You're a great friend Yavar, that's very kind of you and I appreciate that. That's good to know, I may take you up on that if I can't find a copy. Thanks again my friend!
You're totally welcome! Yeah if you can find a fixed disc, great! But otherwise don't let it get you down because it's not an insurmountable issue like so many other defective discs are... i.e. missing dulcimer overlay on the Main Title of one of my favorite Mancini scores: The Thorn Birds! (Actually, come to think of it, that one is thankfully fixable too, thanks to the book Case History of a Film Score and its accompanying CD...)
Yavar
Hi Yavar! I just got the Case History of a Film Score cd too! And I found a corrected PPSA!
Congrats my friend! Will you be turning your attention back towards Poledouris now?
Yavar
I think so. BTW, on an unrelated topic, did you know part of Mancini's THE WHITE DAWN score is featured in THE RIGHT STUFF? I think when Glenn is in space.
Congrats my friend! Will you be turning your attention back towards Poledouris now?
Yavar
I think so. BTW, on an unrelated topic, did you know part of Mancini's THE WHITE DAWN score is featured in THE RIGHT STUFF? I think when Glenn is in space.
Not surprising since Philip Kaufman was a big classical nut and alot of Mancini's sore to White Dawn was replaced by it. Conti's situation on Right Stuff was far worse since Conti wrote 3 scores it and in the end was pretty much forced to copy Holst's The Planets. A real shame considering those tapes are missing to compare Conti's original vision like Mancini's on his score which I'm sure was masterful like Holst's.
Kaufman also used alot of classical music on the Unbearable Lightness of Being and on Henry & June in lieu of Mark Adler's original score which was released by Varese 30 years ago this year.
Toru Takemitsu was also forced to copy the temp track of his own work for Rising Sun with Sean Connery and Wesley Snipes with the work on this album
Which came as a complete surprise to me and almost note for note this was featured in his score and I have to say it's still a great score.
I'll give Mancini and Conti for working with Kaufman but they should've known like many have known about Terrence Malick, that their personal musical tastes always win out. A shame because great composers are willing to work with them but still lose out to that.
