calmReleased in 1981, Clash of the Titans was the final collaboration between Ray Harryhausen and producer Charles Schneer. The era of stop-motion animation was coming to a close, being replaced by more modern techniques as go-motion and animatronics. Harryhausen's effects were already an anachronism upon the release of this film, as is evidenced by the following scene. It is nevertheless impressive to observe the level of proficiency that Harryhausen had with these miniatures. This is the only scene in which Medusa appears, but she nevertheless conveys a palpable sense of menace throughout the scene.
Okay, with all of the John Scottness that's been going on around here lately, I think it's worth mentioning that I've been having a great time rediscovering King Kong Lives. This is everything an adventure score should be. I can say that happily because I've never seen the film itself, nor do I plan to. I have to say that one of the reasons why I like this one so much is because, while the movie itself is a sequel to the limp 1976 version of the film which was scored by John Barry in a manner that emphasized the more romantic aspects of the story. Scott's approach instead hearkens back to Max Steiner's classic original, the score that practically invented the genre. Scott's music is bold and is much more in the cast of the '33 piece, and it is clear that the composer is paying hommage to an acknowledged master.
Okay, so how's this for a crazy idea... a King Kong mix! Eh? Steiner, Barry, Scott, Howard... how can I go wrong?
Okay, with all of the John Scottness that's been going on around here lately, I think it's worth mentioning that I've been having a great time rediscovering King Kong Lives. This is everything an adventure score should be. I can say that happily because I've never seen the film itself, nor do I plan to. I have to say that one of the reasons why I like this one so much is because, while the movie itself is a sequel to the limp 1976 version of the film which was scored by John Barry in a manner that emphasized the more romantic aspects of the story. Scott's approach instead hearkens back to Max Steiner's classic original, the score that practically invented the genre. Scott's music is bold and is much more in the cast of the '33 piece, and it is clear that the composer is paying hommage to an acknowledged master.
Okay, so how's this for a crazy idea... a King Kong mix! Eh? Steiner, Barry, Scott, Howard... how can I go wrong?
