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RE: [F_minor] Slaughterhouse 5
Etha and all,
It is said that the best thing about the film is the music (reviews at the time). GG was offered the chance to compose a soundtrack from scratch, but he declined (was found odd since he always wanted to be known as composer as well, but that's a whole different thread). Nevertheless, as far as I know, he was truly in charge of the music; but didn't like the movie per se. I believe to recall he said something to the effect that the movie is interesting, but it's not something one would get to love. I could dig a little and find you more details - htis is just off the top of my head and it's horribly early on Sunday morning here in Austin, Texas; the "wheels" are not yet turning!!
All the best,
Cheers,
C.
Christiane Reinhold, Ph.D., PMP
Manager, Public Services
BearingPoint
Management & Technology Consultants
301 Congress Avenue, Suite 1500
Austin, TX 78701 USA
T + 1 512 542 5351
C + 1 512 680 7537
F + 1 512 382 3386
www.bearingpoint.com
________________________________
From: f_minor-bounces@email.rutgers.edu on behalf of Etha Williams
Sent: Tue 6/17/2008 2:31 AM
To: f_minor@email.rutgers.edu
Subject: [F_minor] Slaughterhouse 5
I watched Slaughterhouse 5 tonight and thought the use of Bach fragments was
wonderful. What I found most interesting about the soundtrack was that the
film used Bach *fragments -- *even though (or perhaps because) Bach's
compositions are such highly structured things. There is one point, when
they are arriving in Dresden, where the film plays the D Major Concerto
Allegro 3rd mvmnt -- and almost gets to the end, but just before it does,
transitions to the Brandenburg 4 Presto (using a bridge that I think must
have been of Glenn's composing). You never get a full movement -- which is
quite disconcerting with music as structured as Bach's. But it fits with the
general theme of the movie -- a man "unstuck in time," constantly shifting
between different periods of his life, never reaching resolution.
Anyway, I was curious -- does anyone know how much creative input Gould had
in the making of the film? Did he simply provide the excerpts to be used at
the discretion of the film-makers, or did he have an active role in the
creation of the soundtrack for the film? Also, did he ever say (in
interviews, etc) what he thought of the film itself?
I look forward to any thoughts or information you might have --
Etha
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