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Posted: |
Oct 2, 2010 - 9:34 PM
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By: |
Michael24
(Member)
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I got out my copy of Paul M. Sammon's Future Noir: The Making of Blade Runner really quick and took a look, as it has a chapter devoted to the Workprint. It'd be too much to read through completely right now, but upon quickly skimming through, I found a brief section that mentions the music in this version:
"At the point where Deckard enters the Bradbury Building to battle Pris and Roy, Vangelis' score was dropped altogether from this version of the film. Instead, various Jerry Goldsmith music cues from Planet of the Apes, Freud, and Alien were inserted on the WP soundtrack by editor Terry Rawlings; these different cues then ran on until almost the very end of the Workprint." It also mentions that the music doesn't really go with the visuals and is more distracting than effective.
There's also a chapter devoted to the film's music, but it's basically just a breakdown of the various official and "unofficial" soundtrack releases of the music from the finished film. Nothing about the Workprint's music is given.
Future Noir is a pretty good detailed-filled book. It's probably unnecessary nowadays thanks to the jam-packed DVD set, but back in 1996, it was amazing to have so much info on the film packed into one single book.
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I wouldn't say that Goldsmith was considered per se, but according to Future Noir, the editor Terry Rawlings thought that Goldsmith would be hired and listened to his music while cutting the film.
And yes, John Williams composed the Ladd logo music, first used in Outland. Robert Randles composed the opening music for the Workprint version and apparently the trailer music
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Not sure Jerry would have considered BLADE RUNNER after his unpleasant experience on ALIEN. In '83 he claimed that the producers of BLADE RUNNER were "very unhappy" with its music and said that he personally would never work with Ridley Scott again. Then he smiled and said, "Well, I might ..."
Some years later I saw James Horner claim that ALIENS was the most unpleasant experience of his career and that he would never work with James Cameron again. Oh, the irony.
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In the scene where Deckard first goes into Taffy Lewis’s, the music playing is from Brian Eno’s My Life in the Bush of Ghosts.
Exactly so. A great record by the bye.
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Posted: |
Apr 4, 2018 - 1:46 AM
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By: |
jkruppa
(Member)
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Hi all, even though I'm a new member here, I've lurked off and on for years and have always been impressed by the knowledge everyone here has.
For myself, I did a crazy thing over the past couple of years and compiled a complete score of the Final Cut, using bootlegs and (mostly) the rear channels of various international releases of the blu-ray to get dialogue and sound effects-free versions of every cue. Quite an insane thing to do, but I learned probably more than anyone should about this score, and I'm very satisfied with the results.
And now I'm onto an even more insane task: tracking down all the temp music used in the Workprint. Fortunately, we're only talking 11 cues, from Deckard Enters the Bradbury up to (but not including) the End Titles.
Even better, I've identified four of the eleven, and they're all from Humanoids of the Deep. Here's the full list of cues in question, using descriptive scene titles for reference:
Deckard Enters the Bradbury
Roy Enters the Bradbury
Show Me What You’re Made Of – “Unwelcome Visitor” by James Horner (Humanoids From the Deep)
Roy Finds Pris/How To Stay Alive – “Night Swim” (edit) + “Jerry’s Death” by James Horner (Humanoids From the Deep)
That Hurt
Deckard Climbing
The Roof
Batty Saves Deckard
Tears in Rain – “Search For Clues” by James Horner (Humanoids From The Deep)
Rachael Sleeps – “Strange Catch” by James Horner (Humanoids From the Deep)
Escape
Here's where it gets tricky. Even though the otherwise unassailable Future Noir says that Terry Rawlings used cues from Alien, Freud and Planet of the Apes for the temp score, I've listened through those scores several times searching for these missing pieces, and I just don't hear them. I fully admit my ears could just be tired, though.
So I'm wondering, is anyone up to the task of listening to the Workprint cues (I've ripped them from the front channels of the blu-ray, if that helps) and seeing if we can track down the rest of the sources? I figured this forum would be the best place to start on something like this.
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