BEEP discografie entry for Original Soundtracks 1
Original Soundtracks 1

click on image to enlarge
Year: 1995
Categorie: Collaboration
Cover Art Credits:
Theodor Rotrekl c/o 
Aura.Pont, Prague
Sleeve L concept by Brian Eno & Cally
Producer info:
Anne- Louise Kelly Album
production manager
Recording Location info:
Westside Studios (London) and 
Hanover, Dublin
Catalog info:
cd : Island
     314-524 166-2
 1.- United Colours                              5:31
 2.- Slug                                        4:41
 3.- Your Blue Room                              5:28
 4.- Always Forever Now                          6:24 <--  ALSO 
 5.- A Different Kind Of Blue                    2:02 <--  sound 
 6.- Beach Sequence                              3:31
 7.- Miss Sarajevo                               5:40 <--  ALSO 
 8.- Ito Okashi                                  3:25
 9.- One Minute Warning                          4:40
10.- Corpse ( These Chains Are Way Too Long)     3:35
11.- Elvis Ate America                           3:01
12.- Plot 180                                    3:41
13.- Theme From The Swan                         3:24
14.- Theme From Let's Go Native                  3:07

Additional information:
Passengers ...

BRIAN ENO strategies, sequences, synthesizer, 
          treatments,mixing, chorus voices. 
          Vocal on "A Different Kind Of 

BONO      vocal, guitar. Piano on "Beach Sequence"

ADAM CLAYTON bass. Narration on "Your Blue Room"

THE EDGE: guitars, chorus voices. Vocal on "Corpse 
          (These Chains Are Way Too Long)",
          organ on "Your Blue Room"

LARRY MULLEN JNR: drums, percussion. Rhythm sequence 
          on "One Minute Warning",
          rhythm synthesizer on "United Colours"

LUCIANO PAVAROTTI: tenor voice on "Miss Sarajevo"

HOLI:     vocals/co-writer on "Ito Okashi". Voice on 
          "One Minute Warning"

HOWIE B   mixing, treatments, scratching. Call 
          vocal/rhythm track/co-writer on "Elvis Ate 

CRAIG ARMSTRONG string arrangement on "Miss Sarajevo"

PAUL BARRETT string arrangement on "Always Forever 

DES BROADBERY sequencer on "Always Forever Now"

DAVID HERBERT: saxophone on "United Colours" and 
          "Corpse (These Chains Are Way Too Long)"

HOLGER ZSCHENDERLEIN: additional synthesizer on "One 
           Minute Warning"
The films:
"United Colours of Plutonium" exists in that 
underexplored territory between horror and comedy. It 
centres round afrazzled advertising executive (Damo 
Ujiwara) who falls asleep on the Bullet Train. In his 
dreams the spirits of thepeople he has exploited 
throughout his career return to haunt him. He awakens 
gratefully, only to discover that the'dream' continues 
in a succession of Felliniesque phantasmagoria. 
Kobayashi's bizarre use of colour, superfast 
editingand extreme camera angles, coupled with a 
hilariously deadpan performance by Toshiro Takemitsu 
as the inspectorwho discovers a whole family of ghosts 
travelling without valid tickets, remains without 
Von Heineken's third feature, slug" is an extension of 
the gritty, photo-realistic style he developed in 
"Alcatura"(1984) and "Breaking Glass~ (1986). Dieter, 
a young car mechanic (Karl Popper) unable to attract 
the attention of thecashier Nela (Catarena Hofennes) 
arranges an elaborate hold-up at which he will play 
the hero by seeing off the'gangsters' and thus saving 
Nela. Things start to go badly wrong when the robbers 
realise that the till really is full ofcash, abandon 
their agreement with Dieter and try to escape with the 
money, whereupon the escapade develops into aconfused 
shootout during which Nela shoots a security guard in 
the foot and is subsequently arrested. Racked by 
guiltfor having implicated her, Dieter sets out to 
secure her release by fair means or foul, seducing the 
Chief Warden of thewoman's prison (Jutta Minnit) in 
the process.
~Beyond The Clouds" (Michelangelo Antonioni/Wim 
Wenders) is about meetings. Meetings startling or 
awaited,dreaded or craved by each of us, the audience, 
in secret. A film director with a pocket camera casts 
his eye around thetowns of France and Italy. His inner 
quest inspires him with four beautiful love stories. 
In the first story, a young manis so captivated by a 
young woman that he cannot bring himself to sacrifice 
his desire for the sake of pleasure. Thesecond 
explores the film director's fascination with a young 
woman who admits to him, 'I killed my father'. The 
third isset in Paris, where couples fall apart and two 
break-ups bring a man and a woman together. The 
sublimation of love isthe theme of the last story. Can 
the same heart love both God and men?
"Always Forever Now" has made a startling impact. The 
remaining four members of F cell, a team of 
femalebody-sculptors, are out to avenge the vicious 
murder of one of their group. Their encounters with 
the Tong lowlife inthe back alleys of Hong Kong reach 
a climax in a dazzlingly choreographed fight scene. 
The near-nudity and graphiccamerawork have led to the 
film being banned or heavily cut in many countries. An 
unusual combination of eroticismand allegory, the star 
role falls to Venda Davis, whose Zenlike rationality 
and pronounced muscularity form thepsycho-physical 
axis around which the movie is constructed. The cast 
includes four of America's top femalebodybuilders - 
Davis, Tanya McLoad, Kiley Sue LaLonne and Dorothy 
Chang - and Pi Hoo Sun as the evil Tong leaderIt is 
director John Leng Qi's first film - finished on his 
22nd birthday.
Lurlene Clewman's ~An Ordinary Day" confirms her 
reputation as a subtle subverter of film styles. Maria 
(Petra Bliss)and Dennis (Ron Hothaas) have recently 
moved into a new apartment on the top floor of a 
Houston skyscraper Maria
starts to notice that her complexion is improving, 
that she is feeling younger by the day, but that she 
is becomingforgetful about simple things. She forgets 
telephone numbers, new acquaintances, how to operate 
the kitchen.Meanwhile, Dennis turns up at the job he 
left three years ago, and goes to his old desk to 
start work. And yet despiteeverything, their love for 
each other grows - until they feel like newly-weds 
again. Gradually it dawns on the couplethat they have 
moved into a time machine, and that they are becoming 
inescapably younger Clewman's clever spoofon time 
travel sci-fi poses serious questions about our 
relationship with memory and youth.
Bill Carter's award winning documentary "Miss 
Sarajevo" chronicles one of the more bizarre events of 
the warin former Yugoslavia - when several artists 
mounted an elaborate beauty contest under mortar fire. 
The camerafollows the organizers through the tunnels 
and cellars of the city, giving a unique insight into 
life during a modernwar, where civilians are the 
targets. The film captures the dark humour of the 
beseiged Sarajevans, their stubbornrefusal to be 
demoralised, and suggests that surrealism and dadaism 
are the appropriate responses to fanaticism.
Rita Takashina is a Japanese American performance 
artist active in Japan. Her best-known work "Ito 
Okashi" isbased on Sei Shonagon's list of 'beautiful 
things' in the tenth century classic "The Pillow 
Book". Takashina'sperformance, which she describes as 
a 'meditation on mortality' involves building a 
construction from some of thosethings ("the face of a 
child drawn on a melon, duck eggs, a baby sparrow that 
comes hopping up when one imitatesthe squeak of d 
mouse... "), and then turning them to dust with a 
sandblasting tool.
"Ghost In The Shell" was an animation feature directed 
by Mamoru Oshii in 1995. It was adapted from 
MasamuneShirow's graphic novel where an 
internationally notorious computer criminal surfaces 
in Japan. Codenamed "ThePuppet Master" for his ability 
to manipulate people's minds, this unique and 
mysterious 'super-hacker' is suspected ofa multitude 
of offences including stock market manipulation, 
illegal data gathering, political manoeuvring, 
terroristacts and infringement of cybernetic ethics. 
Section 9, Japan's elite secret service is called in 
to capture this elusivecriminal, but only to discover 
that the elaborate web of evidence leads back to 
Japan's own Ministry of Foreign Affairsand a computer 
virus secretly created by them as the ultimate tool in 
political and commercial espionage.
Gianniccolo's last film Gibigiane" is also his most 
tautly argued. At just over ninety minutes long it is 
certainly notthe huge canvas he used so devastatingly 
in 'Mirages'(1984, 4 hrs, 20 mins) or '11 Vento'(1987, 
5 hrs, 9 mins), but isin its comparatively modest way 
just as satisfying. Its title is the word used in 
Venice for the quixotic shards of lightreflected onto 
walls from canals, and features only those images in a 
series of 10 minute sequences which are leavedover one 
another by means of slow dissolves. The film opens at 
real speed, but each sequence is about 15% slowerthan 
the one preceding it, so that the last ten minute 
section is less than one eighth real speed. The 
original filmwas silent, but a lengthy section from it 
with this music was used as the title sequence to an 
Italian TV detectiveseries ~'11 Pendolo') set in 
Venice.After finishing 'Popcorn, his first film, in 
1978, Jeff Koons continued his emerging exploration of 
pop iconographywith the now legendary "Elvis Ate 
America" - a four minute work using a fragment of 
super 8 footage shot by theteenage Koons at one of 
Presley's Las Vagas 'Rhinestone' concerts in the early 
seventies. The final edit of the filmwas destroyed by 
fire but Koons is considering remaking it.
"Hypnotize (Love me 'til Dawn)". An influential and 
vindictive tabloid journalist (Pila Morgan) is being 
driven backto London from another successful 'scoop'. 
Evans, the chaffeur (Tony Corbin) is new to her, and, 
in the face of asnowstorm, seems rather too willing to 
allow the vehicle to become immobilized on a remote 
moorland road. Duringthe night they spend together, a 
vortex of apprehension, lust and finally terror draws 
the film to its inexorableconclusion as the real 
identity of Evans gradually dawns. Using the austere 
language of British Structuralistcinema and a screen 
that is kept almost black throughout the film, 
Sedgeley generates a tension that is botherotic and 
deeply menacing.
Mamat's "The Swan" won the Golden Crown at the 
Budapest Film Festival, but never achieved a full 
release in theWest. The slow and haunting pace of the 
film centres round the extraordinarily dreamlike 
performance of newcomerAnna Tokjaji. Her coming of 
age, her romance with the ambitious apparatchik Oscar 
(Emmanuel Radenski), and theslow decline of their 
relationship stand as metaphors for the metamorphosis 
of rural society in Hungary under thecollective farm 
Vuijker's playful jaunt in the Kalahari Desert "Let's 
60 Native" became one of the last films to fall foul 
of theApartheid laws in South Africa. It centres round 
a group of white holidaymakers whose jeep breaks down 
in the desertand who, with the amused help of some 
Bushmen nomads, gradually find themselves 'going 
native'. Innovativecamerawork by Chris Maconoll 
reveals the stark beauty of the Kalahari, but the 
touching romantic scene between theteenage boy (Barry 
Boedders) and the Bushmen girl (Clicky!Kang) - from 
which this music is taken - proved too closeto the 
bone for the censor's office.

Ben O'Rian and C. S. J. Bofop

All tracks engineered by Danton Supple
except "Elvis Ate America" engineered by Howie B.
Project assistant - Rob Kirwan

Assistant on original recording sessions - Lee 
Assistant at Metropolis - Ruadhri Cushnan
Assistant to Howie B - Fiach Cooling
Editing - Brian Eno & Rob Kirwan

Studio Crew Dennis Sheehan, Des Broadbery, Sam 
O'Sullivan, Fraser McAllister,
Dallas Schoo, Stuart Morgan, Rob Kirwan, Rab 
Studio Co-ordinator: David Herbert
Recorded L mixed at Westside Studios (London) and 
Hanover, Dublin

Post production and supervision Cheryl Engels/Partial 
Productions Inc.
Mastering Arnie Acosta
Digital Editing Stewart Whitmore

Thanks to Robbie Adams, Marius De Vries, Nick Angel, 
Gavin Friday, Candice Hanson, Osmond J. Kilkenny 111

Holi appears courtesy of Resurgence and Funhouse 
Inc., Japan.
Howie B is published by Sony Music.
Luciano Pavarotti appears courtesy of The Decca 
Recording Company Limited.
Italian translation on "Miss Sarajevo" by Anna 

Paul McGuinness Manager of U2
Anne- Louise Kelly Album production manager
Assisted by Candida Bottaci

Brian Eno's company is Opal Uk, London.
Thank you to Anthea Norman-Taylor and James Topham