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It has long been vague exactly what Jerry Goldsmith composed for this film, before being booted from the project. Apparently it's another rejected score like Babe, where he didn't actually record any of it. In fact, while we've seen a photo of the thick manuscript score for Babe, we've never seen one for The Kid and some reports have claimed that Jerry only wrote a few demos for this project before leaving it.
Well guess what? Thanks to the Academy's new website of their holdings, we can see all of Jerry's cue titles for this score as composed and it turns out he wrote TWO DOZEN CUES for this film!
http://collections.new.oscars.org/Details/Archive/71303063?fbclid=IwAR1oTo-_qbJkwrFRhnjUQG0TdxNjCeWuutOGxksFL2EmVZGXOgYXoidJxao
Scene 1 "Main Title," 7 pages
2-1 "On Pier," 4 pages [Goldsmith sketch]
2-1 "On Pier," 7 pages [full score, orchestrated by Harvey R. Cohen]
3-1 "The Kid and Ross," 6 pages
Scene 15 "Single Malt," 2 pages
Scene 20a "The Kid in the Kitchen," 3 pages
Scene 23 "The Kid Takes Off," 13 pages
Scene 34 "On the Pier," 5 pages
Scene 38h "No Coffee," 1 page
Scene 44-47 "The Airplane Model," 11 pages
Scene 48 "Where's Chester," 8 pages
Scene 50 "The Old Horse," 4 pages
Scene 60 "Not Here," 1 page
Scene 69-72 "The Cat Is Right," 12 pages
Scene 77 "Relations," 5 pages
Scene 79 "The Kid and Amy," 6 pages
Scene 81 "She Believes Us," 5 pages
Scene 85 "No Pity," 2 pages
Scene 87-88 "What Happens Next," 10 pages
Scene 92 "Help Me," 15 pages
Scene 100-103 "Help Me (part 2)," 8 pages
Scene 114 "I'm Sorry," 5 pages
Scene 120 "I Found the Screw," 4 pages
Scene 125 "The Pilot," 10 pages
Scene 136 "Russ and Amy," 4 pages
Holy smokes! That's a substantial looking unreleased and *unrecorded* Goldsmith score. And in fact it looks like he got further along in this project than he did on Babe, though I would probably have to view the film in order to try and confirm that based on the track titles. Who is up for a Kickstarter campaign to record this score and Babe, and bring them to the world for the very first time?
Yavar
P.S. Here's a companion thread for Babe: https://www.filmscoremonthly.com/board/posts.cfm?threadID=138063&forumID=1&archive=0&pageID=1&r=290#bottom
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Yes, he did some demos. It's not his shining moment. Probably did demos on "Babe", too.
Man, I'm probably going to have to dig into that site for other rejected scores!
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Why were you shouted down? That's bizarre.
I guess all we can do is hope for a Kickstarter and see how successful it is. But imagine if a new unrecorded work (even if incomplete) by Beethoven or Sibelius were discovered? (Actually, it's happened before!) People would be falling over themselves to record it.
Yavar
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Yes, he did some demos. It's not his shining moment. Probably did demos on "Babe", too.
With all due respect, how can you proclaim, "It's not his shining moment" without hearing a single note? We have no idea how good the music is; that's what is so exciting -- the possibility and the discovery!
And how can you just call these "some demos" when you see how many cues and how many pages he composed? This looks a lot more substantial than mere demos to me!
Man, I'm probably going to have to dig into that site for other rejected scores!
You should! It's also a goldmine for finding complete cue lists for unreleased (Black Patch, Face of a Fugitive) or unexpanded (The Chairman) scores!
Yavar
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Well, I heard demos, that's how. How far off has his demos on others scores been from the final product?
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Well, I heard demos, that's how. How far off has his demos on others scores been from the final product?
I don't know -- sometimes they can be pretty different! (How many Goldsmith demos are out there, anyway?)
I envy you hearing those demos even if you weren't very impressed. But it's clear that he got far beyond the demo stage on this project and Babe (unlike say, Wall Street).
Yavar
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If far beyond means demos, then yes, he got far beyond on The Kid. I don't think he got to the stage with it.
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Also of note on this Academy site: his original cue titles for 2 Days In The Valley. Intrada used 95% of my titles for their release, but here are the real ones! http://collections.new.oscars.org/Details/Archive/71303029
I did note that yesterday; I just didn't have time to bump the relevant thread...which I have now done:
https://filmscoremonthly.com/board/posts.cfm?threadID=89607&forumID=1&archive=0&pageID=2&r=176#bottom
I wonder if anyone can tackle a match up of these cue titles with what's on the Intrada album, because as I understand it, that was taken from an original album mockup, with cues re-ordered for listening purposes and not including all of them. I wonder if we might be able to figure out a film order for the cues on that album, and what cues still remain unreleased.
Yavar
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BABE : whoopee!
THE KID: zzzzzzzzzzz
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If The Kid really isn't all that exciting musically (I'm sure whoever pursued a new recording could ascertain that themselves from the written scores), perhaps a suite of highlights could still be used to fill out a single disc release with everything Goldsmith wrote for Babe, since that is obviously only a partial score.
Yavar
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Yavar's thread contributions: whoopee!
Mr. Marshall's thread contributions: zzzzzzzzzzz
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Haha. Out of curiosity, how many minutes worth of demos did you hear, Justin?
Yavar
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Two cues, 6:18 total.
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