I never got around to raving about the FSM disc of the original tracks from Miklós Rózsa's Time After Time! The major difference between the film version and the re-recording with the Royal Philharmonic is the size of the orchestra. The length of the score is also not quite double that of the album, but rather than making it a more tedious listen, the additional music fleshes out the more familiar material, giving thematic material more 'breathing room to develop. It just has more romance, wonderment, mystery, suspense and horror, and isn't that what one listens to a film score for?
Dr. Rózsa's music often works better in longer form; witness Tadlow's outstanding El Cid!
I am considering dropping Timeline from the my Jerry Goldsmith Scores the Middle Ages compilation. While there are certainly certain commonalities with the other scores, there are times when it seems to be emphasizing more the science fiction elements of the story, and it causes something of a disconnect with some of the other scores. I'm not talking about the use of electronics, which is rampant in Lionheart, but rather the stylistic choices Goldsmith made in the creation of the score. It isn't set in stone as yet, but it is looking more and more likely.
suitboyskin will be here for the weekend, so I'll be taking a respite from all the Island of Dr. Moreau-style mutations I'm imposing upon Goldsmith's music. This is probably a good thing, because I need some perspective, especially considering the big sea change I might be planning.
Dan and I are shooting on Saturday; it's just a brief pick-up shot and a quick improv scene, so it isn't going to be one of those cases where we get a ton of people over, it's only going to be a few hours. It will be nice to get them out of the way though, because then Sandy and I can start editing the footage we already have.
Here is Bear McCreary demoing the theme from Caprica, which sounds like it is going to be in a similar vein as the 'Battlestar Sonatica'...
Link for Facebook Readers