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I guess it did sell out after that sale on FSM titles last week.
But the last FSM low quantities alert I saw -- earlier in 2017 -- went as high as titles with 100 or fewer copies - and "Outland" wasn't on that list anywhere.
The FSM page says it was limited to 10,000 copies. Lukas -- did it sell that many or was it cut off early after the last pressing?
By the way, if it is sold out, the FSM page should be edited to reflect that.
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"The Message" is really the odd one out from this score
and really beautiful
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Posted: |
Dec 5, 2023 - 11:12 AM
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By: |
Thor
(Member)
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I just watched OUTLAND again last night, for the first time in several years. Film still holds up -- excellent production design and mood. Love the opening, first with the John Williams Ladd logo, then straight into a visual landscape and (obviously) a score that puts one in the mindset of ALIEN. Williams followed by Goldsmith, what's not to like? True, the exploding heads are a bit goofy, but it's otherwise a tight conspiracy paranoia thriller set in space, where one is allowed to soak up the PLACE itself for extended periods of time. That's my kind of filmmaking. Still holds up as Hyams' best, I think.
I just now noticed that the centerpiece track "Hot Water" doesn't actually have any hot water in it until after it's finished, when Connery dips his hand in the casserolle with boiling water to retrieve the serum.
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Posted: |
Dec 5, 2023 - 11:22 AM
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By: |
Tom Servo
(Member)
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I just watched OUTLAND again last night, for the first time in several years. Film still holds up -- excellent production design and mood. Love the opening, first with the John Williams Ladd logo, then straight into a visual landscape and (obviously) a score that puts one in the mindset of ALIEN. Williams followed by Goldsmith, what's not to like? True, the exploding heads are a bit goofy, but it's otherwise a tight conspiracy paranoia thriller set in space, where one is allowed to soak up the PLACE itself for extended periods of time. That's my kind of filmmaking. Still holds up as Hyams' best, I think.
I just now noticed that the centerpiece track "Hot Water" doesn't actually have any hot water in it until after it's finished, when Connery dips his hand in the casserolle with boiling water to retrieve the serum.
Great assessment of the movie! I revisited it most recently during lockdown in 2020 and was pretty happy with most aspects of the experience, and of course, reminded again of the vast differences of the film versions of cues versus what Goldsmith put to album. The album experience of the cues are absolutely my preferred versions, but the film is a fascinating contrast, with Hyams pulling out many of the melodic lines.
And yeah, no hot water until that last minute - WTH? I guess it's more metaphorical than literal!
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All the nice things said about this movie hereabouts reminds me....
I was in a big comic book store in 1982 or so, and they were playing the vinyl soundtrack. One of the clerks said to the other - "Why do these terrible sci-fi films always have such great music?" I found myself nodding.
I mean, I enjoyed the movie on the big screen, loved the use of the music. And appreciated the mix of Alien-style sci-fi and 70's paranoid thriller styles. For about the first 2/3.
And then the hit men keep shooting out the windows so they suck vaccuum. Because, you know, professional killers are so stupid they want to risk killing themselves with every shot fired.
It's just so absurd to bring gun-toters to dispatch the lonely hero, however much it's trying for a High Noon vibe. And I know Hollywood has loved this kind of thing since at least Goldfinger. So it's a trope.
But it was just so monumentally dumb that I've never been able to take the movie seriously. Especailly when I see Sean toting his shotgun in the artwork. "Shotguns - in Space!"
The music I always have adored - a broader take on the Alien sound with some of the coolest action music ever. I love the FSM release as much as any Goldsmith release I've ever heard - and both programs are tops.
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If there were only some other way to kill someone, like with a knife, or a garote, or bare hands or something. I think the movie would have been much cooler and creepier if they had actually taken into account the limitations placed on the assassins because of the environment.
Sound in space is a convention that most of the time doesn't matter, because plot and character are not affected by it. But everybody who breathes needs air. I think back to Total Recall, which took the idea much more seriously and worked it into the story, rather than just making the villains look like the solar system's biggest dummies. And that was all a dream!
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Anyone still got the big Foto-Novel by Richard J Anobile?
I have.
He also did one for ALIEN, which looked very similar.
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....But thankfully, for certain films, story elements don't matter that much to me. What is FAR more important is engrossment and tactictility, i.e. the sense of place and being there and absorbing the surroundings. On that level, OUTLAND succeeds marvelously, and can perfectly fine be enjoyed for that alone, and still qualify as a good movie.
Thor, when I was writing my post, I was actually thinking of you and guessing just this about your take on the film. For me, for better or worse, story is by far the most important thing. And when something doesn't make sense, in part for the very reasons that may make it enjoyable (the visual impact of the danger, the breaking glass, the loss of air) - I just sit there stern-faced and cross-armed.
However, now that I know there is a foto-novel, I gotta check it out! I do have a love for that ephemera - thanks, Kev!
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