Here's another chunk of the movie with Jerry's score. This is a nice example of what incredible range he had. He effortlessly swings from comedy to horror to melancholy to warmth within the span of 9 minutes.
The cemetery scene in particular is quite nice and it's baffling to think they threw that piece out in favour of a song with a dude singing lyrics like this: "I like cream in my coffee. I like eggs over easy with flour tortillas..."
His range does show in these videos. The scene in the cemetery has some lovely music and dovetailed well with the visuals. It makes no sense to drop such music.
Music instantly elevates that sequence. The score as a whole definitely has a warmed-over feel (the suspense music in particular is oddly uninspired), but that sequence is just so much better now.
Jerry's music in the cemetery scene is nice, but I actually prefer the "tortilla" stuff in this instance. After all, the filmmakers were taking a Tarantinoesque approach (weren't they?) with the film , so I understand the reasoning behind replacing a traditional score for pop songs, given the impact that Tarantino and his use of songs had on crime films at the time.
Jerry's music in the cemetery scene is nice, but I actually prefer the "tortilla" stuff in this instance. After all, the filmmakers were taking a Tarantinoesque approach (weren't they?) with the film , so I understand the reasoning behind replacing a traditional score for pop songs, given the impact that Tarantino and his use of songs had on crime films at the time.
I dunno dude. I get what they were going for with the songs, but I don’t think they achieved it. Those songs are simply awful and don’t have the novelty of Tarantino’s approach. It definitely doesn’t enhance the emotion of the scene the way Jerry’s music does, for me anyway. Those lyrics...
Jerry's music in the cemetery scene is nice, but I actually prefer the "tortilla" stuff in this instance. After all, the filmmakers were taking a Tarantinoesque approach (weren't they?) with the film , so I understand the reasoning behind replacing a traditional score for pop songs, given the impact that Tarantino and his use of songs had on crime films at the time.
I dunno dude. I get what they were going for with the songs, but I don’t think they achieved it. Those songs are simply awful and don’t have the novelty of Tarantino’s approach. It definitely doesn’t enhance the emotion of the scene the way Jerry’s music does, for me anyway. Those lyrics...
The dialogue between Stoltz and Daniels just reeks of my friends ripping off Tarantino in everything they wrote back in high school.
Jerry's music in the cemetery scene is nice, but I actually prefer the "tortilla" stuff in this instance. After all, the filmmakers were taking a Tarantinoesque approach (weren't they?) with the film , so I understand the reasoning behind replacing a traditional score for pop songs, given the impact that Tarantino and his use of songs had on crime films at the time.
I dunno dude. I get what they were going for with the songs, but I don’t think they achieved it. Those songs are simply awful and don’t have the novelty of Tarantino’s approach. It definitely doesn’t enhance the emotion of the scene the way Jerry’s music does, for me anyway. Those lyrics...
The dialogue between Stoltz and Daniels just reeks of my friends ripping off Tarantino in everything they wrote back in high school.
Yep! I was thinking the same thing. Even the way it’s shot is similar.I remember this wave of post-Pulp Fiction dialogue heavy hit man comedies. Grosse Pointe Blank, 8 Heads in a Duffle Bag....
The songs, as bad as we might think them to be, go more towards the Tarantino Craze atmosphere than a score from Our Man Goldsmith. Perhaps it even makes one appreciate the skill with which Tarantino selects songs for his films (there are some exceptions).
2 Days in the Valley, unlike most of the Pulp Fiction knockoffs, had a 20-year reunion. Even the film's best aspect, Charlize Theron, attended. Nice to see that she's grateful for the stardom the film gave her and has fond memories of filming.
So ya got a couple options here as regards the rejected score:
1. 2 Days is an example of a director (or producer) not knowing what kind of comedy he (they) was (were) shooting, the consequence being the composer wasn't provided adequate instruction and/or feedback regarding his flat-footed approach.
2. Mistakingly hiring an old-school composer who was never particularly adept at comedy (other than broad slapstick and farce), and who completely misread the tone of the narrative, the result being a cliché-ridden misfire.
Here's a request - "Helga's Minute". I tried to line up CD tracks to the film a few years ago, just to see where they went, and I remember that one being quite effective.
