Really enjoyed this chat with David and Tim Greiving, but afterwards I had a bit of a revelation about Paul's Theme in the score which I wish I'd noticed sooner so that I could have mentioned it in the Spotlight:
It notably doesn’t appear when Lurene/the audience meets Paul. It’s an uneasy and weary theme as I did say in the recording… and it actually first appears at the end of “The Accident” when he and his daughter are trying to slip away, and Lurene brings them to the cop’s attention. I think it’s somewhat specific, like almost a “black man has to deal with white people making his life difficult” theme. I think it’s a weary theme for enduring oppression and persevering. It does play strikingly in action mode a few times when he’s defending himself ("Roadside Incident") — or Lurene from her abusive husband (“The Motel”).
I think Goldsmith better understood the film than perhaps many of the people making it... having seen every cue restored to picture thanks to David, I can absolutely say that it strengthens both main characters and while it doesn't "fix" the film's problems, it mitigates them quite a bit.
IMO this new complete edition of Love Field is the revelation I hoped it would be. My favorite cue in the score (dethroning "The Assassination" from the original album) is now "The Map" -- one of many lovely cues premiering here which were neither on the original album nor in the film itself!
I got Dante's Peak today. Can't wait to listen to it. I've also ordered Knowing, but got Knight Rider instead. I've e-mailed Awesome Distro about it and I'm waiting for their reply.
Awesome Distro is going to send me my ordered Knowing CD and I can keep Knight Rider. What an awesome service (pun intended).
...I think Goldsmith better understood the film than perhaps many of the people making it... having seen every cue restored to picture thanks to David, I can absolutely say that it strengthens both main characters and while it doesn't "fix" the film's problems, it mitigates them quite a bit. Yavar
I think this is an extremely astute observation and likely true for a majority of the scores Jerry composed. Jerry's scores were more often than not the best thing about the film right? There are not a ton of instances where the writing, directing, acting, photography were as up to snuff as the music. Jerry seems to have gotten the emotions and heart of the piece better than anyone a lot of the time.
