
Goldeneye rejected score?
#1
Posted 31 August 2003 - 08:21 PM
is there anyone here who knows more about a possible rejected score for Goldeneye, whether it exists or not? I have 13 tracks on my computer with the label Goldeneye rejected, composed by Mark (or Michael?) Lewis.
Thanks for the info!
Greetz
#2
Posted 31 August 2003 - 08:25 PM
#3
Posted 31 August 2003 - 09:11 PM
There is an composer with the name Michael J. Lewis
But his last movie he have composed is from 1994,Deadly Target: Fire Zone.
#4
Posted 31 August 2003 - 10:52 PM
I tried to download it on Soulseek, but it takes very long.
level007 has got it, I think.
But if you hope for the Bond Theme: there are only hints of it in the score. So they basically dropped someone who didn't use the Bond Theme for someone who didn't WANT to use it :eek:
#5
Posted 01 September 2003 - 06:51 PM
#6
Posted 01 September 2003 - 07:26 PM
#7
Posted 01 September 2003 - 09:28 PM
#8
Posted 01 September 2003 - 11:38 PM
It utilises a very small orchestra; sounding almost like a score for a low budget film, but the themes are not varied. The score relies on a group of strings to drive through the bassline and what sounds like a clarinet or oboe plays an indistinguishable theme in most of the cues. There are hints of electronics in the score as well as twangy guitars, but nothing as extensive as Arnold, Serra or even Barry have used.
The cues are all short, topping around 2 minutes maximum. There are sections of the Bond theme present in some cues, though mostly hidden or convoluted. I fully intend to get the score up on the net as soon as I can so you can all have a very good listen, but it is hard to download.
#9
Posted 02 September 2003 - 12:07 PM
I could always mail a cue to someone if interested, to hear what it's like. (And I got it from Level007 on Soulseek.)
Greetz everyone!
#10
Posted 02 September 2003 - 12:32 PM
#11
Posted 02 September 2003 - 02:48 PM

One thing I forgot to mention is that randomly towards the middle of the score, the score changes pace, the driving strings (which had been a constant theme throughout the first few cues) stop, and Lewis goes for a strangely 60s parody theme more fitting in an Austin Powers film, though (I think it's track 9) where you hear slight bits of the Bond riff played on a mute trumpet. I also swear that Lewis pays homage to the Moon Buggy chase in Diamonds Are Forever in one or two cues.
I think this was merely meant as a showcase for Lewis' range of styles. Though the 60s parody style is laughable if toe-tapping, the score suggests to me that he thought when Bond would return, he would be a shadow of his former self. But the score is definitely not a fake.
#12
Posted 02 September 2003 - 08:13 PM
#13
Posted 02 September 2003 - 10:06 PM
Rich
#14
Posted 03 September 2003 - 12:04 AM

#15
Posted 03 September 2003 - 09:15 AM
Anyway, in the meantime, thanks for the feedback!
#16
Posted 03 September 2003 - 03:57 PM
Rich
#17
Posted 03 September 2003 - 04:06 PM
The rest of the score is definitely real, live orchestra, especially the earlier tracks that incorporate the urgent bass and the swing style heard in Track 9.
I've done a bit of research and it's even noted by Lewis' fans that he submitted a score for GoldenEye that was rejected, so I don't think we can discount it entirely.
#18
Posted 03 September 2003 - 04:17 PM
Rich
#19
Posted 03 September 2003 - 06:08 PM
#20
Posted 04 September 2003 - 10:06 AM
Greetings!
#21
Posted 04 September 2003 - 04:10 PM
Rich
#22
Posted 04 September 2003 - 09:11 PM

Anyway, thanks everybody for the feedback up till now!
#23
Posted 04 September 2003 - 11:08 PM
It is definitely a Bond score, both the bass line and the guitar riff are present, plus some sections of earlier Bond cues in a sort of homage (so far I think I count FRWL, DAF and Octopussy)
#24
Posted 05 September 2003 - 04:12 AM
Rich's Goldeneye Rejected score theory 1:
This was for goldeneye and was recorded by someone with very little money to finance a big orchestra, like someone fresh out of film / music school. I can back this up b/c there is only one mic position, you can hear where the instruments are supposed to be in the concert hall, this was recorded from the conductors perspective. Low budget recordings have one mic setup like this, as did alot of low budget scores from the 70's and 80's. The orchestra is obviously very small and could damn well be a university orchestra as the accoustics arent that great. Just get on the net and listen to any music school students' thesis done by a section of the school's orchestra (however big he could afford), youll know what I mean. This could be someone's thesis folks and not rejected goldeneye score at all. That leads me to my second theory
Rich's Goldeneye Rejected score theory 2:
This was done by a fanboy like you or I dunph. Admit it man, lol, if we could get a live orchestra for our music we would. I know for a fact you can get an orchestra this size for about $500 to $1000 per day if you have an in at say a university. A friend of mine recorded a score for a film I worked on at Baylor University for a minimal amount of $500 to record, master, and drop to cd 20 mins of music. I do this very same thing, heck, Im doing it now for BSLTW. If i really wanted to, i could start spreading rumors that it is a rejected score from TWINE done by myself or any other composer, and I bet that some people might actually buy into it. This could be someone's thesis as sometimes you can pick a film to rescore as your final grade. Maybe a student picked a previous bond film and rescored it and was given instructions to use the bond theme only sparsely. It could be someone (anyone, not just a student) who's into music and had some cash (or is a conductor for an orchestra) and wanted to record his very own bond score, much like I do with electronics.
To be honest, you've got a point dunph, Im sure many demos were sent to MGM when word got out they were looking for composers. This is definately some unknown composers work who after it was rejected possibly attatched Lewis' name to it to get attention and a laugh. I dunno anymore if it was or wasnt for goldeneye. But as far as I can tell it really sounds like it was recorded in the 80's at the very least, the evidence is there. Lol, maybe it was recorded in the 80's by said fanboy and then submitted (and rejected) for goldeneye. Who knows. Just some ideas for you all to chew on for a bit. We do know one thing for sure, it's Bond music. For what.. who knows.... when it was recorded... who knows. Maybe one day this enigma will be solved. Until then, we've all got entertaining theories lol.
Rich
#25
Posted 30 September 2010 - 10:29 AM
#26
Posted 01 October 2010 - 05:00 PM
http://blofeldscat.l...com/143565.html
#27
Posted 01 October 2010 - 07:26 PM
#28
Posted 14 October 2010 - 06:40 AM
I've cleared this up at least a dozen times already. Most recently here:
http://blofeldscat.l...com/143565.html
Michael J. Lewis' GoldenEye: A bootleg that's fooled many people so far, this compilation of 13 tracks actually has some Michael J. Lewis pieces in the final four tracks, but they are an unspecified showreel made much earlier. The other nine tracks come from 1970s library music compilations, primarily by composer John Cacavas and other composers you may have never heard of. Sometimes this CD is attributed to Bill Conti, because collectors shell out more money for fake music written by a better known composer. But needless to say, nobody wrote replaced music for GoldenEye (apart from Eric Serra, of course...)
Thanks for the info, much appreciated. How come there's fragments of the Bond theme though underneath the tracks then? Or do you mean 'showreel' for James Bond products?
#29
Posted 14 October 2010 - 11:03 AM
Thanks for the info, much appreciated. How come there's fragments of the Bond theme though underneath the tracks then? Or do you mean 'showreel' for James Bond products?
There is exactly one single quotation of the James Bond Theme in one of the tracks. The four tracks at the end are part of a general showreel (hence it has action, romance, Carribbean stuff). The theme appears at only one point in the action section. If you notice, the exact same recording is present twice - one with the brief Bond theme quote, once without. This is fairly common thing for these showreels or other material planned for in-house usage, nothing strange about that.
Edited by The Cat, 14 October 2010 - 11:06 AM.
#30
Posted 03 March 2011 - 03:56 PM
I agree that only the 3 last tracks really stand out and seem to be the only genuine ones (if any)
However, I am really suprised no one here mentioned that the cues used in track 11 and 12,
are the exact same cues as used in the GoldenEye game for N64 by Rare(Ware);
I instantly recognized the music of the Depot level in the aforementioned game:
Depot Level Goldeneye 64
The cues start at 0:50
Still can't believe nobody noticed or mentioned that...
I remember that the GoldenEye game took three whole years to develop (got released in 1997, two years after the movie itself) and its publisher "Rare" (now Rareware) spared no money nor effort to make sure every detail in the game corresponded to the movie.
It was stated that Rare was provided with the blueprints and exact data of the scenery, locations and settings in the movie;
So it would come as no suprise to me that they were able to strive the same kind of authenticity music wise.
The music beats used in the game (f.e. the facility level) are very Eric Serra like
and it doesn't strike me as a coincidence Rare also used some of these rejected tracks as a part of their score for the GoldenEye game...
Furthermore it wouldn't make any sense that "Rare" itself would be the composer of these rejected tracks.
Why would you hire an orchestra back in these days to record music for a N64 game, as we all know that it needs to be ported to a N64-bit cartridge on which everything sounds lke a medieval midi ?
As Rare was licensed by MGM/UA and EON to use everything at its disposal for the development of the Bond game,
I feel these tracks were in fact sent to MGM/UA back then by someone and got indeed... rejected.
If it was just fan made, and not a composer seriously considered by MGM, I doubt Rare would have 1) got a hold on the music 2) used it in their game
Perhaps the 10 first tracks were recorded back in the 70 or 80's just as Rich suggested,
but the last 3 tracks definitely originate somewhere around 1994 - 1997
At least someone at Rareware must know where these tracks come from !
Edited by hawke, 03 March 2011 - 04:04 PM.