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http://filmscoremonthly.com/board/posts.cfm?threadID=103803&forumID=1&archive=0
I figured the fact that Nick Redman has confirmed Twilight Time has access to the original score tracks for this justified its own separate post away from the film release. There is *no way* this isn't coming out in complete form sometime this year from LLL or Intrada. I am SO excited!
C'mon MV, fess up...is it you?
Yavar
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Intrada has done some Warner Bros. too...wasn't Bernstein's Rampage from that catalogue?
Plus they've even reissued Rhino territory stuff: North by Northwest.
But perhaps a LLL reissue does seem more likely. I hope Jim Titus does the design!
Yavar
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I'm not sure this score will get a "C&C" release.
It may be that Mr. Goldsmith was happy with the album and explicitly instructed this "bottle cap" be left as is and intact.
I know I am certainly happy with what we've got.
Yet I'll be the first to buy if I'm wrong.
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In Nick Redman's excellent score commentary on the Twilight Time Blu-ray (accompanied by the film's music editor Ken Hall, its engineer Bruce Botnick, film historian & Twilight Time essayist Julie Kirgo, and our own Jeff Bond), Nick indicates that Lukas Kendall, in producing FSM's release of this score, conducted an exhaustive search that unfortunately did not turn up any separate score elements.
As a result, it's one of those few isolated score tracks that Nick and Twilight Time had to cheat on somewhat - using album tracks in some spots, Music & Effects tracks in others. So I really doubt this one is going to get an expanded release unless/until those elements turn up. To be clear, if you're watching the film the standard way, everything is as it was in the movie theatre. If you select the isolated score track, though, there are portions where those alternate elements were used, as explained above, because the original materials couldn't be separated enough to just allow for a score-only listen.
Oddly enough, I'm finding it hard to get into the score on its own. For the most part, I love its use in the film, though there are times where I find it hits an odd mood that seems out of sync with the film narrative, perhaps purposefully. As a soundtrack album, though, I sometimes find its disparate elements of synth and orchestra hard to reconcile, which is usually not the case for me and my love of Jerry! It's a masterful score, without question, but as an independent album listen it doesn't seem to grab me the way other Goldsmith scores do. I know many fans love it and on the commentary, either Ken Hall or Bruce Botnick (can't remember which) recount that it was apparently a fave for Jerry among his own scores. And the Blu-ray commentary contributors also single it out as, in their opinions, a perfect soundtrack album. Perhaps I haven't given it enough of a chance. (I am, however, giving it several more fresh listens, so I may end up back here eating my words.  )
If you get a chance to watch the film via Twilight Time, you absolutely must hear this commentary! Four of its five contributors bring an incredible wealth of knowledge and depth to the discussion, not just about this film and Jerry's involvement, but almost as a career treatise on him, his work, his life. Wonderful!
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If you get a chance to watch the film via Twilight Time, you absolutely must hear this commentary! Four of its five contributors bring an incredible wealth of knowledge and depth to the discussion, not just about this film and Jerry's involvement, but almost as a career treatise on him, his work, his life. Wonderful!
Who was the one that failed to impress?
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Anyone else have an opinion on this score - either as an album or its use within the film. I'm definitely appreciating it a lot more on repeated listenings but it doesn't grab me the way other Goldsmith scores do. Maybe that's apropos. The film itself has its own ambiguity in the form of the Nolte character's crucial moral decision. Perhaps this explains the score's use of genre-busting techniques. For example, pan flute (in the case of UNDER FIRE, actually PVC piping made into pan flutes - ingenious!) is not at all native to Nicaragua or its traditional folk music. And the use of synthesizer, in this case, is hard for me to understand. It feels anathema to the proceedings. Again, Goldsmith being a far more astute composer than I  most likely had some damn good reasons for it.
Thoughts? (Maybe this should move to another of the UNDER FIRE threads, not sure.)
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And, MRAUDIO, I am now on the same page as you. Not my favourite Goldsmith score but I'm definitely glad I gave this one a couple of weeks to seep in. Like fine wine, well-steeped tea, all that, sometimes it takes time for these things to grow on us. In fact, I have found that the scores that end up being so richly rewarding are sometimes the ones that took the most time and work to grow on me.
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