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 Posted:   Jul 20, 2014 - 9:47 AM   
 By:   Mike_H   (Member)

I absolutely love this score (as heard on the album). After the butchering it received in the film, Varese and John Ottman were able to put out a nice 50 minute album. I believe that album is long out of print and there are several unreleased cues. Of the Ottman cues still in the film there a few that didn't make it on the album, and there are probably more cues that were not heard in either the film or the album at all.

For anyone not familiar with the rejection situation you can read about it in this fantastic FSM article on page 26:

http://www.filmscoremonthly.com/backissues/viewissue.cfm?issueID=32

 
 
 Posted:   Jul 20, 2014 - 10:34 AM   
 By:   Ford A. Thaxton   (Member)

I absolutely love this score (as heard on the album). After the butchering it received in the film, Varese and John Ottman were able to put out a nice 50 minute album. I believe that album is long out of print and there are several unreleased cues. Of the Ottman cues still in the film there a few that didn't make it on the album, and there are probably more cues that were not heard in either the film or the album at all.

For anyone not familiar with the rejection situation you can read about it in this fantastic FSM article on page 26:

http://www.filmscoremonthly.com/backissues/viewissue.cfm?issueID=32



while the CD has been out of print, the score is available on ITUNES

https://itunes.apple.com/us/album/portrait-terror-halloween/id335681093

Ford A. Thaxton

 
 
 Posted:   Jul 20, 2014 - 10:38 AM   
 By:   Mike_H   (Member)

Thanks Ford! So it looks like the rights are still with Varese.

 
 Posted:   Jul 21, 2014 - 2:16 PM   
 By:   DeputyRiley   (Member)

Great article!

Who is Buck Weathers???

---

(gale sanders?)

 
 
 Posted:   Jul 21, 2014 - 5:02 PM   
 By:   Mike_H   (Member)

Lol. Good 'ol Buck.

Also, it said that Joel Goldsmith was set to score the film before Ottman, but I thought that it was supposed to be Jerry. Anyone have any info?

 
 Posted:   Jul 21, 2014 - 5:09 PM   
 By:   Timothy J. Phlaps   (Member)

I had no idea either Goldsmith was attached. Both seem a pretty random choice after Carpenter and Howarth. (EDIT: Just remembered that Miner worked with Jerry on WARLOCK, but still...)

I was listening to this score the other day. I do love that "Face to Face" cue.

 
 
 Posted:   Jul 21, 2014 - 5:10 PM   
 By:   Mike_H   (Member)

Jerry scored a few Steve Miner films before. Maybe Jerry recommended Joel.

 
 Posted:   Jul 22, 2014 - 12:49 AM   
 By:   Basil Wrathbone   (Member)

I'd most wish for an improved version of Ottman's "Incognito", which I think is his best score. I read that the composer himself was very disappointed with the problematic source material and sound of the original release.

 
 Posted:   Jul 22, 2014 - 5:50 PM   
 By:   JasonComerford   (Member)

I honestly don't remember how it was that Joel Goldsmith came to be involved, however briefly. I do remember that at one point, someone (either Jeff or Lukas) told me that he was willing to comment for the article, but when I called him to talk to him about it, he said something to the effect of, "Yeah, I'd really rather not talk about that." I can't say I blamed him for changing his mind. Man's gotta eat.

 
 
 Posted:   Jul 23, 2014 - 11:23 AM   
 By:   Mike_H   (Member)

Jason, just to clarify a bit. I talked with John about this years ago but am a bit foggy. The only people who objected to the Ottman score were the Weinsteins, correct? Or was it also Moustapha, Malek, etc.? I'm just wondering if it was strictly a studio brass thing. I know Steve Miner thought it was terrific.

 
 Posted:   Jul 24, 2014 - 8:30 AM   
 By:   JasonComerford   (Member)

Mike, I don't recall. Glancing back at the article, it seems as though the Weinsteins took over postproduction and were primarily calling the shots. I would assume that the Akkads were involved somehow but I couldn't say for sure.

For those who are wondering, it's highly unlikely that Beltrami's material would ever be released. His original material wasn't really intended to be thematic or anything like that -- it's essentially transitional material, designed to bridge all the different cues together (and there's less than 8 minutes of original material anyway). The cues from "Scream," "Scream 2" and "Mimic" would have to be cross-licensed as well, and I kinda doubt anyone would be interested in going to all that trouble.

If memory serves, the material that made up the "Portrait of Terror" album comprises the vast majority of what Ottman recorded. Some of the shorter cues noted on the cue sheet are, I believe, included in the album assembly in some form or another. My understanding is that Ottman recorded his score his way, and the Weinsteins, Beltrami, and the music editors took it from there.

 
 
 Posted:   Jul 24, 2014 - 8:44 AM   
 By:   Mike_H   (Member)

Thanks Jason! I'm not really interested in the Beltrami material (I love him to death, just not in this movie wink and thought there might be more unreleased Ottman score since the album is 50 min long and the movie is 30min longer. Surely if he composed an entire score there are unreleased chunks that didn't make it in the movie or the album. Your article is terrific, by the way!

 
 Posted:   Jul 25, 2014 - 8:47 AM   
 By:   JasonComerford   (Member)

Thank you very much. I worked hard on that piece and I am pleased that people are still referencing it.

 
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