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What music have you noticed while watching a film that you'd like to have but has never been released?


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Let's talk feature films only, not TV scores or video games or concert works   For me I don't know if anything will ever top the original finale cue for The Fellowship of the Ring, which I f

When I saw Spider-man Far From Home, I was surprised to hear this cue in the first scene, which introduces and sets up two of the major new themes the score uses - the Nick Fury/SHIELD theme and the M

How odd. This thought is literally the reason for the existence of this message board, the one over on FSM and the basis for all soundtrack collection in general. 

Spoilers for those who haven't seen Heat, but 1:20 onwards has such a beautiful minimalist cue by Goldenthal. A shame that it wasn't included on the leak from 5 years ago. I'd also love to have the film version of Moby's "God Moving Over The Face Of The Waters", which follows immediately after

 

 

I'll post one or two more examples later on

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This is a fun idea for a thread!

 

When I first got into film scores I was much younger and naïve and just bought the OSTs and listened to them and also had watched the films and never really noticed any discrepancies. I just don't think I had the ear for it at that time and hadn't truly been enveloped by film music. I just knew I liked listening to the OSTs and the orchestral works from the films I watched.

 

Honestly, it's tough to say what the first one was where it started to click, but I'll just list some examples of cues I definitely noticed were missing right after seeing the film.

 

I'm going to start with some more unconventional ones, because I'm sure we'll see a lot of familiar scores as the thread goes on. Then of course, it will inevitably devolve into more obvious choices.

 

"Captain Sham" - Thomas Newman (until 0:23)

 

Yeah we got quite a bit on Thomas Newman's OST for A Series of Unfortunate Events. And yes, this theme already appears on the disc THREE times, but I loved this little rendition when I saw the film! Probably one of my holy grail cues. I'm doubtful it'll ever be expanded (it's Sony), but I can dream. It's a fun cue. I would've preferred it over the "Wide Window" version if I had to pick.

 

"Jack and Susie Ships" - Brian Eno

 

This is one of the first scores I dealt with where it was basically completely unreleased. Probably one of the ones that lead to me starting my small FYC collection as well, since that's the only way it was available publicly in some form. Again, unconventional choice, but I was beautiful, haunting, and relaxing when I first saw the film. I still listen to what I can of it quite often even though it's still not all released.

 

 

"The Rescue of Sirius" - John Williams (until 1:08)

 

 

I loved this cue when I first heard the film and was so disappointed to find it missing from the soundtrack. I don't think this was the first, but certainly one of the first times I started noticing missing music. I remember trying to research and find it and it unlocked so much knowledge about just how much music for films that's "missing". Can't forget Pettigrew's Theme as well. 

 

"Harrison Attacks" - Michael Giacchino

 

Another example of, yes, we have that idea on the OST. But I did love this rendition when I saw it in theaters. The Anvils, the brass performance, etc. it all felt more raw than the "Kronos Wartet" track. Plus, I feel like you can hear this version a little better in the film than the earlier cues.

 

"The Resistance" - John Williams

 

I can't not mention this cue. I've never been the biggest Star Wars fan, personally (Specifically the movies. I've always loved the music.) Something about The Force Awakens really finally clicked for me though, and remember feeling so damn excited during this scene when this cue came on for the first time. The build up, the performance, and the arrangement really made the scene. You can imagine my sever disappointment to find that it wasn't on the damn OST! It was so relieving to have it appear on the FYC eventually. 

 

And of course there are others throughout Star Wars and Potter and other films, but these are the ones I went to off the top of my head. Also probably the ones most influential in me getting into FYCs, Expanded Releases, etc.

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50 minutes ago, Corellian2019 said:

A shame that this cue also remains unreleased:

 

 

The closest attempt anyone made at isolating it:

 

 

Agree.

But, there is a unused  cue on the 25th Anniversary CD that has a similar vibe- " Mechanical Dolls".

Edit: My mistake. I was think of " Morning at the Bradbury"

 

 

Wasn't the music at the end of that HEAT clip reused in full in MICHAEL COLLINS?

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1 hour ago, bruce marshall said:

Wasn't the music at the end of that HEAT clip reused in full in MICHAEL COLLINS?

 

You're thinking of Goldenthal's original cue for the finale, but it was replaced by a unique version of "God Moving Over The Face Of The Waters" in the final film. The clip that I shared is from the final film.

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7 hours ago, Corellian2019 said:

Spoilers for those who haven't seen Heat, but 1:20 onwards has such a beautiful minimalist cue by Goldenthal. A shame that it wasn't included on the leak from 5 years ago. I'd also love to have the film version of Moby's "God Moving Over The Face Of The Waters", which follows immediately after

 

 

I'll post one or two more examples later on

 

the use of the track Moby track is perfect.  Does the film version have any differences or is it just possibly looped at certain parts?

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12 minutes ago, Corellian2019 said:

 

You're thinking of Goldenthal's original cue for the finale, but it was replaced by a unique version of "God Moving Over The Face Of The Waters" in the final film. The clip that I shared is from the final film.

 right, but in that clip, isn't  part of the replaced cue - used in MC

Starting @2:56

heard before the Moby cuts in.

 

I have the Moby and TITUS  clipz on CD but I'm too lazy.😁

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16 minutes ago, bruce marshall said:

right, but in that clip, isn't  part of the replaced cue - used in MC

Starting @2:56

heard before the Moby cuts in.

 

 

EDIT: that's the opening of the film version of the Moby song

 

21 minutes ago, Bellosh said:

Does the film version have any differences or is it just possibly looped at certain parts?

 

It has an opening and ending that's never been released outside of the film, and it's possible that those are real strings performing the music, as opposed to the synth strings in Moby's version. Plus, that little piano "flub" (don't know the musicological term, unfortunately) at 3:42 is also exclusive to the film

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This very, very rarely happens to me. Experiencing the music as it appears in the film and soundtrack listening are two very different things, and one doesn't bleed into the other. I very rarely hear a piece of music in a film and go "I would like to own this on a soundtrack".

 

However, I did experience this just last year. In the beginning of Kapadia's DIEGO MARADONA (may be rest he in peace!), there's an awesome, Moroder-like eurodisco track as the Fiats drive to the stadium through the crowds. It's not part of Pinto's score (at least it's not on the soundtrack), and I've been unable to find any information about it online. I guess I could stream the movie, and try to Shazam it. But that's a cue I really want to have -- and use to explore the work of whoever did it.

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49 minutes ago, Quintus said:

 

How odd. This thought is literally the reason for the existence of this message board, the one over on FSM and the basis for all soundtrack collection in general. 

 

Ha, ha. Yes, I know. Pre-internet, I didn't find it odd at all. It was only when I got to messageboards, that I found out I was the odd one out in this particular approach to soundtracks.

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31 minutes ago, Thor said:

 

Ha, ha. Yes, I know. Pre-internet, I didn't find it odd at all. It was only when I got to messageboards, that I found out I was the odd one out in this particular approach to soundtracks.

 

So then, how did you ever first find out that film soundtracks existed? Given that you say films somehow weren't the source. 

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1 hour ago, Quintus said:

 

So then, how did you ever first find out that film soundtracks existed? Given that you say films somehow weren't the source. 

 

I can't really remember, but I know it was an organic segue from prog rock/electronic music to soundtracks. The film(s) probably were a source initially, as I had to have been exposed to it somehow. I do remember one specific moment around 1991, when I listened to the end credits from THE ABYSS on TV, and thinking to myself "hmm, this could be a pretty great concept album", and then seeking it out. So there's that.

 

But beyond that initial 'awakening', it never informed my soundtrack acquisitions in any shape or form. The link between hearing music in the film and desiring it on album never really manifested. For example, I never taped music off of the screen and so on, which I know that many people my age did.

 

I listened, and still listen, to soundtracks as if they're independent concept albums, like Pink Floyd's THE WALL, or a symphony. The film has no significance whatsoever.

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I've mentioned this one a lot, but never actually linked to it. Ever since I saw Dante's Peak, I was attached to the score, and wanted to hear the entire thing. When I eventually discovered the boot, I was disappointed (to put it mildly) that the cue below was the one single piece of score not included. I even found the bar source cue, and the library cue used for the parade near the start. It's just this one damn cue which makes me need Varese to do an expansion.

 

It's the music for when the volcano first erupts and chaos ensues. This set piece in the film has two cues, the second of which is in the leak, but this one's not: (from around 0:43). It's mixed so low, and such a barrage of SFX (and the rears so distant), that ripping is basically impossible.

 

 

 

 

Otherwise, a large handful of moments from Ghostbusters 2 drew me to that score, with only a microedited section of a cue near the end making it to the end credits. Thankfully, we know it's coming out next year sometime :) 

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14 hours ago, Jay said:

As far as within the actual narrative of a movie, I dunno if anything will top the experience of watching Rise of Skywalker in theaters and hearing so much amazing John Williams music that was not on the OST album or even the FYC album.

 

 

These 3 highlights are incredible compositions!  All would have been on the OST album if I were its producer.

 

 

 

 

 

Damn I just got emotional hearing these cue again

 

This is exactly what I experienced as well. I couldn't believe these cues weren't on neither album.

Damn, can't we push Mike to push JW to push Disney to release these necessary SW expansions sooner rather than later? 

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2 hours ago, Thor said:

 

I can't really remember, but I know it was an organic segue from prog rock/electronic music to soundtracks. The film(s) probably were a source initially, as I had to have been exposed to it somehow. I do remember one specific moment around 1991, when I listened to the end credits from THE ABYSS on TV, and thinking to myself "hmm, this could be a pretty great concept album", and then seeking it out. So there's that.

 

 

Can I be frank? I think you're bullshitting because you don't want to have to admit that you, like the rest of us, got into movie soundtracks simply because you enjoyed the sound of the music in films you watched and so decided to seek it out. But you just like to dress it up as being something more offbeat or idiosyncratic than that ;)

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Ha, ha. No, I'm not bullshitting. The film has no place in my soundtrack listening. In fact, I try to distanciate myself from it as much as humanly possible.

 

I am very interested in how music works in film, but that's part of my film interest, where music is equal to cinematography, acting, editing and all the tools that make up the artform. Has nothing to do with my soundtrack listening or enjoyment.

 

I realize this approach must seem "alien" to most of you, but that's how it is. When I write reviews, I try to touch on a little bit of both.

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No I'm talking about the genesis of your interest and probably your formative phase. I realise that once an enthusiasm has been well established, the actual filmic source becomes immaterial. But that would have taken more time to bed in than you make out. You'd no doubt have been a child, for a start.

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Oh, sure. My awareness of soundtracks didn't just fall from the sky. As I said earlier, I probably heard the music first in the films or TV shows themselves. But I quickly made the jump to listening to them, and enjoying them the same way I did my non-film music concept albums or instrumental music. I have no memory whatsoever of ever craving music from a film that was not on the soundtrack, not in my formative years, not now. With some very few exceptions, like the MARADONA example above. I just don't use the film as a 'guide' to my soundtrack listening.

 

So if there's anything unique here, it isn't necessarily how I discovered soundtracks, but how quickly the film became immaterial.

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I like all these memories of hearing things in films that weren't on their OST albums, though many of them have since been released!

 

That's OK though, while it wasn't the intention of the thread, it does make for awesome trips down memory lane, so let's keep those coming too.

 

I like this extra-beefy version of "Bugs!!" from Starship Troopers that is not on the Varese Deluxe Edition

 

 

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There's a scene on Terrence Malick's The New World in which the Native Americans visit the settlement of the European colonizers to bring food and suplies for them for the harsh winter. There, Pocahontas meets up with John Smith, they share a few dialogues and then the Native Americans leave. 

 

Ever since I watched the movie I loved the cue that plays in this scene. It's a little similar to the beginning of Enemy at the Gates' The River Crossing to Stalingrad, but a beautiful cue nonetheless.

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I also LOVE these 3 action cues from Tomorrow Never Dies that they chose not to include on the 2000 Chapter III expansion

 

(play buttons should take you right to where the unreleased music starts)

 

 

 

 

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Ha! As it turns out, the Maradona film was available for streaming at NRK's website (the Norwegian broadcasting corporation). So I started the film and Shazamed it, and it FOUND it. What's even more amazing is that the cue is by the NORWEGIAN electronica artist Todd Terje. Geez, now I'm embarassed for not recognizing it, because I've heard quite a bit of his work over the years. Anyways, mystery solved. Here it is:

 

 

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2 hours ago, Thor said:

I have no memory whatsoever of ever craving music from a film that was not on the soundtrack, not in my formative years, not now.

 

Kinda weird how one day it suddenly just stopped, and that you actively chose to make a distinction, seemingly for the sake of it. 

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Except for my early suspicion that soundtracks could harbour similar experiences to what I was already listening to, I don't think it was that conscious. It just happened organically. As soon as I got soundtracks in my collection, they quickly became a natural extension of my existing interest in prog rock and electronic music. They were just albums.

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Not exactly score, but definitely score-related. In the months leading up to the (limited) release of Terry Gilliam's film Tideland in 2005, there was a website dedicated to the film that gave information about it. Jeff and Mychael Danna's theme from Tideland played automatically when you visited the site. It was a gorgeous, stripped-down arrangement, heavy on piano. That music never appeared either in the film or on the CD release. I'd love to get a copy of it. The site vanished after the film's release, and that perfect (IMO) presentation of the theme is nowhere to be found.

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3 minutes ago, Quintus said:

Same for a lot of us. 

 

Perhaps, but most of you continued to use the film as a reference point for how the music should be presented, and how much of it should be on CD.  And to "desire" cues from the film that were not on the CD. That never happened for me.

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4 hours ago, Jay said:

I like all these memories of hearing things in films that weren't on their OST albums, though many of them have since been released!

 

But those that haven't continue to fester in my mind and bug the hell out of me that I can't listen to them.

 

The short Lemony Snicket cue I mentioned above is the worst because even a DVDRip doesn't suffice. The main fiddle is mixed dead center with the dialog. All the other channels only have a bit of reverb from it. So I literally can't hear that cue properly outside the film and I have zero faith it will ever see an expanded release. It's not the only score that is the case with, but it's one of the main lingering ones.

 

Oh well! I'm extremely grateful that all those other cues I mentioned have been released somehow. 

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1 minute ago, bruce marshall said:

Probably the biggest source for me is MIAMI VICE.

In fact, over at miamiviceonline there are people who devoted themselves to either ripping them from the DVD, or creating wholly NEW versions!

 

 Bless them!😍

 

Hammer at least has that 2CD set (which is one my cherished possessions). The situation is worse for Tim Truman and John Petersen. We've actually interviewed the latter two on Celluloid Tunes -- Truman here, and Petersen here. Petersen explains how a lot of his MIAMI VICE music was destroyed in not one, but TWO fires.

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I like this cool little cue in Mission Impossible - Rogue Nation that wasn't on the OST (0:00-1:00)

 

 

 

As well as this awesome cue for the knife fight

 

 

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2 minutes ago, bruce marshall said:

Isn't the s topic about STILL UNRELEASED cues?

If we talk about cues that were EVENTUALLY released, there are countless examples. FSM...LLL...

INTRAD.... answered our dreams.😊

 

True. Oops. I can talk more truly unreleased material.

 

I mentioned Snicket and there's still a couple other small unreleased cues from that film I enjoy. This one is fun.

 

"What Would Violet Do?" - Thomas Newman

 

I can't find any proper clips, but there are several cues from the Netflix version of Snicket by JNH and his team as well that I find more memorable than Jim Dooley's work (though his material is still fun). Particularly Beatrice's Theme, VFD Material, and Violet's Inventing Tune. An official release doesn't look likely.

 

Here's a separate one from Lovely Bones that still hasn't been released properly anywhere, unless you count a small segment in the Blu-Ray Extras

 

This is a super fun cue from Stranger Things 3 that I was so annoyed wasn't on the OST. Would love a follow-up release for this season.

 

Again, can't find any clips off hand, but there's some nice Karen O material missing from Where the Wild Things Are. I would love to be able to hear sessions or some kind of expanded release that includes more demos and unreleased material. Seems like the music was far more experimental and free than I initially thought. Having now heard some additional material and demos (not much, but some) I'd love to hear more. That will likely never happen though.

 

If I'm being really honest. Besides Rise of Skywalker and other Star Wars material... my list of unreleased gems has truly dwindled quite a bit in only the last couple of years.

 

The Harry Potter Box set wiped out a bunch. As well as Solo's Deluxe Edition, Land Before Time, Titanic, Twister, the Star Trek Kelvin Trilogy, and of course everything that came before all that. Plus FYC's and what not. I'd say my personal list is made of a lot of shorter pieces with some occasional longer ones that I just gravitate towards for some reason, but are arguably not highlights for most. But I am more satisfied with what's available in the last few years than say the 15-20 years before that.

 

 

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