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Troy Rejected Score Track List


Dean1700
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The first trackon the bootleg we've been talking about, where does it go with the film, suposedly?

That one curiously doesn't seem to synch up perfectly with any scene. It kind of works when you see the 1000 ships heading for Troy, but not totaly.

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But that scene should be score by track 8, right? Specially given the finale of the track...It should fit very well with the shot of all those ships sailing to Troy.

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It didn't work perfectly, but we still haven't tried out all the options. Just finding where everything goes is taking more time than we thought (though the Sacking of Troy fits 100%- and it's breathtaking).

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Oh, and just real quick, as much as I like this music (and it is very good music) ultimately it's a film score without a film. I cannot judge how successful it totally is. With actual scores that were used such as ESB and TMP I can judge them on how great they are not just as music but at how well they support the on screen action. That's the real key to a scores success.

Neil

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There were some great moments in HP3 and The Terminal but on the whole, the seem a little weaker than Williams' usual excellence.

I personally like Angela's Ashes more than a lot of what Johnny has written of late for the same reason I love Yared's Troy- both scores are music, not pitched sound effects.

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And Williams' last two scores were average and not wortyh buying.  While I'm at it.

You just like burning bridges whenever you can, don't you? :(

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Oh, and just real quick, as much as I like this music (and it is very good music) ultimately it's a film score without a film.  I cannot judge how successful it totally is.  With actual scores that were used such as ESB and TMP I can judge them on how great they are not just as music but at how well they support the on screen action.  That's the real key to a scores success.

Neil

Oh yeah baby! I was hoping we could take the STUPID Ford Thaxton route!!!

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You're biased. You dedicate your life to rejected score, so when you come along what's IMO the best ever, it must be your holy grail.

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Neil's right, you can't fully judge a film score without hearing it in/with the film. That's what it was written for, it's not created in a vaccum.

John- who would never compare a comment from Neil with anything said by FAT.

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The film doesn't matter. IT shoudl be lucky IT GETS a score. Certainly one the likes of Yared's work.

Take the The Birds and China Syndrome - no scores.

The merrit of a score is if one can listen to it without a film, or some crap.

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I think everyone should just rent the DVD and mute it while playing Yared's score. Then it'll hush up all the Thaxtonites saying we have no way of knowing if it's a great film score.

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The film doesn't matter.  IT shoudl be lucky IT GETS a score.  Certainly one the likes of Yared's work.

Take the The Birds and China Syndrome - no scores.

The merrit of a score is if one can listen to it without a film, or some crap.

That's the merits of an album. The merits of a score is serving the film. Which Yared's Troy does, perfectly so.

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The merit of score is the ability to suport and elevate the film and at the same being able to sustain itself as a listening experience without the movie. And that is a very difficult balance to achieve.

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Alexander was a great film with an horrid score..Troy was more or less the oposite (concerning Yared's Troy).

Imagine Troy with a Vangelis score....yes the film could be even crappier.

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Amen Morlock. That's something I have been looking forward to doing.

Does anyone else play rejected scores with their accompanying movie?

Can't wait to do it with Timeline. After all, it's the purpose the compser intended them for.

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But Timeline was totaly recut, I believe. Only other film I've done it with was Air Force One, and it really puts a whole new spin on the movie, but works very well still.

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Try this:

In an interview with MOVIE COLLECTOR magazine, Basil Poledouris said:

"The reason scores get changed so much is that the music is the last chance to 'save' the film. They can't go back and reshoot it, they can't recast it, they've re-edited it a hundred times. The only thing they can still do is change the music. They always think "Maybe the music will save it," but music can't save a bad film. Nothing can."

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But the con to that idea:  Having to SEE the movie :music:

How true this statement rings. I saw the movie once and that was probably too many times. I don't understand what all the hype was about and as far as I'm concerned thought it was rather mediocre.....but that is my opinion.

It would be good to see if Yared's score would have made a difference though. Maybe they should release the film again but with the option of having Yared's score as an alternative. They did it with the recent Battle of Britain DVD and Sir William Walton's rejected score so the precedence has been set.

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One thing that puzzles me is that the two score, though having different themes, have a similar style (same chorus and vocal female performer, similar instruments...)

I dont see the point of sacking Yared. Horner seems to have used Yared's score as temp track, which doenst make sense if the directors/producers didnt like it...

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I've tried to synch severl tracksup with the movie, but the only one that I got to fit perfectly is "Achilles's Destiny". When starting the track at 23:07 into the movie (end of Achilles/Odysseus conversation) it plays absolutely in synch up to the end of the track, when Priam greets the princes and the Paris/Helen theme is heard over his speaking to Helen. It starts with this low rendition of the "Approach of the Greeks" theme when Odysseus says something about "We sail soon" (sic), then tender music for Achilles and Thethis, and as she speaks of his doom, the music becomes foreboding... and then as he gazes into the distance, his theme builds incredibly to segue into the ships scene (complete opposite of Horner's descending bland chords at that moment). And I guess I don't have to say anything about the ships scene itself :music:

(all talking about the PAL DVD here, so the starting time could be slightly different on NTSC)

Morlock, who do you get the "Sacking" to Synch up perfectly? Either way I tried it, at some point it stops to fit.

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When starting the track at 23:07 into the movie (end of Achilles/Odysseus conversation) it plays absolutely in synch up to the end of the track...

If you are using a PAL video, there is no chance the music will ever sync up, unless you are speeding that up.

Neil

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Morlock, who do you get the "Sacking" to Synch up perfectly? Either way I tried it, at some point it stops to fit.

It sometimes gets a bit vague, but it then hits a synch point perfectly. It works for me just about until Achilles' death scene.

One thing that puzzles me is that the two score, though having different themes, have a similar style (same chorus and vocal  female performer, similar instruments...)

Well, Horner does seem to have refered the Yared's score on more than one point. The fanfare for Troy is very similar in style, though I actually like Horner's a bit more (though I love how Yared uses the chorus).

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Morlock, I checked out some track of the bootleg, but the quality is sooo bad. It sound like the VHS extractions of Temple of Doom.

Have you some link to better versions?

Please PM me!

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When starting the track at 23:07 into the movie (end of Achilles/Odysseus conversation) it plays absolutely in synch up to the end of the track...

If you are using a PAL video, there is no chance the music will ever sync up, unless you are speeding that up.

Neil

Well, technically, neither will it with the NTSC version 8O

Regarding that I used the only real exact synch point as a reference (the cut from the ships to Troy) for when to start the track, it synchs up perfectly. Since the other synch points are more fuzzy, the fractions of seconds (or even if it is one second or so) aren't noticable.

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