|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
"Garden Of Evil" by Bernard Herrmann
|
|
|
|
|
|
|
|
I don't want to go back in time so much to attend sessions, as to go there the minute master tapes were thrown away, before they were recorded over, before a building flooded or caught fire, and rescue the tapes. Maybe use some futuristic technology to secretly record the sessions with modern techology. If, by some unprobably fate, we should have time machines, think of the historical aspect of rescuing film scores.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
THE DAY THE EARTH STOOD STILL by Bernard Herrmann or STAR TREK: THE MOTION PICTURE by Jerry Goldsmith both recorded at 20th Century Fox, I believe.
|
|
|
|
|
There are a selection I'd be very happy with. A 1960s or 1970s James Bond scoring session with John Barry would have been very cool, perhaps OHMSS or MOONRAKER. I'd love to have witnessed THE OMEN being recorded too, especially if it came with the opportunity to talk to Maestro Goldsmith about it. But in a way, I think what I'd most like to have witnessed is one of the more 'obscure' (if that's the right word) John Barry sessions: a session not well documented or photographed. And for some reason I'm attracted to the idea of witnessing John Barry at work in the late seventies, so I'm thinking things like GAME OF DEATH, THE BLACK HOLE or NIGHT GAMES. Not his greatest scores, by any means, but they appeal to me for strange, unknown reasons. Cheers
|
|
|
|
|
There are a selection I'd be very happy with...I'm attracted to the idea of witnessing John Barry at work in the late seventies, so I'm thinking things like GAME OF DEATH, THE BLACK HOLE or NIGHT GAMES. I'd go with Barry's KING KONG sessions, Stephen, just to hear that great low brass live.
|
|
|
|
|
Goldenthal's Final Fantasy, what a wonderful noise that would have been!
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|