Valentine's Day, Sunday, February 14, 2010 at 10:20 am

More documents

Recommendations

Info

choose between that movie and 20,000 Leagues Under the Sea, I would pick ForbiddenPlanet--although the former had many credits to it. But overall the sci-fi movie made agreater impression upon me as a kid. Needless to say, both movies needed a score byHerrmann!Avie made good comments but I would not necessarily call it cartoon music per se--although Smith does "mickey-mouse" the music fairly often. A lot of the musicsequences involve the Ned Land motif, which is essentially the Whale of a Tale songmelody.It's not cartoon music per se but definitely COMICAL in nature, and a bitoverdone in this movie in terms of frequency. While I think Kirk Douglas was a big plusin the movie, and gave it a lot of energy (and I wonder what leit-motif Max Steinerwould've given the Ned Land character!), Avie is right when he hints that there is nocharacterization or deepness here, except perhaps for the Nemo character to some extent(excellently cast by James Mason). I enjoyed the Abbott & Costello great chemistrybetween the Kirk Douglas and the Peter Lorre characters, but once again it diminishes thedramatic potential of the movie. The writers did not practice a moderate discretion here:Enough & Not Too Much. The Professor Aronnax character is okay but I don't thinkcasting Paul Lukas for the part was ideal! I loved the matte painting effects, the Nautilusship itself, and many other features in this movie. The score itself is competent, and attimes quite good or effective. There are even a few isolated Herrmannesquepoints...“Justified Hate” Reel 8/B. 4/4 time, 3 pages, 10 bars. Dvd location:1:06:46.Scene: Nemo and Aronnax argue over the justification of the attack. Violas andcelli are soli in the first two bars. Towards the end of this cue (dvd 1:07:23), there is anice and rather Herrmannesque sonority as the Professor states that “it's a bittersubstitute.” There are other sections in the score I liked and appreciated, so I would notlabel Smith's work as atrocious, especially after researching the actual written score. Buthe seemed in many cases to lack the dramatic instinct necessary for a memorable score, aquality that Herrmann had in spades, and also Max Steiner and other film music TopGuns. At times Smith's music reminded me in character to Leith Stevens' music, and Iwas not terribly impressed by his music--although he was quite capable and intelligentand even "interesting" with his choices. For instance, I liked the War of the Worlds score.But their music never really moved me in most cases. Not terribly distinct and impressive(as Herrmann's music was, or Steiner's, Goldsmith in many cases, etc.). I would definitelySTUDY all of their music if I had the time and opportunity, but I would normally care tolisten to their music as a steady musical diet. Herrmann's music was "meat & potatoes" indramatic substance, while Steven's and Smith's music for me would be the occasionaldesert. Herrmann's music is the main course meal. Of course that is my own personaltastes.I was just watching the opening scene music (after the Main Title) of the Alan Laddmovie, The Iron Mistress that I bought as part of the ten-dvd deal at Thanksgiving.Fantastic, energizing music! This is when the three brothers chase and fight over the bagof money to see who goes to New Orleans. Max Steiner did a memorable piece of workhere at this point, although the film itself is weak. The music animates again when thefamous Bowie knife is made. Anyway, while I "appreciate" what Smith did in the Disneymovie, none of it really "excited" me as Steiner's music did in that one opening scene.182
talkingherrmann mailing list*******************************************12-28-09:Talking Herrmann: 20,000 Leagues Under the Sea: Was Herrmann Considered byDisney?Reply by: Bill Wrobel ()______________________________________________________________________Back in September 2003, after my Herrmannesque score for Hitchcock's The Birds (seeimages on my site), I decided to start a Herrmannesque score for Disney's film as well. Istarted with the Main Title sketch (and the first four bars orchestrated) and the sketch for"The Drawing" (Smith did not compose music for that scene). My approach in part wasto simulate, especially with the Main Title, the same overall approach Herrmann took onJourney to the Center of the Earth--but applied to the depth of the ocean instead of thedepths of the earth! I did not want to replicate the approach Herrmann took just earlier onBeneath the 12 Mile Reef, and I am confident Herrmann would have done the musicaldesign differently as well. He might have two harps at least, maybe four, but not nine! Iemployed three english horns, 4 clarinets, 2 bass clarinets, 4 bassoons, 2 Contra bassoons,8 horns, 6 trumpets, 6 Pos, 4 tubas, 2 timp, 2 cymbals, bass drum, Tam Tam, chimes, 4harps, vibes, strings. I avoided the organ(s).Perhaps I will revisit this score project. If completed I'll put it online just as I did forThe Birds.{Image http://img709.imageshack.us/img709/5594/img0003nm.jpghttp://img709.imageshack.us/img709/5594/img0003nm.jpg{Image http://img94.imageshack.us/img94/505/img0004rfq.jpghttp://img94.imageshack.us/img94/505/img0004rfq.jpg_______________________________________________talkingherrmann mailing list*********************Talking Herrmann: 20,000 Leagues Under the Sea: Was Herrmann Considered byDisney?Reply by: Bill Wrobel ()183
Page 1 and 2:
FILM SCORE BLOGS [Blog # 41]Valenti
Page 3 and 4:
I enjoyed watching The Fugitive but
Page 5 and 6:
-“Fugitive Susp.” [I assume Fug
Page 7 and 8:
Then in the Fugitive episode comes
Page 9 and 10:
One purchase I did take advantage (
Page 11 and 12:
session but almost always left behi
Page 13 and 14:
pages to UCSB. The person is Marcus
Page 15 and 16:
triplet value 8ths down to (Bar 2)
Page 17 and 18:
for $2.50 long ago (probably at the
Page 19 and 20:
marriage with Groucho was a joke?
Page 21 and 22:
I discuss this in my final Talking
Page 23 and 24:
“Main Title” Cue #35885 Maestos
Page 25 and 26:
on note B.Bars 13-14 = The ostinato
Page 27 and 28:
whole notes. Timp trill (roll) on G
Page 29 and 30:
Bar 14= The melody line continues w
Page 31 and 32:
find 16th notes G#-A-B-C-D-E to 32n
Page 33 and 34:
sound). In Bar 12, notes F#-C#-F#,
Page 36 and 37:
Bar 24 = Bis on E min again. Bass c
Page 38 and 39:
Cmaj7#9 (C/E/G/B/D#), etc. Clarinet
Page 40 and 41:
amongst them. Very interesting chas
Page 42 and 43:
"Maria's Room" Lento (mesto) in C."
Page 44 and 45:
Principal recording date was July 1
Page 47 and 48:
to quarter notes as Hugo jokes abou
Page 49:
whole notes D/G held fermata. Bass
Page 52 and 53:
music "vira do minho" [unknown auth
Page 54 and 55:
ut with notes D-Eb-E, F, Gb-Ab to (
Page 56 and 57:
Bars 26-32 = The strings and organ
Page 58 and 59:
minor 2nd inversion 8th note chord
Page 61 and 62:
At the end of Bar 4 the baritone tr
Page 63 and 64:
octave F up to small octave C 8ths
Page 65 and 66:
(Bar 3) F/small octave C half notes
Page 67 and 68:
hiding), Rune questions Frail. The
Page 69 and 70:
on G note tied to next few bars. Th
Page 71 and 72:
the beat and the cymbal sounds off
Page 73 and 74:
[“Like what?!”] R6/5. Dramatic
Page 75 and 76:
In Bars 12-19, as she opens her eye
Page 77 and 78:
C#/E/G#/B) followed, after a half n
Page 79 and 80:
starting on F minor by the violins
Page 81 and 82:
twice more. Bar 1 = VC/CB B half no
Page 83 and 84:
Reel 5 pt 4 "Little Mama" Slow & Te
Page 85 and 86:
Reel 9 pt 7 "The Camp(original)" Sl
Page 87 and 88:
G-A-Bb-Line 1 C-D-D# (connected as
Page 89 and 90:
next bar in the same rest pattern.
Page 91 and 92:
D-F#-A-D-F#-A-D). The last note D (
Page 93 and 94:
and violas play "rubato" quarter no
Page 95 and 96:
case the scene works better without
Page 97 and 98:
on the first two beats by the flute
Page 99 and 100:
Reel 9/A "Judith Rejected". Deleted
Page 101 and 102:
locations after all. These unaligne
Page 103 and 104:
[Cue #3767] “Discovery of Well”
Page 105 and 106:
First is John Barry's simple but ef
Page 107 and 108:
different. But my guess is that the
Page 109 and 110:
Universal-Revue Studios Television.
Page 111 and 112:
-All cues # entries (whether 1 page
Page 113 and 114:
Talking Herrmann: ON DANGEROUS GROU
Page 115 and 116:
Idea for Markus M.: It would be fas
Page 117 and 118:
last one is weirdly notated by Herr
Page 119 and 120:
I did like DePalma's stylist approa
Page 121 and 122:
___________________________________
Page 123 and 124:
Thanks for your interesting observa
Page 125 and 126:
********************************10-
Page 127 and 128:
Mer,”…certain passages of it, I
Page 129 and 130:
{Image http://img193.imageshack.us/
Page 131 and 132: talkingherrmann mailing list*******
Page 133 and 134: While Herrmann was not the King of
Page 135 and 136: ___________________________________
Page 137 and 138: So Herrmann was playing with heavil
Page 139 and 140: different takes). I wonder if Bill
Page 141 and 142: Talking Herrmann: SUSPENSE THEME (C
Page 143 and 144: Talking Herrmann: Mind in the Shado
Page 145 and 146: 13. Nathan Hale - Cue #8 1:48 Berna
Page 147 and 148: NotHitch:"Coll" or "col" (normally
Page 149 and 150: ___________________________________
Page 151 and 152: {Image http://img252.imageshack.us/
Page 153 and 154: I had long ago written a paper on t
Page 155 and 156: I will provide more examples shortl
Page 157 and 158: Below is another image from "A Man'
Page 159 and 160: CBS-television score for the pilot
Page 161 and 162: The image below is my own personal
Page 163 and 164: **********************Talking Herrm
Page 165 and 166: talkingherrmann mailing list*******
Page 167 and 168: six versions of the last two bars t
Page 169 and 170: You know, I've been trying to recal
Page 171 and 172: http://img695.imageshack.us/img695/
Page 173 and 174: The top of the scan shows On Danger
Page 175 and 176: Personally I was a bit disappointed
Page 177 and 178: 5. BH discussed his meeting with Co
Page 179 and 180: Crime school, Four Daughters, Break
Page 181: I wonder if anybody here knows (per
Page 185 and 186: was far more adaptable and willing
Page 187 and 188: I forgot to mention that the Wester
Page 189 and 190: On Monday, they will start showing
Page 191 and 192: Vera Miles is in episode # 19, "The
Page 193 and 194: gets a revelation at that instant w
Page 195 and 196: ***************************Sunday,
Page 197 and 198: 2010 and maybe into 2011). This esp
Page 199 and 200: Herrmann television scores, various
Page 201 and 202: I archived into Word whatever inter
show all

Valentine's Day, Sunday, February 14, 2010 at 10:20 am

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?