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You've just gotta have "End Of A Dream" from Goldsmith's TOTAL RECALL.
And "The Money Express" from Shire's THE TAKING OF PELHAM 123.
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Refinery Survailence from Heat (Elliot Goldenthal)
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"The Murder at the Farm," from Bernard Herrmann's rejected score for Alfred Hitchcock's TORN CURTAIN. The scene in the released version is rough to take, but with Herrmann's music, it's harrowing.
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"Train/Appreciation" from Spider-man 2 - arguably the most satisfying action cue Elfman wrote for the series, dumped for a cue that felt airlifted in from a different film.
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Posted: |
Aug 27, 2016 - 4:42 PM
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By: |
Kirkinson
(Member)
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I don't think suites that were never intended to be part of the film proper really count here, but Justin's mentioning of the Mulan suite reminded me that that score does contain one of the more famous examples: one minute of "Mulan's Decision" as heard on the album is replaced by a very, very different synth cue in the film.
Here's the album version of "Mulan's Decision": https://www.youtube.com/watch?v=A0v7__RaMY0
And the film version ("Short Hair"): https://www.youtube.com/watch?v=MilR3Z1sASY
The different sections start at 1:07 in each video. It's pretty obvious this is the section Goldsmith was talking about in this interview with Edwin Black (not sure where it was originally published, but I managed to find it archived on a Russian web site: https://vk.com/pages?oid=-6458420&p=%D0%98%D0%BD%D1%82%D0%B5%D1%80%D0%B2%D1%8C%D1%8E)
EB: And have you ever had the temp track interfere with your work?
JG: Oh, all the time. On Mulan, I did a whole score, they loved it -except for a one-minute sequence that they had animated to a temp track. No matter what I did with it, they couldn't get comfortable. They had been living with this temped piece of music for five years, so they'd gotten used to it. I finally pulled off something they could live with but it took five tries.
EB: All that over one minute?
JG: It was an important minute.
And I'm guessing the temp track he was dealing with was "Our Ways Will Part" from Hans Zimmer's Beyond Rangoon, which was used in the first teaser trailer: https://www.youtube.com/watch?v=ec3LSHAQsXA&t=89s
A couple others, off the top of my head:
"Recapitulation" from Elephant Man by John Morris, rejected in favor of Samuel Barber's Adagio for strings
"Though Lovers Be Lost: Catherine's Death" from the Beauty and the Beast TV series by Don Davis, replaced with a softer, less melodramatic cue by Lee Holdridge
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Anyone know the story behind "Lasiurus" from Batman Begins? It's my favorite track from Nolan's Dark Knight trilogy, yet I don't recall it featuring anywhere in the film. My original assumption was that it was an unused end credits piece (which would make sense because the end credits music featured in the film is stitched together from various cues), but then "Lasiurus" doesn't sound quite rousing enough to have been originally planned for the end credits. Any clues? Rejected cue?
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I don't think you could ask for a better example of a cue that would have made a major difference if it had been used than the one suggested above, "Murder on the Farm," from Herrmann's TORN CURTAIN, but your opening post seems to indicate -- or does it? -- that you're not looking for a specific cue if it is part of a whole score that was rejected in toto. Your call.
***
Have you ever devoted a show to cues which weren't actually removed from the film but were significantly altered, by director's request or studio interference, sometimes for the better, but sometimes not? In the former category, I suggest, you would find Goldsmith's Enterprise Fly-by from STAR TREK-THE MOTION PICTURE. In the latter, I would cite David Shire's main title cue for THE HINDENBURG, where certain executives feared audiences would be confused and disoriented by the female vocalise -- "Where's that voice coming from?!" -- and insisted the singer be replaced by a trumpeter. A Bay Cities CD of Shire movie themes for piano presented the first vocal version but, alas, not including an orchestra.
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