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 Posted:   Dec 27, 2007 - 1:05 PM   
 By:   MikeP   (Member)

It's the rare bird that's never popped up anywhere in any form it seems. I'd never read any comments either from anyone who may have heard this rejected score. With the ... unauthorized ... dics of other rejected or lost Goldsmith scores available at one time or another, it's strange this one never did.

Seems to me L.A. Confidential might be this rejected score, reworked into a new film ( the theme surely would fit The Public Eye)? Anyone have any more info or educated guesses?

 
 Posted:   Dec 27, 2007 - 2:36 PM   
 By:   SheriffJoe   (Member)

From what I've read (many times), there was NEVER a rejected score for this film from Goldsmith. He was attached at one point, but nothing was ever recorded...or so I've heard...many times.

SheriffJoe

 
 
 Posted:   Dec 27, 2007 - 2:48 PM   
 By:   MikeP   (Member)

From what I've read (many times), there was NEVER a rejected score for this film from Goldsmith. He was attached at one point, but nothing was ever recorded...or so I've heard...many times.

SheriffJoe


Ahh HA! OK, I had been under the impression he actually wrote a score but was mistaken maybe then.

 
 Posted:   Dec 27, 2007 - 2:58 PM   
 By:   SheriffJoe   (Member)

He might have written some mock-ups, but I am almost 100% positive that nothing was recorded, unlike Two Days in the Valley and Gladiator (the Cuba Gooding film, not the Russell Crowe film).

Joe

 
 
 Posted:   Dec 27, 2007 - 3:03 PM   
 By:   MikeP   (Member)

But...ya know it kinda fits. Take the L.A. Confidential theme...and you can just about sing " he's the Puhh-blic Eyyee"...

Evidence? Coincidence ?

Or too much Diet Mtn. Dew today?

 
 Posted:   Dec 27, 2007 - 4:03 PM   
 By:   Misanthropic Tendencies   (Member)

Someone I know interviewed the recording engineer who worked on Jerry's Public Eye score - yes one was recorded - and the engineer said it was a very good work.

 
 
 Posted:   Dec 27, 2007 - 4:13 PM   
 By:   Ford A. Thaxton   (Member)

He might have written some mock-ups, but I am almost 100% positive that nothing was recorded, unlike Two Days in the Valley and Gladiator (the Cuba Gooding film, not the Russell Crowe film).

Joe



Nope..

He did indeed record a full score for the the film.

No doubt about it.


Ford A. Thaxton

 
 
 Posted:   Dec 27, 2007 - 6:22 PM   
 By:   Spymaster   (Member)

Someone I know interviewed the recording engineer who worked on Jerry's Public Eye score - yes one was recorded - and the engineer said it was a very good work.

Yep that was Mike Ross and I remember him saying (in Music From The Movies I think) that Goldsmith's score was fantastic.

There was definitely a score written and recorded.

Can you imagine: one last, great, unheard Goldsmith score...

 
 Posted:   Dec 27, 2007 - 7:17 PM   
 By:   Jeff Bond   (Member)

Always wondered about this one...it was the first non-junky movie Goldsmith was attached to for a long time during that period and it particularly stung when he was off it...never heard any details about the score.

 
 Posted:   Aug 4, 2011 - 2:26 PM   
 By:   Shaun Rutherford   (Member)

Sorry for bumping this one, but it's the only one that came up during a search.

Just throwing it out there that Mark Isham's score for this is still my favorite work of his. Very, very underrated film as well. I'd love for someone to "rescue" the Goldsmith score.

 
 
 Posted:   Aug 4, 2011 - 4:11 PM   
 By:   GoblinScore   (Member)

Good call Shaun - I also really love Isham's score, play the album probably more often
than a person should.....and it will be a REAL good day when someone, besides Ford,
gets to hear just what the hell JG did for PUBLIC EYE. No one can even boot this thing!

The Isham is nice and moody, a different way to approach a noir flick without getting all
big band and jazzy - except those damn songs, which aren't bad, but break the flow up...

 
 
 Posted:   Aug 4, 2011 - 5:10 PM   
 By:   Last Child   (Member)


The Isham is nice and moody, a different way to approach a noir flick without getting all
big band and jazzy - except those damn songs, which aren't bad, but break the flow up...


I agree, but if you delete his big band songs, you get the same three cues repeated several times. They're great, but he didnt write as varied an underscore as, say, The Cooler.
Too bad the movie was released as MOD dvd; only diehard fans will get it, and curious dvd renters wont be able to see it.
Also too bad the Goldsmith score wont be released. I was curious what he did with that 1930s-40s era again.

 
 
 Posted:   Aug 4, 2011 - 5:36 PM   
 By:   merlyn   (Member)

The Public Eye score was recorded in London at the Hit Factory by Mike Ross Trevor.
sorry I replied quick and did not read the post above that says the same.

Lyn

 
 
 Posted:   Aug 4, 2011 - 6:41 PM   
 By:   zooba   (Member)

Please, this is only my opinion,

but I think anyone who hires Jerry Goldsmith to score their film and then throws that score out

is an idiot.


If I hired Goldsmith and he decided to sit on the toilet and record himself farting out a tune

I would be ecstatic to have his music in my film. 2 minutes of Jerry's farts or Duck Quacks are better than some composers entire career in the business.


I really just don't get these directors/producers/people in charge of making decisions.

Goldsmith was a Master and whatever he came up with for my film I would trust would be the best thing for it and welcome it. I believe he knew what he was doing. If I didn't like it, I'd blame myself for not telling him exactly what I wanted soon enough on in the collaboration.


Bunch of losers who could have had a great score for their film.

Their major loss.


Then again CRIMINAL LAW is dismal.


Would love to here is PUBLIC EYE Score.

 
 
 Posted:   Aug 4, 2011 - 6:42 PM   
 By:   Bond1965   (Member)

From what I heard the Goldsmith score wasn't very good. And this was from someone who was very close to him.

James

 
 
 Posted:   Aug 5, 2011 - 11:56 AM   
 By:   merlyn   (Member)

I spoke to Mike Ross some time ago about The Public Eye score and ha said that he thought the score was good.
Lyn

 
 
 Posted:   Aug 5, 2011 - 12:10 PM   
 By:   Ford A. Thaxton   (Member)

From what I heard the Goldsmith score wasn't very good. And this was from someone who was very close to him.

James


I might be able to shed a bit of light here.

Sometime ago a friend of mine (a composer) had a chance to review the written scores of Goldsmith's score to THE PUBLIC EYE for me because I was consider recording the theme for BSX.

He took down the Main Title and did a synth mock up of the piece to give me an idea of what it sounded like.....

And much to my surprise it turned out to the un-used Main Title for TWO DAYS IN THE VALLEY (a film Goldsmith had scored well after THE PUBLIC EYE)

This is a recording that BSX did of "Two Days In The Valley" that will give you a very good idea of what the main title to "The Public Eye" would have sounded like.

http://itunes.apple.com/us/album/main-theme-inspired-by-motion/id361990483

(Available worldwide on ITUNES and AMAZON if this link doesn't work for you)

It's worth mentioning that an altered version of this tune would later turn up in his music for "LA Confidential"

So based on this, I would SUSPECT that the score to "LA Confidential" might be cut from the same cloth as the lost score to "The Public Eye"..

And if you think that is bad...

Well, you are entitled to your opinion.

:-)

Ford A. Thaxton

 
 
 Posted:   Aug 5, 2011 - 12:42 PM   
 By:   Bond1965   (Member)

Just to be clear. I never said it was bad. I haven't heard a note of it.

I was just reporting what was told to me by someone who knew Jerry Goldsmith very well and worked closely with him.

I would rather not say who it was because I am not sure if the person would want that.

James

 
 Posted:   Aug 6, 2011 - 4:35 AM   
 By:   Gold Digger   (Member)

With Universal now open for business could we not have this score released along with his rejected Babe score too?

 
 Posted:   Jan 30, 2019 - 11:05 AM   
 By:   Yavar Moradi   (Member)

How awesome would it be if Robert Townson turned up the missing London recording sessions for this score and had it as one of his final Varese Club releases? smile

Yavar

 
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