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The Official Intrada Thread


Trent B

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Is it the one starting at 1:02?

If so, it's ok. But that's it.

What I will say, however, is that this score is very solid anyway.

Karol

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His Captain America theme is better version of this sort of thing.

But I'll be buying it anyway. It's the overall vibe of it I dig.

Karol

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40 minutes of score

So wait... the OST used the London recordings... the film uses the USA recordings..... what does the complete score bootleg use?

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Eraser is another excellent Silvestri I totally dig, especially the expanded edition, but Dredd blows it away.

After Predator one of Silvestri's ballsiest scores for sure.

It makes the movie that much more enjoyable too.

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I was waiting for someone to take Roger's use of the word crusade out of context from his earlier statement that the title is from the dead center of the 80's and jump to the conclusion that it was The Last Crusade.

I considered that, and that made me think about Lionheart, but the year didn't fit either.
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Well Lionheart (and Conan The Destroyer was the other example I saw) are more grander scores in scale, and don't know if they would be considered "little gems". Those are "BIG gems" in terms of how much people would want them. Return To Oz is still a fairly unknown score apart from it's fans really. So it fits that term more. Terribly underrated. However, I wonder why the clue didn't mention it was a Disney score like it usually would. Maybe he didn't want it to be easy.

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We're allowed to discuss all bootlegs on this forum, unlike FSM.

I hope Jerry's trailer cue is included on the new set, it's one freaking kick-ass cue!

(That's not the original recording)

I think for a while it showed up in some other trailers too.

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Yes.

I would think that the Sinfonia of London only recorded the album arrangements, but Roger's clue makes it sound like they recorded the complete score?

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I guess we'll find out Monday night.

The complete score boot runs 60:00 , plus another 30:00 of alternates. Assuming that is all the USA recordings, once you add the 40 minute London OST + Jerry's trailer cue, you have your 2 full CDs.

Of course, if they recorded the entire score in London, even without the alternates, then you'd need 3 CDs to have room for the USA alternates....

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That's what I'm guessing is the 2 CD OST.

Disc 1 - 60:00

-The complete film score (USA)

Disc 2 - 71:00

-The complete original OST (score cuts only) (London)

-The film score alternates (30:00) (USA)

-Jerry's trailer cue

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I wonder if the "complete bootleg" may be the complete London sessions. I'm actually listening to it now. It appears to be the London performance


Couldn't the 90's title be Sphere? I would personally much prefer that one

Lets hope not. Gothic Silverstri is far preferable over shrill and atonal Goldenthal.

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Couldn't the 90's title be Sphere? I would personally much prefer that one

No - Sphere came out in 1998. Roger's clue indicates 1995. And the Sphere score was not recorded twice.

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Well, but it was recorded both in LA and London, with only music recorded in one of the places (not sure which), making it to the OST. Not sure if applies. But if they specified 1995, it's not it, obviously.

And Goldenthal is an incomparably better and more interesting composer than Silvestri, IMHO, and I enjoy Silvestri

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The other problem with Sphere is

-It's a Warner Brothers film, and Intrada doesn't do a lot of work with WB (That's pretty much LLL's gig)

-It's a Warner Brothers film, and I don't think we'll ever see another WB/Goldenthal expansion while he's alive (thanks to the 300 lawsuit)

-Roger said the London recordings weren't used in the film - I'm sure both recordings for Sphere were used.

On top of the fact that its not a 1995 score.

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Yes, it is. I really want Batman and Robin legally on my shelf! At least we have the session leak, and Goldenthal's intended score CD too.

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I don't think he cares that much about Hollywood anymore, to be honest. Several interviewers ask him if he wants to go back to film medium and work again.

And his usual reply is: I'm working all the time, just not on all those tentpole things.

I don't think he finds it interesting anymore, especially after this whole debacle.

Karol

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I guess, we'll never know.

But then, he wouldn't be able to branch out and experiment. And we do know he likes doing all sorts of things. Other than 100-piece orchestras, that is.

Karol

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God I DO wish it was Sphere. That is another grail of mine that needs to happen. It's a crime the cues that are missing from it.

To have more Goldenthal in THAT mode is an awesome thought. Maybe in 2018. Or 2028... ;)

I don't think he cares that much about Hollywood anymore, to be honest. Several interviewers ask him if he wants to go back to film medium and work again.

And his usual reply is: I'm working all the time, just not on all those tentpole things.

I don't think he finds it interesting anymore, especially after this whole debacle.

Karol

Can you imagine a recent blockbustery film that would be a perfect fit for Goldenthal's sound? I have a hard time to in all honesty.

The powers that be want generic, because it's the new good.

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If there is one score that Goldenthal was born to write, it would be Titus. Clearly the best marriage of picture to his music ever. And it clearly has nothing to do with Hollywood at all.

Karol

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Speaking of Goldenthal, I have the opportunity to get In Dreams for a cheap price (5 euro excl shipping). I have this on CD-R and it warrants a purchase, since it's OOP and a most intriguing and little known gem by the master of the macabre.

And Titus is more than OK. Because it appears in two films. :)

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Well, but it was recorded both in LA and London, with only music recorded in one of the places (not sure which), making it to the OST.

LA and New York, to be precise.

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I'd heard a rumour that Return to Oz would probably just be a re-release of the album programme. I only have a download of the album, and that's all I know of the score, so I'd buy a release either way. But a full release would of course be great.

I'm not a biggest fan of Judge Dredd. It's well composed and shows of more epically and fleshed out side of Silvestri that I'm sort of missing from his later works (after The Mummy Returns, that is). And as enjoyable as those pieces are in isolation I always felt this score was a bit unmemorable. I to this day cannot tell if it has a main theme of any sort. Can't remember anything that sticks out. But I'm willing to give it a chance, it might work better on the long programme.

It's not the most memorable, no, but as you say it's more fleshed out than I usually expect from Silvestri, and at least on the album it has its share of highlights. I've never heard the full thing, but I'd be very interested to hear what else is in there.


I hope Jerry's trailer cue is included on the new set, it's one freaking kick-ass cue!

Yes, that was my first thought as well.


Couldn't the 90's title be Sphere? I would personally much prefer that one

Sphere would be a dream release for me. But these two sound promising enough.

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I'd heard a rumour that Return to Oz would probably just be a re-release of the album programme. I only have a download of the album, and that's all I know of the score, so I'd buy a release either way. But a full release would of course be great.

????

The second title is a gem. Coming from the dead center of the 80s, it's been a particular crusade for me to restore this beauty because the original LP program's mix did not include a lot of sweeters - timpani, triangle, xylophone, harp, etc. Not to mention all that great unreleased music! It's all here, greatly expanded on this 2-CD set.

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I'm not a biggest fan of Judge Dredd. It's well composed and shows of more epically and fleshed out side of Silvestri that I'm sort of missing from his later works (after The Mummy Returns, that is). And as enjoyable as those pieces are in isolation I always felt this score was a bit unmemorable. I to this day cannot tell if it has a main theme of any sort. Can't remember anything that sticks out. But I'm willing to give it a chance, it might work better on the long programme.

It's not the most memorable, no, but as you say it's more fleshed out than I usually expect from Silvestri, and at least on the album it has its share of highlights. I've never heard the full thing, but I'd be very interested to hear what else is in there.

I gave it a listen. It's very well composed, structured, performed and recorded. From the technical standpoint, among strongest works of Silvestri (that I know anyway). I still don't think this theme is terribly memorable but would be interested in hearing more of this score (never watched the film) to see it in proper chronological context.

Karol

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