 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Rozsa, Castelnuovo Tedesco and Amfitheatrof on 'Time Out of Mind'.
|
|
|
|
|
|
Castelnuovo-Tedesco also contributed all of the best music for Lassie, though as only "additional music" composer, he was not credited on the outside of FSM's beautiful package along with all the other composers (the length of his last name probably had something to do with that, too!)
http://www.filmscoremonthly.com/cds/detail.cfm/CDID/459/Lassie-Come-Home-The-Canine-Cinema-Collection/
Just listen to track 12 from disc 2, Injured Dog. Sadly one of only two cues in that score to have sound effects...but it doesn't matter because it's one of the most beautiful things on the set!
(For me, the only other composer who matched Castelnuovo-Tedesco for compositional talent on the series was Andre Previn...sadly his contributions to the series also didn't survive except on music & effects tracks! I'm ever so grateful to FSM for including those anyway, because it's some of the best music and his very first credited scoring in Hollywood.)
Yavar
|
|
|
|
|
|
"Zoya"
Theme by Basil Poledouris and for some reason the score by William Goldstein.
|
|
|
|
|
|
|
|
|
|
"Zoya"
Theme by Basil Poledouris and for some reason the score by William Goldstein.
You could just as easily say, "Score by William Goldstein and for some reason the theme by Basil Poledouris"
No bigger Basil fan than I, but the way you put it seemed vaguely insulting towards Mr. Goldstein who (as I'm sure you know) is quite a talented composer himself.
I'm guessing Basil only had time in his schedule to write the theme, due to other commitments.
Yavar
|
|
|
|
|
|
Apocalypse Now was credited "Music by Carmine Coppola and Francis Coppola", though I am skeptical of how much music Francis actually "composed". Coppola the younger has never written any other music that I know of (and certainly didn't score any of his other films).
I don't know the details, but he was reputed to have written musicals when he was the boy wonder of the Hofstra drama department, as an undergrad. It would be interesting to know if any music sheets survive, or if anyone catalogued this work. I know bootleg recordings do exist. There's a thesis in here somewhere, somebody.
Interesting, I never knew that. Coppola's films certainly have had a number of good scores (his father's, Rota's, Barry's leap to mind), plus some offbeat but effective composer choices (Joe Jackson on Tucker) which would bespeak at the very least a musical ear.
|
|
|
|
|
|
And back to John Barry: he collaborated with Ken Thorne on Murphy's War (1971) and They Might Be Giants (1971) ... though it may be that the former left the project after providing a main theme or two ...
On these films, the deal was the Barry would write themes / key sequences and Thorne would score the films with them. Whether that arrangement was because of time or budgetary constraints, I don't know, but it's definitely not because Barry walked off the projects. If Barry had walked, his themes would have walked with him.
That was the deal with the Golden Seal too, and in that case it was because of time constraints as he was committed to working on Octopussy.
Cheers
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
