By Ray Pride Pride@moviecitynews.com

ICONIC, OUT-OF-PRINT SCORE FOR JAMES CAMERON’S CLASSIC THE TERMINATOR SET FOR DELUXE RELEASE BY NICOLAS WINDING REFN

Posted Wednesday, February 10th, 2016 - Comments Off on ICONIC, OUT-OF-PRINT SCORE FOR JAMES CAMERON’S CLASSIC THE TERMINATOR SET FOR DELUXE RELEASE BY NICOLAS WINDING REFN
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[PR] BRAD FIEDEL’S DYSTOPIAN SCORE PART OF NICOLAS WINDING REFN PRESENTS SERIES

OUT APRIL 8 ON MILAN RECORDS
AUDIO: “Main Title” / Soundcloud + Pitchfork

The score to The Terminator, composed by Brad Fiedel (Fright Night, True Lies), is as striking as the title character.

Punctuated with erratic electronic jolts and rapid fire drums giving the impression of pursuit or gunfire, Fiedel’s work has been used in each subsequent Terminator film and has spent many years out of print. Now set to be available once again and re-mastered from the original tapes for the 21st century, the iconic themes and synth-heavy score has finally been mixed and sequenced the way the composer intended the album to be heard. Remastered for vinyl from the original tapes, this release features two 180 gram pressed red and blue splattered vinyl in a double tip-on jacket coating in a reflective UV wrap. The artwork — cover, gatefold, and back art — is all new, created by All City Media. Check out the details over at Pitchfork, and listen to the dystopia-filled “Main Title” opening theme from the film via Soundcloud.

The Terminator is a cult 80s action movie that needs no introduction. Directed by Oscar-winning maverick James Cameron(Titanic, Avatar), The Terminator stars Arnold Schwarzenegger (Predator, Conan the Barbarian) as the unstoppable Terminator, a ruthless killer sent to the past by machines in the future to kill a young woman (Linda Hamilton) who will one day give birth to huemanity’s last hope. Released in 1984, The Terminator was a landmark film that spawned a multi-billion dollar franchise with numerous sequels and spin offs, and cemented Schwarzenegger’s place as a Hollywood action legend.

This vinyl release is the latest installment of the “Nicolas Winding Refn Presents” series, which aims at releasing quality soundtracks to cult and important film from all around the world on vinyl. Refn is the acclaimed director of films such as Drive,Bronson, Only God Forgives and upcoming horror thriller The Neon Demon. Previous releases in the “NFW Presents” series include Oldboy, It Follows and Robocop.

For more information, check out Milan Records.

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Posted in Movie City News, Press Releases | Comments Off on ICONIC, OUT-OF-PRINT SCORE FOR JAMES CAMERON’S CLASSIC THE TERMINATOR SET FOR DELUXE RELEASE BY NICOLAS WINDING REFN

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon