@dpcon said:

What mindless primitive gave him the idea that he shouldn't?

He himself [[;)]]

You may be right. It is the Mindless Primitive on the other side of that door. He is responsible for this irrational abstinence from posting that has weakened the Forum. And that Other Self will be supplied with all the energy it needs by the Krell machinery. We may never hear from Paul R again, because his Id has been given form, and nothing - not even Blasters - can stop it now.

William,

My anger at the situation is RED HOT...SOON TO BE WHITE HOT.

I need a drink...where's Robbie?

DC

Dave, don't touch that stuff Robbie makes. It's got fuesil oil in it.

William,

Ok will be careful. Now where's the blond from the Twilight Zone elevator to the top floor episode? Walter Pigeon's daughter? (what a great actor that guy btw. was he note perfect in that movie or what?) Had a crush on (Ann Francis?) since I was about 5.

DC

Yeah, Ann Francis in The After Hours, my favorite episode.

About time we started a Twilight Zone thread. It's amazing the impact that show had on a couple generations.

DC

Oh Bollocks to it! I can't stand this any longer! I've done enough time and I've had enough. Shit it though! I'm still angry at what happened.

But it´s not your fault. Welcome back!

I'm surprised no one's mentioned Elliot Goldenthal yet! To me, this guy is one of the most inventive and uncompromising composers in the industry today. His 'Sphere' score just blows me away, as does 'Alien 3' and 'Interview With The Vampire'.

Paul old boy, glad to see you back. So the Superego (I mean this in the strict Freudian definition of the term) finally loosened its hold upon your conscious mind? Or was it your Id given form by the Krell machinery? Dave and I have been debating it.

@William said:

Dave and I have been debating it.

So who owes who 20 dollars? Bloody Forbidden Planet. Wish I'd never bought it up in the first place.

The slightly minamilist scoring to Howards End and The Remains of The Day was by an American (I think!?!) composer named Richard Robbins

Ouch!

Can't agree with that. the score for ROTD was , for me, a stinker! killed an otherwise truly wonderful film. Slightly compromised by the budget not stretching for a real band, but even allowing this the material was very commonplace. Sorry.

My list of current greats...

Ennio Morricone (though not fashionable, one of the best out there)

Preisner (magical ability to glue music to image, also got one of the greatest breaks everin the history of the world by hooking up with Kieslovsky)

Howard Shore (ONLY KIDDING!)

@Morpheus said:

The slightly minamilist scoring to Howards End and The Remains of The Day was by an American (I think!?!) composer named Richard Robbins

You dug deep for that one Morpheus. Had to go right back to see who said it, and it was yours truly. No sweat though. Your'e right, it is a great film and wonderfully paced. Personally, I thought the scoring made the film float along. A real band? I can't remember the orchestration at this point. Something in my memory tells me it was synthesizers and pretty minimalist, but not written in a thought of minamilist way. Does that make any sense? Was it purely down to budget do you think? I don't know the inside dope on the making of the film.

With Morricone, one of my personal top three as everyone by now knows, saw Frantic the other night. Hadn't seen it for while. Certainly puts his skill and mark on a film. A few shades of the scoring to The Untouchables in there btw. Hadn't noticed before, but who's counting.

PR

And who can forget Anton Karas!!! One film only maybe, not sure, but that'll do for me.

yes - one film. but a great one.

That's what I said Morpheus, about Preisner. I don't remember where, but I mentioned how lucky Preisner was to have gotten a gig with the guy who is considered the greatest director of the last part of the twentieth century. I'm glad someone else notices his stuff.

For example in Double Life of Veronique, the way the music is integrated into the film is fascinating. Also BLue - the dead composer who "haunts" the main character not only with his presence but with his music.

These two films, as well as the Dekalog, a tremendous masterpiece, show how Kieslowski was making a concerted effort to make music more central to the structure of the film. And Preisner did some great work in response, rather Herrmannesque in a technical though not stylistic sense.