I'm really disappointed that the sources for Spartacus vary so much, sometimes even within the same cue. I exacerbated some of these issues by mixing music from different sources, but the alternative would have been to lose some of the cues that I wanted most to include. The sound quality on 2001 varies as well, but it never gets as hissy as some of the Spartacus tracks. It is so frustrating that this paragon of film scoring lies dormant in the Universal archives, especially in light of the voluminous and most listenable Cleopatra release (which is a much less varied score than Spartacus).
However, despite the technical limitations, I think that this is going to be one of my best. As far as the album keeping the listener's attention for two full discs worth (this draft clocks in at 2:42:42 (81:12 for disc one and 81:30 for disc two), the six scores I'm drawing from are 2001, The Agony and the Ecstasy, Cleopatra, Dragonslayer, The Shoes of the Fisherman and Spartacus, and there are just no duds there. Furthermore, each of those scores contain such a variety of moods and emotions, as well as a wealth of individual thematic material, some of which is shared. North mined his 2001 score for both Shoes of the Fisherman and Dragonslayer, and I made a deliberate choice to emphasize the links between these scores. As a result, the mix has a main theme, which is the fanfare written for 2001 which appears adapted into The Shoes of the Fisherman and in a very different guise in Dragonslayer.
Now, do you really think she looked anything like Liz Taylor?
Incidentally, I just wanted to mention that I think that the ambition theme from Cleopatra is one of my favorite bits of scoring for a character trait. It's so slinky and sinuous. I keep trying to whistle it, but I can't.
Well, I have a few more things to do before I call it a night, but at least I got the mix done at a reasonable time! And now for some west and wewaxation... oh, wait, that's right, I have to pick the place up a bit as Dave and