 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
I've been enjoying this set since its release (thank you, La-La Land!), with the Leith Stevens material being a particular favorite (second only to John William's "The Crash" score for me.)
The booklet refers to the episode "Rescue" as Steven's final work for the series, but he actually has a composer credit on a subsequent episode, "The Chase" (which I think was the last episode produced for the first season.) I watched "The Chase" on DVD not too long ago, mostly to check out the music, but none of it jumped out at me as being original; in fact, I could have sworn it was all recycled library cues (the last five minutes was definitely scored with Williams material from "The Crash.") But I'm guessing if he got a credit, there must have been some original music in there somewhere.
I'm also crazy about the Robert Prince cues from "Nightmare."
|
|
|
|
|
|
|
 |
Posted: |
Feb 17, 2020 - 6:04 PM
|
|
|
|
By: |
Larry847
(Member)
|
I've been enjoying this set since its release (thank you, La-La Land!), with the Leith Stevens material being a particular favorite (second only to John William's "The Crash" score for me.)
The booklet refers to the episode "Rescue" as Steven's final work for the series, but he actually has a composer credit on a subsequent episode, "The Chase" (which I think was the last episode produced for the first season.) I watched "The Chase" on DVD not too long ago, mostly to check out the music, but none of it jumped out at me as being original; in fact, I could have sworn it was all recycled library cues (the last five minutes was definitely scored with Williams material from "The Crash.") But I'm guessing if he got a credit, there must have been some original music in there somewhere.
I'm also crazy about the Robert Prince cues from "Nightmare."
I don't think that's how it works. If a composer's reused cues come to a certain percentage of the music in the episode, they get credited. I'm not sure what that percentage is.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
The first score on disc 3 would fool me into thinking this is "Lost in Space."
That's Richard LaSalle's "The Mechanical Man".
Onya - you big dummy - didn't Graham Watt tell you to hate LaSalle's music because it sounds written by a 3-year-old?
Numbskull! Nutmeg! Nincompoop!
You Nickel-plated Neanderthal Ninny!
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Why did Mullendore sometimes go under "Mullendore" on TV credits? Or Devol, or Van Cleave? What gives?
|
|
|
|
|
|
Why did Mullendore sometimes go under "Mullendore" on TV credits? Or Devol, or Van Cleave? What gives?
They had to pay for the extra letters out of their own pockets.
|
|
|
|
|
|
Why did Mullendore sometimes go under "Mullendore" on TV credits? Or Devol, or Van Cleave? What gives?
Must we all have first names with everybody? 
Bear in mind that some guys who list a first name sometimes alter such in subsequent years.
Jerrald Goldsmith > Jerry Goldsmith
Johnny Williams > John Williams
Johnny Mandel > John Mandel
Richard Bennett > Richard Rodney Bennett
Patrick John Scott > John Scott
Piero Morgan > Piero Piccioni
Krzysztof Komeda > Komeda > Christopher Komeda
I could concoct multiple theories about why, but ultimately I suspect these are due to contractual reasons or publishing regulations.
|
|
|
|
|
|
Why did Mullendore sometimes go under "Mullendore" on TV credits? Or Devol, or Van Cleave? What gives?
I heard that Frank De Vol got the suggestion from a friend or someone to go by just his last name. The idea was that it would make him sound classy and esoteric, like a top fashion designer, a Renaissance painter, or for that matter a classical composer.
For me, it had the opposite effect. When I'd see his billing on The Brady Bunch or some such, I thought DeVol might be a company with anonymous composers working an assembly line.
|
|
|
|
|
|
Yeah, it was a prestige thing. Much like "Karloff" back at the height of his fame or when Ironweed was coming out, Jack Nicholson and Meryl Streep were announced by last names.
Not that "Mullendore" was a household name or anything....
|
|
|
|
|
|
Am I correct in thinking that LAND OF THE GIANTS was the only one of Irwin Allen's shows that did NOT use any music cues from any 20th Century-Fox feature films?
I know that cues from LOST IN SPACE turned up in five or six of the episodes, but I think those were the only instances of "outside" library cues used in GIANTS - is that right?
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
