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Any chance of these seeing the light?
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"Jarre" and "electronics" is like saying a "cookie" and "lettuce". I can't name a Jarre -- that I've heard -- with electronics that I wanted to hear again.
I had to separate the orchestral bits of "Ghost" to make suites for my enjoyment pleasure, and dump the electronic stuff.
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"Jarre" and "electronics" is like saying a "cookie" and "lettuce". I can't name a Jarre -- that I've heard -- with electronics that I wanted to hear again.
I had to separate the orchestral bits of "Ghost" to make suites for my enjoyment pleasure, and dump the electronic stuff.
So, you have no interest in Mad Max Beyond Thunderdome, Witness, Enemy Mine, etc?
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If they have orchestral bits I can take away like "Ghost", then I do. But having seen "Witness", I'm not particularly moved by the electronic score. The other two I have yet to sample.
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If they have orchestral bits I can take away like "Ghost", then I do. But having seen "Witness", I'm not particularly moved by the electronic score. The other two I have yet to sample.
Enemy Mine is interesting, as it is a case of "either / or" -- some passages are purely electronic, the others purely orchestral, with very little overlap.
The end title is one of the most impressive pieces of music Jarre ever wrote -- big, broad, celebratory -- imagine if Mahler wrote something in the vein of "Pomp and Circumstance"!
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If they have orchestral bits I can take away like "Ghost", then I do. But having seen "Witness", I'm not particularly moved by the electronic score. The other two I have yet to sample.
Enemy Mine is interesting, as it is a case of "either / or" -- some passages are purely electronic, the others purely orchestral, with very little overlap.
The end title is one of the most impressive pieces of music Jarre ever wrote -- big, broad, celebratory -- imagine if Mahler wrote something in the vein of "Pomp and Circumstance"!
If you like (for example) Dark Crystal you should like the end of Enemy Mine.
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Is the FIREFOX rights hold-up the usual Eastwood dead-end?
Isn't that also holding up THE OUTLAW JOSEY WALES?
If so, how come some Eastwood titles have/are showing up at Intrada recently?
What is the "usual Eastwood dead-end"? Does Eastwood not like scores?
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He likes scores, he just doesn't seem to be interested in doing business with labels who want to release ones connected to him.
Lukas mentioned, on quite a few occasions, how it was almost impossible to get Malpaso (Eastwood's company) to jump on board a new/expanded CD release.
I wanted to know if that was still the main sticking point.
I’ve had several conversations with Eastwood’s folks and they’ve been nothing but supportive. I’ve taken several runs at Firefox even locating the master Jarre had prepared. There’s something on the WB end that is holding it up but it’s not clear what.
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