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That tick-tock motif, as you call it, is the best part of the whole cue. I LOVE that. It's similar in style to the hair-raising end of "Bloody Floor" from Hollow Man.
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Despite your valiant efforts to place it all in context, this score has simply never registered with me.
It, along with the likes of The Last Castle and Nemesis (and a fair chunk of his 90s output), rank amongst Goldsmith at his least interesting (to me).
That weird synth noise ruined much of the score for me as well, but getting to see the cues in context helps (even though that synth noise still sucks and is completely wrong for the movie).
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Posted: |
Jul 11, 2019 - 9:02 PM
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By: |
townerbarry
(Member)
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This might Help ....Also I remember Richard Donner saying in a interview that he was wrong about all the re-edits..Studio And Michael Crichton were 100% Pissed off of the Donner Effort...While all this massive junk was happening Jerry Goldsmith was battling Cancer. From IMDB....
The film was originally slated to be released in the fall of 2002, however the studio was not happy with the Richard Donner's cut of the film, which included a prologue explaining the disappearance of the Billy Connolly character in the film and contained Jerry Goldsmith's original score for the film. Donner was then forced to re-cut the film by Paramount and asked Goldsmith to edit down his score to the re-cut version of the film, which also prompted another release date by the studio to March 2003. Paramount, particularly studio head Sherry Lansing, was again unhappy with Donner's second cut of the film that he had delivered which completely had eliminated the Billy Connolly prologue, which was essential to the both the Michael Crichton novel and the film's backstory, which was originally scored by Goldsmith as a cue called "The Dig" and the musical recording slate number of 1M1. Donner was forced to re-cut the film once more and the film was again delayed to unspecified date and again Goldsmith was asked to return to the project. At this point, Goldsmith's health was deteriorating due to cancer and had recently begin to score Looney Tunes: Back in Action (2003) for his friend Joe Dante, a project which required the assistance of composer John Debney for additional music and would also be his last score as he would pass away on July 28, 2004. Donner really wanted Goldsmith to stay on, but could not for those reasons and liked the score that he had written for the first cut of the film. Paramount then hired composer Brian Tyler, who had written the music for the film, The Hunted (2003), which was released that March in place of Timeline. Tyler would score almost all the identical scenes in which Goldsmith originally scored and each score recorded by both Goldsmith and Tyler are the same length at 74 minutes. The final cut of the film would be 116 minutes from its original 136 min cut, mainly the Billy Connolly prologue clearly absent from re-cut version and the final cut, which proves that the film was clearly interfered with by the studio. Goldsmith's and Tyler's music would be released respectively by Varese Sarabande Records.
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Posted: |
Jul 12, 2021 - 12:45 AM
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By: |
gyorgyL
(Member)
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This might Help ....Also I remember Richard Donner saying in a interview that he was wrong about all the re-edits..Studio And Michael Crichton were 100% Pissed off of the Donner Effort...While all this massive junk was happening Jerry Goldsmith was battling Cancer. From IMDB....
The film was originally slated to be released in the fall of 2002, however the studio was not happy with the Richard Donner's cut of the film, which included a prologue explaining the disappearance of the Billy Connolly character in the film and contained Jerry Goldsmith's original score for the film. Donner was then forced to re-cut the film by Paramount and asked Goldsmith to edit down his score to the re-cut version of the film, which also prompted another release date by the studio to March 2003. Paramount, particularly studio head Sherry Lansing, was again unhappy with Donner's second cut of the film that he had delivered which completely had eliminated the Billy Connolly prologue, which was essential to the both the Michael Crichton novel and the film's backstory, which was originally scored by Goldsmith as a cue called "The Dig" and the musical recording slate number of 1M1. Donner was forced to re-cut the film once more and the film was again delayed to unspecified date and again Goldsmith was asked to return to the project. At this point, Goldsmith's health was deteriorating due to cancer and had recently begin to score Looney Tunes: Back in Action (2003) for his friend Joe Dante, a project which required the assistance of composer John Debney for additional music and would also be his last score as he would pass away on July 28, 2004. Donner really wanted Goldsmith to stay on, but could not for those reasons and liked the score that he had written for the first cut of the film. Paramount then hired composer Brian Tyler, who had written the music for the film, The Hunted (2003), which was released that March in place of Timeline. Tyler would score almost all the identical scenes in which Goldsmith originally scored and each score recorded by both Goldsmith and Tyler are the same length at 74 minutes. The final cut of the film would be 116 minutes from its original 136 min cut, mainly the Billy Connolly prologue clearly absent from re-cut version and the final cut, which proves that the film was clearly interfered with by the studio. Goldsmith's and Tyler's music would be released respectively by Varese Sarabande Records.
"as he would pass away on July 21 not 28, 2004"
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Having greatly enjoyed the Goldsmith Varese CD for years, I finally watched the movie itself, with the Tyler score, for the first time tonight, and then compared the scenes with the Goldsmith spotting linked in this thread to YouTube. I always assumed the Tyler music would be very different; perhaps more with hip heavy beats or something, but it oddly has similar ideas to Goldsmith's - except that Jerry's version is more compelling and distinctive. It was a treat to finally be able to match up his music with the images and action.
It's too bad, though, that the film doesn't resonate. I like the dumb, simple "hey, let's go on an adventure in time" attitude of the premise, but, unfortunately, it does eventually come off as far too shallow and not too fulfilling. The cast is fine (Thewlis is very David Warner-esque, isn't he? And my crush on Frances O'Connor is reaffirmed), but there is that feeling that a MST3K-style ribbing might be welcome if I ever sit through Timeline again. At least the Goldsmith version gives the movie a bit more kick, and also heart. He gives the end scene, with its cliche revelation about a character who got left behind in the past, a sweet melancholy missing from the official film.
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