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My understanding is that this cue was done at the very last second (As I recall the scene in question was a added to the film at the last minute, I could be wrong) and Mark just knocked it out at his studio and sent it over to the dub stage and that DAT or D-88 has vanished in the last 16 years.
Ford A. Thaxton
Then why not use the film stem, ala Hook?
1. No room on the cd
2. The studio, producers and composer didn't want to use anything off the stems
There were a few odds and ends that could not be found, but the real heart breaker was the final track Mr. Snow did last minute for the film. After nearly two years and thousands of dollars, we had to finally toss in the towel on the search and release it as is.
MV
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My understanding is that this cue was done at the very last second (As I recall the scene in question was a added to the film at the last minute, I could be wrong) and Mark just knocked it out at his studio and sent it over to the dub stage and that DAT or D-88 has vanished in the last 16 years.
He didn't have a copy in his archive either. It happens.
What a loss, that cue is incredible. Doubly so if it's something Snow just tossed off last minute.
That's exactly what happened. Initially there was NO music in that scene. Last minute, Carter asked Snow to compose something so they can slap it in the film. He went to his piano and hammered something out and sent it in. That story comes directly from Mr. Snow himself during a conversation I had with him many months ago. Of all people who is bummed it can't be found it's him.
Maybe one day it will turn up, but after spending nearly 2 years looking for it (even going through each of his personal DATS dated within a year of the film and tv scores) we had to end the search.
MV
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There were a few odds and ends that could not be found, but the real heart breaker was the final track Mr. Snow did last minute for the film. After nearly two years and thousands of dollars, we had to finally toss in the towel on the search and release it as is.
MV
Heartbreaker indeed  But thanks for all your efforts searching and for this release. Day 1 purchase for me.
I wonder if Mr. Snow will be signing copies like the boxsets?
There will be signed copies.
It sounds bleepin amazing! The work that Mr Redman, Mike and Neil Bulk did on this is great! Julie's notes are sharp and informative...and Randall's 3 part section (3 different interviews conducted June 1997, May 1998 and April 2014) is fascinating to say the least.
And then you have Jim Titus art direction...
The cd will be out there soon -- July 29
MV
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For your X-scholars out there:
Working on this, we did find some unused tracks (not in final film)
5m4 Roadside Memorial - 1:36
6m1a Man in the Shadows - 0:36
The track “Remants” comes between these two cues.
At the request of the composer, these tracks were cut from this final release.
These are the tracks that ARE in the film, but could not be located for this release...
2m2 Rooftops - :26
3m2 Hole in the Wall - :27
10m1 Bee Collar - :10
15m1 Smoking Telegram - 2:57
As stated before, the only REAL heartbreaker here is "Smoking Telegram"
MV
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2. The studio, producers and composer didn't want to use anything off the stems
Can someone explain to me--a layman--what the difference between a "stem" is and, I guess, the actual original recording file? I've looked around the Internet and am not sure I quite "get" how the two differ (at least when it comes to scores). I see the term all the time and have never thought much about it until now with MV's clarification that no one wanted to use the stems. Which is fine--I have no complaints about that at all. It just really piqued my interest as to how these sources differ and such.
With that out of the way, I'm excited for the album and plan on picking it up when released!
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Posted: |
Jul 18, 2014 - 12:51 PM
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By: |
jwb
(Member)
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When you make a film you can't very well have all your audio elements in one. It just makes it more difficult. To keep the mix from becoming overwhelming, the mixer creates essentially sub-mixes. These are what is referred to as film stems. They mix stems (dialogue/adr, effects, foley, music, extras, etc).
I find it odd that no one wanted to use the film stem. I mean, for the composer your choices are either not include something your fans want, or include it with it not having the best sound. I would think the first option is best. For the studio & producers, why they wouldn't want it? Perhaps to avoid work and costs.
I'm still picking this up as the original always had iffy sound for obvious reasons.
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