 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Inside the booklet, Jeff Bond mentions the track in his notes and he also names it "Hostage Negotiating", so that would make another case for that being the correct name. However, I do believe that some of the track titles were made up and not Goldsmith's original names.
Yeah, I made up the track titles years ago. They switched some of them around here and there, but it's mostly my titles from whenever this came to light back in the day.
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Dec 19, 2014 - 12:56 PM
|
|
|
|
By: |
DeputyRiley
(Member)
|
Was just listening to this the other day. I really do enjoy this one, another gem by Goldsmith. To my ears the main theme sounds a lot like the main theme for The Russia House, anyone else think so? The score is a great combination of City Hall, L.A. Confidential, The Russia House, Chinatown, Basic Instinct. All scores I really dig.
"Unexpected Visitor" is such a joy to listen to -- it's a perfect example of why I like my scores complete, including even cues less than a minute long. It's only 49 seconds long but it's a terrific track...whimsical, playful, awesome melody, and just perfect Jerry. "The Cemetary" and "Lotus/The Suspension Note" are very moving and attractive. The action/suspense cues are first rate, my favorite being "Street Convergence/Shootout."
The only weak spot on the score, and I'm surprised it's not mentioned in Intrada's description, is the use of the accordion. Effective yes, but I personally can't stand the instrument. Otherwise, great score!
|
|
|
|
|
|
Listening to it now, probably enforced by THE RIVER WILD sending me back into the Goldsmith archive - what a great main theme this score has. Granted, it brings back memories of other wonderful Jerry-scores. But it still is its own thing of beauty. Mournful, hopeful, just... wonderful music.
|
|
|
|
|
|
|
|
|
|
So while my iPod was on shuffle today, there was a track from this score that played. I hadn't listened to it in a while and was enjoying, then the track ended with a piano theme that I suddenly realized I knew from Goldsmith's score to FIERCE CREATURES! It became "Willa's Theme" in the latter movie. Granted, when Intrada released TWO DAYS, I didn't yet own FIERCE CREATURES, only picking it up from Amoeba Records last year, so I didn't have that realization until my shuffle helped me revisit TWO DAYS! Had anyone else already heard this connection between the two scores?
But of course! 
|
|
|
|
|
|
Yes, it's very obvious. I think it's even mentioned in the liner notes?
|
|
|
|
|
|
Yeah, I made up the track titles years ago. They switched some of them around here and there, but it's mostly my titles from whenever this came to light back in the day.
So for whatever reason Intrada used Shaun's made up cue titles for their release of the album mock-up program. But now thanks to the Academy digitizing their written score holdings, we actually have Jerry's original official cue titles:
http://collections.new.oscars.org/Details/Archive/71303029
1-2/2-1 "The Approach," 1 page
2-2 "Last Walk," 2 pages
2-3 "One Minute," 3 pages
3-1 "Valley Morning," 2 pages
3-3/4-1 "Last Stop," 4 pages
4-2 "Bee Attack," 2 pages
4-2 "Bee Attack (revised)," 2 pages
4-3 "I'll Cook," 7 pages
5-1 "Time to Eat," 4 pages
5-2 "Good Morning," 2 pages
5-3/6-1 "The Cemetery," 7 pages
5-3a/6-1a "The Cemetery (revised)," 2 pages
7-1 "Ride Home," 2 pages
7-2 "Another Person," 1 page
8-3 "The Letter," 3 pages
8-4a [no title], 1 page
8-4 "Back Then," 5 pages
9-1 "Fake Cop," 5 pages
9-2/10-1 "What's Your Name?," 2 pages
10-2 "Just a Minute," 4 pages
11-1 "Loose Ends," 12 pages
12-2 "No Hair," 2 pages
Might anyone want to try matching these up to the album cues, to see about putting the Intrada album in film order, and trying to ascertain what cues might still be unreleased from this score?
Yavar
|
|
|
|
|
|
|
Yavar, did you click on the "Lost Scores" thread over at JerryGoldsmithOnline? I included an excerpt from an a new interview with the director.
|
|
|
|
|
|
Yes, I read that -- cool find.
I'll copy it here for the curious:
https://www.hometheaterforum.com/community/threads/exclusive-htf-interview-with-director-john-herzfeld-escape-plan-the-extractors.362708/
"HTF: I love that! So, last question and this might seem a bit left field. I have one of the scores for one of your films. Well, it's actually what they call the rejected score. Jerry Goldsmith's unused score for Two Days in the Valley.
John Herzfeld: Oh yes, and wow, how did you get that?
HTF: Intrada, a terrific record label, released it a few years ago, and I'm a Jerry Goldsmith completist, so I had to have it. It's a beautiful score. So, I must ask, was this just a case of great music just not fitting what you had envisioned for the film?
John Herzfeld: Yes, yes. It's great music. But, at the end of the day, I didn't feel it was-- I mean, Jerry Goldsmith's the greatest composer that ever lived. But it's one of those things sometimes. So, yes, we went to another score. But I have to get a copy of that. I was great. Chinatown-esque a little bit.
HTF: Yes, exactly! It has a great theme and it feels like a distant cousin to Chinatown. I think you're exactly right. Chinatown-esque is good way to put it.
John Herzfeld: Yeah, it is a distant cousin of Chinatown. That's what I thought too. Believe me, just one of those things."
Yavar
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
- am I also right in assuming that I've received a CD with an absolute unique kind of misprint and can now go on selling it on ebay for about 100.000 $ (shipping not included)? 
