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I would love to have been at THE EXORCIST session to see Friedkin "Go "Bale" on Lalo
ahahahhaha!!!!!!!!!!!!
b
LOL!!!
Just remember to duck when Friedkin throws the tape reel!!!
If indeed that's what really happened. I rather suspect that was a bit of storyteller's license! But, yes, good call ... why witness an 'ordinary' session when you can witness something like this. Even better: witness that fateful day of Torn Curtain recording....
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Posted: |
May 9, 2014 - 6:29 AM
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By: |
ian642002
(Member)
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Ooooh. Not sure I know that story. Do tell!!!
I'll handle this - stand back, everyone. (Rolls up sleeves)
Forgive me if I'm rusty on details, but here's what happened:
Hitchcock was well aware of certain trends in film music at the time of filming Torn Curtain and knew that commercial considerations were paramount, what with the burgeoning appeal of pop music in films that sprang up in the '50's. With that in mind, Hitchcock instructed Herrmann to compose a more 'popular' commercial score in tune with the times for Torn Curtain. Herrmann goes away to write the score.
But this is Herrmann: dogmatic, irascible and not easily swayed by fads or crazes, musically or otherwise. He writes a Bernard Herrmann score, dramatic to a fault, operatic and uncompromising.
Herrmann goes to the scoring stage to record the score, with Hitchcock - who has not yet heard a note - in attendance. As Herrmann conducts the main theme, Hitchcock grows irritable. His irritation grows into annoyance. His annoyance then grows into fury, as the style he required Herrmann to assume is ignored in favour of a typical un-'poppy' Herrmann (and you would think, Hitchcock) style. He confronts Herrmann, chews him out before the orchestra and fires him on the spot.
As you know, they never work together again.
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ALIEN by Jerry, with Lionel conducting. I still can't get over the sounds that orchestra produced.
I hate to break the "bad' news but..............
most of those sounds were created in the mix - i.e. JG did ALOT of processing (echo, tape manipulation, etc.)
I would love to have been at THE EXORCIST session to see Friedkin "Go "Bale" on Lalo
ahahahhaha!!!!!!!!!!!!
b
Naturally, most of us here would be aware that Jerry added a lot of effects in the mixing room, although he did incorporate the electronics live to far greater extent than is common today. I was referring more to the incredibly innovative orchestral techniques used in the acoustic elements of the ALIEN score. You actually get a wonderful taste of this in the rehearsal and "sound check" tracks included on the Intrada release (where it is also clear that many of the echoplex effects were being created live). I'd dearly love to hear how these sounds and techniques were communicated to the performers, what the sheet music actually looked like, and how long it took to get just the right sounds, what were the reactions and comments of the musicans performing the piece... Not to mention the joy of hearing the National Phil sink their teeth into the sweeping, lyrical passages in the score, right there in the same room.
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miklos rozsa recording BEN HUR and KING OF KINGS and EL-CID.
alex north recording SPARTACUS and CLEOPATRA.
dimitri tiomkin recording THE FALL OF THE ROMAN EMPIRE,THE ALAMO and DUEL IN THE SUN.
ernest gold recording george anthiel's THE PRIDE AND THE PASSION.
film-music history in the making.
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