I have Jerry's score but I've never seen the movie itself. So it's very interesting to see the music combined with the visuals they were intended for. Based on the first clip, this looks like another in a long line of movies where Jerry's music goes above and beyond the film.
I hope you'll find the time to upload the other samples as well.
I’m working on more today. I should have at least two more posted by tonight.
Amazing job, thank you so much The Mutant for restoring JG's cues! Timeline is one of my very favorite scores. I hope we'll have a complete edition on CD one day. This score deserves it.
It had a good premise (perhaps the book is better), but it was squandered. Even one of the most interesting characters in the film, was killed off early in.
After watching the No Pain clip, I checked out the final version with Tyler's score. The latter's work gets the job done but Goldsmith's has far more detail and nuance (even in an action scene). It actively makes the scenes better (or as good as possible, at least. The film is a dud).
I cannot remember the person who did the clips I used to have on my site. I think I still have the whole film with JG score on DVD from him too. I was amazed how he got the score, dialogue and sfx to work. He even got a good part of the Dig for the opening to work. Shame someone can’t get this film out properly with the JG score.
I cannot remember the person who did the clips I used to have on my site. I think I still have the whole film with JG score on DVD from him too. I was amazed how he got the score, dialogue and sfx to work. He even got a good part of the Dig for the opening to work. Shame someone can’t get this film out properly with the JG score.
Thanks, everyone. Happy to do it.
Oh neat. I haven’t seen that yet. “The Dig” is the trickiest one out of them all. I have pretty much the whole rest of the movie ready to roll. The huge climax is gonna be a lot of work, but it syncs up quite well.
If nothing else, this project is really making me appreciate Goldsmith’s music. I only ever listen to the big 11 minute track, but there’s some sharp stuff elsewhere, it turns out. Still don’t understand what Jerry was thinking with those Legend-esque synths. Thanks, Mutant.
What’s most interesting when doing these clips is learning how Goldsmith spots these scenes. It’s often tempting to try and match everything to on-screen action and cuts, but Goldsmith seems to react to a line of dialogue or just the look on someone’s face.
That last clip for example: Tyler starts his music after Doniger swings the monitor over and declares “because that’s all the time we have!” and it just seems a little heavy handed.
Goldsmith ‘s cue subtly sneaks in as Kramer starts to make it clear that these guys may never be coming back.
