• Categories

Vanilla 1.1.4 is a product of Lussumo. More Information: Documentation, Community Support.

 
    •  
      CommentAuthorplindboe
    • CommentTimeJul 12th 2015
    Timmer, it's Occhio alla penna (a.k.a. Buddy goes west) from 1981, a silly western comedy with Bud Spencer.

    It's actually a very good score with some decent themes, but most of it is rather silly and childish sounding, which will turn some people off.

    Anyway, give this awesome and not at all silly trumpet piece a listen. Oh, and it has a charming love theme as well.

    Peter smile
    • CommentAuthorTimmer
    • CommentTimeJul 12th 2015
    Mmmmmm! Verrrrrry nice!!! cool
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorplindboe
    • CommentTimeJul 12th 2015
    Glad you like them! biggrin

    *goes to listen to both tracks again cool
    •  
      CommentAuthorArtworks
    • CommentTimeJul 14th 2015 edited
    That is awesome news. So Star Wars Episode VII just got serious competition in the "most anticipated score of the year" category smile
    • CommentAuthorMilan NS
    • CommentTimeJul 16th 2015
    • CommentAuthorMilan NS
    • CommentTimeJul 18th 2015 edited
    Morricone & Tarantino at work (thanks to Lokutus from the FSM board for sharing):

    http://s29.postimg.org/tfybwvvt3/63444_ … 5195_n.jpg

    http://s28.postimg.org/sa7n7yeb1/112527 … 1901_n.jpg
  1. What happens when uninformed nuts give out an award:

    https://www.youtube.com/watch?v=_mcx_BbFbaY
    The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else.
    • CommentAuthorMilan NS
    • CommentTimeSep 2nd 2015 edited
    Glad you've noticed my FSM thread -- I forgot to post the clip here as well, so thanks. I've searched and searched for it in the past, typing "morricone golden globes 2000", "morricone golden globes 2000 jennifer love hewitt" or "morricone golden globes 2000 ll cool j", (all I had was this old thread http://rateyourmusic.com/board_message? … _id=738754 , it just seemed so crazy that I began to doubt the source over the years - sorry!), so yesterday I've finally typed "ll cool j jennifer love hewitt golden globes 2000", and voilà. It's been there for 4 years. Like, duh.
    Oh well -- better late than never!
    • CommentAuthorMilan NS
    • CommentTimeSep 16th 2015
    A live debut of "Il Forte" from the GBU last saturday in the Arena Verona:

    https://www.youtube.com/watch?v=5hQqXBKb2yg
    •  
      CommentAuthorBregt
    • CommentTimeSep 16th 2015 edited
    Tomorrow there's a viewing of Legend of 1900 with live piano, here in Gent. I'm going. Elin as well.
    Kazoo
    •  
      CommentAuthorMartijn
    • CommentTimeSep 16th 2015
    I don't like the film, but a viewing with live music sounds vey good!
    Have fun, give my love to Elin!
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    • CommentAuthorMilan NS
    • CommentTimeSep 17th 2015
    New concert date - Wroclaw, Poland, 23 february. Tarantino's "Hateful Eight" will be on the programme; google translate:

    http://tinyurl.com/qgewkgd
    •  
      CommentAuthorBregt
    • CommentTimeSep 17th 2015
    Martijn wrote
    I don't like the film, but a viewing with live music sounds vey good!
    Have fun, give my love to Elin!

    The film was okay. It didn't always keep my interest and the ending was rather bizarre, it didn't convince me at all. However, the music is top. As for the live performance, well, the piano played itself (steered by computer). A bit odd but not bad.

    But the highlight was meeting Elin again after a very long time. She's doing great. I did pass on your greetings Martijn. smile
    Kazoo
  2. Morricone's new score to "En Mai, Fais ce Qu'il te Plait" (the score hasn't been released yet) is supposed to be amazing. Somebody posted these comments from the director in an interview, at FSM:

    Chimai.com has posted a link to an interview in French on facebook. The name of the interviewer is Stéphane Lerouge. Here is the link:

    http://www.underscores.fr/rencontres/in … an-carion/

    Translated with google translate: This is the story of an Italian musical genius for the image, a hyperactive genius, bloated, inexhaustible , whose inspiration seems to defy the passage of time . It is also the story of a French filmmaker of the New World , whose musical cinephile has been shaped by transalpine writing master, his lyricism to infinity, its share of greatness, elevation . Finally, it is the story of a miraculous encounter , unexpected , despite two generations away , a language barrier , thousands of kilometers away. Joint interview with Ennio Morricone and Christian Carion around the film which, after thirty years of eclipse, brings the Maestro in French cinema.

    Ennio Morricone, how have you responded to the solicitation for Christian Carion In May, do what you like? What aspects of the subject and its treatment have motivated you?


    Ennio Morricone: It did not take much time to decide. From the first images, I was carried away ... This is a film that has the power of simplicity, with a story of great clarity. I felt that I could bring my own sensitivity to the history of this people who abandons his village, its houses, its daily to start looking for a new freedom. The subject touched me because I myself am a child of the war I was eleven, in Rome, when the events mentioned by Christian held. At the same time, of course, if I knew that the Germans had invaded France in 1940, I knew nothing of the phenomenon of migration. It is the combination of these two parameters that convinced me: new subject, new director.

    For you, Christian, provide the movie Morricone, was it a dream or cinephile filmmaker?



    Christian Carion: Let's both! When I presented the project to my producers, Christophe Rossignon and Jérôme Seydoux, I said them that it was a western, with large spaces, carts, horses. To reinforce this dimension, developing the screenplay was made in music, on Once Upon a Time in the West, It was once the Revolution or even Mission. Months later, at the editing stage, as was temporary music as a spine, I've blown editor, Laure Gardette, a logical idea: "Let's use those who have accompanied me in . writing "It was like a laboratory experiment, totally magical: the lyrical breath of the great theme of Once Upon a Time in the West on the convoy gave us goosebumps. A person production dared the idea: "What if we contacted Ennio Morricone? We have nothing to lose! "I could not believe it, until I was told:" We can reach an agreement but first he wants to meet you. "Suddenly, it was a writing fantasy come true. But a complex reality, difficult to understand: it is a sacred monster, who does not speak our language, which has its recording habits in Rome, which has not made for a French film since 1985.


    Were you in the same state as before Martin Scorsese Bernard Herrmann, that is to say in a mixture of excitement and anxiety?



    Christian Carion: How not to get nervous facing a composer whose music has marked the key moments of your life? When I rang at his door, he had read a synopsis In May, do what you like Italian. He greeted me very politely, but by me stating, "I, my preferred method is to call on the script so that the director turns on the music! "" Thank you maestro, I will know for next time. So much for this film ... "" No, you came up to me, we can talk, though. What have you brought? "I had the script with me in Italian and two versions of the film, the first with temporary music, the second without. I offered to watch the latter, he flatly refused: "No way! I need to know your taste in music: they enable me whether we can agree. "So we ended up in front of a small television, Maestro nose pressed against the screen behind me. You can imagine the curveball: I became a spectator of Ennio Morricone, himself a spectator of my film. He dropped some comments, especially at first, and then let himself be overwhelmed by the narrative. In the end, he was visibly touched, "Molto bello! You have my blessing to buy the rights of the pieces in question! "I bristled:" How do you want to reuse Once Upon a Time in the West? No, I need an original music! "He dragged me in his monumental living room, above the piano:" After reading the synopsis, I thought about this. "He put a partition end scribbled on the bridge, I asked her permission to film it with my phone, he agreed, smiling. And he played a theme that was a pure concentrate of Morricone, a theme that made me tears. When he stopped playing, I realized he had just accept the proposal, that his inspiration had begun to gallop, I was in the right place at the right place at the right time to the right person.

    Ennio Morricone : You know, I, too, was tense when I played you this piano theme ! This time we shall refer proposals to the filmmaker , composer saw all concerned . For my part, I need my work , my ideas were assimilated by the director . It is not systematic , as the latter does not necessarily have a sufficient understanding of the musical language . With Christian , human and professional understanding was immediate , it was found

    How do we compose the music for a film you do not speak the language? Could this be an advantage?



    Ennio Morricone: In front of a movie, the most important is what I see, more than what I hear. In the case of In May, do what you like, the story was clear enough, images, cutting, fitting enough to make me understand everything. I never asked Christian clarification on, say, the psychology of this or that character. In a way, the fact of not literally enter dialogue helped me to detach myself. What spoke to me directly, it is the drama of the exodus, the collective dimension of history, with a backdrop of tragedy, that of war.



    Specifically, one of the biases of the original film is not musically highlight violence sequences of war ... The musical discourse is at a different level.


    Ennio Morricone: It was the request of Christian, fully in line with my own convictions. The situations of violence are sufficient in themselves: the sequence of Stukas that bombard the convoy does not need to be a musical dramatization terrifying. However, to tell the search for freedom, I believe the deep theme of the film, the music has a real mission.

    Christian Carion: Your precise reflection, Maestro, was: "This is not a war movie but a movie that takes place during the war. "That meant: forget the historical context, let's focus on the collective, on people who hatched this long convoy, their destiny. War must be in the image, not in music.



    Ennio Morricone: Anyway, for me , if it were a new war movie , I would have simply refused to take part ! (laughs)

    Following the first meeting, what method you have followed?



    Christian Carion: Three weeks later, in late November, we ended up in Rome with the mounting team to determine the precise Ennio sequences set to music. There he was, the old, with his chronometer, taking notes on a school notebook.


    Ennio Morricone: The more I saw again these sequences, the more infused in me. The rhythm and tempo of the convoy gave me the idea of ??what was to be the main theme ... A slow, processional march. And then, when Christian returned to Paris, while I overhauled. Let me explain why: First, in the film's title, there is a hint in the spring. This is a tragic spring, but spring nonetheless. This idea of ??spring made me think of the inner flame of these people running, animated by the hope of being able to invent another life. So here: in the writing process, I became aware later of a true lack, that of a large and generous piece that would illustrate, sorry to repeat myself, that famous quest for freedom. Built on a grand crescendo, the piece composed in extremis changed the partition's prospects as a whole, the same architecture. A priori, I never write additional piece without concerted myself beforehand with the filmmaker. After a half century of cinema, this is my first exception to this principle!
    Christian Carion: Very honored, Maestro! (laughs) I'll never forget our favorite early January wire, to wish a happy new year. We were going to save ten days later. And you slipped on a detached tone: "Oh, I forgot to tell you: I wrote a second theme, completely outside of our agreements. You'll find out in the studio! "What happened Monday, January 12, one day forever etched in my memory. It was the day after the big rally following the events of Charlie Hebdo. La Repubblica made it his one. We arrived in Rome in a state of emotion, objective fragility. And you opened the record directing this theme mysterious, made in secret. And here you have raised us! This song became one of the "people of the road", he married the images as if it had been thought of and wanted from our first meeting.



    Ennio Morricone: I only follow my instinct. I just had to spend time alone one-on-one with the film so that it calls this theme claims the self-evident.
    Christian, how did you lived precisely this point in the recording studio Forum, where the Maestro recorded as iconic scores?



    Christian Carion: It was an enchanted: between recording and mixing, we spent a week in Rome, in total immersion. I was fascinated by this studio Forum, built a church in Piazza Euclide. The Maestro had assembled a panel of fifty five musicians who stood just inside the walls. I asked him: "You never thought enlarge? "The answer was clear:" Are you kidding? These are the foundations of God! "And break times, lunch allowed us to get to know. He engaged, broke the ice, told me some anecdotes about Sergio Leone Elio Petri. His wife, Maria, did not attend the recordings. But after finalizing the final mixing of the great theme, Maestro Fabio Venturi asked his engineer, stalling at the beginning. He took the phone, dialed a number, brandished the handset to the speakers. We were stunned, we did not understand the situation. Maria was on the phone, he just wanted to get his opinion! Luckily, she liked it, so we kept the song in the movie! (laughs) And then the studio during those days, Ennio dropped me a sentence that shocked me: "You know, we always made too much. Upon arrival, you will make choices. "This meant that in the sixty minutes of recorded music, I would have to make a selection. And I was in front of me a composer who was aware ... and asked me.


    Did you follow this recommendation?



    Christian Carion: Yes, by making his music deliberately intervene after twenty-five minutes, with the departure of the convoy. The Maestro is one of the stars of the film and, like many stars, he entered his home, he knows how to wait. Still, I feared that this bothers the bias ... When I showed him in May, do what you like mixed and subtitled in Italian, in April, he told me nicely: "During the first party, I wondered why I had accepted this film; in the second, I understood why. "



    Ennio Morricone: You just followed my orders, you in reclaiming my work. View mixed results made me even more love your film, its power and simplicity mixed.



    Of note, the final in May, do what you like has already integrated the Maestro concert program ...



    Christian Carion: It was the extra gift. We were in Lyon in late March, Ennio gave a concert at the Tony Garnier Hall, in front of four thousand spectators white-hot. Indeed, he wanted to open the program in May, do as you please. That is to say, a music that no one knew, a film that was not yet released! Listen to the theme of my film in this huge ship, into the audience, I was levitated, especially in a program where classic scores are jostling, with which I grew up. The film's story, family and intimate resonances, joined the Morricone legend!



    Ennio Morricone: You might still be upset because I intend to offend! (laughs) Christian, can you tell me what are the reactions of viewers who have already seen the film?



    Christian Carion: At the end of the presentation screenings, emotion is tangible, thanks in part to the final seven minutes. Nobody moves, the audience remains seated throughout, under the influence of music. When I come to debate with the audience, I almost feel upset them. Both discussions are recurring themes: "Ultimately, it is the story of migrants today is a parable about the call of freedom. "The second subject is the" Morricone effect "I have consistently answer questions about our collaboration, working method, recording. The French public is fascinated to see your name appear in the credits. As a magical appearance, almost unreal.



    Maestro, you see In May, do as you please as the first step of a shared adventure with Christian Carion?



    Ennio Morricone: Why not? It all depends on his will, his desire. He is the filmmaker. A first film is an opportunity to get acquainted, to identify personality, tastes of the other. From the second, the foundation is already built, you start to dig, deepen mutual universe. Ideally, I would like that in May, do as you please is not a point of arrival but a starting point.


    Another interview:
    http://www.cinezik.org/critiques/affcri … l-te-plait


    12:52 minutes of the score:
    https://www.youtube.com/watch?v=Q7ejFnMsHlc
    The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else.
    •  
      CommentAuthorSouthall
    • CommentTimeOct 20th 2015
    According to this...

    http://blogs.indiewire.com/theplaylist/ … e-20151020

    ...he is working with Terrence Malick again. So, so hope that's true. Of all the great music written for Malick films, Days of Heaven remains my favourite.
    •  
      CommentAuthorThor
    • CommentTimeOct 20th 2015
    Southall wrote
    According to this...

    http://blogs.indiewire.com/theplaylist/ … e-20151020

    ...he is working with Terrence Malick again. So, so hope that's true. Of all the great music written for Malick films, Days of Heaven remains my favourite.


    Wow, exciting news! I never thought Malick would use a reknowned composer again after THE NEW WORLD.
    I am extremely serious.
    •  
      CommentAuthorSteven
    • CommentTimeOct 20th 2015
    Desplat and The Tree of Life?
  3. Ah yes, but in Thor's universe, Desplat isn't renowned. wink
    •  
      CommentAuthorThor
    • CommentTimeOct 20th 2015
    Heh!

    True, but Desplat's work is rather minimal on TREE OF LIFE, interspersed with all the classical pieces. So are all of Malick's films, of course, but there hasn't been a more full score by a famous film composer since THE NEW WORLD. Hopefully, this new Morricone thing is. But you never know with Malick untill the film is actually out.
    I am extremely serious.
    •  
      CommentAuthorSouthall
    • CommentTimeNov 7th 2015
    • CommentAuthorMilan NS
    • CommentTimeNov 8th 2015
    Cheers James.
    • CommentAuthorMilan NS
    • CommentTimeNov 10th 2015
    87 today... all the best.
    •  
      CommentAuthorMartijn
    • CommentTimeNov 10th 2015
    87! Good heavens! shocked
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
  4. Oh, Morricone, not Southall. biggrin
    Bach's music is vibrant and inspired.
    • CommentAuthorTimmer
    • CommentTimeNov 10th 2015 edited
    May I be the first to congratulate James Southall on this, his 87th birthday.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorThor
    • CommentTimeNov 10th 2015
    biggrin
    I am extremely serious.
    •  
      CommentAuthorSouthall
    • CommentTimeNov 10th 2015
    My birthday is not until later in the month.
    • CommentAuthorTimmer
    • CommentTimeNov 10th 2015
    May I be the first to congratulate James Southall who will celebrate his 87th birthday later this month.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  5. bounce

    Enough, enough already!
    Bach's music is vibrant and inspired.
    • CommentAuthorMilan NS
    • CommentTimeNov 10th 2015
    New concert dates:

    21 march - Moscow

    23 march - Helsinki (first performance in Finland)

    https://www.facebook.com/maestroenniomo … e_internal