The Film Score Thread

Samples sound great.

Was listening to the odd track a few days before even hearing of this release. Has a certain sound to it, familar in places but a good solid score. Haven't seen the film since I was about 10.

Listening to the samples further, they're not that great. Muffled and watery. :|

It's hard to believe that it was "mixed and mastered from the 2" 24- and 16-track masters", compared to say TMWTGG - which sounds amazing.

I like the cover though.

Love the cover. Hope the samples are just shit for some reason and don't reflect the real quality.

Any extra tracks?

On disc two there's a bunch of alternates.

I'd like to imagine Raise the Titanic gets some kind of re-release. The only version out is that Nic Raine one which I'm sure is imperfect in multiple ways.

As Clive Cussler himself remarked, the soundtrack was the best damn thing about the cursed film.

Largo's Shark wrote:

.

The ape on the cover looks far better than the one in the movie. :shock:

I already have a legal copy of the 1976 King Kong soundtrack with 13 tracks, and play it quite often. A very good soundtrack.

I am often not in favor of these longer or more complete soundtracks. Like the SW double cds they kind of messed up the rhytem of the original albums I played to bits when I was younger and pre-cd.
While they add some good stuff they also add filler music that I wouldn't mind missing.

saint mark wrote:

While they add some good stuff they also add filler music that I wouldn't mind missing.

That's the big debate in the world of soundtrack collecting, between those who prefer the "listening experience" approach and those who want the complete and chronological score. I know what you mean about filler tracks and the score being dragged down, but the problem with the incomplete scores for me is that it's someone else's highlights, not mine. They may see track x as atmospheric filler, but maybe I think it's one of the most memorable and effective cues in the score. It depends a lot on you how you listen to the album as well. If it's from start to finish, then the highlights would be more practical. But if you like to dive in and out like me, then it's not so important.

Love it.

This is one of Hans Zimmer's forgotten scores and perhaps the most atypical. It's also very good.

A bit like a poor man's ROSEMARY'S BABY. Still interesting, although no Komeda.

Well, they both have a girl singing along, but that's it.





If you're not going to behave then I'm getting the harpoon gun.

You're gonna need a bigger post.

Largo's Shark wrote:

saint mark wrote:

While they add some good stuff they also add filler music that I wouldn't mind missing.

That's the big debate in the world of soundtrack collecting, between those who prefer the "listening experience" approach and those who want the complete and chronological score. I know what you mean about filler tracks and the score being dragged down, but the problem with the incomplete scores for me is that it's someone else's highlights, not mine. They may see track x as atmospheric filler, but maybe I think it's one of the most memorable and effective cues in the score. It depends a lot on you how you listen to the album as well. If it's from start to finish, then the highlights would be more practical. But if you like to dive in and out like me, then it's not so important.

I do agree however my experience is that in extended ost's there is only an additional 10% I really like and 90% cues I find annoying.

I always prefered the extra cd release like Back to Titanice, more music from the Commitments, etc. Where you can listen if you just want to add it to your collection or not. With the Commitments yes and mostly NO thank you.

Instead of polishing up the sound and then releasing it for a hefty price in 2cd release , I generally find this annoying as hell. With Faithless I generally waited for the extended release instead of buying it immediately, a lot of folks I knew did teh same. With soundtracks the general buyers are geeks and they tend to buy sh*t if released with a different cover. :x
I have bought several good original releases cheaply because the fanboys went for the expensive stuff with some extra cues.

Just finished my seasonal viewing of PIT AND THE PENDULUM (I think it's now usurped MASQUE as my favorite of the Corman Poe films). Les Baxter's score is pretty fine work:

Philip Lambro's rejected score for CHINATOWN is finally released.

http://store.fortytwotradingco.com/losan19cresc.html

Largo's Shark wrote:

Philip Lambro's rejected score for CHINATOWN is finally released.

http://store.fortytwotradingco.com/losan19cresc.html

Interesting. I want to hear more, I'm just not sure I want to buy it.

Is the music from the trailer from Lambro's score?

I'd like to hear it, but I ain't buying it.

Harmsway wrote:

Just finished my seasonal viewing of PIT AND THE PENDULUM (I think it's now usurped MASQUE as my favorite of the Corman Poe films). Les Baxter's score is pretty fine work:

I have some of Baxter's other scores for Corman, but not this one.

The White Tuxedo wrote:

Is the music from the trailer from Lambro's score?

Yeah.

Why was Lambro's score rejected?

Harmsway wrote:

Why was Lambro's score rejected?

Because it was sh**e.

More specifically, it worked against the film dramatically.

Here's some comments about it over at FSM:

Quote :

Quote :

What's most fascinating is to compare it to Phillip Lambro's discarded score, which I finally heard in its entirety. Lambro's approach is sometimes quite similar (sax instead of lonely trumpet), but his music for the film's finale in Chinatown is just strange - it's Chinese-sounding, which, of course, well, isn't the point of the scene.

A book editor friend of mine read the manuscript of an autobiography Lambro wrote that has never (as far as I can tell) been published. In it, Lambro explains the necessity of this Chinese-sounding music, which he did to "correct" the fact that so little of the film took place in Chinatown (which he considered its failing!). Clearly, the guy simply misunderstood the movie. Most of the book, incidentally, is devoted to Lambro's non-musical ideas, such as his plans for underground cities, with buildings built from top to bottom inside the earth. Seriously.

Quote :

In his book "Which Lie Did I Tell?: More Adventures in the Screen Trade," William Goldman quotes Robert Towne regarding CHINATOWN:

"The first sneak? It did not go well. We had a horrendous score on the picture. By some guy that Roman knew. It was dissonant, weird, scratchy. Roman was momentarily enamored of it. He said the score was perfect. He was going off to direct an operetta at Spoletto, when mercifully, he ran into a grand old gentleman named Bronislau Kaper, who won an Oscar for his score of LILI, and he said, 'Roman, that score is killing your picture.' Roman had great respect for him and he said, 'Okay, we better get the score changed.' Jerry Goldsmith came in then, and did that great score. I was on the set when Jerry spotted it, and it was at that time when you could see the movie come to life. It was like you couldn't see the movie with the other score, and now you could, and I thought, 'Omigod, we may have a chance..."

Here's what Philip Lambro emailed Lukas Kendall (and asked him to print ad verbatim) after reading a thread about CHINATOWN over at the FSM boards.

"I have never seen such inaccurate comments about the film Chinatown by people who were not there. To begin with Roman Polanski told me on many occasions that he thought the Chinatown script "was the biggest pile of crap I ever saw." According to Thelma, his secretary, she told me that Polanski fought with Evans and wanted to keep my score to the very last minute. Wake up; Chinatown lost a lot of money and Robert Evans lost a job he never should have had in the first place. My book is published and available CLOSE ENCOUNTERS OF THE WORST KIND; read the chapter The Chinatown Syndrome if you want to know what actually took place. Polanski offered me his next film, but I refused as I did initially with Chinatown when I found out that Evans was the producer; but Polanski convinced me that he was in complete control. I never worked with Robert Evaans at all; I worked with Polanski; and at the end when I found out that Polanski wasn't in control, I never forgave him for lying to me; and to those Chinatown freaks who think it's the greatest film of all time, have you freaks ever seen the films of Akira Kurosawa, and Orson Welles? What the F is your frame of reference; if you have ever had one? Fortunately, I don't have to do film scores anymore; I've refused over a dozen times after Chinatown, in favor of my concert hall compositions which are heard from The Kennedy Center to last week in Algiers. A great film score is Leonard Bernstein's music to ON THE WATERFRONT and Alfred Newman's score to THE ROBE; those are celebrated scores."

I'm considering buying CLOSE ENCOUNTERS OF THE WORST KIND. What a fruitcake.

http://books.google.co.uk/books?id=J8e_0_8HNiYC&printsec=frontcover&dq=lambro+close+encounters&hl=en&sa=X&ei=FYqpUOG8D9GQ4gSGpoA4&ved=0CDAQ6AEwAA

He sounds a bit nuts.

The segment of the score's main title and the bits in the trailer didn't seem to me to be terrible, but I know that's just a small sampling of the music, and none of it actually in context.

Depending on how the music sounds if/when I hear it, I'm sort of curious to see the film with that score.

If nothing else, the CD is a first of its kind in that it presents both a film score along with the composer's concert music. That's an ingenious ploy.

Found this: