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Re: [F_minor] Slaughterhouse 5
I recently bought the Glenn Gould Reader and have been devouring it
out-of-order with great enthusiasm. In the Glenn Gould Interviews Glenn
Gould about Glenn Gould piece (pg 315 in the 1990 paperback ed), I have
found at least part of the answer to my question:
*g.g.: What about your own concerns? Have any of your activities violated
these personal strictures and, in your terms, "menaced" society?*
*G.G.: Yes.*
*g.g.: Want to talk about it?*
*G.G.: Not particularly.*
*g.g.: Not even a quick for-instance? What about the fact that you supplied
music for **Slaughterhouse Five?*
*G.G.: What about it?*
*g.g.: Well, at least by Soviet standards, the film of Mr. Vonnegut's opus
would probably qualify as a socially destructive piece of work, wouldn't you
say?*
*G.G.: I'm afraid you're right. I even remember a young lady in Leningrad
telling me once that Dostoyevsky, "though a very great writer, was
unfortunately pessimistic."*
*g.g.: And pessimism combined with a hedonistic cop-out, was the hallmark of
**Slaughterhouse, was it not?*
*G.G.: Yes, but it was the hedonistic properties rather than the pessimistic
ones that gave me a lot of sleepless nights.*
*g.g.: So you didn't approve of the film?*
*G.G.: I admired its craftsmanship extravagantly.*
*g.g.: That's not the same as liking it.*
*G.G.: No, it isn't.*
*g.g.: Can we assume, then, that even an idealist has his price?*
*G.G.: I'd much prefer it said that even an idealist can misread the
intentions of a shooting script.*
*g.g.: You would have preferred an uncompromised Billy Pilgrim, I assume?*
*G.G.: I would have preferred some redemptive element added to his **persona,
yes.*
Etha
On Sun, Jun 22, 2008 at 7:43 PM, Terry Kozlyk <tkozlyk@shaw.ca> wrote:
> Yes, in my early days of interest of GG, I acquired this film with great
> eagerness. The movie is depressing and surprising that GG would lend
> himself
> & his performance/interpretation to such a nuisance. (It's not like he need
> the money either....)
>
> TDK (Terry)
> ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
> Terry D.Kozlyk (TDK) CC / CL, C.E.T.
> VP Education
> Silver Springs Toastmasters - Club #3987
> http://silversprings.freetoasthost.com
> tkozlyk@shaw.ca
> terry.kozlyk@gdcanada.com
> home (403) 239-7939
> work (403) 295-6773
> Longer.........Higher.........Faster.........
> ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
>
> -----Original Message-----
> From: f_minor-bounces@email.rutgers.edu
> [mailto:f_minor-bounces@email.rutgers.edu] On Behalf Of Reinhold,
> Christiane
> Sent: Sunday, June 22, 2008 7:23 AM
> To: Etha Williams; f_minor@email.rutgers.edu
> Subject: 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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