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For Rocco And Others Who Hate Waiting For Page 2, Here's "Detroit Dandies" ContinuedArchive of old forum. No more postings.
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Topic: For Rocco And Others Who Hate Waiting For Page 2, Here's "Detroit Dandies" Continued
Shaun Rutherford
Oscar® Winner
OK, two things before I begin. First of all, I apologize for using "boring" icons to complement my posts lately (for some reason, I think it’s vital to catching the tone of the post, using the correct icons), but this laptop is making it extremely difficult to just select one (it goes by each one individually) and move on. Secondly, this is the second time I’ve written this, the first being lost due to a disconnect from AOL (which isn’t my usual internet provider, and I now see why; with my local internet service, when you disconnect after long periods of seemingly idle time (you know, when Daniel2 is composing his long-winded posts, he must get this DO YOU WANT TO STAY CONNECTED? screen constantly), it leaves all of your windows open......you know, just in case. With AOL, EVERYTHING SHUTS DOWN! (people have told me that I resemble Jim Cleveland, and I DON’T KNOW WHY!?!?!?!?!)So, here is my attempt to recapture the lost post. Read on if you dare.
For Rocco, I played Chris Young’s The Fly II, as we talked briefly about this score in Detroit (I’m pronouncing that as "DE-TWAH" now) and I wanted to beef up my knowledge of this score in case we had any more "head to heads" about it. I love "Come Fly With Me". I suggested this to a friend’s girlfriend, who was a ballerina of sorts (the 350 lb. weight class ; ) ), in hopes that she would want to interpret the piece into a dance. I played her the piece and just as the last note ended, I was thanked with a slap to the face. "The Fly Two?!?" is all I heard her say before I burst into tears.
(quick addition: Rocco, remember my email address is down with my computer, so I’ll be using whisper@lycosmail.com for the time being; if THAT even works!)For Hatfield, or Mark, or Mark H., or M.H., or Marky Mark And The Funky Hatfield Trio, I played Poledouris’ Breakdown (rejected orchestral version), as it was the only Poledouris action-y score that was suitable for play at 3AM (deja vu setting in, anyone?). I would have thrown in It’s My Party, but it just depresses me so (it’s one of the few scores that I can’t listen to without getting bummed out; same with both What Dreams May Come scores, Kamen and Morricone’s, but more so with Kamen’s for some reason).
Oh, and when I’m posting, not that any of you guys are thinking this, but if it seems as though with every post, I’m listening to a new score, I have my trusty 110-disc changer on random (so, for instance, right now I’m listening to "Viking Heads" from The 13th Warrior---I’d still rather call it Eaters Of The Dead; marketing bastards; I’m turning into Rocco with all of these parenthetical asides!)
For Howard, I honored him by putting not only one score in, but TWO! Feel proud, young senator. Anyway, I put in Grand Canyon originally, because I’m still reeling from the fact that Howard likes this score enough to take it on a long drive. In fact, after all of his postings about 1776 and Two For The Road and Twilight Zone and on and on, I had him pigeonholed as someone who would never listen to something as "modern" as Grand Canyon. Then I had the pleasure of re-reading the play written by his good friend Willard Knight (the same one that you gave Jerry, right?), and there was the reference to James Newton Howard’s best score (did you hear that in the cheap seats, folks?!? Grand Canyon! Howard’s best score!). So, that was Howard’s sole contribution to my listening choices last night. Until...........I was actually in bed, with the lights out ("Don’t Want Out" from Grand Canyon playing, right at the beginning), and suddenly, I was vaguely reminded of something Howard said to Mr. Goldsmith about the Matinee score. I couldn’t remember what it was, so I booted this damned thing back up and found the Up Front & In Person (uh-oh, sno-cone man; wait, nevermind, it’s the "competitor", not the local guy, who’s getting old and about to be "run over" by this "competitor", who has 50 flavors to the old man’s 5---the old man puts an extra tub of syrup in between the usual four, which is nice) thread (don’t read this, just had to add another pair of parenthesis), and re-read it. So, as a result, in went the Matinee score. It’s nice to hear on a nice warm summer night. Unfortunately, it was bitter cold up here, so in went Megadeth. Just kidding. What was I saying? Oh yeah, Howard----I wanted to ask you if that Matinee music you referred to was actually on the CD. I haven’t seen the film in a couple years (great film, buried in the January dump of releases in early ‘93), so I can’t remember exactly how the scene played. Phew! This was a long post! Oh, actually, Howard---if you’ve made it this far--I actually put in THREE SCORES for you! Just looked over and saw Lifeforce sitting in the pile, which was something we talked ever-so-briefly about (don’t listen to this score enough; damn it’s good; another 1985 score casualty).
Oh, and just to not leave anybody out, for Wedge, I put in The Phantom Menace, which in its almost complete form makes for a much better listen than the wretched Sony release. And hey-----I put in the Powder score for you, man whose screen name I forget! It’s not so bad a score---well, the theme is really good, but unfortunately I heard The Edge first (Powder I skipped until much, much later) and that film’s theme is basically the Powder theme with some First Knight re-stylings. Anyway, the B-theme from Powder is really, really good. It sounds like someone reaching to the sky. Neat.
OK, I’ve written far too much for anybody to care about. Hey Mark, I was trying to find your phone number on the web and then by calling information, but your number is unlisted! If you don’t mind, send me an email at whisper@lycosmail.com and tell me if it’s cool to give you a call. It’s been fun calling people from the board, and I think I’ll be less likely to hyperventilate (for some reason, when I call people I haven’t talked to before, I take in less breath and have to stop for air every once in a while) now that I’ve met some of you guys.
I’m really done now.
Really.
I’m serious.
Shaun
NP---Fight Club (how’s THAT for a variety!)posted 06-07-2000 04:43 PM PT (US) Chris Kinsinger
Oscar® Winner
Are you SURE you're really done?posted 06-07-2000 07:05 PM PT (US) dantoris
Oscar® Winner
Speaking of DANIEL2, he has yet to post any entries in Graham's new "What Have You Seen In JUNE?" thread.Hmmmm . . .
posted 06-07-2000 07:13 PM PT (US) Howard L
Oscar® Winner
Interesting how the "post-concert blues" on early Monday evening had me saying to myself that "there must be another performance tonight and I have to get ready to pick up Mark & H Rocco"--only to pull myself together and face reality and admit that the show really grew on me. 'S the only time I've ever gone to the same anything 3 nights-in-a-row; didn't miss the Motown Museum nor that street in Okemos at all."Oh yeah, Howard----I wanted to ask you if that Matinee music you referred to was actually on the CD. I haven’t seen the film in a couple years (great film, buried in the January dump of releases in early ‘93), so I can’t remember exactly how the scene played."
Another McKone favorite: the cue is entitled "Halfway Home" and begins with what I'm sure was an intended parody of the "Alfred Hitchcock Presents" TV theme. After this part comes the music/scene I alluded to with Jerry.
You may recall Mr. G stating that with Patton he felt he "captured the essence of the character." Hearing him specifically use that phrase "capture" gave me tremendous satisfaction. If he had the time, I would have liked to discuss the old capture vs. create thing by comparing his approaches to "Halfway Home" and Poltergeist's "The Light." The reason is that both scenes depict a grown-up mentoring a youngster; again, with Matineee it was the John Goodman character walking down Main St. and explaining the magic of making movies to the awestruck young man. I love the scene so much because Woolsey/Goodman doesn't patronize one bit and Jerry "created" a beautiful mood of melancholy to the whole thing. At one point, though, the music turns ominous, menacing and this is where Jerry "captured" the boy's feelings as he views an imaginary animated prehistoric beast in-tandem with Woolsey's voice-over. But then it goes back to that beautiful music as the camera swings forward into the theatre and makes its way past the ticket counter, popcorn machine & into the auditorium. It is a powerfully directed scene.
With Poltergeist it was when the Beatrice Straight character explained to the little boy the story behind the lost souls and their loneliness, "oh, they're so lonely." The music of "The Light" perfectly captured both her's and the boy's fascination, awe and wonder. You see this in their faces. It's a magnificent moment.
My question to Jerry would be "2 similar scenes, 2 different approaches; was this a deliberate act or was it more an instinctive thing on your part?" Could be a neat discussion. I've tried playing "Halfway Home" while envisioning the Poltergeist scene in my mind, and it's somewhat of a fit, but a tough one. "The Light", however, together with the Matinee scene is a no-go. One reason, perhaps, is that even though there are some moments of comic relief in what is essentially a horror film with Poltergeist, the opposite holds true for Matinee, a film that is basically a comic romp with moments of sublime drama.
What a neat way to pick apart J's composing mind. Ah, the stuff of dreams.
posted 06-08-2000 08:30 AM PT (US) Howard L
Oscar® Winner
ALL RIGHT NOW LISTEN UP ALL YOU DETROIT "DANDIES":That marvelously full coif of still-brown hair on top of this you-should-look as-good-at-this-at-the-ripe-old-age-of-44 youngster's head is all mine and all real and if you thought otherwise then on your knees and beg for forgiveness ONE MORE TIME.
Someone here at work rather sheepishly inquired since consensus in that 'other' department is that Howard L's gotta be wearing a rug. Wrong-o, Brynner Breath! This accusation has dogged me for upwards of 20 years. If not longer.
On second thought, the whole thing's rather flattering. So for you of the Detroit gathering who figured erroneously, I hereby suspend the requirement to kneel in my presence.
--FOR NOW. And Peter K, it shall be a proverbial frigid afternoon in Hades before you'll get a picture out of me. IN EITHER CASE.
We now return you to our regularly scheduled programming already in progress...
*********************************************[This message has been edited by Howard L (edited 15 June 2000).]
posted 06-15-2000 12:46 PM PT (US) Shaun Rutherford
Oscar® Winner
It's almost been a damned YEAR since the Detroit concert. Damn.In honor of that, I'm resurrecting this thread, as it keeps my memory of the occasion fresh.
Shaun
posted 05-31-2001 07:55 PM PT (US) jonathan_little
Oscar® Winner
Wow, I had weird feelings when I started reading this... and then read the date.I'm telling Peter!!!!!
posted 05-31-2001 07:59 PM PT (US) Old Infopop Software by UBB