Veröffentlichung Intrada: LOST IN SPACE (2CD) (Bruce Broughton)

[Gast Stefan Jania]

Intrada verlängert das eigene alte Album...

 

 

Bruce Broughton's dynamic action-filled soundtrack for Stephen Hopkin's big-screen treatment of classic Irwin Allen 60's TV series gets deluxe expanded 2-CD release! Famed space family Robinson comes vividly alive courtesy William Hurt as John, Mimi Rogers as Maureen, Heather Graham as Judy, Jack Johnson as Will, Matt LeBlanc as Don, Gary Oldman as Dr. Smith. Involved, darker and more serious story than TV series offered inspired Broughton to create massive, full-blooded symphonic score with one foot in robust action mode, one foot in intense drama mode. Main theme, heard nobly on solo horn at outset of "Main Title", takes off in full throttle fashion for initial launch of Jupiter II. Sinister motif for Dr. Smith, heroic ideas for John, swashbuckling action music for Don - all soon have their say. Powerful and complex "Boarding The Proteus", incredibly ferocious and lengthy "Spiders Attack" (both heard complete for the first time on this release) are just two of many highlights. Broughton had less than three weeks to prepare his massive score. Changes were being made even as Broughton was completing his score, causing numerous revisions to become necessary. Many cues were heavily edited in finished film, still others repeated in scenes not originally planned. Intrada restoration features everything in sequence Broughton originally intended. Both full-length original versions and revised versions are included, allowing listener to enjoy everything as is or select just those versions preferred. Sometimes the changes are nominal, reflecting brief editorial changes in the film. At other times the changes are significant, reflecting major revisions to the final footage. Final portion of film actually saw multiple editorial decisions being made - Broughton responded in kind with three different takes on his climactic cues "The Portal", "Through The Planet". All three versions are present on this release as well. Both discs mastered from the original two-track digital session mixes made by John Timperley at famed Abbey Road & AIR Lyndhurst Studios and Mike Ross-Trevor at Whitfield Studios, all in London. Entire album production courtesy Warner Bros. Detailed notes by Tim Greiving, flipper-style cover design by Joe Sikoryak. Bruce Broughton conducts Sinfonia Of London. Intrada Special Collection 2-CD release available while supplies and interest remain!

With the latest release from their long-standing relationship with composer Bruce Broughton, Intrada revisits Broughton's massive score to the 1998 film version of Lost in Space. Broughton had two-and-a-half weeks to score the film and that it’s one of the richest, grandest scaled and most thematically compelling scores of his career is a testament to Broughton’s professionalism and talent. Not only scored on a tight schedule, but the picture underwent numerous changes even as Broughton was attempting to finalize his score and record it with the Sinfonia of London. The composer had to write and record in haste and revise and re-score numerous sequences right up until the last minute. The resulting score is remarkably coherent, strongly melodic in its thematic elements, powerful in its majestic moments, and ferocious in its action sequences.

This new release expands upon the previous release, and now covers 2-CDs, including many alternates and revisions. Intrada revisited the complete session masters, recorded digitally during February and March 1998. The assembly follows Broughton’s initial plan, with full cues playing in their originally intended sequence, including a significant highlight -- the almost completely unused action set piece "Major Mayhem" that follows the main title.

The film retains the narrative of the original Irwin Allen TV from the '60s on which the movie is based. A space family Robinson sets out to colonize Alpha Centauri, only to lift off with a saboteur trapped on board. The ship is sent off course and is lost in space as the Robinsons deal with deadly space spiders, time bubbles and exploding planets, only to come out without any idea where they are or how to get home.

CD 1:

 1. Prologue (:58)
 2. Main Title/Major Mayhem (4:07)
 3. Hologram Gags/You'll Do (Alternate) (1:05)
 4. Meet Dr. Smith (1:40)
 5. Dog Tags, No. 1 (:38)
 6. Reprogram The Robot/The Launch (6:25)
 7. Bad Dream/The Robot Attack (3:22)
 8. Where's Judy?/Judy Is Dying (Remix) (6:23)
 9. Can't Kill The Man (Revised) (:49)
10. We're Lost (:23)
11. The Proteus (Alternate) (2:23)
12. Boarding The Proteus, Pt. 1/Boardingthe Proteus, Pt. 2 (7:01)
13. Spiders And Static/Spiders Attack (Revised) (7:54)
14. Jupiter Crash (1:11)
15. A Strange New Place/Spider Scratch (1:29)
16. Matt And Judy (1:40)
17. Goodnights (:38)
18. Energy Bubbles/Dog Tags, No. 2/John And West Set Out (2:23)
19. Will's Walk/Smith Persuades Will (1:56)
20. Will And Smith Set Out (1:59)
21. Decades Old/I'm Your Son (Revised)/Time Machine (4:27)


CD 2:

 1. Never Trust Anyone/Smith Interrupts/Spider Smith (3:01)
 2. Friendship/We Have A Plan/Kill The Monster (Revised) (8:46)
 3. Let's Go Major (Original) (1:26)
 4. The Portal (Revised Alternate) (2:44)
 5. Through The Planet (Revised Alternate) (2:28)
 6. Nice Work Fly Boy (Revised) (1:36)
 7. Fanfare For Will (:27)
 8. Lost In Space (3:26)

Total Score Time: 83:37

The Extras - Alternates

 9. Hologram Gags/You'll Do (Original) (1:04)
10. Can't Kill The Man (Original) (:49)
11. The Proteus (Original) (2:24)
12. Spiders And Static/Spiders Attack (Original) (7:54)
13. Decades Old/I'm Your Son (Original)/Time Machine (4:32)
14. Friendship/We Have A Plan/Kill The Monster (Original) (8:50)
15. Let's Go Major (Alternate) (1:24)
16. The Portal (Original) (2:42)
17. The Portal (Revised) (2:43)
18. Through The Planet (Original) (3:13)
19. Through The Planet (Revised) (2:41)
20. Nice Work Fly Boy (Original) (1:48)

Total Extras Time: 40:29

[Grubdo]

aber sowas von gekauft und wers noch nicht hat sollte jetzt zugreifen. definitiv teil der top ten der besten scif-adventure scores überhaupt

[ronin1975]

auf jeden Fall... mir reicht allerdings die alte Intrada Fassung... steh nich so auf alternates...

[Sebastian Schwittay]

definitiv teil der top ten der besten scif-adventure scores überhaupt

 

Recht unterhaltsam fand ich den ja auch immer - aber unter den zehn besten seiner Art? Finde ich übertrieben.

 

Intradas Wiederveröffentlichung ist ja leider mal wieder so ein Klopper, der gegen jedes Maß- und Dramaturgie-Empfinden verstößt. Und unnötig obendrein, hatte die alte Intrada-CD doch schon stolze 76 Minuten an Bord.

[Freddy Heflin]

Naja,hätte mich auch gewundert wenn du da jetzt nichts dran auszusetzen gehabt hättest. ;-)

[scorefun]

hatte die alte Intrada-CD doch schon stolze 76 Minuten an Bord.

 

67 bitte schön...

[ronin1975]

nicht auszudenken, dass Mark Isham mal ne Weile an Bord war... was das wohl fürn Antiscore geworden wäre im Vergleich zu diesem.

Ganz am Anfang sollte das ja Goldsmith machen, der konnte dann nicht. Dann haben sie Arnold wohl 3mal gefragt und der wollte nicht.

 

Wie wer da auf Broughton wohl kam? War damals schon ne Riesensache... na Spitzenscore geworden. Aber ganz ehrlich, der Spinnencue klingt dermaßen nach Don Davis... der hat doch da ausgeholfen! :-)

[Max Liebermann]

nicht auszudenken, dass Mark Isham mal ne Weile an Bord war... was das wohl fürn Antiscore geworden wäre im Vergleich zu diesem.

Ganz am Anfang sollte das ja Goldsmith machen, der konnte dann nicht. Dann haben sie Arnold wohl 3mal gefragt und der wollte nicht.

 

Wie wer da auf Broughton wohl kam? War damals schon ne Riesensache... na Spitzenscore geworden. Aber ganz ehrlich, der Spinnencue klingt dermaßen nach Don Davis... der hat doch da ausgeholfen! :-)

 

Im FSM stand mal, dass die Produzenten am Liebsten John Williams gehabt hätten (auch wegen dessen Lost-in-Space-Vergangenheit), aber da natürlich eine Absage kassierten. Der Broughton-Sound war dann wohl nach längerer Suche die beste Alternative. Wobei das Drama dann war, dass die Musik unter dem dröhnenden Sounddesign weitgehend begraben wurde. Im FSM-Interview wirkt Broughton diesbezüglich auch fassungslos bis geknickt.

[Siddl]

Im FSM-Interview wirkt Broughton diesbezüglich auch fassungslos bis geknickt.

 

Gibt's das irgendwo zur Ansicht?

[Gast Stefan Jania]

Ich finde ein Broughton-Interview zu Lost In Space in FSM Vol. 3 Number 4 (May 1998). Die Ausgabe gibt es kostenlos als PDF zum Download. Da steht auf Seite 22.

 

JB: How much of a problem was the sound mix?
BB: I understand that the music comes out real well. I walked into the dub-
bing once or twice and I was real happy with the way it turned out. There are a
lot of effects, and I was warned at the beginning that they were not sure the
music would be heard here and there because the effects would be so great. As
it turned out, the effects started coming out and the music is played strong.
There are some places where I would not expect the music to be heard as well
as other places, but I understand that overall the score is on there pretty thick.

 

Also fassunglos bis geknickt finde ich das nicht.

[Gast Stefan Jania]

Neben dem oben erwähnten FSM-Interview gab es auch in der Soundtrack! #66 vom Juni 1998 ein Broughton-Interview zu Lost In Space. Das gibt es ebenfalls online.

 

http://www.runmovies.eu/?p=1558

EDIT: Und ich sehe gerade, dass der Link zur FSM-Lost In Space-Ausgabe in meinem Beitrag drüber wohl irgendwie verloren ging. Daher: hier ist das Heft.

 

http://www.filmscoremonthly.com/backissues/viewissue.cfm?issueID=6

[Max Liebermann]

FSM 5/2007:

 

Broughton:

"I don't know what happened on LOST IN SPACE. I went to the dubbing and the music was fine. But then they took it back to England for the final mix, and I hadn't talked to them about it but I get the impression that they had just raised the sound effects and left the music at the same level. Which, if you've seen the film a thousand times like the director would have, that's a choice, because if you think a sound isn't being heard you just raise it. I had my first indication that something had gone wrong when I talked to Jon Burlingame. The film hadn't been released yet and Jon had seen it. He has good ears and good taste, but he looked at me and said 'Look, Bruce - I couldn't hear a theme, I could barely hear the score.' I said 'Maybe you went to a bad screening. I mean, I was at the dub and I heard the score.' (...)

When Jon told me he couldn't hear a theme I got really confused. I thought 'How could you miss the theme? It's in every cue.' But when I saw the film I understood what he was talking about. ..."

[Gast Stefan Jania]

FSM 5/2007:

 

Meinst Du Vol. 12 Number 5 (May 2007)? Das ist eine FSM Online Ausgabe. Habe ich eben durchscrollt, finde da aber kein Broughton-Interview.

[Max Liebermann]

Sorry, es ist Volume 5, Number 7. Broughton ist auch auf dem Cover.

[Gast Stefan Jania]

Danke. Hier die Ausgabe als PDF:

 

http://www.filmscoremonthly.com/backissues/viewissue.cfm?issueID=21

[Grubdo]

Die restaurierte Version des Scores ist um längen besser.Wer glaubt bei seiner vergewaltigten Fassung bleiben zu wollen verpasst zahlreiche Highlights in neuen und wiederhergestellten Tracks.Und auch die alternates haben einiges zu bieten.Allein die neue Actionmusik in Track 2 die nichtmal im Film war und auch nicht auf der alten CD und das nun massiv aufgeputschte Spiders Attack!, das voll von neuen dramatischen horner, davis, goldsmithstyle passagen ist jetzt machen den kauf wert.

[ronin1975]

 

hab den Film lange nicht gesehen, meine aber schon der Mix war ok... aber is generell auch ein lauter Film.

[TheRealNeo]

Höre gerade das bisherige Album und würdet ihr weiterhin zur Doppel-CD raten?

[scorefun]

vor 7 Stunden schrieb TheRealNeo:

Höre gerade das bisherige Album und würdet ihr weiterhin zur Doppel-CD raten?

Ich habe drauf verzichtet - ca 18 Minuten mehr Score, und dann halt noch 40 Minuten Alternates waren mir eine Neuanschaffung nicht wert

[TheRealNeo]

Ok.

Hier war ja auch von klanglichen Verbesserungen die Rede.