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Had it not taken so long to get to the point where we could do dual licenses, we might have done these projects years ago.
There's still no excuse for Fox failing to preserve its assets.
That's the point. Fox did not consider them to be "its" assets because phonographic rights rested with another company. The films and their mixed audio tracks were preserved, but they would likely have had to spend $50K per title to transfer 200 rolls of mag (on each title) containing music recordings which they had no ability to monetize, and which, looking at hard numbers, were for two box office failures. This is a bitter pill, but that's why the material was never transferred.
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Nick Redman's memorial was last night. It was mentioned by one of the speakers that in 1994 he tried to expand Dolly and it was impossible. In the meantime he got more than 700 scores out there, so that should really be the focus here. It's just bad luck that by the time there was an ability to pursue it that the notoriously dodgy 1960s elements would have deteriorated. It's just to do with the stock of the time because the material from earlier is generally better. Can-Can, for example, is in great shape, and had already been backed up to 24-track 2-inch back when the DVD isolated score track was done. The other problem is that the market has shrunk. Dolittle was a great release and the original album went gold, but it has only done modestly well. A Barbra album would have had a decent chance of doing better if we had been able to do the project, but not in the numbers it would have sold if it had been done for its 25th anniversary.
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Posted: |
Mar 6, 2019 - 12:58 PM
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By: |
Grecchus
(Member)
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Yipes, Mike, I just had a Kelly's Heroes moment - "stop calling me Barbara!"
Thanks for pointing out all those imponderables. It's just that when Dolly became somewhat topical a short while ago, that was the one project where I immediately set about imagining the double page, full-color image spreads of The Parade and everything else that was big about it "passing by." The gatefold LP, if I remember correctly, had a black and white image of the parade in the centre, and it was one of the highlights because it started off low, and the volume increased until Streisand vocally crescendoed at full blast - very, very cleverly done indeed. And the other thing is she was essentially singing along to a marching band piece. Thor would be 'structurally' very complimentary about how that album was arranged.
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I haven't looked into Millie but I will. Crazy movie that was Universal's biggest hit of all time up to that point, and it also earned Elmer his only Oscar. Go figure.
Universal material has been generally good and the studio scoring elements were not in the building the fire destroyed. On the flip side, Uni doesn't have as much from the earlier decades like Fox does.
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