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CharlieSherry

Gangs of New York

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Wait, John Williams had a score replaced, I can't remember which one though.  It was a long time ago...

To my knowledge Williams has never had a score rejected.

Stefancos- :roll:

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Maybe this can clear things up (I found it at http://www.cinemusic.net ):

Word is that Elmer Bernstein's score for Martin Scorese's Gangs Of New York has either been rejected or partially replaced. Mikael Carlsson of MusicFromTheMovies.com asked Howard Shore, who is rumored to have contributed music to Gangs, just what the hell is going on.

Folks, I asked Howard Shore about his involvement in Gangs of New York. This is what he had to say:

"I did not score this film but contributed a part of a concert piece called 'brooklyn heights' that i have been working on that has never been premiered. I have licensed this piece for use in the film. I did not record it as my involvement in composing, orchestrating and conducting 'The Two Towers' has had me completely absorbed for the last 9 months."

Howard also says that "other music for the film has been recorded by Peter Gabriel and Bono".

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I am resurrecting this ancient, dusty thread to post a cool video I just found, only uploaded a month ago.

 

Somebody made an attempt to set Elmer Bernstein's rejected score for Gangs of New York to specific scenes.  Pretty cool!

 

 

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17 minutes ago, TGP said:

Interesting.  Didn't know Bernstein's score was hearable.

 

Varese released it with two other Bernstein rejected scores 

 

https://www.discogs.com/Elmer-Bernstein-Elmer-Bernstein-The-Unused-Scores-Gangs-Of-New-YorkJourney-Of-Natty-Gann-and-The-Sca/release/10769766

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I seem to remember some people round here ragging on Wolf.  I thought it was absolutely brilliant, up there with his greatest ever portrayals of criminal excess and amorality.

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I’m in the same boat with TGP. I thought it was terrible, and it firmly knocked me off the Scorsese bandwagon. Hugo was pretty poor as well, despite a strong and heartfelt middlish-third act revolving around Méliès. He should have just made one of his usual documentaries instead. 

 

Havent seen Silence yet. 

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3 hours ago, Disco Stu said:

I seem to remember some people round here ragging on Wolf.  I thought it was absolutely brilliant, up there with his greatest ever portrayals of criminal excess and amorality.

 

It's right up there with Casino.

 

As much as I can marvel at the technical virtuosity on display in Goodfellas, it's a film that leaves me cold. Pauline Kael said it best.


Scorsese the arousal junkie makes you feel you’d like to hang out with him and listen to him tell how he brought off the effects; he’s a master. But this picture doesn’t have the juice and richness that come with major performances. It has no arc, and doesn’t climax; it just comes to a stop. Conceivably the abruptness could work, but I don’t think it does. Will the lift of the moviemaking still carry some people aloft? Maybe, because watching the movie is like getting strung out on pure sensation. That’s Scorsese’s idea of a hood’s life. It’s also a young film enthusiast’s dream of a director’s life, and in Scorsese’s case it’s not too far from the truth.

 

http://webcache.googleusercontent.com/search?q=cache:sJq7EtIKTNMJ:scrapsfromtheloft.com/2017/08/18/goodfellas-review-pauline-kael/+&cd=1&hl=en&ct=clnk&gl=uk&client=firefox-b

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I enjoyed Wolf of Wall Street a lot but am bummed that he had to rush it into theaters before he was done editing to hit that year's Oscar window instead of waiting for the next year's.  I'd like to see both a tighter 2-21/2 hour version as well as deleted scenes from the original 4 hour cut

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9 hours ago, Sharky said:

 

It's right up there with Casino.

 

As much as I can marvel at the technical virtuosity on display in Goodfellas, it's a film that leaves me cold. Pauline Kael said it best.


Scorsese the arousal junkie makes you feel you’d like to hang out with him and listen to him tell how he brought off the effects; he’s a master. But this picture doesn’t have the juice and richness that come with major performances. It has no arc, and doesn’t climax; it just comes to a stop. Conceivably the abruptness could work, but I don’t think it does. Will the lift of the moviemaking still carry some people aloft? Maybe, because watching the movie is like getting strung out on pure sensation. That’s Scorsese’s idea of a hood’s life. It’s also a young film enthusiast’s dream of a director’s life, and in Scorsese’s case it’s not too far from the truth.

 

http://webcache.googleusercontent.com/search?q=cache:sJq7EtIKTNMJ:scrapsfromtheloft.com/2017/08/18/goodfellas-review-pauline-kael/+&cd=1&hl=en&ct=clnk&gl=uk&client=firefox-b

 

 

I don't agree with her on this particular one, but man she was the master. 

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11 hours ago, Sharky said:

 

It's right up there with Casino.

 

As much as I can marvel at the technical virtuosity on display in Goodfellas, it's a film that leaves me cold. Pauline Kael said it best.


Scorsese the arousal junkie makes you feel you’d like to hang out with him and listen to him tell how he brought off the effects; he’s a master. But this picture doesn’t have the juice and richness that come with major performances. It has no arc, and doesn’t climax; it just comes to a stop. Conceivably the abruptness could work, but I don’t think it does. Will the lift of the moviemaking still carry some people aloft? Maybe, because watching the movie is like getting strung out on pure sensation. That’s Scorsese’s idea of a hood’s life. It’s also a young film enthusiast’s dream of a director’s life, and in Scorsese’s case it’s not too far from the truth.

 

http://webcache.googleusercontent.com/search?q=cache:sJq7EtIKTNMJ:scrapsfromtheloft.com/2017/08/18/goodfellas-review-pauline-kael/+&cd=1&hl=en&ct=clnk&gl=uk&client=firefox-b

 

Kael is a sucker for story. Goodfellas isn't about that.

 

While Goodfellas is universally considered the better of the two, Casino is the one that is visually more impressive.

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