Alexander Grodzinski

"I am...THE LAW!" Dredd [blu-ray] Judge Dredd [blu-ray] Possession - Das Dunkle in dir (Uncut Edition) [blu-ray] Independence Day [blu-ray]

Nein, leider falsch.

War doch auch schon so, Williams wurde schon mehrere Male "ersetzt", er komponierte weder die Musik für die Clone-Wars-Serie, noch die Musik für die beiden Ewok-Filme, von McNeelys "Shadows of the Empire" mal abgesehen. Man orientierte sich natürlich immer am Williams-Sound, aber neue Komponisten bei "Star Wars" sind schon lange keine Neuheit mehr (die Musiken für die ganzen Star-Wars-Spiele lasse ich mal aussen vor). Von daher sehe ich dem Ganzen auch eher gelassen entgegen.

Im dritten Film der "Die Nackte Kanone"-Reihe spielt Fred Ward den Bösewicht Rocco Dillon. Am Anfang sitzt er noch im Gefängnis, wo er Besuch von seiner Mutter und dem aus dem ersten Film bekannten Papshmir bekommt. Sie reden über Roccos bisherige Aktionen, Papshmir will Dillon für ein weiteres Bombenattentat anheuern, Dillon fordert fünf Millionen Dollar und schreibt dann das Ziel, das er sich für das Attentat ausgesucht hat, auf seine Hand und hält sie an die Scheibe, sodass nur Papshmir es lesen kann. Der Ort ist, wie man im Laufe des Filmes ja erfährt, die Oscarverleihung, aber was schrieb Fred Ward während des Drehs tatsächlich auf seine Hand?

Zum Glück ist die Musik nicht dem Cover entsprechend.

Immer wieder gern.

Der Goldsmith ist schon durch (sind ja auch nur 17 Minuten), der Jarre läuft gerade noch. "Seven Days in May" ist eine überaus spröde Musik, ausschliesslich vorgetragen von Percussion und Piano. Große Melodien gibt es nicht, eher kleine Motive, die Musik besteht im Grunde nur aus scharrenden Military Drums mit Pianobegleitung. Es sind also knapp 17 Minuten Suspense-Musik, die aber trotz oder vielleicht gerade wegen der sparsamen Instrumentierung eine bedrohliche Atmosphäre aufbauen. Für Liebhaber großer Orchesterscores gibt es sicher bessere Auswahlmöglichkeiten in Jerrys Schaffen, um es mal so auszudrücken. Bei Jarre muss ich vorausschicken, dass ich nicht unbedingt die beste Wahl bin, wenn es darum geht, seine Musik zu bewerten. Ich habe nur eine Handvoll Jarre Scores, darunter Standards wie "Doctor Zhivago" und "Lawrence of Arabia", aber mit seiner Musik bin ich nie richtig warm geworden, keine Ahnung, warum. Jarres Musik ist das genaue Gegenteil des spröden Goldsmiths, das locker-beschwingte Main Theme, mit dem Cymbalom als Hauptinstrument, zieht sich relativ unvariiert durch alle Tracks des Scores, es erklingt auch mal als Big-Band-Version. Man hört der Musik den europäischen Einschlag an, die Musik könnte so auch aus einem 70er-Jahre-Spionage-Film aus Frankreich stammen. Aber wie gesagt, im Grunde wiederholt Jarre nur ständig sein Main Theme, das durchaus Ohrwurm-Charakter hat, aber ob man das über eine halbe Stunde lang braucht, muss jeder selbst entscheiden. Ich hoffe, du kannst damit was anfangen.

Jerry Goldsmith/Maurice Jarre - Seven Days in May/The Mackintosh Man Tony Banks - The Wicked Lady

John Carpenters DIE FÜRSTEN DER DUNKELHEIT ist nach Neuprüfung nicht mehr indiziert und nun ab 16 Jahren freigegeben. Das bedeutet hoffentlich, dass in absehbarer Zeit der Film endlich in HD veröffentlicht wird.

Mach vier daraus.

Alanis Morissette - Live at Montreux 2012

Blue-Jeans-Music.

Um mal eine Phrase zu dreschen: Für sein Artwork wurden LPs erfunden. Sein Design beschränkte sich ja nicht nur auf das Cover, sondern bezog sich auf das komplette Produkt, welches ebenfalls von fantasievollen Bildern zu den jeweiligen Songs geprägt war. Wie könnte man schöner das Thema "Flussbett" bzw "Fluss des Lebens", welches das Floyd-Album "A Momentary Lapse of Reason" durchzieht, mit den anderen Unter-Themen der Songs bildlich darstellen als bei Storms Coverartwork? Auch das dazugehörige Live-Album hat ein schönes Cover, welches auf wunderbare Weise die Musik und die Lichtshow der Floyd symbolisiert: Das Video zu Pink Floyds "High Hopes" zeigt dann Storms Bilder in bewegter Form, das Thema der unterbrochenen Kommunikation zur Kindheit und alten Freunden, um das es im Song geht, wird wundervoll zweideutig dargestellt. Eines der schönsten Musikvideos, das ich kenne:

Storm Thorgerson, Artwork-Designer fast aller Pink-Floyd-Alben, aber auch für Led Zeppelin, Muse, Peter Gabriel, Genesis und die Cranberries, ist tot. Manche seiner Bilder sind weltberühmt und eröffneten durch ihre surrealen Züge und verspielte Anspielungen auf die Musik des jeweiligen Albums eine neue Ebene des Hörerlebnisses. Ruhe in Frieden. Pink Floyd - Dark Side of the Moon Pink Floyd - Wish you were here Pink Floyd - Atom Heart Mother Pink Floyd - Animals Pink Floyd - P.U.L.S.E. Syd Barrett - An Introduction to Syd Barrett The Cranberries - Bury the Hatchet The Cranberries - Wake up and smell the coffee Peter Gabriel Muse - Black Holes & Revelations Muse - Uprising Muse - Absolution Led Zeppelin - Houses of the Holy Biffy Clyro - Puzzle Biffy Clyro - Only Revolutions The Mars Volta - De-Loused In The Comatorium Alan Parsons - Try anything at once Tree of Half Life Ethnix - Thirteen

Als Bewunderer schlechten Geschmacks habe ich beim Lesen des Textes tatsächlich Lust bekommen, das Buch zu lesen. Wie man alleine schon auf diese "Handlung" kommt...aber über 20 Euro sind mir dafür dann doch zu schade. Ausserdem raubt mir das Lesen des ganzen Buches vielleicht die Illusion, im Kern doch so etwas wie eine Satire zu vermuten.

Der Lemmy eben... Motörhead - Bastards

Dann hat Souchak so viele Beiträge wie Marcus.

Nicht nur das. Die Teile 2 bis 5 sind in Deutschland nur gekürzt erhältlich, Teil 3 wurde ja vor kurzem sogar in der gekürzten 18er-Fassung indiziert. Und eine deutsche Tonspur brauche ich bei solchen Filmen nicht unbedingt, ist ja nicht gerade Shakespeare.

Zufall?

Hier die offiziellen Ankündigungen: BUYSOUNDTRAX Records presents the soundtrack for FIRE AND ICE, featuring music composed by William Kraft (AVALANCHE, THE CHISHOLMS) for the 1983 animated fantasy adventure directed by Ralph Bakshi (FRITZ THE CAT, WIZARDS, THE LORD OF THE RINGS), featuring characters created by artist Frank Frazetta, from a script by Roy Thomas and Gerry Conway, and featuring the voices of Randy Norton, Cynthia Leake, Steve Sandor, Sean Hannon, William Ostrander and Eileen O’Neill.. Produced during the height of the sword and sorcery craze, FIRE AND ICE takes place in a prehistoric land under siege by an evil queen, Juliana, and her son, Nekron. An ever expanding wall of glacial ice created by Nekron’s dark sorcery is their greatest weapon, smashing down the defenses of their opponents in the southern lands, which is quickly followed by their invading army of subhuman men who stomp out all resistance and capture whoever is left standing. Into this conflict is thrust the young warrior, Larn, who barely survives his first encounter with the subhumans. In a neighboring kingdom ruled by the kindly king, Jarol, a sinister plot unfolds as Nekron sends envoys to distract Jarol long enough to abduct his daughter, the beautiful princess, Teegra. Not to be underestimated, Teegra is able to escape from the subhumans on the road back to Nekron and she crosses paths with Larn. As they get to know each other and their feelings grow stronger, Teegra is recaptured by the subhumans during a crucial moment where Larn is occupied by the attentions of a giant octopus. Passing out from exhaustion. Larn awakens to find himself bound. Concerned he has been recaptured by the subhumans, Larn is relieved to discover that his captor is actually the lone warrior, Darkwolf, who only bound him to prevent him from opening up his wounds. Larn agrees to an alliance with Darkwolf, who has his own personal reasons for fighting and they form an alliance, agreeing to fight together against Nekron and Juliana and rescue Teegra. But can they reach her in time to prevent whatever cruel fate Nekron has in mind for her? Can Nekron’s dark reign be ended before the land is covered with glacial ice and there are no free men left to resist? Released in the summer of 1983, FIRE AND ICE offered the audience a unique visual experience. In his earlier features, Bakshi’s animation style had been marked by reliance on a technique called rotoscoping, in which his artists would take live action footage and trace over it, frame by frame, to create drawn images which were then animated. Unlike the use of silhouetted armies marching and battling through his previous animated films, the rotoscope process was used in FIRE AND ICE as the basis for the character movements and interactions, such as fights and chases. Presaging today’s use of motion capture in CGI-animation, Bakshi and Frazetta first spent 4-6 weeks filming live actors performing with simple props on a bare sound stage. That footage was rotoscoped and then animated one frame at a time in the manner of traditional cel animation. The end result was very fluid and lifelike movement. The effectiveness of those animated images was enhanced by the atmospheric background paintings that established the environment in which the characters lived, and it was in these paintings that Bakshi tried to replicate the look of Frank Frazetta’s artwork. The experience of watching FIRE AND ICE is greatly enhanced by its musical score, which was Bakshi’s first collaboration with William Kraft, a composer originally from the classical world. William Kraft’s music for FIRE AND ICE is a thunderous, large scale composition, developed and orchestrated not in a Hollywood fashion but in the manner of old school classicism. His previous film scores had been necessarily atmospheric and progressive but with FIRE AND ICE, the composer enjoyed the opportunity to be highly thematic. All of the main characters have their own themes, which interact constantly throughout the score. The music for FIRE AND ICE was orchestrated by Angela Morley, a noted film composer in her own right (WATERSHIP DOWN) who also orchestrated for John Williams throughout the 1990s. FIRE AND ICE was recorded at Paramount Studios with a large size orchestra, with Dan Wallin serving as music scoring mixer, which gave Kraft’s score a generously large sonic dimension. Evoking the sorceries of ages past and the unsung heroes of fable and fantasy, the score for FIRE AND ICE is a battle between beneficent heroism and dark sorcery, sculpting the film’s brutal landscape with heavy swaths of low horns, ascending trumpets, and plenty of percussion. William Kraft (b. 1923, Chicago) has had a long and active career as composer, conductor, timpanist/percussionist and teacher. He is Professor Emeritus at the University of California, Santa Barbara, where he served for 11 years (1991 - 2002) as Chairman of the Composition Department and Corwin Professor of Music Composition. From 1981 -85, Mr. Kraft was the Los Angeles Philharmonic's Composer-in-Residence. During his residency, he was appointed by executive director Ernest Fleischmann to serve as the founding director of the orchestra's performing arm for contemporary music, the Philharmonic New Music Group. Mr. Kraft had previously been a member of the Los Angeles Philharmonic for 26 years; eight years as percussionist, and eighteen years as Principal Timpanist. For three seasons, he was also assistant conductor of the orchestra, and thereafter, frequent guest conductor. Mr. Kraft has received numerous awards and commissions, including two Kennedy Center Friedheim Awards (first prize in 1990 for Veils and Variations for Horn and Orchestra, and second prize in 1984 for Concerto for Timpani and Orchestra; two Guggenheim Fellowships; two Ford Foundation commissions; fellowships from the Huntington Hartford Foundation and the National Endowment for the Arts; the American Academy and Institute of Arts and Letters Music Award; the Norlin/MacDowell Fellowship; the Club 100 Distinguished Artist of Los Angeles Award, the ASCAP Award; the NACUSA Award; the Eva Judd O'Meara Award; first place in the Contemporary Record Society competition; commissions from the Library of Congress, U.S. Air Force Band, St. Paul Chamber Orchestra, Kronos Quartet, Voices of Change, the Schoenberg Institute, consortium of Speculum Mucicae/San Francisco Contemporary Music Players' Contemporary Music Forum, The Boston Pops Orchestra, consortium of Pacific Symphony/Spokane Symphony/Tucson Symphony, the Los Angeles Philharmonic, among others. His works have been performed by the New York Philharmonic, Boston Symphony, Chicago and Philadelphia Orchestras, the Los Angeles Philharmonic, and other major American orchestras as well as in Europe, Japan, Korea, China, Australia and Israel. Recently completed recording projects are with the Czech Philharmonic, New England Conservatory and the Royal Liverpool Philharmonic. BUYSOUNDTRAX Records presents the worldwide soundtrack release of FIRE AND ICE in time for the 30th anniversary of the film’s release, featuring music composed and conducted by William Kraft. FIRE AND ICE was produced using the master elements in the composer’s archive, mastered by James Nelson of Digital Outland featuring liner notes by author Randall Larson, including new comments from the composer on the creation of this fantastic score. FIRE AND ICE is a limited edition release of 2000 units.The first 100 copies purchased directly from BUYSOUNDTRAX.COM will be autographed by the composer, William Kraft. BSXCD-8926 Original Motion Picture Soundtrack Fire and Ice Music by William Kraft $15.95 Ships the week of 4/29/13 1. Main Title/Prologue/The Subhumans Appear/Nekron 7:01 2. Spoils Of War/On The Run 5:28] 3. Meet Teegra 1:07 4. Teegra Is Abducted 2:44 5. Escape From The Subhumans 4:09 6. Lunch Is Served 1:14 7. Teegra Kills 1:29 8. Wolves/Dinner Guest 4:30 9. Larn And Teegra 2:42 10. Cephalopod Attack 1:11 11. Darkwolf 00:46 12. Botched Rescue 4:30 13. Roleil/Darkwolf's Stand 3:29 14. Thoughts Of Teegra 2:57 15. Roleil's Deal/Larn In Pursuit 2:43 16. Nekron's Madness 3:19 17. Nekron's Power 1:25 18. Larn Versus Nekron 2:31 19. Larn Escapes/Darkwolf Appears 2:38 20. Flight Of The Dragonhawks/The End Of Nekron/Reunited10:00 21. Fire And Ice End Title 3:35 BuySoundtrax Records is proud to present THE FILM MUSIC OF MICHAEL NYMAN FOR SOLO PIANO featuring piano performances by Joohyun Park. The recording will be available digitally, in stores, and from www.buysoundtrax.com on April 10th. “I started this piano album by concentrating solely on music from THE PIANO,” said Park. “All music of Michael Nyman has stunning, beautiful and dynamic melodies and it really began to capture my attention. I wanted to record more of Nyman’s work after working on the pieces from THE PIANO.” Pianist Joohyun Park was born in Kwang-Ju, South Korea. She began studying music at age 6. Park received both a Bachelor’s and Master’s Degrees of Piano from Yon Sei Univeristy (Seoul, Korea) and a Bachelor’s Degree of Contemporary Writing and Production from Boston’s famed Berklee College of Music. She has worked as a score coordinator, pianist, orchestrator and assistant composer for movies including PRIEST, THE INFORMERS, DRAG ME TO HELL, CREATION, WHEN IN ROME, THE BLACK TULIP and LOVE HAPPENS. A frequent performer for BuySoundtrax, Joohyun also performed THE MUSIC OF BATTLESTAR GALACTICA FOR SOLO PIANO. Though it was THE PIANO that launched Nyman in the US, his career had already been some three decades in the making by the release of the film that earned him a Golden Globe, and Ivor Novello, and BAFTA Award. Nyman studied at the Royal Academy of Music through the 1960s and, as a music critic, is credited with coining the musical term ‘minimalism.’ In the mid 1970s he began scoring films, most notably for director Peter Greenaway on films including THE COOK, THE THIEF, HIS WIFE AND HER LOVER, DROWNING BY NUMBERS, and THE DRAUGHTSMAN'S CONTRACT. Nyman’s film credits also include THE LIBERTINE, THE END OF THE AFFAIR, THE DIARY OF ANNE FRANK, CARRINGTON and GATTACA. Jeff Bond describes (in the album’s liner notes), “Nyman’s trademark as a composer may be the way he derives deep emotions from an essentially minimalist style. His scores can be lushly orchestrated or paired down to solo instrumentation, but his music often plays as portraits in miniature that reveal constrained, expressive feeling—longing bursting beneath the surfaces of the characters he writes for.” “Minimalism is emphasizing musical ideas by repetition with the very basic and little materials,” explained Park. “Nyman is a minimal music composer and pianist with great passion. It was a challenge to express minimal music that was written by the person who invented the term, but his great music also gave my passion great momentum. I am honored to produce a piano album of this great musician’s work.” THE FILM MUSIC OF MICHAEL NYMAN FOR SOLO PIANO will be available digitally, in stores, and directly from BuySoundtrax on April 10, 2013. THE FILM MUSIC OF MICHAEL NYMAN FOR SOLO PIANO is a limited edition release of 1000 units. The first 100 copies sold through www.buysoundtrax.com will be autographed by Pianist Joohyun Park. BSXCD-8925 Music From The Films Of Michael Nyman For Solo Piano Featuring Music From THE PIANO • GATTACA CARRINGTON • ENEMY ZERO A ZED & TWO NOUGHTS THE DIARY OF ANNE FRANK DROWNING BY NUMBERS Arranged and Performed by Joohyun Park $15.95 Ships the week of 4/29/13 THE PIANO 1. Big My Secret (2:46) 2. The Mood That Passes Through You (2:03) 3. Deep Sleep Playing (2:16) 4. Silver Fingered Fling (3:45) 5. The Attraction of the Pedalling Ankle (6:00) 6. The Heart Asks Pleasure First (2:34) CARRINGTON 7. Fly Drive (0:52) THE DIARY OF ANNE FRANK 8. If (5:08) 9. The School Room (2:58) DROWNING BY NUMBERS 10. Ship and Tides (2:22) ENEMY ZERO 11. Digital Tragedy (1:06) 12. Love (2:50) A ZED & TWO NOUGHTS 13. Time Lapse (3:33) GATTACA 14. Tomorrow (3:13) 15. Departure (2:47) THE PIANO 16. Lost and Found (2:33) Total Time: 46:39

Dazu hätte ich auch nicht Nein gesagt.

Wo kein Richter, da kein Henker. Trotzdem müssen wir es ja nicht riskieren. Es kann alles gut gehen, aber es besteht nun mal die Chance, egal, wie groß sie ist, dass etwas passiert und die Folgen könnten das Aus für das Forum bedeuten. Von daher lieber so, das Forum ist ja nicht die einzige Bezugsquelle für Filmmusik.

Bruce Campbell ist auch oft dabei, aber nicht immer, auch nicht als Asche . Martins Antwort ist richtig. Das 1973 Oldsmobile Delta 88, oder wie ihn Raimi nennt "The Classic, ist ein ständiger Begleiter in Raimis Filmen. In den Evil-Dead-Filmen ist es ja ziemlich präsent, bei "Darkman" kracht Liam Neeson in das Auto, als er kurz vor dem Showdown am Hubschrauber hängt, in "Spider-Man" fährt ihn Peter Parkers Onkel und so weiter. Und da Raimi und die Coen-Brüder Freunde sind seit Evil-Dead-Tagen, taucht "The Classic" als Gag auch in einigen ihrer Filme auf.

Dann bleiben wir mal bei Sam Raimi. Was ist ein wiederkehrendes Element in Raimis Filmen seit EVIL DEAD 1982? Ausnahmen sind bisher THE QUICK AND THE DEAD (obwohl es Gerüchte gibt, dass dieses Element dort auch zu sehen ist), FOR LOVE OF THE GAME (wo es der Schere zum Opfer fiel) und warscheinlich OZ THE GREAT THE POWERFUL ("warscheinlich" deshalb, weil ich OZ noch nicht gesehen habe, ich aber mal vermute, dass es dort nicht auftaucht). Kleiner Tipp: Es ist kein Schauspieler und es findet sich auch in einigen Coen-Brüder-Filmen wieder, z. B. "Fargo".

1985 war ich sieben Jahre alt, da habe ich noch nicht so darauf geachtet, meine LP-Hüllen möglichst knickfrei durch´s Leben zu bringen. Und ja, dass sie so viel gespielt wurde, trug ebenfalls dazu bei, dass sie nun aussieht, wie sie eben aussieht. Ein Dokument der Zeitgeschichte sozusagen.