Always cue titles

[crumbs 14,305]

Does anyone have a cue list or sheet music for this score? Or is anyone aware of a bootleg? Information seems relatively scarce for this score.

 

I'm working on a spreadsheet and there's about 3 sections of music on the OST that can't be placed in the film (so some sheet music would fill in the blanks). There's also some film versions I'm not convinced match their OST counterpart (either different takes or partially replaced by inserts).

 

Another classic JW OST -- the film only has 44 minutes of music, and the OST 46 minutes, yet somehow there's still half a dozen cues missing (plus film takes and inserts). Then there's an alternate version of Follow Me (mentioned by @filmmusic) that supposedly leaked on a BOT4J bootleg?!

[BrotherSound 2,242]

3 hours ago, crumbs said:

Does anyone have a cue list or sheet music for this score? Or is anyone aware of a bootleg? Information seems relatively scarce for this score.

There’s been a handful of sketches in circulation:

 

6M2 Pete’s Aura

12M2? Dorinda Solo Flight

12M3 Dorinda + Pete

12M3 Alternate - Dorinda and Pete

15M1 Among the Clouds

15M2 Dorinda Survives

 

@crumbs Does that cue number make sense for Dorinda Solo Flight? I haven’t seen the film. The top is cut off, but there’s an instruction at the beginning to “Overlap R[something]P1”. Looks like “12” to me, but it’s not very legible.

 

12M3 Alternate is the version of “Dorinda and Pete” on the OST, but it’s only the first 1:35 of the track.

[Gruesome Son of a Bitch 6,488]

I imagine once the complete score is released everyone here will suddenly change their tune after 30 years (20 in the case of the millennial and Gen Z twits) and adore it.

 

"The most underrated Spielberg/Williams collaboration?"

 

"Almost as great as Harry Potter"

[crumbs 14,305]

On 9/20/2020 at 3:54 AM, BrotherSound said:

12M3 Alternate is the version of “Dorinda and Pete” on the OST, but it’s only the first 1:35 of the track.

 

Thanks for this @BrotherSound. Can you confirm my theory that the second half of that track is the other version of 12M3? Because I can't place it anywhere else in the film, so it has to be an alternate for something (and it runs the same length as the piano-heavy film version, which is the first 1:35 of the same track).

 

My guess is JW liked both versions of the cue and merged them into one track for his OST (he does this regularly with alternates). Makes for a very nice suite of their love theme.

 

On 9/20/2020 at 3:54 AM, BrotherSound said:

6M2 Pete’s Aura

12M2? Dorinda Solo Flight

12M3 Dorinda + Pete

12M3 Alternate - Dorinda and Pete

15M1 Among the Clouds

15M2 Dorinda Survives

 

@crumbs Does that cue number make sense for Dorinda Solo Flight? I haven’t seen the film. The top is cut off, but there’s an instruction at the beginning to “Overlap R[something]P1”. Looks like “12” to me, but it’s not very legible.

 

That's weird. 15M2 Dorinda Survives is almost certainly OST T18 Dorinda Solo Flight, because 15M1 Among the Clouds is the first half of OST T7 Among the Clouds and the two cues overlap.

 

The scene immediately preceding 12M3 Dorinda + Pete is a sequence where Dorinda dances by herself to diegetic music (Smoke Gets In Your Eyes). There's no score before that for 7 minutes, so 12M2 Dorinda Solo Flight before 12M3 Dorinda + Pete doesn't make sense.

 

What's the difference between the sketches for 12M2 Dorinda Solo Flight and 15M2 Dorinda Survives? Which one matches the OST track?

 

[bruce marshall 1,315]

On 9/19/2020 at 7:25 PM, Gruesome Son of a Bitch said:

I imagine once the complete score is released everyone here will suddenly change their tune after 30 years (20 in the case of the millennial and Gen Z twits) and adore it.

 

"The most underrated Spielberg/Williams collaboration?"

 

"Almost as great as Harry Potter"

Well, they're already saying that about the abysmal BFG!

[Jurassic Shark 12,033]

Always is way better than Stepmom.

[BrotherSound 2,242]

On 9/25/2020 at 12:52 AM, crumbs said:

Thanks for this @BrotherSound. Can you confirm my theory that the second half of that track is the other version of 12M3? Because I can't place it anywhere else in the film, so it has to be an alternate for something (and it runs the same length as the piano-heavy film version, which is the first 1:35 of the same track).

 

My guess is JW liked both versions of the cue and merged them into one track for his OST (he does this regularly with alternates). Makes for a very nice suite of their love theme.

 

Ah, yes, that's exactly what happened here! The first half is what's heard in the film, 12M3 Alternate - Dorinda and Pete, while the second half is the other version, 12M3 Dorinda + Pete. There's a note at the end that it overlaps 12M4, which might be called "Heaven", or that might just be a note about the onscreen action.

 

On 9/25/2020 at 12:52 AM, crumbs said:

That's weird. 15M2 Dorinda Survives is almost certainly OST T18 Dorinda Solo Flight, because 15M1 Among the Clouds is the first half of OST T7 Among the Clouds and the two cues overlap.

 

The scene immediately preceding 12M3 Dorinda + Pete is a sequence where Dorinda dances by herself to diegetic music (Smoke Gets In Your Eyes). There's no score before that for 7 minutes, so 12M2 Dorinda Solo Flight before 12M3 Dorinda + Pete doesn't make sense.

 

What's the difference between the sketches for 12M2 Dorinda Solo Flight and 15M2 Dorinda Survives? Which one matches the OST track?

 

Ok, I watched the film for the first time and now I have a better idea what's going on:

 

So, 'Dorinda Solo Flight' (the OST track with that title) must really be 15M2 Rev. I don't know for sure that's the cue title because it's cut off on the scan. The OST includes 15M2 Dorinda Survives as well, though: it's 4:25-end of the 'Among the Clouds' track, exactly where it was originally intended to be placed, overlapping the end of 15M1 Among the Clouds. It wouldn't have been written as an alternate at the same time as the other because the timings differ: the scene had been cut down from 4:10 to 3:13 by the time 'Dorinda Solo Flight' was written.

 

I guess JW must have also really liked the earlier 15M2 Dorinda Survives, because not only are both cues used for the end credits, but also the concert suite heard on the Spielberg/Williams Collaboration Boston Pops album!

 

[crumbs 14,305]

9 hours ago, BrotherSound said:

So, 'Dorinda Solo Flight' (the OST track with that title) must really be 15M2 Rev. I don't know for sure that's the cue title because it's cut off on the scan. The OST includes 15M2 Dorinda Survives as well, though: it's 4:25-end of the 'Among the Clouds' track, exactly where it was originally intended to be placed, overlapping the end of 15M1 Among the Clouds. It wouldn't have been written as an alternate at the same time as the other because the timings differ: the scene had been cut down from 4:10 to 3:13 by the time 'Dorinda Solo Flight' was written.

 

Ah hah! Suspected this might be the case when I synced OST Among The Clouds to the film and let it run through until the end credits. It fit the onscreen action almost perfectly.

 

Although OST Dorinda's Solo Flight (15M2 Rev) ultimately replaced it, it's longer on album than in film. Spielberg must have kept cutting the ending after scoring finished.

 

Interestingly, the end credits appear to be a medley of excerpts from 12M3 Alternate - Dorinda + Pete into 15M2 Dorinda Survives into 15M2 Rev Dorinda Solo Flight, but that's not the case. The first two are discrete recordings which don't sync with the film cues (not the versions on the OST anyway). The last section of the end credits is tracked from 15M2 Rev though. The differences are subtle in places and drastic in others, so there's either more alternates we don't know about or JW wrote and recorded an end credits suite which was partially replaced (15M2 Rev tracked over the last minute or thereabouts, but the rest unreleased).

 

9 hours ago, BrotherSound said:

I guess JW must have also really liked the earlier 15M2 Dorinda Survives, because not only are both cues used for the end credits, but also the concert suite heard on the Spielberg/Williams Collaboration Boston Pops album!

 

After listening to that concert suite, I'm even more convinced the film credits are a separately written/recorded cue, which JW later repurposed as the film's concert suite. It's basically a carbon copy of the end credits arrangement. Understandable he left it off the album considering the material is adapted from film cues he did include.

 

More generally, there's also unreleased film versions for Pete's Death (alternate take and celeste/synth overlay missing from OST version), alternate film ending for The Rescue Operation (likely an insert) and huge portions of The Old Timer's Shack are entirely different to the OST version (either several inserts or JW wrote two versions that Spielberg combined). Plus the unreleased Follow Me alternate (leaked on the BOTFJ bootleg), 4-5 unreleased film cues and whatever else was recorded. Plenty of material to fill out a disc when Mike gets around to it.

[Jay 37,322]

So this is one of the scores from the mid-80s to mid-90s era where he didn't record anything specific for album use, right?

Just like Empire of the Sun, Stanley & Iris, Hook, and Far & Away

[crumbs 14,305]

17 minutes ago, Jay said:

So this is one of the scores from the mid-80s to mid-90s era where he didn't record anything specific for album use, right?

Just like Empire of the Sun, Stanley & Iris, Hook, and Far & Away

 

So far as I can deduct, no. Everything on the OST is comprised of film cues, though not always the exact version used in the film.

 

But as mentioned above, despite having more music than appears in the film, the OST is still missing a handful of film inserts, one film take which differs to the album version, a handful of cues which are simply unreleased, at least one unused alternate (courtesy of the BOTFJ bootleg) and an end credits suite which was partially tracked over in the film (and seems like a prototype of the eventual concert suite recorded for the Spielberg/Williams album).

 

There's also a passage of music on the OST which can't be placed anywhere, so who knows what else was recorded that went entirely unused.

[GerateWohl 4,343]

Always came out a year before Ghost and somehow Ghost was maybe less ambitioned but worked better for me as a film. The soundtrack neither caught my attention at watching the movie nor at listening to the soundtrack album. To me sounded a little too much like icing sugar on this movie cake. But in the meantime I would give an expansion another try. 

[crumbs 14,305]

On 9/29/2020 at 7:19 AM, BrotherSound said:

I guess JW must have also really liked the earlier 15M2 Dorinda Survives, because not only are both cues used for the end credits, but also the concert suite heard on the Spielberg/Williams Collaboration Boston Pops album!

 

Following up on the end credits theory, I tried lining up the original finale cue (15M2) with the film then crossfaded into Theme from Always (recording from the Spielberg/Williams CD) and it timed out perfectly to the end of the credits roll.

 

Can't be a coincidence, more likely Spielberg decided to use Smoke In Your Eyes over the end credits late in post, and Theme from Always is JW's intended end credits suite for the score.

[Jay 37,322]

I've never seen this movie. Should I see it?

This thread caused me to yesterday listen to the track from the Spielberg/Williams CD and I really liked it!

 

I haven't listened to this OST album more than once or twice.  I should rectify that!

[Holko 9,499]

2 minutes ago, Jay said:

I haven't listened to this OST album more than once or twice.  I should rectify that!

 

I'd say wait a bit to see what @crumbs is coming up with, it should be interesting!

 

[Edmilson 7,398]

I listened to the OST yesterday. Pretty good! Specially if you like a more subdued Williams, instead of the bombast of Indy/SW/etc.

 

I can't believe that Among the Clouds is a film cue, rather than a concert arrangement. So does the film feature an 8 minute sequence with music?

[Jay 37,322]

15 minutes ago, Edmilson said:

I can't believe that Among the Clouds is a film cue, rather than a concert arrangement. So does the film feature an 8 minute sequence with music?

 

On 9/28/2020 at 5:19 PM, BrotherSound said:

The OST includes 15M2 Dorinda Survives as well, though: it's 4:25-end of the 'Among the Clouds' track, exactly where it was originally intended to be placed, overlapping the end of 15M1 Among the Clouds.

 

I haven't seen the film to know if the scene got shortened, and/or Spielberg dialed out portions or replaced some with newly recorded revisions or inserts, but it seems as originally spotted there would have been 8 1/2 minutes of continuous music yes

[crumbs 14,305]

15 minutes ago, Edmilson said:

I listened to the OST yesterday. Pretty good! Specially if you like a more subdued Williams, instead of the bombast of Indy/SW/etc.

 

I can't believe that Among the Clouds is a film cue, rather than a concert arrangement. So does the film feature an 8 minute sequence with music?

 

It's a little complicated, but yes. The finale is about an 8 minute stretch of music, where the last 4 minutes was scored twice (and very differently). I think people will be surprised when they see the project I'm working on.

 

The film overall is sparsely scored. There's only about 2 minutes in the first half hour, then the occasional minute here and there until the finale.

 

Watch this space. 

[Jay 37,322]

Is it a good movie?

[Nick Parker 3,040]

6 minutes ago, Jay said:

Is it a good movie?

 

It's nice and sweet; I'm sure women came out of the theater calling it "cute". 

[Jurassic Shark 12,033]

Now it's OK for men to use that word as well.

[crumbs 14,305]

19 minutes ago, Jay said:

Is it a good movie?

 

It's middling I guess. The first half hour and all the source music feels outdated, while most other 'contemporary' Spielberg films have a timeless quality (eg. I don't watch ET or CE3K and consider them dated). 

 

The film's humour doesn't really land to me and there's inconsistent tone, but overall it's more of a character study around how people cope with loss (which makes the light-hearted humour a bit jarring).

 

Holly Hunter is great but Dreyfuss is miscast. "Cute" is probably a good overall descriptor, as @Nick Parker said. There's not an ounce of cynicism throughout. An enjoyable enough way to spend 2 hours and the aerial photography is suitably impressive (and still holds up, great VFX work from Joe Johnston). 

 

I'm not sure which reviewer criticised the score for not having JW's trademark "flying" sound but they clearly weren't paying attention. JW's score services the film exactly as it needs to. 

[Thor 7,478]

I think the film is underrated, yes. Many criticized its "schmaltz", but Spielberg was going directly for the Victor Fleming melodrama of the film it is based on, A GUY NAMED JOE -- down to the bright orange hues. I love it when Spielberg channels or tributes his heroes (the last scene in WAR HORSE is another brilliant Fleming tribute).

[Nick Parker 3,040]

11 minutes ago, crumbs said:

The film's humour doesn't really land to me and there's inconsistent tone, but overall it's more of a character study around how people cope with loss (which makes the light-hearted humour a bit jarring).

 

Holly Hunter is great but Dreyfuss is miscast. "Cute" is probably a good overall descriptor, as @Nick Parker said. There's not an ounce of cynicism throughout.

 

 

I really liked the whimsical tone that pervaded everything, and it captures a bittersweet feeling about loss, acceptance, and moving on after that gives it a surprising pungency. Definitely feels more like a cult TV classic than a film by the most consistently successful film director of all time.

[crumbs 14,305]

7 minutes ago, Thor said:

based on, A GUY NAMED JOE -- down to the bright orange hues

 

That soft, orange interior lighting is one of the things that makes the film look so dated to me, even if it's a stylistic choice.

 

The mediocre Bluray transfer probably doesn't do the photography justice (I did a basic colour grade that vastly improves the magenta hue and muddy shadows). 

[thx99 1,740]

The film and score are sentimental favorites of mine, given the time of my life when the film was released and with whom I first saw it.  Yes, it's not Williams in his fantasy/adventure mode but that resonates with me and makes for an enjoyable diversion from his more familiar scores.

 

As a silly aside, my Always CD survived a three-story fall in an exterior stairwell at a woman's dorm at the University of Florida back in 1991.  The jewel case, however, did not.

[crumbs 14,305]

2 minutes ago, Nick Parker said:

 

I really liked the whimsical tone that pervaded everything, and it captures a bittersweet feeling about loss, acceptance, and moving on after that gives it a surprising pungency. 

 

The last twenty minutes is definitely the strongest. All the film's themes culminate nicely and Williams' score nails all the emotions you listed above. The horn solo is particularly stunning (and very sadly microedited). 

 

Spielberg was right to dedicate the last 5 minutes almost entirely to music, because Williams nails the storytelling there (and the earlier scene in the bedroom is similarly touching, again thanks to that underrated theme on piano). 

[Thor 7,478]

4 minutes ago, crumbs said:

That soft, orange interior lighting is one of the things that makes the film look so dated to me, even if it's a stylistic choice.

 

Yes, it's deliberately dated (40s/50s-type dated), and I love it! Loads of texture.

[crumbs 14,305]

I'm very partial to the opening shot of the first major cue in the score, where the sunrise gently creeps through the blinds and illuminates a concerned face. Spielberg excels at capturing great face/character shots. 

[Nick Parker 3,040]

2 minutes ago, crumbs said:

 

The last twenty minutes is definitely the strongest. All the film's themes culminate nicely and Williams' score nails all the emotions you listed above. The horn solo is particularly stunning (and very sadly microedited). 

 

Spielberg was right to dedicate the last 5 minutes almost entirely to music, because Williams nails the storytelling there (and the earlier scene in the bedroom is similarly touching, again thanks to that underrated theme on piano). 

 

That's one thing too that I really liked about the movie, Joe's jealousy and attachment that loosens as he realizes that letting go would be the greatest act of love he could commit.

 

Extrapolating from Thor, I think this was an experiment of Spielberg on tackling his influences and adorations in a very direct way--ie a remake in this case. It seems that he found more subtle ways to incorporate his filmic loves and influences into "new" projects, such as War Horse, or the 70's thrillers in Munich (and Post, less successfully). 

[Thor 7,478]

1 minute ago, Nick Parker said:

Extrapolating from Thor, I think this was an experiment of Spielberg on tackling his influences and adorations in a very direct way--ie a remake in this case. It seems that he found more subtle ways to incorporate his filmic loves and influences into "new" projects, such as War Horse, or the 70's thrillers in Munich (and Post, less successfully). 

 

Or the wonderful Howard Hawks vibes in BRIDGE OF SPIES.

[Nick Parker 3,040]

1 minute ago, Thor said:

 

Or the wonderful Howard Hawks vibes in BRIDGE OF SPIES.

 

I'll take your word for it, as I still haven't seen it.  (Stu clutches his heart in unknown agony somewhere).

[crumbs 14,305]

30 minutes ago, Thor said:

Spielberg was going directly for the Victor Fleming melodrama of the film it is based on, A GUY NAMED JOE

 

I probably need to watch the original film to appreciate exactly what he was aiming for, stylistically. 

 

I did enjoy the sentimental charm of the film (a nice palette cleanser from, well, everything happening in the world right now). I think Williams comes closer to nailing the film's intended tone with music than Spielberg himself. It balances that line between melancholy, longing, warmth and sadness. 

[Jay 37,322]

So when you guys were talking about the end credits up above, are you saying in the film itself we get his originally intended end credits?  Or does Spielberg replace what JW intended with other stuff?

 

And you're saying not a drop of what he intended for the end credits is on the OST, right?

 

And then the Spielberg/Williams album likely presented his intended end credits (which weren't on the OST) re-recorded and retitled to "Theme from Always"?

[crumbs 14,305]

14 minutes ago, Jay said:

So when you guys were talking about the end credits up above, are you saying in the film itself we get his originally intended end credits?  Or does Spielberg replace what JW intended with other stuff?

 

And you're saying not a drop of what he intended for the end credits is on the OST, right?

 

And then the Spielberg/Williams album likely presented his intended end credits (which weren't on the OST) re-recorded and retitled to "Theme from Always"?

 

Film credits have a song at the start and tracked music at the end, with an end credits suite in between.

 

The credits suite is adapted from film score cues but definitely a different recording to the film cues. It follows the same general flow of the Always track on the S/W album, but the film version has less material (so JW either extended what he wrote originally for that album, or the film credits are microedited). 

 

Personally I don't think it's a coincidence that the S/W track fits perfectly with the film's credits roll.

 

The credits suite is not on the OST but the OST contains similar passages of music in various film cues. Annoyingly it can't be extracted from the film because there's no clean opening and the ending seems to have been lopped off (in favour of tracked music). 

[Jay 37,322]

Understood!  Thank you!

[GerateWohl 4,343]

There are some Spielberg movies where I find it hard to understand why Spielberg made them except giving John Williams the opportunity to write a certain kind of music, like Hook or The Lost World. Probably, Always to me belongs to these types of movies. 

[thx99 1,740]

FWIW, some time ago, I "reconstructed" the end credits as heard in the film from a combination of the following (unfortunately, I didn't keep detailed notes of timings):

• [0:00-0:56] "Always Theme" (Spielberg/Williams Collaboration CD, track 2) (0:00-0:56)
• [0:56-3:29] "Among the Clouds" (OST, track 7) (5:19-7:52)
• [3:29-3:49] DVD rip
• [3:49-5:02] "Dorinda Solo Flight" (OST, track 18) (2:03-end)

 

EDIT:  I figured out the timings for the selections above after revisiting my reconstruction.

[Thor 7,478]

16 minutes ago, GerateWohl said:

There are some Spielberg movies where I find it hard to understand why Spielberg made them except giving John Williams the opportunity to write a certain kind of music, like Hook

 

Spielberg being somewhat of a Peter Pan himself (at least at the time), and often preoccupied with seeing things from children's perspectives, his interest in HOOK does not surprise me at all.

 

Quote

or The Lost World.

 

I guess he was kinda 'obliged' to do it when Chrichton wrote a sequel, and it was to be filmed. But I do think he tapped into some wonderful 50s creature feature aesthetics with this one. I'm sure he grew up with the old THE LOST WORLD (1960), and here was his way to do a darker slant on it.

 

Quote

Probably, Always to me belongs to these types of movies. 

 

ALWAYS was - as previously mentioned - a great canvas for channeling Fleming. But it also contains a great number of "spielbergian" traits, like non-verbal communication, the fascination for flight, "believing is seeing" etc. So it's very him. He said at the time that he wanted to combine 40s romance with 80s humour - which again motivated the casting of Audrey Hepburn and Richard Dreyfus as a representative of each. I think he succeeded wonderfully, even if the critics at the time didn't agree.

[rough cut 1,714]

I remember seeing Always at a young age, probably too young to fully grasp it, but I remember that Iiked it.

I’ve had the OST some 20 years, and used to put it on from time to time, there’s some great music there, but I can see how some think it’s too “slow”. It’s been a long time since I listened to it, I should give it another spin.

[Jurassic Shark 12,033]

It's great as background music on the speakers for a relaxed evening.

[thx99 1,740]

I edited my post above re: my reconstruction of the end credits music by adding in the timings for the individual selections.

[GerateWohl 4,343]

2 hours ago, Thor said:

 

Spielberg being somewhat of a Peter Pan himself (at least at the time), and often preoccupied with seeing things from children's perspectives, his interest in HOOK does not surprise me at all.

 

 

I guess he was kinda 'obliged' to do it when Chrichton wrote a sequel, and it was to be filmed. But I do think he tapped into some wonderful 50s creature feature aesthetics with this one. I'm sure he grew up with the old THE LOST WORLD (1960), and here was his way to do a darker slant on it.

 

 

ALWAYS was - as previously mentioned - a great canvas for channeling Fleming. But it also contains a great number of "spielbergian" traits, like non-verbal communication, the fascination for flight, "believing is seeing" etc. So it's very him. He said at the time that he wanted to combine 40s romance with 80s humour - which again motivated the casting of Audrey Hepburn and Richard Dreyfus as a representative of each. I think he succeeded wonderfully, even if the critics at the time didn't agree.

Yes, I understand that Spielberg has surely a strong relationship to the subject of the movies. It is probably the these Films are made. I think, his newer films and even the first ones inluding Jaws could also survive without the music. But Hook for example has many scenes that really stand with at least one of two feet on the music as if the scene illustrates the music and not the other way around. At least that is my personal Impression. But of course I might be wrong.

[Thor 7,478]

Oh, there's no doubt Spielberg allows great canvasses for Williams. In fact, he's sometimes - jokingly - said that he wants to produce movies just so that Williams can keep making music (or something to that effect). That goes for all their collborations, btw - it's an indelible relationship. 

[mahler3 478]

I’ve always (!) enjoyed this movie. There are some lovely visuals thanks to Mikael Solomon and overall the film possesses a sincere warmth. There was an odd similarity to Ghost, yes. Mainly due to the 2 leads never saying “I love you” in return. Probably just a coincidence.

 

The score is one I would often return to when needing to unwind. It’s a beautiful work and one that will be better appreciated with a new expanded and remastered release.

[Thor 7,478]

9 hours ago, mahler3 said:

The score is one I would often return to when needing to unwind. It’s a beautiful work and one that will be better appreciated with age.

 

Corrected!  That's certainly the case for me, at least. A work I started to appreciate only after I turned 30.

[Jurassic Shark 12,033]

130, you surely mean!

[Jay 37,322]

Here's something interesting I came across last night.

We were watching a bunch of trailers to John Williams-scored movies I haven't seen yet, and this 4:3 trailer for Always seems to have been modified by a fan to replace shots with the 1.85:1 image from the 16:9 Blu Ray or DVD whenever possible.... but a few shots remain in 4:3 (0:18, 0:25, 0:31, etc):

 

 

So I guess those shots don't appear in the final cut of the film?

 

I like the bit where he's dancing on top of the plane!

 

 

Incidentally, I had no idea what this movie was even about before I saw this trailer... I dunno what I was expecting, but I wasn't expecting this!

[Gruesome Son of a Bitch 6,488]

It's a good movie 

[Jay 37,322]

But are those shots in the final cut and the fan screwed up, or does the trailer have deleted shots in it?

[Gruesome Son of a Bitch 6,488]

No, they're not in the movie