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What is different about this new release from La-La Land Records?īond: This is probably the most exhaustive issue and to my ears it is one of the best-sounding. Julie Kirgo had already written some excellent liner notes for the previous release of the score put out by Intrada, and Michael asked me to augment those with track-by-track descriptions of the Blue Max score cues as they play in the movie.Ĭoate: A soundtrack album for The Blue Max has been issued numerous times over the years. Michael Gerhard, who runs La-La Land with Matt Verboys, is very generous in giving me a heads up on projects he’s working on and he’s also well aware that I’m a huge Jerry Goldsmith fan, so he alerted me about the Blue Max release several months ago. Jeff Bond: I write liner notes for several different soundtrack labels including regular work for La-La Land Records. Michael Coate (The Digital Bits): How did you get involved with this soundtrack project? Jeff spoke to The Bits recently about The Blue Max, including Jerry Goldsmith’s musical score, its new Blu-ray Disc and CD soundtrack releases, and why Goldsmith is one of the most admired and celebrated film composers of all time. His books include The Music of Star Trek (Lone Eagle, 1999) and Danse Macabre: 25 Years of Danny Elfman and Tim Burton (included in The Danny Elfman & Tim Burton 25th Anniversary Music Box, Warner Bros., 2011). For several years he covered film music for The Hollywood Reporter. Jeff currently is the executive editor of Geek Magazine. Jeff Bond is a writer and editor and has contributed liner notes to numerous CD soundtrack releases. The first of thousands of domestic general-release engagements were held during the autumn of 1966. The first foreign-language roadshow engagement was in Paris and commenced August 26, 1966. The first roadshow engagement of The Blue Max held outside North America was in London (at the Odeon Leicester Square) and commenced July 6, 1966, following one week of general-release exhibition. Los Angeles (Beverly Hills), CA – Beverly These roadshow presentations were presented in 35mm ’scope with four-track stereophonic sound (though some sources claim 70mm blow-up prints were made and used for some bookings) and included an intermission and entr’acte. The duration of the engagements has been included for some entries. What follows is a (work in progress) list of the domestic theatrical “hard ticket” roadshow engagements of The Blue Max, arranged chronologically by date of premiere. Souvenir program booklets were sold, as well. Much like a stage show, these featured reserved seating, an advanced admission price, and were screened an average of only ten times per week. Out of hundreds of films released during 1966, The Blue Max was among only twelve given deluxe roadshow treatment. The roadshow engagements of The Blue Max were big-city exclusives that preceded general-release exhibition of the film.