TitanicFan2018

In "Unable To Stay, Unwilling To Leave", after the prolonged flute and synth bass intro, it begins with the tragic theme (Sissel and flute) and briefly goes into the first part of the love theme (played on synths and English horn), and as Rose jumps back on the ship, the tragic leitmotif is repeated in a different key and on flute and Uilleann bagpipes (the latter is removed from the stereo mix in the film version) and then segues into the ending of the love theme before the mood becomes more frantic and action-packed (Cal chasing Rose and Jack all the way to D deck). In this particular cue, both the tragic and love themes are used together as Jack and Rose were about to be separated, but Rose got back on the ship to reunite with him.

Though the love theme is primarily used to reflect the romance between Jack and Rose, it's also used to signify Rose breaking free from her engagement with Cal. Remember that the motif is used in "A Woman's Heart Is An Ocean Of Secrets", which is heard during the arrival in New York where Rose takes Jack's last name. So yes, in that case, the love theme is also Rose's theme. Last but not least, "Rose" is used in the "An Ocean of Memories" film edit when the old Rose is dreaming or passes on (her soul going to the Titanic wreck and reuniting with Jack in Heaven), and the camera is panning over her photos of when she was younger.

The theme that begins the film reflects the tragic side of Titanic, and is reprised in "A Life So Changed" and "Hymn To The Sea". The more heroic and uplifting motif that's first heard in "To The Keldysh" is called the "main theme" in that cue sheet. And it's meant to reflect joy and the spectacle of Titanic. This motif is later heard in "Distant Memories", "Southampton", "Leaving Port", and "Take Her To Sea, Mr. Murdoch". It's used again in "Post" and "Hymn To The Sea" but is more sombre. Last but not least, Rose's theme is the same as the love theme. "First Sighting" is basically a "sneak peek" of the motif when Jack sees Rose for the first time, and then we hear it in its entirety during the flying scene. This is the theme that became "My Heart Will Go On". Strictly speaking, the love theme and opening theme are by no means one and the same, if you're talking about the melodies. It's just that in "Rose" and "My Heart Will Go On", the flute plays the first several notes of the opening theme before Sissel and Celine Dion begin singing, respectively, and again before the key modulates up a minor third.

Just found a couple of unreleased cues in a behind-the-scenes video that I saw on YouTube: "Unable to Stay, Unwilling to Leave (Alternate Ending)"; and the "Violin Tool Kit" insert used in the "2 1/2 Miles Down" film edit, which is interestingly higher pitched in the original recording.

"2 1/2 Miles Down" was the most difficult because there are a lot of places where cues are overlapping one another; the less difficult task was recreating those unreleased film version inserts. Regarding cues like Rose, what I basically did was crossfade Rose (Alternate) into the OST track in a couple of places, recreate the synth doubling Sissel's vocals an octave higher at the "big moment", and delicately add in that one fan-made edit of the track where only the vocals and flute are heard and all other elements are dialed down.

That said, "2 1/2 Miles Down" is the other film edit where I recreated unreleased cues myself and added them back in.

First, I listened to it in the movie as well as jointy95's edit. Then I recreated it myself using GarageBand, and then added it into my remade "A Promise Kept" film edit.

Also, the concert stem edit of "A Promise Kept" is missing two other elements that are otherwise heard in the actual film edit. In the film, you hear a choir synth mixed in with the trombones in the first half. And in the second half, you hear "Drone and Chord" mixed in until "The Beacon" segues, neither of which are in this concert stem. The only time you hear "Drone and Chord" in the concert stem is in the modified edit of "2 1/2 Miles Down".

It's only a small disappointment that "My Heart Will Go On" wasn't included, but it was already included on a lot of previous releases, including the Collector's Edition that got released in 2012 when the film was shown in 3D. That alone doesn't bother me. What makes me disappointed is that the LLL release didn't include "Unable To Stay, Unwilling To Leave - New Ending" (I like listening to cues in their entirety rather than film edits). Like NL, I don't mind film mixes like amping up the bass line in "Take Her To Sea, Mr. Murdoch" or Sissel's voice in "Rose". Most of the film edits are just jumbled and don't flow together musically. And NL would likely know why the intro in "My Heart Will Go On" sounds different in film than on the OST, other than it being truncated. I'm talking about stereo mixes here.

The first one is just a synth string cue and then crossfades into the OST version of "Southampton". Perhaps NL would know better, but highly doubt it's part of the score. The re-release trailer also used the radio version of "My Heart Will Go On", not the soundtrack/film version.

Other than the elements being mixed in differently, the film mix is the exact same recording as the LLL cue. That's why the differences seemed subtle to me at first (whereas I noticed even more of a difference between either the film mix or the alternate LLL cue and the OST version).

Another film edit I don't particularly care for is the final trailer music. What Horner intended would have worked better than crossfading the trailer music into "Al Bathra" from Courage Under Fire. After listening to the trailer music on the LLL album, I thought "Al Bathra" was a bit too heavy. And.I would've preferred to use what Horner intended, albeit with a couple cuts, because you hear the love theme motif playing through the end of the piece.

"Rose" Alternate on the LLL album sounds very similar to the film version, and the differences seemed very subtle to me when listening to both versions. But can you chime in on that one (regarding which elements are mixed in differently in the film version and the alt. version on LLL)? I have to agree that even I don't like a lot of the film edits; most of them don't flow musically. That's why when I recreated them, I edited them such that they sound more like pieces of music to enjoy, much like how the score was arranged for "Titanic Live" performances, than just film cues jumbled together. And in a couple edits, I even added in the beginning or the ending of a cue.

Just found out that the slowed down middle section in the "Southampton" film edit with the percussion at the beginning is indeed taken from the "Trailer" track. My mistake. That being said, I too have created an album of the film mixes for my iPhone. And I even edited them such that they are a more enjoyable listening experience than the butchered edits in the final film. Below are the tracks I created for my album in the order based on the music heard in particular scenes. 1. Opening Titles, 2 1/2 Miles Down - used "A Promise Kept (Alternate)" as the intro, recreated the "Violin Tool Kit" and "Wild Piano" cues myself, recreated the synth string cue heard right before the thumping bass line in "2 1/2 Miles Down (Alternate)" towards the end, used the synth choir from "A Promise Kept" OST version where "Drone and Chord" was placed in the final film edit, crossfades into "To The Keldysh" at the end 2. Rose Revealed - no crossfade 3. Distant Memories - a couple of cuts, first section repeats 4. My Drawing, Relics & Treasures - only cut in "My Drawing" is in the beginning, crossfaded into "Butterfly Comb" 5. Southampton - only a couple cuts, includes all of the middle section, trailer music mixed in 6. The Winning Ticket - edited "A Lucky Hand" from Heaven Help Us to closer match "Lovejoy Chases Jack" 7. Leaving Port 8. Take Her To Sea, Mr. Murdoch - amped up the thumping bass line by recreating it in GarageBand, and then delicately added it back into my custom film edit 9. First Sighting, Rose's Suicide Attempt - second part beginning with "2 1/2 Miles Down", crossfading into "Rose's Suicide", then into the OST version of "A Promise Kept" 10. Jack Saves Rose - cuts in a couple of places 11. The Heart of the Ocean - segue with "2 1/2 Miles Down", crossfades into "Rose's Suicide" with former overlapping near the end 12. The Promenade - just 40 seconds of that track 13. Rose - crossfades into the OST version in two spots because Sissel's voice is better heard, at "the big moment" mixed in a fan-made edit of the OST cue that features only Sissel's vocals and the flute 15. The Portrait - the first minute and 45 seconds of Horner's demo 16. Lovejoy Chases Jack and Rose - second part is material from Heaven Help Us 17. Lovemaking - second part I got from another fan-made edit that was ripped from the film: the ending of "Rose" with the flute pitched up an octave, sound effects dialed out 18. Hard To Starboard - few cuts, mixed in with "Hard To Starboard (Alternate)" in places, used a similar whooshing sound effect to the the one heard when the iceberg is spotted 19. Rose Frees Jack - achieved a clean beginning by using "A Building Panic (Album Suite)", towards the end I included the first piano notes from "Rose's Suicide Attempt" to emulate Rose freeing Jack with the axe 20. A Building Panic - crossfaded "A Building Panic (Film Version)" into "Trapped on 'D' Deck" and then into "Hard To Starboard" with the "Al Bathra" cue from Courage Under Fire overlapping it, created a clean ending by looping the last chord of the intro in "A Building Panic (Film Version)" 21. Women and Children First - comprised of "Trapped on 'D' Deck", "A Building Panic", and "Rose's Suicide Attempt" 22. Unable To Stay, Unwilling To Leave - used jointy95's edit where he dialed out the dialogue 23. Trapped on 'D' Deck - created a clean beginning, smoothened out micro-edits, allowed the entire ending of the cue to play (as heard in "Titanic Live" performances) 24. The Sinking, Death of Titanic - used "A Building Panic (Album Suite)" for the reprise of the big choral passage from "Trapped on 'D' Deck" because I think the whooshing sound effects work 25. A Promise Kept - recreated the synth choir overlaying the low brass in the first half, no cuts, crossfaded into "A Promise Kept (Alternate)", recreated the "Drone and Chord" cue overlaying the synth flutes, used Michael Stearns' "The Beacon" in place of the screechy synth bridge before Sissel's vocals 26. A Life So Changed - first half only 27. A Woman's Heart is a Deep Ocean of Secrets 28. An Ocean of Memories - used the string cue from "Relics & Treasures" for when "Rose (Alternate)" crossfades into "Unable To Stay, Unwilling to Leave", used flute ending from jointy95's edit 29. My Heart Will Go On - ripped the intro from the film, crossfaded it into the OST version 30. Post - used the synth choir from "A Promise Kept" OST version to bridge second half of "Take Her To Sea, Mr. Murdoch" film version with the closing to "Hymn To The Sea"

I see. Well you have a point here. I've also been interested in the other unreleased cues, especially the aforementioned version of "Hard to Starboard" that was heard in the film but not even released on the LLL album. Another track not on the LLL release is Horner's other arrangement of the "Rakish Paddy" reel for Heaven Help Us (it's on that soundtrack), which was heard when Jack and Fabrizio were dashing towards the ship just as it was about to depart, and when Jack and Rose were running in the boiler room. Oh, and by the way, I noticed that in the film, the middle section of "Southampton" plays at a slower tempo and has wind chimes heard at the beginning just as the key modulates to B major.

I watched Titanic a lot since 1998; first we rented it from my local grocery store (it was a 2-VHS set at the time), and then my sister got a set of her own. She also recorded the movie off a blank VHS tape when it aired on NBC in late 2000.

Don't forget. "Trapped on D deck" had its ending removed in the film but plays through in the live performance.

I skimmed through the film after purchasing it on YouTube, and if you listen closely, you can still hear the synths in that cue.

I even saw on another forum that the film version of "Rose's Suicide Attempt" wasn't released. But that's not actually true. The film edit of "Rose's Suicide Attempt" uses the opening few seconds of that track (begins after "First Sighting" on the LLL album), but then the rest is the OST version of "A Promise Kept", with the opening trombone notes overlapping in some places.

Another note to make. The version of "Hard To Starboard" heard in the film has spots that are different from in the OST and LLL releases. First, the music where the scene cuts to Mr. Andrews' headquarters (chandelier on the ceiling is shaking, as does his wine glass), the clarinet and percussion don't play until it cuts to where one of the lookouts utters "Jesus" under his breath as the ship continues scraping along the iceberg. Second, in the scene where chunks of ice fall onto the ship and Jack gets Rose out of the way, the trombones phrase their notes different than in the OST and LLL versions; it is also heard where it cuts to the boat deck after Jack ramsdown the gate with a bench. Jointy95 somehow found this version and used it while recreating the "A Building Panic" film edit. If you skip to 2:41, you'll probably notice the trombone notes being phrased a bit different. 2:49 - 3:21 is the passage I'm talking about that's different from the versions that were released, both OST and LLL.

I've had the LLL release of the Titanic score since January of this year, and I even just finished creating the film edits. Doing them, however, was quite difficult (especially "2 1/2 Miles Down") as some of the edits had multiple tracks overlapping each other. I also had to recreate much of the unreleased material (e.g. Violin Tool Kit, Wild Piano, and the synth choir overlapping the trombones in "A Promise Kept"). That being said, I'm happy we finally got to hear the score in it's entirety. My favorite tracks in the LLL release are "2 1/2 Miles Down"; the film versions of "Southampton", "Leaving Port", and "A Building Panic"; and "Trapped on D Deck". I'd wish "Unable To Stay, Unwilling To Leave" without the Uilleann pipes, as well as the version with the flute ending heard at the end of the film just before "My Heart Will Go On", would get released.