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This is from another webpage, and quite revealing:
"William Donahue on November 17, 2015 at 6:25 am said:
In 1965 (when I was a child) I first heard about “IN HARMS WAY”, while on a trip to Springfield, Mo., to visit relatives. It was a radio advertisement, later I saw TV ads, but what really got my attention was Composer Jerry Goldsmith music, it made me stop in my tracks (it was just after breakfast) and I tried to absorb and remember as much of the tunes of the musical score that my brain could asorb. It was also the theme music for KVOO-TV’s 6 O’clock and 10 O’clock News, in my hometown of Tulsa, Oklahoma, during 1965-68. I saw the movie and loved it, but wondered why they released the film in black and white, instead of the Technicolor print that it was filmed in and the Super Panavision 70mm widescreen process that was originally used. The film was supposed to be a Roadshow presentation with a 3-5 minute Entre’, Intermission and Exit music. But Paramount got cold feet and decided to release it in b&w and just 35mm Panavision. It was also rumored that the film was originally planned to be projected in Cinerama! Somewhere in the Paramount film vault is all the missing elements to restore it back to it’s original planned Roadshow Presentation. Anyway there were about 20-25 minutes of filmed scenes that were cut out, when the roadshow idea was dropped. Ask Kirk Douglas, he can tell you. I worked in Hollywood and was flying back on the same jet airliner as Mr. Douglas (I believe that the film was “THE CHOSEN” or “HOLOCAUST 2000”) and I was flying in the coach section and Mr. Douglas was flying in first class. I went up to discuss some production problems and he (being the nice gentleman that he is) insisted that I fly in first class with him the rest of the way back to the states. He related the problems that arised in the making of “IN HARM’S WAY”. Both he and John Wayne offered to forfeit their salaries in an effort to persuade the powers that be at Paramount to continue their plans for a Roadshow release. There are musical cues that Mr. Goldsmith composed, that were deleted and never used. BMG Victor, Inc., released about 30:18 minutes of the soundtrack score
on vinyl LP (RCA Victor Records), unfortunately they left off some 50 minutes of music that was in the film, not to mention all of the music cues for the deleted scenes that were left out! An example is the cue “One Way Ticket” (1:45 minutes). Intrada Special Collection has released the score on CD, but most of it is the same cues as was on the LP release – except they have added three more cues to their release, but none of the battle action cues have been included! When is one of the record companies going to get the idea to release the entire score on CD? And when is Sony/MGM going to search thru their vaults and find the rest of the action music cues to “THE SATAN BUG” (only about 30-35 minutes of the score has been found) and the entire musical score for “HOUR OF THE GUN” is presumed to be lost??? I would gladly shell out a few more bucks to get the restored roadshow version of this 1965 Paramount release. If only film historians could convince Paramount Pictures to do such a restoration. But Mr. Goldsmith said in one of his last interviews that he had a copy of every musical soundtrack score that he ever composed and conducted locked-up in one of Los Angeles’s bank’s safety deposit vaults. I have consulted with many record companies about using Mr. Goldsmith’s private collection to replace his supposedly “lost” studio recordings of these scores and other’s such as the original recording session tapes for “THE SALAMANDER” which was thought lost forever , has now resurfaced in Cinecitta Studio’s music vaults, but they all insist that there is no such private collection duplicates of all his scores. In fact they say that no such interview ever occurred! Perhaps someday all of Mr. Goldsmith’s supposedly “lost” film music scores will be found when the price is right. After all money makes the film & record industries operate! I am a firm believer that the studio’s work under a counter-productive system of guessing and gambling with artistic conception."
http://modelshipsinthecinema.com/wp/archives/631
Can I buy some crack from you?! 
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This is from another webpage, and quite revealing:
"William Donahue on November 17, 2015 at 6:25 am said:
In 1965 (when I was a child) I first heard about “IN HARMS WAY”, while on a trip to Springfield, Mo., to visit relatives. It was a radio advertisement, later I saw TV ads, but what really got my attention was Composer Jerry Goldsmith music, it made me stop in my tracks (it was just after breakfast) and I tried to absorb and remember as much of the tunes of the musical score that my brain could asorb. It was also the theme music for KVOO-TV’s 6 O’clock and 10 O’clock News, in my hometown of Tulsa, Oklahoma, during 1965-68. I saw the movie and loved it, but wondered why they released the film in black and white, instead of the Technicolor print that it was filmed in and the Super Panavision 70mm widescreen process that was originally used. The film was supposed to be a Roadshow presentation with a 3-5 minute Entre’, Intermission and Exit music. But Paramount got cold feet and decided to release it in b&w and just 35mm Panavision. It was also rumored that the film was originally planned to be projected in Cinerama! Somewhere in the Paramount film vault is all the missing elements to restore it back to it’s original planned Roadshow Presentation. Anyway there were about 20-25 minutes of filmed scenes that were cut out, when the roadshow idea was dropped. Ask Kirk Douglas, he can tell you. I worked in Hollywood and was flying back on the same jet airliner as Mr. Douglas (I believe that the film was “THE CHOSEN” or “HOLOCAUST 2000”) and I was flying in the coach section and Mr. Douglas was flying in first class. I went up to discuss some production problems and he (being the nice gentleman that he is) insisted that I fly in first class with him the rest of the way back to the states. He related the problems that arised in the making of “IN HARM’S WAY”. Both he and John Wayne offered to forfeit their salaries in an effort to persuade the powers that be at Paramount to continue their plans for a Roadshow release. There are musical cues that Mr. Goldsmith composed, that were deleted and never used. BMG Victor, Inc., released about 30:18 minutes of the soundtrack score
on vinyl LP (RCA Victor Records), unfortunately they left off some 50 minutes of music that was in the film, not to mention all of the music cues for the deleted scenes that were left out! An example is the cue “One Way Ticket” (1:45 minutes). Intrada Special Collection has released the score on CD, but most of it is the same cues as was on the LP release – except they have added three more cues to their release, but none of the battle action cues have been included! When is one of the record companies going to get the idea to release the entire score on CD? And when is Sony/MGM going to search thru their vaults and find the rest of the action music cues to “THE SATAN BUG” (only about 30-35 minutes of the score has been found) and the entire musical score for “HOUR OF THE GUN” is presumed to be lost??? I would gladly shell out a few more bucks to get the restored roadshow version of this 1965 Paramount release. If only film historians could convince Paramount Pictures to do such a restoration. But Mr. Goldsmith said in one of his last interviews that he had a copy of every musical soundtrack score that he ever composed and conducted locked-up in one of Los Angeles’s bank’s safety deposit vaults. I have consulted with many record companies about using Mr. Goldsmith’s private collection to replace his supposedly “lost” studio recordings of these scores and other’s such as the original recording session tapes for “THE SALAMANDER” which was thought lost forever , has now resurfaced in Cinecitta Studio’s music vaults, but they all insist that there is no such private collection duplicates of all his scores. In fact they say that no such interview ever occurred! Perhaps someday all of Mr. Goldsmith’s supposedly “lost” film music scores will be found when the price is right. After all money makes the film & record industries operate! I am a firm believer that the studio’s work under a counter-productive system of guessing and gambling with artistic conception."
http://modelshipsinthecinema.com/wp/archives/631
Can I buy some crack from you?!
Ha, a lot of fiction in there. The guy can't even get the running time of the In Harm's Way LP correct for such an expert!
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Posted: |
Nov 24, 2015 - 6:56 AM
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By: |
jackfu
(Member)
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http://modelshipsinthecinema.com/wp/archives/631
What an awesome website, thanks!
Can you imagine, as a kid, and your dad was a member of the props crew?
"Hey, Dad, can I go to work with you today?" "Sure, son, just don't get in the way."
"Gee, Dad, you have the greatest job in the world!!!"
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I just picked this up in the current Intrada 25 percent off sale. I was planning on skipping this, thinking I was satisfied with Intradas first release. Boy am I glad the sale convinced me to pick it up, this sounds like it was recorded yesterday, listened through to the whole album in one go.
If you've been on the fence about any of these Intrada releases, you've got just a few more days to spring into action. Well worth it.
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But Mr. Goldsmith said in one of his last interviews that he had a copy of every musical soundtrack score that he ever composed and conducted locked-up in one of Los Angeles’s bank’s safety deposit vaults.
I remember hearing this from Goldsmith in person before a Toronto audience back in 1982 when he was promoting THE SECRET OF NIMH. But he was referring specifically to his wife Carol storing a sealed copy of every soundtrack LP in a safety deposit vault.
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I happened to listen to this (again) yesterday, and while I've always loved this score (this is fantastic Goldsmith!), this new presentation really is superior in many small ways that add up to a big difference. If you have the old one you might reasonably be tempted to skip this one, but I'm sure I glad I didn't.
So well put. All these incremental improvements have a multiplying effect on the whole.
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DARN!
. . . So (if I've been reading correctly) the only way to see the full roadshow length cut of IHW in color is to smoke crack?!
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DARN!
. . . So (if I've been reading correctly) the only way to see the full roadshow length cut of IHW in color is to smoke crack?!
You could also drop acid.
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I found this IN HARM'S WAY promotion sheet on eBay a few months ago.....
It seems the studio had high expectations about the film score commercial success....
Lots of names dropped, including Glen Miller and Harry James, but no mention of Jerry Goldsmith!
Cheers
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I found this IN HARM'S WAY promotion sheet on eBay a few months ago.....
It seems the studio had high expectations about the film score commercial success....
That's a cool poster, thanks for sharing it. Well, the movie was a prestige production, with A-list stars and a big name director... so I guess the soundtrack album might have had some commercial appeal in the 1960s.
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Lots of names dropped, including Glen Miller and Harry James, but no mention of Jerry Goldsmith!
Yeah, he's basically only on the tiny, pictured cover, and unreadably so. That is odd.
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