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Author	Topic: Kubrick and Pink Floyd

Philipp Oscar® Winner	Hi Fellas, I heard that Pink Floyd´s music from THE DARK SIDE OF THE MOON fits perfectly with Stanley Kubrick´s masterpiece 2001. Anyone tried to combine these two together? Philipp NP: THE DARK SIDE OF THE MOON ( PINK FLOYD )
posted 03-07-2002 12:00 PM PT (US)

Kimiakane Oscar® Winner	Do you mean splicing them together for simultaneous listening? Galina
posted 03-07-2002 12:05 PM PT (US)

Philipp Oscar® Winner	That´s what I mean, Galina. Philipp NP: SE7EN - THE COMPLETE SCORE ( SHORE )
posted 03-07-2002 12:06 PM PT (US)

Kimiakane Oscar® Winner	Wow, can I do something like that with Roxio's Easy CD Creator Version 5?
posted 03-07-2002 12:08 PM PT (US)

dgoldwas Oscar® Winner	How would burning a CD help at all?? The idea is that you watch 2001 with the film's soundtrack muted, and play the Pink Floyd CD synchronized with the film. Incidentally, it's THE DARK SIDE OF THE MOON and THE WIZARD OF OZ that times up perfectly; for 2001, it's only supposed to be the track "Echoes" (from the PF album "Meddle") and it only matches up with the "Jupiter and Beyond the Infinite" sequence in the film. For more details on this and other PF movie synchronizations, click here. Dan [Message edited by dgoldwas on 03-07-2002]
posted 03-07-2002 12:40 PM PT (US)

Kevin Oscar® Winner	And if you have your black light on, watch the "Stargate" sequence from 2001, while playing track 7 from "Wish You Were Here" you see God. Kevin Oh yeah -
posted 03-07-2002 02:42 PM PT (US)

Beatty Oscar® Winner	All visuals match up to all music to some degree of effect. The Floyd / Oz matchup effect is higher than most but it is not perfect. Certainly better than the Moroder score to Metropolis, though. Your brain will go through all sorts of tricks in an attempt to make sense out of the two sets of input. Sometimes it's just hopeless (think inept dubbing on a kung-fu actioner), sometimes it's inexplicably effective (Phillip Glass with anything except Dracula, which was silly in spite of being intentional) and sometimes it just works. It shows just how easy it is to create an effect (The "Berman Effect"?) and how hard it is to bring real meaning into a score. [Message edited by Beatty on 03-07-2002]
posted 03-07-2002 03:30 PM PT (US)

Hasta Oscar® Winner	I think to fully realize the Floyd / Oz matchup you have to be on some sort of drugs, or so I've heard. Wouldn't know, but it sounds nifty.
posted 03-07-2002 03:47 PM PT (US)

Luscious Lazlo Oscar® Winner	Dan's link is a big bolt of weird. I haven't been this freaked out since I played a Josie & The Pussycats record backwards and heard Raymond Burr trying to sell me insurance for my penis. Pink Floyd's "Echoes" is an uneven track. It's sporadically good, but it's seriously marred by the long funky-organ section and by the banal instrumental finale.
posted 03-07-2002 06:46 PM PT (US)

Shaun Rutherford Oscar® Winner	Ah, but "Echoes" DOES fit the finale of 2001. You're less likely to have a freak out if you hear the Floyd version of 2001, rather than Kubrick's (or Ligeti's). The Floyd version is waaaaay mellow, but waaaaaaay cool. Shaun
posted 03-07-2002 08:48 PM PT (US)

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