 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
No one - before or since - did "Mean" quite like Jerry F.
I loved it when his themes were apparently, on first listen, usually with the opening credits to a film, hard to follow and quite complex, with overlaying lines and various meandering alleyways, but, hey, when you got used to them, the theme was there, and boy what a theme.
To me, the main titles of Killer Elite is an example of this.
anyone else dig what I mean?
|
|
|
|
|
|
The quote about Fielding's music actually says it's 'like a man in a green suit walking in a forest' and is by Gordon Dawson, Getaway's producer. I believe it refers to the music's inconspicuousness.
Thanks. I corrected the quote.
|
|
|
|
|
|
No one - before or since - did "Mean" quite like Jerry F.
I loved it when his themes were apparently, on first listen, usually with the opening credits to a film, hard to follow and quite complex, with overlaying lines and various meandering alleyways, but, hey, when you got used to them, the theme was there, and boy what a theme.
To me, the main titles of Killer Elite is an example of this.
anyone else dig what I mean?
Killer Elite is my favorite of his main titles and also has my favorite of his end titles (which is entirely different). If the movie had not been so disregarded critically, I think this one might have gotten an Oscar nomination as it is one his most mature works. Almost like he was applying everything he'd been toying with in so many prior scores after having learned from them all. It echos some of his prior themes and moods but takes them to the next level in a very original way that is more unique to this film than many of his prior scores were to their respective films. Don't know if I'm correctly communicating what I mean.
|
|
|
|
|
|
|
"Listening to Jerry’s collective works is like spending time with an old friend – albeit, the most cynical and paranoid one you know."
Considering that he was blacklisted in the 1950's, that makes perfect sense.
Exactly!
|
|
|
|
|
|
I was just listening to Fielding's scores for the Cardinal and Collector episodes of Mission Impossible. I noticed the roots for themes he would later expand upon in The Wild Bunch, Lawman, and The Mechanic.
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
) - Lawman, Josey Wales, Wild Bunch; and of the non-western scores, The Enforcer stands out to me as one of his best.