Alexander Grodzinski

Zudem war Carpenter immer Minimalist. So Bombast-Zeug hat er ja nie gemacht oder gewollt. Apropos Brian Tyler: Zwar keine Vampire, aber zu BUBBA HO-TEP gab es von ihm ja auch einen hübschen Blues-Rock-Score.

Quartet Records, in collaboration with Metro-Goldwyn-Mayer, presents the premiere release of Elmer Bernstein’s charming score for the bittersweet high-school comedy CLASS (1983), directed by Lewis John Carlino and starring Jacqueline Bisset, Rob Lowe, Andrew McCarthy, John Cusack and Cliff Robertson. The film is about Jonathan (McCarthy) who goes to college and befriends Skip (Lowe), his roommate. The relationship with Skip proves very useful in matters of love, an area where the young student is lacking. His first attempts are a resounding failure, but then he meets Ellen (Bisset), a woman twenty years his senior. At first everything goes very well, but one day she disappears. When he finds her again, he discovers that she’s Skip’s mom. Elmer Bernstein was no stranger to student comedies in the early 1980s, thanks to his collaborations with John Landis and Ivan Reitman, although CLASS is, rather, a romantic comedy. His score is a sheer delight, providing a sophisticated component to the film. The music is descriptive, romantic and funny, with a powerful main theme that is pure Bernstein. With the elements long gone, assembling this album was a challenge, but working from recently located original mono ¼” tapes and an incomplete set of 24 multi-track stereo elements, the music is finally being released—forty-two years after its recording. The CD contains the main score presentation and additional source music and alternates, all from surviving stereo and mono tracks. This collection has been produced, mixed and mastered by Chris Malone. The full color package includes an essay by film music writer Jeff Bond. 1. Theme From Class 2:50 2. Main Title* 1:37 3. The Boys* 1:49 4. Truth* 0:59 5. Committee* 1:05 6. Chicago* 1:03 7. The Animal* 0:40 8. Flowers* 1:58 9. New York* 1:53 10. Split 1:39 11. Attempt 0:56 12. Reconciliation / End Titles 4:22 Source Music 13. Car Radio 1:39 14. Eats Parsley 2:39 15. Flight Of The Bumblebee And Can-Can 1:56 16. A Mighty Fortress Is Our God (Martin Luther)* 0:49 17. Second Bar Piece* 3:48 Bonus Tracks 18. Committee (Alternate 1) 1:11 19. Reconciliation (Alternate 1) 1:08 20. Reconciliation (Alternate 2) 0:39 21. Meeting Mrs. Burroughs 0:38 22. Behave Like A Burroughs 1:01 23. Special Investigator 1:56 24. Drug Flush 0:56 25. Commitee (Alternate 2) 1:30 26. Main Title (Alternate) 1:53 All tracks stereo, except * mono

Snow Files of the Week: "Main Title/Double Wide/Unplugged at Bishop Flats" aus dem Film "Disturbing Behavior" (1998). Der etwas holprige deutsche Titel lautet "Dich kriegen wir auch noch". Nachdem "Scream" 1996 ein großer Erfolg wurde, setzte sich eine ganze Flut von Teenie-Horrorfilmen in Bewegung. "Disturbing Behavior" ist zwar kein Slasher-Film, aber passt dennoch in diese Welle der Genre-Filme Ende der 90er. Regie führte David Nutter, der bereits die ersten beiden Episoden der ersten Staffel "MillenniuM" inszeniert hatte. Er war also vertraut mit Mark Snows Musik und die beiden kannten sich. Für "Disturbing Behavior" komponierte Mark einen düsteren Ambient-Score, der von einem Hauptthema und kleinen Motiven durchzogen wird. Mit dem Film wurde auch das Score-Album veröffentlicht. Viel Spaß beim Hören!

Es gibt nur einen Carpenter-Film mit Vampiren, VAMPIRES In den 90ern ging Carpenter musikalisch etwas anderes Wege. Weg vom reinen Synthie-Score, hin zu mehr Gitarren. Carpenter wollte ja immer mal einen Western drehen und VAMPIRES ist so der Film, der dem am nähesten kommt. Seine Musik ist dann eben eine Kombination aus Blues-Rock und seinen Synthie-Sachen. Es gibt von dem Film eine Direct-to-Video-Fortsetzung, mit Jon Bon Jovi in der Hauptrolle. Dafür schrieb Brian Tyler einen ähnlichen Score.

Elfman hat die Musik für die neue DARK UNIVERSE Attraktion der Universal Theme Parks geschrieben. Seine Musik gibt es nur dort exklusiv als LP zu kaufen.

Aus der Intrada-Gruppe auf Facebook Warten wir es ab.

Nun ja, Scores, die in zwei bis sechs Wochen fertig sein müssen, gab es doch schon öfter. Spontan fallen mir da Horners ALIENS ein und der hier erst kürzlich erwähnte PIRATES OF THE CARRIBEAN. War das nicht sogar ALIENS, bei dem der Film tatsächlich erst am Tag der Premiere angeliefert werden konnte, weil bis dahin immer noch daran gearbeitet wurde? Aktuell wurde auch bei DEATH OF A UNICORN der Komponistenwechsel im Februar verkündet und der Film lief im März dann an. Auch hier gehe ich davon aus, dass die neuen Komponisten schon länger dabei waren, bevor es öffentlich gemacht wurde.

Ohne den Film gesehen zu haben, tippe ich einfach mal darauf, dass das Stück aus der Musik stammt, die von Ali N. Askin für den Film komponiert wurde. Seine Musik wurde aber scheinbar nicht als Album veröffentlicht, weshalb du sie außerhalb des Filmes wohl nicht finden wirst.

Von Quartet: Quartet Records, in collaboration with GDM and EMI Music Publishing Italia, presents a remastered, expanded edition of Ennio Morricone’s avant-garde score for Elio Petri’s UN TRANQUILLO POSTO DI CAMPAGNA (aka A QUIET PLACE IN THE COUNTRY) (1968). The film, a psychological thriller-drama starring Franco Nero and Vanessa Redgrave, is about a renowned and neurotic painter (Nero), who after moving into a dilapidated rural villa to reinvigorate his creative energies, becomes obsessed with an uninhibited countess who died there many years prior. The film inspired one of Morricone’s most fascinating scores, and one of his favorites. The composer based his ideas on two different musical styles: one more phantasmagorical, ethereal, and the other experimental, aggressive, with an essential contribution from the famous avant-garde group of which Morricone was a member: Gruppo D’improvisazione Nuova Consonanza. This musical duality allows Morricone to reflect how sanity gradually and irretrievably loses ground to madness in Franco Nero’s character. Although the score was very striking at the time—and led Elio Petri, who had always changed composers in previous films, to rely on Ennio Morricone as an essential collaborator in all his remaining movies—it was not released commercially. We had to wait a decade for a suite to be included on a compilation LP that brought together some of the composer’s most experimental work for the cinema. In 2003, the Saimel label released the first official edition of the soundtrack, with a generous running time of 64 minutes and a program supervised by Morricone himself. The sound was entirely in mono, just as the tapes had survived. A few years later, GDM released a 40-minute CD with the recently discovered mock-up program for a General Music record that had been planned in 1968 and eventually canceled. It had less music, but it was all in stereo. For this Quartet edition, remastered by Chris Malone from the original master tapes, we have included the program for the stereo album, followed by a suite in four movements, the first three of which contain the music as presented in the movie, including unreleased cues, followed by a fourth movement containing unused and alternate tracks. Supervised by Claudio Fuiano, the release features a booklet that includes Simeone’s famous original painting on the cover and an essay by Miguel Ángel Ordóñez discussing the film and the score. 1. Fantasma 6:46 2. Un tranquillo posto di campagna 4:02 3. Il fantasma di Wanda 2:34 4. Frenesia 3:32 5. L’Automobile della contessina 1:11 6. Vuoi essere felice 2:24 7. I sogni dell’artista 1:09 8. Delirio primo 0:46 9. Lo spirito di Wanda 2:10 10. Delirio secondo 5:26 11. Un amore violento 3:02 12. Musica per undici violini 6:48 13-16. Un tranquillo posto di campagna (suite) 34:12 Total Disc Time: 78:59 Quartet Records, in collaboration with GDM and Universal Music Publishing Italia, presents a remastered reissue of the ultimate edition of Ennio Morricone’s score for Elio Petri’s 1971 social drama LA CLASSE OPERAIA VA IN PARADISO (aka THE WORKING CLASS GOES TO HEAVEN), a robust social drama about a conscientious factory worker who becomes a political activist after accidentally cutting off his finger while working on a machine. Starring Gian Maria Volonté, the film won the Palme d’Or at the 1972 Cannes Film Festival, with a special mention for Volonté as Best Actor. As he had done for other filmmakers, Morricone created a particular sound for Petri’s social cinema, based on grotesque forms and adding profane elements to the music itself. In LA CLASSE OPERAIA VA IN PARADISO, Morricone composed one of his most famous main themes: a grotesque, cartoonish march that defines the alienated work of a factory, to which he added sound effects, electric guitars, violin, piano and the noises of machines and drills. Released on a limited promotional LP in Italy in 1971 and reissued in France in 1982, the soundtrack was later released on CD by RCA in the 1990s, and an expanded edition containing virtually the entire score recorded by Morricone was released by GDM in 2009. This is a reissue of that, but freshly remastered by Chris Malone from the original master tapes and supervised by Claudio Fuiano. The package includes, for the first time, the original cover art of the coveted promotional vinyl and an essay by Miguel Ángel Ordóñez discussing the film and the score. The Original Album (stereo) 1. La classe operaia va in Paradiso 5:23 2. Metamorfosi 2:13 3. Sinfonia dell’ottimista 8:22 4. Inventario 3:02 5. Tempi di lavorazione 4:10 6. Il sogno 4:42 7. Pazzia di lavoro 2:28 8. Alienazione 3:51 Film Versions (mono) 9. La classe operaia va in Paradiso (#2) 3:43 10. Metamorfosi (#2) 1:59 11. Sinfonia dell’ottimista (#2) 10:35 12. Alienazione (#2) 5:48 13. Inventario (#2) 2:30 14. La classe operaia va in Paradiso (#3) 6:29 Total Disc Time: 65:21

Snow Files of the Week: "Plucked from the Jungle" aus dem Film "Born to be Wild" (1995). Hier zeigt sich Snow mal wieder von einer anderen Seite. Für diese Familienkomödie schrieb er einen leichtfüßigen Abenteuerscore. Die Musik kombiniert Marks wundervolles Hauptthema mit afrikanischen Instrumenten und Solo-Gesang, ähnlich dem ein Jahr zuvor erschienenen THE LION KING. Die Gruppe Lebo M, welche bereits im Löwen-König zum Einsatz kam, ist auch in Marks Musik zu hören (im gleichen Jahr sangen Lebo M auch auf Jerry Goldsmiths CONGO). Der Score wurde von Milan Records auf CD veröffentlicht. Viel Spaß beim Hören!

Carpenter hat eingewilligt, für den nächsten Film von Bong Joon-Ho, der einen Horrorfilm machen möchte, die Musik beizusteuern. Mal sehen, ob daraus wirklich was wird.

Relativ sang- und klanglos wurde das Trio Carpenter/Carpenter/Davis durch Dan Romer und Giosuè Greco ersetzt. Ob sie tatsächlich schon Musik geschrieben und aufgenommen haben, ist bisher nicht bekannt. Da der Film in den USA bereits im März angelaufen ist, deutet der Komponistenwechsel im Februar zumindest auf eine recht kurzfristige Aktion hin. Beziehungsweise wurde der Wechsel im Februar bekannt gegeben. Der Carpenter-Clan könnte also schon länger raus sein.

INTRADA Announces: A LEAGUE OF THEIR OWN Composed by HANS ZIMMER INTRADA ISC 520 Intrada presents the premiere score-only release of Hans Zimmer's A League of their Own. The delightfully witty film deserved a similarly tongue-in-cheek score. Zimmer's music artistically represents not only the film's period, but the onscreen antics as the first-ever women's baseball team is formed, while retaining a sense of gravity and reverence for this historic and unfortunately short-lived episode in American baseball. The film gave Zimmer the opportunity to create a score that blends nostalgic Americana with his inimitable style, resulting in a mix of swing/jazz numbers that complement his rousing orchestral music. Although the film is party comedy, Zimmer narrows in on the heart of the story—the camaraderie of the players and the emotional depth of the story— while also capturing the WW II era. Zimmer's main challenge in scoring the film was understanding the game itself, which was relatively foreign to him. But through trial and error he figured it out, even while on the recording stage: “Well, I don’t understand baseball,” said Zimmer in conversation with director Penny Marshall. She responded, “It’s really simple. When they hit the ball, that’s good.” It’s funny, I remember we were at the scoring session and I did this big build up, and then they hit the ball. It’s like fireworks, it’s glorious, and angels singing. She taps me on the shoulder, and she says, “Wrong team.” A song compilation was released at the time of the film's theatrical run, featuring a generous 15-minutes of score. For this new release, Intrada presents nearly 60 minutes of Zimmer's score. Produced by Zimmer connoisseur Stéphane Humez and edited and mastered by Maxime Marion, this Intrada release presents the definitive edition of Zimmer's delightful score, adorned with liner notes by Kaya Savas. View the album's trailer here - https://www.youtube.com/watch?v=IvYe5_LwJKE&t=1s The 1992 film is a sports comedy-drama (or dramedy) inspired by the real-life All-American Girls Professional Baseball League (AAGPBL) during World War II. The story follows sisters Dottie Hinson (Geena Davis) and Kit Keller (Lori Petty) as they join the Rockford Peaches, one of the league’s teams, alongside a diverse group of women players. Managed by the initially reluctant, washed-up former player Jimmy Dugan (Tom Hanks), the team faces challenges on and off the field while proving that women’s baseball is more than just a wartime novelty. INTRADA ISC 520 Retail Price: $22.99 Bar Code: 7 20258 55200 6 Starts Shipping Now! 01. Prologue (2:12) 02. Newsreel (1:08) 03. Sibling Rivalry (1:04) 04. Plucking Cows (1:58) 05. Marla’s Goodbye (3:07) 06. Tryouts (2:32) 07. Take Me Out To The Ballgame/Jimmy Manages (1:15) 08. Black And White Into Color (1:42) 09. Batting Practice (1:05) 10. Mixed Signals/No Crying (1:53) 11. Life Magazine Montage (5:35) 12. Not Happy/Kit’s Frustrated (2:21) 13. Telegram (4:38) 14. Dottie Leaves/Newsreel Montage (2:25) 15. The Prayer (1:17) 16. Final Game (13:00) 17. Locker Room (2:49) 18. Hall Of Fame (3:10) 19. Final Goodbyes And Hellos (5:44) Total CD Time: 59:04

Horner hatte ja zuvor für die Regiearbeiten Gibsons die Musik gemacht (und danach kam er wieder zum Einsatz für Gibsons APOCALYPTO). Daher schien es wohl logisch, dass er auch PASSION machen würde. Aber entweder konnte er nicht oder wollte er nicht oder Gibson wollte etwas anderes. Letzteres geht aus der Vorproduktion als am Wahrscheinlichsten hervor. Gibson hatte zuerst Jack Lenz als Komponisten gewählt. Dieser begann sehr früh mit der Arbeit an der Musik, noch bevor die Dreharbeiten abgeschlossen waren. Er reiste sogar in den Mittleren Osten, um Klänge und Instrumente aufzunehmen, da Gibson sich eine "organische" Musik vorstellte. Eventuell kam deswegen Horner nicht zum Einsatz. Denn ob der Lust und Zeit gehabt hätte, um zur Recherche um die halbe Welt zu reisen, glaube ich nicht. Gibson engagierte sogar Lisa Gerrard, die mit Patrick Cassidy Musik für den Film aufnahm, die aber nicht verwendet wurde. Letztendlich war sich Gibson doch nicht so sicher, was er sich musikalisch vorstellte, weshalb auch Lenz nicht weiter an der Musik arbeitete und John Debney zum Einsatz kam. Es ist aber noch Musik von Lenz im Film zu hören.

Snow Files of the Week: "Ice Cubes/Dan to the Rescue/Hit and Run/No One Ever Leaves Me/Victoria's Madness" aus dem TV-Film "Seduced and Betrayed" (1995). In den frühen 90ern eroberte BASIC INSTINCT die Kinos und wurde fast gleichzeitig ein moderner Klassiker. Der Film verhalf dem Genre des Erotikthrillers zu neuer Popularität und in den Jahren danach folgten viele Filme, die so sein wollten wie dieser. Das trifft auch auf den Score von Jerry Goldsmith zu. Als SEDUCED AND BETRAYED 1995 auf der Bildfläche erschien, versuchte auch er die sexuellen Spannungen des großen Vorbilds zu kopieren. Und es ist ziemlich offensichtlich, dass Goldsmiths Score als Temp Track diente, bevor Mark mit seiner Arbeit begann. Sein Main Theme ist im Grunde nur eine minimal veränderte Variation von Goldsmiths Thema. Für den Rest des Scores griff Mark aber auf seine bekannten Stilismen zurück. Das Main Theme erschien bereits auf dem Sampler "The Snow Files". Der Score wurde, zusammen mit CAROLINE AT MIDNIGHT, auf "The Mark Snow Collection Vol.2" von Dragon's Domain Records veröffentlicht. Die CD ist auf 500 Stück limitiert. Viel Spaß beim Hören!

Das stimmt natürlich. Ich war auch etwas überrascht, als ich das über Russell gelesen habe. Einfach deshalb, weil er den Berichten zufolge schon sehr rechts gerichtet eingestellt zu sein scheint. Teilweise wurden da recht bizarre Dinge berichtet, die Russell angeblich am Set gesagt haben soll. Das ging schon über normale politische Ansichten hinaus, hatte eher etwas vom betrunkenen Mel Gibson. Carpenter ist da einfach der totale Gegenpol. Dennoch kommen beide bis heute miteinander aus. Russell war ja nun auch Gastredner bei der Zeremonie für Carpenters Stern auf dem Walk of Fame.

Carpenter hat nun auch seinen Stern auf dem Walk of Fame.

John Carpenter und Kurt Russell haben auch mehrere Filme miteinander gedreht und sind immernoch befreundet. Auf der einen Seite der links-liberale Hippie Carpenter und auf der anderen Seite der erzkonservative Russell. Carpenter meinte mal, das Geheimnis ist, dass sich die beiden so gut wie nie über Politik unterhalten. Und dass es am Set manchmal schon hitziger wurde, wenn jemand anderes Russell in eine politische Diskussion verwickelt hat. Diesen „Fehler" hat Carpenter immer vermieden.

Wohl auch kein Aprilscherz.

Man kann das Set bestellen, also wohl kein Aprilscherz LA-LA LAND RECORDS PRESENTS APRIL 1, 2025 NEW RELEASE available to order NOW at www.lalalandrecords.com !!! “GLADIATOR: 25th ANNIVERSARY REMASTERED & EXPANDED LIMITED EDITION (3-CD SET)” Music by Hans Zimmer and Lisa Gerrard Limited Edition of 3500 Units RETAIL PRICE: $39.98 STARTS SHIPPING LATE APRIL SHIPPING NOTICE: We will be steadily working through orders in the sequence in which we have received them, so please be patient – your order will eventually be fulfilled and you will receive a shipping confirmation e-mail once your order has shipped. We respectfully ask customers wait 4 weeks to inquire about packages/deliveries not yet shipped and/or received. All such inquiries should be made to info@lalaland-ent.com – Thank you. NOTE: New orders may not be combined with previous or current orders. GLADIATOR: 25th ANNIVERSARY REMASTERED & EXPANDED LIMITED EDITION (3-CD SET) LLLCD 1670 Music by Hans Zimmer and Lisa Gerrard Limited edition of 3500 Units RETAIL PRICE: $39.98 STARTS SHIPPING LATE APRIL Order yours NOW at www.lalalandrecords.com La-La Land Records, Paramount Pictures and Geffen Records proudly present GLADIATOR: 25th ANNIVERSARY LIMITED EDITION (3-CD SET), a deluxe remastered and expanded re-issue of renowned composer Hans Zimmer (THELMA & LOUISE, BLACK HAWK DOWN) and acclaimed vocalist/composer Lisa Gerrard’s original motion picture score to the 2000 Best Picture GLADIATOR, starring Russell Crowe, Joaquin Phoenix and Connie Nielsen, and directed by Ridley Scott. This definitive limited edition release marks the 25th Anniversary of the landmark film and its iconic, Oscar-Nominated score. Hans Zimmer and Lisa Gerrard’s original score is the beating heart of GLADIATOR. Strikingly modern, yet organically evocative of the film’s Ancient Rome setting, the score expertly weaves a mesmerizing tapestry of thundering action and intimate character drama, resulting in an exhilarating and thematic musical odyssey. This special, 3-disc presentation fully illustrates the masterwork’s brilliance, sounding better than ever and expanded with never-before-released music. Produced by Stéphane Humez and edited and mastered by Maxime Marion from studio vault materials and composer archives, under supervision of Hans Zimmer and Lisa Gerrard, this deluxe re-issue showcases the Score Presentation, as written for the film by the composers, across Disc One and Disc Two. Disc Three features The GLADIATOR Sketchbook, showcasing exclusive, never before released sketches from Hans Zimmer’s archives, as well as Additional Music tracks, including alternate cues and more! There is no spoken dialogue in this presentation. Limited to 3500 units, the packaging features rousing art design by Dan Goldwasser and includes a 32 page booklet that contains exclusive liner notes by writer Kaya Savas, featuring new in-depth interviews with composers Hans Zimmer and Lisa Gerrard. “Are we not entertained!!!” TRACK LISTING: DISC I SCORE PRESENTATION 1. Opening – Fields 1:40 2. The Wheat (Film Version)* 1:00 3. The Battle (Film Version) 10:36 4. Commodus – After The War 2:46 5. Marcus & Lucilla 2:06 6. Tell Me About Your Home** 1:07 7. Lucilla & Maximus 2:20 8. Patricide (Film Version) 4:00 9. Emperor Is Dead** 2:21 10. A Soldier's Death – Home 4:03 11. The Bodies** 1:27 12. To Marrakesh++ 4:07 13. I Salute You 7:23 14. Rome 2:20 15. The Greatness Of Rome 1:33 16. Six Man Fight 2:47 17. Win The Crowd 2:38 18. Reunion** 1:15 19. Slaves To Rome (Film Version) 2:07 20. He Sleeps So Well*** 1:00 21. Afraid Of Dark 1:11 22. Walk To Colosseum 0:54 23. Maximus & Lucius Meet** 1:36 DISC TIME 62:19 DISC II SCORE PRESENTATION CONTINUED 1. Barbarian Horde (Film Version)+++ 9:17 2. I Think I'll Meet Him 4:32 3. I'm Vexed 1:21 4. I Knew A Man Once 1:00 5. Tiger Fight – Waiting For Judgment 2:18 6. You Simply Won't Die 2:57 7. Figurines (Film Version)* 1:10 8. They Love Maximus 1:30 9. We Will Lie Still°° 2:03 10. Wish Of A Dying Man° 4:25 11. Secrets (Film Version)** 2:59 12. The Kiss 2:07 13. Busy Bee*** 3:32 14. The Trap – Escape Fails 4:12 15. Am I Not Merciful? (Film Version) 6:37 16. Flashback** 0:46 17. Elysium (Film Version)** 3:00 18. Honor Him 1:20 19. Now We Are Free*** 4:15 DISC TIME 59:24 DISC III THE GLADIATOR SKETCHBOOK 1. Duduk Of The North 5:35 2. Gladiator Waltz (Demo) 8:28 3. Rome Is The Light*** 2:44 4. After The War 4:42 5. Opening Soldiers (feat. Lisbeth Scott) 5:21 6. Sister Theme 3:31 7. Roman & Spanish++ 6:32 8. After The War (Guitar Variation) 3:55 ADDITIONAL MUSIC 9. The Wheat (Alternate)* 1:18 10. The Battle 10:03 11. The Bodies (Alternate)+ 1:27 12. To Marrakesh (Alternate Opening Version 1)++ 1:33 13. To Marrakesh (Alternate Opening Version 2) 1:36 14. Marrakesh Marketplace† 0:44 15. Win The Crowd (Alternate)** 1:30 16. Afraid Of Dark (Alternate)*** 0:49 17. Figurines+ 1:03 18. Figurines (Alternate) 1:10 19. Busy Bee (Alternate)** 3:46 20. The Trap – Escape Fails (Alternate) 3:20 21. Now We Are Free (Alternate Version 1)*** 5:06 22. Now We Are Free (Alternate Version 2)*** 4:01 DISC TIME 78:17 TOTAL COLLECTION TIME 200:00 *Written by Lisa Gerrard **Written by Lisa Gerrard & Klaus Badelt ***Written by Hans Zimmer, Lisa Gerrard & Klaus Badelt +Written by Hans Zimmer & Lisa Gerrard ++Written by Hans Zimmer & Djivan Gasparyan +++Written by Hans Zimmer & Nick Glennie-Smith °Written by Hans Zimmer & Klaus Badelt °°Written by Klaus Badelt †Written by Jeff Rona This is a CD format release

Rechtliche Gründe sicherlich und auch die Kosten. Denn die Bilder müssten alle ebenfalls lizenziert werden und verzögern dann auch den Prozess, da das Coverdesign dann ebenfalls von allen Seiten abgenommen werden muss. Bei den Akte-X-Boxen beispielsweise musste das Artwork wohl sogar von den Schauspielern abgenommen werden, da sie darauf zu sehen sind. Deshalb setzt auch BSX/Dragon's Domain oft auf Eigenkreationen und günstigere Stockfotos, um Zeit und Geld zu sparen.

Kommt wohl demnächst.

John Carpenter Sheet Music Collection - Piano Book Dive into the haunting world of John Carpenter's iconic film scores with this comprehensive sheet music collection. Set for release on January 1, 2025, this paperback book features 19 of Carpenter's most popular movie themes arranged for piano solo. Key Features: 19 classic John Carpenter themes Arranged for piano solo Includes music from films like Halloween, Escape from New York, The Fog, and They Live Paperback format with cardboard cover for durability Product Details: ISBN: 978-1-7051-7257-5 Publisher: Hal Leonard Publishing Corporation Release Date: January 1, 2025 Language: English Publisher's Article No.: HL00946239 Perfect for pianists and film score enthusiasts, this collection allows you to bring Carpenter's atmospheric and groundbreaking soundtracks to life at the piano. Whether you're a fan of his horror classics or action thrillers, this book offers a diverse selection of Carpenter's most memorable compositions.

Snow Files of the Week: "Prologue and Opening Titles/I’m Pregnant/End Credits" aus dem TV-Film "In the Line of Duty: Smoke Jumpers" (1996). Eine Elite-Einheit von Feuerwehrleuten springt aus Hubschraubern, um Feuer zu bekämpfen: die "Smoke Jumpers". In diesem TV-Film aus der "In the Line of Duty"-Reihe muss sich einer der "Smoke Jumpers" zwischen der Liebe zu seiner Familie und seiner Pflicht, im Einsatz sein Leben zu riskieren, entscheiden. Mark Snow komponierte dafür einen heroischen Score für Orchester, der leider etwas am typischen Spar-Orchester für TV-Filme in den 90ern leidet. Nichtsdestotrotz gibt es ein tolles Hauptthema und auch lyrische Passagen für die Familienszenen. Ein Track aus dem Score wurde bereits 1997 auf dem Sampler "The Snow Files" veröffentlicht. Dragon's Domain veröffentlichte den Score, gekoppelt mit Snows Score zu "The Little Kidnappers", auf einer CD. Die CD ist auf 500 Stück limitiert. Viel Spaß beim Hören!

Quartet Records, in collaboration with Metro-Goldwyn-Mayer, celebrates the 60th anniversary of the iconic score composed by John Barry for the classic Richard Lester film THE KNACK… AND HOW TO GET IT, winner of the Palme d’Or at the Cannes Film Festival in 1965—a symbol of its generation, a true witness of its time. The “Swinging Sixties” marked a period of significant social, cultural and innovative change in the UK. John Barry played a pivotal role in shaping the cultural revolution of the era, swiftly becoming one of England’s most influential and sophisticated film composers. His GOLDFINGER soundtrack even surpassed The Beatles, reaching number 1 on the Billboard charts in March 1965. Barry’s music for THE KNACK is vibrant, funny, powerfully melodic and well-remembered as an icon of the “Swinging London” movement. The recording took place at CTS Studios in Bayswater with engineer Eric Tomlinson, the composer’s favorite combination of the era. It seems John Barry elected to make separate takes for the film and album as no two appear identical. Given the consistency in orchestra size, overall performance and acoustic, it seems that these were recorded concurrently rather than days or weeks apart. The soundtrack album of THE KNACK was released on LP by United Artists Records at the time of the film’s release. It was reissued on CD by Ryko in 1998 and by us in 2011 but has been out-of-print for the last 14 years. Both releases were mastered from 2-track stereo tapes, but the recent discovery of the original 3-track, 15 ips, first- generation master tapes has given us the opportunity to transfer it in high resolution and offer a more precise and detailed stereo mix. Whatever the reason for the difference, we are now able to proudly premiere almost all the film-specific recordings, amounting to 21 minutes, derived from the film’s monophonic music and effects (M&E) track. Even though the most critical listeners will hear some anomalies, we have employed every available technique to remove sound effects and ensure the music is as clear and enjoyable as possible. The result is convincing, and it’s the only way to listen to the long-lost, historical original film recording. We kindly invite you to listen to our samples and make your own decision about the sound quality before you buy. We have also included organist Alan Haven’s 45-RPM single version, arranged and conducted by John Barry for Fontana Records. And we conclude with lead actor Michael Crawford’s performance of the Leslie Bricusse lyrics with accompaniment conducted by David Whitaker. This was also the first-ever recording by the brilliant future star of THE PHANTOM OF THE OPERA and BILLY. The entire collection has been painstakingly produced, remixed, restored, assembled and mastered by Chris Malone. The package includes a 20-page booklet with an indepeth essasy by film music journalist and writer (and major Barry connoiseur) Jon Burlingame. Now, celebrating the film’s 60th anniversary, enjoy John Barry’s THE KNACK, music that is as fresh, vibrant and inventive as ever. The Soundtrack Album 1. The Knack – Main Theme 3:15 2. Here Comes Nancy Now! 2:59 3. Photo Strip 2:42 4. Three On A Bed 5:33 5. Blues And Out 2:54 6. And How To Get It 3:10 7. Something’s Up! 2:18 8. Doors And Bikes And Things 2:44 9. Ecstasy! 2:38 10. End Title – The Knack 2:40 11. The Knack Vocal: Johnny De Little 2:52 Film Versions 12. Main Title (Film Version) 3:28 13. Here Comes Nancy Now! (Film Version) 1:46 14. Tolen’s Bedroom / Try It On! / Colin’s Bedroom 1:11 15. Carpentry Job 1:41 16. Here Comes Nancy Again! 1:01 17. Three On A Bed (Film Version) 5:18 18. Doors And Bikes And Things (Film Version) 2:56 19. End Title – The Knack (Film Version) 3:49 Bonus Tracks 20. The Knack Organ by Alan Haven 2:25 21. The Knack Vocal: Michael Crawford 2:15 Total Disc Time: 59:44