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Elliot Goldenthal's ALIEN 3 (1992) - 2018 2CD expanded edition from La-La Land Records


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Made some "score restore" videos for scenes with music that was dialed out or replaced        

It's fantastic that each score in the original series is so unique, right in line with how unique each film is. Pretty extraordinary, especially in this age of homogenized sameness we're living throug

Finally had some time to gather my thoughts about this music, which I call a masterpiece of melodic dissonance. In hindsight, I'm amazed by how much free reign Goldenthal was given by the filmmakers.

So the album is essentially missing 57 seconds of material? And not terribly remarkable in the context of the entire work, to be honest, but I'll add a rip to my playlist at some point (in between Lullaby Elegy and The Cremation).

 

Really enjoying the set, by the way. It's not perhaps something I'll be listening to frequently but an amazing work to study and appreciate.

 

Karol

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Can anyone tell me where 2m1 They Didn't Survive fits into the set? Just checked the iso on the Bluray and it's definitely not at the end of The Survivor Is a Woman or at the start of The Wreckage, yet the cue should sit between those tracks (according to the cue list):

1m2/2m0 The Survivor Is A Woman 
2m1 They Didn't Survive 
2m2 The Wreckage 

 

EDIT: Solved. Looks like 2m1 was moved to the start of track 11 (That's His Boot) on disc one, for whatever sequencing reason.

 

Also, is the wobbly trumpet at 0:04 of The Cremation (Alternate) intentional or just a case of damaged elements? Sounds kinda weird if they intended for that...?

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Neil S Bulk just answered some questions about this release on the FSM forum

 

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Is the wobbly opening brass note at 0:04 in "The Cremation (Alternate)" a case of damaged elements or just the composer's original intention for that note? Comparatively the brass note at the start of the film version is unwavering. It really took me by surprise when I first heard it.



This was a digital recording digitally transferred. The sort of "damage" you are describing is something that would happen with an analog recording and transfer, not digital. With digital either you either get a signal or you don't. There were instances of drop outs on Alien³ but we were able to handle them. Our tapes had a lot of redundancy, thank goodness.
 

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Also, does anyone know why the end credits had a cue title assigned to them (12m3a) when they were just an edit job? Did Goldenthal write a credits suite that was never recorded?



A title and reel and part number were assigned because this appears to be the standard operating procedure in that era. I just worked on another score and went crazy for awhile because I couldn't find a cue that was assigned a reel and part number and an appropriate title. Session DATs didn't have this cue, neither did a the composers DAT (labelled "complete"!). It turns out the scene was entirely tracked! I expect I'll get nasty tweets when the album is released and it's "missing" this cue.

Neil

 

 

http://filmscoremonthly.com/board/posts.cfm?threadID=126737&forumID=1&archive=0

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On 8/14/2018 at 3:46 AM, Corellian2019 said:

Made some "score restore" videos for scenes with music that was dialed out or replaced

 

 

 

 

 

This was awesome, three very different moods compared to the tracked/unused versions in the film. Thanks heaps for posting these.

 

11 hours ago, Jay said:

 

Highly recommend this score for anyone still holding out. Music that's dripping with atmosphere, nihilism and texture. Perfect rainy day music. It's a grower and you need to be in the right mood to appreciate it, but it's easily one of my 3 favourite LLL releases now (behind TLW and A.I).

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