{"id":62,"date":"2006-12-07T18:36:35","date_gmt":"2006-12-08T00:36:35","guid":{"rendered":"http:\/\/mog.com\/spaceling\/blog_post\/30854"},"modified":"2017-01-07T15:32:25","modified_gmt":"2017-01-07T23:32:25","slug":"thx-1138","status":"publish","type":"post","link":"https:\/\/aharon.varady.net\/omphalos\/2006\/12\/thx-1138","title":{"rendered":"THX-1138"},"content":{"rendered":"

I can forgive George Lucas for all of his late epic Star Wars prequels only because, only afterwards, did Lucas revisit his first film, the minimalist dystopia, THX -1138 (1971), correcting the audio artifacts that plagued the earlier video releases and making the soundtrack available on the DVD as a standalone special feature. (The soundtrack is also available independently on CD.)<\/p>\n

If you’ve seen any of the original Mission Impossible episodes or seen Cool Hand Luke then you’ve heard Lalo Schifrin’s incredible jazzy scores and sensitivity to the director’s vision. For THX -1138, it is obvious that Schifrin was paying attention to the work of Wendy Carlos and Rachel Elkind, Carlos’ teacher Vladimir Ussachevsky, and the plethora of sound explorers and music geeks pioneering the advent of electronic music and noise in the late 60s and 70s. Before this film, I had no idea Schifrin had dipped his toe in these (now) deep waters.<\/p>\n

\"\"<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

I can forgive George Lucas for all of his late epic Star Wars prequels only because, only afterwards, did Lucas revisit his first film, the minimalist dystopia, THX -1138 (1971), correcting the audio artifacts that plagued the earlier video releases and making the soundtrack available on the DVD as a standalone special feature. (The soundtrack . . . → Continue reading: THX-1138<\/a><\/span><\/p>\n","protected":false},"author":1,"featured_media":2652,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"footnotes":""},"categories":[15],"tags":[],"class_list":["post-62","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-music","odd"],"yoast_head":"\nTHX-1138 • Aharon's Omphalos<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/aharon.varady.net\/omphalos\/2006\/12\/thx-1138\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"THX-1138 • Aharon's Omphalos\" \/>\n<meta property=\"og:description\" content=\"I can forgive George Lucas for all of his late epic Star Wars prequels only because, only afterwards, did Lucas revisit his first film, the minimalist dystopia, THX -1138 (1971), correcting the audio artifacts that plagued the earlier video releases and making the soundtrack available on the DVD as a standalone special feature. 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Varady","date":"February 6, 2007","format":false,"excerpt":"Currently the president of Pok\u00e9mon card producing and game developing company, Creatures, Inc., Hirokazu \"Hip\" Tanaka in the 1980s was a sound engineer for the Japanese game developer, Famicom. There he produced the soundtrack for the NES game, Metroid (1986). To say that Tanaka was just a sound engineer would\u2026","rel":"","context":"In "Music"","block_context":{"text":"Music","link":"https:\/\/aharon.varady.net\/omphalos\/category\/art\/music"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/aharon.varady.net\/omphalos\/wp-content\/uploads\/2007\/02\/cart-front.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":77,"url":"https:\/\/aharon.varady.net\/omphalos\/2006\/08\/sur-le-theme-de-bene-gesserit","url_meta":{"origin":62,"position":5},"title":"Sur Le Theme De Bene Gesserit","author":"Aharon N. 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