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IIRC, Nicholas Meyer even put out an ad, thanking Miklós Rózsa for his wonderful score.
Yeah, he took out a big ad in Variety, well before the film's release. He did that to publicly embarrass Warner Bros., such that they would find it impossible to dump Rózsa's score.
Meyer's music decisions for Time After Time and Star Trek II are probably the smartest things he ever did for us. I've played those two scores my whole adult life, among just a few others, and they'll stick around to see me out.
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I recently saw this eBay listing for Time After Time in reel-to-reel format. Needless to say, I saved the photos for my digital scrapbook:
https://www.ebay.com/itm/125314505977?hash=item1d2d539cf9:g:WfEAAOSw1Wlif761
This means a quadruple dip was possible: the LP, the tape, the 1987 CD, and the FSM CD. I never knew that.
Would anyone happen to know if TAT was released on cassette or 8-track tape? I'm guessing it wasn't. I never saw a Southern Cross/Entr'Acte/Preamble/Label X title in those formats.
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It's funny, I usually love Miklos Rozsa but this one doesn't resonate with me. In fact, if you played it for me without telling me I wouldn't have guessed it was Rozsa.
We like what we like, so if TIME AFTER TIME didn't click with you for whatever reason, hey, that's the way it is. However... you wouldn't have guessed it was Rózsa? That sounds strange (whoops, sorry, could be interpreted as a pun) to me, as I think it is immediately identifiable as a Rózsa score. Had I not known film or music and you'd have given mit TIME AFTER TIME to guess which composer might have written it, I'd have said "Miklós Rózsa, hands down".
Perhaps there was a different score on that CD?
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Perhaps there was a different score on that CD?
That's what I've expected to be the case after reading the intro.
Time After Time is a quintessential Rózsa score IMO. I rank it very, very highly in my book of best film music scores.
But to expect another Ben-Hur like score for such a film might be the reason for his disappointment. BTW, I'm surprised one can find such a CD in a library. Must be in the USA only.
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I thought, Great! I can borrow it for free and rip it to my laptop.
Seriously?
What is he supposed to do when a score is long out of print and not available on iTunes? Pay $65 on eBay? I think he should have saved a copy, just in case he sees the movie at some point, and loves the music when he hears it in context.
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Perhaps there was a different score on that CD?
That's what I've expected to be the case after reading the intro.
Time After Time is a quintessential Rózsa score IMO. I rank it very, very highly in my book of best film music scores.
But to expect another Ben-Hur like score for such a film might be the reason for his disappointment.
I can't quite fathom not hearing the stamp of Rózsa on this — it may not sounds like his epics, but certainly sounds very much like his film noir scores to me. That's one of the reasons I like it so much, that's always been my favorite side of Rózsa.
I love having both the film score and the recording with the Royal Philharmonic Orchestra. The latter could use a good remastering, however. The album version of “Redwoods” is even more beautiful than the film cue, in my opinion.
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