 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
dp
|
|
|
|
|
|
|
|
|
|
"but when does it end?"
Before the late seventies, (correct me if I'm wrong here, Mr. DiMucci!) only a film's cast and the department heads ever received screen credit. Many times those names were at the front end of the movie, and only the cast received credit after "The End."
Wasn't Star Wars the first film to include that massive list of names at the finale?
But now that it's the norm, I believe that everyone who deserves credit should receive credit.
Most filmgoers are already driving home by the time all those names are rolling, and a mere few of us like to remain to read all the names, while listening to the score again.
The names of the individual musicians would add just a few seconds to the entire list.
I believe they belong there.
I believe it was Apocalypse Now that modernized the credit roll.
Considering each and every tech in the FX depts get mentioned, there is no reason not to credit the musicians.
|
|
|
|
|
|
|
 |
Posted: |
Oct 13, 2015 - 10:26 PM
|
|
|
|
By: |
Bob DiMucci
(Member)
|
I believe it was Apocalypse Now that modernized the credit roll.
Not sure what you mean by "modernized." APOCALYPSE NOW had a longer credit roll than STAR WARS (about 260 people named for AN vs. about 160 for SW), but other than that, not much difference. AN listed 45 people as just being with "Omni Zoetrope Studios," but the credits still didn't get around to listing drivers, payroll, carpenters, painters, landscapers, craft service people, or many others that are in today's credits.
United Artists and Coppola settled on a world premiere for APOCALYPSE NOW on 15 August 1979. The film was presented in 70mm at the Ziegfeld Theatre in New York City, the Cinerama Dome in Los Angeles, CA and the University Theatre in Toronto, Canada. After receiving permission from the entertainment guilds, Coppola showed the 70mm version without screen credits, a first in modern film history. For the 70mm presentation, a program listing crew and cast was handed out to the audience. The 35mm presentation was shown with full screen credits in a wider engagement in over 300 theaters starting 10 October 1979.
|
|
|
|
|
|
|
Once again…
Mr. DiMucci…YOU AMAZE ME!!!
I adore all of your contributions to the threads I visit. Every time I see your name, I read every word. You are a fountain of amazing information, and I deeply appreciate your generosity in sharing it with all of us!
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Posted: |
Oct 16, 2015 - 11:37 AM
|
|
|
|
By: |
Bob DiMucci
(Member)
|
As far back as 1956 -- Mike Todd's production of "Around the World in 80 Days" -- we had a major film credit block at the end of the film - 7 1/2 minutes or so of credits along with one of the most incredible credit sequences in film history.
This did not set a trend, as it were, but it exists nevertheless.
The credit sequence for AROUND THE WORLD IN EIGHTY DAYS may have taken a long time, but in terms of the number of credits listed, it doesn't approach STAR WARS. The animated color credits, which were created by Saul Bass, feature caricatures and artwork of the performers and crew, and suggest the scenes in which the actors appeared. An old-fashioned bicycle represents “Passepartout,” a pocketwatch with legs represents “Phileas Fogg” and “Princess Aouda” is represented by an impressionistic face with green eyes and flowing scarves. These three icons are seen throughout the credits, sometimes followed by a mustachioed face that represents “Inspector Fix.”
More extensive credits appear in the film's program, titled "Michael Todd’s Around the World in 80 Days Almanac: The Story of the World’s Most Honored Show," which was sold at road show engagements. That book contains upwards of 800 credits that did not appear on the screen.
|
|
|
|
|
|
|
|
|
|
|
Speculation, but it could be that it costs money to now list musicians (at least in the U.S.). Somebody is paid to type it up, some company probably goes by the character for the font (epsecially if a specially created font), and then there is the musician's list. You have to pay the AFM a minimum fee to get a list of musicians for a project (I think that fee gives you up to three titles). They barely want to pay a composer nowadays, let alone probably give AFM money for a listing.
Then you have projects that are sometimes recorded outside the union or work done where it needs to be hush-hush, and everybody may not want to be credited. Bunches of films with credits and suddenly ones without would raise suspicion.
And as another person pointed out, there are musicians who consider it nothing more than work. Some people, who've played on hundreds of scores, will go on and on about their latest performance on classical pieces and work in symphonies, then only throw a quick blurb on there on having played on film scores. While others, for example, have no end for their appreciation of film work -- just look at percussionists Emil Richards', with litterally approximately 2,000 credits.
|
|
|
|
|
|
|
I'm wondering if you are possibly over thinking this just a tad, Justin.
The typist who is paid to type up all the credits at the end of a film is most probably on the very lowest end of the pay scale.
That typist has to type hundreds of names for the multiple visual effects houses which were responsible for all the VFX work on the movie.
How much more could it possibly cost to add orchestra members?
Chump change!
And it is totally irrelevant what those orchestra members think about the work they've done.
"some company probably goes by the character for the font"
WHAT? I've been working in the graphic arts for over four decades, and I've never heard of such a practice!
|
|
|
|
|
|
|
|
|
|
And it is totally irrelevant what those orchestra members think about the work they've done.
To receive a simple credit for work performed, I agree that's not relevant for us to know what that person thought about his/her work assignment.
In our board members' passion for film music, though, I think we fans should acknowledge that because we love film music that this enthusiasm may not necessarily shared by those people who create such music.
I think, also, that what musicians think and how they behave are relevant to orchestra conductors. Remember that Mark Ford once mentioned here @ FSM that around 90% of a conductor's duties occur during rehearsals prior to the final recording/performance.
We soundtrack collectors get those final recordings on the albums we acquire, but very few of us (including myself) have inside knowledge on how conductors exert control and discipline over ensembles of players ranging in numbers from as low as - say - 16 musicians on a TV music recording to an orchestra of 100+ musicians for a big budget blockbuster.
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
