Yesterday and today I recieved two shipments of 11" x 17" mini posters, reproductions of movie one-sheets with which to decorate a bit with; these are convenient because they are all the same dimensions, so I played around with which ones go where before I finally settled on something I was satisfied with. I have to say that I am very proud now of how the bathroom came out. With all of the quality time I've spent in there, it never occured to me to me how boring it looked. It doesn't now, and I had quite a bit of fun deciding what to put where. This all really started with a frame that my grandmother was getting rid of; I realized that if carefully cropped, I could fit an Apocalypse Now poster I had in a closet there. I liked the splash of color it brought the otherwise rather plain room, so I figured that it could use some decoration, and this is something I can put on the wall and enjoy. I put the Rear Window mini-poster I picked up at Penny Lane whilst visiting aerolyndt the summer before last next to a new Vertigo, which is a pretty obvious companion, but there are little hidden connections between the movies represented on each wall as well, although not so apparent. I suppose that it is the heighth of naval-gazing to be arranging things with such esoteric relationships in mind, but, well... I yam what I yam.
I'm not committing to anything yet, but I've made notes for a prospective Omen trilogy mix. I've been listening to the scores all day, which I haven't for a really long time. Okay, I listened to The Final Conflict kind of recently, but the others not for a while. This is also the first time that I've listened to the Varese deluxe edition of The Omen since having seen the film. The film leans heavily on the music, and while I think that there are many times that Goldsmith has been up for an Oscar for and unjustly lost, and I do think that his win for this film was more of a nod to his career than it was for the merit of the score... but the combination of the choir and the chamber orchestra was ingenious. Its novelty has been somewhat dulled by the music's own influence on the horror genre and the resultant flood of emulators, but when the music works wonders in the film, constantly unsettling and prone to harsh outbursts. Damien almost sounds like it is the second half of the first film's score, very close in tone but with electronics, but it takes some of the ideas from The Omen and expands them in interesting directions.
I've always thought of The Final Conflict as bearing only superficial relationships to the other two scores in the trilogy, but listening to them consecutively as I just have reveals that while much of the primary thematic material from the first two films does not appear in a very similar form, the music in The Final Conflict is often built from deconstructions of the music from The Omen and Damien, but while those scores tended towards a tone that alternates between nervous and brutal, The Final Conflict tends to be more epic in scope. This will probably make a pretty interesting mix, although there will be a lot of overlap with my Goldsmith Horror mix.
If I do decide to go ahead with this idea, I won't start on it until after I get home from Boston.