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I'm pretty sure the music in the trailer is Laurie Anderson, or possibly David Van Tieghem, who played percussion with Anderson around the time of her film Home of the Brave, and her album Mister Heartbreak, both of which featured Burroughs. EDIT: It's from Gravity's Angel on the Mister Heartbreak album.
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Posted: |
Feb 14, 2015 - 4:35 AM
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By: |
Jim Phelps
(Member)
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I feel like I'm the only one taking you up on lunch here Jim! I guess there aren't nearly as many horror pukes around this board as I thought--or Howard Shore fans, either, outside of that Hobbit sh!t, and even then... No idea what that music is for the trailer, which is pretty cool. To the uninitiated, Naked Lunch is not a straight forward movie nor score by any means so it helps if you keep an open mind experiencing both. I like the mix of fun and fast freestyle jazz with bleak prospect-less orchestral pondering. I sat through the expanded edition of Morricone's "Una Lucertola Con La Pelle Di Donna" today and aside from the beautiful main theme, a lot of it also features a similar "descent" augmented with freestyle jazz elements. I like this kind of approach and oddly enough find comfort in the chaos! I respect any film music fan who'll sit through an unloved film just to hear the score; bonus points if they're interested in hearing the score in film context! No one does that around here unless they're making excuses for some Zimmer crap they like. Shore's music for Cronenberg's films is infinitely more interesting than the safe, stiff, conservative stuff he composed and won Oscars for in the LoTR movies (though I do enjoy that work, too). Of the many things I've learned here at the Olde FSM Boarde, is that the majority here don't like Jazz and they don't like electronics, and Shore's music for Cronenberg has both of those things.
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Shore's music for Cronenberg's films is infinitely more interesting than the safe, stiff, conservative stuff he composed and won Oscars for in the LoTR movies.... Amen. When I heard that Shore was doing the scores for LoTR (after Kilar left), I was so hopeful that this would be something really different for blockbuster movies. Mostly it just wasn't, and I think that what the LoTR scores demonstrate most are his limitations as a composer in the Classically-oriented grand manner. But that's not to dis him - Shores' scores for Cronenberg are brilliant, and I think Silence of the Lambs is one of the best horror scores ever written. His greatest strengths come out of his work with electronic/spatial music, and working with artists like Ornette Coleman and the Master Musicians of Jajouka. (And his light music for 90's comedies is much stronger than I expected.) I have a tough time getting through the score for Naked Lunch, but it's a trip to listen to and so perfectly accompanies the laconic insanity of the film that now I want to see the movie again, and I never thought I'd say that.
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I find Shore's Cronenberg scores much more interesting that what [feels like three endlessly repeated themes] he wrote for LoTR. Naked Lunch is his most out there score due to the subject matter and the collaboration with Ornette Coleman. NL is not an easy listen, but it is completely suited to the movie. NL is really of a piece with The Fly and his other early body horror film (so, you know, YMMV).
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Posted: |
Jun 11, 2015 - 10:53 PM
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By: |
nuts_score
(Member)
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On note of Coleman's passing, I'm going to hop aboard the Jim Phelps-train. I love the works of David Cronenberg, Howard Shore, and Ornette Coleman. I love Naked Lunch. It's a truly bizarre film, perhaps one of the most bizarre made if one were to look at it from an audience or marketing perspective (Who was this movie made for? Me? I'm simply glad it was made). And the score is one of a kind. This one also lead Shore to work with the Master Musicians of Jajouka on a later score: The Cell, which is also my favorite work by Howard Shore. Most of his Cronenberg collaborations I would be happy to place behind The Cell. Crash, A History of Violence, The Fly, and Naked Lunch being his strongest efforts. Coleman had a hell of a career, and really was the key force that made me regret giving up the alto saxophone and jazz composition when I was younger. If I had encountered his music when I was in my teens I think my life would be much different. But enough with the regret, I want to celebrate the great artist that passed this recent day. Has anyone here heard his more recent Sound Grammar album? It seems I have just caught attention of it in reading about his passing today, but it sounds like one hell of an album. P.S. Jim, regarding Shore: What did you think of his Rosewater score?
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Posted: |
Jun 12, 2015 - 4:27 AM
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By: |
Jim Phelps
(Member)
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On note of Coleman's passing, I'm going to hop aboard the Jim Phelps-train. I love the works of David Cronenberg, Howard Shore, and Ornette Coleman. I love Naked Lunch. It's a truly bizarre film, perhaps one of the most bizarre made if one were to look at it from an audience or marketing perspective (Who was this movie made for? Me? I'm simply glad it was made). And the score is one of a kind. This one also lead Shore to work with the Master Musicians of Jajouka on a later score: The Cell, which is also my favorite work by Howard Shore. Most of his Cronenberg collaborations I would be happy to place behind The Cell. Crash, A History of Violence, The Fly, and Naked Lunch being his strongest efforts. We all have scores we champion that perhaps few others enjoy and "Naked Lunch" is clearly one of those for me. As to the film, I was at that "impressionable" age when it was released and at the time I sought out movies beyond the usual popcorn fare and oh my Naked Lunch was definitely beyond a lot of things! I plan on watching the Criterion today. Coleman had a hell of a career, and really was the key force that made me regret giving up the alto saxophone and jazz composition when I was younger. If I had encountered his music when I was in my teens I think my life would be much different. But enough with the regret, I want to celebrate the great artist that passed this recent day. Has anyone here heard his more recent Sound Grammar album? It seems I have just caught attention of it in reading about his passing today, but it sounds like one hell of an album. P.S. Jim, regarding Shore: What did you think of his Rosewater score? I'm sure if you'd encountered Ornette's music at that early age; he himself didn't think of himself as some virtuoso and was all too self aware of his technical limitations, but he never let those deter him--and he only managed to set the jazz world on its head. Howard Shore has had a remarkable career as well! Many forget that he was the original music director for Saturday Night Live, and with that cast and group of writers makes me wonder how maestro Shore managed to escape the madness of *that* environment! By comparison, Naked Lunch must have been a breeze. I'm afraid I haven't heard the score or seen the movie, as its subject matter would no doubt infuriate me lol
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I have a tough time getting through the score for Naked Lunch, but it's a trip to listen to and so perfectly accompanies the laconic insanity of the film that now I want to see the movie again, and I never thought I'd say that. I wish to hell I had thought of the term "laconic insanity", as it sounds like something I would say. I was convinced that I had, but alas, no. Well, I was inspired by all your disquisitions here, you dilettante, you! And, as it turns out, I still haven't watched Naked Lunch again since I wrote that. I'd already seen it a few times, and read about 1/3 of the book, and that seems about enough for me so far....
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