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I'm sure the score could be completely remixed and remastered (by Mike Matessino), as Varese did so remarkably with its Herrmann at Fox box set and The Egyptian re-release.
But is Varese willing to do so? That remains to be seen.
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Posted: |
Nov 1, 2014 - 2:39 PM
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By: |
RoryR
(Member)
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Here's something interesting that was on eBay not long ago. I'm not sure what to call it, but it's dated 12/20/1967.
It tells us several interesting things (at least I think it does), such as "The Hunt" being recorded in two parts (with a 59 manned orchestra?), the cue I mentioned in a previous post, "The Searchers," sounding different on the Varese CD than in the movie's final mix, seems to have been recorded in two separate parts, I assume to be overlayed (Perhaps Varese couldn't find one of those two parts?), and besides Arthur Morton, there seems to have been another orchestrator named Spencer. I have no idea who that was. Anyway, this tells many other things if you know how to read it, and I don't pretend to know exactly how.
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Rory R, Herbert W.Spencer was a well-known orchestrator who had a long and fruitful career in Hollywood. He worked occasionally with Goldsmith (on Bandolero! he is credited I think) and in his later years was John Towner Williams' orchestrator of choice (The Towering Inferno, et al)...
- JMM.
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Here's something interesting that was on eBay not long ago. I'm not sure what to call it, but it's dated 12/20/1967.
It tells us several interesting things (at least I think it does), such as "The Hunt" being recorded in two parts (with a 59 manned orchestra?), the cue I mentioned in a previous post, "The Searchers," sounding different on the Varese CD than in the movie's final mix, seems to have been recorded in two separate parts, I assume to be overlayed (Perhaps Varese couldn't find one of those two parts?), and besides Arthur Morton, there seems to have been another orchestrator named Spencer. I have no idea who that was. Anyway, this tells many other things if you know how to read it, and I don't pretend to know exactly how.
This is page 1 of the Planet of the Apes "Orchestra Breakdown Sheet" -- the sessions from December 20 and 21
Page 2 is a January 3rd session
"Crash Landing" was originally composed as a single piece; however, when it was recorded it was broken into two separate parts (the break is where they come ashore called "New Start at Bar 147").
Anything that says "Record Separately" is an Echoplex session.
"The Hunt" is actually two cues, cross-faded at the transition to the hunt's aftermath.
The largest orchestra for Planet of the Apes was indeed 59 musicians (kind of proves that this 100+ nonsense must stop!).
All of this and MUCH more info will be in my book in microscopic detail.
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Assuming Mike Matessino can do for these 20th Century Fox-soundstage-recorded tapes what he did for the 20th Century Fox-soundstage-recorded Rio Conchos, any previous commercial issues of this score will become useless.
I also prefer the mono mix on the Blu-Ray, which ostensibly re-creates the mono mix that played on late night television throughout the seventies and early eighties. The Clothes Snatchers and The Hunt sound marvelous that way.
I'm not sure I wouldn't, in the best of all worlds, prefer a Beatles-like scenario where both Stereo and Mono mixes of this score were available. Would the running time allow for a dual Stereo/Mono presentation on one disc? Something to think about, Mike Matessino or comparable specialist!
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Posted: |
Nov 4, 2014 - 11:02 AM
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By: |
Grecchus
(Member)
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There are two points. The first is the music for the crash landing in the film is not the one on the Varese. Once familiarised with the CD, the first thing one notices is that the film version sounds completely different, particularly when the three astronauts have jumped off their stricken spacecraft and into the water. You can clearly hear that whole section up to and including the sinking of the spacecraft is not as it is on the CD. This point relates to the LP vs OST recording alternatives, where differences between one and the other forms can be discerned by the casual listener. Only in this case, the alternate recordings are more than likely taken from the same film scoring stage. The curiosity is why has that mix been chosen for the soundtrack release?
This sort of variation is also apparent in Logan's Run, when both Logan and Francis are chasing a runner (Fatal Games, track 3 on the FSM) through the cityscape near the start of the film. It's an electronic accompaniment and the short section from the film version doesn't equate with what is on the disc? I've always wondered why the variations were not highlighted or listed. Of course, when so much music was included on the released discs it seems like just so much finger pointing to raise the issue as such, however, these minute variations in which the music is in the film but not on the disc, or vice-versa, left me scratching my head to some extent.
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