[Fmpro] change the ituation

[bipcress@comcast.net]

The peak period for film music in Italy was the 60s and 70s. It was 
incredible what all those musicians were doing. It seems as if they were 
chasing each other in an attempt to individually pull ahead in terms of 
overall quality, experimentation, technical virtuosity, and audaciousness. 
Right now a label called Digitmovies has pulled out all the stops and has 
been pumping out about 4 to 6 titles every two months, this plus some other 
labels still specializing in Euro-cult retro film score releases has led to 
my feeling very glad I'm still alive and that I have a CD player! You really 
should sample some of this amazing stuff. Have any of you guys heard Berto 
Pisano's KILL! or INTERRABANG, or Morricone's IL SORRISO DEL GRANDE 
TENTATORE or VERGOGNA SCHIFOSI? I assume not. Look, I'd be delighted to cook 
up a few CDRs (for academic purposes only) and share with a few 
adventuresome fellow FMPROers - just say the word and it'll be go-time. - 
One day many years ago I went home to use the family record player (then a 
poor college student with no audio equipment, but I would buy records and 
forgo meals). About 5 minutes into IL SORISO DEL GRANDE TENTATORE my mother 
came running downstairs screaming "Oh my god, turn that off! You'll call the 
devil into our house!" She was truly terrified. This is what film music is 
supposed to do: kick some royal ass.  - JohnB

----- Original Message ----- 
From: <CORBERLAW at aol.com>
To: <fmpro at nxport.com>
Sent: Friday, May 30, 2008 2:11 PM
Subject: [Fmpro] change the ituation


> In a message dated 5/30/2008 5:03:42 AM Pacific Daylight Time,
> fmpro-request at nxport.com writes:
>
> Brian,  is there really no way composers can exercise some form of 
> pressure
> to slowly  force change into this situation. I mean, even our gay brothers 
> and
> sisters  are winning some small headway towards self-determination and
> equality in this  country. Is the battle at least not worth fighting, no 
> matter how
> seemingly  hopeless the odds? And this is just one example of what evolves 
> when
> "money is  king". Not a good ideology. I'm willing to fight for culture 
> over
> profit, or  better put: "culture/substance first, profit/business 
> second". -
> JohnB
>
> There must be.  But there are forces working against it.   The whole 
> culture
> of america is surrounded and infused by pop music, a lot of  which is
> analogous to cotton candy.  From a distance it looks solid, bite  into it 
> and it
> vanishes.  The people who control the making and  post-production of 
> movies don't
> generally think of music except as an  afterthought, mostly for a 
> soundtrack
> album filled with "hits inspired by" which  may have not even been in the 
> film.
>
> Productions pay more to license pop music than they do to have a  great
> score, of course there are exceptions.  Music serves to promote the  film 
> for the
> most part.  If Herrmann were alive today he'd probably repeat  "why do you 
> show
> me this crap?" 100 times a day.
>
> Song score budgets (for licensing) are sometimes in the millions;  when 
> was
> the last time you heard of an original score having such a  budget?
>
> I don't know the answer; I do know the days of the 1930s and 1940s  are 
> gone.
> The people scoring today are rock n rollers who like  movies.  When crap 
> is
> exalted to the highest points, quality can only fall  by the wayside.
>
> Brian
>
>
>
>
>
>
>
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