• Bear McCreary

    Composer for film, television and videogames. Credits include "Battlestar Galactica," "The Walking Dead," "Terminator: The Sarah Connor Chronicles," "Caprica," Step Up 3D, "The Cape," "Human Target," "Dark Void," "SOCOM 4," "Trauma," Wrong Turn 2, "Eureka" and the Rest Stop films. This blog focuses on the scores to "Battlestar Galactica" but other projects and various aspects of film music are frequently discussed.
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    BG Season 1 Mx Mix-Ups

    Posted by Bear McCreary on August 20th, 2008

    Getting any series from script to air is a complex process, and along the way, people make little mistakes, ideas change and sometimes we lose track of things.  After all, we’re only human (or are we Cylons?).  

    Here’s an amusing mistake that no one noticed for years:  a pivotal scene in Season 1 has been floating around with two distinctly different scores!  After all, we had multiple Main Titles and multiple DVD releases.  Why not have multiple scores?

    If you live in the United States, pull out your Season 1 DVD set and cue up Kobol’s Last Gleaming, Part I.  The episode’s climax is where Kara disobeys direct orders and jumps away in the Cylon raider, heading back to Caprica.  As you can hear, the score for this moment is a bed of drums lifted from the miniseries soundtrack (click on the screenshots for video, you’ll need Quicktime):

    bg112c.jpg

    However, this is not how the scene was originally broadcast.  Indeed, the US broadcast version and all foreign DVD releases, were subtly different.  I also found the score was different on the Season 1 box set that Best Buy sold in the States as “The UK Version,” released prior to the official Season 1 set.  

    In these other versions, this pivotal scene was underscored with a bed of drums lifted (quite obviously) from the Main Title drum montage:

    bg112b.jpg

    This was first noticed when someone preparing the Japanese edition Season 1 DVD caught the difference.  Whoever this guy is, he pays attention to detail!  BG sound designer Daniel Colman looked into it and asked my help in trying to figure out how it happened.  I, naturally, had no idea, but did remember that we tried out multiple variations on the mix stage when the producers didn’t like my original idea.  Daniel told me that the LTRT version (with the “Main Title Drums”) is the one that broadcast on domestic television and all foreign language versions of the show. The 5.1 mix (with the “Miniseries Drums”) appears only on the American Season 1 DVD set.  

    Now, I’m curious about the Canadian broadcast and DVD versions.  Do any of you know which version of the music ended up there?  What about the short-lived HD-DVD version?  Which version of the score ended up on that?

    Since the discovery of this little mistake, a new 5.1 version has been made so that all subsequent US DVD releases of Season 1 will match their international and broadcast counterparts.  Presumably this means the inevitable blue-ray edition will be corrected, and thus different from the first DVD release.

    It should be fairly obvious that neither of these versions are what I originally wrote for the scene, since they are both edited in from various other episodes.  There were several situations where the producers felt my score didn’t capture everything they wanted and opted to instead edit in something else I’d already written.  This happened with some regularity on Season 1 and has become increasingly rare since (and has actually never occurred at all since the middle of Season 3).  I credit this trend to two factors.  First, my experience and familiarity with the series and the producers have made me a better judge of what they are looking for, and I’ve undeniably become a better composer in this time as well.  And secondly, the producers’ familiarity with me has allowed them to trust my instincts more.

    I must confess the producers’ reasons for axing this cue were sound.  They wanted to amp up the tension before Kara jumps, and also amp up the profound, quasi-religious impact that her actions have on the story.  In the intervening seasons since Kobol’s Last Gleaming, I have learned that the final cue of any episode must be either very intense (for action scenes) or very subtle (for dramatic impact).  The score cue I originally wrote here strove for the middle ground and, as a result, was not really passionate in either direction.  

    So, just for fun… I’m presenting a third version of the scene, that no one has ever seen before.  Here is the scene, with the original score that I wrote for it intact:

    bg112a.jpg

    It’s honestly not that bad, although I’ve gotten used to hearing the boy soprano at the end (which was edited in from a previous cue in that episode).  However, I do like the dark and ominous quotations of Kara’s Theme throughout this piece that root the scene in her character arc.

    As for the difference between the broadcast and DVD versions, I’m astonished that anyone caught it at all… yet part of me is surprised that astute BG fans haven’t been asking me about it for years.  :)

    So Say We All!

    -Bear 

    PS: Confused about the “Mx” in the Title?  ”VFX” is industry short-hand for “Visual Effects,” while “SFX” stands for “Sound Effects.” Back in the day, someone cleverly adopted the abbreviation “MX” for “Music.”

    22 Responses to This Blog Entry:

    I’ve watched the original US release version now so many times, hearing the original broadcast is odd.

    Well, now, there is something I would have NEVER caught…and I’ve caught Kobol’s Last Gleaming on the tube a couple of times in reruns…..

    Nice to have you check in over the summer, you’ve GOT to be a super busy guy with the slate of stuff you’ve got going on….

    Might we be looking forward to other little trivia tidbits like this in the future? :)

    Very intersting. All 3 versions worked great.

    Truth be told, I think I prefer the version you scored Bear.

    Thanks for droping us a word during the “hiatus”. It was a wonderful surprise. At first I thought, I’d be biased and prefer your original score above all else, but truth of fact is I prefer the US version the most. the other two are a bit distracting …from the words said and they overwhelm the action a bit for me.

    Though I wouldn’t have noticed if this wasn’t pointed out…. I feel that the U. S. DVD (aka Miniseries drums)fits the scene better than the Foreign/ UK (aka Main Title drums). The Main Title drums stick out too much because of how often we here that piece of music. To me it sounds like someone made poor judgment ever editing in that cue. Maybe it’s just me, but it didn’t fit. I found the mini-series drums and Bear’s version to be much more effectice and subtle in their underscore.

    interesting, sadly I only saw this episode once (hopefully Im going to buy it) so I would never have caught it.

    I can’t tell you about the broadcast version in Canada, I only started watching BSG on dvd when the writer’s strike hit, but I just checked the scene and the music used is the main title drums version.

    It’s funny that you mensioned this….I watched that ep just the other day (watching the series over), and noticed the drum lick from the action previews in that scene. The odd thing is, I was watching the US DVD set. At least, I think it is (it has the miniseries in the same set, and has Number Six and Apollo and Starbuck back to back on the front of the box). Besides, the main title is the old US version.

    That reminds me….why where there two main titles composed in the first place, and why did you settle on the UK version after season 1? I actually liked the US version better, personally.

    Also, the emmys are full of it. Revelations should not only have been nominated for best musical score, it should have won.

    Oh, and there are some things in both parts of Kobol’s Last Gleaming I seriously want in CD.

    Sorry for the long post. Can’t wait to hear more fantastic music!

    What I meant to say is, the stuff you left out of the season 1 soundtrack. That scene where Billy, Elosha, and Roslin discover that the planet is Kobol – the queue later used when they are looking at the constellations – that is one of my favorite queues! I hope it will be on a subsequent CD.

    Something completely unrelated – I found this… I’m having some issues classifying it as mere “trivia”… on your IMDb page:
    ~~~
    Worked for and studied with film music legend Elmer Bernstein for nearly a decade, including reconstructing and re-orchestrating his long-lost score for Kings of the Sun (1963) from the original pencil manuscripts.
    ~~~
    Wow.

    I actually remember that movie. I saw it. In a theater. It’s my second favorite movie starring Yul Brynner. (You should know what the first is. Much better known score by the same composer.) And, though I don’t quite remember the music (hey, it’s been over 40 years), I do remember that I liked the music.

    - M. \”/

    I like the original version. It’s subtle and doesn’t try to create a false sense of immediate peril. Yes, there is tension between Adama and Thrace, but the dialogue conveys that well enough alone.
    And at the end there -are- drums to end the episode with on a more action-oriented tone. So I don’t really see the need why all of it has to be drums. I also really like boy soprano though.

    Being a very astute listener of your music, I may have caught that… but I have the US dvd, and watched the US broadcast… so I don’t think I had the chance to hear the other one.

    As far as your alternate take, I think it works wonderfully… they should have used it…

    I would like to point out however, that the alternate take was actually used for another pivotal moment in the series… just by hearing it, it took me a minute, but I pinpointed where I remembered hearing it…
    The scene in “Pegasus” where Admiral Caine gives Adama the order to integrate the crews.

    Adama – “I don’t agree…”

    Caine – “Well… that is certainly your right… dismissed”

    Very powerful scene… so it’s great that the music got to go somewhere.. I also hope that it’ll be included on a future “Mix Soundtrack” of all the unreleased pieces… :-)

    -Scott

    If the blu-ray version of this will be re-mixed, why not re-mix it with new music? I think where you originally were going with Kara’s theme was a great choice, it just needed some tightening up. It’d be so interesting to see what you’d do if you had the chance to tweak all those producer overrides!

    Well, we can dream, eh?

    Jangoisbaddest7…

    The multiple Main Title question… I used to have this in the FAQ but I took it down when the questions stopped pouring in. I know I’ve answered it somewhere before, but since I can’t remember where I’ll give you the short version:

    Sci Fi Channel changed their mind multiple times throughout Season 1. They decided at the 11th hour before the US broadcast to try something different, then decided to change it back for Season 2. I really had absolutely nothing to do with any of it.

    Meowlin…

    I’m amazed that you remember “Kings of the Sun!” The funny thing is, when I was working on that with Elmer… even he couldn’t get a copy of the movie anywhere, not from multiple archive sources. It never ran on TV and it wasn’t out on video or DVD.

    However, it was recently released on DVD and I picked up a copy. Haven’t watched it yet, though I’m really looking forward to it, because I know the score like the back of my hand.

    But his fans always remembered it. He got lots of fan mail requests for releasing obscure soundtracks, but none with the frequency of “Kings of the Sun.” That’s why he wanted to re-record it from scratch… because the master tapes and scores had long since been lost by the studio.

    So, I re-orchestrated the entire score for him and assembled the concert suite that he performed all of the world. He recorded it in Europe in what I believe were the final recording sessions of his life. It’s hard for me to listen to for that very personal reason, but it was an honor to contribute in some small way to his incredible legacy.

    Jake…

    “If the blu-ray version of this will be re-mixed, why not re-mix it with new music?”

    :) A nice idea, but this kind of thing is a slippery slope. Going back and fixing old work can be risky. After all, this is how Greedo shot first and police chased E.T. and Elliot with walkie-talkies instead of guns. It’s always best for artists to look back on their work and appreciate it for what it was and move on to bigger and better things.

    Scott…

    An incredible observation about this piece of music getting reused. I honestly don’t remember that particular cue from Pegasus, but I always made sure that any cue that got thrown out eventually found its way back into the series at some point. Nothing was ever lost forever.

    -Bear

    And let’s not forget Hayden Christensen, who was born in 1981, appearing in a 1983 film as a 20 something years old ghost. How messed up is THAT?

    Thanks for the reply….particularly considering that you probably have answered it countless times. :)

    And wow. Bernstein. No wonder I love your music so.

    why dose’t come back on

    Honestly I like your original version the best of the three. No wonder the producers stopped editing their own choices and went with your compositions.

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