By the way Mr. Stromberg, while I have your attention,John Morgan once was kind enough to send me an e-mail when I requested a complete DUEL IN THE SUN. He told me he would love to do it also. How do you feel about such a project?
I didn't see it at all until John Morgan showed it to me and my wife Francesca a few years ago. Both film and score completely blew us away (his nice big screen and fine sound system certainly helped -- thanks John). I consider it to be one of the finest film scores ever written...one of those few that transports you to a different level of consciousness. I'm really surprised that it hasn't received a decent album release so far. I'm also shocked that Schumann's career didn't take off in a dramatic direction after that assignment, but I guess the film wasn't a success and Laughton sadly didn't direct any more films...
Francesca and I were lucky enough to see the film a second time last year in *theater* with both John and Bill in attendance (Bill also brought some of his lovely kids). It was a double feature in Hollywood, being paired with that other great Mitchum-as-villain film, Cape Fear. A very memorable evening.
It was also the first chance I had to meet Preston, who wrote the definitive book on the subject (I'm sure he'll chime in here shortly). I introduced myself, bought a copy of his book, and got it signed. The best news I'm saving for last -- he shared with us in his talk about the film that no less than the Criterion Collection (!!!) is going to be putting out a new deluxe restored version of the film, for the first time in its full correct aspect ratio! This is news that hasn't made it to sites like The Digital Bits yet, but Preston is actually somewhat involved with the release and he was able to share the great news with those in attendance.
Wouldn't it be great if the Tribute team could have a complete re-recording ready in time to capitalize on the high-profile Criterion release, which will surely increase the film's exposure? Maybe Preston could even arrange some cross-promotion (ie. an ad for the Criterion DVD placed in the Tribute CD packaging, and vice versa, or perhaps even a mention on the DVD itself -- heck, maybe even excerpts from the complete re-recording could be used in the DVD menus for really impressive sound on Blu-ray!) I know, I know...I'm getting ahead of myself. But c'mon Tribute, if you really want to do this score there is NEVER going to be a better time than now.
Wouldn't it be great if all the people wanting this score would set up a collection to help fund the project, provided the Tribute team would accept your money? What a noble and unique event that would be! Then you could all take some pride in knowing you helped make it happen!
What a noble and unique event that would be! Then you could all take some pride in knowing you helped make it happen!
The feeling I get from reading other threads here, is that you seem to take more pride in preventing other labels' releases, rather than helping make things happen.
The tough part would be finding a vocalist to do the amazing song for the river journey justice, I think.Yavar
I think there's someone out there who could sing it.
The film's soundtrack was copied for the RCA LP that was narrated by Charles Laughton. Perhaps that master without the narration is still in storage somewhere.
"The feeling I get from reading other threads here, is that you seem to take more pride in preventing other labels' releases, rather than helping make things happen."
That's where you're dead wrong, and you should stop listening to people making things up. In my entire life I only stopped one illegal release. I never stopped any legal releases. The reason I stopped the illegal release was because my client who owns the music is still owed money by a number of film music labels who didn't pay the royalties they were supposed to pay her for previous releases. And she didn't want to work with any labels until these financial problems were taken care of. Because she went out of her way to help these labels, only to be subsequently ripped-off by them. The labels have still not paid her, so there you have it. It was her choice and I backed her on it, because it was the right decision for her to make.
I have never stopped a single authorized soundtrack release in my life. Nor have I ever tried to. But I have had many releases "stolen" from me when I agreed to help certain labels on their projects, and in return they promised to let me have certain titles for my own label. And after I helped them, they then promptly released the titles they had promised to me.
So yes, there are people affecting other labels' soundtrack releases, but I am not one of them.
I have helped almost every label in various soundtrack releases in one way or another, with the possible exception of Varese and maybe another one or two, simply because they have never asked me. If they did, I'd probably be happy to help. I always did this work for free, except in a couple of small cases where I wanted some money ($100 or less) to pass along to the composers' families or those I had to hire to get the work done. I don't always get comps, I don't ask for credit, and I just do it in the background. Anyone who REALLY knows me -- as opposed to those who just listen to second-and-third-hand ravings -- knows that there are a ton of soundtrack releases out there because I helped in some major ways to enable those labels to find and release the music.
"The feeling I get from reading other threads here, is that you seem to take more pride in preventing other labels' releases, rather than helping make things happen."
That's where you're dead wrong, and you should stop listening to people making things up. In my entire life I only stopped one illegal release. I never stopped any legal releases. The reason I stopped the illegal release was because my client who owns the music is still owed money by a number of film music labels who didn't pay the royalties they were supposed to pay her for previous releases. And she didn't want to work with any labels until these financial problems were taken care of. Because she went out of her way to help these labels, only to be subsequently ripped-off by them. The labels have still not paid her, so there you have it. It was her choice and I backed her on it, because it was the right decision for her to make.
I have never stopped a single authorized soundtrack release in my life. Nor have I ever tried to. But I have had many releases "stolen" from me when I agreed to help certain labels on their projects, and in return they promised to let me have certain titles for my own label. And after I helped them, they then promptly released the titles they had promised to me.
So yes, there are people affecting other labels' soundtrack releases, but I am not one of them.
I have helped almost every label in various soundtrack releases in one way or another, with the possible exception of Varese and maybe another one or two, simply because they have never asked me. If they did, I'd probably be happy to help. I always did this work for free, except in a couple of small cases where I wanted some money ($100 or less) to pass along to the composers' families or those I had to hire to get the work done. I don't always get comps, I don't ask for credit, and I just do it in the background. Anyone who REALLY knows me -- as opposed to those who just listen to second-and-third-hand ravings -- knows that there are a ton of soundtrack releases out there because I helped in some major ways to enable those labels to find and release the music.
Oh, let's not be coy. I LEGALLY licensed the soundtrack of The Last Man on Earth from the rights' holders, which, BTW, is not you OR your client - it's MGM. What your client has the right to do is withhold the publishing, which, thanks to you, she did, thereby precluding us from doing the title.
That's right - YOU, as you told me, were very responsible for her not granting those rights - and just so everyone knows, this is a VERY arcane rule about first use in publishing - had the score been issued before we would have had no problem putting it out. Furthermore, MGM will never license it to you, so the score will remain unreleased. Bravo to you and your client. So, you did in fact stop an authorized release - authorized by the rights' holders - you know, the people who asked you to have your client please do the publishing deal. And when did you decide to let me know there was a problem - on the eve of our announcement, even though I'd told you about the release two weeks prior to that.
And you keep saying "labels" (with an emphasis on the plural) ripped your client off. Who are these labels - spell it out. Because your clear inference is, that Kritzerland was one of those labels. Unfortunately, that doesn't really hold any water, does it? No it doesn't for the simple reason that we have never dealt with the lady in question before because we have never released a Sawtell and Shefter score before and were in no way involved with any Sawtell and Shefter release. Your client does not own the MUSIC - she owns the publishing - there is a big difference, as you know. That's why YOU can't issue it. So because she feels she was ripped off by some label that is not MY label she punishes ALL labels? Have I got that right? And we all know exactly who is guiding her. You have not only stopped an authorized and NOT illegal release that was properly licensed from the rights' holders, you have gone out of your way to cause us and other labels incredible grief and if you want me to spell it out further I will be more than happy to just to show people who you really are. Then again, YOU'VE already shown them who you really are. But just to make it really clear - I sent the woman in question, your client, a check in ADVANCE for the entire amount of the publishing at full rate. Oh, you forgot to mention that. So, certainly we would not have been ripping her off, and yet, at your direction, she refused both acceptance of the check and the publishing. Again, bravo to you and your client - the music stays unreleased and she (and you) make nothing. That's show biz, baby.
You deserve no sympathy. Lukas has said it. Taylor White has said it, and I'm saying it. And karma, let me assure you, will take care of you. And despite your "poor poor pitiful me" horse manure, you also know WHO is responsible for you getting your next two releases, should you actually ever get around to releasing them - but, just in case you've forgotten, it was ME. That's right. ME. You know, the person who had a license from MGM to issue The Last Man on Earth.
And with that, I rest my case.
However, I can and will go into MUCH more detail if necessary - it will make the blood curdle and is more horrifying than any Vincent Price film.
Thanks for those clips, Ed (both of them...cool to hear other music by Schumann -- it was actually very good; I just wish the rest of his output wasn't comedy after being knocked out by Night of the Hunter).
I actually found a longer clip on YouTube, and this time it features the actual song for the river journey I was talking about -- the one sung by the little girl Pearl when they are actually on the boat. Unfortunately it is edited:
Thanks for those clips, Ed (both of them...cool to hear other music by Schumann -- it was actually very good; I just wish the rest of his output wasn't comedy after being knocked out by Night of the Hunter).
I actually found a longer clip on YouTube, and this time it features the actual song for the river journey I was talking about -- the one sung by the little girl Pearl when they are actually on the boat. Unfortunately it is edited:
Night of the Hunter is so beloved that people have done Tributes to it on YouTube. I think it's time that Tribute Film Classics did their own:
I'd buy this as well but I was concerned about who would provide the guttural scream that Preacher lets out that leads into the Dream, Little One Dream cue. It's such an integral part of the moment that hearing simply the music wouldn't be the same. Maybe Mel Gibson?
I have a vague recollection of someone claiming they rescued the music-without-dialogue tracks, possibly from RCA, only to have them destroyed in a basement flood. Can anyone recall such a tale? I've googled without success...
