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Posted: |
Jan 29, 2010 - 8:23 PM
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By: |
Maestro
(Member)
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I personally would love to have the alternate Carol Anne's Theme without the choir, as it once featured on a rare making of documentary for Poltergeist III in the late 80s and I've been interested in obtaining this version ever since.
http://www.youtube.com/watch?v=yUjtfIl6Ap8
Go to 4:42 of the documentary, I came across it on YouTube. 
Hey Guy!
Over that internet thing called 'Skype' a guy who does sound for movies in the UK had played them for me online. His name was Greg, and he played:
The Original Poltergeist III end title that Goldsmith wrote
The Poltergeist Cues
and a few Supergirl Cues - Arrival on earth, Faster version of the march, LOVE THEME Suite that had music NEVER heard in the film, and a different variation of the tractor theme. I wish I could say that I recorded them,a nd I tried to get him to give me the tracks over the net but he refused. I WILL say that the P3 score he wrote was split up and reached two movies: Malice got the softer music, The Haunting got the sinsiter themes.
Now I know there is unreleased music from the first two Poltergeist films, this material consisting primarily of alternates and short cues. Supergirl is also missing material, but the large majority of that material should have been on the Silva Screen CD upon its initial release. I noticed these issues the moment I heard it and read the provided information.
The labeling of cues as "film versions" when they were in fact not film versions at all was very unwise. These cues were completely different "alternate" takes, ones taken from the same recording sessions as "alternate" takes that were correctly named as such on the album, I know it's all very confusing and misleading when it didn't need to be. This is also taking the various cuts into account, and the US version originally featuring alternate takes on some cues.
Whilst the versions on the original Varese Sarabande release were not mixed entirely correctly, some of the synths were not present at all, they were in fact the "film versions" as performed.
This was further made confusing by a statement made by Jeannot Szwarc on the Supergirl DVD Commentary that an Overture wasn't ever recorded which isn't entirely true, but he was on the right wavelength. This is yet more controversy caused directly by the issues present on Silva Screen's release.
The booklet states for Overture "This is a longer version of the end title which was never used in the final film" Absolutely incorrect.
Main Title & Argo City "Slower in pace than the version that appeared on the original CD release, this is, in fact, the final version that was used in the film" Wrong again. No version of Supergirl features this recording and I've seen all three cuts to date.
I unfortunately don't have the time right now to go over every single cue in the booklet, but the information provided goes on and on with the inaccuracies.
When Goldsmith wrote the End Title material, he also wrote it with intention for the piece to serve as an overture or concert piece at a later date. He didn't however intend for it to be an overture to the film itself, and it never was. The short version of the End Title was discarded simply because it was "too short" for the final end credits in the film.
Therefore "Overture" should have been "End Title" and appeared alongside Final Showdown & Victory on the Silva Screen album, not the "Short Version" which was, because that wasn't ever in any version of the film.
All it reads on the back cover is "Different Version Than on Original CD release"
"On the Supergirl DVD, listen to director Jeannot Szwarc's commentary with Scott Bosco and you'll hear Bosco ask Szwarc if there was an overture for SUPERGIRL and Szwarc plainly denies that an overture was composed for the film. Why would he say this?? It states it right on the soundtrack! It's THERE in the movie in the end credits! Was Szwarc out of his right mind when he answered this question? You'll notice it's a little baffling even to Bosco himself by the confused tone in his voice as he continues with the commentary."
http://www.supermancinema.co.uk/supergirl/general/bloopers_plot_holes_faq/sgbloop.htm
I am reminded of Ilya Salkind's ill-advised comments on the Superman III DVD Commentary.
He couldn't understand why so many people complained that the music Ken Thorne was involved with on II and III sounded like "two guys playing a banjo" he exaggerated, when they used the exact same ensemble for the two sequels that was also used on Williams' 1978 score. He even went as far as to claim that all three films featured a 120-piece orchestra.
Oh dear......
Now in regards to Poltergeist III, you may have gotten your wires crossed.
I believe Goldsmith wasn't even hired for the third film at all because the budget for that film was simply too low for the producers to even consider it. He wouldn't have written anything, let alone actually gotten to the recording stage. If he did indeed write any material that he ended up using in future films such as Malice and The Haunting, it would have made more sense if it had been during his involvement with Poltergeist II.
Are you able to contact this guy again? Try to clarify the details, it does sound plausible based on what I know regarding Supergirl but the Poltergeist III information as you have described and from what this guy apparently told you is not really adding up for me at present.
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Hey all!
I will try to contact this guy and get better answers. Alright, the P3 arguement is laid to rest. Kapeesh? Good. Anyway,regarding the Poltergeist alternates:
There were 3 Carol Anne's Theme alternates.:
One without the chorus - as heard in the PIII Docu.
One where the children sing in Latin-as opposed to just la la! 
and One where the bridge in the middle is slightly differently orchestrated.
There was a theme not introduced in the film, probably for the Spider scene with Jobeth Williams but I can't be sure.
As for Supergirl:
There WERE other themes written but not included, I believe for fear the score would be too long. I heard a mere few of these concoctions, and they enthralled, as all Jerry scores do!
They included:
A faster reworking of the march, with strings that rose and fell during main part of the march. (Giving it a character, maybe?)
A completely alternate and orchestral "Arrival on Earth" which was more spontaneous sounded more like "Secret of NIMH" (Santry Rool) while following the same structure of the version heard in the film, and the version heard on the Silva soundtrack.
*LOVE THEME SUITE* This was the most memorable because it began out with a motif very much akin to the "Love Theme" track of the original Superman (flutes up and downing, downscaling until it segued into the actual love theme) And the love theme itself seemed to be more subtle, with a french horn, and hollow strings. It only lasts about 1:26 time duration. There was more to it that sounded vastly different, and I believe this later became the love theme to Forever Young, as it never surfaced in SG.
The guy told me there was more, and I will definitely check this. Thanks for your patience. This score (Supergirl) deserves much more than even the Silva release.
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I kinda have to side with The Mutant on this one. That Goldsmith was ever involved in Poltergeist III was an insane rumor that has been propagated all over YouTube. It makes no sense whatsoever.
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Alright already!  We get that Goldsmith had NOTHING to do with Poltergeist III. Let's get back to the subject. The Supergirl tracks are as real as any of his other scores, and the alternate Poltergeist cues are also real. Only time (& Lukas) will tell if they will make the upcoming release!
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There WERE other themes written but not included, I believe for fear the score would be too long. I heard a mere few of these concoctions, and they enthralled, as all Jerry scores do!
What you've heard are actually tracks from a CD Roy Budd recorded in 1985, called THE FINAL FRONTIER, in which he conducted the LSO in a collection of suites and themes from various science fiction and fantasy scores.
http://www.soundtrackcollector.com/catalog/soundtrackdetail.php?movieid=76599
It included a seven-and-a-half-minute suite from Supergirl, which is identical to what you are describing.
Budd evidently was unable (or didn't bother) to include the synths, hence the "orchestra only" version of "Arrival on Earth". He also recorded the end title at a much faster tempo than Goldsmith used for the film. I am guessing the Supergirl love theme arrangement was by Budd, not Jerry Goldsmith.
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Posted: |
Feb 2, 2010 - 9:25 AM
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By: |
Maestro
(Member)
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___________________________________
"As evening shadows grow deep and long,
reaching across the bed,
mother and father hear childrens prayers,
now as they bow their heads,
bless this house
bless this house
and the souls within,
through the night til it's light again,
guide our hearts
through the dark
to the breaking day,
bless this house
bless this house
we pray
______________________
save me from bad dreams
if they should come,
raging into my heart,
keep us together one family,
nothing can tear apart,
bless this house
bless this house
and the souls within,
through the night til it's light again,
guide our hearts
through the dark
to the breaking day,
bless this house
bless this house
we pray
______________________________________
Give us arms to hold that are right and strong,
when the night goes on too long,
bring us a morning wide as the sea,
where love will be our ark,
standing together one family,
nothing can tear apart,
bless this house
bless this house
and the souls within,
through the night til it's light again,
guide our hearts
through the dark
to the breaking day,
bless this house
bless this house
we pray...."
__________
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I have the Rhino. As I did with ALIENS, BASIC INSTINCT, and JAWS, I'm going to stick with the original release for POLTERGEIST because it meets my personal needs. But I'm glad the 2-CD set is coming out. This score deserves the absolute Rolls Royce treatment. The FSM will be a joy to large numbers of collectors and more importantly listeners.
I upgraded to the expansions of ST:TMP, THE WRATH OF KHAN, the James Bonds, and I bought every SUPERMAN edition that ever came down the pike (except Blue Box 2, which is identical to BB 1 anyway). Never regretted it. So I know what it means to have that bigger, better, clearer release of a grail score. People are going to be happy.
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