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On the soundtrack there are some tracks with the word “Toolbox” in the title. Does anyone know what exactly is meant by this?
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On the soundtrack there are some tracks with the word “Toolbox” in the title. Does anyone know what exactly is meant by this?
.I don't know but my guess they were to be used wherever they wanted.
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On the soundtrack there are some tracks with the word “Toolbox” in the title. Does anyone know what exactly is meant by this?
It has been speculated earlier in this post that these were cues recorded “wild” to be placed where the filmmakers saw fit. This makes sense for the shorter bits, but doesn't quite fit the D21 track. However, given that the documentation on this score was so sparse, I wouldn't expect solid answers beyond what is in the notes.
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In the booklet of this edition I found a few statements that I do not want to let stand uncontradicted.
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“I had put Dracula, the historical figure, together with the book – which is what Stoker did.”
However, this is a very simplified and abbreviated account, because Stoker does not explicitly write that Dracula is Vlad the Impaler. There are several annotated editions of the novel that deal with this issue in detail.
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“When I read Stoker, I went: wait a minute, this is a guy that got a three-way. (…)”
No. Harker describes that only one of the three women approached him to “kiss” him. The other two are not involved in this action.
____
“Here Stoker was talking about a ménage à quatre with three extraordinary women, and he even talks about how one of them looked like Lucy.”
He doesn’t. Harker writes:
“The other was fair, as fair as can be, with great wavy masses of golden hair and eyes like pale sapphires. I seemed somehow to know her face, and to know it in connection with some dreamy fear, but I could not recollect at the moment how or where.”
Although Lucy is indeed blonde in the novel, this passage refers to a chapter Stoker deleted from the novel called Dracula’s Guest. In the manuscript, Harker remembers where he saw the blonde vampire:
“As he spoke I was looking at the fair woman and it suddenly dawned on me that she was the woman – or her image – that I had seen in the tomb on Walpurgis night.”
At no point does Harker write that the blonde vampire looks like Lucy.
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Comic Book Guy lives. Holy Christ.
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Since the Comic Book Guy is capable of discussion and can contribute more in discussions than repetitive phrases like “Holy shit” and “Holy Christ,” I’ll take that as a compliment.
Soundtrack releases are discussed here, and I’ve pointed out and commented on a few content errors in the booklet.
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Comic Book Guy lives. Holy Christ.
^^^ Worst. Post. Ever.
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Comic Book Guy lives. Holy Christ.
^^^ Worst. Post. Ever.
At least its not one of mine. 
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Watching the latest high definition video release of this, I was thoroughly pleased with the quality of the score recording. From low strings to high brass, this score sounds stellar all the way through.
I trust this release, arriving soon, fully reproduces its dynamics and depth?
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I admit I thoroughly enjoy all the questioning and nitpicking and digging for details in this thread. Shows passion and interest in even the minute details of the score and the scoring process. Is it nerdy? So what? I've learned a lot from nerds over the years.
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I fail to see what's wrong with pointing out inaccuracies in an official publication. Especially on a site designed for specialist interest of a specialised area of entertainment.
I often find it irksome when film/TV makers over sexualise the original intent of source material to base their product on. It's as if they don't have the courage of they're own convictions enough to say it's what THEY ARE ADDING because it ain't sexy enough in their own opinions.
Pertinent points raised. Nerdy? Fancy that on a nerdy forum! Lol.
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I'm glad this one is still around five years after release.
That new Dolby Vision disc put a musical stake through my heart. Can't wait.
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Stoker's Dracula is specifically a textual metaphor about many sexual themes relevant to artists of his era (also sub-textually). I suppose I understand the puritanical late 80s and early 90s response to the James V. Hart script and Coppola's adaptation; but we are 30+ years removed from this film and I think it is inherent in its own text that it purposely set out to adapt Dracula with a stronger emphasis on the sexual metaphor angle by taking it to a maximalist approach. The film became the cultural classic it is because of its sense of adaptation. Maybe the camp theatricality is not to a viewer's liking but I think it's "sexing up the source material" approach to a very sexual story is commendable. It had to make the story approachable to the audience it was intended for. Stoker's novel was famous for the same reason.
Nicely put. My only point was that the poster was merely pointing out perfectly relevant things before he was' 'umped on'. For my own part, I liked the film . It's not as if there aren't plenty of other adaptations around, all of which have the biases of their own maker's tastes. The only thing I disliked was Dracula 's first ott appearance. Bright red outfit and silly hair do. Hardly the black from neck to toe described in the book.
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I like the music.
Me too.
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