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Why didn't a version of the actual conversation in the park appear on the CD? The garbled versions that occur along the way function as musique concrete pieces.
What?????????
Why not include pieces of Hackman's mustache in the package, too?
Sorry, this is bizarre, even for us.
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Posted: |
Jul 28, 2014 - 9:39 PM
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By: |
OnyaBirri
(Member)
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What?????????
Why not include pieces of Hackman's mustache in the package, too?
Sorry, this is bizarre, even for us.
No, the concept may be bizarre for listeners with conservative tastes, and/or listeners who do not know or appreciate musique concrete, but for the adventurous listeners among us, those of us who uncork a few bottles of good wine and alternate between jazz, 20th century "classical," and electronic, it is completely natural.
In fact, these kinds of edgy juxtapositions are what got me into film music to begin with, not the neo-romantic claptrap written by guys you would expect to see on a golf course.
And that is just generally speaking. The fact that "The Conversation" in particular is about an audio surveillance expert, and that the audio that he records is integral to the film AND the fact that it is in essence a musique concrete piece collectively make its inclusion on the album very worthwhile, and its omission worth questioning.
So I stand by my original question, along with my assertion that such a piece would have been included on a concurrent LP.
And if that is "bizarre" for you, so be it. I suspect that I would be bored out of my mind by your record collection.
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What?????????
Why not include pieces of Hackman's mustache in the package, too?
Sorry, this is bizarre, even for us.
No, the concept may be bizarre for listeners with conservative tastes, and/or listeners who do not know or appreciate musique concrete, but for the adventurous listeners among us, those of us who uncork a few bottles of good wine and alternate between jazz, 20th century "classical," and electronic, it is completely natural.
In fact, these kinds of edgy juxtapositions are what got me into film music to begin with, not the neo-romantic claptrap written by guys you would expect to see on a golf course.
And that is just generally speaking. The fact that "The Conversation" in particular is about an audio surveillance expert, and that the audio that he records is integral to the film AND the fact that it is in essence a musique concrete piece collectively make its inclusion on the album very worthwhile, and its omission worth questioning.
So I stand by my original question, along with my assertion that such a piece would have been included on a concurrent LP.
And if that is "bizarre" for you, so be it. I suspect that I would be bored out of my mind by your record collection.
I stand by my belief that your question is mostly strange and out there. And, judging from the list of music on your profile, you'd probably love my record collection. It is on this issue that we differ!
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Why didn't a version of the actual conversation in the park appear on the CD? The garbled versions that occur along the way function as musique concrete pieces.
What?????????
Why not include pieces of Hackman's mustache in the package, too?
Sorry, this is bizarre, even for us.
Sorry, Shaun, but I'm with Onya on this. I'm a fan that prefers his musical presentations on soundtracks pretty straightforward, but indeed interstitial dialogue would be interesting in this case, and is certainly ubiquitous enough on '70s and even '80s soundtracks (heck, on Quentin Tarantino's soundtracks as well as Hannibal, too, if I'm not mistaken), as to be far from a bizarre concept.
I counter that your belief that Onya's posit is bizarre, is bizarre. 
Your turn! 
P.S. Perhaps it would help if Onya's term "musique concrete" were to include an accent in its appropriate spot?: musique concréte. Or be given an exact french translation?: musique béton. 
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And if that is "bizarre" for you, so be it. I suspect that I would be bored out of my mind by your record collection.
Now, now, Onya. I know Shaun got your ire up, but must we?
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I have just one more thing to say on this topic:
PREDATOR 2!!!
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Posted: |
Jul 29, 2014 - 1:26 PM
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By: |
OnyaBirri
(Member)
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Sorry, Shaun, but I'm with Onya on this. I'm a fan that prefers his musical presentations on soundtracks pretty straightforward, but indeed interstitial dialogue would be interesting in this case, and is certainly ubiquitous enough on '70s and even '80s soundtracks (heck, on Quentin Tarantino's soundtracks as well as Hannibal, too, if I'm not mistaken), as to be far from a bizarre concept.
I counter that your belief that Onya's posit is bizarre, is bizarre.
Your turn!
P.S. Perhaps it would help if Onya's term "musique concrete" were to include an accent in its appropriate spot?: musique concréte. Or be given an exact french translation?: musique béton.
And I am not even advocating for the straight dialog, although that would be fine too. I am talking about the garbled versions that function almost as part of the score. As for my spelling, blame my genius mobile device that I am still learning.
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