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Posted: |
Feb 18, 2015 - 5:24 PM
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By: |
DeputyRiley
(Member)
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In case anyone's interested I'm posting the following info...it's a long shot that an expanded/complete Collateral release will come our way, but I'm curious about the following types of info so maybe someone else out there is.
So, regarding the complicated musical score tapestry that is James Newton Howard, Antonio Pinto, and Tom Rothrock's Collateral! There have been several threads on this score but none really attempted to catalogue the complete score as heard in the film, with total film score runtime and individual cues, so I thought I'd attempt to do so here. Also, I just watched the film for the third time, so thought I'd give it a go (like I recently did with Alan Silvestri's Ricochet in another thread I did). It's actually kind of fun to break down the complete score by watching the film, and maybe others will find interesting info here.
I'm sure all of you know, but the score for Michael Mann's Collateral was ultimately divided up by (ostensibly) three composers: James Newton Howard, Antonio Pinto, and Tom Rothrock. In watching the film and noting each score cue, aside from cues identified by composer via the official soundtrack, it was near impossible to tell who wrote which cue, so I will list each cue in the complete score and identify the composer as best I can. Conclusions can also be drawn from a bit of information I gathered in researching the score online.
***** Here is a bit of info on JNH's experience working on Collateral as published by Dan Goldwasser on Soundtrack.net ... JNH: "...my eyes were wide open walking into it - but the one that did make a difference to me was that he had expressed that he wanted a much more scored approach to the big climax in the film, and so the last 17-minutes or so were much more specifically scored. At least, those moments were much more scored than typically had happened in Michael Mann movies beforehand. It doesn't mean those moments hadn't been attempted before, but Michael had never been comfortable with that kind of approach before. It was just right for this movie, and it seemed to work well. The first piece I did was starting from the beginning of the chase to the end, and I knew that that would be the lion's share of what I was going to do. Then I went back and wrote pretty much the rest of the movie, and some of those cues stayed in, and some of them didn't."
***** In an interview with supervising sound editor Elliott Koretz from mixonline article "Sounds of L.A. Propel Collateral" ... Koretz: "James Newton Howard is the main composer, but there's a variety of different music for different scenes from composers Tom Rothrock and Antonio Pinto to Paul Oakenfold and Audioslave. And there was an army of music editors ... Brazilian composer Antonio Pinto, who did City of God, was — in ‘Michaelese’ — ‘the architect of Vincent's [Tom Cruise's character] deconstruction as it occurs throughout the course of the film.’ That's not necessarily what he was hired for, but that's what he wound up being. His music appears in reel 3, as the night starts to fall apart for Vincent, and it propels that dramatic line. James Newton Howard's music is the emotional tension binding the diverse sensibilities that are the story of Collateral and Los Angeles ... Tom Rothrock's music wound up being Fanning's story on some level. Fanning is the LAPD detective with intuition about what's happening. Tom's music is in the cue where we see Vincent for the first time, and also where we see Max cleaning up his cab and getting into it."
*This is not intended to be a thread discussing the merits of Mann's use of music or style of scoring his films, but instead a breakdown of the individual cues, cue length, and complete score, with some commentary on each composer's role in creating the score.*
Complete Score Runtime (as heard in film by all composers) -- 51:00
Official Soundtrack CD (score tracks only) Runtime -- 16:24 (JNH 7:38/Pinto 4:17/Rothrock 4:29)
Complete score cue breakdown (as heard in film); cues named by me except otherwise noted and cues' composers identified when known. This information was assembled to the best of my ability and may not be entirely accurate! 
1. Briefcase (1:42) -- composer: Tom Rothrock (from official soundtrack, edited in film)
2. Dropping Off Annie (1:14)
3. Escalator (0:30)
4. Rollin' Crumblin' (2:08) -- composer: Tom Rothrock (from official soundtrack, edited in film)
5. First Hit (Vincent Coerces Max) (2:10)
6. Pulled Over (1:50)
7. Second Hit (Penthouse) (1:00)
8. Vincent Kills Thieves (1:10)
9. Third Hit (A Little Jazz) (2:47)
10. Elevator (0:55)
11. Max Steals Briefcase (2:40) -- composer: JNH (from official soundtrack, extended in film)
12. Morgue Discovery (1:30)
13. Vincent and Max Share (2:15)
14. Max is Vincent / Feds (2:10)
15. Felix (0:55)
16. Fourth Hit (Peter Lim) (1:52)
17. Feds Follow Cab (1:50) -- probably composed by Rothrock
18. Car Crash (2:35) -- composer: Antonio Pinto (from official soundtrack, extended in film)
19. Fifth Hit (Warning/Shadows/Subway) (15:25) -- composer: JNH (as confirmed by composer), including "Vincent Hops Train" from official soundtrack
20. Finale (4:20) -- as far as I can tell, the JNH track "Finale" from the official soundtrack is unused in the film; Antonio Pinto's track "Requiem" is used in the film instead, with other unidentified score
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These are the composers I have been able to find so far; question marks mark where I am unsure if it was specifically additional music or if the composers did more or a full score which did not get used:
[James Newton Howard; Kevin "KK" Kerrigan (additional), Tom Rothrock (leftovers?), Antonio Pinto (leftovers?), Zachary Koretz (additional?), Charlie Clouser (additional), Lisa Gerrard (additional), Rick Shaffer (one cue), Thomas Schobel (score, but any left in?); Gustavo Santaolalla (stock source cue).]
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Why didn't you use the official cue list as a reference?
http://www.usc.edu/libraries/finding_aids/records/finding_aid.php?fa=0075
2m1v2 Vincent Reveals ID
2m1Rv2 Vincent Reveals ID
2m3v7 Cops
2m4v4 Sylvester Clarke
3m1v3 You Like Jazz?
3m4v7 Daniel Is Killed
3m5v2 Flowers
3m7v3 Vincent And Ida
3m8v12 Max Steals Briefcase
4m1v6 Fanning At Morgue
4m1Av4 Talk About Parents
4m2v4 Island Limos
4m4v16 Surveillance At Rodeo
5m1v6 Cops Pursue
6m3v38 Race To Annie
6m4v6 Vincent Cuts Power
6m5v14 Cat & Mouse
7m1v15 Race To The Metro
7m2v15 Insert
7m2v19 Race To The Metro (cont'd)
7m3v8 Would Anyone Notice
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14. Iguazu - Gustavo Santaolalla - From "BABEL"
This isn't from Babel originally, of course, as Babel didn't come out until two years after Collateral. And I thought we agreed to never speak of Santaolalla, Babel, or "Iguazu" ever again.
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If MV did, I can't find a comment about it on FSM. No, I didn't use the FSM search engine, since it's not dependable. I went to Google and entered:
site:filmscoremonthly.com "La La Land Records" Collateral
Since his user name is the label name.
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