@William said:

When she finally left him all he could say was "Who's gonna take care of me?"

That would be the exact and typical response from someone with Bernard Hermmanns psychological makeup. I don't say this from arrogance myself, I'm sure you understand that, but a few musicians (and undoubtably most professions) have said that to me after the usual mayhem, unbelievably.

'Who's gonna take care of me?'

Nightmare

On top of his negative and self-destructive attitude, Herrmann created the greatest television music as well as film music ever done.

The best score ever written for a television show:

"Walking Distance" - Herrmann's score for the Rod Serling teleplay which is probably the best "Twilight Zone" episode and the single best television production ever done.

This is a story not only of perfect production quality, but also of folklore-like significance with its tale of "Only one summer per customer." Herrmann, who was born to write music for this sad, wistful story, created a theme and motifs that compliment it perfectly. He was capable of entering into the emotion of a film perhaps more than any other composer, and he does that here in his music for the nostalgic poem Serling created in the halcyon days of television, when someone could slip a work of art by the Suits who now are in total control and have stamped out all real creativity.

William,

What is the story line on that Twilight Zone episode?

I agree that Herrman's work on that show is as good as TV has ever seen.

He did the end credit music on that show for several seasons but I don't think it was every season. Do you know more facts about that? How many episodes did he do total?

Dave

Dave,

The story is about Gig Young who has a bad leg and hates his hectic modern life and stops at a gas station where he goes through a mirror back in time to an old-fashioned town where he causes his former child self to break his leg (and meets his parents, etc.)

I'm not sure how many episodes Herrmann did, though he did the first season main title theme, which was not the well-known (and slightly trite) theme, but a quiet, mysterious piece for horns and strings. And he did a number of complete episodes. They are listed in the book by Marc Scott Zicree - I have it but unfortunately they are not listed by composer! Can you believe it? Shocking!

Man, William is like a walking encyclopedia.... I just wanted to through in that I´m seriously impressed about all the knowledge he shows here on this forum.... I merely can grab 3 percent, or so....

I've been able to grab about 4.5% of William's knowledge.

DC

William,

Yes, ridiculous that the great composers on that show are not listed somewhere. Goldsmith's score for the Agnes Moorehead episode is certainly a classic.

Herrman's score are pretty easy to recognize as you know. What an amazing writer that guy. So unique is his sound that within seconds you know it's him.

DC

I've been able to grab about 4.5% of William's knowledge.

DC

Makes altogether 9 percent? I´m very jealous...

Thanks for those compliments.

I agree on the Jerry Goldsmith TZ with Agnes Moorehead. That solo violin playing those scratchy tritones! I can still hear it and shudder. That episode is, if you look at it without any preconceptions, a radical experimental film. No dialogue, one actor, one set and a major collaboration between a brilliant composer and a director creating pure cinema.

And this was on network television??!!

Bill,

Yes very radical approach that works like gang busters. Makes you understand why Orson Welles was so impressed with Ms. Moorhead. Monster chops as an actress. That episode is one of the best ever in that series.

DC

mathis,

I can't add: 1 post + the same post = 0 intelligence.

But I do it all the time.

I listened to Monochrome today. How do you get such a great sound? I know I asked you before. Are the reverbs and everything the same as before on Drama #3?

Huge sound - the percussion sounded fantastic.

My big weakness is engineering, but I'm getting better. So give me all your tips. When I post some mp3's You and Bill and Paul can advise and help me get a better sound. I think you three have very good bright clean sounding pieces.

Dave

Which one is the Agnes Moorehead? What's it about?

Evan Evans

Hey Evan,

What are you doing still being awake? The one I remember is the one where a guy is moving so fast that nobody can see him, and another with Robert Culp, where at the end he realises he's a robot. I haven't seen these since the early to mid sixties and didn't realise that Bernard Herrmann had written any of the music. Fascinating!

Evan,

Agnes Moorhead is the old lady in a house that's invaded by tiny creatures in little metalic outfits. Of course they turn out to be astronauts from the U.S. and she a giant. A bit of trivia is the fact that the spacecraft says U.S. Airforce since NASA had not been formed yet.

Dave Connor

Paul,

What a shame those shows aren't running in the UK. Is there a DVD? I think maybe there's a DVD in the States but not sure.

Bill will know.

Out with now Bill.

DC

Yeah, there are several sets of DVDs comprising the entire series.

Knowledge from Bill is now at 4.7%

DC

Wow those sound like really cool episodes. I always watched the marathons and own several DVDs, but I have never seen those three. They sound great!

Evan Evans

I remember reading about a Twilight Zone episode which Hermann scored with two instruments...either harp and bass clarinet, or harp and bassoon...I can't remember which.

Sound familiar to anyone? I'd love to find it.

Fred Story