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I've been revisiting Empire / Full Moon / Charles Band movies thanks to his streaming website. I've gotten all the way to Oblivion and its sequel. While the score is far from the best thing Donaggio did for Band, it seems that none of it has actually ever been released. Is that right or am I missing something? (I searched the forum and found no other topics on this.) It's hard to find other orchestral sci-fi scores from the era that never saw the light of day.
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It's also possible that the "Oblivion" scores are lost (perhaps a causality of when Full Moon went under at Paramount) or are imprisoned in an archive somewhere.
Thanks for that story. Nothing with Full Moon would surprise me. As I've been going back through the Full Moon movies, I've been reading Dave Jay's fantastic "It Came from the Video Aisle," which covers the various eras of Full Moon and answers a lot of questions I always had.
In the interview with Sam Irvin, it confirms what seems very likely from watching the movies back to back--that is, that the sequel is entirely tracked with the first score. Oblivion 2 is one of the odd movies that bridged the pre- and post-Paramount era. Apparently, Band was able to emerge from "the Paramount collapse" with all of the intellectual property intact, including the shot-but-unreleased Oblivion 2. So Oblivion had come out as a Paramount release, but the second one was completed on the cheap and released two years after the Paramount split. It's a shame too, because the second one is better than the first and could have been even better with more intricate effects, etc.
But in terms of the scores being lost, it's odd that Band hasn't remastered the Oblivion movies into HD like he has for a number of his other titles. By an order of magnitude, Oblivion has the most star-studded cast of any Full Moon movie. So maybe there's something about the movies in terms of elements or ownership that is preventing it, although I can't think of what that would be.
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I can't run across the name of Pino Donaggio and not think of Carrie. That's one of my absolute favorite scores, and the Kritzerland expansion blew me away. So good.
It's hard for me to imagine being a film composer and not making my own private dubs before leaving the gig. Alexander Courage and Joe Harnell both had CD releases made from their personal tapes. According to the Superman IV liner notes, Paul Fishman was the sole provider of his cues on the Blue Box.
And yet, not every composer takes this basic precaution. It seems that John Williams never saved The Poseidon Adventure, and that would have been helpful when it turned out later that the studio masters were on a class of audio tape that deteriorates on the shelf.
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