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When I first saw this film at it's opening weekend, I loved it and so did the audience. (And so did The Academy evidentally). It's one of the very few films that (to me), come close to perfection in nearly every way. The one thing I have always found fault with was it's score by Nigel Westlake. It's a serviceable score, but, it should have 'been better'. How? I can't say exactly. Perhaps another composer. This film should have had a better and different type of score than the one Westlake wrote for it. Perhaps something along the lines of say, John Williams or even Bruce Broughton? Keeping in mind it was an Australian film(?) the producers may not have wanted the expense of a Williams or a Broughton. Does anyone else think a different composer and score could have easily have made this 'near perfect film' even better?
Or, do you love the Westlake score?
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ahh, Dylan S.
Let me rephrase it to say, ' Williams or Broughton or Goldsmith. This is an entirely new facet to the differences in films and in it's music. Dark, violent stuff that was excised along with Jerry Goldsmith's (90% completed) score. I wonder as well if the (incomplete) Jerry Goldsmith score will ever surface as a legit release; or perhaps it's gone for good? In any event, I think Goldsmith fans would want to hear it for themselves, even if it were for a far different 'Babe' than the one we all know.
Also, it would have made the second film titled 'Babe' to be written by Jerry Goldsmith.
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I originally had this under "Demos" (because of Dan's statements) until an astute reader caught in a magazine where Goldsmith said he recorded it with the Melbourne Symphony Orchestra (they also did Nigel's score); way to go! (you know who you are).
Remarkable if indeed true. Though personally, I'd prefer to see the film re-released with the option of hearing Goldsmith score in it, rather than a CD release.
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Excellent score, hideous soundtrack release.
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From http://rejectedfilmscores.150m.com/list.html
BABE -- Jerry Goldsmith.
Dan Goldwasser of Soundtrack.net learned:
"Yeah, I was surprised when I heard that too, but it was Jerry himself sharing the story with us in the booth at the LOONEY TUNES scoring session. Apparently producer George Miller wanted the film to be SUPER dark, and Goldsmith's score wasn't meshing with what he wanted.... and the director kinda shifted sides and then Goldsmith walked."
He also said Goldsmith walked out mere weeks before the recording was to happen and that Jerry wrote 90% of the score AND that they cut a LOT of violent stuff from the film. I originally had this under "Demos" (because of Dan's statements) until an astute reader caught in a magazine where Goldsmith said he recorded it with the Melbourne Symphony Orchestra (they also did Nigel's score); way to go! (you know who you are).
I wonder if there's any chance we'll ever hear a note of this?
Aren't you people confusing BABE (1995) with BABE 2: PIG IN THE CITY (1998)? No.2 was directed by George Miller, the original by Chris Noonan. Both were produced by Miller, but:
There is nothing "super dark" (see highlighted passage) about the first film, or score, but Pig in the City is a much darker, Dickens-ian film.
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