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I'm curious... The Varese re-recording with the Utah Symphony Orchestra was released contemporaneously with the film; why would they have gone to the trouble of recording a whole new album at that time, rather than use the already-existing elements (as they did for The Great Mouse Detective?).
The Varese recording used fewer musicians -- it was a smaller orchestra, and omitted the chorus heard on the soundtrack. The Utah Symphony was also a non-union orchestra, with cheaper rates. So it was less expensive to re-record than pay the re-use fee to release the soundtrack.
In the 70s and 80s it was not unusual to re-record scores for album release to avoid high re-use fees -- the "soundtrack" albums for Patton, Capricorn One, The Fury, Brainstorm and Legal Eagles were all re-recordings.
If I recall right, The great Mouse Detective's soundtrack was recorded in London, where musicians' fees were cheaper, and therefor the re-use fee was not as high.
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Posted: |
Apr 3, 2012 - 2:01 PM
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By: |
gmontag451
(Member)
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Yeah, I'm STILL waiting for some bright spark somewhere to release the 'proper' OST for Brainstorm. I know many feel the re-recording sounds ok, but I still want a full, complete edition of the 'proper' OST.
But I'm always amazed to hear about all those re-recordings back in the day. How on earth hiring the LSO to perform highlights from the score was actually cheaper than releasing the original soundtrack recording, just blows me away. You'd think when a soundtrack was recorded for a film, that would be the most prohibitive element cost-wise, not the issuing of it on an album.
The orchestra is already there, so the quality of performance and familiarity is already established, and I suppose a composer is then able to create an experience that wouldn't be possible using the film tracks, revisit themes and ideas without them being tied down to any visuals, much like John Williams tends to do with his soundtracks.
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Posted: |
Apr 3, 2012 - 2:03 PM
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By: |
gmontag451
(Member)
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I'm curious... The Varese re-recording with the Utah Symphony Orchestra was released contemporaneously with the film; why would they have gone to the trouble of recording a whole new album at that time, rather than use the already-existing elements (as they did for The Great Mouse Detective?).
The Varese recording used fewer musicians -- it was a smaller orchestra, and omitted the chorus heard on the soundtrack. The Utah Symphony was also a non-union orchestra, with cheaper rates. So it was less expensive to re-record than pay the re-use fee to release the soundtrack.
In the 70s and 80s it was not unusual to re-record scores for album release to avoid high re-use fees -- the "soundtrack" albums for Patton, Capricorn One, The Fury, Brainstorm and Legal Eagles were all re-recordings.
If I recall right, The great Mouse Detective's soundtrack was recorded in London, where musicians' fees were cheaper, and therefor the re-use fee was not as high.
Thank you Paul for your reply! Makes total sense.
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yeay. SINGLE DISC releases are back - for now at least!
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yeay. SINGLE DISC releases are back - for now at least!
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Posted: |
Apr 5, 2012 - 7:40 AM
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By: |
Shrike
(Member)
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I was looking at some clips on youtube, I've never seen the Black Cauldron. The animation looks ok and not too dated IMO. I read Roger Ebert's review who praised it, makes me want to check out the full thing.
The film is worth a watch, but I'd keep expectations pretty low. Some of the animation is spectacular and some of it is downright ugly, but by far the most disappointing aspect of the film is its story. Not even comparing it to the original books by Lloyd Alexander, the script is underdeveloped in nearly every way possible, with wafer-thin characterizations and little-to-no sense of place; watching the movie, you'd think Prydain is an almost unpopulated country small enough to walk across in a couple of hours. There's no worldbuilding to draw you into the story, save for the craft of the animation itself.
That said, there are moments where the material's potential is evident. Taran's anti-heroic arc is a welcome change of pace (if, again, woefully underexplored) and, had he been properly motivated, John Hurt's Horned King would undoubtedly have been one of the greatest of Disney villains -- as is, he's still pretty damn scary.
Worth seeing, in no small part to satisfy your curiosity, but probably unlikely to become a perennial favorite. Bernstein's score is definitely one of the film's highlights. I'll be picking this release up.
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