Well, dear readers, this week has flown by, like a gazelle learning the score of Li’l Abner. But before we get to Li’l Abner, let me tell you about our new Kritzerland release, which I am very excited about. I actually made the deal for this release over a year ago. Normally, I don’t sit on projects for more than a few weeks – we get them and get them out. But this one was daunting. First, here’s what it is – the world premiere CD release of three scores to three films directed by Stuart Cooper, not a name that you probably know, but a really interesting director nonetheless. He hasn’t really had the luck of the draw, other than some popular TV movies he helmed. But his films are well worth seeking out, none more so than his brilliant mid-1970s film, Overlord. Mixing real life World War II footage from the Imperial War Museum with then newly shot footage to create a compelling story of one soldier’s journey to D-Day, the resulting film is a marvel. Cooper and his cameraman, John Alcott (Mr. Alcott also shot films for Stanley Kubrick), they found old black-and-white film stock, old lenses for their older cameras and the matching of real and new footage is both artful and masterful. The film has an absolutely stunning score by Paul Glass – Cooper wanted a Vaughn-Williams’ like feel and Mr. Glass truly delivered in spades. It’s achingly beautiful and very moving.
That score is on disc one, coupled with the score to Cooper’s The Disappearance, which was recently released on Blu-ray by Twilight Time and our very own Nick Redman. The score is by Robert Farnon, a very underrated film composer – the basis of the score is the Ravel Piano Concerto in G major, one of the most beautiful piano concertos ever written. But there’s also original Farnon, too. The third score (on disc two) is from Cooper’s TV movie shot in Toronto and entitled Hustle. It’s one of those late-night cable sexy noir things that were so popular back in the day. The score is once again by Paul Glass and is a sexy noir oozing with erotic tension and a great theme for sexy saxophone.
Here’s why it was daunting: All Cooper had were the music tracks from the film itself in terms of Overlord. That was what is called an up-and-down track, as mixed and wedded to the film. Therefore, if music was shortened or abruptly cut off, that’s the way it was on the track. I was not willing to issue that. So, I went to Paul Glass and he looked in his closets and lo and behold found a set of his personal tapes. He’d already had them transferred at some point and they uploaded that to Dropbox but whoever did the transfer screwed it up and it all sounded like it was the wrong speed and under water. So, that was unusable. It took me some time to convince Mr. Glass to send me the actual tapes, but he did and we got them transferred in the nick of time – they were literally falling apart as they came off the tape machine – but thankfully we got it all and the sound, in stereo, was superb. Plus all the cues as recorded by Glass were complete and there were more of them than were used in the finished film.
Hustle had successfully been uploaded to Dropbox and that was all usable and fine. That left The Disappearance. We spent several months being led down the garden path by the Farnon estate and various studios and labs. In the end, no one had anything that was usable. Fortunately, we had the Twilight Time isolated track, which was made from the up-and-down music track. While a few things were too abrupt to use, we were able to salvage most of it in nice-sounding mono. So, it’s been quite a journey but in the end, as often happens, the timing turns out to be perfect – Criterion is about to release the Blu-ray of Overlord (which I recommend highly) and this year is the 70th anniversary of D-Day. Here’s the beautiful cover.
It will be live on the Kritzerland site at six in the morning. We now return you to the land of Dogpatch, where we had our second music-learning rehearsal. I was worried that everyone would come back having forgotten everything, but I needn’t have been – everyone did a great job and after reviewing, we went on to the rest of the music and pretty much got through everything. Barry Pearl ran his song – and I was happy to hear that my little things to make three of the dated name references in the song is going to work and be really funny. At that point we had about ninety minutes left and I took over and had everyone sing the big numbers. I began to tell them about lyrics and storytelling and attitude and happiness and brightness, all things this show needs in abundance. And they got it really fast and suddenly everything was sounding big and bright and great. So, that was really the fun part of the day, at least for me.
Prior to that, I had to deal with a few things, a couple of which were extremely irritating and then I prepped our release eBlast. I also settled on a date for a LACCTAA (our theater alumni association, over which I preside) event, our first in three years: An Evening with Richard M. Sherman, which will happen on May 30, a Friday night, at seven. That’s the Friday after Abner closes. I’ll moderate, have lovely questions for him to answer, he’ll sing a few songs, we’ll sing our song, and I’ll have one or two singers there to sing, as well. It will be open to the public and there will be no charge to get in. I also decided to eat prior to rehearsal, so I had a patty melt and no fries or onion rings and some tap tap tapioca pudding. I picked up one package and then moseyed on over to LACC.
After rehearsal, I stopped at Gelson’s and got a few teriyaki drumettes and some slaw for my snack, after which I came home and finally sat on my couch like so much fish.
Last night, I finished watching a documentary called When Jews Were Funny – I found it a terrible waste of time. The director (and believe me it’s ALL about the director) doesn’t seem to know what his point is or what his film is – and a lot of the comics he interviews agree with that. It’s really more about this director, who is not so funny, trying to figure out if Jews are still funny – well, not really – maybe he’s trying to find out if he’s really still Jewish or, well, it’s baffling, which is the problem. Because what he wants you to believe is that the film is a tribute to all the great old Jewish comics. Yes, there are a few interviews with some – Shelly Berman, Jack Carter, David Steinberg, David Brenner – but most of the comics interviewed I’ve never even heard of. They have a handful of mostly uninteresting clips (I mean, where is Jack Benny for heaven’s sake – Mel Brooks – Woody Allen – Carl Reiner – or a million others) – anyway, I stuck it out to the bitter end and give this absolutely no recommendation whatsoever.
I also watched the first few minutes of Woody Allen’s Broadway Danny Rose, a movie where Jews ARE funny, as are Italians and everyone else. I’ll have lots more to say when I finish it.
Then I did some work on the computer, listened to the release that will follow our NEXT release and relaxed.
Today, I shall be up at six to announce our new title. I may or may not go back to bed. Then I’m going to jog (I have to get back to it, and I have to drop these really annoying fifteen pounds I’ve gained back, as I always do in the first months of a New Year, mostly due to writing and being so busy. It wasn’t as bad as past years, where I’ve gained thirty to forty pounds, but this is really starting to bug me large and I’m nipping it in the bud right now. The helper will come by, and then I have a production meeting at two, and our first blocking rehearsal at three – we have a LOT of scenes to do, but none of the really big ones, so I’m hoping to get through everything, even if it’s rough. Since I won’t have time to eat prior to rehearsal, I think we’re going to go to Astroburger, which I haven’t had in ages. And if that’s all I eat today, especially after a jog, I should be fine and I should start to lose weight in a day or two.
Tomorrow we’re in rehearsal at eleven with Kay Cole – three big numbers to do, one of which we’ll do together – the other two are hers alone. I’m sure some of us will grab a bite afterwards. The weekend is for jogging and taking it easy – on Saturday night I’m doing a long drive to attend a Seder with Jenna Lea Rosen’s family – the Staitmans will be there along with others I know, so that should be fun.
Let’s all put on our pointy party hats and our colored tights and pantaloons, let’s all break out the cheese slices and the ham chunks, let’s all dance the Hora or the Continental, because today is the birthday of our very own Mr. Nick Redman. So, let’s give a big haineshisway.com birthday cheer to our very own Mr. Nick Redman. On the count of three: One, two, three – A BIG HAINESHISWAY.COM BIRTHDAY CHEER TO OUR VERY OWN MR. NICK REDMAN!!!
Well, dear readers, I must take the day, I must do the things I do, I must, for example, announce a new title, do a jog, hopefully pick up packages, rehearse and eat. Today’s topic of discussion: What are your favorite Jewish foodstuffs to eat? I’m sure you’ve all been to a deli at on time or another, so let’s hear about it – and what is the best deli food you’ve ever eaten? Let’s have loads of lovely postings, shall we, whilst I hit the road to dreamland, after which I shall have another fun day of lyrics and storytelling and attitude and happiness and brightness, oh my.