timpartridge.bsky.social
timpartridge.info
https://linktr.ee/tim_partridge_
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There must be something in the air (or hidden under a car)!
bsky.app/profile/bern...
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Not knowing the show but the era it's from, I was expecting the sound of synthesisers and drum machines when I clicked the link. It's refreshing to hear that it's all guitars and harmonica. It sounds like there might even be a pedal steel guitar in there too, or a convincing soundalike.
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It's like a more synthesised version of Billy Idol's Love Calling. Both were produced by Keith Forsey.
www.youtube.com/watch?v=KMPe...
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A very different film, but when I saw the early scenes of The Iron Lady I was instantly reminded of the lift/elevator moment from Silence of the Lambs.
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A thorough breakdown of both scores here. Fascinating musical insight.
www.youtube.com/watch?v=zAPx...
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One of John Williams most unrecognisable and obscure unused source tunes. It perfectly captures the 1970s library funk/grindhouse sound. It's so cool and authentic sounding, I am surprised Quentin Tarantino hasn't used this in one of his movies.
www.youtube.com/watch?v=ifz3...
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John Williams doing a swinging, mid 1960s caper score with all of the jazzy cool of Henry Mancini and Quincy Jones.
www.youtube.com/watch?v=dZd5...
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On the Lynch connection, it's interesting to note that costume designer Bob Ringwood did both Dune and Santa Claus The Movie. He worked with both Lynch and Szwarc, back to back. Both looked great, too.
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I think Lecter had watched far too much MTV.
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I especially love the track Prehistoric Ride #3*, heard on the Lalaland page. It is only supposed to be theme park background music, but it sounds like it could have been the main theme to a dark thriller of that era in its own right.
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The same angle is also repeated for a practical reason; the scene was filmed at the back of Elstree studios, with very limited set & dressing. There physically wasn't much space to move the camera, without giving away the location. It's very efficiently shot, in addition to all of your other points.
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I think Roger Pratt's greatest masterclass in pure lighting is the Moments of Pleasure segment of The Line, the Cross and the Curve, directed by Kate Bush. Magical, gravity defying illusions & transitional movement created in-camera, but with maximum mood.
www.youtube.com/watch?v=pW5h...
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This iconic sequence from Brazil has one of my favourite camera moves of all time. At 0:47 the rolling stairs glide about an inch from the fast moving camera. It's a rollercoaster visual that is lit with impossible elegance & precision.
www.youtube.com/watch?v=V-yX...
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The world expected the wacky, fun comic-panel colours of Adam West, but Roger Pratt lit Batman like a gloomy and atmospheric horror film. It's so beautiful.