Hoping for a CONSPIRACY THEORY expansion some day!
Same. I remember there was the cue that's used twice in the movie and didn't appear on the album (I believe it's when Jerry burns his apartment down and then you hear it again later when Alice is escaping at the farm.) Then there's also the full version of the wheelchair chase, a few parts from the climax, a few variations of Jerry's theme that weren't included... Love that score lol too bad it's from WB (at least I think... Or maybe the whole TVT Soundtrax might cause issues... Or both lol)
But I'm excited for Fear, too. I'll honestly take any Burwell expansions I can get. I don't really remember Fear too much (pretty sure I've only seen it once) but I remember enjoying the score and being bummed there wasn't a release
That farm scene/score is the one I remember most longing for way back when I watched the movie. I think there's quite a lot missing from the OST. But that one in particular I remember really liking as I watched it.
Most of my favorites of his are full orchestral scores.
This is the best cue he's ever written, and one of my top 10 cues of all time. It builds over the first 2 minutes and then explodes into musical perfection in the final minute:
This is my other favorite cue he's ever written:
This is a stunning romantic cue:
A spectacular action cue:
This a cue from an absolutely EPIC score he wrote for a forgotten sports rom com:
Hoping for a CONSPIRACY THEORY expansion some day!
Same! Despite being unreleased, I think "Love Street" is my favorite cue from that score. I just love the way that it segues into "Can't Take My Eyes Off Of You"
The things I love about Carter Burwell. I love that he's got a style. I love that it's a distinctive style. I love how left-field it can sometimes be. I love that it can surprise me and make me consider alternative methods of scoring. I love that he's managed to keep on working since the 80s, when others have fallen by the wayside. I love that it's never generic wallpaper. Even when I don't like it, I can admire it.
ROB ROY is my favourite -- a fantastically lush score that was completely overshadowed by BRAVEHEART the same year when it comes to historical Scottish epics with big music. While I prefer BRAVEHEART, ROB ROY is not to be overlooked.
Anyways, while Burwell can be a bit too quirky or static for me sometimes, when he's on, he's really on. I went back and listened to my FEAR track on the WSA compilation, and yes - it promises more than just standard thriler tropes. Let's see how the whole thing turns out.
Intrada announces the premiere release of a long-sought after Carter Burwell score: the 1996 Universal Pictures thriller Fear. The film is a psychological thriller centered on the intense and tumultuous relationship between a teenage girl, Nicole (Reese Witherspoon), and a charismatic but dangerous young man, David (Mark Wahlberg). As their romance blossoms, Nicole's father, an extremely protective and watchful figure, begins to suspect that David may have a darker side. As David's behavior becomes increasingly erratic and violent, Nicole must confront the reality of her relationship and the significant dangers it poses to her and her family.
The film opens with a sweeping flyover of Seattle and here Burwell introduces his main theme underscored by pounding taiko drums. As Jeff Bond writes in his liner notes, "It is marvelously ambivalent, swelling with something between seductive longing and monomaniacal confidence. The drums playing over the helicopter shot immediately establish the city as a tribal battleground where Steven Walker’s instincts to protect his family will run up against David McCall’s impulses to not only seduce and steal away his daughter but to insinuate himself into the structure of the Walker family, attaching himself to Walker’s young son, his attractive wife and even his dog while Walker watches." The score is moody and unsettling, slowly insinuating itself into the drama behind the scenes much as David integrates himself (or tries to) into the family. The score also received notable praise from critics reviewing the film.
Burwell credits a lot of the power of his Fear score to the orchestration and conducting of Shirley Walker. “It’s got a particular sound I think she takes a lot of responsibility for, like the way that the brass plays at the bottom end and the lushness of the strings,” he points out.
The CD was produced by Carter Burwell, mixed by Michael Farrow and mastered by Chris Malone.
01. Fear (Opening) (2:38) 02. I Can’t Go (1:07) 03. Beating (1:06) 04. Logan Points (1:43) 05. Entry (3:22) 06. David Alone (1:01) 07. The Condom (1:26) 08. Tattoo (1:31) 09. Locker (0:51) 10. Apology (2:09) 11. Face-Off (1:08) 12. Grabbing (1:19) 13. It’s Over (1:43) 14. Driving (2:08) 15. Friend (1:03) 16. Altar (2:12 17. Cherries (2:55) 18. Kaiser (1:06) 19. Neck (1:11) 20. Prisoner (0:51) 21. Pounding (1:05) 22. Continuing (0:58) 23. Okay? (1:47) 24. Drilling (2:22) 25. The Flaw (1:01) 26. Final Showdown (3:09) 27. Fear (Ending) (5:16)
Total CD Time: 48:51
I'm putting this down here and not editing the original post just as a gentle reminder that this thread is, in fact, about this score.
I listened to "Kalifornia". Frankly speaking, was not impressed it. But his "Fear" is much more interesting to me. It even reminds me of "The Jackal". I hope this worthy score will be official released too.
"I'm putting this down here and not editing the original post just as a gentle reminder that this thread is, in fact, about this score" -------------------------- Thanks Mike...sounds great...but what I REALLY WANT by Carter Burwell is...
Anybody already received their copy? Thoughts on this release?
I'm still waiting for Music Box to have it in stock. Can't wait to listen to it!
I really like it! It's much more nuanced that I expected and remembered, especially not having listened to it outside the film, and not having seen the film for many years. Also more harrowing, but interestingly matched with melodic yearn, almost romantic. I was surprised when I was reminded of Fargo in certain parts, mostly because of the percussion in certain sections. But that didn't take away from the feeling of the score. You'll enjoy this one - quite good!
This'll have to wait at least it enters Danger Zone territory.
Not everything gets a Danger Zone warning, unfortunately. I know multiple people who were recently disappointed that Intrada’s 4CD Masada was never put in the Danger Zone before recently selling out/going OOP, and that was licensed from Universal just like Fear.
