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LOG IN Forgot Login? Register General Discussion • Trading Post • Non-Film Score Discussion  Profile • Preferences • Community Rules • Help/Contact • Search Board Search Terms:  Search Within:  topics posts since 2019 2018 posts 2017 posts 2016 posts 2015 posts 2014 posts 2013 posts 2012 posts 2011 posts 2010 posts 2009 posts 2008 posts 2007 posts 2006 posts 2005 posts 2004 posts 2003 posts 2002 posts 2001 posts 2000 posts users  search tips  You must log in or register to post.   Go to page:  1      General Discussion: Reflecting the Visuals with Music Not in the Film   Last Post   Posted:   Aug 24, 2014 - 11:43 AM     By:   OnyaBirri   (Member) I was thinking about film score albums that include music not in the film, yet somehow reflecting the visual aspects of the film. I am especially interested in examples in which the extra music does not necessarily sound like the score, but reflects visuals. A couple of examples: The funkified arrangements on one side of the "Taxi Driver" LP really add to the experience, because they aurally capture the urban landscape portrayed in the film's visuals. The Eugene Ormandy "2001" album on Columbia uses electronic interludes by Morton Subotnik in between the classical pieces used in the film. The electronic interludes beautifully capture both the remoteness of outer space and also reflect the cold technology portrayed in the film. I would argue that both examples create listening experiences that capture the aesthetics of the respective films more fully than straight representations of the scores would have accomplished. What are your thoughts, and can you think of other examples along the lines of those I described?    Posted:   Aug 24, 2014 - 12:20 PM     By:   Tango Urilla   (Member) The new compositions by Vangelis on the 1994 Blade Runner release ("Blush Response," "Rachel's Song," "Damask Rose," etc.) really capture the mood and aesthetic of the film. In fact, if someone didn't know any better, I'm sure they wouldn't be able to tell that these tracks weren't part of the original score and had in fact been composed years later.    Posted:   Aug 24, 2014 - 1:40 PM     By:   Graham Watt   (Member) The "original" LP soundtrack we all knew and loved for LAST TANGO IN PARIS bore little resemblance to the very fragmented nature of the music as heard in the film itself. And yet it did seem to capture the essence of existentialist Parisian angst and buttery sex. It was really Gato Barbieri's showpiece, with Oliver Nelson's arrangements almost taking a back seat, for the casual listener at least. Glad that the Varese had the original album coupled with the original score - which is as heard in the film, and bearing very much the stamp of Oliver Nelson, this time with Barbieri's solos taking a back seat. Hope that made sense. And I hope I haven't opened the floodgates for a "re-recordings" mudslinging match!    Posted:   Aug 25, 2014 - 12:24 PM     By:   John McMasters   (Member) The classic Mancini albums have accomplished this for me. I really love almost all of those gorgeous rerecords. But not "Taxi Driver" -- the arrangements seemed too laid back and mellow to me from Day 1 -- representative of a lounge-music, 60's bachelor-pad, kind of aesthetic that, just in my opinion, had little to do with the pulpy, raw, aesthetics of the film itself. But I do know that the Neely Plum stuff does had its admirers!    Posted:   Aug 25, 2014 - 2:54 PM     By:   Tall Guy   (Member) I'd nominate Doctor No for this. The unused music fits very nicely with the slightly naïve early 60s vibe of the first 007 film.    Posted:   Aug 25, 2014 - 3:17 PM     By:   Thor   (Member) Several of the John Williams albums from the 50's and 60's contained tracks that were not from the film or tv show, but composed as part of the 'concept' idea of the album. I think this was fairly common at the time, not only for Williams. And that's not even counting the fact that they were rerecordings (which is another discussion altogether). Examples include CHECKMATE or NOT WITH MY WIFE YOU DON'T.    Posted:   Aug 25, 2014 - 4:06 PM     By:   Grecchus   (Member) There is one specific cue from 2010, by David Shire - the track Earth/Space, I think. In the film the action goes immediately from earth to being in the vicinity of jupiter. The synthesized music starts with the first exterior shot seen of Leonov, having left Roy Scheider in the preceding shot. The music on the album for this bit of the film contains what was in the film, however, there is a double strand to it. The film version only has one of those strands. I think the variant used in the film is better, because it conveys a greater sense of mystery and includes a lower toned, slowly churning rhythm reflective of a tramp steamer plying an oceanic route. The album version would possibly be too busy for the scene it goes with in the film because the extra inclusive detail constists of a higher pitched and tunefully structured line which is overkill in the introductory context of Leonov gliding through the frame.     General Discussion: Reflecting the Visuals with Music Not in the Film    < 1  >   Go to page:  1   First Post    General Discussion • Trading Post • Non-Film Score Discussion  Profile • Preferences • Community Rules • Help/Contact • Search Board You must log in or register to post.   Go to page:  1

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