“There's no real objection to escapism, in the right places... We all want to escape occasionally. But science fiction is often very far from escapism, in fact you might say that science fiction is escape into reality... It's a fiction which does concern itself with real issues: the origin of man; our future. In fact I can't think of any form of literature which is more concerned with real issues, reality.”
― Arthur C. Clarke
The Kopanoi (Greek: "THE...ΚΟΠΑΝΟΙ") is a Greekcomedy film, released in 1987, written and directed by Giorgos Konstadinou, starring several famous Greek actors, including Konstadinou
himself, Markos Lezes, Yannis Vouros, Kostas Palios, and Giorgos
Petrohilos. Today the movie has reached cult classic status for its
memorable quotes and is regarded as the ultimate Greek comedy from the
1980s cinema period.
A motley crew of small-time crooks is assembled in order to plan and execute a big-time bank heist.
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Herrmann is closely associated with the director Alfred Hitchcock. He wrote the scores for seven Hitchcock films, from The Trouble with Harry (1955) to Marnie (1964), a period that included Vertigo, North by Northwest, and Psycho. He also was credited as sound consultant on The Birds (1963), as there was no actual music in the film as such, only electronically made bird sounds.
The film score for the remake of The Man Who Knew Too Much (1956) was composed by Herrmann, but two of the most significant pieces of music in the film — the song, "Que Sera, Sera (Whatever Will Be, Will Be)", and the Storm Clouds Cantata played in the Royal Albert Hall — are not by Herrmann (although he did re-orchestrate the cantata by Australian-born composer Arthur Benjamin written for the earlier Hitchcock film of the same name). However, this film did give Herrmann the opportunity for an on-screen appearance: he is the conductor of the London Symphony Orchestra in the Albert Hall scene.
Herrmann's most recognizable music is from another Hitchcock film, Psycho. Unusual for a thriller at the time, the score uses only the string section of the orchestra. The screeching violin
music heard during the famous shower scene (which Hitchcock originally
suggested have no music at all) is one of the most famous moments in
film score history. Hitchcock admitted at the time that Psycho heavily depended on the music for its tension and sense of pervading doom.
His score for Vertigo
(1958) is seen as just as masterful. In many of the key scenes
Hitchcock let Herrmann's score take center stage, a score whose
melodies, echoing the "Liebestod" from Richard Wagner's Tristan und Isolde, dramatically convey the main character's obsessive love for the woman he tries to shape into a long-dead, past love.
A notable feature of the Vertigo score is the ominous two-note
falling motif that opens the suite — it is a direct musical imitation
of the two notes sounded by the fog horns located at either side of the Golden Gate Bridge in San Francisco
(as heard from the San Francisco side of the bridge). This motif has
direct relevance to the film, since the horns can be clearly heard
sounding in just this manner at Fort Point, the spot where a key incident occurs involving the character played by Kim Novak.
However, according to Dan Auiler, author of Vertigo: The Making of a Hitchcock Classic, Herrmann deeply regretted being unable to conduct his composition for Vertigo. A musician's strike in America meant that it was actually conducted in England by Muir Mathieson.
Herrmann always personally conducted his own works and while he
considered the composition among his best works, he regarded it as a
missed opportunity.
In a question-and-answer session at George Eastman House
in October 1973, Herrmann stated that, unlike most film composers who
did not have any creative input into the style and tone of the score, he
insisted on creative control as a condition of accepting a scoring
assignment:
I have the final say, or I don’t do the music. The reason for insisting on this is simply, compared to Orson Welles,
a man of great musical culture, most other directors are just babes in
the woods. If you were to follow their taste, the music would be awful.
There are exceptions. I once did a film The Devil and Daniel Webster with a wonderful director William Dieterle.
He was also a man of great musical culture. And Hitchcock, you know, is
very sensitive; he leaves me alone. It depends on the person. But if I
have to take what a director says, I’d rather not do the film. I find
it’s impossible to work that way.
Herrmann stated that Hitchcock would invite him on to the production
of a film and, depending on his decision about the length of the music,
either expand or contract the scene. It was Hitchcock who asked Herrmann
for the "recognition scene" near the end of Vertigo (the scene in which James Stewart's character suddenly realizes Kim Novak's identity) to be played with music.[citation needed]
In 1963 Herrmann began writing original music for the CBS-TV anthology series, The Alfred Hitchcock Hour,
which was in its eighth season. Hitchcock himself served only as
advisor on the show, which he hosted, but Herrmann was again working
with former Mercury Theatre actor Norman Lloyd, co-producer (with Joan Harrison)
of the series. Herrmann scored 17 episodes (1963–1965) and, like much
of his work for CBS, the music was frequently reused for other programs.
Herrmann's relationship with Hitchcock came to an abrupt end when they disagreed over the score for Torn Curtain. Reportedly pressured by Universal executives, Hitchcock wanted a score that was more jazz- and pop-influenced. Hitchcock's biographer, Patrick McGilligan,
stated that Hitchcock was worried about becoming old-fashioned and felt
that Herrmann's music had to change with the times as well. Herrmann
initially accepted the offer, but then decided to score the film
according to his own ideas.[15]
Hitchcock listened to only the prelude
of the score before confronting Herrmann about the pop score. Herrmann,
equally incensed, bellowed, "Look, Hitch, you can't outjump your own
shadow. And you don't make pop pictures. What do you want with me? I
don't write pop music." Hitchcock unrelentingly insisted that Herrmann
change the score, violating Herrmann's general claim to the creative
control he had always maintained in their previous work together.
Herrmann then said, "Hitch, what's the use of my doing more with you? I
had a career before you, and I will afterwards."[16] The score was rejected and replaced with one by John Addison.
According to McGilligan, Herrmann later tried to reconcile with
Hitchcock, but Hitchcock refused to see him. Herrmann's widow Norma
Herrmann disputed this in a conversation with Günther Kögebehn for the
Bernard Herrmann Society in 2004:
I met Hitchcock very briefly. Everybody says they never spoke again. I
met him, it was cool, it was not a warm meeting. It was in Universal
Studios, this must be 69, 70, 71ish. And we were in Universal for some
other reason and Herrmann said: "See that tiny little office over there,
that’s Hitch. And that stupid little parking place. Hitch used to have
an empire with big offices and a big staff. Then they made it down to
half that size, then they made it to half that size … We are going over
to say hello." Actually [Herrmann] got a record; he was always intending
to give him a record he just made. But it wasn’t a film thing. It was
either Moby Dick or something of his concert pieces to take it
and give to Hitch. Peggy, Hitchcock’s secretary was there. Hitch came
out, Benny said: "I thought you’d like a copy of this." "How are you?"
etc. and he introduced me. And Hitchcock was cool, but they did meet.
They met, I was there. And when Herrmann came out again he said: “What a
great reduction in Hitch’s status."
In 2009, Norma Herrmann began to auction off her husband's personal collection on Bonhams.com,
adding more interesting details to the two men's relationship. While
Herrmann had brought Hitchcock a copy of his classical work after the
break-up, Hitchcock had given Herrmann a copy of his 1967 interview book
with François Truffaut, which he inscribed "To Benny with my fondest
wishes, Hitch."
"This is rather interesting, because it comes a year after Hitchcock had abruptly fired Herrmann from his work scoring Torn Curtain and indicates Hitchcock may have hoped to mend fences with Herrmann and have him score his next film, Topaz," reported Wellesnet, the Orson Welles website, in April 2009:
Of course, once Herrmann felt he had been wronged, he was not going
to say "yes" to Hitchcock unless he was courted and it seems unlikely
that Hitchcock would be willing to do that, although apparently
Hitchcock did ask Herrmann back to score his last film Family Plot right before Herrmann died. Herrmann, who had a full schedule of films planned for 1976, including DePalma’s Carrie, The Seven Per Cent Solution and Larry Cohen’s God Told Me To, was reportedly happy to be in a position to ignore Hitchcock’s reunion offer.[18]
Herrmann's unused score for Torn Curtain was commercially recorded after his death, initially by Elmer Bernstein
for his Film Music Collection subscription record label (reissued by
Warner Bros. Records), then in a fuller realisation of the original
score by Joel McNeely and the Royal Scottish National Orchestra and later, in a concert suite adapted by Christopher Palmer, by Esa-Pekka Salonen and the Los Angeles Philharmonic for Sony. Some of Herrmann's cues for Torn Curtain
were later post-synched to the final cut, where they showed how
remarkably attuned the composer was to the action, and how, arguably,
more effective his score could have been.
The Little Girl Who Lives Down the Lane is a 1976 cross-genre film directed by Nicolas Gessner and starring Jodie Foster, Martin Sheen, Alexis Smith, Mort Shuman, and Scott Jacoby. It was a co-production of Canada and France and written by Laird Koenig, based on his 1974 novel of the same title.
The plot focuses on 13-year-old Rynn Jacobs (Foster), a child whose
absent poet father and secretive behaviours prod the suspicions of her
conservative small-town Maine neighbours. The adaptation, originally
intended as a play, was filmed in Quebec
on a small budget. The production later became the subject of
controversy over reports that Foster had conflicts with producers over
the filming and inclusion of a nude scene, though a body double had been utilized. After a screening at the 1976 Cannes Film Festival, a court challenge was launched regarding distribution, and a general release followed in 1977.
Initially released to mixed reviews, with some critics finding the
murder mystery plot weak but Foster's performance more meritorious, the
film won two Saturn Awards, including Best Horror Film. It later obtained cult status,
with later critics positively reviewing Foster and the screenplay.
Writers and academics have interpreted it as a statement on children's rights and variously placed it in the thriller, horror, mystery or other genres. wiki imdb
- Download this movie via torrent from here
The Dark Side of the Moog is a Klaus Schulze collaboration with Pete Namlook, (joined also by Bill Laswell on volumes 4 to 7). Each title is a distortion of Pink Floyd song and album titles.
The Evolution of the Dark Side of the Moog is a compilation
album, containing excerpts from the first 8 volumes. The series was
announced as officially concluded with volume 10 when on 21 March 2005
at 14:52 CET,
Pete Namlook sold the Big Moog synthesizer that was the symbol of the
series. However, a volume 11 appeared on Namlook's website on 15 April
2008.
download all the moog series ( in flac quality ) via torrent from here
To the surprise of a whole world, the ex-Yugoslavian now Slovenian cult
band Laibach became the first rock group ever invited to perform in the
dictatorially repressed state of North Korea. Under the firm
guidance of an old fan turned director and cultural diplomat, Laibach
must deal with strict ideology, cultural differences and many
technological difficulties in order just to perform. Struggling to get
their songs through rigorous censorship, they race against the clock so
they can be unleashed on an audience never before exposed to alternative
rock'n'roll.
Herrmann conducting the orchestra in a scene from 
