Oh yeah, I had forgotten about what Shekhar Kapur mentioned in his blog. I read it again now and it says that ARR composed a piece for divinity. That looks like the "Divinity Theme" in the soundtrack. However it could very well be that he also did the beheading theme. Shooting a scene with music on the sets is only done for the actors and crew to get inspired and get a better idea of what the scene is about. That must have been a rough version which ARR sent. The orchestra recording sessions for this movie began later than the scene was filmed.
I'll agree with Kapur's idea of the temp score in general although I will differ on his notion that the temp score is more 'precise'. By precision I'm guessing that he means that existing music pieces can be selected, cut and fit to the images to capture every mood swing, but I'll say it is wrong to assume that an original score cannot do the same. Composers can do so much more with an original score; they can convey hidden subtexts or hint about plots. ARR talked a bit about temp tracks in the recent CNN interview (Screening Room). Composers don't like to be given a temp track because there's always the chance that the director/studio is obsessed with it that they'll have the final composition sounding close to it (leaving very little room for originality). However, it is a growing practice these days and it depends on the director-composer relationship to use it to convey the general idea and give the composer some freedom. Some of the most famous cases of "temp track love" are Georges Delerue's score for Platoon and Alex North's rejected score for 2001 A Space Odyssey (Stanley Kubrick). In Platoon, director Oliver Stone was so fond of Barber's Adagio for Strings that in spite of getting Delerue to compose something similar he chucked it and used the Barber piece instead. For 2001 Space Odyssey, director Kubrick had a whole bunch of classical music for the movie. The famous spectacular sunrise scene is scored by Richard Strauss' Thus Spake Zarathustra. Alex North composed an original score that received brutal treatment from Kubrick. Most of his score was rejected and he wasn't even told about it until he went to a screening expecting to hear his music and got the shock of his life. RR ----- Original Message ---- From: Brijram <[EMAIL PROTECTED]> To: [email protected] Sent: Wednesday, October 3, 2007 2:44:12 PM Subject: [arr] Elizabeth TGA He has definitely scored "Mary's Beheading", shekar Kapur had confirmed this in his blog long ago. Infact Mary's beheading was shot simultaneously with recorded music. Film crew were in tears when the scene came to an end as the music blended so well with the scene! There is one more write up on the score by Shekar which is interesting. Would like to know your thoughts on this. Read further June 01, 2007 | 09:58 PM Temp Score and Real score I am going through the last minute pains of Golden Age. As we edit the film we add what we call temp score to the edit - to impress people as the see the film in various stages of the edit. This this score is stolen from all over the place. Other movies mainly, but also from classical recordings etc. Problem is that you got so used to the temp score that it is difficult to imagine any other score to fit the film... ..but of course it will not. For the temp score is chosen for it's particularness to each shot. It has no harmonious integrity of it's own. When the composer comes on, he will score the film so that the whole score has integrity and some kind of unison. As he should for the theme to evolve. But it will never ever be as precise as the temp score !! So I trying to get over my addiction to the temp score right now. My fear that actually the film that tested so well in the US had better music. Which is of course is not true, but another bit of obsessiveness on my part. 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