| Some temps are less obvious, some are so obvious you can't miss out on them. For the Dutch film Van God Los (Godforsaken) bits and pieces of TRL score where thrown in the mix with much of Howard Shore's The Yards score. The film required much really loud bass and and melodic frightening music what the score obviously has to offer. The composers on the film, a duo called Het Paleis van Boem, took the liberty to almost copy the ticking pattern of Journey to the Line, that re-occurs quite often throughout the final score. The Coral Atoll can be heard during a montage of a crime scene. What these composers eventually do was keep certain strong elements of TRL that could be used, while adding much themselves to the final score. For more details on the temp: read my Van God Los score review |
 |
 |
 |
 |
| While other Hans Zimmer scores are suspect of possible influence through Thin Red Line temp score (The Last Samurai for example), Pearl Harbor is really the only one that the composer himself acknowledged. Besides the usage of Journey to the Line in a trailer of the film, the score was used as temp much earlier on. The usual way to give an composer an idea of how a certain big sequence might look when its shot, with additional special effects, is to show storyboards or a variation on it. For the attack on the harbour, they made a computer made animation version of this with Thin Red Line as temp. And some temp cues consisted of parts of few other scores than just this one, which editors regularly do. Something the composer had to say on the relation between the Thin Red and Pearl Harbor score: ''Nobody asked me to but it's a similar subject matter and having a particular style is both ways a blessing and a curse. You come back to your style even though you try to surpass it all the time. I feel that The Thin Red Line was a movie about peace, brotherhood. And in a funny way I was working very hard at trying to get some of that into Pearl Harbor because I didn't just wanted it to be another war movie. So I think I might just have forced this a bit too much. It's like self-criticism.'' |
| On One Hour Photo two small bits of TRL were used as temp: - The Coral Atoll: At the beginning of Sy's Nightmare in the supermarket as his eyes begin to bleed the opening of Zimmer's cue is used. The hypnotic uprising quality again, just like in Van God Los, provides a very dreaming, flowing quality as temp. Johnny Klimek and Reinhold Heil stayed in a similair mood with a synth choir. No immediate trace of the temp can be heard in the final result. - The Lagoon: In the sequence where Sy is following Nina by car, as she discovers her husband is cheating on her. As she stops the car and looks at photo proof of that, the haunting string quality of The Lagoon is used as temp for a just a minute. For the entire sequence, which is fairly long, entirely different temp surrounded the TRL temp. Discovery/ Following Nina, the end result cue, is totally unsuspicious like the other temp track. For more details on the temp: read my One Hour Photo score review |
 |
 |
 |
 |
|
|
|
|
|