GrizzlyAdams

Absolutely loved it. Spielberg completely nailed it. Completely the right feel for this type of film set in that time period. The zoom lenses and everything. Made me feel like I was watching Day Of The Jackal, or some other classic 70's thriller.

I was thinking Goonies too. But for some reason this 5000 copies thing has thrown me a bit. It's 2000 more copies than Ghostbusters. I mention this because Ghostbusters, BTTF and Goonies all had/have song based soundtrack releases that have proved to be very popular. If we're thinking this release might appeal to people outside of the usual score buying crowd, will it necessarily appeal enough to warrant a purchase? The biggest BTTF fan in the world might be completely content with some Huey Lewis. As with Ghostbusters and ol' Ray Parker Jr. Ghostbusters continues to sell for around £50 on ebay. So maybe the extra couple of thousand copies is just to cover the "regular" film fan music buying public. 3000 for us, 2000 for them! I guess what I'm saying is that Intrada have enough faith that there are enough people out there to buy this thing. But perhaps not with the level of demand that Alien commands. The more I think about it, the more I agree that Roger's "huh" statement was just a bit of fun.

Oh, I'm Jim. Pleasure to meet you. Nothing but my own opinion here sir. And over at Intrada, Roger said "We're all pretty excited with it. I just hope a lot of people don't go, "Huh?" when we announce...and we sit on 4500 copies." Which makes it very unlikely that it'll be BTTF.

I disagree strongly that Back To The Future isn't "even close" to being a masterpiece. BTTF is probably the first time I ever noticed film music. And I was probably around 5 years old when I first saw the film. There are cues in that score that have been lodged in my mind ever since. And I'm not trying to claim that because it got me into film music it's a masterpiece.... but there is such a strong visual connection between the music and the film. If I play a bunch of Star Wars cues to my friends they'll all smile and say "cool, it's Star Wars." Sometimes they'll know which piece it is, like the Tie Fighter attack, or Binary Sunset, but many times I've played BTTF stuff in the car, or at home, and friends which are pretty much clueless when it comes to film scores, and often look at me weird when they hear what I listen to most, have instantly quoted lines from the point in the film it's from. Most recently it was "Damn, where is that kid?!" At the end of the day, the art of film scoring is to write music which compliments the images. BTTF does this brilliantly, and I certainly regard it as a masterpiece. And please do correct me if I'm wrong, but wasn't BTTF recorded with the largest orchestra ever assembled for a film? (Up to that point.) That's pretty special. Again, not a reason to label it a masterpiece, but it's certainly something worth noting. Anyway, that turned into many more words about BTTF than I had planned to write! But, I don't think Intrada will be releasing it this time round. If they do, I'll be running in the streets, screaming with joy. (or maybe just strolling, whispering a little "yay" to myself.)

I was there. My second film music night at the Bridgewater. The Hallé are a fantastic orchestra. (Although I thought one or two of the french horns were having a bad night at times!) Close Encounters was stunning. And I was pleased to hear so much from Catch Me If You Can. Some odd omissions though. But I guess if I'd been allowed to choose what they played we would all have been sat there for about six hours I also think it's a bit of a shame that even though the night is dedicated to one composer (the Newman, Waxman, Herrmann and Korngold pieces aside) we only really get to hear the concert arrangements of certain themes. But on the whole, it was fantastic. John Wilson is conducting another Williams night with the Liverpool Philharmonic in Feb. I'm going to get myself over there! Also Carl Davis is doing one of his film themes nights there in July. Lovely stuff.