Above: Portrait of Bernard Herrmann circa 1966. Courtesy Photofest.
A couple weeks ago I was talking to Notebook contributor Paul Clipson, who was in town to show some of his films at the New York Film Festival's Views from the Avant-Garde, about—what else?—film soundtracks. One of our favorite composers came up, John Barry, and the pleasure of his interstitial music for the James Bond films—not the main themes or title music, but just the little melodies and tones used to help the films express something in less direct moments. Paul had a wonderful phrase for this, a kind of "perfume," soundtrack music that despite its brevity and perhaps simplicity casts a lingering sense, an aural sense, a flavor, a suggestive, almost secretive and sidelong tone of atmosphere and emotion.
I immediately thought of my favorite interstitial piece by Bernard Herrmann, who is getting a retrospective at New York's...
A couple weeks ago I was talking to Notebook contributor Paul Clipson, who was in town to show some of his films at the New York Film Festival's Views from the Avant-Garde, about—what else?—film soundtracks. One of our favorite composers came up, John Barry, and the pleasure of his interstitial music for the James Bond films—not the main themes or title music, but just the little melodies and tones used to help the films express something in less direct moments. Paul had a wonderful phrase for this, a kind of "perfume," soundtrack music that despite its brevity and perhaps simplicity casts a lingering sense, an aural sense, a flavor, a suggestive, almost secretive and sidelong tone of atmosphere and emotion.
I immediately thought of my favorite interstitial piece by Bernard Herrmann, who is getting a retrospective at New York's...
- 10/29/2011
- MUBI
Alfred Hitchcock's film The Man Who Knew Too Much has been remade already (by Hitchcock) and parodied and/or referenced many more times. (See Bill Murray's The Man Who Knew Too Little.) So why not one more? Last fall there was a report that Paramount was developing a kid-centered remake of the film, and now that seems to be moving forward. Much in the way that Disturbia took the Rear Window formula and oriented it for teen audiences, The Kid Who Knew Too Much would take the basic setup from Hitchcock's two films and set it up so that rather than having a couple investigating a scenario that leads to their child being kidnapped, we'd see a kid looking for his stolen parents. John and Jez Butterworth are writing the script, but there is no cast or director at this point. (How has this title never yet been used?...
- 2/9/2011
- by Russ Fischer
- Slash Film
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