN BOX is released and just use that cd with the damaged booklet as a window jam.
MaxB
|
|
|
|
|
|
ALAN FIVEHOUSE dialogue classic from ALAN FIVEHOUSE.
"..Inspector, are you suggesting that we belay the parliamentary process by cowaring to an obtuse mad-man? It is the irony of ambiguity that we entrust someone to protect us from ourselves, only to use the very same tools that we've provided him with a means to destroy our very existence...It is frightening, inspector - and confusing.
Prime Minister Mary Darkford Winchell (Billie Whitelaw)
|
|
|
|
|
|
|
 |
Posted: |
Mar 30, 2009 - 5:19 PM
|
|
|
|
By: |
ANZALDIMAN
(Member)
|
Our friend – Barry I Gruever – is back with a fury.
The following appeared in the February 1995 edition of the Journal of the University of Northern Kentucky (JUNK). It is being reconstituted with the permission of Barry I. Gruever, managing editor of JUNK.
WHO WEEPS FOR A SONG – THE ARTISTRY BEHIND WHO WEEPS FOR ALAN FIVEHOUSE?
By Barry I. Gruever
In the modern motion picture, the use of a song can often capture a character’s malady with a melody. The music alone shapes the tone, while the lyrics create the angst. It is angst that has beleaguered the world of Alan Fivehouse since the renowned British movie detective exported onto the screen in 1979.
Although that terrific musical score featured no musical song to accompany the laments of the protagonists, several subsequent Fivehouse outings have employed the skills and talents of respective lyricists and composers to further broaden the detective’s landscape. In REVENGE OF ALAN FIVEHOUSE, Leslie Bricusse supplied wonderful pain - with the help of composer Georges Delerue and actress Susannah York – to the palette of Fivehouse’s conflicted torment. The effective use of the song, during the opening pivotal drowning death sequence of Ms. York’s character, pushed the horrific brutality to a higher level within the context of the film.
In the new film, “WHO WEEPS FOR ALAN FIVEHOUSE?”, Bono and The Edge supplied the melancholy lyrics, along with composer George Fenton’s haunting music, to the title song.
BONO: The song plays over the opening credit sequence where an older, much more cynical, extremely hardened, and borderline bitter ALAN FIVEHOUSE [Michael Lonsdale] is riding in the back of this car driven by his Sergeant.
THE EDGE: Gilberdyke. (Laughs)
BONO: (Laughs) Yeah – that’s it. The sequence is not meant to be funny, though, and Michael expressed to us what he wanted to convey in this scene. He gave us specific instructions, in terms of the style, the flow. He was quite….
THE EDGE: Yeah – He was quite…(Laughs).
Coupled with the duo’s trademark sensibilities, they went to work on SORROW IS A LONELY CHOICE. Once finished, they handed over the lyrics to composer George Fenton.
GEORGE FENTON: The whole experience was quite strange. In any of my previous collaborations, I’ve worked closely with the lyricists in order to maintain an organically methodical approach to the finished piece. It makes logical sense to be able to naturally construct and edit the lyrics around the music – the melody primarily. However, they just handed me this completed prose and essentially told me to “go to work” and write the music. There was no mutual collaboration. So, I had the uncompromising challenge of effectively working the music into the lyric with no permissible alteration of the prose. It was frustrating at times, but it worked in the end.
Mr. Fenton elaborated that he had to present three ideas to the director [Lonsdale] in order to allow for the ever-changing tone of the film.
GEORGE FENTON: Ultimately, I don’t think he knew what he wanted until the very end. Normally, I would deal with a producer – or producers – making the final decisions, but Fred [Loftybeck} was very “hands-off” when it came to the music. He told me that he would rather entrust the musical details with the composer, just offering some initial input in terms of the overall mood and tone…However I think he had some difficulties with Michael this time, or so I’ve been told.
Bono and The Edge relayed a similar sentiment.
BONO: I remember Michael became angry at Fred during one of our creative sessions. He threw a half-eaten chicken leg at the wall when Fred queried him on a change that he had us make with the chorus.
THE EDGE: (Laughs) That chicken smelled awful. I believe it was boiled in Apple Cider Vinegar and jalapeno peppers. (laughs).
The finished product often takes on a form of its own – and SORROW IS A LONELY CHOICE is no exception. With the permission of the artists, we offer to you the complete lyrics to the complete song – SORROW IS A LONELY CHOICE – for the film “WHO WEEPS FOR ALAN FIVEHOUSE?”
It happens all the time, too much wanton crime,
You have a job to do, and it’s always new,
But you’ve contemplated high, and fell so low,
That you don’t have faith, in the work that you know,
CHORUS
Sorrow, Is A lonely Choice,
A Solemn reflection, A Morbid Voice,
Sorrow Is A Lonely Choice,
A Crazy Stare, A tearful rejoice,
Sorrow Is A Lonely Choice,
With wind at Your Back, In your Old Royce,
All the years that have passed, Isolation reigns,
The moments run rampant, with all the pains,
Of your life seen empty, through a modest shell,
With evil quietly lurking, amongst the common hell,
We don’t Know What the Future Holds,
Life, Destruction, or Death in the fold,
The answers my friends are in a sealed fate,
So Cold and barren like an empty crate,
No Wine or Brie can keep you comforted,
When the time is right to be the hunted,
CHORUS
Sorrow, Is A Lonely Choice,
A Blind Paradox, Of Forgotten Life,
Sorrow Is A Lonely Choice,
Of Heartbreak’s Meaning, A Departed Wife,
Sorrow Is A Lonely Choice,
The Constant of Anger, A Mindless Strife,
The End May Be Near, Or So They Say,
If Fear Is the Key to the Means or the Way,
Then Brave Souls Bury Me Where I Lay,
In A Pub, In A Park, A School Where Children Play,
CHORUS
Sorrow, Is A Lonely Choice,
A Close Thunder, A Broken Promise,
Sorrow Is A Lonely Choice,
A Vast Ensemble, Ignoring the Bliss,
Sorrow Is A Lonely Choice,
To Stand Alone, With Moldy Swiss.
A Fivehouse Classic.
|
|
|
|
|
|
|
Our friend – Barry I Gruever – is back with a fury.
The following appeared in the February 1995 edition of the Journal of the University of Northern Kentucky (JUNK). It is being reconstituted with the permission of Barry I. Gruever, managing editor of JUNK.
WHO WEEPS FOR A SONG – THE ARTISTRY BEHIND WHO WEEPS FOR ALAN FIVEHOUSE?
By Barry I. Gruever
In the modern motion picture, the use of a song can often capture a character’s malady with a melody. The music alone shapes the tone, while the lyrics create the angst. It is angst that has beleaguered the world of Alan Fivehouse since the renowned British movie detective exported onto the screen in 1979.
Although that terrific musical score featured no musical song to accompany the laments of the protagonists, several subsequent Fivehouse outings have employed the skills and talents of respective lyricists and composers to further broaden the detective’s landscape. In REVENGE OF ALAN FIVEHOUSE, Leslie Bricusse supplied wonderful pain - with the help of composer Georges Delerue and actress Susannah York – to the palette of Fivehouse’s conflicted torment. The effective use of the song, during the opening pivotal drowning death sequence of Ms. York’s character, pushed the horrific brutality to a higher level within the context of the film.
In the new film, “WHO WEEPS FOR ALAN FIVEHOUSE?”, Bono and The Edge supplied the melancholy lyrics, along with composer George Fenton’s haunting music, to the title song.
BONO: The song plays over the opening credit sequence where an older, much more cynical, extremely hardened, and borderline bitter ALAN FIVEHOUSE [Michael Lonsdale] is riding in the back of this car driven by his Sergeant.
THE EDGE: Gilberdyke. (Laughs)
BONO: (Laughs) Yeah – that’s it. The sequence is not meant to be funny, though, and Michael expressed to us what he wanted to convey in this scene. He gave us specific instructions, in terms of the style, the flow. He was quite….
THE EDGE: Yeah – He was quite…(Laughs).
Coupled with the duo’s trademark sensibilities, they went to work on SORROW IS A LONELY CHOICE. Once finished, they handed over the lyrics to composer George Fenton.
GEORGE FENTON: The whole experience was quite strange. In any of my previous collaborations, I’ve worked closely with the lyricists in order to maintain an organically methodical approach to the finished piece. It makes logical sense to be able to naturally construct and edit the lyrics around the music – the melody primarily. However, they just handed me this completed prose and essentially told me to “go to work” and write the music. There was no mutual collaboration. So, I had the uncompromising challenge of effectively working the music into the lyric with no permissible alteration of the prose. It was frustrating at times, but it worked in the end.
Mr. Fenton elaborated that he had to present three ideas to the director [Lonsdale] in order to allow for the ever-changing tone of the film.
GEORGE FENTON: Ultimately, I don’t think he knew what he wanted until the very end. Normally, I would deal with a producer – or producers – making the final decisions, but Fred [Loftybeck} was very “hands-off” when it came to the music. He told me that he would rather entrust the musical details with the composer, just offering some initial input in terms of the overall mood and tone…However I think he had some difficulties with Michael this time, or so I’ve been told.
Bono and The Edge relayed a similar sentiment.
BONO: I remember Michael became angry at Fred during one of our creative sessions. He threw a half-eaten chicken leg at the wall when Fred queried him on a change that he had us make with the chorus.
THE EDGE: (Laughs) That chicken smelled awful. I believe it was boiled in Apple Cider Vinegar and jalapeno peppers. (laughs).
The finished product often takes on a form of its own – and SORROW IS A LONELY CHOICE is no exception. With the permission of the artists, we offer to you the complete lyrics to the complete song – SORROW IS A LONELY CHOICE – for the film “WHO WEEPS FOR ALAN FIVEHOUSE?”
It happens all the time, too much wanton crime,
You have a job to do, and it’s always new,
But you’ve contemplated high, and fell so low,
That you don’t have faith, in the work that you know,
CHORUS
Sorrow, Is A lonely Choice,
A Solemn reflection, A Morbid Voice,
Sorrow Is A Lonely Choice,
A Crazy Stare, A tearful rejoice,
Sorrow Is A Lonely Choice,
With wind at Your Back, In your Old Royce,
All the years that have passed, Isolation reigns,
The moments run rampant, with all the pains,
Of your life seen empty, through a modest shell,
With evil quietly lurking, amongst the common hell,
We don’t Know What the Future Holds,
Life, Destruction, or Death in the fold,
The answers my friends are in a sealed fate,
So Cold and barren like an empty crate,
No Wine or Brie can keep you comforted,
When the time is right to be the hunted,
CHORUS
Sorrow, Is A Lonely Choice,
A Blind Paradox, Of Forgotten Life,
Sorrow Is A Lonely Choice,
Of Heartbreak’s Meaning, A Departed Wife,
Sorrow Is A Lonely Choice,
The Constant of Anger, A Mindless Strife,
The End May Be Near, Or So They Say,
If Fear Is the Key to the Means or the Way,
Then Brave Souls Bury Me Where I Lay,
In A Pub, In A Park, A School Where Children Play,
CHORUS
Sorrow, Is A Lonely Choice,
A Close Thunder, A Broken Promise,
Sorrow Is A Lonely Choice,
A Vast Ensemble, Ignoring the Bliss,
Sorrow Is A Lonely Choice,
To Stand Alone, With Moldy Swiss.
A Fivehouse Classic.
There couldn't be any better example of self-serving narcissism than this song. Ooof.
MaxB
|
|
|
|
|
|
|
Fred Loftybeck in 2001 on Michael Lonsdale directing WHO WEEPS FOR ALAN FIVEHOUSE?
"...I guess since it's finally all over now, we can put to bed these theories about WHO WEEPS that have been floating around all of these years. Yes, I was very disappointed with the finished product. It seems as though we gave Michael too much artistic license...He seemed to have approached this as if he were a voyeuristic auteur - rather than an actor/director...There were extrememly bizarre extreme close-ups of his face during the most inane parts of dialogue that he re-wrote...I remember the one scene where he's sitting in Gugliermo's easy chair, staring over the dead corpse, while smoking what appears to be a really cheap "white owl" American cigar, all the while puffing this bluish-white smoke into the air, with this crazed look on his face...he was uttering something like, "What's your game, What's your game"" over and over again. It was creepy. I hated it and we ultimately didn't use the take. Michael was livid at me, but this was the one time I stood my ground with him. It was an entirely fay and creepy scene - not what I expected from Alan Fivehouse..."
|
|
|
|
|
|
|
Funny. I wonder what happened for the plans to the second film?
|
|
|
|
|
|
ALAN FIVEHOUSE dialogue classic from THE ALAN FIVEHOUSE MURDERS
"...You will note that the corpse is missing exactly 14 liters of blood...This is consistent with the previous two corpses, also missing 14 liters of blood. The bigger question, is why the number 14? What is the relevance? It is possible that we may find the answers to this question at the local pub..."
Seargent Barney Wendell (Simon Ward)
|
|
|
|
|
|
|
|
|
|
|
|
|
|
MICHAEL LONSDALE in 1997 on AGENT NORMAN NEWMAN 3
"...I refused to do the original film and, likewise, refused to do the sequel...I have always felt that both films were always inferior and unconnected to ALAN FIVEHOUSE. Much to Freddy's [Loftybeck] dismay, the producers of AGENT NORMAN NEWMAN 3 decided to pay Fox for some unused footage from THE MASK OF ALAN FIVEHOUSE featuring myself conversing on a telephone. They crafted the scene so cunningly that it appeared as if I was speaking to Mr. [Christopher] Walken. Needless to say, I was infuriated that they would proceed with this without my consent or monetary renumeration. When I threatened legal action, they miraculously made an monetary offereing to me. However, I still did not receive proper screen credit for the part...
|
|
|
|
|
|
FREDERICK LOFTYBECK on AGENT NORMAN NEWMAN 3
"...(Laughs) It's almost moronic to want to discuss it. Thank God I didn't have anything to do with this series, despite being asked so much about something that I didn't create and had nothing to do with....I understand that they had a problem with the title. after {Willem} DaFoe apparently passed on the sequel, they were unable to call the film "AGENT NORMAN 2." I had nothing to do with it, so you'll have to go ask the producers of those films....I heard through the grapevine that they got {Chris} Walken at the last minute to play the title character, but that they couldn't contractually promote the film as a "Part 2" or continuation. (Laughs) so they called it AGENT NORMAN NEWMAN 3?? I thought, how crazy was that? They didn't even prepare an alternate title or something - they went with AGENT NORMAN NEWMAN 3....Then, later on, {Willem} DaFoe did the third film, which they called, (Laughs) AGENT NORMAN 2: FALL OF THE CHOSEN....I don't think I've heard anything so absurd."
|
|
|
|
|
|
|
WILLEM DAFOE on AGENT NORMAN NEWMAN 3
"..I didn't like the script to the third film, so I decided to do the second one instead...(Laughs).."
|
|
|
|
|
|
And if one looks at his varied career, I am having a tough time in seeing the brilliance of "The VIP's," "Casino Royale," "Treasure Island," "The Muppet Movie," "The Man Who Saw Tomorrow," "Butterfly."
At least concentrate on the films Welles was creatively responsible for:
F FOR FAKE
THE TRIAL
MR ARKADIN
OTHELLO
CHIMES AT MIDNIGHT
Some truly great works.
|
|
|
|
|
|
Anzaldiman, dug this one up off the shelf the other day.
MUSIC FROM THE ORIGINAL MOTION PICTURE SOUNDTRACK
AGENT NORMAN NEWMAN 2 - FALL OF THE CHOSEN
Music Composed and Conducted by James Horner
Hollywood Studio Symphony Orchestra
1. Main Titles - Urban Warfare (6:45)
2. After Effects - Crime Scene (3:10)
3. The Long Road to Salvation (4:09)
4. The Mall Chase (8:01)
5. Newman's Car (2:22)
6. Phrenetic Fanatic (3:10)
7. Meeting Agent Romax (5:07)
8. Something is Out of Place (3:10)
9. The Director's Office - No Time (6:21)
10. AH-64 is Off the Reservation (3:01)
11. The President's Motocade (5:15)
12. Newman Remembers - In My Report (2:21)
13. Fall of the Chosen (6:08)
Total time: 59:20
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Anzaldiman, dug this one up off the shelf the other day.
MUSIC FROM THE ORIGINAL MOTION PICTURE SOUNDTRACK
AGENT NORMAN NEWMAN 2 - FALL OF THE CHOSEN
Music Composed and Conducted by James Horner
Hollywood Studio Symphony Orchestra
1. Main Titles - Urban Warfare (6:45)
2. After Effects - Crime Scene (3:10)
3. The Long Road to Salvation (4:09)
4. The Mall Chase (8:01)
5. Newman's Car (2:22)
6. Phrenetic Fanatic (3:10)
7. Meeting Agent Romax (5:07)
8. Something is Out of Place (3:10)
9. The Director's Office - No Time (6:21)
10. AH-64 is Off the Reservation (3:01)
11. The President's Motocade (5:15)
12. Newman Remembers - In My Report (2:21)
13. Fall of the Chosen (6:08)
Total time: 59:20
How did I miss this one?
Look under "Horner" on your shelf. It's the disc with the water-logged booklet and ketchup stains.
MaxB
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
