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Doug Fake says this on the Intrada website:
"Another Tuesday ahead, another new Intrada CD to be had. Two scores, one composer, action and romance from the 70’s and 80’s respectively. Artwork, contents and sound samples will be available here tomorrow evening and orders will begin shipping on Tuesday, March 21. If you’re up for some new movie music, come check things out."
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The thing that screws a Michael Small pairing is both films would have to come from the same studio and I see no Universal mid-70's thriller that would pair up with CONTINENTAL DIVIDE, a score I would love to see a release of someday. All Small's thrillers from the mid-70's that haven't been released yet are UA, Warners, or Columbia films.
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In truth, "The Stepford Wives" was independently shot - or at least not shot by any major studio, and certainly through an estabishment that has since dispanded, and though home video rights licensed by Paramount, I am not sure where the music lies. So I still hold out hope for a "Stepford Wives"/"Continental Divide". I could be off but my gut says I just might not be! xXfingers crossedXx
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The thing is, Doug says "action" in the blurb quoted above. I don't see how anyone would describe Stepford Wives as action - but Two Minute Warning? That Fox double header guess sounds more and more on track.
(edit: erm, I forgot about that other good guess, you know, the right one!  )
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If it is Rosenman, that would probably mean Race with the Devil and Making Love.
Both are from 20th Century Fox. When my brother saw Race with the Devil back in the day, he said it had "Battle for the Planet of the Apes music," while Rosenman's Making Love theme resembles both his Rebel without a Cause and Herrmann's similar Marnie.
I don't want to be an I Told You So, but...
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The thing that screws a Michael Small pairing is both films would have to come from the same studio and I see no Universal mid-70's thriller that would pair up with CONTINENTAL DIVIDE, a score I would love to see a release of someday. All Small's thrillers from the mid-70's that haven't been released yet are UA, Warners, or Columbia films.
I'd always assumed this, and it may be covered in the relevant thread, but has anyone explained how Varese was able to pair Stanley & Iris (MGM/UA) with Pete 'n' Tillie (Universal)?
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Wowwwwwwwwwwwwwwwww!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Yesssssssssssssssssssssssssss!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
I knew, I knew, I knew, could only be Rosenman!!!! Thank you Intrada, you have fulfilled one of my deepest desires!!!!!!!!!!!! Already bought !!!!!!!!!!!!!
In celebration, I will now watch this incredible thriller with Peter Fonda & Warren Oates (RACE WITH THE DEVIL) ... and feel the pulse of Rosenman film score!!!
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Posted: |
Mar 20, 2017 - 5:50 PM
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By: |
SBD
(Member)
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The thing that screws a Michael Small pairing is both films would have to come from the same studio and I see no Universal mid-70's thriller that would pair up with CONTINENTAL DIVIDE, a score I would love to see a release of someday. All Small's thrillers from the mid-70's that haven't been released yet are UA, Warners, or Columbia films.
I'd always assumed this, and it may be covered in the relevant thread, but has anyone explained how Varese was able to pair Stanley & Iris (MGM/UA) with Pete 'n' Tillie (Universal)?
That blew my mind, too. Mike Matessino explained that Varese held the perp rights to STANLEY and it was just a matter of the label going to Universal for PETE (it being too short for its own disc and having the same director-composer team).
He explains it better:
Yes, two different studios but doors were not knocked down really because Varese has perpetuity rights to Stanley & Iris, so it was just a matter of going to Universal for additional tracks to license as you would do with adding existing songs to a score album release. With it being for the same composer/director collaboration and too short to release on its own, Universal agreed, but it all had to be prepped first so Mr. Williams could hear it and okay it, which he did. Pat Sullivan and I worked on this release together and it turned out very well.
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