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Just listening to that score for the first time. Boy, what a wild composition. The wonderful love theme btw. has some similarities with Corigliano`s REVOLUTION which I also love.
Is it really true, was there really a time when filmmusic was that inventive? What an artistic difference to the music we hear in today`s films. No way that this kind of music would be possible in a film of 2014 
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Just listening to that score for the first time. Boy, what a wild composition. The wonderful love theme btw. has some similarities with Corigliano`s REVOLUTION which I also love.
Is it really true, was there really a time when filmmusic was that inventive? What an artistic difference to the music we hear in today`s films. No way that this kind of music would be possible in a film of 2014
I think it's still possible, if rare. Mica Levi's score to Under The Skin is certainly like nothing else around this year.
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Just listening to that score for the first time. Boy, what a wild composition. The wonderful love theme btw. has some similarities with Corigliano`s REVOLUTION which I also love.
Is it really true, was there really a time when filmmusic was that inventive? What an artistic difference to the music we hear in today`s films. No way that this kind of music would be possible in a film of 2014
It was scarcely possible back then. Raksin recalled Corigliano saying how difficult it was writing this score as he wanted (since Russell wanted something different than what JC was doing), and in an interview in a magazine JC talked about how it wasn't easy to record (and he got leaned on by the studio for taking too long to do so.)
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It was scarcely possible back then. Raksin recalled Corigliano saying how difficult it was writing this score as he wanted (since Russell wanted something different than what JC was doing), and in an interview in a magazine JC talked about how it wasn't easy to record (and he got leaned on by the studio for taking too long to do so.)
Russell had temped the picture with mostly Bartok and Stravinsky, which made it seem like a spoof (as so much 50s horror music was in the style of those composers), but he was won over by Corigliano's suggestion that the film required something more modern.
Shockingly, one of Corigliano's strongest supporters on this film was actually a studio executive, Daniel Melnick, who appreciated contemporary music and encouraged the composer to be as experimental as possible.
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