[Thor Joachim Haga]

By the way, here’s an amusing scene from the The Reception right now:

Bernard Herrmann sits in a big red leather chair, with a glass of cognac in his hand, and doesn’t look too happy. He’s his grumpy old self, and not particularly pleased to be here. He wants to be higher up, of course. But the truth of the matter is that he was once outside the city walls, so he should be pleased. In the years since then, there are now 11 soundtracks of his that I own and quite enjoy, so he has passed through the gates, into the streets and even been considered good enough to enter the building. True, I’ve never been emotionally drawn to his work and possibly never will, but there are some undeniable qualities in his cell-like compositions, and I particularly like it when he gets a bit broad (JANE EYRE, THE GHOST AND MRS. MUIR, my favourite THE TROUBLE WITH HARRY etc.).

Across from him, in a similarly red leather sofa, sits Claudio Simonetti and his band Goblin – enjoying some fine Italian red wine. They’re rather pleased to be there and try rather unsuccessfully to engage with Mr. Herrmann, one of their idols. I’ve had SUSPIRIA forever, and love that, but never really sought out more. Goblin never lived outside the city walls, but they did live on the streets for a long time. A few years ago, however, I decided to check out a lot of their film work. What I found was that there were some AMAZING themes in most of their work, but the rest of the scores did little for me. They work best in compilation formats. So here’s one of those cases where I really like an aspect of their work, but have issues with others. But maybe some day, they’ll qualify for a move up to Waiting Room No. 5.

😀

Ok, enough already! Back to normal top 10s!