Restored Isolated Score: Sleepy Hollow

[Holko 9,519]

Danny Elfman's Sleepy Hollow is dark, heavy and gothic, fun and exciting, restrained and understated. Okay, mostly just a couple of those at the same time, but it makes for a dynamic and engaging listen, and a perfect Halloween treat.
Today I'm bringing you the Intrada main program synced to the picture (well, the picture synced to it), with only a few very slight adjustments. As usual, I don't have access to the sheets/sketches (in this case the leak is incomplete anyway and Elfman composed in MIDI so who knows if printed versions with notated sync points would even exist), so any non-obvious sync points are little more than guesses based on what feels right. Drive for some reason autoplays these in 360p, but 720p is available in the settings.

The score presents multiple themes, but rarely in whole or with any formality, and often counterpointing or leading into one another playfully so they can be hard to pin down. Here's what I collected:
Main theme: There's just no other way to name it, no logical association to be found. Among many others, it has 3 main settings:

• Ichabod/Ichabod's childhood setting: Dreamy, plucky instrumentation, can be playful or more distant. This is where the theme originated while Elfman was writing the score.
• The Headless Horseman setting: Grand, dark, even over the top.
• Romantic setting: Pretty much what it says on the tin.

Mystery: Wandering up and down but with a feeling of drive and direction, sometimes mysterious, sometimes threatening, pops up at key moments of the investigation.
Horseman Rearing: Not necessarily literally, but often used when his strength is demonstrated or about to be.
2-note Horseman: Used more as part of the supporting structure, but gets some moments to shine by itself.
Dies Irae: Obligatory. Connected to Ichabod, mostly his past and father.

 

The Main Program

1m1 Introduction - The introductory logos play over the first statement of the main theme on bassoon, then the mystery motif on strings, leading a big orchestral organ-supported crescendo giving place to a prominent boy soloist and men's choir over some of the first credits (of which I assume there were originally more). As Peter Van Garrett signs his secret second Last Will and Testament, setting in motion the main plot, dramatic Main theme readings support dramatically shown motions. As the paper's closed up, the Horseman Rearing motif is also introduced on strings. The pace picks up as we cut to him riding his carriage, but the mood doesn't become any less dark. Suddenly the sound pulls away to a very Elfmany quiet but suggestive setting still playing around with the main theme. The reveal of the headless carriageman makes the orchestra scream out together with Peter and the audience, and we go back to quietly horrory scoring for the classic cornfield chase. The orchestra snarls the main theme one more time as he meets his fate.

 

1m2 A Place Called... + 1m3 Main Titles + 1m4 Ichabod's Arrival - Moody understatement is a key setting in the score and we get our first real taste of it here. Naturally Christopher Lee pointing at someone has to be dramatically scored with a bell though. Ichabod packing his stuff away getting ready for the journey was shortened a bit. The Main Titles further explore the Mystery and Main themes, also getting into some Dies Irae, and introducing the dramatic 2-note Horseman motif. The third cue has further unsettled Mystery motif explorations and a dramatic 2-note Horseman for the director credit (fittingly over a cut to a dark mansion).

 

 

1m6/1m7 The Story... - more quiet or wild Mystery and Main.

 

 

2m1 Masbath's Terrible Death + 2m2 Murder + 2m3 Science At Work + 2m4 Young Masbath - A transitionary Main and anticipatory textures lead to another action piece, a combination of the main theme, the 2-note and the Rearing Horseman motifs. The next two cues are mostly understated textural ones, but with some Main and Mystery sprinkled in. A reverent, mourning mood with strings, brass and bells takes over as we cut to Masbath's funeral. Main and Mystery fittingly come back in for the opening of the coffins, looking for clues.

 

 

2m5/2m6 Autopsy/Phony Chase + 2m7 Sweet Dreams - More lowkey material, first comedic, then threatening. As the chase ensues, the music kind of reveals it's not the real Horseman by using none of his by now established themes, only Dies Irae for Ichabod's fear. Ichabod's first dream features the main theme in lovely boy solo/choir and string variations (establishing the solo fiddle as being connected to witchyness), a blossoming Dies Irae closing the cue.

 

 

3m0 Family History + 3m1 A Gift + 3m2 Spying (partial) + 3m3 Philipse's Death - We get our first romantic readings of the main theme as Ichabod and Katrina get to know each other. As we cut back to the town heads' discussion, Mystery returns to darken the mood (film edit recreated here, explanation later). For the Horseman's return, we get the most gloriously twisted main theme statements so far.

 

 

3m4 Dream #2 + 3m4A Forest Transition + 3m5 Into the Woods / The Witch - We're back to the dreamy soundscape, solos, main theme, and the Dies Irae coming more strongly to the fore. Moody strings, bassoon, then a solo female voice occasionally recalling the main theme add weight to the forest journey and the witch's hut, the witchy fiddle fittingly being more distressed and crazy at the end.

 

 

3m6-3m7 Mystery Figure + 4m1PT1-2-3 The Tree of Death Part 1-2-3 - Woody, foresty main theme and voices follow the search for the mysterious horseperson, switching to the romantic setting when she's revealed to be Katrina. A small march leads us all to a small main theme and the Mystery motif in an understated rendition. The main theme and Dies Irae lead the way for the Mystery motif as Ichabod digs the Hessian's grave up. As the portal opens up, the Horseman jumps out to incomplete Rearing statements and races off. The Killian family evening idyll with shadowplay and love is scored by soft, twinkly main theme and woodwinds, eventually growing more tense to suggest the coming danger. Mystery heralds the Horseman's steps before he busts in to another incomplete Rearing and gets in a fight with Killian to Mystery, making short work of him. Strings move around in horror, afraid to truly scream out, until the horseman does eventually find the son. Screaming brass warns Brom foolishly challenging him and Ichabod joining in. As the dark entity finishes the job, he walks off to the finally once again complete and clear Rearing and Ichabod faints again to the main theme.

 

 

4m2 Katrina's Brew + 4m3/4m4 Bad Dream / Tender Moment + 4m5 Trouble In Town + 5m1 The Will - Witchy textures with a main theme on oboe aid Katrina's potion brewing, then we get our third and last flashback dream, the darkest one, fittingly foreshadowed by Mystery, mostly based on evil organy sounds and the main theme. Ichabod has some time to reflect on these shadows of his past with a dark main theme setting gradually moving into the romantic setting. The final notes grow colder as we see Lady Van Tassel. As Ichabod makes a discovery about family trees, strings play Mystery, then a jagged main theme accompanies him to Notary Hardenbrook's. Young Masbath then finds the secret second will and that rhythm picks up again with some Horseman Rearing suggestions, mirroring the moment it was sealed off, culminating in another  Mystery - main theme ending.

 

 

5m2/5m3 Evil Eye + 5m3-A Lady Van T's Hand + 5m4 The Church Battle + 5m5/5m6 Love Lost + 6m1/6m2/6m3 The Windmill + 6m4A The Chase + 6m4 The Final Confrontation + 6m5 A New Day + 6m6 End Credits - The final stretch of the movie is completely through-scored, as represented here. More jagged main theme accompanies our heroes in pursuit of the cloaked figure. The romantic setting sounds broken and cold for the confrontational conversation. The understated textures return with some Mystery for Lady Van Tassel and the Horseman, who also gets his 2-note and Rearing themes again, but not as powerfully since he's ineffective on hallowed ground - until he gets Von Tassel too, when they play complete again together with his setting of the main theme. As Katrina faints, the romantic main theme arrives at a scary conclusion as we realise she drew the Evil Eyes. A sad version of the romantic setting accompanies Ichabod's farewells. The rhythm picks up as his carriage starts, but the Mystery theme soon takes over as Ichabod really can't put some ideas to rest and notices further clues. A shocked and strange Mystery scores Lady Van Tassel revealing herself to Katrina and we arrive at the showstopping final action rush - varied combinations and juxtapositions of the Mystery, Horseman Rearing, Horseman 2-note and of course main themes, with changing tempos and callbacks to earlier pieces nicely accentuating the current level of peril or the drivenness of the characters. The finale is especially reliant on the Horseman's and the main themes, also reprising the Mystery motif for when he finally crawls back to the underworld. The epilogue grows from a smaller to a grand, new century-welcoming, evolved statement of the main theme, then the credits riff more on it and the Mystery motif, mirroring the Main Titles to some degree.

[Holko 9,519]

The Extras - The Evolution of a Score
So here's a different idea - with the amount of stuff we got here, instead of just picking the most different alternates and showing them, I thought why not do direct comparisons of the different versions in order instead? One video for every cue, going through the different included versions in recording order based on their take numbers, no regard for redundancy with the main program, only internal redundancy - so separating out every insert and pickup instead of repeating parts of the same take within the same video, but including full takes I already included in the main program videos for ease of comparison. For his help in the separation and phasing, I want to say a huge thank you to @Chewy!
The takes were numbered absolutely instead of per cue, so we can place them in relation to each other and in a timeline during the entirety of the sessions, from Take 1 to 350 or so (obviously not all of them are included). A few are missing their number, could only guess for those. I turned to the session leak for help but could only get a couple take numbers, two inserts and a single unused unreleased alternate. I marked the Disc and Track number on the Intrada for every take so y'all can find them easier.

 

 

Introduction
1m1 Tk 244 - D3T4
1m1R Tk 349 - D2T1, edited into Tk 244
The first included take was already recorded well into the sessions, the revision was very late, among the last things recorded. Originally, the cue scored a shorter sequence of writing and sealing the will, in a much more tame way, mostly strings with bell punctuation, introducing the Mystery motif and playing a Main theme before continuing as we know it. The revised insert concerned the entirety of the will writing and sealing for a longer cut, and took the opportunity to be a lot more dramatic, adding more main themes and replacing the Mystery for the sealing with Horseman Rearing. The film uses a different take for the opening at least.

 

 

A Place Called...
1m2 Tk 158 - D3T5
1m2 pickup Tk 311 - D2T2, edited into Tk 244, crossfaded with 1m3R
The cue as originally recorded had no specific gentle flute for Ichabod letting the bird fly, and a lot darker ending. The pickup only added the flute and a less dark but still tense ending.

 

 

Main Titles
1m3 Tk 47 - D3T6
1m3 Alternate pickup Tk 50 - D3T7, edited into Tk 47
1m3R Tk 297 + 1m3R pickup Tk 299 - D2T2, crossfaded with 1m2 and barely with 1m4
The original title sequence was shorter - the best place I could find to shorten it was Ichabod looking at his notes. Thematically, only the blasting 2-note theme over the night part is really different/missing, the Mystery theme continues over that part more intensely in this early take, but there are tons of instrumentational differences, like the ostinato (it even changes in the early version), the voicing of the main theme on oboe and flute vs bassoon, the final part on solo voice vs. choir - ending up making it feel quite different. The alternate pickup, recorded not long after the main take, adds the over the top 2-note Horseman part we know from the final version. If the Elfman/Burton set can be assumed to be edited as things were originally intended, this pickup was supposed to be an insert, its ending leading back to the remaining material from the original take - the Intrada doesn't treat it that way, but as a complete ending shortener and replacement. The third version is the one in the film and on the album, a longer and reorchestrated version that also incorporates the alternate pickup. Unclear where or what the revised pickup is, this is the only version presented.

 

 

Ichabod's Arrival
1m4 Tk 163 - D3T9
1m4 Tk 236 - D2T2, barely crossfaded with 1m3R
The earlier take has some strangely different structure, as if it was a re-edit of the same material as the revision. Tried to somehow follow it with the picture edits.

 

 

The Story...
1m6/1m7 Tk 28 + 1m6/1m7 pickup Tk 30 - D3T8
1m6/1m7R Tk 188 - D2T3
Same basic structure but filled out overall very differently. The early take's missing the busy strings from the opening and the buildup's pitched higher, ending up on the same Horseman reveal, but a pretty different Main theme statement. The bridge where his horse dies is the same, but his flight in the early take gets a faster Main introduction and prominent strings, while the revised one is more lowkey. The girls in the forest get no harp in the early take and the ensuing fight is scored with a ...strange/misguided brass line over the same or a very similar base as the newer take. The brass keeps going for the Horseman's funeral, fitting a lot better for this idea, while the revision gets him a choir and darker brass.

 

 

Masbath's Terrible Death
2m1 Tk 65 - D3T10
2m1R Tk 303 - D2T4
Another early first take and late revision. The two are largely the same until the action finale - Take 65 pulls out all stops with the crazy brass, strings and winds, anvil and screaming voice, going much more over the top than the far more restrained Take 303 that still shares the same rhythmic structure. The early version only features the main theme, the revision adds Rearing and 2-note into the mix.

 

 

Autopsy/Phony Chase
2m5/2m6 Tk 115 - D3T11
2m5/2m6R pickup Tk 217 - D2T8, edited into Tk 115
The first take was a lot more heavy on the cartoonishly mocking winds, the revision again took it a bit more seriously, and also added a calming resolution for the reveal.

 

 

Sweet Dreams
2m7 Tk 75 - D3T12
2m7A Tk 80 - D3T13
2m7R Tk 176 - D3T14
2m7RR Tk 211 - D2T9
The cue with the most different versions in the score and every version's lovely, even Elfman couldn't pick just one for the OST. All 4 share the basic ideas: strings and voices for the mother, plucky sounds for the bird/cage trick, Ichabod setting of the main theme, the appearances of the door/the father introduce the Dies Irae. The first one takes a slower approach, prominent witchy fiddle, harp and glockenspiel with voices, switching to pizzicato at the end before the Dies Irae finale. The second one has a faster tempo and more playful but less embracingly warm tone with pizzicato and piano, the voices only enter later. The third one is based on the second one, but is already looking back towards the first - the faster tempo and pluckiness are there but strings and voices enter early to make the sound warmer again. By the fourth one they knew they got it right the first time - it's practically a rerecording of the first with the voices much more prominent than the witchy fiddle, ending up more etherial.

 

 

Spying, and/or A Gift, and/or Family History
3m1/3m2 Tk 90 - D3T15
3m1R Tk 261 + 3m1R pickup Tk 262 - D2T11
3m0 Version 3 Tk 338 + 3m0/3m1 Tk ??? - D2T10
Let's start simply - I think Spying being an alternate that was intended for this scene is indisputable, the sync points and similarities to the later version are very obvious. The first version keeps to the understated but gentle mood, most notably connects to Sweet Dreams' early versions when Katrina shows witchyness with the piano and fiddle, it's also notably missing the romantic setting of the main theme. The second, already pretty late revision is very similar, but since Sweet Dreams had changed by then, it removes the explicit references to the earlier versions, and it also tones down the ending.

Now, A Gift has no take number, so I can only guess that it came after the revised Spying- but here it seems they decided that they got 3m2, the ending, right, but 3m1 needs another revision, and the cue should start earlier too and score the whole conversation. Enter 3m0/3m1: Well, we don't have it as is, what we have is 3m0/3m1 plus a revised/rerecorded/corrected 3m0, Take 338, very late. This is the main program version, a lot more lush and featuring the romantic setting of the main theme. The ending is cut shorter, it seems to be designed to lead into the revised 3m2. The film does indeed use this one all the way through, then edits the end of the revised Spying into it, like I tried to in the main program - the Intrada rather elects to present the two versions in full separately in film edit order.

 

 

Philipse's Death
3m3 Tk 7  - D3T16
3m3 Alt Tk 142 - Not on the set
3m3 Tk 143 - D2T12
Take 7 - either the first or second cue they tackled, a hell of a roofraiser to start with! This earlier take is very similar to the main program one with more prominent choir and less prominent brass. The middle one can only be found in the sessions so it wasn't circled - it attempts to insert the Horseman Rearing motif, not that successfully, even if it works literally. It and the final picked one are takes 142 and 143 - so either Elfman brought them both to the sessions to pick from later (seems to have been the case with other cues too), or they tried the revised one and immediately said no, searched up the old one and rerecorded it.

 

 

Into the Woods
3m5 Alternate vocals - D1T8
3m5 T135 - D2T14 latter part
Not much to talk about here, the OST features different vocals over part of the cue.

 

 

Mystery Figure
3m6/3m7 Tk 95 - D3T17
3m6/3m7 pickup Alternate Tk ?? - D2T15 (edited into Tk 95)
As originally recorded, the cue ended a lot simpler and kind of colder. The alternate ending (no take number unfortunately) is a lot warmer and features more of the main theme, romantic setting.

 

 

The Tree of Death (part 3)
4m1 Pt. 3 Tk 55 - D4T1 latter third (opening unreleased)
4m1 Pt. 2 Tk 60 - segment
4m1 Part 3 pickup Tk 309 - D2T16, edited into Take 55 (latter third)
The cue as recorded originally started with bare percussion and strings slowly quietly starting to come in, this was revised to include stabbing orchestra cries and a menacing string line on top and rerecorded at the end of 4m1 Pt.2, the previous cue, immediately after. The earlier version could actually just be something recorded minimally as an editing guideline. The pickup's another late revision of an early take. The first originally ended with the screaming female voice again, the revision changed it to a Rearing supported by a male choir.

 

 

Bad Dream/Tender Moment
4m3/4m4 Tk 223 - D4T2
4m3/4m4 Alt Tk 224 + 4m3/4m4 pickup Tk 225 - D4T3
4m3/4m4 Version 3 Tk 325 - D2T18, edited into Tk 224
The booklet confuses something, or Doug confused something, or the source he got confused something - what are labeled "Tk 223" and "Tk 224" here are the exact same take with an overlay mixed in ever so slightly differently. Only including the pickup Tk 225 as a difference here. This earlier take is again a lot more quiet and lowkey, but similarly transitioning the main theme from a dark to a romantic setting.

 

 

The Will
5m1 Tk 252 - D4T4
5m1 Retake Tk ??? - D2T20
The original version here is much more lowkey, slower paced, no pulsing driving strings - basically, it feels like "slowly realising things about a mystery" rather than the "the key has been uncovered, pieces are falling into place" feel the final one has.

 

 

Evil Eye
5m2/5m3 Tk 109 - D4T5
5m2/5m3R Tk 249 + 5m2/5m3 Tk 333 - D2T21
Basically both share the same ideas and pure base melodic/thematic content, but phrased/orchestrated very differently. The only big difference in vision is near the end, when the revision plays a lush romantic Main, while the original keeps going with its colder material.

 

 

The Church Battle
5m4 Tk 14 + 5m4 pickup Tk 16 - D4T6 first half
5m4 alternate pickup Tk 18 - D2T23 (partially), edited into Tk 14 Recall
5m4 alternate pickup Tk 21 - D2T23, edited into Tk 14 Recall
The original, very early take was deemed mostly good, and they quickly fixed the one portion that wasn't quite there (the Horseman's arrival at the church) with two inserts - one used only partially in the end, and thus present only partially on the Intrada, thankfully found in the sessions.

 

 

Love Lost
5m5/5m6 Tk 128 + 5m5/5m6 pickup Tk 129 - D4T6 second half
5m5/5m6R Tk 291 - D4T7
5m5/5m6 R3 Tk 356 - D2T23 second half
The opening reveal got gradually toned down - the first version treats even the cut to Katrina lying there fainted as a big moment, the second one tones that one down and saves the reveal setting until we see the "evil eye", the third removes even the choir. The first two approach Ichabod at Katrina's bed and up to him leaving similarly, the third is again more loud and overtly lush. The second treats Ichabod's return and entrance to the doctor's office to a bigger louder rendition of the same material. The Lady Van T reveal and the ending is again similar but quieter in the earlier take.

 

 

The Windmill part 1
6m1/6m2 Tk 140 - D4T7, first half
6m1/6m2R Tk 180 - D3T1, first half
Little to no compositional differences - the earlier version was written for a much shorter cut that later got extended, rescored, then mildly cut down again.

 

 

The Final Confrontation
6m4 Tk 36 Mix 2 + Female VOX Pass ? Tk ???
6m4 insert 1 (part 2 patch?) Tk ???
6m4 insert 2 (pickup @ Bar 62 Tk 227?)
6m4 insert 3 (??? Tk ???) + Female VOX Pass ? Tk 201
Solo Boy VOX Tk 201
So what is going on here? There was an original take, 36, then 3 inserts - 1, 2 and 3, and 3 vocal overlays for the ending, female 1, female 2, and boy. So far so good. Insert 1 replaces the quietly joyous strings for Ichabod and Katrina hugging with a bigger orchestral rendition. Insert 2 removes a somewhat jarring brass line when the Horseman's horse approaches. Insert 3 is for the finale, tones down the original screaming brass.
Unfortunately the documentation must've been a mess, the 2-track source Intrada got might have already been pre-edited too, but with the help of the session leak, I put this much together:

No Intrada track presents the original Take 36 as recorded. Disc 4, Track 9 uses the first insert and the first female vocal overlay (she uses an "aah-aah" voicing), Disc 4, Track 10 uses the third insert and the second female vocal overlay (she changes between "aah-aah" and "ooh-ooh"). Using these two tracks, one can then assemble an approximation of Take 36, using the insertless first half of 10 and the insertless second half of 9, and fabricating a clean opening and end. Disc 3 Track 2 is the film/album assembly, inserts 2 and 3 plus the boy solo overlay. Phasing out the perfectly finely performed Take 36 leaves us with a clean enough insert 2, revealing that it's performed perfectly fine, the musicians are all together, it's just badly edited in indeed in this version of the track. The booklet is kind of a mess, forgets the existence of Insert 3, names both female vocals Pass 3, the D4T10 breakdown even forgets that the track includes the alternate New Day.

 

 

A New Day!
6m5 Tk 155 - D4T10, slightly crossfaded with 6m4
6m5R Tk 275 - D3T2, slightly crossfaded with 6m4
The original take does use the main theme early on, but then welcomes the new century with a new fanfare, on its own, while the revised mostly replaces it with an evolved main theme.

 

 

End Credits
6m6 Tk 285 - D4T11
6m6R Tk 285R - D2T3
Aside from minor instrumentation and mix changes, the main difference is the ending - the older take fades out on a high pitched boy solo+choir main theme, the revised ends on lower nonthematic boy choir.

 

 

So, in the end, nothing completely radically different, but a fascinating look into the creative process and how unchanged base ideas can be expressed differently, by changing the orchestration, switching out a theme, quickening the pace, reimagining the sound. Some overall trends can be noticed: For example, in the early cues the romantic setting of the main theme practically didn't exist, the Ichabod/Katrina scenes were scored lowkey and understated, only the rewrites turned them expectedly romantic, possibly to boost up this kind of uninteresting and unengaging thread. Some parts of the investigation were also boosted up, while a lot of the over the top screaming and action was decided to be too over the top even for a limb-flying bloodsplattering Burton/Elfman film, and got mostly toned down.

[Richard Penna 3,684]

That's a great analysis

 

I think it also demonstrated (as you've detailed) what a chaotic composing/recording/editing process this must've been, and that keeping paperwork accurate during such a process is difficult, and likely wrong in some cases.

 

... which is a not very subtle way of my highlighting that any perceived flaws on the set (such as whatever happened to The Final Confrontation) are very likely the result of trying to interpret what was intended amongst the multitude of takes and inserts, with paperwork that might not be accurate, and god knows what pre-edited tracks might be in their session elements.

 

This also reveals how important it was that we got such a large number of alternates on the set, given that the final mix uses so many of them.

 

A few other interesting things to note:

 

• The OST edits out the bit at the start of The Chase that was edited out of the film. Leads me to wonder did Elfman do it after Burton had removed it from the film and agreed with the decision, or just on his own volition as it thought it sounded better for the album? Musically it doesn't really fit at all.
• I think the tracking of the Horseman Rearing motif at the end of the same cue is way better than Elfman's original section. The editing required (I recreated it while I was fixing the performance issue) isn't the best, but I think it really works creatively.
• Totally agree about The Will. The original cue just feels like a typical 'mystery' cue, but really lacks something compared to the revised version. Given there's just one revision and how different it is, they must've realised pretty quick what was wrong with it.
• Generally comparing the film, Intrada's set, and the OST, hardly anything seems to match regarding soloists/choir. Obviously it's an easy element to change if they record those separately, and the music as we have was evidently just the starting point for the editors and mixers.

[Holko 9,519]

10 minutes ago, Richard Penna said:

given that the final mix uses so many of them.

The final mix mostly uses the final main program versions, plus sometimes parts of whatever other takes, released or not released on the Intrada, aka circled or not circled. I don't think these takes were all circled because they were all used, I think they had the initial pass at recording them, picked the best one, circled it, then came back a week or two later, 5-10 sessions later even (don't know the actual numbers), had another pass with the revision, picked the best, circled it, didn't bother to go back and cross out the earlier version.

[Disco Stu 15,495]

You're doing the Lord's Devil's work here @Holko, thanks much!

[Jay 37,346]

Wow, this looks incredible.  I hope I can find time to watch this videos some time real soon!  For now, I already enjoyed just reading the descriptions.  What a process it was for them to put this score together!

[Jay 37,346]

@Holko, I finally found time to watch this today!

Basically, instead of listening to audio files while working today, I had the videos running on my side monitor while I was coding away on my main monitor.

Damn man, you did a great job here.  I love hearing the entire main program with the visuals to go with it, and I love the way you decided to present the alternates! It was very smart to show the "evolution" of each cue, even re-including the same "Main" version that was already in the initial videos.  I especially liked when the only revisions where inserts, you didn't repeat the whole cue again but now with an insert, you showcased just the Insert. Very cool.

 

It is kinda of funny that with this score, there's isn't any like "oh wow, I can't believe how DIFFERENT that cue was before they changed it!" type moments; the differences are really more subtle throughout.  It probably helps that the entire score is already living in a certain soundscape it doesn't stray far from, so of course the alternates are the same way.

 

So yea great work, and one of the most interesting one of these to go through.  Can't wait to see what you'll do next