Well, dear readers, never before in Kritzerland history have we known what our slate of releases are more than two months ahead. Every since we began it’s been like that. When we first began doing limited edition soundtracks, it was literally all last minute – I’d think of something, clear it, transfer it, and it would be announced a week later. The studios loved that we did it that quickly – less for them to think about. When we went into 2012, I literally didn’t think we’d have much to release, but it ended up being one of our most prolific years. But thanks to a confluence of events, we now have enough releases locked in to take us into the first few months of 2014 – that’s a really nice feeling, and they’re really good projects. Oh, things do still pop up at the last minute – we just got something three days ago that will do very well. But all of it requires a lot of work – making sure transfers are on track, getting edit road maps, doing the packaging, writing the liner notes – just a whole lot o’ stuff and it’s kind of relentless when you’re doing two titles a month. I can’t even begin to imagine what it’s like for the labels that do four releases a month, which seems to be what everyone strives for these days, and which is of no interest whatsoever to me. There are already way too many things coming out at the same time and I’m not going to add to that load ever. I leave that sort of load to others and wish them well. The best part of all of it is getting those first listens to the material – just hearing all that incredible music prior to actually assembling everything.
Sometimes the assembly is done by others, sometimes by me – I really like doing it occasionally, especially for problematic projects. One such project was very difficult – it took me weeks to figure out the sequencing. It had been presented to me in film order, followed by a bunch of alternates for a bonus section. But the film isn’t conventionally scored, and hearing the music in film order didn’t work at all. The first actual dramatic score cue occurs about sixty-five minutes into the film. So, I just rearranged a few things, moved some later stuff up, and made a musically satisfying listening experience. Had we done it in film order, I don’t think anyone would have gotten past the second track, frankly. I even took a couple of the bonus tracks and used them because they were helpful in the listening experience. These days, the fans of film music like every note of everything in film order – but that’s only good if it works. But other labels just do it that way now and the hell with the listening experience. Of course, everyone has iTunes and can do what they want, but I happen to think this is an art form and I take it very seriously. An album is not a film, it’s its own thing. So, the folks who produce these things all have different aesthetics and we all have to be true to what we believe in and in the end hope people find it works. If certain now-deceased popular film composers heard what some have done with these complete everything releases in film order, they would kill people. Again, if it works, great. And you can still include all the music, but my belief is the first goal is always to make the album proper a good listening experience. There were two recent releases that I had wanted forever, two Holy Grails that I wish we could have done. We didn’t get them, and when I finally heard them it was a big disappointment because they were assembled in film order and it didn’t work, and frankly I have better things to do than rearrange it all in iTunes. I want the record producer and label to do the work and all I want is a cohesive listening experience that presents the composer’s work in a satisfying way. Each project is different and each needs its own point of view. And listen, if it works in film order, fantastic and easy/breezy for us. I’ve reissued a few things that were done by others, and I have absolutely moved a few things around if I thought something didn’t work as it should – moving source cues to the bonus section so that one isn’t interrupted by music that’s heard in the film on a radio or a juke box, and which is meant, usually, as background noise. If the source cue actually functions dramatically, then by all means leave it.
Anyway, it’s been very musical around these here parts of late. Yesterday, I had a day. I had a little allergy attack in the middle of the night, so was up at three and couldn’t fall back asleep until four – so I slept until after ten. Then I got up, answered e-mails, did some work on the computer and did a little cleaning up. The helper came by to pick up invoices and such so she’ll be ready to ship a LOT of CDs. Then I had a good meeting with a singer. After that, I had more work to do on the computer, then I had a couple of tuna sandwiches ala BK. Then I finally sat on my couch like so much fish.
Last night, I finished watching Easter Parade on Blu and Ray. I must say, other than some tiresome plot contrivances, I found it charming and delightful. It’s certainly one of Judy Garland’s most endearing performances, and Fred is just the most interesting and completely unique screen presences ever. Of course he dances like no other person, just brilliant. But it’s his oddball looks, his ninety-eight pound frame, his presence – today he’d be laughed out of a casting director’s office and we’d be without one of the greatest treasures who ever graced a movie screen. Ann Miller has a thankless and irritating role, but she does well, especially in Shaking the Blues Away. Peter Lawford also has a thankless role, but he’s sort of charming and gets the job done. Jules Munshin has a couple of truly funny scenes as a head waiter. The Irving Berlin songs are wonderful, the choreography of Robert Alton is terrific, and it’s all got that Arthur Freed/MGM sheen. If only the transfer were up to that sheen, but, sadly, it isn’t. It’s acceptable, and it has moments that look really terrific, with perfect color. But too much of it has color that is pumped way too hot and in an orange direction, shockingly so at times. The contrast is occasionally weird, too. The last two reels of the film are from sources that are very far removed from the camera negative – those two reels were lost in a fire. But aside from those nitpicks, it was really fun to see it.
I then watched another motion picture on Blu and Ray, this one entitled Le Poison, a French film from France, written and directed by Sasha Guitry, someone whose work I know nothing about. He was considered to be a French Ernst Lubitsch. On the basis of this one film, I wouldn’t quite put him in that exalted company, but it’s an amusing dark comedy about murder between spouses and there are very funny scenes in the film. The cast is wonderful and it runs under eighty-five minutes. Worth checking out if you like dark comedies from the post-war period.
Well, why don’t we all click on the Unseemly Button below because I must get a good night’s beauty sleep.
Today, I’ll be up by nine-thirty at the latest, then at eleven I’ll have a visit and meeting with the business manager and owner of the house I lease. I’ll take them on a tour of the problem spots, and then they’ll decide which to tackle and when – I’m hoping sooner than later. I did hear from the new alarm company today and they’ll either be here Saturday to reconfigure things, or in a couple of weeks. Either way, it will be great to have a new system and a keypad that doesn’t require a master’s degree to operate. After that, I’ll hopefully pick up some packages, eat, and then relax.
Tomorrow I have to finish choosing songs, cast our one remaining cast member and figure out our guest star, and then the rest of the week is meetings and meals and seeing a couple of shows around town.
Well, dear readers, I must take the day, I must do the things I do, I must, for example, have a visit, ship CDs, hopefully pick up packages, eat, and relax. Today’s topic of discussion: What are your favorite films of Fred Astaire and Judy Garland? Let’s have loads of lovely postings, shall we, whilst I hit the road to dreamland, where I shall hopefully have an aesthetically pleasing dream.