Joshua Gizelt (swashbuckler332) wrote,
Joshua Gizelt
swashbuckler332

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Osmosis or Association?

I went to my grandparents' house today to finally reveal to them the receipt of my diploma. Of course, with my bend for the dramatic, I made them wait until I could reveal it in person, and then by putting my head under the television and shouting. I wish that I had taken a picture of my grandfather's face when I did, that strange mixture of realization and disbelief was absolutely priceless.


Mix Notes
Not that anybody else cares, but it's my journal, damn it.
I do think that the transitions here are pretty damn slick, though.


Although I finished most of the work on the Indiana Jones mix I made yesterday, I have found two serious but easily fixable errors and upon my return home I'll be repairing them and editing the previous post to reflect the minor but significant alterations. I'm embarrassed to admit it, but I was so happy with the project itself that I prematurely posted the notes. Whoops.

Trilogies with the same composer are prime candidates for mixes. I've been eyeing the Omen discs on my shelf, although I think that there might be too much overlap with They're Here, my Goldsmith horror 2 disc set... but on the other hand, I didn't overload Valhalla (the adventure set) up with too much Rambo music, and so that project is looking more and more appetizing.


Insert cynical remark or quip about homoeroticism here.


Please note that I've never seen a Rambo movie in my entire life, I have a deep seated distaste for Sylvester Stallone's jingoistic screen persona of the 80s, but I am a class one Jerry Goldsmith fan and have all of the expanded editions of the scores. Similarly, the only Omen film I've ever seen is the first one, and that only recently. But when the expanded edition of the scores came out, I was there with bells on my toes (which almost got me ejected forcibly from the Barnes & Noble I bought them at, I might add), especially because The Final Conflict is one of my favorites of Goldsmith's.

Speaking of Jerry Goldsmith, the Planet of the Apes mix I'm planning is being postponed owing as to the fact that Intrada has announced the release of Lalo Schifrin's scores for the television series next month. In addition to being a great expansion of that harsh Apes sound I like so much, I am also a pretty big Schifrin fan, so any opportunity for more music by him to show up on my doorstep is welcomed.

Speaking of Lalo Schifrin, Funk 'n' Thrills is almost ready to go, although I'd like to amass more music for Swashbucklers!, including more from Schifrin's score from The Four Musketeers. Michel Legrand's score for The Three Musketeers popped up online for a whopping $70... I like the music, but that's a bit much. On the other hand, getting that DVD of The Sea Hawk in the mail really lit a fire under my ass to get working on it (of course, I then go off and do a completely different project, but such is life).

Also relating to Schifrin... I'm putting the Fear mix on hold because I'm curious about Schifrin's score from The Amityville Horror which just got released. I loved the excerpts from his unused score for The Exorcist that were included on the Warner Brothers CD - although I do believe that William Friedkin was right and that the music wouldn't have worked with his the quasi-documentary cinematic style, it was nevertheless some really ballsy music. I also would like to get some music from The Mephisto Waltz and The Other by Goldsmith, one of those discs I had at Tower records and never really had to buy because I could play it (now the bitch is out of print and I can't find it anywhere).



Work
Work
Work
Work


Yesterday was a real nasty day. I had a repair and an install at 1 Madison Avenue. Not a terribly challenging prospect, and I figured out the repair quickly enough (one house pair was stressing waaaay too high on my Sidekick meter), but I was saddled with a real winner of a tester at Sprint, who performed three twenty minute tests - each failing at seventeen minutes - before he finally checked his testport. Then he was able to run error-free to my test equipment for over an hour. Meanwhile, I got he fieldwork done on the installation and turned it up that night.

I have no idea what my work log looks like (I closed both jobs out at the same time) and I really don't care. Happily enough, neither do my managers. My assessment of a job's situation is valued in the office, which makes me feel good. Of course, I found out today a lot of the reason for my current level of trust with this managerial crew comes from the fact that they found out that I was trained by Andre, and when it comes to T-1s, they're very appreciative of that.

Speaking of T-1s, the issues that we've been having with the T at work has somehow cleared up. Very happy about that.
Tags: film music, jerry goldsmith, mix workshop, work
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