I've written a tribute to this score -- one of my top 10s -- now that it turns 30 this year. Don't know how much sense this Google Translated version makes (it's in Norwegian originally), but here it is anyway:
I've written a tribute to this score -- one of my top 10s -- now that it turns 30 this year. Don't know how much sense this Google Translated version makes (it's in Norwegian originally), but here it is anyway:
Great tribute - the translation is surprisingly good (whenever I use the translator from Portuguese the results are usually terrible). I love Alien 3 film and score.
The film is better on the extended cut but the score shines much more on the theatrical version, which was the version for which the music was recorded by Goldenthal.
I just (of course!) disagree with your statement that the album works better than the complete score (yes the album is fantastic) but for me this score works better on the complete version - it has a nice progression from the quieter begginings to the ferocious finale (and I love most of the music that was missing from the album). I know you usually do not care for C&C releases, but have you listened to this particular score in its C&C version?
For me, it is certainly the best film score ever written. I can't think of a more imaginative and consistent score. If Alien 3 was Elliot Goldenthal's only score, he would still be a formidable figure in film music.
I love many of his other scores though, but Alien 3 is certainly his most cutting-edge, imaginative and consistent score.
Why any of the big media outlets in the mainstream aren't properly writing about the score and celebrating it is just strange to me. It is a modern masterpiece, regardless of what one thinks of the film itself.
Thanks for the comments, guys, and good to see some ALIEN 3 love in here! While the score is lauded left and right, the film still has a lot of detractors. I'm always on the lookout for fans of the film as well.
I know you usually do not care for C&C releases, but have you listened to this particular score in its C&C version?
I have, yes. It wasn't for me. But glad for those who enjoy it.
I prefer to watch the theatrical cut of the movie for the score and the original soundtrack album for listening. The extended version of the movie may be a better for the movie, but since i'm a music guy first and foremost, I prefer to stay as close as possible to the way Goldenthal originally scored the movie. I do agree that the score shines much more in the theatrical version and that for me is very important personally.
In the assembly version, I remember there being quite a bit of tracked music. Usually nothing that stuck out much, but still, it is not the way Goldenthal scored these scenes himself. It would have been interesting to know his own thoughts on this matter, what he thinks of the use of his music in the assembly cut.
If you still want more music, and in film chronological order, the label La La Land Records released an extended 2CD edition in 2018. I only mention it because I have to, not because I particularly want to. It essentially robs the work of its headstrong qualities.
Go to your room Thor and don't come out until you've listened to at least one expanded soundtrack in it's fullest.
There are a two changes on the theatrical version I liked. One of them is the change from the ox to the dog. I think the few scenes with the dog added where good and the birth scene with the dog was more poignant. The other is the chestbuster of the alien queen while Ripley is falling. As unlikely it may seem that the alien would emerge at that exact moment I think it is logical to consider that the alien somehow sensed Ripley was killing herself and tried to escape. I liked that Ripley holds it preventing it to escape but also holding her child.
I just wish Goldenthal had scored the extended cut of the movie. We know he saw the movie with the added subplot of the alien being captured and then released by the crazed Golic as he mentioned that change in an interview, but the only "early version" scene that was scored was the Adagio (shorter version) and it was good that he rescored the extended theatrical scene which made the track even better.
The other is the chestbuster of the alien queen while Ripley is falling. As unlikely it may seem that the alien would emerge at that exact moment I think it is logical to consider that the alien somehow sensed Ripley was killing herself and tried to escape. I liked that Ripley holds it preventing it to escape but also holding her child..
Over the years, I've come to prefer the 'assembly cut' or whatever it's called, the one with extra scenes -- giving us extra footage of the prison exterior and such. But yes -- I do miss that particular scene. Insert that in my preferred version, and I've got the perfect cut!
