There are 2,884 posts and 13,216 comments so far.(Image credit: NASA, ESA, and The Hubble Heritage Team (STScI))Įver feel like you're being watched? The disk of spiral galaxy IC 2163 seems to peer out into space with an enormous eye. Wow! Those were great! The Crocodile music was especially good! You and tour associates have a lot of talent! Who did the singing in “Crocodile Smiles?” The music is certainly solid but so is that vocal. The StrangerĬomments (2) 2 Responses to “Ernest’s Tadpole” It didn’t stop her from going on right to the end.
Since my father was also suffering from the disease at the same time, I was comfortable with it, though she seemed obviously uncomfortable. She died soon after of Parkinson’s Disease. This is from one of the last films we did for Edith Zornow. The Stranger was done a couple of years later. This film is available on YouTube, but I don’t like the resolution of that copy, so I’ve put it up here as a QT movie. These two films had about $5000 total for everything from script/board to completion. Again, the budgets for Sesame Street was always low. It really feels like this group would be playing in some 30′s cartoon. I wanted opera, and he gave me more – cartoon opera. The first three spots I did for her included this film and it really sold me on Ernest’s work. (I’ve said that before.) She always seemed to show up just when things seemed bleakest. Edith Zornow was the producer of animation at Sesame Street, and I saw her as my guardian angel. – Continuing to look at a couple of Sesame Street spots Ernest Troost scored for me, my favorite, by far, is Crocodile Smiles. That’s not to say that there aren’t those times when I know it doesn’t work as well as it might have, but that doesn’t happen too often if I’m working with people whose talent I respect.
That other 10% of the time it’s often just an attitude adjustment I’ve had to make. I have to say 90% of the time I’ve immediately recognized it’s positive. So often when hearing music for my films or when hearing an actor reading the script, I’ve had a surprise jolt getting something completely unanticipated. When you’re working with someone whose talent you respect, trust that person. My ideas were so simple, and he had done something complex. By the time I’d heard it in place and watched the film with its score two or three more times, I’d fallen in love with what Ernest had done. The orchestration was not what I’d heard in my head, and I’m afraid my disappointment was obvious.Īfter spending a bit of time placing the music into the film with Paul Gagne, who was co-producing the film and editing it, I started to warm to the score. It was a complete surprise to hear those final tapes. This was in the days before synthesized music, so the only way I’d heard it played was on a piano. When the music arrived it sounded completely different from what I’d expected. This made the job for Ernest particularly difficult I was going to be hard to please. When it came time for the music, I had formed a lot of specific ideas. The budget was such that I had to do the entire film with help from only Bridget Thorne, who helped render the artwork and prepare it all for camera.Īs a result, I got particularly close to this film. The Mysterious Tadpole had a budget which totaled about $15000.
#The mysterious tadpole movie full
For a full year from the date of the announcement I was without work except for one job from Weston. In 1984 Doctor DeSoto was nominated for the Oscar.
– The Mysterious Tadpole was another of the films I’ve done for Weston Woods which was also scored by Ernest Troost.
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