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Posted: |
Nov 29, 2015 - 8:50 PM
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By: |
bobbengan
(Member)
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Ugh, that video is heartbreaking. Ray wasn't in good shape near the end.
As for the score(s).
I love Delerue's end title, and the sound quality on the London Sessions album is unbeatable. But there's one nagging thing about his contribution that I'd like to call to attention. This is subjective, mind you, but all the same.
It doesn't evoke autumnal imagery. At all.
This is a hugely important facet of the film and it's so odd that Delerue didn't seem to let his music - the warmer thematic portions anyway - Reflect this.
Horner's score, conversely, drips with wistful autumnal imagery, both during the thematic portions and in the horror cues, no less.
I love Delerue to pieces but this is one of those cases where, strong though his music is unto itself, I think the replacement score better delved into the heart and breadth of the FILm itself.
Thankfully, we can enjoy both apart from the film and marvel at the respective composers' talents.
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If you'll pardon my saying so, I was brought up short by the opening statement in your post, possibly less from what you were trying to say than from the way you said it, especially that first word. "Ugh"? Really? Maybe it was my fault for the way I interpreted your words. Reading about "heart breaking" and "bad shape," I braced myself for the video, expecting to see senility or at least doddering disintegration. Instead, I saw what I always saw at this author's personal appearances: Ray Bradbury, Life-force. Yes, at his advanced age, he was the worse for wear, as we all will be one way or another if we're lucky enough to live as long as he did. Yes, he was in a wheelchair after his stroke, and he had a bad ear, but what of it? His vital spirit came through loud and clear and strong. (As did his ego, judging by certain exaggerations in his story. He was never a shrinking violet, but he was a genius, so what the hell.)
That said, FWIW, I think your comments about the two scores are very interesting and intriguing. I look forward to hearing the new album.
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I have to disagree that Delerue's score does not evoke autumnal feels. Quite the contrary, I got the saddest sense of innocence with the fall lost, when I heard the London recordings of his score for the first time. It is so much better than Horner's in terms of scope and originality. Horner's score itself is derived from an earlier effort "Deadly Blessing", and his score for THAT picture was far superior. I really never knew what everyone found so great about his replacement score for SWTWC, but it's Horner, and in his scores, there's always something for someone.
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I think it's a two-sided coin: Horner evoked the warm October days and added a sense of impending ominous drama, while the darker side of Delerue's score evoked the "cold winds, long nights, dark promises" side of a film that was reportedly more dark in the original cut.
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Posted: |
Nov 30, 2015 - 5:44 PM
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By: |
KevinSmith
(Member)
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If you'll pardon my saying so, I was brought up short by the opening statement in your post, possibly less from what you were trying to say than from the way you said it, especially that first word. "Ugh"? Really? Maybe it was my fault for the way I interpreted your words. Reading about "heart breaking" and "bad shape," I braced myself for the video, expecting to see senility or at least doddering disintegration. Instead, I saw what I always saw at this author's personal appearances: Ray Bradbury, Life-force. Yes, at his advanced age, he was the worse for wear, as we all will be one way or another if we're lucky enough to live as long as he did. Yes, he was in a wheelchair after his stroke, and he had a bad ear, but what of it? His vital spirit came through loud and clear and strong. (As did his ego, judging by certain exaggerations in his story. He was never a shrinking violet, but he was a genius, so what the hell.)
That said, FWIW, I think your comments about the two scores are very interesting and intriguing. I look forward to hearing the new album.
It's kind of hard know which story to believe considering differing accounts (the multiple written reports that indicated that Ray was happy with the original cut of the film or this video).
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Posted: |
Nov 30, 2015 - 8:20 PM
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By: |
DS
(Member)
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I absolutely love Delerue's score, which has a dirge-like sadness permeating throughout that is likely reflective of the approach Jack Clayton was originally taking with the film (which as I understand emphasized more on the horror and the loss of innocence than what the re-shoots reflected). Sadness and a real sense of horror are elements entirely missing from Horner's replacement music, which (while being one of his best) is much lighter in tone and more of a conventional fantasy score in comparison. The film, in my opinion, is a mess that doesn't cohere, with the tone changing from scene-to-scene and the weak re-shoots sticking out as the lead actors look far older in them. Like "Watcher in the Woods," the production of this film is infinitely more fascinating than the results, but I would love to see early versions of both "Watcher" and especially "Something Wicked This Way Comes" (especially as I love Jack Clayton's 1960s films).
In an interview I'm unable to locate at the moment, Bradbury said he loved Horner's music so much that he would've pushed for Horner to score any "Fahrenheit 451" remake. That's pretty high praise. I'm not aware of Bradbury ever making detailed comments about Delerue's score, other than (I believe in that same interview I'm unable to locate) that he didn't think it worked.
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what a great piece of music. I heard it today, and I am astonished. Such a brilliant and scary score. I must be honest, I wouldn´t have imagined such a thrilling score by Delerue. All I knew of his music was this beautiful, emotional music. I have never heard him this way before.
Brilliant. Why was this score tossed?
Philipp
This score went unused because the movie was taken out of the director's hands and was then partially re-shot & re-edited. It became a different movie after that and the Delerue music no longer physically cover the action, and the executives wanted something more overt.
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Posted: |
Feb 2, 2016 - 3:31 PM
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By: |
FatherDude
(Member)
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The liner notes of this fantastic release talk about the preview cut with a certain authority, as if the author had an opportunity to see it. I'm still clinging to the hope that Clayton's version gets to be seen someday. I don't know it could necessarily be a better movie, since Bradbury himself was part of the effort to "salvage" it and the special effects work was denounced by pretty much everybody involved, Clayton included.
Nonetheless, it sounds like a pretty different beast tonally and I'd very much like to see what Clayton's vision looks like unaltered. Regardless of whether or not you love the finished movie, it's undeniably a compromised and micromanaged end product. For better or for worse, I want to see the movie as it was before an extensive series of re-shoots and re-edits and narrations attempted to commercialize it. At least the kids would look the same age throughout.
Interestingly, this unabridged release of Delerue's work does not solve an old mystery, which is what Disney used for the trailer music. It is not part of Delerue's score nor Horner's score. I know it's pretty common for music tracks in trailers to come from various sources, but as far as I know they've never been identified in this case. Somebody posed the question in this very thread many years ago. Anybody have a clue?
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Of course, I'd like to see it too.
