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| Film Music Discussion of film scores and music. |
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Ascoyne D'Ascoyne
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I don't know these films but it wouldn't surprise me in the least if what you say is true. Quite apart from the fact that Arnold had a very recognisable "voice" to his music the demands that the pressure of work must have placed upon him probably meant that he borrowed from his own work if inspiration was running a bit thin. This sort of borrowing was quite common in the 17 and18th centuries when composers (including Bach and Handel) writing "for the moment" rather than posterity often re-cycled their own (and, sometimes, other composers') works in order to meet a deadline. Arnold, writing 40 or more years ago, would have been blissfully unaware that old films would be, in years to come, recorded and stored in people's homes and that they would notice that he had fulfilled his commission by slightly dubious means!
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Marky B
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I thought Arnold's music for The Inn Of The Sixth Happiness and The Heroes of Telemark were very much similiar.
Ta Ta Marky B
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D Cairns
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There's another phenomenon that leads to musical repetitions. Films are often given "temp scores" using existing film music, so that they can be previewed to audiences without awkward silences. Often the directore becomes so attached to the temporary music that nothing offered up by the composer can match it for him, so he uses the temporary version. ALIEN contains a couple of music cues from Jerry Goldsmith's earlier score for FREUD, and THE TRUMAN SHOW is scored entirely with extracts from earlier Philip Glass soundtracks. THREE KINGS is a bit of a hotch-potch also.
The very successful film composer James Horner has sometimes been accused of plagiarism, as in TITANIC where his score for the ship leaving doc was thought by some to closely resemble Goldsmith's score for the launching of the Enterprise in STAR TREK: THE MOTION PICTURE. |
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Guenther
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The Prisoner of Zenda
The Stewart Granger version uses the score from the Ronald Colman version. Music by Alfred Newman adapted by Conrad Salinger for the 1952 version Cape Fear The remake has Elmer Bernstein adapting the music of Bernard Herrmann from the 1962 film. Psycho Danny Elfman and Steve Bartek adapting the music of Bernard Herrmann from the 1960 classic for Gus van Sant's film. |
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christoph404
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While watching the entertaining " Confessions of a Dangerous Mind" with Sam Rockwell my ears pricked up to the strains of the John Barry main theme from "The Quiller Memorandum" while Rockwell is versed in the art of Cold War dirty tricks......interesting.
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silverwhistle
is not on the side of upper-case Angels
Senior Member
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Re: "temp scores", I think something like that happened with the score for Ridley Scott's Kingdom of Heaven. Although there is a fair amount of original music by Harry Gregson-Williams, there are also tracks lifted from Thirteenth Warrior, Hannibal, one of the Blade films, and some chunks of Bach. Sadly, they only used a couple of bits of genuine in-period music, one of which only turned up in the Director's Cut. But that pretty much sums up the film: for all the claims of "accuracy" by the makers, it was quite a farrago.
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