From Rodney Perkins Sent Thu, Apr 22nd 1999, 14:56
From Rodney Perkins Sent Thu, Apr 22nd 1999, 14:56
My two favorites soundtrack artists are Goblin and Bernard Hermann. Can't envision "Suspiria," "Psycho," "North by Northwest" or "Taxi Driver" without those pumping, slashing scores. I would say the first two flicks are the best examples. I love Ennio Morricone but after the spaghetti westerns, his stuff seriously lagged. Exorcist II had some fun stuff but it kind of sounded like a bad Goblin rip-off. >> >> Apparently none of these people learned from the genius that happens when >> one person is allowed to score a movie...best example in my book as the >> ultimate music complimenting film and vice versa would have to be all the >> Sergio Leone / Ennio Morricone projects. Let's face it, close ups of >> Eastwood / Van Cleef eyes and sweating foreheads for 5 minutes is only >> made exciting by how awesome Morricones score was. Come to think of it, I >> bet those soundtracks sold extremely well. There is a lesson here someone >> in Hollywood is ignoring. > > second best example: isaac hayes' score for shaft, which did quite well > and was quite influential as an album in its own right. > > third best example: wendy carlos' score for "a clockwork orange", a film > which scores bonus points for incorporating pop songs (though not in the > hollywood product placement manner) along with its score. > > jeff is right. the lesson is being ignored, and the more recent ones of > "reality bites" and "pulp fiction" (collections of unrelated songs selling > big) are being slavishly followed in the assembly of soundtracks now. i > think there's a bit of a movement back towards thoughtful interaction > with film...john mcentire's recent score for reach the rock, some other > stuff i'm forgetting. > > basically, it's gonna take one of "us" to make it as a filmmaker first! > > rob > (who would give his first born child to get amon tobin to score his film) > >