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Posted: |
Dec 6, 2003 - 7:02 PM
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By: |
Joe Caps
(Member)
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i have been through a lot of the Warner production files at USC - the Memos from Steve Trilling to Jack Warner back and forth are more than interesting.
Two of interest - During post production of Camelot, Warner is trying to decide how many 70mm stereo prints should be made of camelot. Trilling gives Warner a breakdown by title -
Fox made x amount of Sound of Music, MGM made x amount of Dr. Zhivago. Trilling says that, however, UA only made 70mm MONO prints of Hawaii!!
In the film Helen of Troy, Paris sails from Troy to Sparta. IN the recording sessions there are two versions of this sceme that are almost alike.
In the first, rejected version, Paris' theme is played on full notes on horns, - in the later film version it is played on trupets on syncopated notes. I had wondered if this was director Robert Wises idea or coposer Max Steiners. But no, the idea is set forth in a memo from Jack Warner himself to take the melody of off horns and change it to syncopated. trumpets!!
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I've been playing this CD a lot. Great score and sound quality. Another wonderful CD from Craig, Ray, and BYU. Charles Johnston did an outstanding job with the art work too.
Glad you mentioned Charles Johnston -- he also designed SAE's CAPTAIN FROM CASTILE set, which is hands down the most beautifully packaged soundtrack ever released. It must be seen to be believed!
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Posted: |
Dec 10, 2003 - 4:51 AM
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By: |
Ray Faiola
(Member)
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HELEN OF TROY survives in, for the most part, acceptable mono-mixdown tracks (from mag source). The problem is, there have been two different illegal releases of this score. So while it is on the BYU reserve list, I think we will do some of the heretofore unavailable scores first, i.e. DISTANT TRUMPET, MAJORITY OF ONE, PARRISH, DARK AT THE TOP OF THE STAIRS etc., not to mention scores from the Steiner acetate collection such as RKO's THE THREE MUSKETEERS.
Personally, I think our release of A SUMMER PLACE rights a longstanding wrong. As was mentioned above, it is amazing that a score album was not released when the picture came out.
And you are certainly on-target with your praise for Charles Johnston. He has really demonstrated superb taste in producing our layouts. I think you'll be similarly pleased with his work on THE BLACK SWAN.
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Man, that was quick. Read the liner notes over lunch and am playing it right now. Can't stop laughing over that sly sax! But this really is a tremendous stand-alone listening experience. What I have referred to as a cloying arrangement of "innocent love" theme when Molly says good-night to Ken (A Filthy Word) is nothing of the sort when heard on its own. Positively lovely celeste melody made lovelier with the ensuing string arrangement.
