The film was a passable suspense thriller - but what was outstanding was the score. Watching, I did not know who the composer was but said to myself, 'this is one of our masters no doubt'. Sure enough, it was Elfman. One of the best of his recent works. Especially in the way he punctuated things with those rhythmic Herrmannesque lunges. Looking forward to a release.
This is just getting weird now. I reckon, if I'D scored a Netflix film it would have had a digital or vinyl release by now, judging by recent weekly release slates. The fact that one of the BIGGEST, MOST POPULAR film composers of today hasn't had ANY kind of score release, to a mid-high profile film (even if it is a complete dog) is most strange. Unless one of our labels has managed to tie up a forthcoming deal that excludes any kind of release, but that's highly unlikely. I would much prefer a release of this score over THE GIRL ON THE TRAIN, or his forthcoming THE LAD ON THE BUS
Possibly John, or the fact it was a Fox film, who got bought by Disney, who then sold it on to Netflix, during its production. Maybe NO ONE knows who actually owns the music rights!!
Oh I'm sure they know, but it was a film that had a super rocky post production process and had to do a number of reshoots. Few seem to like the end result! Perhaps there just isn't much interest from anyone involved?
As I said earlier in the thread (it bears repeating), we're still waiting for a soundtrack release of Goldenthal's Netflix score OUR SOULS AT NIGHT. It's hard to understand which they deem worthy of releases and which not.
As I said earlier in the thread (it bears repeating), we're still waiting for a soundtrack release of Goldenthal's Netflix score OUR SOULS AT NIGHT. It's hard to understand which they deem worthy of releases and which not.
You're savvier than this, Thor. You very well know that there's no governing body of disembodied heads that decides what music is deserving of a release. The deciding factors are myriad, including not just awareness but also costs (which vary wildly) and even the composer's enthusiasm for a release. It's also worth noting that while both of these films premiered on Netflix, only one was produced by Netflix. Woman is a 20th Century Studios production (and in fact the very last Fox 2000 film).
There's not that much to tap about, IMO. The score is rather lacklustre, like a less interesting sister of THE GIRL ON THE TRAIN (which isn't that interesting to begin with).
I remembered this film having around 80 minutes of score, but the website release runs just over 40. I haven't played it yet, but I assume that's all the stuff Elfman wrote (David Buckley contributed additional score on this troubled production). I hope the lovely flashback sequence is contained within the Elfman portion.
(Edit) Ahhhh, just got to it. Track 11 (The Accident). Lovely stuff. My favourite kind of Elfman. I remember hearing it in the film and instantly loving it. I kinda like the way this score melds the skittish agitated sound of Dolores Claiborne with the more modern day vibey Elfman mood, ala Extreme Measures and such like. This is by-the-numbers Elfman overall, but no less interesting than scores like those two Russell Crowe films (can't remember their titles) that covered similar terrain (and I enjoyed it more than The Girl On The Train, which I've never been able to getin to).
^ He must have edited some of the tracks since he first uploaded. The whole album was actually 83 minutes at that point. I see that some of the tracks are now much shorter... "The End" track used to be almost 10 minutes. Weird he did that...
