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Somebody did this a while ago--sounded great. Not sure the videos are still available.
Dan
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Double post.
Dan
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It's probably not possible, but I would love to see Donner's first cut with the Goldsmith score in all it's glory.
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I've done some comparisons before to Goldsmith's score and the released cut and I haven't seen any real major changes done to the film but it's been a while since I've done it. I'm redoing my study now so I could tell you in more detail but the last I checked, it all fit rather easily. I know that the explanation for why it was dropped was due to re-edits and Goldsmith being unavailable to rework his score...and I hate to call someone on that, but at least from what I saw last time I did the videos, that didn't seem to be entirely true. But again, I'm doing it again so I'll know more soon.
I wish there were a place I could post my videos! I've done some for a ton of edits but youtube always pulls them.
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Hello everyone,
With the TIMELINE blu-ray now available in Region A from Japan, it would be neat to revisit the Jerry Goldsmith infused videos done by the Mutant.
However, I only find three (Victory Part 1+2 / To My Friends) on his DailyMotion channel.
Would love to see more of the work done by The Mutant to compare it to the final picture (I understand THE DIG does not exist in that form).
As a side note, Richard Donner is still around (he was supposed to be at USC tonight but did cancel out due to being under the weather, he will be back this Summer).
Maybe what happened with Superman II: The Donner Cut wouldn't be out for reach for the original cut of Timeline as long as it's presented to Paramount / Donner in a compelling manner.
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Posted: |
Sep 27, 2018 - 6:37 PM
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By: |
mducharme
(Member)
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I actually did this myself independently of TheMutant, just as a fun side project, for myself. I took a slightly different approach from TheMutant where I applied the score to the current cut of the picture rather than sometimes cutting the picture to match the music like he sometimes did in his versions on DailyMotion. My approach required quite a few cuts and adjustments to the music, but since I am a composer as well and am very familiar with Goldsmith's style, I was able to make the same kinds of cuts in the same places that Goldsmith might have, and I think in all but one case I was able to make the transitions so smoothly that they are unnoticeable and it sounds like the music was written that way, although I would still like to revisit that one spot to see if I can smooth it out a bit. I was also able to remove the Tyler score from most of the picture without interfering with the dialogue, although there are one or two spots where you can still hear it a tiny bit.
I can understand why Timeline had to be re-scored - when you plug in the music, it seems to work in most cases with just a couple slight adjustments, but there are many problems lurking below the surface. This becomes evident when noticing that Goldsmith had in some places alternated between the hero motif and the villain motif in quick succession, obviously associated with cuts in the visual between the heroes and the villain that were taking place around the same time. If you simply plug the music in, it is around the correct length, but the hero motif comes in at the wrong time (ex. when you see the villain, the villain motif stops and you hear the hero motif) and vice-versa. This shows that, even though the overall length of many scenes was not changed very much, the actual shots within the scene and cuts back and forth were sometimes changed drastically from the original. The result was that I sometimes had to chop the music up into small blocks and re-order those blocks from the soundtrack version, but again I was very careful to do it in a musical way where everything still flows and sounds like it was what was actually written for the film. I also learned from the experience which scenes must have been added when the reshoots were done after Goldsmith's version.
The best thing about the experience was I never previously noticed how motivically interconnected the music is throughout - Goldsmith uses a limited number of motifs everywhere, and it was only when I put it to picture that I really noticed how heavily everything was unified underneath the surface - it is really extraordinary. There is rarely a note that isn't organically deriven from one of the simple core motifs.
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