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| | |-+  AFOF & FAFDM: special editions
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Author Topic: AFOF & FAFDM: special editions  (Read 1888 times)
archangel
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« on: September 01, 2007, 03:00:44 AM »

hi, just got these.
a credit to all involved with the restoration.
FAFDM is the best western made - ever.
CE at his peak.
SL's direction - faultless.
MD's cinephotography = inspired (an copied by TdC).
artistic value = off the scale.
musical value = off the scale, and then some. most of the musical elements are avant guard, subtily adjusted to suit a western. EM tended to characture this in GBU and OUTITW. experimental for sure.
note: NONE of SL work here can be qualified the Amercian sense of being a western. they are so much more.
archie, with lot's of love. Cheesy

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marmota-b
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« Reply #1 on: September 04, 2007, 02:46:16 AM »

most of the musical elements are avant guard, subtily adjusted to suit a western. EM tended to characture this in GBU and OUTITW. experimental for sure.

I have no musical education to understand this, but maybe this is the reason why I always loved those most on compilations of western themes? Because they were different?

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There are two kinds of films in this world:those which stay,even when their genre is forgotten,and those which don't.
Cusser
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« Reply #2 on: September 04, 2007, 07:30:47 AM »

There's an old saying in the film business (paraphrased): when extra time and extra editing delays a film - be cautious, be wary !  These days so many films are targeted towards a certain release weekend, so much different than in the old days.

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archangel
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« Reply #3 on: September 05, 2007, 02:52:23 AM »

I have no musical education to understand this, but maybe this is the reason why I always loved those most on compilations of western themes? Because they were different?

hi marmota-b, thank you for your comment.
EM studied for a long time, and in that time he exposed himself to many different types of music.
this helped him in the preparartion of film scores.
i, now, would have loved to have been at the spotting sessions were he and SL would have talked though the places for the music, and what type.
when these movies were done there were  no computers, and "sound design" as a term, was not used.
believe me, the use of computers should be respected, but these guys did it without them.
come from the brain, you know, in the first place.
some of the magic in EM work does come from electronics - mainly, those days, in the use of tube/valve amplification and analog tape.
this leads to a very warm, round, friendly sound.
he also chose his players very well.
all the leads: trumpeter, whistler, soprano, guitarist, are the best examples at that time. they give EM SW's their heart.
at certain times, when listening just to this music, a tear comes to my eye.
why? soul, my dear, soul.
heart is what makes these films great, heart - a missing element in the films of todays cinema.
all the best to you sweet lady.
DR9. Cry

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marmota-b
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« Reply #4 on: September 05, 2007, 03:17:29 AM »

i, now, would have loved to have been at the spotting sessions were he and SL would have talked though the places for the music, and what type.

Yeah, it would be awesome to know. If only I could understand Italian... Grin

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There are two kinds of films in this world:those which stay,even when their genre is forgotten,and those which don't.
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