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 Posted:   Oct 2, 2010 - 7:11 AM   
 By:   LeHah   (Member)

Sat down with the Blade Runner DVD suitcase this morning and popped in the workprint. Was surprised to hear orchestral library music towards the end of the film. It's nicely spotted but doesn't work in the film at all. Does anyone know the source of this music? There doesn't seem to be any information about it on any of the Blade Runner fansites.

 
 Posted:   Oct 2, 2010 - 9:42 AM   
 By:   Jeff Bond   (Member)

I'm assuming you're not talking about Planet of the Apes. I've only watched the workprint once and that's all the orchestral music I remember.

 
 Posted:   Oct 2, 2010 - 9:53 AM   
 By:   LeHah   (Member)

I'm assuming you're not talking about Planet of the Apes. I've only watched the workprint once and that's all the orchestral music I remember.

You know - right after I posted this, theres that part where Roy Batty is hanging out the window and there was a short horn melody that made me think it was Jerry - but I thought it was Alien, not PotA. You're probably right though.

 
 Posted:   Oct 2, 2010 - 10:39 AM   
 By:   JimWare   (Member)

Sat down with the Blade Runner DVD suitcase this morning and popped in the workprint. Was surprised to hear orchestral library music towards the end of the film. It's nicely spotted but doesn't work in the film at all. Does anyone know the source of this music? There doesn't seem to be any information about it on any of the Blade Runner fansites.

Horner's 'Humanoids from the Deep' is definitely in there.

 
 
 Posted:   Oct 2, 2010 - 8:34 PM   
 By:   Michael24   (Member)

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.

 
 
 Posted:   Dec 27, 2012 - 10:16 AM   
 By:   alexp   (Member)

I thought I would bump this up so that new posters can identify or, possibly, create a list of the music heard in the workout.

Thanks,
Alex

 
 
 Posted:   Dec 28, 2012 - 7:59 AM   
 By:   Clark Wayne   (Member)

I think someone would have done it by now if they were going to!

 
 
 Posted:   Mar 13, 2017 - 3:17 PM   
 By:   alexp   (Member)

I thought I would bump this thread one last time to see if anyone can identify all the music in this version.

 
 
 Posted:   Mar 13, 2017 - 7:31 PM   
 By:   peterproud   (Member)

Does anybody know if Goldsmith was ever considered to score the film, or was Vangelis always everybody's first choice?

 
 
 Posted:   Mar 13, 2017 - 11:54 PM   
 By:   gyorgyL   (Member)

Actually , if I remember it well, the orchestral cue was composed by John Williams, and Robert Randles did some cues as well.

 
 Posted:   Mar 14, 2017 - 11:20 AM   
 By:   MutualRevolver   (Member)

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

 
 
 Posted:   Nov 15, 2017 - 11:15 PM   
 By:   Scott26   (Member)

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.

 
 Posted:   Nov 16, 2017 - 1:51 AM   
 By:   No Respectable Gentleman   (Member)

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.

 
 
 Posted:   Nov 17, 2017 - 10:27 AM   
 By:   Mateo Sanboval   (Member)

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.

 
 
 Posted:   Nov 17, 2017 - 4:15 PM   
 By:   Mateo Sanboval   (Member)

 
 
 Posted:   Apr 4, 2018 - 12:46 AM   
 By:   jkruppa   (Member)

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.

 
 
 Posted:   Apr 4, 2018 - 10:27 AM   
 By:   bobbengan   (Member)

It's so bizarre to me that Horner's HUMANOIDS score ended up even as temp music in this film. How the hell did that happen exactly?

 
 
 Posted:   Apr 4, 2018 - 2:35 PM   
 By:   jkruppa   (Member)

It's so bizarre to me that Horner's HUMANOIDS score ended up even as temp music in this film. How the hell did that happen exactly?

It has some similarities to certain effects in Goldsmith's Alien score, so if Rawlings was using pieces from Alien in other parts of the film, he might have heard the Humanoid cues as part of the same mood he and Scott were creating for Blade Runner. How that score got noticed by Rawlings is another matter. Clearly they were casting a wide net when assembling the temp cues. Japanese traditional pieces and a new age harp album? It all works, but conventional it is not.

 
 
 Posted:   Apr 4, 2018 - 2:49 PM   
 By:   bobbengan   (Member)

It has some similarities to certain effects in Goldsmith's Alien score, so if Rawlings was using pieces from Alien in other parts of the film, he might have heard the Humanoid cues as part of the same mood he and Scott were creating for Blade Runner. How that score got noticed by Rawlings is another matter. Clearly they were casting a wide net when assembling the temp cues. Japanese traditional pieces and a new age harp album? It all works, but conventional it is not.

Yea, I guess that's more what I meant - How on earth did anyone actually notice the score. Didn't I read that THE HAND also ended up in WOLFEN, or something to that effect?

 
 
 Posted:   Apr 4, 2018 - 2:54 PM   
 By:   jkruppa   (Member)

It has some similarities to certain effects in Goldsmith's Alien score, so if Rawlings was using pieces from Alien in other parts of the film, he might have heard the Humanoid cues as part of the same mood he and Scott were creating for Blade Runner. How that score got noticed by Rawlings is another matter. Clearly they were casting a wide net when assembling the temp cues. Japanese traditional pieces and a new age harp album? It all works, but conventional it is not.

Yea, I guess that's more what I meant - How on earth did anyone actually notice the score. Didn't I read that THE HAND also ended up in WOLFEN, or something to that effect?


For that matter, how did Freud end up on Alien? I guess maybe the Goldsmith connection, but that film came out in 1962! Rawlings must have a ridiculous knowledge of film scores or something.

 
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